(Flash Review)First time seeing superman not as Christopher Reeve and the new actor was believable. Kevin Spacey as Lex Luthor was fitting
although Gene Hackman still reigns supreme. In the movie, Superman had left Earth for a while in search of planet Krypton again or something? That was a bit foggy and I've already forgot. Anyway, he returns to a world that has moved on without him as well as the woman of his heart, Lois. Who now is engaged and has a little boy. Luthor's evil plan this time is to create land of continental proportions, which would cause the oceans to rise and submerge ¾ of the United States making his land values very expensive. How will Superman save the day? Hollywood must have thrown money at this as there are several exciting action scenes, top notch cinematography and a decent script for this genre. If IMDb hadn't removed its Forums section, I may be able to resolve a question I had: Was Superman not fazed by Kryptonite at some key point in the movie? Overall, fun action, dynamic shot framing with really good CGI for 2006 that felt authentic
better than some movies today.
I think I just had a religious experience. Why did no one tell me this was a near-masterpiece?I think the difference this time was viewing it right after Superman: The Movie and Superman II: The Richard Donner Cut. Doing so really heightened how much this complements those, acting as a trilogy capper of sorts. It perfectly encapsulates not only the on- screen film, but the behind the scenes as well. By that I mean, you can feel the passion and the honesty that was put into this production, in the same manner as watching Donner's original masterpiece. Routh is an inspiration, finding the exact balance between playing Christopher Reeve playing the character, and adding in his own mannerisms and ideas as well. Truly, he was robbed of a franchise he worthily inherited. Bosworth is less revelatory but entirely competent as Lois. Marsden does fine in his role, but it's nothing special at all, merely added in for conflict. Spacey steals the show, having what can only be the time of his life as Luthor.The most divisive element of this film is obviously Lois's son, Jason, a possible heir to the Man of Steel. Seemingly randomly thrown in, this plot line stems from a single scene in II, in which we see Lois & Clark unclothed and lying together in the Fortress. This is an exciting addition to the Superman cinematic mythology, and it is mined for all its worth in an introductory capacity.The action is few and far between, but when it comes its in full force. The plane rescue is the easy standout, an exhilarating sequence that is beautifully realized and will leave you breathless. It is, I say confidently, one of the best scenes of superhero action ever committed to film. The climactic fight on the crystal continent is a visceral and heart-stopping setpiece as well.My favorite piece of this puzzle is the timelessness; from the architecture and the clothing to the cars and vocabulary. They never even reveal any event that could date the movie. This allows the film to act both as a sequel to Donner's films when it needs to, but also as a standalone adventure that can take place at any point in Superman's history.I highly suggest watching this in quick succession with the first two films, as it will reveal all the subtle throwbacks and references. Not just perfectly placed lines of dialogue or visual cues, but how this film interacts with and builds upon the other films. It can only be fully appreciated by watching this "trilogy" as just that. I've never enjoyed this film more, and I credit that to my refreshing of Donner's movies. Not only those Easter eggs, but keep an eye out for clever callbacks to Superman's early comic book career.Like Superman himself, the film's greatest strength is also its weakness. It's perhaps too thoughtful at times, too interested in living in every moment to move the plot. In my opinion, though, it's refreshing to see a major franchise film slow down long enough to enjoy a dance or two. It is entirely slavish to what came before. This prevents it from exploring in full force a greater change to the character and cementing a definitive home in the Superman pantheon. While the absence of an origin story is welcoming, it would have been nice to see Singer attempt to reinvent the wheel, perhaps using the Donner films as only a launchpad. Taken as what it is, however, this can only be described as the film Donner would have made in 2006.It's a true crime that Singer will never get to build upon this work. X2: X-Men United was such a leap from its predecessor, I can't imagine what his once-titled Man of Steel would have looked like. Rumour has it we would finally see Brainiac and Doomsday. The biggest loss comes at the expense of the son, whose further exploration we'll never see. Now that's a shame.Simply put, this is a worthy successor to the Donner era, a thinking, romantic, whimsical beast that may have just been to reverent for its own good. Still, there were so many moments of "Wow, THAT'S Superman right there!" Routh nailed the poses with a presence that can't be taught. He flew like he's been doing it all his life. With an exemplary supporting cast, knockout set pieces, and an exciting addition to the mythos, this one earns my highest recommendation, but is destined for under appreciation. Oh well, more for me.
Bryan Singer's much-heralded continuation of the SUPERMAN series turns out to be a vacuous, poorly-paced nonentity of a movie that adds absolutely nothing new to the genre – aside from some nifty, state-of-the-art special effects – while rehashing lots of genre clichés and staples and some poorly-contrived laughs at the same time. For some reason, Singer decided to pad out an hour and a half movie with an extra hour of people standing around talking, lots of incident surrounding the diabolical Kate Bosworth as Lois Lane – making the viewer question why anybody would love her character – and plenty more, well, routine stuff. I'm a fan of comic book adaptations now, but Singer fumbles the ball completely, preferring to concentrate on plot rather than action – pretty much the opposite of the tightly-woven and utterly entertaining SPIDER-MAN flicks.Things begin on a particularly bad footing, and people who are unfamiliar with the Superman story will find themselves scratching their heads in confusion. An idiotic scene of a boyish Clark Kent jumping high into the air through a cornfield brings back unfavourable memories of HULK and it's not until an admittedly entertaining run-in with a jumbo jet that the film really begins to move. However, the comic-book hero staple – fighting bad guys and crims – is almost non-existent. The film's best moment, in which Superman faces a thug with a Gatling gun – the biggest I've seen on film – seems to be over far too fast and there's not a great deal else in the film in the same spirit.Brandon Routh is perfectly able in the role of the titular hero, and he's nothing to complain about. While he's overshadowed by the late Christopher Reeve, he proves to be a dashing hero for the millennium. Not so the awful Bosworth, whose blandness sucks life from the movie. James Marsden – coming over from his role as Cyclops in Singer's X-MEN films – is equally wooden as a major supporting character, while Frank Langella must be reminiscing over his youthful roles of the 1970s as he's given nothing to work with here. Kevin Spacey lifts the movie as the ultra-villain, Lex Luthor, but he's too 'nice' and charming for the part; you end up sympathising with him when you really shouldn't be. Parker Posey is as awful here as she was in BLADE III.The film progresses in a run-of-the-mill fashion, with only a couple of entertaining moments. The first sees Superman losing his strength – darn that Kryptonite – and taking a vicious beating at the hands of Luthor's thugs. This scene feels like it belongs in a different movie. The second is the admittedly spectacular finale, in which Superman levitates a whole continent and throws it into space. While the special effects are superb, the characterisation and plot isn't, and as a result you can't get worked up or excited about any of this stuff. Style over substance is the best way to describe this disappointing wannabe-epic.