Man of Steel Sets the Stage for New Adventures

DC Comics has rivaled and preceded Marvel Comics for many decades with its roster of super heroes and is now attempting to reestablish their greatest character, Superman. Having been previously depicted in movies and television, Man of Steel is the biggest production to date.  Is it any good, and is it better than Superman Returns?  Yes and yes.  Despite a darker tone, (courtesy of the creative tandem of producer Christopher Nolan and writer David Goyer from The Dark Knight films and director Zach Snyder of Watchmen), this adventure is an entertaining action piece with a deep psychological subtext. 

The planet Krypton is dying, and scientist Jor-El (Russell Crowe) and his wife Lara launch a spacecraft to send their newborn son, Kal-El, to a promising world, Earth.  General Zod (Michael Shannon), whose attempted coup is thwarted, is banished into a wormhole.  When Krypton is destroyed, Kal-El lands on earth, and through a series of flashback vignettes, we see the school boy named Clark struggling with growing pains and the values instilled by his adoptive human parents, Jonathan and Martha Kent (Kevin Costner and Diane Lane)  who try to hide his superhuman strength and abilities.  As an adult, Clark (Henry Cavill) takes a series of jobs and remains anonymous, off the grid until odd reports begin to circulate of a mysterious man who saves lives with remarkable powers which brings reporter Lois Lane (Amy Adams) hot on his trail.  The setting shifts from the cornfields of Midwest America to Metropolis.  As General Zod reappears to claim earth for his race, the stage is set for a grand battle with the fate of the world in the hands of a true blue hero.

There are some fine moments such as the young Clark befriending a former bully and being repaid in kind.  There is the tornado scene that brings Clark’s non-use of his powers to a turning point.  Later, when the military first meet Superman and question his intentions, he responds by rescuing scores of people and is vindicated in a touching moment. 

This Superman (with more than a passing parallel with Jesus) is depicted as an emotionally vulnerable soul, and although he possesses great powers and invincibility, he does feel pain especially when meted out by his own kind.  The whole film is ultimately a moral struggle and contrast between two fathers and whether their son’s powers are meant for good or to be kept hidden no matter what the cost.  It’s also about his personal journey to find his purpose amid a normal life and search for his origins.  Can he embody the best of both worlds, and to what lengths will Superman go to save humanity? 

Cavill is quite convincing as Superman, certainly an improvement on Brandon Routh’s turn in Superman Returns.  Adams shows a thoroughly capable yet vulnerable Lane, a strong reporter and Pulitzer Prize winner to boot!  Her scenes with Superman work quite well especially in the quieter, intimate moments which one hopes will lead to much more in future installments.

The supporting cast excels.  Crowe lends gravitas to a subordinate role, and he registers every time he appears. Diane Lane is good as the compassionate Momma Kent.  (Ironically Lane starred in Hollywoodland about TV’s Superman, George Reeves).  Costner makes a strong impression as the resolute, adoptive dad who is willing to risk his life for a principal.  Laurence Fishburne is a more three-dimensional Perry White, and Christopher Meloni is effective as a hardnosed military commander.

Special visual effects have come a long way since 1978’s Superman when the slogan was, “You’ll Believe a Man Can Fly!” Some of the effects show incredibly fast motion which makes you wonder how cool it would be to realize such DC Comic characters as The Flash.  While Hans Zimmer has the appropriate, heroic musical score in place here, John Williams truly memorable theme song is a hard act to follow.

The action is not the cartoon variety; people do get hurt and some perish.  Regarding that final battle in the streets of Metropolis (previously depicted in Superman II), enough already!  We’ve seen The Avengers decimate New York City and The Transformers wreak havoc on a massive scale.  These scenes are becoming old hat (even in a post 9/11 world), and are starting to seem repetitive overkill.   Don’t get me started on the obvious product placement; when it begins to be noticeable, it becomes annoying.    

Perhaps the only disappointment here is the lack of much humor or lightheartedness. There are a couple funny moments; the film could have used a few more.  One hopes a lighter tone is in store for the next chapter. Maybe we will see Lex Luthor and Jimmy Olsen who are both missing here. You barely see Clark Kent get his gig at The Daily Planet before the credits roll.  Oh, and contrary to the Marvel films, do not bother staying through the credits in hope of a post credit tease.  The film’s greatest accomplishment is setting a strong foundation for the next Superman adventure and possibly the beginnings of a Justice League of America (emulating Marvel’s The Avengers).  Wouldn’t that be cool?

*** of **** stars (Super hero fans add ½ star)