Man of Steel was the first for a long time a film about Superman, who collected an impressive cash register and was able to give hope for an excellent continuation. "Man from Steel" became a kind of "Batman: The Beginning" for the films about Superman. In this picture, Clark Kent still knows very little, understands little, and it is difficult for him to realize that he is not like everyone else. This film is about the beginning of the path of the most powerful superhero on Earth, which has become a symbol of truth and hope for all mankind. The last son of Krypton takes a giant, impressive jump forward and makes a smooth landing on Ultra HD Blu-ray in a blaze of fiery explosions and apocalyptic destruction. Compared to its Blu-ray counterpart, unfortunately, the results are not exactly leaps and bounds ahead of its predecessor, which is not to say fans won't be able to note any visible improvements between the two, of which there are a several. Shot with a combination of traditional 35mm film and the Red Epic digital camera system for a few action sequences, the elements were mastered in 2K digital intermediate, and I suspect Warner Bros. did a simple unconvert of that master. The regrettable effects of that are some negligible hints of aliasing along the sharpest edges of buildings, thin structures and a top computer monitors. This also causes some very mild posterization in the faces of the cast, who sometimes appear pasty and drained, but for the most part, flesh tones appear natural with a realistic rosiness during several conversations in daylight.

The movie has some flaws to me for sure ( i don't know about a perfect movie) but i will not comment about that as i believe everyone need to discover by themselves what - if any- dislike for their preferences. Clark Kent, one of the last of an extinguished race disguised as an unremarkable human, is forced to reveal his identity when Earth is invaded by an army of survivors who threaten to bring the planet to the brink of destruction. from the animated artificiality observed in the 4K versions of Batman v Superman and Mad Max: Fury Road). Another example of the gains in depth and texture can be seen in the KansasOne aspect inthe Supermanmythos not often enough explored for mainstream audiences is the character's desire to know moreofhis origins and the dilemma over his foreignness. From a story by Christopher Nolan and David S. Goyer — the same pair that made ' The Dark Knight' movies a success — almost the entire first half in 'Man of Steel' is dedicated to this personal struggle with self-identity. Although Clark Kent (Henry Cavill doing his best but never becoming wholly convincing) is adopted by two very loving parents (a surprisingly good Kevin Costner and Diane Lane) and raised in the American heartland of Kansas, he must cope with the fact that he is different from others, that he's an immigrant (or an illegal alien, to be perfectly honest) in the truest sense of the word, a being caught in the middle of two seemingly opposing cultures. This is a fact his parents have chosen not to keep secret from him.

Christopher Nolan's ' Dark Knight' trilogy has had a tremendous impact on the way filmmakers and studios now approach comic book adaptations. They're now taken with a more serious, often quite dark and very much post-modern tone, interestingly exploring the psychology that makes up a superhero and how he handles the weight of responsibility as protector of humanity's own path towards destruction. Arguably, Ang Lee's largely disappointing ' Hulk' and Bryan Singer's excellent ' X2: X-Men United' were really the first films to touch on these themes; however, Nolan took it further, went deeper and traveled into darker territory. Today, the movie superhero is no longer a comic caricature, but a flesh and blood character, almost human, struggling with grave moral demands that adults can appreciate. One of the reasons that Man of Steel works so well, is that Henry Cavill disappears nicely into the title role, and absolutely owns it here. For all the complaints some fans have with this film, Cavill’s take on Superman isn’t one of them. What's more, Michael Shannon’s Zod isn’t simply a megalomaniac; he’s deeply motivated to believe that his destructive cause is just. And here at last is a version of Lois Lane who’s intelligent and trustworthy, who looks before she leaps and who Superman can actually rely on. Amy Adams manages to do something unexpected – make her Lois an active, important participant in the story, who’s also the key to Crowe’s Jor-El remaining active in the story too.

Superman 75th Anniversary Animated Short– If you were missing John Williams’ score, here it is – albeit it briefly. General Zod is an ideal villain, strong, intelligent, hungry for power. Hatred, anger - this drives him, and he wants to avenge himself and his fellow citizens and return to his people the house they lost. He is a patriot, ready to die to achieve his goal. He wants to build a new world on the bones of people and for this, General Zod needs to eliminate the only "person" who can stop him. All-Out Action– We get a peek into some of the training that went into the lead actors’ (Crowe evidently lost 40 lbs. for his part) as well as some general information about the film and effects therein. Personally, I love that the filmmakers would be so bold to do this — to have the otherwise seemingly perfect Übermensch(the philosophical concept that essentially inspired Jerry Siegel and Joe Shuster) question his very existence in an imperfect world. This central dilemma is wonderfully encapsulated by the lessons of Clark's father and Lois Lane's (Amy Adams in a role dramatically different from the comics) untiring search for the mystery man who saved her life while she was snooping around a military base in the Arctic. When questioning her pursuit, Laurence Fishburne as Perry White, editor of "The Daily Planet," puts it very succinctly and frankly, a question that in turn reveals a major flaw within us as a supposedly open-minded civilization. This, in turn, places Lois in a dilemma that complements the script's central theme.