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Very creative. There have been missteps and disappointments Ang Lees Hulk; Singers Superman Returns; the third installment of the X-Men series, directed by Brett Ratner but these have hardly dented the power of the genre. And its hold over the attention of studio executives and audiences is unlikely to end anytime soon. Already the studios are locking in release dates for the next rounds. Still, I have a hunch, and perhaps a hope, that Iron Man, Hancock and Dark Knight together represent a peak, by which I mean not only a previously unattained level of quality and interest, but also the beginning of a decline.
In their very different ways, these films discover the limits built into the superhero genre as it currently exists. But to paraphrase something the Joker says to Batman, The Dark Knight has rules, and they are the conventions that no movie of this kind can escape. The climax must be a fight with the villain, during which the symbiosis of good guy and bad guy, implicit throughout, must be articulated.
The end must point forward to a sequel, and an aura of moral consequence must be sustained even as the killings, explosions and chases multiply. Miraculously, "The Dark Knight" raised the stakes by presenting an equally determined anarchist who embodied our all-too grounded anxiety of complete chaos.
Ang Lee's introspective " Hulk " contemplated immeasurable power as more of a curse than a blessing. It is also the most daring and artistic interpretation of any superhero adaptation, choosing very human conflicts Bruce and Betty with their unreliable fathers at the heart of the story, as well as depicting the green goliath not simply as a monstrous beast, but as a child.
Brad Bird's " The Incredibles " never felt as grave as others from this era, yet it presented itself as a lighthearted ode to the fading ideal of the nuclear family. It was also the best "Superhero Team" movie ever made, with the ultimate team: mommy, daddy, brother and sister. The real fantastic four. The X-Men films have always focused on discrimination, with their demigod cast-outs; Brett Ratner's " The Last Stand " and Matthew Vaughn's " X-Men: First Class " also juxtapose the political and historical respectively more intimately than any other in the genre.
Guillermo Del Toro's " Hellboy " was amazing in its portrayal of a demon's touching desire to do well by man. Of all the superheroes in film, this horned red-hided monstrosity is the most fun, relatable and humane. He wisecracks without malice, and has a soft spot for kittens.
Of all superhero films, " Spider-Man 2 " is the genre's conscience. Though Peter Parker wasn't ordinary, his not so extraordinary abilities made him a more empathetic character compared to someone who can fly. Sam Raimi used a hero who wasn't super-intelligent, wealthy or powerful to somehow convey the awesome responsibility and sacrifice of doing the right thing.
As with any celebrated era, there is always an inevitable decline. Just as in the 90s, throwaways are coming back. Let's face it, would anyone consider the personal dilemmas of The Green Hornet spoiled brat , Thor big dumb alcoholic blonde and Green Lantern a pilot afraid of admitting fear worthy of heroism?
Not only were these examples devoid of aspiration, they were also utterly predictable. The same can be said about "The Avengers," whose main claim to satisfaction is catering to known comic book lore. There is nothing interesting about Cap's boring nobility, Thor's one-dimensionality, or Loki's whining theatricality. The film wants to meet our expectations, but not surpass them.
It hits its targets, but aims low. Yes, superheroes by their very nature are fantasies, originally conceived to make us feel good and have us suspend logic for the short time we have with them.
But even we fanboys want our genre to be taken seriously too, don't we? At what point do we stop sacrificing the aesthetics of interpretation, storytelling and characterization, at the altar of our often inflexible passion for youthful folklore? If fairy tales can be re-imagined, why not comic book characters? And for those of us who are seeking that Superman or Batman moment, of seeing an awesome sight for the first time, those moments are going the way of the dodo.
CGI has made the incredible familiar. The time has come for the genre to tantalize us not just with outlandish imagery, but new ideas. Fertile ground is there for the taking. Look where James Bond went in "Casino Royale" exploring how he came to be and the roots behind his sexism.
Take a look at " Chronicle ," which explored how teenagers deal with superhuman abilities with all their angst and insecurity. Recent Westerns grew out of their predictability, as they were able, "to find ambiguities and tensions buried in their own rigid paradigms," as A. Scott noted. Superhero films have grown and must continue to grow rather than simply being about simple themes or fanciful images.
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