June 17th, 2011 
James Shotwell 
The term “bubble” is usually applied to industry, but I think it can also work with film. Generally, if one idea works, you can expect to see at least half a dozen variations of the same story play out over the following years. Sometimes this is obvious, such as The Hangover and The Hangover 2, but it can come from opposing studios as well (Paul Blart vs. Observe And Report). Superhero films have spent the past decade dominating the Summer box office and few have complained, but a recent screening of The Green Lantern got me thinking that this bubble is long overdue for a “pop.”
The film follows Hal Jordan, portrayed here by a seemingly apathetic Ryan Reynolds, as he becomes “chosen” to join the Green Lantern Corps. and, of course, battles to save all mankind. Sounds at least kind of cool, right? That’s what I thought too, untilten minutes had passed and we were still catching up on a backstory I, and especially the children in the theater, had a hard time following. Obviously you need to inform the viewer of what is happening, but extended shots of creatures/aliens doing activities we don’t understand on planets we’ve never seen while an unseen person guides us is perhaps the absolute worst way to start a film I have seen this year.
When we finally meet Hal, he is the same cocky, too quick for his own good guy we generally meet in these types of films (think Iron Man with Batman‘s lack of confidence). He is a test pilot, dates gorgeous women, and can do your laundry on his abs. He is, for lack of a better word, the ideal guy. Then, following a near fatal war game simulation, Hal begins to doubt himself and his self worth until, he is “chosen.”
Now I truly wanted to love this film and gave it until this point to prove all the critics wrong. Sure the planes looked liked Sy-Fy channel originals and the actors were less believable than a kindergarten class re-enacting the pilgrims’ first Thanksgiving, but it was still a superhero film and I knew, eventually, there would be a visual payoff. However, as soon as Hal was “chosen” (a seen which involves Hal becoming trapped in a near-invisible bubble and transported across a city while screaming), all hope for being able to take anything other than laughs and groans from this film diminished. What was suppose to be a grand moment of self-realization and, essentially, the key turning point in the character’s life, came across more as an ode to 1950’s Batman (AKA, a joke). Reynold’s complete lack of believability, coupled with poor editing, an underutilized script, and FX that looked as if they were created during the Y2K scare, simply become too much too soon and left me (and others in the theater) checking their phones well before an hour had passed. Even when the film reached the climax, a city-wide scene that even stretches into space, no one had any reason to care or even watch.
There always has and always will be bad superhero films. From the original Superman sequels (especially the one with Richard Pryor), to Elektra or Ghost Rider, sometimes the translation from page to screen is simply too much for one director with tons of money and people at their disposal to handle. Don’t believe me? Just ask Martin Campbell. I’m sure he never envisioned his shot at comic book glory becoming one of the worst adaptations ever, but it happens.
When is enough? Will this suckfest be the straw the breaks the back of Hollywood execs raking in millions from each flick? Probably not. In brightest day, in darkest night, studio execs get paid, and don’t care what you think.
Review written by: James Shotwell
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