Summary
James Gunn’sSupermanpromises to be a paradigm shift from previous live-action iterations of the Blue Boy Scout audiences have received. The teaser trailer released on December 19 is a visual confirmation of that. Juxtaposed with the lukewarm reception of Superman’s previous solo outing,Man of Steel, audiences seem to be more positive aboutSupermaneven months before the movie’s release. This is evident in the teaser’s being the most viewed for both DC and Warner Bros.
But for all the backlash that Henry Cavill and director Zack Snyder received for their take on a brooding Superman, there are many lessons Gunn and crew could learn from it.Man of Steelhit the nail on the headin every visual department — VFX, costuming, and set design—as well as action choreography and score. If combined with a story and character development as potent as Gunn’s, these elements could usher in a new interest in the character in ways unseen.
Costume Design
Michael Wilkson’s streamlined and athletic design ofHenry Cavill’s Superman costume forMan of Steelwas a breath of fresh air from the simplistic wear of 2005’sSuperman Returnsand its predecessors.The intricate embroidery, textured chainmail finish, and organic lines on Cavill’s fit feel like the stuff of aliens. It was clearly inspired by Krypton’s aesthetic, and looked every bit as grand as one would expect from the most powerful man in the universe.
Fans who liked the finish by the Academy Award-nominated costume designer would likely gawp at David Corenswet’s suit. The costume has obvious creases and a cosplay feel,despite sporting a brighter palette and an arguably better cape than his 2013 counterpart—with the iconic pants as a nostalgic bonus. And that’s even without considering thecontroversial collar and S-logo, which have left some fans disgruntled.
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It’s not only Superman’s suit that feels underwhelming; it’s the whole squad of supporting superheroes. UnlikeMan of Steel,which set the bar with top-notch Kryptonian armor, nearly all the costumes seen in the teaser trailer,except Mister Terrific and Metamorpho,look DIY. While this worked inGuardians of the GalaxyandThe Suicide Squad, it is unbefitting for a character like Guy Gardener or Hawk Girl.
It’s too late to go back to the drawing — or rather, sewing — board, and the only hope left is that it looks better in the actual film. Still, subsequent Superman outings should borrow the costume and makeup expertise ofMan of Steel’s crew, just likeGunn sought advice from Zack Snyderwhen brainstorming on David Corenswet’s fit.
Visual Effects
The attention to detail inMan of Steel’s VFX shots deserves praise even after a decade, particularly when many recent big-budget superhero films have stumbled in this department. So good was the special effects team that many viewers were fooled into believing that the Kryptonian armor worn by Zod and his crew was actual physical costumes and not a CGI facade.Andy Muschietti’sThe Flash, released a decade later, struggled to replicate this perfection.Man of Steel’s Krypton itself is a marvel to behold and is unlikely to be matched by what Gunn brings to the table, as are shots of Superman’s eye lasers trying to escape from the depths of his eye sockets.
There is little to conclude about Gunn’s Kryptonian aesthetic from the teaser trailer. The only clue is Kelex the robot at the Fortress of Solitude. But Gunn is no slouch at VFX and world-building, having displayed it excellently with different planets and civilizations in theGuardians of the Galaxyfilms.
Cinematography
Gunn’sSuperman’s vibrant color palette and crisp lookexude the classic comic-book charm and is an obvious departure fromMan of Steel, with the latter film’s desaturated hue. But, tonal shift aside, few would rank the former above the 2013 movie in terms of how a Superman movie should feel:immersive and grand.
For all the debates surrounding Zack Snyder’s filmmaking — often critiqued foremphasizing spectacle over substance, much like Ridley Scott— there’s no denying his ability to leave an unforgettable visual impression. And he does that inMan of Steel, bringing his expertise from300andWatchmento bear on everything from religious symbolism to the flight scenes. The AFFRILEX cameras shook to mimic the real-world struggle to keep pace with Kal El, and snap zooms emphasizing the urgency of his battles. Paired with VFX flourishes like sonic booms, swirling clouds, and monumental flight sequences, it’s everything the mind imagines with the iconic line:“It’s a bird. It’s a plane. It’s Superman!”
Although Director of Photography Amir Mokri was instrumental, it is Snyder himself who deserves the most credit. His consistent stylistic choices ensured that even when he worked with different cinematographers forBatman v Superman: Dawn of JusticeandZack Snyder’s Justice League, the visual quality and tone remained seamlessly parallel.
Gunn’sSupermandoesn’t need to look likeMan of Steel, but it should strive for the same sense of scale, gravitas, and cinematic weight. Cinematographer Henry Braham (the same one involved inThe Flash’s atrocity) has already left fans skeptical about whether the movie can deliver the visual and aesthetic richness worthy of the Blue Boy Scout’s caliber, despite his celebrated work on 2016’sThe Legend of Tarzanand theGuardians of the Galaxysequels.
A Threatening Villain
Fourteen movies and ten years later, arguably no villain in the DCEU era is as compelling as Michael Shannon’s Zod. His moral complexities and willingness to put Superman’s ideals to the test in real time raised the stakes higher than any other Superman film.
Thankfully, the shot of a battered and bleeding Superman lying in the snow at the beginning of the trailer suggests that Gunn will make good on his promise of presenting the most terrifying nemesis of Superman seen on screen inNicholas Hoult’s Lex Luthor.This villain will hopefully frighten not only the Man of Steel, but also the audiences.
An Original Score
A movie’s wealth and impact rest not only on its story or visuals, but also on its sonic appeal:in other words, musical score. It’s one of the reasons why films likeInception,Interstellar,thePirates of the Caribbeanfilms,and eventhe firstSupermanfilmcontinue to be loved by fans. The creators ofMan of Steelunderstood this perfectly when they enlisted Hans Zimmer to handle the soundtrack. As expected, the famed composer didn’t disappoint, delivering a modern theme potent enough to rival John William’s 1978 score.
Gunn’s goal is to resurrect the euphoria of Superman as a beacon of hope and truth that came following the debut of Richard Donner’s movie. One only needs to listen to themetallic rendition of John Williams’ score for the trailer to get a clue as to his intentions.While such homage in itself doesn’t risk undermining the film, the danger lies in the attempt to “out-Donner” Donner.
Gunn may argue otherwise, stating that composerJohn Murphy’s score will be largely originalalbeit with nods to Williams'. Still, the 1978-themed Superman badge on the movie’s poster, the classic trunks on David Corenswet, and traces of the score will inevitably leave the average viewer drawing comparisons.As has been so often proven in Hollywood,playing on nostalgia isa double-edged sword. It attracts more viewers, but failure to meet the legacy of the original might be fatal.All this is to say, Gunn is better off with a fresh score, completely new and unaffiliated with any that came before it, than borrowing elements from a movie that is nearly impossible to top.
