The rule with this superhero, though, seems to be that he only works now in a rain-swept gothic context. Surely no one could resist seeing both Michael Keaton, who played the role twice more than 30 years ago, and Ben Affleck, the first actor in the history of the part to look more expressive with his mask on than off. What could have gone so disastrously wrong for these apparently safe bets? In the case of Dial of Destiny, it is almost as if depending on the sustained affection of an older, nostalgic and largely male audience, rather than including anything that could entice a younger, diverse demographic, has proved a flawed strategy.Ī double helping of Batmen in The Flash was also predicted to be a winner. And there’s little hope that either that movie or Dial of Destiny will make up lost ground in the summer holidays, what with the triple-threat of Barbie, Oppenheimer and a new Mission: Impossible adventure waiting in the wings. Less than a month after its release, it is already a Flash in the pan. Reviews ranged from lukewarm to frosty, while audiences sprinted at Flash-like speeds in the opposite direction from any cinema showing the movie. It transpired that Gunn was firing blanks. As scoops go, “Executive Claims His Company’s Product ‘Better Than Everyone Else’s’” lacks a certain rigour, not to mention novelty value. Expectations were high for the movie, though maybe there should have been a shade more scepticism when James Gunn, co-CEO of DC Studios, announced that it was one of the best superhero movies he’d seen. Last month, the DC superhero adventure The Flash took a catastrophic dive into the red, and is now on course to become one of the biggest flops in Warner Bros’ history. “Tentpole” releases, as summer blockbusters are known, are no longer the guaranteed behemoths they were in the pre-Covid era: the marquee is sagging, the tentpole in danger of snapping.
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