Excellent cast

Rating: Null/10 (29 June 2013)

Let's start with the hero and the villain. Henry Cavill has lost blockbuster roles too many times – Superman, James Bond and Edward Cullen. In "Immortals" (2011) he got his chance, which he used well. "Man of Steel" finally allows him to vindicate his loss, proving that he would have been a better choice than Brandon Routh in "Superman returns" (2006) (although to be fair, Routh didn't do such a bad job). Cavill's version of Kal-El/Superman/Clark Kent is arguably the one that the audience can most empathize with, in all of the personas (although for Clark Kent, it would really have to be in the sequel which we have to wait, and hope, for). On the subject of villains, just as Ricardo Montalban is inimitable as Khan, you cannot really visualize a General Zod that is not Terence Stamp. Just as Benedict Cumberbatch in "Star Trek into darkness" wisely stayed away from portraying a Khan that is Montalban, Michael Shannon's Zod took a different path from Stamp's chilling intellectual and offers his version of earthy, physical villain. It worked.
My summary line, however, is intended to cover much more than just the hero and the villain. The movie makers have cleverly arrayed the others to each make their appearances at well spaced intervals so that each gets our full attention.
First to appear is Russell Crowe playing Superman's Krypton biological father, bringing fully back to life a character that was mercilessly assassinated by Marlon Brando's original, bland attempt in 1978 which should have got him a life sentence. Crowe's Jor-El comes with heart and soul. Equally soulful is Israelite beauty Ayelet Zurer (well remembered as Tom Hank's co-lead in "Angels and Demons") whose Lara Lor-Van embodies dignity and grace, plus heartbreaking mythic tragedy as a mother who knows she'll never be able to see her baby take his first step or hear him utter his first word. No elaboration is needed for this well know establishing scene depicting Krypton's destruction.
Through the ensuing sequences that trace Superman's early adulthood when he wanders around seeking his true identity, the pageantry of this excellent cast continues. Through well placed flashbacks in Superman's mind, we first see the real-life Lane, Diane, well-loved by the audience for over a decade, playing Superman's adopted mother during his childhood years. Later she plays ageing Martha Kent when Superman has matured into his early thirties. I cannot think of any actress alive today who can surpass Diane Lane in this role. A little later, still in flashback, is Kevin Costner, equally well-loved (for even longer), portraying Jonathan Kent who has a most unenviable job of restraining Superman (not physically, obviously) from revealing his power before the world is "ready for it". Through this role Costner shines, culminating in the scene when by sheer will power and altruistic love, he stops Superman from rescuing him from a storm that brings about his tragic death.
Appearing next is the character Lane, Lois, brought to life in a delightfully refreshing new persona by Amy Adams. I know we all love the iconic version of Lois Lane immortalized by Margot Kidder – sensuous and a little clueless – and we'll continue to love her no matter what. But we also welcome the bright, intelligent, modernized version of Lois Lane personified in Amy Adams. Finally, although in a relatively lesser role, we are happy to see Laurence Fishburne as a serious, rationale Perry White, leaning comfortably towards restraint acting rather than succumbing to overblown flamboyancy.
Unlike the rebooted Batman, "Man of Steel" does not go into a darker layer of psychological depth, nor should it. Ironically, although Superman is an alien, he is psychologically more firmly grounded than Batman. His initial alienation is an American immigration experience not much different from any other minority race. Once he has found his own identity, he emerges as a model superhero with a simple mission, and that's that. Superman has been, will always be, idealism embodied. "Man of Steel" therefore is first and foremost a huge display of spectacular cinematic mayhem. In that department, it has earned top grade, as the critic unanimously agreed.
Just like "Superman returns", "Man of Steel" has been updated to the present world. But it has also taken two bold steps of doing away with two of the silliest thing that seem almost sacrilege. Gone is that red-under-pant-worn-outside which we have been staring at for so long many years that we are completely blind to it silliness. Another one, better still, is that we no longer have to believe that because a man wears a pair of glasses, people don't recognize him anymore, not even his girlfriend who has kissed him close-range!