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不知從何時(shí)起超級(jí)英雄電影逐漸風(fēng)靡全球影壇，成為新世紀(jì)好萊塢的賺錢機(jī)器。各樣超級(jí)英雄續(xù)集的推出一度挽救了美國(guó)電影的上座率。那么好萊塢是否已經(jīng)將超級(jí)英雄電影引向泛濫了呢？
由于每部超級(jí)英雄的電影在全球范圍內(nèi)大賣，導(dǎo)致接下來5年內(nèi)將會(huì)有一堆超級(jí)英雄的電影上映。美國(guó)迪士尼公司、華納兄弟影業(yè)、?？怂构疽约八髂嵊皹I(yè)爭(zhēng)先恐后搶占超級(jí)英雄電影市場(chǎng)，共計(jì)有30部關(guān)于超級(jí)英雄的電影將要上映。
對(duì)導(dǎo)演們來說，超級(jí)英雄電影是最快的賺錢機(jī)器，對(duì)演員來說，這類電影亦是大展頭角的保證。
They bring in the big bucks, provide multiple spinoffs and sequels and offset the general decline in cinema audiences in the US, but is Hollywood overdoing it when it comes to superheroes?
Over the next five years a remarkable 30 superhero movies are expected to be released by Disney, Warner Bros., Fox and Sony Pictures in a crush of fantasy power play. And when, last week, Kevin Feige, president of Marvel Studios, took to the stage at the historic El Capitan theatre on Hollywood Boulevard to discuss the studio’s slate of superhero films to 2019, he said there would be many more, “if there are years after 2019”.
The ambitious list includes The Black Panther and Captain Marvel, the first superhero films starring black and female leads respectively. They will join the Marvel “universe” of characters such as Iron Man, Captain America and Thor.
It’s hard to question the confidence of Marvel. Since it was bought in 2008 by Walt Disney for $4bn, it has generated $7bn by mining a catalogue of superhero characters developed over decades of comic book publishing. With each film introducing new characters with interconnecting plots, Feige reinforces his reputation as one of the shrewdest studio heads of his generation.
It was Feige who resurrected the career of Robert Downey Jr by casting him as Iron Man. He hired TV director Joss Whedon to make The Avengers, the third highest grossing film in history. He approved Thor and Guardians of the Galaxy and it is Feige who will probably sign off on Benedict Cumberbatch to play Dr Strange.
But Marvel is far from alone. Warner Bros., owner of the rights to DC Comics, has unveiled its own 10-movie slate of superhero films, including Batman v Superman: Dawn of Justice next year,Suicide Squad and Flash. Rupert Murdoch’s Fox has The Wolverine, the X-Men series and theFantastic Four. For the Hollywood studios, faced with declining theatre revenue, the superhero genre is considered a winning strategy.
Jeff Ayres, manager at New York’s famous Forbidden Planet comic bookstore, says it’s no mystery why Marvel’s film slate is dominant: it is derived from a generation of superheroes with complicated inner lives.
“They’re from the minds of Jack Kirby, Steve Ditko and Stan Lee – that’s why those characters are so durable. Marvel characters stand the test of time because they’re based on real human foibles. Unless they’re sent down from heaven like Thor, they always have one foot in reality.”
That is not always true of DC Comics heroes, Ayres continues: “It’s harder to identify with a billionaire who turns himself into something else or with Superman who gives himself problems to make himself more real.”
Character considerations aside, critical voices are starting to confess to a certain superhero fatigue. The respected critic, Todd VanDerWerff, noted last week that the seemingly endless slate of superhero films has begun to seem like a long list of chores on a cinemagoer’s to-do list. “It’s about getting trapped in these never-ending concentric circles of hype ... the constant feeling that everything is buzz for something else – even the movies themselves.”
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