Last week I watched Batman V Superman: Dawn of Justice Ultimate Edition. I’m sure you’ve read about this — it’s Zack Snyder’s three-hour director’s cut of the film. The Ultimate Edition has had quite a few positive reviews as opposed to the half-hour shorter theatrical cut which was eviscerated by critics and moviegoers. The Ultimate Edition is a better film than the theatrical cut, I’m sure of that. So why did they release an inferior version of the movie in theaters? Why can’t the Zack Snyder release his director’s cuts theatrically?
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Posted on Friday, September 26th, 2014 by Angie Han
Love Zack Snyder or hate him, it’s hard to deny he’s got a distinctive visual style. (Indeed, detractors often argue that’s his problem — that he’s nothing but style.) And one of his very favorite go-tos from his bag of tricks is tweaking the pace of the action onscreen.
Dude loves himself some slow-mo, as demonstrated by this new supercut. He loves it so much, the video is even set to Emily Browning‘s slowed-down version of the Eurythmics‘ “Sweet Dreams (Are Made of This)” from Snyder’s Sucker Punch. Watch the Zack Snyder slow motion supercut after the jump.
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Editor’s Note: You likely know Adam Quigley thanks to his contributions to the /Filmcast, and for his occasionally argumentative stance on popular films. His most famously contrarian opinion may be the defense of Zack Snyder’s 2011 film Sucker Punch. So what better subject could there be for Adam’s first foray into breaking down a topic on video? We’ll have more video dissections from Adam in the future, but let’s begin with an examination of Snyder’s movie — one that is occasionally as vitriolic as the film itself.
You think Sucker Punch doesn’t have thematic substance. You think it doesn’t have character depth. You think it doesn’t have a single sensible thought in its pretty, dumb superficial body.
Find out why after the jump. Read More »
Posted on Monday, January 2nd, 2012 by Angie Han
By now you’ve probably seen dozens of critics’ best-of-2011 lists (including ours!), and noticed some amount of overlap on films like Hugo, Drive, and Tree of Life. But there’s more than one way to gauge a movie’s success, and when it comes to what general audiences are actually watching, a whole different set of titles come out on top.
According to a report just released by Redbox, the Adam Sandler vehicle Just Go With It was the most rented title at its bright red kiosks in 2011, ahead of several other comedies including No Strings Attached, Rango, and The Dilemma. Meanwhile, Fast Five leads the list of the most pirated movies of the year, followed by The Hangover Part II, Thor, and Source Code. Read both lists after the jump.
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Most of the time deleted scenes are deleted for a reason. Sometimes they provide information that is already given in another scene. Other times they disrupt the flow of a movie. Then there are scenes that remain almost the same, but are just trimmed on the edges like fat on a steak. New deleted scenes from Super 8 and Sucker Punch have found their way online and both fall into a few of those categories. The Super 8 clip is largely a scene that’s in the final cut of the film, it’s just happens to feature some of the fat that was nipped and tucked away. As for Sucker Punch, the scene is an entire excised musical number called “Love is the Drug.” Check them both out after the jump. Read More »
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We’re not even halfway through 2011, but it’s safe to say that Zack Snyder‘s Sucker Punch has been one of the year’s biggest disappointments. When Snyder premiered footage from the film at San Diego Comic Con 2010, many fans (myself included) ate it up, anticipating a mind-bending, genre-blending, roller coaster ride of geeky goodness and that anticipation built with each and every piece of material released. Then the film came out. And it was incoherent, boring and – frankly – tame.
Maybe that’ll change on June 28 when Warner Bros. releases an R-rated, extended cut of the film on the Blu-ray with an extra 18 minutes of footage. After the jump, read about one of the extended scenes and more. Read More »
Pictured above: Sexual predator.
Last week I took a shot at dissecting the allegorical significance of Sucker Punch, in which a troubled girl fights to take back control of her sexuality at the hands of depraved men everywhere, and does so through elaborate song-and-dance action sequences. Where others seemed to get wrapped up in the potentially disconcerting message that the literal text was selling, I sought to examine what the subtext had intended to sell. And it’s with a similar goal in mind that I’ll now be ruining Labyrinth for you forever.
[Editor’s Note: This interpretation of the film is strictly that, and does not necessarily reflect the intended vision of the creator.] Read More »
Posted on Thursday, March 31st, 2011 by Angie Han
Despite the flurry of attention that Zack Snyder‘s Sucker Punch received from sites like ours upon its opening last weekend, the film so far has been a commercial disappointment. Sucker Punch fell short of its projections when it opened last weekend, losing first place at the box office to Diary of a Wimpy Kid. Its $19M opening weekend gross was Snyder’s second-worst to date — his worst being last fall’s Legends of the Guardian: The Owls of Ga’Hoole, which grossed $16M. (All figures come from Box Office Mojo.) And at a mere 20% on Rotten Tomatoes, Sucker Punch has proved to be a critical flop as well.
But there’s still a large chunk of that $82M budget needs to be earned back, and in an effort to draw in moviegoers for the film’s second weekend, Warner Bros. has posted the first six minutes of Sucker Punch online. Watch it after the jump.
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This week, Dave, Devindra, and Adam discuss the death of a cinema icon, the amount of dancing present in Black Swan, and the dangerous intersections of art and commerce. Special guest Stephen Tobolowsky joins us. Check out Stephen’s new short story in ebook form!
You can always e-mail us at slashfilmcast(AT)gmail(DOT)com, or call and leave a voicemail at 781-583-1993. Join us for our next live broadcast on Sunday, April 3rd at Slashfilm’s live page where we’ll be discussing Source Code.
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