Warner Premiere and DC Entertainment are back with another movie from their DCUA series. Superman vs. the Elite is the fourteenth movie in the series. Let’s see how it stands up as an adaptation and as a standalone film.
One of my favorite Superman stories of all time just so happens to be Joe Kelly, Lee Burmejo and Dough Mahnke’s seminal “What’s So Funny about Truth, Justice, and the American Way?” as told in “Action Comics” (Vol. 1) #775. In it, they pit Superman against so-called “anti-heroes” called “The Elite.” Modeled after characters like The Authority, they were characters who had no problems killing if it served their purposes, which comes into direct conflict with Superman’s core set of beliefs. Kelly and crew were not shy discussing this idea, and gave Clark some of his teeth back to prove his point against the nouveau heroes.
Although I have a special place in my heart for “Action Comics” #775, it’s not perfect by any stretch of the imagination. The issue itself opens about halfway into the story so there isn’t much character or relationship building between the Elite and the Man of Steel. This movie actually drastically improves upon the issue in that sense. While “Action” #775 focused on the climactic fight in the end of the film (it’s called Superman vs. The Elite, you think that’s a spoiler?), this movie does a more effective job showing the consequences of both types of heroism, whether it’s Superman’s or the Elite’s. It also establishes a relationship between Superman and The Elite beyond wanting to beat each other up, and even having a relationship where Superman genuinely feels like he’s mentoring the young heroes. Of course the relationship sours by the end of the film, and that’s expected, but the script, which was also penned by “Action” #775 scribe Joe Kelly, does a better job creating these characters and developing their relationships with each other and Clark, among others. By the end of the movie, you have a better understanding of WHY Manchester does what he does, which is much more than a being one-dimensional villain who was only created to provide Superman with a soapbox to stand on.
As a matter of fact, this is a great introduction for new fans who may want to understand the Man of Steel, but don’t quite get what he’s all about. His arc–while he remains steadfast in his belief in the basic good of humanity and refusal to kill for any reason–is explained quite well in the movie. There’s a certain level of shock in store for new fans, or even long-time fans who have never read “What’s So Funny about Truth, Justice, and the American Way?” Overall, Clark’s arc is one of his strongest in a movie adaptation in…well, ever. In fact, what I mean with regards to Clark’s “teeth” is that he’s always been a tough guy, but he became something of a gentle goof in a way. He stopped being taken seriously, but this film lets him cut loose, even if it’s to prove a point.
Beyond his personal battle with the Elite; some of the strongest moments between Clark and Lois in any adaptation or comic take place during this film. They are married (or at least living together) in this adaptation, so they have a loving relationship that seems to be frowned upon by DC nowadays (and Marvel while we’re at it). They’re overly affectionate; they flirt with one another, and seem to be genuinely in love. Perhaps the best part of this is that Lois is never relegated to the “damsel.” In fact, she does a lot of the legwork that Clark can’t do while he’s in costume, and even uncovers exactly who The Elite are. There is even a character addition to the main cast (Manchester Black’s sister, Vera Black) that acts as a contact for Lois within the British MI5 organization (where much the story takes place) who makes her subplot much more integral to the story, and even adds more depth to ‘Chester with regards to his backstory, which is much more established. Black receives just as much character work as Clark and Lois themselves, if not more.
Continued belowHowever, there are a couple weak spots in the film itself. It ties itself up just a little too neatly, with no possible future for many of these characters. Many of them went on to join a splinter group of the JLA, but the possibility of a Justice League Elite movie is likely never going to happen anyway. Furthermore, beyond their actions as antagonists who work for Manchester Black: Coldcast, Menagerie, and The Hat aren’t really developed beyond 90’s clichés: being the angry one, overtly sexual “empowered” woman, and substance abuser respectively. But perhaps that was the point, so I’ll concede that perhaps the Elite were designed to be as paper-thin as they were on purpose.
As for the animation, it’s somewhat hit and miss. Some might argue it looks dated. And they’re right, to a certain extent. It’s not as polished as many of the DCUA movies that have come out in recent years, but that is not necessarily a bad thing. The animation style itself harkens back to the classic cartoons from the 80’s and early 90’s. Other than some possibly clunky character designs–Clark’s massive chin included–the action is brisk and animated well. Everything moves with gorgeous precision and is incredibly easy to follow and enjoy the action. If there IS a problem within the animation, it’s the damned title credits that open the film. It’s a mess visually, and the music doesn’t fit well with the film at all. I suppose, however, that if my biggest complaint is the way the titles are animated, it’s a winner overall.
One of the strongest aspects of the movie is the voice acting. George Newbern is a longtime voice actor for the character of Superman along with Tim Daly, and he proves why he’s had the gig for such a long time. His voice works well with the nobility of the character, and while NCIS’ Pauly Perrette isn’t the strongest Lois I’ve heard in an animated film (that title would probably go to Dana Delaney), she’s a fine Leading Lady in her own right and never loses the infamous Lane-spunk that Lois is so famous for. Some of the biggest surprises go to the villains. Robin Atkin Downes and Dee Bradley Baker, who play the main antagonist/anti-hero Manchester Black and the long-time Superman villain Atomic Skull add nuance to the roles they inhabit. Baker in particular makes the Atomic Skull more interesting that the simple plot device he largely is portrayed to be and makes me wish there were more of him.
If you’re a fan of DC or Superman movies, this movie, aside from some clunky animation, is a perfect addition to your collection; it certainly looks good in my collection. Furthermore, if you want more of an idea of why Superman is the way he is, this is a good introduction to his ethics. As a really big fan of the character, I strongly recommend you check it out!
Final Verdict: 8.5/10 Buy!
