In a sentenceChristopher Reeve looks ready to save the world, if the comedy would give him a minute
Clark Kent (Christopher Reeve) spends time in Smallville with Lana Lang (Annette O’Toole), finding room for a personal relationship alongside his responsibilities as Superman. August ‘Gus’ Gorman (Richard Pryor) also enters the story, which sets Superman against the prospect of a computer powerful enough to control him. The opening introduces its comic approach through a succession of slapstick mishaps. From there, Clark’s connection with Lana shares the film with a technological threat that could put his powers beyond his own control.
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Christopher Reeve and Annette O’Toole bring warmth to Superman III, but Richard Lester’s broad comedy keeps getting in their way. There are pleasures here, though not enough to make the muddle worth recommending.
Richard Lester treats Superman III as a comedy with a superhero available when required. That is a reasonable way to vary the formula, and the film is promising when it lets ordinary awkwardness interrupt Superman’s importance. Too often, though, it settles for broad comic business that is neither sharp enough nor funny enough to justify the interruption. Christopher Reeve gives it more care than the uneven screenplay deserves, but we cannot recommend the whole film on the strength of his performance.
The opening slapstick suggests this approach might work. Richard Lester arranges comic mishaps with a confidence the rest of the film does not consistently share, and John Victor Smith’s editing makes their timing count. We can see why comedy seemed worth pursuing: there is pleasure in watching a superhero film busy itself with ordinary things going wrong. Unfortunately, the opening also sets a standard for the jokes that follow, and too many fall short.
Smallville gives the film something more dependable. Christopher Reeve makes Clark’s awkwardness appealing without treating him as an idiot, while Annette O’Toole makes Lana good company without having to insist upon her charm. We were touched by Clark and Lana’s scenes together, because his hesitancy and her warmth make their affection seem worth taking seriously. Robert Paynter’s cinematography gives their exchanges an unshowy directness that suits the performances, allowing this quieter part of the film to hold our attention without straining for another joke.
Richard Pryor is less fortunate. August ‘Gus’ Gorman receives so much comic attention that the performance needs a freedom the screenplay by Leslie Newman and David Newman does not provide. The jokes feel prescribed, and the effort to keep them coming becomes tiring before the film stops making it. There is nothing wrong with allowing someone other than Superman to be funny, but this material repeatedly makes a gifted comic seem like an awkward guest.
The computer threat has a similar problem: it supplies something for Superman to confront without giving us much reason to worry. Peter Murton’s production design gives the machinery enough presence, but the scenes around it struggle to hold our interest. Ken Thorne’s music is more persuasive when supporting the adventure than when accommodating the comic detours. Their work helps keep the film watchable, although it cannot repair the uncertain balance between danger and fooling about.
There is good action here, and Christopher Reeve retains the conviction needed to make the heroic business work. A superhero comedy should be able to take its central character seriously while finding his circumstances funny. This one too often interrupts our interest in Superman to pursue a gag of doubtful value. The problem is repetition rather than any objection to a lighter tone.
At 125 minutes, there is too much waiting for the next stretch that works. The Smallville scenes show how much can be gained by giving Clark someone we enjoy watching him talk to, which makes the diversions especially wearing. Return for Christopher Reeve if affection for his Superman is already firmly established; otherwise, there are better uses of an evening.
The reviews lean mixed, with praise clustering around Christopher Reeve, the Smallville scenes and individual comic sequences rather than the film as a whole. Reeve’s handling of the dual role remains a strength even for detractors, while the relationship between Clark Kent and Annette O’Toole’s character supplies welcome warmth. The opening slapstick also earns approval from otherwise opposed reviews, suggesting that the comedy works better in particular passages than across the full film.
The spread is wide, and the main divide concerns the lighter tone. The Hollywood Reporter welcomes Richard Lester’s brisk direction and finds an energetic audience-pleaser. Time Out admires the satire and precisely timed slapstick. Less favourable reviews find the broad humour overdone, Richard Pryor poorly used, and the drama short of its predecessors’ wonder and scope. Two of the eight reviews lack accessible text, so their specific reasoning cannot be established.
Knight finds the film great fun and an energetic audience-pleaser, despite some letdowns. He especially praises Richard Lester’s brisk direction and Annette O’Toole’s warmth.
Read the full review →The review presents the film as the series’ most satirical entry. It singles out the opening credits’ precisely timed slapstick as especially impressive.
Read the full review →The article text is unavailable, so the critic’s verdict cannot be established. Its praise or complaint cannot be reliably identified from the accessible page.
Read the full review →The page could not be accessed, so the critic’s verdict and specific praise or complaint cannot be verified. The available page contains only a browser-check message.
Read the full review →Ferguson finds the humour uneven and says the film cannot sustain the irreverence of its predecessor. He praises Superman’s turn to nastiness and the sweet Smallville scenes, while finding Richard Pryor’s comic presence ineffective.
Read the full review →Thomas finds the film lighter and less dramatically compelling than its predecessors, despite some good action. He praises Christopher Reeve’s command of his dual role but faults the film’s whimsical tone and diminished sense of wonder.
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The Rocketeer · not reviewed yetA sweeter superhero adventure, with the human scale this film too often neglects.
The Iron GiantFor another gentle hero whose extraordinary strength matters less than his kindness.
Kung Fu Hustle · not reviewed yetSlapstick and impossible physical feats combined with far greater comic confidence.
Mr. India · not reviewed yetA warmer blend of superpowers, broad comedy and everyday human attachments.
The Absent-Minded Professor · not reviewed yetFor scientific chaos handled with a lighter touch and a steadier comic rhythm.
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