There’s a lot riding on Superman. A lot of legacy. A lot of pressure. A lot of confusion, even. This isn’t just the latest superhero movie; it’s a reset, a recalibration, a first impression all over again. And for a character as iconic as Superman - arguably the superhero, the blueprint for all the rest - that’s a tall order.
Despite Superman’s overwhelming cultural presence, it’s wild to think that we’ve really only gotten two proper big-screen origin stories for him - 1978’s Superman: The Movie and 2013’s Man of Steel. Even those play fast and loose with chronology, flashing between Kansas cornfields and Metropolis crime fighting like they’re afraid to commit to one idea of who this man really is. James Gunn’s new Superman, the inaugural film in DC’s freshly minted cinematic universe, makes the bold choice of skipping the origin entirely. No Kryptonian destruction, no starship journey, no childhood discoveries of power, no angsty barn-side chats about destiny. We meet Clark Kent in the thick of it - already flying, already saving, already beloved by the public. And yet, Superman still feels like an origin story of sorts - not of the man, but of the world he’s trying to save.
Gunn (Guardians of the Galaxy, The Suicide Squad), ever the sentimental weirdo with a love for underdogs, approaches Superman with the kind of sincere reverence that’s been sorely lacking in the character’s modern screen outings. The film is unashamedly earnest, shot through with his usual blend of goofball humor, deep-cut geekiness, and surprising emotional weight. It’s messy, no doubt about it. There’s a bit too much going on, too many characters, too many ideas thrown at the wall in the hopes they’ll stick. But it’s also the most hopeful, heartfelt, and distinctly human Superman movie in decades - and maybe ever.
We’re introduced to this version of Clark (David Corenswet, fresh-faced and wholly endearing) already established as Superman, a public figure operating in a world that’s grown used to metahumans, alternate dimensions, and viral TikToks of heroes for hire like Green Lantern (Nathan Fillion), Hawkgirl (Isabela Merced), and Mr. Terrific (Edi Gathegi) saving kids from burning buildings. The setup might sound chaotic, but the movie finds room for smaller, more intimate moments that ground the spectacle. A key early scene - Lois Lane (a terrific Rachel Brosnahan) interviewing her secret superpowered boyfriend in her apartment while the world is in the middle of a geopolitical crisis - sets the tone: Superman wants to ask big questions about morality, responsibility, and whether it’s even possible to be good in a world that often punishes goodness.
And here’s the thing Gunn gets absolutely right: being good and doing the right thing is punk rock. In a time where cynicism is currency and power is synonymous with corruption, Superman’s relentless optimism and decency feel borderline radical. That’s the heart of the film. Clark doesn’t win by punching harder or lasering faster. He wins by being the guy who believes in people - even when they don’t believe in him.
The plot is jam-packed, sometimes frustratingly so. There are monstrous interdimensional threats, Lex Luthor shenanigans, a whole roster of side heroes (shoutout to Mr. Terrific and Krypto the Superdog, who completely steal the show), and more than a few comic book deep cuts that casual audiences might not catch. Some elements - particularly the Daily Planet crew beyond Lois and Jimmy Olsen (Skyler Gisondo) - are undercooked, and the pace is blisteringly fast, with barely any time to sit in emotional beats before we’re onto the next cosmic crisis. But the film’s sheer enthusiasm is contagious. It’s weird and wacky and dorky in the best possible ways. You can feel Gunn’s love for these characters and their world bursting out of every frame, from Krypto’s joyful chaos to a brilliant mid-movie sequence where Superman holds a heart-to-heart with Louis while a cosmic battle rages on silently in the background.
That cosmic stuff, admittedly, gets dicey. The action leans toward the rubbery, weightless CGI bloat that have plagued DC’s recent films. It’s not terrible, but it’s not especially thrilling either. The movie’s real action highlights come from smaller moments: Superman saving a squirrel, pausing to check on civilians mid-fight, choosing to do the impossible of being in two places at once because that’s just what Superman does. Gunn leans into the idea that Superman’s greatest power isn’t flight or heat vision or brute strength - it’s his empathy. That’s what inspires the people around him. That’s what ultimately saves the day.
Corenswet may not have the physical gravitas of a Christopher Reeve or even a Henry Cavill, but he brings a gentle earnestness that works for this version of the character. He’s younger, greener, not quite mythic yet - but you root for him instantly. His Superman is still learning, still questioning, still holding onto hope even when the world tries to knock it out of him. That vulnerability makes him feel approachable, almost attainable. He’s not a god pretending to be human. He’s a human who just happens to be a god.
Rachel Brosnahan’s Lois Lane is every bit the sharp, driven, no-nonsense journalist you want her to be, and her chemistry with Corenswet’s Clark is electric from the jump. Their dynamic is fast-talking and emotionally grounded, with a lovely mix of flirtation and philosophical debate. And yes, journalism matters in this movie. The climax features Jimmy Olsen and the rest of the Daily Planet team furiously editing a breaking news article as Superman battles villains around the city. In a summer blockbuster, that kind of detail feels genuinely inspired.
Lex Luthor (Nicholas Hoult, chewing scenery like it’s a buffet) brings back the theatrical camp that made the character so fun in the early films (complete with a gaggle of cronies!) but there’s real menace underneath the surface. His jealousy and dehumanization of Superman are front and center, playing up a familiar yet still potent rivalry. Hoult knows exactly what kind of movie he’s in, and the performance fits like a glove, even if some elements of Luthor himself wind up feeling a tad undercooked.
Some jokes land, others don’t. The tone shifts are jagged in places. And the film’s reliance on viewers knowing the basics of Superman mythos might alienate a few folks who haven’t brushed up since Smallville. But Gunn ultimately threads the needle between homage and reinvention. Superman feels steeped in tradition without being trapped by it. And even if this attempt at launching a new DC cinematic universe doesn’t pan out, the film stands on its own. It’s a complete, self-contained story about a man trying to do good in a world that doesn’t make it easy - in fact, it often makes it seem impossible. But that’s exactly what Superman does: the impossible.
There are valid complaints to be had. Some characters are underserved. Some subplots fizzle out. But if you can forgive the clutter, what you’re left with is a movie that understands Superman at his core. A movie that says doing the right thing - even when no one else will - is still worth doing. That being hopeful, kind, and selfless doesn’t make you naive. It makes you brave. Clark’s goodness and desire to help others isn’t inherit, it’s a conscious decision that he makes every day.
In 2025, that’s not just refreshing. That’s revolutionary.
'Superman' is now playing in theaters.
