Film Review: Superman Returns (2006) A

Date Viewed: 6/29/06
Venue: AMC Burbank 16

Superman Returns is not quite a remake (of Richard Donner’s 1978 Superman), not quite a sequel (the events in Donner’s Superman are considered a ‘loose history’), but is simply an brilliantly rousing film that transcends comic-book conventions and updates the Superman mythos into the twenty-first century.

Director Bryan Singer of X-Men fame certainly knows how to cast a film. He brought us the incredible Hugh Jackman as Wolverine and now he brings us Brandon Routh as Superman. Routh’s subtle Chris Reeve impersonation is nearly perfect, but Brandon makes the role his own, a little less boyish perhaps, and a shade darker. Kevin Spacey as Lex Luthor is about as obvious a casting choice as you can get, but Spacey eliminates the cheese factor of Gene Hackman’s 1979s Luthor and replaces it with harsh malevolence. Kate Bosworth is good as Lois Lane, certainly a relief from the grating-what-does-Superman-see-in-her Margot Kidder. James Marsden (Cyclops!) is here as well as Lois’ fiancée, and does a nice turn himself.

The story is simple: Superman returns to Earth after a five year absence to discover his love has a child, is engaged to another man, and that she, and the rest of the world, might have just moved right along without him. Oh, and of course Lex Luthor schemes a mad plan to take over the world.

There’s a lot of nit picking that can be done over the mechanics of the plot, especially Luthor’s storyline. And in a lesser film, I would attack these savagely.

However, Singer’s other strength is in his characters. I didn’t notice or care so much about some the of stickier logic points because I was too busy enjoying the plethora of emotive character moments, most of which are more about what is not said than what is said. Singer is a master at portraying real human emotion in a real, human way that no comic-book movie rightfully deserves.

And oh yeah, the kid, I almost forgot. Lois’ child is in quite a lot of the film. Now don’t cringe and run away, moviegoer, this isn’t the kid from the Zorro or Mummy sequels. It’s not Jake Lloyd. Calm down, have faith in Singer. He (thankfully) isn’t saddled with much dialog, but the kid is great, and is utterly believable.

The visuals in Superman Returns are stunning. Undoubtedly the best CG effects I have ever seen, the film leaves other superhero epics in the dust (yeah, Spider-Man, I’m talking to you!). Coupled with this is some truly iconic camera work, this is truly a spectacle.

I grew up loving the original Superman films, and perhaps it’s my nostalgia that carries me upward here. Superman Returns borrows music cues, main title design, Marlon Brando as Jor-El, and even some dialog straight out the 1978 movie. But there’s more to it than that. Superman Returns taps not only into Donner’s film, but also into the Superman myth as a whole for its inspiration. There’s a shot in the film that’s a direct lift from Action Comics #1 (Supes very first ever appearance), for goodness sakes!

Those looking solely for X-Men: The Last Stand-type action will be disappointed by the time and care Singer takes with his characters instead of action set pieces. That’s not to say Superman Returns is devoid of adrenaline (you cannot watch Superman save that 747 and not cheer, you just can’t, it’s that good), but is heavy on the human side. And as with any great myth, that’s always the best side to be on.

Addendum: I finally took C to see this and she had some interesting insight on the film. Superman Returns doens't necessarily do much to make you fall in love with its characters. It's sort of like the dark side Dagobah tree in The Empire Strikes Back. "What's in there?" Luke asks. "Only what you take with you," is Yoda's reply. If you walk into Superman Returns already in love with characters and situations from the Donner films, then you'll walk out in love with the characters in Returns. If you were never that crazy about the Donner characters, then you'll be puzzled upon leaving and wondering why James Marsden is leaps and bounds the film's most identifiable character.