IMDbKeepsDeletingMyReviews
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Leave it to German master filmmaker Philip Koch to deliver an unspectacular premise and execute with tons of tedious nonsense.
Despite the reviews that claim the math is wrong when emasculated protagonist calculates permutations of four digits, it actually holds, since we can see that four different digits have been used on the touchscreen. And because the number of permutations with four different elements is 4!=24, he is indeed right. Which still is complete nonsense, of course, because he couldn't have known the code has four digits to begin with.
So, whatever. The whole thing is written like someone just discovered writing. The dialogue is abysmal, the acting mostly bad, the inclusion forced like everything at Netflix, the direction incompetent, the score forgettable (except for the many times it misses the mood, then it's annoying). How something like this is still being greenlit? Why is non-filmmaker Koch still allowed anywhere near a camera? Who knows?
But because this is German filmmaking, it probably has to do with the pseudo-socialist funding system that proved to be a full trough the fat pigs won't leave - ever.
Don't waste your time on this.
Despite the reviews that claim the math is wrong when emasculated protagonist calculates permutations of four digits, it actually holds, since we can see that four different digits have been used on the touchscreen. And because the number of permutations with four different elements is 4!=24, he is indeed right. Which still is complete nonsense, of course, because he couldn't have known the code has four digits to begin with.
So, whatever. The whole thing is written like someone just discovered writing. The dialogue is abysmal, the acting mostly bad, the inclusion forced like everything at Netflix, the direction incompetent, the score forgettable (except for the many times it misses the mood, then it's annoying). How something like this is still being greenlit? Why is non-filmmaker Koch still allowed anywhere near a camera? Who knows?
But because this is German filmmaking, it probably has to do with the pseudo-socialist funding system that proved to be a full trough the fat pigs won't leave - ever.
Don't waste your time on this.
First of all: David Corenswet does have what it needs to carry a Superman movie, which is something I did not quite expect. He's got a bit of a young Brendan Fraser going on - always a good thing. Nice!
Unfortunately, this is also where the problems begin. The tonality of the film is pretty messy, and I'm not sure James Gunn was the right choice to tackle this character. But even in its many moments that were intended to be funny, too many gags don't really land. This in turn took away from the more serious moments, making it a bit hard to fully engage and empathise.
But where the movie really falls apart is in its writing. Some of Gunn's choices are so astonishingly stupid that it's hard to believe. Contrivances, retcons (especially a very big one concerning Kal-El's real parents), Lex Luthor's idiotic plan and its undoing - all of that seems to have been written by a toddler with a typewriter, and I'm quite surprised I have to say this, but: Gunn doesn't seem to be smart enough to write an actually smart character like Lex Luthor. I also never was quite sure if I was even supposed to take him seriously - and that goes for the rest of the film as well.
This doesn't mean that it has no good parts, though. Clark's relationship to his parents was very brief, but sweet, and his relationship with Lois Lane had a lot of potential, helped by the nice touch of Lois' inner conflict that plays well into Clark's own inner conflict. In this context, especially when it comes to one of the themes of the film, Gunn's infamous retcon kinda makes sense, but still feels off with Superman being such a well-established character, whose story has been a part of pop culture for decades now.
Adding to the messy plot, underdeveloped characters, and strange tonal mixture, Gunn made the stunning decision to have his film scored by a feature-length trailer-style travesty of what is one of the most famous film music themes of all times. It baffles me that they even dared to mock Williams' Superman March with such a simplistic and, frankly, offensive rendition. And this maybe summarises the film perfectly. While Williams' music evokes a sense of tremendous grandeur and heroism, the 2025 version comes across as an unintentional parody, prompting the uncomfortable question: have we forgotten how to make great things?
All in all, there are some interesting intentions, ideas, and performances to be found here, but I'm afraid James Gunn's SUPERMAN just doesn't fly that well.
Unfortunately, this is also where the problems begin. The tonality of the film is pretty messy, and I'm not sure James Gunn was the right choice to tackle this character. But even in its many moments that were intended to be funny, too many gags don't really land. This in turn took away from the more serious moments, making it a bit hard to fully engage and empathise.
But where the movie really falls apart is in its writing. Some of Gunn's choices are so astonishingly stupid that it's hard to believe. Contrivances, retcons (especially a very big one concerning Kal-El's real parents), Lex Luthor's idiotic plan and its undoing - all of that seems to have been written by a toddler with a typewriter, and I'm quite surprised I have to say this, but: Gunn doesn't seem to be smart enough to write an actually smart character like Lex Luthor. I also never was quite sure if I was even supposed to take him seriously - and that goes for the rest of the film as well.
This doesn't mean that it has no good parts, though. Clark's relationship to his parents was very brief, but sweet, and his relationship with Lois Lane had a lot of potential, helped by the nice touch of Lois' inner conflict that plays well into Clark's own inner conflict. In this context, especially when it comes to one of the themes of the film, Gunn's infamous retcon kinda makes sense, but still feels off with Superman being such a well-established character, whose story has been a part of pop culture for decades now.
Adding to the messy plot, underdeveloped characters, and strange tonal mixture, Gunn made the stunning decision to have his film scored by a feature-length trailer-style travesty of what is one of the most famous film music themes of all times. It baffles me that they even dared to mock Williams' Superman March with such a simplistic and, frankly, offensive rendition. And this maybe summarises the film perfectly. While Williams' music evokes a sense of tremendous grandeur and heroism, the 2025 version comes across as an unintentional parody, prompting the uncomfortable question: have we forgotten how to make great things?
All in all, there are some interesting intentions, ideas, and performances to be found here, but I'm afraid James Gunn's SUPERMAN just doesn't fly that well.
You know, when you try to make an intentionally bad movie, you probably shouldn't be a bad filmmaker, or else the "intentionally" becomes a redundant word.
MONSTER ON A PLANE is bad. Not good bad, not funny bad, just bad. Surprisingly, it features some very decent practical gore effects that look way too good for this, so the "filmmakers" decided to obscure the only good thing in this travesty of a movie under really bad digital blood. Intentionally bad, of course.
I can only admire the manic energy to even try to make something like this, but I'd strongly advise to skip this one if you should ever cross its path. Time is precious, and to waste it on something like this is a sin I can never get redemption from. But I sinned so you won't have to.
MONSTER ON A PLANE is bad. Not good bad, not funny bad, just bad. Surprisingly, it features some very decent practical gore effects that look way too good for this, so the "filmmakers" decided to obscure the only good thing in this travesty of a movie under really bad digital blood. Intentionally bad, of course.
I can only admire the manic energy to even try to make something like this, but I'd strongly advise to skip this one if you should ever cross its path. Time is precious, and to waste it on something like this is a sin I can never get redemption from. But I sinned so you won't have to.