Superhero epics bond, expand

HULKBUSTER Iron Man in “Avengers 2”

Sony and Marvel Studios recently announced the official “sharing” of Marvel Comics character Spider-Man—the world-famous underdog superhero will finally appear in the already-large cinematic universe that began with 2008’s “Iron Man.”

It’s a big deal, a momentous event; superhero movie fans do look forward to grand, live-action encounters, and interactions between favorites from the comics or cartoon shows. These flashily garbed adventurers exist together, if not always peacefully, in one big, chaotic world.

The success of Marvel Studios’ films has spawned two spin-off TV shows, “Agents of SHIELD” and “Agent Carter,” chronicling the same universe’s “background” goings-on, but at different periods. “SHIELD” is realizing its potential, adding significant parts to the mythology, while “Carter” offers a more modular—and refreshing!—take on the espionage side of that realm, post-World War II.

While detractors opine that superhero movies are usually mindless blockbusters that spawn similar popcorn-y sequels, many others defend them, saying the massive comics-to-film translations have been a long time coming. The genre has been around for decades, they note, but has taken considerably less risks outside the established icons (the “Batman,” “Superman,” “Spider-Man” flicks, etc.).

It’s not as if the genre will take over; this year, only three films of that “uber” kind are scheduled: “Avengers 2: The Age of Ultron” (big sequel to the 2012 smash hit), the “Fantastic Four” revamp (10 years after its big-screen debut) and “Ant-Man” (with Paul Rudd as the shrinking hero).

Marvel movies have made stars of relative unknowns or obscure but reliable and charismatic talents—a good thing, actually, getting them key parts while they’re still “affordable.” The films have also attracted big names and veterans: Glenn Close was in “Guardians of the Galaxy”; Michael Douglas will be in “Ant-Man”; Anthony Hopkins plays Norse god Odin in the “Thor” movies. Al Pacino, who reluctantly watched “Guardians,” was immediately bowled over, describing it as having “Shakespearean” touches. He has expressed an interest in appearing in a superhero movie.

Premier team

DC is introducing its own shared universe via next year’s “Batman V. Superman: Dawn of Justice,” set to present heroes that will make up the future Justice League, the company’s premier team. Teaser images of Wonder Woman and Aquaman have been released. They share a lack of color, costume-wise, but we’ll see in 2016 how the monochromatic look fits in the Zack Snyder-directed movie.

If only they could bind that universe with that of DC’s connected TV programs, the successful “Arrow” and “Flash” shows, which are also expanding by introducing more heroes and concepts from the comic books. It would’ve been great to have all those characters mingling in one place.

But “Gotham,” unrelated to those other series, is a Batman prequel that stands strongly on its own, unhampered by events in other shows.

More to come

It’s going to be busy for cinema-trooping fans, old and newly initiated, in the coming years. Big films include “Captain America: Civil War” (about the heroes’ forces dividing), “Doctor Strange” (starring Benedict Cumberbatch), “Wolverine 3,” more “X-Men” sequels, “Justice League,” “Black Panther,” “Inhumans,” the rebooted “Spider-Man” (there will be a new Peter Parker) and “Avengers: Infinity War” (a two-parter where the heroes fight the omnipotent god-being Thanos, scheduled for 2018 and 2019), among other super-sagas.

On some colleagues dismissing superhero movies, “Guardians of the Galaxy” director James Gunn recently posted on Facebook, “If you think people who make superhero movies are dumb, come out and say we’re dumb. But if you, as an independent filmmaker or a ‘serious’ filmmaker, think you put more love into your characters than the Russo Brothers do Captain America, or Joss Whedon does the Hulk, or I do a talking raccoon, you are simply mistaken.”

Here to stay

So love ‘em or loathe ‘em, superheroes are here to stay and, if you consent, take your hard-earned money away. The genre, while not exactly new, is continuously thriving, mostly accessing a deep, creative wellspring.

The time is perfect, as cutting-edge effects can now realize the astonishing. There are top-notch storytellers who can properly reimagine the old stories—and, there is no shortage of characters and content worthy of the big-screen treatment, at all.