>You will give the people an ideal to strive towards. They will race behind you, they will stumble, they will fall. But in time, they will join you in the sun, Kal. In time, you will help them accomplish wonders.
This scene... oh man. The whole movie was a masterpiece of pure cinematographic greatness. A pleasure for both eyes and mind, a film that challenges the enstablished dogmas of superhero movies and Nietzche's "superhuman" philosophy with heart and humbleness, combined with groundbreaking visual effects and incredible acting by all performers.
This film is by all means one of the greatest ever created, being easily the best in its genre and the best from the year 2013.
Snyder's immense talent is starting to shake the very core of Holllywood and cinema itself.
In the future we will not read the bible to our kids, we will show them the work of Snyder.
Lincoln Bailey
...
Joseph Nguyen
>Dickless Cuks
Thomas Carter
Very good movie!
Grayson Myers
It's a great speech assuming you ignore the rest of the movie
Chase Cox
This scene and the scene with the world engine was kino as fuck
Superman despite being weak around the world engine, destroys a near lovecraftian machine through will power, coupled with zimmers music... And people still sa mos didn't have hope
Evan Reyes
I love this scene as well
Interested in how Supes will be portrayed post Justice League. He might finally be the Superman that his Dads thought he would be
Isaiah Watson
one of the three greatest capefilms ever made.
Benjamin Bell
>cinematographic What do you know about such things when you're sophomore as fuck?
Josiah Smith
>pure cinematographic greatness Pffffft
Cooper Smith
What is Snyder's best work?
Jayden Morris
it's a tie.
Jace Thomas
Superman never has and never will, work in live action.
David Martinez
The Owl one
Christian Carter
Next Kubrick confirmed.
Brody Roberts
>This scene... oh man. Yes, frankly, it was incredible. Full of hope. >he whole movie was a masterpiece of pure cinematographic greatness. No, sorry. The Zod stuff was all over the place in terms of tone and zooms. Hell, I don't even dislike zooms, but it had an overabundance of them.
Anyways, I've said it before, and undoubtedly will again, but from the time Clark gets to Earth to the time Zod shows up again, the movie is 10/10.
Logan Anderson
None He has never made anything above a 1/5
Michael Ortiz
I think the Directors Cut of Watchmen and MoS edge out BvS, but that might change with the Ultimate Cut
Dominic Wright
The last fight with Zod just blemished an otherwise perfect film imo.
Zod was brilliant right upto the last fight
Hudson Johnson
>Anyways, I've said it before, and undoubtedly will again, but from the time Clark gets to Earth to the time Zod shows up again, the movie is 10/10.
I could not agree more.
Aaron Reed
Lane and Cavill had great on-screen chemistry.
Caleb Peterson
>mfw I realize Clark's story arc in BvS is essentially based on the philosophies of both his father's
Bravo Snyder. Bravo.
Luis Lee
Right now it's a tie between Watchmen Ultimate Cut and BvS, I expect that to change with the Ultimate Cut of BvS.
Caleb Scott
That's the theory. The MoS and BvS superman was sophomoric and didn't understand, and that with his rebirth, he will become the real superman, kind of like how now Batman has learned not to kill.
Noah Rodriguez
That porch scene gave me the warm fuzzies, Given the events in BvS, there's an added touch of bittersweet, even foreshadowing to it now.
"I'm worried they'll take you away from me,"
"I'm not going anywhere, Mom. I promise."
Blake Ramirez
>Batman has learned not to kill.
I'm pretty sure it's going to be more him *remembering* his old boundaries, but time will tell.
Nathaniel Gutierrez
My problem with this is that Batman in "Under the Red Hood" says that the reason why he doesn't kill criminals is because "It'd be too damned easy" and that once he started, he'd never stop because there'd be no reason to. He's already crossed that one line in the first movie of the DCEU, and gone against one of the core principles of the character. It's just a really strange thing to deconstruct a character before you even have an established cinematic universe. I feel like it's the kind of thing you'd want to do in either the end of the Second Act or beginning Third Act of the DCEU where the world-ending events start to take their psychological toll on the Justice League members.
And with Superman, I dislike the idea that he's got to die to become his comic book counterpart. I think that speaks to Snyder just not being able to believe that some people in the world can genuinely be that altruistic without having to go through a ton of crap. I'd rather if Superman stayed alive through the BvS and JL Part 1 and had to slowly, painfully earn his place in the world until even the U.S. government throws up its hands and is like "Fuck it, he's here, he's saved thousands of lives, and he's not going anywhere anytime soon so we might as well accept this new reality."
Wyatt Stewart
It depends on what you do with it. No one needs to be told who the Batman is and what he's supposed to represent. By showing him over the edge, it lends an air of mystery to his past we wouldn't have had otherwise.
What happened to him?
Joseph Robinson
Better dialogue and line delivery coming through.
>They can be a great people, Kal-El. They wish to be. They only lack the light to show the way >Even though you've been raised as a human being, you are not one of them
Leo Williams
You can choose to believe this or not, but I think their decision to give us the death of Superman at this point in the story carries a lot more narrative weight than it had in the original comics arc.
There, it came off as sort of a marketing gimmick that ultimately said nothing about his character and certainly didn't change him in any lasting way. In the film, it's him fully embracing the role of humanity's champion and inspiring Bruce, Diana, and the whole damn world in the process. Furthermore, I personally believe it's Snyder and his team inserting a little social commentary into the narrative.
Superman is born into a world that doesn't have a place for larger-than-life heroes and gods anymore. He borrows a page from Bruce's playbook, simultaneously choosing his world and forcing it to make sense, forcing it to make room for heroes again.
Viewed in that light, all the religious imagery takes on yet another meaning - he died for the fans, who have spent decades clamoring for increasingly dark, gritty, morally ambiguous "heroes." He died for our sins, those sins being that we kept insisting that our heroes live in a world more like ours when we should have been insisting on living in a world that's more like theirs.
