Yay! Im happy that WB has green-lit the Superman sequel. I wasnt blown away by Singers first run at Big Blue; like many others, I wasnt pleased with the script and didnt feel the character dialogue was up to snuff. For a $200+ million project, it felt rushed and subsequently, unoriginal.
However, Singer is an intelligent and adaptive director. Based on his earlier work, esp. X2, Im cautiously optimistic Singer will make amends with the sequel, and deliver a Superman movie comic buffs will appreciate more.
So, this said, here are SIX general areas I believe Singer/WB need to tackle in order to ensure the sequel succeeds where SR didnt. This post is long but I wanted to spell out what I feel are critical pieces Singer et al need to look at closely. By no means is this a comprehensive list, nor do I contend that its the best list, but I do feel many of these echo the concerns a lot of viewers of SR expressed:
1. Stronger Character Dialogue: The weakest element of SR was its conversation; no way should the line were meant to remember from a Superman movie be Im always around. There was little in the way of development, and thats mostly due to a bland, sometimes inept script with no memorable zingers or character-driven speech. For the sequel, PLEASE, PLEASE, PLEASE seek out real authors such as Michael Chabon (who I think would be fantastic remember STM was done by Mario Puzo), and hire a handful of the comics writers too, such as Jeph Loeb or Grant Morrison.
2. Action: Yes, we need more action, but not action for the sake of action. Unfortunately, I felt the sequences in SR, while well directed, were woefully unoriginal and as Ebert suggested, duty driven. Superman stopping a robbery? Slowing a crashing plane <yawn>? While this doesnt mean we dont appreciate them, these failed in terms of being memorable. It should be said that what made STMs action so terrific were the personal punch-lines (Bad vibrations; Something wrong with the elevator?), none of these existed in SR. Superman isnt Spider-man, but that doesnt mean hes the silent rescuer. Either build in numerous small action sequences like STM or venture out to original rescue scenes. No matter what, give him personality, or at least good-natured one-liners! Raimi, BTW, handles these to near perfection. Singer should look at his work -- they're 'friendly' action sequences that deliver both personality and intensity.
3. Lighter Tone: And that brings us to the tone/feel of the movie. A lot has been said about the color scheme of SR which many consider too dark and grim. Color, however, is only one part of tone, and yes, SR is too dark. Moreover, one element (of many) the Donner version absolutely nailed was the lighter conversational tone the dialogue was sweet when it needed to be and serious when the moment called for it. SR feels like its set in Gotham, not Metropolis and its perpetually dark (does anyone smile in SR?). This is exemplified by Rouths final flight at the end; unlike Reeve, he doesnt smile and its a stark grimness that drags down SR. Give the movie a brighter color set and take down the level of seriousness several notches. There needs to be a level of personality that makes us chuckle in Superman; if we want brooding, well see Batman. Superman does not brood, which he did too often in SR.
4. Understandable villain or villain(s): What make X-Men and Spider-man work (Batman, too) are villains with back-stories that allow us to understand their intentions. We may think the villains are off their rockers, but their ideologies are thorough. Lex is interesting in the comics because his ideology of rescuing humanity is in direct contrast with Supermans: Big Blue feels humans should be allowed to live and determine their own will Lex, on the other hand, believes rescuing man is best achieved through his decisions alone. Its ultimately a battle of philosophies that, unfortunately, we never get in SR. Spaceys Lex is just the run-of-the-mill bad guy who wants to conquer the world <yawn>. Whether its Magneto, Joker, or even Green Goblin, there needs to be some underlying motive beyond simple power/greed. Otherwise, we get what we got in SR a villain thats evil for evils sake. Unoriginal and one-dimensional. Singer of all people knows this, which is why I suspect the sequel to handle this much better.
5. Read the comics: We all know Singer never read comics growing up, and thats fine. However, given the direction with Richard/Jason, please read at least Secret Identity and Son of Superman both books provide themes/ideas that could and should be incorporated into SRs sequel, esp. if Singer intends to carry on this whole Superman family-line idea. While Im on this, again, I am pleading that WB add a real author to the script. And of course, I endorse Michael Chabon again he is more than capable of adding that layer of intelligence we saw in STM.
6. Tighter focus on relationships that matter: And that brings us to this final point. There are too many characters in SR and none of them feel well developed by the end; needing to include Jimmy/Richard/Lois/Jason/White left us with little more than cutout characters. Tension never really got through much less relationships. Supermans humanity is never explored and that is central to a compelling plot. What made STM and at least long parts of 2 and 3 good were Supermans struggle for his own humanity. This only happens if hes in relationships which is one of the key reasons why Richard/Jason screwed up the storyline. Without the Clark/Lois/Superman triangle, theres no interest. Face it, theres a reason why Superman cartoons/shows lose interest when this triangle is broken or dissolved (i.e. Lois finds out who Supes is, effectively ending the triangle). There is no triangle, and while I understand Singers desire to add tension, the time between Richard/Lois steals time we want with Lois/Clark, and in a 2-3 hour movie, theres no time for all of that. In a sequel, the central focus must remain strictly on Lois/Clark or, like in 3, with a Lana Lang. Without a key love interest that is explored with Clark/Superman, theres no chance at showing his humanity, and subsequently, we lose the most essential element that makes Superman movies interesting. Action will always be there, but without the relationship interaction, a Superman movie is never going to get very far.