There’s a point in James Gunn’s Superman where a group of small children are standing at their country’s border watching as heavily armed soldiers are advancing to invade another country. As tears flood down their cheeks, and fearing for their lives they are hoisting a homemade “S” flag and chanting “Superman, Superman”. They trust that Superman will see that they are in danger and come – regardless of the political situation that created the invasion. It’s the epitome of what makes a hero, a hero, of what makes Superman stand out as one of the Trinity core characters (Batman and Wonder Woman being the others). While we have seen many a superhero film in the past two decades, writer and director James Gunn goes all out, giving us one of the most unique and energetic comic book movies ever made.
By now, Superman’s origin story is so familiar it might as well be on the back of a cereal box. Doomed planet. Baby in a rocket. Kansas. Glasses. Metropolis. Lois. Lex. Cape. We’ve seen it all; in comics, on screens big and small, animated, reimagined, and rebooted to death. Which is why Gunn’s Superman is such a refreshing change: it doesn’t just retell the tale, it reframes it with heart, spectacle, humour, and just the right amount of comic book wackiness. It also imagines how a hero built with love and compassion navigates a politically fraught milieu.
Within five minutes Gunn has raced through the essential lore using stylish title cards and a bruising Antarctic retreat that finds Superman (David Corenswet) licking his wounds after a public beatdown in Metropolis. Instead of dragging us through the usual origin beats, the film jumps straight into the fun stuff: cosmic threats, alien tech, a dog in a cape, and Lex Luthor doing psychopathic billionaire things that feel a little too real in today’s climate.
The tone is set early: this isn’t another gritty, brooding “Grimdark” Superman tale. It’s colourful, weird, emotional, and, crucially, hopeful. Gunn leans heavily into Silver Age comic book vibes with giant kaijus in the city, robots in the Fortress of Solitude (please call me Gary), and yes, Krypto the Superdog who isn’t exactly trained. The result is a Superman film that feels like a comic book brought to life in the best way possible.
Corenswet steps into the red boots with charm to spare. His Superman is kind, conflicted, powerful, yet also vulnerable in ways that haven’t been explored much on-screen with this character since Christopher Reeve. He’s also still learning how to be a hero. Corenswet doesn’t try to reinvent the character, he just embodies him. It’s not showy which is why it works. Paired with Rachel Brosnahan’s razor-sharp Lois Lane, the two form a believable, grounded duo at the heart of a film packed with sky-high ideas and world-ending threats. One early scene is an interview Lois conducts with Superman that quickly morphs into a heated, smartly written discussion on power, politics, and responsibility. It’s the kind of scene that shouldn’t work in a summer blockbuster, yet it’s completely riveting and asks questions usually reserved for “vigilante” heroes – something the Boy Scout would never imagine himself as.
Nicholas Hoult’s Lex Luthor cranks up the corporate sociopath energy. He’s sinister in a way that’s chillingly modern by manipulating public fear and controlling media narratives to turn the world against Superman. It’s not subtle, and that’s the point. Gunn’s script isn’t afraid to get political without losing its popcorn appeal which does a fantastic job of grounding Superman’s refugee outsider status in a way that feels both timely and true to the character’s origins.
But Superman is also a big ol’ superhero movie, and Gunn brings the goods. The action is slick, the effects are top-tier, and the film is packed with DC deep cuts and new characters that expand the world without overwhelming it. Guy Gardner’s Green Lantern (a riotous Nathan Fillion retaining that haircut), Hawkgirl – Kendra Sunders (Isabela Merced), Mister Terrific (Edi Gathegi), and Metamorpho (Anthony Carrigan) all pop off the screen, forming a proto-Justice League called “The Justice Gang” which feels like the start of something very cool. Gathegi is the standout, with Mister Terrific getting a one-shot action scene similar to the Guardians films that will take your breath away.
The visuals are stunning and dazzlingly bright and bold with a comic-book splash-page energy that’s a far cry from the washed-out look of past DC films. Everything from the kaiju showdown in Metropolis to the wild “pocket universe” in the second act feels designed to elicit awe, not just noise. John Murphy’s score threads in just enough nostalgic warmth (returning to key elements of John Williams’ unforgettable theme music) to remind you this is Superman the icon
That’s not to say Superman is flawless. The third act stretches out a bit too long with multiple showdowns, and the film occasionally stumbles under the weight of its own ambition (a few comic book references might fly over general audiences’ heads, while delighting the rest of us in on the lore – get your Big Belly Burger meal and Jitters coffee). But when everything else is firing on all cylinders, it’s easy to forgive slight missteps.
Ultimately, Superman isn’t just a great DC movie, it’s a great movie, full stop. Gunn’s affection for the character is undeniable, and his vision for the future of DC starts here with a bang (and a bark). It’s big, bold, weird, warm, and most importantly, fun. After years of false starts and tonal whiplash, DC finally feels like it has a true north again, and his name is Superman.
Verdict: James Gunn delivers a Superman movie that’s heartfelt, hopeful, and unapologetically fun. Packed with action, humour, and a surprising amount of soul, it’s the bold reset DC desperately needed.
