QUOTE(Captain Hammer @ Jun 17 2013, 11:13 PM)

So, I saw Man of Steel this past weekend, going with my father as a Father's Day activity to see a movie about a son of two worlds.
Let's start with this: I think they're better about 'getting' Superman. They definitely took the best approach I have ever seen when it comes to Krypton's death and I for one would not change any of that part of the film. It is Glorious and Magnificent in everything it does for Kal-El's homeworld.
The acting is superb. Amy Adams makes a tough b!tch of a reporter that Lois Lane has desperately needed. Henry Cavill brings us a Superman that is truly 'Super,' a verifiable god amongst us mortals that is finding his place in a society that he wishes to simultaneously be a part of and be an inspiration towards greatness. Christopher Meloni sheds Stabler and truly fills out the role as an Air Force colonel that is determined to defend his country and his way of life. I could go on about the rest of the cast, but suffice it to say I think no role was mis-cast, but five must be discussed in greater detail.
Ayelet Zurer, the least depicted of Superman's parents, is about as good as can be expeceted in the role of Lara Lor-Van, birth mother of Kal-El and wife of Jor-El. The story (spoilers, but not) starts with her birthing of Kal-El, which, we learn in about five minutes, is the first natural birth of any Kryptonian in centuries, the planet's society long ago having turned to artificial birthing means. She displays all of the emotions of a mother, torn at once between keeping her precious son and sending him away on a trip that might kill him. Alas, there's little enough of this in the final film, and at two hours and twenty-three minutes, it seems like Snyder and co. were cutting seconds wherever they could. Cross your fingers for a Director's Cut, and this will matter soon.
Russell Crowe reminds us why he's an Oscar-winning actor, portraying Jor of the House of El with all the gravitas he brought to Maximus Decimus Meridius and the forward thinking intelligence he demonstrated in A Beautiful Mind. He appears more often, the function of a computerized projection with his memories encoded in the key sent with his son to guide him in the same manner Marlon Brando did with the Donner-verse Superman. The technology's evolved and the source of Krypton's death has changed, but Jor-El remains constant as the scientist and philosopher that foresaw the death of his world and tried one last gamble to save his son and his world by flinging a light into the future to a world that is just beginning to reach for the stars.
Kevin Costner as Jonathon Kent was the other half to Jor-El's paternal influence, and anchors the thematic elements of nature vs. nurture that Man of Steel is advocating. He recognizes Clark's world-changing nature, and the manner of Clark Kent's upbringing is shown as a series of flashbacks that involve the use and development of his abilities coupled with the response you should expect out of Costner playing all-American Dad. The film starts with Clark as an adult, so the majority of the Smallville scenes play out as flashbacks to this incidents of a formative youth in Kansas. If Jor-El wasn't enough reason, then Papa Kent's loving fatherhood alone is enough to make this a Father's Day movie, and I don't give that one up easily.
Diane Lane as Martha Kent is exactly what you should expect of her, a great actress depicting a great mother to a son that needs more than most when it comes to parenthood. Her scene with a very young Clark hiding in a closet is the first we get of Superman's Earth parents. and for her alone we could have made this a Mother's Day movie, were it not for the fact that Marvel has basically called 'Dibs' on all of May. By the design of the narrative, she actually gets the most amount of time present, sharing not only the scenes with Jonathon Kent but also some of the expected mother-son scenes when Papa Kent was presumably out of town delivering the harvest and she would be expected to run the entirety of the farm. She's good, she shows why she should be in more films of this type, and she shows a certain toughness to old farmers you'd expect out of a piece of Daedric plate armor.
The one actor, however, that puts this all to shame is Michael Shannon, who takes the role of General Zod and makes you ask "Terence Who?" It's tough for me to say this, because I always found it difficult to reconcile the character development of Zod in the comics since the release of Superman II (Keep to the Richard Donner Cut, the original release is a piece of Cacat) but it's something that's been happening for years, and at this point the story in the films needs a new start. Shannon delivers. Boy, does he deliver. There are a few moments there where you truly understand the villain, and his actions come off as being perfectly in line with his stated intentions. There's a sort of sympathy in there, if only because it becomes apparent that he refuses to see himself as a victim of circumstance even when he is, but Michael Shannon owns the role and this is why I love the guy. Well, this, and his reading of that sorority profanity letter on FunnyOrDie. That stuff's hilarious, but I won't link to it because the sheer amount of profanity in the material that Shannon reads would blow the moderators here to about the same degree as Krypton's destruction.
All of this, however, detracts from one important thing: writing pace. This is the biggest screw-up of the movie, as it speeds certain elements of the mythos to a solar-empowered Kryptonian's top speed while slowing other parts down to about the level you'd expect of molasses running uphill in a New England winter. Clark Kent doesn't become Superman until he's 33, much longer than depicted in the comics, and then Lois Lane launches a blitz into trying to track down a mysterious do-gooder, a film in its own right, only to be interrupted by the rapid arrival of Zod and crew. What follows is more extended dialogue, flashbacks, monologues, and then a seemingly endless climactic fight between super beings. Individually, all good. PResentation: spot on. Hans Zimmer's score, or the magnificent use of visual effects, I don't know what's better.
But it is paced so poorly. And the writing is particularly at fault, which makes it all the more difficult to reconcile the spectacle with the narrative. It feels like a rushed version of the myth, like a recounting of Heracles's Twelve Labors with the first three rushed through, the next seven quietly detailed in exposition, and then a long, drawn-out detailing of every part of the final two, with pages focusing on each step of the journey. They could have done this part better, and the ending feels rushed as a result, shoe-horning a bunch of dangling plot threads to a conclusion that could have been left as the strings for hooking up the sequel. Instead, we get one scene at the end to do this, and it's nowhere near enough to compensate for all the events that were used to wrap up the final big fight scene. That scene, by the way, is about what you'd expect for a knock-down, drag-out fight between Kryptonians, and its resolution is going to remain controversial for a while.
In all, I can state that this is a new Superman. It's got a lot of potential. The ground is fertile for this story. I just wish the next project remembered that the Kents were farmers, and they allowed more even growing to occur while leaving enough left at the end to seed a potential third film or Justice League crossover.
So...you recommend seeing this movie?