The It Factor: In Defense Of Andy Muschietti Directing ‘The Brave And The Bold’
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In early 2023, James Gunn unveiled the slate for the first chapter of the newly minted DCU (titled Gods & Monsters). This is where Superman, Supergirl, Lanterns, and the like were all officially confirmed to be in development. Among these projects was The Brave and the Bold, a film centered around the DCU Batman and his son, Damian Wayne. Many fans have wondered (and some still do) whether Robert Pattinson’s Batman will be merged into the DCU. Gunn has repeatedly stated that Matt Reeves’ Batman and the DCU Batman will be separate entities, as per Reeves' wishes. Shortly before the release of The Flash, scoopers and leakers began sharing rumors that Andy Muschietti would direct the film. He would be officially confirmed a day before The Flash was released.
However, Andy’s involvement with the film has been the subject of scrutiny. In early 2024, The Hot Mic co-host and film commenter John Rocha shared a rumor he heard that Muschietti was no longer involved with The Brave and the Bold. His co-host, veteran entertainment reporter Jeff Sneider, said it “passed the smell test.”, though Sneider would later contradict Rocha’s information. The following summer, website Nexus Point News reported that Muschietti was co-writing the film’s screenplay alongside Alien: Romulus co-scribe Rodo Sayagues. Gunn would debunk this the same day it was reported. By the end of 2024, Andy Muschietti stated that the film was postponed due to his commitments to other projects and not to step on Matt Reeves’ toes. In early 2025, Sneider, YouTuber Grace Randolph, and long-time leaker ViewerAnon all shared a rumor that James Gunn wants Robert Pattinson to be the DCU Batman. After months of speculation and rumors, Gunn reiterated that Pattinson would not be in the DCU, respecting Matt Reeves’ wishes to remain separate from a wider cinematic universe. According to Gunn, The Brave and the Bold has a new writer, though, as of the writing of this article, his identity is unknown. It should also be noted that Muschietti is not actively involved with the film due to his commitments to the science fiction film Drift. Though DC Studios co-CEO Peter Safran has stated that Muschietti will be shown the script when it’s done.
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Reports and discussions of Andy Muschietti’s involvement, or lack thereof, with The Brave and the Bold, are a very easy way to get people heated. You know, because there just weren’t enough ways to make DC fans mad about something already. On the one hand, scoopers and fans who enjoyed The Flash will not hear any alternatives or possibilities that Muschietti could be off the film. On the other hand, people who disliked The Flash will cling to any crumbs that suggest Mushchietti is no longer involved, whether it be through inference, coping, or just outright lies. That’s where nuance comes in!
Is it a possibility that Andy Muschietti won’t end up directing The Brave and the Bold after all is said and done? Yes, of course! Things happen, plans change, and visions don’t always work out. Perhaps the film moves in a direction that Andy Muschietti isn’t interested in, or possibly Gunn and Safran will come to believe Muschietti isn’t the right choice for the project. Is it possible that Andy Muschietti will stay on the project and see it through to the end? Of course it is! Despite what the angrier variety of DC fans may believe, Muschietti is still valuable to WB. He and his sister, Barbara (not his wife, please stop referring to her as such), alongside Patty Jenkins’ Wonder Woman co-writer Jason Fuchs, have developed an It prequel series for HBO, titled Welcome to Derry, which is set to begin airing this October. Additionally, the Muschiettis are executive producers, and Andy directed four of the nine episodes, including the pilot. Now that doesn’t sound like Andy Muschietti is just being kicked to the curb, now does it?
I’m on the record that while Andy Muschietti isn’t my top choice to direct a DCU Batman film (I wanted Bradley Cooper), I will root for him to make the best film possible, assuming he stays on. This mentality should be adopted by other DC fans who aren’t yet convinced that Muschietti can bring The Brave and the Bold to life. But why is that? Why are there so many fans who are not just uninterested in an Andy Muschietti-directed Batman film, but are straight up offended at the prospect?
That’s why we’re here today!
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It’s no secret that in fandom spaces, the mentality “You’re only as good as your last film” is very popular. Maybe a little too popular. It’s almost impossible to find fans who are willing to engage in anything that even remotely resembles nuance. If you’re a director or screenwriter and your name is on a movie that was widely regarded as bad or mediocre, you’re labeled for life. For example, Marvel fans who are still bemoaning Michael Waldron’s continued involvement in the MCU due to Doctor Strange in the Multiverse of Madness, even though the film’s stars have been open about the excessive reshoots and rewrites that were beyond Waldron’s control. Staying in the Marvel realm, a large chunk of the fandom still won’t humor the idea of Chloé Zhao, Taika Waititi, Peyton Reed, or Nia DaCosta returning to the franchise in any shape or form when their recent MCU projects didn’t hit as much as some hoped. As Andor was airing its remarkable second season, a lot of people in the Star Wars fandom used it as a means to condemn Dave Filoni for simply making projects. They often resorted to calling his work “slop”, the ever-reliable term for media illiterate social media users who don’t know how to be normal. Do we even have to discuss Star Wars fans who are still convinced that J.J. Abrams and Rian Johnson are bad filmmakers with no talent, simply because they’re still upset about the Sequel Trilogy? No, I don’t think we do.
The purpose of this article isn’t to mock or condemn people who don’t enjoy everything. It’s perfectly fine not to like things, as long as you’re normal about your dislike of said things. However, once you start engaging in virtue signaling hyperbole, active dishonesty, or start using words like “glaze”, “mid”, “shill”, or “slop” (Seriously, can we please retire the phrase slop?), that’s when dislike turns into toxicity. This is where my frustrations with discussions that involve Andy Muschietti and Batman come into play. It’s exhausting that the simple act of giving Andy Muschietti the benefit of the doubt can result in your social media mentions being flooded with angry fanboys who act like The Flash was a crime against humanity. Is The Flash the greatest DC movie ever made? No, it’s not. But is it irredeemably bad? Also no. I agree with most critics that Ezra Miller (despite their off-screen antics), Michael Keaton, and Sasha Calle are all pretty great. I think Benjamin Wallfisch’s score was tremendous. And yes, like many critics, I felt Andy Muschietti’s direction was spot on. Muschietti’s knack for tonal balance is what ultimately prevents The Flash from completely falling apart. Amidst all the multiverse shenanigans and unfortunate-looking CGI, Muschietti ensures the film is infused with a healthy dose of humor and genuine heart. Scenes featuring Barry Allen and his mother are a significant highlight, as are those where Barry has heartfelt interactions with Supergirl and Batman.
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Speaking of Batman! A question you’re probably asking yourself at this point is, “Ok, but do a few good scenes in a mostly mediocre Flash movie mean you deserve the keys to Batman?” In short, no. But it also doesn’t mean it’s enough to rip a movie away from somebody. Fans of The Flash believe Muschietti should be given a chance with The Brave and the Bold due to his handling of Batman. And to be honest, it’s a strong argument. Andy has a lot of love and reverence for the Caped Crusader, as the Batman-centered action sequences are far and away the most memorable part of The Flash. Whether it’s the opening chase through Gotham with Ben Affleck’s Batman or any scene of Michael Keaton’s Batman being awesome, Muschietti’s love and respect for the character is undeniable. Seeing Batfleck go from his bike to jumping on moving cars to taking down common criminals in an armored vehicle showcases Muschietti’s knack for action scenes. The most memorable sequences with Keaton’s Batman are the jump from the Batwing and his fight with the guards in Siberia. Muschietti infuses Keaton’s Batman with a sense of speed and clarity that’s not only rare for Keaton but for Batman in general. He eliminates quick cuts and really gives audiences a bang for their buck. It’s also incredible to see both Affleck and Keaton’s versions of Batman be insanely tactical, adapting to every situation and even failing at times. Batman isn’t immortal and infallible; he’s a human being. Affleck’s Batman can be overpowered at times and hit by a car or two. Despite that, both versions of Batman are quick on their feet. The heavy use of gadgets is a delight as well. Sadly, Muchietti’s detractors will ignore all of that in favor of complaining about Ben Affleck’s suit or how Keaton’s scenes utilized stunt doubles. Cause you know, stunt doubles have never been used in a superhero movie before.
However, action scenes alone aren’t enough to make a director a good candidate for a Batman film. It’s Andy Muschietti’s handling of the character that makes the emotional scenes more effective. Ben Affleck isn’t in The Flash all that much in the grand scheme of things, essentially being a cameo. But after flying around, taking down bad guys, and kicking ass, Affleck’s final scene with Barry is one of the emotional cruxes of the movie. Barry Allen is convinced he can go back in time to save not just his mother, but also Bruce’s parents. Bruce warns Barry about the consequences of tampering with time in that manner. In an emotional performance, Ben Affleck’s Bruce Wayne lays out the central theme of the movie: “Scars make us who we are. We aren’t meant to go back and fix things.” Even Michael Keaton’s Batman has emotional downtime scenes. It’d be easy for Andy Muschietti and writer Christina Hodson (who ISN’T writing The Brave and the Bold) to throw Batman in the movie, give him some cool fights, and not do much else. However, it’s a testament to Muschietti’s affinity for character that two different versions of Batman serve as emotional anchors for the film, in addition to being badass.
And the DCU Batman deserves that caring directorial hand.
Image Source: The Los Angeles Times
It should be noted that Muschietti’s list of film directing credits isn’t very long. Aside from The Flash, he has only directed three other feature films: Mama, a 2013 film adaptation of a short film he also directed, and the It duology. It: Chapter 1 remains the most successful film on his resumé, both in terms of box office and critical acclaim. The film remains a genuine modern horror classic, ranking among the better Stephen King film adaptations. Being the highest-grossing horror movie ever made and likely to remain so for the foreseeable future doesn’t hurt either. Muschietti’s talent for tonal balance (much like in The Flash) was widely praised by critics. While It: Chapter Two may not have received the same critical praise, Muschietti’s direction was still considered a highlight. And yet for some reason, his detractors don’t think that counts.
DC Fans who believe Andy Muschietti is unworthy to direct The Brave and the Bold will not hear any argument that he is considered to be a talented filmmaker. Whenever someone mentions the It films, the standard response is to say he had no real role in their success, stating “the writers did all the work.” It’s well known that Andy Muschietti replaced the original director, Cary Joji Fukunaga, after he left due to creative differences. Fukunaga is credited as a co-screenwriter alongside Gary Dauberman and Chase Palmer. Many will argue that this is undeniable proof that Muschietti was merely a hired gun with no creative input. This is objectively incorrect. Fukunaga has mentioned that his version of It was more artistic, while Muschietti is on record about his influences on the film. Muchietti frequently cited the works of John Carpenter, Steven Spielberg, and Joe Dante as his primary inspirations for the film. It should also be noted that Gary Dauberman was hired to rewrite the screenplay to better suit Muschietti’s vision after Fukunaga’s departure. Both It films, for better or worse, are Muschietti’s vision. His heavy focus on the loss of innocence and love in the face of adversity wouldn’t be out of place in a Batman film that leans more on the fantastical parts of his mythos as well as his father-son relationship with Robin.
Muschietti’s detractors have yet to settle on a proper narrative for why he’s a bad choice for a Batman film. While they say he’s just a “studio yes-man” with no fundamental role in the success and quality of It, they simultaneously claim Muschietti is solely responsible for every problem with The Flash. Whenever you point out that Muschietti could easily pull off The Brave and the Bold with the proper time and resources, they refuse to hear it and say he should never direct another superhero movie. They often overlook that Andy Muschietti was the last director the studio approached after years of creative issues and scheduling conflicts, which led to a laundry list of potential directors declining to work on the project. They pretend the film wasn’t shot during the peak of the pandemic or that multiple Warner Bros. regime changes happened during production. It is not Muchietti’s fault that The Flash went from being the character’s debut solo film to being the Hail Mary move to save a floundering cinematic universe that was nearing its end.
Could he have stuck the landing a little better? Of course, he could’ve. However, to blame him for every issue with that movie is both dishonest and an indication that many DC films lack an understanding of how movies are made. If Matt Reeves were handed the keys to the Batmobile after his debut feature, The Pallbearer, came out, fans would’ve revolted as well. It’s perfectly ok to say you would prefer a director besides Andy Muschietti to direct The Brave and the Bold. However, you can do that without lying, as well as being well-informed about the topics you discuss.
As mentioned above, The Brave and the Bold has a new screenwriter, whose identity is unknown (Rumors have been circulating that it’s Academy Award-nominated screenwriter Drew Goddard). And to reiterate Peter Safran’s comments from a few months ago, Muschietti will be shown the script once it has been completed. It’d be unfair to give Andy Muschietti a Batman film only to take it away when his last movie failed. By that logic, James Gunn shouldn’t have directed Superman, considering The Suicide Squad (despite positive reviews) was a box office failure. It is essential to give filmmakers in the superhero space their due diligence and hope they succeed. Whether or not they do is up to the viewer, but only after the film has come out. If you spend all your time actively rooting for people to get fired or even fail, you’re doing fandom wrong. No matter the outcome, we can try to hope for the best that Andy Muschietti will indeed make a great Batman film. If you come away from this article with the temptation of calling me a shill or an “Andy Glazer”, I can’t help you. My best advice to you is to root for Muchietti, the writer, James Gunn, and Peter Safran to make a great Batman movie. Perhaps Welcome to Derry will serve as a means to prove to people that he still has what it takes.
Unless it’s announced he’s no longer directing the film, then this article was written for nothing. Please don’t do that to me, James. You too, Peter. Only time will tell if Muschietti will answer the call of the Bat Signal.
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