James Gunn brings a new iteration of Superman to our screens this week, and is hoping for it to be the bold, refreshing start to a new era of DC Universe storytelling – a clean slate after years of tonal whiplash and inconsistent world-building. The world-over is hoping this Superman can bring hope to cinemas around the globe, and not stumble in his first flight.
Unfortunately, after having seen the film it feels more like a tentative step than a confident leap. It’s not a disaster, but it’s far from the epic rebirth I’d hoped would set the tone for the new DC Universe moving forward. In stark contrast to Zack Snyder’s Man of Steel, which opened the previous DC era with grandeur and weight, Superman feels decidedly small in scope and ambition. Despite the blockbuster budget and a talented cast, there’s little that feels cinematic or mythic about this reboot. The film’s tone is lighter, the visuals flatter, and the impact – both emotional and physical – is curiously muted.
As with much of Gunn’s work, his fingerprints are all over this – for better or worse. The film juggles multiple subplots and leans hard into Silver Age comic book references and obscure lore. While comic fans may appreciate the deep cuts, the heavy exposition and rapid pacing might leave general audiences confused or disengaged. The decision to skip traditional origin stories in favour of throwing viewers straight into the action is bold, but the payoff feels messy and uneven.
As far as Superman himself – David Corenswet takes on the iconic role of Clark Kent/Superman and delivers a serviceable performance. He has the charm and the jawline, but never quite crosses the threshold into truly embodying the Last Son of Krypton. Rather than commanding the screen with effortless authority, his Superman often feels like an actor doing his best to emulate a hero. He never has that goosebumps-inducing, god-like moment that made me believe he’s Earth’s mightiest protector. Considering the film is set during Clark’s third year as Superman, the character doesn’t seem particularly capable – often being beaten down and heavily relying on his furry companion – Krypto the Superdog.
Speaking of Krypto, he emerges as an unexpected scene-stealer. Whether flying into battle or simply being an adorable sidekick, Krypto got the biggest laughs and emotional reactions from my audience. Expect plush toys, lunchboxes, and an animated HBO Max spin-off by year’s end – he’s a marketing dream and genuinely enjoyable throughout.
Visually, the film is another letdown. The cinematography is oddly bland, with washed-out colours and strange camera angles that occasionally border on distracting. The look and feel of the movie evoke comparisons to a CW superhero show more than a theatrical blockbuster. It’s particularly disappointing when paired with a narrative that already feels bloated. Instead of elevating the material, the aesthetic cheapens it – making the film feel like a continuation of the visual confusion I saw in The Flash (2023).
Musically, Superman doesn’t do itself any favours. The score is largely forgettable, failing to give this version of the character a theme of his own. Instead, it leans heavily on the John Williams classic – a nostalgic cheat code that tries to summon emotion rather than earn it. For a film hoping to chart a new path, it too often looks backward.
One major saving grace is Rachel Brosnahan as Lois Lane. She’s perfectly cast, bringing intelligence, wit, and drive to a role that’s often been underwritten in past iterations. Her Lois is no damsel in distress; she’s Clark’s equal in every sense and brings a grounded emotional weight to the story. The chemistry between Brosnahan and Corenswet is solid, and their dynamic is one of the few things that feels fresh and genuine.
Also surprisingly, one of the film’s most engaging elements is Edi Gathegi’s Mr. Terrific. A lesser-known character to many, he provides a calm, calculated, tech-driven presence that works well as a Batman stand-in while this new DCU figures out what to do with the Dark Knight. His hand-to-hand combat scenes and stoic intelligence stand out in an overcrowded ensemble, and he easily gets the best fight scene in the movie – a brief, brutal sequence that leaves a lasting impression.
In the end, Superman is a watchable but underwhelming start to Gunn’s new DCU. The cast does what it can, and there are glimmers of potential, but the film never soars. It lacks the narrative clarity, visual polish, and emotional depth needed to make a character like Superman feel truly special. As much as I love Gunn’s work on Guardians of the Galaxy (2014-2023) and The Suicide Squad (2021), he may be better suited to offbeat characters like Booster Gold or Detective Chimp. For the Big Blue Boy Scout, a more reverent, mythic hand might be required next time.
Rating 5/10
