Superman: The Motion Picture Anthology

Superman: The Movie (1978)

And so it is that in this climate The Last Son of Krypton made his big-screen debut in Richard Donner's 'Superman: The Movie,' a high-concept blockbuster which displayed some of the best and most advanced special effects of the time. Working from a script that famously began with Mario Puzo's 550-page beast intended for a two-part film series, the film doesn't shy away from delivering snide, cynical remarks on the political atmosphere. There was a genuine distrust of government and policymakers, which characters openly express. So much so that we're even given a scene of Superman's motto ("Truth, Justice and the American Way") being almost frowned upon as some kind of hokey jingoism.

Rather than address the possibility that viewers might be expressing similar sentiments, Donner fills the screen with grand spectacles of herculean heroism, placing more emphasis on Superman as preternatural Christ-like savior. The classic helicopter sequence is a prime example of this — a thrilling eye-opener made believable by the remarkable performance of Christopher Reeve. (John Williams's memorable score also had a great deal to do with it.) He not only dons the glasses and fedora hat, but he actually portrays a wholly different and convincing person as Clark Kent. And it's a marvelous display of talent when he maintains strong chemistry with Margot Kidder's Lois Lane in either disguise.

Superman's long-time arch-nemesis Lex Luthor (Gene Hackman) also joins the cast, but he's been transformed from the traditional mad scientist to a white-collar criminal, which really only adds to the idea of distrust against suits. Although he remains a super-genius, the character is also a comical swindler with a penchant for real estate and talking his way out of trouble. What's truly interesting of the plot is Luthor challenging Superman not with power or high-tech weaponry, but as symbolic of corrupt corporate greed to which life is an expandable commodity for the greatest profit return. Predictably, the Kryptonian wins in the end, but with good performances and Donner's strong direction, 'Superman: The Movie' offers a fun and imaginative ride to that conclusion. (Movie Score: 4.5/5)

Superman II (1980)

Two years later, filmmakers continued the fantasy, comic-book action with a sequel that introduced an even greater challenge for Superman. Three criminals of Krypton, who incidentally became survivors of the doomed planet at the start of the first movie, are accidentally released from their prison cell, known as the Phantom Zone. Landing on Earth, the trio, led by Terence Stamp in his treasured role as General Zod, aims for world domination while Superman foolishly (and rather lamely) relinquishes his best qualities for Kidder's Lois. By also possessing the same powers as the Man of Steel, the villains set the stage for an all-out confrontation, featuring some of the best product placements ever — with the Coca-Cola sign in Times Square being the most memorable.

The idea of Superman becoming Clark Kent full-time is a nice daydream, but it goes pretty much unexplored except for an altercation with a chauvinist truck driver at a diner. And there's also the budding romance of our hero with The Daily Planet's top reporter — so much for it being a Fortress of Solitude when just anyone can crash there. The subplot often feels like it's interrupting what should be the only headlining story with Stamp, Jack O'Halloran and Sarah Douglas (the Queen in 'Conan the Destroyer' and Pamela in the original 'V: The Final Battle'). One rather intriguing aspect of the movie, however, is Superman's inability to stop Zod's seeming military presence, forcing him to learn the meaning of brains over brawn as Luthor once put it.

But of course, 'Superman II' is ultimately best remembered for the havoc wreaked behind-the-scenes than for what was seen on screen. After shooting more than half of the sequel, Richard Donner was unceremoniously fired for clashing with the producers. Richard Lester, one of the producers from the first film and originally second unit director for part two, was brought in to complete the project, bringing with him a more comical and campy approach. In 2006, Donner was given a very rare opportunity to revisit the material and reedit the movie as close as possible to the way he envisioned it. Dubbed "The Richard Donner Cut," this alternate version doesn't change too drastically from the theatrical, but it is interestingly better paced, removing much of the misapplied humor.

Theatrical Version (Movie Score: 3.5/5)

The Richard Donner Cut (Movie Score: 3/5)

Superman III (1983)

Filmmakers (the team after Donner's departure) continue the same farcical approach seen in part two for this third installment to the blockbuster franchise. Similarly to Tim Burton's 'Batman' series, the move towards comedy with a more colorful comic-book structure results in a nonsensical, embarrassing failure. From a script by the Newman couple, which Donner replaced with Tom Mankiewicz — apparently for good reason — the movie introduces a terrible pair of multimillionaire villains in Ross Webster (Robert Vaughn) and his sister Vera (Annie Ross). They hardly present a formidable challenge to Superman, and due to a lack of intelligence, they must rely on another to formulate an evil scheme.

This is where legendary stand-up comic Richard Pryor comes in as computer genius Gus Gorman. The comedian does a fine job in the role, establishing an amusing tone with a few chuckles spread throughout, but in the end, the character is nearly as bland as the two who hire him. Then there's also the fact that his whiz kid talent with high-tech gadgetry comes at the price of being a complete buffoon. It doesn't help that Richard Lester's direction and pace is terribly languid and contrived, as seen in the opening credits. Ultimately, the film is a grossly campy tale of supercomputers, a pair of money-hungry siblings and a rather dumb notion of man-made kryptonite. Oh, and he also battles a hilariously silly-looking robot. (Editor's Note: I don't see ANYTHING silly about that robot!)

If there's any arguable defense for this second sequel, it is all solely due to Christopher Reeve. Of the entire franchise, this remains his best portrayal of the iconic superhero, and the junkyard scene is a great highlight of the entire movie. Because of the synthetic kryptonite made from Gus's bumbling foolishness, Superman develops split-personality disorder and flies around the planet doing the opposite of what's expected of him. So malicious is he that he even straightens the Leaning Tower of Pisa for no reason and later goes on a drinking binge. It's a good piece of entertainment that's sadly all for naught — used purely as a short-lived subplot to a poorly conceived main narrative with second-rate characters. (Movie Score: 2/5)

Superman IV: The Quest for Peace (1987)

Although missing Richard Lester, the Salkind producers and a lame script from the Newman couple, Warner Brothers prolongs the ridiculously campy approach seen in the previous movies and actually makes matters worse. Far worse. Typically, film franchises try to go out with an extravagant, action-packed finish, but 'Superman IV' manages to end the series with an embarrassingly overzealous finale. It's a highly ambitious project, with story input from Christopher Reeve, which has the Man of Steel single-handedly bringing an end to the nuclear arms race. Looking back at the production, it's interesting to see how the story unashamedly taps into a widespread fear of the 1980s and predates the end of the Cold War by at least three years.

Nonetheless, the plot and storyline is naively overoptimistic. It grossly oversimplifies a politically complex issue at the time into something easily resolved with the use of an oversized fishnet hurtled it into the sun. Much like little Jeremy's plea to Superman, the whole idea is essentially the wishful thinking of a middle-schooled kid and miserably executed in much the same fashion. There's even a clear lack of appreciation for physics — or at least a simple understanding of the basics. I'm pretty sure there would be a horribly negative reaction if the sun were to encounter such a large amount of atomic bombs. And I'm still confused as to how Mariel Hemingway's Lacy survived in outer space and then proceeded to fall towards Earth while weightless in zero gravity.

Sadly, that's only the tip of the iceberg. Fans must still contend with a wince-inducing speech delivered by none other than our glorious savior after leading a throng of random spectators into the United Nations building. It's a scene that not only feels weirdly out of place, but also scarily propagandizing. The script features many of the device elements from the first film, which is really lame, and has Superman battle Nuclear Man (Mark Pillow) on the moon, with sound effects that would be better suited in a 'Gojira' movie. Gene Hackman and Margot Kidder reprise their original roles, but show the same amount of depth as Jon Cryer's blundering idiot. In the end, this fourth installment, which unfortunately is also Reeve's final performance as the Last Son of Krypton, is an unintentionally hilarious B-feature that's best forgotten. (Movie Score: 0.5/5)

Superman Returns (2006)

Nearly twenty years later, and director Bryan Singer does precisely that, overlooking the events of the last two movies entirely. Hot off the success of the first two 'X-Men' films, Singer reboots the franchise by bringing back Donner's vision and tone, including Marlon Brando as Jor-El and the space-age, neon-lit opening credits. Although far from the awfulness of its two predecessors, 'Superman Returns' ultimately fails at recapturing the original's appeal with some disappointingly questionable plot points. For anyone who ever wondered if Kal-El and Lois Lane played it safe during their romantic encounter in part two, we see the consequences of that night in this fifth installment. A quick lesson in biology and theoretical Kryptonian anatomy, of course, makes this quite dumbfounding.

On the other hand, if we make light allowances for it as a fleeting possibility, the idea works as a small part to a larger narrative which has our hero struggling with his alienation. What I find more fascinating, however — and the reason for why I actually like this movie — is Singer's self-awareness as a filmmaker, taking partial story credit with Michael Dougherty ('Trick 'r Treat') and Dan Harris. Similar to Donner's first entry, Superman sweeps into our collective conscious only a few years after the nation experiences a large sense of uncertainty and insecurity. Singer appears aware of the cultural significance of Donner's movie, so he informs his film with imagery situating Superman with contemporary concerns and positions him back to a Christ-like savior.

The film is filled with other clever devices and images throughout, hinting at Superman's absence as something much more culturally relevant. There's the scene where Clark Kent runs to catch an elevator and he passes a framed newspaper announcing the fall of the Berlin Wall. A second later in that same scene, we see another headline asking where Superman had disappeared to. Coincidentally, that's around the same time when the last movie, 'Quest for Peace,' was made and the entire franchise went on hiatus. Quite a bit has happened since then, and the idea makes the film's title that more impactful. According the plot, however, Superman's departure only lasted five years, and with the help of basic arithmetic, we can easily figure out what filmmakers are hinting at. Another inspired scene is when he catches The Daily Planet's giant globe like the Greek Titan, Atlas — a possible allusion against Ayn Rand since Superman is the epitome of the selfless altruist.

In the end, Singer's film is a respectable attempt at bringing back a favorite franchise — well, at least the first two are fan favorites. Brandon Routh is adequate in the role of Kent and looks good as the Son of Krypton, but his acting is rather bland and average. Kate Bosworth is a real chore to watch as Lois Lane, but the charismatic Kevin Spacey as Lex Luthor is the cast's saving grace. 'Superman Return' is not a complete failure, but there's also something unspectacular about it, nowhere near as good as Donner's films. In 2012, the franchise will be rebooted once again as the 'Man of Steel' thanks to Christopher Nolan and David S. Goyer, but it has Zack Snyder sitting in the director's chair instead. Fingers are very enthusiastically crossed. (Movie Score: 3/5)

The Blu-ray: Vital Disc Stats

Warner Home Video offers 'The Superman Motion Picture Anthology' in a handsomely attractive eight-disc box set with a design that resembles the Fortress of Solitude and Superman's iconic emblem right smack in the middle. It opens from the top with the large diamond-shaped "S" still attached, and inside is a red multi-fold box where two discs per plastic hub sit comfortably. There was no real difficulty with removing the Blu-rays from their designated spots, but it is somewhat annoying that the top one has to be moved in order to retrieve the second disc underneath. Aside from that, it's a lovely box with detailed descriptions of each Blu-ray on the fold-out panels.

The original theatrical cuts of the first two films, the Extended Edition of part one and the Richard Donner Cut are all on separate BD50 discs with various supplemental features. 'Superman III' and 'Superman Returns' are also on different BD50 discs, but 'Superman IV' is given the BD25 treatment. It's rather strange seeing as how even the eight bonus disc was granted a BD50 disc. Still, they're all Region Free without any previews at startup and different menu windows that feature a still image for that particular film.

Disc One

The original theatrical cut of 'Superman' arrives with a great 1080p/AVC MPEG-4 encode (2.40:1) thanks to a new remaster. The picture shows terrific definition and resolution despite the filtered, hazy photography of Geoffrey Unsworth. The transfer does show its age in a few scenes, particularly during optical effects, but overall, the movie looks very good. Contrast is slightly muted, but black levels remain deep with strong shadow delineation. Colors are nicely saturated with bold reds and blues. (Video Rating: 4/5)

Disc Two

The expanded edition of 'Superman' has received a new AVC MPEG-4 encode, which leads one to believe the movie might also have been remastered for this special Blu-ray collection. Compared to previous high-def releases, there's little to no discernible difference between them. Overlooking the deliberately stylized cinematography, the picture is pristine with terrific clarity and strong definition. Optical effects are bit problematic, which is understandable, but contrast remains well-balanced with deep blacks and a vivid color palette. If I had to choose between this and the theatrical version, I would go with the original cut appearing ever so slightly sharper though it is a very trivial difference. (Video Rating: 4/5)

Disc Three

Also remastered and cleaned up some, 'Superman II' arrives with a nice AVC-encoded transfer, but it's not likely to make a large impact on most viewers. The movie comes with lots of optical effects made clearer by the higher resolution video, so there's a good deal of softness to be expected here, some a tad noisier than others. But on the bright side, the picture shows great detailing in the finer objects and small background info with strong shadow delineation. Contrast and brightness are very well balanced with several scenes of excellent blacks and a healthy depth of field. Colors are bold and cleanly rendered, especially the primaries adding to the movie's campiness. In the end, the movie looks good. (Video Rating: 3.5/5)

Disc Four

Richard Donner's vision of the Superman sequel flies in with the same 1080p/VC-1 encode (2.40:1) as the 2006 release, which is not bad, but not excellent either. Contrast is consistent and stable with clean, sharp whites throughout. Black levels are surprisingly strong, often rich with plenty of visibility in the darker portions. Primaries received a healthy boost with the rest of the palette looking healthy and accurate. On the other hand, the timing has succumbed to the teal and orange craze. Clarity and definition are great for a print pieced together from different sources. Unfortunately, the transfer also shows a fair amount of noise reduction, so there's very little grain present. It doesn't completely ruin the picture, but it's noticeable nonetheless. (Video Rating: 3/5)

Disc Five

The third movie in the franchise looks excellent for its age in HD, showing a splendid array of color variation and richly saturated primaries. Intended to carry a more comic book feel, the AVC-encoded transfer displays a more animated palette than the previous films. Contrast is comfortably bright with crisp, sharply rendered whites, and blacks are often intense and profound, providing the image with appreciable dimension and clarity. Fine object and textural details are far better than could be expected. Whether in Ross Webster's art deco office or outside overlooking Glen Canyon, the picture is very well-defined and distinct. (Video Rating: 4/5)

Disc Six

The fourth picture also receives an AVC MPEG-4 encode from a new remaster, and for the most part, it looks great. It's most troubled aspects are, of course, the visual effects, which have not only aged horribly and show serious softness but also lose much of their color and vibrancy. At its best, the transfer shows good contrast balance, though highlights are inclined to clipping, with accurate black levels. The image is decently well-detailed, but not always consistent with very minor instances of noise creeping. While colors appear clean and bright with healthy flesh tones, reds tend to bleed in several scenes and overall timing seems to lean towards the teal & orange palette. Although much can be excused to the condition of the print used, 'Superman IV' is not likely to impress as do its brethren. (Video Rating: 3.5/5)

Disc Seven

As with disc four, 'Superman Returns' comes with the same 1080p/VC-1 encode (2.40:1) seen in previous Blu-ray releases. Shot on HD cameras, the transfer shows many of the drawbacks often associated with the technology. Contrast and brightness levels are dreadfully inconsistent, ruining dimensionality and completely flattening the image. Blacks are rarely accurate or true and when decently rendered, expose a great deal of crush. The picture seldom displays genuine moments of high-def clarity and resolution, looking more digital and plasticized — almost as if DNR'ed to death — than sharply detailed. The warm amber palette of the cinematography benefits most with strong, vibrant primaries and brightly rich secondary hues. But almost all underwater scenes suffer from serious case of banding. All in all, the fifth and final film installment comes with a disappointing and frustrating experience on Blu-ray. (Video Rating: 2/5)

Disc One

The first disc also comes with an entertaining DTS-HD Master Audio soundtrack. The original design has been nicely upgraded with a subtle rear soundscape which enhances the soundstage agreeably well. Once in a while, discrete effects are easily localized, but it's nothing too distracting. The mix is generally a front-heavy affair with satisfying separation between the channels and well-prioritized vocals. Dynamic range exhibits good balance and appreciable clarity while the low bass is surprisingly forcible, adding a bit of depth the movie. (Audio Rating: 4/5)

Disc Two

Similarly to the video, this DTS-HD MA track of the expanded edition is ultimately no different than the theatrical cut on disc one. It is a satisfying upgrade from previous legacy Dolby presentations to be sure, coming in with a bit more expanse and warmth in the imaging, but once again, ambient effects, like the sounds of the city streets, are easily localized. However, what does impress most is John Williams's terrific score, extending into the background persuasively and enjoyably immersing viewers. The front soundstage is where most the action takes place, with excellent dialogue reproduction, sharply-rendered dynamics and a potent low end that brings the action to life. (Audio Rating: 4/5)

Disc Three

Another enjoyable DTS-HD MA soundtrack is offered with a satisfyingly wide soundstage. Dialogue is intelligible throughout, even Non's comical grunts are perfectly audible, revealing unique variations in his expressions. The mid-range is clean though not very extensive, yet provides imaging with a welcoming presence. Bass plays a low-key role, but it's effective at delivering some nice depth during scenes requiring it. Rear activity is mostly quiet with very minor effects, but nothing to write home about. (Audio Rating: 3.5/5)

Disc Four

Though the video may be the same as before, the audio is not. The Richard Donner cut has been upgraded to a DTS-HD Master Audio soundtrack, and the difference is not too shockingly minor. The musical score does fill the soundscape with a wider imaging and a cleaner presence. The back surrounds are used for many discrete effects and extending the soundfield, but they're also easily localized and often feel out of place. The fronts display some great clarity and detail in the mid-range with a healthy low-end. Dialogue reproduction is pitch-perfect and plainly delivered in the center of the screen. There's some fun to be had in this lossless mix, but the faux surround sound can seem rather distracting. (Audio Rating: 3/5)

Disc Five

The audio for 'Superman III' is a great upgrade from past legacy Dolby tracks, but it's not quite something that will impress most listeners. Although the lossless mix comes with excellently intelligible dialogue and exhibits a well-balanced mid-range, the soundstage often feels narrow and very center-focused. There are moments of movement across the front speakers, giving the movie a slightly more spacious feel, but it's not a consistent aspect of the design. Low bass can provide a bit of weight to certain scenes, but doesn't feel full or convincing. Once in a while, discrete effects can be heard in the background, yet it does little to really open up the soundfield. In the end, it's a good, clean mix, but nothing exciting. (Audio Rating: 3.5/5)

Disc Six

Unlike the other movies in the set, 'Superman IV' hits Blu-ray with a stereo DTS-HD Master Audio soundtrack. Amazingly, it's not half bad, providing the soundstage with a wide, welcoming soundscape. Dialogue reproduction is the real shocker here, displaying a wonderful, intelligible presence in the center of the screen. Channel separation is terrifically well-balanced with strong movement and convincing off-screen effects. Dynamic range is expansive and delivers rich, clarity detail with the smallest, trivial sounds perfectly heard in any given scene. Bass plays a minimal role, but there's enough low-frequency to give the mix a bit of depth. The back speakers may be non-existent, but this is an attractive lossless stereo presentation nonetheless. (Audio Rating: 4/5)

Disc Seven

Being the latest entry in the franchise, 'Superman Returns' takes full advantage of modern sound systems with a highly entertaining DTS-HD Master Audio soundtrack. Imaging feels welcoming and expansive with excellent pans between the channels and wonderfully engaging the listener. Dialogue is crystal-clear with terrific acoustics and spaciousness, making conversations appear as if right in the room. Dynamics penetrate with sharp clarity and detail so that every piece of debris and rock formation can be perfectly heard. Low-frequency effects are powerfully effective and beautifully responsive, providing the action with a hearty punch. Rears display plenty of audible activity to envelop viewers and generate a convincingly exciting soundfield, making this lossless mix a great deal of fun. (Audio Rating: 4.5/5)

This elegant collection of the 'Superman' films lands with mostly the same set of special features found on the Ultimate Collector's Edition DVD, but it also comes with some new material for fans to enjoy.

Disc One

• Audio Commentary — Though recorded separately, producers Pierre Spengler and Ilya Salkind lend their voices and knowledge to the first commentary track. Each speaks candidly about the production and its many, now-legendary battles, which is somewhat surprising. Overall, the discussion is clearly from the perspective of individuals from only one mindset, but it makes for interesting listen nonetheless.


• The Making of Superman (SD, 52 min) — A vintage 1978 TV special hosted by Christopher Reeve that thoroughly explores every aspect of the production, from story origins to casting and shooting locations. With light-hearted interviews and plenty of behind-the-scenes footage, the hour-long doc is amusing and well worth watching for fans.


• Superman and the Mole-Men (SD, 58 min) — The 1951 feature-length movie that was released in theaters and later turned into a two-part episode for the Adventures of Superman TV series. Premiering a year before the syndicated show, this was America's introduction to George Reeves as Superman and Phyllis Coates as Lois Lane. Although enjoyed more as a vintage curiosity and its importance in the history of a comic book hero, the movie makes a charming watch for devoted followers of the Man of Steel.


• Cartoons (SD, 19 min) — Three terrifically entertaining Looney Tunes cartoons ("Super-Rabbit," "Snafuperman" and "Stupor Duck") are also included. And each one is a total blast!


• Trailers (SD, 4 min) — A small collection of two theatrical previews and one TV spot.

Disc Two

• Audio Commentary — For the expanded edition of 'Superman,' director Richard Donner is joined by his long-time friend and screenwriter Tom Mankiewicz, who recently passed away. Tom was brought in to fix the campiness of David and Leslie Newman's script, but is only credited as a creative consultant. The track is very light and amusing, clearly showing the friendship of the two men where it almost feels like I'm eavesdropping on their conversation. The commentary comes with several moments of silence throughout, but it's a good listening nonetheless, full of funny behind-the-scenes (BTS) anecdotes.


• Taking Flight: The Development of Superman (SD, 30) — Hosted by Marc McClure, the piece summarizes the film's development, from script origins and narrative changes to the exhaustive cast search. With lots of BTS footage to enjoy, interviews are amusing revealing and a few minutes are dedicated to talking only about Christopher Reeve.


• Making Superman: Filming the Legend (SD, 31 min) — A continuation to the previous piece, this places attention entirely on the production and the work done behind the scenes. With more BTS footage spread throughout and comments on the cinematography, it touches on many of the challenges filmmakers faced, like costuming, wire work and optical effects. It all ends with the marketing, the film's success and thoughts on Donner's absence on the sequel.


• The Magic Behind the Cape (SD, 24 min) — This would be part three to the two above, and it offers an overview of the optical effects designed specifically for the 'Superman' films. This is hosted by creative supervisor Roy Field with several voice-over commentaries by McClure. Mixed with early test footage, the segment is highly entertaining and cool for fans of classic filmmaking techniques, years before the advent of computer-generated images.


• Screen Tests (SD, 22 min) — Now, casting director Lynn Stalmaster takes hosting duties and presents early screen tests of Christopher Reeve, different readings of Lois Lane, with Margot Kidder being the clear winner, and several actresses auditioning for Ursa, with Sarah Douglas ultimately winning the role.


• Restored Scenes (SD, 11 min) — Technically, a collection of ten deleted scenes, which received the same remastering treatment as the film.


• Additional Music Cues (36 min) — With two choices for the main title sequence, this is a fun listen for film score enthusiasts, imagining what certain scenes would be like with these musical cues. The funniest is the seventies pop version of "Can You Read My Mind."


• Music-Only Track — Watch the entire film again with only the John Williams score playing in the background.

Disc Three

• Audio Commentary — Producers Ilya Salkind and Pierre Spengler return for another commentary track, and again they were recorded separately. While there are plenty of informative remarks to be had throughout, those with an interest in learning more about the troubled production will find something to enjoy in this discussion. The whole thing comes off weirdly apologetic and almost entirely defensive, especially from Spengler. Again, it's not a bad track, but will likely be more appreciated by those who like the history of the 'Superman' films.


• The Making of Superman II (SD, 52 min) — Another made-for-TV special that traces the production of the sequel from inception to theatrical release. Interviews with various cast and crew members, along with amusing BTS footage, maintains interest, but otherwise, it's only a charming vintage TV special.


• "Superman's Soufflé" Deleted Scene (SD, 1 min) — A deleted scene with Lois Lane and Superman cooking a meal while at the Fortress of Solitude.


• First Flight: The Fleischer Superman Series (SD, 13 min) — With interviews of experts and historians, the segment is a good watch outlining the history of Max Fleischer and his important contribution to the Superman mythos.


• Fleischer Studios' Superman (SD, 80 min) — Nine of Fleischer's cartoons are collected here and a must watch for Superman fans.


• Trailer (SD) — The original theatrical preview completes the bonus collection on the third disc.

Disc Four

• Introduction (SD, 2 min) — Director Richard Donner offers a genuine thank you and gratitude for being allowed an extraordinarily rare opportunity to restore his original vision of the 'Superman' sequel.


• Audio Commentary — Director Richard Donner and creative consultant Tom Mankiewicz return for another entertaining track where listeners feel like they're eavesdropping. The conversation is pretty much between the two men, not simply remarking at what they see on screen but creating an engaging conversation about the production's history, casting and the story. It's a very enjoyable audio track for a movie with so much potential.


• Superman II: Restoring the Vision (SD, 13 min) — A terrific look at the painstaking, meticulous restoration process for bringing back Donner's original vision of the sequel.


• Deleted Scene
(SD, 9 min) — A collection of six exorcised and extended sequences which would have added little to the overall storyline.

• Famous Studios' Superman Cartoons (SD, 68 min) — Eight more of Fleischer's Superman cartoons are a must watch for film history buffs because a couple are animated propaganda shorts of WWII.

Disc Five

• Audio Commentary — Once again, producers Ilya Salkind and Pierre Spengler are recorded separately but provide some interesting background info for this track. There's an interesting discussion going on which mostly travels through the process of creating story ideas, including those surrounding 'Supergirl' and possibly introducing Brainiac as a villain, yet it tends to drag in many areas. This isn't a very engaging commentary, but fans might be willing to give it a listen.


• The Making of Superman III (SD, 49 min) — Opening with a brunch at a Special Olympics event, the segment is another vintage EPK program with interviews, BTS footage and an amusing look at the production.


• Deleted Scenes (SD, 20 min) — Eleven sequences of deleted and extended scenes removed for good reason from the final print.


• Theatrical Trailer (SD) — The original preview brings the fifth disc to a close.

Disc Six

• Audio Commentary — Without an introducing himself first, screenwriter Mark Rosenthal jumps right into a surprising criticism of the end product and Cannon Films's involvement. While there are several moments of silence throughout, it is easy to hear a tone of disappointment in Mark's voice, particularly in the notion that the movie was originally planned as a 130-minute feature cut down to 90-minute campfest. The audio track has its moments of good revealing info, but what makes it rather entertaining is Mark's candid censure.


• Superman 50th Anniversary Special (SD, 48 min) — Comedian Dana Carvey hosts this vintage 1988 TV special — which funnily I still vividly remember watching when it first aired — where he talks about Superman as if a real-living being and even visits Metropolis. Filmmakers offer their thoughts about making the movie series, while others, mostly hired actors in fictitious roles, are interviewed discussing many of Superman's heroic qualities. It's nothing thorough or probing, but a fun, fantastical watch nonetheless.


• Deleted Scenes (SD, 31 min) — Fifteen removed scenes are collected, likely the material mentioned by Mark Rosenthal in the commentary and a few showing Lex Luthor's first creation. It is interesting to watch as something that stays truer to the original script.


• Trailer (SD) — It all comes to a close with a theatrical preview.

Disc Seven

• Requiem for Krypton: Making Superman Returns (SD, 173 min) — Ranking up there as one of the best documentaries about a single movie production ever, this exhaustive look at Bryan Singer's film leaves no stone unturned. With nearly three hours to do it, pretty much every area of the entire production is covered here, starting interestingly with home video footage of the plot's origins. Broken into five parts, one of which is further broken down into three segments, the doc moves logically into designing and the shoot, where fans will give gain a better understanding behind many creative choices. Interviews with cast and crew are insightful and informative with one discussion even dedicated just on Kevin Spacey and his shenanigans in character while on the set. It all comes together with a surprisingly fun look on a visual effects sequence that also happens to be the last day of shoot, making this a highly comprehensive doc and worth a watch when time permits.


• Bryan Singer's Video Journals (SD, 82 min) — This a collection of the director's video journals which were available on his blog, and they trace random stages of the production.


• Resurrecting Jor-El (SD, 4 min) — A brief sample of the amazing digital work performed in order for Marlon Brando to reprise his role.


• Deleted Scenes (SD, 16 min) — Twelve scenes which didn't make it to the final cut are collected here, along with one entertaining outtake with different versions of Kevin Spacey yelling "Wrong!"


• Trailers (SD) — One teaser and one theatrical preview completes the disc.

Disc Eight

• Look, Up in the Sky! The Amazing Story of Superman (HD, 111 min) — This is an excellent and highly-recommended documentary for fans everywhere, a feature-length film on anything and everything about the Man of Steel. Numerous interviews with actors, historians and experts sketch the long history of Superman, and the doc commences understandably on the character's comic book origins. It's a revealing and informative examination of how he became a cultural icon and seeped himself into our collective memories. Narrated by Kevin Spacey, the movie shows the evolution of his mythos through radio, television and finally the big screen, while taking a heartfelt moment on remembering both George Reeves and Christopher Reeve. Look, Up in the Sky! is a fascinating and compelling doc on a super comic book hero.


• You Will Believe: The Cinematic Saga of Superman (SD, 90 min) — Another great doc is this one, which takes a closer look at the 'Superman' films starring Christopher Reeve. Broken into five parts, the movie starts with the involvement of the Salkinds and their bringing the entire production into fruition. What's most impressive about this piece is how open and candid everyone is about the tensions between Donner and the producers. Essentially, this means much of the runtime is spent discussing the events of the first two features and interviews are mostly in the defense of Donner. The last segment discusses the failures of the last two movies with various theories on what went wrong, including a quick overview on 'Supergirl (1984).' In the end, it's a good doc for anyone with an interest on the original Superman films with Reeve.


• The Mythology of Superman (SD, 20 min) — Filled with interviews of comic book experts, filmmakers, authors and scholars, this short piece treats the Superman mythos with seriousness and respect as genuine cultural mythology.


• The Heart of a Hero: A Tribute to Christopher Reeve (SD, 18 min) — I absolutely love this segment! It's a very adoring and tender tribute to the great actor with many of the people who knew and worked with him. There are also a few words from people admiring his acting career and his role as Superman. As would be expected, some time is spent on his advocacy and charity efforts, giving us a glimpse into the inspiring and passionate man he truly was.


• The Adventures of Superpup (SD, 22 min) — This is the rarely-seen pilot episode from 1958 for a TV show that never took off.

Since his inception during the Depression-era, Superman has played a unique cultural role in American history. The fictional comic book hero has conveniently occupied the collective consciousness and imagination of many generations. In 1978, the Man of Steel made audiences around the world believe a man could fly, thanks mostly to Christopher Reeve's believable performance, and director Richard Donner unwittingly set the building blocks for future superhero adaptations. The franchise sadly ended on a very weak note, revealing the importance of Donner's guidance. In 2006, Bryan Singer tried to reignite interest in the Superman mythos, but didn't quite achieve his aspirations.

Warner Home Video releases the entire film series, minus 1984's 'Supergirl,' for the first time on Blu-ray. Picture quality varies between each film, but for the most part, the set looks very good. As a set, the audio presentation is excellent, and the bonus material is a phenomenal collection of documentaries, cartoons, and much more, making this a highly recommended package for collectors and a must-own for 'Superman' lovers everywhere.