Directed by:
Zack SnyderScreenplay:
David S. GoyerCinematography:
Amir MokriComposer:
Hans ZimmerCast:
Henry Cavill, Amy Adams, Russell Crowe, Diane Lane, Kevin Costner, Michael Shannon, Dylan Sprayberry, Antje Traue, Harry Lennix, Christopher Meloni (more)VOD (4)
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A child, sent to Earth from a dying planet, is adopted by a couple in rural Kansas. Posing as a journalist, he uses his extraordinary powers to protect his new home from an insidious evil. (official distributor synopsis)
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Reviews (20)
All pleasant memories of this film in the future will only be connected with the first half, when Clark is finding his place in the world, discovering his abilities and some emotions are thrown in. The rest of the runtime can be described in two words: Digital mess. Nevertheless, Henry Cavill is a likeable guy and the real Superman, I wouldn't be opposed to a more sober sequel with him. The potential is there.
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Whereas the Avengers movies are targeted at nerds and the Batman movies appeal to a broader audience that otherwise doesn’t go for comic-book flicks, Man of Steel is a superhero movie that tries to tread a path that is entirely atypical of the genre. The new Superman is conceived as a chick flick. In addition to the expected shots in which the handsome hero appears topless, this is demonstrated primarily by the narrative, which focuses exclusively on relationship motifs (the family and the hero’s roots, protectiveness, responsibility and sacrifice, as well as the relationship with Lois Lane starting on the basis of mutual respect and transforming into love). Lois Lane herself was characteristically conceived as a truly professional reporter, so this time she isn’t a fragile beauty waiting to be rescued, but an emotionally engaged character representing the ideal role model for today’s girls. The film’s targeting at a female audience is further evidenced by the form of the usual blockbuster shots, which have the purpose of confirming the appropriateness of the target audience’s reaction to the events being shown. Whereas in Transformers we have a boy who comments on the battle between giant robots by shouting “wow”, in Man of Steel we find a number of shots in which Lois Lane and, in particular, Air Force officer Carrie Farris dreamily gaze at Superman and comment directly on his attractiveness. The narrative is basically not arranged chronologically, but thematically, and Snyder’s opulent advertising aesthetics, with which he stylises every shot in order to have the maximum emotional impact on viewers and to stimulate their senses, which corresponds to the targeting of women, transform the comic-book story into an impressive spectacle aimed mainly at the heart.
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Subjectively: the last time I left the movie theatre this numb was after Sucker Punch, and I must add that Man of Steel is a much better directed film. If I keep my distance from the purely debilitating digital whirlwind of falling skyscrapers and exploding molecules of nothingness, then I must highlight the following: Goyer's attempt to elaborate the Krypton storyline and Superman's mythology. Russell Crowe and Michael Shannon have a huge share in the certain impact that the film has, whose characters are played and written much better than the rest of the film (Shannon's casting was far-sighted). The character of Clark Kent, played by Cavill with the pensiveness of a model whose shirts were all stolen, did not receive similar care and sophistication. The attempt to move Superman / Kent to the plane of one inseparable being, a closed-off and lonely alien, is fragmented by his performance and the fact that, unlike Batman's reboot, there is a lack of character development or some obvious internal transformation / dilemma. Man of Steel and his childhood flashbacks are purely generic, and in terms of content / meaning they don't really deviate too much from the Donner storyline (they just lack exaggeration), Cavill frowns through the stormy sea and finds himself in the inevitable situation where, as God, he overcomes the speed of sound and destroys cities with villains. The duel with Zod forms a surprisingly large part of the film, and if you don't buy into this trick extravaganza right at the beginning, you will literally be beaten by locomotives and tons of reinforced concrete. The hint of perspective comes late, and Superman's seriousness is monotonously persistent, but without feeling in any way dark and problematic. Simply a monolithic and well-produced blockbuster, with which I had only a minimum of fun.
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A new generation is entitled to a new beginning, and thus the semi-divine orphan once again descends to us earthlings for the first time. I am glad that he succeeded in a way that only does justice to Kal-El, but as a fan of the more innocent and human adventures of the Man of Steel, I was hoping for something a little more different. I admire Zack Snyder for daring to rearrange the chronology of the sacred origin story, but there were simply too many technical tricks or destroyed blocks for me. Superman has always been different for me precisely because he is well aware of his almost painful superiority and does not fight in a destructive way that you tend to see in superhero movies. I can watch their methods from morning till night, but the savior with the S on his chest naturally flies a class above. The perfect casting, led by the fascinating Russell Crowe as Jor-El, partly mitigates these criticisms, as do those sentimental insertions that may have caused some discomfort in other viewers. But when the screenplay touches on the humanity of the central hero, that's when I almost immediately soften. On my way out of the cinema I ultimately felt a conflicting satisfaction. Due to the devilish pace of the second half, I can't shake the feeling that I was riding an express train rather than a full-fledged reboot, but there were surprisingly enough attractions waiting for me in it. So keep flying, Clark. I hope you'll fly far enough to keep the memories from turning bitter.
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If there were more skyscrapers in Manhattan, this film would’ve taken three hours. Man of Steel is megalomaniacal, overwhelming movie that arouses wonder and enthusiasm while masking all of its flaws. It is a poetic and epic, sometimes intensely sensitive, sometimes fetishistically destructive colossus that undermines itself when it kills the fragile realistic feeling of a fatal clash of the two worlds it has managed to build up so far with an over-digitized skyscraper climax. But how can you not like a movie in which the father of the main character is Russell Crowe and his stepfather is Kevin Costner? Add in the likable Henry Cavill and powerful villains headed by Michael Shannon who feel strongly superior towards the human race, their perfect costumes, H.R. Giger’s vagina-like spaceship interiors, and the explosive music by Hans Zimmer, after which you will feel like you’ve drunk five cans of Red Bull in quick succession. Personally, I was also delighted with the elaborate Krypton mythology, and the disappointment over the improperly cast Lois Lane (Amy Adams) was mitigated by newcomer Antje Traue in a sexy helmet.
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