Superman is a big movie; so much so, it almost collapses in on itself. Yet, it emerges as one of the most stirring, enormously joyous superhero movies of the past 20 years.
Twelve years ago, Zack Snyder launched the DCEU with Man of Steel, a movie that’s somehow under and overrated. Compounded with the lackluster response to 2006’s Superman Returns, BvS’ crash-landing, and the disastrous Josstice League (the Snyder Cut is fine), a question needs to be asked: is Superman… boring?
Well, Superman is the first movie since the Donner era (Tyler Hoechlin deserves plaudits too) that’s effective in its response: no.
Gunn may veer a little too close to his red sun, but that’s okay: this was the biggest test of his filmmaking career, and he’s passed with soaring colors.
What is Superman about?
Superman (David Corenswet) has been active for three years. People like him (Frank Grillo’s Rick Flag Sr. even calls him “big blue” with a hint of affection), and he spends his time trying to serve humanity and help Earth be a better place, whether that’s fighting kaijus with the Justice Gang – Guy Gardner aka Green Lantern (Nathan Fillion), Hawkgirl (Isabela Merced), and Mister Terrific (Edi Gathegi) – or toiling away at the Daily Planet as Clark Kent, a dorky, humble reporter.
In Gunn’s eyes, we all know the story: he came from Krypton, a planet reduced to spacedust, and he was raised on a farm by his Pa and Ma (Pruitt Taylor Vince and Neva Howell).
We get glimpses of those early years, but don’t expect to see the origin story. In this film, he’s all grown up and already dating his colleague, Lois Lane (Rachel Brosnahan). They’re smitten with each other, but there’s friction; as she says, she “questions everyone… he trusts everyone, and thinks everyone he’s ever met is beautiful.”
And then there’s Lex Luthor, an envy-ridden billionaire vowing to do anything to destroy Superman. I can’t go into detail about how he plots Superman’s downfall, but it involves Ultraman (played by [REDACTED]), The Engineer (María Gabriela de Faría), Metamorpho (Anthony Carrigan), and a vindictive scheme that puts the world at risk.
Superman is… a lot
It’s not hard to follow, but at just over two hours, it packs a lot in – to a fault, both as a film and a launchpad for a rebooted franchise. To its credit, none of it feels like table-setting for what’s to come (including its post-credits scenes), but as an introduction to a whole new world of Gods and Monsters, it borders on overwhelming – even if it is refreshing to be dropped into an established, confidently envisioned universe.
Also, familiarity with an origin story shouldn’t be the reason not to show it, and while the movie finds tender and surprising workarounds to enrich and explain Clark’s story, it isn’t enough. I still don’t feel like I know him like Tobey Maguire’s Peter Parker or Christian Bale’s Bruce Wayne after one film – and, yet, Corenswet may just be the Man of Steel. An immediate all-timer.
To be clear, every character vying for your attention is great, if not incredible. Nicholas Hoult delivers undoubtedly the best portrayal of Lex Luthor yet; a smarmy, straight-talking, proper b*stard – when Superman asks him if he’s jealous, he snaps back, “No sh*t, I’m not dim.”
All of the surrounding players add value; Mister Terrific earns his namesake, Skyler Gisondo is a wonderful Jimmy Olsen, Wendell Pierce’s Perry White gets minimal screentime but chews the scenery (and his cigar) in any scene, and Fillion and Merced have amusing chemistry (which will come in handy for Peacemaker Season 2).
Much like the ‘78 original, behind all of the action and cosmic stakes, Superman is a love story – and, as a pairing, this is the greatest on-screen Clark and Lois we’ve ever had. Corenswet and Brosnahan have embarrassingly good chemistry; whether they’re kissing, hugging, or arguing, they feel like a real, head-over-heels couple you can’t help but root for. It says a lot that despite such bonkers set-pieces, the most affecting image of the film is them floating into the air together.
The good, the Gunn, and the ugly
Let’s get the problems out of the way. The big one first: this is the most dynamic action that Gunn has ever created, but there’s a few instances of sludgy, waxy CGI, especially when grey conspires to overwhelm its otherwise overly vibrant palette in the final stretch (which has insane camerawork).
Krypto, Superman’s canine companion, is innocent in all of this: he basically steals the movie, even though Gunn shows restraint and doesn’t lean on him too heavily. He looks amazing, his scenes are hilarious, and he may be the first star of the DCU rather than Superman.
Here’s another thing: it’s extremely distinct, and in a time where superhero movies – *cough* Marvel films *cough* – feel despairingly homogenous and uninspiringly lit and colored, that’s worth celebrating. There’s just one problem: it doesn’t always look great (some scenes are jarringly overlit), and while Henry Braham’s collaborations with Gunn have worked in the past, it may be time for him to try a new DP as the DCU develops. It looks way better than The Flash, though, so there’s that.
The flying sequences are a mixed bag; sometimes they’re slick and thrilling, riding his cape as he glides over icy cliffs, other times they’re janky and out of control, presumably to emphasize the speed of him barrelling through the clouds. More of the former next time, please; the simplest wonder of Superman is watching him fly.
This is arguably Gunn’s most mature movie. There are quips and a couple of needle-drops, but there’s a noticeable development of his skills and tact as a filmmaker that puts the DCU in good stead; if he has creative oversight on the franchise’s future, we’re in safe hands.
Finally, the greatest praise is owed to John Murphy and David Fleming’s phenomenal score. Yes, it uses John Williams’ original music, but it doesn’t coast on the iconicism and nostalgia of the past: it’s a blazing, electric evolution and expansion of one of the best superhero themes of all time, and you’ll genuinely feel like you’re hovering when it blasts from the cinema speakers.
Superman score: 4/5
This is a Superman movie unlike any you’ve seen before; for (mostly) better and (barely) worse. It’s epic, emotional, and proof that the Man of Steel isn’t boring; by the end, you’ll believe that James Gunn’s DCU can fly. Look up, and look forward to what’s next.
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