Man of Steel may not be super, but it's still pretty sexy

When Superman Returns was released in 2006 (Has it really been seven years??), it opened to decent box office numbers and a largely positive critical response. Kind of funny to think of that now, seeing as how it's gotten so derided over the years, you'd think we were talking about one of the Star Wars prequels. I really enjoyed Returns though. Heck, I even saw it in theaters ten times when it was first released (I'm a big Superman fan. So sue me) Despite my outspoken love for the movie, I understand why the general moviegoing public didn't really take to it. It didn't give anyone who wasn't already a fan of the character any good reasons to become one. It didn't help that it follows Richard Donner's template for his classic, genre defining marvel of a movie Superman (1978) almost to a T, mimicking plot points beat for beat without quite developing an identity of its own. Even with these flaws though, Returns is by no means a low point in superhero cinema. Especially when you measure it up against the likes of travesties such as X-Men: The Last Stand, Batman & Robin, Fantastic Four, Daredevil, and even Superman III & IV. Regardless, the lukewarm reaction and underwhelming box office numbers proved too much for even the Man of Tomorrow to handle and Warner Bros., in their infinite wisdom, saw no other option but to hit the handy dandy reboot button and start from scratch.

Enter Christopher Nolan and David S. Goyer who had been developing ideas for their own take on the Superman mythos during a particularly frustrating bout of writer's block while crafting the screenplay for The Dark Knight Rises. Nolan was so taken with Goyer's ideas that he immediately phoned Warner Bros. and told them what was up. Warner Bros. didn't even blink as they handed the franchise reigns over. (One of the perks of making the first superhero movie to gross a billion dollars is that people don't tend to second guess your thought process) Zack Snyder of 300 and Watchmen fame was hired to helm the picture not long after, a choice that initially seemed to be misguided. I've got nothing against Snyder himself; he seems like a pretty hip and happening guy and he has a genuine love of cinema and the skills to deliver high-octane comic book action the likes of which the world has never seen. The problem is, he hadn't quite developed the ability to make me care about what was happening in his movies. Blame the shallow screenplays he was working with, or the mediocre talent he hired (I'm looking at you, Malin Ackerman), but there's a definite lack of humanity to all of his work and if there's one thing a Superman movie needs, it's humanity.

I was a bit discouraged by the choice to hire Snyder, but the trailers for Man of Steel gave me hope. My expecations soared, but I did my best to keep them at bay. After all, I didn't just want a great trailer, I wanted a great Superman movie.

Man of Steel is not that great Superman movie.

It is, however, a good one. A very good one, actually, flaws and all. And maybe the fact that it's not the Second Coming will be disappointing to some, but the overall package works well enough that Man of Steel ends up being quite a solid outing for our hero.

Man of Steel takes it upon itself to retell the origin story. Again. Synder/Goyer take us all the way back to the moment our hero is born on Krypton. Somehow, shockingly, the sequences on Krypton are both fast-paced and drawn out. Not sure how you manage that, but I suppose that's one of this film's great mysteries. Russell Crowe plays Superman's father Jor-El in an admirable performance and, thanks to the magic of visual effects, Krypton itself is a rather breathtaking world. We've never really gotten to see the planet displayed in all its glory before, so it's kind of a nice little treat. But, don't get too attached because it's not long before the planet goes and gets all blowed up and baby Kal-El is rocketed to Earth. The film flashes forward and we see Kal-El, now all grown up, named Clark Kent, and sporting a beard, a grimace, and a remarkable six-pack that'll make men weep and women swoon. We're treated to a number of flashbacks involving Clark's childhood, learning valuable life lessons from Ma and Pa Kent. (Diane Lane and Kevin Costner respectively) But, it's clear that he's out of place in the world. He longs to discover where he comes from and what his true purpose is. This mission is put into overdrive when General Zod (Michael Shannon) arrives to threaten the people of earth, forcing Clark to rise to the challenge and become the Superman we all know and love.

Well, maybe not quite the one we know and love. Not yet, anyway...

Man of Steel takes an intriguing approach to the Superman mythos by jettisoning a lot of the innocence and 'gee-whiz!' charm that makes this character so wonderful in favor of a more somber, grounded tone. It's not nearly as dark as some critics are complaining, but it is a bit disconcerting. The gloomier mood doesn't quite fit Superman, but the movie gets more things right than wrong and, when it works, the final product is an explosively satisyfing blockbuster extravaganza. If the storytelling elements had gelled more cohesively, we might have the quintessential take on the Superman origin story on our hands, but the film as it is still works overall.

Snyder's direction is much more understated than usual. (Thank God) He trades his trademark over-stylized nature for a more grounded, handheld approach that serves the story surprisingly well. He crafts his action sequences with a level of skill that ensures that even as they bludgeon us into submission, we are still thoroughly entertained by Snyder's craft. It's too bad Goyer's script isn't quite up to par. It almost feels like two separate films: The more thoughtful first half that focuses on developing its characters, and the more explosive second half to satisfy summer blockbuster standards. It never quite manages to find the balance between satisfying emotional moments and the gloriously mind-numbing action sequences. Additionally, some controversial story beats probably would have been more effective if the build up to them had been a bit more cohesive.

Honestly, I didn't take too much issue with the *big moments* that have caused so much controversy, as you no doubt have seen on the Internet. No, the issue I have with Man of Steel is that Superman isn't quite as selfless as I would have hoped. He's supposed to be our great protector, but he spends more time punching things than actually protecting/saving people. At a certain point in the movie, I sort of accepted that the movie was going in a less thoughful direction simply because I'd never seen this level of action in a Superman movie before and it was immensely satisfying to finally see him hit someone. Still, I really hope that come sequel time, Snyder and Goyer take a bit more time to develop a more meaningful emotional connection to the chaos. Bring some meaning to the mayhem!!

This film is not without its level of humanity though. A lot of this is due to the excellent performance of Henry Cavill as Clark/Superman. He may not have a lot to work with, but he is very clearly the right man for the job, striking the perfect balance of confidence and charisma. I truly believe that if Cavill is given the right material to work with he could end up being the best Superman since Christopher Reeve and, when it comes to playing Superman, praise doesn't get much higher than that. The other key player that contributes to this film's success is Hans Zimmer who has crafted a superb score that manages to pave its own path without making you long for the days of the iconic John Williams theme. (And that's no easy feat)

The rest of the cast is effective in their roles. Amy Adams makes a great Lois Lane. She's more directly involved in the action and, for the first time, it felt like there was a reason for Superman to be attracted to her besides her good looks and fiesty personality. I've already mentioned that Crowe was great as Superman's real father, but Kevin Costner and Diane Lane give the most touching performances as Jonathan and Martha Kent. (Wish they had more screen time, though) Laurence Fishburne as Daily Planet editor Perry White is an inspired choice as well. The biggest disappointment of the whole bunch is actually Michael Shannon as General Zod. He's one of the finest actors working today, but his performance here is a bit stiff and the screenplay never develops his character quite as much as it should have.

Overall, Man of Steel may not be the triumphant return of the world's most iconic superhero, but it's a solid outing that stands strong amongst the summer competition. Honestly, I think it's better than both Iron Man 3 and Star Trek Into Darkness. (At least it takes itself seriously and doesn't replay scenes from previous movies in its series) I'm a bit baffled by the mediocre critical response it's received. Sure, it's not perfect, but it's satisfying big budget entertainment and fans of Superman should get a kick out of seeing their hero in action. Now that the groundwork is set, I'm keeping my fingers crossed that the filmmakers involved will make an effort to remember that Superman is not only a Man of Steel, but a Man of Heart as well.

CONCLUSION: Man of Steel offers enough high-flying action to make up at least three other movies and Henry Cavill in the title role gives us the emotional connection we need even if Goyer's screenplay doesn't. It's not perfect, but it's definitely the best blockbuster of the summer thus far and one of the better films in the Superman franchise.

FINAL RATING: 4/5

Mud - A Classic Coming-of-Age Story

Mud, the latest film from the mind of the highly talented writer/director Jeff Nichols, is one of 2013's under-the-radar treasures. It tells the tale of a kind-hearted boy named Ellis who lives in a house stationed on a river in Arkansas. His home life is a bit of a mess; his mom and dad don't seem to be getting along very well, but despite this Ellis has deveoted himself to the ideals of true love and the belief that it really exists. At the film's start, he and his best friend Neckbone discover a motorboat suspended in a tree on a small island in the Mississippi River. Before too long, the two of them discover the boat is occupied by a grungy, mysterious character named Mud who promises them the boat in exchange for food. Very quickly, Ellis strikes up a friendship with Mud and continues to assist him in whatever way possible. But Mud's mysterious past threatens to upend no only his own life, but that of Ellis' as well.

As far as the plot goes, I will say no more. The less you know going in the better. I will say that I'm a sucker for a good coming-of-age story and Mud is a great one. It perfectly emulates the spirit and tone of living in a small, rural area with little to entertain you except your friends and the great outdoors. It's also much more than just a simple coming-of-age tale. It's a thriller, a romance, and a drama as well and it works on every one of these levels. Jeff Nichols had already won me over with his excellent 2011 psychological thriller Take Shelter (Featuring Michael Shannon in what was arguably the best performance of that year) and with Mud he has cemented himself as one of my favorite filmmakers. His take on small-town America is lush and believable without slipping into dreaded cliche, as is all too common where southern accents are involved. He directs with immaculate skill, showcasing an eye for small details: The ripples of a lake as a boat rushes through the water; the ephemeral beauty of sunlight passing through the treetops. He appreciates the beauty of being 'in the moment' and with the superb natural lighting of Adam Stone, Mud's cinematography has a definite aura of magic that blankets the proceedings. The production design of Richard A. Wright seamlessly depects country living in all its rustic glory.

Fantastic visuals aside, Mud is just a delightful story. Its screenplay is excellent - Funny at all the right moments, occasionally heartbreaking, and deeply affecting. Nichols has a knack for crafting fairy tales totally grounded in the real world. Mud is fashioned with fascinating, well-drawn characters in realisitc settings and Nichols' dialogue is natural and totally on point. Even when you fear the plot might be delving too closely to all-too familiar contrivances, Nichols quickly pulls at the reigns and knocks you off your seat with his unique twists and turns.

Performances are outstanding across the board too. Nichols directs his young cast flawlessly. Tye Sheridan as Ellis gives one of the most convincing and natural child performances I've ever seen and Jack Lofland as Ellis' friend Neckbone is equally as effective in his role. Matthe McConaughey as the title character is irresitbly charming and mysterious; Reese Witherspoon as Juniper, the love of Mud's life, gives a vulnerable and touching performance and Sam Shepard as Ellis' mysterious neighbor Tom Blankenship is wonderful. Even Michael Shannon drops in, making a welcome appearance as Neckbone's treasure-diving, womanizing uncle and, goodness, I wish he could be in every movie.

CONCLUSION: Without a doubt, Mud is one of 2013's very best films. It's funny, touching, emotional, and exciting without feeling trite or contrived in any way. It's a definite crowd pleaser and serves as further confirmation that Jeff Nichols is one of the most talented filmmakers of this generation. I can't wait to see what else he has up his sleeve.

FINAL RATING: 4.5/5

Before Midnight: The Best Film of 2013...So Far...

It's been eighteen years since Before Sunrise graced cinemas, introducing audiences to Jesse and Celine: two young twenty-somethings who spent an unforgettable evening together in Vienna, Austria. During their brief time together, they discussed anything and everything that crossed their minds and fell madly in love. Before parting ways, they agreed to meet again in six months' time, but life has a fiendish way of upsetting even the best-laid plans and their next meeting would not take place for nine years...

In 2004, Before Sunset was released, reuniting the beloved characters after a long absence. Jesse, now a published author of a best-selling book based on his and Celine's Vienna exploits, was reunited with her in Paris and the spark between them was immediately rekindled. They strolled through the city streets, caught a ride on a tour boat, and finally had their long overdue emotional breakdowns during a car ride in which all their pent up feelings for each other finally came to the surface. Like Sunrise, Sunset ends on an ambiguous note, leaving the question of whether or not Jesse decided to abandon his loveless marriage to pursue a relationship with his long, lost soulmate up in the air.

That is, until now!!

Before we go any further, let me just say that I love, love, love Before Sunrise and Before Sunset. They are, in fact, my personal favorite films of all time. So few romances come close to portraying relationships or love this honestly, which makes them in my not so humble opinion very special movies. So, it should come as no surprise that I've been awaiting the release of Before Midnight with great anticipation and I am thrilled beyond reason to be able to say that I was not let down in the least. It is a masterful film, passionately made, funny and, at times, utterly heartbreaking. At all times, it is never anything short of being a completely engrossing work of art.

Almost immediately, Before Midnight reveals that Jesse chose to stay with Celine in France following the events of Before Sunset nine years prior and they now have adorable twin daughters. He is an accomplished author and she is doing the work she loves for different activist groups. Not all is well in the world of Jesse and Celine, though. You see, Jesse's decision to stay with Celine came at the cost of developing a meaningful relationship with his son Hank, who is currently living with Jesse's ex-wife in the US. At the start of the film, Jesse is walking Hank to his flight back to the States. Despite Hank's insistence that he's had the best summer of his life with Jesse and Celine in Greece, the strain in their relationship is evident and Jesse is harboring an enormous amount of guilt over not being there for his son's development into a young man. During a long car ride, Jesse hints at the possibility of moving back to Chicago where Hank is living with his mother, but Celine is none-too-thrilled by this prospect as she has just received a very promising job opportunity which would keep her in Europe for the foreseeable future. Their brilliant conversation is captured in 15 minutes of real time (A single take broken only by a brief cutaway). In it, they voice their concerns and engage in the witty, enchanting banter that has made watching them such an enjoyable experience.

It's astonishing to think that a scene in which two people do nothing but drive and talk for 15 minutes straight could be so fascinating, but when it comes to Jesse and Celine, no amount of action could possibly be more mesmerizing than their conversations. The dialogue is flawless and the performances are so effortless, you'd swear someone was beaming live footage of a real couple into your theater. This is due in no small part to the immaculate talents of writer/director Richard Linklater and his leads/co-writers Ethan Hawke and Julie Delpy. They crafted the first two films together as well (Screenplay co-credit for Before Sunrise went to Kim Krizan, but apparently Hawke and Delpy had a lot more involvement than you would think) and their understanding of these characters and their love for them is evident from the very first frame. Linklater's direction is expertly unobtrusive, allowing the conversations to flow and breathe as real conversations do. Hawke and Delpy wear these roles like second skins, transcending mere performances to become something so much more.

But, even from Before Midnight's first conversation, it's clear that the hopeful optimism that graced their conversations in Before Sunrise and Before Sunset is now undercut by a world-weariness that can only come with the knowledge that the reality of 'true love' is not quite as fairy tale-esque as one would hope. Jesse and Celine's love for each other is still present as evidenced by their playful banter and interactions, but a subtle bitterness creeps into every one of their exchanges now - A bitterness that comes boiling to the surface in a hotel room showdown where the two exchange verbal blows that will make you chuckle and cringe in equal measure. Make no mistake, of the trilogy Before Midnight is easily the most painful to watch, and yet it is also a strangely cathartic experience.

But no matter what way you look at it, Before Midnight, like its predecessors, is incredibly refreshing in its honest portrayal of the trials and tribulations of love and its authentic analysis of relationships in general. So few films have taken it upon themselves to examine love in such a straightforward, realistic way and it makes this series something to cherish. These films make up what could very well be the definitive love story of our time.

In some odd way, the Before Sunrise series could actually serve as a cautionary tale for any relationship, warning young lovers of the trials and tribulations that await them, whilst providing a great deal of hope for those who are willing to stick together through the good times and the bad.  Let's hope Linklater, Hawke, and Delpy reunite in another nine years to continue sharing this story with us. It'll give me hope for the future of movies and mankind as well.

CONCLUSION: Before Midnight not only cements itself as the best film of 2013 so far, it cements the Before Sunrise series as one of the finest film trilogies of all time.

FINAL RATING: 5/5