Soaking up the enormity of visual effects on display is made easier in the disc’s splendor. Close-ups dwarf the frame in facial definition and Superman’s suit is a spectacle when in view. Seeing Krypton in scale and appreciating their cultural minutiae is appreciated. It earns a prize becoming of summer action blockbusters.
Man of Steel poses for shocking layers of clarity. Complications further arise during battles as dust, debris, and smoke scatter to further crimp fidelity. The lack of cleanliness is appealing were it not for stray moments where grain appears stuck or dancing with artifacts to some unheard music. This AVC job sits below 20 Mbps and wobbles whenever challenged by source imagery. Director Zack Snyder reaches for the film canisters, ditching digital cinematography, and the resulting grain is a mess of image decomposition – but only due to the choking bitrate delivered by Warner. Warner’s encode for Man of Steel will pose a greater threat than General Zod. Having a Superman to deflect some of those bullets from their intended target makes sense in our current political climate, something Man of Steel does well to represent. Anything can be solved with a bullet or sheer brute force. We are not so open to border intrusion 75 years later, nor do we carry the necessity of Superman with our ideas of a self-sustaining military. America needed a defender and found it with an outsider, someone whom we accepted despite his foreign origins. In 1939, the world was teetering and entering the opening salvos of World War II. He rejects the careless decisions which continually drain our freedoms for the sake of safety. This Superman is not saving us so much as he saving us from ourselves. After the rush of computer generated people roughing up buildings for 30 minutes, the film takes a final brush at reality in poking another hole in an American failing. Man of Steel ends with this incarnation of Superman mauling a $120 million dollar spy satellite. However, she cannot help the logic of minuscule Smallville, Kansas containing an IHOP, 7-11, and Sears within a one block radius. Warner’s reboot is stuffed with preposterous events, and it takes a character like Lane to shrink the unreality to acceptable levels. Although it demands to be otherwise, Man of Steel is patently unrealistic with its laser beams, X-Ray vision, and catastrophic destruction. Lois Lane (Amy Adams) humanizes Kal-El, a poky reporter with dialog to better represent humankind as opposed to someone capable of supersonic flight. This Superman is not saving us so much as he saving us from ourselves… Young Kal-El wrestles emotionally as to whether to use his powers – granted from our sun – for the sake of life or let things fall as fate would dictate. Questionable narrative tactics follow Kal-El through an adopted childhood, guided by an impossibly gifted morality speaker in Johnathan Kent (Kevin Costner). Superman thus becomes a mournful, confused voice, acting as a warning siren in this latest origin story. We have become the antagonizers, dropping into foreign soil and injecting our systems in places where they are so often refused. Instead of Superman representing inherent norms, it’s Zod.
In the undercurrent, there is a perspective of the other side who see the USA as antagonistic, a country who often attempts to supersede cultures with its own. Superman (Henry Cavill), predictably, wants none of it.
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Zod wants to keep Krypton ideals alive their civilization thrives on pre-selection in birth, creating lives devoid of free will. General Zod (Michael Shannon) is one of few remaining Kryptonians, a dying race which became a victim of subterfuge and ultimately imploded their planet. He is weakened because the country he represents teeters. Superman has evolved from someone who dabbles in interplanetary squabbles and saves airliners from crashing. We do need someone to rescue us with a symbol of hope strapped to their chest. Making Superman fallible within the framework of a wounded country – post-recession, post-9/11, and multiple Middle Eastern wars – is a logical extension of the character’s purpose. Changing him suddenly seems less of an infringement on a cultural icon than it could be. Making him an embodiment of invincibility is bred of the United States’ perspective as a super power. They would come to Earth donning America’s red and blue to fend off other invaders. The idea goes that aliens on other planets would appear in our likeness, speak our language, and fight for our principals. Under those conditions, Superman (Henry Cavill) himself is an arrogant creation. He wears the colors of the American flag. Goyer (who reignited Batman) to create an even better Superman.Ĭonsider Superman: He has a perfect masculine jaw.
There is an arrogance in Man of Steel’s design, an idea that something bred of perfection could be made “better.” Everything is better in America as we’re born to believe, so Warner hired writer David S.
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