Man of Steel: Short and Sweet

Batman may be my favorite superhero, but the Big Blue Boy Scout ranks in my Top 3, so as someone who grew up on Lois & Clark and followed Smallville with devout loyalty, I was ecstatic when Man of Steel was first announced.  Like countless fans, I was bitterly disappointed in 2006’s Superman Returns, but with Zack Snyder behind the camera, David S. Goyer penning the script, and Christopher Nolan providing creative input, it looked like Superman would finally receive the update he deserved.  I was initially worried by Warner Bros, secretive marketing efforts, but once Iron Man 3 opened, you couldn’t buy a pack of Twizzlers or a Carl’s Jr. burger without seeing that iconic “S”…and that Dodge Ram 1500 Superman Man of Steel Truck was downright awesome.  With insane worldwide appeal, Man of Steel was not only going to smash the box office, but also launch another shared cinematic universe that might finally help DC Comics films compete with those of Marvel.  Having massive faith in Man of Steel, I wasn’t jaded when early reaction was mixed; with an all-star cast and guaranteed destructive action showing-off some awesome powers, I knew I was going to love this Superman movie.

Featuring exhilarating and grandiose action, Man of Steel is a wonderfully entertaining return to theaters for Superman that, though imperfect, still represents a groundbreaking success for the character.  Visually, it is thrilling to finally see so many elements of the hero’s mythos highlighted with cutting edge-effects; even if you don’t get chills during Krypton’s destruction, I defy you to watch Superman take-off and break the sound barrier for the first time without giggling.  Henry Cavill may embody the historic role well, but the true standout performances belong to Russell Crowe as Jor-El and relative newcomer Antje Traue as Faora.  The script and pacing do suffer from a few problems in forced story progression, but the real accomplishment with Man of Steel involves the fact that the origin story finally humanized the god-like hero.  Bottom line, with the exception of a few purists, Man of Steel will satisfy fans and signals big developments for the reintroduction of Superman to a new generation.

Overall Recommendation: High

Man of Steel: Full Review

Man of Steel - (June 14^th, 2013): PG-13

Distributor: Warner Bros. Pictures

Opening Weekend Box Office: #1 with $116,619,362

Domestic Box Office Gross to-date: $214,615,316

Gross Revenue: $402,915,316

Production Budget: $225 million

Director: Zack Snyder

 

With the conclusion of Christopher Nolan’s The Dark Knight Trilogy, Warner Bros. was badly in need of a reliable cash cow to keep its DC Entertainment subsidiary in any kind of competitive standing with Marvel Studios, so after the failure of 2011’s Green Lantern, there was a LOT riding on the success of Superman.  From a developmental standpoint, fans and analysts scrutinized every possible element of Man of Steel during pre-production, holding onto massive expectations while praying that the same mistakes that doomed 2006’s Superman Returns wouldn’t be repeated.  There was some outrage that a Brit like Henry Cavill had been cast as the decidedly American hero, and skepticism understandably arose when Amy Adams and Laurence Fishburne won the roles of icons like Lois Lane and Perry White, but alongside proven talents like Michael Shannon, Diane Lane, and Kevin Costner, audiences were guaranteed strong performances.  A few warning flags were raised concerning Warner Bros.’ limited and altogether secretive marketing efforts leading into the Summer Movie Season, but in retrospect, it was a sly strategy to avoid splitting attention with Iron Man 3; after May 3^rd, sweepstakes and partnerships went into overdrive to amp awareness and anticipation, whether that involved associating Superman with our heroes in the National Guard or launching the brilliant “How Does Superman Shave?” cross-promotional Gillette campaign.  With television spots highlighting some hardcore action against a score from Hans Zimmer and rumors concerning cameos and media Easter eggs, fans had to be excited and curious concerning all that Man of Steel had to offer, so with my IMAX 3D ticket in-hand, I couldn’t wait to see one of my favorite superheroes rebooted on the big screen.

Offering some new twists on a very well-established story, Man of Steel opens on the planet of Krypton, with renowned scientist Jor-El (Russell Crowe) and his wife Lara (Ayelet Zurer) preparing to launch their newborn son Kal-El to Earth with a genetic codex of the entire Kryptonian race, so that he may survive the planet’s imminent destruction.  Though rebel military leader General Zod (Michael Shannon) attempts to stop the launch alongside his second-in-command, Faora (Antje Traue), seeking to retrieve the codex in a vain attempt to save the planet; fortunately, he is captured for his criminal actions and sentence to the Phantom Zone dimensional prison shortly before the planet explodes.  Fast forward thirty-three years and the now-adult Kal-El is living on Earth as Clark Kent (Henry Cavill), having been adopted and raised by Jonathan (Kevin Costner) and Martha Kent (Diane Lane).  Confused and ostracized by his superhuman abilities and alien origin, Clark has been wandering for years, covering his tracks as a nomad who only pops-up now and then to heroically help others.  Eventually, Clark comes across a crashed Kryptonian scout ship in the Arctic, where he learns more about his origins and destiny, coincidentally rescuing Daily Planet reporter Lois Lane (Amy Adams), who is working on-scene and later resolves to learn more about her superhuman hero alongside editor Perry White (Laurence Fishburne).  Clark is soon called to action when Zod and his troops arrive on Earth (having been freed when Krypton exploded and having searched for Kal-El for years); Zod intends to use a terraforming engine to eradicate humanity and transform Earth into a new alien home world, so he uses a planet-wide broadcast to command that Kal-El return the genetic codex, else Earth and its inhabitants will suffer.  Surrendering to the U.S. Military, Clark adopts the moniker “Superman” and works to convince world leaders that he is not a threat, all the while preparing to use his considerable power to stop Zod and his forces, thereby saving the world he has come to love and call “home.”

Between the pulse-pounding action, the surprisingly deep characterization of Superman himself, and the high-caliber performances of the ensemble cast, Man of Steel is a deeply immersive and downright entertaining experience for both hardcore fans and casual audiences.  Superman has always been perceived as something of a goody-goody, but thanks to the narrative’s focus on spectacularly rendered action sequences, this powerful cultural icon finally comes across as gritty and someone not to be crossed unless you want to get thrown into the upper-atmosphere…his lack of concern for collateral damage was a bit disconcerting, but he still embodied the hero we have come to love over the years.  Some critics have been unfairly critical of Cavill’s subdued performance, but I think that it fit perfectly with the characterization and tone of the film.  This Superman was haunted and isolated by his alien nature, and yet he still learned to rise above it and become a symbol of hope, and covering that evolution represents a decidedly humanized take on the character that has never been seen on the big screen…so bravo to Snyder and Nolan.  And beyond the capable acting of its lead character, Man of Steel also benefits greatly from supporting performances that perfectly capture the essence of the classic characters:  Amy Adams absolutely nailed the personality of Lois Lane while Diane Lane was remarkably effective as Martha Kent, but I was most entertained by Russell Crowe's regal take on Jor-El and Antje Traue's venomous and altogether threatening embodiment of the villainous Faora.  Unfortunately, while I could easily rave-on for another twenty paragraphs about the elements of Man of Steel that I loved, I do have to acknowledge some weaknesses within the script and pacing that prevent this DC Comics adaptation from embodying the runaway critical hit that many had predicted. 

 

Being a hardcore Superman fanatic, I have to fight the urge to relentlessly dissect and nitpick every element of Man of Steel that did not match-up with established canon, but beyond even that fandom, I do have to point-out a few missteps and screenwriting faux pas that can limit the appeal for larger audiences.  While I respect just how many elements of mythos David S. Goyer had to cram within a 143 minute origin story, I cannot help but feel that certain critical arcs went underdeveloped or altogether wedged-in while other less important elements received undue attention and screen time.  For instance, even though it was beautifully rendered, the prologue of Krypton's destruction ran far too long, and I don't understand why there were consistent cuts away from the climactic battle to show Perry White and other anonymous Daily Planet staffers fleeing destruction...time would have been better spent creating better context around the romance of Lois and Clark or Clark's own sense of protectiveness towards Earth, two dynamics which are presented but in no way earned by the script.  Finally, I cannot get over the fact that I was decidedly bothered by this particular interpretation of Jonathan Kent; don't get me wrong, Kevin Costner gave a great performance and I understand how certain choices fit with the overall theme, but I feel like a few departures could have been handled with greater delicacy (case-in-point, Jonathan's conversation with Clark after he rescues a school bus has triggered all-out war on the blogosphere).  True, a majority of the weaknesses within the script in regards to character dynamic are inconsequential to fans familiar with Superman's back story, but the altogether muddled storytelling prevents the uninitiated audience from fully enjoying Man of Steel beyond its flashy visuals and explosive action.

As any box office analyst could have predicted, Man of Steel utterly decimated all competition, hauling in $116.6 million to earn the distinction of highest opening ever in June and the second all-time debut for a non-sequel behind The Hunger Games.  Add-in foreign numbers and Man of Steel has already grossed a hefty $400 million in ticket receipts, more than enough to counter the massive $225 million production budget and signal a lucrative new franchise for Warner Bros. Pictures.  It was a little disappointing to see the 64.6% week-to-week drop-off, but you cannot fault that kind of decline in the face of lukewarm critical reception and massive audience-splitting competition in the form of Monster’s University and World War Z.  Execs certainly aren’t wasting any time in regards to next steps, as rumors are swirling that Man of Steel 2 could hit as early as Summer 2014, followed by a Batman/Superman crossover; at the very least, despite a few imperfections, this Superman movie still qualifies as a massive success that will set the stage for a future shared DC Cinematic Universe and hopefully culminate in a “Justice League” film.  Bottom line, whether you are someone deeply-versed in Kryptonian mythology, or just happened to wear a red cape at one point in your childhood while running around the backyard, you cannot go wrong with Man of Steel.

   

Overall Recommendation: High

This Is the End: Short and Sweet

If there is one aspect of comedy that is perpetually underrated, it would have to involve celebrities portraying fictional and exaggerated versions of themselves.  So when you look at the premise of a film like This Is the End, filled to the brim with some of the most popular and globally recognized celebrities working today, the potential for cinematic gold had to have both fans and analysts absolutely giddy.  Brilliantly teased as a trailer for the sequel to Pineapple Express, This Is the End looked like an easy contender for funniest film of the year, especially when you consider the filmographies of each cast member that would undoubtedly be referenced.  In framing such an unprecedented gathering against the biblical Apocalypse, trailers featured everything from gruesome celebrity deaths to surprisingly impressive CGI demons and the downright awesome inclusion of Emma Watson, so mass interest had to be piqued.  As a fan of each member of the cast and having near-memorized every line of their past collaborations, I could not wait for This Is the End and the virtually guaranteed plentiful laughs.

Try as I might, I cannot think of another comedy that is start-to-finish, as unceasingly hysterical and downright clever as This Is the End, which is one of the funniest movies I have ever seen.  It is instantaneously obvious that the cast members are close friends off-screen, and references to those friendships alongside barbs at hit and misses within their respective careers is nothing short of brilliant and an absolute treat that will have fans in stitches.  When it comes to the celebrities playing fictional versions of themselves, Jonah Hill stands out as the personality most divergent from public perception, but Danny McBride easily delivers the most potent and raucous use of screen time.  My only qualifier would involve the fact that full enjoyment is contingent on not only being a fan of the cast, but also being well-versed in their histories; otherwise a good portion of the best jokes will go unnoticed.  Still, This Is the End remains an utterly hysterical comedy that handles a serious subject matter with surprising competency…you will be laughing, but you will also be reinforced with the desire to go to church and avoid hell on earth. 

Overall Recommendation: High

This Is the End: Full Review

This Is the End - (June 12^th, 2013): R

Distributor: Columbia Pictures (Subsidiary of Sony Pictures Entertainment)

Opening Weekend Box Office: #2 with $20,791,524

Domestic Box Office Gross to-date: $57,792,000

Gross Revenue: $57,792,000

Production Budget: $32 million

Directors: Evan Goldberg and Seth Rogen

 

Historically, audiences have responded very well to celebrity cameos in which public perception of a famous personality is challenged – legend has it that Neil Patrick Harris’ performance in the Harold & Kumar series helped secure his role as Barney Stinson in How I Met Your Mother – but focusing an entire narrative on such a hook is unprecedented.  Given the widespread nature of the cult of celebrity and the individual success of each member of this particular cast, This Is the End had a definitive and downright enviable draw for the coveted 18-35 male demographic, and Columbia Pictures knew how to leverage that type of star power perfectly.  Seth Rogen and Evan Goldberg’s first two collaborations (Superbad and Pineapple Express) were runaway hits, so there was no reason to think that this particular reunion wouldn’t represent a home run, especially when audiences were reminded that this offbeat group of friends has had some sort of influence on a majority of the popular R-rated comedies released since 2007.  If the trailers featuring a drastically different version of Michael Cera or the surprise inclusion of Emma Watson weren’t enough to draw attention, there had to be a morbid curiosity as to how major concepts from Christian eschatology like Rapture and The Book of Revelation could be used to frame a comedy.  The Hangover Part III and The Internship didn’t exactly set a benchmark for laughs in the current Summer 2013 cinematic landscape, so This Is the End had the chance to offer the first true example of inspired humor in months, and judging by early critical reaction, no one was going to be disappointed.

Squeezing more celebrities into a film than anyone thought possible, This Is the End is adapted from the 2007 short film “Jay and Seth versus the Apocalypse” and opens with old friends Jay Baruchel and Seth Rogen reuniting for a laid back weekend in Los Angeles.  The two friends eventually find themselves at a raucous housewarming party for James Franco which includes Jonah Hill and Craig Robinson, though Baruchel is uncomfortable with the social situation filled with so many strangers.  Suddenly, massive earthquakes and explosions erupt, setting the Hollywood Hills on fire and exposing a massive sink-hole that violently claims the lives of several partygoers, including Michael Cera, Rihanna, Christopher Mintz-Plasse, Mindy Kaling, Aziz Ansari, and Jason Segel; after the initial chaos, the few survivors (Franco, Rogen, Baruchel, Hill, and Robinson) barricade themselves inside the house, believing that, as actors, they will receive priority in forthcoming rescue efforts.  Passing time in various ways and rationing supplies despite the interference of recently-revealed party crasher Danny McBride (who was asleep inside the house when all hell broke loose), the bewildered group hear accounts of blue beams of light carrying people into the sky and soon reason that all these disasters signal the biblical Apocalypse detailed in The Book of Revelation.  Facing massive hell beasts, demonic possession, nomadic cannibals, and violent survivors like an axe-wielding Emma Watson, this offbeat group of actors must band together and reinforce their friendships in order to survive these perils and hopefully find a way to gain entry into Heaven.

Given the prolific and collaborative careers of each cast member of This Is the End, there is an insane amount of material for each of these comedic actors to draw upon, and as expected, the subsequent onslaught of self-depreciating and shocking humor paves the way for huge laughs.  A majority of comedies require some exposition to build a momentum that might wane from time to time, but this irreverent apocalyptic horror hits the ground running and does not stop delivering brilliant humor until moviegoers are grasping for breath as the end credits roll.  It is obvious that this group had an insane amount of fun working on this project, thereby paving the way for smooth cast chemistry that gives each A-lister appropriate time to shine…though Jonah Hill and Danny McBride still manage to steal a few scenes.  The script also panders heavily to celebrity adoration by making very clever use of its cameos, whether that involves a cocaine-peddling Michael Cera, a thoroughly pissed-off Emma Watson, or a surprise addition that appears in the third act and is sure to cause several double-takes.  Needless to say, This Is the End met and exceeded every one of my expectations, instantly earning a place in my Blu-Ray collection, but its brilliance might not resonate as widely as Columbia Pictures expected.

Even though I will be quoting and raving about This Is the End far into the foreseeable future, there is a generation gap that limits overall appeal, but that small qualifier still shouldn’t distract from what this offbeat comedy was able to accomplish.  It is no secret that I am a walking movie encyclopedia, so naturally I was able to catch nearly every joked offered by this rapid-fire script, but I also recognized that full enjoyment is contingent on moviegoers being well-versed in the diverse filmographies of these personalities.  Older audiences might not know Seth Rogen or Craig Robinson beyond simple recognition, so there is no way that they could enjoy this movie on the same level as a fan; so, because of so much prerequisite viewing, This Is the End is perhaps better classified as spin-off or sequel as opposed to standalone project.  Regardless of that small limitation, this comedy still deserves recognition for its gutsy and highly clever execution that also respects its touchy subject matter: where else could you laugh at masturbation jokes and unrestrained bromance while also planning future church visits and fearing for your immortal soul?  In the end, This Is the End is still wildly original and highly enjoyable, so trust me when I say that you will be laughing far too hard and having way too much fun to nitpick.

Despite its inherent potential and profitability, This Is the End still inherited perhaps one of the least enviable release spots within the 2013 Summer Movie Season, opening just two days before Man of Steel and thereby making a top debut all but impossible.  And yet, a $20 million second place debut and near-$60 million to-date domestic gross is anything but a disaster; plus, the combination of strong word of mouth and nonexistent direct competition should translate to a highly profitable theatrical run.  Finally, we have proof that a star-studded and comedy focused project can be smart and doesn’t have to come across as a shameless and awful piece of garbage…you had your chance, Movie 43.  Looking forward, even though the downright awesome ending leaves little for a direct sequel, I can only hope that the home video version of “Pineapple Express 2” featured within this script finds its way to a big studio adaptation in the near future.  Grab your friends and prepare for laughs, because I defy you to find a better time at the theater this summer than This Is the End.

         

Overall Recommendation: High