“Yes, I am 1,000 percent a ‘Twilight’ fan. I can’t even deny that I am actually, in fact, a Twi-Hard and have a ‘Twilight’ tattoo (also team Edward), I got a tattoo on my wrist that says ‘bitten,’ and it’s written in the font of all the book titles. So, yes, I am of one the big, geeky fans.
I’ll never forget going to the screening of the movie. But, for me, having this opportunity is also such a wild card, because it’s Hollywood, and you never really know. … I wasn’t even sure I was going to be on it until yesterday, when I saw it in print. So I tried not to get hyped out, because it’s one of my favorite movies, one of my favorite books, one of my favorite soundtracks, and that could potentially freak out the little songwriter in me.
So I tried to put that aside and take it one step at a time, went to see the movie and cried like a baby, because it’s so good, and I felt so lucky to be there. And then went home and wrote a love song to Edward and Bella … and to have it be chosen, I’m unbelievably honored.
Christina Perri, on how A Thousand Years came to be
Snyder’s blunt commentary is amplified by the most striking imagery of his filmography. Snyder has become a more sophisticated visual storyteller since experimenting with slow motion with an amateur’s enthusiasm in “300” and “Watchmen.” The deaths of Bruce Wayne’s parents, for example, have never been more provocatively framed than in “Batman v Superman.” In this scene, Snyder uses short depth of field to evince the anxiety of being at the wrong end of a gun, with morbid emphasis provided by slow-motion shots of the gun’s slider and a shell hitting the ground. This is topped by another first-person shot of the gun barrel, this time with the weapon inside of the mother’s pearl necklace. With pearls raining down after the gun fires, Snyder captures innocence and hopelessness, two concepts connected to the loss of power and control that Americans experienced as they watched planes strike the World Trade Center. Wayne’s tragedy in “Batman v Superman” is not just another origin story but parallels the outrage and trauma that fuel contemporary U.S. in-fighting.
“Batman v Superman” astutely identifies the yearning in the United States for social solidarity. Batman reminisces about a simpler, almost mythical time of “diamond absolutes.” Wonder Woman sums up a common sentiment on the futility of partisan politics (“Man made a world where standing together isn’t possible.”). The most powerful reminder of America’s moral confusion comes from newspaper editor Perry White (played with a perfect no-bullshit tone by Laurence Fishburne): “The American conscience died with Robert, Martin, and John.”
“Batman v Superman” is unlikely to provide inspiration to a sociopathic murderer (see James Holmes and Nolan’s “The Dark Knight”) because it doesn’t ultimately imply goodness is unfashionable or must be compromised. Earlier in the film, Batman states to his butler Alfred, “We’re criminals,” as if there is no political alternative. But after seeing Superman sacrifice himself, Batman shares a more profound self-reflection: “We can do better. We have to.” These lines show an urgency that can be felt in all corners of Election Year 2016.
Jeb Pressgrove, “Batman v Superman: Why its Political Message makes it the most Powerful Film Ever.”