Counterpoint: are any of the superhero movies made today all that different in terms of characterization, theme, or plot from the stories drawn in the 60s, when Moore grew up, or the 80s, when he actually wrote for DC?

Superhero comics and films are engaging with the 21st century Is it engaging as radically as a lot of us would like? Not exactly, not yet.

You can actually narrow it down to the 3 things he doesn’t like: DC and Marvel, comic book movies, and people asking him about the first two things.

Nope. He grew up on the old Marvel comics, and genuinely admired their creativity and artistry. He was overjoyed getting to work with Superman and Batman and Swamp Thing and the Charleston characters.

Is that the one where the guy with the red suit sacrifices himself and proves he’s not an asshole, or the one where the guy with the blue suit sacrifices himself for no reason?

That’s because SOME people have wrapped their entire personalities around the pop culture they consume. They’ve essentially turned cheap pulpy kidlit into a religion, and Alan Moore just said “You’re not in a religion, you’re in a cult, and your god is kind of evil and stupid.”

But also by Captain America.

We all have favorites that we insist ought to be on this list, but I take it more as a reminder that literally hundreds of good movies have come out in the past 10 years, and it’s pretty much impossible for anyone but a film critic to have seen all of them. May this list serve as a reminder that all of our pop culture…

It’s a charming, super-breezy movie. But name another charming, super-breezy kid’s movie from the past 10 years that’s as good as the Paddingtons.

Plot and dialogue are over-rated.

The color is black. It’s indescribable because even in Lovecraft’s day, you probably weren’t allowed to describe black people in print the way he would have liked.

I don’t know about cinema, but Marvel Studios are fucking cowards. Always pulling their punches.

Watchmen and the Dark Knight Returns. One says “What if superheroes are pointless and can’t save the day” and the other says “What if superheroes are fascist and that’s great!”

treating feature films like a long-running serial TV drama.

I semi-agree? When you boil it down, all superhero stories have the same plot: “Bad guy wants to do bad things, and only the special good guy can stop him and save the day.”

The question of cinema isn’t about quality. The question is about creative risk. How much is a studio willing to risk on a movie about difficult, complicated, unusual ideas?

That quote might mean something if either of those characters paid any sort of price for their actions. It’s not like anyone is bursting into tears of sadness every time Steve is forced to fight some people for Bucky.

I think what he meant is that Joker is an abstraction in that he couldn’t imagine any real human actually doing the stuff that’s required to make it a Joker movie.

It reminds me of Dan Harmon’s story circle. You start with characters in a normal setting. At the end, they have passed through some challenge, and are changed. That’s what most movies are: you watch how characters change.