Man of Steel


Man of Steel (2013) is the latest reboot of the Superman franchise, directed by Zack Snyder. The Superman film prior to Man of Steel was Superman Returns (2006) directed by Bryan Singer.

The film takes a different approach to a familiar and often-told story. The origin story of Planet Krypton is told in greater detail, illustrating an Avatar-like world that combines advanced technology and weaponry with savage structures and flying beasts. In the final moments before the planet explodes, Jor-El (Russell Crowe) sends his babe son into space, heading for Earth in order to preserve the race, against General Zod’s (Michael Shannon) wishes, who aims to preserve the race himself.

The film, after that point, takes a thoughtful approach to Superman’s upbringing. The next hour of the film has no linear plot. The film progresses through various flashbacks to Clark Kent’s (Henry Cavill) childhood, which allow the viewer to understand Clark’s present-day morality. They present the trials and tribulations that a young Clark faced, which molded his nomadic adulthood. Cavill’s portrayal of Superman is sensitive, expressing subtle changes in his voice and eyes. He fully utilizes his rugged features to exhibit Clark Kent’s wholesome, small-town America vibe.

The flashbacks continue as Lois Lane (Amy Adams) begins chasing down leads to write a story about Clark Kent. She delivers a strong portrayal of Lois Lane without risking vulnerability and compassion. Adams creates a driven female journalist with a hint of her signature sweetness.

Man of Steel expresses some religious imagery throughout the film, almost as if Superman is the ‘Man of God’. The way Superman is shown floating in the air is almost Christ-like, which comes as no surprise since his father describes him as a savior of mankind. These depictions are stunning yet curious — is he one of the human race or is he akin to a god? On a similar note, the scenes that showed Superman overcoming a considerable challenge were inspiring. The look on his face, the determination, the struggle, it all drew in focus and inspired. Superman becomes a stirring figure, comparable to a deity.

The film thrives on a thoughtful pace of meaningful memories, mirrored by calm and reflective music by Hans Zimmer, but the film unfortunately takes a turn from that introspective tone. In fact, the film makes such a stark change that it feels like Michael Bay came in and directed the second half of the film. As a concrete plot line is established, the tone and the story feel aggressive and somewhat false. This film tried to capitalize from previous superhero movies, particularly Christopher Nolan’s Batman trilogy, that presented superheroes and villains in an authentic way. That worked incredibly well for Nolan’s Batman films, because his villains were human, albeit crazed and extremely flawed. They worked in a real-world scenario because real life has shown eccentric and despicable beings. It did not work in this film for two reasons: 1) Superman’s world involves aliens and 2) the movie becomes action-centric. Aliens are always challenging to make realistic, and the entire encounter and communication with the human race is not believable.

The movie tries to be exciting and action-packed, like J.J. Abrams’ 2009 Star Trek is, but it overshoots the mark. The amount of destruction is laughable. There is a point in all the action when the viewer shuts down and waits for it all to stop. And when that stop finally arrives, the action just picks right back up and bombards the viewer with more. The writing, the one-liners, and the story all took a blow in the second half — where it feels like an entirely different film.

The reboot has tremendous potential, and if the movie gets a sequel, one can only hope that Snyder focuses on the thoughtful and unique storytelling from the first half. That is where the film shined.

Star Trek Into Darkness


Star Trek Into Darkness (2013) is the second installment of J.J. Abrams’ Star Trek reboot, following Star Trek in 2009. The film brings back the all-star cast in the newly altered Star Trek universe, where anything goes.

The 2009 Star Trek film gave a breath of life to the decrepit Star Trek franchise. Mix together a cast with great chemistry, that goes to the absolute core of the original characters, with an exciting and unprecedented story line  and a great action blockbuster is formed. While many devoted Trekkies were scandalized by Abrams’ complete dismantling of the entire Star Trek universe, it opened many doors for new — and equally as important — familiar stories. The first film excited and shocked audiences, and the second film makes use of its most valuable tool: reinterpretation.

Many criticize Star Trek Into Darkness  as being a mere remake of A Wrath of Khan, but to believe so is to miss the whole point of the first film. Changing time as we know it opens the door for anything. It was entirely possible that the Enterprise would never encounter Khan in this new timeline, but isn’t it exhilarating that even though time was altered so significantly, this epic encounter still exists? It’s almost as if the confrontation is fated, an idea that I imagine Spock would seriously disagree with, yet this theme can now be considered due to Abrams altered timeline.

The film exhibits scandal from the very beginning, at least it does for Trekkies. The crew of the Enterprise is on planet Nibiru, inhabited by a primitive alien race, and they plan to drop a device into the planet’s volcano to make it dormant, which would alter the natural course of life on Nibiru — a overt violation of the Prime Directive. This violation of the most important regulation in Starfleet is highly shocking, but it develops Captain Kirk’s (Chris Pine) character: a brazen young Captain without accountability. One of the film’s transformations is that of Captain Kirk, from egoistic impulse to selfless leader.

A similar transformation is scene in Spock (Zachary Quinto). Quite possibly after Vulcan’s demise in the previous film, Spock has made even greater effort to stifle his human half. Even after Kirk saves Spock from volcanic doom, Spock struggles to make any emotional connection with Kirk. After relationship trouble with Uhura (Zoë Saldana), experiencing Admiral Pike’s (Bruce Greenwood) dying moment, and experiencing that same moment with Captain Kirk, Spock’s human half surfaces in a shriek of absolute anger, an homage to A Wrath of Khan.

This film’s brilliant villain, Khan, is played by Benedict Cumberbatch. His peculiar countenance lends to being a villain, and it’s backed up by an incredible performance which includes subtleties like sitting up perfectly straight and speaking with arrogance — after all, he’s better at everything. Khan’s climactic (though, to some, anti-climactic) identity revelation brings much scrutiny. Because of the way Khan’s character was introduced in the Original Series, The Wrath of Khan is filled with a heavy intensity. To viewers new to the franchise, Khan’s identity does not mean as much, but it is still packed with superhuman and eerie mystery which keeps viewers invested. The meaningful part of this entire film is that it tells the same story in a new time; while details change, a new generation can participate in and appreciate an older story.

The film’s brilliance culminates in a few wonderfully shot scenes. These scenes focus on four different characters and their facial expressions, which are meaningful in that they express emotions seemingly opposite of what those characters embody. The first is Kirk; as Admiral Pike is chastising him for lying in his report, Kirk slips into a state of vulnerability. The camera stays on his reddened face, peering into his deep blue eyes which show a softened quality hardly ever seen from his character. The magnificence of that shot is that Kirk retreats inwardly instead of acting aggressively. The next scene showcases Pike. As he lays dying before Spock, the camera again stays on his face, which is usually strong, sure, and fearless, but what the camera shows is terror. It’s a terror that is shocking, especially on a face that’s never shown such fear. His eyes are absolutely moving, even to stoic Spock. Thirdly, as Khan explains how he and his frozen crew became part of the picture, the camera yet again stays on his face. As he tells his story, about trying to save his crew — his family — the anger takes over his face, flaring his nostrils and bringing tears to his eyes. The camera doesn’t move away from his face, letting the viewer fully appreciate this surprisingly show of emotion from this ruthless killer. This scene denies any sense of one-dimensional villainy for Khan. The last scene is for Spock, at his transformation in the film. He’s speaking with Kirk as he lays dying, again expressing his vulnerability. Spock, who has only lost his composure over his mother’s death and Vulcan’s demise, is clearly emotional. His colleague — and friend — lays dying and can’t control himself. The camera, again, stays on his face as tears fall from his eyes, a particularly stark sight from anything ever expected from Spock. That, followed by the iconic “KHAAAAAAN!”, express a side of Spock never seen. These four scenes are the magic of the film, taking four characters and turning them inside out in ways never experienced.

This film is an exciting and captivating story — all up until its coda. After Kirk’s death, the film is aimless and wraps up much too quickly. The story could have benefited from the way A Wrath of Khan ends, which would have been more emotional, as well as quite the cliff-hanger for any sequel. Along with those criticisms fall the characters of the rest of the crew. Uhura, who has the potential of being a strong and badass character unfortunately falls into the role of “girlfriend” for Spock. Even though she has a big scene with the Klingons, the majority of her actions are motivated by her being with Spock, not for the good of the order. Karl Urban, who portrays Dr. McCoy exactly, along with Anton Yelchin, as Chekov, received little roles in this film. Even John Cho, as Mr. Sulu remains mostly secondary in this movie. These characters have the potential for more than just comedic relief, something that Simon Pegg’s Scotty was able to achieve. Scotty in the first movie was only humor, but he basically saves the day in this film. Perhaps the rest of the crew will get more screen time and plot lines in the next film.

Star Trek Into Darkness is the first voyage into Star Trek’s new alternate universe. It brings the Enterprise together with a familiar villain in an entirely new light. With plenty of action, lens flares, and  Michael Giacchino’s fantastic soundtrack, Star Trek Into Darkness brings a story and villain back to life in an entirely new light.