Superman (2025) isn't explicitly an origin story, as James Gunn's reboot of the beloved DC characters strives to begin in media res. It's a daunting window into an inverted universe that mirrors reality enough to feel familiar, yet retains some of the more absurd and nerdy components of the source material. While "Superman" may be one of the biggest releases in Warner Bros. history, the film is remarkably free of expectations. While there are nods to the character's past and some exciting clues about his future, "Superman" reaches its full potential when it focuses on the inherent spirit of goodness that has stood the test of time.
"Superman" exists in a universe where the planet Krypton has been destroyed and superpowered beings (known as "Metahumans") have already emerged across Earth. While Kal-El (David Corenswet) has spent three years saving the planet from various threats, he faces his first significant challenge during a fight with a heavily fortified enemy known as the "Boravian Hammer." Superman, posing as "Daily Planet" reporter Clark Kent, simply wants to protect Earth from itself by intervening to maintain peace. Although he views this as a non-confrontational stance, Superman has incurred the wrath of Lex Luthor (Nicholas Hoult), the ruthless CEO of LutherCorp, who detests the presence of an extraterrestrial being on Earth.
Director: James Gunn
Writers: James Gunn, Jerry Siegel, Joe Shuster
Stars: David Corenswet, Alan Tudyk, Grace Chan
The parallels with current politics are predictable, as Superman has always been a story of immigrants. It's ironic that Zack Snyder's version of the character relentlessly tried to link his origins to Christianity and Jesus Christ, given that "Superman" was the creative achievement of two Jewish writers who faced persecution in the 1930s. While "Superman" has faith in people, he doesn't ignore the fact that public opinion is easily manipulated, especially when it comes to things they don't understand. The exaltation, rejection, and apathy that Superman faces in the internet age are among the film's most perceptive attributes, as it didn't sugarcoat the inherent controversy that arises from an individual's intervention in international conflicts.
"Superman" takes a while to find its rhythm. It seems Gunn is so interested in delving into the essence of the DC Universe that he rejects any prolonged period of exposition. Superman's relationship with Lois Lane (Rachel Brosnahan) has already surpassed its "love at first sight" phase, as he now faces the moral dilemma of having to adopt a journalistic approach with his superhero boyfriend. At times, the sheer number of faces, characters, and events the film casually alludes to can be confusing for someone who isn't a comics expert. While the established history gives the universe a sense of weight, the pace is so frenetic that it's difficult for the film to continually raise the stakes.
There are certainly moments when the film's brazenness goes too far, as anyone familiar with Gunn will be unsurprised that this version of Superman has been stressed by the right-wing media and internet commentators who tarnish his character; while some of this contextualization is quite clever, a not-so-subtle dig at internet "bots" is jarring. Nonetheless, Gunn's willingness to embrace the broader aspects of the DC Universe gives him an advantage over comic book movies, which must take the time to meticulously explain every component of their mythology. Even when monsters appear to attack cities and civilians take selfies amid urban devastation, seeing Superman leap in to save the day remains fresh.
Corenswet creates a fantastical, vulnerable Superman, more than capable of taking harm; despite frequent criticism that Superman isn't a relatable character, Corenswet's version endures physical and emotional blows as he struggles to find his purpose. Although this depiction of Superman has already acquired his powers and suit, the film examines his process of self-realization, which includes understanding his heritage. There's a surprising nuance to the film's commentary on destiny and faith, as it doesn't assume that an infinite force can cure the world's ills overnight.
Some aspects of the character's mythology work better than others, such as Clark's Earth guardians, Jonathan (Pruitt Taylor Vince) and Martha Kent (Neva Howell), who appear at just the right moment to clearly explain the film's themes in an extended sequence that feels a bit cloying.
Although the introduction of the concept of the "metahuman" in the film is presented with a fair amount of jargon, the narrative has a reason to include the various members of the emerging "Justice Gang," such as Guy Gardner (Nathan Fillion), Kendra Saunders (Isabela Merced), and Michael Holt (Edi Gathegi). While their inclusion seeks to lay the groundwork for future installments in the DC Universe, each character has a memorable personality and some witty one-liners, with Fillion's cocky performance as the self-assured bearer of the "Green Lantern" mantle being a highlight. The same can be said for Superman's dog, Krypto, whose prominence in the film is a salutary reminder that there's nothing wrong with being a little cheesy.
While the combination of different threats helps emphasize that Superman is never allowed a day off, the conspiracy underlying the narrative relies on a fair amount of assumptions and coincidences, many of which can be difficult to determine on first viewing. Nonetheless, Hoult's superb performance as Luthor provides the perfect literalization of the type of threat facing a modern Superman: the hateful, seductive ideology of a wealthy technologist with an inferiority complex resembles a distinctly 21st-century form of evil. Hoult has his turn to devour the scene, but there's a surprising amount of nuance in his eccentric performance.
The film isn't without its flaws, as the CGI is often shaky, with some early action scenes not far removed from the diverse array of early 2000s superhero films. While the chemistry between Brosnahan and Corenswet is fantastic, Lois's dominant role in the first half underscores that her character has little to do in the second. Furthermore, Gunn tends to overwrite, as in several cases the film's themes are addressed through dialogue, disrupting the flow of an already open-hearted film. While "Superman" is genuinely comical, something superheroes rarely fail to achieve, the constant need to undermine dramatic scenes with jokes can sometimes hurt it, especially in a dramatic twist toward the end that ends on a surprisingly dark note.
While it's sometimes over-the-top and relies somewhat on the viewer's innate love for the character, "Superman" has no flaws that stem from cynicism. Its overwrought, rambunctious tone gives the impression of being the product of a lifelong fan, determined to include as much lore as possible, as there's nothing in the film that lacks passion. "Superman" will be judged almost instantly by what it means to the rest of Warner Bros.' DC slate of projects, but as a heartfelt and joyful adventure of the "Man of Tomorrow," it's the most authentic representation in decades.
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