DC Comics has no idea how to build a universe, and despite some shortcomings, Man of Steel passes; though not with flying colors

Rating: 6/10 (21 June 2013)

In reviewing Man of Steel, I have to divulge a few biases that will help everyone immensely in deciding whether or not to check out the Zack Snyder/Christopher Nolan take on the comic book icon.
I do not — repeat — do not have a problem with origin stories or integral details to the Superman character (as presented in the comics) to be changed. This goes for any of the recent Marvel adaptations which are slowly allowing auteurs to grab hold of a vision and go, taking the reigns and creating far, far better films than would have been possible with a studio puppet behind the cameras.
Man of Steel takes a lot of liberties. There are a lot of key points that have become part of the Superman lexicon than are absent from Snyder's vision. To this reviewer, it was a welcome break of tradition to bring Superman into this generation.
What Man of Steel gets right makes it (hopefully) the start of a series of films with Henry Cavill and Snyder working in tandem. Cavill is fantastic as not only Superman, but Kal-el and Clark Kent. The three roles are clearly separated in the narrative, as Cavill is given a wide spectrum of emotions to play upon. Who is he? Is he alien? Human? A god? A farm-boy from Kansas?
Man of Steel hits full gear when the plot is dealing with the struggle for Superman to find an identity. The script, written by David S. Goyer, has the feel of The Dark Knight Rises — for better and for worse.
There are epic choices that will shape Superman's growth in this universe. It's a great jumping off point for the franchise (and hopefully a similar-in-style Justice League film), but it has the same holes the The Dark Knight Rises did. Frankly, the dialog is laughable at points. Partly due to the fact that DC has chosen to be a strictly "no- fun" zone, whereas Marvel is happy to provide levity in its universe. This leaves DC dark and gritty, which requires better dialog than, "You're a monster Zod, and I'm going to stop you." (Maybe it's a mid- west thing?)
Instead of having to endure Brandon Routh attempting to be attracted to Kate Bosworth (which should be a feat for no man, let alone a Superman), we're treated to Amy Adams and Henry Cavill ready to get "under the cape" from the opening glances. It's a palpable chemistry that appears to be completely organic, and completely unforced by the script. It's a bright, unexpected spot in the grim world that Snyder & Co. have created.
On the acting front, Kevin Costner and Russell Crowe are absolute treats. Shown through a series of flashbacks, these provide touching moments to the character that is Superman, pulled between two worlds. The central core of each of Superman's fathers' teachings is love and destiny. There's empowerment in these words, and an honesty that Goyer should be praised on. The dialog here works like magic in he hands of Crowe and Costner.
The one mild disappointment is with Michael Shannon. No, his performance is worthy, but it's thin. General Zod is played slightly more ambiguous that he should have been. In fact, with Cavill's performance being so varied and conflicted, the only character who seems to have any real confidence are Crowe's Jor-el, and Adams's Louise Lane. Imagine Batman Begins without Liam Neeson's final few scenes, which would have left Ra's Al Ghul a bit of a polarizing, morally-debatable villain. The final scenes rounded out him as a nemesis to Batman, and the protagonist's growth is that much more focused.
Shackled by some hack dialog in key moments, Shannon's Zod is lost in internal conflict, and we never get the cinematic payoff the audience deserves in a Superman/Zod showdown.
Overall
It's all there — Zimmer's score, Snyder's stingingly beautiful CGI vision, Nolan's Machiavellian antagonist against the outcast protagonist, and Goyer's hit-and-miss dialog — and it passes, barely.
If you're a hardcore fan of Superman, you have to see this in the theaters, regardless of your view of augmenting the gospel. Casual fans of Superman and Snyder's work will feel right at home, along with those who have generally enjoyed Nolan's Dark Knight saga. More than anything, that nagging feeling of what the trailers promised is going to sit with you for a few days after, in the same way a few of the scenes feel like moving works of art will — a high compliment to Snyder's growth visually. He's more tasteful and polished than he was with Watchman and 300.
Man of Steel barely breaks the sound barrier, but it breaks it; and the idea of seeing two or three more films with this Man of Steel, well, it'll keep audiences flying high.