This has to be one of my favorite fanedits of all time, because it took two movies I really wanted to like, and in which I honestly struggled to find any redeeming features, and made it something I can love. The singular genius of this edit for me, was that it seemed to take the most popular criticisms aimed at Batman Vs Superman and fix them by using MOS. What an idea!
Take this one. One of the biggest issues with BVS was that its a Superman movie, with a main character that we don't feel for or care about. We don't see him being heroic, or charming or see anything to make us invest in his romance with Lois. All that was in MOS, and while Synder's character writing is a weaker point, it was much stronger in that first outing. What JobWillins has achieved here is a film with a singular arc about the rise and fall of Superman. He is portrayed as a true Jesus style figure, and when he meets his ultimate end, while I felt nothing but fatigue in BVS, here with Jor-El narrating over the scene, I was moved to tears.
The opening of the film is excellent. Synder seems to think a film's plot should begin around the 50 minute mark, but here, Lois and Clark have met, his origin has begun to unfold in full, I'm invested in the story, and there feels like there's actual momentum by the 20 minute mark... where its supposed to be. Clark and Lois's arcs work well, and the transition between the two films is solid.
While BVS force-fed us a series of bloated subplots to justify the world questioning Superman, "Man of Tomorrow" capitalizes on the fact that the Battle of Metropolis was reason enough, and we experience that through the eyes of Bruce (brilliantly cut in), who we now see fully involved in those events the first time, rather than sitting through a rehash of the sequence. When Clark joins the Daily Planet, it feels like a beginning, rather than an end, when he takes down the Satellite monitoring him, it feels like foreshadowing, and right next to this is Bruce, brooding over it all. A perfect transition. The Flashbacks are also used very well. Some are even saved for the second half. Jon's death is particularly clever.
Now, condensing two films can lead to events feeling abrupt or truncated. I'm pleased to say that IMO, Zod does not feel so. I never liked MOS's interpretation of Zod anyway, so using him as a preliminary villain worked for me. Much of the exposition around his plan, and certainly the street-fight with Faora was grossly unnecessary, and thankfully gone in this iteration. JobWillins also managed to do something about the "Superman shouldn't kill" issue by altering the death to seem less deliberate. When we get to Lex, his once convoluted motives and plan are presented in a clear and linear fashion which makes him seem less annoying, and more like the genius he's supposed to be. The entire BVS section of the film felt right to me. JobWillins kept the good and cut the bad. No more hockey franchise building for Justice League. No more weak subplots and bad padding. No more dream sequences or Batman using guns. What is left is the core story. Freed from that baggage, and underscored by the best of MOS, these events come to carry much more weight, and the themes stand clear in what I feel is a film worthy of recognition. This is without a doubt my new opening entry to DCEU.
This was absolutely amazing! This is how the DC movies should be! Incredible work on your own new intro to the movie. This edit takes 2 'okay' movies and transforms them intro 1 amazing movie! I loved how you just took away all the stuff I didn't like about the movies so the only things that are left are the good parts. Your choice to sometimes just blast the music in the scene's without other sounds is soo great, really makes Hans Zimmer's score stand out in full glory. Its also very good paced and never boring because it just keeps going with amazing parts throughout the whole movie instead of the theaterical versions, where you only have the exciting stuff at the ends. The way some scene's are reorganised is so great. It makes so much more sense and does a better job than the actual editors of the movie managed.
I highly recommend this fanedit to both movies, its just so much better. Thanks alot JobWillins! I'm going to watch this with a friend who hasnt seen both movies so this is going to be great!
The only negative is have is the absence of Subtitles, being non-English I always have Subtitles on in case I cant really hear what they are saying (English subtitles are the best). So if you could include those sometime down the line that would be amazing!
This edit definitely improved the storytelling, the character development and the overall enjoyment of both movies.
It seems like a movie worth seeing in the cinema, that don't get boring like BvS sometimes get.
It was really nice to watch.
In 2,5h you get a fast-paced, emotional and sometimes fun (!) Superman-movie, which features a darker, brutal, but non-murderous Batman in a supporting role and Wonder Woman in a cameo.
To sum up my experience in cinema, contrasted with that of this recut: While in the cinema I couldn't give less of a f**k about Supermans death at the end of BvS and the ensuing funeral, and was even annoyed by it ("Really? You expect me to feel sad now? F**k you. Not earned, movie. Not earned."). This time I had actually a little tear in my eye at the funeral, and damn if I didn't have goosebumps when Supes was charging at Doomsday to sacrifice himself. The way the movie is recut and thus Superman is presented, this time I actually LIKED him, I saw him do heroic things and save lifes, but also understood the danger he poses to world, the self-doubt he felt after seeing how much destruction was possible by his kind, I felt that he was trying to find his place in the world...all the things that I was intended to feel at the cinema, but which didn't happen because the theatrical cuts were so depressing, sloggishly long, and bloated to set up another movie, and another, and another, and oh-this-has-to-be-in-it-for-the trailer...I could go on and on. What can I say, in the Recut, even "Martha?!" worked for me.
That is not to say that I hated MoS or BvS - both had a lot of stuff that I liked. I am a big DC and especially Batman fan, so the setting itself naturally intrigued me. I liked the attempt at a more serious tone, to think about the repercussions for the rest of the world if suddenly the likes of Superman walk the streets and soar the heavens. I think the casting was pitch-perfect: Henry Cavill and Ben Affleck, Amy Adams and Laurence Fishburn, Kevin Costner and Russel Crowe, Michael Shannon...every one involved gave their characters gravitas and made them feel real...i even liked most of Jesse Eisenbergs take on Lex Luthor. The action was indeed very impressive, moral questions about destruction porn etc. aside. But every time I talked about these movies, I had to follow up with a "But, on the other hand...", because there was also so much that weighed the good stuff down. Sloggish pacing, too much in too less time, missing focus of the narrative, a Batman that kills without moral quabbles about it (and without it really being adressed in the movie, which makes it seem as if the creators think it's no big deal) and a murder by Superman which doesn't get the in-movie discussion it deserves...and on and on it goes.
This cut managed to take all the qualities that were intented or already exhibited in the theatrical cuts of both movies and really made them shine in a new light. This movie is an adult Superman movie, a tale about sacrifice, hope and the personal quest for significance, which can be inspiring and frightening, which casts doubt upon the morals of its heroes, but never makes them seem cynical or indifferent. It's also fast paced, with three spectacular highlights in the Battle For Metropolis, the fight between Batman Vs Superman and the final fight against Luthors abomination Doomsday.
I have seen Man Of Tomorrow three times now, and the Battle For Metropolis took my breath away every time. JonWillins cleverly intertwined Supermans story with little scenes with Bruce Wayne in its first hour, so he is already a familiar face for the viewer when the Battle For Metropolis against Zod and his soldiers starts, during which Bruce Waynes perspecive on the calamity from BvS is woven seemlessly into the fight from MoS. The battle occurs around the 1 hour mark, and from this scene forwards you already pretty much understand Bruce's motivation for finding a way to neutralize Superman.
The recut takes a clue from Grant Morrisons All-Star Superman and condenses Supermans origin story on Krypton from 30 Minutes of prequel to just five short pictures - and, of course, it works just fine. Almost every viewer know the basics of his origin, and viewers somehow unfamiliar with it propably get the gist of it by the few pictures that are needed to tell it. The story later gets a bit more fleshed out during Clarks conversation with Space Dad Russell Crowe, but again sticks to basics, which still allows for a few interesting views in Kryptons design and culture pre-explosion. It's actually pretty showing that the whole of MoS gets condensed in one hour in the recut, and still is able to tell the same story while preserving the emotional arc of hero and villain. JonWillens makes some creative decisions regarding rearranging scenes from movie to movie, for example by taking parts from MoS to show them later during the BvS-part as flashbacks to punctuate corresponding scenes.
Another one of the great strenghts of this movie, beside its superior pacing, is the change in tone. For example, by simply rearranging the montage of Supermans heroic deeds from BvS and putting a different, more up-beat score on it, the scenes change from "Superman doing this, despite not really being in the mood for it" to him being the hero he strives and enjoys to be. The montage happens after the Battle For Metropolis and is a perfect transition between the MoS- and BvS-parts of the Recut - it gives one a feeling for the time that passes between both parts (a year) and establishes Clark as a man with extraordinary powers using them to help the world he was born into - this worlds first superhero. A little change to the fight against Zod also helps to paint him in a more positive light, while still maintaining the feeling of dread and the terrible cost that that battle had on the people of the city and Clarks soul. The Recut further takes away most of the more gleefully violent scenes from MoS and BvS, which avoids painting the heroes of the movies as cynical a**holes. All in all, Batman and Superman come across as men with different codes and methods, who still both try to rid the world of the evils that plague it.
Two characters who profit most from the "less-is-more" approach of this recut are Lex Luthor and Diana Prince a.k.a. Wonder Woman. If you dislike Eisenbergs take on Luthor per se, the recut obviously won't change that. But the recut takes away his most ridicoulus scenes, keeps only the ones central to plot and character, and takes away pretty much the whole subplot about his evil scheme (Peach Tea, Senat blowing up, framing Superman etc.). Turns out it it works just fine when you strip it down to the basics, and in the recut he is actually more intriguing because it is not overtly stated how much if what happens he anticipated or even actively planned, which makes him seem even more smart and threatening, not less. Diana Prince only shows up very briefly before the finale and has no real interaction with the other characters, so viewers can wonder (pun not intended) what is up with the beautiful woman that pops up every now and then...and then freak out when she is called "Mrs. Prince!" for the first time and jumps into battle to save Batman, totally uncalled for, and starts kicking ass. It just shows again how much you can hurt your movie by showing your hand, meaning your twists and surprise reveals, too soon, especially through trailers and backstage rumors.
As I have already said two times in this review, I could go on and on, but I shall finish with this:
I am of the firm believe that , if this was the version originally shown in cinema, without all the misguided media hype and pre-release reveals, people would be slobbering their mouths right now for the Justice League movie (and not just hope that Snyder & Co. don't f**k it up). I loved it, and urge especially those who were disappointed with MoS and BvS to check it out. The discovery of this movie alone would have been worth my venture into the world of fanedits.
Here's another splendid edit from a very dedicated editor, who shows talent and love for the matter at hand. All the annoying, stupid and unnecessary crap that Snyder stuffed his films with is gone.
Left, there's only a lean, fun and fast action adventure that manages to fuse the most interesting elements of Man of Steel and Batman V Superman into a lovely blockbuster.
After the continued disappointment that Snyder's DC film reign has been, it's great to see someone who understands pacing and with a sharp eye for storytelling, create a blockbuster well-worthy of our time.