Superman and Lois premiere finally gives us a good Clark Kent

I always maintain you can’t have a great Superman without a good Clark Kent. It’s why the Christopher Reeve movies succeeded and the Henry Cavill ones didn’t. That’s not Cavill’s fault. The Christopher Nolan/David Goyer story all but wrote Clark out of the script to focus on a more brooding and uncertain Superman—an error on both points.

So I was not excited to see The CW was coming out with a new show called “Superman and Lois”. Superman and Lois? Great. Here we go again.

I could not, and let me repeat myself for emphases here, COULD NOT have been more wrong. This premiere was fan*uckingtastic.

<p value="<amp-fit-text layout="fixed-height" min-font-size="6" max-font-size="72" height="80">For starters, it didn’t dwell on the origin story. Kansas via Krypton. <a href="; data-type="URL" data-id="; target="_blank" rel="noreferrer noopener">We know</a>. I was thrilled to see them treat it with a quick voiceover before moving on to the hero’s entry as he saved a nuclear plant from sure disaster. But even that wasn’t a warmed-over version of it’s a bird it’s a plane it’s Superman. They chose to make it functional by establishing that Superman and his father-in-law have their own professional relationship and he’s in on the secret identity and the emergency at the nuclear plant was plot hatched by an unknown enemy. Bing bang boom this premier is firing on all cylinders. Let’s get back to Clark.For starters, it didn’t dwell on the origin story. Kansas via Krypton. We know. I was thrilled to see them treat it with a quick voiceover before moving on to the hero’s entry as he saved a nuclear plant from sure disaster. But even that wasn’t a warmed-over version of it’s a bird it’s a plane it’s Superman. They chose to make it functional by establishing that Superman and his father-in-law have their own professional relationship and he’s in on the secret identity and the emergency at the nuclear plant was plot hatched by an unknown enemy. Bing bang boom this premier is firing on all cylinders. Let’s get back to Clark.

Reeve’s Kent, and Brandon Routh’s to an extent, was hesitant and awkward because he’s a small-town Kansas boy with a fast-paced job in the big city. S&L gives Tyler Hoechlin’s Clark a different set of challenges: Parenting, a dual relationship with his father-in-law (hell, a father-in-law to begin with) and saving the family farm. Plus the usual bit about saving the world.

That’s a significant departure from the norm for fans who aren’t plugged into DC’s television universe. But I love it because it ensures this version of Clark Kent will remain a key character throughout the series. The premiere gives us a heavy dose of Clark having to choose between his role as a parent to his twin boys and his responsibility to be the world’s Superman. More importantly, we see him work through those choices as Clark. Love it.

When he chooses his family—which the premiere hints hasn’t happened often—he’ll disappoint the world. When he chooses his family he may literally be leaving people to die. That’s an impossible choice and gives the show plenty of ways to use it for exploring its characters.

The premiere laid the groundwork for three other storylines to expect in season one:
Jon and Jordan’s experience. The show deftly lays out Lois and Clark’s twin sons having completely different personalities. Jon is a budding jock about to quarterback his high school football team as a freshman; Jordan struggles with social anxiety. And then the boys find out their dad is Superman. At first I thought they butchered the reveal scene because Clark handled it very poorly, but then I thought about it from the opposite angle: What if Superman had to reveal to the boys that he was their father? He would no doubt handle it well and they’d be awed. But Clark was not prepared to tell his kids the secret and ended up doing it with no consideration for how they might react. But it’s not like he didn’t try. We saw multiple scenes with him convincing Lois they should never tell them in case one developed powers and the other one didn’t. That was the only way Clark could see it unfold, which blinded him to everything else. The kids started to come around later in the episode but it’s a great example of how the series will give us Clark-centric arcs. A+
Superman’s enemy. We don’t get much in this episode, and I’m okay with that. They lay the groundwork for a character who hates him the way great enemies do. The premiere seemed to heavy up in other places so I wouldn’t be surprised if we get a very enemy-centric episode coming up soon.
What happens in Kansas. I haven’t talked much about Lois so far because she is mostly along for the ride in episode one. That’s kind of disappointing, but they crammed so much introduction into 64 minutes that something had to give. We do however have an emerging storyline with a stereotypical greedy capitalist buying out The Daily Planet and the Smallville bank, which will give Lois something to dig her teeth into. Like the main enemy, I expect we’ll soon see an episode with Lois taking a more active role.

This is all such a wonderful change from the dark and dour tone set by the recent Superman movies (Man of Steel, Batman vs Superman). But wait, doesn’t that mean S&L will run into the same “dark Superman” problem? No, because this show isn’t sidelining Clark Kent and has better surrounding characters. Every character in S&L is immediately more relatable than anyone in those silver screen mistakes except Kevin Costner as Jonathan Kent but he’s Kevin Coster and so dreamy even as he gets older. How does he do that?

Maybe it’s unfair to compare the way Superman is adapted across mediums. I’m going to though. Big screen or small, deep characters driving engaging stories is the way to people’s hearts. That’s exactly what we have with Superman and Lois.

Batman v Superman Fails and Betrays

This review contains major spoilers about Batman v Superman: Dawn of Justice. I know it might seem like I’m violating my spoiler policy by saying that, but this is a movie and if you read the policy carefully it doesn’t apply to movies. Director Zach Snyder pleaded with viewers seeing the pre-release to not spoil the plot, and even though the movie is out I’ll stick to his wish. It is truly a movie you have to go into spoiler-free.

To bump the spoilers down the page, here are some pretty photos. After them this review will begin.

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How will they do this in a movie? I have been asking myself that question for more than 20 years since I put down The Death and Life of Superman: A Novel by Roger Stern. It wasn’t exactly the same as the comic book version, which is canon, but it was a page turner and remains one of my favourite books. It began my teenage comic book years, which did eventually circle back to include the death of Superman and the storylines that came after it. It was superb storytelling and I still go back and read it every few years. In fact I just re-read it today.

As I sat in the theater late last night and Alexander Luthor introduced Superman to his Doomsday I instantly realized the question would be answered right here, right now. The Death of Superman had come to the movie screen.

Except it hadn’t. Not at all. Superman dies in Batman v Superman, but this is not the Death of Superman. This was Doomsday thrown into the end of a sprawling, incoherent film that appears to exist for no other reason than to justify its sequels and the movie franchise they’ll be a part of. The Death of Superman was humble and heroic. It spared Metropolis. It was the only way to stop the creature Doomsday. It was…unavoidable.

His death here wasn’t. Batman could have got close enough to plunge the pure kryptonite (which he spent half the movie stealing from Luthor) spear into Doomsday’s hide. So could have Wonder Woman, who was more than holding her own against the unbreathing monster.

Instead we got Superman, who had just been rendered useless by simple kryptonite gas during his fight with Batman, grabbing this killer spear and maintaining the strength to fly it into the monster, take a spike thru his own chest and still being strong enough to thrust it into the chest of his doom. As Doomsday died, dead Superman fell from his giant hand. Batman lowered him from a pile of rubble into Wonder Woman’s arms, who gave him to Lois to hold for a few tears and a goodbye kiss.

Come on. This is not how it was supposed to be. Superman didn’t die in the dead grip of some monster. He died in Lois’s arms. I was mezmerized by the surprise of it happening and thrilled to finally see it. But it was all wrong. I’m not asking for it to be exactly like it happened in the comic books, but the spirit of it has to hold true. It didn’t here. There are not even any call outs back to Superman 75. No cape on a stick, no reflection in Jimmy’s camera lens.

The worst part for Superman fans and for moviegoers is that we only get one shot at this story. You can’t kill Superman in the movies twice. If someone tries to go back and tell the Death of Superman on the big screen it will fall flat because it’s already been done. The surprise is gone. I will give Snyder and his team credit on this point. After being surprised, I think that was the best way to present it to viewers. The comics made it known ahead of time, but comics have to sell comics. Warner Bros. doesn’t have to worry about people going to see this movie, so it could afford to hide the reveal as long as it possibly could.

That was well done. It was the only thing.

I feel some sympathy for the critics charged with viewing and critiquing Batman v Superman ahead of its release. It would be difficult to talk about it without talking about Superman’s death. But they were right to savage this movie. It’s a mess. There’s too much here. It’s the first movie with Superman and Batman and the introduction of superheroes who will appear in future Justice League movies. And it’s Superman’s death. That’s a lot to fit into one movie and it sucked because of it.

Prior to revealing Doomsday, the only scene that held any resonance was Superman appearing before a United States Senate committee on…on Superman. This seemed to be a forced reaction to fans’ reaction to the wanton civilian destruction in Man of Steel. But the scene was gold. From Superman walking into the hearing to him standing as the only remaining life inside an orange wall of fire it was perfectly done. In that moment you could see and feel his pain knowing that he was steps from a bomb he failed to detect, and it cost hundreds of lives. It proves there is some storytelling ability here.

Unfortunately it’s only a glimpse. Superman’s death has come and gone from the big screen. The final act in a movie that failed its content in every way.

Man of Steel – Can’t We Do Better?

Editor’s note: This post contains spoilers. In accordance with the blog’s spoiler policy, it is a reader’s responsibility to avoid spoilers, not mine. 

I don’t watch enough movies to make writing about them a regular thing, but I love all things Superman. The latest attempt to resurrect him on the big screen left me so conflicted that the only way I could sort out my thoughts was to put them to monitor.

This is supposed to be the reboot of at least two new Superman movies. There have been five previous, plus multiple television shows and cartoons. The Superman S is one of the most recognizable symbols on Earth. Can we please be done with the origin story and the wandering Clark Kent? Movie goers of every age know that Superman is from planet Krypton. Why spend so much time in a new franchise showing the story all over again? That’s time that could be devoted to setting up a new story that can last for several movies. Suppose this and the sequel clock in at five hours, they will have spent 20 percent of that time rehashing old material. The same goes with Clark’s struggle to grow into his destiny. There can be a Superman story without Jonathan and Martha Kent and without Krypton. That would truly re-imagine Superman on the big screen.

Too much of the rest of the movie is just plain stupid. Actually, it’s worse than stupid. It’s damn near plagiarism. Krypton’s birth pods are a blatant copy of The Matrix. The oil rig fire where we first see Clark is obviously intended to be the BP disaster in the Gulf of Mexico.

It gets worse.

Jonathan Kent sends people under a highway overpass to escape a tornado.  This is the WORST thing you can do! No responsible father in tornado alley would ever tell his wife and son to hide under an overpass. I don’t know what would be more unsettling: The brains behind the movie not knowing this is terrible advice or them knowing but deciding to do it anyway. It ruined what should have been the emotional payoff to Clark’s relationship with his father. Kevin Costner did his best to save it, but you can’t rescue something this bad.

Combine that with the incredible stupidity that washes over the human race when Superman is around. How many times do they need to see a flying woman in alien body armor get shot at before they learn that shooting at her won’t do a damn bit of good? We know bullets don’t hurt Superman, we know they won’t hurt other Kryptonians either. Guess what? You probably can’t shoot down a Kryptonian spaceship with your little missiles either. Re-imagine a movie without showing this nonsense.

The moment I gave up on this movie? That convinced me these movie makers don’t have the creative brains to make Superman anew? When they re-enacted Independence Day. You were given America’s favorite superhero. DO BETTER THAN RIPPING OFF A 90s ALIEN INVASION MOVIE. HOW FRICKING TERRIBLE AT STORYTELLING ARE YOU THAT YOU PILFER A SCENE FROM RANDY FLIPPING QUADE?!?

Then, to cap it off, after destroying Metropolis and sending its mindless citizens into rote movie panic, Superman kills General Zod by…breaking his neck. Yep, that’s right. Hollywood’s favorite method of murdering unsuspecting security guards is how Superman kills his enemy, who survived being thrown into and thru all types of solid structures. Why didn’t Clark break his neck sooner? Surely he could have done it and spared half of Metroplis. Did he reach some heightened level of strength that allowed him to overpower Zod’s neck? Was Zod weakened by the fight? Was Clark? Then why didn’t he break Clark’s neck?

I bought into your flying man in a blue suit so I’m willing to let a little bit go, but I’m sorry. Man of Steel asks us to let too much slip by.

What makes this so frustrating is that the movie had a lot of really good parts that show it could have been so much better. It eschews Clark Kent the reporter until the final scene, sparing us from having to endure another actor trying to replicate Christopher Reeve’s charm. Although Henry Cavil’s alternate look was not at all convincing, it shows that the producers have at least some sense of how to tell a Superman story differently.

Hand-in-hand with that change is the way it treats Superman’s great secret: It doesn’t dominate the movie. In fact they are quite reckless with it. Showing how unprotected his identity is (possibly foreshadowing the sequel?), the movie tracks Lois as she follows his trail thru eyewitnesses and contemporaries all the way to Martha Kent’s front door. Later she brings the cops to the Kent’s home. That would have been unheard of in past retellings when Clark’s identity was a major part of the story. We also then have Lois knowing Clark’s secret from the beginning. This is again good and evidence that there is at least some sliver of capability here.

Other bits that I could appreciate were smaller. The special effect that had Faora-Ul popping from position to position in fight scenes showed super speed better than I think it has ever appeared in a Superman movie. Why some of that creativity didn’t work its way into the other effects, who knows. And where was Non?

I liked that Lara-El had a stronger role. Jor-El trusted her with key parts of their escape plan for Kal. There’s nothing in Superman mythology that says she can only be a crying mom. The scene where she gives birth was really good at showing the painful anguish that she couldn’t have possibly known she was in store for, there hadn’t been a live birth on Krypton in centuries. If Man of Steel was a television show, I would be intrigued by the prospect of stories that involve Lara.

Young Clark’s scene in his classroom where his super powers become too much for him to bear is exactly how you’d expect a youngster to react. Jonathan and Clark talking after he lifts his sinking school bus out of a river digs into the moral dilemma of a father balancing his desire to protect his son with his humanity. His answer to Clark asking him if he was just supposed to let his classmates die to protect his secret elicited the only answer it could: “Maybe.” As much as I would prefer such background to be left out, it is still well done.

There’s also no Kryptonite, no Jimmy Olsen and no Lex Luthor (yet). All three are integral parts of Superman lore but leaving them out shows it is possible to conceive a Superman story without the comic book pillars.

As I was letting these thoughts sink in I decided to re-watch Superman Returns. I came to revile that movie as much as everyone else did, but I gained a new appreciation for it in light of Man of Steel. Returns had the John Williams score and recycled scenes with Marlon Brando to make it feel like more of a sanctioned reboot than Man of Steel. Returns’ story even picked up roughly five years after the Reeve movies left off.

What I realized about Returns is what bothered me about Man of Steel. Returns embraced and rejoiced in the inherent cheesiness that comes in a comic book movie. I’m not going to make apologies for its story, but I will defend that it never tried to be anything more than a comic book movie. Can we say the same about Man of Steel?

I don’t believe we can. The excessive attempts to destroy Zod’s army and pathetic copycat moments would land much better in a movie that accepted its place. Instead, I think Man of Steel tried to shoehorn them into its attempt at a Batman style modern superhero epic. As is almost always the case, a mishmash of styles ends up as a mess that leaves you regretful for what could have been.

That’s exactly how I feel about Man of Steel.