Skip to main content

Man of Steel




















After seven years, Superman made his triumphant and controversial return to theaters. And he split both fans and critics down the middle while doing it. I normally tend to jump on the hate bandwagon, but I actually like Man of Steel quite a bit.

So the movie opens with the destruction of Krypton, which grabs the audience’s attention from the very start. Hans Zimmer’s glorious score blasts through the speakers, and the movie gets off to a solid start. Like every other Superman adaptation in recent memory (by this I mostly mean Smallville), Clark eventually sets out to discover what the heck is going on with him. His search leads him to the site of a crashed alien craft from Krypton, where he coincidentally runs into Lois Lane and is forced to expose his abilities. And so she sets out to find him and he sets out on a journey of self-discovery. Meanwhile, a rogue Kryptonian group led by General Zod shows up and demands that humanity hand over Superman, and so the plot is set into motion.

First, the good things. Henry Cavill does a great job with his role, making Superman seem almost human and easy to relate to. The rest of the cast does a fine job as well, but really, this is Cavill’s movie, and it shows. Zimmer’s score is also excellent, as it manages to give Superman a new, memorable theme and set the tone for the movie quite nicely. The writing is solid, the pacing is good for the most part (I’ll get to this in a minute), and the direction is confident. The character development is handled pretty well, and the character motivations work.

Now, the bad things. As I mentioned above, there are some pacing issues, and most of these come in the first half of the movie. It basically follows Clark around as he seeks to discover who he is, and so when he does finally become Superman, it doesn’t feel earned, really, and seems forced. The scene in which he finally becomes Superman basically goes like this: “Hey son. I'm your dad. You're great and you were sent here for a reason and stuff.” “Great! I'll be a superhero.” epic music blasts Nothing about it feels emotionally rewarding, and that’s a critical flaw. Nevertheless, it does manage to make us sympathize with Clark, and this was no easy task to accomplish. So, kudos to the writers for that. Secondly, I sometimes feel that the end battle goes on slightly too long. It clocks in at nearly 40 minutes. However, it has to be taken into account that there’s been very little action before the finale, and in some ways it feels necessary. It certainly couldn’t have hurt to trim it by 10 minutes or so, however.


So, to sum it up, Man of Steel is a pretty solid movie. Not great, but certainly good. The dark tone works well, and doesn’t feel forced, which can’t be said for Batman V. Superman. The character motivations all make perfect sense, and the plot isn’t convoluted. It’s a relatively straightforward, simplistic superhero movie. Its strengths lie in the facts that it’s emotionally rewarding and does truly feel like a fresh take on Superman. Do I recommend it? Definitely. I’m giving Man of Steel 3.65/5 stars.

Comments

Popular posts from this blog

Star Wars: The Force Awakens

Oh, The Force Awakens, you really thought you could show up on the scene and not be polarizing. You were so wrong. Spoiler alert for anyone who, by some magic, hasn’t seen this movie yet, because I’m about to dissect the heck out of this film and also The Phantom Menace’s plot. Let’s jump right into the story. The evil First Order has tracked a map containing the coordinates of the location of Luke Skywalker to a planet, where the Resistance races against time to get the map first. The Resistance pilot going after the plans, Poe Dameron, is captured; his droid, however, escapes with the map. Sound familiar? Well buckle up, kids. Familiarity is about to slap us in the face. Repeatedly. From there, the pilot is rescued by a dude in stormtrooper armor (to be fair, he is a stormtrooper), Finn. He’s a traitor to the First Order, and together they escape. The droid with the map, meanwhile, has made his way to a young adult female (why

Tomorrow Never Dies

Tomorrow Never Dies boasts what may be the most absurd plot of any Bond film. The head of a media outlet tries to start wars in order to have a monopoly on the media coverage of them. If you can’t comprehend the absurdity of that, let me try to give another example. CNN starts World War 3 and has journalists in place to report these events before anyone else can, and no one on the face of the earth thinks that’s shady in any way, shape, or form except for MI6. The question we should all be asking ourselves is how the heck this movie managed to actually be kind of good with a plot like this. The opening sequence is not quite as exhilarating as we’ve come to expect from Brosnan Bond movies, but it’s competent enough. From there, we’re plunged directly into the story. The first act takes its time, explaining delicately in a detailed manner exactly what the media mogul’s plan is, and how he’s going to carry it out. His plot may be absolu

Dunkirk

Let’s be honest. It doesn’t matter what a Christopher Nolan movie is about; if he directed it, we’re going to watch it. Dunkirk focuses on an actual historic event, a first for Nolan. He executes it beautifully. Also, this is spoiler-free. Dunkirk, like many (or maybe all?) of Nolan’s films, places emphasis on time. In Dunkirk, three story threads are followed, each occurring over a different duration of time, but all converging in the end. This can make for a slightly confusing or even frustrating (in parts) narrative, but most of the time it’s all relatively easy to follow. I’ve thought about it for quite some time, and I’m quite certain that is done both for the sake of heightened realism and tonal consistency. The three interweaving plot threads help greatly in keeping the story interesting, and all three’s contributions to growing intensity make for one of the most claustrophobic and uneasy films I’ve ever seen. Because o