To begin I have not seen the Man of Steel. I do not like crowed conditions in theaters. I will see it sometime this Summer despite the reviews from the professionals and the people who have seen it in my circle.
In my precious post on Superheroes: Superman, I gave the history of the character and his various incarnations over the last 75 years. The Man Of Steel is a revisionist take on the character with some major changes, especially to the costume, personality and relationship with Lois Lane.
I read that Jimmy Olsen is not part of this film–sad. Chicago stands in for Metropolis like it did for Gotham City in the Dark Knight series.
Chicago is a great city despite its gun-crime problem, but Vancouver or another non-USA city would have been better. Just my opinion.
Here are the reviews. Reviews do not always determine box office success or failure.
If you have seen the film, please comment. Like I said, I plan to go see it soon regardless of comments or reviews.
Have a good day!
G. D. Williams © 2013
The Vancouver Sun 3 Stars
Man of Steel: Zack Snyder’s reboot of the Superman legend stars Henry Cavill as an absurdly muscled superhero, Michal Shannon as a campy villain and Amy Adams as the perky Lois Lane. It’s a darker story with more realistic concerns (how will the world react to an alien in their midst?) but it loses some of the fun of the saga. 3 stars out of 5 by Jay Stone
The Telegraph 3 Stars
Man of Steel is a thumping, gauntlet-clad fist of a movie, but needs a little lightening up, says Tim Robey.
The Daily Mail 3 Stars
This may not be the best Superman movie ever – I’d rate it third, after the first two by Richard Donner and Richard Lester – but it’s certainly the most humourless. It’s also, easily, the noisiest.
Man of Steel is bombastic from start to finish, and when I came out my ears were ringing as though I’d been beaten around the head with tin trays.
But there’s no denying that Man Of Steel is an efficient, factory-made product, shrewdly catering for its youngish, predominantly male audience.
It’s a triumph of spectacle over content.
Many will find it more entertaining than I did, and mind less about the absence of humour, originality, subtext or subtlety. Chris Tookey
Los Angeles Times
It all changes for Clark when three things happen almost at once: He has a cute meet with the intrepid Ms. Lane; he connects with the spirit of Jor-El, who fills him in on his history; and he has to contend with the invasive presence of Gen. Zod, who is willing to destroy Earth to get his hands on something essential called the Codex that Clark unknowingly brought with him from Krypton.
If all of this isn’t exactly clear, it’s because “Man of Steel’s” plot tends to veer off into confusion as well as excess, inclinations that the film’s lack of a deft emotional touch only emphasizes. As Clark Kent could testify, being all-around super is a challenge not every film can meet. Kenneth Turan
Chicago Sun-Times Two Stars
Snyder seems obsessed with showing us that when two super-creatures throw each other around, they’re going to plow right through buildings and completely rip up the streets until they finally skid to a halt. OK, good point. But after the first couple of times, we get it, and then we want to see something different.
Amid the battles, there’s a lot of speechifying from just about everyone about the nature of man, with Jor-El offering Obi-Wan type advice from the fringes of consciousness. The Armed Forces do their usual futile thing of firing their useless weapons at Zod and his hench-folk, who just smirk as the bullets and missiles bounce off them. Meanwhile, Lois and Clark and a team of scientists concoct some sort of elaborate counter-defense involving the creation of a wormhole, I kid you not.
Of course the special effects are eons ahead of anything dreamed up in previous “Superman” movies and TV shows. But there’s very little humor or joy in this Superman story, and not enough character development for us really to care once the big-budget pyrotechnics are under way.
“Man of Steel” is the most ambitious and occasionally the most impressive take on the Superman myth we’ve ever seen, but it falls far short of the bar set by the “Dark Knight” trilogy or even the “Iron Man” troika.
Someday they’ll get it right. Maybe they can even do it without taking us to Krypton and showing us again how Superman became Superman. Richard Roeper
Entertainment Weekly Grade C
Shannon’s Zod huffs and puffs, demanding that the puny earthlings hand over Superman, which leads to endless brawls between the two where neither seems able to get hurt. I understand that fight scenes like these have become de rigueur centerpieces in comic-book popcorn extravaganzas, but here they go on forever and have a numbing sameness. They’re simply excuses to smash the scenery to bits while Hans Zimmer works up a sweat beating the drums of war on the soundtrack. The only moments of real spectacle come when Superman learns to fly. He rockets through the air like a comet, and it’s thrilling. There aren’t enough of these gee-whiz moments of wonder in Man of Steel. Never has a race to save the fate of humankind seemed so tedious. Chris Nashawaty
Washington Post 1 ½ Stars
For now, audiences can only speculate as to the hidden depths of Cavill, who in Zack Snyder’s busy, bombastic creation myth is reduced to little more than a joyless cipher or dazzling physical specimen. Produced by Christopher Nolan, who brought such grim self-seriousness to the “Batman” franchise, “Man of Steel” clearly seeks the same brand of grandiose gravitas. But that dour tone turns out to be far more appropriate for a tortured hero brooding in his cave than for an all-American alien who is as much a product of the wholesome windswept Plains as a distant planet called Krypton.
Backloading “Man of Steel” with three epic confrontations in a row, Snyder tries to up the spectacle ante with ever more explosions, crashes, thermal blasts, topological realignments, gunfire and mano-a-mano fistfights. But the result is a punishing sense of diminishing returns and a genre that has finally reached the point of mayhem-induced exhaustion.
It seems beside the point to assess the performances in such a joyless, one-note production: Everyone hits their marks and takes their job seriously, especially Crowe, who utters his often absurd lines with the soft sincerity of a true pro. Ann Hornaday