By Amy Nicholson
By Amy Nicholson
By Daphne Howland
By Amy Nicholson
By Stephanie Zacharek
By Calum Marsh
By Stephanie Zacharek
By Alan Scherstuhl
And Man of Steel is plenty serious. The MacGuffin here is a precious thingamabob holding the DNA codes for an entire race. How can anyone watching Man of Steel keep a straight face when a character asks solemnly, “Where is the Codex?” I wanted to yell out, “Aisle 9, right next to the Stay-Free.”
It’s a relief just to watch the actors act once in a while, and thankfully, Snyder is astute enough to punch some breathing holes in this steel-clad colossus. Adams is a fine, no-nonsense Lois Lane; she makes nosiness sultry. And Costner and Lane, in their depiction of heartland parents, defy the idea of homespun coziness, taking corn-pone dialogue and turning it golden. Lane has an extraordinary moment when she’s called to the school to calm down the preadolescent Clark, who’s had a meltdown after realizing he can see through his classmates’ and teacher’s skin. (You would, too.) She talks to him through the closet he’s locked himself into. “The world is too big, Mom,” he says, an instance of kid overstatement that in this case is perfectly justified. “Then make it small,” she tells him. “Focus on my voice.” If you were a young Superman in training, Lane’s sturdy brand of reassurance is just what you’d want to hear.
No wonder this pensive, angst-ridden kid grows up to be Henry Cavill, so cautiously grounded he at first seems inexpressive. It took me a scene or two to warm to him, maybe because I still miss Christopher Reeve and his far-less-tricked-out pecs. But Cavill grounds the movie. His Superman is more a listener than a talker. That’s probably what happens when you have X-ray vision, and you can see Cavill soaking it all in.
That quality serves him well even when he’s flying. In the movie’s finest scene, where he’s just learning the ropes of taking off, he’s more bird than plane, reading the signals around him as a Canada goose or a barn swallow might. Superman gets his wings in the Arctic. It’s a fine and desolate setting for human flight, and a smashing one for his particular uniform: His cape is light and lofty, with a fine velvety texture—it ripples in the wind like an alert flag. And no sooner have his red boots touched down in the soft, crunchy snow than they’re off again. This is costuming that allows an actor to defy gravity, if only in the make-believe way.
Much later, Clark Kent, tired of blurring his identity on fishing boats and Arctic explorations, will mount a truly impossible feat: a career as a journalist. And yet Cavill looks just as human in his Superman suit as he does in his newspaperman’s uniform, with his laptop bag and nerd glasses. This Man of Steel is still faster than a speeding bullet and more powerful than a locomotive. But even more miraculously, he humanizes the gargantuan movie around him. It’s his Kryptonite, and still, he defies it.Follow @VoiceFilmClub
So, I get the complaints about super hero movies becoming too much spectacle, effects, etc. But I find it amusing you reference Christopher Nolan's influence. He uses very little CGI in the Dark Knight films. If anything, those movies are almost a bit of a throwback themselves.
should be FRESH, listed as rotten. This is the 2nd "rotten" review on RT that doesn't come across as such. I knew that early 71% was BS. Super Returns is at 76%, and I have no doubt that this will go up.
You're the third critic I've tried to read because they had a less than stellar review of the film, and the third I've had to stop reading in the middle of. The one before I got here spoiled what to me would be a significant plot detail before I stopped reading in disgust.
Is there some reason you supposed professionals can't review a film without detailing the plot? You realize most of your target audience hasn't seen it yet, right? Might have liked to get your review/recommendation-or-not of the film without having you try to tell me everything that happens. Especially since it was a negative review, wanted to get an idea of how you felt it failed, in the general sense. I'm going to see it anyway, but if I should lower expectations a bit, it's at least good to know. If you're going to just write a book report on it, then at least warn readers at the top that you're going to spoil the whole thing so we don't bother.
You'd think professional MOVIE reviewers would know better than to write a 'review' that's basically just an encapsulation of the plot of the film. Makes your article pretty useless to me as a moviegoer.
"But there's just no stopping what these comic book movies have become...These movies are no longer driven by characters"
... um... have you actually seen any of these movies? I don't know whether to rip you for thoroughly misunderstanding anything related to "character" in a movie such as, say, The Dark Knight, or to pity you for your dearth of comprehension.
All the snark on the first page is a dead giveaway that she doesn't really believe in the position she takes against the film.
Huh? This is a mostly positive review. Why the heck is it listed as 'spoilt' on Rotten Tomatoes?
Is it because the author thought that'd attract more hits on this page? If so that's a pretty scummy thing to do. And not the first time a 'critic' used such a tactic either.
@deon7711 I agree!
Why would you read multiple reviews before going to see a movie?
When I was planning on seeing Prometheus, I deliberately avoided all material so as to enjoy the experience as much as possible.
@scottjeppsen Uh... you don't know what words mean, do you?
@scottjeppsen Truth! Justice! Random misogyny!
@Jean-Pierre A. FenyoJeanne-Pierre, that was crap. It was not satire (nor was it satyre), it was not funny, it was boring. You should re-title it as a social experiment to test the patience of people to make it through the whole thing, which I could not. Of course, where but on the Village Voice comment board could you find something as uselessly masturbatory as the review which hosts it? New York is dead and stinky.
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