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A common complaint about Singer’s film was a lack of action no such worries here.
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Snyder knows how to deliver on spectacle and imagery – and does well enough on character moments – and provides plenty of both in Man of Steel.
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While director Zack Snyder delivers on epic visuals and some superb superhero moments, the movie only infrequently captures the majesty, fun and awe of Superman the way that Richard Donner’s film (and, to a lesser extent, Superman II) did. And while Superman has certainly had plenty of moments of doubt, indecision and suffering throughout his long comic book history, he’s simply not the tortured soul that Bruce Wayne has always been. He’s an alien, for one thing, sent from a planet where the technology is virtually indistinguishable from magic.
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Of course, these are the two men primarily responsible for the “dark, gritty and realistic” nature of Nolan’s Dark Knight trilogy, and they’ve imprinted that same worldview on Superman, with varying degrees of success.Īfter all, unlike Batman, you can only get so “realistic” and “gritty” with Superman. Goyer’s screenplay and the presence of producer Christopher Nolan (who also worked on the story with Goyer). What makes Man of Steel different from 1978’s still-classic (and yet to be bettered) Superman is the movie’s tone and esthetic, which are dictated by David S. Meant as a reboot of the character after Bryan Singer’s lifeless, disappointing Superman Returnsfizzled at the box office seven years earlier, the movie retells Kal-El’s (Henry Cavill) origin story one more time, from the destruction of Krypton to his childhood on Earth to his reluctant but eventual acceptance of his destiny as humanity’s protector when renegade Kryptonian General Zod (Michael Shannon) comes looking for a fight. Man of Steel is a movie that gets as many things wrong as it does right, and as a result is both an exhilarating and frustrating experience.