James Gunn’s Superman essentially asks… what if Superman was just… good? And remarkably, he makes that actually interesting.
This refreshingly earnest take proves that simple goodness can still captivate in today’s cynical landscape, though it doesn’t quite reach the emotional peaks of Gunn’s Guardians of the Galaxy trilogy – I found myself admiring its thoughtful sincerity more than truly connecting with it.
The casting choices prove to be the film’s greatest strength, with David Corenswet embodying Superman with exactly the right balance of earnestness and relatability. He manages to portray a character who is simply good-natured without becoming boring, capturing what makes Superman oddly compelling – his fundamental decency. Corenswet’s performance successfully distinguishes itself from Henry Cavill’s overly tortured interpretation, bringing a lightness and sincerity that feels genuinely refreshing. Rachel Brosnahan shines as Lois Lane, and their best scene together – arguably the film’s strongest sequence overall – is an interview scene where they connect as reporters first and foremost. This dynamic showcases a fascinating relationship between two truth seekers (one of which is an otherworldly god) that i haven’t seen explored quite this way before. Also their relationship feels grounded in mutual respect and intellectual connection rather than saccharine romance.
Nicholas Hoult commits fully to being Superman’s biggest hater, bringing both swagger and genuine menace whether he’s winning or losing. His portrayal of genuine bigotry and xenophobia feels universal rather than contemporary – it doesn’t fall into the trap of forcing the audience to draw parallels to reality but simply allows us to do so. Edi Gathegi as Mr. Terrific emerges as both my personal favourite and likely a fan favourite overall. The character is written and acted perfectly, with deadpan delivery and a begrudging earnest attitude that makes him both genuine and endearing despite the character being ludicrous in concept. Gathegi’s full commitment is effortless, and he ends up being the type of character you’re always rooting to be in frame whenever the camera cuts away.
Gunn demonstrates his signature ability to juggle multiple characters effectively, giving most of the ensemble meaningful contributions to both plot and theme, though not quite as refined as in his previous work. The supporting cast fills their roles competently, though some Daily Planet members and Lex’s goons feel underutilised. Skyler Gisondo’s Jimmy Olsen serves the plot adequately, despite his only real character traits being 1: friends with Lois and Clark, and 2: has a magnetic pull on every woman in Metropolis that is so preposterously exaggerated it becomes almost otherworldly. Superman’s parents are sweet and perfectly cast, though some beats come across as predictable, that might make audience’s eyes glaze over if they are at all familiar with superhero character arcs (which let’s face it, is everyone at this point).
The film’s approach of starting well into Superman’s established career allows it to move forward without retreading familiar origin territory, which is both beneficial and problematic – good that we can get on with things without rehashing familiar elements, but disappointing because some of the alluded-to backstory sounds massively interesting, and just reading about it at the start feels like a bit of a bummer when certain acts aren’t as engaging. The action sequences are mixed in quality – a classic James Gunn one-take action shot with Mr. Terrific and Lois set to grin-inducing needle- drops is a standout. However, larger set pieces fall into the trap of becoming messy CGI nothingness where stakes don’t feel real due to the processed nature of the choreography and visuals. This becomes particularly apparent in one of the final showdowns, and there’s a visual segment involving a black hole that is absurdly messy, looking like what I describe as ‘diarrhoea Christmas lights.’
The film’s visual palette is at least slightly more vivid than average superhero fare – typical of Gunn – but many daytime CGI-heavy scenes aren’t overly impressive and occasionally can only be described as kind of ugly. Krypto the super-dog is appropriately cute and has enough to do without being sidelined, though his entirely CGI’d existence keeps him from reaching his full potential of maximum cuteness. The middle act drags considerably, especially during the pocket dimension sequences, despite their conceptually intriguing and hilariously evil premise – forcing Superman into a box isn’t particularly compelling viewing, even when executed with technical proficiency.
What the film does succeed at is its central theme of portraying simple goodness as heroic in itself. Superman is written without the excessive sarcasm or cockiness that seems to be the template for most Marvel characters, and maintains an earnest nature without being completely boring. It’s a massive breath of fresh air from the mopey, overly serious Zack Snyder Superman interpretations, who was well cast but so relentlessly brooding he made being Superman look like the most depressing job on Earth. This straightforward approach to heroism feels bold in the current cinematic landscape, echoing Christopher Reeve’s earnest portrayal in all the right ways, and the exploration of otherness adds a surprising yet welcome depth. The inclusion of the classic Superman theme, while perhaps bordering on overuse and admittedly obvious, never failed to put a smile on my face.
I couldn’t quite connect with the film despite its competence – it didn’t reach the emotional peak of any of Gunn’s other superhero works for me. The dialogue isn’t as naturally tight or funny, and certain clichés of both the superhero genre and the director’s own tendencies stuck out enough to pull me out of the experience. While it didn’t fully capture my heart, there’s undeniably much to appreciate – rich world-building, memorable characters, and a hopeful spirit. For a film about goodness and inspiration, using it as the cornerstone of a new DC Universe feels both smart and admirable – the kind of thoughtful foundation that can finally give fans something to feel genuinely optimistic about. I’d recommend viewing this on a TV with great HDR and contrast – head down or pick up the phone to your local Richer Sounds, and snag yourself a deal before this hits streaming.
Author: Elliot, Holborn Store
