Henry Cavill, Amy Adams, Michael Shannon, Russell Crowe, Kevin Costner and Diane Lane.
In yet another revival (and by revival we mean crossed-fingers in hope of keeping a possible cash cow of a franchise aloft) of the Superman legend, a wayfaring Clark Kent must keep his alien origins and fantastic powers hidden from the world at large. But when the nefarious General Zod plans to conquer Earth…well, you know.
Hmm. According to my records, this would be the third Zack Snyder film to go under the microscope here at RIORI. Also, this would also be one of several (and several more in my Netflix queue) movies based on comic books to go under the aforementioned lens o’ snark. I don’t know if it’s too soon to spot patterns here, but on both points, it seems rather suspect Zack keeps crossing my path. I’ll let you know more when my tests get back from the lab (no, not those tests. Jeez).
Something else I feel I should mention which is kinda off track. I’ve been getting a bit of flack about maintaining this weblog; about keeping the posts coming at a regular rate. Not to whine, but I have a job with a ridiculous schedule, which does not lend itself much time to sit down and actually watch these darned films. I usually get up at the ass-crack of dawn every morning and it’s only late at at night that I can wrangle the TV away from my family, let alone on a weekend for an evening’s viewing (I know I could just stream them on my iPad, but I got a big-ass TV with surround sound, so nyah). I’m tryin’ okay? Feel free to leave any comments behind to smack my wrist.
Why is it such a hit-or-miss prospect with comic book movies? Also, since the turn of the century, why weren’t more comic book movies made before? I know, I know. We had Richard Donner’s take on Superman and Tim Burton’s gothic Batman films, but that was it for over 20 years. Now since 2000, we’ve been inundated with the lot of ‘em. Took a while. You’d think they’d be naturals for cinema; they’re already storyboarded for pity’s sake. Some would argue that the special effects required for today’s comic book movies just weren’t available back then, but I think that’s weak sauce. Like I said, the early Superman and Batman films did just fine. Maybe mainstream audiences would turn their nose up at such a niche market? Not if it was marketed right, and most were. Maybe it was finding the right actors? That’s what casting agents are for, and to continually hammer this nail: Michael Keaton as Batman? Well, yeah.
I think Richard Donner had a stroke of genius in casting Christopher Reeve as the Caped One. An unknown actor who was mostly skilled in soap operas took to the skies with flourish and humor (and what else are superhero films but gussied up sci-fi melodramas?). Some of the more plausible comic book heroes were portrayed by actors who weren’t necessarily household names at the time (i.e.: Hugh Jackman, Tobey Maguire, Brandon Routh, etc.) as opposed to big name stars (I’m looking at you Affleck). When you cast an unknown, there are no preconceived notions about how the actor acts. It’s a clean slate. It works doubly so when the actor is put to task to portray an already established character, like Superman.
Henry Cavill did so. But quite left of center. More of that later. This was a Zack Snyder film after all, so what would you expect?
There’s no need to get into the movie’s baseline. We get it. Dying planet. Lost civilization. Last hope. Earth bound. Kind couple. Great power. Humanity lessons. Alien origin. Learn, adapt, overcome. Behold, Superman. Now let’s get onto the meat.
I’m not going to overview the story here. It’s not done out of contempt, believe me. It’s just that, like with my critique of Superman Returns, the folderol of explaining the history of Superman is pretty superfluous. If you’ve been extant for the past 75 years, you know who Superman is. Now let’s get on to it.
Man Of Steel is at heart an existential drama. For 75% of the movie, we get to mull over who Superman is when he’s decidedly not Superman. Henry Cavill, like Brandon Routh is an extraordinary find. An actor devoid of a complex résumé to pick apart. Clean slate. And here we have an incredibly malleable story. We start at Krypton’s end, a very stylized setting which, I gotta admit, is pretty striking. It echoes the first movie, but in a very stark way, kind of like David Lynch’s take on Dune. But it also has the intended thrill of a Zack Snyder spectacular. The whole wad is muted in colors as well as performances (save Shannon’s). In fact, the whole damned movie is pretty stark, but it works to its advantage. Again, more on that later.
Apart from the scenery chewing form Shannon, life on Krypton varies from cyber-idyllic to Orwellian nightmare, and a lot of climate-change prophesying to hit a message—some message about ignorance—home. Don’t know why. Figures it’s trying to connect Earth and the homeworld, well, home. Probably a disconnect attached to the Moses-like analogy suggested by the comics.
I’m looking too far into this. Onto Cavill…
He did a serviceable job. He didn’t honor the legacy of Reeve (or even Routh), but he got to the aforementioned meat of the story; the stuff the whole Superman sh*t pivots on. It’s namely the light of hope, the beacon, that could ignite the ideals of humanity into both light and action…only to be ignored. But Supes just keeps on tryin’, one crumbling building at a time.
But Steel was also very dry. It almost chafes. Man of Steel is a rather dour film, almost overly serious, almost pulse-pounding, almost a blockbuster. But we can’t blame Cavill. He made for a rather…different Superman. A reluctant hero, all at sea about his station in life, and well aware that he is not of this Earth. A lot of soul searching goes on here, and Cavill acts with his face so well, you can go along for the ride. He’s got a certain magnetism about him that makes the audience actually curious about what’s going to happen next to the po’ faced, conflicted Kryptonian.
The first act is very subdued. Keen on the angst. An image that sticks with me is Clark finding himself on the beach of New England fishing village, looking for clothes to replace the stuff he lost rescuing a bunch of oil drillers. He’s kind of lost, at odds with himself, and the dulcet tones of Chris Cornell’s “Seasons” illustrate that no matter how powerful Clark is, he still feels lost, on the outside.
Unlike its predecessor Superman Returns, Man Of Steel generates empathy for our hero, not awe. It’s gotta be hard with all those crazy powers to keep it under wraps in a prejudiced world, even if you’re just trying to do things for the greater good. Cavill does angsty very well, above the usual cliché that has become with reluctant heroes an overdone device. He made a “different” kind of Superman. One overly reluctant; uncomfortable having powers and not really reconciling with that fact. He’s definitely feeling his alien roots up and down here; being an outsider. It’s kind of weird watching a superhero wandering around in existential crisis. It’s hard to root for this Superman, only to pray instead.
Another contrast to Superman Returns; that film nodded a lot to the mythos. Man Of Steel seems hell-bent on retconning it. To clarify, “retconning” (short for retroactive continuity) is the practice of comic book writers to take creative license and alter a significant plot device or a piece of a character’s mythos to better serve current storylines. For example, Uncle Ben never told Peter Parker “that with great power comes great responsibility;” it was in narration, not dialogue. Later it was changed to Uncle Ben. That being said, Steel takes pains to hammer the point home that this is the definitive Superman story. Or at least it should be.
But I’m not sold on the whole Kryptonain history/embellishment either. There is a definite feel of Snyder trying to put a square peg in a round hole. By reinventing the wheel, and with it’s slate-grey view of the world, the entirety of what makes Superman fun has been stripped away. This is one of Snyder’s more serious efforts. Deliberately so. And that is funny to say since most of Snyder’s films have serious undertones, but peppered with frivolity. None of that claptrap in Steel. We’re down to business here, and that business is becoming Superman in a hard, cold world.
Oh, and also thwarting General Zod’s quest to conquer the planet.
Steel got a lot of flak—and I mean a lot flak—for gratuitous amount of collateral damage during the big fight scenes between Supes and Zod’s cronies. As was said by the pros, a lot of collateral damage. Spectacle over sensibility. Even made me squirm. Not to say that the fight scenes weren’t exciting. Snyder hasn’t lost his flair for action while trudging through the existential swamp. Exciting yes, but also overwrought. More hammering away at the heaviness of the movie’s tone. They don’t just have to be action shots, they gotta feel as if every punch means something.
Enough about the melodrama, let’s talk about the acting. We’ve already dissected Cavill enough, and he is handily backed up by a variety of solid actors. It took a while for the new Jor-El (Crowe) to earn my attention. For me, Crowe will always be Maximus. Unlike that gladiator, Crowe was more soft spoken as Jor-El, the avatar of all things Kryptonian. The quiet way about him (even when sh*ts hitting multiple fans) I found rather, dare I say, charming. And Crowe is not a charming guy.
A lot of scenery chewing from Shannon, and the climax is the stuff of…well, comic book heads would leap out of the seats in horror, spilled their Jubjubes everywhere: SUPERMAN DOES NOT KILL! (screams, rending of garments.) Even I had trouble with that one. But overall, Shannon was a fun villain, one you love to hate but also one with a very specific agenda. His motives are clear, his execution flawless and he has a commanding presence necessary for general and/or comic book villain. I like that earnestness.
Amy Adams was a misstep in casting. She’s a great actress (and even did some voice acting for Justice League Unlimited. Really) but lacks any believable drive to get to the heart of the Superman scoop. It’s almost all a walk in the park as her Lois Lane just happens to be in the right place at the wrong time on he trail of the alien.
As for technical flourishes, there was a lot of neat camerawork and editing in Steel. Seeing how the plot for the first act of the movie is not linear, it took a lot of cool edits to keep the story floating (e.g.: Kal’s Earthfall, the “toner” bit). Along with tasteful uses of flashbacks, the flow of the film was right on. Two-and-a-half hours moved by rather smoothly. Good pacing.
This has had to be my most arch, stern, under the microscope kind of review. Man Of Steel is definitely not your father’s Superman movie. Any maybe that’s for the best. This was an interesting spin on the Superman mythos, highlighting the Kryptonian side rather that the adopted humanity Clark Kent so embraces. It made for a stark action movie, a lot of fist wrenching and teeth grinding, but it wasn’t boring.
Rent it or relent it? Rent it. It’s a character study of what it’s like to be a superhero with lots of stuff going boom. ‘Nuff said (wait, that’s some other comic publisher).
- Did the “scout ship” set borrow from Alien? Sure looked that way, and no doubt tying into the whole alien motif of the film.
- Enough with the Jesus Christ imagery already.
- This has got to be the best role Costner’s had in years.
- “A good death is its own reward.” Yeah. I know. Badass.
- What? No spitcurl?
- “Nice suit, son.”
- My pen died.
We go over the rainbow with James Franco AKA Oz, The Great and Powerful.