James Gunn summons that iconic “Superman” score for his DC Comics do-over.
He needn’t have bothered.
James Gunn doesn’t seem to bring elements to the DC Comics revival that warrant James Horner-like brilliance. Gunn’s “Superman” is frenzied and overeager to impress, with an unremarkable plot diminished further by insipid dialogue exchanges.
It’s nice to have the Man of Steel back on screen, but it’s hard for Gunn not to be compared to Christopher Reeve’s iconic portrayal from 1978.
To be blunt, Gunn and co. never come close.
A text scroll sets the story in motion. No origin story. No trips back to the planet Krypton.
In the snowy wilderness, our protagonist (portrayed by David Corenswet) is found unconscious, with blood seeping from his lips. Miraculously saved by Krypto, a digitally enhanced canine, he’s transported to Superman’s Fortress of Solitude for healing.
In just a few short minutes, we’ve entered a DC Comics world unlike any seen before in the SnyderVerse. This new film presents a brighter atmosphere, as director James Gunn aims to establish a more playful and fitting tone for our costumed crusaders.
We’ll allow it. Heck, it’s overdue.
Initially, there’s a scene where Clark Kent, Superman’s disguise, engages in a playful “interview” with Lois Lane (portrayed by Rachel Brosnahan). They share a convincing screen presence, but the fast-paced narrative doesn’t allow for much character development between them.
Big mistake.
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Fault Lex Luthor instead. Despite Nicholas Hoult appearing too youthful for the part, he exerts great effort to personalize this villain. Old man Lex, though, harbors a grudge against Superman and attacks him from two angles.
Luthor’s squad of super-powered individuals presents a formidable physical test, even for one hailing from Krypton. Meanwhile, Luthor finds himself entangled in a power struggle between a wealthy Middle Eastern nation and its struggling neighbor.
Could this portrayal be a depiction of the Israel/Palestine conflict in Hollywood, known for its inclusivity yet sometimes oversimplifying complex issues? Most probably not. Instead, it appears to be a simplistic storyline populated by stereotypical characters and politically biased themes.
Call it a missed opportunity, and those stack up fast.
Instead of the Justice Gang, we haven’t encountered yet a self-assured trio of extraordinary individuals who sometimes join forces with Superman. Among them, it’s Mr. Terrific (played by Edi Gathegi) who steals the spotlight in his superhero outfit, leaving an impressionable mark in every scene he appears.
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In this version, Gunn’s usual knack for unconventional comic book interpretations seems to be absent. Instead, he adopts a sincere and overly kind approach. The depth characteristic of Superman is yet to be fully realized in this portrayal. This isn’t your typical hero; he’s the strongest character in the story, embodying the fundamental values of his homeland as an eternal Boy Scout.
Truth, justice and … eh, you know a Hollywood movie won’t go near that tag line, right?
Corey Swartz exudes an air reminiscent of Superman, and visually, he fits the role in all aspects that truly matter. Yet, deep down, he feels insignificant, a character of divine origin struggling with his personal identity. Despite being the headline act, at least on paper, he consistently fails to meet the expectations set for him.
Gunn’s movie presents numerous creative surprises, ranging from intriguing scenes to eccentric side figures. At first, it’s entertaining, serving as an engaging distraction. However, over time, the enjoyment diminishes. He aims high, but misses often, with the missed shots stacking up rapidly.
Why should we care about this reboot again?
Jimmy Olsen, played by Skyler Gisondo in a rather unremarkable manner, engages in an awkward love story with a character named Ms. Teschmacher, portrayed by Sara Sampolo who seems overly focused on selfies. This romantic subplot, which appears to serve as a clumsy plot device, leaves this reviewer puzzled as to how it managed to make it into the final version of a film aimed at rebooting the DC Comics universe.
A more compelling storyline revolves around Clark and Lois’ romance. Their relationship struggles make sense considering the circumstances, but Gunn seems uninterested in exploring this rich topic. Instead, he prefers to add yet another routine action scene.
In simpler terms, modern special effects make it seem like a person could actually fly, as seen in movies, but “Superman” is so dependent on computer-generated imagery that it lacks the personal, relatable aspect often found in stories.
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Instead of leaving an intriguing topic unexplored, Superman persists in his compassionate actions, even saving a squirrel from imminent peril despite his powers, highlighting his commitment against taking lives in his heroics.
That’s a bit much.
The movie overuses Krypto, making him constantly rescue the day and tie up storylines, which is already questionable given his clearly computer-generated appearance. However, it becomes even more unrealistic when he’s heavily integrated into the narrative.
Rough.
As a diehard cinema enthusiast, I can’t help but sing praises for the timeless classic “Superman.” It never fails to captivate with its stellar cast perfectly embodying their roles, and it effortlessly reignites our affection for the Man of Steel that first won our hearts. If you’re yearning for a refreshing take on this iconic character, I strongly urge you to reacquaint yourself with Christopher Reeve’s pitch-perfect portrayal before being disappointed yet again by another uninspired remake.
P.S. The two post-credit scenes featuring Superman were disappointingly weak, to put it mildly. And the short introduction of Supergirl (played by Milly Alcock) was even more awkward than Jimmy Olsen’s romantic storyline, if that’s conceivable…
Superman” makes great choices in casting, but the movie fails to meet the expectations set by the iconic pop culture figure.
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2025-07-11 06:03