The Death of Superman (2018)

   Director: Jake Castorena & Sam Liu. With: Jerry O'Connell, Rebecca Romijn, Rainn Wilson, Rosario Dawson, Nathan Fillion, Christopher Gorham, Matt Lanter, Shemar Moore, Nyambi Nyambi, & Jason O'Mara.  Release: July 24, 2018 PG-13. 1 hr. 21 min.  

Director: Jake Castorena & Sam Liu.
With: Jerry O'Connell, Rebecca Romijn, Rainn Wilson, Rosario Dawson, Nathan Fillion, Christopher Gorham, Matt Lanter, Shemar Moore, Nyambi Nyambi, & Jason O'Mara. 
Release: July 24, 2018
PG-13. 1 hr. 21 min.  


The DC animated universe doesn’t share the same glitz and glamour as it's live action counterpart, but it does maintain that darker edge. The films themselves have balanced that of levity with that of conflict, constantly waging a battle against the forces of evil, both internally and externally. It’s what makes these films kind of awesome to watch, not only as a comic book reader, but as someone who's become engulfed with frustration towards DC's recent outings, these animated tales don't just match their live-action older brothers, they surpass them. 

Following the story created by Dan Jurgens, Louise Simmons, Roger Stern, Jerry Ordway, Karl Kesel, and others, during the 1993 multi-issue series that was designed to increase comic sales and show readers that the character was not invincible. It revolved around the monster known as Doomsday, an incredibly powerful monster with regenerative abilities that allow him to come back from death, unable to be killed in the same previous manner. He’s strong, fast, and immensely terrifying due to his lack of cerebral conception. It’s like Superman, but without his morality, that’s why he poses such a threat to the man of steel. 

Comics-wise, it becomes incredibly noticeable that this monster provides a formidable contest for our hero, but not in a way that is overwhelming, at least not at first. When their battle begins, Doomsday hits Superman, and with no avail to that first attack, he then kicks him through Anderson’s home. Jake Castorena and Sam Liu’s “Death of Superman” is a version of that same story that carries the universe's past subplots along with its new one. The story also manifests a Doomsday that is far more overwhelming and destructive than the one from the comics. He merely overpowers and destroys the Justice League, powering through the shield of the Hal’s (Nathan Fillion) ring, and catching the Flash (Christopher Gorham) in mid-stride. 

Then a battle with Diana (Rosario Dawson) ensues, one of the highpoints of the action in the movie. It’s bloody and mimics to that tale of man versus beast, but it's a badass woman this time, one that puts up an admirable fight. Speaking of the action, the film never shies away from brutality, displaying it front and center for the world to see. There’s blood, broken bones, and graphical visuals that are sure to scar some of the younger audience members. 

The movie has more to it than just a battle between heroes and monsters, Lex Luthor (Rainn Wilson) is apart of that as a man hoping to fight against the alien God the world has dubbed a hero. He believes in representing humanity with a hero who shares their morality. That fascinating character arc remains intact for this film, and even more so, it becomes an ultimate weapon in creating an arc that shows the difference between our caped hero and the others in the Justice League. A man with every power, who chooses to save those who don’t share that immense power. He’s not forced, no tragic backstory that psychological fabricated him into a hero, he’s the one hero who is not only the most powerful, but chooses to save instead of destroying. He appoints himself, instead of being elected by others. 

It’s one of the many things that Peter Tomasi’s screenplay does far better than Chris Terrio and David S. Goyer’s story in “Batman V. Superman.” Exhuming the ideas of what makes this hero special, instead of displaying him as a god amongst mortals. He’s a god attempting to be mortal, not the other way around. 

The story can become tedious with that of its use of the heroes, in that of Batman or any of these heroes surviving the battle by the skin of their teeth. It’s incredibly convenient that something always pulls them out of the fire. The romance in the story between Lois (Rebecca Romijn) and Clark (Jerry O’Connell) is a bit of a detractor in the screenplay. Providing another glimpse into what makes this alien a hero, his fears of including more people in his life, placing them in danger. It’s something all heroes share, but choose to do anyway. The film could go without it though; it's not the icing on the cake that the directors were hoping for. 

The animation isn’t something to behold either, it’s very formalized and staying in accordance with the last few films. It’s very digitalized and slim, painting the character in a much smaller version than the Justice League show from the mid-2000’s would have you believe. 

I’m not surprised by the lack of press this film is getting, most animation that isn’t Pixar or Dreamworks tends to go under the radar. It’s not something to behold, or that rivals the live action universe of heroes, but it's something worth watching to see how much potential DC has as a live action franchise. They should be competitive in a dogfight with Marvel Studios, but they remain at the back of the pack, even trailing behind Fox. It starts with how they don’t seem to get the mentality of what makes these heroes incredible. It’s not the abilities or the fights; it’s the ideologies they possess that makes them far better than we could ever be. 

In Whedon and Snyder’s “Justice League,” Bruce describes Clark as someone more human than him. A better version of this emotional interaction takes place in Tom King’s latest run on the Caped Crusader, in which in issue #36 of DC Universe’s “Batman,” he and Selina discuss why he is not the hero that Clark is, while Clark and Lois do the opposite. 

Both of them exchange their reasons for not being as good as the other, Clark describing Bruce as a man without powers, but can overcome with his will and his wit. Bruce illustrates Clark as the last remnant of a genocide and one who chooses to be a hero, a choice that he didn’t have. This interaction is what makes these heroes unique, not the capes and powers, but the emotions behind them, a note that Warner Bros needs to take note of with their live action films.