Why DC heroes are destined to fail in film from now on

How many films has Marvel released in this last decade? How many films has DC released in this last decade? It's obvious that you can remember way more modern films based on Marvel comics than on DC. Marvel has tried, at first they failed many times with a lot of their superheroes but they kept releasing films. They were constant and optimistic about them until they finally managed to craft their art with this new wave of Marvel hero films starting with Iron Man (2008).



These new films that Marvel has released (Iron Man, Thor, Captain America, Hulk)  are actually good, decent films. I mean the characters are well-developed and also they are incredibly well adapted to the big screen, the films are entertaining and you can really relate to these heroes. The only downside for me are the villains, non of these movies have great or memorable villains, just Ok villains. But despite of that, Marvel has managed to release good solid movie after another in a short period of time without any of them been disappointing. And let me tell you, the success that they are having right now is not a lucky streak, the success that they are having right now is the results of pure trial and error.

[caption id="" align="alignnone" width="258"] And when I say trial and error I MEAN trial and error[/caption]

Starting with X Men in 2000, they have been releasing films for the last 12 years and in this last 4 it seems that they have finally manage to make all their films solid, good and constant culminating with The Avengers.



And what about DC? well... Nolan's Dark Knight Trilogy was enough to battle all these Marvel superheroes films alone, but now it's over, The Man of Steel is the next in line, but c'mon, Superman can't battle alone The Avengers as Batman did. Batman is frozen now, Superman alone and DC is pretty much screwed.

But now let's think this trough Ok? After all those films that Marvel has released, hero film after hero film for this last decade. I'm afraid that there's no room for DC heroes anymore and from now on DC heroes are pretty screwed in the art of cinema.

And these are my reasons why DC heroes are destined to fail in film from now on:

1) Marvel already owns the superhero film genre, which is something that they have been exploiting for the last ten years; that I'm afraid that real soon people will start to get a little bit tired of superhero films, specially films that introduce a new hero right from the beginning; so right now is a little too late to start releasing films about all the super heroes that you have.

2) And most importantly. With the exception of Batman, DC heroes do not work as well in the big screen as Marvel heroes, and this is the reason why: DC heroes are not as relatable to the audience as Marvel heroes are. Contrary to DC heroes, Marvel heroes are charismatic but the most important thing about them is that, it's really easy to relate to them (Spider Man, Hulk, Iron Man, Wolverine, even villains like Magneto) everybody can relate with at least one of them in some kind of way.  Almost any teenager can relate to Spider-Man specially nerdy boys, I'm sure that you know someone who behaves like Tony Stark and really relates to him. Anyone who considers himself a social recluse can relate to any of the X-Men or to Hulk. And this happens because Marvel heroes are imperfect, they have flaws which show their human side (even if they're mutants or something) that's what makes them relatable and that's what audiences want.



DC heroes on the other hand, they're not really that relatable and some of them are just too perfect that you can even consider them demi-Gods, honestly can anyone relate to Superman? or Green Latern? or Aquaman? or Martian Manhunter? No (well maybe some of you can) but my point is that those heroes just don't have that same effect and they will not be that interesting in the big screen to watch. And that's why I think that in an enviroment where Marvel's imperfect and charismatic heroes rule, there's no room for DC superheroes and they are basically destined to fail.

So I don't know what the hell is DC going to do now, a rushed Justice League film is destined to fail and we all know that.

There's only one thing that I know DC could do, to completely kick Marvel in the balls and reinvent the whole comic book film genre forever. I will summarize this in just one word ... Vertigo...

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Dream Theater - When A Dream And Day Unite (Album Review)

So, we start this series of reviews with the very first DT album: "When A Dream And Day Unite". Which is their most underrated album of them all and... maybe I'm alone on this but , its possibly one of their best albums ever too.



"When a dream" is actually an amazing album but not a lot of people and not a lot of fans seem to recognize it as such, but why is it? Well I think there are several reasons for this: WDADU is the band's most different album of them all, especially since James Labrie is not part of it. I'm sure when a lot of people hear the voice of Charles Dominici in this album they say: "What the hell?" "This singer doesn't fit with the band", "they sound nothing like their later records", "they never play any of the songs of this album in their concerts so why bother?". And they're right in all of the above. Charles Dominici didn't fit quite well with the band and that was the reason why he got fired, I wouldn't say that they sound nothing like their later records, their songs are a little rawer than I&W and Awake, but their style is there. And yes, they almost never play any of the songs of this album on tour, but despite of all that; if you see this album as a complete standalone 80's rock/metal work then you'll find out that its an amazing album and you should give it a listen.



I wouldn't call WDADU one the most original albums that I know, the influences of Rush and Iron Maiden are present trough out every song of the album. Basically their whole style is just an amalgamation of these two. But its a beautiful combination indeed. It's also really interesting and amazing the type of compositions that they were already able to create in this early stage of their career, that's when you realize that they virtuosic skills go back to the days when they were basically teenagers.

Another thing that this album has (which is something that I cannot say about other DT albums) is the fact that is really solid, consistent and fluent.  The only weak moment of the album (at least for me) is "The Killing Hand" which is the band's first attempt in creating a narrative epic, but is truly my less favorite song of the album.

The album also has a great dark atmosphere and we have Kevin Moore to thank for that, songs like: "Status Seeker", "The Ones Who Help To Set The Sun" and "Only A Matter of Time". Have an amazing vibe and tune, a little bit melancholic but really beautiful. 


I think that the main problem that this album had, was that it came out too late, 1989. Honestly that was a late year for releasing music of this style, bands like Iron Maiden started to fade away from public attention and bands like Rush had to change their style in order to survive and Heavy Metal itself was in the moment of decline. If WDADU would have been released in 1985, I'm sure that it would have been a blast.

A great album in the wrong time :(

But a great album indeed! and you should definitively check it out, specially if you're a fan of Rush, Iron Maiden or Dream Theater. Just imaging Iron Maiden and Rush playing together with Geddy Lee on vocals.





Thanks for reading :)

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Progressive Gandalf

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Dream Theater: Underrated? Overrated? Mainstream? The Most Important Prog Band Now?

I guess that I have a complicated history with Dream Theater. They were definitely my favourite band through a long period of time. To be honest;  DT was the band that changed everything for me: the way that I listen to music, they way that I perceive music and I know that this may sound as a complete exaggeration but they were the ones who introduced me to the whole genres of Progressive Metal, Progressive Rock, Avant-Garde and that's where everything began for me.

I remember, almost 5 years ago when I listened to them for the first time in the"Live At Budokan" DVD,  I was completely blown away by this band. I couldn't believe what I was seeing, but most importantly, I couldn't believe what I was listening: pure musical virtuosity, complex song structures, impossible solos, a complete new musical genre for me, that I instantly fell in love with combined with my two long favourite genres of my youth: Rock and Metal.



Dream Theater was like no band that I have heard before, they were completely different in every sense of the word. The first time that I listened to them, all the other bands look like amateurs, lacking all sense of musical skills with no other choice but to  adopt a simplistic approach to music that I mocked of. Dream Theater were the greatest musicians in the world and period. And I know that's the exact attitude of a lot of youngster that have recently found this band or a lot of hardcore Dream Theater fans who only listen to them have. And yes I know, at first sight Dream Theater could seem as the greatest band out there, they are truly an amazing band, but they're not the greatest band ever (such thing doesn't exist) and another thing: they are not the only band in this genre. At first, is really easy to assume that Dream Theater is the only Progressive Metal band out there just by the simple fact that they are the most popular prog band out there and also, they have one of the most "in your face" styles of composition in Prog Metal music.

But no, there are a ton of Progressive Metal bands out there with different styles that you definitively should know about.(Pain of Salvation, Tool, Animals As Leaders, Cynic, Death is his later years, Fates Warning...) What I'm trying to say is that DT is not the only Progressive Metal band out there, you shouldn't lock yourself up and only listen to them. If you like the genre you should explore the whole genre.

The other interesting thing of DT in this modern age is the apparent course that they have spell into a lot of modern progressive metal bands of these days. I can see that a lot of recent prog metal bands want to create their own sound but; being heavily inspire by the genre itself (the genre that DT apparently conquer) they end up sounding like them. That's something interesting and I guess it most be hard to compose without being influence by the bigger and most popular band of the genre.



In my personal experience, when I listened to Dream Theater the first time, I completely fell in love with them and I kinda had the same attitude that I already describe before, but that attitude fade away quickly for me. And that's when the greatest thing that DT could have done for me happened. I began to investigate about this weird new genre that I have encounter: "Prog" and I quickly trail it back to its true origins: the Progressive Rock of the 70's and that's where it all began. Thanks to Dream Theater I discovered Jethro Tull, Emerson Lake & Palmer, Rush, Yes, Camel, Pink Floyd, King Crimson, Van Der Graaf Generator and my favourite of them all Genesis (of the Peter Gabriel Era of course!). Thanks to Dream Theater I discovered 70's Prog Rock then I moved on to Avant-Garde and this was important because Avant-Garde music made me more open-minded about music in whatever genre, then Jazz, then Classical, then Metal once again, then RIO, then Death Metal then Indie music until the stage that I'm right now in which I basically listen to everything Prog related, everything that sounds weird and interesting, 70's and 80's Pop, Indie rock, Death Metal and pretty much everything except modern mainstream music xD.

And I have Dream Theater to thank for that because they basically opened the doors for me. And I completely love them for doing that and I know that I'm not the only one, it's very probable that if you're a reading this to; you had a similar story with this band. A lot of people love them, a lot of people hate them, some people call their music epic virtuosity combined with everything that the world of music has to offer and other people call their music just a bunch of gymnastic compositions lacking true feelings, creativity or meaning.



Some people think that the old DT was the greatest one, other people thing that the new one is the greatest stage that they ever had. But despite whatever other people may think of them, for me, they are the most important prog band right now and the greatest achievement that they did and that they're still doing to this day is inspiring people and introducing them to this genre and that's something truly amazing and is also something that only they could do. Dream Theater is a relative "unknown" band if you want to compare them with the most mainstream bands out there. But without a doubt they are still  the most mainstream prog metal band out there, at least they're mainstream enough to pop out in an MTV music video and catch the eye of a future fan. And believe me, just a few couple of Prog Metal bands can do this.

But after all of that, after all this prog  journey, no, after all this musical journey that I had and that I'm still too far to complete, I look back once again at Dream Theater and now I realize that I look at them with different eyes and I listen to them with different, truly different ears. I listen to everyone of their albums once again in chronological order to answer these questions: Are they truly that amazing and unique demi-God band that surpasses the way that a lot of other bands create music? Is their music just a bunch of gymnastic compositions with lack of true feeling and meaning? Have they already done the greatest album that they could? Are they overrated? underrated? I will try to answer all of these question in this following series of album reviews that I'm going to do in the course of these weeks, I'm going to review every DT album with a completely new perspective and I'm going to be completely impartial about this giving my honest opinion of course.

So follow me (if you like) in this series of reviews that I'm going to do to rediscover a band that 5 years ago I looked at them like Gods but now I' not really sure how I look at them in a musical sense.

Thanks for reading :).

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The Conformist Beauty: An observation of 90's cinema

None of the images used in this post are mine but from the films that I discuss.

"It's a great thing when you realize you still have the ability to surprise yourself. Makes you wonder what else you can do that you've forgotten about."

Although the sense of conformity and natural unhappiness in our daily life is something really common in our overall society. (The notion of conformity really visible, the notion of unhappiness, sometimes really well hidden) Is an aspect of life that cinema has only decided to truly analyze in these recent decades in a deep psychological, dramatic, surrealistic and even funny ways.

In the late 90's a new wave of seeing and portraying life through fiction started to emerge in the world of cinema. A new fiction that revolves around common human beings, living a mundane life. The type of people who you usually ignore when you're walking on the streets: the common day slacker, the common day office man, the common day clerk and the common day writer. Which in our minds, in our world, they are there, they are always there but do we really think about them? Not really, since they are so common, their lives must be equally common and equally uninteresting.



Some people prefer to see the story of a movie star, some other people prefer to see the story of a successful musician, some people prefer to see the story of a famous serial killer or a gangster. When in reality the greatest protagonist that could ever exist in the history of fiction is indeed the common day human being living in a common day life and having mundane existence.



When you see trough the eyes of a common day man, you see everything that his environment has to offer,  because he is his own environment, he is the person who is contact with the real world every single moment of its existence and he comforts it. He adapts to it, and they suppers their own self, to adapt and comfort in this society, they become this society, they do that and they stay that way. And that's when the conformity domain emerges. And it's time to look a those people, because when we do, we look at our real world. And that's what these movies did:



The main four movies that I will be discussing here: Clerks, American Beauty, The Big Lebowski and Fight Club were all release in that same time and era: the 90's, an era that people are just learning to appreciate until now. And by watching those films nowadays, you can really grasp and see those feelings of unhappiness through conformity, numbness, frustration, materialism and crisis of existence that attacked the youngsters, the middle-aged men and even the oldsters of that era until these days. I'm not saying that the 90's where the time when all of these feelings , ways of thinking and emotions started to arise, but it was the time when we actually started to analyze them in a more deep and meaningful way. Stories, with a powerful message for the common guy inside a satirical, comical, extreme and even surreal exterior.



What I found to be the most interesting aspect of all of these films (yes the themes that they explore, which are themes that we all have live and we all have experience) are the actual protagonists and the age that they have. All of them suffer from the same kind of repression despite being of different ages and going through different stages of their lives. Showing us that those feelings are present in every age, every social status and every period of our lives.

The four main protagonist of these films deal with these several themes, but every one of them reacts in a different way and every one of them has their own resolution: Some of them positive, some of them neutral and some of them completely negative.

In Clerks we have Dante, a young clerk working in a small convenience store who couldn't be any more unhappy with his current life and his current job, despising almost everything that he has to do, but without the actual will to change his situation despite having several chances to do so.

In Fight Club we have the Narrator, a common young middle-aged man, who suffers from insomnia and who's also trapped in a world of consumerism and materialism. When suddenly he "liberates" himself from that world, doing this in an extreme, radical, violent and nihilistic  way.

In American Beauty we have Lester, another middle-aged man, a magazine writer who also hates his job. But Lester is a little bit different because his the only one who has a family, well a dysfunctional family to be more honest: He has a neurotic materialistic wife who is obsess with success and a low self-esteemed daughter. But suddenly after experiencing a series of uhh... revealing moments with a young lady, Lester's life begins to change when he blackmails his boss for $60,000 and quits his job, and he then goes to live the life that he wants to live.

And in The Big Lebowski we have none other that "The Dude", the slacker and arguably the most triumphant of all of these characters. The Dude is a middle aged man, and in contrast with all the other characters: his unemployed (or at least he never has a job in the entire film), he is a conformist person and he's actually happy with his current life and status. But things begin to change for the Dude when he gets involve into an underworld criminal scam that he originally had nothing to do with.

We have our main characters but not only that, in every single one of these films we also have characters who are the complete anti-thesis of these protagonists.



In Clerks we have Randal, Dante's best friend and his complete antithesis, he's arrogant, misanthrope, has no respect for authority and despite being in the same situation as Dante he's completely OK with his job in terms of conformity and he's overall happy with his current situation in comparison with Dante.

In American Beauty we have Carolyn, who I already described as been materialistic but not only that, she's also extremely superficial, always trying to "emit an image of success", completely guided into what other people (more successful than her) think of her.

"This isn't life, it's just stuff. And it's become more important to you than living. Well, honey, that's just nuts"

In The Big Lebowski we have none other than... The Big Lebowski, and old man who is also the complete antithesis of the Dude and really similar to Carolyn if you start to think about it. He's also extremely materialistic, he has a trophy 20-year-old wife, he's also obsess with success, but he's not actually interested in achieving success, he's interested in pretending that he has achieved success. He is so obsess in keeping an image of success that he goes as far as planning a complex criminal scam so that his image and reputation could be intact while earning a few thousand dollars. Oh yeah that's right! the guy is not even a millionaire, he actually has no money and everything that he has is property of his late wife. So the guy is a complete delusional materialistic hypocrite and a fraud.

And in Fight Club we have none other than Tyler. He's everything that the narrator wants to be, all his anger, hate, and inner dark desires repressed. Emerging as a nihilist terrorist with a desire of senseless destruction masked as an anarchic revolution.

As I said before, the outcome of these characters is completely different to one another:

Clerks ends when Dante has survived possibly one of the worst working days ever, he has seen what this horrible job is doing to him, his best friend Randal and his Girlfriend (well Ex) Veronica, they give him enough motivation to change his job and his life completely: Randal implies that Dante has to be qualified for at least another more decent job and Veronica tries to convince him to return to College. At the end of the movie we don't know what decision we makes, but the most probable thing is that he decides to keep working at the convenient store after all.

Fight Club ends in a climatic rampage, when the Narrator realize that his is actually the one who's destroying the city, Tyler is actually the outcome of all The Narrator's repressive life surrounded by a materialistic, superficial, consumerist society that he decided to comfort in.

American Beauty ends in a redeeming note, when Lester has a final encounter with Angela, the young girl who he fantasized about. Lester viewed her manly as a sexual object, but he finally finds out that she's just a frustrated little child who tried to be popular and unique hiding who she really was and lying about herself and her life. After comforting her, Lester finally manages to see all the true liberating beauty of the world for a brief eternal moment of his life.

And The Big Lebowski ends with The Dude's confrontation with the Big Lebowski revealing that instead of the successful, hardworking, first class man that he pretends to be, he's only just a low hypocrite con man. And that's when we realize that the Dude, despite been a slacker and a conformist man, he actually has higher values, a better sense of morality  and a better way of seeing and living life than the whole crazy dark world that surrounds him.

One of them doesn't reacts at all, another reacts in a complete destructive and hateful way, the other one manages to truly free himself from that life for a brief period of time and the other one has an inner balanced slackery life who we all... at certain moment of our lives, want to live.

[caption id="" align="alignnone" width="480"] The Dude abides![/caption]

Thanks for reading.

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Beardfish - Prog Rock of Our Time: Från En Plats Du Ej Kan Se

Beardfish is definitively one of my favorite modern progressive rock bands right now, they resemble everything that I love from the original 70's prog bands, Frank Zappa and modern hard folk rock. They are one of my favorite bands nowadays because without a doubt; Beardfish is one of the most solid and productive bands out there. In a lifespan of only 10 years they have released 6 albums and their 7th album is coming out this month. Many people called them the "Scandinavian Spock's Bread", jeje, this comment is a little ironic for me since I don't like Spock's Bread, their style is heavenly inspired by 70's prog rock and a lot of people may think that they don't have a lot of new things to offer, but they're wrong.

What I love about Beardfish is not particularly their music style or their musical skills but more like the musical atmosphere that they manage to create in their music: that melancholic, folkish, eclectic, odd nocturne atmosphere they manage to create is the soul of their music and that's what I love the most about them.

[caption id="" align="alignnone" width="425"] Rikard Sjöblom, David Zackrisson, Magnus Östgren, Robert Hansen[/caption]

Beardfish was formed in Sweden in the summer of 2001 as a small garage prog band, it was two years later in 2003 that they established themselves as a true band releasing their debut album: Fran En Plats Du Ej Kan Se.

[caption id="" align="alignnone" width="320"] From A Place You Can't See[/caption]

1. Från En Plats Du Ej Kan Se (7:55)
2. Today (6:42)
3. Spegeldans (8:04)
4. Brother (2:54)
5. Poison Ivy And The Full Monty (6:28)
6. A Good Excuse (5:01)
7. Om En Utväg Fanns (6:48)
8. A Psychic Amplifier (15:01)

Beardfish is an ascending band, which means that every album that they release just gets better and better, their first release is a really solid debut album and it doesn't look like the first album of a band at all.

Is really well produced, and you can see that they had their atmospheric style already define, the music is solid and consistent through out almost all the album, however there are several low points.

The album starts with the dramatic, heavy and melancholic title track, a perfect opening for the album and for the career of this band.

Today is also an amazing song, a little bit more rock-oriented and melodic than the last one.

Spegeldans (The Dance of the mirrors) by far is one of the highlights of the album, it's the first major progressive rock song from the album and it has all the music and atmospheric prog changes of  that you love so much, despite been a great song altogether.

Brother and Poison Ivy and The Full Monty which are basically just one song. The first part is probably the most melancholic song of the entire album but it has an amazing intro bass line showing that Robert Hansen is probably one of the underrated bassist out there. The second part is symphonic rock at its finest and will remind you of Jethro Tull and early Genesis and then it turns into a funk jazzy zappa song ending with the amazing bass line that I already described.

A Good Excuse is a good song but I consider it the lowest part of the album, mainly because of the main riff of the song, they use it a lot and I just don't like that riff, but overall is a good funk prog song.

Om En Utväg Fanns you can call this a melancholic folk punk song with an amazing acoustic intro.

A Psychic Amplifier is obviously the highest point and climax of the album, all that you would expect from a true prog band is just right there, musical virtuosity, changing odd compositions, amazing signing and the characteristic Beardfish style all over the place.

Overall and amazing debut and a solid album but there's more yet to come.

 

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Nolan's Bane: How to NOT Make a Villain

Ok, so finally I have watched "The Dark Knight Rises" and Oh BOY!...



...I really don't know what to think about this film.

Is not by any means a perfect film as a lot of people expected, I don't know yet if I could call it a Great film or a Good film.

But there are certain issues that really bothered me about this final part of the Nolan trilogy. And I'm not going to complain about the logistics, scientific facts or physics of the movie, like:

How Does Bruce Wayne Get Back to Gotham?

Why Does a Prison Exist Where People Can Possibly Climb To Freedom? 

The Unrealistic way that the bomb exploded or the unrealistic way that the bomb functioned.

because I know that in that territory the film is pretty flawed.

If you want to see more technical and logic problems of the film, here you go.

But you know, almost all action films have these type of flaws, specially superhero movies. But if you think about it; there are a lot of great films with a lot of technical and unrealistic flaws and they are still great films indeed, and I guess there are flaws that not even the almighty Nolan could surpass.

But anyway, as a lot of wise people said "Just ignore the technical stuff and enjoy the story", and that's what I always do, but still there are serious factors about the story that annoyed me.

There are 3 major factors about the story that simply made me consider this film the weakest of the trilogy.

1.- The obsession to make Batman a Messianic martyr of the people. Instead of the dark, underground, mysterious and symbolic vigilante figure that he really is.

2.- I feel that the film doesn't know what it wants to do or in what it wants to become, TDKR stars mainly as a noir film but eventually right in the middle of the film, it wants to become a dystopian film all of a sudden, with really poor results, that’s because the overall dystopian Gotham is not developed at all. We don’t even see the true nature of this environment within the people of Gotham, we just see cops trap inside a tunnel, bad guys with tanks in the streets and that’s it. There’s no development in the environment, you don’t really see the hell and chaos you should see. If you want to make this kind of environment effective you need to give it a lot of exposure and development. That’s why I think it would had been so much nicer and badass to start the film already in this dystopian state, develop it throughout the whole film and explain what happened with flashbacks. Instead of building this forced dystopia that nobody knew how it really worked and we only get to see until the third act.

And third and most important, the villain: Bane.



I have to admit that the Bane of TDKR is probably the most disappointing villain of the last couple of years. And here's the reason why: Trough out the hole bloody film we hear about Bane, all the stuff that he has done, all the stuff that he is doing, all the things that he has planned, they build the character as a truly bad ass brutal mastermind and that's perfect, that's exactly what they have to do, specially with his background.

I mean, uuuuh he's Bane, he escaped from a prison climbing a brutal enormous cylindrical wall and he has been the only to reach the top, and he did this while he was just a little kid.

uuuuh he's Bane, his the son of Ra's Al Ghul.

uuuuh he's Bane, he has an eternal vendetta against Batman.

uuuuh he's Bane, he's the leader of the League of Shadows.

uuuuh he's Bane, he planned all this mayhem.

They built this character as probably the greatest villain of Batman ever and suddenly, is like... uh remember all the things that we  said about this guy... well... it wasn't him... yes... yes that's right it was that new chick over there... yeah the one who is suddenly so important in the third act of the story and we pretty much ignored her throughout the whole film giving her almost no proper character development... yes... she's the one... she did all that.... uh, what did Bane did then?... uh... well, he... he... helped her.

And then BOOOM , this great and epic villain that they were able to form in this entire film is dead by a single motorcycle gun shoot, and he dies in both a physical and spiritual way. When a villain dies at least he still lives in a spiritual way when you remember all the things that he did, but we cannot do that with Bane, because he wasn't the true mastermind behind all of this, he wasn't that epic villain that you thought he was, he was basically just a goon, the thing that you least expected from him.

Is not the first time Nolan does this, he did it in Batman Begins with Ra's Al Ghul, but at least he did in a reverted form you know: when you have a really cool villain, but you think he's just a goon of someone else but actually it turns out that he's the actual leader and it's even more badass than you thought, that way really works, Ben from LOST is a living example. But don't do it the other way around.

That was the thing that just killed the character for me and a big part of the film, I know that I'm complaining a lot with this but in a superhero film, the villain is the most important character in the story. And I just hate when they fool you with the identity of the true villain. I mean that's ok in a Mystery, Thriller or Noir story, but not in an epic action superhero film, specially since you have promoted that villain in the marketing of your movie like crazy!!!

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