Goyer of the " Blade" films, starts with a prologue on Krypton, envisioned here as a John Carter-style land of towering hyper-structures, "Matrix"-looking hovercraft, and winged beasts. The script, which is credited to David S. "Man of Steel" also breaks with past "Superman" films in how it tells its story. It has wobbly handheld camerawork signifying "authenticity," a glum color palette, skyline-shattering super-fights, hardware whose designs crib from " Alien," " Dune", " Independence Day" and Spielberg's " War of the Worlds," and a detailed mythology that can plug into an expansive, Marvel-style "universe." When humor bubbles up, welcome though it is, it feels like a tonal lapse. Scene-for-scene, this is a first-rate example of a Hollywood fantasy released in the early 21st century: a new-car-smell summer blockbuster. This time the big guy's suit isn't Dick Tracy red, blue and yellow it's a muted ensemble of synthetic chain mail that's described as "battle armor" rather than as a uniform or costume, and Supes wears his underwear on the inside, thank you very much. Directed by Zack Snyder (" Watchmen," "Sucker Punch") and overseen by Christopher Nolan (the Dark Knight trilogy, " Inception"), "Man of Steel" largely abandons the sunny spirit and kooky humor of the Christopher Reeve-starred films, as well as Bryan Singer's homage to them, 2006's " Superman Returns." It brings the character in line with the recent craze for brutal, morose tales of loners defending a world that doesn't appreciate their sacrifices.
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