Source: Borys Kit, The Hollywood Reporter, 1/17/2014
The superhero team-up is set for May 6, 2016 as a Peter Pan movie takes the previous July 2015 release date.
Superman and Batman are going to have to wait a little longer to team up.
Warner Bros. announced Friday that the Man of Steel follow-up will hit theaters May 6, 2016, nine months later than its previous July 17, 2015 release date. That date will now be reserved for a Peter Pan movie directed by Joe Wright.
The move sets up a potential Warner Bros/DC showdown with rival Disney/Marvel, which also has set an untitled Marvel move for that date. Marvel has had huge success with releasing big-budget tentpoles in early May. Iron Man 3 became the second biggest-grossing film of 2013 after an early May release. In 2012, The Avengers became the third-biggest grossing film of all time after an early May release.
The early May berth has been associated with Marvel since Columbia released Spider-Man in 2002. X2, the X-Men sequel from Fox, followed the following year. Marvel has released all of its Iron Man movies in that time frame as well as Thor. In fact, a Marvel-based movie has come out each May since 2006.
Additionally, that weekend is so connected to a comic book movie that retailers in North America organize a yearly Free Comic Book Day on the Saturday.
Warners is now aiming for its share of the early May box office. The studio is also pushing production on the movie to the second quarter; it was initially slated to begin shooting this winter.
“We are happy to take advantage of these coveted summer dates, which are perfect for two of our biggest tentpole releases,” Warner Bros. president of domestic distribution Dan Fellman said in a statement. “We share the fans’ excitement to see DC Comics’ most popular figures, Superman and Batman, together on the big screen for the first time, which will now be arriving in theatres in May 2016. Peter Pan has delighted people of every generation for more than a century, so we are thrilled to bring him back to the screen next summer for today’s moviegoers.”
Batman-Superman is the high-profile follow-up to last summer’s Man of Steel, which grossed $668 million worldwide and rebooted the Superman franchise for Warner Bros.
The follow-up movie, which also will feature the Caped Crusader, is in casting mode and has lined up Ben Affleck as Batman and Gal Gadot as Wonder Woman in addition to Henry Cavill, who is reprising his role as Superman.
Jason Momoa is in negotiations for a role as well.
Zack Snyder is directing the movie, which is now undergoing a rewrite by Chris Terrio, the Oscar-winning scribe who penned Argo. David Goyer wrote the initial draft.
“We know that there is already great anticipation building for the next super hero film from Zack Snyder, and we are equally eager to see what he has in store for Superman and Batman as they share the big screen for the first time ever,” Warners president of international distribution Veronika Kwan Vandenberg added in a statement. “The summer release corridor is also perfect for Joe Wright’s ambitious new Peter Pan adventure, reimagining the ageless story of the beloved and forever-young hero for audiences worldwide.”
Pan, meanwhile, is a Peter Pan origin story written by Jason Fuchs that will star Hugh Jackman as the pirate Blackbeard and tell the formative years of Pan and the young man who becomes Captain Hook. The movie will shoot in late spring/early summer.
As much excitement as there is over the upcoming “Star Wars: Episode VII,” there’s just as much interest in the standalone — of spinoff — “Star Wars” movies that Lawrence Kasdan and Simon Kinberg overseeing. Characters like Yoda and Han Solo have been rumored to be the subjects of the movies, but now a source is saying that bounty hunter Boba Fett will be the focus of the first.
“One of them is Boba Fett. It is. I know. I know for a fact,” Schnepp said. “I will never reveal my source, but it is the one written by Lawrence Kasdan.”
That would make sense, since Kasdan’s “Empire Strikes Back” first introduced the now-iconic character. And since Disney has confirmed that the standalone movies will be origin stories, a Boba Fett movie could focus on his early years as a bounty hunter.
The first “Star Wars” standalone movie is expected to be released in 2016, a year after “Star Wars: Episode VII.”
Source: Alonso Duralde, The Wrap
‘Man of Steel’ Review: This Grimmer ‘Superman’ Might Not Soar, But It Flies
In 1986, DC Comics published two titles that would forever push the superhero genre toward what has been known as the “grim and gritty” look — Frank Miller’s “The Dark Knight Returns” (whose tough-guy expressionism inspired both Tim Burton and Christopher Nolan’s subsequent screen versions of Batman) and Alan Moore and Dave Gibbons’ “Watchmen” (which spawned Zack Snyder’s nice-try effort to wrestle this dark and complex graphic novel to the screen).
Now Snyder (director) and Nolan (producer, shared story credit) have teamed up on the iconographic DC Comics character who seemed impossible to bring into the “grim and gritty”— Superman. Many characters (and comics readers) of the post-1986 landscape have disparaged the legendary superhero as a “big blue boy scout” for his primary-colored uniform and lack of moral ambiguity, but “Man of Steel” sets out to darken up the last son of Krypton and to fit him to the current trend of brooding, haunted vigilantes.
For the most part, it works; in the previous big-screen treatments of the character, we’ve never seen a pubescent Clark Kent deal with the disconcerting sensory overload of suddenly realizing he can hear things from miles away and see through everyone’s skin with his X-ray vision. When teen Clark saves his classmates from a terrifying bus accident (which calls to mind the horrifying opening sequence of Atom Egoyan’s “The Sweet Hereafter”), it’s less cause for celebration than a moment of adolescent angst over the discovery of his difference. Nor have we ever seen a beginner Superman fall out of the sky while teaching himself to fly.
Even that iconic costume emerges in darker hues — the blues are blackish and the reds are more wine-colored. (He’s still ignoring Edna Mode’s “No capes!” rule, which implies that “The Incredibles” doesn’t exist in this film’s world.)
“Man of Steel” begins as Krypton is on the brink of destruction, with the ruling council ignoring the pleas of scientist Jor-El (Russell Crowe) to figure out a way to save the planet’s bloodlines. Jor-El’s onetime friend General Zod (Michael Shannon) picks that moment to stage a coup, which is akin to seizing the bridge on the Titanic, and even though everyone knows the planet is about to be destroyed, Zod and his minions are still exiled into space as punishment for their treason. (Which makes no sense, but it’s one of the few obvious fumbles in the screenplay by David S. Goyer.)
Baby Kal-El rockets his way to Earth, but the movie leaps forward to adult Clark Kent (Henry Cavill) working on a fishing trawler to get close enough to rescue derrick workers from an oil rig fire, all the while attempting to do so in secret. He eventually hears about an Antarctic expedition that piques his interest, and which provides him with the opportunity to come face to face with Lois Lane (Amy Adams), who’s there to do a story on a strange object that’s been found in the ice.
That object is a Kryptonian ship that contains Jor-El’s life memories in its computer, and as Clark flies it away to commune with the father he never knew, Lois traces the mystery man’s identity all the way back to Smallville, where Clark was raised by his adoptive parents Jonathan (Kevin Costner) and Martha (Diane Lane), whose values of basic decency and responsibility we see them impart to their alien son in flashback.
By the time Clark puts on the suit, Zod and his crew come out of stasis and take over Earth’s transmissions, demanding that Kal-El be handed over to them, and then it’s fight-fight-fight. It’s worth noting that the melees are pretty spectacular, particularly since both sides are still getting used to their powers on Earth, but there are perhaps one or two too many of them. (The movie runs 140 minutes and feels like it could lose at least ten of them.)
The performances here resonate, though: Cavill gets the character’s square-jawed forthrightness down without sacrificing too much of Clark/Kal’s uncertainty and even bewilderment; his performance and Goyer’s script both go a long way in presenting this character as powerful but not invulnerable, which automatically makes him more interesting. (Bullets still bounce off of him, but the impact makes him flinch.)
The appealing Adams, again with the script’s support, may be the first actress who plays Lois Lane not as a 1930’s-style “girl reporter” but instead as an actual journalist who happens to be a woman. Shannon can, of course, do the villain thing in his sleep by now, and while his Zod doesn’t have the shadings of, say, the hired killer of “The Iceman,” the actor still makes an impact.
There’s no question that the movie reflects current trends in action and superhero movies, from one character’s sacrifice that feels like what a Spider-Man fan might call a “reverse Uncle Ben” to the shameless trafficking in 9/11 imagery: Like “Star Trek Into Darkness,” another reboot that’s also a remake of a sequel, we get planes flying into buildings. “Man of Steel” ups that ante with dust-covered civilians rescuing each other from urban rubble as well.
One major plot twist, which will not be revealed here, promises to spark debate and controversy amongst longtime Superman buffs; if you thought “organic web shooters” was the stuff that message board flame-wars were made of, you ain’t seen nothing yet. (And fans of product-placement drinking games should keep an eye peeled for the many, many on-screen appearances of Sears, IHOP and 7-Eleven.)
All in all, however, this “Man of Steel” flies, even if it doesn’t quite soar. Snyder’s direction feels far more assured than it did in the misfires of “Watchmen” and especially “Sucker Punch,” and now that the requisite first-movie origin story has been accomplished, the movie lays the ground for what could be some thrilling sequels featuring a Superman who’s both exactly what people want to see and a significantly different take on a well-established character.