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This week's Man Of Steel LTTP (spoilers)

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It's already been done. Nolan's trilogy (while it had its own problems in the writing department) managed to get some human moments in there.
MoS was just bleak and devoid of emotion at all times.

I think that's fine and it can be argued just how bleak and just how devoid of emotion it is. I mostly just reject the idea that MoS is somehow broken at the core because the movie had a relatively more sober approach to the material. It is about an orphaned alien trying to understand its place in the world and dealing with a terrifying world-destroying force. I don't see how it absolutely needs to be a Pollyanna superhero movie
 
Man, imagine if, after having been through a city-wrecking megafight and committing your first murder, Superman spouted a one-liner and kissed Lois? That would be so goofy!

LOL!


Yeah, that part pissed me off. My gf actually looked at me and said "really???". I heard more than one groan from the audience at that part too. Very poorly placed kiss, really made Clark look like a huge Dick.
 
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So dumb.
 
And good movies can be firmly entrenched on one side of the spectrum. This stuff isn't rocket science

I'm talking about balancing the two, something that superhero movies, and blockbusters in general, have to do to get those lines in the trailers and to have a broad appeal.

Captain America 1 is 100% goofy and is fantastic for it.
 
Man, imagine if, after having been through a city-wrecking megafight and committing your first murder, Superman spouted a one-liner and kissed Lois? That would be so goofy!

Am I misremembering the order of events

It does one-liner, kiss, megafight, murder

Not Megafight, Murder, One-liner, Kiss
 
Am I misremembering the order of events

It does one-liner, kiss, megafight, murder

Not Megafight, Murder, One-liner, Kiss

I could very well be wrong, but I'm almost positive the fight has already happened, as they're standing in the wreckage when they kiss. And then maybe Zod enters his second form and attacks him again.

Still, tonally, very weird.
 
I loved the truckloads of DBZ action that didn't give a fuck. It was kind of carthartic after seeing so many Marvel movies cockblock so much of its own action. Yes, I do understand the value of "less is more" and appreciate it, but every once in a while it's also fun to just say "fuck it" and let it rip. Man of Steel was the latter for me.
 
I could very well be wrong, but I'm almost positive the fight has already happened, as they're standing in the wreckage when they kiss. And then maybe Zod enters his second form and attacks him again.

Still, tonally, very weird.

I don't think so
They thought they had won

He destroyed the machine, they got rid of the Kryptonians.
He saved her life.

They were celebrating... maybe not the best place to do it.

Then Zod is all like either you die or I die, and the mega fight begins.
 
I could very well be wrong, .

Yeah, the original order is wrong.

Zod + Dubstep Machine
Superman vs. Dubstep Robot
Lois & Stabler vs Faora SIMULTANEOUS with Superman vs Zod
Superman + Lois + Plus shit one-liner and cliche romantic moment
Zod speech
Superman vs. Zod pt II
Twist-top Zod Stop
(Time passes)
Satellite Spike
Welcome to the Planet.
 
Yeah, the original order is wrong.

Zod + Dubstep Machine
Superman vs. Dubstep Robot
Lois & Stabler vs Faora SIMULTANEOUS with Superman vs Zod
Superman + Lois + Plus shit one-liner and cliche romantic moment
Zod speech
Superman vs. Zod pt II
Twist-top Zod Stop
(Time passes)
Satellite Spike
Welcome to the Planet.

I don't know why, but satellite spike gave me a good chuckle...
 
Yeah, the original order is wrong.

Zod + Dubstep Machine
Superman vs. Dubstep Robot
Lois & Stabler vs Faora SIMULTANEOUS with Superman vs Zod
Superman + Lois + Plus shit one-liner and cliche romantic moment
Zod speech
Superman vs. Zod pt II
Twist-top Zod Stop
(Time passes)
Satellite Spike
Welcome to the Planet.

Did you make a "in case of GAF argument" outline of MoS? Be honest.
 
It was visually stunning, and decently written. I was pulled out of the experience by bad dialogue a bit too often, but the pacing and narrative arc as a whole was alright.

I never like heavy handed allusions, but I understand how orchestrators of mass market projects may feel the need for it.

I didn't really feel like this was a good Superman story though. For me Superman stories are best when they highlight the differences in character between Clark Kent and Kal El. We saw almost nothing of Clark Kent, the bumbling, awkward disguise.
 
It was visually stunning, and decently written. I was pulled out of the experience by bad dialogue a bit too often, but the pacing and narrative arc as a whole was alright.

I never like heavy handed allusions, but I understand how orchestrators of mass market projects may feel the need for it.

I didn't really feel like this was a good Superman story though. For me Superman stories are best when they highlight the differences in character between Clark Kent and Kal El. We saw almost nothing of Clark Kent, the bumbling, awkward disguise.

I agree (I actually find Supes supporting cast to be a lot more interesting), but I saw this as an origin for both Clark and Superman. Like I don't believe he becomes the "Clark" we know until the final line in the movie, curious to see how they follow it up
 
Sorry where is it? Is "I've dated hotter chicks than you" the Schwarzenegger/Stallone one liner after a kill that you are claiming that Marvel does?

The Thor one is a better example.

You get the point though

And yes "I've dated hotter chicks" is totally a bad one-liner

Not saying I dislike it, I love 80s movies and Bond
 
My favorite supes books are Birthright, Kingdom come, Action Comics #775 (what's so funny about truth, justice, and the american way), Secret Identity, and All Star Superman.
Which to me is an unfair expectation.

We knew this was going to be a Superman debut and the beginning... with the expectation of more to come. That excludes Kingdom Come, Action 775, and All-Star from the running immediately, which all feature seasoned veteran Supermen... heck, two of them are "end-of-life" Superman stories that get away with kicking over sacred cows and throwing in kitchen sink, because it's meant to be a final, terminal ending.

"Secret Identity" is a meta-textual Superboy story... MoS could not have the benefit of that 4th Wall aspect of Superman pre-existing in his own universe. They also wanted the debut of an adult Superman rather than a redux of Smallville or the weird time-skip-in-a-cave from the Donner films. However, the meat of the adult story is that "first-contact" interaction between the first fantastic and the government (going from begrudging mutual alliance to eventual friendship). MoS captured that... Clark was just as "playful" in the interrogation and in confronting the General... dropping a drone is a little less terrifying that reorganizing the US nuclear arsenal... it's also a more reasonable power-scale that you can use for future films (a Supes that can effortlessly swap nukes is a little too strong for modern rational film).

Birthright and Earth One were likely amongst the strongest influences on the film, even if they're diametrically opposed with respect to how one arrives at the responsibility of the cape and crest. Earth One is also more of a Superboy-ish story (where Clark is an entitled man-child entering Metropolis lamenting his options in life) whereas Birthright accounts for the "lost years" between high school and Metropolis. MoS likewise accounts for that time but with Krypton as Clark's watershed moment, rather than an intricate political and civil war in Africa (great reading but awkward to translate to screen without other unnecessary implications). The main thing I missed from Birthright was MoS lack of color on Krypton which would have so easily explained and justified- as it did in the book- Superman's color scheme... many forms of costume and dress instantly make sense when ascribed to someone's heritage and culture.

I'm not saying those aren't great works, but I think your expectations- like many viewers- were unfair... expecting a seasoned paragon father-figure out of the gate wasn't the intention nor should it have been.
 
I agree (I actually find Supes supporting cast to be a lot more interesting), but I saw this as an origin for both Clark and Superman. Like I don't believe he becomes the "Clark" we know until the final line in the movie, curious to see how they follow it up

I saw it the same way. I will miss the wonderful set up between Clark and Lois, with Lois having feelings for Superman and Clark having feelings for Lois. They sort of shot that in the foot, but I can always watch the 78 Superman for a great version of that dynamic.
 
Where's Liquidsnake so we can hear his side of the story? Will he talk about how Snyder channelled The Creator and that helped us give Man of Steel or something?
 
Seriously, who has ever heard "It's all downhill after the first kiss" before MoS? What a terrible line.

Regardless...
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Where's Liquidsnake so we can hear his side of the story? Will he talk about how Snyder channelled The Creator and that helped us give Man of Steel or something?

I read his LTTP thread while searching to make sure there weren't any recent ones.

It was... interesting, to say the least.
 
Everything was sooooo serious. The color pallet was straight out of Gears of War. The amount of destruction was pretty irresponsible. The twenty minute opener with Jor-El was completely unnecessary, and obviously was only included to showcase Russell Crowe.

Other than that I liked it
 
Superman killing Zod was very low on the list of issues with Man of Steel.

Yep.

Which is what amuses me with Waid's 'expert analysis.' He thinks THAT is what hurts the film, and not terrible flashbacks/Jon Kent/Russell Crowe playing Kryptonian Batman/those ridiculous Kryptonian dragons.

Richard Donner nailed it when he had Krypton as a planet so advanced they were too egotistical to simply listen to reason. MOS turns all these scenes that should be simple and quiet into absurd action set-pieces, and then wonders why it's critically drubbed. Say what you will about Batman Begins, Nolan knew when to go simple and just have characters talking instead of 'OMG TORNADO SET PIECE.'

I mean shit... would Goyer/Snyder have had Crime Alley as an action scene with Thomas fighting the mugger over the gun while Martha tried launching kung-fu kicks at him as rain cascaded down from the sky, culminating in Martha being hit by lighting, kicking Thomas so he was hit by lightning, and Joe Chill firing ten rounds from a six round gun as Bruce yelled in slow-motion, ending with Joe Chill realising he's out of ammo and saying:

'NEXT TIME, KID.'
 
Yep.

Which is what amuses me with Waid's 'expert analysis.' He thinks THAT is what hurts the film, and not terrible flashbacks/Jon Kent/Russell Crowe playing Kryptonian Batman/those ridiculous Kryptonian dragons.

Richard Donner nailed it when he had Krypton as a planet so advanced they were too egotistical to simply listen to reason. MOS turns all these scenes that should be simple and quiet into absurd action set-pieces, and then wonders why it's critically drubbed. Say what you will about Batman Begins, Nolan knew when to go simple and just have characters talking instead of 'OMG TORNADO SET PIECE.'

I mean shit... would Goyer/Snyder have had Crime Alley as an action scene with Thomas fighting the mugger over the gun while Martha tried launching kung-fu kicks at him as rain cascaded down from the sky, culminating in Martha being hit by lighting, kicking Thomas so he was hit by lightning, and Joe Chill firing ten rounds from a six round gun as Bruce yelled in slow-motion, ending with Joe Chill realising he's out of ammo and saying:

'NEXT TIME, KID.'
Hope your looking forward for that flashback in Batman V Superman
 
Hope your looking forward for that flashback in Batman V Superman

I'd love to see that flashback.

Yeah it's stupid, but I'd feel angry if I suffered through the terrible ones in MOS and we didn't get a stunningly absurd retelling of Batman's origin. I also hope Wonder Woman's made out of the clay from Ghost.
 
Yep.

Which is what amuses me with Waid's 'expert analysis.' He thinks THAT is what hurts the film, and not terrible flashbacks/Jon Kent/Russell Crowe playing Kryptonian Batman/those ridiculous Kryptonian dragons.

Richard Donner nailed it when he had Krypton as a planet so advanced they were too egotistical to simply listen to reason. MOS turns all these scenes that should be simple and quiet into absurd action set-pieces, and then wonders why it's critically drubbed. Say what you will about Batman Begins, Nolan knew when to go simple and just have characters talking instead of 'OMG TORNADO SET PIECE.'

I mean shit... would Goyer/Snyder have had Crime Alley as an action scene with Thomas fighting the mugger over the gun while Martha tried launching kung-fu kicks at him as rain cascaded down from the sky, culminating in Martha being hit by lighting, kicking Thomas so he was hit by lightning, and Joe Chill firing ten rounds from a six round gun as Bruce yelled in slow-motion, ending with Joe Chill realising he's out of ammo and saying:

'NEXT TIME, KID.'

Jeez I think I gotta give Nolan more credit now.
 
Which to me is an unfair expectation.

We knew this was going to be a Superman debut and the beginning... with the expectation of more to come. That excludes Kingdom Come, Action 775, and All-Star from the running immediately, which all feature seasoned veteran Supermen... heck, two of them are "end-of-life" Superman stories that get away with kicking over sacred cows and throwing in kitchen sink, because it's meant to be a final, terminal ending.

"Secret Identity" is a meta-textual Superboy story... MoS could not have the benefit of that 4th Wall aspect of Superman pre-existing in his own universe. They also wanted the debut of an adult Superman rather than a redux of Smallville or the weird time-skip-in-a-cave from the Donner films. However, the meat of the adult story is that "first-contact" interaction between the first fantastic and the government (going from begrudging mutual alliance to eventual friendship). MoS captured that... Clark was just as "playful" in the interrogation and in confronting the General... dropping a drone is a little less terrifying that reorganizing the US nuclear arsenal... it's also a more reasonable power-scale that you can use for future films (a Supes that can effortlessly swap nukes is a little too strong for modern rational film).

Birthright and Earth One were likely amongst the strongest influences on the film, even if they're diametrically opposed with respect to how one arrives at the responsibility of the cape and crest. Earth One is also more of a Superboy-ish story (where Clark is an entitled man-child entering Metropolis lamenting his options in life) whereas Birthright accounts for the "lost years" between high school and Metropolis. MoS likewise accounts for that time but with Krypton as Clark's watershed moment, rather than an intricate political and civil war in Africa (great reading but awkward to translate to screen without other unnecessary implications). The main thing I missed from Birthright was MoS lack of color on Krypton which would have so easily explained and justified- as it did in the book- Superman's color scheme... many forms of costume and dress instantly make sense when ascribed to someone's heritage and culture.

I'm not saying those aren't great works, but I think your expectations- like many viewers- were unfair... expecting a seasoned paragon father-figure out of the gate wasn't the intention nor should it have been.

Hold on. I think its unfair for you to assume that i expected a "seasoned paragon father-figure" because no where did i state it or that i expected to be the definitive supes. In fact, i stated that all i want is an ounce of resemblance to supes. No where did i state that MOS has to be like those books. I knew what this movie was like going in. I read everything about it. So that particular argument is not valid within the context of my complaints. If you read what I hated about the movie, you would know that. i' even stated that, within the context of the movie, certain things made sense but that the movie just shits the bed when trying to do anything resembling subtlety or character arc. My complaints were WITH the movie not with what's came before it. The movie is just bad because its poorly written, edited, acted, paced, etc.
 
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