But for the ones that have a fond affinity for natural beauty through silence and a much-needed remythologization of heroes inside the Marvel Universe, this could very well be one of your favorite films of the year. For those who may be inexperienced with Zhao’s quiet and reflective style, maybe this won’t be your cup of tea. But to the ones who don’t like minimalist slow burns, it might not have reached such a broad audience.Īnd so, to have her direct the twenty-sixth installment of the Marvel Cinematic Universe, Eternals, was certainly an interesting choice. It was one of the most heartbreaking films last year, which deservedly gave Zhao the Academy Award for Best Picture. She didn’t need to do much-but we understood everything through her eyes. Zhao’s last film, Nomadland, had moments of minimalist beauty through Joshua James Richards’ natural cinematography and Frances McDormand’s rawest performance yet.
Not to be elitist or anything, but some audience members are put off by ultra-reflexive and meditative films with a soft camera in constant focus on his characters and their facial expressions. The same can be said with Chloé Zhao’s poetic style. But his style has consistently pushed the visual boundaries of cinema and has always blown me away from his first film to his most recent Zombie-driven Heist production. Snyder has a distinct style and feel, and he may not be for everyone. Every time I rewatch it, it’s incredible to see how much detail went into crafting its action setpieces, from the vivid visual effects to the ultra-dynamic Dragonball Z-style one-on-one fights between Superman and Zod. It’s the greatest Superman film ever made, and I’ll go out on a limb and say that it contains some of the best, if not the best, superhero action ever put on film. Audiences didn’t seem ready for Superman to be this different, but the ones that accepted his subversion of the famous hero hail it as one of the greatest comic book films ever made. It’s what Zack Snyder did when he re-questioned the idea of a “Superman” in Man of Steel, transforming the hero from a symbol of hope to a weapon of mass destruction. Or better yet, a film that puts the hero in a situation where their mythic figure is challenged, with the world either cheering or running away from them.
The best superhero films are the ones that questions the audience on the very idea of what constitutes a superhero.
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