Source: cinemablend.com
7. Catwoman
Oh, Catwoman! This is perhaps the greatest role for a woman in all of cinema, and it’s definitely so among comic book movies. Oscar-winning actress Halle Berry owns her role as Selin – uh, I mean, Patience Phillips – a Catwoman character who has nothing to do with the one in the comic books. Because, you know, who could possibly want that?
This film is notable for its groundbreaking editing. The myriad of fast cuts and repeated actions make for a surrealist masterpiece. You’ll never be able to tell what's going on at any point in the film, but that's all there to craft a unique sense of confusion.
As a film connoisseur, I’m able to truly appreciate the fact that this film completely lacks any sense. I encourage everyone to watch it, because it’s like gazing into the tentacled maw of a lovecraftian horror.
Just don't stare too long.
Source: tf.cdn.com
6. Iron Man 2
As the absolute high point of the Marvel Cinematic Universe, Iron Man 2 is a groundbreaking cinematic achievement.
Its world-building is unparalleled. It forces in tons of characters who don't really do anything in the movie; they’re just in there so they can show up in future movies.
And the pathos!!!!! Mickey Rourke and his bird…my Lord, what a gripping relationship. Will someone bring his bird? WILL THEY? I simply had to know. I was on the edge of my seat the entire time. What a glorious achievement.
The film lacks the boring character development of the first movie, and it avoids all that annoying clever dialogue and interesting plot elements from the third film. Rather, it creates the perfect blend of things that happen and words that characters say.
And that scene at the donut shop, during which Iron Man sits in the big donut? What a laugh riot! Almost peed my pants over that one.
Source: alphacoders.com
5. Green Lantern
This is in-arguably Ryan Reynolds's finest film. It's such a shame that he had to debase himself by following up this masterpiece with those silly Death-Pool films, or whatever they’re called. For this…this is high art.
Reynolds plays ace pilot Hal Jordan, who’s given a magic space ring so he can go fight a big space poo and a man with a large-ish head. Along the way, he begins an improper employer-employee relationship, and learns how to use the ring to make sweet Hot Wheels tracks.
But I really want to draw your attention to the film's use of symbolism. You see, Hal Jordan is attractive, so they pit him against Hector Hammond, who is very"¦not attractive. You see the duality, right? So clever. In addition, Parallax is the embodiment of fear, so he looks like a large poo, which symbolizes humankind's greatest fear of all: the fear of death. For, as we all know, when you die, you poop your pants.
I honestly feel that this film went right over a lot of people’s heads.
Source: dc.wikia.com
4. The Spirit
Frank Miller. What a smart, talented creator. And he totally didn't suddenly become incredibly bad right around the turn of the millennium.
Nope, nothing about his post-2000 work would cause any worry about how he would write and direct a movie. Not at all. He adapted Will Eisner's genre-defining comic book to film in a completely respectful manner.
Here, Miller's stylization isn't obnoxious at all. The type of grimy-ness that worked for Sin City definitely works perfectly for The Spirit, who isn't a totally different kind of character or anything like that. The actors are all fully three-dimensional, and they’re very deep in terms of the characters they play.
Oh, and that scene in which Samuel L. Jackson shows up in full Nazi gear is totally necessary. It most definitely couldn't be confused with Miller playing out a fetish in front of a paying audience. Nope. Not at all.
