Bringing Superman back to theaters has been a daunting task. Directors like Tim Burton, Brett Ratner, and McG, have all been involved at one point or another. Casting choices ranged from Nicholas Cage, to Josh Hartnett, and even Ashton Kutcher. Producer Jon Peters contributed strange ideas, including a non-flying Superman with no cape, a fight with a giant spider, and polar bears guarding the Fortress of Solitude. The project’s troubles could undoubtedly be attributed to several elements that removed Superman from his comic book roots. Upon signing X-men director Bryan Singer, the approach became clear. If it ain’t broke, don’t fix it.

Ambitiously building on the first two Christopher Reeve films, Superman Returns is meant to serve as an unofficial sequel that ignores the third and fourth installments of the original franchise. After five years of searching for remains of Krypton, Superman returns to Earth, and immediately faces two major challenges; Lex Luthor, who has stolen crystals from the Fortress of Solitude for his latest scheme, and Lois Lane. Still an ambitious reporter for the Daily Planet, she is engaged to Perry White’s nephew Richard, and the two have a five year-old son.

Even without the drastic changes other filmmakers wanted to implement, Superman Returns somehow misses the mark. Part of the problem lies in Singer’s almost fetishistic love the original Donner film, so to the point that the new film feels oddly like a remake. Superman’s first appearance even mirrors that of the first film; saving a falling aircraft that Lois Lane just happens to be a passenger on, complete with recycled dialogue of his hope that the experience hasn’t put her off flying. Lex’s master plan once again involves real estate (justified by Lex through more recycled dialogue), and is less competent the second time around. The fact that he could just stroll into the Fortress of Solitude and steal its “advanced alien technology”, tells me the concept of biometrics must have been lost on Kryptonian scientists. Suddenly, polar bears guarding the entrance doesn’t sound so bad. . . . No, it still sucks. By comparison, Lex’s heist of a museum, later in the film, requires more planning. Kevin Spacey is perfectly cast in the villainous role, but the material never truly gives him a chance to shine. His Lex Luthor is shrewd and manipulative, but hardly the criminal mastermind from the comics. He ultimately gets by more on luck than intelligence.

Given the film’s bloated running time of two hours and thirty-five minutes, it is a shame that the effect of Superman’s return on the world at large is never fully explored. The public immediately falls back in love with him, and nothing more is said on the subject. More emphasis is put on how his return affects Lois Lane. Intent on dismissing her feelings, she is forced to deal with the issue through her editor Perry, her fiancé Richard, and Superman himself. Lois was understandably hurt by his departure, and goes on to write a scathing editorial, “Why the World Doesn’t Need Superman”. Of course for all the references made to it in the film, there is no exploration of it. Why doesn’t the world need Superman? Why is Lois winning the Pulitzer Prize for what is ultimately the opinion of a jilted lover?

Unfortunately, Kate Bosworth lacks the combination of edginess and heart to breathe life into Lois Lane, making it difficult to believe in her as a reporter, a mother, or someone Superman would fall in love with. It doesn’t help that the twenty-three-year-old actress looks more like an intern. This is put into perspective in one scene featuring the traditionally boyish Jimmy Olsen, of all people, enjoying an afternoon beer at the local bar (being served by Jack Larson, who played Jimmy in the 1950s George Reeves series).

Thankfully, newcomer Brandon Routh manages to make the character of Superman his own. The slight resemblance to Christopher Reeve aside, his Superman is based more on the character itself, than one actor’s interpretation. He builds on the foundation of Superman, focusing on his strength, his determination, and his faith in humanity. He believes in their capacity for good, and fights tirelessly to make them see it in themselves. Although there are times when he comes off a little too self-congratulatory. As Clark Kent, Routh effortlessly portrays a meek, innocuous dork, smartly playing up the charade only when he knows he’s being watched. Even as Richard and Lois compare Superman’s physical measurements to Clark’s, one look at his poor posture and dopey grin convince them that they could never be the same person. Beyond Clark and Superman, is Kal-El. The last son of Krypton is coming to grips with the fact that he may be all that is left of planet. This third element to the character makes him that much more engaging, as he tries to find his place in a world that is not his own. For all his powers, a part of Superman is more human than those around him realize.

Despite its grand scale, revolutionary effects, and breakthrough performance from Brandon Routh, Superman Returns ultimately fails to break new ground. The film feels too familiar for those who have seen the original Reeve/Donner film, and threatens to confuse those who haven’t. Far too long and poorly paced, it is a series of random moments that never form a cohesive narrative. The film makes us believe a man can fly, but not much else.

Ken KRK

We’ve seen it all before: Superman sharing flight with Lois, Luthor and his wicked partner, Superman coping with his alter ego and who he really is. But never on this scale, never this big, and never this super. The eyes well up tears and the heart tremors as John Williams’ score fills the air. Along with a cameo of Marlon Brando’s Jor-El, the opening credits, and the debut of a young star, Superman Returns is more an affectionate remake than continuation of the 1978 Richard Donner film–minus the ridiculous time-bending ending.

Kate Bosworth may not have the ideal look for Lois Lane, but she erases Margot Kidder’s unintelligible portrayal by sneaking cigarettes, questioning her Pulitzer, investigating the deep scars still left from Superman’s departure, and persevering with her life. The Daily Planet’s Editor-in-Chief Perry White and photographer, Jimmy Olson, still the caricatures they have always been. James Mardsen though, needs a new publicist. Playing Perry’s nephew and Lois’ fiancée, Richard White, no sooner does he step off of the X-Men franchise, (sadly misused) he take another step towards being typecast playing a character that just can’t do enough to get the girl.

Kevin Spacey’s version of Lex Luthor is filled with more vile and viciousness over Gene Hackman clown. His scheme is well thought out, studying both geology and meteorology, he infiltrates Superman’s Fortress of Solitude to steal the knowledge of Krypton and use it against the Man of Steel. Lex Luthor is not a clown here, he is Superman’s archenemy and for the first time in live-action, it’s believable putting Superman on the ropes. Unfortunately, one thing remains to hold Luthor back. Honestly, Lex, lose the lady.

The special effects department and Brandon Routh’s fresh screen presence reestablish Superman’s strength and flight sequences as nothing short of cinematic awe. But it’s the treatment and detail of his powers that impresses the most. For example he heads out of the Earth’s atmosphere to filter all of the noise from the earth so he can hear distress calls and there’s a great moment for the sun’s recharging effect on his powers. This is clearly a film about restoring an icon and not Clark Kent, and that may disappoint those hoping to see a juggling act of the two. Tune in every week to Smallville on the CW this fall instead.

For those who are lucky to have a full IMAX screen near them or an IMAX MPX converted theater, watching and especially listening to Superman Returns in 3-D is worth at least one viewing. Approximately twenty minutes of the film (half of the action sequences) were shot in IMAX 3-D, the first live action Hollywood film to do so. Ideally sit close enough for the entire screen to encompass the entire periphery of vision. There are some blurry spots but the action and motion at these points is at a high speed. It’s not as good as when films are shot completely in 3-D and are completely in CGI, but it’s a noble beginning for what will surely add to the creative aspect of filmmaking as well as film viewing processes. The sound though is much more dynamic than a regular theatre.

Logistics could cloud the enjoyment of the film, like how come after five years both Clark Kent and Superman show up at the same time? But it’s always better to jump into the interest of the film. No one needs another origin story. And the largest pre-release complaint of the costume is forgotten in five minutes. The real question here is, do these minor problems really affect the enjoyment of the film? They do not. Do they alter people’s perception of the core character? They do not. It’s not like we’re talking about organic web shooters here. Twenty minutes could have been trimmed though at the end. Hollywood feels the need to hold our hand to confirm our suspicions.

Singer’s intentions are to respond to Lane’s Pulitzer-winning article, “Why the World Doesn’t Need Superman”. Can he be forgiven? Could Superman be able to right his wrongs? The world is a forgiving place, and in the wake of facing an apocalypse, it apparently needs Superman in the worst way. His absence had an impact but his reappearance is even greater after witnessing miracle after miracle. He is their savior, their anointed one, and their hero. All of the pomp and circumstance and posing, crucified in the earth’s atmosphere it is obvious to whom Singer is drawing parallel to.

Most of Superman Returns is seeing Superman show off, but wouldn’t we all have been satisfied had the Hulk movie only done the same? DC Comics and Warner Brothers have started over; first with Batman Begins and now with Superman Returns and now the World’s Finest are now in good hands. The sequels will need more substance, hopefully moving forward and away from Lex Luthor, digging deeper into Superman’s rogue gallery. Singer made this viewer believe it’s possible to see Superman rise up, no matter how hard the fall, never quitting on humanity, and restoring faith after the passing of one Superman (Christopher Reeve – Rest in peace), he can fly again to greatness.

Ernie Estrella