If half the battle is not looking silly in the suit, Henry Cavill
was pretty set from the get go.
That diversity of opinion seems appropriate to me, since I somehow found the film to be simultaneously infuriating and delightful. The reason for that is simple – nearly every major story impulse by the creative team (including director Zack Snyder, producer Christopher Nolan, and screenwriter David Goyer) comes across as a bold and laudable choice that somehow got mucked up in the execution.
Take, for instance, the film’s main thematic drive, which basically concerns two things – the ability to choose your destiny and the question of what the world will make of Kal-El/Clark Kent/Superman (Henry Cavill) once he is revealed.
On Krypton, where citizens are engineered for very specific purposes, Kal-El’s father Jor-El (Russell Crowe) predicts his son will choose his own destiny and that the people of Earth will embrace him as a guiding god and symbol of hope. On Earth, adoptive father Jonathan Kent (Kevin Costner) also believes Clark will choose what type of man he will become and that, whatever that decision is, it will change the world. However, unlike Jor-El, he is afraid about how the world will respond to a super-powered alien being.
So I get that Lois Lane is assisting the army and all, but why do
they give her a jumpsuit?
Ultimately, Clark is forced to out himself to the public because of the ultimatum proposed by chief villain General Zod (Michal Shannon), a Kryptonian he knows to have killed his birth father, which sort of defangs the whole choice thing. To be fair, he does get to choose how he responds, opting for the Jesus-like choice to put his faith in human kind, and the captive sequence that follows is one of the best (and most charming) parts of the movie.
Unfortunately, the film then quickly becomes an endless barrage of action, and it never truly explores the question of if this super-powered god will be accepted by Earth’s inhabitants, which is odd given just how much time is spent setting it up. Having seen the finished product, it seems the movie may have been better served by further leaning into the whole Christ analogy it pushes. I’m not saying this film needed its own version of the crucifixion and resurrection, but simply a little time showing humanity’s response to Superman and what to do with/about him. Sacrificing ten minutes of action to do so would’ve made for a better movie.
Having said that, the action is the most noteworthy thing about the picture, and what’s on display here is some of the best spectacle you’re likely to see on film. The sheer scale is mindboggling and the ambition is commendable. Man of Steel opens with a visually imaginative (and surprisingly substantive) sequence in Krypton and it ends with a 40-minute throw-down action sequence that is awe-inspiring in its depiction of collateral damage, which a consulting firm recently estimated would result in $700 billion in physical damages, one million injured victims and over 100,000 deaths.
|There's a good drinking game to be made based around |
product placement in this movie.
*For those counting, that makes two extremely important and emotional moments for the lead character that are totally undermined by the immediate lead up to them.
Then, of course, there’s the way the film has revised the whole approach to Lois Lane. Here, it’s actually believable that Lois (Amy Adams) is a crack investigative journalist, because she’s not depicted as a dummy who doesn’t realize she’s working side-by-side a fellow reporter who looks just like the superhero she spends so much time with. Instead she’s a smart, driven reporter who, after getting her life saved by a super-powered mystery man, begins to methodically trace his tracks and discover the truth.
Once she does, Lois gets three solid scenes with Clark –one where he explains why he doesn’t want her to expose him to the world, one where she interviews him as army officials watch on, and one where she comforts him in a moment of total anguish after the train station climax. They’re all strong moments, but because of how much little interaction they have besides that, the romance angle that gets grafted onto the story seems a giant miscalculation. The film does a good job of showing how she could fall for him, but not vice versa, and so the kiss moment rings false. More restraint would’ve been wise, as the three aforementioned scenes would’ve made strong foundation pieces for romance exploration in a sequel where she (and we) will assumedly learn more about the Clark Kent side of Kal-El.
The film offers what are arguably definitive takes on
Superman, Lois Lane and Jor-El. Zod? Not so much.
Adams, Crowe, Costner, and Christopher Meloni (as a Detective Stabler-like army guy) all provide great work, with Costner being best in show. In fact, given the amount of time spent exploring the motivations of Crowe’s Jor-El, more time with Costner’s Jonathan probably would’ve been welcome for balance sake. Meanwhile, Zod has a refreshingly complex and relatable motivation for what he’s doing, and they’ve cast a great actor in the role, but the whole thing is brought down a peg by some convoluted business concerning a genetic codex and Shannon’s decision to dial everything up to 11. Like Crowe, Shannon is saddled with a lot of expository dialogue, but unfortunately, he doesn’t come across nearly as well.
Overall, I’m more positive on the film than negative, but I feel like I can’t really judge the thing until the inevitable sequel arrives. If that sequel builds on what’s here and further explorers the notions of how Earth is responding to this guy, the film may seem better in hindsight. But right now Man of Steel seems a collection of good ideas and standout moments enveloped in a half-baked film. B