I feel it may get 3.5 out of 5 or maybe 4 out of 5 at the most, it will be a good start to relaunch the franchise but it will be far from perfect.
don't read any further if you don't want to be spoiled
Like I said in the DC comics forum I'm afraid Zack listened to the fanboys too much and gave them Gladiator in space...Zod is not breaking new ground he's been in movies before Nolan, Branagh, Favreau, Joss ras al ghul gave us new people with thor, ironman, ras al ghul , bane, scarecrow...this film will not be introducing new people. Character interaction gets sacrificed for action scenes, Lois and Jimmy and other workmates don't exist in the movie. Lois is probably going to be wrote shallow and a stereotyped damsel in distress. As the poster Innervenmon put it : "reason they're advertising the dark parts and the fight scenes is because casual audiences don't give a f**k about Superman anymore in regards to movies"
Some of the best super hero action fights, much cooler than a video game. It flies fast, it will be like Star Trek and Star Wars in fx scale he will have godlike power and the battles will explode across the screen in 3d. It's what the States is about anyone can come to America, rise to be super in a land of opportunity, people's fear of aliens is America's anti-immigrant policy during the 1910s and the costume and cape a symbol of America's freedom today. Zod!! Superman finally gets to fight people worthy of his power level, a battle with war criminal kryptonians.
To be sure, Man Of Steel’s desire to wow us again and again becomes exhausting and then numbing, but it must be said that a few of these gargantuan sequences are stunning. Buoyed by a thunderous score from Hans Zimmer (a frequent Nolan collaborator), the film aspires to the level of an epic myth, and the grandeur of Snyder’s staging can sometimes be quite arresting. (Working with cinematographer Amir Mokri, he does great work playing up the importance of the sun to Superman’s powers, filming daylight scenes with an almost magical glow.)
But the film’s lack of a sense of humour underlines the eventually oppressive solemnity of the proceedings. With its ravishing production design and special effects, Man Of Steel looks amazing, and it has flashes of the truly inspired reimagining of Superman that it longs to be. But by trying to do so much — and pounding us with spectacle — the movie loses focus. Superman is missing from the title of Man Of Steel, and likewise the spirit of the character’s elemental, while rousing heroism is a little too absent from the film.
In addition to a blank hero and a blank villain, a somber tone, a useless out-of-chronological-order storytelling style, the film is also burdened with the longest and noisiest climax this side of Michael Bay, wherein Superman does massively epic battle with various superpowered villains, robot tentacle arms, spaceships, and several Metropolis skyscrapers (I didn't count, but I think eight buildings fall over in the film's climax). I suppose there is a clunky showmanlike integrity to the everything-and-the-kitchen-sink approach to a film's climax, but after 60 full minutes of it (and I don't think I'm inflating that number), the action is reduced to movement and noise; after a while it doesn't matter what you're watching. It just feels like an impressive special effects demo reel. Dazzling design and awesome computer effects be dipped. It all starts to blend together. “Awesome” isn't fun anymore. Filmmakers need to start focusing on “fun.”
So, Man of Steel is definitely the biggest movie of the year. Love it or hate it, that's a statement of fact - as especially huge as the Richard Donner and Richard Lester versions were in their day, this one is every bit as exponentially bigger as movies in the modern age tend to be. It also doesn't have their patience for exposition or restraint: back then, you believed a man could fly. When you see this, you'll believe anything can happen on any scale - if the movie were a vehicle, it'd be a steamroller with jet engines and a couple of bazookas mounted on the front for good measure.
While certainly the most dazzling Superman movie to hit the big screen, the 143-minute "Man of Steel" is also one of the longest, and it only justifies that heft because it leaves room to keep the effects coming. David Goyer's screenplay establishes a high stakes showdown between Superman and the menacing General Zod (Michael Shannon on autopilot, his creepiness downgraded to a half-interested scowl), another surviving Kryptonian whose emergence from prison following the planet's destruction leads him to try and destroy Earth in the hopes of making room for a new Krypton.
Michael Shannon’s Zod makes the movie happen more so than the endless stream of falling skyscrapers that Zack Snyder is compelled to show, for fear that the narrative isn’t strong enough without so much cataclysmic destruction on display. He has a point. But it didn’t have to be that way. Superman is caught between two enemies, the earthlings that threaten to persecute him like the latest King Kong — another version of an undesirable immigrant — or the insane militarized bully from his home planet.