Superman – Film Review
Reviewed by Damien Straker on the 24th of July 2025
Universal Pictures and Warner Bros. present a film by James Gunn
Written by James Gunn
Produced by Peter Safran and James Gunn
Starring David Corenswet, Rachel Brosnahan, Nicholas Hoult, Edi Gathegi, Anthony Carrigan, Nathan Fillion, and Isabela Merced
Cinematography Henry Braham
Edited by William Hoy and Craig Alpert
Music by John Murphy and David Fleming
Rating: M
Running Time: 129 minutes
Release Date: the 10th of July 2025
James Gunn’s Superman brims with interesting ideas and corrects several missteps made by Man of Steel (2013). The way the film’s mood cycles between parody, earnestness, corn, and conventional blockbuster is loopy enough to hold our attention. It also benefits from smart storytelling decisions and is laced with unsubtle but relevant political references and allusions. Superman’s attributes do not completely overwrite the superhero genre’s creative stagnancy. Yet this entry is made with energy and skill. As a rush of sugar and colour it is a promising reboot for Jerry Siegel and Joe Shuster’s comic book character and the much-maligned DC Universe.
Gunn’s smartest choice is culling extensive setup from the narrative. Clark Kent (Pearl’s David Corenswet) already works at the Daily Planet and is in a secret relationship with Lois Lane (Rachel Brosnahan). She knows he is Superman. She grills him about forcing the president of Boravian, Vasil Ghurkos, to stop attacking Jarhanpur. Lex Luthor (Nicholas Hoult) profits from this foreign conflict. His goons pre-empt Superman’s movements during his fights. What makes Superman truly vulnerable is having his dog Krypton taken by Luthor. He is then framed for insulting Metropolis’ citizens and imprisoned! Lois bids to rescue him with help from a young photographer, Jimmy Olsen (Skyler Gisondo), and members of the Justice Gang, Mister Terrific (Edi Gathegi), Green Lantern (Nathan Fillion), and Hawkgirl (Isabela Merced).
Gunn’s directorial arsenal puts his old Marvel counterparts to shame. His stylistic verve and sarcastic humour gleefully counter the self-serious tone of Zac Snyder’s DC films. He takes his time to frame a shot and moves the camera with fluency. The film’s elevated scale is apparent in the height of Superman’s Fortress of Solitude. This physical set is a standout image. Meanwhile, Gunn establishes the story’s irreverent tone through some fun sight gags. The best example is when Lois and Clark discuss their relationship. Through a deep focus lens, we see a florescent-coloured mutant outside the window attacking Metropolis. Clark’s indifference humorously underlines his relationship’s conflicting duality. The visual flourishes extend to slapstick action. When Lois is shielded, Mr Terrific flicks hapless henchmen into the sky. The way Gunn films action scenes like this in unbroken single takes builds clarity and visual prowess.
One cannot accuse Gunn of being thematically unambitious. All his films are about outsiders. This was apparent in his early superhero parody Super (2010), Guardians of the Galaxy (2014) and The Suicide Squad (2021). Gunn recently pitched his Superman as an immigrant story and spurred Fox News’s faux outrage. However, Superman’s lineage always extends to the planet Krypton before his American farm life. Under Donald Trump’s illegal deportations, Gunn’s empathy for immigrants and unapologetic belief in goodness is punctual. His thematic dartboard continues. He touches on deep fakes, portals, aliens, dognapping, arms dealing, robotics, cloning, journalism, and foreign wars. Phew! The anti-war plotline is a welcome but transparent metaphor for the Russo-Ukrainian War and American intervention. Narrative coherence soon eludes Gunn. Some unwieldy sci-fi detours and Guardians-like creatures create messy fun. However, the moral simplicity renders this less subversive than The Boys.
David Corenswet excels at making the most humane and visibly conflicted Superman to date. His performance probes Clark Kent’s introspection as much as his alter ego’s strength. This wounded physicality dissolves Superman’s monotonous invincibility. Consequently, the fights have heft and tension. Corenswet also shares upbeat chemistry with Rachel Brosnahan. Their early discussion about jurisdictions is novel in a modern superhero film. As proven in The Marvelous Mrs. Maisel, she’s an enormously likeable screen presence. Her proactiveness is highlighted when Lois Lane pilots a spaceship! Nicholas Hoult shouts and snarls every line as Luthor but without hitting the heights of madness and comedy achieved in The Great.
The film does not escape modern superhero trappings but showcases Gunn’s directorial flair. Earnest speechifying aside, he resists self-seriousness. Meanwhile, the cast’s likeability, particularly Corsenswet and Brosnahan, makes the film light and enjoyable. Though one wishes Gunn’s imaginative repertoire replaced the ‘portals in the sky’ trope in an increasingly exhausting third act. The Daily Planet itself could use a modern overhaul too. Gunn’s filmmaking will mature once he overcomes his own kryptonite, plotting. Still, his thematic scattergun elevates him above more blasé mainstream filmmakers. With spikey snow-coloured hair, this quirky outsider is himself gently reshaping American pop culture and myth building.
Summary: Tight plotting is still Gunn’s kryptonite, but style, humour, and politics define his fun and adept Superman reboot.
3
Enjoyable
About the Author
Damien Straker is a freelance writer and film critic. He studied at the University of Sydney and graduated with an Arts Honours degree in Film Studies. He is a pop culture aficionado and enjoys talking about all films, 90s TV shows, ninjas and watching Rugby League. His favourite film directors are Alfonso Cuarón, Clint Eastwood and Alexander Payne.
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