Now that the dust has settled, we can all agree that Man of Steel

Totally.

>>86055256
I'm glad we can agree.

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>>86055205
It was very beautiful
I genuinely used to despise it but now I actually see how great it is

>>86055205
I actually unironically liked it a lot

>>86055984
Always thought it was nice desu.
>>86056438
Yeah me too. (I'm OP)

I like BvS....

>>86055205
I sincerely loved the film.

>>86055205
I actually love this film

>>86055205
agree.

>>86055205
No, it's still shit & you have shit taste

>>86055205
Genuinely one of the best superhero films ever

>>86055205
Yes.

It's kino supremo

One of the best flicks, maybe.

Agreed. It's almost as good as BvS.

STOP SHILLING REEEEEEEEEE

>>86060619
>>86061668
>15 posters
>16 posts
What did the paranoid fag mean by this

No, but at least it's not too bad for a fucking superhero film.

>>86055205
Definitely one of the most under rated.
Good music, good villain, good emotion, good themes, memorable quotes.
>mfw people negatively compare it to the first Iron Man for not having funny quips

Also rewatching it after BvS made the movie make a lot more sense.
I just wish the colours were a little brighter and he smiled a little more.

Snyder wins!

>>86055205
https://filmphilosopher.wordpress.com/2013/07/21/sometimes-you-have-to-take-a-leap-of-faith-first-the-trust-part-comes-later/

Kino.

It was alright. Far better than Wonder kike or SKWAD

>>86055205

Man of Steel is the first superhero movie to be directed by a real filmmaker since Tim Burton took on Batman in 1989. Director Zack Snyder does more than reboot the past Superman franchises; he immediately gives the subject his signature–something Burton could not do until his second Batman movie, the comic/macabre Batman Returns (1992). Snyder has a grave sense of movement and excitement that is distinctly cinematic which cannot be said of the other directors who essayed previous Superman movies including the tongue-in-cheek Christopher Reeve films, as well as the various Batman flicks, X-Men, Star Wars, Star Trek, Iron Man, Punisher, Electra, Spiderman, Hellboy and Fantastic Four—the entire unsatisfying lot.

Unlike Burton, Snyder’s sensibility derives from comic books and graphic novels yet his visual extravagance also contains the palpably erotic core of comic book fantasy. Snyder immediately invests the Superman story with this tactile realism, a feel for ancient legend: Opening scenes on the dying planet Krypton recall the stylization of 300 but with a slightly futuristic edge that never lapses into conventional superhero movie fantasy. (Snyder got that out of his system with Watchmen.) The arch otherworldliness of Jor-El (Russell Crowe) and his wife Lara Lor-Van (Ayelet Zurer) sending their newborn infant into outer space to survive Krypton’s destruction and preserve their heritage from the tyrannical threat of General Zod (Michael Shannon) also evokes a kind of classicism. It doesn’t play like sci-fi and when the story shifts to planet Earth where the alien boy Kal-El is raised as Clark Kent, Snyder effectively creates a contrasting, charged-up realism.

>>86055984
I think a big part of why I initially didn't like it was that I went in thinking that a superhero movie is all quips and explosions, and I wasn't paying attention to the cinematography in Man of Steel. It's probably the best superhero film since Spider Man 2.

>>86064127
In Man of Steel, Snyder’s ingenuity–his realistic panache–prevents the Superman story from mainly appealing to either adolescent whimsy or adult camp. He makes a radical break from past Superman movies and the entire recent movement of comic-book/graphic-novel-based films. That genre, where commercialism overwhelms imagination and hack directors (Jon Favreau, Shane Black, Tim Story) are undifferentiated from minor auteurs (Sam Raimi, Bryan Singer, J.J. Abrams) and distinguished directors (Irvin Kershner, Richard Lester), has accustomed audiences to a type of artificiality and silliness. They accept cliché narratives, routine violence and a basic lack of seriousness as standard. Man of Steel is marvelous, serious fun which changes all that.
Kal-El/Clark Kent (played by Henry Cavill) isn’t called “Superman” until late in the story; his history and identity are the film’s real subject. First seen bursting through flames as a Herculean physical specimen, his alien adjustment to Earth and humanity is a personal trial neatly conveyed through screenwriter David S. Goyer’s multiple flashbacks. While Snyder gives the alien’s feats a quality of wonder, Cavil conveys surprise, urgency and torment. Snyder is good at the physics of stress which separates Man of Steel from The Dark Knight trilogy.

Christopher Nolan (producer on Man of Steel) had a flat, cold directorial style only useful for his trilogy’s cynicism. Snyder’s kinetic pictorialism provides a humane essence (that’s why 300 looked like a comic book and went beyond one) perfectly attuned to make a story about alienation, regret and the struggle to survive a changed environment; it’s moving rather than trendily “dark.” When Kal-El learns his of background, Snyder visualizes the lesson as a bas relief of Krypton’s history: figures emerge like engravings on coins burnished by memory; it’s as amazing as the hieroglyphics sequence in The Prince of Egypt.

>>86064174
Snyder’s consistent intermix of realism and legend upgrades the superhero genre. Cavill’s dramatic handsomeness recalls young Sean Connery’s exotic virility; his simultaneously otherworldly and legendary aspects suit Snyder’s sensuous action style–textured close-ups of skin and capillaries, jet trails in the sky as he flies, his red cape’s heavy swoosh. No previous Superman achieved Cavill’s perfected gesture of drawing back his right hand when flying to exert physical and spiritual will. Converting iconography from District 9, the Transformer films and Independence Day, Snyder improves on the imagery, giving it a speedy, thrilling roughness, preferable to the usual unimaginatively slick CGI.

What’s terrific here is that Snyder expresses Kal-El’s force, his will. The yearning to understand himself and his human-likeness gives the film depth. When Kal-El meets the earnest newspaper reporter Lois Lane (Amy Adams) their immediate attraction is so well acted it’s deeper than romance. Their passions meet and that’s Snyder and Nolan’s breakthrough. This is the most stirring, impassioned superhero movie I’ve ever seen.

>>86064218
By emphasizing Kal-El’s conflict with his abilities, desires and his yet uncontrollable circumstances, Snyder discovers his meager genre’s richest potential. (One scene offers a beautifully concise Christ-parallel.) Lessons from Kal-El’s two fathers are sturdily presented by both Crowe and Kevin Costner (as Jonathan Kent) so that tests of his ideals and his strength against Shannon’s Zod (that Frankenstein brow suggesting political warp yet oddly touching like Rutger Hauer’s Roy Batty) offer a continuum of masculine being. Eat that Luke Skywalker.
Snyder doesn’t cheapen the “S” emblazoned on Superman’s chest. “In my world it means ‘Hope’” Kal-El says. That’s a significant difference from The Dark Knight trilogy’s nihilism. The fight against Zod is primarily ethical (“You have developed a sense of morality and we have not–which gives us an evolutionary advantage. If history has taught us anything, it’s that evolution always wins.”) Yet as Snyder envisions this battle, realism stays in scale with awe—something science can’t measure.

As the Supeman-Zod fight escalates so does its 9/11 evocation and Snyder’s vision of urban destruction attains the poetry Michael Bay did not, alas, achieve in Transformers III: Dark of the Moon. That evolution comment evokes The Godfather; its implicit “you can kill anybody” suggests 9/11 annihilation which has fed the juvenile thrall of too many comic book movies, Snyder’s Superman–symbolizing hope–counters all that. Man of Steel allows sci-fi blockbuster audiences to finally emerge from post-9/11 darkness. Thanks to Zack Snyder’s artistry, Man of Steel is The Godfather of superhero movies.

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>>86064127
>>86064174
>86064174
>>86064218
Dude you gotta stop with the copy paste you're scaring me

Stop my invisible son

>>86055205
Yes.

>>86062492
I have a pet theory about what they're doing with the color palette in these films.

I think it's subtly getting broader, warmer, and more vibrant as they go as a means of conveying magic waking back up in the world, both figuratively and literally.

There are hints of this in both Suicide Squad and Wonder Woman. The scene where Steve and the Germans first reach Themiscyra is an example of what I'm talking about. Even BvS, while darker, still has more vibrancy than the world as we first see it in MoS.

Magic is waking up in the world again, and it's got something to do with the coming of the Superman.

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>>86064258
>>86064218
>>86064174
>>86064127
that's real fuckin' kino

>>86064691
I completely agree. That is exactly the kind of detail that Snyder pays attention to. Even in single films he displays progression through the various acts.

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Fuck the haters

Sure if you're a child of videogames or /co/