As I’ve mentioned here before, I’ve been a Superman fan pretty much forever. Superman was my first encounter with superheroes, beginning with watching the first Christopher Reeve Superman movie when I was very small. Through the years, Superman has remained one of my favorite superheroes. Sure, I love Deadpool (obviously!), and I’ve always been a big X-Men fan… and Batman… and Spider-Man… and I could go on and on from there – but Superman, the most unequivocal and steadfast symbol of hope and ethical humanity in the whole collection, has always been there in the background, informing my appreciation of the rest of the bunch.

Some people say that Superman is a boring character. He’s too perfect. He’s incredibly powerful and can do almost anything, way beyond what most of us can fathom, and he’s constantly doing the “right” or noble thing. How interesting can someone like that be?

Very interesting, I think. It’s Superman’s decision about how to use his power; his nobility; and his steadfast idealism in the way he decides to live his life for humanity and constantly be striving to do that right thing that have made him a multi-generational symbol and inspiration. At the same time, it is also his choice to live for humanity that drives him to live amongst humanity, and thus empathize with their plights, and, eventually, fall in love with one of them – Lois Lane.

Lois is the other half of what makes Superman so interesting. She’s a strong character in her own right, as she has to be to match up to someone as powerful as Superman. But she’s also only human, with human difficulties. Lois humanizes Superman, she pulls him back to Earth from the skies in which he might otherwise constantly float above us all. Sure, as a child, Superman is in touch with humanity, anchored by his parents and their desire to raise him with a strict moral code that respects and teaches responsibility for humanity. But once Clark seriously takes on the Superman persona and is living far from his parents as an adult in a strange city, someone else’s influence is needed. Enter Lois.

In most iterations of Superman, Lois does not, for at least a significant period of time, know that Superman and Clark Kent are the same man. Various reasons for this remaining the status quo of their relationship exist, from the potential danger to Lois if she knows Superman’s secret identity to Clark’s insecurity about her feelings for him as Clark, or his desire for her to, essentially, “like him for him,” and not for being some kind of alien demigod. This dynamic not only serves to anchor Clark, but also to drive the story – as a lot of the drama, humor, and interest of the Superman story stems from Clark’s attempts to live a double life and somehow still win over the woman he loves and attain a very human kind of happiness.

Superman’s power and nobility, combined with Clark’s very human relationship with Lois Lane, are what make him such an interesting character, and what make me throw up my hands in disbelief when someone says that Superman is boring. Because how could an interaction of our human struggles with our human desire to be heroic be boring? How could it be just another story? Well, if people make it that way, I suppose. If people stray from what makes Clark-and-Superman great, and try to instead fit him into the box of every other superhero out there.

Now, let’s talk about Man of Steel.

WARNING: MAJOR SPOILERS AHEAD.

On a strictly is-it-an-enjoyably-watchable -movie level, I liked Man of Steel. Except for the overly long fight scenes (of which there were several), the pacing is pretty good. The cinematography is good. The story is fairly cohesive and easy to follow (despite some odd plot holes/questions, like how Superman’s costume was just hanging around on a ship that had been buried in Earth’s icy caverns thousands of years before the destruction of Krypton). Henry Cavill is delicious, and also shirtless in pretty much his very first scene. Shirtless and on fire. And it’s hot (all puns intended). Amy Adams is also adorable. Overall the acting is pretty top-notch. And there are many recognizable genre, TV, and mainstream actors to clap about (including at least two Battlestar: Galactica dudes, Tahmoh Penikett and Alessandro Juliani). There is also some blatant product placement…that works (Clark’s childhood friend Pete Ross works at an IHOP. After watching the movie, my friend and fellow journalist Alicia and I were forced, forced I tell you, to go to IHOP because we suddenly had IHOP cravings. But it was delicious, so that’s okay).

On a Superman mythos level, things get a lot shakier. One thing I did enjoy was the minor Superman character name-drops. Pete Ross, as mentioned, shows up in both Clark’s flashbacks and present day. Dr. Emil Hamilton is there as a military scientist or consultant. Steve Lombard is working at The Daily Planet. And there’s a wee Lana Lang on the flashback bus when it goes into the river. I also actually really enjoyed the first part of the movie, from Krypton through about the first two or so flashbacks. This is one film I’ve seen that actually world-built Krypton to a realistic extent and then spent some time there. Sure, there are echoes of what’s been developed before, and the combination of technology and organic, mythical-looking creatures was a bit weird at first, but I loved details like the floating silver orbs that are a combination of personal assistants and bodyguards, and also allow for a sort of 3-D video communication (or for a 3-D ultrasound!). And I liked the extent to which they managed to make the look of Kryptonian attire realistically tie in with Superman’s costumed appearance.

After Krypton, the first few scenes establish a Clark who’s wandering the world, interspersed with some growing-up time. These scenes are very enjoyable. The current scenes show a Clark that, like a well-developed Krypton, we don’t usually get to see much on screen. Clark’s soul-searching and wanderings as a young man are referenced in several versions of the Superman story, but we don’t often actually see them. And each of the early flashbacks shows a young Clark who is learning about his powers, and about his responsibilities, in a way that is organic and not heavy-handed.

Once the movie has spent some time on this, however, it moves more firmly into the present day origin story, with just a few more flashbacks here and there. These are of an older Clark and, while I get that teens are difficult and superteens perhaps even more difficult, these scenes are devoid of the familial love and warmth that marks the earlier scenes. They also include a scene in which Clark literally stands fifty feet away from his dad and watches him get swept away by a tornado. While the movie tries to make this into a character development point, it’s such a wrong note for Superman that I just couldn’t get behind it. Keeping his powers a secret or not, no Superman I’m interested in would be that selfish, even if his dad was telling him not to save him. It’s around this point that the movie also moves firmly into being, essentially, an alien disaster movie that happens to feature Superman.

Given the trailers we’d been seeing, and the fact that both Zack Snyder and Christopher Nolan were signed on, I feared that we were going to get a very grimdark Superman in Man of Steel. And although the first several scenes were all fairly serious, since they cut back and forth it relieved the grimness somewhat, and I thought maybe my fears were going to be unfounded. Well, not so much. After the first few cuts back and forth, things turn continuously grim and grimmer in Man of Steel. Death and destruction (on a global scale) begin to appear everywhere and only increase for the rest of the story; and boy, is it exhausting to watch. It’s also not what I wanted to see in a Superman movie.

During Man of Steel, we are told by Jor-El that the S on Superman’s chest means “hope” to Kryptonians. And that’s exactly what Superman is supposed to be for us – a symbol of hope. He is our hope that there are people like him out there, and that it’s okay to believe they exist – which is important, because if they do exist, and succeed at existing, then maybe it’s not so unrealistic for us to try to be a little bit like them. Maybe we can be heroes too, at least now and again. In a way, Superman is the first part of that iconic last line of The Great Gatsby: “So we beat on, boats against the current…” Superman reflects the best of human idealism, and the struggle to move forward, despite obstacles, and to continue moving forward. Superman is a symbol of hope…but this is not a hopeful movie.

There are a lot of dark superhero movies out there. The recent movies of Superman’s sometimes-partner Batman, for instance, are dark; and that works for him. I loved The Dark Knight, but I don’t need a hundred Dark Knights. The world is depressing enough right now, and I don’t need to constantly see destruction and death on the big screen; because we see it every day. What I need right now, what I crave, is a movie that shows me a hero who strives and succeeds at being better than that. At being better than all of the “reality” we are facing both in reality and in our current media. At actually “saving the world,” and not being beaten down by it in the end. At being a steadfast constant who won’t break under the pressure. And what I really want to know, after seeing Man of Steel, which could have been the perfect vehicle for this, is: why couldn’t this movie’s producers have been “the brave and the bold” movie team who dared to actually celebrate an ideal and a hopeful future in which disaster is not an inevitable and acceptable norm? In which there is somebody who can actually stop the world from being destroyed before half of it is gone?

Instead, they opted for a Superman whose introductory film features a final body count that at least equals if not exceeds that of the villain, General Zod (and that includes General Zod, since Superman, albeit reluctantly, straight-up snaps Zod’s neck in the end). As someone on Twitter said, “There is no Man of Steel criticism more stark than the fact that Earth would have been better off had Kal-El died on Krypton.” And as writer Brian Reed snarks, a conversation between Zod and Superman that would easily fit in this movie could be: “I’ll kill all of these humans you love.” “I punched you through 30 buildings. I’ve probably killed more of them than you at this point.” That…is a sad state of affairs.

Along with all of the death, the film also features a metric ton of property (and Earth) destruction, and Superman and the Kryptonians constantly whaling on each other to the point where my soul was craving even a smidge of character development, and welcomed Perry White and Steve Lombard’s struggle to free some random Daily Planet intern from rubble. You know your Superman movie is in trouble when a watcher is more interested in that than in Superman. Maybe because your Superman movie tries but fails to show the complexity or nuances of being both Superman and Clark Kent? Because it’s too busy showing things blowing up and the whole world falling apart? Yeah, maybe that.

One way in which the movie does try to humanize the adult Clark is via the introduction of Lois, and his interactions with her. But in my view, this is another great failure of the movie. Lois, as a character in Man of Steel, is great. She’s smart and upbeat and determined and fearless and loyal and successful and kind and has a strong sense of what’s right. She goes after the story, and gets the story, and has earned the respect of her editor and fellow reporters, and she is all around the sort of Lois I want to see. Lois and Superman, in their interactions, are also very strong.

But do you notice what’s missing about the previous sentence? Any mention of Clark. The meeting of Lois and Superman in this movie is just that – a meeting in which Lois knows him as Superman from the get-go. Yes, his name might be Clark, and she knows that too, but that’s incidental to all of their interactions. And while that may not greatly affect the dynamic of this particular movie as a movie, what does it do to the Superman mythos and to any potential sequels? Well, it strips out the human factor, the fun, the heart, and the drama that all come from the original Lois and Clark dynamic. It strips out a large part of what makes that story great.

As mentioned, when Superman is forced to be Clark around the woman he loves, and to wonder if she’ll ever love him for himself, rather than just for his powers as Superman, it brings him down to Earth, and to humanity, and gives him a reason to strive to be a better human, as well as a better superhero. It also makes the story a lot more fun; even if eventually, Lois does discover the truth. The story leading up to the reveal makes the reveal that much better, and also makes the relationship that much deeper. But here, it’s like they decided to skip right to the third season of Lois and Clark: The New Adventures of Superman – when those first two seasons were what makes anything after them work at all.

To catastrophically misunderstand this dynamic to such an extent was so unbelievable to me that, even though it’s a weak storytelling element and has been done before, in Man of Steel I kept waiting and hoping for amnesia. I seriously thought that when Superman saved Lois from the burning Kryptonian escape pod and she said, “I’m sorry…” the sentence was going to end with, “…but I don’t remember how I got here.” I couldn’t believe that they’d seriously set up the entire relationship to be Lois and Superman-who-also-happens-to-masquerade-as-Clark-to-other-people. And yet, they did. What a disappointment. Sure, maybe they can make it work if they do another movie, or a Justice League movie, or whatever; but it won’t be the Superman I know anymore, or the Superman I love.

In our post-mortem discussion of this movie, my friend Alicia said that Henry Cavill, while very good, would never be her Superman. And while I love Henry Cavill, and think he acquitted himself as well as the script would allow, I agree with her with a bit of a rephrase (because really, Henry Cavill isn’t the problem). Man of Steel will never be my Superman. And while I realize that heroes can be re-made for modern times, and sometimes should be to keep things fresh, Superman is one of those rare few where messing with his core story too much just flat out ruins who he is.

Superman is known as the Big Blue Boy Scout for a reason. Sure, the nickname is affectionately snarky; but it’s also a great compliment – a nickname for a hero who always does the right thing and acts to help others, and who is always prepared to solve the world’s problems and deal with its disasters. The goal of making a movie about Superman should be to maintain the bright ideal he has always been when at his best, without making him unrelatable or cheesy. I don’t know what Man of Steel set out to do, but in the end, it certainly didn’t feel like that. If I don’t leave a movie about Superman feeling like there’s some hope in the world, then that movie is not about the Superman I love. And Man of Steel didn’t leave me with much hope.

Well, that’s about all the movie analysis I can manage for one day, but until next time, Servo Lectio!

TUESDAY AFTERNOON: Michael Davis

WEDNESDAY MORNING: Mike Gold