I'd really like to discuss Man of Steel. I've rewatched it recently...

I'd really like to discuss Man of Steel. I've rewatched it recently, keeping in mind a lot of the discussion regarding bvs as well as some of the theorizing regarding MoS itself.

At the end of the day, all the theorizing, symbols, etc aside, man this is just the most human and emotional capeflick there is. Really puzzles me the divisive reaction this film received. It's emotionally beautiful at it's core. The story of a son caught between two fathers, two worlds, the weight on his shoulders, his discovery of his roots, the consequences of his actions and what his powers mean for the world. It's all riveting, and frankly satisfying not only artistically, but also speaks to the soul.

Other urls found in this thread:

youtube.com/watch?v=p34j0atQdJo
youtube.com/watch?v=7p5-14rjWUM
youtu.be/mTpzhfH8vC8?list=PL42rZ9F2TCklQr2PKp7qhdPro-foWyuZD&t=119
youtube.com/watch?v=FCcdr4O-3gE
twitter.com/NSFWRedditImage

It speaks to my sopping wet pussy, too, if you know what I'm sayin.

I've said it before and I'll say it again and again.

>mos is the greatest nu age capeshit

sup niggas?

I always thought man of steel really captured a more true to reality version of what would happen if superman were real.

desu I like the movie, but I also think batman vs superman was better than avengers vs themselves.

My favourite of all desu

Man of steel is great but the finale battle scenes with the overtop cgi was too much for me as well as how animated they looked when fighting.

Otherwise it was a really great film desu senpai

while i agree that MAN OF STEEL has a beautiful and fascinating story at its core, it's too bloated with "plot" that doesn't go anywhere or matter, and has some truly awful scenes. making fun of the tornado scene seems to be a meme on here, but even disregarding the poor conveyance of Jonathan Kent's intended message to his son, the scene is just UGLY. it looks terrible.

I still think the original superman/batman/returns/spiderman 2 is superior but mos isn't a bad pick at all

Not enough quips or jokes for me

seriously 4/10 subpar capeshit. DC needs to lighten up and shoehorn in some quips that fall flat most of the time

J U S T
U
S
T

For arguments sake, what do you mean by the bloated plot?

Personally I thought it was a concise/ tight plot

Fuck your thread. All these mod shenanigans with BvS threads getting deleted made me want to rewatch MoS right now instead of wasting my time on Sup Forums.

Love you baby XOXO

BvS would have been way better received if it was a 90 minute flick.

>get rid of politician
>get rid of half of Lex scenes
>focus more on Batman's point of view
After all we saw the city destruction through Batman so therefore the film should keep this structure

>get rid of Lois in desert - keep all this as well as the bullet subplot for a Man of Steel 2 script idea

>longer Batman and Superman fight scene
>better cgi design of Doomsday

Otherwise keep all Wonder Woman scenes. She was great fun.

Keep in mind that statistically speaking 60% of all people are retards.

Idiots dont like what they dont understand.

Just remember when Inception came out. All the hate, because people didnt get it. Then when it came out on DVD people started reading reviews and guides on the dreams etc.

Gonna recreate an analysis of Pa Kent's scenes I found interesting. I thought I had a capture saved already, but it appears not.

mostly everything that has to do with the Kryptonian genetic codex is extraneous. it serves to give Zod a motivation for wanting Clark so badly, but the fact that he's a Krpytonian "traitor" should already be enough. plus, Lois Lane was haphazardly attached to the plot with duct tape and staples. you could cut 75% of her scenes from the film and lose nothing of value.

Over the course of the film, we are treated to multiple flashbacks of Clark's childhood, mostly scenes focusing on interactions with his deceased father Jonathan. It is my belief that these scenes are designed to not only inform Clark's current thoughts, but also to elicit an emotional response from the audience that echoes a child's changing perceptions of their parents as they grow into adulthood. What follows is the series of scenes in the order in which they appear in the film.

Maybe
This flashback sets the tone for the scenes as a whole and the message it carries for the audience applies to all the scenes that follow. Jonathan listens to Pete Ross's mother talking to Martha about what Clark did being an "act of God." Jonathan leaves the house to find and talk to Clark. Clark asks him if he shouldn't have saved those kids, to which Jonathan replies, "Maybe?" This strikes any viewer familiar with Jonathan's character as a jarring departure, but we see immediately afterward that Clark himself didn't at that point know his own origins. Jonathan then proceeds to talk to him about the impact he'll have on the world and his words inform the wisdom of his previous statement. It's important to note that the same chamber that contains Clark's ship also contains a vast array of books and corkboards covered with various articles and maps, indicating that Jonathan's been doing a lot of "homework" in regards to Clark and serves as an early visual clue to a hidden wisdom.

The emotional response it elicits from a viewer is similar to the moment a child first realizes that their parents are not the idealized beings of their childhood and bespeaks a growing maturity within the child.

This scene serves as the primer for examining the flashbacks as a continuum. This pattern applies to all subsequent scenes insofar as they present the audience with the same growing understanding that Clark himself experiences with each proceeding scene informing the previous scenes, speaking to Clark's current thoughts and actions, and revealing his changing perspectives on the wisdom and lessons of his father.

Tornado
Here we see Clark as a teenager having an argument with his parents, and with typical teenage thoughtlessness, Clark says, "You're not even my dad. You're just some guy that found me in a field." You can see from his change in demeanor that he immediately regrets saying it, but Jonathan forges ahead, apparently wanting to discuss what Clark thinks would be "something useful" to do with his life, but it is at this point that the tornado interrupts them.

As they head for the "safety" of the underpass, we see Jonathan encouraging people to abandon their cars and head for safety, stopping to help a mother with a young child. When they realize they've left behind their family pet, Clark volunteers to go back, but Jonathan instead hands him the child and tells him to go with the others.

Jonathan's decisions in this scene leave a tremendous negative impression on the first viewing for most people, and I am most certainly among them, but it also leaves the viewer with some lingering tension with his character and leads one to question the wisdom of the character, but it's important to remember that all Jonathan could do was *tell* Clark not to risk exposing himself. The only person who can stop Clark is Clark himself, and he does. Those are the actions of a good child obeying their parent, a good son respecting the wishes of his father. They're not, however, the actions of a good *man* making his own decisions, and certainly not the actions of a man ready to face the world as Superman.

The typical incredulous reaction and accompanying emotional response one experiences on first viewing this scene is similar to the attitudes of an adolescent toward their parents - rebellious and questioning the wisdom of their elders.

Stop invincible son

you know what? we discuss this movie every god damn day on this board. Literally every fucking day since it came out in 2013.

Lets just give it a rest for a while, ok?

Also, I don't give a fuck, when Clark sees his father die, it fucking almost brings a tear to my eye

Clark, at this point a rebellious teenager, angry at the world lashes out at his father, claiming hes not even his real father.

And in the thick of the tornado event, as father Kent stumbles as he tries to escape and realizes it's too late, he believes so strongly in his son's future, in what he will be capable of, in the idea of protecting him at all costs that he is willing to die from it, and Clark, who literally just told his dad hes not even his real father, in a moment unsure what to do, not raised to use his powers as a crutch, and wanting to respect his fathers wishes, which he knows he so deeply believes in order to protect him. And as weighs the options...it's too late. And the Clark's reaction.

Fuck.

Bully Scene
Jonathan's lines here are pure Pa Kent in all its glory, counseling Clark against letting violence be his go-to solution to a problem and telling Clark that he needs to decide what kind of man he wants to be, because, in his words, "good man or bad man, that man's going to change the world."

As stated earlier, when viewed in the order they're presented, this scene informs Jonathan's earlier actions. He wants Clark to be a good man, and he wants to give him time to become that man, but most importantly, he wants it to be Clark's own decision, not choices he makes simply because they're the choices he believes others want him to make.

This scene invites the viewer to reevaluate Jonathan's earlier decisions and statements. The wisdom of his words inform the viewer that Jonathan might have deeper insight than appears at first glance and might be thinking of a far bigger picture as was suggested in the initial flashback. This scene serves as something of a reconciliation with Jonathan's character, much like a young adult coming into a greater appreciation of the wisdom of a parent and beginning to view them through different eyes.

Marvelcuck

Truck Scene
MoS's final Jonathan scene has him working on the engine of their truck while Clark plays "hero" in the yard with the family dog. We're lead into this by way of Martha telling present-day Clark that Jonathan always "believed you were meant for greater things and that when the day came, your shoulders would be able to bear the weight." In the flashback, Jonathan looks on in silence at Clark striking a hero pose while Martha watches her husband, smiles to herself, and pats him on the shoulder.

Having come into his own, Clark can now see the hidden wisdom of his father. This closing scene brings full reconciliation with the character of Jonathan Kent, the man that raised a Superman.

Just a friendly reminder that youtube.com/watch?v=p34j0atQdJo is a pretty good summary of the weapon which Kryptonians use to destroy/rebuild worlds.

The Mountaintop
Time will tell whether I'm right in this regard or not, but I believe Jonathan's scene in BvS will be his last, it being a mountaintop reflection with all that implies. Here, Clark reaches the summit, the final change in his shifting perceptions of his father.

Jonathan's horse parable is all about actions and their consequences. He regretted that his actions to save their farm cost the Langs their horses, but it's important to note that at no time does he say he believes he was wrong for doing so. Ultimately, his story is about making decisions based on your own moral compass, taking action, and accepting the consequences of those actions, both good and bad. It's about choosing your world and who you want to be in it. Tellingly, Jonathan is shown building a cairn atop the mountain. Cairns are frequently used as trail markers and a form has also traditionally been used by Buddhist monks to conceal scrolls of knowledge for others to later find.

Taken in sequence, these scenes represent Clark's emotional growth over the course of his life as Superman, and each scene is designed to not only inform the plot's current action, but to give us a view of his own internal landscape. They also evoke an emotional response from the audience that echoes the stages of development that a child experiences in growing to maturity.

From the mountaintop, Clark looks back and views his father, his choices, and his wisdom through the lens of time.

...

The only right response here.

>I'd really like to discuss Man of Steel.
We know. You spam about this trash every goddamn day. Do you ever stop begging for attention, you hipster piece of shit?

It gets me too, user. Every damn time.

three middle aged women on my row got up and left about 45 mins into Inception

>mfw

We know now that this was suicide. Even as the tornado tore Pa Kent apart, the pain was nothing compared to the endless nightmares.

Zod didn't think of Clark as a traitor if anything he would have welcomed another kryptonian. He thought of him as an abomination because he was conceived outside of the codex but that wouldn't have hunted him down without the codex plot.

Lois was the everyman in mos thrust into a world of God's. I do agree that she was pointless but love interests always tend to be

First response best response

>love interests always tend to be
not an excuse

it's still a problem even if it's a common one

Is this the dc hugbox/ safe space/ no bully thread

Lmaoing at your sad lives. It's all shit, accept it.

Something I'd like to discuss is the world-building that might be present in MoS.

I think that maybe DC is going for a more self-contained, streamlined universe than we're used to seeing in the comics. For instance, I think that a lot of what's to come depends on Kryptonian genetics, Kryptonian tech, and what the symbolism implies about perception, reality, and "magic."

Not making excuses, just saying it's a minor inconvenience

I would like to see more Kryptonian tech

We're bulletproof, user, but you're welcome to join us in the sun.

it's not minor

there's about 35 - 40 minutes of screentime devoted to this character who does absolutely nothing

"she's just a love interest, what do you expect" doesn't justify that

WE NEED MORE DILDOS

everything is dildos
dildos that fly into holes
when terra former dildo can't find one, it makes one in the earth, the way a dildo would

You know what's funny? That's an overt wakeup call to all the other sexual imagery throughout the rest of the film. More subtle things like pic-related and how it applies to Superman's "premature" birth.

>you know what? we discuss this movie every god damn day on this board. Literally every fucking day since it came out in 2013.

Doesn't that, in itself, say something about the movie?

>Falseflagging DCuck

Im trying to have a discussion but you keep shoving console wars in.

I agree. She's the weakest part of the movie to me, even if I can headcanon her presence on Zod's ship as him seeing her name lined with Kal's in our media and looking for "insurance," it still would have been nice to hear him say it.

Lois is the avatar for Mother Earth. She is there to care for and give love to the new born Superman as he is born in suffering, as he kills Zod

Depends how you look at it.

Lois searching for superman and acting like a journalist was quite interesting the latter half where she was "abducted" and fawning after superman was quite pointless.

But she helped in the fact that without her supes would still be imprisoned, she wasn't a complete waste of space

I like that a lot better than how this guy interprets her, even if both allusions are applicable at times.

youtube.com/watch?v=7p5-14rjWUM

Anything in particular you'd like to discuss, OP?

I guess, the emotional underpinnings of the film, the natural elements to the film, the mythic yet personal worldview presented on screen

theres lots to chew on

>doesn't post vagina corridor on scout ship
Your post is dildos

Clark fucks the Earth?

That's a good one, too.

Something that never really occurred to me before watching this version of Superman is something that I find hard to put into words. It's about the nature of heroism.

You know how every "cape" movie almost inescapably incorporates elements of the hero's journey? It feels like there's a deeper message here, something along the lines of what the nature of heroism really is.

A firefighter doesn't run into burning buildings just because it's his job. It's his job because he *chose* for it to be his job. The same holds true of a guy like Superman. He's not just doing it out of some guilt-motivated obligation. He's doing it because he chooses to. That's a subtle distinction, but an important one.

Self important shit with horribly obvious Christfag imagery.

But user, it's not human at all, and that's one of the biggest flaws it has.
Superman breaking the sound barrier when he flies is fucking awesome though.

>He's not just doing it out of some guilt-motivated obligation.
He's doing it because he feels guilty that he stopped as an invincible son.

Such pure Mithril!

Don't worry, that's what Suicide Squad is for.

the problem with BvS is that it doesn't always follow the standard formula for superhero movies, but it's also at times too formulaic

Here's one for you(not OP, by the way):

Check out Zod's message:

youtu.be/mTpzhfH8vC8?list=PL42rZ9F2TCklQr2PKp7qhdPro-foWyuZD&t=119

Now compare the tone of it and the delivery method to this:

youtube.com/watch?v=FCcdr4O-3gE

Even the words that appear on-screen in Zod's broadcast are interesting, as they're evocative of another movie from long ago. I think maybe this is Snyder telling his audience to expect something a bit different than your typical cape movie.

He's telling us to expect science fiction.

In Pa Kent's first scene, his cue to go track Clark down is Pete Ross's mom saying, "It was an act of God, Jonathan." He goes to set Clark straight on that one in a hurry. Later on, Perry asks Lois, "Do you know how people would react if they knew there was someone like this out there?" Well, the imagery's there, among other things, to show us how people react when they encounter a biologically and technologically superior alien - they try to turn him into some kind of god.

Man of Steel is very much a movie defined by choices.

Clark chooses to help people. Not out of a sense of obligation to his Kansas parents (old school stories had Clark's parents make his suit for example). It's an innate choice of his to use his powers to help others. He chooses to side with humanity, he is given the choice, it's not the default option presented to him. He chooses to 100% sever the ties that bind him to his home world, to preserve earth.

Everything Clark does in MoS is his choice. He seeks answers to help find out why he is who he is, but in the end, those answers works to help provide the contest to how he will choose to outwardly present himself to others.

It's a part of the movie that does not get enough recognition in regards to updating and modernizing the Superman mythos. Making it about Choice, rather than a subservient obligation.

>He's telling us to expect science fiction.
Which we didn't get. Instead we got Superman and Zod and Faora doing DBZ shit and then there was that CGI space tentacle nobody even remembers anymore.
Man of Steel was way more fun at the start. That oil rig scene was great.

>He's telling us to expect science fiction.
In a Superman movie? No way.

>It's a part of the movie that does not get enough recognition in regards to updating and modernizing the Superman mythos. Making it about Choice, rather than a subservient obligation.

You mean how in the 1978 movie he turned back time by his own choice even though Jor-Brando told him not to do it?

>most human capeshit
>emotionally beautiful
>Superman more wooden than a cigar store Indian

Something I've always thought was cool was that by defying the Kryptonians(the voice from the sky) and championing the cause of humanity, he's another mythological figure that's nearly never mentioned in these threads.

He's Prometheus.

>I can notice obvious things

I'm impressed, faggot. Just make peace with your God awful taste and subhuman intellect.

Superman Returns already did that. And the Atlas imagery too.

Why u mad tho?

>That oil rig scene was great.
Hell yes it was.

As for the rest, that hypothetical that Perry throws at Lois is the main thing we see going on with Clark over the course of BvS - him dealing with unwanted deification, whether people are conscious of what they're doing or not.

I think that belief is going to play a role in things to come. Clark's just a guy so all that worship means squat to him. The same doesn't apply to who's coming, and who I very strongly suspect is going to play a part in his return.

Superman defeating the world engine and his first flight was kino as fuck

This post is kino

>hey zod, ya know that every kryptonian on this planet will be a literal god?
>what? FUCK! TERRAFORM NOW!!

>the movie is about how Superman doesn't want to be deified
>all the Snyder fanboys deify him because of it
Oh the irony.
>this environment is better than our old one ever was and beneficial in every single way
>DESTROY IT AND REPLACE IT WITH THE ONE THAT KILLED OUT SPECIES IN THE FIRST PLACE!
>but that's dumb!
>KNEEEL!

>all sexual imagery
>snyder actually made a classic scifi and barely anyone noticed

It's been a while. Where does it allude to Prometheus - Lex? Ah yeah, I remember it now - Lex talking about himself as a Prometheus figure, seeking to steal the fire from the gods.

And like Prometheus he gave fire to the humans.

But Lois didn't say even once how Supes had such a nice Es.

No he didn't they had it when he was growing up.
Liar.

Prove it.

You probably missed the fanaticism of zod trying to keep the kryptonian race pure.

Superman kryptonians would be heresy

The burden of proof is on you

Zod is actually Zog
He wants a new world order regardless of how stupid and backward it will be
Kryptonians are actually Kiketonians, highly intelligent failures in their own land but as immigrants they become tyrants

I just showed you a picture of how he brought a lot of fire to the humans

You can also see it in the scene with Clark and the Bus

When the woman mentions an act of god, you can see how that upset Jonathan. You can tell he knew the path people could talk upon learning of Clark and his powers.

why is she so much sexier than literally any white bitch alive?

Hello Snyder

You know, the only part of "Kryptoforming" that would affect them at all is the increased gravity and the atmosphere, which appeared to be the single most annoying thing about being a Kryptonian on Earth - the "superfeels." Whenever we see a Kryptonian exposed to Earth's atmosphere, they're shown being overwhelmed by their sense. Nothing's going to change how they absorb our sunlight, though.

The scientist that extracts Clark's blood says that the ship is somehow dampening the solar energy he'd absorbed, so basically the World Engine was a convenient way to wipe out the native life, get rid of the most annoying part of being Superman(the senses you have to focus past) and still be somewhat "super."

Something tells me Zod, as a military guy, would be all about some efficiency.

Why didn't he just get his ass to Mars?

Oh totally.

Because Martian Manhunter lives there.

Why does he hunt men?

No active core.

I have a feeling we're going to find out Kryptonians stopped colonizing for a different reason than we've been given so far:

Fear.

What does the core have to do with anything?

He's a faggot, duh. Zod's asshole couldn't handle the pounding.

You made this exact same thread a few hours ago about BvS, and mods rightfully deleted it.
Your cheap flicks are not deep, they are trash, a disgrace, directed by a talentless hack that hasn't improved in a single way ever since he came out of film school.
No matter how many of these threads you make and you fill them with your laughable copypastas and screencaps of your own posts, you'll never force the idea that these joints are deep, or smart, or even worth watching at all.

Hell, I bet you only make these threads to take pics of them and say
>LOOK HOW MUCH THIS MOVIE IS DISCUSSED