Super hero movies, as a combination of action, science fiction and other elements, have become a new film theme independently in the ten years of Manway’s operation. Although the current superhero movies have a tendency to be formulaic and routine, the fact that the Panther has been nominated for the Oscar and the box office of the multiplex has been soaring is enough to prove that the future of the superhero movies still has bright prospects.
The reason why the theme of the Premier League can be independent from action movies is largely because the role of “hero” needs a deeper description than the main character of the general action movies. We might as well make a comparison between this year’s English movies and action movies. Stonehenge Johnson’s skyscraper rescue, violent monsters, and even the classic speed and passion series of American action movies belong to this year’s high-quality action movies produced by the American film industry system. But for example, the protagonist of the monster film, which shares the same roots as the superhero, is not impressive. (Of course, if we want to trace the origin of heroic films and monster films, we should even start from the 1940s feature films and their representative works, Ottoman.) In fact, under the impact of British movies, the traditional American action movies have begun to weaken. Traditional action movies lack convincing explanations for the protagonist’s physical performance beyond ordinary people. Obviously, the ability to explain the protagonist with Iron Man’s high-tech and Jason Stanson’s muscles is fictional, but the introduction of science fiction into the super-English interpretation is to enable the audience to be better brought into the plot, rather than the doubt of “how this person can fight so much” when watching the movie.
At the same time, the plot routinization of action movies is more serious than that of super-English movies. Breaking through the difficulties and bringing beauty back is basically the plot that can be predicted before the audience enters the cinema. Only the moment when the protagonist faces the strong opposition “reversal” can really hold the audience’s appetite. The way of the Premier League is more to depict the protagonist’s ability, frustration and the growth process of becoming a hero. Obviously, the plot of the Premier League is more in line with the psychology of the audience in the current era, allowing the audience to put themselves into the plot.
When talking about the design of superhero roles, Stanley once suggested trying to imagine what the greatest fear in your current society is, and superheroes must be able to face it. The ideas contained in Premier English movies have also become profound. In traditional action movies, there are more or less some Cold War thoughts and classical heroic legends (Robin Hood, Zorro and other traditional heroic images), while the Premier League begins to discuss more modern topics such as growth, crime, and how to implement justice. So Superman was born in World War II, X-Men was born in the period of racial movement, Spider-Man was born in the peaceful period when crime became the main social problem. The Spider-Man series, as the founding work of modern Premier League films, has conveyed a concept to the audience from the very beginning: the greater the ability, the greater the responsibility. The captain of the United States, one of the founding works of Manway’s film Universe, also told the audience that the team became a hero not because it was strong enough, but because it was kind enough. Last year’s Oscar for Best Animation Spider-Man Multivariate Universe also pointed out that anyone who wears a mask for justice can become Spider-Man. Superheroes are not born perfect, they will also encounter setbacks, make mistakes, but ultimately overcome difficulties to prove themselves. These concepts are more suitable for modern audience life and give the audience a stronger sense of representation. Super hero is the audience’s imagination of themselves, because the plot of such a super-English film can be deeply rooted in the hearts of the people. We have received a hint from the Premier League movies that can be used in life: mortals come forward and are superheroes. So we remember in Spider-Man 2, Peter Parker blocked the speeding train with his body. In order to protect him from Dr. Octopus, an uncle looked at him and murmured, “He’s about the same age as my son.”
So we remember that in the rise of Batman’s Dark Knight, the Batman-shaped flame lit up on the Wayne Tower, so that Gotham in the darkness could see hope, Bruce flew to the sea with a nuclear bomb, and the Batman statue created by the people was silent.
So we remember that Steve, the kind enough captain of the United States, said goodbye to Carter and promised him to meet at the dance, but fell into the deep sea with the magic cube of the universe.
So we remember that in the extraordinary Spider-Man, New Yorkers and Spider-Man worked together to turn the tower crane in Spider-Man’s direction and provide the way forward for the medium-sized Parker.
So we remember in the Avengers Alliance, Tony, Eagle Eye and Black Widow as mortals fought with Superman, Iron Man rushed into the wormhole with a nuclear bomb without hesitation and fell heavily to the ground.
So we remember in Iron Man 3, a single boy who liked Iron Man regarded himself as Tony’s companion, and Tony gave the lab to his children as a Christmas gift after all.
So we remember Doctor Strange, who trapped Thomas at the cost of death over and over, forcing him to talk to himself about a condition.
So we remember that in Galactic Guard 2, the evil pirate bravely stuffed his breathing apparatus into the Star Count, freezing himself in space, and the fireworks that he buried sounded through the universe.
So we remember that during Spider-Man’s return season, Peter Parker, who had been confiscated, put on his own adapted jacket and followed the Falcon and the transport plane to high altitude.
So we remember that in Avenger League 3, the captain of the United States blocked the hegemonic punch with his whole body, just as he fought hooligans in the alley nearly a hundred years ago and said “I can spend a day like this”.
So we remember in Spider-Man 2, when Spider-Man wasn’t there, a kid wearing a spider mask stood between the rhinoceros and the public. Dozens of Premier English movies, in the final analysis, tell us a simple truth: everyone can stand up like this child, when we have the courage to be a hero, evil can not escape.