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Post Posted: April 17th 2013 6:26 am
 

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That three minute trailer has more action, humor and drama to it than all of Singerman Returns To Stalk Kate Bosworth combined times any number you care to throw in there. Bryan Singer has probably wet the bed somewhere.


Post Posted: April 26th 2013 8:27 pm
 
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"Zack Snyder likely to direct ‘Justice League’ if ‘Man of Steel’ is a success."

[spoil][align=left]Warner Bros. is hoping that their next big superhero movie, Man of Steel, a big success this summer. Not just because they want their movie to do well — the future of their superhero franchise depends on Man of Steel succeeding. If Superman bombs then all Justice League plans will probably be put on hold. However, early signs suggest that Warner Bros. has a hit on their hands with Man of Steel. It’s being directed by Zack Snyder who was hired by the producer, Christopher Nolan. Nolan also contributed to the story with his Dark Knight trilogy writer David Goyer.

It’s already been reported that Snyder has references of the DC Universe in Man of Steel for fans to pick up on, and it looks like Warner Bros. is hoping he’ll direct the upcoming Justice League movie too. The latest issue of Empire magazine features Superman on the cover and there’s a big article dedicated to Man of Steel. The magazine confirms that Snyder is likely to direct Warner Bros.’ superhero team up movie:

“Warner Bros.’ long-term view has been revised to embrace this new vision, just as the Dark Knight films resisted the commodification of Marvel. Whether we get a Justice League, they say, depends on Man of Steel. If we do, they say, Zack Snyder will be asked to direct.”

This lines up with rumors from early March, which said that Warner Bros. wanted Christopher Nolan to produce Justice League, Zack Snyder to direct, and Christian Bale to come back as Batman. We later learned that Bale’s return was unlikely, and the president of Warner Bros. has said that Nolan will not produce. However if Zack Snyder really is chosen to direct Justice League, perhaps he’ll be able to talk his Man of Steel producer into joining him. And if Nolan is on board, maybe he’ll be able to get Bale into it too.

There’s a lot riding on Man of Steel right now, and the future of the Justice League movie should be a lot clearer later this year. Will director Zack Snyder be looking to jump right back into the DC Universe?[/align][/spoil]


Post Posted: April 26th 2013 10:45 pm
 

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Snyder directing Justice League of America? Sounds great to me.


Post Posted: May 18th 2013 4:25 pm
 
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A very cool promo is below. In abstract, it seems insipid to impose the Batman Begins origin template on another superhero story. However, in practice, it appears to be the absolute correct choice for the film.

I'm really rooting for this one. I've always wanted to be a fan of Superman, but have had difficulty embracing the character.

[flash width=640 height=480]http://www.youtube.com/v/rtcEtDDqvu8[/flash]


Post Posted: May 19th 2013 8:24 am
 
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E_CHU_TA! wrote:
A very cool promo is below.


Must... resist... spoilers...

Can't wait for this movie.


Post Posted: May 21st 2013 9:50 pm
 
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Look away, Alexrd:

[flash width=560 height=315]http://www.youtube.com/v/NlOF03DUoWc[/flash]


Post Posted: May 22nd 2013 4:38 am
 
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E_CHU_TA! wrote:
Look away, Alexrd:


Argh, why didn't they chose a less spoilerific frame for the video?


Post Posted: May 22nd 2013 7:18 am
 
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Something that showed up for pre-order...

Image


Post Posted: May 26th 2013 12:32 pm
 
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A new article from the NYT is below. DC, Warner, and Snyder all need this movie to do well at the box office.

[spoil][align=left]Alien, Yet Familiar
By DAVE ITZKOFF

BURBANK, Calif. — In a dimly lighted editing suite here on the Warner Brothers lot, blinds drawn for maximum secrecy and walls decorated with signs and posters celebrating “Star Wars,” Indiana Jones and “Game of Thrones,” Zack Snyder was discussing his philosophy on the totemic character who arguably gave rise to every fantasy series of the last 75 years: Superman.

For too long, said Mr. Snyder, the director of “Man of Steel,” a new Superman movie that Warner Brothers will release on June 14, modern-day interpretations of this DC Comics superhero had been apologizing for the outdatedness of his origins; they sought to conceal him in contemporary trappings instead of embracing an essential mythology that, he said, was as bulletproof as the character himself.

“When they try to dress him up,” Mr. Snyder said here a few weeks ago, “put him in jeans and a T-shirt or a leather jacket with an S on it, I go: ‘What? Guys, it’s O.K. It’s Superman. He’s the king daddy. You should all be bowing down to him.' ”

What his film tries to do, he said, is “respect the S.”

At this point, Deborah Snyder, Mr. Snyder’s wife and producing partner, had to correct him on one fundamental detail they had updated for “Man of Steel.” “It’s not an S,” she said with a laugh. “It’s a symbol of hope.”

Hope is a quality that Mr. Snyder, a director of comic-book adaptations like “Watchmen” and “300,” and his colleagues have been clinging to as they finish work on “Man of Steel,” an entrant in the crowded summer-movie arms race more than two years and $175 million or more in the making.

Yes, “Man of Steel” is the latest effort to rejuvenate a decades-old pop-culture franchise and, in doing so, renew both the fortunes of Warner Brothers as it searches for new blockbusters and the career of Mr. Snyder after recent misfires. But it is being built on the back of a character who, for as often as writers and filmmakers have lately tried to reinvent him, has proved particularly unsusceptible to attempts to make him more relatable. Audiences seem to want him to be grounded, at the same time that they want to believe he can fly.

It is strange that Superman, the smiling, soaring Moses-Jesus hybrid who ushered in the era of superhero comics, should be struggling at the multiplexes in an age when every other studio movie seems to feature a man in a cape, a mask with pointy bat-ears or a high-tech suit of iron. The qualities that have made Superman timeless have not necessarily made him relevant to this particular time, with its roster of ironic and loudly violent protagonists, but it was this paradox that made Mr. Snyder eager to take him on in “Man of Steel.”

“He’s a really cool mythological contradiction,” said Mr. Snyder, who is still boyish and scruffy at 47. “He’s incredibly familiar Americana and alien, exotic, bizarroland, but beautifully woven together.”

He added: “All of us, in a weird way, are that same kind of contradiction — no one’s that simple.”

His film stars Henry Cavill of “The Tudors” as Kal-El, a survivor of the destroyed planet Krypton who on earth becomes the costumed champion Superman but disguises himself as the all-too-human Clark Kent.

“Man of Steel” retains traditional elements, like Superman’s tension between his natural Kryptonian father, Jor-El (Russell Crowe), and his adopted earth dad, Jonathan Kent (Kevin Costner), and his attraction to the perpetually imperiled Daily Planet reporter Lois Lane (Amy Adams).

The film also emphasizes the world of Krypton before its annihilation — a bleak, utilitarian planet with sophisticated if downright creepy technology — and the treachery of the Kryptonian villain Zod (Michael Shannon), who finds Kal-El on earth. The result is an unapologetic science-fiction spin on Superman, and while that may shatter audiences’ expectations for pure, unalloyed realism in “Man of Steel,” Mr. Snyder said this approach was built into the DNA of the character.

“If you follow him back logically and try to understand him,” he said, “you end up at a sci-fi solution.”

This was the same conclusion reached by Christopher Nolan, the director whose hit “Dark Knight” films have modernized Batman for the paranoid post-Sept. 11 era, and the screenwriter David S. Goyer when they first conceived of “Man of Steel” while puzzling over the plot of “The Dark Knight Rises.”

Though Mr. Goyer grew up admiring the Norman Rockwell-esque charm of the 1978 “Superman” movie, directed by Richard Donner and starring Christopher Reeve, he never felt much connection to its hero.

“I used to imagine that I was Batman,” Mr. Goyer said, “but not Superman.”

His thinking changed when he looked at Superman in his earliest incarnation, written and illustrated by Jerry Siegel and Joe Shuster in the late 1930s. Here was a character whose fundamental mythology was still in flux — even his signature power of flight was not yet established, and he instead leapt great distances — and whose most transformative quality had seemingly never been seized upon.


“If he really were an alien,” Mr. Goyer said, “when the world finds out that he exists, that in itself would be the biggest event in human history. That would change the world forever.”

While writing the script for “Man of Steel,” Mr. Goyer became a stepfather, a father and lost his own father, experiences that he said informed the who-am-I angst that his Superman struggles with.

“There’s a scene in the movie,” Mr. Goyer said, “where a younger Clark basically says to Jonathan Kent, ‘Why do I have to listen you? You’re not my dad.’ Which is exactly what my stepson said to me.”

Mr. Nolan, a producer of “Man of Steel,” said he thought of Mr. Snyder to direct the film because of his stylized takes on “300” and “Watchmen,” and his “innate aptitude for dealing with superheroes as real characters.”

“That was what a new approach to Superman required,” Mr. Nolan said. “He understands the power of iconic images, but he also understand the people behind them.”

That Mr. Snyder had essentially dismantled the conventions of comic-book narratives in “Watchmen,” adapted from the graphic novel by Alan Moore and Dave Gibbons about superheroes in a despairingly real world, did not dissuade Mr. Nolan from offering him the assignment.

“It’s ironic but it’s a very productive irony,” Mr. Nolan said with a chuckle. “You’re dealing with a filmmaker who has deconstructed this mythology and now has to reconstruct it. That’s a fascinating challenge for him.”

Yet, when Mr. Snyder was approached for “Man of Steel,” it was something he and Ms. Snyder had to think about. “We were both, like, ‘I don’t know,' ” he recalled. “Is Superman cool? Is that good? Do we want to do Superman?”

Like his “Man of Steel” collaborators, Mr. Snyder had difficulties sympathizing with the extraterrestrial and all-powerful character, a fact that was not helped by the many attempts at reinventing Superman in recent years.

In the last decade alone, he has been the focus of any number of comic book reboots, the television series “Smallville” and Bryan Singer’s 2006 film “Superman Returns,” a homage to Mr. Donner’s movies that never quite took off the way the “Dark Knight” movies did. Yet Superman remains a character no one wants to give up on, for reasons both nostalgic and economic, and because, as Mr. Snyder put it: “This iconography is tested. It’s in our psyches.”

What drew Mr. Snyder in as he first read the “Man of Steel” script (while Mr. Nolan and his wife and producing partner, Emma Thomas, waited in his driveway) was a vision of the character that felt both classical and contemporary. On the one hand, Mr. Snyder suggested that for Clark Kent to be fully fleshed out, not every moment in his maturation needed to be depicted.

“We assume that Clark is not a virgin — I do,” he said. " You don’t see that, but that’s the assumption.”

But as the ultimate version of a familiar story, that of a young man struggling to find his place in the world — “teenage angst on steroids,” Mr. Snyder called it — this Superman’s tale contained elements he and Ms. Snyder had never seen before.

Ms. Snyder said, “Finding a bearded Superman on a crab boat, it was like, wait a minute, that’s not the Superman that we’re used to.”

For Mr. Snyder, there was also the joy of casting prominent actors like Mr. Costner and Mr. Crowe, as well as Mr. Cavill, who had once been hired to play Superman in a canceled 2004 film whose fluctuating lineup of talent included McG as director and J. J. Abrams as screenwriter.

In a phone interview, Mr. Cavill was blasé about his previous dalliance with Superman. “That whole movie fell to pieces,” he said, “then another movie got made, not involving me.”

Having finally made “Man of Steel” almost a decade later, Mr. Cavill said he had learned to appreciate a hero who has spent his whole life hearing that he is special, while being told just as often that he must conceal the things that make him unique.

"Perfection without effort is, in itself, not perfection,” he said. “It’s just gifted. Just being right because you exist isn’t interesting. Doing the right thing, through hard work and the right decisions, is a better character.”

Mr. Snyder recognized that “Man of Steel” did not fit neatly into his oeuvre of stylized B-movies like his “Dawn of the Dead” remake and “300,” a retelling of the battle of Thermopylae, but he said he saw overarching connections.

“I feel like my movies have always been very subversive, even when people haven’t perceived how subversive they really are,” he said confidently. “For me, what’s subversive about Superman is that it’s not subversive.”

That résumé also includes Mr. Snyder’s 2011 action movie “Sucker Punch,” about an unlikely squad of heroines, which was pilloried by critics and sold $89 million in tickets worldwide on a budget of $82 million. Discussing that film, Mr. Snyder seemed to vacillate between acceptance that “Sucker Punch” had been a failure and disappointment that its larger ideas, about the depictions of women in fantasy narratives, had not been more widely received.

“Talking to people, they’re like, ‘No, that’s not the movie that I saw,’ and I’m like, ‘But it’s all there!' ” he said. “I thought I was being too obvious with everything.”

Perhaps the greater frustration for Mr. Snyder was the fact that “Sucker Punch” — filmed from an original script he wrote with Steve Shibuya, and not adapted from any comic book, video game or breakfast cereal — had been rejected at a time when moviegoers are clamoring for original ideas, while they continue to go in droves to see franchise films (including, potentially, “Man of Steel”).

“People complain but it’s supply and demand,” he said. “The movie business is the first business that changes course. If suddenly everyone’s like, ‘Oh, people want to see movies about rabbits,’ that’s all you’re going to get.”

Asked if he faced additional pressure to make “Man of Steel” work as the starting point for its own continuing series, Mr. Snyder said, “This movie needs to come out,” before any bigger questions could be addressed. “If you start thinking, like, I need to set up a giant franchise for the studio because they’re out of ‘Harry Potters,’ you can’t do that,” Mr. Snyder said, adding that it would lead to paralysis.

“You’d just stay in your house and curl up in a fetal position,” he said, “waiting for ‘em to take you to the insane asylum.”
[/align][/spoil]


Post Posted: June 2nd 2013 10:21 pm
 
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First reactions are starting to come in and most are positive with one scathing review, mostly having to do with the lack of strong female characterization.

My excitement has peaked. The fate of the DC cinematic universe depends on this movie's success.


Post Posted: June 7th 2013 6:01 pm
 
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I've never been a big DC guy but with each new clip I'm getting more and more interested. The action looks spectacular, I love just how immense the power of Kal-El and the other Kryptonians is being displayed.

Here's a couple more action filled clips:

[flash width=640 height=360]http://www.youtube.com/v/dVVwa1N3TS4?hl=en_US&version=3[/flash]

[flash width=640 height=360]http://www.youtube.com/v/dwYatpwrs8s?hl=en_US&version=3[/flash]


Post Posted: June 8th 2013 6:55 am
 
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Ending spoiler

[spoil] superman gets zod in a headlock from behind. Zod sees a family and starts powering up his heat vision to kill them so superman snaps his neck. Superman kills zod.

[/spoil]


Post Posted: June 8th 2013 10:36 am
 
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[flash width=560 height=315]http://www.youtube.com/v/EngKxF3Cqh4[/flash]


Post Posted: June 9th 2013 9:09 pm
 

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ALMOST read the ending spoiler....but decided against it.


Post Posted: June 9th 2013 9:11 pm
 
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Cryostar wrote:
[flash width=560 height=315]http://www.youtube.com/v/EngKxF3Cqh4[/flash]


Wish I could listen but it's blocked in Canada. Is it the same as the trailer music?


Post Posted: June 9th 2013 10:24 pm
 
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Yeah, that slow build, just the full 3 minute version. It's quite nice.

If the whole OST sounds this way, I'm definitely going to have to pick it up.

FYI....try this one.

http://www.youtube.com/watch?v=xCxvQYySM-U


Post Posted: June 10th 2013 4:25 am
 
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Or here.


Post Posted: June 10th 2013 8:53 pm
 
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that sound cloud version has nice quality. thanks for the link.


Post Posted: June 14th 2013 12:49 am
 
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Just got back from it.

I think this was my most anticipated movie of the summer for a lot of reasons: First, I've always wanted a good Superman film to get behind; I dug the teaming of Chris Nolan and Snyder; and the trailer from a few months ago might be one of the best blockbuster trailers I've seen.

Verdict? On the one hand, there's a whole lot of awesome when it comes to the visuals, the technology, the acting and the out of control action that nearly made my head explode. On the other hand, there are pacing issues, irrelevant secondary characters and side quests (if you want to call it that), and contrived plotting. It's also devoid of any humour whatsoever. Let's put it this way: this script is not as tight or as constantly entertaining as Batman Begins.

But you know what? I don't know whose fault it is. I think it comes down to one very important fact that almost nobody wants to admit - Superman is the least interesting superhero we have and no matter how hard the most talented filmmakers in Hollywood try (and try they have), it's impossible for a truly great Superman movie to be made.

It's almost like the HULK: as a hero or character, he's good in small doses but dedicate a movie to explosive over the top action and invulnerable combatants and it leads to sensory overload. There's a complete disconnect between the audience and the story. No different here. There is literally 50 minutes of non-stop action and I'm sitting there thinking "what the hell are they going to do in Man of Steel 2 that isn't being done in this movie? Superman being attacked by killer tentacle - check; Superman destroying Smallville and Metropolis in battle royale vs Kryptonians - check. Superman v. human armed forces - check." What "challenge" will he face next? I don't know how much I care to find out because Supes' villains aren't that interesting: Lex Luthor isn't going to excite people the way Batman's rogues gallery does.

I think there's a real lesson to learn from Man of Steel: Superman might be the hero who "started it all" but it doesn't mean he's the "be all, end all." In other words, the "S" is all style but no substance.

I will see it again to try and absorb the sheer chaos of that second half and attempt to reconcile my issues with the pacing, but my first impression was "I felt too disconnected from the characters and story to call this a great movie." I think they should have saved the Daily Planet stuff for the next movie as Perry White's sub plot with a never named Jenny Olson is completely out of place. A lot of secondary characters are terribly developed and completely distract from the story.

One last thing: Han Zimmer's score doesn't play as well during the movie as it did in the trailer. You really don't get that triumphant Superman theme from the trailer at all during the movie. The music you hear most of is from that no-sound-effects all music trailer that came out a week or so ago. It's honestly, not that special of a score.

[spoil]Superman killing Zod didn't bother me. The comic dorks are going nuts over it apparently but he is literally left with no choice, and it's symbolic of Clark's decision to choose humans over Kryptonians as his adopted race.[/spoil]


Post Posted: June 14th 2013 3:29 am
 

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I'll take the other point of view and say that my fandom of Superman eclipses even Star Wars. This movie isn't exactly the ideal Superman movie I've always wanted to see but it's still a rock solid reboot that completely deletes everything that's come before. Putting the Chris Reeve/Richard Donner stuff was overdue fifteen years ago but at least it's finally happened.

[spoil]As "choice" is one of the big themes of the movie, Superman choosing humanity over Krypton vis a vis killing Zod (who had become an existential threat by then) worked for me. No, Superman doesn't kill... but this is pretty much the circumstance where he would. And should. The people whining about this should go back and watch Superman II where Superman crushes a (by that point) regular human's hand and then tosses him to his death (and take your deleted scenes outside, nobody cares; if it's not in the movie, it didn't fucking happen. Superman killed Zod in Superman II).[/spoil]

For years I've wanted a Superman movie where he beats the piss out of someone on his level and we get tons of that here. None of that sissy-mary kicking from the previous movies. Superman beats a lot of people to the floor here.

Snyder delivered the goods and then some. Really enjoyed it. Now let's get a Superman/Batman team-up movie going.


Post Posted: June 14th 2013 1:57 pm
 
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Unlike Iron Man 3, which had the reverse effect, I'm finding that the more I think about the movie the more I like it.

There are definitely aspects of Man of Steel I love and was wowed by, I just didn't leave the theatre glowing in satisfaction like I did with Star Trek Into Darkness for instance.

I think they needed to reign in the mayhem and make the action a bit more intimate. It felt like DC really wanted to answer the Avengers and that's just not possible in the first entry of what they hope to be a DC cinematic universe. Kal needed to earn more from us before stopping an "independence day-esque" world catastrophe before even getting a grip on what he's all about.

I also have a few issues with Lois/military side of the plan - it just felt a bit too hokey to me.

EDIT: http://www.aintitcool.com/node/62877

I don't think this is an unfair review at all, and it sums up a lot of my (negative) feelings towards Man of Steel. In fact, the movie has basically been panned by all non-geek critics.


Post Posted: June 16th 2013 8:39 pm
 
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The film performed exceptionally well at the box office. I’m curious to see if it has legs.

From me, it gets positive word of mouth. I really appreciated the kitchen sink approach to the story. The creative team did their best to give the audience a fully fleshed out and intricate Superman origin story. (Heck, they went so far as to have us witness the title character’s birth in the very first scene.) No, it’s not a perfect film or as emotionally satisfying as Batman Begins. But, it’s ultimately a thoughtful film that has more positives than negatives. In turn, I definitely got my $9.50 worth of entertainment.

CoGro wrote:
On the other hand, there are pacing issues...

I don’t mind that the film is inconsistent with its momentum. I just wish that there was more of an emotional hook when the film slowed down for a flashback. I think some unintentionally clunky and prosaic dialogue may have screwed up the delivery.

CoGro wrote:
But you know what? I don't know whose fault it is. I think it comes down to one very important fact that almost nobody wants to admit - Superman is the least interesting superhero we have and no matter how hard the most talented filmmakers in Hollywood try (and try they have), it's impossible for a truly great Superman movie to be made.

Superman’s circumstances are complicated, but psychologically, he doesn’t seem to be very complex. I think this due to his messianic portrayal. Since he’s the stereotypical good guy, it seems that he will always respond in a predictable manner. (Sure, his killing of Zod is a bit thorny. But, did Zod really give him a choice?)

CoGro wrote:
I also have a few issues with Lois/military side of the plan - it just felt a bit too hokey to me.

Based on beforehand knowledge, I had low expectations when it came to Lois. In watching the film, I liked how she came across. She was smart, confident, tenacious, and a lynchpin in the overall story. In other words, she embodied my image with the character. No, she’s not Clark’s equal in the film. But, I got the sense that she has the potential to grow into that role.

Regarding her involvement with the bombing, it’s definitely a device of the plot. That decision and the crosscutting with the Daily Planet team were obvious attempts by Goyer and Snyder to keep the audience emotionally invested. While it could have been handled better, it doesn’t fully sink the sequence or the film. I’ll give them a partial pass on it.

CoGro wrote:
http://www.aintitcool.com/node/62877

I have to disagree with the author’s point about Jonathan Kent’s death. I thought it worked well within the film and did emotionally resonate. I understand the thought process behind his heart attack in the comic books. But, I didn’t think it would have been right for this story. Plus, there is still an opportunity to deal with themes of mortality and Clark's limitations when it comes to Martha’s fate.


Post Posted: June 16th 2013 9:01 pm
 
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While I don't disagree with Snyder/Goyer's decision for Superman to kill Zod, I do have a problem with his enabling Zod's continuous destruction of Metropolis. Superman saves nobody in the film except Lois and one of the soldiers. Meanwhile, his battle royale likely results in the death of hundreds, if not thousands.

If there's one thing Singer got right, it was that he focussed on Superman's ability to save innocent people in peril rather than simply "kick ass." Snyder could have balanced the two far better.


Post Posted: June 17th 2013 8:47 pm
 
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I'm not sure if the situation gives Superman much choice. He seems to have an either or scenario: either a) save citizens or b) fight Zod. Since stopping Zod will end the destruction, it's his only real option. It may have been better if Superman made an attempt to avoid collateral damage. But, Zod is ultimately dictating how the fight goes down. So, in the end, the same amount of damage would be done.

Per a rumor, the sequel will be ready for screen next year. If Gover, Nolan, and Snyder have a solid plot ready, I say go for it. It's better to start the process now while the critical reaction to MOS is at the forfront.


Post Posted: June 18th 2013 9:06 pm
 
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E_CHU_TA! wrote:
I'm not sure if the situation gives Superman much choice. He seems to have an either or scenario: either a) save citizens or b) fight Zod. Since stopping Zod will end the destruction, it's his only real option. It may have been better if Superman made an attempt to avoid collateral damage. But, Zod is ultimately dictating how the fight goes down. So, in the end, the same amount of damage would be done.

Per a rumor, the sequel will be ready for screen next year. If Gover, Nolan, and Snyder have a solid plot ready, I say go for it. It's better to start the process now while the critical reaction to MOS is at the forfront.


I do think Superman could have made more of an effort to draw Zod into a less densely populated area. Earlier in the film he practically rides Zod for miles from his house to the streets of Smallville. Would have made for a less destructive finale, but I - and many other filmgoers - wouldn't have been laughing in our seats thinking "this guy is killing more people than he's saving." It was gratuitous to the point of almost taking me out of the movie.


Post Posted: June 21st 2013 6:21 pm
 
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CoGro wrote:
I do think Superman could have made more of an effort to draw Zod into a less densely populated area. Earlier in the film he practically rides Zod for miles from his house to the streets of Smallville. Would have made for a less destructive finale, but I - and many other filmgoers - wouldn't have been laughing in our seats thinking "this guy is killing more people than he's saving." It was gratuitous to the point of almost taking me out of the movie.


I just got back from seeing this, and I totally agree. I really liked this movie, but would have really loved it if a few minutes of repetitive building destruction had been cut or toned down. And Smallville gets almost totally wasted, along with downtown Metropolis at the end. Multi-multi-billions of dollars in damage. Who the hell is going to pay for all that? I had a headache when it was over, and didn't even see it in 3D.
Overall, the first half was much deeper and engaging than I thought it would be, but I really felt beaten down by the end of the Zod fight. Maybe that was the point.

Some folks have criticized this movie for being too sturm und drang, with no sense of humor. While I feel it could have used a little Gene Hackman/Ned Beatty banter, I also remember that my biggest criticism of Superman: The Movie back in the late 70's was that it suddenly became a comedy after he put the cape on. We've had enough of Superman with extra cheese, so this is a welcome, deeper and darker take. And I would love to go back and digitally replace god-awful Margot Kidder with Amy Adams.


Post Posted: June 22nd 2013 1:51 am
 

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bearvomit wrote:
ENTIRE MOVIE DETAILED SYNOPSIS BELOW! MAJOR SPOILERS! :o



[spoil] [align=left]“We begin on Krypton. On a battlefield no less. Kryptonian troops try to break the lines of a rebel force that has holed up at a geothermal power plant. Jor-El is there, representing the Science Council. We learn that Kryptonian scientists have recently learned of another world in the galaxy that not only contains life, it contains human life. Having been told Jor-El’s yellow sun theory, Zod has set in motion a plan to leave Krypton behind with his followers for this new world, believing Krypton to be weak and corrupt. Jor-El manages to break through the lines and get into the power planet, where Zod is set to overload the station, which draws energy from the planet’s core (along with other stations across Krypton). He believes that this will start a chain reaction that will ultimately result in Krypton’s destruction. He is confronted by Jor-El who tries to convince him to abandon his crazy scheme but the two end up coming to blows. Zod is the better fighter and knocks Jor-El down and proceed to do what he went there to do. The army breaks through the lines though and manage to get in and stop Zod.

As Zod is taken away, Jor-El looks over the readings coming from the planet’s core. We then have two scenes intercut with each other that show Jor-El at home with his wife and infant son, looking over core data while General Zod is sentenced to the “living death” of the Phantom Zone as his wife Faora watches from the shadows. The Phantom Zone is more like a wormhole than rotating glass and as Zod is pushed through the portal, his clothes burn away and bursts of energy begin to tear apart his skin. He screams in agony that it’s too late and that they will all burn as he will. At the El house, Jor-El comes to a startling realization. Zod wasn’t stopped in time.
An emergency session of the Science Council is called for the next morning and Jor-El pleads his case, saying that Krypton is doomed and that they have no choice to evacuate the population to the newly discovered Earth. However the Science Council accuse Jor-El of being in collusion with Zod, suggesting that he’s trying to carry out Zod’s plan of leaving for a primitive world where he can rule as a god. Jor-El is taken away by security forces and placed under house arrest while the Council investigates him for treason.

With all communication cut off, Jor-El can’t warn anyone what’s about to happen and is stuck in his home, awaiting his fate. We works in his lab, trying to find a way to at least save his wife and son and comes across a small deep space probe that he determines could be modified to hold a person – a child. He works day and night to modify the probe, fitting a Phantom Zone Generator that will allow the probe to travel between dimensions to reach the new world on the other side of the galaxy.

On the day of Kryptons destruction, seismic activity is rising rapidly. Jor-El puts the final touches on the probe and prepares to send Kal-El into space. At the same time, Faora sneaks into a military base to steal a ship. With people panicking all over Kryptonopolis due to the earthquakes and eruption of the Gold Volcano, Faora is able to go unnoticed and make it to the ship. When she takes off however the ship is fired upon immediately. Faora pilots the ship into the atmosphere and out into space. Meanwhile Jor-El and Lara say goodbye to Kal-El in a heartbreaking moment. Finally the modified probe blasts away from the house and rises through the atmosphere as the planet tears itself apart below.

The probe flies into deep space as the planet explodes behind it. Faora’s ship is caught in the blast and spins out of control. With the ship damaged, Faora attempts to set a course and then climbs inside a hibernation pod. Meanwhile, the probe activates the Phantom Zone generator and flies straight into the Phantom Zone. It emerges on the otherside, approaching a small blue planet. The new world – Earth.
The probe flies into our atmosphere and crash lands in a cornfield. We then look through Kal-El’s eyes as the probe opens up and we catch our first glimpse of Martha Kent. Martha pulls Kal-El out of the ship, to the surprise of Jonathan Kent who is standing with his shotgun. He lowers the gun when he sees the child and they stand there looking at the baby and the alien space craft, wondering what the hell they should do.

We then jump forward in time, 25 years later. We find ourselves on an oil rig with a bearded Clark Kent. He’s coming to the end of his shift when his boss calls him in for a chat. We find out that Clark is going under an assumed name and working undercover. Clark immediately goes into journalist mode, asking questions about working conditions but before the boss can respond there is a loud BOOM and everything starts to shake. The oil rig is on fire. The boss reaches for the radio immediately to call the coast guard and we see Clark trying to help people as everything falls down around them, but he’s trying to help without his powers being discovered. Eventually a rescue helicopter approaches but as people try to get to the landing pad, a crane topples over, threatening to crush them all. It never touches them though. The other workers are amazed to find Clark under the crane, lifting it up. The helicopter is able to land and the people are evacuated. Clark pushes the crane off into the sea and when the people turn back to look at him, he’s gone.

We then jump to the streets of Smallville. Clark walks through town, backpack on his shoulder. He reaches the Kent Farm where he is greeted with hugs from his parents. He’s been gone a long time. We learn that he has been traveling the world, covering stories as a freelance journalist. There’s a letter from the editor of the Daily Planet in Metropolis waiting for him, offering him a job. Clark leaves for a shower and a shave, using the mirror to bounce his heat vision back on to his face. He goes to his bedroom to get dressed and sees his old glasses on the dresser. He puts them on, checking himself in the mirror and goes back to his parents who are surprised to see him with them, saying he hasn’t needed them since he learned to control his supervision. Clark says that they make him feel normal, flawed…human. He doesn’t really know what he is. He tells his parents of his travels, of how he tried to help people but that he never seemed to be able to do enough and that he wondered what the point of his powers were if he couldn’t save everybody. Jonathan asks if Clark can help out around the farm, maybe go with him into Smallville to pick up supplies, suggesting that it might help him clear his head.

On the journey into town, Jonathan and Clark talk about his troubles and Jonathan mentions the ship which has been buried in the barn. Clark has always known it was there but was afraid to go near it, fearful of what he might discover about himself. Their conversation is cut short though as a storm blows through the town and with it, a massive tornado. Clark and Jonathan do their best to gather people up and bring them to the storm shelter in the church. There are still people outside though and Clark goes to try to help them. He exits the church and a gust of wind blows his glasses from his face. We then have a sequence of Clark speeding around Smallville, searching for people, saving people as he finds them. The tornado though is approaching the church. Clark heads straight for the tornado. The streets are now empty. For the first time, we see Clark fly as he takes off and flies right into the heart of the tornado, using powers like his superbreath to blow the tornado out like a flame.
When the skies clear, there is a lot of damage but everyone is safe. Jonathan shows his pride in his son who picks up his glasses with a new determination. We go back to the Kent farm and into the barn where Clark digs up the ship. He’s not really sure what to do. Martha and Jonathan look on as Clark reaches out to touch the ship. His touch seems to activate something and the ship comes to life. The barn then transforms into Jor-El’s lab though only Clark sees it that way. Martha and Jonathan just see a barn. We are treated to a heartbreaking moment where we see Jor-El and Lara deliver their final message to their son. Clark sees his infant self in Lara’s arms. They are speaking in Kryptonese but the ship translates the language into English for Clark to hear. When the message is over, Clark is left in tears. He tells Martha and Jonathan of Lara’s final words, his purpose for being on Earth – to live and live well. He notices something in the ship and pulls it out. It’s Jor-El’s Councillor’s suit. He looks at the symbol on it. He knows what it means – Hope. He makes his decision. He knows what his purpose will be. Inside the ship, on a small display, the S Shield flickers as a beacon.

Somewhere in space, inside the damaged ship, Faora awakens from stasis. She looks at a holographic screen and sees the S symbol. The symbol for hope. There’s another Kryptonian out there. On Earth. She now has a direct course to Earth and immediately activates the Phantom Zone generator, setting a course for the blue planet.
We find ourselves in Metropolis at the Daily Planet. Perry White is there and he’s fuming. Clark Kent is nowhere to be seen. We also get our first look at Lois Lane. She tells Perry that he’s getting what he deserves for hiring freelancers. Clark shows up to put Lois in her place, scooping her on a story about a drugs ring operating in Suicide Slums. Lois complains that it was supposed to be her story and Perry reminds her that he assigned her to look into the “Metropolis miracles.” Lois tells him she has no time to write stories on angels or UFOs or people being mysteriously saved from certain doom. Perry reminds her that the Daily Planet isn’t what it used to be, with declining readership. Lois suggests giving Clark the Metropolis miracle story as he’s still new and he probably loves that human interest stuff. Much to Clark’s dismay, Perry agrees and Clark is forced to hand over the drug ring story to Lois. It’s clear from the very start that Lois and Clark are rivals not friends, at least not to begin with. The smug look on Lois’ face disappears however when Perry decides to team them up to cover the new Metropolis-Gotham rail link, being opened the next day. Perry calls it a chance for Lois to show the new guy the ropes, smirking as he says it. Lois is not pleased.

We cut to space where we see Faora’s ship coming out of the Phantom Zone. It’s in our solar system, somewhere near Saturn. It spins through space towards Earth.
The next morning, Lois and Clark are at Metropolis Central Station. This is the first time they really have a chance to learn anything about each other, the possible beginnings of a friendship. When the train arrives, it bears the LEXCORP logo on the side. Lois immediately pulls rank and declares that she’s going to go on the train for it’s first journey while Clark can stay behind to get the views from the people at the station. Clark is left interviewing people about what they think of the new high speed train as Lois takes her seat on the train, managing to bully her way through other people to sit beside the train’s designer, Emmet Vale, (future creator of Metallo, for the geeks out there) for an exclusive interview. Things seem to go smoothly at first as the train speeds up to optimum level, but much to the surprise and worry of the engineer, the train starts to move faster, speeding across Metropolis.

Back at the station, Clark starts picking up radio chatter about the situation. Something is definitely wrong. He moves away from the crowd and disappears. On the train, the engineer is in panic mode. He can’t stop the train. He can’t even slow it down. A sudden explosion destroys the track in the distance. We then get the iconic shirt rip as Clark reveals his fathers suit, now his suit, and the big red S underneath. He then leaps out of his clothes revealing the full Superman costume and takes off at speed, chasing the train. His first job is to uncouple as many passenger cars as he can. He flies alongside the train, to the amazement of the people inside, using his heat vision to uncouple the cars. He manages to get a few and as the rest of the train speeds ahead, he flies ahead of the uncoupled cars and reaches out with his hands, using them as a bumper to slow the cars and bring them a stop. He then goes after the front of the train which as reached the gap created by the explosion. The train falls through the gap. Superman is there in a flash, underneath the train to catch it and level it as it reaches the ground. All of Metropolis watches as Superman brings the train to a complete and safe stop.
For the first time, Superman has a chance to think and he looks around, floating in the air as people with camera phones get pictures and footage of him. He’s revealed to the world now. He uses his x-ray vision to look inside the cars to make sure everybody is OK. Lois emerges and gets a good look at him. There is a moment where Superman thinks she recognises him and Lois wonders herself but she shakes it off. She tries to say something but Superman takes off towards the broken pieces of track. It’s pretty damn obvious that this was sabotage. He flies high into the air above Metropolis and listens. At first we hear a thousand voices all speaking at once but he filters through them until he finds the voices of the perpetrators.

On a rooftop looking over the crash site, the thugs responsible shuffle into a helicopter and take off, looking to make a hasty retreat. It isn’t long before Superman is hot on their tails. One of the thugs fires with an automatic rifle from the helicopter. The bullets just bounce off Superman and he keeps coming. One of the bullets though just misses and flies past him. Superman registers this immediately, stops and turns. He flies after the bullet and passes it by just before it can hit a woman on the street below. He catches the bullet, gives the woman a reassuring smile and takes off after the helicopter again. We have now seen that he is both faster than a speeding bullet and more powerful than a locomotive. Superman flies after the helicopter, getting in front of it and matching speed. Without even flinching, he sends his fist up through the spinning blades shattering them. The helicopter begins to fall out of the sky. Superman of course manages to capture it and bring it to rest in front of waiting police officers who are there to manage the train crash. Superman opens the door and uses his heat vision to melt the guns into metal. Superman tells the cops that they are responsible for the train derailment and takes off before they can respond with both cops and thugs in stunned silence.

Back at the train station, a janitor spots a set of clothes and a pair of glasses on the ground. He looks around, wondering who could have left them there. Shrugging, he goes to pick them up but a red and blue blur flies past and the clothes are gone in an instant. At the derailment site, Lois is on the phone to Perry while getting fidgety as the paramedics try to look her over. She promises to get back to the Planet to write up her account of the events straight away and as she hangs up the phone she spots Clark approaching, severely out of breath, saying he ran across town. She comments that it looks like she’s going to be writing the Metropolis miracle story after all, much to Clark’s frustration. Once again there is a moment where Clark fears that Lois might recognise him but he’s in the clear.

We then find ourselves at a meeting of top military officials, including Lois’ father, General Sam Lane, discussing the appearance of the apparent savior as options are put on the table about developing military strategies to counter a potential threat.
Later than night, Clark is in his apartment talking to his parents on the phone with the tv on in the background, showing footage of the events earlier in the day but also other events around the world. It seems Clark has been busy. His parents talk about how proud they are of him and ask about him being recognised.
In space, Faora’s ship passes the moon and she can now see Earth in the distance.
It’s the next morning and we are greeted to the front page of the Daily Planet – SAVED BY A SUPERMAN! Clark questions the name Lois has given the mysterious hero but Lois points out the big red S on his chest. When Clark asks how they know it’s an S, Perry chimes in asking what else it could be, and Clark drops the subject immediately, afraid of blowing his cover. Lois comments that the people responsible were from a criminal outfit called Intergang. Perry tells Clark to get out on the street and get some reaction from the public.

Faora’s ship approaches Earth, severely damaged. It tumbles through the atmosphere, threatening to burn up as Faora tries to maintain control. She just about manages to level it off in time to crash on the outskirts of Smallville. She takes a small tracking device with her as she staggers out of the ship. She feels the yellow sun on her skin for the first time and spends a few seconds taking it in. The cuts on her face and arms from the crash begin to heal. Feeling her strength returning, she looks at the tracker, finding the direction she needs to go in and starts walking. She walks through Smallville, her alien clothes drawing strange looks. She doesn’t care. She’s focused on her mission.

In Metropolis Superman flies overhead, drawing awed looks from the people below. He hears a woman screaming for help and reacts immediately, descending into an alley to confront an attacker. Back in Smallville, police and local news outlets have arrived at the crash site. As Faora continues through town she’s confronted by a cop. When the cop asks for ID she moves faster than she thought she could, knocking the cop backwards into a parked van. Amazed at her newfound strength, she glances at a nearby car. She picks it up without breaking a sweat and tosses it into a building. She starts to run, picking up tremendous speed and before she knows it she’s at the Kent Farm. Inside, Jonathan and Martha watch the events on the local news. Martha rushes to the phone to call Clark. Jonathan spots someone outside and gets his shotgun. He goes outside and sees Faora. He asks what she’s doing there. She says something to him in Kryptonese. He doesn’t understand. She spots the gun and her eyes start to burn. Jonathan recognises what’s about to happen and fires. The bullet bounces off her. Then a blast of heat vision destroys the gun and burns Jonathan badly. Martha rushes out to her husband. Faora glares at them then walks towards the barn. Martha has the phone in her hands. She starts dialling Clark.
In the barn, Faora uncovers the ship. She opens up and reaches inside to a control panel. After inputting a commands she stands back and watches as a bright light envelops the barn and the Phantom Zone generator activates, creating a portal inside the barn. She waits as General Zod slowly climbs out, his body scarred and burned. She speaks to him in Kryptonese, telling him that the yellow sun will heal him and make him strong. She glances outside and sees Martha holding Jonathan while on the phone. She doesn’t understand what’s being said. She goes back to the ship and activates the database stored inside, effectively downloading Earth’s languages into her mind and the mind of Zod.
In Metropolis, Clark is back in his normal clothes. His phone is ringing. He answers. His mother is frantic, talking about Jonathan being hurt. Even as he listens to his mother, his ears pick up the sound of a TV news program talking about aliens. His x ray vision penetrates a building, seeing through to a TV store on the other side where he sees images of the ship in Smallville. He has to get back and fast.
At the Kent farm, Faora helps Zod out into the sun. She’s heard the conversation and understands the words. She thinks nothing of it but Zod reminds her of the ship. Another Kryptonian on Earth. Faora carries Zod out of the farm, leaving the Kents behind and speeds away, back to her own ship. The police are there. Faora swats them aside like flies and brings Zod into the ship. His wounds are healing but he doesn’t have his full strength. Faora shows him a BATTLE SUIT stored inside the ship.

Superman arrives at the farm and sees that Jonathan is severely wounded. He says he’s going to take Jonathan to the hospital but Jonathan tells him to go after the Kryptonians and stop them from hurting anyone else. It’s a tough decision for Clark but Jonathan reassures him. Superman flies off at speed to the crash site.

What follows is a battle that begins with Superman vs Faora. She speaks Kryptonese to him but he doesn’t seem to understand. So she speaks English, asking who he is. When it’s clear that he is not her ally she attacks him and they engage in battle. The military is also rolling into Smallville. As the battle rages on the street, Zod emerges from the ship in his battle suit and joins the battle. Superman is stronger than both of them at this point and manages to break through the battle armor. At the same time, the small military force is attacking the aliens and Superman ends up having to protect them. With Zod’s battle suit destroyed, he removes it and takes Superman on hand to hand. But he isn’t strong enough yet and Superman is clearly winning the battle. Seeing how much Superman seems to care about protecting civilians she causes a fire with her heat vision that threatens to rage through the town. With Superman distracted, she grabs Zod and takes off. Zod tells her to destroy the ship as they fly over the crash site. By the time Superman is done dealing with the fire, the other Kryptonians are gone.
Superman rushes back to the farm. Martha is in tears. Jonathan is clearly dying. Superman doesn’t know what to do but Jonathan tells him its alright and that he’s proud of the man he’s become. He then passes away in the arms of his wife and son.
General Lane appears at the crash site which has now been secured by the military. The ship is now nothing but debris. Lane orders that the pieces be gathered up for study so that they might know their enemy.

Later on, we find Zod and Faora hiding in the mountains. Zod is getting his full strength back. He notices that Faora may be as powerful as he is and feels threatened by it. Lois Lane arrives in Smallville the next morning. She first goes to the crash site, hoping to get some information from her father but he turns her away though not before suggesting that Superman may have been the vanguard for an invasion. Lois defends Superman, stating that he was fighting the aliens and protecting the people. Then she visits the Kent farm where Clark and Martha are grieving. She introduces herself to Martha and offers her condolences, asking Clark why the alien would be there. Clark responds that the aliens didn’t care who they hurt, doing his best not to reveal the whole truth. Martha offers to let Lois stay at the house while she’s in town. Clark busies himself working on the farm as Lois tries to comfort him and their friendship blossoms for the first time.
In the mountains, Zod pours over information gathered about Superman. Not wanting a rival for the world he decides it’s better to take care of Superman sooner rather than later and will go to Metropolis, where Superman has been active the most and draw him out. He’s also beginning to see Faora as a rival an even though she’s his wife, he blames her for him being trapped in the Phantom Zone for so long and kills her without hesitation. He will have no rivals.

Lois reluctantly says she has to go back to Metropolis but she will stay for the funeral if Clark needs her to. Clark tells her its alright and that he’ll see her in a few days. Lois leaves and Clark and Martha prepare for the funeral. In the mountains, Zod is busy preparing himself, mastering his new abilities. General Lane has gone to Metropolis to set up base, knowing that this is where he’s most likely to encounter Superman and perhaps the other aliens as well.

Martha, Clark and others from Smallville attend the funerals of Jonathan and others killed in the alien attack. When the funeral is over there is a small wake at the Kent farm. In Metropolis, Zod makes his appearance, flying into the city and announcing himself by picking off a few cars with his heat vision. Then he waits. The military is mobilized immediately and at the farm, Clark sees the broadcast of the events on TV. He springs into action immediately, making excuses before disappearing out the backdoor. He’s in the sky, speeding towards Metropolis.

A full scale military assault on Zod is taking place in Metropolis. From tanks to fighter jets, the streets of Metropolis have become a war zone. Lois is of course right in the middle of it. She spots a young photographer, barely out of school, who like her isn’t running away like the rest of the people. She asks who he’s working for and he says nobody. He just thinks he can get some cool shots. Lois offers him a job which he accepts on the spot. He introduces himself as Jimmy Olsen but Lois is too preoccupied to care. She drags Jimmy into the heart of the battlefield as the military fire countless rounds of activity at Zod who doesn’t even flinch and retaliates with devastating force.
Superman arrives on the scene to save the military personnel from annihilation and then confronts Zod. At the command center, General Lane gives orders to fire on both aliens. Zod and Superman have a brief conversation. Zod recognises him as Kal-El, who he once held in his arms as an infant. Superman knows very little about Zod but he knows enough to declare that the General destroyed Krypton, something Zod seems proud of. Their fight is epic. Kryptonian against Kryptonian on the streets and in the skies of Metropolis. While Superman has the experience with the powers, Zod has the advantage in combat training. They appear well matched. Even as they fight, the military continues to fire on both of them. Seeing this, Lois rushes to the command center, leaving Jimmy to get some great shots of the battle. Lois manages to get in to see her father, trying to convince him that Superman is on their side and to give him a chance to stop Zod. General Lane eventually relents and puts his faith in Superman.
The battle continues but Zod is now exploiting Superman’s clear witness, targeting civilians to distract him. Superman knows he has to get the battle away from the city and has to deal with Zod once and for all. So he flies into the air and blasts away from Metropolis with Zod in hot pursuit. They continue their fight as they fly west towards Kansas, back to Smallville, eventually reaching the Kent farm. Troops left behind at the crash site spot them flying by but the two are gone before anything can be done.
Superman gets to the farm first. The wake is over and it’s just Martha. Superman tells her to get away quickly. When Zod arrives there’s nobody in sight. He threatens to burn the whole place down and then uses his x-ray vision to scan the area. He spots Superman in the barn and rips the door off. Superman rushes to the small probe that brought him to Earth and activates the Phantom Zone generator. Realizing what Superman has in mind, Zod rushes him. It’s a battle of wills as the portal to the Phantom Zone opens, threatening to pull them both in. Zod seems to have the upper hand at first but Superman eventually overpowers him and throws him into the Phantom Zone. Exhausted, Superman rushes to the ship and turns off the generator. He then falls to his knees, unsure of what to do.
Time passes and Martha appears at the barn. Superman tells her it’s alright. That it’s over. Martha hugs her son and Clark tells her to stand back, that he’s going to destroy the ship. Martha though says that it’s the only thing he has with any kind of record of where he came from. So Superman decides to put it somewhere it will never be found, mentioning a place he found in the Arctic.

A few days later, General Lane sits in his office. He has some of the debris from the crashed ship on the table and he’s talking about it on the phone. He says there’s not much left. Bits of metal and some pieces of green rock fused into it. We see the person on the other end of the call asking for General Lane to send it over to him. It’s none other than Lex Luthor, sitting in his office over looking Metropolis.
Metropolis is slowly getting back on its feet. The clean up of the battlezone has started. Clark arrives and is immediately confronted by Jimmy Olsen who introduces himself enthusiastically as a new staff photographer. Perry offers his condolences for the death of his father and Lois asks if he’s OK. He replies in the affirmative and is ready to get to work. He then asks if there’s been any word from Superman. Lois replies that it seems both Superman and Zod have just disappeared. The military is still on high alert but it seems the public have taken to Superman as their hero and protector. Lois just wishes he would show himself. Frustrated, she decides to go up onto the roof to get some air.
Lois stands on the rooftop, looking across Metropolis. She turns and is startled to see

Superman hovering in front of her. He tells her that Zod is back where he belongs and hands her a letter, addressed to the people of Metropolis and the world, informing her that he wants people to trust him and the letter will explain everything they need to know about him. He prepares to fly off and Lois calls him Kal-El, having heard it during the battle. Superman smiles and says she can call him Superman. It seems to have caught on. He then points out that he does have a big red S on his chest after all, echoing Lois’ words to Clark, which makes her think for a moment. She asks what the symbol actually means and he tells her that it means hope. Lois can’t help but smile and she watches as Superman flies off. We follow him over Metropolis as the people below watch in wonder. He picks up the sound of someone in trouble, turns in the air and flies to where he’s needed. Credits.“[/align][/spoil]
So wow, this ended up being kinda bullshit. I'm happier with the movie we got though; the one in there sounds too sheep.


Post Posted: June 25th 2013 9:55 pm
 
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http://www.youtube.com/watch?feature=pl ... _Lg#at=230

The guy who did Chronicle. Forgetting that he sounds like a dork, he's bang on a lot of points.


Post Posted: June 26th 2013 5:59 am
 
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^He sounds like a pretentious faggott. :roll:


Post Posted: June 26th 2013 9:50 am
 
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Bandersnatch wrote:
^He sounds like a pretentious faggott. :roll:


Definitely epitomizes the kind of guy you want to kick in the nuts.


Post Posted: June 29th 2013 9:30 am
 
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May I point out that Superman isn't a "guy" from kansas? He's an Alien from Krypton that landed in Kansas.

That kind of unravel's most of his argument.


Post Posted: June 29th 2013 11:39 am
 
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Finally saw this. And in (real) IMAX 3D, no less. Always a pleasure seeing a major tentpole film of such size on a screen of such size.

But I agree with the most of the critics who came away disappointed. Stunning visual effects in a massively visual effects-laden film but if all felt like a bludgeonin' and a chore at times. There were moments of the familiar calm, composed, optimistic character of Superman but the dark, somber tone of the film contrasted with what is the character's essential goodness and moral example. Felt like the basic mistake of last year's Spider-man reboot.

I really had high hopes for this film based on Snyder's work on 300. But I guess Frank Miller had more to do with what I enjoyed about that film than ol' Snyder.


Post Posted: June 29th 2013 12:07 pm
 
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Still haven't seen it again - haven't had the time and I'm also not that interested.

I thought I would like it more as time passed but if I want to call a spade a spade Man of Steel was a big disappointment.

I've seen This is the End twice and I would rather see it a third time than Man of Steel a second.


Post Posted: June 29th 2013 2:21 pm
 
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I saw it yesterday and thought it was not only a great movie but among the best of the genre. It had some emotional scenes (the tornado sequence, specially), great action beautiful cinematography and an excellent cast.

Not a big fan of the shaky camera, but after a while I got used to it.

[spoil]Just have a small question: how did the El suit appear on the old scout ship?[/spoil]


Post Posted: June 29th 2013 5:51 pm
 
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Alexrd wrote:
I saw it yesterday and thought it was not only a great movie but among the best of the genre. It had some emotional scenes (the tornado sequence, specially), great action beatiful cinematography and an excellent cast.

Not a big fan of the shaky camera, but after a while I got used to it.

[spoil]Just have a small question: how did the El suit appear on the old scout ship?[/spoil]


[spoil]The prequel comic explained that the scout ship actually was run by Kara Zor-El (Supergirl). So the suit was just armor from the house of El. And Kara is theoretically still on Earth, somewhere, assuming that Kryptonians are near immortal in the yellow sun.[/spoil]


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