TV REVIEW: "Marvel's Agents of S.H.I.E.L.D." -- Premiered: September 24, 2013

Well, it's here, whether we needed it or not.

Marvel's Agents of S.H.I.E.L.D. is hands down the most anticipated and closely guarded pilot of the new fall season. It's also hands down the pilot with the most obnoxious and ridiculously crafted title, too. I love Marvel and I love superhero movies but I was never fully onboard with this idea. Even with the auspices attached, I couldn't bring myself to believe this show was going to be any more than a rote procedural with enough references to popular things to make it interesting. Come to find out, I think that's exactly what S.H.I.E.L.D. is and is going to be.

The opening of tonight's pilot, after a weirdly written intro, which of course shamelessly uses footage from The Avengers to make it feel more appropriately epic, is supposedly set in Eastern Los Angeles. If by Eastern Los Angeles, they mean the most stark (no pun intended), and half set-dressed backlot available for use in LA then they are correct. The scene feels empty and anemic, hardly the setting you want to hit your audience, who have come to expect $250 million dollar production value, with right out of the gate. The scene introduces the us to its first "superhero," or the first person in the series who is on his way to realizing he might want to be or has the potential to be a superhero. There's an explosion and he scales a wall and it looks OK. Look, I understand that this is a TV show and there are limits, you can't knock a show too much for it's audacity and courage, but this is the pilot, the very first thing you are showing your audience, you shouldn't have any "oh, that could have looked better" moments. Leave those for the episodes that will surely come later down the line.

After the brief prologue, we cut back to S.H.I.E.L.D. business and the re-introduction of Clark Gregg's Special Agent Coulson. Of course, he died in The Avengers and his return here is no surprise, thanks to the nature of needing the star of a TV show to promote said show, and also ABC's relentless marketing campaign. Sadly, fans hoping for some incredible reasoning as to WHY he is alive and well will be disappointed, as the logistics of it all are kind of tossed in a "we'll talk about it later" basket. I happen to love Clark Gregg and Agent Coulson. He's a nerdy, average looking bad ass that I think a lot of Marvel fans relate to. Oh god, that sounded so sad. Whatever, it's true. His introduction is handled with a perfectly calculated Joss Whedon-y scene – two characters are talking and the time for a dramatic entrance arrives so Coulson steps from the shadows between them: "Sorry," he explains. "That corner was really dark and I couldn't help myself." Good stuff.

One of my main concerns is how this pilot works for someone who isn't knowledgable about anything related to the Marvel universe. For instance, I spoke with my Mom on the phone this morning and she mentioned the show. So yes, ABC has done their job making people AWARE that this thing exists, but I can't imagine her understanding any of this nonsense if she decided to tune in. Yeah, they try and explain stuff. S.H.I.E.L.D.'s mission is to survey the population for superheroes, supervillains, and monsters and decide if they are a threat to humanity or if they could use them for the greater good. I'm sure eventually someone corrupt will invade S.H.I.E.L.D. and want to use them for evil but I'll give them a few episodes before those shenanigans begin. "We're the line between the world and the much weirder world," Coulson explains. When you boil it down, it's actually pretty simple, but I imagine the non-initiated to be a tad confused by the end of the hour. I'm sure this question is one of the biggest things plaguing ABC and Marvel and I'm positive it has been brought up in many an executive meeting. If Agents of S.H.I.E.L.D. is too broad, it will turn off the Marvel-obsessed fanboy contingent and if it's too detailed it will turn away the majority of the wide-audience and become a cult-"hit" with 4 million weekly viewers by February.

Most of tonight's premiere is exposition and scene-setting and character introduction. Sadly, mostly everyone fades into the surroundings a little too much. Outside of Coulson, the S.H.I.E.L.D. crew is just your generic group of nerdy, BUT ATTRACTIVE, misfits who talk in exposition A LOT. They have accents and are basically just story engines at this point. We do get to learn a bit more about a hacker (Chloe Bennet) who joins the agency in the pilot and is the only one to assert some spunk and sass into the proceedings. I'm sure we will get to know more about them as things develop but for now I wasn't particularly invested in any of their stories or who they are outside of S.H.I.E.L.D.

After tonight's premiere, I'm mixed on where I end up with my overall opinion. I didn't really like the show I just watched. It was kind boring and kind of forced but there were also a few moments that ignited a little bit of a spark. A spark that leads me to think the show might find a way to be more than your average procedural with popular references. Within the Marvel universe, the possiblities are pretty endless and the show can have a lot of fun blowing some minds with clever correlations between S.H.I.E.L.D. and the expansive Marvel timeline. For our sake, I hope it does! I hope they find a way to make it work and have it be more exciting than the pilot was. But based on these initial 45 minutes, it looks like all this fanfare might just become a bridge to close the gap between the release of the next Marvel blockbuster. I mean, you did see that 2-minute trailer for Thor: The Dark World in one of the ad breaks, right?

GRADE: C  (for #CoulsonLives and ya know, being average.)

Stray observations:

• Typing out Marvel's Agents of S.H.I.E.L.D. is a level of torture I never thought existed. Seriously, the worst.
• I think the show is going to do HUGE business in the ratings tomorrow morning. Like, probably one of the biggest premieres in recent history. I also think that the situation will be very different in a few months. This could easily be the next Revolution.
• Can you name another show that is premiering on ABC this fall? Nope? Me neither.
• How weird was it when the ABC promo guy said "You don't want to miss the end of every episode!" Umm, okay? I'll miss the first half then?

MOVIE REVIEW: "Man of Steel" -- Released: June 14, 2013

In July of 2012, The Dark Knight Trilogy, one of the most successful (and widely-acclaimed) superhero franchises of all time, came to an end. Christopher Nolan's gritty, realistic, and emotionally draining trilogy raised the bar for what audiences expect from superhero films, and many were skeptic something as raw and "real" would ever come along again. Fast forward about a year later and that answer is still unclear for some but absolutely certain for many – Man of Steel has arrived and it's about as emotionally-raw and mind-blowingly epic as superhero films get.

Director Zack Snyder (300, Watchmen, Dawn of the Dead) has created a 2 1/2 hour exercise in relentless action and striking emotion all anchored by a new, cooler, more conflicted Superman. The added angst and human touch come with the help of Nolan himself who served as co-writer/producer on the film. Though at times too bombastic for it's own good, the film explores the struggle of one boy's journey to accept the differences that made him an outcast and use those differences to change the world – for the better.

The film begins with an extended prologue on Krypton – something I was not expecting – where we meet Superman's father, Jor-El (Russell Crowe) and mother, Lara (Ayelet Zurer) who is heaving in pain giving birth to young Kal-El (our hero). The whole scene plays out with the impending doom of General Zod (Michael Shannon) looming over the proceedings all while Krypton slowly burns to ashes. Jor-El's prophecy is that young Kal-El will become an "ideal" for mankind and that the people of Earth will look to him for guidance and light. As Krypton explodes, the two parents ship their child in a vessel, intact with a codex to preserve the Kryptonian race,  straight to Earth as General Zod threatens his plot of revenge. (i.e. "I WILL FIND HIM!")

Years later, we meet grown up Kal-El (Henry Cavill) as a burly fisherman, who within 60 seconds of screen time shows off his insane strength, when he rescues an entire fishing crew after a disaster on an oil rig breaks out. After the rescue, he sinks into the ocean lifeless as we flashback to young Kal. Ya know, the one who crash landed in Smallville, Kansas and is being raised by The Kents (Diane Lane as Martha and Kevin Costner as Jonathan) who have renamed him, Clark. It is here where we first get a glimpse of his childhood, which of course is filled with the usual struggles like bullies, being an outcast, and the strange tendency to lose focus and control when too much information is being thrown at him, like in a classroom. But all of this pales in comparison to when Clark saves a handful of classmates by literally dragging a school bus out of a lake after it careens off a bridge into the icy water below, forever ruining the notion he would prefer everyone accept – that he is a normal kid.

The first hour of the film continues to explore these moments, as we jump in time between old and young Clark. The choice to employ non-linerar storytelling for a superhero tale was a wise one by screenwriter David S. Goyer and co-writer Nolan. I'm surprised a previous hero tale hasn't made similar use of the technique. In Man of Steel, it allows those who are too familiar with Superman's origin to be surprised and informs those who need a brush up on the motivations behind the important decisions Clark makes along the way. The scenes between Clark and his adopted parents are without a doubt the emotional core of the film. Aided by a brilliant, emotionally charged score by Hans Zimmer, these scenes ache with pain and hurt but they also flawlessly remind us that this is where Clark learns who he is and who he would become, and that no matter what, family, any family, is important.

Lois Lane (Amy Adams) is introduced as a no-nonsense, Pulitzer Prize-winning journalist sent to the Arctic to investigate a mysterious vehicle under the ice. Of course, this is where Lois and Clark have there first run in. (Many have said that Henry Cavill and Amy Adams lacked romantic chemistry and I don't disagree. But, I also think it's something the script doesn't full develop and we can't place the blame entirely on the performances.) It's also at this location that Clark discovers a sort-of hologram of his real father, Jor-El who appears from the dead to brief Clark on the history of Krypton and unveil to him the infamous cape and suit branded with an "S," that doesn't stand for Superman, but for hope. Jor-El reminds him yet again, Earth is counting on him to defy evil and bring light to the world in the dark times that lie ahead.

This leads to arguably one of the films finest moments – Superman learning to fly. It's thrilling and joyful and gives the audience the sense that even we could accomplish such amazing feats if we put our minds to it.

And of course, just as Clark is mastering his flight and strength, General Zod returns from his limbo, in his frozen prison, hellbent on forcing the inhabitants of Earth to capture and release Superman into his clutches. Zod is after a that codex that was sent with Kal when he made his journey from Krypton. Ya see, Zod's main objective is to rebuild the Kryptonian race and the codex is the only way he will be able to do it.

The final hour, that's right, HOUR is devoted to the battle of Superman vs. General Zod as well as Superman's ultimate choice – does he return to Zod and help rebuild his first home (and his race), or does he defend his real home on Earth. Now, I'll be the first to admit this final sequence is as awe-inspiring as it is tedious. Its relentless, at sometimes repetitive, action verges on over-indulgent and it goes on for far too long. The nagging thing about the popularity of these superhero franchises is every "final battle" needs to top the previous one. It seems like Snyder was focused on destroying the record The Avengers set last summer in terms of length and insanity – and even though that battle had issues, at least it had a clearer sense of what was going on. Don't get me wrong, it's still very exciting and entertaining but I'm in the mindset that there definitely can be too much action in a film and Man of Steel comes dangerously close to crossing the line.

In the end, Metropolis is basically in ashes and Superman defeats Zod, albeit in a somewhat controversial execution. After a series of fights featuring non-stop punching (seriously, the amount of punching was insane), Superman, rather violently, snaps Zod's neck. Now, I don't consider myself an expert on every aspect of the character, but I believe it's widely known that Superman is one of the kinder superheroes who would never personally kill a villain, so it did come as a shock when the sound of a neck snapping spread throughout the theater sending a chill up the audiences collective spine. It was a dark moment and one of the biggest decisions Clark makes throughout the film. In my opinion, it works because of just how un-defeatable Zod had proven. THIS was Clark's moment to listen to what both of his fathers had been telling him throughout the years, it was HIS time to live up to their beliefs and defeat evil and restore hope to the people. I think it works because of the pain Henry Cavill expresses after Clark decides to end Zod for good. Clark was not expecting to make that decision or for it to come to that, but he did what he thought was right in the moment and he will deal with whatever consequences arise because of it.

Controversy aside, the film ends in a sequence that (rather obviously) sets up some story threads for the inevitable sequel – the film has made $141.3 million to-date. Superman has a face-to-face meeting with a leading general requesting the military forces trust in him, to protect earth and work together to defeat any future threats, as he's sure there will be many. Then, of course, Clark dons his classic, bespectaled "disguise" and begins work as a journalist at "The Daily Planet," working next to Lois Lane, and giving the film an iconic image to cut to its end titles.

The critical reception of Man of Steel has been so divisive, I'm finding it hard to think of another time opinion has been so split on a blockbuster. I don't understand those who simply HATED it. Sure, it's not perfect but what impressed me the most about Man of Steel was its sense of wonder and the heart at its core. Once the credits rolled, I felt like I really had been taken on a journey. I was wiped – emotionally and kind-of physically (remember, the punching). It felt different than any other superhero film I've ever seen. It took risks in its storytelling and packed an emotional wallop that really resonated with me. In the closing minutes of the film, there's a moment where a young Clark Kent is playing in the yard with a homemade red cape on, as his father watches on. Clark strikes the infamous hands-on-hip pose as the sun glistens across the striking red cape and in that moment, his father knows exactly what his adopted son will become – a beacon of hope for a world gone dark. He doesn't know when it will happen and maybe he won't be around to see it happen, but in his eyes you can tell he will rest peacefully knowing his son, Superman, will be there to protect him and everyone else. After all, the world needs hope but maybe next time, we could do with a little less punching.


GRADE: A-

MAN OF STEEL
Directed By: Zack Snyder
PG-13, 144 minutes