The 14 Best Moments In Batman V Superman: Dawn Of Justice

It is safe to say that the highly anticipated Batman V Superman: Dawn Of Justice has divided audiences in spectacular fashion. Perhaps more so than any other high profile release, this movie seems to inspire either glowing appreciation, or vehement hatred – which, in itself, is a fascinating turn of events. Because the division is so stark, it inevitably awakens the desire to explain it. The truth of the matter may well be that, quite simply, ‘some people like it, and some people don’t,’ but that seems too amorphous a concept for the majority of popular media. It cannot be reduced to a single sound-bite, nor can anyone point to it and say, ‘There’s your answer.’ And yet, it is the vehemence that lingers, and keeps us asking the question. There are those that will predictably dismiss the division as being the result of blind Marvel/DC loyalty, and there are those that will blame a perceived predisposition to dislike Zack Snyder films. For the record, this writer has settled upon the theory that the explanation for such a wildly polarized response might be two-fold. Firstly, Batman V Superman: Dawn Of Justice is a flawed film. It absolutely has its problems, many of which are legitimately highlighted in the negative reviews it has received. However – and secondly – would these problems generate such phenomenal venom if the movie were about characters other than Batman and Superman? Batman V Superman: Dawn Of Justice utilizes two of the most beloved and iconic figures of popular culture. They are characters of such power and influence that they transcended their comic book origins decades ago. You might never have touched a comic book in your life, but Batman and Superman will still hold some meaning for you, in some way, deep in your consciousness. If we examine our reactions to the film, I suspect that even the most objective reviewer, or audience member - whether concluding the film is good, bad, or somewhere in-between - will find a level of instinctive response, based upon their personal relationship with Batman and Superman. It is simply human nature. In the interests of full disclosure, I am a DC fan, and I wanted to like the movie. However, I am also the first to admit that there are as many Zack Snyder films that I dislike, as those I am a fan of. Likewise, I dislike a number of films featuring DC characters - including Batman and Superman. These facts, coupled with the initial wave of negative reviews meant that, by the time I walked into the movie theatre, I had fully prepared myself to be disappointed. I had talked myself down from the heady heights to which the Warner Bros. hype machine had driven us all, and I was ready to have my hopes dashed. In the final analysis, my hopes were tempered, slightly, but not dashed. It’s not a perfect film, but I liked it. I also left the theatre with an understanding, and an appreciation of why some people did not. In many ways, a film that brings two of the most recognizable characters in history into conflict is destined to cause division among its viewers but, as seen in the film’s questionable marketing strategy, the question of ‘Who will win?’ is futile. This is the Dawn Of Justice, after all. So, now that the film is out, and we can finally see it for ourselves, let’s take a look at the best moments of Batman V Superman: Dawn Of Justice – not necessarily in chronological order. Being such a divisive film, these moments are clearly subjective, and I will endeavour to explain why each of them stood out, and resonated, in a film crammed with notable characters, plot lines and action sequences. Be aware, however, some mid-level spoilers are unavoidable from this point on. Bruce Wayne’s Opening Narration It’s right there, in the opening lines. As Zack Snyder’s camera sweeps over brooding scenes of grief and mourning, we hear Bruce Wayne prepare us for what is to come. He reminisces about better times – to paraphrase, a time when good guys were good, and bad guys were bad – but that those times, and those heroes “are fallen.” In other words, welcome to our world, audience, we do things a little differently here. It is no accident that these words are accompanied by yet another rendition of The Murder Of The Waynes – perhaps one of the most filmed superhero origin stories. But, Snyder manages to present this in a new and compelling way, which compounds the point: You think you know this story, and these characters, but we’re going to show you a different perspective. The significance of the narration cannot be overstated – in just a few words, Bruce Wayne encompasses our personal relationships with Batman and Superman. These characters have been by our sides for over seven decades – that’s over seventy years of human history, in which we have come together and been torn apart. We have discovered, and we have wilfully ignored. We have stumbled through technological advancements, and we have chosen paths that have not always been either right, or true. Batman and Superman have changed in those years, too – always reflective of the times. Bruce Wayne tells us that times have changed, and your heroes have changed with them. Your heroes still reflect the times, it’s just that the reflection is going to be uncomfortable to look at. It's All In The Cars Bruce Wayne – wealthy playboy – sweeps into a high profile Metropolis function in a very well-maintained, classic Aston Martin. Very James Bond, and very fitting with his character. This is an older, battle-weary Bruce Wayne, who longs for the past. His unsettled psychology is driven by his childhood trauma, and he is unhappy with his current reality, in which Superman exists. It is, then, unsurprising, that he would opt for a classic motor vehicle. When Diana Prince makes a quick exit from the same function, with Bruce Wayne in pursuit on foot, she slips into her own sports car – except this is a much more modern choice. Her character is challenging him in the story – at this point silently refusing to acquiesce to his alpha-male dominance. He is curious, yet she reveals nothing. He wants her to stop and answer him, but she continues to leave. They each have their own agenda, and the fact that she zooms off in a sports car indicates that she is his social equal, but her modern choice highlights that she is the antithesis to his aging brutality. In the subtlest of ways, she is the same, but different. Bruce Wayne, at that point, represents the past, while Diana Prince is most assuredly the future. Diana Prince Shuts Down Bruce Wayne’s 'Mansplanation' It is really the first time we hear Diana Prince speak, and her words are utterly perfect. It is an exchange that speaks to every single woman on the face of the earth, because we have all been in the same situation – a man assumes he knows more than you, and generously imparts that knowledge, so that you may better understand the topic at hand. Indeed, bless the mansplainers, for without them, women would surely still be scared of the sun. Diana Prince is minding her own business, looking at an ancient artefact in a glass case. Again, it is no coincidence that this version of Bruce Wayne is, himself - literally - an ancient artefact that lives in a glass case. The artefact in question in this scene, however, is a sword, and Bruce Wayne approaches from behind. He has an issue with the mysterious woman – whom he knows nothing about – because he saw her steal a digital drive that he had implanted to steal digital information from Lex Luthor. However, he opens their exchange by assuming she doesn’t know what she’s looking at - telling her that the artefact is a fake, and informing her of the location of the real one. He is the classic alpha-male, attempting to impress with his superior knowledge. If he were a peacock, he’d be in full-on feather display-mode. But, this is Diana Prince, and as she says later, he’s never known a woman like her. She cuts him off mid-sentence and finishes the information for him, with an attitude that constitutes an audible eye roll. It is beautiful to behold, and the most perfect way to introduce Diana Prince – AKA Wonder Woman – to the cinema screen. The First Glimpse Of Batman We’ve seen Bruce Wayne, and we’ve seen him brooding, but it is the first sight of Batman that sends a Dark Knight shiver up the spine. Two Gotham police officers enter a warehouse, at night. They are nervous, and have their shotguns at the ready as they creep cautiously around the derelict property. They come upon an area sectioned off with bars – which is effectively a cell for victims of trafficking. It is filled with traumatized, terrified women, who refuse to come out, because “It is still here.” As one of the police officers proceeds toward some muffled noises, the sounds become clearer. We can hear intermittent, monstrous moaning, and the occasional thud. What manner of creature lies beyond the next corner? The police officer enters the room with his torchlight searching the corners, only to find a shirtless criminal chained to a radiator, branded with a Bat symbol. As he draws back in disgust - shocked at the idea of one person branding another - we catch a glimpse of Batman, braced silently against the corner of the ceiling, being intensely creepy. It is the way in which he is not in the centre of the frame that makes this a terrifying image. In terms of atmosphere and pacing, this scene calls to mind the escape of Hannibal Lecter in The Silence Of The Lambs – just with less skinning. This is our introduction to Batman – and it is not the Batman of Joel Schumacher’s movies. Nor is it the Batman of Tim Burton’s movies. This Batman makes even Christopher Nolan’s Batman seem like Mary Poppins. Unarguably, this is Batman as many feel he should be – the Batman we’ve never had, but always wanted. Granny’s Peach Tea Lex Luthor is accustomed to getting what he wants, so naturally, when he finds an obstacle in the form of United States Senator Finch (Holly Hunter), his reaction is both horrifying and monstrous. His attempts at charm are rebuffed, and Senator Finch appears to be immovable in her determination to thwart Luthor’s plans. However, the biggest mistake anyone can make is to underestimate their opponent. Luthor underestimates Finch, and she explains to him in no uncertain terms that he could urinate in a jar and “call it Granny’s Peach Tea,” but she’s still not going to drink it. Such conflict cuts both ways, though, and Senator Finch underestimates Luthor at her peril. She is heading up the Senate hearing into the activities of Superman – calling him to account for the devastating damage he repeatedly causes, and the effect his unilateral actions have on international diplomacy. Luthor wants to manipulate her, but she deflects his attempts once again. She takes her seat at the head of the hearing, and begins to berate Superman, who stands before them. As she does so, she notices that there is a jar of yellow liquid sitting where her glass of water should be, and it is labelled ‘Granny’s Peach Tea,’ Her concentration is broken, as the full horror of Lex Luthor’s approaching depravity begins to settle on Senator Finch’s face... Bruce Retreats To His Cave In The Batmobile Unlike past film depictions of Batman, Batman V Superman: Dawn of Justice spends no time fawning over gadget development. This is not a James Bond movie, after all, and there are no scenes featuring clever Research and Development guys giving Bruce Wayne a tour of their latest inventions. He has the gadgets, but we don’t need to study their purpose or origin. Bruce Wayne and Alfred are often seen tinkering in the cave, but this is just background noise. The result is that, when Batman uses his gadgets, they have a greater impact. The first real view of the Batmobile in action comes during a chase through an old abandoned port, and Batman seeks to intercept Lex Luthor’s ‘special delivery.’ It is a challenge for Batman, and it does not go perfectly, so he ultimately retreats to his cave to adjust his plan. It is the way in which he retreats that makes this a great moment, however. We see the Batmobile come hurtling down a forested road toward a body of water, which suddenly parts as a secret entrance rises. The Batmobile, without slowing or pausing, slams into the tunnel opening and disappears beneath the waves – only to appear inside the batcave, beneath Bruce Wayne’s glass-encased residence. Without a shadow of a doubt, his retreat here is the Batman equivalent of a petulant teen flouncing off to their bedroom and slamming the door in frustration – and that is a perfect fit for the wealthy playboy. Batman’s Dream Sequence Fight The criticism that the dream sequences in this film are presented in an unclear, jarring way, has some merit – but the main dream sequence in itself is an astonishing moment. Because it is an imagined event, it is the only time we really get to see Batman fight in the light, and as such, it has a huge impact. Presented in washed out, over-lit tones, we not only spot the symbol of galactic tyrant Darkseid etched in the sand, but we get to clearly see the hulking size of The Dark Knight, as he interacts with what appears to be a group of militia. As the situation turns on its head, and Batman comes under attack, the lengthy fight sequence transpires in what seems to be one, fluid shot – as he takes down a large number of combatants in brutal fashion, at close quarters. He is gradually over-powered, however, and we become aware of a wave of winged Parademons, swooping in to carry people off. We are reminded that, no matter how powerful Batman may seem, he, too can be outmatched. The Flash Possibly one of the moments comic book fans most desperately wanted to see in live-action, The Flash appears to Bruce Wayne in a dream, and delivers a warning. It is a ‘jump’ moment when it happens, and it raises more questions for much of the audience than it answers – but that is something that adds to the greatness of the moment, for me. This film is part of something larger, and doesn’t pretend to be anything else. In a wider sense, this appearance of The Flash is exciting simply because it looks great, and that bodes well for the standalone Flash film, when it finally arrives in 2018. Clark Kent Loosens His Tie It is a tiny, fleeting moment that speaks thunderous volumes within the action of the movie. Clark Kent is watching the news on television with a large crowd, and is concerned to see an incident unfolding at a Day Of The Dead celebration. A building is on fire, there is a woman visibly trapped, but nobody on scene can get to her. The onlookers exclaim, “I can’t believe they’re just going to let that poor girl die!” Clark Kent says nothing, but reaches up and begins to loosen his tie, in a call back to the Superman of decades past. It is a tiny gesture that stirs a feeling deep inside. We know that he is about to zoom off to save the day. We are suddenly reminded that ‘classic’ Superman is right there, and we’ve had a tantalizing glimpse of him – a glimpse of the hero he could eventually become. It brings into sharp focus the fact that the Superman of Zack Snyder’s films thus far is, essentially, amateur Superman. He is Superman-in-training. This adds complexion to Batman V Superman: Dawn Of Justice, because both The Dark Knight and The Big Blue Boy Scout have lessons to learn. It also adds to the excitement for the forthcoming Justice League films – because what we have here is bona fide character development. Zack Snyder is taking characters that have been embraced on film, differently, by successive generations, and he is showing you how they evolve, right before your eyes. That’s new, and exciting. "Gods Aren’t Brave; Men Are Brave" The actual, physical battle between Batman and Superman is brutal and moving – not least because The Dark Knight semi-monologues when he is in a dominant position, and sums up the whole conflict in one sentence: “Gods aren’t brave; men are brave.” These words resonate throughout the entire movie, and the entire concept of Justice League. As such, for Batman to utter them from a place of false confidence is a fantastic moment. If the entire proceeding is about powerful men fearing a loss of status with the appearance of something above them in the power-chain, then Batman’s words go to the fact that Gods don’t need to be brave, because they already have all the power. Men are brave, because they fight to acquire power, without the privilege that accompanies a God-like position. But, in the Justice League, the concept of ‘God’ goes far deeper. Wonder Woman and Aquaman are both figures of legend and myth, and have their own connections to deity and the almighty, and all-powerful. But, in both those cases, those heroes side with man more often than not, acting as something of a third-party. Then, of course, there is the brilliant irony that Batman declares “men are brave” (as opposed to ‘man’ is brave), and is soon saved by Wonder Woman. Then, there is the fact that Superman is only God-like in relation to men. This God-like status, that men find so threatening, is only bestowed upon Superman because humanity defines him that way. Back on Krypton, he would have been just another guy. Ultimately, however, it is this difference in power between ‘God’ and ‘man’ that shifts the perspective of Batman, because when something else enters the power-chain above Superman, it is only Superman that can deal the fatal blow. The Warehouse Fight Some of the footage of the giant warehouse fight was included in the promotional footage released prior to the movie, and with good reason. It showcases the Batman fans have wanted to see for a long time. It reveals the Batman who is essentially, a highly skilled, intelligent detective, who happens to fight like a brawler. He surprises his opponents by arriving from unexpected points of entry that were hitherto non-existent. He picks bad guys up, hauls them through the air, and slams them into the floor with his entire, considerable body weight. But, it’s not all muscle power. He demonstrates his ability to solve problems on-the-fly by firing his grappling hook at wooden crates and yanking them in such ways as to demolish groups of villains. He is able to use his environment, and his opponents themselves, to defeat his enemies – even in the heat of battle. The Justice League Files In the most delicious teaser for the Justice League movies, Diana Prince accesses the secret files that Lex Luthor has been accumulating - containing evidence of ‘meta-humans’ other than Superman. She is, of course, simply looking for a photograph of herself, which she hopes to destroy in order to maintain her secret – but she stumbles upon others in the process. Her photograph is there – taken in World War I, with a group of supporters that includes Steve Trevor (Chris Pine). We also see The Flash (Ezra Miller) again, on grocery store surveillance footage, saving a clerk from a robbery. And we see Aquaman (Jason Momoa) appear from inside an underwater shipwreck, before attacking with his trident and making off at impressive speed. Most spectacularly, though, we see the origin of Cyborg (Ray Fisher) – contained entirely within 45 seconds of laboratory video footage. These snippets are our first glimpses of these other incredible characters – most of whom we will meet for the first time in Justice League: Part One in 2017. "Is She With You?" This is the question Superman asks of Batman, after Wonder Woman questions the wisdom of drawing the monstrous Doomsday to a particular location. “I thought she was with you,” comes Batman’s reply, as both seem indignant at this mysterious woman having the tenacity to demand that they justify their decisions. This is a glorious, triumphant moment because, not only is it the first appearance of Wonder Woman in full costume, but it is also the moment she saves Batman from certain death, and reveals some of her own awesome powers in the process. But, more than that – and as is the case with much of Chris Terrio’s script – it works on a different level. Wonder Woman, as a character, is the only female superhero currently depicted onscreen who is not a spinoff from a male character – in the entire superhero movie genre. To be clear, Wonder Woman isn’t ‘with’ anybody. In history, she is the lead of her own story, and in Batman V Superman: Dawn Of Justice, she appears – from her own story, with her own agenda – to help save the day, because Batman and Superman need her. Mankind’s “Century Of Horror” When the monster is dead, the movie is over – but not before all the cliffhangers have been properly set in place. As Bruce Wayne and Diana Prince stand together, considering the enormity of the brave new world in which they find themselves living, Diana explains her unique perspective to Bruce – and adds the perfect coda to this chapter of the story. Referring to her reluctance at being called into action once more, Diana describes the way in which she once walked away from mankind, and left them to their “century of horror.” This goes to the passage of time, once more, and the way in which these characters change over the years. While Batman has simply the benefit of his own lifetime of experience, Wonder Woman is an ancient being, and has watched mankind prey upon itself for centuries. It also speaks to the way in which these fictional heroes reflect the times in which they ‘live,’ because the characters themselves reflect the time in which they are used. We have, by this point, seen the photograph of Wonder Woman, in full battle-gear, from World War I, and her “century of horror” comment clearly indicates that it was that conflict that prompted her to walk away. This obviously sets up the currently in-production Wonder Woman movie, but also does the same for Justice League: Part One. Most significantly, however, it calls upon us to cast our minds over our “century of horror” and how that has led us here, where these conflicted superheroes in Batman V Superman: Dawn Of Justice are a reflection of our time. This, coupled with an evolving Superman, a newly re-purposed Batman, and the rest of their Super Friends, points to a next chapter that will see the Justice League seek to right the sinking ship of humanity, under threat from a terrifying quarter, drawn to conflict and destruction. Darkseid. He’s coming.