Comic Review: ‘Batman/Superman’ #1

The greatest team-up in comics returns…

Batman Superman #1.jpg

Cover art by David Marquez (image credit: DC Comics).

 

Written by:  Joshua Williamson / art by:  David Marquez / colours by:  Alejandro Sanchez

What’s it about?

Batman and Superman unite to grapple with the deranged Dark Multiverse villain, the Batman Who Laughs as he transforms their comrades into ‘the Infected’, his horrifying horsemen…

In review

Spilling out of the pages of the recent The Batman Who Laughs mini-series (by writer/artist duo Scott Snyder and Jock), Joshua Williamson, current writer of DC’s The Flash, teams up with artist David Marquez (who previously worked on Marvel’s The Invincible Iron Man and Civil War II) for a new Batman/Superman series, a title that’s been sorely missing in the post-Rebirth era of the DC Universe.

Given that this first arc takes it’s lead from The Batman Who Laughs, pitting the Dark Knight and the Man of Steel against the terrifying schemes of the twisted Dark Multiverse Batman, Batman/Superman #1 has a more gothic, horror infused tone to it than previous Bat/Supes team-up books and although that may leave it ‘feeling’ more like a Batman comic in some respects, it’s immediately clear that Joshua Williamson is perfectly suited as writer of the series.  Williamson quickly proves adept at handling the big two of DC’s pantheon, ensuring the focus is equally split whilst demonstrating an understanding of the established (and expected) traits and qualities of each character and the dynamics of their relationship, given the differences in viewpoints.  Most of these explorations occur via the dual narration/monologues that run throughout the book, although this is nothing new in any iteration of Batman/Superman (or Superman/Batman as it was before the New 52), it is part of the creative make-up of the title and really gives the reader a feel for what motivates the heroes and reasoning as to why, despite their opposing views and methods in the pursuit of justice, Batman and Superman continue to be allies – and more importantly, brothers.

As with any debut issue, there’s a certain amount of exposition in Batman/Superman #1 in order to establish the characters and the main narrative, but Williamson manages to keep things relatively tight, coherent and moving at a steady pace – the central plot and the investigations by Batman and Superman building gently throughout, drawing the reader into the action neatly without it rushing the story along or hindering its momentum.  It’s unfortunate that DC spoiled the closing twist of the book in their marketing but whether you’re familiar with that or not, the issue remains a gripping and suspenseful read.

Making the move from Marvel Comics to DC, David Marquez produces superlative visuals, rendering powerful characters and cinematic layouts – adding an ever so slight element of grit to his beautifully detailed pencils that’s fitting for the tone of the comic, keeping it moody and atmospheric in all the right places whilst creating exciting and clearly staged action scenes.

The bottom line:  It’s been too long since we’ve had a Batman/Superman comic and it’s off to a confident and reassuring start under the perfectly matched creative team of Joshua Williamson and David Marquez.

Batman/Superman #1 is published by DC and is available in print and digital formats now.

Images used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

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Film Review: ‘Batman: Hush’

Warner Bros. Animation adapt another popular Batman story for the latest DC Universe animated film… 

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The Dark Knight Detective returns in the Warner Bros. Animation release ‘Batman: Hush’ (image credit Warner Bros/DC Entertainment).

Spoiler-free review

Starring (voices):  Jason O’Mara, Jennifer Morrison, Jerry O’Connell, Rebecca Romijn, Peyton List, Geoffrey Arend, Maury Sterling, Rainn Wilson

Directed by:  Justin Copeland / written by:  Ernie Altbacker / 81 minutes

What’s it about?

Pitted against some of his oldest and most dangerous foes, Batman soon finds himself facing a new enemy – the mysterious ‘Hush’…

In review

Batman: Hush is the latest DC animated film from Warner Bros. Animation, based upon the popular 12-issue story arc (written by Jeph Loeb, with art by Jim Lee) from 2002.  “Hush” is rightfully considered as one of the greatest modern era Batman stories in which Bruce Wayne faces a gauntlet of villains and a mysterious new nemesis – a manipulative, bandage-faced foe known as ‘Hush’ – whilst grappling with stark revelations from his past and the complications of a burgeoning romance with Selina Kyle/Catwoman.

This direct-to-video animated adaptation is an enjoyable one, doing a reasonably solid job of translating the source material to the screen and neatly condensing its elaborate plot into a relatively short running time of 81 minutes (around average for the DC animated films).  Certain elements of the original story are either trimmed or cut entirely but Hush generally feels cohesive and flows steadily without rushing through the narrative or unnecessarily dragging its heels.  Certain changes are made in order to service the adaptation or for creative reasons (mainly to fit Hush within the mainline ‘DC Universe Movie’ continuity) but for the most part they add a freshness to the story for those who have read the comics.  There is, however, one particular alteration that is likely to prove divisive and although it works for the film it arguably robs it of some of the emotional power of the original comic book story – leading to a fairly satisfying but less weighty finale that doesn’t quite measure up to the source material.

As with the comics, Hush places significant focus on the Batman/Catwoman relationship and that plays out as expected, as do several key moments fans will expect – the highlights undoubtedly being that iconic Bat/Cat rooftop embrace, Batman’s ‘tussle’ with Superman – the closest we’ve ever come to the epic conflict in previous DC animation Batman: The Dark Knight Returns Part II – and of course, the Batman’s ragingly brutal and bloody encounter with the Joker (pushing the film’s PG13/15 certificate rating).  The inclusion of Bane adds to the drama and adrenaline, although it’s a shame he’s not much beyond a dumb, musclebound brute here, although we are provided with a narrative reason for the character acting less “eloquent” than fans may be accustomed to.

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The Bat and Cat in ‘Batman: Hush’ (image credit: Warner Bros/DC Entertainment).

The voice acting performances are fine, if a tad unexceptional.  Whilst no Kevin Conroy, Jason O’Mara (in his fourth solo outing as the Batman, following Son of Batman, Batman vs Robin and Batman: Bad Blood) is non-the-less reliable in the central role of Bruce Wayne/Batman and Jennifer Morrison is equally adept at delivering the requisite slinky, feline quality to Selina Kyle/Catwoman and the chemistry between the pair is adequate if unremarkable.  Peyton List does well handling two completely different roles – Poison Ivy and Batgirl, Jason Spisak eerily channels Mark Hamill as the Joker, alas Bruce Thomas isn’t the greatest fit for Commissioner Gordon, nor is James Garrett as Alfred (to be fair we have been spoilt by some real star casting in those roles previously).  On the plus side, Hynden Walch is superb as Harley Quinn as is Sean Maher as Nightwing and Geoffrey Arend delivers a pleasingly menacing Riddler whilst Maury Stirling proves a good choice for Bruce’s childhood friend, Thomas Elliott.  There’s also the welcome return of Jerry O’Connell as Clark Kent/Superman as well as Rebecca Romijn as Lois Lane and Rainn Wilson is once again suitably devious as Lex Luthor.

The style of Hush continues the pseudo-anime design of prior DC animation releases which may not be to everyone’s liking but gives an established and consistent look to the universe, although it lacks the detail and craft of Jim Lee’s comic book pencils.  Director Justin Copeland keeps everything tight and focused and delivers some strong and well-staged action scenes which is no small wonder given his experience as a storyboard artist on previous DC animation projects including Batman: Gotham by Gaslight, The Death of Superman and most recently, Reign of the Supermen.

The bottom line:  Batman: Hush is another entertaining Warner Bros/DC animation release that, despite a controversial alteration, does a good job of adapting the iconic comic book story.

Batman: Hush is available digitally now with Blu-ray and DVD releases to follow in August.

Images used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

Comics Review: ‘Action Comics’ #1012

There’s mystery and intrigue as Brian Michael Bendis continues his Superman work…

Action Comics #1012

Cover art by Jamal Campbell (image credit: DC Comics).

Written by:  Brian Michael Bendis / art by:  Szymon Kudranski / colours by:  Brad Anderson

What’s it about?

As Superman faces the threat of Leviathan’s attacks, Daily Planet reporter Robinson Goode investigates the rise in criminal activity in Metropolis…

In review

Following the recent launch of the Event Leviathan mini-series, Brian Michael Bendis continues his Superman run with the latest issue of Action Comics.  Building on the previous arc, “Leviathan Rising” and the ‘Invisible Mafia’ storyline, Action Comics #1012 is a slow but interesting read – it’s lack of action (ironically there’s much more of that in the main Superman book, also written by Bendis) made up for with some intriguing character work.  Despite the comic’s cover, there’s actually not a lot of Superman – or Clark – in this issue, which makes sense given he’s busy with what’s going on in Superman and Event Leviathan.  Bendis does however provide some enjoyable moments between Clark and Lois in the Fortress of Solitude, where there’s some sweet and playful dialogue as the couple discuss their first meeting before Clark speeds off to deal with a crisis or two.

The bulk of Action Comics #1012 focuses on the Daily Planet’s newest reporter, Robinson Goode a.k.a. Superman’s new adversary known as the Red Cloud – who seems to be having trouble controlling her ‘red mist’ powers (as her ambiguous secret meetings with the Invisible Mafia’s ‘Queenpin’ continue).  Bendis gives Goode an appropriately snarky quality and her often dismissive attitude towards her colleagues, specifically Trish, adds to that although there’s a little bit of fun as the pair ponder over a photograph of Lois Lane locked in an embrace with Superman…a moment that could have consequences?  Shifting the narrative forward, Goode meets with Rose Forest who reveals that she has been fighting the underground criminals of Metropolis as the meta-vigilante ‘Thorn’ and believes that there’s a conspiracy within the city’s police that’s linked to the increasing Metropolis crime-wave.  This is where the story begins to get interesting and more so as it builds ties to Event Leviathan – that series can be enjoyed separately, but Action Comics also functions as a companion piece whilst still fleshing out its own ongoing story arcs.

Part of what works well with Action Comics is that Brian Bendis brings a more grounded, street-level quality to the book (saving the epic scale and spectacle for Superman) with a tighter focus on characters such as Robinson Goode, the Daily Planet and an investigative angle that’s all in evidence here and whilst there is less of Superman, his presence is still felt throughout the story.

Szymon Kudranski’s art is rather excellent – there are a couple of odd facial expressions but it’s generally strong and full of detail, with an extra grittiness employed in the brutal sequences depicting Thorn’s violent encounters with Metropolis gangsters.   Colours by Brad Anderson are especially effective in the contrast between the darker, more sinister moments and the brighter, clearer scenes elsewhere.

The bottom line:  A slow yet intriguing issue of Action Comics with which writer Brian Michael Bendis continues to build a solid run for the Man of Steel whilst neatly tying into Event Leviathan.

Action Comics #1012 is published by DC and is available in print and digital formats now.

Images used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

Comics Review: ‘Event Leviathan’ #1

Brian Michael Bendis and Alex Maleev re-unite for DC’s new mystery thriller…

Event Leviathan #1

Alex Maleev’s evocative and moody cover for DC’s ‘Event Leviathan’ #1 (credit: DC Entertainment).

Written by:  Brian Michael Bendis / art by:  Alex Maleev

What’s it about?

Drawn together as they investigate the destruction of key intelligence agencies, Batman, Lois Lane, Green Arrow and The Question find that they must uncover the identity of the mysterious perpetrator known as Leviathan before more attacks can occur…

In review

Writer Brian Michael Bendis expands his DC Comics work with Event Leviathan a six-issue mini-series that unites some of the DC Universe’s greatest detectives – Batman, Lois Lane, Green Arrow and The Question to investigate the decimation of the intelligence community by Leviathan, an enemy whose true identity remains unknown.  Teaming up with his most celebrated collaborator, artist Alex Maleev (the duo having previously worked on titles such as Daredevil, International Iron Man, Infamous Iron Man and the creator-owned Jinxworld series, Scarlet), Brian Bendis provides a promising and intriguing start to this gritty mystery thriller.

Less of an actual sprawling ‘event’ in the traditional sense, which usually involves collecting a plethora of titles and numerous tie-ins, Event Leviathan spills out of the recent “Leviathan Rising” arc in the Bendis penned (with art by Steve Epting) Action Comics yet is a contained story in its own right, although a reading of that aforementioned arc (and forthcoming issues of Action) will enrich the experience of this first issue.  This isn’t an action and plot heavy premiere and Bendis incorporates a decent amount of exposition to recap the events in Action Comics and the groundwork laid there, making the book accessible to new readers.  This might make things a little slow and ponderous to those who do follow that Superman – who is actually absent here – title but it sets the mood and we are drawn in by the dialogue as Bendis reiterates the stakes, principally the destruction of the facilities of intelligence agencies ARGUS, the DEO and Spyral, the dynamics between the central characters (always a strength with Brian Michael Bendis) and the mystery they must work together to quickly unravel – the identity of the masked Leviathan.

Bendis has already been crafting a solid run on both Superman and Action Comics and has certainly nailed the core components of Lois Lane’s personality and that continues seamlessly in Event Leviathan, pinning down her drive and determination to the truth – and not unlike her Kryptonian husband, justice.  He also has a unique handling of Batman who is slightly more engaging and forthcoming with others as well as being prone to a dash of dry sarcasm, in comparison to the more bleak and troubled soul of Tom King’s Batman.  That’s no criticism of King’s work but that specific approach wouldn’t quite fit in with Event Leviathan where the Dark Knight needs to be committed to a common cause.  It’s not necessarily inconsistent, just appropriate for this story and Bendis ensures that there’s a focus on the skill and deduction we expect and enjoy in any representation of Batman.  Aside from Lois and Batman, Bendis delivers strong takes on Green Arrow and The Question giving both significant roles to play and the tension is heightened by an injured and defensive Steve Trevor, desperate to prevent his survival of Leviathan’s acts being seen as a source of suspicion.

Alex Maleev’s art (who also provides his own inks and colours) is, as usual, sublime with the dirty and gritty visuals giving Event Leviathan the sort of grounded, detective noir feel it needs and whilst there’s that certain street-level sense that came with his work on Daredevil, he’s also just as capable when it comes to creating epic scenes – the crumbling interior of the new ARGUS base and the establishing exterior shot of its prior state are stark and beautiful, respectively.

The bottom line:  Event Leviathan launches with a slow burning but interesting and atmospheric start, made all the more appealing thanks to a tried and trusted creative team.

Event Leviathan #1 is published by DC and is available in print and digital formats now.

Images used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

Film Review: ‘Shazam!’

The Worlds of DC greets its newest hero…

Spoiler-free review

Shazam

Zachary Levi enters the Worlds of DC in ‘Shazam!’ from Warner Bros. Pictures and New Line Cinema (c. Warner Bros. Pictures/New Line Cinema).

Starring: Zachary Levi, Mark Strong, Asher Angel, Jack Dylan Grazer, Djimon Hounsou, Grace Fulton, Ian Chen, Jovan Armand, Faithe Herman, Cooper Andrews, Marta Milans

Directed by: David F. Sandberg / written by: Henry Gayden (story by Henry Gayden & Darren Lemke, Shazam created by Bill Parker & C.C. Beck) / 132 minutes

What’s it about?

Foster child Billy Batson, granted god-like powers by a mysterious wizard finds he must grow-up sooner than expected when he finds himself faced against the threat of an ancient evil…

In review

Warner Bros. Pictures and New Line Cinema’s Shazam! Is the latest offering from the ‘Worlds of DC’ cinematic universe, a sweet, fun and funny superhero romp that wears its childlike innocence and sense of adventure with pride. It doesn’t reinvent the wheel or stand amongst the very best of the genre but Shazam! is non-the-less a good time and a crowd-pleaser with a spirit that harkens back to the Christopher Reeve Superman films.

Based on one of DC’s lesser known – but oldest – characters (who at one point was selling more comics than Superman and originally known as Captain Marvel until legal issues got in the way), Shazam! sees troubled fourteen year old foster child Billy Batson (Asher Angel), struggling to adjust to life with his new adoptive family, encounter a mysterious wizard (Djimon Hounsou) who believes Billy to be pure of heart and selects his as a successor to his incredible powers – by merely saying the word “Shazam” (which on the face of it seems silly but is actually an acronym of Greek gods Solomon, Hercules, Atlas, Zeus, Achilles and Mercury), Billy’s body transforms into that of a muscle-bound adult (Zachary Levi) endowed with an almost limitless range of powers and becomes the only hope of preventing evil demons, known as the Seven Deadly Sins, from being unleashed upon the world by the crazed Dr, Sivana (Mark Strong – formerly Sinestro in Warner’s ill-fated Green Lantern) who plans to seize the power of Shazam for himself.

Shazam! doesn’t hide from the fact that it’s essentially a superhero version of Tom Hanks classic Big (with a hint of Spielbergian magic) and much like Spider-Man: Homecoming did with the coming-of-age films of John Hughes, it simply goes along with it. Although the opening act may be a little sluggish it serves to give viewers a proper introduction to the characters and draw you into Billy Batson’s story – a significant part of which is his friendship with his foster brother and superhero fanboy Freddy, superbly played by It’s Jack Dylan Grazer and it’s the chemistry between the cast and their respective characters (which also includes an undeniably cute turn from the talented Faithe Herman as young ‘sister’ Darla) that really makes things click. Angel and Grazer are obvious standouts but it’s when Zachary Levi enters the frame that Shazam! hits its stride. The former Chuck star is absolutely the perfect choice to play the empowered version of Billy and he exudes the right combination of youthful excitement, awkwardness and physicality the role demands, handling all the action, heart and humour (an integral and well executed element of the film) with equal skill and with a believability and vulnerability that sells the idea of a boy in a man’s body. As Sivana (whose father is played by John Glover – Smallville’s Lionel Luthor), Mark Strong provides a decent amount of menace and danger – pitched with an appropriate touch of corniness. Sivana is by no means one of the all-time “great” villains but Strong does well with the character, for which we do get a bit of a backstory that helps define his motivations.

Shazam! is not as action orientated as other comic book blockbusters but it still has a fair measure, mostly reserved for its hero-forging middle section where Billy/Shazam must quickly master his abilities in a deadly face-off with Sivana and the climactic finale as he grapples with the creepy CGI-horde of the Seven Deadly Sins and director David F. Sandberg (Annabelle: Creation) has a firm grip on it all. These moments are certainly exciting but in the end it’s the family-focused, character driven aspects of Shazam! that make it all-the-more appealing and whilst it may make some fans hungry for a return of Superman, Batman and Wonder Woman it expands the DC film universe as it continues to find itself on firmer footing.

The bottom line: a solidly entertaining comic book flick with a great leading cast, Shazam! successfully balances emotion, laughs and superhero punch-ups to engage the masses.

Shazam! is in cinemas now.

Image(s) used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

Comics Review: ‘Detective Comics’ #1000

DC celebrates 80 years of their most treasured icon…

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Main cover art by Jim Lee for the milestone ‘Detective Comics’ #1000 (c. DC Entertainment).

Written by:  Scott Snyder, Brian Michael Bendis, Tom King, Denny O’Neil, Kevin Smith and more / art by:  Greg Capullo, Alex Maleev, Tony S. Daniel, Steve Epting, Jim Lee and more / colours by:  various

What’s it about?

An anthology of short stories to mark the 80th anniversary of Batman as Detective Comics reaches one thousand issues…

In review

Following Superman’s landmark 80th birthday last year, DC presents the 1,000th issue of Detective Comics (more accurately going by the full title of Batman: Detective Comics in contemporary times) in celebration of 80 years of Batman, the comic book publisher’s most treasured (and lucrative) character and one of the world’s most popular and beloved fictional icons.  This behemoth 96-page issue enlists some of the greatest comics talent to produce a truly special and memorable collection of short stories.

There are numerous tales in Detective Comics #1000 and it would be exhaustive to provide a detailed overview of each one but needless to say there are many highlights.  Perhaps fittingly, the book opens with the fan favourite creative team of Scott Snyder and Greg Capullo (whose character work is, pleasingly, a little less rough and cartoonish than in his previous collaborations with Snyder) and intriguingly as they deal with Batman’s longest and most mysterious investigation.  Current Batman writer Tom King with artists Tony S. Daniel and Joelle Jones present “Batman’s Greatest Case” an expectedly strong contribution that involves the whole Bat-Family and some fun interplay between the various players, particularly Dick Grayson and Damien.  Geoff Johns and Kelley Jones team-up in a creepy story dealing with a copycat criminal.  Jones’ art is the only real ‘blip’ here as there’s a diminished, muddied quality to his visuals in comparison to his work in the nineties.

Superman and Action Comics writer Brian Michael Bendis reunites with Alex Maleev for “I Know“, a stark and gritty tale where an elderly and bitter Oswald Cobblepot laments that he always knew what Batman’s other foes never knew – the true identity of the man beneath the cowl.  It’s a reminder of Bendis and Maleev’s monumental Daredevil run that will only make readers yearn for a full Batman mini-series from the (dynamic?) duo.

A real treat is the return of the legendary Denny O’Neil (whose most celebrated collaborator, Neal Adams appears elsewhere with a story written by Christopher Priest) who together with the sublime Steve Epting presents an appropriately sombre and moody sequel to the popular “There is No Hope in Crime Alley!“.  O’Neil’s tenure as a Batman writer in the 1970s helped to bring the character back to his darker crime fiction roots after the camp and zany 1960s and revisiting one of his most beloved stories is a perfect addition to this anthology.

The pick of the bunch though has to be “Manufacture For Sale“ by Kevin Smith (geek icon and writer of Batman: Cacophony and Batman: The Widening Gyre) and Jim Lee (DC art god who also pencils the main wrap-around cover for this issue), a heartfelt and poignant story which sees Bruce Wayne’s search for a specific item that ties to his past and turn it from something used for an evil deed and utilise it as an object of hope.  It’s beautifully crafted and bound to be cited in the years to come as a classic moment in Batman history.

Whilst much of the content of Detective Comics #1000 is self-contained it does close out with the title’s regular writer Peter Tomasi and rotating artist Doug Mahnke as they set-up the upcoming Arkham Knight arc that kicks off fully in issue #1001 which brings the popular video game character into DC Universe continuity and leaves the reader ready and waiting for many more issues of Detective Comics.

The bottom line:  Essential for even the most casual of comic book readers and Batman fans, Detective Comics #1000 is a perfect celebration of 80 years of the Dark Knight Detective, boasting some of the very best comics talent.

Detective Comics #1000 is published by DC and is available in print and digital formats now.  A Deluxe Edition hardcover containing extra material is slated for release in June.

Images used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

Flashback: ‘Man of Steel’

DC’s cinematic universe began with a fresh take on the world’s first superhero…

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Superman takes flight in ‘Man of Steel’ (c. Warner Bros).

 

Year: 2013

Starring: Henry Cavill, Amy Adams, Michael Shannon, Diane Lane, Russell Crowe, Antje Traue, Henry Lennix, Kevin Costner, Laurence Fishburne

Directed by: Zack Snyder / written by: David S. Goyer (story by David S. Goyer & Christopher Nolan)

What’s it about?

Transported to Earth as his home world is destroyed, the infant Kal-El is raised as Clark Kent by a kind farmer and his wife. As an adult, Clark struggles to find his place in the world until he discovers his true heritage and sets on mastering his amazing powers…

Retrospective/review

With Bryan Singer’s Superman Returns failing to connect with audiences and plans for a sequel abandoned, the summer of 2013 saw the release of Man of Steel – arriving just in time for Superman’s 75th Anniversary. Whilst Superman Returns sought to be a spiritual successor to Richard Donner’s seminal Superman: The Movie, Man of Steel would take a slightly edgier and more modern approach in an effort to make the iconic superhero more relatable. The film would also be seen by Warner Bros. Pictures as the first entry in a Marvel-style shared universe (once unofficially referred to as the DC Extended Universe, or DCEU, but now officially branded as ‘Worlds of DC’) featuring DC’s stable of comic book characters.

Enlisting The Dark Knight trilogy director Christopher Nolan as a producer and to craft a story with screenwriter David S. Goyer (who previously worked with Nolan on his Batman films), Man of Steel was built from an intriguing premise – what if Superman existed in the real world, today? How would humanity react and what would a man with incredible abilities choose to do with them? Given the critical and commercial success of Nolan’s Batman trilogy, Warner Bros. naturally felt a similar take was needed for Man of Steel in order to make Superman a more identifiable and dramatically engaging character for a contemporary audience without intentionally alienating existing fans.

Directed by Watchmen’s Zack Snyder, Man of Steel is a Superman film for more complex and troubled times whilst still conveying an underlying sense of hope and providing the blockbuster spectacle viewers had come to expect in the wake of The Dark Knight and The Avengers. It may have become divisive, but it works rather well and favours that Nolan ‘heightened reality’ over the family-friendly fantasy of Superman: The Movie.

The story is solid – there’s the traditional opening on Krypton (depicted as a more organic Star Wars-esque world in comparison to the cool crystalline aesthetic of Donner’s Superman), its ultimate destruction and the baby Kal-El escaping doom to arrive on Earth. Shifting to some thirty years later, Kal-El is now Clark Kent, a drifter who finds himself lost and without purpose but often faced with the urge to help those in need. Through a series of flashbacks we learn of Clark’s struggles to reconcile his abilities with the life of a normal person. Searching for answers, Clark ultimately discovers his origins and embarks on a journey to master his gifts and utilise them for good, but the arrival of Kryptonian survivors, led by the militant General Zod presents an unexpected threat to Earth and its people and throws an inexperienced Superman into a dangerous conflict.

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General Zod: a formidable foe.

The cast is equally as good. Henry Cavill has a firm grasp of the central role and provides a grounded and very human portrayal of the man who will become Superman. Amy Adams is impeccably cast as the Daily Planet’s star reporter Lois Lane, bringing dramatic weight to the requisite qualities of professional drive and personal strength. As General Zod, Michael Shannon delivers a powerful and formidable antagonist whose threat is further enhanced by Antje Traue’s Faora-Ul. The casting is made all the more impressive by the inclusion of Russell Crowe, who succeeds Marlon Brando in the role of Jor-El, Kevin Costner and Diane Lane as Jonathan and Martha Kent, respectively and Laurence Fishburne as Daily Planet editor Perry White.

The action is exciting, especially during the film’s final act. Some have found themselves at odds with the level of destruction in Man of Steel, but it both shocks and enthrals in a way that’s realistic and entertaining. It’s also seemingly a response to the reception of Superman Returns which many felt was too slow and lacked action and physical conflict. Zod’s death has also proven controversial, yet it’s arguably one of the film’s most emotionally effective and powerfully acted scenes. Henry Cavill’s performance in that particular moment is gripping – his gut-churning yell grabbing the viewer and making you feel all the anguish, frustration and regret of the situation.

Man of Steel Lois & Perry

Laurence Fishburne joins Amy Adams’ Lois Lane as Daily Planet Editor Perry White  (c. Warner Bros).

The production design is accomplished (particularly in respect of Krypton), the costuming superlative and the effects are great, all captured beautifully via Amir Mokri’s cinematography and Zack Snyder’s kinetic direction. A real highlight of Man of Steel is Hanz Zimmer’s wonderful score – atmospheric, emotional and exciting it’s one of Zimmer’s finest providing themes that enhance the visuals greatly (especially during Superman’s exhilarating first flight). As classic and unforgettable as John Williams’ Superman theme is it would feel out of place here and not fit the world of Man of Steel.

Ultimately, Man of Steel establishes hope as Superman makes it known that he’s here to help. The events of the film would end up driving the titanic clash of 2016 sequel Batman v Superman: Dawn of Justice but as it stands, Man of Steel is highly underrated and a superbly executed redefinition of Superman for modern times.

Geek fact!

Man of Steel cleverly incorporates a Christopher Reeve cameo with a brief glimpse of the actor’s face inserted into Henry Cavill’s performance during Superman’s battle with Zod’s Kryptonian World Engine.

All images herein remain the property of the copyright owners and are used for illustrative purposes only.