A good story makes us subconsciously identify with the symbolism it uses (embellish the fantastical story) and makes us ponder even if the story shows grown men wearing tights. Traditionally, there is no genre called superhero movie.
DC's character-driven gritty universe comes from the director's vision. DC's successful movies takes big leaps and feels memorable which is why they have a re-watchable quality. They are both visceral and philosophical. However, in the world of franchise, studio executives can demand too much, which can result into a 2 hour disjointed narrative. A good example is how anxious studio executives (driven purely by commercial calculations) managed to butcher the 3 hr Ultimate (Director's Cut) of Dawn of Justices on the edit floor.
Batman's mask actually symbolizes Bruce masking his true emotions. He is a very flawed hero, a dark knight, that Gotham deserves. When Batman plans to fight Superman, Alfred tells him that its suicide; that is because it is. He has no Lois to make him feel like there is still goodness left in this world. Batman feels like he is dead inside (since the time he saw his parents murder), hence the black suit of death. He only knows loss and fighting people who want to rob other people. Moreover, Batman has very poor listening skills which is why he doesn't listen to even his trustworthy Alfred (who symbolizes the common service-class folks). He mistrusts Superman because he believes (like Luthor Jr.) that good guys can quickly turn bad. So a more gritty, darker treatment only makes it true to its lore.
The Jack Snyder's version of Batman is an older Bruce Wayne who pops painkillers every morning to relieve years of pain he has suffered. In Batman v Superman, Batman has lost his perspective and become unhealthy as we can see from the poster above. The brutal and broken Batman has failed in his lone quest to get ride off the Gotham crime culture. That is why he comes to the realization that the World needs Superman for more than his physical strength. Superman fights not in anger but out of love; which is why he is called the "man of steel". A famous actor once said that Batman is how the rest of the world views the U.S.A (industrial capitalism) whereas Superman is how the U.S. citizens view itself (its economy). Some think of Superman as a god while others feel he is a super-powerful evil. But since Superman goes against his values (when he kills) in order to save the World; which is the reason why he has to die (in the end in order to pay for the sins). But did Superman's act tarnished the image of Superman, when he is suppose to be nontarnishable? So, that question arises is whether Superman (U.S. economy) is truly dead or will it be resurrected?
Although classic Superman is himself an outcast and last of his kind; he would never let anyone feel like an outcast. His simple country boy faith in people and his selfless help to anyone who he finds is in need of help; is what makes him such a lovable figure. Superman always overcomes every impossibility when his mettle is tested, especially in the face a cynical and mistrusting world. Even if he is overpowered, direct sunlight repairs him naturally. He always does the right thing over the easy thing. In fact that is also why he's often referred to as the "Blue Boy Scout". However, Zack Snyder unadulterated expositions are relentless with expensive clamor and no sign of tenderness. He builds these amazing set pieces which are totally faithful to the comics but his update of Superman is neither compelling nor delightful. This brooding Superman would have not made me cheer him as a kid nor escape in wonder. It would have be rather frightening as one would while watching a cacophonous crucifixion imagery.
On a side note: The breaking of the neckless made of pearls which was worn by Martha Wayne symbolizes a violent attack (in the cover of darkness) on U.S. economy and soil in which (the pearls of) wisdom have fallen apart and become lost in the gutter, leaving U.S. exposed and unguided. Now most audiences ridiculed that both these polar opposite heroes share the same mother's name: Martha. Secondly, some ridiculed this being the reason why Batman didn't murder Superman. In fairness, I feel although people can blame the believablity (selling the scene) to poor direction or acting; they shouldn't blame its central premise. You see mother symbolizes motherland and in this case its U.S.A. Since both of them love and protect the same motherland (hence the similar mother name Martha); they realise that they are both fighting for the same side. Hence, Batman halts and doesn't kill Superman. Batman can't kill anyone, let alone Superman, when he is asking for help to save his mother! Batman then makes a promise that THIS Martha will not die. Also, some audience didn't understand, Superman talking to his father in the mountain scene. The cold snowy mountains is symbolism for Superman contemplating about his life based on hard facts and reasoning.
A fantasy writer has to unfold the given set of events in the story in a believable way; as evidence, so that most of the audience can make the probability “leap” from the available information, in order for the story to reach its desired satisfactory resolution (or conclusion). Audience can see through all the aspects that didn’t make sense and the bad ones will breaking the audience's suspension of disbelief.
The script will not work if the "beats" jumps forward using too many easy coincidences or narration of events; while expecting that the audience will simply believe in the story because it looks cool. The trick is to make sure that stretch is reachable. Even if you’re adapting a true story, the characters’ actions must seem logical and the events believable, within the context of the story.
For the character to be believable the story has to give a really good reasons for the character to be motivated to do that thing, and those reasons need to fit their character. Storytelling is always about finding a balance between its pace and how to deal with the important subtext or readers won’t buy the story.
The ominous cover to Superman #22 shows Superman, wearing an executioner's mask and holding open a box of kryptonite in front of his shield. As the deathly green glow permeates the cover, he says, "You're responsible for the death of a billion beings -- for that you must die!"
Superman confronts the villains. They taunt him, claiming that they will find a way to restore their powers and come to his reality to destroy Superman and his world. Superman admits he does not know how to rebuild the Phantom Zone projector. "Nevertheless, I am forced to find a way to stop the three of you once and for all! You have ruthlessly murdered all the people of this planet -- five billion humans! That is a crime without equal! The Nazi holocaust pales by comparison."
Removing the container of green kryptonite from its storage he continues, "What I must now do is harder than anything I have ever done before. But as the last representative of law and justice on this world, it falls to me to act as judge, jury ... and executioner.
He exposes the villains to the deadly kryptonite rays. For long moments he stands while they beg and plead for him to stop. Zod's claim that the others duped him leads Quex-Ul to crush the life from him so that he dies by Quex-Ul's hand. Zaora offers to be Superman's slave and show him pleasures undreamed, but she too weakens and dies. Superman stands resolute at his task until all signs of life are extinguished -- only a tear escaping from Superman's eye shows his sorrow. Burying the three bodies, he prepares to leave.
Many fans were, of course, outraged by a story in which the iconic Superman intentionally kills. The justification for Byrne's story -- that this would give a strong, realistic basis for his code against taking human (or any sentient) life -- did not sit well with fans who believed that Superman's moral code had stood the test of almost 50 years without the necessity of murder.
We all know that superheroes do many absurd things. The shots that Iron Man takes would be fatal shots in reality. But when a character who feels invincible slams into another character who feels invincible, that takes away the real force of each punch and makes everything feel weightless. It's not always the case but there's a good number of times where different powers interact off of one another in ways that you can't predict or they take something routine like someone bailing from a car and just go the extra step. In the DC films, every character is a blunt instrument without pause, repeatedly doing the most obvious thing.
Another interesting point is that Ultron is actually worst version of Tony himself. Ultron is insecure and has father issues too like Tony does. In this case, Tony being Ultron's "old man", so to speak, is object of anger. If any good in Tony has to survive he has to fight Ultron i.e. his darkness.
And since Ultron is shown without a nose, which means its behaviour is characteristically brazen. (A well-defined nose symbolizes good character). Ultron doesn't only think that its a gift to the World; Ultron thinks it is a Supreme being. Hence, it feels it can take human life to "change" the World. Vision who was brought to life by Thor (like Dr. Frankenstein), on the other hand, is a metaphor for Divinity, a non-human and synthetic entity. Vision and Ultron both have no real desires as emotion is an abstract idea to them.
Steve Rogers (metaphor for a weak pre-WW2 U.S. economy) believes in keeping his values strong even if that means he has to suffer. When he is given the super-serum (which magnifies all innate qualities) he becomes Captain America, making him the world's only Super-powerful human fighter (metaphor for old U.S. which became a Superpower economy after WW2). His blonde (golden) hair symbolizes respect and pride. However, it can sometimes lead him to become self-righteous, narrow-minded and arrogant which is why he won't make it without his indestructible silver shield (symbolizing purity of human values and rights) which he often needs in order to defend himself. But the shield can also be used against him as was by the faceless (symbolizing soul-less) Winter Solider.
He may not be the cleverest or the sanctified person in the room but he is a virtuous person who has experienced numerous battles. He also reflects a lot about his actions and is willing to self-sacrifice for others. He believes in standing up for free-will (liberty) against tyrants who want to remote control people by preemptively attacking and through censorship (in the name of safety and peace). He also believes that everyday people are good and they deserve second chances (e.g. Natasha Romanova/Black Widow, Bucky Barnes, Wanda Maximoff/Scarlet Witch & Scott Lang/Ant-Man). Eyes are the windows to one's soul so since Captain America has tiny green in his blue eyes, means his soul is renewing like spring-time or its a little rotten.
Sam Wilson (Falcon) character is the U.S's World War 1 concept of "Uncle Sam" or "Brother Jonathan"; a personification of the metaphor for the U.S. government's highest ideals (i.e to be a well-liked, trustworthy and impartial political institution). He may well resemble the bird of prey found in North America, the Bald Eagle.
This is why Ant-Man and Spidey are so relevant, they both feel thankful and are self-aware because they don't carry any hubris. Hawk-eye importance is in grounding and humanizing everything. He has no such super-powers but is just a man with a bow, fighting alongside these powerful superheroes. He is only human, with human weakness but he is the only one who is fighting for his family and to make the world safer for his children. He represents the common man who doesn't shy away from his responsibilities especially when times are difficult.
Note: Wanda Maximoff/Scarlet Witch symbolizes teenagers as a whole.
Agent Peggy Carter is personification of U.S.'s aged and weak motherland (aka Great Britain). By showing her going through dementia, it means that the Brits today have memory-loss about their sacrifices in history and have almost forgotten what it means to be British.
Since the British Empire is already dead in the real world; ts personification: Agent Peggy Carter is also no more. For the U.S., the old connection with its first love: Britain is "buried". However, I feel, since Agent Carter and Howard Stark were two of the founders who build S.H.I.E.L.D. which eventually itself got corrupted and betrayed from inside. Its only fair that the compromised old order no-longer exist. The reality is also that the U.K. has evolved into a stronger nation (mutated like the X-men) and the good British values will live on. Sharon Carter (is the personification of the current U.S.A.) with whom Captain America is forming a new relationship with and starting his life once again. I think, the purpose of her character is indeed of a protector or a "nurse".
S.H.I.E.L.D. and Hydra: In Christianity, serpent or snake symbolizes the Devil due to its the duality of it being a "crawling animal", although its a very old symbol that is found in many ancient cultures like Egypt, Mesopotamia and Greece (symbolizes fertility, regeneration, protector of crops). Hence, both the organisations had to be destroyed, for if one exists, so will the other.
Thanos is a metaphor for the Devil. We know Odin has one Infinity Gauntlet, Thanos will have the other. Thor is a metaphor for the humble devotion to God. Hence, he has highest moral standards. His greatest fear is that he will get corrupted and so keeps himself very disciplined. But when he falls he will be "resurrect" at some point.
To some, the suit looked like a smooth, candy-coated CG mess, while others immediately recognized and appreciated the Silver Age-inspired design.
The cool thing about the Civil War Spider-Man suit (besides the extra cartridges for his web-shooters) are the mechanical eyes. You can hear them whir as the black borders on the lenses contract, amazingly, from a John Romita-sized eye to a Steve Ditko-sized eye.
The entire look is more evocative of Spider-Man’s classic comic book appearance than any he’s sported on film thus far. It’s a nit-picky thing, but Maguire’s webs were thick, they were raised up off the surface of the fabric, and they had a metallic sheen about them. The overall effect looked nice on film, but it was nothing like the understated designs comic book fans were used to.
Marc Webb’s reboot had Andrew Garfield clad in a radically different suit. The webbing was downplayed this time, but the suit looked like it was made from genuine basketball skin.
The eyes’ size and shape are almost a perfect copy of Spidey’s iconic appearance. The eyepieces have super thin flaps that expand and contract. It’s hard to tell if they’re metal or rubber or something else, but you can clearly see that they’re separate pieces layered atop one another that slide, extending or retracting.
Traditionally, Spider-Man has carried just two disposable items: web shooter refill capsules and Spider-Tracers. The former are what we believe to be on display in the movie. The latter are tiny, spider-shaped devices that Spidey attaches to enemies to track their movements.
Tobey Maguire had organic web shooters. Andrew Garfield had futuristic shooters that should have been far beyond the ability of any teenager to create alone. The new shooters are big enough to stand out on Spidey’s wrists, but not so much that they look silly. We can’t see the underside, where the actual shooters are, but they appear to be housed in leather straps, not unlike a hipster wristwatch.
The boots are separate pieces, or at least they’re being presented that way. It’s imperceptible in the trailer, but a close-up zoom shows that the boots are slightly raised from the pants around their top edges. Combined with built-in soles, the overall impression is that they’re real boots that aren’t sewn to the suit.