Man of Steel — ★★★★

WARNING: This review contains spoilers.

Fanboys rejoice, because the Superman film you (we?) have been waiting for is finally here.

Act I

Just so it’s clear, the film isn’t literally divided into acts, but it is easily separable by key moments and thus easier to organize in this review.

First and foremost, it’s a relief to finally get to see Krypton after the countless iterations of Kal-El either only showing or telling how the planet imploded of its own accord. On that note, what a delight it was to see Russell Crowe just completely kick ass as Jor-El, all to save his son. Crowe’s acting must be praised not only as a man defending what is right against Michael Shannon’s madman Zod, but as being equally father-like to Clark as Jonathan is later on in flashbacks. Speaking of flashbacks, they’re fine when you use them lightly and to explain a current situation, but for the sake of character development, it would have been nice to see those in sequence; instead, we get Kal learning a lesson per flashback in his 33-year-old adult life — lame.

Act II

With so much content packed into two-and-a-half hours, it’s great that Zack Snyder takes us right into the blue-suited-red-caped hero right away, without annoying us with yet another origin tale *cough*The Amazing Spider-Man*cough*, so that we can see him adapt to his destiny. Snyder’s Clark isn’t constantly stumbling over who he is to Earth, or his powers, but rather spends the second third of the film embracing them and aiming for peace with the military.

Characters

Michael Shannon’s Zod isn’t nearly as terrifying as his source material counterpart, nor even the Smallville version, but he is just as vengeful and stubborn. However, Snyder’s Zod has a much better time explaining his actions, and there’s conflict between hating him for being the bad guy and sympathizing with him for wanting to save his home world.

Kevin Costner’s Jonathan Kent is absolutely heart-warming and the father figure many prostitutes and drug dealers should have grown up with. Although his screen time is limited to flashbacks, Costner’s raising of Clark is evident in the latter’s need to do good and sense of morality.

Diane Lane was shit. Seriously, just absolute trash, and I don’t know that there has been a less comforting mom on screen — Clark would have fared better with Guillermo del Toro’s overprotective Mama.

As said earlier, Russell Crowe delivers as Jor-El, not only action-wise, but in his constant protective, father-like presence to both Clark and Lois, and reasoning with Zod, despite the latter killing him. Perhaps it’s his stature or demeanor, but Crowe sells Jor-El as the father who had no choice, and as the scientist who found reason in humanity.

Amy Adams completely works Lois Lane and makes her version just as perky and defiant as the rest have been, although her live-action iteration shows greater chemistry with Henry Cavill’s Clark than has been seen before. Adams’ Lois isn’t all talk with no walk either, as she actively took on an action role a couple of times to help ensure the good guys won.

Finally, the leading man, Henry Cavill. Initially, Cavill looks awkward in Clark’s shoes, giving the audience little reason to like him over the equally-awkward-equally-Superman Christopher Reeve, or even, dare I say it, Brandon Routh. However, minutes into his performance, it is evident that Snyder wants this awkwardness, so there is more buildup and magnitude to Clark finally accepting who he is meant to be and what he is meant to do. Cavill’s Clark/Kal/Superman isn’t any more serious or comedic as any other version of the Kryptonian has been, but he is more grounded and approachable. The chemistry with Amy Adams’ Lois is undeniable, and, as always, she is able to bring out the cheeseball in him.

Score

Hans Zimmer delivers once more with an epic, gut-busting orchestral score that fits in well with the large, explosive scenes; conversely, the softer ethereal sounds are reserved for quiet discovery and epiphany sequences. However, it’s hard to tell what this new Superman’s theme is; although, if it’s the closing “What Are You Going to Do When You Are Not Saving the World?”, then it’s awesome.

Act III

This is, sadly, where the film starts to suffer as Snyder sacrifices the so-far thoroughly enjoyable character development to blow shit up, and in CGI, too. At least half the time something was exploding or crumbling, and it wasn’t quite clear what it was. Zod, at this point, reveals he’s on top of everything anyway, before Lois conveniently admits she knows how to stop him, thanks to Jor-El — basically, several coincidences decide to coincide without any of the participating parties knowing.

At one point, we see Superman make a daring move to destroy the World Engine (clever), seemingly sacrificing himself; however, he is, of course, alive, and Snyder didn’t even give much time to miss him. Then again, he is super strong so it’s excusable — having him reach out to touch the sunlight when it was sitting on his face just fine was a bit excessive, however.

Then came the final battle: Zod vs. Superman. Although initially dysfunctional to Earth’s atmosphere, Zod learns very quickly what Clark took years to do, making it a fair fight. However, when it comes to providing justice and taking Zod to some imaginary court for trial, or saving a family who is, again conveniently, too scared to move out of the corner of the room, Snyder takes his Superman far, far away, and has him commit an action that surely sent fanboys flying wild; yes, it’s true, Zod dies, and via snapping of his neck by Superman, nonetheless. After the shock settles in that Superman just killed not only a man, but one of his own, Lois comes to comfort him, and us, and it works.

Conclusion

There was an annoying number of product placements throughout the movie, apparently intentional to make us believe that Superman really was in our world, but it all paid off to see that one LexCorp tanker.

As the film came to a close, I wondered sadly if Snyder’s Clark Kent really never was going to join the Daily Planet as a reporter; although, it didn’t make sense to have him actually fool everyone with just glasses on in a serious live-action take — then it hit me: no one but the military and Lois ever saw him up close. That is to say, only the person who would protect his secret knew it, and the military folks are going to have a hard time spying on him to figure it out. Then Snyder put the biggest smile on my face as Clark explained to his mom he’d have to find a job that would let him keep his head down, all over a montage of him adjusting his tie and suit, and putting on a pair of glasses, before “meeting” the Daily Planet folks, including Lois.

Cue credits with a Nolan’s Dark Knight trilogy touch, and we finally have ourselves a successful Superman reboot.

Quote of the film: “It’s supposed to go all the way in!” — Lois Lane

This review was originally posted on June 15, 2013.