Today we review a simple proposition: the idea that a man returns to a world he has left behind. Since he’s been gone, that world has learned to live without him. It has even reached the conclusion that the world doesn’t need him back. We’ll also consider Superman Returns.

The 2006 film was Warner Bros. attempting to relaunch its Superman franchise. The route taken meant the third and fourth Christopher Reeve films were gently redacted. In this universe, Superman went AWOL following the events of Superman II. Brandon Routh revives the Man of Steel, and despite a strong performance, it proved to be career kryptonite.  His channelling of Reeve was more homage than bad impression. The lack of acceptance is confusing to this day.

Maybe his muted costume dampened the nostalgia. Gone was the bright red and blue, replaced with a maroon cape and dark blue suit, which brings back memories of Reeve’s Superman fighting a dirtied evil version of himself in Superman III (it’s still canon to me). The symbol was shrunken down. Maybe deep space searches for lost home planets is a dirty business and shrinks your clothes in the same way leaving them in the tumble dryer does.

Kevin Spacey does a solid job as Lex Luthor. No one will ever be able to top Gene Hackman but this is as close as we’ll likely get. His sidekick – Kitty Kowalski, played by Parker Posey – is the casting issue that highlights where the film fell apart. Visually, the movie works. Even the addition of a potential Superboy, Lois Lane’s son whose date of conception aligns with their love affair from Superman II, works. But the main dynamic in a Superman story is between Lois and Clark. In Superman Returns, Kate Bosworth does not have the presence or chemistry to carry that role.

Sadly, we are reminded throughout the movie of what Lois should (and could) have been like every time Parker Posey is on the screen. She has the sass we expect from Lois.

The flat Lois is something the movie never recovers from. You almost realise why Kal-El decided to disappear for five years. Bryan Singer, after the success of his X-Men movies, understood the assignment. He tailored this film for a DC audience and played to the strengths of the universe it inhabits, but he couldn’t save the disconnect from fans once the key chemistry was missing. A weak Lois is like relaunching the Batman franchise and making David Schwimmer the Joker. Sure, it may make sense on paper to someone stuck in an office. But it won’t work. In Bosworth’s case, it didn’t work.

It’s a shame, because that muted, muddied suit looks more inviting than David Corenswet’s version. The smaller symbol beats James Gunn’s use of the Kingdom Come variant. It’s a better movie too (but we can discuss that another day). For now, we look back on Routh as the man who followed Reeve and never got the chance to make us believe a man could fly again.

6/10