>>81108789>This has become the most parroted, generic, and meaningless criticism of all movies. Nobody ever cites what they mean. I watched this move and Man of Steel and thought they flowed perfectly fine, and I easily understood what was going on. I feel like "pacing and editing" are just catch-all terms that people use when they want to sound like they're actually being critical, but really just want to hate the movie and don't want to elaborate.Alright thundercunt, tighten your bra straps because I'm taking you for a ride.
MoS has a flashback structure: a scene plays, flashback, a scene plays, flashback, etc. However, they decided the in-story device they would use to trigger the transition is when Clark gets knocked out. By the third or fourth time they use this trick, it seems like they have a hard time coming up with reasons, so we gets scenes like the Krypton ship where Zod insists Lois Lane come aboard for no reason, because Superman in the story is about to pass out and have a scene where he has a psychic mind battle with Zod.
It makes the pacing of the story wonky because the film is constantly retreading Clark's childhood and then cutting back to the ongoing narrative. And the in-story method they achieve this gets a little ridiculous the longer the film goes.
BvS use a similar gimmick, but with Bruce's dream sequences, and a one-off hallucination by Clark. The same problem arises where many in the audience are now having trouble following who, what, and why things are happening. The film even commits dreams-within-dream sequences, used to tell Bruce's past like in MoS, along with his state of mind.
Regardless of your opinion, most people who see the film fumble at the same steps. The film spends it's first hours, starting, restarting, then starting some more.
