While it's nice that Singer wanted to keep the spirit of Chris Reeves alive, this story is a bit lame. We didn't need Lex Luthor in what is a rip on Superman The Movie, or the love story and the half kryptonian child. (Although when the kid squashes that guy with a piano, that's hysterical). The one thing they did right was Superman's powers. He's truly Superman in this movie. Shot in the eye, lifting a yacht, listening to the entire world. The movie needed more of this, and less of Lex Luthor. A good attempt.

The Superman returns after a 5 year absence, but finds a world that has learned to live without him, and now has to accept that Lois Lane has followed her life with another man, as well as facing again the ever-persistent maniac Lex Luthor. Contrary to previous adaptations of Chris Reeve's Superman, this film excels by being more realistic and without excessive stupidity, focusing on the drama of the relationships and motivations of the characters, has an excellent camera work and the mythical soundtrack redesigned from the original, some spectacular action moments and finally a movie worthy of this super hero who treats him with due respect without making him or the film a stupid comedy or joke like the previous ones.But it also has negative aspects that I do not agree with and that greatly harm the film: it could have more moments of action (after all this is a Superman movie); Superman spying on Lois Lane is just weird; Lois Lane should have a personality with more vitality, jovial and restless (despite the circumstances) and the son is a character that is not needed. The final battle on the island could have been better crafted without editing the transition to the sequence in which Lois wakes up on the plane, as such cuts on a climax breaks the tension and attention on the viewer. That is wrong. And in this final battle, I was very angry and disillusioned that Superman did not even once offered resistance or a bit of a fight. After he sends the island into space, the end of the film unnecessarily extends for another 20 minutes with melodramatic scenes more appropriate to a romantic drama than a Superman movie. I'd end the movie with Superman at the hospital and Lex Luthor's scene on the desert island. The rest is unnecessary.I'd really like to have a Superman movie in my collection, but in the overall assessment, unfortunately and despite some positive aspects, this movie does not accumulate enough points for that honor. Although it has elements that indicate to be a sequel to the first two films (forgetting the others completely), it is better seen as a stand- alone, assuming that there was already a story before which is not to relevant for this movie, not at all. In short: this movie has some good moments but lacks more action because it focuses too much on the romance between Louis and Clark, and being so is just a melodrama with Superman.

I think I just had a religious experience. Why did no one tell me this was a near-masterpiece?I think the difference this time was viewing it right after Superman: The Movie and Superman II: The Richard Donner Cut. Doing so really heightened how much this complements those, acting as a trilogy capper of sorts. It perfectly encapsulates not only the on- screen film, but the behind the scenes as well. By that I mean, you can feel the passion and the honesty that was put into this production, in the same manner as watching Donner's original masterpiece. Routh is an inspiration, finding the exact balance between playing Christopher Reeve playing the character, and adding in his own mannerisms and ideas as well. Truly, he was robbed of a franchise he worthily inherited. Bosworth is less revelatory but entirely competent as Lois. Marsden does fine in his role, but it's nothing special at all, merely added in for conflict. Spacey steals the show, having what can only be the time of his life as Luthor.The most divisive element of this film is obviously Lois's son, Jason, a possible heir to the Man of Steel. Seemingly randomly thrown in, this plot line stems from a single scene in II, in which we see Lois & Clark unclothed and lying together in the Fortress. This is an exciting addition to the Superman cinematic mythology, and it is mined for all its worth in an introductory capacity.The action is few and far between, but when it comes its in full force. The plane rescue is the easy standout, an exhilarating sequence that is beautifully realized and will leave you breathless. It is, I say confidently, one of the best scenes of superhero action ever committed to film. The climactic fight on the crystal continent is a visceral and heart-stopping setpiece as well.My favorite piece of this puzzle is the timelessness; from the architecture and the clothing to the cars and vocabulary. They never even reveal any event that could date the movie. This allows the film to act both as a sequel to Donner's films when it needs to, but also as a standalone adventure that can take place at any point in Superman's history.I highly suggest watching this in quick succession with the first two films, as it will reveal all the subtle throwbacks and references. Not just perfectly placed lines of dialogue or visual cues, but how this film interacts with and builds upon the other films. It can only be fully appreciated by watching this "trilogy" as just that. I've never enjoyed this film more, and I credit that to my refreshing of Donner's movies. Not only those Easter eggs, but keep an eye out for clever callbacks to Superman's early comic book career.Like Superman himself, the film's greatest strength is also its weakness. It's perhaps too thoughtful at times, too interested in living in every moment to move the plot. In my opinion, though, it's refreshing to see a major franchise film slow down long enough to enjoy a dance or two. It is entirely slavish to what came before. This prevents it from exploring in full force a greater change to the character and cementing a definitive home in the Superman pantheon. While the absence of an origin story is welcoming, it would have been nice to see Singer attempt to reinvent the wheel, perhaps using the Donner films as only a launchpad. Taken as what it is, however, this can only be described as the film Donner would have made in 2006.It's a true crime that Singer will never get to build upon this work. X2: X-Men United was such a leap from its predecessor, I can't imagine what his once-titled Man of Steel would have looked like. Rumour has it we would finally see Brainiac and Doomsday. The biggest loss comes at the expense of the son, whose further exploration we'll never see. Now that's a shame.Simply put, this is a worthy successor to the Donner era, a thinking, romantic, whimsical beast that may have just been to reverent for its own good. Still, there were so many moments of "Wow, THAT'S Superman right there!" Routh nailed the poses with a presence that can't be taught. He flew like he's been doing it all his life. With an exemplary supporting cast, knockout set pieces, and an exciting addition to the mythos, this one earns my highest recommendation, but is destined for under appreciation. Oh well, more for me.

If you grew up being a fan of the first two 1970s Superman movies as I did, you would love this movie. It combines the cheesy, corny style of the two movies mentioned above and it hits on the nostalgia note just the right way. Kevin Spacey is great as Lex Luthor and Brandon Routh looks almost as the late Christopher Reeves, especially when doing Clark Kent, even Sam Huntington as Jimmy Olsen is a doing well. The only questionable casting choice for me was Kate Bosworth as Lois Lane. Plotwise, it works, it is the good mix of drama, action, humour and pathos. All in all, I enjoyed the movie in cinema in 2006 and I still enjoy re-watching it on Netflix. None of the later Superman remakes lives up to this one.