‘Superman’ Review: James Gunn Gives DC Studios’ Crown Jewel a Gleaming Polish With Help From David Corenswet and Rachel Brosnahan

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Since his debut as a writer-director with “Slither“, James Gunn has consistently aimed to alleviate the heavy, somber tone prevalent in modern sci-fi through his unique blend of offbeat humor and genuine enthusiasm for genre classics. As the newly appointed co-chair (alongside producer Peter Safran) at DC Studios, Gunn is applying this signature style to “Superman“. The outcome is a thrilling action-adventure that retains its comic-book roots while also showcasing a sincere, compassionate human touch. It’s evident that he holds a deep affection for Richard Donner’s 1978 film starring Christopher Reeve, as well as the widely praised “Superman II“, without succumbing to overly reverent and solemn tones.

In the case of Bryan Singer’s 2006 film “Superman Returns,” one of its flaws was that it lacked joy and has been largely forgotten. On the other hand, Zack Snyder’s “Man of Steel” in 2013 over-distanced itself from the original Donner model, which proved to be a fatal mistake for that dark and gloomy film. While there are supporters for this somber tale, it didn’t fare well overall. Considering the numerous superhero battles and collaborations that have dominated DC’s productions in the 2000s, Superman, or Kal-El, the alien refugee from Krypton created by writers Jerry Siegel and artist Joel Shuster in 1938, hasn’t had a kind new millennium.

Gunn’s screenplay may have its flaws, as it tends to incorporate numerous aspects, leading to a dense and congested feel at times. However, what truly counts is that the film is entertaining, fast-paced, and delightful – a refreshing change that carries an authentic love for the subject matter, further enhanced by a charming threesome of main actors.

David Corenswet delivers an exceptional portrayal of Superman/Clark Kent, his acting brimming with self-deprecating wit, charisma, and tender vulnerability as he grapples with the uncertainty of whether his purpose to do good and safeguard humanity was founded on a deception. Corenswet’s humorous, spirited chemistry with Rachel Brosnahan‘s sharp and captivating depiction of Lois Lane—a portrayal that rivals Margot Kidder’s iconic interpretation of the intelligent Daily Planet reporter—makes each scene they share a pleasure to watch.

Nicholas Hoult portrays Lex Luthor with less of the exaggerated villainy seen in previous versions, instead emphasizing the character’s genius side. This portrayal significantly escalates the danger level. Despite being the most intelligent person in almost any situation, Hoult’s Lex is also immature and insecure. These traits stem from jealousy towards Superman’s global admiration as much as they come from a desire to eradicate anything that could hinder his wicked plans.

The film commences by providing a swift overview of the millennia-long existence of metahumans on Earth, culminating in Superman’s initial defeat by one of them. We find Superman lying injured in the snow, managing to summon enough energy to whistle for his loyal pet, Krypto. Krypto promptly dashes across the snowy expanse, stirring up clouds before leaping onto Superman, treating it more like playtime rather than a distress signal.

Krypto, with his red cape and unruly behavior reminiscent of a puppy school dropout, has a charming yet mischievous air about him. On the other hand, Gunn, who has created a genetically engineered, chatty raccoon and a sentient tree as endearing characters in Guardians of the Galaxy, could effortlessly incorporate a super-dog into his movie. Fortunately, this film seems to tone down the typical bro-ish humor associated with that franchise.

Once Krypto understandingly receives the signal and hauls the injured Superman towards their crystal hideaway, the Fortress of Solitude, a squadron of mechanical assistants springs into action for repairs. They mend him physically with a beam of sunlight and alleviate his emotional distress by replaying the incompletely lost emotional message from his parents, which is now his only connection to his previously annihilated home planet.

Numbers serve as their identities, making the caretaker robots an appealing addition. Among them, the most talkative one, Number 4 (Alan Tudyk), brings laughter with his endless musings about the emotional experiences humans might have if they were capable of feeling.

Once more in Metropolis, Superman encounters the Hammer of Boravia, a massive, armor-clad enigma who seems to possess powers comparable to Superman’s and perhaps more. (For seasoned comic book enthusiasts, it won’t take long to figure out this character’s identity.)

Downtown was devastated by the Hammer, resulting in massive damages worth millions, and then tried to dodge responsibility by claiming the chaos was retaliation for Superman’s assault on their military forces. However, Superman argues that his actions were aimed at averting a war where countless lives would be lost, following Boravia’s aggressive move towards the impoverished nation of Jarhanpur. The questionable Boravian president (Zlatko Burić) maintains that the Hammer operates independently from his administration.

It’s no surprise that Lex, perched in his lofty LuthorCorp tower, is masterminding this turmoil. With a Bluetooth earpiece and a squad of techies in black uniforms clustered around keyboards, he’s issuing orders. His every move seems to be pre-programmed, making him bark numbers at his team like a coach strategizing during a football game.

Lex embodies a tech mogul with similarities to Musk or Zuckerberg, yet Hoults’ portrayal leaves room for doubt, making it unclear whether he is truly concerned about humanity’s fate under an alien force or if he’s merely seeking absolute power regardless of the cost.

Gunn selectively pulls different aspects from numerous interpretations of Superman’s history, ranging from comic books to series such as “Smallville” and the Donner movies, using them like a mixed collection.

Among those involved is Angela Spica, also known as The Engineer (María Gabriela de Faría), who is Lex’s closest ally and possesses a unique ability due to her nanite-infused blood. She can fluidly transform various body parts into whatever shape is necessary – whether it’s saw-like hands or tentacle-like cables capable of penetrating any computer circuit. This talent comes in handy when they access the digital core of the Fortress of Solitude, enabling Lex to manipulate a message from Superman’s parents. The distorted section in the original is replaced with an order to rule over Earth and its inhabitants without compassion.

As a fan, I can’t help but draw parallels between the fictional world of superhero sci-fi and our own reality when it comes to AI concerns. The notion that misinformation can be disseminated on such a scale to turn a beloved public figure into an outcast feels less like science fiction and more like a chilling possibility. Granted, Lex’s army of monkeys manning computer screens, spreading falsehoods, conspiracy theories, and damaging anti-Superman hashtags might seem a tad far-fetched, but it certainly gives us food for thought about the potential manipulation of social media in our world.

Gunn’s script is jam-packed with numerous elements, such as:

– A “pocket-verse” designed by Luthor, serving as his high-tech prison.
– Rex Mason, better known as Metamorpho, portrayed by the talented Anthony Carrigan from Barry. Lex exploits him due to his ability to change his chemical composition, which can transform different body parts, even into Kryptonite.
– And a team of metahumans making up the Justice League.

The group of three law enforcers funded by corporations consists of Mister Terrific (Edi Gathegi), a tech genius with an array of impressive gadgets; Hawkgirl (Isabel Merced), a skilled fighter who operates from the skies; and their self-proclaimed, overconfident leader Guy Gardner, more famously recognized as Green Lantern (Nathan Fillion). Unfortunately for him, he sports the most disastrous bowl cut and hair color in Metropolis.

Interestingly, it’s the Kryptonian, played by Corenswet, who serves as the emotional core of the story. His portrayal brings such a heartfelt warmth that he keeps the film grounded even when it approaches fantastical excess. The manipulations of Lex cause such upheaval that they lead Superman to grapple with an existential dilemma. At his most vulnerable, Superman seeks solace on the farm of his adoptive parents (Neva Howell and Pruitt Taylor Vince). This is one of the film’s most tender and impactful moments.

Corenswet portrays Clark with an equal strength as Clark, effectively eliminating the typical awkwardness associated with nerdiness and boosting his confidence in his Daily Planet role. This transformation is largely due to Gunn’s decision to reveal Clark’s dual identity to Lois earlier than usual, three months into their relationship, deviating from the traditional storyline.

As a fan, it’s hush-hush in our bustling newsroom, even from my seasoned editor Perry White (Wendell Pierce, who always brings his A-game), Steve Lombard (Beck Bennett) and Jimmy Olsen (Skyler Gisondo). At work, I maintain the pretense with my playful, flirtatious banter with Clark, but our private moments in my apartment are where the real action lies. This film keeps its most potent secret tucked away there.

In a light-hearted instance, Lois dismisses Clark’s worries about revealing too much, implying that secrets can’t be hidden forever, which leads Clark to ask, “But the glasses?” Brosnahan and Corenswet shine particularly well in a scene where Clark reluctantly agrees to an interview by Lois after she grumbles about always getting the Superman scoops. The hint that Superman is somewhat protective of his public image adds a touch of humor to the situation.

In another smart move, Gunn arranges for the Daily Planet crew to join Mister Terrific’s spacecraft to aid Superman and prevent a looming catastrophe. As always, Jimmy, full of youthful bravado, turns out to be quite useful due to his secret relationship with Eve, Lex’s fashion-forward girlfriend who loves taking selfies (played by Sara Sampaio). Despite her playful and superficial appearance, she is not as shallow or airheaded as she seems, much like the character Miss Teschmacher portrayed so memorably by Valerie Perrine in the Donner movies.

A fleeting, intriguing glimpse of a character from another recognized Superman universe towards the end leaves us eagerly anticipating the upcoming release next year.

Invigorated by Henry Braham’s captivating cinematography, Beth Mickle’s inventive set design, remarkable computer-generated effects by the team, and a thrilling blend of orchestral and synth music by John Murphy and David Fleming featuring the legendary theme by John Williams, Gunn’s Superman can be overwhelming and sometimes confusing. However, it never fails to be engaging. The film’s primary asset might be its ability to avoid the complex reinterpretations of superheroes in recent years and instead evoke a charming sense of childlike wonder.

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2025-07-08 22:25