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Gareth von Kallenbach (965 KP) rated The Amazing Spider-Man (2012) in Movies
Aug 7, 2019
Initially when a franchise reboots a series not five years from its last installment this can often be seen as a sign that they’ve run out of ideas. It was reportedly the inability to find a suitable script that drove director-producer Sam Raimi and the stars of the Spider-man series away from a possible fourth outing and forced Sony/Columbia start fresh.
Selecting the relatively new Marc Webb who, outside of “500 Days of Summer”, had worked on music videos and most recently directed episode of The Office and the pilot for Lone Star, seemed like a very odd choice to turn over the billion-dollar franchise. The selection of American-born English actor Andrew Garfield also seemed to be an interesting choice to don the tights of the wall crawler.
Thankfully this is exactly the fresh start that the series needed. Even though I went into the film with guarded and reserved expectations I must say that I’m absolutely delighted with how the final product came out as this is a very fresh and faithful adaptation of the beloved comic book character that, in my opinion is the best adaptation to date on film.
The screenplay by James Vanderbilt was based on a story credited to three other writers all of whom clearly understand the character and the source material and are focused first and foremost with being respectful to it rather than putting their own unique stamp and take on the franchise.
The film does take a little bit of liberty by showing Peter Parker’s parents as they place young Peter in the custody of Ben and May Parker (Martin Sheen and Sally Fields) as they flee into a rainy night from implied danger, never to be seen again.
The film continues with teenage Peter (Andrew Garfield), plodding his way through high school. As brilliant as Peter is academically, he is extremely awkward around girls especially the lovely Gwen Stacy (Emma Stone), who never fails to catch his eye. When a clue from his father’s past arises, Peter finds himself at Oscorp where Gwen works as an intern. Peter also finds himself on the radar of his dad’s former partner Dr. Curt Connors (Rhys Ifans), who becomes intrigued by young Peter’s scientific theories and even more so in his abilities when he learns that he is the offspring of his former partner.
Dr. Connors is working on cross species genetics and hopes that not only will it someday replaces missing arm, but will also pave a bold new direction for humanity. During a visit to the lab Peter, is bitten by a radioactive spider, and as any fan of the series knows, begins to exhibit amazing strength, agility, and perception, as well as the ability to walk on walls and cling to ceilings. In a very refreshing return to form, Peter fashions his famous web slingers rather than have them be organic as the previous film series did.
When a twist of fate puts Peter on the path of vengeance, he becomes a masked vigilante who uses his newfound abilities to rid New York some of its less pleasant citizens. These activities do not sit well with Captain Stacy (Denis Leary), who also happens to be Gwen’s father. As Peter and Gwen become closer, the duality of hiding his new identity from Capt. Stacy and Aunt May becomes even more imperative.
Naturally, it would not be much of a superhero film without a super villain, and Dr. Connors is more than willing to step up to this. Faced with pressure from his bosses he decides to use an experimental serum on himself. At first he is delighted as he seems to regrow his lost limb, but then in a Jekyll & Hyde-like transformation he transforms into a gigantic lizard creature bent on revenge and destruction as he attempts to complete a plan that will devastate millions of New York citizens.
Since Peter helped provide the equation that led to the formula that transform Dr. Connors, he feels obligated to stop the raging creature and to save his mentor no matter the cost. What follows are some truly spectacular action sequences including sewer battles in an extremely memorable finale across the Manhattan skyline.
While the film did take its time getting started as it established its back story and introduced the characters, once it got rolling it was an extremely fun and exhilarating ride. Garfield and Stone have a very good chemistry with one another and the reports of them recently dating off screen further solidifies their on-screen bond. Garfield wonderfully captures the conflicted emotions of Peter Parker as well as the brilliantly awkward genius that he is.
He runs the gamut of emotions from showing his anger and frustration to the dopey awkwardness of his interactions with Gwen and very believable manner. When he becomes infused with his new abilities you can almost share the glee that he has as he swings and flips around the landscape. The sheltered, socially awkward young man disappears when he dons the mask. He’s free to let himself go and Garfield does this with a childlike delight as well as the trademark quips and wisecracks that made the character such a beloved icon.
Garfield handles the physical duties of the role quite well and shines both in and out of the costume. I thought Tobey Maguire did a fantastic job bringing the character to life previously, but in my opinion Garfield has captured the essence of Peter Parker/ Spider-man and made it his own with a truly wonderful performance all around.
Stone does a great job as the love interest in the film as she is more than just eye candy and the typical damsel in distress far too common with this type of film. She challenges Peter and you can see some gleeful delight in her eyes when Peter awkwardly stumbles around her in an attempt to ask her out. Because she clearly enjoys the situation Gwen is not about to make it any easier on Peter, even though she’s been waiting for him to muster the courage for ages. She’s a strong and determined woman who gives a good range of emotions in her scenes and complements Garfield exceptionally well.
The supporting cast was very good especially Leary and Fields and Ifans does a good job as the quietly restrained Connors. In what could’ve easily been a scenery chewing, over-the-top Machiavellian bad guy, Ifans portrays Connors as a very sympathetic and understandable figure. He is a scientist first and foremost who is trying to do what he believes is right. He is not suited for the political machinations of a large corporation and when he begins this transformation and the animal side takes over there is still a hint of humanity amongst all the CGI work for the re-imagined Lizard.
While it did take me a while to get used to the look of The Lizard having become accustomed to his portrayal in comics and cartoons, I have to say it was a good updating it still stayed faithful to the essence of the original character.
Webb wisely decided to shoot in 3-D and not do a post filming conversion. It is the visually captivating and at times stunning cinema photography that really sets the tone for the film. You can truly get an idea of what it is like to be Spider-man as he swings and flips through the city and the point of view shots of his web firing out to latch onto objects and take down opponents are a lot of fun. Webb clearly knows the subject matter and gets the most out of his very talented cast and tells a very entertaining yet human action story and lets the effects support the film rather than carry it.
The film was much better than “Spider-man 3”. I am so happy that the franchise is in good hands and is moving forward in the right direction. Although the movie did take a while to get up to speed once it got rolling I did not want it to end, and I commented to my wife that I don’t want to have to wait 2 to 3 years for the next installment of the film I’m ready for more now. As a lifelong fan of comic I can honestly say I am beyond delighted with the new film, cast, director, and direction for the series.
Selecting the relatively new Marc Webb who, outside of “500 Days of Summer”, had worked on music videos and most recently directed episode of The Office and the pilot for Lone Star, seemed like a very odd choice to turn over the billion-dollar franchise. The selection of American-born English actor Andrew Garfield also seemed to be an interesting choice to don the tights of the wall crawler.
Thankfully this is exactly the fresh start that the series needed. Even though I went into the film with guarded and reserved expectations I must say that I’m absolutely delighted with how the final product came out as this is a very fresh and faithful adaptation of the beloved comic book character that, in my opinion is the best adaptation to date on film.
The screenplay by James Vanderbilt was based on a story credited to three other writers all of whom clearly understand the character and the source material and are focused first and foremost with being respectful to it rather than putting their own unique stamp and take on the franchise.
The film does take a little bit of liberty by showing Peter Parker’s parents as they place young Peter in the custody of Ben and May Parker (Martin Sheen and Sally Fields) as they flee into a rainy night from implied danger, never to be seen again.
The film continues with teenage Peter (Andrew Garfield), plodding his way through high school. As brilliant as Peter is academically, he is extremely awkward around girls especially the lovely Gwen Stacy (Emma Stone), who never fails to catch his eye. When a clue from his father’s past arises, Peter finds himself at Oscorp where Gwen works as an intern. Peter also finds himself on the radar of his dad’s former partner Dr. Curt Connors (Rhys Ifans), who becomes intrigued by young Peter’s scientific theories and even more so in his abilities when he learns that he is the offspring of his former partner.
Dr. Connors is working on cross species genetics and hopes that not only will it someday replaces missing arm, but will also pave a bold new direction for humanity. During a visit to the lab Peter, is bitten by a radioactive spider, and as any fan of the series knows, begins to exhibit amazing strength, agility, and perception, as well as the ability to walk on walls and cling to ceilings. In a very refreshing return to form, Peter fashions his famous web slingers rather than have them be organic as the previous film series did.
When a twist of fate puts Peter on the path of vengeance, he becomes a masked vigilante who uses his newfound abilities to rid New York some of its less pleasant citizens. These activities do not sit well with Captain Stacy (Denis Leary), who also happens to be Gwen’s father. As Peter and Gwen become closer, the duality of hiding his new identity from Capt. Stacy and Aunt May becomes even more imperative.
Naturally, it would not be much of a superhero film without a super villain, and Dr. Connors is more than willing to step up to this. Faced with pressure from his bosses he decides to use an experimental serum on himself. At first he is delighted as he seems to regrow his lost limb, but then in a Jekyll & Hyde-like transformation he transforms into a gigantic lizard creature bent on revenge and destruction as he attempts to complete a plan that will devastate millions of New York citizens.
Since Peter helped provide the equation that led to the formula that transform Dr. Connors, he feels obligated to stop the raging creature and to save his mentor no matter the cost. What follows are some truly spectacular action sequences including sewer battles in an extremely memorable finale across the Manhattan skyline.
While the film did take its time getting started as it established its back story and introduced the characters, once it got rolling it was an extremely fun and exhilarating ride. Garfield and Stone have a very good chemistry with one another and the reports of them recently dating off screen further solidifies their on-screen bond. Garfield wonderfully captures the conflicted emotions of Peter Parker as well as the brilliantly awkward genius that he is.
He runs the gamut of emotions from showing his anger and frustration to the dopey awkwardness of his interactions with Gwen and very believable manner. When he becomes infused with his new abilities you can almost share the glee that he has as he swings and flips around the landscape. The sheltered, socially awkward young man disappears when he dons the mask. He’s free to let himself go and Garfield does this with a childlike delight as well as the trademark quips and wisecracks that made the character such a beloved icon.
Garfield handles the physical duties of the role quite well and shines both in and out of the costume. I thought Tobey Maguire did a fantastic job bringing the character to life previously, but in my opinion Garfield has captured the essence of Peter Parker/ Spider-man and made it his own with a truly wonderful performance all around.
Stone does a great job as the love interest in the film as she is more than just eye candy and the typical damsel in distress far too common with this type of film. She challenges Peter and you can see some gleeful delight in her eyes when Peter awkwardly stumbles around her in an attempt to ask her out. Because she clearly enjoys the situation Gwen is not about to make it any easier on Peter, even though she’s been waiting for him to muster the courage for ages. She’s a strong and determined woman who gives a good range of emotions in her scenes and complements Garfield exceptionally well.
The supporting cast was very good especially Leary and Fields and Ifans does a good job as the quietly restrained Connors. In what could’ve easily been a scenery chewing, over-the-top Machiavellian bad guy, Ifans portrays Connors as a very sympathetic and understandable figure. He is a scientist first and foremost who is trying to do what he believes is right. He is not suited for the political machinations of a large corporation and when he begins this transformation and the animal side takes over there is still a hint of humanity amongst all the CGI work for the re-imagined Lizard.
While it did take me a while to get used to the look of The Lizard having become accustomed to his portrayal in comics and cartoons, I have to say it was a good updating it still stayed faithful to the essence of the original character.
Webb wisely decided to shoot in 3-D and not do a post filming conversion. It is the visually captivating and at times stunning cinema photography that really sets the tone for the film. You can truly get an idea of what it is like to be Spider-man as he swings and flips through the city and the point of view shots of his web firing out to latch onto objects and take down opponents are a lot of fun. Webb clearly knows the subject matter and gets the most out of his very talented cast and tells a very entertaining yet human action story and lets the effects support the film rather than carry it.
The film was much better than “Spider-man 3”. I am so happy that the franchise is in good hands and is moving forward in the right direction. Although the movie did take a while to get up to speed once it got rolling I did not want it to end, and I commented to my wife that I don’t want to have to wait 2 to 3 years for the next installment of the film I’m ready for more now. As a lifelong fan of comic I can honestly say I am beyond delighted with the new film, cast, director, and direction for the series.
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.