by Steve Habrat
Richard Lester’s 1983 debacle Superman III had shifted the Superman franchise from serious to shaky ground. It was a bloated and unfunny two-hour sight gag that failed to make you laugh and relentlessly mocked its own hero. Plus, it had Richard Pryor in a major role, which basically says it all. Things went from sort of bad to unfathomably awful in 1987 when Sidney J. Furie released Superman IV: The Quest for Peace, an awkward plea for world peace that was co-written by series star Christopher Reeve. About the only positive thing that can be said for Superman IV: The Quest for Peace is that it does away with most of the comedy that plagued the third installment of this rapidly dying franchise. Lacking producers Alexander and Ilya Salkind and in the hands of a new production company, Golan & Globus, Superman IV: The Quest for Peace is a cheap and poorly thought out franchise killer that simply borrowed from the previous three Superman movies all while trying to make a straight-faced statement about the nuclear arms race. It is a 90-minute mess that couldn’t even be saved by strong performances from Reeve and returning cast members Gene Hackman and Margot Kidder. They certainly try but their lack of interest bleeds through on nearly every single frame.
After news breaks that the United States and the Soviet Union may engage in nuclear war, Superman (played by Christopher Reeve) contemplates how he should handle the situation. Desperate for advice, he travels to the Fortress of Solitude to confide in the spirits of Krypton, who advise him to find a new planet to call home. Superman soon receives a letter from a young schoolboy about the threat of nuclear war, which leads him to attend a United Nations convention and vow that he will rid the world of nuclear weapons. Just as the world is breathing a sigh of relief, Lex Luthor (played by Gene Hackman) escapes from prison with the help of his spaced-out nephew, Lenny Luthor (played by John Cryer), and the two begin cooking up a plot to send the world back into chaos. Luthor decides to steal a strand of Superman’s hair that is on display at a museum in Metropolis, attach it to a nuclear missile, and launch it into the sun in an attempt to create a superhuman that can match Superman’s strength. The result of this experiment is Nuclear Man (played by Mark Pillow), who travels to Earth and begins taking orders from Luthor. Meanwhile, the employees of the Daily Planet are stunned to learn that they have been taken over by tabloid tycoon David Warfield (played by Sam Wanamaker) and his daughter, Lacy (played by Mariel Hemingway), who has been brought in to replace Perry White (played by Jackie Cooper) as editor. To make thing worse for Lois Lane (played by Margot Kidder), Lacy begins trying to seduce Clark Kent.
Under a very limited budget, Superman IV: The Quest for Peace is like something that would have sent straight to the VHS bargain bin at a hole-in-the-wall video store. Even for 1987, this is a seriously chintzy production that is weighed down by poor special effects, lame prop work, and some of the laziest sets ever put on celluloid. The sets in Ed Wood’s Plan 9 from Outer Space were more convincing than the moon set at the end of Superman IV. The opening credits will certainly have you chuckling as they look like they were ripped from a Super Nintendo video game, but wait until you see some of the flying effects. When the strings aren’t clearly visible, you’ll be shocked by all the shaky superimposed images of Superman as he hurtles himself towards the viewer. The superimposed image that is used of Superman never changes, making you wonder if the filmmakers even considered doing another take of Reeve in his flight pose. Things don’t get much better when Reeve and Pillow are asked to play around with massive styrofoam props that look like they were spray painted in the director’s basement. When it comes time for the big brawls, Reeve and Pillow look like they are just trying to hug each other to death rather than seriously hurt each other. There is barely a punch thrown and the two just roll around in the dirt like they are participating in a high school wrestling match. It is beyond painful to have to endure.
If there is any saving grace to Superman IV: The Quest for Peace, it is the performances from Reeve and returning cast members Margot Kidder, who was reduced to a brief cameo in Superman III, and Gene Hackman, who wasn’t present at all for the third film. Reeve somehow remains strong as Superman/Clark Kent despite seeming well aware that the movie around him is just a disaster. Reeve also helped develop the story but it seems like it got away from him in the filmmaking process. He still manages to excel as Kent and emit warmth as Superman, even when the script starts piling on made-up superpowers. Kidder is still her feisty self as Lois Lane, but she never reaches the level of her first two performances. Hackman is clearly having fun as the scheming Lex Luthor. By this point, he was clearly phoning it in but he’s immensely enjoying himself. Hackman is nearly brought down by an awful performance from Cryer, who is supposed to serve as the comic relief, something that we could have done without. Pillow is downright hilarious (and not in a good way) as the stomping and scowling menace Nuclear Man. You’d think it would be neat to have Superman facing off against a villain who can match him but Pillow is the furthest thing from menacing. As far as the Daily Planet players go, Cooper is on autopilot, Wanamaker is reduced to a snapping businessman with no bite, and Hemingway is here to add a bit of sex appeal to the project.
When you’re not covering your eyes due to the horrendous special effects and embarrassing action sequences, you’ll be in openmouthed disbelief over the countless other flubs in the script. I’m still trying to figure out how Luthor was able to snip that strand of Superman’s hair even though it is able to hold 1000 pounds, and I haven’t quite wrapped my head around how Lacy was able to breathe in space without some sort of helmet. Then there is Nuclear Man’s lame weakness, which seems like it would make him very easy to defeat. And don’t even get me started on the made-up powers that Superman has here. Oh, and then there is the relentless preaching about world peace and nuclear weapons that practically makes you want to tear your hair out. Overall, you could fill a book with everything that is wrong with Superman IV: The Quest for Peace. The actors all seem thrilled to be reunited but every other aspect of the film is just downright awful. The film runs skimpy, filling out its runtime with slow-motion fights that are unintentionally hilarious and side plots that we could honestly care less about. It is no wonder that this film killed the Superman franchise and left it shelved for almost twenty years. Not even Reeve, who made the third film tolerable, was able to make this flaming turd work. Superman IV: The Quest for Peace is one of the worst superhero movies out there and one of the worst movies you may ever see.
Superman IV: The Quest for Peace is available on Blu-ray and DVD. You’ve been warned.
by Steve Habrat
Way before Tim Burton’s Batman franchise fell into the hands of hack director Joel Schumacher and was turned into a giant neon toy commercial with nipples; a similar fate struck another DC Comics superhero hero. In 1983, comedic director Richard Lester shifted Richard Donner’s Superman franchise from serious-minded optimism into full-on sight gag camp. The result was Superman III, a comic book movie that isn’t nearly as horrible as some may have you believe but is by no means a cinematic masterpiece. On its own, Superman III is a fun action comedy that will keep your ten-year-old son preoccupied while you take a nap, but when compared to the stellar Superman and its awesome follow-up, Superman II, the film is a humongous disappointment that only intermittently entertains. While every single one of the players tries their darndest, the one who is solely responsible for running the franchise into the ground is Lester, who flat-out refuses to take the Man of Steel seriously. To make things even worse on Superman III, Lester casts funnyman Richard Pryor as the thorn in old Superman’s side. As if he sensed this was a giant turd, returning star Christopher Reeve steps in front of the camera with fire in his eyes and he single handedly makes the entire thing, well, sort of watchable.
Superman III introduces us to Gus Gorman (played by Richard Pryor), an unemployed goofball who lands a job as a computer programmer at Webster Industries. Unhappy with his pay, Gus begins embezzling money from Webster Industries, but it doesn’t take long for him to grab the attention of the power hungry CEO, Ross Webster (played by Robert Vaughn). It turns out that Webster, his sister, Vera (played by Annie Ross), and his mistress, Lorelei Ambrosia (played by Pamela Stephenson) are out to take over the world financially and they plan on blackmailing Gus into helping them out. Meanwhile, Clark Kent (played by Christopher Reeve) and Jimmy Olson (played by Marc McClure) travel back to Smallville for Clark’s high school reunion where he reunites with his old childhood friend and recent divorcée Lana Lang (played by Annette O’Toole) and her young son, Ricky (played by Paul Kaethler). After being led to believe that Clark knows Superman, Lana pleads with him to convince Superman to attend Ricky’s birthday. Smallville turns the appearance into a celebration but Gus and Vera crash the party and present Superman with a chunk of synthetic kryptonite in an attempt to weaken him and prevent him from stopping their evil scheme. At first, it appears that the synthetic kryptonite has had no effect on Superman, but soon he becomes depressed, angry, and selfish, just when the world needs him.
Superman III begins with a chain reaction of slapstick disasters and sight gags that are all painfully unfunny and just way too drawn out. As if this isn’t bad enough, the sequence almost feels like it is poking fun at the hero we are supposed to be rooting for. The mocking tone never fully disappears, but every so often, Lester cuts through the carefree camp with a perky rescue sequence, but for the most part, the film is a far throw from the thrilling Superman II, which he worked on when Donner was fired. When we are introduced to the villains, things don’t get much better for Superman III. There is no Gene Hackman as the barking Lex Luthor and there is no Terence Stamp as the authoritative General Zod, but rather three screwballs who cower behind a giant super computer as Superman stomps their way. You could almost mistake them for Bond villains. Together, they wouldn’t make an infant tremble and they sure as hell don’t seem like they could do much damage to old Supes but somehow, to the horror of this viewer, they actually manage. While their plan is beyond stupid, it actually opens a door for Reeve to save the entire picture from crashing and burning.
It is undeniable that Reeve is the heart and soul of this entire Superman franchise and it makes me shiver to think what it would have been like without him. Even in Superman III’s worst moments, Reeve is almost too good. When the script asks him to be bad and play a bunch of juvenile pranks around the world (he straightens the leaning tower of Pisa and he blows out the Olympic flame), Reeve manages to keep his composure, which is really something special because anyone else would have been on the ground laughing at how idiotic these moments are. As Clark Kent, he is still the sweet and bumbling fool we all know and love, but this time around, he actually gets to throw a few punches. In the film’s highlight scene, the corrupted Superman projects the good Clark Kent and then gets into a fistfight with him in the middle of a rusting junkyard. Naturally, the scene is loaded with unnecessary laughs, it goes on for about five minutes too long, and it is wildly unclear as to how exactly Superman exactly split into two people, but it is really fascinating to see Superman, a force of complete good, at odds with himself. I didn’t think I’d write this, but well done, Lester!
Then we have Pryor as the film’s reluctant baddie, Gus Gorman, and really, he isn’t that bad, he is just grossly miscast. Pryor does drop a few laugh bombs along the way, but he seems like he is on a short leash by the director and the producers. He also really has no business being anywhere near a superhero movie, especially a Superman movie. Still, you can’t really fault him for trying. As far as the other villains go, Vaughn’s Webster practically blends into the woodwork, a cardboard stand-in for Hackman’s diabolical Lex Luthor. Annie Ross brings a bit more mean to her small role as Vera, Webster’s sister who in the final moments of the film becomes an android-like monster that does absolutely nothing (yeah, don’t think too much about it). Stephenson is irritating as Webster’s seemingly ditzy but surprisingly smart mistress, Lorelei, who doesn’t miss a chance to seduce the corrupt Superman. Margot Kidder, who was not pleased when Donner got the axe on Superman II, is reduced to basically a cameo, a shame considering how entertaining and frankly spot on she was in the role. The new love interest here is O’Toole as Lana Lang, a sweet old pal of Clark’s that slowly develops feelings for the bespectacled nerd. O’Toole is good, don’t get me wrong, but is it too much to ask for Kidder’s Lois Lane back?
I wish I could tell you that Superman III has some spectacular confrontation at the end, but instead it is approached like some forgotten Atari video game that was left on a dusty shelf. It takes forever to get to a real showdown between the two parties, with the plot practically stopping to take a nap at certain points. At least twenty minutes could have been cut from the finished product, including the fist-fighting traffic light stick figures bit that will actually tempt you to get up and turn the whole thing off. I wish there was something at stake here or some sort of actual threat looming over Superman’s head as he battled with his demons, but instead the bad guys would rather hang out on top of their skyscraper that has been fashioned into a ski resort and chat about defeating Superman. Through all the bad, Reeve is still the glue that keeps the entire thing from falling to pieces. Overall, it is big, dumb, bloated, and flat lining in the creativity department, but a handful of soaring rescues and Reeve’s irresistible warmth manage to triumph over the long line of groan-inducing jokes that Lester insisted upon. Maybe that Reeve was some kind of Superman.
Superman III is available on Blu-ray and DVD.
by Will Nepper
We’ll get this out of the way first: I know that Christopher Reeves is dead and I did ‘get over it.’ (Mostly.) I’m also aware this is ‘not Donner’s Superman.’ (What is?) And finally, the fact that I really enjoyed Superman Returns may render my opinion invalid in your eyes. In fact, that may’ve been enough to stop you from reading further. I can live with that.
(What I can’t live with? A “World Machine” for starters, but more on that later.)
On the positive end of the spectrum, there is a lot to like about Man of Steel. That, perhaps, is what makes the entire experience so frustrating. The problem isn’t that it isn’t Donner’s Superman; it’s not even Superman’s Superman.
I enjoyed Kevin Costner, Diane Lane (even though, she wasn’t given much to do but beam proudly and look concerned) and almost all of the Smallville-era Kent family backstory, particularly moments where a young Clark becomes overwhelmed by his super senses in the classroom. His struggle to keep his powers a secret in the face of bullies presents some solid moments – some of the best in the Superman movie history.
Unfortunately, those moments make up about 20 percent of MoS, serve an origin story that we don’t really need and leave two hours of running time open to completely botch the rest of the job with increasingly boring battles and no real sense of peril or characterization.
I admit that I prefer my Superman movies with a bit of humor and characters that smile from time to time. (Henry Cavill smiles once or twice during the two-hour-plus epic.) But I’m willing to sacrifice all of that on the Fan Boy Alter because those aren’t Superman-story necessities. There have been plenty of “dark” story lines for the Last Son of Krypton and he can’t always maintain the boy-scout-in-blue attitude that many of his older fans (…Who has two thumbs and is an ‘older fan?’…) are accustomed to. Fair enough.
If you can’t see that this incarnation of Superman was built around the fan boy gripe that Superman Returns didn’t have enough punching in it, your brown-tinted, grit-covered Chris Nolan glasses may be blinding you.
We’ll never know (well, until we hear a DVD commentary) who’s most responsible for which of MoS’s problems, but I’m sure there’s plenty of blame to go around. The convoluted Kryptonian story components are almost certainly the fruits of Nolan’s influence. The static, unrelenting stake-free action sequences – well, those reek of Snyder’s style. For example: the fast zoom-in-zoom-out moments (to give you the POV of a flying Nikon, I guess) and the terrible pacing. (Snyder blew his wad on his remake of Dawn of the Dead as far as I’m concerned.)
Let’s scratch beneath the surface to the spoiler-y list of gripes I have with MoS and how they keep the movie from being the “Superman movie I’ve been waiting for.”
1. Lois Lane, as played by Amy Adams, looks more Lana Lang than spunky reporter and her character plays more like a History Channel “History’s Mysteries” sleuth than a “Pulitzer-prize-winning reporter.” In fact, there’s no evidence that she’s much of a reporter at all considering that she spends the entire movie tracking one story she’s been told to drop in favor of, you know, news. I’d say she’s miscast, but I don’t think Adams is the problem. Her LL is written as bland, and LL has never been bland. Adams singing scene in The Muppets was a showstopper and she was the only actor to rise above the material in the god-awful The Master. Her relationship with Superman – if we can call him that (Nobody does until the last reel and even then, only once.) –seems to have developed off-screen. I won’t say there’s a lack of chemistry between the two leads because we never get an opportunity to see for ourselves. The movie shifts back and forth in time and jumps to a new scene whenever things start to actually get interesting. To be fair, Superman Returns had some major Lois Lane problems too. (She was played by a woefully miscast Kate Bosworth and was Superman’s baby mama. Whaaaaa?!)
2. Krypton occupies waaaaay too much of MoS – even after we leave it – and this is a huge miscalculation where story is concerned. EVERYthing is explained to no substantial effect. What’s accomplished in the early scenes on Krypton could easily be chopped down to about 5 minutes without leaving us wanting or needing more. It would kick start the flick with some action-movie pacing rather than serve as a bloated Krypton history lesson. It doesn’t help that Krypton is … well, brown – like a cross between the sets of Dune, The Neverending Story and the Dark Crystal dropped into Nolan’s Gotham City. And the flying monsters, like the one Russel Crowe’s Jor-El hops on? They only served to remind me of a similar moment in a Star Wars prequels (they blur together for me) where Obi Wan mounts a similar CGI beastie eliciting similar groans from me.
The meat of these scenes is our introduction to this movie’s Zod, which is necessary but also problematic when this particular villain’s agenda is revealed and we learn how, in some ways, he’s a more sympathetic enemy than he is pure evil. He’s a Krytonian patriot just as he was genetically engineered. That means this dye was cast without his say, making him less a big meanie than a diligent servant of his race. Kal-El, on the other hand, is the only Kryptonian capable of free will. He faces tough decisions, can weigh the pros and cons, and act accordingly. Everyone else (including bred-for-science, Jor-El) is just doing the Gattaca shuffle his or her destiny demands. This leads me to another major gripe:
3. Superman does not snap necks. He never kills unless he’s left no alternative, and he almost ALWAYS finds an alternative because he’s super smart and calculating. (How many times has he outwitted confirmed genius, Lex Luthor?) Unlike Batman, Supes is a lover, not a fighter. Where DC’s second banana (kidding, Steve-O!) (… Even though he totally is … ) is a vigilante, Superman is more in the business of being a rescuer. His priority: protecting the people of the world (and the individuals within earshot of his super hearing). When Faora (Ursa 2.0) announces that: “You will not win. For every human you save, we will kill a million more,” she nails it because in that way, the bad guys DO win. Her prediction proves correct and though Zod and Co. don’t walk away with the store, they certainly rack up what must be a substantial body count. Remember what 9-11 did to this country? Imagine where the country’s head would be under the rubble of a completely trashed Metropolis. (It’s going to take Smallville several years to rebuild as well, and forget about a late night trip to IHOP for a while.) Superman would never let that pass. He would find a way to save as many people as possible AND save the planet, because HE’S SUPERMAN!
Not to kick it all nostalgic, but remember in Superman II when the panic-stricken Superman pleads with Ursa to rethink throwing the city bus full of people? He knows that a big Metropolis showdown between four superfolk would create a lot of collateral damage, so he leads the bad guys away from the city to battle them where they’ll do less damage. (The Artic was a good choice.) Instead we’re forced to endure a battle of indestructible Gods in which all the real damage is done to the city and its residents. Instead of outsmarting the villain, Superman breaks Zod’s neck and screams.
[An aside: On the topic of collateral damage: What the fuck, Hollywood? I had this gripe with The Avengers and Star Trek Into Darkness too. Our primary characters go unharmed while millions of simple city folk are squished under demolished buildings and thrown cars. I don’t need realism. I don’t require that we dwell on these things, but it would be nice to feel like something is at stake for once. We KNOW the good guy is going to win, but at what cost? That question is never answered because we never get an inkling of suffering despite the mass destruction. Even if we could just hear an off-screen newscast reporting: “Millions dead as Metropolis comes tumbling down like a lost game of Jenga, because a battle we have nothing to do with is being waged in our city by aliens, one of whom is supposed to be the good guy despite his inability to strategize.”]
Within minutes of Zod’s snapped neck, which, it would seem, indicates Supe’s victory, we make a rare visit to The Daily Planet, which looks to be in pretty damn good condition after the battle waged there. Did city engineers start reconstruction with The Daily Planet (a PRINT publication)? Instead of, like, schools? Things look like they’re back to business as usual, though we know outside Perry White’s windows are dead bodies trapped under the rubble left by a battle between two indestructible forces. Unless we’re to believe several years pass between the two scenes, and I’m pretty sure we’re not.
4. Lazy writing. Allowing Pa Kent to be swept away by a tornado is laughably lazy writing and makes no goddamned sense besides. Seriously, I laughed. It was the ONE TIME in his young life that Clark could have used his powers without it being detected by others. (–Even though Papa Costner forbids him, I bet Pa would be rethinking that stupid move as he free falls through the roof of a Smallville hardware store when the tornado eventually drops him.) But he let’s Dad’s raised hand force him back under the overpass? Maybe Clark just didn’t love him enough. I’d like to think that Ma, would immediately have slapped the shit out of Clark after that scene. “What the fuck?! He was your dad, dumbass!”
In Superman: The Movie, it’s important and pivotal when the elder Kent dies of a heart attack because “even with all of these powers, I still couldn’t save him.” Teachable lesson there, Kal – and one that will inform many of your future decisions as a protector of “truth, justice and the American way.” (In the Donner version anyway.)
Also, Snyder wants us to believe that Kal kills Zod because he had no choice! Zod was gonna heat-vision that family to death!
So, only then he finds the strength to do effective bodily harm to Zod? This after they’ve been having an aerial fistfight in which they sustain virtually no damage? Again: lazy writing that caters to the demand for more punching! Lazy writing made worse by the fact that Zod just made the case that he’s protecting what he was genetically engineered to protect. That’s not evil enough for a main villain. It’s pitiable. He’s not sadistic or cruel so much as he’s trying to maintain what he sees as “the greater good” even if he’s crazy, angry and misguided. But think about it: If Earth people had to relocate to another populated planet, we’d totally take over and think nothing of dropping a Target and Starbucks smack dab in the center of the alien planet’s red-sun-worshipping sacred ground.
5. Kryptonian jargon. It’s confusing, useless and poorly named. The only thing sillier than Kevin Costner being whisked away like Dorothy is all of the jargony, macguffiny, mumbo jumbo about things like a “codex” and (God help me) a “world engine.” I get that the villains are up to terraforming Earth into Krypton II, but did we need knowledge of Kryptonian science to make this effective? (I’m not saying bring back the crystals, but didn’t they do the job without us having to know exactly what they were doing?) Also did we need over-explanation of the House-of-El family crest? I mean, it works, but that was also done in Superman: The Movie – without the need for dialogue exposition I might add. Can’t we, the audience, sort that shit out for ourselves?
While they’re at it, why not explain why Kryptonians speak English? And have “military generals” that say things like: “Where did you train? –on a farm?!” Because it’s unnecessary. Like Star Wars prequel politics, we stop paying attention to what it all means halfway through the movie because we don’t care. A full season of Battlestar Galactica had less in-your-face fiction-based science.
6. Important elements left out. Most disappointing – and fatal, I think, to MoS’s potential acceptance by his *ahem* older fans – is what’s missing. I’m guessing a lot of this is to stretch the origin story even further into the inevitable sequel, by waiting to introduce REPORTER, Clark Kent, as a coda before the credits. For all the bitching fans seem to do about superhero movies being oversaturated with origin stories, this makes no sense. (It’s the ol’ Prometheus switcheroo, where we know there will be another movie or why else put Guy Pierce under all of that terrible old man makeup?) Without Clark Kent, the intrepid, mild-mannered reporter for the Daily Planet, there’s no signature Superman transformation to get a kid’s heart racing. It also means no real fun with glasses, double identities and the balancing act required to keep reporter and hero separate entities in the eyes of the public and, most importantly, Lois Lane.
Does NO ONE else have a problem with the fact that, throughout most of the movie, Lois is fully aware that Clark Kent and Kal-El are one and the same? It’s one of the primary tropes of the Superman mythos and it’s snuffed out, and what’s worse: for no discernible reason. (Will he be giving her one of those Superman II-style Forget Me Now kisses to reboot her memory later?) Lois seems to exist solely to be rescued by Superman, awkwardly bridge scenes and provide a quasi-romantic moment in the last act so that our two primaries can share a head-scratching kiss that is completely unearned by the story’s wobbly narrative.
Finally, a word about the inexplicably maligned Superman Returns:
What’s everyone’s beef with it? Brandon Routh’s performance was spot-on and the character, well developed. Yes, it used Donner’s movies as a jumping off point but I was glad. It wasn’t a sequel so much as it existed in the same universe. Donner directed most of Superman II before the Salkinds replaced him, mid-shoot, with British director, Richard Lester, who admitted to not giving a shit about Superman and who specializes in comedy.
Snyder and Nolan don’t seem to give much of a shit about Superman either. Thus, we get a stoic, humorless hero and a soulless movie that seems hell-bent on being different for difference-sake. “Let’s make Perry White … BLACK! Let’s modify the costume almost completely! And let’s make the final battle … Well, can we go bigger than The Avengers? Let’s try! … And don’t forget! MORE PUNCHING!”
MoS’s flying sequences are the most well rendered of any Superman movie – I’ll give it that. And Cavill looks great in the cape (and there’s less wrong with his performance than there is with the writing of the character), but there’s more to Superman than that. And Team MoS doesn’t seem to understand or care. They just want to out-action every Superman movie that came before and it’s obviously priority one.
I think the lesson to be learned here is an easy one. Superman is a tough hero to bring to the big screen, now more than ever. Different times require different movie heroes. (It’s why post-Last Crusade Indiana Jones movies can’t be done right. It’s why the return of Star Wars is/was a lost cause. And there’s a reason Bill Murray is telling Dan Akroyd to fuck off with his Ghostbusters III dream.) Someone got Superman right once. For my money, SR came close for many pre-millennial fans. (And critics. Note the 75% approval rating on Rotten Tomatoes compared to MoS’s “rotten” 57% … but who pays attention to critics? … oh … wait. Nevermind.) MoS seems to be pleasing younger audiences with the spectacle of its relentless battle scenes, spaceships (Spaceships?!), mass destruction and thin characterization. I don’t blame them though because that’s consistent with the movie heroes they’ve grown up with. (See: Transformers) Perhaps it’s time to just accept facts: No one is ever going to make a modern Superman movie that works for everyone. I’m of the belief it just can’t be done and I hope to God people stop trying. (Not likely.)
As for a Justice League movie? Just say no.
by Steve Habrat
With Christopher Nolan making the decision to bring his Batman trilogy to an apocalyptic close and 2011s The Green Lantern bombing horribly at the box office, DC Comics has been forced to turn to their last A-list hero in a final attempt to hang with comic book juggernaut Marvel Studios. Now we have Zack Snyder’s Man of Steel, a gritty and epic reboot that is the Superman film we deserved way back in 2006. DC Comics made a grave mistake when they allowed Bryan Singer to craft another sequel to Christopher Reeve’s Superman films of the late 70s and 80s, a flub that has actually ended up hurting Snyder’s breathtaking reboot of the big blue boy scout. Man of Steel has taken quite a bit of negative criticism for its decent into massive action set pieces in the final stretch of its runtime, something that Singer wasn’t as eager to do in his wandering effort. The fact is that Man of Steel is seven years too late and it is entering a market that has been saturated by Marvel Studios. If this film would have been released in 2006, I guarantee it would have been met with as much praise as 2005s Batman Begins. That being said, Man of Steel is still a powerful entry into the superhero genre, a film that is perfectly grand for a true-blue do-gooder. It completely rejects the sunny optimism of the previous Superman entries and embraces a heavy heart of darkness that many fans may not be quick to warm to. In my opinion, it is just what the legendary superhero needed.
Man of Steel begins on the planet Krypton, with the wise scientist Jor-El (played by Russell Crowe) and his wife, Lara (played by Ayelet Zurer), giving birth to a baby boy they name Kal-El. With the planet of Krypton doomed to destruction, Jor-El and Lara send their son off to Earth, where he will have a chance for a survival. Meanwhile, General Zod (played by Michael Shannon), the military leader of Krypton, attempts to take over the planet with a handful of loyal followers including the vicious Faora (played by Antje Traue). Zod’s attempt to overthrow Krypton’s counsel is prevented and as punishment, he and his followers are banished to the Phantom Zone. Thirty-three years later, Clark Kent (played by Henry Cavill) is a mysterious drifter with superhuman abilities. He largely remains in the shadows, working odd jobs and occasionally saving people from horrific accidents. Word gets out about a mysterious object found in the ice in the Artic, which catches the attention of Pulitzer-Prize winning journalist Lois Lane (played by Amy Adams). Lois sets out to do a piece on the mysterious object, but as she snoops around the dig, she comes face to face with Clark, who has also taken an interest in the object. After Lois is injured, Clark narrowly saves her life and then disappears. Shaken by what she has seen, she begins digging into rumors about a drifter who always seems to be in the right place at the right time. Clark, meanwhile, uncovers secrets about where he came from and learns about his superhuman abilities.
Almost instantly, Snyder, screenwriter David S. Goyer, and producer Christopher Nolan set their vision of Superman apart from the previous attempts through a gritty and emotionally riveting stage setter on the crumbling planet of Krypton. Gone is Donner’s neon crystal environment and in its place is a gunmetal gray landscape full of zippy spaceships and roaring and soaring alien beasts. There is plenty of exposition about Krypton and it is spiced up through bone-snapping fistfights and blaring explosions that dwarf anything we saw in Superman Returns. While this sequence ends in tragedy, there is still plenty of optimism from Crowe’s Jor-El, who is convinced that Kal-El will be a god to the people of Earth. When Snyder shifts clumsily to Earth, Nolan’s gloomy cinematic fingerprints begin to emerge. The filmmakers take their time working up to Superman’s big reveal, spinning a soulful tale of a man who is completely at odds with his abilities. To make things worse on the guy, he is entering a post-9/11 world that trembles in fear over the very idea of a man that can glide over the clouds. Despite numerous attempts to convince us that he means no harm, he is still met with suspicious eyes from the jumpy U.S. government.
The most pivotal part of Man of Steel is Henry Cavill’s performance as Kal-El/Clark Kent/Superman. Cavill is absolutely excellent as an outcast who has been warned not to reveal his superhuman abilities to the world. He wants to help any way he can but the fear of rejection hangs heavy over his head. Cavill uses his eyes to convey this constant vulnerability and confusion, looking to the stars and his earthly father, Jonathan Kent (played by Kevin Costner), for guidance. While the new vulnerability is great, wait until you get a load of him in a fight. There is a surging intensity and almost a pulsing anger buried deep within his character that was completely unexpected. When Cavill is finally allowed to stop brooding, it is easy to see why he was chosen for the role. He is just bursting with all-American charm and he certainly is a warm figure of hope, even if he isn’t relegated to saving a kitten from a tree or helping an old lady across a busy Metropolis street. No, this Superman has bigger fish to fry when Shannon’s General Zod comes calling. We all know that Shannon can go fully crazy when he wants, and he certainly does get a little nuts with General Zod, but there is a measured insanity to his performance. He is a man driven by the love of his planet and he will stop at nothing to carry out his mission.
Then we have Amy Adams as the no-nonsense Lois Lane, who early on proves that she can hang tough in a room full of guys. Her strength and determination is certainly well played, but near the end of the film, her character is slowly shifted to damsel in distress, which was a bit disappointing. There was also a lack of build up in her romance with Supes, which sort of felt stuffed in there because it had to be. They share plenty of scenes but that spark just didn’t seem to be there. As far as Kevin Costner goes, he shines as Jonathan Kent, Clark’s adoptive father who constantly warns Clark against revealing his powers to the world. He shares a scene with the teen that is guaranteed to send chills down your spine. Russell Crowe is strong and sturdy as Jor-El, Clark’s biological father who believes that his son will be the Christ-like savior that Earth needs. Laurence Fishburne shows promise as the stern Daily Planet editor Perry White, a small role but one that I feel will be elaborated on in future installments. Diane Lane is affectionate and understanding as Martha Kent, who has to walk and talk a terrified Clark through his emerging abilities. Antje Traue is wickedly evil as Zod’s right hand woman Faora, who snarls threats like, “for every one you save, we’ll kill a million more.” Now THAT is a threat if I’ve ever heard one.
When Man of Steel finally ditches all the character building, the film dives into a climatic battle that is fittingly colossal for Superman. There is an adrenaline pumping battle in the streets of Smallville and the end man-a-mano between General Zod and Superman in the streets of Metropolis laughs at every superhero finale that has come before it. As far as criticisms go, there are a few plot holes that are difficult to ignore and Clark’s education about his home planet and abilities from a holographic Jor-El seems a bit brushed over. There are also a few lines of dialogue that will make you giggle and not in a good way. I should also mention that Snyder bashes us over the head with the Christ references, something that Singer was also guilty of. In case you don’t see the similarities between Jesus Christ and Superman, wait for the scene that finds Clark Kent wandering into a church and confiding in a nervous priest. Overall, while it isn’t perfect, Man of Steel certainly sets the stage for a refreshed Superman franchise for our dark times. It has a unique hand-held visual style and features a pounding score that only Hans Zimmer could provide. Snyder, Goyer, and Nolan successfully manage to wash away the sour taste that Singer left in our mouths and leave us wanting more from the hero that stands for truth, justice, and the American way.
by Steve Habrat
Among the superhero movie elite is without question director James McTeigue’s politically charged 2006 film V for Vendetta, based off of Alan Moore’s graphic novel of the same name. Heavily critical of oppressive, war hungry governments who lie to their citizens and control through fear, it is very easy to read V for Vendetta as an attack on the ultra right wing extremists. Even if you do not quite agree with the politics of V for Vendetta, the film still has plenty to offer in the action and suspense department. Larry and Andy Wachowski (The Matrix boys) penned V for Vendetta, so you know you are in for one hell of a thrill ride when the bullets, knives, and fists start flying. Despite the heaping amount of praise I give this film, I do think it does have its fair share of flaws which cause it to stumble during its second act, especially when much of the focus is pulled off of the liberal-minded vigilante V, a monstrous experiment that backfires on all of those who were responsible. The story is so busy and tries to juggle so much at one time that you may find yourself hitting the rewind button out of confusion, at least on your first viewing. Things do clear themselves up a bit after revisiting the film a few times but certain points are still murky. Even so, you have to applaud the film’s reluctance to simplify itself, which is always invigorating in a superhero film.
The year is 2020 and much of the world is ravaged by civil war, disease, unrest, and chaos. Great Britain is under the control of a fascist Norsefire party, who act as a sort of Big Brother type. One evening, British Television Network employee Evey Hammon (Played by Natalie Portman) decides to make a trip to the home of her boss, Gordon Deitrich (Played by Stephen Fry), despite the government curfew that is firmly in place. The streets are partoled by “Fingerman,” a secret police force who takes orders from High Chancellor Adam Sutler (Played by John Hurt). Evey ends up bumping in to several “Fingerman,” who then attempt to rape and beat her but she is saved by a mysterious man in a Guy Fawkes mask. This man, who calls himself V (Played by Hugo Weaving), proceeds to take Evey to a rooftop that overlooks the Old Bailey, which he then proceeds to destroy. The next days, the Norsefire party attempts to cover up this attack but V infiltrates the BTN and takes credit for the attack. He then encourages the citizens of Great Britain to rise up against this tolterian force that oppresses them and join him on November 5th, 2021, outside the Houses of Parliament and watch as he destroys it. Evey ends up bumping into V as he is fleeing the BTN and she narrowly saves his life, but it is all caught on camera. With no other alternative, V takes Evey to his underground hideout where she slowly begins to understand what V is trying to accomplish. She also learns about his horrific past inside a concentration camp called Larkhill, one set up by the Norsefire party. Meanwhile, lead inspector Eric Finch (Played by Stephen Rae) is hot on V trail but he ends up discovering more than he bargained for.
Certainly not the easiest film to briefly sum up due to the fact that there are tons of moving parts that allow the story to keep chugging along, V for Vendetta certainly is a rich and hearty thriller that more than satisfies. The first forty minutes of the film are absolutely glorious and flawless, with plenty of mind-bending action sequences and slow mounting suspense to keep you glued to your seat. The infiltration of the BTN by V seems like something Christopher Nolan would have concocted in one of his Batman films with closed-quarters action that would have been right at home in The Matrix. Then things switch from relentless action into more of a political thriller and character drama. The second half of the film is certainly interesting, especially when we get to hear about the origin of the Norsefire party and how V was molded into a Shakespeare-quoting gentleman who prefers to slay his victims with knives and ideas. It is here that the narrative tries to cram in too much and things begin to get tangled up in its own story. There are so many characters to try to keep track of that the exhaustion carved into lead inspector Finch’s face says it all. Yet when things finally do come together, or at least when we can finally put all the puzzle pieces in place, it does knock you off your feet. In a way, this is a positive because the more times you see V for Vendetta, the more that it chooses to reveal, making it one that you could happily add to your film collection.
Another unusual approach in V for Vendetta is never allowing the audience to get a glimpse of the V’s face. We learn that V was horribly disfigured in a fire and that he also can take quite a bit more punishment than the normal human being, a result of experiments that were conducted on him in Larkhill. V keeps his scarred face hidden behind a Guy Fawkes mask and allows his personality to come alive in eloquent and poetic dialogue that pours from the small slit in the mask’s mouth. He is mildly pretentious in the way he quotes Shakespeare, enjoys high art, and swoons over The Count of Monte Cristo, a film he can quote line by line. His underground lair is walled with books as thick as bricks, shrines to individuals who were deemed “unfit” by the Norsefire party (a lesbian woman who was in a cell next to V while he was in Larkhill), and accented with classical tunes that pour forth from his jukebox of 100 songs, none of which V has ever danced to. Weaving has his work cut out for him in selling V to the audience but he does it with human grace. I enjoy the fact that V is meant to represent all of us and I loved the fact that my imagination ran wild with what he looked like. We only ever get a glimpse of his hands, which are red, swollen, and peeling, grotesque but tragic, even more so when Evey sees them and V quickly covers them up so he doesn’t offend her.
Then we have Portman’s Evey, who has to speak in a faux British accent that does come off as fake from time to time but Portman’s character is caught in so much conflict that you barely notice. She is a powerhouse when she has her hair shaved off in one of the film’s more intense moments. She morphs from a conformed member of the Norsefire society into a cold, steely liberator with eyes that are made of fire, perhaps the same flames that baptized V. Her intimate moments with V, the ones where they speak of their pasts and V’s plot are touching, haunting, and hypnotic. Then we have Rae’s Finch, a loyal Norsefire party member who is beginning to question the party he has dedicated himself to. The more he uncovers, the more he begins to see that V is not the enemy. Another standout is John Hurt as Sutler, who is almost always seen on a giant screen that looms over the closest members of his cabinet. There is so much force in his voice when he snarls at those close to him that he needs to remind the people of Great Britain why they need him. Rounding all the main players is Fry is a closeted homosexual who fears his sexual orientation will have him jailed, but that is the least of his worries, and Tim Pigott-Smith as Peter Creedy, the scowling and slimy head of the “Fingerman.”
V for Vendetta has a shattering moment in the middle of the film when it flashes back to tell the story of Valerie (Played by Imogen Poots and Natasha Wightman), a lesbian who was disowned by her family and ultimately arrested by the government and thrown into Larkhill. The scene is fueled by so much raw emotion, anger, frustration, and ache that it still retains its punch every time you see the film. It is the highlight of the convoluted middle section of V for Vendetta, one that shows the true suffering at the hands of evil individuals who lack the right to judge their neighbor. It also acts as the push behind this liberal minded superhero outing. It is a call for tolerance and acceptance of all walks of life, something the far right refuses to do. Despite the longwinded politics of the middle portion of the film (trust me, it covers it all), the last act ties everything up in grand, fiery fashion, complete with a rousing fireworks display. The end battle scene between V and several members of the “Fingerman” is turned up eleven with slow motion spirals of V flying through the air and cutting down those who have caused him so much pain, V’s rage tied up with fluttering ribbons of blood cutting across the action. Yet it is the idea that together we can accomplish anything that will have you on your feet by the time the credits roll. It is the idea of universal freedom that allows V for Vendetta to stand as one of the true triumphs of the superhero genre.
V for Vendetta is available on Blu-ray and DVD.
by Steve Habrat
As if Batman & Robin didn’t do enough damage to the Batman name, Warner Bros. and DC Comics then came up with 2004’s Catwoman, a film so bad it left the Batman legacy in ashes. Even though the Dark Knight isn’t anywhere to be found in Catwoman, the fact that this character stems from his universe does enough damage. Directed like a miniseries for MTV and set to music that sounds like it was lifted from a perfume commercial, Catwoman is under the impression that it is a sleek and sexy thrill ride that will drive the ladies wild on girls night out. No matter how many sexy actors and actresses director Pitof (yes, that is the name he goes by) throws into the mix, nothing about the film is sexy. Furthermore, Catwoman attempts to be a lioness roar of female empowerment, one that howls at the thought of aging but declares war on the evil cosmetic companies that promote everlasting youth. Confused yet? With a terrible story and some of the worst dialogue you are likely to hear in a movie, Catwoman tosses the comic book character’s origin story in a box of kitty litter and then proceeds to defecate all over it. It does all of this while wearing the most laughable superhero getup you can think of and battling what has to be the lamest villain ever thought up by Hollywood. Does it make sense why I was ashamed to admit I was a Batman fan for so long?
Catwoman introduces us to Seline Ky… Patience Phillips (Played by Halle Berry), a geeky graphic designer who works for a cosmetics company called Hedare Beauty, which is developing a new skin cream called Beau-Line. Beau-Line is supposed to help preserve youth but the side effects are extremely dangerous. One evening, Patience stumbles into the Hedare laboratory where she overhears her boss, George Hedare (Played by Lambert Wilson), and his wife, Laurel Hedare (Played by Sharon Stone), discussing the horrific side effects. Patience is quickly discovered and George orders his goons to kill her. She tries to escape through a conduit pipe but George’s goons have it sealed and flushed out. Patience’s body washes up on a nearby island where a mysterious cat named Midnight finds her and breathes new life into Patience. Armed with new cat-like abilities and crazy skills with a whip, Patience dons a silly leather outfit and takes to the city rooftops as Catwoman. After she commits a robbery, the persistent Detective Tom Lone (Played by Benjamin Bratt) is on Catwoman’s tail, but the two end up locked in a steamy romance. Catwoman also begins setting her sights on the people who were responsible for trying to kill her and exposing the dirty little secrets of Hedare Beauty while she is at it.
While the first half of Catwoman drones on and on about how much of a plain-Jane Patience is, the second half of the film spits out a unconvincing sex kitten that struts along the rooftops of a CGI city (Gotham City?) like she is working a catwalk. She throws her hips around in an unintentionally hilarious costume that is completely absurd, especially when she begins hoping around in a fight scene. Catwoman herself seems to lack a real motive or direction as she prowls the streets at night. She slinks around robbing jewelry stores and when she gets bored, she slips over to the Hedare laboratory to pick off one of George’s goons. Berry tries desperately to own the role while giving it plenty of sassy attitude that would make all the other actresses that have donned the cat-ears double over in laughter. She never once becomes a true threat to the bad guys here, but that may be because every time a fight breaks out, Berry is replaced with a CGI double that jumps around like Spider-Man. If she isn’t making you groan during a fight scene, her origin most certainly will. What makes it even worse is that Pitof tries to sell this outlandish rebirth angle with a straight face.
Then we have Sharon Stone as Laurel Hedare, an aging beauty queen who is addicted to Beau-Line. This addiction has made her skin as tough as concrete and allowed her to feel no pain (I wish I was making this up). She bitches and moans about how she was once the beautiful face of Hedare and now a younger, prettier model is replacing her. Laurel becomes truly evil due to her husband’s infidelity and she ends up murdering him, something that she frames Catwoman for. While the source of Laurel’s rage is clear, it just comes off as idiotic and evil for the sake of being evil. We then learn that Laurel plans to unleash Beau-Line on the public yet she is angry because younger girls are replacing her. Riiiight. Also in the mix is Benjamin Bratt as Detective Tom Lone, who suspects that Patience is Catwoman. Berry and Bratt have little to no chemistry and each meeting they have just screams scripted. Just wait for the scene when they play basketball together and Berry begins jumping around like, well, Catwoman. It never occurs to Bratt that something is up when she begins pulling off moves like she does! Come on! We also have Lambert Wilson’s smug and arrogant George, who is about as intimidating as a mouse. It is okay if you forget he was ever at this fashion show.
When Catwoman isn’t limping by on its poor excuse for a plot, the film is busy trying to wake us up with one overdone fight scene after another. Pitof was the visual effects supervisor of Alien Resurrection and he just can’t seem to resist piling on needless effects here, all of which look rubbery and done on a laptop. It is even worse when he insists on multiple overhead shots of this unknown metropolis, all of which boast absolutely awful CGI to match the fight scenes. Catwoman is anxious to send a message of female empowerment and assure its female viewers that you are beautiful just the way they are, yet the hero struts around in a bra and leather pants with tons of make-up caked on her face and not an ounce of body fat. I’m starting to think that the screenwriters did think that aspect though too well. No matter how low your expectations are going in to Catwoman, they just simply aren’t low enough. A tissue paper thin origin story mixed with forced girl talk, awful performances, sloppy romance, terrible music, and stuck up villains, Catwoman is perhaps one of the worst comic book movies ever conceived. It is a film with little respect for its source material and for the fans of the source. A real hairball!
Catwoman is available on Blu-ray and DVD.
It’s an royal rumble! Marvel unleashed their A-team on DC’s caped crusader and the battle between who was the best rages on. Personally, I have liked all three of the blockbuster superhero films that have smashed their way into theaters this summer but I’m going to have to go with The Dark Knight Rises being my favorite. What can I say? I’m a Batman fan! Anyways, I hope everyone has loved the Anti-Film School’s July Superhero Takeover. There are a few more reviews on the way in these final days of the month so stay tuned. A review of Hellboy II: The Golden Army will be up tomorrow. In the meanwhile, let us know what you favorite was! Everyone has an opinion.