A Non-Enthusiastic Man of Steel Review (Spoiler-free)

Let me preface this review by saying that David S. Goyer – the screenwriter on MOS – is also the man responsible for Blade: Trinity. Blade: Trinity. Got that? OK, let’s continue.
The opening of MOS introduces us to the alien world of Krypton. This isn’t Superman 1978’s sterile utopia, but a truly extraterrestrial and interesting planet. This Krypton is in trouble for reasons other than its imminent destruction – political, social and cultural ideas are in conflict on this strange world, and this gives it a sense of depth and complexity which is sadly lacking in the rest of the film.
To be fair to Goyer, he was also directly involved in the construction of Christopher Nolan’s Bat-word with the first film in the trilogy, Batman Begins. Begins focused on Bruce Wayne’s journey from man to Batman. This origin was carefully constructed and beautifully paced. The weakest point of Batman Begins was its third act. The major problem with MOS is that it IS a third act – from the destruction of Krypton to the closing credits. There is an interesting plot development in the early part of the film (one which will raise many a fanboy’s eyebrow), but instead of injecting a new pulse into the much-adapted Superman mythos, it just makes the rest of the film feel like the ending of a film. Or even like Man of Steel: Part III. Sporadically, we are reminded that this is an origin film, and inappropriately placed flashbacks disrupt the pacing of a film already suffering from pacing issues. The flashbacks focus on Clark’s relationship with his human father. Had this relationship been explored more so than his relationship with a piece of plastic containing his Krpyton Daddy’s consciousness (???), perhaps we would have been left with a finer film.
MOS was sold as a ‘first contact’ film. What would we do if we discovered alien life on Earth? Well, I think we would do a bit more than just stare into the sky, which is what the denizens of this earth seem to do. Superman ‘78’s eponymous hero made people stare up in awe and wonder of this unique being. MOS’s human population have about 30 seconds before the alien’s uniqueness is diluted by the arrival of a ship-load of similar creatures. What makes Superman so special in comparison with these other Kryptonians? Well.. his suit is blue…. And their’s are black.
One of these Krytonians has an inexplicable German accent and shares the other villains’ goal of creating a genetically perfect race. This is one of director Zack Snyder’s feeble attempts at making a point in the most unsubtle of ways that only Zack Snyder can do.
Whatever about Superman’s first public appearance, his first on-screen appearance is down-played by Snyder’s camera. We know the suit, it’s been around for 75 years, but other iterations have given Superman’s first appearance a cinematic sense of awe and the respect it deserves. Here, the previously bearded and un-kempt Kal-El steps out in his suit (all spruced up), but there is no drama, no theatricality, no awe; it’s just a different suit, first shown in a full frame shot. Without a bit of teasing and careful pacing, the transition from man to Superman is not fully realised in a satisfactory cinematic manner. In essence, Snyder and Goyer downplay EVERYTHING, in a pathetic attempt to be understated and cool. This comes across as disrespectful to the Superman mythos. In fact, change the character names, and you no longer have a Superman movie; you have a generic film about a villain using a scorched earth approach to find his enemy. Goyer did that better in The Dark Knight.
MOS does have some good points- Hans Zimmer’s score is wonderful. Snyder downplays the comicbookness of Kal-El poorly; Zimmer wisely avoids aping the feel of John William’s superb ’78 score, instead giving us something more down-to-earth, but still retaining a sense of majesty. The music in the Kryptonian scenes is grounded by using a conventional scale, but with bizarre instrumentation – and it works beautifully. Henry Cavill as Superman has worked out for the part, and it feels like a waste that he looks like a perfect Superman in a poor Superman film. Michael Shannon is brilliant as always, and makes the most of Goyer’s Shakespearean-villain-for-dummies dialogue. Amy Adams makes for a great Lois Lane. I hope she gets to play that part some day.
Coming back to my point that this feels like a Superman sequel, Superman Vs. similar powered-beings doesn’t make for an interesting conflict. Brawn Vs. Brawn is not solely enough to make for an interesting dynamic. Comic book writers such as Mark Waid know this, and that is why his Birthright Superman series’ central conflict involves Superman Vs. a pretend invasion all orchestrated by Lex Luthor (brawn VS. brains… much more dymanic).
MOS initially gives the impression that it is going to be an interesting film, with a first-act that teases potentially exciting dynamics. Ultimately, it descends into boring nonchalance, and the longest plot-point-lacking third act in cinematic history.
But hey, it was better than Superman IV: The Quest for Peace.
1 out of 5 stars.