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Bob Mann (459 KP) rated Mary Poppins Returns (2018) in Movies
Sep 28, 2021
A valiant attempt to recreate a masterpiece.
How do you repaint a masterpiece: the Mona Lisa of children’s fantasy cinema? Some would say “You shouldn’t try”.
As I’ve said before, Mary Poppins was the first film I saw when it came out (or soon afterwards) at a very impressionable age…. I was said to have bawled my eyes out with “THE MAGIC NANNY IS GOING AWAY!!” as Julie Andrews floated off! So as my last cinema trip of 2018 I went to see this sequel, 54 years after the original, with a sense of dread. I’m relieved to say that although the film has its flaws it’s by no means the disaster I envisaged.
The plot
It’s a fairly lightweight story. Now all grown up, young Michael from the original film (Ben Whishaw) has his own family. His troubles though come not singly but in battalions since not only is he grieving a recent loss but he is also about to be evicted from 17 Cherry Tree Lane. Help is at hand in that his father, George Banks, had shares with the Fidelity Fiduciary Bank. But despite their best efforts neither he, his sister Jane (Emily Mortimer) nor their chirpy “strike a light” lamplighter friend Jack (Lin-Manuel Miranda) can find the all-important share certificates. With the deadline from bank manager Wilkins (Colin Firth) approaching, it’s fortuitous that Mary Poppins (Emily Blunt) drops in to look after the Banks children – John (Nathanael Saleh), Anabel (Pixie Davies) and Georgie (Joel Dawson) – in her own inimitable fashion.
Songs that are more Meh-ry Poppins
I know musical taste is very personal. My biggest problem with the film though was that the songs by Marc Shaiman were, to me, on the lacklustre side. Only one jumped out and struck me: the jaunty vaudeville number “A Cover is not the Book”. Elsewhere they were – to me – unmemorable and nowhere near as catchy as those of “The Greatest Showman“. (What amplified this for me was having some of the classic Sherman-brothers themes woven into the soundtrack that just made me realise what I was missing!) Richard M Sherman – now 90 – was credited with “Music Consultant” but I wonder how much input he actually had?
The other flaws
Another issue I had with the film was that it just tried WAAYYY too hard to tick off the key attributes of the original:
‘Mary in the mirror’ – check
‘Bottomless carpet bag’ – check
‘Initial fun in the nursery’ – check
‘Quirky trip to a cartoon land’ – check
‘Dance on the ceiling with a quirky relative’ – check
‘Chirpy chimney sweeps’ – check (“Er… Mr Marshall… we couldn’t get chimney sweeps… will lamplighters do?” “Yeah, good enough”)
Another thing that struck me about the film – particularly as a film aimed at kids – is just how long it is. At 2 hours and 10 minutes it’s a bladder-testing experience for adults let alone younger children. (It’s worth noting that this is still 9 minutes shorter than the original, but back in the 60’s we had FAR fewer options to be stimulated by entertainment and our attention spans were – I think – much longer as a result!)
What it does get right
But with this whinging aside, the film does get a number of things spit-spot on.
Emily Blunt is near perfection as Poppins. (In the interests of balance my wife found her bizarrely clipped accent very grating, but I suspect P.L. Travers would have approved!). Broadway star Lin-Manuel Miranda also does a good job as Jack, although you wonder whether the ‘society of cockney actors’ must again be in a big grump about the casting! I found Emily Mortimer just delightful as the grown-up Jane, although Ben Whishaw‘s Michael didn’t particularly connect with me.
Almost unrecognisable was David Warner as the now wheelchair-bound Admiral Boom. His first mate is none other than Jim Norton of “Father Ted” Bishop Brennan fame (thanks to my daughter Jenn for pointing that one out)!
Also watch out (I’d largely missed it before I realised!) for a nice pavement cameo by Karen Dotrice, the original Jane, asking directions to number 19 Cherry Tree Lane.
What the film also gets right is to implement the old-school animation of the “Jolly Holidays” segment of the original. That’s a really smart move. Filmed at Shepperton Studios in London, this is once again a great advert for Britain’s film technicians. The London sets and the costumes (by the great Sandy Powell) are just superb.
Some cameo cherries on the cake
Finally, the aces in the hole are the two cameos near the end of the film. And they would have been lovely surprises as well since neither name appears in the opening credits. It’s therefore a CRYING SHAME that they chose to let the cat out of the bag in the trailer (BLOODY MARKETING EXECS!). In case you haven’t seen the trailer, I won’t spoil it for you here. But as a magical movie experience the first of those cameos moved me close to tears. He also delivers a hum-dinger of a plot twist that is a genuinely welcome crossover from the first film.
Final Thoughts
Rob Marshall directs, and with a pretty impossible task he delivers an end-product that, while it didn’t completely thrill me, did well not to trash my delicate hopes and dreams either. Having just listened to Kermode and Mayo’s review (and it seems that Mark Kermode places Poppins on a similar pedestal to me) the songs (and therefore the “Place Where Lost Things Go” song) just didn’t resonate with me in the same way, and so, unlike Kermode, I mentally never bridged the gap to safely enjoying it.
But what we all think is secondary. Because if some three or four year old out there gets a similarly lifelong love of the cinema by watching this, then that’s all that matters.
As I’ve said before, Mary Poppins was the first film I saw when it came out (or soon afterwards) at a very impressionable age…. I was said to have bawled my eyes out with “THE MAGIC NANNY IS GOING AWAY!!” as Julie Andrews floated off! So as my last cinema trip of 2018 I went to see this sequel, 54 years after the original, with a sense of dread. I’m relieved to say that although the film has its flaws it’s by no means the disaster I envisaged.
The plot
It’s a fairly lightweight story. Now all grown up, young Michael from the original film (Ben Whishaw) has his own family. His troubles though come not singly but in battalions since not only is he grieving a recent loss but he is also about to be evicted from 17 Cherry Tree Lane. Help is at hand in that his father, George Banks, had shares with the Fidelity Fiduciary Bank. But despite their best efforts neither he, his sister Jane (Emily Mortimer) nor their chirpy “strike a light” lamplighter friend Jack (Lin-Manuel Miranda) can find the all-important share certificates. With the deadline from bank manager Wilkins (Colin Firth) approaching, it’s fortuitous that Mary Poppins (Emily Blunt) drops in to look after the Banks children – John (Nathanael Saleh), Anabel (Pixie Davies) and Georgie (Joel Dawson) – in her own inimitable fashion.
Songs that are more Meh-ry Poppins
I know musical taste is very personal. My biggest problem with the film though was that the songs by Marc Shaiman were, to me, on the lacklustre side. Only one jumped out and struck me: the jaunty vaudeville number “A Cover is not the Book”. Elsewhere they were – to me – unmemorable and nowhere near as catchy as those of “The Greatest Showman“. (What amplified this for me was having some of the classic Sherman-brothers themes woven into the soundtrack that just made me realise what I was missing!) Richard M Sherman – now 90 – was credited with “Music Consultant” but I wonder how much input he actually had?
The other flaws
Another issue I had with the film was that it just tried WAAYYY too hard to tick off the key attributes of the original:
‘Mary in the mirror’ – check
‘Bottomless carpet bag’ – check
‘Initial fun in the nursery’ – check
‘Quirky trip to a cartoon land’ – check
‘Dance on the ceiling with a quirky relative’ – check
‘Chirpy chimney sweeps’ – check (“Er… Mr Marshall… we couldn’t get chimney sweeps… will lamplighters do?” “Yeah, good enough”)
Another thing that struck me about the film – particularly as a film aimed at kids – is just how long it is. At 2 hours and 10 minutes it’s a bladder-testing experience for adults let alone younger children. (It’s worth noting that this is still 9 minutes shorter than the original, but back in the 60’s we had FAR fewer options to be stimulated by entertainment and our attention spans were – I think – much longer as a result!)
What it does get right
But with this whinging aside, the film does get a number of things spit-spot on.
Emily Blunt is near perfection as Poppins. (In the interests of balance my wife found her bizarrely clipped accent very grating, but I suspect P.L. Travers would have approved!). Broadway star Lin-Manuel Miranda also does a good job as Jack, although you wonder whether the ‘society of cockney actors’ must again be in a big grump about the casting! I found Emily Mortimer just delightful as the grown-up Jane, although Ben Whishaw‘s Michael didn’t particularly connect with me.
Almost unrecognisable was David Warner as the now wheelchair-bound Admiral Boom. His first mate is none other than Jim Norton of “Father Ted” Bishop Brennan fame (thanks to my daughter Jenn for pointing that one out)!
Also watch out (I’d largely missed it before I realised!) for a nice pavement cameo by Karen Dotrice, the original Jane, asking directions to number 19 Cherry Tree Lane.
What the film also gets right is to implement the old-school animation of the “Jolly Holidays” segment of the original. That’s a really smart move. Filmed at Shepperton Studios in London, this is once again a great advert for Britain’s film technicians. The London sets and the costumes (by the great Sandy Powell) are just superb.
Some cameo cherries on the cake
Finally, the aces in the hole are the two cameos near the end of the film. And they would have been lovely surprises as well since neither name appears in the opening credits. It’s therefore a CRYING SHAME that they chose to let the cat out of the bag in the trailer (BLOODY MARKETING EXECS!). In case you haven’t seen the trailer, I won’t spoil it for you here. But as a magical movie experience the first of those cameos moved me close to tears. He also delivers a hum-dinger of a plot twist that is a genuinely welcome crossover from the first film.
Final Thoughts
Rob Marshall directs, and with a pretty impossible task he delivers an end-product that, while it didn’t completely thrill me, did well not to trash my delicate hopes and dreams either. Having just listened to Kermode and Mayo’s review (and it seems that Mark Kermode places Poppins on a similar pedestal to me) the songs (and therefore the “Place Where Lost Things Go” song) just didn’t resonate with me in the same way, and so, unlike Kermode, I mentally never bridged the gap to safely enjoying it.
But what we all think is secondary. Because if some three or four year old out there gets a similarly lifelong love of the cinema by watching this, then that’s all that matters.
Gareth von Kallenbach (965 KP) rated Cloud Atlas (2012) in Movies
Aug 7, 2019
While I am not familiar with the novel, I was not excited to review the film adaptation of David Mitchell’s Cloud Atlas. Though the Screenplay was written and directed by the Wachowskis (The Matrix) and Tom Tykwer (Run Lola Run) I did not know exactly what I was getting into. The trailer shows it as an epic sci-fi film crossing the time and lives of several stories and how everything and everyone is connected. Needless to say my curiosity was piqued. But I was nervous because I knew it would take a grand effort to keep this epic and ambitious project from falling flat. And well, I can honestly say that I am not quite sure if the combined effort succeeded.
Allow me to explain. About an hour into the film I had a young film reviewer to my left and I noticed he started to nod his head in approval at each new developing story throughout the film. To my right was a friend of mine, I would consider as an average film viewer, who at this same time I could tell was counting the minutes till the lights came up but felt trapped with nowhere to go but forward. And for me, I can see both sides of these reactions.
The plot is comprised of a multi-narrative of six stories, each with a complete beginning, middle and end. These stories are told from different timelines following a group of souls throughout the ages to show how everything is woven together and the connection between them; From the 1849 slave trader, to a young composer in 1936 Britain, to a 1973 journalist attempting to uncover corruption of the big business ruling class, to a 2012 literary publisher who’s life becomes a daring escape from a geriatric home, to a 2144 Neo-Soul synthetic learning to become human, to a post-apocalyptic tribesman trying to save his world and family… Lost yet? Believe me you will want to focus during the first hour of this film as we are introduced to the sudden shift of timelines. All of the main actors appear as varying characters of significance in every narrative, each with different accents and types of language. It is a bit of an unexpected bother to keep everything straight at first, however if you pay attention it is fairly easy to follow. This first hour is where I feel the film becomes a make or break for those actively thinking about what they are watching and the average movie viewer who is just there to be entertained and see the new Tom Hanks (Extremely Loud and Incredibly Close) or Halle Berry (Perfect Stanger) movie. For those who make it through that first hour still engaged, the film moves along at a steady pace and provides everything from romance to action that keeps you guessing and intrigued at what is next to come.
The Wachowskis and Tykwer do an outstanding job of visually fleshing out each timeline in its own visual style, especially the futuristic ones, which subtlety organize each narrative for the viewer. Additionally, there are so many talented actors in this film and it is somewhat fascinating to try and pick them out throughout the film. It is almost like a giant game of Where’s Waldo on screen as the makeup and special effects artists do a fantastic job of making the actors fit each character in every timeline. In fact, during the fourth or fifth timeline a lady in my row asked her partner if the man on screen was Forrest Gump, which was surprising because Hanks was the easiest character to pick out among them all.
Tom Hanks delivers one of his better performances in years. We watch his character’s soul transition from a sinister and vile doctor to a tribesman making the righteous choice while struggling with that inkling of evil that is the devil within us all. It was refreshing to see Hanks play parts that were not just an “everyman” that he has played in recent years.
Halle Berry’s performance is mostly average in her parts with the exception of 1973 journalist role where she is the main protagonist. Hugo Weaving channels a bit of his Agent Smith role from The Matrix as he plays a villain throughout the timelines. Hugh Grant (Love Actually) makes unexpected soild appearances throughout the timelines. With Jim Sturgess (One Day), James D’Arcy (Mansfield Park) and Ben Whishaw (who is the new Q in the upcoming James Bond film Skyfall) rounding out the cast with a young contrast to the already heavy acting handled by the bigger names of this film. Each of these young actors hold’s their own against their older more notable counterparts. Whishaw’s performance as the lead in the 1936 composer role is especially noteworthy.
The other stand out performance in the film comes from Jim Broadbent best known in the states as Professor Slughorn in the Harry Potter Films. His performance in the 1936 composer and 2012 literary publisher are excellent. The Publisher story was my favorite timeline throughout the film. Not only did it deliver some much needed comic relief to an emotionally engaging and heavy film, but it also made me care the most about the elderly characters trying to escape the clutches of the geriatric prison of a nursing home. Unfortunately, other than the aforementioned comic relief this timeline seemed the most unnecessary to the overarching story at hand.
When I left the film and talked it over with my friend I was indifferent to the film. It was not great, it was not bad either. As my friend described it, it was a movie that was trying too hard. We agreed that somewhere in the six storylines there may be a great film, but we were not sure if we watched it.
However as the days have passed I have found myself thinking about the stories constantly. More specifically about how the main protagonist played by a different actor in each narrative has the same birthmark of a shooting star that in some way symbolizes some universal soul encompassing a new shell of a body in each timeline. Like some kind of reincarnation of that soul is fighting the same revolution throughout the ages against the powerful class and illusion of natural order. Additionally how each of the central characters found themselves connected with the main characters in the stories that preceded them through some kind of medium; whether it was by an old journal, or love letters, or a written story, or film, or message of hope. These subtle insights of growth and change for this main soul leaping into a new life in each timeline has caused me to examine our world and how we as people can be truly connected to one another not only today, but throughout the ages. I want to view the film again and am inspired to read the novel in some sort of effort to better understand these concepts.
Nevertheless as a film that is almost three hours long it does its best to be an epic sci-fi film and give something for everyone. And while it succeeds in many aspects of feel, it also falls short in aspects that are probably best accomplished in a literary form. As I said above, somewhere in the six storylines there may be a great film, but I am not sure if I watched it. Or maybe I am not intelligent enough to comprehend it. Because of that I can only give it an average score. Though I believe if you ask me after a second viewing, I may be inclined to raise it.
Allow me to explain. About an hour into the film I had a young film reviewer to my left and I noticed he started to nod his head in approval at each new developing story throughout the film. To my right was a friend of mine, I would consider as an average film viewer, who at this same time I could tell was counting the minutes till the lights came up but felt trapped with nowhere to go but forward. And for me, I can see both sides of these reactions.
The plot is comprised of a multi-narrative of six stories, each with a complete beginning, middle and end. These stories are told from different timelines following a group of souls throughout the ages to show how everything is woven together and the connection between them; From the 1849 slave trader, to a young composer in 1936 Britain, to a 1973 journalist attempting to uncover corruption of the big business ruling class, to a 2012 literary publisher who’s life becomes a daring escape from a geriatric home, to a 2144 Neo-Soul synthetic learning to become human, to a post-apocalyptic tribesman trying to save his world and family… Lost yet? Believe me you will want to focus during the first hour of this film as we are introduced to the sudden shift of timelines. All of the main actors appear as varying characters of significance in every narrative, each with different accents and types of language. It is a bit of an unexpected bother to keep everything straight at first, however if you pay attention it is fairly easy to follow. This first hour is where I feel the film becomes a make or break for those actively thinking about what they are watching and the average movie viewer who is just there to be entertained and see the new Tom Hanks (Extremely Loud and Incredibly Close) or Halle Berry (Perfect Stanger) movie. For those who make it through that first hour still engaged, the film moves along at a steady pace and provides everything from romance to action that keeps you guessing and intrigued at what is next to come.
The Wachowskis and Tykwer do an outstanding job of visually fleshing out each timeline in its own visual style, especially the futuristic ones, which subtlety organize each narrative for the viewer. Additionally, there are so many talented actors in this film and it is somewhat fascinating to try and pick them out throughout the film. It is almost like a giant game of Where’s Waldo on screen as the makeup and special effects artists do a fantastic job of making the actors fit each character in every timeline. In fact, during the fourth or fifth timeline a lady in my row asked her partner if the man on screen was Forrest Gump, which was surprising because Hanks was the easiest character to pick out among them all.
Tom Hanks delivers one of his better performances in years. We watch his character’s soul transition from a sinister and vile doctor to a tribesman making the righteous choice while struggling with that inkling of evil that is the devil within us all. It was refreshing to see Hanks play parts that were not just an “everyman” that he has played in recent years.
Halle Berry’s performance is mostly average in her parts with the exception of 1973 journalist role where she is the main protagonist. Hugo Weaving channels a bit of his Agent Smith role from The Matrix as he plays a villain throughout the timelines. Hugh Grant (Love Actually) makes unexpected soild appearances throughout the timelines. With Jim Sturgess (One Day), James D’Arcy (Mansfield Park) and Ben Whishaw (who is the new Q in the upcoming James Bond film Skyfall) rounding out the cast with a young contrast to the already heavy acting handled by the bigger names of this film. Each of these young actors hold’s their own against their older more notable counterparts. Whishaw’s performance as the lead in the 1936 composer role is especially noteworthy.
The other stand out performance in the film comes from Jim Broadbent best known in the states as Professor Slughorn in the Harry Potter Films. His performance in the 1936 composer and 2012 literary publisher are excellent. The Publisher story was my favorite timeline throughout the film. Not only did it deliver some much needed comic relief to an emotionally engaging and heavy film, but it also made me care the most about the elderly characters trying to escape the clutches of the geriatric prison of a nursing home. Unfortunately, other than the aforementioned comic relief this timeline seemed the most unnecessary to the overarching story at hand.
When I left the film and talked it over with my friend I was indifferent to the film. It was not great, it was not bad either. As my friend described it, it was a movie that was trying too hard. We agreed that somewhere in the six storylines there may be a great film, but we were not sure if we watched it.
However as the days have passed I have found myself thinking about the stories constantly. More specifically about how the main protagonist played by a different actor in each narrative has the same birthmark of a shooting star that in some way symbolizes some universal soul encompassing a new shell of a body in each timeline. Like some kind of reincarnation of that soul is fighting the same revolution throughout the ages against the powerful class and illusion of natural order. Additionally how each of the central characters found themselves connected with the main characters in the stories that preceded them through some kind of medium; whether it was by an old journal, or love letters, or a written story, or film, or message of hope. These subtle insights of growth and change for this main soul leaping into a new life in each timeline has caused me to examine our world and how we as people can be truly connected to one another not only today, but throughout the ages. I want to view the film again and am inspired to read the novel in some sort of effort to better understand these concepts.
Nevertheless as a film that is almost three hours long it does its best to be an epic sci-fi film and give something for everyone. And while it succeeds in many aspects of feel, it also falls short in aspects that are probably best accomplished in a literary form. As I said above, somewhere in the six storylines there may be a great film, but I am not sure if I watched it. Or maybe I am not intelligent enough to comprehend it. Because of that I can only give it an average score. Though I believe if you ask me after a second viewing, I may be inclined to raise it.
Ryan Hill (152 KP) rated Man of Steel (2013) in Movies
May 21, 2019
"It's not an s on my world it means hope"
Superman's origin has been retold in comics more than any other character. But how do you reboot such a beloved icon in film form without making his origin feel unnecessary to go through again. By handing him over to the masters of all reboots. While developing the story for The Dark Knight Rises, Director Christopher Nolan and writer David S. Goyer developed a new way to bring the man of steel to life. The duo previously saved Batman and made him a cinematic legend again and now they plan to save Superman from uneven sequels and a stale image. And who did they invite to lead this revival? None other than director Zack Snyder, a visual wizard with a lackluster reputation in storytelling thanks to his remake of Dawn of the Dead, 300, Watchmen and Sucker Punch. Now despite some filmmaking stumbles along the way, the trio make for a surprisingly great combination and deliver the modern Superman film we have waited 75 years for with Man of Steel. We are given both Superman and a Clark Kent who doesn't know his place in the world and is coming to terms with how the public perceives him.
As with all Superman mythology the story begins on Krypton, the planet that's hundreds of thousands of civilized years ahead of Earth. The whole planet is science fiction nirvana. The zooming spaceships, winged beast and advanced technology crafted from liquid metal. For once we experience the entire planet, not just a couple rooms made out of cheap crystal. There's a system of ways things work that has never been fleshed out on screen before. The government, the science and it's culture. At the head of the planet's scientific research is Jor-El (Russell Crowe) and he has discovered proof that may lead to the planet's destruction. But unfortunately his pleas towards his leaders are ignored due to the ongoing civil war with Jor-El's old friend General Zod (Michael Shannon). There's more history to the Jor-El/ Zod dynamic this time around which just enriches their conflict. There are millions of stories concerning Marlon Brando's $3 million dollar slumming in the '78 film. He intentionally mispronounced Krypton, made outrageous production demands and in the end that put him on the cutting room floor for it's sequel. Crowe see's Brando's paycheck acting and raises it with a performance full of gravitas. When conflicts begin to soften and punishments are served, more and more evidence begin to support Jor-El's claims of Krypton's destruction and with time and options exhausted, his final resort is to save his only son Kal-El. Still an infant, Jor-El concludes the only way his son will ever have any chance of life is to be sent to a more primitive alien planet and have a significant advantage over it's species. So he sends him to Earth, where it's sun will grant his body incredible abilities.
Jump 33 years later as the adult Kal-El, now under the name Clark Kent (Henry Cavil) is wandering the world trying to discover his place in it. There are multiple flashbacks to Clark's childhood with his adoptive parents Jonathan and Martha Kent (Kevin Costner and Diane Lane). Costner gives a heartfelt performance full of warmth as the father concerned with his son's well-being if the world rejects him. If someone with Clark's abilities were to be exposed to the public, it would be one of the biggest moments in human history. His existence alone would make everyone question religion, science and everything they had ever thought about the universe. And Lane strikes quiet, charming notes as the more understanding mother. Throughout his entire life Clark had been using his powers in secret, from saving derrick workers from fires to fighting a massive hurricane in his hometown of Smallville. If there's one word to describe Cavil's performance it's "Modern". He is not the "Aw shucks" farm boy nor is he the angst filled mess many feared he was going to be. There's still a humbleness, a sweetness and a sense of forthrightness to him. And of course he is a perfect physical representation of the character as well. As much as Christopher Reeve's performance still means to audiences today, it has reached a point where it has unfairly overshadowed the character. The idealism of Reeve's Superman isn't relevant today, at least not in the purest sense of the word. Cavil's Superman understands the difficulty of what his powers mean for the world and understands there really isn't anything to smile about.
Of course you can't tell a Superman story without his supporting players at the Daily Planet. Perry White (Laurence Fishburne, in an inspired piece of casting) knows the only way a newspaper could ever have hope at functioning these days is if they had major exclusives to the first alien ever revealed to the masses. Enter Lois Lane (Amy Adams, full of spunk) who has been chasing Clark's story all across the globe for several years. Lois has always been a tricky character to adapt, seeing how it's difficult for audiences to like her if you get it wrong. Can somebody who can't see Superman past a pair of thick glasses really be a Pulitzer Prize winning journalist? Thankfully, this Lois isn't as Shrill as Margot Kidder or as bland as Kate Bosworth in previous versions. Snyder and Adams treat Lois as the talented, dedicated journalist we know she really is by making her active at her profession and not having to prove anything just because she's a woman. The only thing she has to prove are her credentials, which are just as impressive as everything else about her. While some might be disappointed by the lack of romance between the couple, but to be fair, this isn't a Lois and Clark story, it's the story of Clark discovering his place in the world. But the spark between the two of them is certainly present when they first meet. For Clark to go from a lifetime of loneliness to have somebody instantly discover everything about you and admiring all of it is a luxury he has never had before.
Clark couldn't have picked a better time to make his presence known to the world, with General Zod returning to finish what he started. The cinematic Superman villains have created a history of scenery chewing performances dating back to Gene Hackman's Lex Luthor. Terrence Stamp was the first actor to portray Zod on film in Superman ll, but despite some memorable dialogue ("Kneel before Zod!") he was still essentially just a typical mustache twirling maniac. Zod this time around is nothing but bold tactics and is fully fledged to preserving his lost race, no matter what the cost. Michael Shannon is nothing but pure, demented megalomania. The only disadvantage Zod possesses though is that his body isn't used to the yellow son and must try and control all his new powers at once. Clark on the other hand, has had a lifetime to perfect his gifts.
Visual aesthetics have leaped skyscrapers since the Donner era. Snyder takes that technological advantage and gives fans what they have dreamed of for years. To put it bluntly, to see Supes punch somebody- really fucking hard! Snyder understands all of Superman's abilities and test them on the grandest scale imaginable. And he does so without resorting to his trademark slow-mo sequences and putting macho fantasies on display. In terms of action alone this is the first time the character has been given justice. Even as bombastic or repetitive it occasionally becomes, it can easily be forgiven because the character has been so overdue for it. It is unfortunate that cinematographer Amir Morki captures it all in a rather unpolished handheld style. But at least Snyder's chaotic direction finally seems to have a sense of aim and isn't relying on green screen to tell his stories. It may have to do with the influence of Nolan producing, but the end result is gloriously flashy, gritty and contains a well needed sense of gravity. And while Man of Steel never reaches the same dizzying heights as Nolan's Dark Knight trilogy, it still preserves and reintroduces it's legendary character in the same respect.
Snyder, Nolan and Goyer certainly have stayed true to the modern lore of Superman by adapting elements of his classic comic stories Birthright, Man for All Seasons, New Krypton and Earth One, and do so without damaging or over-explaining any of it. But if anything it's a science fiction story first then a comic book adaptation, in the vein of such first contact films as the original Day the Earth Stood Still and War of the Worlds. Man of Steel reminds us that Superman is not human, but still represents the best that humanity has to offer. It's the story of fathers, understanding your roots and taking hold of your destiny. It's always been that way for Superman, ever since he was created by young Jewish immigrants Jerry Siegel and Joe Shuster.
While the original theme music by John Williams is still the granddaddy of all superhero cinematic anthems, Hans Zimmer still creates a thunderous pulse of a score. Atmospheric, gentle and adrenaline charged, Zimmer accompanies Clark's drifting, the concerns of his parents and Superman's clashes with one perfect note after another.
Christopher Reeve for many people is still going to be the definitive Superman, but that's too be expected. For so long that's all we've had to go on as far as a great man of steel. There are multiple generations separating Reeve and Cavil and multiple generations separating their audiences. Will everyone accept Cavil as this modern Superman that understands today's humanity? As with Batman Begins, the conclusion doesn't technically set itself up for a sequel but it establishes an iconic part of it's universe in a nice wink that makes you want to see more of it. It isn't quite perfect, but this universe certainly deserved to grow. Because unlike what occurred in 2006, this time Superman really has returned.
As with all Superman mythology the story begins on Krypton, the planet that's hundreds of thousands of civilized years ahead of Earth. The whole planet is science fiction nirvana. The zooming spaceships, winged beast and advanced technology crafted from liquid metal. For once we experience the entire planet, not just a couple rooms made out of cheap crystal. There's a system of ways things work that has never been fleshed out on screen before. The government, the science and it's culture. At the head of the planet's scientific research is Jor-El (Russell Crowe) and he has discovered proof that may lead to the planet's destruction. But unfortunately his pleas towards his leaders are ignored due to the ongoing civil war with Jor-El's old friend General Zod (Michael Shannon). There's more history to the Jor-El/ Zod dynamic this time around which just enriches their conflict. There are millions of stories concerning Marlon Brando's $3 million dollar slumming in the '78 film. He intentionally mispronounced Krypton, made outrageous production demands and in the end that put him on the cutting room floor for it's sequel. Crowe see's Brando's paycheck acting and raises it with a performance full of gravitas. When conflicts begin to soften and punishments are served, more and more evidence begin to support Jor-El's claims of Krypton's destruction and with time and options exhausted, his final resort is to save his only son Kal-El. Still an infant, Jor-El concludes the only way his son will ever have any chance of life is to be sent to a more primitive alien planet and have a significant advantage over it's species. So he sends him to Earth, where it's sun will grant his body incredible abilities.
Jump 33 years later as the adult Kal-El, now under the name Clark Kent (Henry Cavil) is wandering the world trying to discover his place in it. There are multiple flashbacks to Clark's childhood with his adoptive parents Jonathan and Martha Kent (Kevin Costner and Diane Lane). Costner gives a heartfelt performance full of warmth as the father concerned with his son's well-being if the world rejects him. If someone with Clark's abilities were to be exposed to the public, it would be one of the biggest moments in human history. His existence alone would make everyone question religion, science and everything they had ever thought about the universe. And Lane strikes quiet, charming notes as the more understanding mother. Throughout his entire life Clark had been using his powers in secret, from saving derrick workers from fires to fighting a massive hurricane in his hometown of Smallville. If there's one word to describe Cavil's performance it's "Modern". He is not the "Aw shucks" farm boy nor is he the angst filled mess many feared he was going to be. There's still a humbleness, a sweetness and a sense of forthrightness to him. And of course he is a perfect physical representation of the character as well. As much as Christopher Reeve's performance still means to audiences today, it has reached a point where it has unfairly overshadowed the character. The idealism of Reeve's Superman isn't relevant today, at least not in the purest sense of the word. Cavil's Superman understands the difficulty of what his powers mean for the world and understands there really isn't anything to smile about.
Of course you can't tell a Superman story without his supporting players at the Daily Planet. Perry White (Laurence Fishburne, in an inspired piece of casting) knows the only way a newspaper could ever have hope at functioning these days is if they had major exclusives to the first alien ever revealed to the masses. Enter Lois Lane (Amy Adams, full of spunk) who has been chasing Clark's story all across the globe for several years. Lois has always been a tricky character to adapt, seeing how it's difficult for audiences to like her if you get it wrong. Can somebody who can't see Superman past a pair of thick glasses really be a Pulitzer Prize winning journalist? Thankfully, this Lois isn't as Shrill as Margot Kidder or as bland as Kate Bosworth in previous versions. Snyder and Adams treat Lois as the talented, dedicated journalist we know she really is by making her active at her profession and not having to prove anything just because she's a woman. The only thing she has to prove are her credentials, which are just as impressive as everything else about her. While some might be disappointed by the lack of romance between the couple, but to be fair, this isn't a Lois and Clark story, it's the story of Clark discovering his place in the world. But the spark between the two of them is certainly present when they first meet. For Clark to go from a lifetime of loneliness to have somebody instantly discover everything about you and admiring all of it is a luxury he has never had before.
Clark couldn't have picked a better time to make his presence known to the world, with General Zod returning to finish what he started. The cinematic Superman villains have created a history of scenery chewing performances dating back to Gene Hackman's Lex Luthor. Terrence Stamp was the first actor to portray Zod on film in Superman ll, but despite some memorable dialogue ("Kneel before Zod!") he was still essentially just a typical mustache twirling maniac. Zod this time around is nothing but bold tactics and is fully fledged to preserving his lost race, no matter what the cost. Michael Shannon is nothing but pure, demented megalomania. The only disadvantage Zod possesses though is that his body isn't used to the yellow son and must try and control all his new powers at once. Clark on the other hand, has had a lifetime to perfect his gifts.
Visual aesthetics have leaped skyscrapers since the Donner era. Snyder takes that technological advantage and gives fans what they have dreamed of for years. To put it bluntly, to see Supes punch somebody- really fucking hard! Snyder understands all of Superman's abilities and test them on the grandest scale imaginable. And he does so without resorting to his trademark slow-mo sequences and putting macho fantasies on display. In terms of action alone this is the first time the character has been given justice. Even as bombastic or repetitive it occasionally becomes, it can easily be forgiven because the character has been so overdue for it. It is unfortunate that cinematographer Amir Morki captures it all in a rather unpolished handheld style. But at least Snyder's chaotic direction finally seems to have a sense of aim and isn't relying on green screen to tell his stories. It may have to do with the influence of Nolan producing, but the end result is gloriously flashy, gritty and contains a well needed sense of gravity. And while Man of Steel never reaches the same dizzying heights as Nolan's Dark Knight trilogy, it still preserves and reintroduces it's legendary character in the same respect.
Snyder, Nolan and Goyer certainly have stayed true to the modern lore of Superman by adapting elements of his classic comic stories Birthright, Man for All Seasons, New Krypton and Earth One, and do so without damaging or over-explaining any of it. But if anything it's a science fiction story first then a comic book adaptation, in the vein of such first contact films as the original Day the Earth Stood Still and War of the Worlds. Man of Steel reminds us that Superman is not human, but still represents the best that humanity has to offer. It's the story of fathers, understanding your roots and taking hold of your destiny. It's always been that way for Superman, ever since he was created by young Jewish immigrants Jerry Siegel and Joe Shuster.
While the original theme music by John Williams is still the granddaddy of all superhero cinematic anthems, Hans Zimmer still creates a thunderous pulse of a score. Atmospheric, gentle and adrenaline charged, Zimmer accompanies Clark's drifting, the concerns of his parents and Superman's clashes with one perfect note after another.
Christopher Reeve for many people is still going to be the definitive Superman, but that's too be expected. For so long that's all we've had to go on as far as a great man of steel. There are multiple generations separating Reeve and Cavil and multiple generations separating their audiences. Will everyone accept Cavil as this modern Superman that understands today's humanity? As with Batman Begins, the conclusion doesn't technically set itself up for a sequel but it establishes an iconic part of it's universe in a nice wink that makes you want to see more of it. It isn't quite perfect, but this universe certainly deserved to grow. Because unlike what occurred in 2006, this time Superman really has returned.