It’s A Bird. It’s A Plane.
Donner’s one big sloppy kiss on the comic world is both fun and wet. The epitome of a commercial blockbuster with antics that still our superhero features thrive upon, unfortunately fails to stay rosy after decades. The primary reason is it’s inadequacy on being through and through of its logistics. Nevertheless, its limited staged wider range reach by glorifying each characteristics of the characters is something that warps you back to your childhood salivating for more. Unlike your usual superhero, the protagonist is explored with a macho-like ruggedness that is drawn from emotions rather than those steely-blue-eyed broad-jaw-line face.
Ticking for more than two hours, it barely offers other characters to factor in, from Brando’s cameo to Hackman’s barely touched negatively charged character which is annoyingly one dimension to create any depth on the storyline. What it does get right somehow, is to introduce the gravitas of the characters in narration, the build up of these sequences is something to rely upon. Among many humorisc and intriguing conversations, the interview between Kidder and Reeve is definitely the highlight of the show. Reeve charging on the film with his behemoth persona may feel short handed on performance, but as far as picking up a car or rescuing our beloved characters is concerned, he is the right man for the job.
Aforementioned, Brando has very little to do, Hackman lags behind only for its thin material and Kidder, the one with the most involvement on storytelling remains convincing and genuine. As much as this light tone is appreciated in narration, the antagonist’s troops bubbling up the humor forcibly on screen shucks out their integrity to breed the essential threat to its audience. Superman works as much as it plays on the “human” field, it is not that the “superness” isn’t tenable, it just isn’t fun.