Whenever The Scargiver‘s storytelling aims for the capital G-Grand Space Opera, it falters. Consider Mordred’s final clash with Arthur in Excalibur for the fate of Britain in comparison. It isn’t exciting because Britain’s present and future is on the line.
Who else would so shamelessly contrive a movie like Batman V. Superman: Dawn Of Justice by painting a grotesque tapestry from Frank Miller's The Dark Knight Returns with the brush of John Boorman's Excalibur?