Movie Reviews Archives - Page 15 of 37

Monday

29

March 2021

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COMMENTS

Superman & Lois brings a breath of fresh air to the Arrowverse

Written by Ian Thomas Malone, Posted in Blog, Movie Reviews, Pop Culture

Courtesy of The CW

The future of the Arrowverse is a bit up in the air. Supergirl & Black Lightning are ending this year, and The Flash & Legends of Tomorrow are not far behind them. It’s fair to wonder if the unprecedented “Crisis on Infinite Earths” crossover was not just the high point for the small-screen shared universe, but also its final big moment of triumph. With Batwoman still figuring itself out after the departure of its anemic lead actress and Stargirl doing its own thing on Earth-2, Superman & Lois enters a broader franchise in need of a standard-bearer, lest viewers turn to HBO Max as the sole provider of DC-related television.

It is oddly fitting that the Arrowverse would turn to Clark Kent, DC’s favorite son, to inject a bit of life into The CW’s offerings. Smallville was a staple of The CW in its early days, one of the most popular holdovers from The WB. Small-screen superhero storytelling has changed quite a bit since Tom Welling’s “no flights/no tights” Kal-El blended comic book lore with WB-era soap opera antics.

While Tyler Hoechlin’s Clark certainly does don the cape, part of what makes Superman & Lois work so well is the show’s ability to ground itself in the lore of everything that’s come before. Set in Smallvillle, the series is just as concerned with the Kent family life as the broader world that Superman is supposed to protect. The narrative weaves both the traditional teenage angst that fueled so many WB/CW shows before it and the action pieces that have made the Arrowverse such a smashing success, coupled with a cinematic aspect ratio and production values uncommon for broadcast television.

Superman & Lois eschews the more formulaic tropes of its Arrowverse predecessors, giving each episode a more relaxed sense of urgency. For all its sillier arcs, Arrow consistently delivered top-notch stunt choreography in practically every episode. That kind of episodic pacing doesn’t really suit Clark Kent in quite the same way as Oliver Queen, hardly the proper superhero to go busting into warehouses late at night.

Nor is Clark Kent the primary focus. As good as a Superman as Tyler Hoechlin is, Elizabeth Tulloch often captivates the most attention. Leaving Metropolis for the sake of her family, Lois Lane gave up a career-defining position as the star reporter for a major newspaper, the kind of stature that would grant her instant celebrity status in the real world. Both Lois & Clark are personalities far bigger than Smallville, yet they feel at home in this environment as they teach their boys how to be men.

The constant juggle of responsibility between their own family and the world at large makes for quite compelling television. Through its early episodes, Superman & Lois has fared quite well at satisfying its audience’s natural urge for superhero action as well as the bread and butter CW family storytelling. This isn’t the kind of show that makes for a marquee offering for a streaming service, but it’s the kind of series one can look forward to each week, a sense of familiarity desperately needed in this pandemic landscape.

Such a balance works well with its broader storyline involving Morgan Edge (Adam Rayner), a clash of a capitalist mogul and small town values. A real estate developer is hardly on the same level as Damian Dahrk or Eobard Thawne. Superman & Lois so far has shown that it doesn’t necessarily need a menacing “big bad.”

The Arrowverse won’t be around forever. HBO Max’s own slate of DC content will naturally diminish the broader importance of The CW to deliver weekly superhero narratives for television audiences. Whatever the future holds for broadcast TV, Superman & Lois captures one’s attention with its great storytelling.

Monday

22

March 2021

0

COMMENTS

Shoplifters of the World is a messy slog that’s bound to depress longtime fans of The Smiths

Written by Ian Thomas Malone, Posted in Blog, Movie Reviews, Pop Culture

Courtesy of RLJE films

The Smiths are an easy band to fall in love with. Morrissey’s humorously melancholic lyrics work beautifully layered on top of Johnny Marr’s jangly riffs. Producing only 70 songs over the course of their five-year career, with only a few duds, it’s not very hard to memorize the lyrics to them all. There’s a certain poetic tragedy to be found in their short tenure as a group, undoubtedly enhancing their legacy.

The new film Shoplifters of the World centers its narrative in the immediate aftermath of the group’s breakup. Armed with a soundtrack full of Smiths tracks, director/writer Stephen Kijak presents a story that takes place over the course of a single day. The longer the film goes on, the more it looks like that was the same amount of time it took to craft his atrocious screenplay.

The slice of life method might have worked better if Kijak hadn’t written two absolute clunkers to serve as his leads. Cleo (Helena Howard) mostly wants to party to numb the pain of the group’s breakup, also possessing a strange kleptomaniac streak. Dean (Ellar Coltrane) takes a far more unhealthy approach, holding a local heavy metal DJ named “Full Metal Mickey” (Joe Manganiello) hostage at gunpoint and forcing him to disrupt his set to play entirely Smiths songs.

Kijak relies too heavily on Smiths songs to carry his otherwise empty narrative. Longtime fans may want to rethink their dedication after watching this disaster. Kijak’s screenplay includes line after line directly lifted from Smiths songs, often merely just the titles of Smiths songs, but he never seems interested in doing anything more than lazy wordplay. There are a few strands of plot to be had in dealing with homophobia and growing up, but the film is never particularly committed to any of its characters.

The biggest problem with the narrative is that it can’t survive at all without The Smiths. The film has absolutely nothing going for it besides its soundtrack. There are a few times where Kijak inserts archival footage of old Moz interviews into the film, trying to send home the message that these songs can save lives. Unfortunately, Morrissey can’t really save this awful film that’s far too desperate to lean on him without a crutch.

There some broader complaints that might feel like nitpicking more if the film didn’t solely cater to Smiths superfans. The timeline is an absolute mess. Taking place on the supposed day of their breakup, the film ignores the basic fact that Marr had left the group months before the release of their final album, Strangeways, Here We Come. Set in Denver, Colorado, Kijak completely overblows what their American popularity would have been in 1987, instead inserting their broader legacy into the picture as if it had been there all along.

Some of those historical liberties might be easier to forgive if the narrative was better or if The Smiths’ broader timeline wasn’t fairly simple to follow. The sole redeeming quality of the film lies in its soundtrack, but Smiths diehards would be better off simply putting on a record and listening to the music without this mess getting in the way. Kijak is obviously a fan by token of the film’s existence, but he does an absolutely terrible job communicating that affection to a broader audience.

Morrissey’s lyrics appeal on a deeply personal level, the kind of depth that keeps fans returning to his work after all these years. None of that is communicated well in Shoplifters of the World. It’s hard to think of a worse way to honor the legacy of The Smiths than by watching this film.

Sunday

21

March 2021

0

COMMENTS

Zack Snyder’s Justice League delivers on its mission

Written by Ian Thomas Malone, Posted in Blog, Movie Reviews, Pop Culture

Courtesy of HBO Max

It’s easy to frame Zack Snyder’s Justice League as an attempt to correct an error, as the cinematic Justice League will likely go down as one of the worst superhero movies of all time, an abomination of blockbuster filmmaking. An unthinkable tragedy forced Snyder to step away from the destination his entire DCEU had been working toward, but that entire strategy had been under question since the muted reception to Snyder’s Man of Steel & Batman v Superman: Dawn of Justice, as well as the Snyder-produced Suicide Squad.

The world has changed quite a lot since 2017. An unprecedented fan campaign coupled with a streaming service in need of content amidst an industry, and a globe, ravaged by the pandemic affords a rare do-over for the line-up composed of DC Comics’ best assets. Relying almost entirely on footage shot before Snyder previously stepped away from the film, ZSJL is a film firmly rooted in the same problems that had the broader population clamoring for Snyder to be removed as the architect of the DCEU in the first place. The only thing that’s fundamentally different is a sense that this film is the proper concluding chapter to an uneven era in DC lore.

Time has been kind to Snyder’s bleak Earth. The runtime of just over four hours might be anxiety-inducing to a bladder seated in a crowded theatre, but ZSJL’s narrative fares much better from the comfort of one’s couch. The only pressing issue is the 4:3 aspect ratio, which feels more than a bit confining to footage that once might have played best on an IMAX screen. It’s not hard to imagine that the dedicated fans up for watching such an epic in that environment may one day get their wish.

The narrative plays well without Joss Whedon’s forced efforts at humor. It’s fair to say that the idea of a Justice League film may have been better served by giving its full roster their own solo films ahead of the team-up, as ZSJL spends much of its time properly introducing Aquaman, Cyborg, and The Flash. Snyder’s work is at least aware of this reality, forcing Ben Affleck’s Bruce Wayne to juggle to awkward comradery amidst these heroes united by a common existential cause.

As with his earlier DC Comics adaptations, Snyder is in no rush to get to the core of his narrative. The first ninety minutes contain far too many sequences that are fundamentally superfluous to his broader intentions. The gel doesn’t always settle perfectly, but where Snyder especially succeeds with his worldbuilding is his ability to make it feel lived-in. ZSJL doesn’t ignore its predecessor films like Whedon’s trainwreck. Batman v Superman remains a bloated mess, but Snyder keeps his eye on the ball, rewarding fans who have put in the effort to engage with his ideas over the years.

Steppenwolf is still an imperfect choice to be the Justice League’s first big villain, but the restoration of Darkseid to the film at least keeps some air in the room. Snyder clearly intended to save Darkseid for a sequel that will almost certainly never be made, a reservation that won’t see its payoff. It’s a messy dynamic, but certainly much more cohesive than its 2017 predecessor.

Perhaps the film’s best asset comes through the subtraction of the earlier film’s greatest crime. Henry Cavill’s CGI-erased mustache served as the biggest joke of the 2017 Justice League, a conduit to channel through everything else that was wrong with the movie. Here, Superman still isn’t in the film very much, but that’s a worthy trade-off to see Kal-El’s distracting upper lip removed from the equation.

Snyder hasn’t exactly pieced together a great movie, but his vision has a cohesive flow sorely missing from its predecessor. Longtime fans will find much to love in the culmination of his work. The hashtag #ReleaseTheSnyderCut has delivered what it set out to achieve. The film may bear the same issues that plagued much of Snyder’s time spearheading the DCEU, but there’s a poetic sense of justice in seeing the director given the chance to properly complete his work.

Friday

19

March 2021

0

COMMENTS

SXSW Review: The Hunt for Planet B

Written by Ian Thomas Malone, Posted in Blog, Movie Reviews, Pop Culture

Courtesy of SXSW

The question of extraterrestrial life is hardly a matter of if, but where. The universe is a pretty massive place, far beyond human comprehension. NASA has barely scratched the surface of our own galaxy, let alone the far reaches of the cosmos.

The James Webb Space Telescope, set to launch into space on October 31^st, represents a step forward in humanity’s understanding of the broader universe. Nathaniel Kahn’s new documentary The Hunt for Planet B aims to bring these broad existential questions back down to earth, focusing on the human equation in the exploration. The balance is a dynamic that Kahn continuously struggles with throughout the course of the narrative.

The Hunt for Planet B is light on science, a narrative without nearly enough substance to sustain a feature-length runtime. Kahn only seems interested in the telescope or NASA for brief moments, almost desperate to turn his attention anywhere else. No one sitting down to watch the film would actually expect Kahn to find planet B, but ninety minutes with this material hardly leaves one with much of a deeper understanding of any of the material.

At one point, the documentary turns its attentions to the music preferences of one of the scientists during a car ride. The subject notes an interest in 80s music. If you want to watch a documentary to learn about what kind of genres of music scientists working on the James Webb Space Telescope enjoy, Kahn certainly delivers on that front. The same can hardly be said for those looking for substantive discussions on complex science.

Part of this problem is hardly Kahn’s fault. His subjects are able to succinctly explain all the things that we don’t know about the universe, but much less successful in giving a lay audience a better perspective of what we do know. That might not be as much of an issue if Kahn seemed actually interested in the telescope that’s supposed to be at the heart of the narrative.

There are other weird points of obvious filler beyond the 80s music chatter. There are a few scenes that feature C-Span footage of House committee oversight into NASA, showcasing how little elected officials understand about science. These sequences might be more compelling if Kahn managed to tie them back into his overall narrative, but there isn’t much of a cohesive storyline here.

With the launch of the James Webb Space Telescope delayed due to the pandemic, it seems likely that Kahn’s documentary had to be curtailed as well. That might be easier to forgive if The Hunt for Planet B wasn’t such a dull experience, a film that has no business carrying a feature runtime. The whole thing could’ve been easily condensed into a format more suitable for a 60 Minutes segment without losing any substance.

Friday

19

March 2021

0

COMMENTS

SXSW Review: Potato Dreams of America

Written by Ian Thomas Malone, Posted in Blog, Movie Reviews, Pop Culture

Courtesy of SXSW

The world has seen quite a few coming out narratives over the past few decades as LGBTQ culture has become more mainstream. The world that Potato Dreams of America debuts into is quite different than the one director/writer Wes Hurley grew up in. America has changed quite a bit since Hurley’s short film Little Potato premiered in 2017. Both films are based on Hurley’s experiences as a Russian immigrant to America, at a time when being gay was hardly accepted in either country.

With Potato Dreams of America, Hurley utilizes a surrealist landscape to tell his life’s story. The narrative covers a wide stretch, from his youth to early adulthood. As a director, he’s inventive with his storytelling, playing with his character’s accents to highlight his fish out of water status in both countries. Coupled with the luscious sets, Hurley crafts a compelling backdrop for the film.

Unfortunately, the script is pretty lackluster. Hurley throws cliché after cliché at the audience, tired humor centered around capitalism and the American dream. There’s really nothing in this narrative that hasn’t been explored before on screen, a situation exacerbated by the film’s stunning mediocrity.

The performances fare a bit better than the screenplay. As the “American Potato” (the unnamed protagonist that’s clearly a stand-in for Hurley) and Jesus Christ, Tyler Bocock and Jonathan Bennett supply a couple of entertaining scenes in the middle, albeit hindered by the otherwise lackluster presentation. Lea DeLaria does a great job as Potato’s mother Tamara, easily the best performance of the film.

Based on true events, it’s clear that Hurley prioritized autobiography at the expense of his film’s story. This is 90 minutes of Hurley’s life that obviously means a great deal to him as a filmmaker, having previously explored his childhood in the earlier short. He does a terrible job translating that passion to the audience.

Autobiography or not, Hurley doesn’t really have anything interesting to share about growing up as a gay immigrant. This story might have played better ten years ago, but here it comes across as dated and at times, regressive. At one point, Potato’s mother expresses indifference to her son’s coming out. Whether that’s true of Hurley’s life or not, it doesn’t make for compelling material to watch on screen.

Potato Dreams of America struggles to present itself as more than a vanity project with a terrible script. It is a positive sign of the times that Hurley’s sincere story of coming out lands with such a thud in 2021. Unfortunately, his film isn’t strong enough to sustain itself without any novelty in its premise.

Friday

19

March 2021

0

COMMENTS

SXSW Review: Our Father

Written by Ian Thomas Malone, Posted in Blog, Movie Reviews, Pop Culture

Courtesy of SXSW

Grief has a way of bringing people together who wouldn’t otherwise spend more than a few moments in each other’s company. The loss of a loved one can put one’s own future in perspective, time itself an ever-fleeting concept. Director Bradley Grant Smith centers Our Father in the wake of a suicide, a father’s death reuniting two sisters on very different paths.

The narrative follows Beta (Baize Buzan) and Zelda (Allison Torem) as they search for their long-lost uncle Jerry (Austin Pendleton), estranged from their broader family for over thirty years. Beta is eager to leave town for grad school in Connecticut in an effort to hit the reset button on her otherwise mundane existence. She and Zelda are not close, using their quest to find Jerry as an effort to spend some time together before going their separate ways.

Smith’s worldbuilding largely appears to be the product of trial and error, throwing bits of quirk at the wall to see what sticks. Little of it does. Scene after scene, Our Father tries to frame itself as an oddball comedy, but the writing falls spectacularly flat after the first few minutes.

This dynamic is exacerbated by the relationship between the film’s leading actresses. Smith deliberately positions Beta and Zelda as having no real relationship, kneecapping his intentions to position Our Father as a buddy comedy. The scattershot pacing never consistently makes rectifying this a priority, draining the narrative’s ability to hit home down the stretch.

Smith rarely seems to understand what he wants to do with his characters. Beta and Zelda frequently looked confused, even bored, on their quest, making it pretty hard to relate to any of them. Aside from Uncle Jerry, the male characters are pretty atrociously written, cringe-filled scenes that don’t really serve any broader purposes.

Pendleton is the sole performer who seems to have any idea what’s going on with the material, delivering a powerful scene in the third act that feels completely divorced from the rest of the narrative. That kind of momentum can’t be sustained for long, and the film doesn’t really have a strong enough foundation to produce any satisfying resolutions. The whole thing is a completely disjointed experience.

Our Father feels like the product of someone who knew how to make a movie but didn’t understand how to tell a story. The narrative alternates between being painfully boring or needlessly obtuse. An unfortunate mess.

Thursday

18

March 2021

0

COMMENTS

SXSW Review: Swan Song

Written by Ian Thomas Malone, Posted in Blog, Movie Reviews, Pop Culture

Photo by Chris Stephens

Increased LGBTQ visibility has done wonders for our community as a whole. With the modern serving as the mere infancy for broader gay rights as a whole, there are plenty of older people who won’t live to see the sins of the past corrected. Swan Song centers its narrative in the final chapter of a colorful man taking one last trek through a very different world than the one he once thrived in.

Pat Pitsenbarger (Udo Kier) is a retired hairdresser who spends his days in a nursing home. He doesn’t have long to live, but receives a new lease on life when he learns that a former client wanted him to style her hair at her funeral. Setting off on a trip down memory lane through his town of Sandusky, Ohio, Pat takes the chance to revisit his old stomping grounds for what might be the last time.

Kier carries Swan Song, delivering one of the most moving performances of his illustrious career. Writer/director Todd Stephens wisely recognizes this dynamic, largely crafting the film to make full use of his star’s talents. Pat has lived a sad life, but Kier is so full of energy that you never really pity him as a character. What could have just been a sad narrative instead finds itself oddly uplifting.

Based on Stephens’ own experiences growing up as a gay kid in the 80s, Swan Song also serves as an homage to the old-school gay bars that are rapidly vanishing from the American landscape. While the narrative is a little too convenient at times, Stephens manages to pull off a touching tribute without falling into the trap of criticizing how mainstream acceptance is actually bad for LGBTQ culture. The world has changed. That’s mostly a good thing, except maybe for people like Pat who hardly recognize the society that they’re about to leave.

The film also manages to indulge Pat’s dated habits without forcing a mandate for him to get with the times. Pat spends much of the narrative in search of a shampoo that had been discontinued for years, taking long drags of a dated brand of cigarillo as he soaks in a present that doesn’t have a place for him. There may be an inclination to tell a man like Pat to get with the times, but why should he?

There’s a lot about Pat’s life that’s hinted at without being fully explored. The 105-minute runtime doesn’t aim to provide a complete picture of the man, instead finding acceptance in the idea that not every sin of the past needs to be corrected. It’s easy to root for Pat even after accepting the idea that he probably wasn’t the greatest man on the planet. While parts of Swan Song may feel familiar, Kier ensures that his infectious enthusiasm carries over to the audience.

Tuesday

2

March 2021

1

COMMENTS

Dreamcatcher subverts slasher norms in an intriguing horror narrative

Written by Ian Thomas Malone, Posted in Blog, Movie Reviews, Pop Culture

Adrienne Wilkinson as Josephine in the Horror/ Thriller film, DREAMCATCHER, a Samuel Goldwyn Film release. Photo courtesy of Samuel Goldwyn Films

Part of the charm of a film like Dreamcatcher comes through watching director Jacob Johnston wrestle with the conventions of the horror genre. Decades removed from the heyday of slasher flicks, Johnston remains hesitant to fully embrace that label, despite possessing a naturally memorable masked killer. While the film doesn’t hit every mark, there’s a certain joy to be had in watching the ways that the film tries to stand out in well-trodden territory.

The bulk of the narrative takes place at an EDM festival, centered around Pierce (Niki Koss), torn from her horror movie marathon with bestie, Jake (Zachary Gordon) at the behest of her semi-estranged sister, Ivy (Elizabeth Posey), who buys tickets to the show in an effort to make amends. The festival headliner Dylan (Travis Burns), aka DJ Dreamcatcher, a sort of Deadmau5 stand-in perpetually wrestling with the authority of his agent, Josephine (Adrienne Wilkinson).

Surprising to no one, an EDM festival is not exactly the greatest venue to explore interpersonal dynamics. With a masked killer on the loose and entertainment careers on the line, Dreamcatcher blends its horror intentions with a more intimate sense of drama, a hack-and-slash that sees its characters for more than their ability to deliver loud shrieks on the brink of death.

Johnston clearly wants his narrative to carry more weight than traditional genre entries. Much of the film’s focus lies with the hypocrisies of the entertainment industry and the challenges of fame. He plays with Faustian bargains, honing on in the ways in which people sacrifice themselves to get ahead in the world for fleeting moments of fame. He bites off a bit more than he can chew, with an 108-minute runtime that’s a solid twenty minutes too long.

While Dreamcatcher drags a bit in the second half, it’s interesting to watch a stylistically-talented director grapple with his film’s moral quandaries in real-time. The script suffers in the dialogue department, frequently relying on Koss, Burns, and Wilkinson to bail out scenes that would look far sillier on paper. As Josephine, Wilkinson brings plenty of delightfully over the top energy to the hungry agent, doing wonders to anchor the film’s more satirical intentions.

Johnston nails the slasher element, showing great promise as a horror director, a genre constantly in need of more innovation. He doesn’t always hit his mark and definitely needs help in the screenwriting department, but his feature debut shows a lot of promise. Horror doesn’t necessarily always need to rise above genre tendencies, but the worldbuilding here helps the film stand out from its countless competitors. DJ Dreamcatcher should certainly satisfy slasher fans looking for a breath of fresh air.

Monday

1

March 2021

0

COMMENTS

‘Ruth: Justice Ginsburg in Her Own Words’ is a well-constructed romp through familar territory

Written by Ian Thomas Malone, Posted in Blog, Movie Reviews, Pop Culture

The life of Ruth Bader Ginsburg, the “notorious R.B.G.,” has been well-documented over the past few years. The documentary Ruth: Justice Ginsburg in Her Own Words plots its course through well-trodden terrain, exploring concepts that other films, as well as countless articles and cable news pieces have thoroughly presented. Director Freida Lee Mock crafts an aesthetically beautiful narrative that makes it easier to forgive the film’s familiar presentation.

In many ways, Mock’s film feels like more of a greatest hits piece than a documentary of serious inquisition. All the familiar notes are here, from the sexism that Justice Ginsburg faced in law school and in her early career, to her tireless efforts fighting for pay equality and women’s rights, to modern popularity as a feminist icon. Mock’s talents as a filmmaker are on full display, with beautifully animated sequences occasionally standing in for the rougher archival footage through the narrative.

It’s easy to see Ruth possessing the most impact with future generations of schoolchildren who may not be as familiar with RBG’s career as audiences in the present day. Mock includes a few sequences that highlight Justice Ginsburg’s passion for demystifying the Court, engaging with visiting students on fieldtrips in a personal manner. True to the film’s title, Justice Ginsburg is unsurprisingly the best advocate for her own legacy, bringing a thoughtful, personal approach to civics that’s sorely missing in today’s political climate.

Where Mock falters a bit is in her uncritical approach to some strands of RBG’s narrative often parroted in conversations centered on her legacy. Justice Ginsburg’s long friendship with her colleague Antonin Scalia is well-documented, perhaps the last major bipartisan friendship to thrive in the capital. On the surface, it might seem inspiring to see two ideological opposites find common ground in each other’s company, especially at the opera.

The modern American political discourse has exposed some of the root causes for why there aren’t as many love affairs across the aisle these days. Mock acknowledges that over their decades of friendship, RBG never substantively moved Scalia on any particular issue. For all her power as a force of nature, RBG failed to convince Scalia to side with her on several issues many believe that the court decided wrongly, particularly Citizens United v. FEC, a landmark ruling that receives some attention in the film.

The faint aura of aspirational optimism to be gleaned from seeing RBG and Scalia ring a bit hollow when you consider the morally bankrupt Republican Party, eager to toss any notion of ideology aside for its Trump sycophancy, playing footsie with white supremacy and countless conspiracy theories. We the audience are casually expected to ignore the fruits of Scalia’s labors on the court, all for the idea that it was nice to see him and RBG enjoying each other’s company.

Though Ruth first premiered back in 2019, well before Ginsburg’s death in September, 2020, it’s hard to shake the notion that Mock rather carelessly passed on any obligation to examine the America that Ruther Bader Ginsburg left behind. RBG was a trailblazer. Her broader legacy is complicated by the conservative nature of the court she served on, an ideological makeup that prevented her from authoring many powerful opinions, instead gaining notoriety for her scathing dissents.

RBG thrived in a world that offered few opportunities for Jewish women to succeed. There is a lot of power to be gleaned from hearing the story of an American icon. As much as things have changed over the past few decades, much remains the same. Glossing over that sad reality makes for a rosier picture, but does run the risk of creating a false sense of the world she left behind.

Tuesday

23

February 2021

0

COMMENTS

Man of Steel struggles to assemble its various pieces into a good movie

Written by Ian Thomas Malone, Posted in Blog, Movie Reviews, Pop Culture

The film that kicked off the DCEU remains its most perplexing entry. Following the massive success of Christopher Nolan’s Dark Knight trilogy, 2013’s Man of Steel essentially promised a grittier version of Kal-El than the ones seen either on television or through Christopher Reeves or Brandon Routh’s interpretations of the character. With Zack Snyder’s Justice League right around the corner, potentially bringing Henry Cavill’s time donning the red cape to close, a look at Man of Steel brings to light the highs and the lows of this complicated chapter in superhero filmmaking.

Zack Snyder’s biggest strength as a storyteller in Man of Steel lies in his ability to weave through the murky waters of the origin narrative. The world knows who Clark Kent is. Snyder’s Krypton is more about Jor-El and General Zod than the planet’s sole infant survivor. The adults fail to make sense of the complex politics, leaving the children to pick up the pieces.

With Snyder more interested in Kal-El’s past than his present, the director puts his star in a fairly untenable position. Henry Cavill may be the ostensible lead, but Man of Steel is not fully Superman’s movie. The film’s attentions are too preoccupied with everything happening around Clark that Cavill never really gets his moment to shine, the camera really only providing extended focus during the film’s many action sequences.

The acting is predictably top-notch given the A-list talent involved. Amy Adams, Russell Crowe, Michael Shannon, Diane Lane, Laurence Fishburne, and Kevin Costner make the most of every scene they’re in, giving the film a great sense of depth out of place with its aimless script. While Cavill never really gets a chance to make the film his own, the quality of the performances are enough to salvage the film’s many shortcomings.

This dynamic is best on display through the underbaked relationship between Clark and Lois Lane. Cavill and Adams have great chemistry, leading one to wish that they’d been given a moment to breathe amidst all the chaos. There’s such a natural sense to their romance, carrying the inevitability that shapes their characters through decades of comic book stories, but Snyder steps on his messaging at practically every term.

Snyder remains perpetually at odds with the seminal motto, “The S stands for hope,” that defines Superman as a character. Snyder’s grim template doesn’t leave much room for hope. The bland color palette in the cinematography robs Superman of one of his best assets from the comics, bright blues and reds set against a bright and sunny Metropolis. Superman exudes optimism, a sentiment Snyder has little use for.

This conflict rears its head in two pivotal moments. The death of Jonathan Kent is beyond foolish, an unnecessary sequence that plays too hard for an unearned emotional response. The other more spoiler-heavy death remains deeply at odds with Superman’s core ethos. Snyder’s deviation carried little justification, an empty gesture that almost looks designed to troll longtime fans of the comics.

As much as he steps on himself at times, Snyder did manage to craft a pretty decent film. The action pieces are overwrought, but well-choreographed. As a director, he’s constantly bailed out by his actors. While later installments in the DCEU bury themselves in needlessly grim aesthetics, Man of Steel remains relatively lighthearted by comparison.

Almost a decade later, Snyder’s sixth directorial feature remains his most frustrating. Man of Steel could have been a great movie if it had picked a clear direction. It is a good movie, albeit a conclusion that requires one to add up all the various pieces to arrive at that destination. The experience should have been better, if Snyder merely got out of his own way.

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