Review: Man of Steel is a
massive action/adventure film that is tonally much more serious than most
superhero fare. The film is about Kal-El (Clark Kent), an alien being who
struggles to find his place on Earth (deciding how to use his remarkable
gifts). He is torn between two worlds. He has spent his entire life on Earth,
growing from a baby into adulthood, but his alien abilities make him a god
among men. Should he show his true self and potentially be hated and feared for
his differences and power or should he stay hidden, keeping to the fringes?
That is his choice. However, he is forced to reveal himself to mankind, to
protect them, when warriors from his destroyed home world come to Earth seeking
revenge for what his father did years ago (a man they consider a traitor).
From
the opening scene of Man of Steel it is clear that director Zack Snyder has a
grand vision for Kal-El and the world in which he inhabits. Snyder wants the
film to feel epic, and thus kicks it off with the humongous battle for Krypton,
ripe with wonderful sci-fi/fantasy styled action. He never really lets up from
there as almost the entirety of the third act is one elongated action sequence
between Kal-El and General Zod (and his group of Kryptonian warriors). Again,
the set pieces are grandiose in scale with seemingly much of Metropolis
destroyed during the melee, but it works because both Kal-El and Zod are titans
fighting in a world incapable of restraining their power (thus, there is a lot
of collateral damage as one would expect). The magnitude of their combat also
greatly plays into the final decision that Kal-El must make regarding Zod.
There is no Earthly force that can stop Zod, therefore it solely rests with
Kal-El to make a tough choice.
Snyder,
somewhat following in the footsteps of Christopher
Nolan’s (who produces this film and co-wrote the story) The Dark
Knight Trilogy, takes a much more serious tone with both the character and
world than fans of superhero films have become accustom to (especially given
Marvel’s model for producing films that are on the lighter, entertainment first
side). Man of Steel is very weighty in its drama, as Kal-El spends the whole
film soul searching and trying to live up to the hopes of his two father
figures. There is almost no reprieve from the intense action and emotional
drama, which for some will be all too much.
Yet,
as an origin story about a being caught between two worlds in addition to the
clear narrative reflecting how mankind often treats outsiders and the pain and
suffering incurred as result, Snyder made the stronger dramatic decision to
play the film as a deeply emotional and momentous struggle. Kar-El’s path to
becoming ‘Superman’ would not feel as earned or important if it was easy (both in
terms of overcoming the main villains and his emotional journey finding who he
is and who he wants to be). Like Nolan, Snyder invests a lot more in the
journey of his lead character than the average lesser genre fare, and it pays
off as Kal-El’s narrative resonates with the audience on a more profound level.
His struggle actually means something, and is not merely presented for the
audience’s entertainment.
Though,
the film is highly entertaining too. The action scenes are supremely massive,
to an extent that audiences have maybe never seen. Yet, they still work because
the audience is invested in the characters. However, one of the film’s
weaknesses is also the scale of its action scenes. For viewers who are only peripherally
engaged (viewers who for whatever reason do not buy into Kal-El’s narrative
journey) the magnitude of the action scenes can feel overwhelming. And again,
there is almost no respite from the exacting tone of the narrative.
Another
weakness that holds Man of Steel back from being among the genre’s best films
is the one dimensionality of General Zod. He is perpetually intense and
seemingly crazed. Snyder does not make any attempt to connect emotionally with
the character, rather presenting him purely as a potentially unstoppable force
of sheer one-sided rage. Zod is thus nothing more than a plot device, an obstacle
that must be overcome, and not a fully fleshed out character (like the best
genre villains), which undermines the overall power and impact of the
narrative.
However,
Snyder does make up for it with the great work he does with his other
supporting characters, particularly Jor-El and Jonathan Kent – Kal-El’s father
figures. The strong character moments that Snyder gives these characters, in
addition to their dramatic interactions with Kal-El, make up the film’s
emotional core and drive Kal-El’s narrative journey. Their relationship with
Kal-El is what enables the audience to connect with him and relate to him. Lois
Lane also plays an important role both for the audience and Kal-El. She provides
the audience with an additional perspective into the narrative (as an outsider
looking in), while serving as an important emotional step in Kal-El’s journey. She
is the first human (outside his family) that he feels that he can completely
trust, which allows him to find the will to step into the light (so to speak).
Snyder handles this relationship well, but also leaving a lot for potential
sequels (as the film is about Kal-El becoming Superman and not his relationship
with Lane).
Man
of Steel also resonates due to its look at modern society’s seemingly
intensifying fear of people that are different. Without becoming overly
political, there is a palpable discontent in how many feel towards those they
deem as outsiders – a distrust, if not complete hatred. This stems from
ignorance and anxiety regarding the unknown. The world just feels like a more
dangerous place (whether it really is or not), which seems to drive people
inward, shunning what they do not know or understand. Snyder’s narrative offers
a symbol of hope to remind people that it is within all of us to be accepting,
moral, and trust in others. Zod is utterly engulfed with the perseverance of
his own beliefs at the ultimate cost to all others (which seems to be a very
real, and scary, feeling today among some groups, American or otherwise). Kal-El
is able to succeed because he puts his trust in the greater good, setting aside
and sacrificing selfish motives.
Superman
represents the good of mankind while Zod the close-minded hatred. This juxtaposition
however makes the final confrontation between them all the more shocking. Kal-El
is not presented by Snyder as the infallibly morel being that Superman has been
represented as in past characterizations. In Man of Steel, he is limited by his own
humanity, which makes him more interesting and allows his narrative journey to
resonate to a much greater degree than past Superman films.
Man
of Steel is imperfect and does not stand among the genre’s truly brilliant
films (like The Dark Knight Trilogy and Spider-Man
2). That said, it is very entertaining and emotionally engaging, and more
specifically a great modern superhero film (and massive summer blockbuster).
Technical, aesthetic & acting achievements: Zack
Snyder is an impressively visual director. Man of Steel has many wonderfully
iconic and grand moments and visuals that serve the character well. However,
again he seems to favor his over-the-top visuals to content. Man of Steel does
have a strong dramatic narrative, which is what makes the film work so well, and
the action set pieces are incredible, but they are also a bit overpowering,
dulling the overall experience (but it is not to as devastating an effect as
with Sucker
Punch or the weakest moments of Watchmen). He is able to find a
better balance with this in comparison to his past few films, which gives me
hope that he will get better as a filmmaker. Man of Steel is a great start, and
I look forward to seeing what will likely be an even better sequel (assuming
Nolan returns as well to guide Snyder a bit). This is my favorite of Snyder’s
films to date.
Following
his brilliant and immense scores for Inception
and The
Dark Knight Rises, composer Hans
Zimmer again gives Man of Steel a similarly dominating score (utilizing
commanding drums). However, the genius of Zimmer’s work is in the smaller emotional
moments. He is able to capture the sheer grandeur of the film while conveying
the theme of hope that the character encompasses. It is fantastic work (as
usual). Amir Mokri’s cinematographer
fits the tone that Snyder has set for the film visually. His lighting creates a
harsh world, mirroring Kal-El’s own internal struggle. Though, it is the
moments in which happiness and light are let into the frame that are the most
breathtaking. The flashes of Kal-El as a kid wearing a cape playing with his
dog in the sunshine are visually and thematically magnificent. Alex McDowell’s production
design does a good job of creating Krypton, which has a very sci-fi fantasy
feel. Meanwhile, his sets on Earth are grounded in reality, making the
Kryptonians all the more extraordinary by comparison.
The cast
is good throughout. Laurence
Fishburne, Christopher Meloni,
and Antje Traue are strong in
small supporting roles. Kevin
Costner and Russell Crowe
(as Jonathan Kent and Jor-El respectively) are excellent in vitally important
roles. Their great dramatic work pulls the audience setting the tone and the narrative
in motion. Michael Shannon
has a special gift for looking like he is on the verge of a complete mental
break, exploding into unyielding madness. That is how he plays Zod. It is too
bad the character is not given more character development. Amy Adams does a good job with
Lois Lane. She is strong enough to fit the part, but also emotionally engaging
enough to feel like the right ally to help Kal-El find his way. Henry Cavill makes for a superb
Superman. Physically he has the right look, and dramatically he hits the right
tone as well. He is able to convey the deep and troubling struggle that he is
having internally, creating a character that the audience cares about.
Summary & score: Man of Steel is Superman’s
most ambitious and ultimately grandest cinematic undertaking, packed full of monumentally
epic action sequences and effective dramatic heft. 8/10
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