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  1. #1
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    Default Is Schumacher's Batman & Robin (1997) a supernatural inclusion and seeing?

    I have a theory, that 1997's Batman & Robin is supernatural, in the literal sense, when it comes to the natures of inclusion and seeing; seeing in particular being the crown jewel of the statement. Not only that, but death in the film's universe is in on the act, of supporting reality

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    Astonishing Member Clark_Kent's Avatar
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    Yes. Indeed. The color purple is, factually, derived from the songs of cats. The hair of the squid sees this, and knows.
    "Darkseid...always hated music..."

    Every post I make, it should be assumed by the reader that the following statement is attached: "It's all subjective. What works for me doesn't necessarily work for you, and vice versa, and that's ok. You may have a different opinion on it, but this is mine. That's the wonderful thing about being a comics fan, it's all subjective."

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    Quote Originally Posted by Clark_Kent View Post
    Yes. Indeed. The color purple is, factually, derived from the songs of cats. The hair of the squid sees this, and knows.

    To not sound like Alison Lebray, from Cruel Intentions 3, but, I'm being serious

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    Quote Originally Posted by trokanmariel33 View Post
    To not sound like Alison Lebray, from Cruel Intentions 3, but, I'm being serious
    Honestly I'm as incredulous about this post as the last guy, given the surface-level nature of the film in question. But please, if you are serious elaborate on what in the movie leads you to this conclusion

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    Quote Originally Posted by BlueElf94 View Post
    Honestly I'm as incredulous about this post as the last guy, given the surface-level nature of the film in question. But please, if you are serious elaborate on what in the movie leads you to this conclusion
    Batman & Robin is surface level; it's the entirety of the universe working together, for the sake of representation instead of seeking answers. The Nolan trilogy is the inverse, preferring to seek answers than representation.

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    Quote Originally Posted by trokanmariel33 View Post
    Batman & Robin is surface level; it's the entirety of the universe working together, for the sake of representation instead of seeking answers. The Nolan trilogy is the inverse, preferring to seek answers than representation.
    Thanks for clearing that up, I and everyone else have seen the light now. All hail The Universal Church of Schumacher, may our brethren find existential absolution through glorified toy commercials.

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    Quote Originally Posted by BlueElf94 View Post
    Thanks for clearing that up, I and everyone else have seen the light now. All hail The Universal Church of Schumacher, may our brethren find existential absolution through glorified toy commercials.
    The poetry is good.

    I suppose it's the flaw of Batman & Robin, that it didn't arm me against feeling about the end of the toy commercial part of the reply; but then again, that could also be the magic inclusion aspect, which I referred to in the question

  8. #8
    Uncanny Member MajorHoy's Avatar
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    I just thought that Schumacher's Batman and Robin movie was supposedly a bad movie with molded plastic Bat-nipples?

    NOTE: I never bothered to watch it myself.

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    Quote Originally Posted by MajorHoy View Post
    I just thought that Schumacher's Batman and Robin movie was supposedly a bad movie with molded plastic Bat-nipples?

    NOTE: I never bothered to watch it myself.

    What about the lack of interaction, between Barbara and Bruce throughout all of the movie between Barbara's initial entrance and her officially joining the team at the very end; could there be a deliberate reason for this (not counting when Batgirl speaks to Batman)?

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    Quote Originally Posted by trokanmariel33 View Post
    What about the lack of interaction, between Barbara and Bruce throughout all of the movie between Barbara's initial entrance and her officially joining the team at the very end; could there be a deliberate reason for this (not counting when Batgirl speaks to Batman)?
    There could be several deliberate reasons for this. It could have been due to scheduling conflicts with Clooney or Silverstone, a byproduct of how generally messy the script is, or other various streams of conjecture you could take. I doubt that this choice was any kind of deliberate attempt on making a broader statement.

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    Quote Originally Posted by BlueElf94 View Post
    There could be several deliberate reasons for this. It could have been due to scheduling conflicts with Clooney or Silverstone, a byproduct of how generally messy the script is, or other various streams of conjecture you could take. I doubt that this choice was any kind of deliberate attempt on making a broader statement.
    When Bruce has dinner, with Julie Madison, the music is about the symmetry between Bruce and Barbara; that could be why the two aren't allowed to talk to one another throughout the story except at the beginning and end.

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    Quote Originally Posted by trokanmariel33 View Post
    When Bruce has dinner, with Julie Madison, the music is about the symmetry between Bruce and Barbara; that could be why the two aren't allowed to talk to one another throughout the story except at the beginning and end.
    What about that scene or that music makes you infer that it has anything to do with Bruce and Barbara?

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    The Schumacher films never happened.
    It was all a bad dream.
    That is my story and I'm sticking to it.

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    Quote Originally Posted by BlueElf94 View Post
    What about that scene or that music makes you infer that it has anything to do with Bruce and Barbara?
    Bruce and the bequeathed. The music's metaphor is why leave anything, and Julie Madison's symmetry appearance to Barbara invokes the idea of irony; the irony, being that Bruce can't address the person who he's inevitably due to leave everything to

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    Astonishing Member Clark_Kent's Avatar
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    Quote Originally Posted by trokanmariel33 View Post
    To not sound like Alison Lebray, from Cruel Intentions 3, but, I'm being serious
    I was too. Nobody messes with the hair of the squid, nor the songs of cats.

    It's the poetic seclusion of all things pacific mobile, structurally, but the comedic genius of the Blanchard is truly what gums it all up and makes it stick.
    "Darkseid...always hated music..."

    Every post I make, it should be assumed by the reader that the following statement is attached: "It's all subjective. What works for me doesn't necessarily work for you, and vice versa, and that's ok. You may have a different opinion on it, but this is mine. That's the wonderful thing about being a comics fan, it's all subjective."

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