With the death of Wes Craven still carving the hearts of the horror community, many tributes have flooded social networks. They’re heartfelt, and many show great imagination. Some, however, are showing the wrong Freddy. I know what you’re thinking, What do you mean “the wrong Freddy”? How many Freddys are there? The answer is nine. There are nine Freddy Kruegers. Official Freddy Kruegers, I mean, that have been in the films (and even on TV). Two actors (primarily) played him. I know, it may not seem like a big thing, but seriously, if you’re so much a fan of something that you want to make a tribute to it, then do it right. And since I’m a teacher by day, I’ll take it upon myself to teach you.
Any questions? No? All right, let’s begin with a….
What is wrong with these DVD and Blu-ray covers?
If you answered “Nothing,” then this why we’re here. The Freddy Krueger on the cover of the Blu-ray cover of the A Nightmare on Elm Street 2 & 3 collection isn’t in either of those movies. It’s the Freddy Krueger from A Nightmare on Elm Street 4. Hell, the house doesn’t even appear in any of the movies. Now the cover of the Nightmare on Elm Street Collection DVD cover is even more problematic. This collection offers all the Nightmare movies from 1984’s A Nightmare on Elm Street to Freddy vs. Jason, all of which starred Robert Englund as Freddy Krueger. However, the cover shows Jackie Earl Haley’s Freddy Krueger from 2010’s A Nightmare on Elm Street remake—er…reboot, sorry. Oh, and poorly Photoshopped onto Mr. Haley’s Freddy’s body is the classic Freddy glove. And by classic, I mean the glove from Freddy vs. Jason, which is supposed to look like…oh, we’ll get to that in another lesson.
Anyway, let’s begin….
A Nightmare on Elm Street, written and directed by Wes Craven and released in November 1984 smacked the horror movie across the face. The slasher subgenre specifically. Instead of a masked stuntman stalking victims, audiences were given an actor whose face was the mask. The makeup, designed by David Miller, was a fantastic representation of the burn scars in Craven’s screenplay. Craven and Miller purposely decided to stray from realistic burn victims to create something that would be realistic but fantastic. Englund’s makeup is layered in spots, so the burned flesh appears to be falling away from the muscle underneath, and there’s even melted pieces dangling. Vaseline and K-Y Jelly was applied to the makeup to give it a nasty sheen. And if you want to nitpick further, Fred Krueger’s sweater only has green stripes on the torso, the arms are red.
For the 1985 sequel, A Nightmare on Elm Street 2: Freddy’s Revenge, written by David Chaskin and directed by Jack Sholder, the makeup changed. Kevin Yagher picked up the makeup effects duties and redesigned the look. He and Sholder decided that Freddy should appear older, more healed. Gone was the double layer of makeup, never to return, and instead came a single layer of prosthetics but with more of a sculpt. Yagher thought a sharper chin and cheekbones would be more intimidating. He also gave Freddy’s nose a hook, a symbolic reference to one of cinema’s scariest villains, the Wicked Witch of the West from The Wizard of Oz. The fedora Freddy wears is also different. It’s bigger with a wider brim. Freddy also occasionally had brown eyes in this movie. Finally, the sweater isn’t as thick as it was in the first movie, and green stripes have moved onto the arms. There are other differences in costume and such, but let’s focus on the face in this lesson.
In 1987’s A Nightmare on Elm Street 3: Dream Warriors, written by Wes Craven & Bruce Wagner and Chuck Russell & Frank Darabont, and directed by Chuck Russell, Yagher returned but changed the makeup again. The chin was dropped and the cheekbones were lessened. The scars became more defined again, though not as much as in the first movie, and the revealed muscles are a light, light pink, almost the same as the flesh. The differentiation between the open flesh and the melted flesh can only really be seen in bright lighting, which there is little of in this film. The hook nose is also brought back a little, though it’s still present. Finally, the fedora has changed again. It’s small than both of the previous movies’ hats, though more in style with the first film’s hat. The sweater’s thickness and bulkiness is also different.
Yagher’s makeup for A Nightmare on Elm Street 4: The Dream Master (1988), written by Brian Helgeland, Jim Wheat and Ken Wheat, and directed by Renny Harlin, is very similar to the previous movie’s makeup. The chin is given only the tiniest bit more definition and so are the cheekbones. They’re not the overdone version seen in Freddy’s Revenge, but are just noticeable. Also, the nose is a little more hooked again. The patterns of the exposed muscles are very similar to that of the third movie’s but are more define by their paint jobs. This is, arguably, the most famous Freddy Krueger look. At least for anyone who was aware of Freddy in the 1980s.This was the face that appeared everywhere! The hat is very similar, if not the same one as, the third movie’s. Ditto the sweater.
David Miller returned to Springwood in 1989’s A Nightmare on Elm Street 5: The Dream Child, written by Leslie Bohem and directed by Stephen Hopkins. Some of the wounds on Freddy’s head in the original film were quite big and Miller went back to that. He kept the hooked nose but lost the cheeks and chin. The neck is almost chicken-like. Freddy looks withered and old in this movie. The hat is seemingly similar to the previous two entries but the sweater is different, brighter in color.
When Freddy returned for the final time in 1991’s Freddy’s Dead: The Final Nightmare, it was only natural his originator should return. By that I mean David Miller did the makeup again. With a script by Michael DeLuca, director Rachel Talalay’s Freddy Krueger is a strange hybrid between the 3/4 makeup and the 5 makeup. The fedora has changed again, looking much more like Indiana Jones’s fedora than ever before. The sores on Freddy’s face are a little smaller and the cheeks, chin, and nose are amplified again, but there’s a strange fleshiness to the face now. Maybe Englund gained weight? Either way, the makeup is some of the weakest in the franchise, because in close-ups, it looks like a man wearing a rubber mask.
Do I even have to talk about Freddy’s look in Wes Craven’s New Nightmare? Craven’s true return to the franchise as writer-director had him rewrite the rules and turn a magnifying glass on his own movie. The Freddy in this film isn’t really Freddy Krueger, but rather an evil spirit/demon that had inhabited Freddy. The look is purposely different, though Craven said in an interview sometime in the last year or so that he thinks he maybe should’ve left Freddy’s look alone. I disagree. David Miller also did the makeup for this movie.
How do you follow up a masterpiece? With a cheesy money-grab monster fight. Still, in 2003 I paid my money down to see Freddy vs. Jason, written by Damian Shannon and Mark Swift and directed by Ronny Yu. In recent years, this makeup had superseded the Yagher makeup from The Dream Master as the most recognizable, though it obviously has its origins in Yagher’s design, which is a smart choice. That big spot that’s roughly the shape of South America on Freddy’s left cheek is like a feature-defining mole. I can’t seem to find any one person responsible for the look of Freddy in this film, but do you really care? Neither do I. (Not true, I do care, but it’s past my bedtime and I need to finish this thing!). Anyway, the chin and cheek enhancements are gone again. The hooked nose is far less prevalent but still there. The exposed muscles are much darker in color while the melted flesh is much brighter in color than their predecessors. This makeup really looks like a fan-made version of Freddy’s makeup. I wonder if they moved to silicon in this version. Anyway, the hat is different, still Indiana Jonesish, but by this point, what were the chances that Harrison Ford and company would return to that old franchise? The sweater is also much, much too dark.
And, finally, the Freddy Krueger makeup for the 2010 remake of A Nightmare on Elm Street, written by Wesley Strick and Heisserer and directed by Samuel Bayer, goes realistic. To break free from the fantasy look that David Miller and Wes Craven agreed upon in 1984, they wanted Jackie Earl Haley’s Freddy to look more like a true burn victim. The problem is that when the camera is anywhere but up close, Freddy’s head looks like a meatball. Digital effects meant to enhance the design only hurt it because their work doesn’t match up from scene to scene, making there no one definite look to Freddy in this film. Even the hat changed throughout production. Basically, like the movie itself, the look is a mess.
All right. Are you ready for your test? I’ll let you review the material for a few moments and we’ll begin. Ready?
What’s wrong with the DVD cover and the Blu-ray menu?
And next time, we’ll talk about the differences in Freddy’s glove between movies.
Author’s Note: BEWARE! Here there be SPOILERS. You have been warned.
Despite pulling in pretty good box office and fairly decent reviews, the sequel to Superman Returns was abandoned. I can’t say that this was a surprise. In a world where Christopher Nolan’s Batman Begins (2005) and The Dark Knight (2008) existed, as well as the Marvel movies leading to The Avengers (2012), it seems appropriate that Bryan Singer’s version of Superman never went anywhere. So it was announced that Superman would get another reboot. (Though it could be argued that Bryan Singer’s reboot wasn’t really a reboot but rather a sequel…but we discussed that, didn’t we?). Another problem that Warner Bros. and DC Comics had on its hands was the abysmal failure of 2011’s Green Lantern. The film opened strong but sunk quickly and the movie won over not even the most ardent comic book fans. That was okay, because there was another card up their sleeves by the time Green Lantern opened.
Based on concepts discussed during the story phase of The Dark Knight Rises (2012), David S. Goyer and Christopher Nolan came up with a story for new version of Superman, one that would be more in line with the success achieved by Nolan’s Dark Knight Trilogy. Warner Bros. and DC went for it and announced in 2010 that Man of Steel was a go. Many names were bandied about as director but finally Zack Snyder was announced. As I’m sure many people were, I was unimpressed by this announcement. Snyder showed great potential in films like Dawn of the Dead (2004) and 300 (2007), as well as the ability to carry off an epic-sized production with Watchmen (2009), but he seemed mostly style and no substance. And Superman needs substance. With Christopher Nolan on board as producer as well as working on the story with screenwriter David S. Goyer, it seemed as though maybe a new Superman would come for today’s audiences.
The first look at the new Superman was released in 2011, during filming of Man of Steel. There’d already been some location-shooting leaks and the official first look featured Henry Cavill in the suit. I was unimpressed. It was dark, and rubber, and just too damn much for Superman. Still, I held out hope.
And here is where I give you, my friend, another note. Unlike most of the essays/commentaries/whathaveyous I’ve posted in this series, I have only seen this movie one time. It’s not the only one I’ve seen only the one time; the cartoons, 1948 and 1950 serials, and Superman and the Mole Men have all only been viewed once. Where those differ than this is that they were all way before my time. Beginning with 1978’s Superman: The Movie, these essays began to get real personal because they were the movies that, in some small way (and sometimes big way), have meant something to me.
Back in November, my wife gave birth to my second daughter. She is now soon-to-be-8 months old. As such, I couldn’t get out to this movie opening weekend or the weeks that followed until today (as I write this paragraph on July 2nd, 2013). I would like to see it again but probably won’t be able to until the Blu Ray comes out later this year. So this is a first-time viewing write-up, with only just under 12 hours to digest what I’ve seen.
You have been warned….
Henry Cavill as Clark Kent/Superman is superb. I was worried by the previews and the photographs that his Superman would be dark, would be moody, and would be a drag to watch like his predecessor Brandon Routh. This is not the case. Well, not entirely. He is dark. He is moody. But he’s also real good. The moment he takes flight (for the second time) and goes, the natural smile that breaks out on his face is priceless. He is young enough to really enjoy this newfound sensation but old enough to know he’s the only one who can feel this. It is a moment when all the preceding worries slip away, and all the succeeding worries are too far away to worry about. For that moment, for the first time, he knows who he is and he’s happy. From his wandering, lost soul that we meet onscreen early on, to his final horror at what he has done to the only other member of his species toward the end, Cavill doesn’t just embody Superman, but a Superman for our time. And, if I may, let’s talk about his physique for a moment. Wow. I want to look like that. I won’t. I’m too lazy with too much of a predisposition for cheeseburgers and pizza, and I’m too short, but if I could look like any actor working right now…yeah. Henry Cavill. If Christopher Reeve was the embodiment of Superman for his generation, then Henry Cavill is the embodiment of Superman for his.
Michael Shannon deserves mentioning because he’s becoming one of my favorite actors. Like many people, I first took note of him as the scary Federal Prohibition agent Nelson Van Alden. I need to see more of his work because I find him mesmerizing. And he does just such a job here as General Zod. For a generation, Terence Stamp’s portrayal of General Zod was so deeply ingrained in our minds, it seemed foolhardy to put anyone else in the role. Even the comic books began to shape General Zod after him. But when it was announced that Shannon would play Zod, I knew it would be fine. Shannon brings a passion that is quite opposite to Stamp’s cold, emotionless approach. Both men are able to use their respective takes on the character to make General Zod chilling. Shannon’s General Zod is not evil for the sake of being evil, but a man who is so convinced of his rightness that he will not be dissuaded. Reason won’t work with him. Pleading will not work. Zod wants only to bring the Kryptonian way of life back into existence that he will destroy a whole other species to do so.
If Henry Cavill is the Superman of his generation, then so Amy Adams is its Lois Lane. Intelligent, girl-next-door beautiful, and not willing to take shit from anybody, Adams gives a great performance. She owns this Lois Lane. If I have any complaint about her, it’s that I wish there was just a little more character building for her. I want to know more about her. But that’s not Adams’s fault. She brings a realism to the role and her love for Clark Kent/Superman grows naturally, not in some quick, school girl way.
The rest of the cast is really good, too. Russell Crowe as Jor-El, Lawrence Fishburn as Perry White, Kevin Costner and Diane Lane as Jonathan and Martha Kent, and all the others were just really good. They gave great performances and I bought them all in their roles, which says something because I’m no fan of either Crowe or Costner.
David S. Goyer’s and Christopher Nolan’s story (Goyer’s screenplay) is really good. It’s not perfect, which I’ll get to soon enough, but I liked it a lot. They tell an origin story for this Superman that’s familiar but different. They spend about the same amount of time on Krypton as Donner did back in 1978, but this Krypton is much different and action-packed. The costumes for the Krypton Council were wonderful. Then the decision to go through Clark Kent’s past in flashbacks (like they did with Bruce Wayne’s past in Batman Begins) was good. We get to see Cavill in action sooner but still get examples of where he came from throughout the story. General Zod and Jor-El are given a backstory that tightens their relationship and makes the happenings when Zod comes to Earth that much more personal. And the decision (SPOILER) to have Lois Lane know Clark Kent is Superman through her research before he even becomes Superman is a good one. I don’t know what the reaction of it is by other people, because I haven’t read a goddamn thing about this movie (if I could help it–and let me tell you, that’s hard these days) but I’d guess that Superman purists are unhappy with this decision. I loved it. It made me love Lois even more.
Of course, the biggest upset in their story is the ending, the final moments between Superman and General Zod. Let me say this about it: It was spoiled by a relatively well-known science fiction writer who I follow on Facebook. He posted something about heroes and heroism and I began reading it. It wasn’t until the fourth paragraph that he mentions this scene, which shocked me. He had nothing at the beginning indicating that he was writing about Man of Steel or would give away the goddamn ending. Since then, there have been other instances of this scene mentioned, sometimes in headlines. Today’s culture assumes that we all go to the movies right away. There’s no time for people to go and see anything except right now because if you don’t, nudniks on Facebook, Twitter, and the goddamn nerd presses will ruin it for you. I’ll stop my rant here and go on about this new culture we find ourselves in another time. From what I can gather, there seems to be a backlash about (SPOILER–this is the last time I’m posting that. If you haven’t figured it out by now, just go to another website) Superman breaking General Zod’s neck.
Now, if this were an ending that happened because Superman suddenly became Rambo, I’d be upset. But I thought it was handled really well. Cavill’s emotions in this scene are great. Here he is at the beginning of his career as superhero, and he is really given no choice but to kill the only other member of his species that remains. He doesn’t want to, and maybe if this were the second movie of the series, he wouldn’t have gone there, but he does what he has to. One can argue about the lameness of what was going down in the museum in the moments before and all that, but the fact is, where would Zod have been held? He’s as powerful as Superman but without the ethics. There’s no molecular restructuring in this version. There really is no choice. But Superman always has the choice, you may argue. My response: Bullshit. I’m as against capital punishment as much as the next guy, but sometimes, there really is no choice. I’m sorry.
Finally, I’m going to lump Zack Snyder’s direction with the special effects. Krypton looks amazing. The feats Superman pulled off were really super. Oh, and I really liked Superman’s suit. I didn’t think I would but I found it to be closer to the original comic book suit than Superman Returns‘s suit but in line with this story’s needs. Well done. It turned a disbeliever into a believer. Snyder, for once, doesn’t get in the way of himself (300), nor does he go so purist that he misses the chance to adapt a story cinematically (Watchmen). I really feel like what I saw onscreen was a modern version of what Joe Schuster and Jerry Siegel created 75 years ago.
It’s a little choppy in places. I’d like to give examples but I can’t. As I said, I’ve only seen the movie one time but I remember thinking at one point, How’d we get here? Maybe another viewing would change that.
The flying dildoes were an issue for me. General Zod’s people are punished for their crimes on Krypton and are placed in pods that go onto a spaceship that goes to the Phantom Zone. These pods fly up to the awaiting spaceship and look like a bunch of dildoes. It’s ridiculous. Did no one notice this throughout preproduction? Did no one point this out during the various viewings? How could no one look at these pods ascending toward the spaceship, stand up, and shout, “That looks like my junk!” But, alas, Zod and his crew gets put on the Phantom Zone spaceship in flying dildoes.
The destruction is stupid. I know I’m not the only one to say so since a quick Google Search brought up many articles that are only about the destruction. Days ago, this one from BuzzFeed crossed my feed and I ignored it because I hadn’t seen the movie, but knew I wanted to give it a looksee. The destruction was staggering. It was as though Goyer, Nolan, Snyder, Warner Bros., and DC watched The Avengers and said, “We’s gotsta go bigger!” It was ridiculous. I know we live in a Post-9/11 world where the imagery of falling cities is supposed to be cathartic in some way, but can all agree we’ve had enough? If this were the sequel, I could almost understand the reason to go so goddamn big, but it’s the first movie of (hopefully) a good series. What’s going to happen in the next movie? Will half the planet be wiped out? And the worst part about it is that there’s no follow-up to the destruction. We get a scene between Superman and a United States general, a touching scene between Clark and Mom, and Clark Kent donning the glasses as he arrives at the Daily Planet to “meet” Lois Lane and begin work as a reporter. This is all well and good, but about the damage? The lives lost? Shouldn’t Superman be out helping rescuers and clean stuff up? Will that be brought up in the sequel? Either way, I found the destruction of Metropolis too much and it detracted from my overall enjoyment of the movie.
After the Battle
Overall, I really liked Man of Steel. It’s not as good as I’d hoped it would be, but it’s the best Superman movie we’ve had since Donner’s 1978 film, and it’s just different enough to be its own thing. I’m looking forward to what happens next. If Goyer and Snyder were smart (and they are) they’d go with a more personal story instead of the spectacle. A Superman story will inherently have spectacle, whether he’s fighting a rogue Kryptonian or a street thug. And if they follow The Dark Knight Trilogy in the way that Man of Steel used the template set up in Batman Begins, then the next movie will be a more personal. And judging by some of the LexCorp logos on buildings and tankers, I have a feeling we know where they’ll go.
Nineteen years. The world changed substantially between 1987 and 2006. One thing did not change: The desire to bring Superman back to the Silver Screen. After the disastrous Superman IV, it looked as though the Man of Steel would be on sabbatical. That was fine because 1989 brought a different superhero to the Silver Screen. Batman, starring Jack Nicholson and Michael Keaton, written by Sam Hamm, and directed by Tim Burton, was one of the most anticipated movies of 1989. Don’t think that Superman still wasn’t on people’s minds, though. 1988 saw the worldwide celebration of Superman’s 50th birthday, he appeared on the cover of Time, and the Salkinds returned to him…kinda-sorta. They produced a syndicated television series of Superboy that lasted between 1988 and 1992. But the word on Batman was good. People were looking forward to it and the Warner Bros. marketing machine went into overtime. And when the movie finally opened on June 23rd, 1989, it was a blockbuster. A new era in the comic book movie had dawned and Superman seemed like a relic.
The success of Batman and its 1992 sequel, Batman Returns, as well as the general popularity in comic books that resulted, made the comic book movie seem like a legitimate film genre. Despite Superman appearing on television in a new series in 1993, Lois & Clark: The New Adventures of Superman, which promised at the outset a more grown-up Moonlighting feel but quickly descended into a juvenile adventure show, the idea of bringing Superman back to the Big Screen was very much on the minds of Warner Bros. Jon Peters, the famed former-hair-dresser-turned-Big-Time-Hollywood-Producer and one of the producers of Batman and Batman Returns, wanted to bring Superman to the Silver Screen in a big, big way. And that is how the Superman Lives fiasco came about. The film, written by Kevin Smith, directed by Tim Burton, and starring Nicolas Cage as Clark Kent/Superman seems to be a near-miss for Superman fans. Peters kept at it, though, and so did Warner Bros. I won’t go much more into it but a simple Internet search for Superman movies will bring you a lot of information.
Besides, by the late-1990s, the comic book movie genre had pretty much died. Aside from the Batman movies, no other movie hit its mark. There was a lot of development but little actual production. What movies were made looked horrible, weren’t taken seriously, and died a quick death. Television was a little kinder with the Warner Bros. Animated series of Batman, Superman, and Justice League.
And then in 2000 came X-Men. With a story by Tom DeSanto and Bryan Singer, a screenplay by David Hayter, and direction by Singer, the film adaptation of one of Marvel Comics’s most popular teams hit all the right chords and was a mega-hit. The idea that Bryan Singer would have gotten involved was shocking. He was an up-and-coming indie film director and his film The Usual Suspects was an Oscar darling. What he brought with him was the knowledge that the characters were important, that without strong characters, these films could have as much spectacle as anyone could put in them but it wouldn’t mean a thing.
X-Men rejuvenated the comic book movie genre, but it took Sam Raimi’s adaptation of Spider-Man to really get it going.
I loved these movies, but not being a Marvel kid, I kept waiting for DC’s triumphant return while skipping the 2001-2012 TV series Smallville. With Batman Begins (2005), DC returned to the Silver Screen in a triumphant way. Using the model set up by the Marvel Entertainment movies, Warner Bros. went with Christopher Nolan, who’d gained tons of attention for his indie thriller Memento. So it wasn’t a shock that Warner Bros. would have a new Superman movie for the following year. What was the shock was the director: Bryan Singer. After two successful X-Men films, who would’ve called him jumping ship for Superman?
So in June 2006, I found myself with a friend whom I liked a lot sitting in a local movie theater eagerly awaiting Superman Returns. With a story by Singer, Michael Dougherty, and Dan Harris, and screenplay by Dougherty and Harris (who’d written the screenplay for the great X-Men sequel X2), there was no doubt the movie would be great. Although I’d seen the trailers and wondered about a few things–Marlon Brando’s posthumous return as well as the use of John Williams’s original theme–I was pretty excited.
It was a movie that I was truly looking forward to. Things hadn’t been so great for me starting in 2003 but were beginning to take an upswing. I would be starting a new job at the end of the summer as a teaching assistant. Though I was pretty depressed, I knew that I was on the road to recovery. Things were looking up. And there was a new Superman.
So the lights dimmed, and I was transported away for my first Superman movie viewing on the Big Screen….
The opening title sequence. Though I’d seen all the Christopher Reeve Superman movies, I’d seen none of them in theaters. So to see the opening title sequences for the first two films recreated on the Big Screen gave me chills. John Williams’s music has been a part of my life seemingly forever, so sitting there and seeing a “new” version of the old credits with his music just blew me away and brought tears to my eyes.
The special effects were astounding. Superman’s flying effects were as real as anything done to that point. It wasn’t just the flying effects that were good, either, but all of the effects. A little too good, perhaps. In the sequence when Lois Lane (Kate Bosworth) is covering a space shuttle test on an airplane and the plane ends up plummeting from the sky until Superman (Brandon Routh) saves it, I actually had a panic attack brought on by the uber-realistic effects, both visual and sound. It is a scene that started me wondering if maybe special effects are too good these days.
The story wasn’t bad. It took the material seriously and did its best to give the characters pathos. It honored what came before but went off in a different direction. And it took some bold risks in the adaptation. It’s not perfect, which we’ll get to, but it’s a valiant attempt with some good moments.
Kevin Spacey as Lex Luthor is perfect. He comes across as arrogant enough, and cold enough, to be Lex Luthor. Besides being one of the best actors working today, he embodied what a modern Lex Luthor would be like. And, unlike Gene Hackman, Spacey was willing to shave his head for the role.
The Phantom Zone
This is a tough one. I’d like to talk about the rest of the cast, but I don’t feel like they should be placed under The Kryptonite, so I’m placing them in The Phantom Zone. Brandon Routh as Clark Kent/Superman, Kate Bosworth as Lois Lane, Parker Posey, and James Marsden were all actors I had some issues with, especially upon rewatching this movie. Marsden plays Richard White, Perry White’s (Frank Langella) nephew. Look, I’m not a fan of Marsden. I’m not sure what it is exactly, though I’ve liked him in some stuff I’ve seen him in. He was great as Cyclops in the X-Men movies, but here I didn’t particularly care for him. He plays Lois’s boyfriend–partner? fiancé?–her not-husband and seemingly the father of her child. He has some good moments in this movie, but there’s something about him that just doesn’t sit well with me. Parker Posey is another actor who I think is great but who got on my nerves here as Miss Tesch–er…um…Kitty Kowalski. She’s obviously supposed to be the modern Miss Teschmacher except she’s not…how to put in a Politically Correct way? Aw, to hell with it. She’s not sexy enough. Valerie Perrine, I’m sure, got many a young men started on the road to puberty in 1978. Parker Posey? Not so much. She’s attractive in different ways and I think her talents are under-utilized in this role. She’s not bad, she actually brings a lot of emotion to the part, but she just doesn’t feel right to me.
Which brings me to Kate Bosworth and Brandon Routh. As the two most important characters in the movie, their roles are essential. Both look too young to be in their roles. Considering both look (and, according to Wikipedia, were) in their early-to-mid 20s, it’s hard to believe they were together five years before this story for any substantial amount of time in Metropolis. They’d be better cast as young Superman and young Lois Lane first meeting, but even that wouldn’t be ideal since Lois was already established as an up-and-coming major reporter. Bosworth lacks some of the toughness that Margot Kidder had that made Lois Lane believable. Whether it’s 1948, 1978, or 2006, being a woman reporter is difficult because the news agencies are boys’ clubs. Lois Lane needs to be tough-as-nails while still being soft and, sometimes, vulnerable. Bosworth doesn’t sell me on the tough part. She’s cute, she’s a capable actress, I guess, but I had trouble buying her as Lois Lane. Not only that, but I never sensed any onscreen chemistry with Brandon Routh. The chemistry is essential to the part.
And now I go to Brandon Routh. I want to love him as Superman, and after that first screening at the Flagship Cinemas in New Bedford, Massachusetts, on July 15th, 2006 (I keep my ticket stubs), I did. I thought he was the perfect Superman. But now I’ve seen the movie three, four, maybe five times (I think it’s four) and I’m not so sure. He plays the role fine in the sense that I’m sure he did what he was directed to do or as the script called for him to. He mostly looks the part of Superman and Clark Kent, and even resembles Christopher Reeve when he smiles. But he’s too muted. He’s too serious. He’s too goddamn subdued. And because he looks so young, I had trouble believing him as Superman. His Clark Kent has nearly no personality, and his Superman only a modicum more. As a matter of fact, he hardly speaks as Superman. Again, I think it’s the performance that was asked for, and he delivered. But….
The story. Here’s one of those contradictions I enjoy employing. I mentioned what I liked about it so here’s where it rubs me the wrong way. Is it a new movie that’s paying homage to the original Donner movie(s)? Is it a follow-up to it/those? What is this beast, exactly? It has the John Williams theme, the opening title sequence, pictures of Glenn Ford as Jonathan Kent, Lex Luthor’s obsession with real estate, Lois’s article “I Spent the Night with Superman,” a consummated romance between Superman and Lois, the Kryptonian crystals forming the Fortress of Solitude, and Marlon Brando as Jor-El. It looks as though it’s a follow-up to the Donner film(s). But the fact that it takes place in modern America, with cell phones, flat screen televisions, etc., disputes that. So it seems to be a new movie with a helluva lot of homages. This is cute when you see it in the theater for the first time, but it gets old upon further viewings and once you bring your brain to the party.
The lack of wonder and fun is a problem for me. It tries for wonder, I’ll give it that. The image of New Krypton rising from the Atlantic towards space is something to behold, however, the rest of the movie falls short. In some parts, the movie is just plain boring. Maybe it’s the lack of chemistry between actors. Maybe it’s boring lines. Maybe it’s because the fact that this entire movie feels like the song “Superman (It’s Not Easy)” by Five for Fighting. Don’t get me wrong, I love the song and the ideas behind it, but I don’t want a 2hr 34 minute movie based on it. Yet, that’s exactly what it feels like. Superman spends a lot of time alone and serious. It’s not that I don’t want Superman serious, or alone, but I don’t want him emo, either. Christopher Reeve’s Superman was serious, but not slit-my-wrists-serious. Lex Luthor and his gang have some dark humor, and there’s some humor at the Daily Planet with Jimmy Olsen (Sam Huntington) and Clark, but overall the movie just went on and on and the performances and story in between action set pieces aren’t engaging enough.
Superman’s beating has always bothered me. New Krypton is made with Kryptonian crystals stolen from the Fortress of Solitude combined with Kryptonite. This means that when Superman is standing on it, he becomes powerless (and, in theory, should eventually die). Lex Luthor and his gang use this opportunity to beat the living shit out of Superman, ending with Luthor stabbing him with a shard of Kryptonite, breaking it in Superman. The beating is brutal and probably is what led to the PG-13 rating, because none of the rest of the movie really warrants it. It’s a bit overkill, really, based on everything that’s been set up so far. I know Lex Luthor is a ruthless criminal, and there’s no Otis this time bumbling around, but the beating feels out of place in this particular movie. That’s probably because the movie is so closely related, by its own cleverness, to the 1978-1980 films. Maybe I’m being too judgmental here, but I just don’t think it fits.
I’m not a fan of the new Superman suit. It’s a little too much. I don’t mind the switch away from tights/spandex, but there’s something about the costume that just doesn’t feel like Superman to me. It’s unfair, perhaps, due to the perfection of the Christopher Reeve costume when compared to the comic book version, to be so critical over the suit, but there are things that just bother me. The boots look like something from Nike, which makes me wonder how it fits into Clark Kent’s shoes. For that matter, how does the S on the chest go unnoticed under Clark’s shirt? Also, the dark red and gold aren’t right. I made an allusion to this in my essay on Superman III; Bad Superman’s red and yellow is the same color as Brandon Routh’s Superman’s, only he’s not evil (he’s barely even alive!). The shirt goes up too far, too, or something. I don’t know. I’ve just never been a fan of this costume.
Finally, by biggest issue with Superman Returns is Jason White, played by Tristan Lake Leabu. Jason White is Lois Lane’s son, whom we think belongs to her fiancé Richard, but is actually Superman’s son. This shocker wasn’t all that shocking, which is part of the problem. The moment the audience is introduced to the asthmatic little boy it knows the kid belongs to Superman, even though they look nothing alike. The kid doesn’t look like Lois, either. The thing that made me think that maybe the kid wasn’t Superman’s was the thought that I’m sure every fan had: Oh, wow. The creators of this movie are really adapting this by giving Lois a kid. It must be Superman’s, except, who’d be that stupid? Surely fans will revolt against this. But it is Superman’s son. Which, again, throws the plot into a weird light in regards to the Donner movies. There’s no hint in this movie (other than the boy) that Lois and Superman were ever together, just that they obviously cared for each other. So the question goes back to: Are the filmmakers going back to Superman II with this, and if so, which one? The Lester Cut has Superman giving up his powers before sleeping with Lois, which would mean his sperm wouldn’t have the super powers anymore, right? The Donner Cut has Superman sleep with Lois and then lose his powers. But since most people probably wouldn’t have seen this version, isn’t that a little out there? And if it doesn’t have anything to do with those cuts, or the first Donner Superman, then how come more isn’t made of Lois and Superman’s relationship? Does she realize who Clark is? There are so many damn questions, never mind the science of two different species conceiving a child. If it’s impossible for two species of creatures on Earth to conceive, how can a humanoid creature from another planet conceive with a human woman?
And that’s not even my biggest problem! Because if it were Christopher Reeve and Margot Kidder on the Big Screen, directed by Donner, with a screenplay by Mankiewicz that exhibited the same dedication to the characters that their movies did, I’d be with Superman, Jr. Or if Singer and his writers done a better job with their characters and hired actors I could get behind more, I’d be with Superman, Jr. But that’s not what happened. Their story is good, but never really finds the right balance. Their actors are all right, but I have trouble really buying them as people who’ve gone through these kinds of adventures before. And the worst of the actors is, I hate to say it, Tristan Lake Leabu. Look, I don’t want to beat up on a little kid so I won’t say it’s his talent that’s lacking, I’m sure the kid is a fine actor as he’s worked in movies and television after Superman Returns, but it’s the story and the directing. He becomes a Creepy Kid. As I wrote about Miko Hughes in the otherwise phenomenal Wes Craven’s New Nightmare, Creepy Kids seem to infiltrate many movies. Why does Jason White have to walk around like a zombie? Why must he have no personality? There’s nothing charming about what this kid does in the movie. Again, I don’t think it’s the young actor so much as the way Jason White is written and Bryan Singer’s direction for the boy. When a kid is used to advance the story like this, and really doesn’t do much else to contribute to it, he’s a prop, and the filmmakers should be ashamed. It would’ve been far more interesting having the child behave like a five-year-old child, running around, getting into true mischief, than having this Golden Boy who walks catatonically through the movie to finally throw a piano at someone.
After the Battle
I left the movie theater that summer night happy, and I guess that’s what really matters. Superman had returned (for the time being) and things would be getting back on track for me, too.
If it seems as though I dislike Superman Returns it’s because I get hung up on the details that bother me. I don’t dislike it, nor do I particularly like it. It’s better than Superman IV and, overall, Superman III (though there are parts of Superman III I like better than anything in Superman Returns). I think it was a lost opportunity. On its own, I think there’s some great stuff in this movie, but I think some of the ideas going into it were flawed, as were many storytelling aspects of it. I think Brandon Routh could’ve done better in the role had the script (and direction) had him do so. I think Bosworth does as well as she can but is miscast as Lois Lane. I guess I just expected something better from the people who brought us X-Men and X2.
I still would have seen a sequel to this, though. It does intrigue me on where Singer and company would’ve gone. Alas, it wasn’t meant to be.