Man of Steel


I believe I can flyyyyyy...

I believe I can flyyyyyy…

(2013) Superhero (Warner Brothers) Henry Cavill, Amy Adams, Russell Crowe, Michael Shannon, Kevin Costner, Diane Lane, Laurence Fishburne, Antje Traue, Harry Lennix, Richard Schiff, Christopher Meloni, Ayelet Zurer, Dylan Sprayberry, Cooper Timberline, Richard Zetrone, Mackenzie Gray, Samantha Jo, Christina Wren. Directed by Zack Snyder 

 

Look! It’s a bird! No, it’s a plane! It’s a flying guy in blue tights! Superman is an iconic figure not only in pop culture but it can be argued in American literature as well. He represents the American ideal – powerful, invulnerable and unstoppable but just and fair as well. He was our self-image, America in the post-war years. One strong man against the world.

But times have changed and Supes has fallen out of style in favor of  the darker superheroes, particularly Batman. The optimism and idealism of Superman seemed to be something of an anachronism when the successful superheroes were brooding damaged men who faced demons who ravaged their souls. They may have superpowers but they have crappy lives just like us.

Resurrecting Superman in a film form was a daunting task. Superman Returns back in 2006 was considered a failure, unable to make back its pretty steep production and marketing costs at the box office. The studio assigned Zack Snyder, maker of 300 and Watchmen to take the reins of the property and hired Christopher Nolan who made the Batman franchise one of the most profitable for Warner Brothers as an executive producer (and co-writer of the script along with David Goyer). The execs at DC Comics and Warner Brothers were fully aware that while they’d had success with Batman, none of their other comic book properties had taken off yet and with Marvel essentially printing money with every film release, DC knew that they need to get in on that action and have a superhero hit that doesn’t have Batman in it.

Krypton is dying. Jor-El (Crowe) knows it as does his friend Zod (Shannon), general of Krypton’s military. The dithering High Council of Krypton doesn’t seem to understand the gravity of their situation so Zod acts by attempting a coup. In the chaos, Jor-El steals the Codex, a genetic directory of Krypton and downloads it, sending his infant son – the first naturally born Kryptonian in centuries – in a rocket headed for an obscure system orbiting an unimportant star. Zod is sent to the Phantom Zone along with his followers, chief of whom is Faora (Traue), after the coup fails leaving Jor-El murdered by Zod. Lara (Zurer), Jor-El’s wife and mother of the infant Kal-El (now rocketing to Earth) can only wait helplessly for her world to end, which it does in spectacular fashion.

The infant lands in Kansas and is raised by farmers Jonathan (Costner) and Martha (Lane) Kent. Realizing quickly that this boy is not only from somewhere else, he is possessed of great powers – x-ray vision, super hearing, heat vision, super strength and the ability to fly. Pa counsels young Clark (which is what they renamed Kal-El) to hide his powers from a world that was clearly not ready for them and although it involves a lot of soul-searching, loneliness and turning the other cheek, Clark complies.

Now grown to manhood Clark (Cavill) wanders around, doing odd jobs and flying below the radar. His father, who passed away some years before, would definitely approve but Clark is haunted by questions of who he really is and where he comes from. The only clue he has is a black object, with a stylized “S” on it.

Clark’s wanderings take him to the arctic where the government has found an ancient craft buried under the ice that has been there about 20,000 years. Reporter Lois Lane (Adams) has successfully sued for access, much to the chagrin of Colonel Hardy (Meloni) who is the military commander on the project, and Dr. Hamilton (Schiff), the scientific chief. Lois spies Clark walking in the Arctic ice apparently in jeans and a t-shirt in the frigid weather. Intrigued, she follows him and finds a recently melted hole (heat vision comes in handy). A protective robot attacks Lois but Clark saves her and delivers her to a place near the base where she can be attended to. In the meantime Clark discovers a keyhole which his object fits into. This brings out a holographic projection of his father who tries to explain to him who he is and what his hopes are for him.

It also sets off a beacon which brings back Zod looking for the codex and revenge. Having escaped the Phantom Zone during the destruction of Krypton, they make a beeline for some of Krypton’s abandoned deep space military outposts and are well-armed with advanced weapons and ships, and have all the powers that Kal-El possesses. Can Superman save the day?

The movie has been (depending on the source) decried or embraced as dark, and that’s absolutely true. How you’re going to react to it depends entirely how tied in you are to the Superman mythology; this is certainly no cream puff Clark. He kicks ass (more on that later) but this isn’t your father’s Superman, or your grandfather’s. This is a reinvention of the character for modern sensibilities, for better or for worse. I suspect older audiences are going to have a harder time reconciling this Superman with the one they grew up with than younger audiences are.

Cavill is given the ball in this movie and he runs with it. Superman is by nature a polite, gentle soul who happens to have the ability to throw a tanker truck like you and I would toss a Frisbee. Cavill captures that side of him. Peter Parker in another film was told with great power comes great responsibility but what if you have the powers of a God? How much more responsible do you have to be? The answer is exponentially more. It is a difficult thing to determine what is just and what is not when you literally have unlimited powers and that’s really the crux of Man of Steel.

Of course, there’s a whole lot of stuff getting blowed up real good.  The last 45 minutes of this more than 2 1/2 hour film are of big battles in Smallville and Metropolis to the point that I wondered “Who’s going to clean this mess up?” as the skyline of the latter undergoes a radical transformation. While the battles are pretty thrilling, there isn’t a whole lot of variety to them and they get old fast. These are definitely scenes that could have been trimmed.

It’s very easy to get caught in the trap of comparing Man of Steel to those that preceded it. I was going to write that the chemistry between this Lois and Clark isn’t as profound as that between Margo Kidder and the late Christopher Reeve (which is true) until I realized that I’m not here to review Superman: The Movie; that’s a whole different film experience than this. It isn’t fair to either film to compare them, even though the story is pretty similar (more so to Superman 2). In any case, if you go to the multiplex expecting something like the 1978 classic, you’re going to leave the theater disappointed.

The filmmakers have gone on record that they hope to use this as a jumping off point to create a shared DC Universe in much the way Marvel has created a shared film universe. Already there is a sequel to Man of Steel on the way and talk is it will be followed soon after by a Justice League film. I hope so. The DC Comics tradition is rich and has some amazing stories to draw on. Man of Steel isn’t a groundbreaking film by any means but it is an entertaining one and the box office numbers indicate that there are a lot of other people who think so as well. I look forward to see what comes of it.

REASONS TO GO: Good performances top to bottom. Epic scope befitting an icon.

REASONS TO STAY: Way too long. Fight sequences repetitive.

FAMILY VALUES:  There is violence, destruction and mayhem on a mass scale as well as some brief language.

TRIVIAL PURSUIT: Cavill had become notorious for having other actors selected ahead of him for franchise roles, including Daniel Craig for Bond, Christian Bale for Batman, Robert Pattinson for Edward Cullen and Brandon Routh for Superman Returns before finally breaking through.

CRITICAL MASS: As of 6/17/13: Rotten Tomatoes: 56% positive reviews. Metacritic: 55/100; critics are very divided over this one.

COMPARISON SHOPPING: Immortals

FINAL RATING: 7/10

NEXT: Beneath the Darkness

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Red Planet


Val Kilmer gets a little face time with a killing machine.

Val Kilmer gets a little face time with a killing machine.

(2000) Science Fiction (Warner Brothers) Val Kilmer, Carrie-Anne Moss, Tom Sizemore, Benjamin Bratt, Simon Baker, Terence Stamp, Jessica Morton, Caroline Bossi, Bob Neill (voice), Neil Ross (voice). Directed by Antony Hoffman

It’s 2025 and do you know where your atmosphere is? Yup…hopelessly poisoned, the soil sterilized by toxins, and our planet has less than a century of sustainable life left in it. That’s just a bad day for everybody.

All eyes turn to the Mars terraforming project; everything seems to be going well, but something odd’s been happening up there; the algae that had been sent to the planet to create a breathable atmosphere seems to be failing, and the oxygen levels on Mars are dropping fast. It looks like we’ll have to take care of this in person or else learn to hold our collective breath.

Mission commander Bowman (Moss) (Nyuck nyuck nyuck on the name, guys, open the pod bay door Hal?) leads a crew to examine the Mars problem. A habitation has already been sent to Mars and should be up and running. The mission is going smoothly, although one of the scientists (Stamp, who is wasted in a too-small role) is showing signs of wigging out, philosophically speaking. The “space janitor” — or systems engineer, (Kilmer) lacks respect from the crew, but has the eye of his commander (and apparently a bunch of other body parts).

Once in Mars orbit, things go wrong as they normally do in space movies. A severe solar flare cripples the mother ship and forces an early launch of the Lander, which promptly crashes (don’t you hate when that happens?) far away from the habitation. Commander Bowman, who had to stay behind in order to get the Lander away, is managing to repair the mother ship for the return to earth, but the mission looks junked, especially when the survivors from the Lander reach the habitation to find it completely destroyed, and only 15 minutes of oxygen left in their tanks. They wait around to die, only to discover something strange — there IS a breathable atmosphere on Mars after all. There is also a pissed-off robot who has gone military on their butts. What’s an astronaut to do?

Well, make chest-beating speeches about duty and sacrifice, for one thing. Kilmer and Stamp are terrific; Moss could have been the big action heroine that Linda Hamilton chose not to be; as it is she’s had a pretty solid career thanks to performances like these. Sizemore and Bratt are solid in support, and the effects are pretty nifty. The script, however, is pretty lame. It’s one Deus ex Machina after another, one amazing miraculous coincidence piled atop another until you’re screaming for mercy, but sadly, in Hollywood, nobody can hear you scream.

Red Planet  is fair enough eye candy, but could have used a plot that didn’t have quite so many holes in it  – the destruction of the habitation is never fully explained; when you figure out what caused it, you wonder how a station that was designed to withstand an F5 tornado could have succumbed to what destroyed it, for example. Kilmer is as laid-back as action heroes go; Sizemore makes a pretty good second banana, but it’s Moss who captured my attention here, as she will yours  and she would have without the somewhat obligatory, unnecessary nude scene.

This came out the same year as Brian de Palma’s Mission to Mars which was slightly better than this although I think Mission stands up better over time, despite the Kubrickian noodling of its ending.  I’m as big a fan of sci-fi adventure movies as you’ll find but even I couldn’t find a lot of positive things here. This was one mission I could have done without.

WHY RENT THIS: Decent special effects. Carrie-Anne Moss rocks.

WHY RENT SOMETHING ELSE: Poorly written. Too much chest-beating. Kilmer too laid-back for the role.

FAMILY MATTERS: There’s a fair share of violence and foul language and a brief nude scene.

TRIVIAL PURSUITS: Many of the Mars scenes were filmed in Wadi Rum, Jordan – a desolate narrow valley.

NOTABLE HOME VIDEO FEATURES: None listed.

BOX OFFICE PERFORMANCE: $33.5M on an $80M production budget; the movie flopped big time at the box office.

COMPARISON SHOPPING: Mission to Mars

FINAL RATING: 5/10

NEXT: The Host (2013)