I’m not even sure there’s much point in having a critical
view of a movie like Man of Steel.
What exactly does it add to the conversation? When an indie or an arthouse film
is bad, at least it’s bad in a way that still contributes something to cinema.
When big, bloated action films are bad – and most of them are – they’re just
plain bad. And anyway, they’re not made for people who actually try to put
nuanced thought into their movie watching.
It is hardly worth mentioning that it’s badly written.
The dialogue is bad. There’s way too much exposition and characters telling
each other things they should already know for the benefit of the audience.
Badly written is just part for the course when it comes to these types of
movies. But this is Superman. There should be some mythmaking. It should make
my spine tingle. Because they recreated the origin story, going all the way
back to the destruction of Superman’s home planet Krypton and his birth father
Jor-El (Russell Crowe) sending his infant son off to another world and brought
back the villain General Zod (Michael Shannon), I found it hard not to think
constantly of Superman and Superman II starring Christopher Reeve.
I kept thinking of how concise those films were and how little they relied on
special effects. Why did it have to take Man
of Steel twenty minutes just to cover the Krypton part of the story when it
was once done in five? Did we understand any less who Zod was thirty-five years
ago?
One thing this version has going for it is that the
scenes of Clark Kent’s youth are truly well-managed by director Zack Snyder,
who sprinkles them throughout as flashbacks. They add texture to an otherwise
dreary and dull story. Kevin Costner and Diane Lane play Jonathan and Martha
Kent in scene that flesh out Clark the boy much more than did the 1978 film. We
get a better sense of the boy who doesn’t understand his place in the world
(and who just wants to exact revenge on his bullying classmates) who becomes a
man who struggles to understand where he belongs and who he is.
Amy Adams and Laurence Fishburne have been roped into
thankless roles as Lois Lane her editor at the Daily Planet, Perry White. They are little more than filler and
place holders. Henry Cavill plays Kent/Superman. His chiseled jaw line and
impossibly muscular physique hue much closer to the comic book drawings than
Reeve did, or even Brandon Routh in the forgettable reboot Superman Returns. What Cavill lacks in the role is a genuinely
hokey sense of protection toward humanity. He fails to express the anguish at
Zod’s callousness that Reeve struck so forcefully in the 1980 sequel. I also
noted with interest that Superman no longer fights for truth, justice, and the
American way, an indulgent credo from the days of radio and a time when the
United States was just beginning its WWII campaign. Reeve’s Superman intoned
the phrase, but today’s action heroes have to sell themselves on the global
market.
There’s an interesting story to be found here, but David
S. Goyer’s screenplay doesn’t extract it from the story credited to himself and
Christopher Nolan. Superman is an immigrant story and he’s a Christ figure (an
image that Snyder exhausts). Instead of sticking along these themes, the movie
devolves into a forty minute destructive action sequence that leaves about 75
percent of Metropolis in rubble. Even if this hadn’t been done to death in
films like Transformers and The Avengers (all of which seem to be
attempts at exorcising our collective demons of watching the World Trade Center
towers collapse on 9/11) it would still be a dull waste of time. Where is the
interest in watching two essentially indestructible characters pound each other
into oblivion? There are no consequences for either Superman or Zod as they
smash their way through countless skyscrapers, although apparently as strong as
a Kryptonian is on earth, you can still break his neck if you try hard enough.
All this and I haven’t even gotten to the sheer goofiness
of the alien Krypton spaceships, the absurd science of how Zod and his band of
evil Kryptonians survived after escaping from the Phantom Zone, and why
recreating the Krypton atmosphere on board a spaceship is enough to counteract
the strengthening power of earth’s sun. Also, why did Zod insist on Lois coming
aboard with Superman? To provide a way for an incapacitate Clark to escape,
with a little assist from a phasma ex machina
in the form of Jor-El. Yes, I know it’s a comic book movie and comics are
hokey and without grounding in reality. And I accept that – for comic books.
But as long as movies based on comics insist on looking and feeling grounded in
the reality I see around me daily as opposed to setting the parameters a few
steps beyond, I will continue to be irked by inconceivable science and gaping
plot holes. Incidentally, Zack Snyder’s Watchmen
worked on this respect because it made a decision to not be tethered to the
real world the audience is familiar with.
The real problem is that I genuinely found myself bored
for the entire second half of the film to the point that I really just wanted
to turn it off. I didn’t even care how it might end, although I suspected
Superman would defeat Zod. Surely it’s not just a matter of nostalgia that
keeps bringing me back to the Superman
of my childhood, which I can still watch today and find that it holds up
especially well in all aspects of cinema. I don’t think any ten-year old today
will be speaking similarly about Man of
Steel in twenty or thirty years. The mythmaking has died.
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