The superhero’s superhero is back, but not as we’ve seen him before, in Zack Snyder’s earnest origin story that strives to put the king-daddy of comic books back on his throne.
While his ability to leap tall buildings in a single bound and run faster than a speeding locomotive naturally lend themselves to incredible set pieces, Superman as a character has always been tricky to build a movie around. His intrinsic capacity for good is far less dramatic than the dark, brooding of Batman, for instance, or the cocksure machismo of Iron Man.
Uninspiring action sequences, a lacklustre plot and an over-extended running time sank Supes’ last cinematic outing, 2006’s Superman Returns, so the challenge was on to rediscover the magic of 1978’s Superman and make him relevant to a modern day audience.
The news that Man Of Steel would be ‘A Zack Snyder Film’ was hardly a great start. Since his highly watchable 2004 remake of Dawn Of The Dead, the quality of Snyder’s output has diminished further with each new release, to the extent that his most recent film, 2011’s Sucker Punch was virtually unwatchable.
Although the presence of Batman alumnus Christopher Nolan and David S Goyer as, respectively, producer and screenwriter can be felt, there’s no mistaking this is a Snyder movie, which means stylised violence delivered at an ear-bleeding volume.
Taking the character back to his roots, Man Of Steel begins at the moment of his birth on a dying Krypton. His father Jor-El (Russell Crowe) and mother Lara (Ayelet Zurer) manage to launch the spacecraft carrying Kal-El before maniacal rebel General Zod (Michael Shannan) is able to get his hands on the child. Crash-landing on Earth, he’s raised by honest-to-goodness farmers Jonathan and Martha Kent (Kevin Costner and Diane Lane), who name him Clark. When Clark starts to develop super-human powers, his alien lineage is revealed to him by his father, who warns of the need to keep his abilities a secret for fear that a confused, frightened society would reject him. However, when Zod and his followers arrive years later demanding that Earth surrender Kal-El or suffer the consequences, Clark must finally embrace his Kryptonian ancestry and become the superman he was destined to be.
While the dark and serious approach taken by Nolan for his Dark Knight trilogy works for a superhero who lives in the shadows, the similar direction Man Of Steel takes doesn’t make much sense. Tossing words around like “edgy” and “realistic” is all well and good, but when you’re dealing with god-like alien beings beating the hell out of each other and laying waste to half of Metropolis (and killing thousands of faceless people in the process, although this doesn’t seem important) on a scale not seen since the The Matrix Revolutions, “realistic” is stretching it somewhat.
Taken on their own merits, the childhood flashbacks Clark has during his Christ-like wandering phase in the film’s first act are the film’s finest moments. Handsomely filmed, these scenes are richly evocative and beautifully played by Costner and Lane. Indeed, the brief, wordless moment when a young Clark plays with the family dog and wears a makeshift red cape is Man Of Steel‘s high watermark.
However, they look like they belong in another film when Snyder switches into default mode and lets the CGI do the talking. While there was a palpable sense of jeopardy for Iron Man and co during Avengers Assembled‘s extended final battle in New York, here the only thing you feel is a sore backside.
In his big break, Henry Cavill does everything that’s asked of him, from brooding lonerism to conflicted turmoil and finally self-assurance that falls on the right side of smug. He’s no Christopher Reeve, but then who is? Anyone aware of Shannon’s turns in the likes of Take Shelter and HBO’s Boardwalk Empire may wonder like me how much CGI was actually required to show Zod’s heat vision, so intense are Shannon’s eyes anyway. It’s hardly a stretch, but it’s fun nonetheless to watch him deliver Zod’s semi-regular meltdowns.
Although she starts out well as feisty reporter Lois Lane, Amy Adams struggles with a script that runs out of things for her to do. Laurence Fishburne, meanwhile, dons his Morpheus hat for a spot of sermonising as Daily Planet editor Perry White and Crowe at least gets to run around more than Marlon Brando.
Hans Zimmer’s score may indulge the Christ motif a little strongly at times (there’s only so many angels you need to hear), but is otherwise stirring and haunting in all the right places and doesn’t make you pine for Jerry Goldsmith’s iconic composition.
Snyder drops in a few nice touches to prepare the ground for the inevitable sequel (a Lexcorp lorry is overturned during the Superman vs Zod melee, suggesting Mr Luthor is being primed) and one can only hope it makes room for a bit more fun next time around.
It’s ironic that a film featuring a character gradually finding himself should lose its way as it goes on. There’s enough here to promise much for future adventures, but this man of steel still has a long way to fly if he hopes to reclaim his crown.