First video: “So I figure, just for fun; just for a fun thing to do over the next couple of months…”
Last video: "I can’t believe it’s over!!"
I was like that when marathoning the first two and half seasons of “Chuck”…then it came back from the Winter Olympics and everything was okay. : )
3D Glasses Sometimes Required turned 1 yesterday! Sorta awkward saying this now though…
To be fair….he has some points. As I said in my review, the editing was off in terms of structure, they do repeat a lot of the same ideas in many of the emotional moments, and much of the supporting cast don’t get a chance to stand out. However, I thought the actors did fine, especially Michael Shannon, the camerawork was mostly great at capturing the carnage without completely distracting the audience, and overall, I did have a really good time…though the laser eye scene at the end was kinda stupid
Director: Zack Synder (Watchmen, 300, Sucker Punch…not that anyone wants to remember that one)
Written by: David S. Goyer (Story by Goyer and Christopher Nolan)
The Players: Henry Cavil, Amy Adams, Michael Shannon, Russell Crowe, Kevin Costner, Diane Lane, Laurence Fishburne
Really, Warner Bros.? This is the best Photoshop job your marketing department can come up with a budget of $100 MILLION?! After all the trailers and ads and OTHER posters, did some intern just turn this in by accident?
The night after I saw “Man of Steel”, my dad and I went over to the TV and just caught the end of the first “Iron Man” before they were about to re-air “Superman Returns” (2006). Watching that end credits tease the ultimate fate that was “The Avengers”, it makes one look at the state of movies from the opposing forces of Marvel and DC Comics. While Marvel has been nothing short of a juggernaut in establishing the Marvel Cinematic Universe in the last five years, DC has been practically stagnant in the same time, with Green Lantern being the sole film to come out in the time period whose sole merit is to be the only DC to be released without the involvement of Christopher Nolan. Nolan, while infinitely successful with his “Dark Knight” Trilogy, has held Warner Bros. and DC back from making their own equivalent to “The Avengers”, The Justice League, due to his insistence on keeping his Batman self-contained. Now with that trilogy at an end and the movie industry still living in the afterglow of “The Avengers”, Warner Bros. has stepped up to the plate with a complete contemporary reboot of the Superman series with “Man of Steel”; armed with some of the best talent on-and off-screen money can buy, it’s easy to see why it does fly as high as it does. It’s just the weird creative mistakes it makes stumbling out of the credits than makes it less than super.
Led by a tri-force of Hollywood’s most successful comic book masterminds (Zack Snyder, Christopher Nolan, and David S. Goyer), “Man of Steel” glides on an near-godly sense of confidence in its’ sense of mythology and scale. From the opening credits to the near-hour long climax, “Man of Steel” makes every scene and every character beat have such a sense of grandeur, from Kal-El’s birth and the (surprisingly) extended prologue on Krypton to Lois Lane’s search for the answer to the question: Who is Superman? The film plays with a strong theme of identity and purpose on a global scale and Zack Snyder absolutely nails at controlling the amount of sci-fi imagery, Malick-esque cinematography (thanks to cinematographer Amir Morkri) and carnage throughout. With none of Snyder’s trademark speed-ramping from his previous pictures potentially distracting, the film simply basks in letting god-like figures roam rampant across space, Metropolis, and even Smallville with some of the epic and relentless carnage seen thus far in modern-day superhero films, with entire buildings being ran through, jets and semis being thrown willy-nilly, and Hans Zimmer’s score blaring in your eyes every five seconds (seriously, his interpretation of the Superman theme plays almost every three scenes as a transition or when you are meant to be awe-inspired), the film delivers on the idea and spectacle of supermen fighting.
Now I’m not even sure what I’m looking at! Try harder!
The all-star cast here also sell the drama and scale being played on screen. Henry Cavil, front and center as Kal-El/ Clark Kent/Superman, delivers the kind of star-making performance that make actors blockbuster stars. He delivers the drama, the charisma, the duality, and the physicality (His pecs just juggle themselves in one scene! Who has the muscles for that!?) the character demands, portraying the charm, peaceful presence, and strength that Superman is supposed to have while also showing the internal conflict between who he is and what he wants to do as both a human and a Kryptonian. Amy Adams sells the modernized version of Lois Lane. No longer a desk reporter, she’s a pro-active character who searches for him while not completely falling into the damsel-in-distress trope that previous incarnations have established who helps legitimize the new status quo of the Superman universe. Kevin Costner and Russell Crowe play a nice duality as the two fathers of Superman, each playing a different part in establishing Clark’s persona and making the hero’s journey aspects of the story more epic and tragic. Michael Shannon has become one of my favorite actors to see on screen recently and he continues to bring his trademark charisma to General Zod, surpassing Terrence Howard’s performance as Zod from “Superman II” thanks to an overall better sense of place and character as an overzealous protector to a dead-civilization that has no reservations in doing whatever it takes to revive it. The supporting cast, while strong in star-power, aren’t given much to do, with Fishburne (as editor-in-chief of The Daily Planet Perry White) and co. mostly sidelined for most of the movie and playing as victims in the climax.
Now given the starpower behind the scenes and on camera and what I have already praised, it makes the several plunders that the film makes somewhat questionable. The editing in the first half is particularly jumbled when telling the story of Clark’s origins and childhood (told exclusively through flashbacks). This editing also leads to some hilariously overblown moments of poor timing, tone, and situation (such as Diane Lane’s speech to kid Clark IN FRONT OF the kids that already think he is a freak). The film also suffers from being nearly over-bloated in length, pacing, and scale, somewhat dragging out for what feels like three hours. The massive carnage in the climax is also held back by some of the most blatant product placement seen in recent years (will anyone really want to go to IHOP when there is a slight chance of Superman and Zod wrecking all your strawberries pancakes…yeah, didn’t think so) and the idea of literally thousands of people dying because of Superman’s wanton destruction in order to defeat Zod. The tone here is also up for debate. While not as dark or psychological as Nolan’s Batman films, “Man of Steel” is a straight-minded and serious film, with not enough levity and humor or engaging discussions to make up for the weaker first half of the film.
Much better now!
As a foundation for DC Films’ future, “Man of Steel” presents an ideal to strive for, establishing a tone that works for bringing such an iconic character up to modern standards and expectations with such a bold and confident production in terms of starpower and spectacle. On its’ own merits, “Man of Steel” is a self-assured blockbuster epic in every sense of the word. With a strong cast and crew playing around with iconic characters and themes, it delivers on making audiences believe in a man that can truly fly beyond his birth, beyond his place, and beyond his limits…it is just the strange details in editing, tone , and an overreliance on scale that keep this Superman a little closer to the ground and a bit duller than steel
Rating: 8 out of 10
Community Meme | Eight Quotes → 4.
“You’re Annie. You like puzzles, and little monsters on your pencil, and some guy named Mark Ruffalo. You’re a fierce competitor and a sore loser. And you expect everybody to be better than who they are, and you expect yourself to be better than everyone. Which is cool.” Troy Barnes, Mixology Certification, 2x10.
If RTD went the other direction with the Doctor…
Video with 1 note
The WORST Movies Nostalgia Critic’s Reviewed - Nostalgia Critic on Blip
No More Nostalgia Critic? - Nostalgia Critic on Blip
Though it hurts to see him go, the Nostalgia Critic has made a permanent impact on my sense of humor, criticism, personality, perspective on the world, timing and on and on. The Critic and Doug and Rob Walker have created a way of life for me for the last three years and I can never truly describe how much they have done for me as I have been growing up. Thank you for all the memories, all the memes, and all the epic unforgettable moments. I believe in NOSTALGIA CRITIC!!
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