This would be echoed in the story of the movie's main rival/doppelgänger Captain America: Civil War. Aside from his Otherness, Superman is also representative of social concerns over some form of an unaccountable and unregulated rogue superstate acting in its own interests. It’s a lot of ground to cover, making the resulting film feel both overstuffed and abnormally extended.As touched on before, Batman v Superman’s use of political imagery is a subject within itself. For Batman this means Alfred the butler (a very world-weary Jeremy Irons), a stream of Bat gadgets and the occasional interruption of gruesome bat-related nightmares for Superman, it’s Lois Lane, Luthor/Zod and mighty acts of individual rescue. Added to which, it has to shoehorn in the key accessories of both superheroes. For a film so concerned with its characters’ inner lives, there’s a fundamental disconnect going onīut the way films like this tend to be constructed – racing from one thunderous set piece to another, with only a few seconds of downtime between them – ends up militating against it. As an opening, it’s got quite a bit of punch, and proves a good way to tackle one of this series’ favourite themes: the collateral damage sustained as a result of epic superhero confrontations and the price paid by the non-coms below. The two superheroes are also brought close together – though don’t actually meet – in a cleverly conceived establishing sequence: picking up from the final showdown between Superman (Henry Cavill) and General Zod at the climax of Man of Steel, Batman v Superman shows Bruce Wayne ( Ben Affleck) racing around the shattered city streets attempting to evacuate his office workers as the apocalyptic battle rages in the sky. Watch the Batman v Superman: Dawn of Justice trailer – video Guardian
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