Steel of Man

Absolutely phenomenal colour re-grading. It's the Superman film that was hidden underneath Man of Steel. Intriguingly focused mystery Act 1, making Clark more otherworldly, almost an angelic presence, only to then draw us in close for Act 2 and his conflict. The only reason this doesn't get even higher marks for narrative and enjoyment is that the third act is by necessity a load of sound and fury, though again, tremault pulls its soul out of the fire for the conclusion. This has got my brain whirling regarding what could be done with BvS. Professional, focused, coherent and polished. This is one to make sure you recommend to all.

I really enjoyed the new narrative, and the changes made certainly do make a tangible difference. Some parts that I particularly liked are how Lois is given more room despite not having more scenes (that's the power of a good narrative), how T chooses to blur Clark's face when Lois is hemorrhaging, how Pa Kent doesn't do the maybe line (and getting a huge upgrade from what Snyder and Goyer did with him), and how good the flashbacks have been used. On that, I'd say that I missed the Clark getting bullied and the Xray vision activation bits to show how far Clark has had to endure and adapt, and I do think that the presentation of the death of Pa Kent could still be improved- I still like it tho. Some of the edits in the first half are more noticeable since they transition a bit quickly, increasing pace up and cutting organic conversations midway. There is some noticeable obvious audio editing, and I could notice the changing soundtracks myself, but that's forgivable for the most part and shouldn't be even accounted by the uninitiated. While I do understand that the tone of this film does get an upheaval because of the increased saturation, I didn't like was how tacky the color grading gets in certain scenes.
I really like the trims, which do two things- 1, make Clark not so brooding; 2, remove some mindless collateral damage, and corny dialogue. I also liked the scene from BvS used near the end. I don't mind the retention of Supes having to kill Zod because it adds to the conflict of having to choose between Clark's own race and Humanity. But then I can't get past Snyder's choice of Clark immediately jumping the kryptonians, especially when he doesn't reason with Zod using some talk no jutsu lol, and when we screams "Krypton had its chance".. I also think that T could sure had used a small flashback to Zod killing JorEl when the former admits it to Kal, especially because without that whole scene it doesnt make sense for Zod to scream "I will find him" with full conviction... I should stop, I just might be getting ahead of myself.

Overall, this edit is testament to the fact that a good narrative is paramount to a film, and by molding it T does salvage MoS by leaps and bounds. So, well, Tremault/Triadne has done it-- fleshed the steel of the man that's Clark/Kal. I appreciate You T for your work, thank you!

(Would like to make a separate acknowledgement of the low file size and subtitles... Much obliged!)

I had walked away from the theater initially saying this wasn't my Superman. I have softened over the years but still did not have a lot of respect for the film.
Tremault has done an admirable job of tightening the story and removing/reworking scenes that just didn't work.
Great job on the tornado scene and other Jon Kent moments. Your edit shows him more of a concerned Father than a heartless jerk.
Clark/Superman is shown to be more confident and heroic in this edit.
I still have trouble with Amy Adams as Lois Lane. Not her fault or the edit. Snyder's version of her is just a little too off for me. The measuring dicks line is just bad.
However, this is a very enjoyable watch and will be my go to version. Great job!!

While I enjoyed the brightening of the colors, the removal of some of the excess violence, a greater focus on Superman's humanity, and appreciate the idea behind the narrative, I can't help but feel like important scenes were lost in the nonlinear telling of the story, especially when it came to Jor-el explaining to Clark about General Zod and Krypton's destruction. Jor-el's death is mentioned but never seen. Dialogue is abruptly cut off to make way for the flashbacks, which I found annoying. I sorely missed the childhood "focus on my voice" scene, which lost another point on the enjoyment scale.

It was a good and respectable effort overall, but this is not the version of MoS that I will be going back to.

The streamlining of the story to start with Clark being a hero through the eyes of Louis or at least through her investigation and incorporating the opinion of his human father is great, and is all done before the 20 minute-mark, while never giving the impression that something is missing. The most important parts to the story are still there up until now. Important story parts on Krypton are inserted later as flashbacks. The blurring of Clark's face to make his identity a secret was very creative. Although I truly understand what tremault was going for and I fully agree with her decisions, I must admit that there are some seemingly abrupt scene changes, when in one scene there is music playing and in the other there is not. But this is due to a flashback scene and to make them stand out as such, at least this is my interpretation of it, and when the scene closes it all makes sense again. For example when Clark tells his human mother about this "real" parents. Loved that Clark's human father does not tell him not to save him in the hurricane scene. That bothered me in the original cut. Well done! I loved that he thinks about his dad before, during and after the final Zod showdown, reminding him of his "human side" and his father being his "conscience". The Perry White scenes in the credits and the final text is really amazing! :)
Another edit well done by tremault!