THE BEST OF 2014 - The Best MOVIES Of The Year

THE YEAR IN MOVIES - 2014

- Well, it's been an interesting year, hasn't it? There were a lot of things I could have talked about with regards to the state of movies in 2014, but ultimately, this was the year that The Interview almost caused an international incident. As I write this, there's still a bit of ambiguity over who, exactly, hacked Sony Pictures and later threatened to retaliate should The Interview be released. But because of our suspicions that North Korea was behind the attack on Sony, major theater chains pulled out of showing The Interview - leading Sony to follow up by cancelling the release of the movie altogether. Soon, an outcry began, and a Seth Rogen / James Franco comedy was the unlikely centerpiece of a movement. Fans, Hollywood insiders, and politicians all wanted the film to be released - not releasing it was an affront to our freedom, a victory for censorship. The President of the United States stated he thought Sony should have gone ahead and released the film, and encouraged Americans to go to the movies over the Christmas holiday. Eventually, as small theater operators rallied and fans protested, Sony relented. The movie ended up releasing in independent movie theaters across the county over Christmas, and also went live on select digital distribution platforms. The Interview could be seen, and freedom won the day.

The entire thing played out like some strange comedy of errors. The movie was cancelled, then suddenly back on again. America spent days worrying about some sort of attack on movie theaters, then began to doubt whether North Korea was even truly the source of the hack that started this whole incident. When Sony finally decided to pull the trigger on okaying a digital release for the film over Christmas, the timing was such that many big distribution platforms were unprepared to go live with the film - this meant that iTunes got the movie late, and Sony's own Playstation Store still, at year's end, doesn't have it available (while their competitors at XBOX do). 

In many ways, it's all already a bit silly in retrospect. But at the same time, it's not at all. If North Korea truly was behind the threat, and truly was willing to use force to keep The Interview from being seen - than that is a legitimate assault on our country and an attack on our freedoms. As surreal as it is to be having this conversation about an over-the-top comedy, we also can't dismiss what happened just because of the movie's genre. In fact, comedy is in many ways the epitome of our freedom of speech. The ability to mock, satirize, and poke fun at people and institutions - that's the very essence of what it means to have that freedom. And as I said in my review, The Interview feels like the kind of silly retort that an absurdly silly regime like Kim Jong Un's deserves. 

In purely pop-cultural terms, all of the discussion about The Interview opened up a debate about how we view comedy. One of the strangest side effects of The Interview becoming a politically-charged issue: scores of people watched it who would not normally be caught dead watching this kind of comedy. Which in turn led to an endless supply of comments trashing it. As a guy who reviews movies, and as a huge comedy nerd, this really frustrated and annoyed me. Suddenly, everyone was an expert, and people were all too happy to declare, definitively, that The Interview sucked. Ugh.

One of the things that got me interested in reviewing movies in the first place was the rise of internet enthusiast sites like Ain't It Cool News, circa the late 90's. As a kid, I remember always feeling frustrated with the movie reviews in the local paper. Comedies were always reviewed poorly, no matter how funny I found them. Action movies were always panned, no matter how badass their fight scenes were. Luckily, the internet gave voice to a new breed of reviewer who actually understood and appreciated genre. If you're going to review comedy, you've got to understand timing, joke construction, delivery, etc. It's why I hate when reviews seem to rag on comedies that aren't "about" some larger issue, instead of actually analyzing how well-constructed the jokes and dialogue are. If we only graded comedies based on what big, important issues they dealt with, then I suppose the works of Mel Brooks and Monty Python would be considered failures. 

This is why you're not going to see They Came Together on many 2014 Best-Of lists. But there was never any doubt in my mind that it would make mine. Watching They Came Together, I laughed more than at any movie I've watched in years. The movie isn't really *about* anything. It's just funny as all hell. Recognize and respect, people. For similar reasons, it was a no-brainer to me that the masterful The Raid 2 would rank high on my list. The movie is an absolute action-movie masterpiece, with some of the most jaw-dropping fight choreography I've ever seen. I understand that it may not be some people's cup of tea. But if you're going to talk about it, you've got to do so in the proper context, and look at what it is and what it's trying to be. 

Luckily, the mainstream seems to be getting increasingly down to get weird and crazy. Almost all of 2014's best and most acclaimed films are actually pretty insane, in their own way. Boyhood is a twelve-year opus from Richard Linklater, a guy who's always been a Hollywood outsider - a rock n' roll auteur. Whiplash, Nightcrawler - both dark and gritty and disturbing and intense as hell. One of this year's biggest fan favorites, Snowpiercer, is also quite possibly one of the strangest movies I've ever seen. And arguably the year's best and inarguably highest-grossing summer blockbuster, Guardians of the Galaxy, brought the weird, trippy, cosmic side of the Marvel universe to the big-screen - making heroes of a talking racoon and an ass-kicking tree-guy who says the same phrase over and over. 

So yeah, I guess 2014 was a pretty great year for movies - in the weirdest, strangest, unlikeliest of ways.


DANNY'S BEST MOVIES OF 2014:

1.) Boyhood

- Richard Linklater has long been one of our best filmmakers, but he outdid himself with the game-changing Boyhood. The way the film was shot - continuously over a twelve-year period - was no mere gimmick. Instead, Linklater created a film that gave us an unprecedented feeling of watching a life unfold before our eyes. Never before has a movie so actively invested us in the well-being of its protagonist. We hope and pray that the kid is alright, that Mason will be okay despite the hard times he goes through. Featuring incredible performances from Ethan Hawke, Patricia Arquette, and from star Ellar Coltrane, Boyhood was the one film from 2014 that struck me as an instant classic, one for the all-timers list. I know, there's always backlash when a movie is proclaimed as being this singularly great. But on this one, believe the hype.

2.) Whiplash

- Whiplash will leave you breathless. When I saw it in the theater, it left the audience in stunned silence, and it had the audience burst out in spontaneous applause. In this film, music is a battle, and Miles Teller's young, would-be drummer extraordinaire is at war. His barking general is JK Simons, in a performance for the ages - a can't-lose shoe-in for Best Supporting Actor. Simons is masterful in this film, and his stern warnings of "not my tempo" are flat-out nightmare inducing. Whiplash, in its own way, is one of the most messed-up movies you'll ever see. It's a dark, bloody, intense-as-hell look at the steep price of perfection.

3.) Interstellar

- Why did some people hate Interstellar? My guess is that whenever you take a story right up to the very edge of existence itself, you're invariably going to end up in some pretty far-out places - and some people would just prefer not to go there. But man, I give Christopher Nolan credit for pushing his film to the absolute narrative and thematic limits. He sends Matthew McConaughey's Cooper on a journey to the edge of space and time, and at some point, he's got to grapple with what happens when you cross over into the great unknown. Call it silly if you want, but I say it's brave. To me, Interstellar was flat-out mind-blowing - a sensory-overload experience that took us to places that no film has gone before. I suppose the film would inevitably be divisive. I say it's a new masterpiece from Nolan that's on par with his best work.

4.) Selma

- Selma was the right film at the right time - a moving, disturbing, deeply affecting look at a seminal moment in our country's history - a moment that feels as relevant today as ever. The brilliance of the movie is that it doesn't paint its characters in black and white. These are flawed, fully-formed people - but that makes what they accomplished that much more impressive. David Oyelowo is fantastic as Dr. Martin Luther King Jr., and Tom Wilkinson kills it as LBJ. But Selma isn't just a slice of history - it's a rallying cry, a reminder that we can do better, that America is imperfect, but that its greatest strength is that it's a place that empowers its people to affect lasting change.

5.) The Raid 2

- The Raid 2 is the Godfather II of action movies. The Raid was a straight-up, no-frills action classic - featuring a simple but effective premise that provided the backdrop for some of the hardest-hitting, most jaw-dropping fight scenes ever seen on film. But The Raid 2 one-ups it by framing the action with a sprawling, crime-saga storyline that, even without the bone-crunching action, would be compelling. But combine the two, and what you get is sheer epicness - and hands-down one of the greatest action films ever made. If you dig action and martial arts films and have somehow not yet seen The Raid and its sequel, get to it.

6.) Nightcrawler

- What a dark, badass, wickedly satirical film. Like some nightmarish mash-up of Taxi Driver and Network, Nightcrawler shows us the dark side of humanity while also offering up a biting commentary on the often predatory nature of the news and entertainment we consume. Jake Gyllenhaal is off-the-charts great here as the psychopathic Lou Bloom, and Renee Russo also impresses as his news-producer enabler. This one stuck with me for a long time after viewing it, in part because it has one of the most uncompromisingly brutal and hard-hitting endings I've ever seen. An unforgettable walk on the wild side.

7.) They Came Together

- For devotees of Wet Hot American Summer, here, finally is the worthy follow-up we've been clamoring for. This is David Wain, free from big-studio restrictions, able to go all-out in order to provide the sort of insane absurdist humor that first put he and his fellow members of The State on the map. Paul Rudd and Amy Poehler destroy as the leads, and they're surrounded by a who's who of funny people, including several fan-favorite State alumni. I've seen people talk about They Came Together as if it's a straight-up parody of romantic comedies. Only sort of. Mostly, it's just an excuse for Wain and co. to provide scene after scene of over-the-top hilarity. Basically, this is a comedy nerd's dream-come-true.

8.) Obvious Child

- It's always exciting to see new comedic voices emerge, and Obvious Child is a highly impressive debut from writer/director Gillian Robespierre. It's also a true coming-out party for star Jenny Slate. After being booted from SNL, Slate bounces back with an incredible performance that's both heartfelt and hilarious. You wouldn't think that a comedy about abortion could work. But Robespierre handles the delicate topic with such humanity and humor that, somehow, the film turns into one of the funniest and surprisingly poignant movies of the year. To me, the film works as more than just a story about abortion. It's a comedy about what it means to be a struggling young adult in 2014 - and I think that's why it spoke to so many people as powerfully as it did.
9.) Dawn of the Planet of the Apes

- 2014 had one of the best summer movie seasons ever. Several of the year's big blockbusters were not just great popcorn movies, but great movies in general. My favorite of the pack was the second film in the rebooted Planet of the Apes franchise - a series which I've quickly grown to love as much as the legendary originals. What's amazing about Dawn is that the humans are largely peripheral. This is the apes' story, and it's remarkable that we come to care about Ceaser, and root against his rival Koba, to the extent that we do. Give huge credit to the phenomenal mo-cap performances of Andy Serkis and Toby Kebbell. Also give credit to a smart script that creates the rare action-movie scenario where we root more for an end to hostilities than we do for one side to triumph.

10.) Snowpiercer

- Snowpiercer is flat-out insane, but man, is it awesome. The film is a true international production. It's a Korean film that's (mostly) in English, based on a French comic book, adapted by American screenwriter Kelly Masterson (Before the Devil Knows You're Dead), shot in Prague, and starring a diverse cast that includes big-time talent like Chris Evans, John Hurt, Jamie Bell, Tilda Swinton, Alison Pill, and Octavia Spencer. And it really is unlike anything I've seen before. Visually, it evokes the post-apocalyptic sci-fi stylings of Terry Gilliam. The extreme action brings a Hong Kong martial-arts sensibility to the table. But beneath the out-there aesthetic trappings, there's a pretty potent message about manufactured inequality. Don't write this one off as a mere oddity - there's plenty of substance to accompany the style.

JUST MISSED THE CUT:

This was a year that was positively overflowing with great films, with perhaps the most films I considered in the "A" range of any year that I can remember. Here are five superb movies that just missed the cut.

11.)  Edge of Tomorrow

- This one was a huge surprise - an expertly-crafted sci-fi action film that made the most of its conceit: that its soldier hero, played by a game Tom Cruise - re-spawns every time he dies, now equipped with the knowledge to stay alive at least a little longer when he re-enters the fray. The way the premise plays out is clever and novel, providing the real viewer with a real sense of videogame-esque trial-and-error and ultimately reward. But aside from all that, this movie is owned by Emily Blunt, who shows never-before-seen action movie chops. Blunt absolutely kicks ass in this film, in an instantly-iconic turn that surely puts her at the top of every female superhero casting call from here on out.

12.) Only Lovers Left Alive

- Jim Jarmusch's gothic vampire film was a real surprise and a true stunner. Dripping with goth-rock atmosphere, the film is a darkly funny tale that is almost like the vampiric version of Before Sunrise. Tom Hiddleston and Tilda Swindon slay as the two immortal lovers, who now find themselves facing true danger that threatens to uproot their lives. What really struck me about the film is how it uses the vampires' immortality as a way to comment on what's important in life. The two are terminally bored, but it's the discovery of the new - of art and ideas - that keeps them engaged and makes continued immortality a thing worth fighting for. 

13.) Guardians of the Galaxy

- Guardians of the Galaxy is the kind of fun, funny, imagination-filled spectacle that they just don't make anymore. As great as the current cinematic superhero renaissance has been, what's been missing has been the weird, cosmic, trippy stuff that made us all love these comics in the first place. Now, finally, it felt like we were getting to the good stuff - and James Gunn imbued his movie with a personality and quirkiness unique in the superhero genre. It was, indeed, a cosmic mix-tape of awesome.

14.) The LEGO Movie

- Speaking of awesome, who would've thought that this of all movies would be an instant animated classic? Somehow, Phil Lord and Chris Miller made The LEGO Movie into a brilliantly-scripted adventure that served as a commentary on conformity, imagination, and growing up. On one level, the movie was funny and fun and visually-breathtaking. On another level, this was a surprisingly deep and thoughtful and moving film. That, I think, is a minor miracle.

15.) A Most Wanted Man

- A sad but fitting goodbye for the powerhouse that is Philip Seymour-Hoffman, A Most Wanted Man is a slow-burn, ultra-intense story of political intrigue that casts Hoffman as an under-pressure, in-too-deep German official trying desperately to foil a terrorist plot. Adapted from a John le Carré novel, the film brims with a quiet, methodical intensity, and Hoffman here is at the top of his game. 

THE NEXT BEST: 

16.) The Guest

-From the brilliant, genre-bending minds behind last year's cult-fave horror hit You're Next comes a must-see midnight-movie action/thriller that goes to some very cool, very unexpected places. Riffing on 80's action films, but with a modern twist, this one's a bonafide new cult classic.

17.) Locke

- A movie that takes place entirely in one man's car, with the only dialogue involving his conversations on a speaker phone. That can't possibly work, can it? It does. An unbelievably great performance from Tom Hardy and a crackling script make this one a must-see.

18.) The Hobbit: Battle of the Five Armies

-A fitting send-off to Peter Jackson's Middle Earth epic, the final Hobbit movie delivers gravitas-filled moments of action, drama, and epic fantasy. Maybe it's not Lord of the Rings, but there's still a magic in Jackson's Hobbit films - especially in this one - that makes them a cut above. The end of an era.

19.) The Skeleton Twins

-My single favorite movie scene of 2014 is in The Skeleton Twins - a hilarious, sad, moving, chill-inducing, fist-pumping lip-sync sing-off involving stars Bill Hader and Kristin Wiig, set to Starship's cheesetastic ballad "Nothin's Gonna Stop Us Now." A showcase for the two SNL alums, who deliver laughs as well as pathos.

20.) Calvary

- Featuring a brilliant, razor-sharp script and picturesque direction from John Michael McDonagh, and an earth-shaking performance from the great Brendan Gleeson, Calvary is a meditative, elegiac, darkly funny story about Ireland's last good priest facing down a would-be murderer.

21.) Noah

- Darren Aranofsky's biblical epic is sort of bat$%&% crazy, but that's why I love it. It's got epic battle scenes, warrior-angels, a stunning animated sequence that depicts the entire history of evolution as filtered through the Book of Genesis, and a Noah who is downright psychotic. Somehow though, it all comes together to form a big, bold, dark, epic that is entirely unforgettable. 

22.) Gone Girl

- David Fincher's adaptation of Gillian Flynn's novel is an engrossing, screwed-up look at the dark side of marriage. Rosamund Pike is fantastic here, showing the true wrath of a woman scorned. Gone Girl is the ultimate bad date movie - a sordid look at the modern relationship that, in its own way, is as much about the darkness within as Fincher's Fight Club or The Girl With the Dragon Tattoo, and as much about who we are today as The Social Network.

23.) Captain America: The Winter Soldier

- A worthy sequel to the original film, this one pays homage to gritty 70's spy-thrillers, smartly adding Robert Redford to the cast as a S.H.I.E.L.D. official with suspect motives. The film plays out like one of those classic paranoid thrillers, pitting cap (Chris Evans still owning the role) against a new threat from a reborn Hydra and an awesomely badass antagonist in the mysterious Winter Soldier. 

24.) Big Hero 6

- Disney's animation studio is on a creative roll of late, and the streak continues with Big Hero 6. It might just be the studio's best CG-animated film yet - a visually-stunning, action packed superhero story that also packs an emotional punch. The movie is just flat-out fun. It one-ups The Incredibles in terms of paying homage to classic superhero and sci-fi tropes, and it delivers a story rich with positive messages that also never lacks for kick-ass action.

25.) TIE: The Imitation Game

- The Imitation Game isn't an experimental game-changer or a boundary-pushing film from a narrative or aesthetic viewpoint. It's a pretty classically-made Hollywood prestige film, no question. But there is also a lot of depth to the narrative and a lot to chew on - this is the rare World War II film that's not about combat, but about strategy and tactics and smart people trying to out-think the opposition. That to me is cool, and if that still doesn't sell you, the all-star cast, led by an Oscar-worthy Benedict Cumberbatch as genius code-breaker Alan Turing, should. 

25.) TIE: Top Five

-  Top Five is Chris Rock's Woody Allen film - a wryly witty, laugh-out-loud funny, emotionally involving story that is, one one level, about one man trying to find himself, but is, on another level, about, well, everything. Few comedians are able to put themselves out there in such a raw fashion, but that's exactly what Rock does here.

MORE GREAT FILMS OF 2014:

26.) Neighbors

- A hilarious comedy in the grand bro's vs. schmoes tradition, Neighbors is funny, but it's also got some real depth and heart. Seth Rogen is funny, but a hilarious Rose Byrne is the film's secret weapon. And Nick Stoller again proves that he is one of the best comedy directors working today.

27.) Unbroken

- An inspiring true-life tale, Unbroken features breakout performances from lead actor Jack O'Connell, and from Takamasa Ishihara as his relentless torturer in a Japanese P.O.W. camp. Featuring some truly chill-inducing moments, Unbroken is a strong effort from director Angelina Jolie.

28.) X-Men: Days of Future Past

- This one really surprised me. I was weary of yet another X-Men movie, but DOFP is a fun movie, plain and simple, and it has just about everything you could ask for in an X-Men/First-Class passing-of-the-torch film. There are nice callbacks to the previous movies, as well as some nice stage-setting for stories yet to come. This is pretty much the ultimate Brian Singer X-Men movie, both keeping what worked about the older films but also addressing some of the issues. This is a film that elevates the franchise as a whole.  

29.) The Book of Life

-  The Book of Life may not have the blockbuster name-recognition of some of the year's other big animated movies, but it's a fantastic film - on par with the best from Disney and Pixar. Not only that, but it's a crafted-with-love celebration of a culture that we don't often see in film or TV beyond cliches and stereotypes, and it brings a unique sensibility and art-style to the table. There is a 100% universal story here about family and legacy, told in a fun, action-packed, visually-dazzling manner.

30.) TIE: Veronica Mars

- Come on now sugar: bring it on, bring it on - and long live Veronica Mars. Kickstartered back to life by a passionate fanbase, the cult-fave TV show returned in movie form in 2014 - and the result was a great film that served as a satisfying epilogue to the series, and a great example of how to continue and build upon a beloved franchise. The pop-culture universe is stronger with great characters like Veronica Mars in it.

30.) TIE: The Interview

- Oh, how could I not give one final round of props to The Interview, the movie that changed movies forever in 2014. I don't know that the movie is a stone-cold comedy classic. In 2014 alone, I felt that They Came Together, Obvious Child, and Seth Rogen's other big movie, Neighbors, reigned supreme. But The Interview *was* funny. Very funny. And if you disagree, hey, that's your prerogative. But let me know when next we see such an epically ballsy comedic take-down of an evil dictator come 'round the pike. I'll be waiting.

HONORABLE MENTIONS - OTHER HIGHLY RECOMMENDED MOVIES FROM THIS YEAR:

Blue Ruin
Inherent Vice 
Frank
The Grand Budapest Hotel
Under the Skin
The Muppets: Most Wanted
Coherence 
Birdman
Wild
The Theory of Everything
John Wick
Fury
Get On Up

INDIVIDUAL AWARDS:

BEST LEAD ACTOR:

1.) Jake Gyllenhaal - Nightcrawler
2.) Philip Seymour Hoffman - A Most Wanted Man
3.) Tom Hardy - Locke
4.) Brendan Gleeson - Calvary
5.) Tie: Eddie Redmayne - The Theory of Everything / Benedict Cumberbatch - The Imitation Game / David Oyelowo - Selma

BEST LEADING ACTRESS:

1.) Patricia Arquette - Boyhood
2.) Rosamund Pike - Gone Girl
3.) Kristin Wiig - The Skeleton Twins
4.) Reese Witherspoon - Wild
5.) Jenny Slate - Obvious Child


BEST SUPPORTING ACTOR:

1.) JK Simons - Whiplash
2.) Ethan Hawke - Boyhood
3.) Tom Wilkinson - Selma
4.) Riz Ahmed - Nightcrawler
5.) Josh Brolin - Inherent Vice

BEST SUPPORTING ACTRESS:

1.) Renee Russo - Nightcrawler
2.) Emily Blunt - Edge of Tomorrow
3.) Jessica Chastain - Interstellar
4.) Tilda Swindon - Snowpiercer
5.) Emma Stone - Birdman

BEST DIRECTOR:

1.) Richard Linklater - Boyhood
2.) Christopher Nolan - Interstellar
3.) Dan Gilroy - Nightcrawler
4.) Damien Chazelle - Whiplash
5.) Gareth Evans - The Raid 2

BEST SCREENPLAY:

1.) Nightcrawler
2.) Whiplash
3.) Calvary
4.) Obvious Child
5.) The LEGO Movie
6.) They Came Together
7.) Edge of Tomorrow
8.) Guardians of the Galaxy
9.) Dawn of the Planet of the Apes
10.) Locke

- And that's that, another one for the books. 2014 over and done. 2015 is going to be epic.

INTERSTELLAR Is a Mind-Blowing Cosmic Odyssey

INTERSTELLAR Review:


- Rarely has a major blockbuster movie been as torn down, nitpicked, and hyper-scrutinized as much as Interstellar. But that's par for the course for Christopher Nolan, who has become increasingly divisive over the years. I too have had my doubts about the director. The Dark Knight Rises, to me, was a real misstep, and it was the sort of misstep that only served to shine a bright spotlight on some of the director's storytelling weaknesses. The Dark Knight Rises made some question the pedestal that Nolan had been placed upon prior to its release. But one misstep does not break a career, and I challenge the doubters to remember just how damn good Nolan's still-short career has been. I still vividly remember the sheer awe I felt after first seeing Memento in the theaters. I was blown away. And time after time, I've come away from a new Nolan film with a similar sense of being filled with awe and wonder to the point of bursting. Nolan always swings for the fences, and even when the narrative scope of his movies is small, the thematic ambition is huge. But INTERSTELLAR is huge in every possible way, and it's huge in a way that few current filmmakers outside of Nolan would even attempt, let alone execute on this level. This is Epic filmmaking with a capitol "E." But does it work? The internet would have you believe that it all crashes and collapses under its own weight. But I say screw the mobs of haters jumping on the Nolan backlash bandwagon. In my view, INTERSTELLAR holds up. It's involving and compelling on multiple levels. It's flat-out mind-blowing, and it's a potent reminder of just how damn good Nolan is. INTERSTELLAR is some truly next-level movie-making that demands to be seen, and seen on the biggest screen possible.

In some ways, INTERSTELLAR reminds me a lot of last year's Gravity. It's not just the outer-space setting, it's the central theme of humanity striving to reach its ultimate potential, achieving spiritual rebirth through scientific progress and an idealistic pursuit of our species' furthermost boundaries. In the near-future world of the film, a crop-killing dust has caused food shortages and air quality issues. The earth is on a dangerous path towards being uninhabitable. What's more, in the heartland where our main characters reside, a deep cynicism has taken root that's supplanted the idealistic frontierism that once characterized America and the American Dream. Our central character is Cooper (Matthew McConaughey), a natural-born explorer who was a pilot and an astronaut before the dissolution of space program. Now, he, like many, is a farmer - tasked with cultivating whatever crops can be grown in the earth's increasingly harsh climate. His son, Tom, is assigned by his teachers to study farming. For most, this is now their assigned lot in life. Cooper's daughter, Murph, is a science-wiz, but her teachers scold her for arguing with them about what's in her textbooks. The books, it turns out, now say the moon-landing was a hoax designed to push the Soviets into a costly, nation-toppling space race. Kennedy-era idealism is officially dead. The Chuck Yeager-esque hotshot pilot is grounded. Earth is dying, and the world clings to what is left in a cynical prolonging of the inevitable. Sound familiar? Poignantly and unflinchingly, the sci-fi world of INTERSTELLAR is a dark-mirror reflection of our own.

However, Cooper eventually learns that, hidden away in an off-the-grid base, a last remnant of NASA still exists, secretly plotting out a plan that could be humanity's last, best hope for survival. Cooper is recruited by the project's leader - Professor Brand (Michael Caine) - a former mentor of Cooper's - to lead the desperate mission he and his team have devised. Years ago, a group of astronauts were sent to find a new planet that would be inhabitable for humans. The great hope lay with the discovery of a wormhole, that by folding time and space would transport any who traveled through it into a far-off galaxy. Each astronaut went to a different planet, and each sent word back whether there's had potential to be a new-earth. Now, Cooper and his crew are being sent to go through the wormhole, and rendezvous with the astronauts who have given them the thumbs-up. What happens from there depends on how things go back on earth. Plan A: figure out a way to transport humanity en masse from earth to a new planet. Brand has yet to crack the code to accomplish this, so it's not a sure thing. Plan B: use samples on Cooper's ship to repopulate on the new planet, leaving everyone already on earth to wither and die out. Suffice it to say, the idealistic Cooper strongly prefers Plan A.

Cooper is fighting for all of humanity, but most importantly for his family. On earth, he leaves behind his son Tom, his daughter Murph, and his father-in-law Donald (his wife died young). And it's those central, familial relationships that drive much of the film. Because time passes differently for Cooper during his deep-space travels (Relativity in action), his mission sees him miss out on decades of his children's lives. The emotional core of INTERSTELLAR seems like uncharted territory for Nolan. His films have often had a cold, Kubrickian clockwork-like logic at their core, rarely dwelling too much on matters of the heart. But here, amidst the film's hard sci-fi braininess and mission-driven storyline, lies a Spielbergian center of sentimentality. No wonder, given that Spielberg himself was once attached to direct the film. But even so, it creates a sort of turn-of-the-corner moment for Nolan, where his big ideas and logic puzzles are intermixed - and indeed overshadowed - by an exploration of human connection and love that lies at the heart of what INTERSTELLAR is all about. No spoilers here, but I will say that Nolan's mix of Spielbergian heart with Kubrickian remove totally works for me in this context. Stories about traveling through space and time inevitably pose questions about life, the universe, and everything. And I think it's fair to go big thematically when you're going to the farthest reaches of the galaxy. Some of my favorite sci-fi visionaries - Ray Bradbury comes to mind - were far less interested in the hard science of sci-fi than with exploring what things like space travel told us about what it means to be human. Nolan is 100% interested in the science of INTERSTELLAR, and despite some liberties taken I don't think you'll find many sci-fi or space movies that have science *more* on the brain than this one. But I also don't think there's anything wrong with injecting a bit of Bradbury-esque reflection into the narrative. It's in the genre's DNA, and it's in the movie's from moment one. This isn't some Lost-esque, would-be sci-fi narrative that suddenly and disappointingly finds all of its answers in the spiritual. Rather, Nolan is theorizing that human connection and relationships are as much of a force in the universe as time, space, and gravity. Again, especially as we go on this journey that takes us to the outer limits of human understanding, that sort of train of thought seems, to me, to be fair game.

Nolan tells this story on the biggest, widest, most epic canvas possible. When he made The Dark Knight, Nolan raised the bar in terms of combining blockbuster filmmaking with cerebral and psychologically complex themes. He again raised the bar with Inception - even as the thematics became even more complex, Nolan gave them a thunderous intensity that ensured the film never lacked for momentum. He does this again with INTERSTELLAR. The film is long and sprawling, but it absolutely flies by. It's that same thunderous power here, even more amplified than in Nolan's previous films. In IMAX, the film's cosmic visuals have you-are-there, larger-than-life pop. As per usual, Nolan grounds even the most jaw-dropping visuals in a frighteningly plausible reality, making them that much more breathtaking. When Cooper and his crew land on a watery planet whose entire surface is covered in mountainous tidal waves, you are floored by the scope of it all, but also the reality of it. The visuals of the movie, like the plot, are informed by science and physics - making them all the more effective. Nolan may not be the clean, precise visual storyteller of an Alfonso Cuaron, but he makes up for it with the sheer force and epicness of his visuals. Likewise, the script - by Nolan and his brother Jonathan - can have moments of clunkiness, but what the two lack in understated grace they make up for with numerous moments of quotable, gravitas-infused weightiness.

The film is additionally propped up by the talent of its cast. Matthew McConaughey, as we all know, has been on a tear of late. The funny thing is, what's going on around him in this film is so attention-grabbing that I think the quality of his performance may actually end up being somewhat overlooked. But make no mistake, McConaughey is fantastic as Cooper. Here's the thing - the Chuck Yeager-esque explorer/pilot part of the role is basically second-nature for McConaughey. He pretty much is that guy. But what's impressive is how well McConaughey handles everything else that the movie throws at him. For one thing, when things get really big, weird, and surreal in the film's third act, McConaughey perfectly nails the insanity of it all while not going too over the top. But even more so, the Oscar-winner nails the relationship that Cooper has with his kids - in particular with his daughter Murph. In many ways, Interstellar is a movie about fathers and daughters, and the Cooper-Murph relationship is key. 

Luckily, Murph is played by two outstanding actresses. It's not surprising that Jessica Chastain is great as the adult Murph, who's grown to be the same age as her father while the effects of relativity have slowed time for Cooper. Chastain is consistently excellent in everything she's in, but here she makes the older Murph a damaged but driven woman - a brilliant scientist who, though she has a fraught and complicated relationship with her dad, may have nonetheless inherited some of his can-do idealism. What is surprising is how good young Mackenzie Foy is as the ten-year-old Murph. It's Foy's devastated reaction to her father leaving her for his mission that makes Cooper's journey that much more intense and important-feeling. 

The other interesting father-daughter relationship is between Michael Caine's Professor Brand and Anne Hathaway's younger Brand. To compare and contrast the two would lead to heavy spoilers. But I will say that I was really impressed with Hathaway here. This role lets her be grittier and more mature-seeming than in past films, and Hathaway seems more serious and restrained than usual. She brings a surprising gravitas to Brand that I didn't expect. As for Caine, he memorably recites "Do Not Go Gentle Into That Good Night" by Dylan Thomas - a poem that seems like something that Professor Brand must repeat for himself as much if not more so than for others. But that, ultimately, is the mantra of the film. Rage against the dying of the light. It's the recurring theme of INTERSTELLAR, and who better than Caine to deliver it?

The cast is filled with a host of other great actors. There's a crucial role from a key actor whose identity I won't spoil ... suffice it to say he does a fantastic job of playing against type. There's Wes Bentley and David Gyasi as the other crew members on Cooper's ship. There's a badass cameo from William "Rolling Thunder" Devane. There's John Lithgow as Cooper's father-in-law. And there's a standout voice-acting role from Bill Irwin, giving life to the robotic TARS. Yes, every good space odyssey needs a super-awesome robot to make it complete, and TARS is a damn good one. The design on the 'bot is incredibly unique and fascinating to look at in motion. And Irwin's affable voice-work makes TARS one of the film's most memorable characters.

Some have griped about Hans Zimmer's score, but man, I loved it. I think there may have been some issues where the volume of the score is just too high, to the point of drowning out some key dialogue. But the score itself is fantastic. The main theme reminded me a bit of the cosmically-themed song "Contact" from Daft Punk's Random Access Memories. In any case, the future-synth soundtrack is both a bit of a departure for Zimmer and a perfect fit for the film. It's absolutely brimming with ominous intensity and into-the-void atmosphere. Completely dug it, and I think it will go down as a classic film score.

Oftentimes, it's actually the small movies that give us the best insights into life's big questions. Rarely do we get big, epic sci-fi films that have more on their mind than space battles and comic book soap opera. That's all fine and good, but I say you've also got to appreciate the rare film like INTERSTELLAR that actually, 100%, goes the distance. It takes us into space, through the wormhole, and into the great unknown, and it doesn't take any shortcuts in its journey. The film sees things through to their ultimate conclusion - and yes, that means that we get talking robots, fifth-dimensional ghosts, and ruminations on whether love is a scientifically viable universal force. If that sort of stuff makes you come down with a case of the eye-rolls, then hey, INTERSTELLAR might not be your bag. But if, like me, you live for stories that just keep digging and digging in search of the great secrets of the universe and reality itself, then this is what you've been waiting for. Nolan isn't just hurling paint on the canvass here - there's method to his madness, and those complaining about plot holes will find most if not all of the answers in the film, if you pay attention and think things through. As much as some call out Nolan for over-expository dialogue, the fact is that a lot of key details are found between the lines of the film, in quick moments or simply implied rather than said outright. Nolan's ambition also leads to some serious aesthetic risks. As the film crescendos, Nolan furiously cross-cuts between two times and locations. It's another instance where some might simply tune-out and accuse him of overreaching. But by this point in the film, all cards are on the table and there's no slowing down. The result is, to me, a gripping and operatic sequence that seared itself into my brain. Nolan is more a hit-you-with-a-sledgehammer stylist than a subtle storyteller, but here especially, the subject matter warrants this level of cinematic fierceness.

INTERSTELLAR is ambitious as hell, but I think it holds together impressively. Narratively, it takes its time building to the point where Cooper goes on his space mission. Once Cooper and his crew begin their interplanetary exploration, the film takes on a nicely-pulpy tone that plays out like big-budget 50's sci-fi. It's modern-day Twilight Zone told in grand fashion. Eventually, the film becomes trippy, 2001-esque surrealist sci-fi, but Nolan keeps even the film's strangest sequences rooted in an easy-to-grasp emotional core. But what ties everything together is a thematic throughline that I found incredibly resonant and powerful. Because though this is sci-fi, INTERSTELLAR is a story firmly about the here and now. It's a story about how, in a world where real problems get put aside due to politics and economics, sometimes what we need is to channel our human spirit - to reach back and recapture the sort of can-do, yes-we-can, do-not-go-gently idealism that can lead us forward into a brighter future. Accuse Nolan of going soft, but really, Interstellar is his nod to Silver Age optimism, to Kennedy-era, space-age values. He takes us from darkest night to brightest day. From dust to stardust. INTERSTELLAR is a mission-statement of a movie that, to me, is absolutely huge and breathtaking in the best possible way. Nolan backlash? Hold up, people. One of our best directors has just delivered a tour de force. Save the rage, embrace the stars.

My Grade: A

MAN OF STEEL Is The Super Epic We've Been Waiting For

MAN OF STEEL Review:

- I'm a Superman guy. People say Superman is cheesy. They say he's too powerful, too perfect. Those people are missing the point. Superman is an icon, an ideal. The best Superman stories are big-picture morality plays. The best Superman stories inspire and give us hope. Superman, to me, is about the idea that humanity has in them the capacity for good - to use great power for good. Superman fights a neverending battle that serves his ideals. With his power of alien origin, he could kill us, oppress us. He could view humans as an "other" as we view ants. But Superman is the ultimate immigrant story - the ultimate American story. Created in post-depression America by two young Jewish kids, Superman was the messianic figure who, in an unfair world, a world creeping into darkness, brought light and hope - who fought for the little guy and who served as a symbol for Truth, Justice, and the American Way.

Superman as a hero and as an ideal has always inspired me. The core idea - that we should strive to do good - is such a simple yet powerful one. It's the basis for the superhero myth. Without Superman, none of the other costumed heroes currently flooding the theaters would exist. Superman to me has always been the best hero because of the ideals he represents, but also because his story is one that's both grounded and cosmic. Superman's origins are both the stuff of epic science fiction and of Rockwellian Americana. Superman / Clark Kent's feelings of alienation are ones we all can relate to, and his All-American values are ones that we all know. But Superman is also a character that lends himself to epic adventure - time and world spanning journeys, world-conquering villains, imagination-expanding ideas. Superman is our modern Epic Hero - an Odysseus for the Science Age.

But time and again in recent decades, there have been those who've sought to make Superman less Super. While the Richard Donner movies featured a classic, timeless performance from the great Christopher Reeve, they were also cheesy as hell. Despite some dramatic moments, there were also numerous tonal shifts towards campy comedy and eye-rolling superheroics that undermined the great work of Reeve. Later, Lois & Clark turned Superman into prime-time romance, and Smallville upped the teen angst and soap operatics, with a "no tights, no flights" policy that made Superman less icon and more teen idol. That's not to say that those shows didn't have their moments, but as a Superman fan, they rarely left me fully satisfied. Meanwhile, Superman Returns left me flat-out disappointed. The movie paid slavish homage to the Donner films, keeping some of the worst aspects like used-car-salesman Lex Luthor. That movie was so wrapped-up in the symbolic aspects of Superman that it forgot the imagination and sci-fi. For a hero that starred in Action Comics for decades, Superman Returns somehow neglected to show Supes throwing a punch.

For me, my earliest memories of Superman were colored by what I had seen from the Donner films. I didn't get why Superman was cool. That all changed when circa 1992 I began reading The Death of Superman and Reign of the Supermen storylines in the comics. Suddenly, I was obsessed. I began reading weekly Superman comics from then on. I went back and read the best Superman stories by the greats like John Byrne, Jack Kirby, Alan Moore, and Elliot S! Maggin. I read new classics by Grant Morrison, Mark Waid, Mark Millar, Joe Kelly, Jeph Loeb, Kurt Busiek, Geoff Johns, and more. I realized that the best Superman stories - from All-Star Superman to Kingdom Come - gave Superman a humanity and relatability, but also played off the iconography - they were big, they were epic, they were larger than life. They were, in a word, super.

MAN OF STEEL is the first live-action Superman that truly fits that description. For that reason, people who only like Superman when he's written more like the street-level, wise-cracking, down to earth Marvel heroes ... well, they may reject this film. This film is huge, epic, full of weird sci-fi and mega-sized super-powered smackdowns. And it also takes all of that stuff seriously. There's not a lot of winking at the audience. And you know what? I say that's okay. Sure, Superman has a history of stories that are whimsical and even comical. But there are also plenty of stories (especially in the modern day), that have a darker, more intense tone. Biblical would be a good descriptor. And MAN OF STEEL fits that bill. It's biblical-level epicness - superhero sci-fi on a grand stage.

It all starts with a rip-roaring prologue set during the final days of Krypton. There is no doubt: this section of the film is flat-out awesome, and it plays 100% to director Zack Snyder's strengths. I love visual imagination, I love great world design, and damn, I loved seeing the "World of Krypton" come to life like NEVER before. Everything about this section is pitch-perfect, from Russell Crowe bringing the GRAVITAS as Jor-El to Ayelet Zurer as Lara. There are elements of this Krypton that I recognized from various comics - the servant robots, the society ruled by genetic manipulation, the crazy dragon-like creatures that Jor-El rides into battle. But this is also a Krypton that looks like nothing I've seen before. I got that old feeling from it. That Superman feeling. The feeling that I was seeing something new and different and awesome. FINALLY ... a Superman movie with IMAGINATION, that dared to be crazy, cosmic, and weird!

Russell Crowe is also just so good as Jor-El. He carries that prologue in grand fashion, turning in his most memorable and iconic performance in years. What a pleasure to see him square off with the equally awesome Michael Shannon as General Zod. It almost makes you want a World of Krypton prequel with badass Jor-El in the lead. But even amidst all of the crazy cosmic action in the prologue, the movie sets up a very important idea - Kal-El is special even as a baby. He's the first natural birth on Krypton in generations. On a world where all people are bred to fulfill a specific role, Kal-El is the first in ages who is free to forge his own path. His nature is, as it were, free to be nurtured - and it will come to be nurtured by the Kents and their heartland morality. Diametrically opposite of that is Zod. He exists for one purpose - to protect and ensure the survival of Krypton at all costs. And so, when he eventually makes his way to earth, he sees no reason not to exterminate humanity and resurrect Krypton in its place, via a codex that contains the genetics of all of Krypton's various bloodlines.

Michael Shannon's Zod is one of the best-ever villains in a superhero movie. His motivations are simple yet potent. His hatred of Jor-El and by extension Kal-El is palpable. He looks like a psycho badass, whether in his normal Krypton military gear, on in the creepy-as-hell space suit he wears over it. And this is Michael Shannon we're talking about - one of the very best actors working today, and perhaps *the* best at playing unhinged villains. Shannon brings a scary intensity to the role that is unrivaled. Forget used-car-salesman Lex Luthor, THIS is a villain worthy of Superman. Now, there is the legacy of Terrence Stamp in Superman II - certainly, an iconic performance. Shannon as Zod is completely different, and equally if not more memorable. Maybe he doesn't have a line as good as "Kneel before Zod." But he has an evil factor that renders catch-phrases unnecessary.

But let's talk Superman. Henry Cavill. I thought he nailed it. Cavill looks the part more than anyone since Christopher Reeve. He's got the sort of home-spun heartland humanity that you want in Superman, but he's also the most kick-ass Superman ever in film or TV. Unlike gawky Brandon Routh or baby-faced Tom Welling, this is a Superman who, finally, feels larger-than-life and superheroic. At the same time, Cavill deftly gives his Clark moments of real non-humanity, where he does feel otherworldly and alien. I've never seen that before outside of the comics, and it emphasizes the movie's theme of alienation. Clark knows he can't trust Zod, but Cavill also does a great job of showing Clark's weariness with humans.

Still, my favorite character in the movie might just be Lois Lane. I was a little worried when Amy Adams seemed not to figure much into the movie's marketing. But fear not - this is one of the best, coolest versions of Lois ever. Trust me, I'm a true-blue Superman fan and know the comics inside and out. But I was nonetheless incredibly pleased with the changes to the cannon that were made here with regards to Lois - it was different, but it felt like a great evolution. Basically, the movie does away with the whole idea (which can often seem silly and grating) of a sort of love triangle between Lois, Clark, and Superman. Especially given that Lois is a world-class reporter, her obliviousness when it came to Clark and Superman always seemed contrived. That's why my favorite version of the Lois and Clark relationship has always been the two of them as a couple with no secrets - a true team. And that's exactly what we get here - a Lois who is two steps ahead of everyone else when it comes to investigating this strange visitor from another world. A Lois who very quickly becomes Superman's ally and confidant, and who also kicks plenty of ass in her own right. There's an awesome sequence in the film - maybe it's best - where Lois, trapped on Zod's ship, has to make a daring escape. I'll confess that I was sort of smiling ear to ear during the sequence, because it just felt like man, Lois Lane being 100% "super" and not just a damsel in distress - about damn time! Maybe some will want more rom-com shenanigans and Donner-esque screwball comedy between her and Clark. But like I said, this is an epic, biblical-scale movie, and to me it seems fitting that Lois and Clark have a sort of star-crossed romance and partnership. Lois Lane in this movie boldly stands by Clark rather than betray his secret - even though doing so costs her the scoop of the century. If that's not enough to light the spark of an iconic romance, I don't know what is. Lois and Clark aren't even a couple, per se, by the movie's end. But the spark is there, as are the makings of Lois and Clark as (forgive me, Batman) the World's Finest team. There's almost an Office-esque Jim and Pam-style chemistry, I dug it. Amy Adams does so much with a glance, a nod, a smile. It's a knockout performance.

Kevin Costner was basically born to play Jonathan Kent. A great piece of casting. His scenes in flashback with a young Clark have a real resonance, because we feel the weight of a father who struggles to parent a son who is innately different, inevitably meant for some higher purpose. This is where the movie's humanity lies - the conflict in Clark between his adopted parents, who want to keep him safe and protected, and the desire to discover his origins and his destiny, which surely lies somewhere beyond Smallville. Diane Lane is also excellent as Martha Kent. There's a blue-collar aspect to these Kents that I like. There is some of the classic Rockwellian tone to the movie's Smallville segments. But there's also a little more grit, and Costner and Lane embody that. Other standouts include Laurence Fishburne as Perry White, Christopher Meloni as an army colonel who becomes an ally to Superman, and Richard Schiff as Dr. Emil Hamilton. I'll also give a special shout-out to Antje Traue as Zod's right-hand woman Faora, who kicks ass and takes names with style. She's just totally ruthless, seething evil. A great, memorably villainous turn.

On Zack Snyder ... look, I'm a fan. I think he gets a bad rap for no real reason. And MAN OF STEEL is likely his best directorial effort yet. He keeps things grounded when needed - we've never really seen Snyder do the more salt-of-the-earth stuff before that he does here with his Smallville flashback scenes. And yet, he also delivers epic superhero action in spades, the likes of which we have never seen before on the big screen. Yes, over the last decade or so, movies like The Avengers have delivered the kind of comic book action spectacle that fanboys and fangirls long dreamed of seeing realized in live action. Movies like The Matrix sequels and the more recent Chronicle have delivered Superman-esque action in such a way that made you think "man, this is what a Superman movie should look like." But I don't think it should be understated that *this* is, finally, the first time we're seeing Superman-worthy action in a SUPERMAN movie. On a visceral, primal level, and as a lifelong Superman fan, it's just damn satisfying. Some may not care about the scope of the action, and I get it, sort of. But Superman's neverending battle plays out in superpowered bare-knuckled fights to the finish. That's just how it is, people. That's the superhero bread and butter, and rarely if ever has it been so dynamically realized in a film. Snyder whips out cinematic tricks that left me breathless, from a knock-down, drag-out brawl in Smallville to a roller-coaster-ride airborne battle in Metropolis. From the prologue filled with chases atop flying alien dragons, to Superman powering through a tentacled warship in a last-ditch effort to save the world ... this is just great stuff. Some will dismiss it, say it's empty and hallow. To those people, I say - this is Superman! From Kirby's galactic, page-popping brawls to the classic art-deco Fleisher cartoons that had a mostly wordless Superman punching  away at giant robots, Superman has ALWAYS been about epic, visually-dazzling action that captivates the imagination. Some may have forgotten that over the years, but Snyder and co. didn't.

On that note, I'll address the biggest and most passionate criticism against the movie that is makin' the rounds: the notion that the movie features too much reckless destruction in its action. The critique is that we don't get enough sense that, in the midst of his epic battles, Superman is going out of his way to save innocent people and prevent damage. As Superman and Zod go at it in Metropolis, buildings crumble, trucks explode, and seemingly, many innocent people become casualties of their collision. I can see where these critics (notably acclaimed Superman writer Mark Waid) are coming from ... to an extent. I think a quick scene of Superman pausing his attack to save a kid, or to free someone trapped in rubble, or prevent a building from collapsing, would have gone a long way to make these battle scenes feel more Superman-like. In truth, the collateral damage from the movie's big battles is such that it does almost make you feel a bit uneasy. Even some quick codas of Superman helping to free trapped people or rebuild the city in the battle's aftermath would have helped. At the same time, I have a hard time seeing this criticism as any sort of deal-breaker for the movie as a whole. For one thing, we *do* see several scenes throughout the movie of Superman doing all he can to save individual people when they are in need. He saves Christopher Meloni's character, Lois, and several others in the heat of battle. And, many of the film's flashback scenes are explicitly *about* a young Clark going out of his way to save people, while remaining largely anonymous and in the shadows. For another thing, the movie clearly shows that the battles with Zod are not only Clark's first as Superman - but his first battles of ANY kind. He's never even tested the limits of his powers before. He literally has not fought anyone in a direct manner, ever, before this - let alone adversaries who have his same abilities. Point being, this is a Superman who is a complete novice in many ways, and suddenly he is being confronted by a superpowered being who is murdering thousands, who fully intends to destroy ALL LIFE ON THE PLANET. It's understandable that Clark might be so hellbent on stopping him at all costs that he can't fully absorb the mass-destruction that results from their conflict. And yet ... the aftermath of the Zod battle is handled in such a way that it's clearly a turning point for Clark - and he is devastated by it. I expect that future movies would address his quest to become a "better" Superman.

Still, I think some of the criticisms about that aspect of the movie tie in to what may be some recurring flaws in the scripts of writer David Goyer. Overall, I am a fan of Goyer's - after all, he's had a hand in some of the best comic book adaptations of recent years, including The Dark Knight. But Goyer, I don't think, is a details guy. His scripts seem to always have a looseness to them in some aspects. Goyer loves to set up intricately laid-out, puzzle-like plot drivers. And MAN OF STEEL has its own sci-fi spin on that, with Zod's quest for the codex that will re-ignite Kryptonian civilization on earth, and the World Engines that will terraform earth to further allow for the creation of a New Krypton. Goyer will give you every detail about how the World Engines are reverse-engineered from the Phantom Zone projectors or what have you, but he won't throw in a line that clarifies whether Metropolis was evacuated before or during the giant battle that eviscerates a chunk of the city. I think that's partly where some of the issues with those battles come from. The other thing though is that Goyer can occasionally seem a little tone-deaf when it comes to big, emotional moments. The same way in which Batman's "I won't kill you, but I don't have to save you" line to Ra's Al Ghul just felt off, MAN OF STEEL has a couple of moments that, as hard as the movie (and Han Zimmer's majestic score) tries to sell them, just don't seem earned. The biggest one for me is a flashback to a key moment where Clark finds himself helpless to save Pa Kent in Smallville. Cavill and Costner both play the moment as well as one could hope for, but it still just doesn't ring true. Even putting my preconceptions about Clark Kent and Superman aside, there was just *no way* that Clark - as we know him from other scenes in this movie - would act the way he did here. To sum up: I think Goyer has a real talent for writing epic, thunderously-paced stories that sweep you up with relentless pacing and nonstop intensity. But sometimes, in the need to make everything big and huge and melodramatic, he tends to misread or omit the small moments that would make all the difference in selling the story and filling in logic gaps.

That said, I think that MAN OF STEEL hugely benefits from having the same sort of forget-to-breathe pacing and intensity as Nolan's Batman films. I don't know how much influence Nolan had on the look, pacing, and overall arc of the movie, but there is a very Nolan-esque structure here. With films like the Dark Knight, you could overlook the occasional tonally-off moment or annoying plot hole because, man, the movie was just so impactful, so hypnotic in its intensity that in the moment, it totally swept you away. Same goes for The Man of Steel. Very deliberately, I think, the movie just thunders along. No opening titles or credits. Few breaks in the intensity. It just keeps hitting the high notes like a rock opera that won't let up. This was one of those movies where I barely blinked. I sat upright in my seat, transfixed. That incredible Hans Zimmer score - soaring, inspiring, classic - made it all the more immersive an experience. This is a movie that gave me chills on multiple occasions - Clark putting on the super-suit for the first time, Russell Crowe's impassioned speech to his son about his destiny, the military's moment of realization that the flying guy in the red-and-blue was one of the good guys. Yes, I love the quips and comedy and ironic coolness of the Marvel movies. But sometimes, I want to dispense with the irony and just be inspired, moved, and swept away. That's what MAN OF STEEL will do, if you let it.

I could go on with other little thoughts and asides and nerdy nitpicks. I wish the movie's color palette had been brighter - I'm not sure why everything had to be shown in Nolan's preferred palette of muted greys. Give me Kirby-esque bright colors in my Superman stories, thank you very much. I wish that, given the story's cosmic, comic-book nature, we got some additional hints that this took place within a larger DC Universe. I wish Jimmy Olsen was in it. And yeah, the fanboy in me wishes that at some point, Michael Shannon would have gotten the opportunity to bellow "kneel before Zod!" But man, I also think we're living in an age where some people make nitpicks into blow-up-the-internet level take-downs. I'm already seeing the strongly-worded essays popping up online that go in depth about various issues in the movie, examining small moments with a microscopic level of analysis that makes me wonder: what would these same critics have said if they were writing about the Donner films when those were first released? The same movies that many regard with nostalgic love contain two or three WTF moments for every one in MAN OF STEEL. Not only that, but even though, yes, I had some criticisms of the script, I also recognize that a movie script has creative freedom to do things like jump around in time, leave things open for interpretation, and not explain every single detail of how every single moment in the movie came to be. I'm already seeing people ask questions about Man of Steel that to me are clear "use your imagination, duh" sorts of situations.

In the end, I am happy. In many ways, this is the Superman movie I've been waiting for my whole life. Superman is many things to many people - romantic leading man, religious allegory, man of action, sci-fi adventurer, American symbol ... and the list goes on. But after so many Superman adaptations that seem hellbent on making Superman "relatable" to the average person - i.e., make him something other than Superman - and after so many Superman adaptations that pay homage to other eras and other times ... it is nice to have a Superman movie that is unabashedly SUPERMAN, and yet, a Superman that feels updated for 2013 in ways that make sense and feel true to what has often worked best about the character. I still think, of course, that there is room for improvement. I think a sequel could be even better, and show a Superman grappling with the mistakes he may have made in this movie, even as he is determined to keep fighting the good fight and striving to live up to an even higher ideal. But man, this is a good start. A great Superman movie that could kick-off something truly special and truly, well ... super. Bring it on.

My Grade: A-