Superman Returns
Bryan Singer and DP Thomas Newton Sigel really know how to shoot romantically dizzying set pieces. In X2, I was impressed by the immersiveness of the action sequences. That film's half-hour final battle, in which the mutants infiltrate an underground base, is conceptually no different than any other action movie climax in a villain's secret layer. Yet the sequence was so captivating because the filmmakers' defined and gave depth to the space and location. The multi-level sets and deep-focus wide-shots and multiple lighting sources created different textures and shadows. Combined With the film's refreshing indulgence in the X-Men's soap-opera pathos , X2 was a sublime, intense comic-book movie.
Singer and Sigel take a similar approach for Superman Returns' action sequences, which are among the film's highlights. Early in the film, Superman saves Lois Lane from a crashing plane. As the plane crashes, the camera pans and tilts vertically and horizontally in pretty much any direction possible. Yet the suprisingly subdued lighting is gorgeous. In one shot, Lois sits in her seat as soft sun-light pours through the window. It's excellently shot, even different sides of the plane alternate between darkness and light as the plane spirals around the sun. The scene was exciting, that getting thrown batterd and burnt looks as fun as the Discovery Zone.
Unfortunately, for a movie about a superhero dedicated to "truth and justice (a character notceably omits the "American Way"), the Metropolis citizens are pretty bland. In previous comics and films, Metropolis was a tribute ahustlin' and a bustlin' American cities. Lois Lane and the Daily Planet staff were funny, hungry and hucksterish. On the otherhand, Returns seems like a movie about 30'ish yuppies. The Daily Planet looks like a law office, Jimmy and Clark get a beer after work, and the staff even eats burritos in the conference room after hours. This makes sense for a sequel that wants to show how characters have aged and moved on, but they're not really fun . At least Kevin Spacey as Luthor, and Parker Posey as his sidekick bring some camp .
Singer and Sigel take a similar approach for Superman Returns' action sequences, which are among the film's highlights. Early in the film, Superman saves Lois Lane from a crashing plane. As the plane crashes, the camera pans and tilts vertically and horizontally in pretty much any direction possible. Yet the suprisingly subdued lighting is gorgeous. In one shot, Lois sits in her seat as soft sun-light pours through the window. It's excellently shot, even different sides of the plane alternate between darkness and light as the plane spirals around the sun. The scene was exciting, that getting thrown batterd and burnt looks as fun as the Discovery Zone.
Unfortunately, for a movie about a superhero dedicated to "truth and justice (a character notceably omits the "American Way"), the Metropolis citizens are pretty bland. In previous comics and films, Metropolis was a tribute ahustlin' and a bustlin' American cities. Lois Lane and the Daily Planet staff were funny, hungry and hucksterish. On the otherhand, Returns seems like a movie about 30'ish yuppies. The Daily Planet looks like a law office, Jimmy and Clark get a beer after work, and the staff even eats burritos in the conference room after hours. This makes sense for a sequel that wants to show how characters have aged and moved on, but they're not really fun . At least Kevin Spacey as Luthor, and Parker Posey as his sidekick bring some camp .
posted by JKlorfein at 11:07 AM
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