The ‘more of everything’ is Snyder’s trademark and he does not disappoint. General Zod is played with an over the top and menacing zeal by Hollywood’s emerging and now go to ‘complex psychopath’ Michael Shannon (Boardwalk Empire, The Iceman). Snyder‘s Zod is driven by his singular purpose of preserving Krypton’s future with genetically designed babies inhabiting and consuming other worlds if necessary. Not just a mere criminal, he is a ruthless inter-galactic despot that will justify his means (mass genocide) to achieve his ends. Only the Man of Steel carrying out Jor El’s plan can save the human race. The stakes are higher than in any other edition of the franchise and Snyder then proceeds to set up a mammoth battle (far too long) that brings the film to its conclusion. But he does thankfully give us some respite and a dramatic build-up with several moving and character developing flash backs to Clark’s coming of age — the only problem is we are so inundated with the crushing outfall of the super human conflict between Zod and the Man of Steel, we are pressed as an audience to find any contemplative relief in the heavy doses of action and destruction. If you are a CGI and FX geek, you will be more than pleased, if not literally thrown into a state of ‘ekstasis’.

We also get more of the Man of Steel, both in terms of his back story and his physical presence. Cavill has certainly earned the moniker ‘man of steel’ with a lot of iron pumping; more than just a well ribbed six pack, Snyder obviously wanted this super hero to be in the greco-roman ideal of his Spartans from 300. Cavill’s portrayal is far more nuanced than previous Supermen and he definitely flies faster than a speeding bullet, more like a rocket. The Superman mythology just got a shot of steroids with ‘Man of Steel’ and beautifully sets up a renewed franchise with this creative but respectful rendition of a story that has been a part of our consciousness ever since Jerry Siegel and Joe Shuster put pen and pencil to paper in 1939. And as the tradition is clarified and re-interpreted, the S borne on the chest of our hero’s suit is actually not the letter S but a symbol of Hope. This Superman is finally given some ‘gravitas’ on film and establishes him as more than just a ‘cereal box’ hero. A balance and dignity for the character has been restored. You will notice that the film reel is well past 100 minutes before the name ‘Superman’ is even uttered and I believe only once. This is because ironically our alien super hero must fully embrace his adopted humanity before he can become its sympathetic hero. Superman Begins.

Alfredo Romano