Man of Steel (2013, Zack Snyder)

man-of-steel

Spoiler warning: these reviews reveal plot twists.

Clark Kent has always known he’s special – but he soon learns that his extraordinary powers are because he’s from a distant planet…

Good guys: Kal-El is born in the first scene. When his home planet, Krypton, is threatened with destruction, his parents send him to Earth for safekeeping. He’s adopted by a Kansas couple, the Kents, who call him Clark. He occasionally uses the superpowers his alien heritage gives him – saving his friends after a bus drives into a lake, for example – but his new dad implores him to keep his powers secret, even if that means letting people die. As a grown man (Henry Cavill), Clark drifts from job to job – fisherman, barman, unspecified helper at a scientific outpost. He miraculously saves some workers from a burning oilrig, then moves on before questions can be asked. At the outpost, an alien spacecraft has been discovered in the ice. It’s from Krypton and contains a hologram… type… thing… of Clark’s dead biological father, who tells him his history and gives him a skin-tight blue outfit with a red cape. This dad wants Clark to reveal himself to the world, leaving Clark in a quandary. Then Kryptonian crim Zod shows up and calls him out. (This happens when Clark is 33 – just one of a few messianic references.) After a very long fight between the two, Superman – as he’s been dubbed by some soldiers – kills Zod by twisting his neck. Clark then realises he needs a job that will let him go incognito into dangerous situations, so – despite having no experience or qualifications or degree or CV or references or previous published work – gets a job at a national newspaper. Cavill makes a good stab at the role: he’s likeable and deserves a better film. Meanwhile, the talented Amy Adams is wasted as bland journalist Lois Lane. She meets Clark when she reports on the discovery in the ice. Once back in Metropolis, she reminds editor Perry White (Laurence Fishburne) that she’s a Pulitzer Prize-winning writer. From the lifeless article she’s just read out to him, it’s difficult to see how. She then tries to track down a vanished Clark and finds him at his adoptive father’s grave. When Zod arrives, he demands that she join Clark as his hostage – this seems to be solely so she can then later escape.

Bad guys: General Zod is a Kryptonian villain who stages a coup, but is then tried and imprisoned in the Phantom Zone. He’s sent there in a spaceship that looks like a penis but later escapes… because… plot. Heading to Earth to look for the Codex (a DNA database or something), he threatens to destroy the planet if he doesn’t get what he wants. Rather than give an acting performance, Michael Shannon just shouts a lot.

Other guys: Clark has two fathers, each played by Robin Hood. Russell Crowe trots out his vaguely British accent from Master and Commander as Kryptonian dad Jor-El. He’s more kickass than the Marlon Brando version, but is killed during a punch-up with Zod. He later appears to his son (and Lois, and Zod) as an interactive, omniscient hologram. Meanwhile, Kevin Costner plays Kansas farmer Jonathan Kent, and it’s a decent performance. When a very sudden tornado strikes, Clark chooses to watch Jonathan die rather than – as earlier with the school bus and later with the oil rig – risk people seeing him do something superhero-y. Diane Lane plays Jonathan’s wife, Martha. Richard Schiff from The West Wing plays scientist Emil Hamilton: it’s a tiny role, but he’s the classiest thing in the film.

Best bits:

* In a flashback to his youth, Clark can’t cope with his hypersensitive sight and hearing – he sees people’s skeletons and veins, and hears every tiny noise all at once.

* The early scenes of Clark wandering from town to town – presumably in New England – have a gentle, airy, soft-rain quality.

* Clark’s first test flight (the music cue is terrific).

* Oh, look: it’s Harry Lennix from Dollhouse as an army general.

* Faced with Zod’s ultimatum – reveal yourself to the world or risk innocent lives – Clark goes to visit a priest. When Clark reveals that he’s the alien Zod is looking for, the priest gulps.

* Lois is just about to refer to her new friend as ‘Superman’ but gets interrupted.

* In an interrogation room, Clark can not only see through the two-way mirror but also into the next room where some soldiers are preparing a sedative.

* The dream-world image of Clark sinking into a massive pile of skulls.

* The fake Jor-El talking Lois calmly through her escape attempt.

* Lois tries plugging Clark’s zip-drive thingy into a Krypotonian panel, but it gets stuck. “It’s supposed to go in all the way!” she cries with a straight face.

* An oil tanker seen in the interminable fight sequence at the end has a Lexcorp logo on it. It made me think of Gene Hackman and I smiled. Soon afterwards, we get a shot of a satellite with a Wayne logo: Batman will be in this film’s sequel, due out next year.

* After Clake has got his new job, Lois knowingly says to him: “Welcome to the Planet.” He replies, “Glad to be here, Lois” – the final line of the film.

Review: Positives? Well, Henry Cavill and Amy Adams are likeable enough. Kevin Costner’s solid too. And the film’s flashback structure works quite well – we cut to them when they’re relevant to the narrative rather than in a strict chronological order. But on the whole, this is mediocre stuff. It was produced by Christopher Nolan, who also gets a ‘story by’ credit. The magic he brought to his Batman reboot series is woefully misjudged here. In the same way that a pantomimic approach didn’t fit the film-noir character of Batman in the 1990s, a sombre, earnest take on Superman is really missing the point of his sunny, optimistic, noble story. The film also throws away the template’s best element: the lead character *being* Superman but *pretending to be* Clark Kent. Here, he’s Clark until the halfway point, and then he’s Superman. An even bigger problem is how it’s staged by director Zack Synder. The prologue on Krypton sets the scene. It’s full of technobabble about meaningless MacGuffins that have presumably been discussed at length in story meetings but struggle to punch through in the film. There’s also a massive amount of computer-generated sets, backdrops and creatures. There are lots of irritating handheld camerawork and fake crash-zooms on effects shots. It’s very poor cinematic storytelling. In fact, the cinematography is mostly terrible throughout – the frame is often so full of stuff that all becomes confused and meaningless. And just when you’re wondering why you’re bothering to continue, you get a 35-minute action climax, which is relentlessly dull disaster porn. CGI buildings get destroyed and CGI people get thrown through the air with masturbatorial glee. It’s like watching a Transformers film – or someone else playing a computer game. Character, storytelling, wit and panache have all been left far behind. At one point, Superman races to save a guy falling from a helicopter. Later in the sequence, he couldn’t give a shit about entire skyscrapers being levelled by a spaceship *he* crashed.

Three broken necks out of 10.

Next time: Everything is awesome!

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