Warning: Spoilers
Superman Returns, Bryan Singer's film revival of DC's most lucrative franchise, is on track to bring in $110 million in its first seven days, just as much as Batman Begins did but short of expectations that may have been set way too high.
It's uncertain just when the film will recoup the $350 million that's been spent in the last decade and a half to bring the Man of Steel back. Was it worth the money and effort?
The answer is certainly, it is. The Superman legacy is core to the superhero film genre and its continued health is vital to the long-term survival of cape and cowl movies. But has Singer proved a worthy steward of that responsibility?
The film certainly delivers the blockbuster special effects that are prerequisite to that task. And it has appeal to a broad audience, consciously avoiding getting mired in comic geekdom obscurity by sticking to the basics. But is it the ultimate Superman movie; the best that could've been made?
Here's what I thought worked best and least in this highly scrutinized $260 million film.
The Best:
- The airplane/space shuttle rescue scene was grand in scale and intense in tone and will go down as one of the most ambitious scenes filmed for this genre. Lois got thrown around way too much to avoid a severe head injury, however, and that stretched credulity to its limit.
- Kevin Spacey as Luthor proved funny and yet dangerous as he channels Gene Hackman. Once again his ambition soared high above the collective IQs of his henchmen, however, and that proves his undoing. When Eve Teschmacher's, sorry Kitty Koslowski's, last shred of humanity is reinvigorated it undoes years of Luthor's planning (rather predictably, however).
- The over-arching theme of loneliness and alienation that Superman feels as a unique godling among mortals is deftly weaved into scene after scene. His Clark Kent persona only allows him to play-act the normal life of his co-workers and friends.
- The musical score revives John Williams' classic soundtrack and evokes all of the fun and anticipation this reviewer felt when Christopher Reeve's film debuted in 1978.
The Worst:
- The conflict was dull and uninspired. I'm sure I'm not alone when I say that I've seen this movie before (see above reference to 1978). Where are the new concepts? The Toyman? The Superman-Robots? The Bottle City of Kandor? Too comic-geeky for mass consumption, you say? The general public knows more about Superman comics than this movie gives it credit for. What's wrong with branching out beyond Luthor? Where's Brainiac? Green Kryptonite has become so overdone in Smallville that one longs for another menace to come forward as a chink in Superman's armor. What about his vulnerability to magic?
- Kate Bosworth as Lois Lane was like a de-clawed version of the intrepid Daily Planet reporter from the comics. Bland, shallow and forgettable best describe her acting here. However, in one of the film's few original moments, Lois does get to rescue Superman, a welcome twist.
- "Jason White," and his suspected origins, creates new territory for the Superman mythology that the comics have only ever explored in imaginary stories or dream tales. Before we go there, how about the fertile ground of 60-plus years of Action Comics, Superman, Adventures of Superman and on and on.
Overall, the tone of the movie was depressing and gloomy. Superhero films can deliver emotional punch and tackle serious subject matter while retaining some sense of fun and whimsy (see Spider-Man, X2: X-Men United) but this film wallows in its angst to the point of distraction. Even Jimmy Olsen, a font of comic possibility, is played out as strangely sad and not at all fun. The interplay between him and Perry White isn't snappy or sarcastic; it's snore-inducing.
When next the Man of Steel comes to the big screen, I hope Singer, or whomever takes the helm after him, will remember what the makers of the Superman and Justice League cartoon seem to know so well: that the Last Son of Krypton dwells in a universe much bigger than Luthor, Lois and Green K. Also, he should remember that as heroes go, Superman has a much wider range of possible plotlines than those tired concepts and conflicts.
Let's see the son of Jor-El, a brilliant scientist in his own right, delving into unexplored dimensions. Let's see the Man of Steel breaking the back of the criminal underworld (maybe Inter-Gang) and battling giant robots. Let's see the Last Son of Krypton fight off an alien invasion and face weapons that can actually do his some harm.
Let's broaden our horizons, Bryan Singer and let some air and light into what's become a far too dark and dusty Fortress of Superman Solitude.
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