Since the beginning of cinema, fiction heroes has required that ensure justice and the preservation of social peace as far as possible. Already in the pulp , these heroes roamed by imaginary worlds and enjoyed extraordinary powers, consolidating a tradition that, at any given moment, the comic would take in their own mythology. Large format creators understood that in special episodes of the story, characters special to the height needed, and so were his creatures born supermen of the need for an alter ego, the trauma and the channeling of a tortuous personal history; but also able to let the skin for his country, or his, or some hefty fees.
In recent times, the number of titles devoted to these figures, especially those focused on the extensive galleries of Marvel and DC, it has not stopped growing. Among the increasing number of films are no real blockbusters, but also new approaches that have led to the story of superheroes to become susceptible material in a more personal approach, beyond mere industrial challenge. So, it never hurts to carry it out a review of the expanding universe through new adaptations, remakes , reboots , sequels and prequels, wherein deconstructions are addressed in the margins, myths pulp , reviews on postmodern key, children graphic novel and even some insane without any power. Here are some of the essential, questionable and obvious names that every fan should consider before engaging in any conversation about movies and superheroes.
“Watchmen” ( Zack Snyder , 2009) . The masterpiece of writer Alan Moore , artist Dave Gibbons and colorist John Higgins, published in the mid-80s, was the perfect comic for a spectacular cinematic suicide. 23 years passed before Snyder dared to freak Moore, a monumental work in an alternative history where superheroes have been evicted and hide as lookouts outside the law in a society on the brink of mass destruction . The multiplicity of readings, comic narratives and layers made it nearly impossible sensible adaptation, but Snyder was able to absorb the spirit of the original in a bold film, a blockbuster can not sabotage expectations savvy viewers accustomed to power and greater lightness the superhero adventure. “Watchmen” is far from Round mail to its referent, but it is unusual in its audacity, in the depth that gives his characters, in melancholy for that heroism costume felt left behind or the desperation of a decaying world. It is, also, a tape whose importance it should be eventually claimed.
“The Avengers” ( Joss Whedon , 2012). Joss Whedon ( “Firefly” ) emerged triumphant in the biggest challenge of Marvel adaptations to date. The dream team of the publisher came to life in blockbuster reaching a delicate balance between entertainment, the spectacular, the depth of its characters and their relationships and a joyful spirit with their fan nods to the cartoon. “The Avengers” was a fabulous star studded blockbuster – Robert Downey Jr / Iron Man, Chris Evans / Captain America, Chris Hemsworth / Thor, Scarlett Johansson / Black Widow, Jeremy Renner / Hawkeye, Mark Ruffalo / Hulk and Samuel L. Jackson / Nick Fury, who inaugurated the Marvel saga with further, for there are already confirmed a sequel.
“Spider-Man” ( Sam Raimi , 2002) . Sam Raimi, brand equity Series B 80, would be the man chosen to bear a greater responsibility than Peter Parker had to endure: to carry out the first great movie of Spider-Man and get away from so great industrial adventure. “Spider-Man” will never cease to be seen as that title that marks the mediocrity of a director whose signature many fans would never again trust, even in their own fun in that revival was “Drag Me to Hell” (2009) . Some even prefer to note the outdated “Darkman” (1990) as the true superhero film Raimi. However, his film about the spider man never ceased to be an example equilibradísimo action, no fun at odds with the weight of the moral and emotional dilemmas of its protagonist, and respect and affection for the original. “Spider-Man 2″ ( 2004), vindicated by many as the jewel of the series, impacted on the tortured version of the hero, before finishing off the trilogy with “Spider-Man 3″ (2007), a third listless, unbalanced and virtually desnortada party would closed the franchise until reboot with “The Amazing Spider-Man” (2012), directed Marc Webb and upcoming summer this year.
“Unbreakable” ( M. Night Shyamalan , 2000). superhero comics always accustomed us to the little alterable status of representatives of good and evil. Or at least, it was always the banner on this side of the law subjected to analysis with magnifying glass. In “Unbreakable” exceptional work that was often forgotten in the shadow of “The Sixth Sense” (1999), Shyamalan questioned the nature of these roles-in peacefully supernatural dichotomy indestructible character of Bruce Willis and fragility seller comic who played Samuel L. Jackson, I am powerfully with a look into the world of the bullet, carrying out a maneuver dissection, as usual for the director, won whole his powerful capacity for staging.
“Batman” ( Tim Burton , 1989). Tim Burton did not dismiss the entire tone and Naive verbenero Batman Adam West, but neither too seduced by the Bat Man Frank Miller who is scope for the joke had been published three years before to define, with “Watchmen,” the path of American graphic novel. Burton, who had just directed “The Pee-Wee” (1985) and “Beetlejuice” (1988), signed one of his best and most overlooked films today, an adaptation of the character of Bob Kane and Bill Finger breathing goticismo , bad milk and divertimento pop . Unforgettable Jack Nicholson gassing Gotham City to beat Prince’s final in the belfry, the soundtrack of Danny Elfman or the Batmobile able to fulfill all expectations and wet dreams of any Batman fan. Then the not inconsiderable but less inspired “Batman Returns” (1992), also directed by Burton sequel, would lead to festivals kitsch and hysterical of Joel Schumacher , “Batman Forever” (1995) and “Batman and Robin” (1997) . The second, in particular, made clear the need to make a point and part to address a new approach to the character, who would years later with the saga of Christopher Nolan .
“Superman” ( Richard Donner , 1978). One of the deans superhero movie titles and still one of the top rated work of a skillful Richard Donner as capable of carrying out the first adaptation of the Man of Steel as ” The Omen ” (1976), “The Goonies” (1985) and “Lethal Weapon” (1987), always with great results. “Superman” was the charismatic Christopher Reeve as the star, but also to Marlon Brando , Gene Hackman , Glenn Ford, Terence Stamp , Ned Beatty and Trevor Howard . The critic Roger Ebert described it, without success, as “a pure delight, a wonderful combination of all such things fashion that never tire: adventure and romance, heroes and villains, great special effects and … you know what more? Intelligence » . “Superman” was a hit that would have three sequels starring Reeve, before Bryan Singer return to Krypton in “Superman Returns: The Return” (2006) and Zack Snyder do it again in “Superman: Man of Steel ” (2012). On TV, Clark Kent / Superman had long life in “Lois and Clark: The New Adventures of Superman” (1993-1997) and “Smallville” (2001-2011).
“Chronicle” ( Josh Trank , 2012). Halfway between “Unbreakable” and “Akira” ( Katsuhiro Ôtomo , 1988), newcomer Josh Trank got an excellent deconstruction of the superhero myth, always fed by the traumatic nature in which he founded and leads those involved to opt for either side of the universal balance. “Chronicle” introduced philosophical concepts that helped to understand the moral and ego that led to these teens an apocalyptic conclusion and amazing technical deployment despite its small budget, the film has built some of the most amazing visual effects seen in gender, while committed to a consistent use of these. All counted with a camera in hand more than relevant in the age blogger and immediacy 2.0, heiress of that turn already phonecalls “The draft Blair Witch” ( Daniel Myrick and Eduardo Sánchez , 1999) and, above all, “Cloverfield” ( Matt Reeves , 2008).
“The Incredibles” ( Brad Bird , 2004). familiar Pixar, pouring cinephilia, winks bulk virtuous action, taking the best of several animated and aesthetic traditions retro still remember the science fiction of the mid-twentieth century . Brad Bird, who came from series like “The Critic” (1994-1995) or “The Simpsons” (1989 -) and directing “The Iron Giant” (1999), achieved with “The Incredibles” one of the best productions partner of Disney, an absolute joy that does not age and enjoying an extraordinary soundtrack of Michael Giacchino , as a full-fledged film references and very proud of them.
“X-Men” ( Bryan Singer , 2000). The name of the X-Men is closely linked to Bryan Singer film. He was responsible for one of the first big Marvel adaptations, and creator of the series dedicated to the mutants of Stan Lee and Jack Kirby . The first installment, formal presentation of the iconic group members showed that Singer majeaba Challenge with ease and displayed a worthy entertainment with well-defined equilibrium achieved action scenes characters. Its sequel “X-Men 2″ (Singer, 2003), preferred by many fans to the first, held in a franchise type that would fall to its lowest level with Brett Ratner in the direction of “X-Men: The Last Stand ” (2006). Singer continued his absence from the series in the spin-off “X-Men Origins: Wolverine” ( Gavin Hood , 2009), but again the same as a producer and co-author of the story of “X-Men: First Class” ( Matthew Vaughn , 2011), the prequel estimable whose sequel is already planned .
“The Dark Knight” (Christopher Nolan, 2008). In “Batman Begins” (2005), Nolan pointed to the origins of the Batman that broke the tacky bacchanal Schumacher in favor of a more severe and transcendent tone, but what was getting irregular leaden adaptation that did not expect much from the new series. “The Dark Knight”, however, proved much more intense and magnetic than its predecessor, devoured by the charisma and presence of a posthumous Heath Ledger who embodied a chilling sociopath and his predecessor in the role Joker. Although imperfect and deeply committed to its efforts to make history, tape Nolan enjoyed good narrative muscle, a virtuoso opening scene and a soundtrack from Hans Zimmer and James Newton Howard involved in the epic dark ribbon. Goodness, however, not entirely redeemed an ambition that can continue its exponential course in “The Dark Knight Rises” (Nolan, 2012).
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