Lex Luthor's logo is all over Man Of Steel - whether it's on trucks, trains or buildings.
Our favorite appearance is one of the most subtle.
We've seen Clark hitching in the film's opening act, so it makes sense that he'd hitch a ride to the Kent farm in the third act.
If you look in the background as Clark is being greeted by his mum's dog, you'll see a LexCorp truck honking its horn - it's clear that the driver has just dropped Clark off.
We wonder what Lex would do to that particular driver if he found out he helped Superman?
Let's be honest. Even if we didn't know Clark Kent was Superman, we still wouldn't pick a fight with him. Just look at him.
However, the patrons of Clark's bar aren't as smart (sober?) as us, and don't just pick a fight with the 6ft man mountain, they pour beer over his face and throw a cup at his head.
Our favorite moment in this scene comes when the lecherous bar dude tries to push Kent over - only to almost push himself over in the process.
Another relatively small moment, but we loved the way Zod climbed the building on his way to clash with Superman. He basically tore into the structure, looking for all the world like Hulk pretending to be Spider-Man.
All the while, Shannon's face has all the anger and intensity of a rabid dog. Oh, what we wouldn't give to be there on the day they shot this scene.
"I get writer's block if I'm not wearing a flak jacket"
One of the most impressive elements of Man Of Steel is how right they get Lois' character.
Lest we forget, in Donner's Superman - as much as we love that movie - Margot Kidder's Lois isn't the greatest journalist to walk the planet. In her introduction scene in that movie, she's asking Perry White "How many Rs in rapist?"
Amy Adams' Lane, on the other hand, can most definitely spell. And investigate. She's always one step ahead of almost every character in the movie: she's at the scene of the frozen spaceship at the same time as Clark (leading to another laugh out loud line, when he helps her with her bags: "Careful, they're heavy.")
She even uses her deductive powers to work out Clark Kent is Superman: before Superman even exists!
And, whilst lesser superhero movies would put their damsels in distress into a tight pencil skirts, this Lois wears sensible clothes. Whether she's being lowered to the ground in a pant-suit, or going gonzo in war-torn areas wearing a flak jacket, she seems to have the right outfit for every occasion.
"You can save her, Kal. You can save them all."
A powerful moment, expertly delivered by Crowe.
It's the final bit of true calm before the intensity of the final act, with Jor-El taking a moment to explain Superman's true purpose - to combine the best of Krypton and Earth; with the free will to use his alien powers compassionately in this strange new land.
This is the greatest possible tribute to his ancestors, who were explorers long before they lost their way down a dark path of genetic engineering.
This is more a way to group a series of moments than to highlight a specific scene, but the casting of the kid Clarks was nothing short of magnificent.
Every single iteration of the character was brilliantly performed - whether it was the moody glares of the teenage version, or the wide-eyed terror of primary school Clark, at no point did we doubt that we were watching different versions of the same person.
Bravo casting department, this was a huge challenge; get this wrong and the movie fails.
Our favourite was probably the x-ray panic attack - brilliantly performed and, once Diane Lane shows up, incredibly moving.
There's several things we enjoyed about the scene between Lois and her Internet pal Woodburn.
Firstly, her tendency to drink scotch straight up. Secondly, the fact that the film addresses the conflict between print and online without dwelling on it; a modern Daily Planet would be threatened by bloggers like Woodburn, but that doesn't mean we need a series of scenes in which Perry White learns how to embed a Tweet, which was one of the risks of a modernised Superman.
But by far our favourite aspect of the scene is Woodburn's name itself.
After all, he's Lois' Deep Throat character, so why wouldn't he be named by amalgamating Woodward and Bernstein?
Up, up and away
It's a small moment, but we love the fact that, when Superman hears that his mum's in trouble, he doesn't waste time explaining what's going on to Lois, he simply tilts his head and takes to the skies at super speed.
Lesser films would've had Superman say something along the lines of "It's my mother Lois, she's in trouble. I've got to go and help her - hitch a ride into town, you'll be safe there."
But Snyder's film has already cut so many extraneous elements, why wouldn't he take a logical approach to this moment?
"It's not an S"
It's one of the most quotable scenes in all of the trailers, but the extended version of the interrogation scene has all sorts of extra treats.
From the way Superman uses his x-ray vision to identify his captors (again, a funny moment) to the way he casually breaks his handcuffs, this is a scene full of wonderful surprises.
It's also the first time Cavill and Adams get to properly interact, and we'd advise anyone who says they don't have any chemistry to give it another watch.
Every variation of the Kryptonian armour looks fantastic - from Jor-El's golden outfit, to Zod's army's black numbers (how did they not know they were the baddies? Just look at their gear!) which came complete with masks that looked like a cross-between tie-fighter pilot helmets and the Engineers' space suits in Prometheus .
The costume design on Man Of Steel is one of our favourite elements - everyone was styled perfectly, from Perry's red braces to Lois' work-appropriate pant-suit.
But if we were to pick an outfit to wear ourselves, it would be Zod's army's armour all the way.