Superman Review

Credit - DC Studios

The wait for a Superman film that’s befitting of his stature as the most iconic superhero ever has been an extensive one. The fact that it’s about 15 years longer than the Cowboys’ NFC Championship appearance drought says it all. Thankfully, it looks like DC Studios co-chairman and co-CEO James Gunn might have ended the dry spell with his spin on Kal-El.

This iteration of Superman marks Gunn’s first film under the newly rebranded cinematic universe he chairs, and he handles both writing and directing duties. It shows Superman/Clark Kent (played by David Corenswet) juggling life as a 30-year-old, balancing his career, his still-new superhero status, his relationship with Lois Lane, and thwarting tech billionaire Lex Luthor’s plans to end Superman and take over the world.

If Gunn set out to make Superman unlike any other Superman film made, he succeeds by leaps and bounds. That differentiation starts with how quickly he paces Superman. Gunn fast-tracks things by skipping most of Superman’s origin. There’s a short prologue to bring newcomers up to speed with his backstory and then into the film’s plot.

Gunn’s goal appears to be setting up the DC Studios universe rather than solely establishing the Clark/Superman narrative. On one hand, it works because Gunn’s story gives the franchise some long-needed excitement and shows the possibilities for DC’s future. On the other hand, that pace comes with a lot being thrown your way at once. The sheer volume of characters introduced alone feels overwhelming and causes Superman to take longer than it should to find its groove.

After moving beyond that awkward start, you quickly find this is the most complete experience you’ve had in a Superman movie to date. Gunn’s calling card of humor, intertwined with incredible visual and action sequences, serves as the film’s backbone. Again, the early struggles are there with a Lois and Clark argument that’s wholly unnecessary and a few clumsy in-flight close-ups of Superman’s face. Still, Gunn doesn’t miss from the comedy or spectacle standpoint after those hiccups.

Even with the more lively elements Gunn injects into his Superman, he also preserves the moral fabric that makes Superman the epitome of his Truth, Justice, and a Better Tomorrow ethos and an iconic symbol for the world. Pulling this off in a time of hopelessness and cynicism is no easy feat, but Gunn’s earnest messaging wins you over.

The only complaint I have about Gunn’s work in Superman is the writing for Lex Luthor. Villains have never been Gunn’s strong suit, but this iteration of Luthor is possibly his weakest villain yet. While there’s no duplicating the magic the late Gene Hackman brought to the character, it’s disappointing that a writer and director of Gunn’s caliber couldn’t do more for Luthor, especially with Nicholas Hoult at his disposal.

Superman’s cast offers a bit more consistency. Corenswet won’t conjure any memories of Christopher Reeves or even Henry Cavill, but he’s perfect for where Gunn starts with Superman. His portrayal of Clark/Superman has the perfect balance of charisma, self-deprecation, and still-developing bravado that fits the not-yet-mature superhero, which aligns with Gunn’s timeline.

While you come to see and leave satisfied with Corenswet’s Superman, you leave loving what Superman’s supporting cast brings. The performances of Edi Gathegi and Nathan Fillion, as Mister Terrific and Guy Gardner, respectively, are just as much a highlight as the film's titular character himself. Both, along with Krypto the Dog, do a fantastic job with the heavy lifting for the comedy that carries Superman for a majority of its runtime.

Ultimately, Gunn’s Superman isn’t perfect, but still manages to be exactly what DC Studios needs for its fresh start. Its somewhat disorienting fast pace creates an energy that reinvigorates a franchise that should have always been at the head of the comic book film genre. Still, with flaws and all, Gunn and DC Studios are off to a heck of a start on their new beginning.