Nolan films always have a specific style; dark, sleek with a sense of contrasting wide angle acceleration, zoom in still, gravity-be-damned motion. Special effects are always pivotal to his films’ success, at least for me. Man Of Steel is no exception, however the production successfully untethered Superman from his 1930’s comic book origins giving him tangible, present day accessibility.
Critics didn’t like it but who really pays attention to film critics?
Length. It was a little too long, mostly due to some very elaborate, skyscraper-punching fight scenes. The scenes were good but the editor could have cut out some of the redundant action, it didn’t help the story line.
Well cast. Cavil nails the more present-day, accessible version of Superman both physically – part model, part wolverine and emotionally – an integrated Superman-Clark Kent where Clark Kent was the facade. I always felt Christopher Reeves’ character was Clark Kent wearing the mask of Superman. Adams, who seems to be tearing up the screen lately, was convincing as a Teflon-coated, adventurous Lois Lane. Crowe added a visceral component to the back story of Superman’s father, rather than just a disembodied voice occasionally popping by to drop some sage advice.
FX. So this was the reason I saw it in 3-D and it did not disappoint. The battle scenes and the NYC crumbling scenes were well executed. For Marvel comic junkies this will not impress but keep in mind, this version of Superman appears to have gone a more gritty route.
Direction. Again, its Nolan’s calling card to create dark, sophisticated style even when the story takes place on a farm in Kansas. There is a sense of urgency throughout, some scenes too close to a visual 9/11 analogy, however offering some reconciliation at the end. I liked the ride.
Everyone ready for yet another trilogy? I am.