The Psychology of Spock: Past, Present, and Future

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I recently caught up with a Trekkie friend of mine. He's a psychiatrist and I'm a psychologist, so of course we did a deep dive into the psyche of the latest film — Star Trek Into Darkness. Our conversation kept coming back to Spock.

"He's the most important character in the Star Trek universe," Dr. T said. "Spock has wielded more influence on the alpha quadrant than anyone else."

I never thought about Spock like that before, but Dr. T was right—he is the only character who's made an appearance in every era of Star Trek including The Original Series, The Next Generation, and J.J. Abrams’s new parallel universe.

"Why is Spock such an enduring character?" I asked. "What makes him so unique?"

Dr. T and I spent the rest of the night trying to understand Spock. After a small detour debating who would win an “Amok Time” fight — Leonard Nimoy or Zachary Quinto, we eventually decided that Spock's teaches us that the things that make us different, strange, and weird are the same things that make us awesome.

This is not only an expansion on my conversation with Dr. T., but an attempt to summarize 47 years of canon and 2 parallel universes into 1 comprehensive conceptualization of a character. I present to you the psychology of Spock — past, present, and future.

"Spock's Brain"

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Who we are is the result of our biology, psychology, and experiences. So let's start our conceptualization of Spock by exploring his unique biology.

Spock is half human and half Vulcan. While we can't begin to imagine how the biology of an interspecies human would work, we can extrapolate based on what we've seen in Star Trek and know about science.

  • Spock is genetically diverse, making him more adaptive to new environments and less susceptible to genetic diseases (like his father's dementia).
  • Since Vulcans evolved in a harsher environment, Spock is stronger than humans. 
  • Vulcans are touch telepaths, giving Spock the ability to share thoughts through a mind-meld.
  • Vulcans experience powerful emotions, making Spock more vulnerable to very intense feelings.

The last point is key to understanding Spock's psychology. Here's how Spock's father describes Vulcan emotions in 2009’s Star Trek:

Sarek: "Emotions run deep within our race. In many ways more deeply than in humans. Logic offers a serenity humans seldom experience. The control of feelings so that they do not control you."

Since Spock has a nervous system that experiences powerful emotions (I.E. a very fast limbic system), he can make decisions very quickly. What about his human biology? The following conversation from Star Trek: Enterprise helps us understand the difference between humans and Vulcans:

Soval: We don't know what to do about Humans. Of all the species we've made contact with, yours is the only one we can't define. You have the arrogance of Andorians, the stubborn pride of Tellarites. One moment, you're as driven by your emotions as Klingons, and the next, you confound us by suddenly embracing logic.
Forrest: I'm sure those qualities are found in every species.
Soval: Not in such confusing abundance.

We humans are very flexible in our thinking — which explains why we can be so erratic and unpredictable. This is due to our prefrontal cortex, the region that coordinates our thoughts and decides what to do. It's also the area responsible for regulating our feelings. Because humans can entertain many different ideas at once, sometimes we’re logical while at other times we’re deeply emotional.

This is why Spock’s brain is so unique — he's got the flexibility of a human mind combined with the strength of Vulcan emotions. Yes, his human side might make it more difficult for him to control his Vulcan feelings, but the integration of the two gives him the opportunity to quickly think in very creative ways.

"A Child of Two Worlds"

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The central psychological experience of Spock's childhood is growing up in a bicultural home. Not only is he a minority on Vulcan, he might be the only human/Vulcan child ON THE WHOLE PLANET!

The major challenge for bicultural children is to integrate their two cultures. People who are able to do this usually feel proud about being unique. Others find their cultures to be in conflict with each other and feel pressure to choose one over another. Psychologists call this the Bicultural Identity Integration construct. Kids who are able to integrate their cultures become very good at cultural frame-switching — being able to think, act, and feel like a human on Earth and a Vulcan on Vulcan. Kids who can't integrate their cultures don't have this flexibility and have more rigid personalities. 

This is one of the reasons I love 2009's Star Trek so much—Spock's struggle to figure out his identity is beautifully portrayed. In a pivotal scene, a group of Vulcan boys bully Spock for being half human and push him hoping it will make him mad. Since showing strong emotions is a big taboo in Vulcan culture, this situation created a lot of anxiety for Spock because he was afraid of confirming a stereotype (that he can’t control his emotions). That’s stereotype threat in action—anytime we worry about fulfilling a stereotype we usually preform worse. In Spock's case, stereotype threat contributed to him losing his cool and beating the crap out of a kid (who totally deserved it by the way).

Situations like that caused a lot of identity conflict for Spock. Look closely at the conversations he had with his father and mother after the fight:

Spock: You suggest that I should be completely Vulcan…?
Sarek: …Spock, you are fully capable of deciding your own destiny. The question you face is: which path will you choose? This is something only you can decide.
Spock: Should I choose to complete the Vulcan discipline of Kolinahr and purge all emotion, I trust you will not feel it reflects judgment on you.
Amanda: Oh, Spock. As always, whatever you choose to be, you will have a proud mother.

In both conversations we can feel the tension between Spock's Vulcan and human identities. It's clear that Spock was questioning who he is and who he wanted to become (“Should I complete Kolinahr?”). Rather than guiding Spock down one path or another, both of his parents encouraged him to make his own decisions. By allowing him to independently explore his identity they increased the chances of Spock integrating both cultures. This type of parenting is a core component in resilience — the psychological factor that keeps kids healthy despite chronic stressors (like constant discrimination for being a “green-blooded hobgoblin”).

"I Choose Not to Feel"

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One of the key changes in the new Star Trek parallel universe is the destruction of Vulcan. Not only did Zachary Quinto’s Spock witness this trauma firsthand, he also lost his mother in the process.

After this terrorist attack, the Spock of the present was overwhelmed by powerful emotions. In response to his sadness and rage, Spock’s primary strategy became numbing himself to his feelings. After James Kirk ridiculed Spock for "feeling nothing" (another stereotype threat, “Vulcans have no emotions”), Spock attacked Kirk. After almost killing Kirk, Spock gave up his command of the Enterprise because he was "emotionally compromised".

Trying to numb powerful feelings and having uncontrollable emotional outbursts are common experiences after trauma. What becomes problematic is if such patterns continue long after a trauma has passed. This is exactly what happened to Spock in Star Trek Into Darkness. The events of Into Darkness take place about a year after the destruction of Vulcan. In the comic prequel, we learned that Spock has insomnia, nightmares about his mom and Vulcan’s destruction, and bursts of rage. In the film, it's very clear that Spock's trauma is impacting his relationship with Uhura. This exchange captured exactly how Spock has changed:

Uhura: At that Volcano you didn't give a thought to us, what it would do to me if you died, Spock. You didn't feel anything, you didn't care.
Spock: Your suggestion that I do not care about dying is incorrect. A sentient being's optimal chance at maximizing their utility is a long and prosperous life…It is true that I chose not to feel anything upon realizing that my own life was ending. As [REDACTED] was dying I joined with his consciousness and experienced what he felt at the moment of his passing — anger, confusion, loneliness, fear. I had experienced those feelings before, multiplied exponentially on the day my planet was destroyed. Such a feeling is something I choose never to experience again. Nayota, you mistake my choice not to feel as a reflection of my not caring. Well I assure you the truth is precisely the opposite.

The Spock of the present meets all major criteria for PTSD — re-experiencing traumatic events, avoiding situations, and becoming very sensitive to certain feelings. This isn't the resilient child we discussed earlier— this Spock is emotionally stuck, much like soldiers and veterans returning from service with PTSD. But this is not the man Spock is destined to be. 

"Cowboy Diplomacy"

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The Spock of the future (the one played by Leonard Nimoy) isn’t emotionally stuck, he’s incredibly flexible. Unlike most Vulcans, this Spock rejected Kolinahr, deciding to pursue logic and emotions. He integrated both of his cultures, switching his perspective as needed depending upon the situation he’s in. He understood conflicting points of view, making him highly empathic and open-minded. That's why he was so good at negotiating peace between the Klingon Empire and the United Federation of Planets as well as the Vulcan High Command and Romulan Empire. Captain Picard even compared Spock's tactics to "cowboy diplomacy," an emotional comparison never made of any other Vulcan. When you think about his unique biology, bicultural youth, and supportive parents, it's easy to see how Future Spock came to be. 

What does this mean for the Spock of the present, the one who’s struggling so deeply with his emotions? Individuals experiencing PTSD can go down many different paths. While Zachary Quinto's Spock will never turn out exactly like Leonard Nimoy's (one experienced significant trauma, the other didn’t), Present Spock can learn to overcome his trauma and grow from the experience.

Post-traumatic growth is the positive change that happens to a person as a result of their struggle with a trauma. Trauma doesn't cause a person to grow, it's about the decisions a person makes as a result of their trauma. Many people who experience post-traumatic growth describe feeling changed by their traumatic experiences, feel more connected to others, become more resilient against crises, or have a greater appreciation for life (think Captain Picard in “Tapestry”). Growth doesn't mean people don't suffer; pain is a part of the process. Growth cannot happen until you to learn how to face difficult emotions and talk about the things going on in your head.

This is the challenge for Present Spockto overcome his emotional demons. I won't give anything away, but based on what happens at the end of Star Trek Into Darkness, we're already beginning to see signs of growth in Spock (and a lot of it has to do with his friendship with Kirk—his new source of resiliency). 

A Reflection of Us

Ali Mattu Spock

Why is Spock such an enduring character? He is a reflection of who we are

Each of us has at one time or another felt different, strange, and out of place. As a child, Spock didn't completely fit in among Vulcans or humans. Yet he goes on to become the most influential officer in Starfleet. Growing up as a bicultural kid, I looked to Spock to give me hope that I too could overcome my “culture clash” and find confidence in myself.

The current Spock honors our experience of living in a world where we are constantly exposed to traumatic events (real or televised). While I’ve been fortunate not to be immediately impacted by a terrorist attack or natural disaster, I responded to the tragic death of my brother by avoiding my feelings. Watching Spock struggle with the loss of his mother in a similar way made me feel less crazy. 

Spock’s future reminds us that our differences are our strengths. That’s the ultimate lesson from the psychology of Spockif we can find a way to embrace all aspects of ourselves and approach life with an open mind, we are capable of great things.


March 5th, 2015 Update: Today on THE PSYCH SHOW I remember the life of Leonard Nimoy and celebrate the psychology of Spock.

What's the legacy behind Leonard Nimoy's Spock? What make us different is what make us awesome.


Monsters, Machines, Cybernetics, & Teamwork Make Pacific Rim a Cool Experience (Non-Spoiler Film Review)

Pacific Rim Movie Poster

When I first saw the trailer for Pacific Rim, I thought it looked like a horrid cross between Godzilla and Transformers. It had that "big CGI objects smash against each other while a city is obliterated" look that I've become so bored of. But I decided to see the movie out of my fondness for Guillermo del Toro. I adored Pan's Labyrinth and wondered if he could bring the emotion and imagination of that film to this spectacle. While I wanted more from the characters, Pacific Rim’s cool monsters, machines, cybernetics, and teamwork made it an entertaining experience.

Let me get this out of the way—the story is ridiculous. Giant monsters invade Earth through an inter-dimensional crack in the ocean floor and humanity unites behind a global force of massive mech battlebots. If you can suspend your disbelief enough to embrace the story, there's a good chance you'll enjoy this film. Like Oblivion, every frame in Pacific Rim is beautifully shot (particularly on the expansive IMAX format). Unlike Transformers, the action is easy to follow and the special effects blend in with live action elements. Del Toro also creates some interesting environments, like a Hong Kong community built out of the carcass of a slain monster.

Pacific Rim's cybernetic interface looked like StarCraft meets Iron Man.

Pacific Rim's cybernetic interface looked like StarCraft meets Iron Man.

There are also some fun psychological threads. Pacific Rim highlights what first contact with aliens might be like—humanity uniting behind a superordinate goal of eliminating a common threat. I also like the cybernetic interface between humans and mechs. While we can't yet create a hive mind between two humans like Pacific Rim's "drift", we keep getting better at controlling machines with our thoughts. Breakthroughs have made brain-controlled mechanical arms nearly as good as organic limbs and nonintrusive mind control interfaces are already exist. By the time we reach the 2020s (the film's setting), it's not hard to imagine cybernetic interfaces being as common as touch interfaces are now.

Speaking of societal trends, why have so many scifi movies this summer featured traumatized characters? This movie has not one, but two characters re-experiencing traumatic events from their pasts. I like psychological complexity and appreciate any film that destigmatizes mental illness, but Pacific Rim didn’t do justice to PTSDit just evoked trauma. More humor could have helped balance the seriousness of the main characters (yes, the film’s scientists are funny, but everyone else is SO stoic). And while we're on the subject of characters, Pacific Rim did a much better job fleshing out a female lead than other scifi films this summer, but the film still felt like a boy's club. One more random criticism - dinosaurs never had secondary "butt brains" (I know I'm nitpicking, but I hate it when Hollywood perpetuates myths about psychology).

Pacific Rim's Kaiju are a fitting tribute to monsters of the past.

Pacific Rim's Kaiju are a fitting tribute to monsters of the past.

The ultimate message of Pacific Rim is we have a lot to gain when we work together (like defeating giant inter-dimensional monsters). Given all the crap going on in the world, that’s a nice message to see on the big screen. It's not the most complex movie of the summer, but it does offer a lot more fun than we've come to expect from "big CGI smashing" films. As long as you can stomach the premise, you'll have a lot of fun watching Pacific Rim.  

Rating: 7.5/10

I loved NPR’s take on this film. For a stronger critique, read The Atlantic.

The Top 10 Science Fiction Film & TV Scores from the 1990s

A few months ago I wrote about the psychology of music and started a countdown to the best science fiction music from past decades. Today, I'm continuing this series with the top 10 science fiction scores from the 1990s.

#10: Star Wars Episode I: The Phantom Menace, John Williams

Star Wars Episode I: The Phantom Menace

Episode I was a disappointment, but John Williams's score is pretty good. There’re some great nods to the original trilogy as well as a breathtaking new Jedi/Sith theme which became the anthem of this new trilogy. Why didn't I rank Episode I higher? There just aren't enough new melodies. Listen to a sample of "Anakin's Theme", "He Is The Chosen One", "Duel of the Fates", and "[REDACTED]'s Noble End" below.

#9: Contact, Alan Silvestri

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What I like about Contact is its simple sounds of discovery. However, it's a little too simple and it's very reminiscent of Silvestri's music for Forrest Gump (which is a far superior score). Maybe it's my nostalgia for this film, but I do think it's good enough to be in my top 10. Highlights include "Awful Waste of Space", "Really Confused", "Media Event", and "No Words".  

#8: Starship Troopers, Basil Poledouris

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The original Starship Troopers novel has been criticized for promoting militarism, fascism, and racism. The movie maintains these themes but rather than glorifying them it makes fun of them. Basil Poledouris's music perfectly accompanies the movie's satire - it's over the top, militaristic, and sounds like it was ripped out of WWII Hollywood. "Fed Net March", "Destruction Of Roger Young", and "They Will Win" are great examples of the propaganda feel of Starship Troopers.

#7: Stargate, David Arnold

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David Arnold's Stargate score is very smooth. It has that classic mix of exploration, excitement, and fear that makes science fiction films so great. While at times it sounds like a John Williams score (specifically Raiders of the Lost Ark), Arnold's use of diverse instruments sets Stargate apart. I really like "Stargate Overture", "The Stargate Opens", "Entering the Stargate", and "Going Home".    

#6: The Truman Show, Philip Glass

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This is a very interesting score. It's the theme to a movie about the world's most popular reality TV show. While it sounds like Philip Glass's music is too emotional, the score is consistent with one of the messages of the movie - TV is produced to make you feel a very specific way about the people onscreen. Listen to the range of emotions in this score with "It's a Life", "Anthem, Pt. 2", "Reunion", "Truman Sleeps", and "Father Kolbe's Preaching".

#5: Terminator 2: Judgment Day, Brad Fiedel

Terminator 2: Judgement Day

Brad Fiesdel wrote the score to 1984's The Terminator as well as the 1991 sequel. I like the original, but it sounds like it was made on a small budget. With more money and major advances in computer technology, Terminator 2 became one of the best electronic film scores (up there with Blade Runner and Tron: Legacy). What I love most about this score is how it shifts between thunderous action and frightening dissonance. My favorite tracks include "Main Title (Terminator 2 Theme)", "Escape from the Hospital (And T1000)", "Trust Me", and "I'll Be Back".

#4: The Matrix, Don Davis

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Like The Dark Knight trilogy and the recent Man of Steel, The Matrix doesn't really have a traditional score. There are some themes that develop over the course of the film, but there isn't anything specific you can hum after watching the movie. Don Davis primarily uses strings and brass instruments to create a frenetic tension during chase scenes and then dramatically extends notes to create a sense of awe as our hero discovers his powers. This gives The Matrix a unique sound and results in a timeless film score. Standouts include "Main Title / Trinity Infinity", "Welcome to the Real World", "The Hotel Ambush", and "Bullet-Time".

I should also mention that the soundtrack is outstanding. I played it nonstop back in the summer of 1999. I especially love Propellerheads's "Spybreak", Rob D's "Clubbed To Death", and Rage Against The Machine's "Wake Up".

#3: Star Trek: First Contact, Jerry Goldsmith

Star Trek First Contact

Jerry Goldsmith’s First Contact score makes me believe that we can actually achieve Star Trek’s optimistic vision of the future. The music is tender and has an inspiring melody. It also became a fitting theme to the cinematic adventures of The Next Generation. “Main Title/Locutus” integrates Goldsmith’s old and new Star Trek themes while “Welcome Aboard” and “First Contact” setup the most important event in Star Trek's history – the first meeting between humans and aliens.

#2: Gattaca, Michael Nyman

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Gattaca is one of the best science fiction films of the 1990s and Michael Nyman's score is deeply moving. "The Morrow" introduces you to the melancholy world of Gattaca. "God's Hands" is a beautiful theme about familial love. The film's message of triumph over adversity is highlighted in "The One Moment". "Becoming Jerome" is surprisingly playful. "The Departure" takes the story into a fitting end. Most film scores transport you to another time or place. Gattaca is one of the few scores that turns your attention inward, creating a state of personal reflection. 

#1: Jurassic Park, John Williams

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Jurassic Park holds a special place in my heart. It was the first time I remember watching a movie and completely suspending my disbelief. For those two hours, I felt like I had just visited Jurassic Park. A big part of that was John Williams's score (the other half were the special effects which still hold up to this day). Williams created a score that is very intricate. It seamlessly lifts you up and then slams you down, draws you close for intimate moments and then zooms out for more awesome sights, all while maintaining a cohesive theme that never feels redundant. The whole album is worth the investment but my favorites are "Journey To The Island", "Welcome To Jurassic Park", "Dennis Steals The Embryo", and "High-Wire Stunts".

Honorable Mentions

I liked The Rocketeer and Independence Day, but they didn't have enough variety. Apollo 13 would make my top 3, but it's science fact not science fiction. Batman Return almost made the cut, but it's too dark for my taste.

Notable Exceptions

A TV series! My 2000s list had 2 TV shows, but nothing from the 1990s made the top 10. There were some stellar TV themes from this decade (like seaQuest DSV, The X-Files, Star Trek: Deep Space Nine, and Star Trek: Voyager), but the shows themselves didn't have enough consistent good music to get onto my list. 

Next time, I'll look at the best science fiction music from the 1980s - the decade home to many of my favorite movies of all time! 

World War Z is Decent, but it Lacks the Humanity of Zombie Films (Non-Spoiler Review)

World War Z review

I had very low expectations going into World War Z. I'm a huge fan of Max Brooks's book and its unique oral history narrative. The novel is full of social commentary about the politics of responding to global disasters and includes some nice psychology threads on ingroup/outgroup conflict and altruism. I devoured that book!

But I knew the film had almost nothing in common with the source material. Anyone who followed the production of this movie knew the book's structure and story were gutted to make room for blockbuster action sequences. There were also reports of problems on the set, a six-month delay in release date, and a last minute change to the ending (check out Vanity Fair for more on that). My expectations for WWZ couldn't have been any lower.

While I wasn't going to compare the film to the book, I was expecting WWZ to add to the zombie genre. With a $190 million budget, this is the biggest zombie movie ever made. I was excited to see what a zombie story would look like supersized into a summer tentpole film.

While WWZ is definitely a successful big mainstream movie, it lacks the humanity that makes the zombie genre so great. Zombies are about fear and love. Every anxiety can be traced back to uncertainty, a fear of the unknown. Nothing embodies fear better than zombies. You never know where they're going to be or what they're capable of doing. Unlike all other life, zombies don't care about self-preservation – all they want to do is attack. What makes these movies so great is anyone who has been bitten by a zombie can become one of them. This means the stakes are always high because the characters you care about are always at risk of becoming your deepest fear. It’s like Game of Thrones – every moment matters because your favorite character might be killed (except with zombies they’re reanimated and then more killing ensues).

That's why WWZ is a decent movie, but not a great zombie film. Except for a few moments in the beginning and end, I never felt Brad Pitt's character was in much danger. Even though people were dying all around him, I didn't care. You don't see any tension between fear and love. I know the movie's called World War Z, but the stakes felt very low.

The film did deliver on one of my favorite parts of the book – the fortification of Israel. There was a great scene with an Israeli Mossad agent talking about the evils of groupthink. Later, we get to see the uniting of Israelis and Palestinians via their new common enemy (i.e. a superordinate goal). But beyond that, there wasn’t much happening that we haven’t seen in other zombie or viral pandemic movies. A. O. Scott described this well in his review:

Compared with its source, and to “The Walking Dead” in both its graphic novel and cable television versions, Mr. Forster’s film represents a careful step backward. It does not expand the tonal range of zombie fantasy, like Ruben Fleischer’s “Zombieland” or Colson Whitehead’s novel “Zone One.” Nor does it exploit the allegorical potential of a world overrun by flesh-craving, half-decayed former people, in the manner of “The Walking Dead,” which turns the desolate, post-apocalyptic landscape into a forum for philosophical debate and ethical inquiry.

Overall, WWZ is a decent film and despite all of its production difficulties it’s an enjoyable experience. But besides a few cheap thrills, the movie didn't leave me with much to remember. If you're a fan of the genre, you have to watch this movie (if only to see what a zombie film looks like at this scale). But if you're not a fan, watch one of the classics instead – you'll have a lot more fun and might actually care about what's happening onscreen. 

Rating: 6.5/10

I really liked A.V. Club's take on WWZ. Also check out The New Yorker's more positive view of the film. 

 

Superman is an Immigrant Star-Child (Man of Steel Non-Spoiler Review)

Man of Steel Superman Poster Wide

I ended last week’s psychology of Superman article with the following:

"If [Man of Steel] focuses on Clark’s loneliness as the last son of Krypton, the humanity of Jonathan and Martha Kent, and Superman’s sympathy for humans, it’ll be successful in rekindling our empathy for this superhero."

Was Zack Snyder successful in rebooting Superman? Yes, absolutely!

Man of Steel worked because it focused on Kal-El’s science fiction origin and Clark Kent's connection to humanity. Much of the story highlights Krypton, its culture, technology, and downfall. While reviews have criticized the Alien, Dune, Independence Day, and War of the Worlds feel of Man of Steel, I loved its star-child foundation. The geekiness of this film allows for interesting, albeit familiar, threads on cloning, first contact with aliens, and terraforming.

Man of Steel is best when it gets inside Clark Kent's head, specifically his loneliness as the last son of Krypton and his love for his adopted home of Earth. Critics find this part of the story "too dark", "melancholic", and claim it's an inappropriate "Dark Knight-ification of Superman”. I disagree – Superman has always been the story of an immigrant's escape from a doomed civilization. It's a dark origin.

Critics are also comparing Man of Steel to Richard Donner's 1978 Superman. Yes, the original Superman singlehandedly launched the superhero movie genre and everyone loves Christopher Reeve's portrayal of the superhero. But that movie isn’t sacred to me. You have to remember that it’s the film that had Superman reversing the rotation of the Earth in order to travel back in time to save Lois Lane. That might have worked in the 70s but audiences would never buy that today. Man of Steel has its flaws, but no one doubts that this Superman exists in our modern world (unlike 2006’s Superman Returns).

Man of Steel does have issues. The film's MacGuffin is completely disposable compared to the more interesting story of Clark’s transformation into Superman. Krypton looked too much like Avatar's Pandora. The defining moment between Clark and his dad didn't work for me (even though I adored Kevin Costner’s Jonathan Kent). The 2nd act has some major plot holes that require big leaps of faith (e.g. how Lois and Clark meet, the fortress of solitude, the phantom zone). The fights feel like they're lifted from the recent Injustice video game. While that type of building busting violence is awesome on the Xbox, it’s hard to follow on the big screen. Amy Adams’s Lois Lane was great, but she only worked in service of the male hero (Matt Zoller Seitz describes this disturbing trend in his review).  

Despite that long list of concerns, I deeply enjoyed this film. I don’t demand perfection from cinema, but I expect films to make me feel something and leave me with ideas that live on in my head. As the son of two immigrants, I identified with Clark’s feelings of being alone, different, and yet completely connected to the only home I’ve ever known – America. Will it occupy my thoughts? Not as much as The Dark Knight trilogy, but far more than any previous Superman film.

Rating: 7.5/10

Check out Slate’s review for a great comparison of superhero movies and medieval religious art. For a harsher critique, read AV Club.