Despite online skepticism surrounding the new DCEU reboot, Superman succeeds as a film inspired by the classic Christopher Reeves movies and the bright, playful spirit of the original comics. This is the best Superman film since the Reeves era—though I remain a big fan of Man of Steel’s opening sequences on Krypton. James Gunn’s Superman targets a broader audience with an MCU-style approach, but crucially, it stays true to the comics without compromising its core identity.
No origin story required here, the film’s smartest decision is skipping the tired origin retelling. David Corenswet’s Superman is already established as Earth’s beloved hero from scene one. We don’t get lengthy character introductions for Nicholas Hoult’s Lex Luthor or other familiar faces—the film assumes you either know them or will figure it out naturally on your own. The only backstory we receive focuses on his parents and his adorable, and star of the whole movie, dog, Krypto.
Rather than another world-ending threat, the story remains refreshingly intimate. Lex Luthor’s plan to destroy Superman’s reputation serves as the central conflict, set against Superman’s controversial involvement in preventing one country’s invasion of another—a scenario that divides public opinion but also feels very relevant to current real world events.
David Corenswet embodies Superman perfectly, though I would’ve loved to see more Clark Kent scenes. Nicholas Hoult delivers an excellent Lex Luthor who, while perhaps appearing young, captures the essence of a detestable tech billionaire we recognize from today’s headlines. Rachel Brosnahan shines as Lois Lane, with her chemistry with Corenswet elevating the film’s emotional core.
The action sequences rank among Superman’s best, featuring James Gunn’s signature inspiring visuals. The camera movement we are familiar with from Gunn’s Guardians movies is here, flowing around the action and it works very well when mixed with a memorable score. The production design is fantastic, with moments that look like they are lifted directly from comic book panels. Most importantly, it establishes a cohesive visual language for the DC universe that should serve future films well. Hopefully this visual language remains between all projects and isn’t completely given up on for team-up movies like the MCU.
Unfortunately, the film suffers from typical superhero movie problems. Like many Marvel and DC films, it features poorly written minor villains—in this case, Luthor’s two lackeys—who serve as tedious obstacles before the inevitable confrontation. These characters lack purpose and generate no real tension, similar to Thanos’s allies in the Infinity War films. You will sit there listening to some of their poor dialogue and forget about them very quickly after the movie. The Justice Gang members (Green Lantern, Hawkgirl, and Mr. Terrific) provide better balance, though their comic-accurate names and concepts might feel somewhat underwhelming/lame to general audiences. Still, credit goes to Gunn for trusting decades of source material rather than attempting to modernize everything.
That these minor issues represent the film’s biggest problems speaks to DC’s strong new direction. The future is teased effectively, and for the first time in years, I find myself genuinely excited about upcoming DC films. Anyone who grew up with Superman comics, the Christopher Reeves movies, 90s animated Batman, or the early 2000s Justice League animated series will be thrilled with both this film and the DCEU’s apparent future. James Gunn has successfully created the best Superman movie since the 70s and 80s era, proving that comic book movies haven’t been crippled by kryptonite just yet.
Score: 3.5/5