Film Review: Man of Steel, The Saviour of the World

I approached Man of Steel with a lot of scepticism; indeed my followers on Twitter and members of the movie group I belong to on Facebook (The Movie Smackdown) suffered my cynicism first hand. I harped on the fact that the critics had scored it low and based on the previews I had seen I claimed that Man of Steel borrowed plot lines from every superhero flick out there and that the CGI was painful to look at. I eventually saw Man of Steel after several postponements and my verdict is that it is actually a very good film!

Maybe it was the marketing overhype that we all had to endure for a full year before the film hit the big screen that annoyed me; and perhaps a certain mistrust of the franchise that gave us the sad Superman Returns (2006) that fuelled my suspicions; but deep deep down inside I knew that a team that included Christopher Nolan, Zack Snyder and David S. Goyer could not go wrong.

Man of Steel works as a reboot of the Superman film franchise. The plot immediately brings comparisons with the first two Superman films – Richard Donner’s subliminal Superman (1978) and Superman II (1980) – with the former an origin story and the latter dealing with Earth’s invasion by the insane Kryptonian General Zod and two others. Perhaps it is the benchmark set by these two earlier films and also superhero film fatigue that have stymied its Box Office figures, otherwise Man of Steel ought to reach the billion dollar mark.

Man of Steel was very visually appealing. Although I had earlier criticised the CGI and the supersonic, blurry and darting movements of the Kryptonians as they did battle (reminiscent of the character Dante in Capcom’s Devil May Cry) I have to admit that it lends some realism to the powers that they had. The destruction of Metropolis was on full kilter! It was epic!!! I mean no other superhero film (save 2008’s Hancock) provides destruction at this scale. Yes, this is what you expect to see when two super-humanoids go toe-to-toe. Man of Steel does not hold back and this is very satisfying to see on the big screen, finally a film depiction that is a worthy treatment of the destruction we see in the comics! Satisfying indeed.

The story is told at a good pace, and although the use of flashbacks was probably the best option it sometimes interrupted the flow and the build up of the film.

Thanks to the writers and the director, and great acting by Henry Cavill (The Count of Monte Cristo, Immortals) as Clark Kent/Kal-El/Superman, we get to see the internal emotional conflict that he endures. Clark’s difference from the rest of us as he struggles with an identity crisis to define who he is, while keeping his abilities secret are brought to the fore. His level of self control is aptly alien as I finally understand why Superman with all his powers still prefers to remain the goody boy scout that he is (also without the goofiness that is supposed to be Clark Kent that we saw in the Christopher Reeves’ films). In addition, in this case, it is his Earthly father, Jonathan Kent (Kevin Costner) out of love for him who instils in him a sense of belonging and self preservation at the cost of his own life. Here I find that Jor-El’s role in the first Superman film has been switched with Jonathan Kent’s, who for different reasons would prefer Clark not to interfere with the human race but fly under the radar. I watched with great shock and morbid satisfaction as Clark Kent finally killed someone so deserving as against locking them up or banishing them someplace as the one in the comics always lamely does. At the point he snaps Zod’s neck you can see the emotions that Clark is going through as he has to take a life to save a billion others, to take a fellow Kryptonian’s life in order to save his adopted humankind. No words can describe that. In the end you find that Clark Kent is more human than he is Kryptonian, more Clark Kent than he is Kal-El or even Superman. He is American through and through, born and raised in Smallville, Kansas.

I looked forward to seeing Michael Shannon (Bad Boys II, Revolutionary Road, Machine Gun Preacher, Boardwalk Empire) as General Zod. For me he was the main attraction. His performance was generally above average, with scenes where we could see glimmers of his madness. But it is my thinking that the filmmakers wanted a less psychotic General Zod, a more intelligent and 3-dimesional one. I was in no way disappointed, all that was lacking was the epic, “Kneel before Zod!!!” But hey, no one could have said that better than Terence Stamp, so why try eh?

Amy Adams as Lois Lane was average. She is the tamest of all the Lois Lane portrayals I have seen. If this was deliberate by the filmmakers, they succeeded. Her connection with Clark/Superman is quite visible and the chemistry holds promise, for she seems to be the first woman that Clark can be with, and perhaps because of the circumstances of their meeting it is the first time he tries.

It was great seeing Christopher Meloni (Law & Order: SVU) on the big screen as Colonel Nathan Hardy and his awesome acting ability showed. More films for him please. Kevin Costner was great as usual and for me his role was pivotal to the understanding of whom Clark Kent was. Diane Lane as Martha Kent was very effective and gave us a more attractive version of Mother Kent. The lovely Israeli actress, Ayelet Zurer’s (Munich, Vantage Point, Angels & Demons) performance as Lara Lor-Van leaves a distinct impression, while German Antje Traue (Pandorum, 5 Days of War) as Faora is a delight to watch. Russell Crowe as Jor-El was great, deep, intelligent and empathic –a welcome departure from the godlike Marlon Brando portrayal.

In conclusion, of immense interest to me were the parallels the filmmakers drew between Clark Kent and Jesus Christ. If I had never noticed it before Man of Steel certainly drew my attention to this. Both are not of this world and are sent from the heavens to save the world.  Like Jesus, Clark was adopted by an earthly father only to connect with his non-physical father later. Both wandered through the wilderness in a quest to discover who they were and to prepare them for the task ahead. Both were in their 30s when they began their work. At age 33, Clark gave himself up to human authority even though he was above this authority, just like Jesus gave himself up to the Pharisees. The US military handed Clark over to Zod just as the Pharisees handed over Jesus to the Romans. Indeed, one can go on and on but at the end of the day one thing is clear: according to Chris Nolan, David S. Goyer and Zack Snyder, and perhaps creators Jerry Siegel and Joe Shuster, Superman the Man of Steel is the Saviour of the World.

PS: As of 1 July 2013, Man of Steel has grossed over $520mm worldwide in just 17 days since its release.

Film Review: The Dark Knight Rises: Did it really?

On Wednesday, July 25, 2012 I got an invite to the Genesis Deluxe Cinemas’ premiere of probably the year’s most anticipated movie, The Dark Knight Rises, the concluding installment of director and writer Chris Nolan’s three part Batman series. The hype and anticipation was unprecedented, probably only matched by movies like Terminator 2: Judgement Day and (perhaps the only other comic universe franchise to match DC) Marvel’s The Avengers. The latter had broken records to become the third highest grossing movie of all time in just about eight weeks, earning $260m in its opening weekend in April 2012. I was among the very few people who believed that The Dark Knight Rises would beat The Avenger’s record.

And why did I believe that it would? Simply because Chris Nolan is a FANTASTIC director and writer. Indeed, The Dark Knight smashed records when it was released in 2008. It earned more than a billion dollars worldwide upon its release in 2008. Many would attribute this to Heath Ledger’s epic portrayal of The Joker based on Nolan’s interpretation of Batman’s most villainous villain. Others (myself included) would attribute it to the psychological study that was The Dark Knight. Nolan took Batman from comic book icon to a study in humanity, the battle between good and evil, and the grey areas in between. 2011’s Inception was a case study in film making. Nolan brought bits of what made his sophomore film Momento (2000) to bear in the critically acclaimed Inception. So little wonder The Dark Knight Rises was billed to rise and rise and rise. But somewhere along its intended ascent the two hours plus movie lost its wind.

First and foremost The Dark Knight Rises seemed like a lazy effort. The editing was abysmal. The scripting and plot scenes were like a series of quickies that did not get to the climax. The holes in the plot and storyline were so gaping and the material just did not hold water. I was left to assume so many things: How come Blake could so very easily figure out that Batman was actually Bruce Wayne? How did Bane figure out Batman was Bruce Wayne? How come after eight loooooong years, the city was still mourning White Knight Harvey Dent? I thought Lucius Fox left at the end of The Dark Knight? If he did not, why did he change his mind? How did the 3,000 plus Gotham City policemen survive three months underground? How come Alfred left? No, seriously why did he abandon Bruce? Where was the prison dungeon located? How come Bane could come and go as he pleased? Thought it was supposed to be somewhere not mainland USA? Bane broke Batman’s back (I actually cheered at that scene because it stayed true to the comics!) But come on! One does not recover from a broken back in a prison dungeon overnight!!!! The time-wasting speech and by-force kiss at the climactic scene when time was running out was cringe worthy! A nuke is about to go off in two minutes and you still have time for catharsis and a smooch? Like seriously?!! At the very best the script was overly simplistic.

The acting was not any better really. Joseph Gordon-Levitt had a good performance as the incorruptible cop John Blake. So did Gary Oldman and Marion Cotillard. Michael Cain was poor to say the least while Morgan Freeman and Christian Bale both seemed bored. And Bane’s voice! I had to strain my ears and mostly got someone else to tell me what he said!! It is bad enough we have to strain to catch what Batman (Bale) says due to his hoarse lisp but Bane’s Darth Vader-like voice was just inaudible!! The final fight scene was bleh! I know Chris Bale is not the biggest person or known for his fighting skills, but it was stiff (maybe it was the suit)! Bats is a bad ass martial artist schooled in the shadow arts! Most of us were also hoping that Tom Hardy who played Bane would bring some of his “bad assness” from The Warrior to bear on The Dark Knight Rises but alas that was not seen. The fighting should have been better choreographed.

On the positives, I loved the Talia al Ghul twist! It made sense. But the lovey dovey between Bruce and Miranda Tate her alter ego was not convincing enough. The twist at the end – Blake donning the role of Batman, Bruce Wayne (still recognisable!) turning up alive in Paris with Selina – reminiscent of Inception was almost cheesy but very welcome. It gave the film its final and much needed airlift. I mean no one, no matter the speculations, wanted to see Batman killed. We are glad Nolan kept him alive. If he had not, I daresay The Dark Knight Rises would have been deemed a bad movie.

I would be the first to admit that I was looking forward to identifying themes in The Dark Knight Rises. I found a few.

Nolan by bringing thematic elements of Batman Begins together with those from The Dark Knight stresses that Bruce Wayne cannot exist without Batman simply because he is first Batman before he is Bruce Wayne!! This was an epiphany for me because it was comforting to realise what I had long suspected: that like Superman whose alter ego is Clark Kent, Batman’s alter ego is Bruce Wayne! His life is the cowl! Bruce Wayne’s deterioration in spirit and body after the Batman disappears is evidence of this. In furtherance of the Dark Knight mythos, Nolan again confirms that Batman’s first and only love is the city of Gotham. Batman exists because Gotham exists; when threatened Batman defends her. Simple.

Nolan to my mind explores the symbolism of a “people’s” revolution against their government and the elite in Bane’s uprising (think #occupy). However, I failed to get that sense of anarchy or break up when the status quo of the previous eight years was destroyed. Where were all the mad men? Where was Arkham? The only thing reminiscent of it was The Scarecrow acting as judge and executioner of the new government. Was it a reverse Tunisian revolution gone wrong?

In the end, The Dark Knight Rises successfully brings to an end the Batman trilogy. However, deep inside I got the general feeling that Nolan and his team just wanted to get this trilogy over and done with really.

NB: As of July 29, 2012  (i.e. in 10 days) The Dark Knight Rises has made $537m worldwide at the Box Office.