REVIEW: BATMAN V SUPERMAN: DAWN OF JUSTICE

CAST
Ben Affleck (Argo)
Henry Cavill (Immortals)
Amy Adams (American Hustle)
Jesse Eisenberg (The Social Network)
Diane Lane (Hollywoodland)
Laurence Fishburne (Hannibal)
Jeremy Irons (Lolita)
Holly Hunter (Crash)
Gal Gadot (Fast And Furious 6)
Scoot McNairy (Monsters)
Tao Okamoto (The Wolverine)
Lauren Cohan (The Walking Dead)
Michael Shannon (Boardwalk empire)
Michael Cassidy (Smallville)
Ray Fisher (The Astronaut Wives Club)
Ezra Miller (Trainwreck)
Harry Lennix (Dollhouse)
Joe Morton (Speed)
Jeffrey Dean Morgan (The Losers)
Carla Gugino (Watchmen)
Patrick Wilson (Hard Candy)
Jason Momoa (Stargate Atlantis)
Jena Malone (Saved)
Callan Mulvey (Zero Dark Thirty)
Rebecca Buller (Sirens)
Emily Peterson (The Jamz)
Joseph Cranford (Better Call Saul)
Kevin Costner (The New Daughter)
Eighteen months after the destructive attack by General Zod in Metropolis from Man of Steel, Superman has become a controversial figure. Daily Planet journalist Clark Kent, Superman’s alter ego, has moved in with Lois Lane. Bruce Wayne, who has operated in Gotham City as the vigilante “Batman” for nearly two decades, sees Superman as a potential threat to humanity. After learning of Batman’s activities, Superman also views him as a threat, and seeks to stop him via the Daily Planet articles authored by him as Kent.
Wayne learns that Russian weapon-trafficker Anatoli Knyazev has been contacting LexCorp’s mogul Lex Luthor. Meanwhile, Luthor tries to convince Senator June Finch to allow him to import Kryptonite retrieved from the Indian Ocean following the results of Zod’s terraforming attempt, claiming to use it as a “deterrent” against Kryptonians, but she denies the request. He also makes side dealings with Finch’s subordinate and demands access to Zod’s body and the Kryptonian scout ship.
Wayne attends Luthor’s party at LexCorp, where he meets mysterious antiques dealer Diana Prince, and retrieves data from the company’s mainframe. The data drive, however, is stolen by Prince, who later returns it to Wayne after she is unable to decrypt the data. While decrypting the drive at the Batcave, Wayne has a dream of a post-apocalyptic world, where he leads a group of rebels against Superman. He is snapped out of the dream by an unidentified time traveler, who warns him of Lane’s crucial role in the distant future, and urges him to find “the others”. Wayne later realizes that Luthor is not only experimenting with Kryptonite, but also investigating metahumans. One of them is Prince herself, who is an immortal warrior. Wayne admits to Alfred Pennyworth that he plans to steal the Kryptonite to weaponize it, should it become necessary to fight Superman. Batman pursues a convoy carrying the Kryptonite to LexCorp, but Superman interferes and orders him to cease his activities.
Luthor orchestrates a bombing at a congressional hearing where Finch is questioning Superman on the validity of his actions, which have resulted in deaths of civilians. The bomb kills dozens of people, including Finch. Frustrated with failing to save people, Superman goes into self-imposed exile. Batman breaks into LexCorp and steals the Kryptonite, planning to use it to battle Superman by building a powered exoskeleton, and creating a Kryptonite grenade launcher and a Kryptonite-tipped spear. Meanwhile, Luthor enters the Kryptonian ship and learns of its functions, as well as recorded alien worlds.
Luthor kidnaps Martha Kent, Clark’s adoptive mother. He reveals that he has manipulated Superman and Batman by fueling their animosity of each other. Luthor forces Superman to fight and kill Batman in exchange for Martha’s life. Superman tries to reason with Batman, but Batman instigates a fight and ultimately gains the upper hand thanks to the kryptonite grenades. Before Batman can kill Superman with the spear, Superman urges Batman to “save Martha”, whose name is also shared with Wayne’s late mother. Lane arrives and explains the situation, convincing Batman that Superman is not a threat. Upon learning of Luthor’s plan, Batman leaves to rescue Martha, while Superman confronts Luthor on the scout ship. Surprised at his own defeat, Luthor executes his backup plan, unleashing a genetically-engineered monster with DNA from Zod’s body and his own. However, Diana Prince arrives unexpectedly. Revealing her metahuman nature, she joins forces with them to fight the creature. However, they are soon outmatched by its power, as it is can absorb and redirect energy. Realizing that it is vulnerable to Kryptonite, Superman retrieves the Kryptonite spear and attacks the monster. With Batman and Prince’s help distracting it, Superman impales the creature. As it dies, the creature stabs and kills Superman with one of its bone protrusions.
Luthor is arrested, and while speaking to Batman he gloats that Superman’s death has made the world vulnerable to powerful alien threats. A memorial is held for Superman in Metropolis. Clark is also declared dead and Wayne, Lane, Martha, and Prince attend a private funeral for him in Smallville. Martha gives an envelope to Lane which contains an engagement ring from Clark. After the funeral, Wayne reveals to Prince that he plans to form a team of metahumans, starting with the ones from Luthor’s files, to help protect the world in Superman’s absence. After they leave, a faint heartbeat echoes from Clark’s coffin and the dirt around it begins to levitate.

Once a movie that i was extremely nervous about stepping into, just happened to turn out to be my favorite superhero movie, and probably will for years to come, very interesting aspect of the movie was using the flaws of the first installment of the comic book universe and building upon those mishaps to create a much better and more compelling story. In this Ultimate Edition, there are both Theatrical Version (151 mins, in both 2D and 3D) and the Ultimate Version (extended Cut, 182 mins, only in 2D). I would strongly recommend the Extended Cut, because the extra information is helpful to tie in different events.

REVIEW: SUCKER PUNCH

 

CAST

Emily Browning (Sleeping Beauty)
Abbie Cornish (Limitless)
Jena Malone (Donnie Darko)
Vanessa Hudgens (Spring Breakers)
Jamie Chung (Once Upon A Time)
Carla Gugino (Watchmen)
Oscar Isaac (Star Wars: The Force Awakens)
Jon Hamm (Mad men)
Scott Glenn (The Silence of The Lambs)
Monique Ganderton (Smallville)
Peter Bryant (Dark Angel)
Patrick Sabongui (The Flash)
Chrstine Willes (Dead Like Me)
Ian Tracey (Bates Motel)
Gerard Plunkett (Travelers)
A.C. Peterson (Shooter)
Michael Adamthwaite (Stargate SG.1)

 

Like many men, when I saw the trailers appear for the film a number of things caught my eye immediately. First and foremost was the cast of hot scantily clad young women with cool sounding names like Baby Doll, Sweet Pea, Rocket, Amber, and Blondie. The next thing noticed was that it seemed to blend fantasy with a lot of ridiculously over the top action that involved zombie Nazis, fire-breathing dragons, robot samurai, and other entirely bizarre and irrational things that would surely only come out of the imagination of a weirdo who has a strong affection for anime, video games, and everything else considered genuinely bizarre: this was not the kind of thing I expected to see for a big-budget spectacle showpiece. The end result was that Sucker Punch ultimately looked to me like something that would only appeal to young men looking for thrills or pop-culture junkies. It seemed like it would have plenty of pretty images and little substance whatsoever. What could possibly be worthwhile about the film beyond some mere thrills.MV5BODk0MDI3NDI5N15BMl5BanBnXkFtZTcwNzc2MjA3NA@@._V1_SX1777_CR0,0,1777,825_AL_Sucker Punch begins with what essentially adds up to being a music video stylized opening that aims to bring audiences into the start of the story. Prepare to see a lot of this throughout the entire experience. I actually embraced it because it’s in part the kind of thing I always felt Snyder should be doing: making music videos or commercials. By placing an emphasis on the music and striking imagery I felt allowed to have a visceral experience that actually grabbed on to me and wouldn’t let me go. We discover early on that the girl we would soon know as Baby Doll (Emily Browning) was being sent to a mental institution by her stepfather. It’s no fault of her own mental health – she witnesses the murder of her younger sister who I presumed was also raped beforehand. The stepfather doesn’t stop there as he tries to rape and murder them both, and when Baby Doll fights back he somehow arranges it so that they believe the murder of her sister was why she was being committed into the mental institution in the first place.MV5BMTg1MjM1ODk3N15BMl5BanBnXkFtZTcwOTc2MjA3NA@@._V1_SX1777_CR0,0,1777,828_AL_Upon entering the mental institution Baby Doll enters a fantasy-world she creates where the storyline of Sucker Punch allows her to enter a dream within another dream state of mind (and this really made me wonder if this had anything to do with why Christopher Nolan picked Snyder for the Superman reboot). She visualizes the mental intuition as actually being a dance hall – but the truth of the fantasy is that the director of the asylum, Blue (Oscar Isaac), is really trying to prostitute the girls out to clients in his role as the owner of the dance hall. The doctor of the mental institution, Dr. Vera Gorski (Carla Gugino), is now seen as the dance instructor and every time one of the characters ‘dances’ they are actually entering a deeper fantasy world where all of the crazy video-game/anime like qualities truly step in to play (such as the dragons and robots – oh my!). The dancing in the film is never visualized in the way most men probably want or expect – there isn’t a lot of ‘sexy moves’ on display in these moments and to my disappointment I have heard some complaints about this as a detractor. The dances in this movie are not ordinary dances at all but are in fact moments when Baby Doll enters her deeper fantasy state.MV5BMjA1MzYxNDUwOV5BMl5BanBnXkFtZTcwNDY2MjA3NA@@._V1_SX1777_CR0,0,1777,829_AL_Baby Doll has met the other girls Rocket (Jena Malone), Amber (Jamie Chung), Sweet Pea (Abbie Cornish), and Blondie (Vanessa Hudgens). Eventually, the girls team up in each of these sequences. During the first ‘deep dream’ sequence Baby Doll encounters a seemingly wise old man (Scott Glenn) while alone. He informs her that in order to become free she must collect five items: a map, knife, fire, key, and another item that she must discover on her own. He also gives her a handgun and sword that can be used while inside her dream world. Over the course of the story, Baby Doll convinces the other girls that following this plan of action is the only way for them to escape. Some of the girls are on board with the idea while others (mainly Sweet Pea) seem against it.MV5BMTM0NjM2MjgxN15BMl5BanBnXkFtZTcwMDc3ODIxNA@@._V1_SX1500_CR0,0,1500,999_AL_I realized at some point that there began to be a correlation between the first layer of the fantasy world and the second one. Actions taking place within the dream-world fantasy affected the other. Characters died unexpectedly and the result was their death and removal from both of the fantasy plot-lines taking place. Towards the end of the film the items gathered are used for the last surviving girls to escape and they are used in the film . In concluding the story, Baby Doll realizes that the fifth thing needed for her to escape was simply her, and then she helps one of the other girls to find freedom while she stays behind. Upon entering into the reality of the situation – in the mental hospital – we find that Baby Doll is about to have a lobotomy. Dr. Gorski enters the room and talks to the man performing the lobotomy (Jon Hamm). She questions why such a thing is happening, and soon realizes that a forgery was done of her signature for someone to make the lobotomy occur. Yet it was already far too late as the operation had just been completed.Baby Doll is led away by some guards to a room where Blue awaits her. He tells her that he can now do anything with her that he wants to do. The guards seem reluctant; saying something about being sick of letting him do what he wants to these girls. Dr. Gorski breaks into the room and stops whatever was about to happen. In a scene that appears as an epilogue thereafter, we see the lone girl who escaped get onto a bus with the same old man from Baby Dolls dream world as the driver.The audience just got sucker punched. The conversation held between Dr. Gorski and the man performing the lobotomy revealed that Baby Doll had actually done some of the things the audience witnessed in the fantasy world she created. In other words, the film blends reality and fantasy in a way that makes it hard to state what moments were real and what moments weren’t. Some will call this a cop out. I actually disagree for once. It had my own imagination going rather wild.

REVIEW: WATCHMEN: TALES OF THE BLACK FREIGHTER / UNDER THE HOOD

 

 

 

TALES OF THE BLACK FREIGHTER

CAST (VOICES)

Gerard Butler (300)
Cam Clarke (He-Man 2003)
Jared Harris (Lincoln)

Rider-Time-Ryuki-Another-RyukiWatchmen was a great movie, and a great comic-book adaptation . It’s true that the metafictitious Tales Of The Black Freighter comic story was a marvellous little additional plot device which nicely mirrored The Watchmen’s main story and was allegorical of many of the main characters’ – specifically Ozymandias’ – bloody paths to becoming what they most hated, all paved with good intentions. It fitted nicely within the pages of the comic books and all was well-and-good. Tales Of The black Freighter was never likely to make it into the movie-proper though and – as much as those purist geeks may disagree – it is far from an essential part of the story, however much I may personally have liked to see it on celluloid. I was delighted, therefore, when I heard that, so dedicated were Zack Snyder and Co. to providing the closest possible rendering to the source text/art, that they would be releasing a near-coinciding straight-to-DVD animation of Black Freighter.MV5BODc2MmM2N2EtZGY1Yi00ZjdiLWI1MmMtODU5MTU2MTc2MTVjXkEyXkFqcGdeQXVyNTAyODkwOQ@@._V1_SX1777_CR0,0,1777,748_AL_Tales Of The Black Freighter is, like Watchmen, a painstakingly accurate re-telling of the meta-comic on which it is based, but I’m sure that this time the complaint will be that, when no longer juxtaposed in context to the principal narrative, the once well-timed symbolism somewhat loses it’s impact. They may well be right, of course, and maybe releasing this separately sold DVD – which also includes a well-conceived 1985 period-themed Under The Hood author’s spotlight feature – could be construed as a little cynical when the Black Freighter itself is a mere 20 minutes long, but then if it weren’t made available until bundled with the Watchmen’s DVD release then it couldn’t be viewed as a companion piece until long after the film had left the cinemas.MV5BYTNjM2I0YzMtMjU1NS00MjM4LTlmZjEtNzQzOGJlZTlhNDUwXkEyXkFqcGdeQXVyNTAyODkwOQ@@._V1_As an addendum to The Watchmen movie, Tales Of The Black Freighter entirely succeeds.

CAST

Ted Friend (Elf)
Stephen McHattie (300)
William S. Taylor (Scary Movie 3)
Matt Frewer (Jailbait)
Rob LaBelle (Jack Frost)
Carla Gugino (Sin City)
Jeffrey Dean Morgan (Texas Killing Fields)
Danny Woodburn (Mirror Mirror)
Niall Matter (The Predator)
Apollonia Vanova (Man of Steel)
Jay Brazeau (Bates Motel)
Frank Cassini (Timecop)

UNDER THE HOOD

 

DC put together this short documentary as a companion piece extra to the “source” of the film, which itself is a take-off on the in-between chapters of the Watchmen book. Hollis Mason, the original Nite Owl in Watchmen, writes an autobiography chronicling the history of the costumed heroes that are a big deal in the 40s, then becoming less of a “fad” in the 1950s and then being outlawed, all with the prose of who was originally a NYC police officer. It’s a series of interviews done in faux 1970 style TV (even includes a few “vintage” commercials, one of the three actually quite funny), with an interviewer who gets the actors playing the characters to improvise (or maybe it’s all written, I can see that very well being the case as well) on the subjects posed and raised. It’s fun to watch and a little clever. It’s a nice companion to the film.

REVIEW: WATCHMEN

 

CAST

Malin Ackerman (The Heartbreak Kid)
Billy Crudup (Almost Famous)
Matthew Goode (Match Point)
Jackie Earle Haley (Human Target)
Jeffrey Dean Morgan (The Losers)
Patrick Wilson (The Conjuring)
Carla Gugino (Sin City)
Matt Frewer (Jailbait)
Stephen McHattie (300)
Rob Labelle (Jack Frost)
Garry Chalk (Dark angel)
Chris Gauthier (Smallville)
Patrick Sabongui (The Flash)
Agam Darshi (Sanctuary)
Danny Woodburn (Mirror Mirror)
Laura Mennell (Van Helsing)
Robert Wisden (Highlander: The Series)
Jerry Wasserman (I, Robot)
Don Thompson (Slither)
Michael Kopsa (Fantastic Four)
Fulvio Cecere (Valentine)
Mark Acheson (Elf)
Jay Brazeau (Bates Motel)
Niall Matter (The Predator)
Apollonia Vanova (Man of Steel)
Carrie Genzel (Jennifer’s Body)
Frank Cassini (Timecop)
Sonya Salomaa (The Collector)
Michael Eklund (Arrow)
John Tench (Andromeda)
Jason Schombing (Sanctuary)
Colin Lawrence (Virgin River)
Alessandro Juliani (Smallville)
Sahar Biniaz (Blade: The Series)
Tom McBeath (Stargate SG.1)
Kevin McNulty (Snakes on a Plane)
Michael Adamthwaite (Supergirl)

66262-ycoiuhbnkq-1503295178Watchmen was easily the most hotly awaited picture of the first half of 2009, and I’ll readily admit that the dynamic yellow-and-red poster billboards around town generated a charge of anticipation that Savant hasn’t felt in years. That the film was not considered a runaway success doesn’t surprise me. A movie about superheroes that is neither consistently feel-good nor entertainingly funny is a hard sell. Other writers have noted that the Watchmen are relative unknowns in comparison to icons like Spiderman and Superman; there’s less of a built-in audience for them. Describing the Watchmen movie also suggests expressions like “intellectual puzzle” and “non-linear”. Large segments of the audience have little use for narrative complexities and historical irony.

What movie audiences do care about is action, and to compensate Watchmen ratchets up the graphic novel’s considerable violence. Bloody content limited to a single comic panel or two, looks like gore porn when turned into a film sequence.  Even with a few subplots deleted, Watchmen is so complicated that it bears comparison with David Lynch’s noble 1984 attempt to film Dune. Lynch got lost in wall-to-wall exposition and characters reduced to walk-ons. Watchmen avoids the same fate by closely following the original’s highly cinematic structure. Moore and Gibbons’ comic book panels made heavy use of devices familiar to moviegoers — parallel cutting, associative transitions.Watchmen is a multi-generational story of costumed superhero crime fighters. They got their start in the 1940s as “The Minutemen”, later formed another association called “The Watchmen” and then were outlawed in the early 1980s. Most have kept their anonymity in retirement. Nite Owl (Patrick Wilson), Silk Spectre (Malin Ackerman), Rorschach (Jackie Earle Haley), Ozymandias (Matthew Goode) and The Comedian (Jeffrey Dean Morgan) have no super-powers. The one Watchman who does is Dr. Manhattan (Billy Crudup), an “atomic man” who glows a soft blue color. A research scientist transformed into a near demigod by an experiment gone wrong, Dr. Manhattan wins the Vietnam War for Richard Nixon, allowing the President to run for a third term by popular demand. Most of Watchmen plays out as a science fiction alternate history tale, although the film drops a major Sci-Fi element from the final act.In 1985 an unknown assailant murders The Comedian. Defying the ban on costumed vigilantes, Rorschach warns the other Watchmen and puts pressure on the underworld to find out who is responsible. Dr. Manhattan breaks up with Laurie Jupiter (secretly the Silk Spectre) and abandons humanity to meditate on Mars. The Cold War goes into panic mode, as the U.S. and the Soviets are already at the brink of nuclear war, and Dr. Manhattan was America’s defense insurance policy. Laurie and Dan Dreiburg (secretly the Nite Owl) become an item. Frustrated by all the bad news, they ignore the ban and reassume their roles as crime fighters. Laurie and Dan spring Rorschach from prison and begin an investigation that leads to the activities of the millionaire technocrat Adrian Veidt, formerly Ozymandias.That synopsis doesn’t begin to touch the intricacies of Watchmen or its pleasing assortment of superheroes, that collectively flesh out a pantheon of comic book traditions. The Nite Owl is a kinder Batman type, a quiet millionaire who has engineered a flying vehicle and other crime-fighting gadgets. He’s actually following in the footsteps of the original Nite Owl, a two-fisted hero from the 1940s. The Silk Spectre is a Wonder Woman- like beauty with identity issues. She was pushed into her role by her flamboyant mother, the Silk Spectre of the Minuteman years. The corrupt Comedian lost sight of his crimefighting ethics and became a murderer, war criminal, rapist and dirty ops agent for Dick Nixon. The highly intelligent Ozymandias is also a fabulously wealthy international businessman under the name Adrian Veidt; he’s put his crime-fighting past on the public record and even sells Ozymandias toy action figures. Veidt considers himself a modern Alexander the Great.The most interesting Watchman is Rorschach, a seedy misanthrope who wears a strange mask that forms mysterious symmetrical patterns identical to a psychologist’s inkblot test. Now considered an outlaw vigilante, Rorschach keeps a bitter Travis Bickle-like diary and refuses to compromise on his mission to slay criminals. Between them the Watchmen cover numerous approaches to the concept of “masked crusaders” trying to function in a complex world. Director Zack Snyder  epitomizes the modern director who prepares computerized pre-visualization sequences, directs the live action, and waits for his technician-artisans to deliver test composites to critique. Elements that the director once had to make “come together” before a real camera on a real set can now be added, subtracted or altered almost indefinitely; the director of an effects-heavy film now functions as a creative manager. Snyder openly admits that his goal is to faithfully replicate the visions of other artists, which has prompted some to question exactly what he contributes artistically to the show. To the extent that Snyder still casts and directs the actors and decides when and when not to follow the graphic novel, he is actually much more “involved” than were many old-school studio directors. Even the biggest Hollywood names sometimes worked from locked scripts and often had little contact with projects before or after the actual filming. Considering how little opportunity for personal expression the Watchmen assignment afford, Snyder’s done a fine job.In this case, closely following the original was Snyder’s only choice. CGI allows the presentation of almost any visual, and the leagues of Watchmen fans wouldn’t have tolerated detours from their story. Most of Snyder’s adjustments are good ones. The strange sidebar tangent involving a “Black Freighter” horror comic has wisely been spun off into a separate direct-to-video production. To get out from under a mountain of plot complications, Snyder drops Adrian Veidt’s elaborate hoax on humanity that involves murdering an army of technicians that mock up the corpse of a gigantic space alien.Watchmen was somewhat overpowering in the movie theater, precisely because it is so close to the original. Instead of being taken in a new direction, I felt like Snyder was holding the book in front of my eyes and turning the pages for me. But movies of this kind are no longer made to be seen only once, and on a second viewing it was easier to simply watch what was happening, admire the classy designs and marvel at the excellent casting.

REVIEW: THE ONE

CAST

Jet Li (The Mummy 3)
Carla Gugino (Watchmen)
Delroy Lindo (Gone In 60 Seconds)
Jason Statham (Spy)
James Morrison (24)
Dylan Bruno (Numbers)
Tucker Smallwood (Contact)
Dean Norris (Breaking Bad)
Joel Stoffer (Agents of S.H.I.E.L.D.)
Archie Kao (Power Rangers Lost Galaxy)
Doug Savant (Desperate Housewives)

MV5BNDU0MzAyOTIxMF5BMl5BanBnXkFtZTYwMDMzODk2._V1_

A high concept film that offers the possibility of the existence of a number of parallel universes wherein a person actually exists in each as an individual entity, yet is linked to the others by a life force that enables one to draw power and strength from another, `The One,’ directed by James Wong, is ultimately a showcase for the martial arts prowess of Jet Li. Li plays the dual role of Yulaw, a former policeman of the `Multiverse,’ who at some point happened onto the fact that if his own counterpart in one universe dies, his strength is increased; and Gabriel, a member of the L.A.P.D., who knows nothing of the existence of Yulaw or the parallel universes until he finds himself suddenly and inexplicably being hunted down by an unknown predator. Gabriel, it seems, is the last of Yulaw’s counterparts; and he has thus far disposed of one hundred, twenty-three others already. And, if the theory of the Multiverse proves to be true, with Gabriel’s demise Yulaw will become a kind of god, invincible and unstoppable. But there is another theory that states that if such a thing in fact occurs, it will mean the destruction of the universe in which it transpires. So there is a lot on the line, with only two policemen from the Multiverse, Roedecker (Delroy Lindo) and Funsch (Jason Statham) on Yulaw’s trail, hoping to stop him before it’s too late.
Wong has crafted a clever and fast-paced, action-packed adventure in which his star, Li, proves more than capable of maintaining the excitement, especially in the scenes in which he squares off with himself (with a nod of thanks to the F/X wizards-at-large). In this case, more is better, and `two’ Li’s equals twice the action, which is the name of the game in this movie. But though the action is plentiful– and extremely well done and choreographed– the story, even with it’s interesting premise, never seems to be fully realized, or at least not up to it’s potential.

On the acting front, Carla Gugino gives a solid performance as T.K., Gabriel’s wife, and though her supporting role is little more than a diversion between the action sequences, she is a welcome presence to the proceedings and makes the most of the screen time she is allotted. Most importantly, she makes T.K. believable, which adds some needed strength and emotional involvement to the story. Lindo does a good job, as well, but his character, Roedecker, lacks the development that would’ve made him a more integral part of the story. The same can be said of Statham, also, and Funsch seems to be little more than a means by which to move the story along. Not a bad device, but it adds so much more to a film when the characters involved have some real life of their own in them.

The supporting cast includes Brandon Molale (Stygian Prisoner), Scott L. Schwartz (Prisoner) and Kim McKamy (Doctor). A film that seems to fly by as fast as Jet Li’s feet and fists, `The One’ is definitely an exciting experience and makes for some satisfying entertainment. It’s a what-you-see-is-what-you-get kind of a movie, and the chances are pretty good that you’re going to get exactly what you expected going in.

REVIEW: MAN OF STEEL

CAST

Henry Cavill (The Immortals)
Amy Adams (American Hustle)
Michael Shannon (Boardwalk Empire)
Diane Lane (Unfaithful)
Russell Crowe (Gladiator)
Antje Traue (Seventh Son)
Harry Lennix (Dollhouse)
Richard Schiff (Seven)
Christopher Meloni (Underground)
Kevin Costner (Waterworld)
Ayelet Zurer (Daredevil TV)
Laurence Fishburne (Hannibal)
Mackenzie Gray (Smallville)
Ian Tracey (Bates Motel)
Carla Gugino (Watchmen)
Julian Richings (Doom Patrol)
Tahmoh Penikett (Dollhouse)
David Lewis (Unspeakable)
David Paetkau (Flashpoint)
Mike Dopud (Arrow)
Chad Krowchuk (RV)
Aaron Pearl (Stargate SG.1)
Jacqueline Scislowski (Power Rangers Beast Morphers)
Alessandro Juliani (Smallville)
Rebecca Buller (Sirens)

film_supermanreturns_featureimage_desktop_1600x900The planet Krypton, unstable from years of industrial mining, faces impending destruction. Jor-El, chief advisor to Krypton’s supreme council, recommends a full-scale evacuation of the planet’s inhabitants. Before any action can be taken, soldiers led by General Zod, an old friend of Jor-El’s, launch an uprising and arrest the councilors. Realizing that Krypton is doomed, Jor-El steals genetic codes sought by Zod and infuses them into the DNA of his infant son, Kal-El – the first naturally born Kryptonian child in centuries. Donning his old armor, Jor-El sacrifices his life to allow his son to escape on a preprogrammed spacecraft. Zod orders the rocket’s destruction, only to learn that forces loyal to the council have suppressed the rebellion. In a brief trial, Zod and several of the surviving rebels are convicted of treason and sentenced to the Phantom Zone seconds before Krypton explodes.
8610986058_9dfa00c53c_bFollowing Jor-El’s coordinates, the ship crash lands on Earth in Smallville, Kansas. A childless couple, Jonathan and Martha Kent, find Kal-El and raise him as their own, naming him Clark. As he grows up, Clark becomes an isolated young man as a result of developing superhuman powers. He then learns his true origins from Jonathan, who urges him to keep his powers hidden. Several years later, Jonathan dies in a tornado while refusing to let Clark save him. Burdened by guilt, Clark leaves to travel the world under several aliases, seeking a new purpose.
man-of-steel-was-pretty-boringLois Lane, a reporter at the Daily Planet in Metropolis, receives an assignment to investigate the discovery of a Kryptonian scout ship in the Canadian Arctic. Disguised as a worker, Clark enters the ship and activates its central computer using a key left by Jor-El, allowing him to communicate with an artificial intelligence modeled after his father. The AI explains that Clark was sent to Earth to guide its people, and presents him with a Kryptonian uniform bearing his family’s symbol. While following Clark, Lois inadvertently triggers the ship’s security system. Clark uses his powers to rescue Lois before donning the uniform and testing his ability to fly. Lois attempts to have her supervisor Perry White publish an article on the incident, but he refuses to do so without proof. After tracking down Clark, Lois eventually agrees to keep his secret safe.
MAN OF STEELEscaping the Phantom Zone, Zod and his crew travel to Earth after intercepting a transmission from the scout vessel. Deducing that Kal-El is nearby, they broadcast a global address demanding that he surrender or risk war. Clark meets with the U.S. Army and agrees to comply, with Lois joining him as a hostage. Zod reveals that he possesses advanced terraforming equipment salvaged from Kryptonian outposts, which he intends to use to transform Earth into a new Krypton. His science officer, Jax-Ur, extracts Clark’s genes to create Kryptonian colonists who will exterminate humanity and build a society based on Zod’s ideals of genetic purity. With help from Jor-El, Clark and Lois escape and warn the Army, just as Zod orders an invasion.
superman_man_of_steelGiven the codename “Superman”, Clark destroys the terraforming platform, while his human allies launch a suicide attack, killing Zod’s troops. Vowing to eradicate humanity himself, Zod battles with Superman, and the two eventually crash into a train station. Zod turns his own heat vision on a group of passengers, but Superman kills him. Now the last surviving Kryptonian, Superman persuades the Army to let him act independently, so long as he does not turn against humanity. To allow access to dangerous situations without attracting attention, Superman is hired as a freelance reporter for the Daily Planet.man_of_steel_hero1The most striking thing about Man of Steel is how grim it is compared to the previous Superman entries. Christopher Reeve’s Superman was confident and heroic, but here Henry Cavill’s rendition doesn’t seem so sure of himself. He can take off flying much faster though, and isn’t afraid to throw a few punches. The tights that Christopher Reeve wore have been replaced here by a more menacing chain-mail suit. The movie’s general atmosphere is pretty dark, with a blue tint given to the entire movie and a score by Hans Zimmer that is quite a contrast to that of John Williams in the earlier movies. However, it seems like the Superman comic books have recently taken a dark turn as well.  Keeping an open mind while watching Man of Steel, I accepted most of the liberties being taken and enjoyed it for what it was.