Blog From The Bench

In the lexicon of comic book movies, it’s not as good as Sam Raimi’s Spidey series and both Burton and Nolan’s Batman can rest comfortably in their place along the cinematic superhero hall of fame. But Bryan Singer’s Superman Returns is good – damn good. It’s just not great. As a matter of fact, it misses greatness by a margin measured in just a few filmic fractions. Yet these flaws are still large enough to occasionally sidetrack what is, for the most part, a faithful fulfillment of the decades long struggle to bring the Man of Steel back to the screen. Like Hulk, which tended to take itself too seriously for its own good, this latest incarnation of the speeding bullet/bird-plane personage repeatedly dances around decent ideas without ever landing smack dab in the center of them. In addition, Bryan Singer still doesn’t impress me as a director with a future outside a certain style of film (more on this in a moment). However, it is safe to say that with this highly entertaining experience, our undeniable icon to truth, justice and the American way is back with a viable vengeance.

Certainly, Singer makes his mistakes. Using the original films as a guide was an idea goofier than bringing dinosaurs back from the dead, and the constant referencing of those mid-70s blockbusters bogs down the narrative. Several times during the film, I found myself wondering what the rumored re-imaginings of the man and his material (Kevin Smith, Brett Ratner, McG, Tim Burton, JJ Abrams) came up with. Certainly something more original than giving Superman a son could have been considered for the reintroduction of this classic comic character. While bringing back Lex Luthor worked out well (Kevin Spacey adds a slimy, sinister edge to the role that Gene Hackman failed to find) and the nods to the first film’s origin story are sensational, Returns often feels like the middle act in an already running series. In fact, Singer and his screenwriters spend so much time on those touchy feely parts of the plot (the whole romantic angle with Lois’s new love interest is unexceptional) that they lose a lot of their movie’s direction and drive. Along with the dumb decision to cast Kate Bosworth as the Pulitzer Prize winning (!?!?) journalist (she is simply out of her league here), the emotional side of Superman slows down the spectacle.

What does work, though, are the reasons that movies are made. The airplane sequence is brilliantly realized, a terrific tour de force for the F/X crews as well as a brazen bright spot in Singer’s otherwise sedentary style. Unlike Spielberg or Jackson, this director seems to slack off the minute the main action scenes are over. The sections where Superman saves Metropolis are superb, as is the final confrontation with Luthor. But all the stuff inside the Daily Planet, all the material between Lois and her lover, just sits there without any strength or cinematic sizzle. They seem like rest stops between set pieces. In addition, Singer needed a stronger editorial hand in shaping this story. We meander into time-consuming tangents quite frequently, left with dangling elements (the whole Pulitzer business, the cannibal dog) that never really pay off. Still, the center is solid with Brandon Routh owning the role of Clark Kent/Superman. Though a questionable choice at first, he is incredibly magnetic onscreen, capable of delivering the many sides of the Man of Steel with grace, genuineness, and more than a little wit. This is indeed a very funny film, with lots of clever repartee between characters. Thankfully, the humor doesn’t overpower the heroics, as we are definitely left wanting more – more Routh, more feats of derring-do, more Superman.

Perhaps this is the best way to judge a blockbuster; determining if there’s material worth a second (or third, or fourth) look. The answer is an emphatic “yes”. The Fortress of Solitude sequence is atmospheric and compelling, while Luthor’s ultimate plan is realized in brilliant bit map authenticity. The CGI is never intrusive, the cityscapes of Metropolis are spectacular and Superman’s flying capabilities come across smoother and more valid than in any other super hero movie. It will be interesting to see where the sequel takes us. Like Burton’s first Batman, there are a lot of obvious safeguards in place here, studio-mandated moments that keep the film feeling frequently hemmed in and overly controlled. Perhaps, if it’s successful enough, Warners will turn Singer loose, letting him deliver a definitive take on the subject of Superman without all the nods to fanboy mandates and test audience tendencies. Ranking right up there with the summer’s other entertainment highlights, Superman Returns is one comic book movie that gets it more or less right.

7.5 out of 10

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