Superman” (2025) is explicitly not an origin story, as James Gunn’s reboot of the beloved DC characters goes out of its way to begin in media res. It’s an overwhelming window into an inverted universe that mirrors reality in enough ways to be familiar, yet retains some of the silliest, geekiest components of the original source material.
While “Superman” may be one of the most consequential releases in the history of Warner Bros., the film is remarkably unburdened by expectations. Although there are nods to the character’s past and a few exciting hints at his future, “Superman” is at its best when it focuses on the inherent spirit of goodness that has stood the test of time.
“Superman” exists in a universe in which the planet Krypton has been destroyed and superpowered beings (referred to as “Metahumans”) have already popped up throughout 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 “Hammer of Boravia.”
Superman, who has masked himself as the “Daily Planet” reporter Clark Kent, simply wants to protect the Earth from itself by swooping in to keep the peace. Although he sees this as a non-confrontational position, Superman has incurred the wrath of Lex Luthor (Nicholas Hoult), the ruthless LutherCorp CEO who hates the presence of an extraterrestrial being on Earth.
The parallels to current-day politics are to be expected, as Superman has always been an immigrant story. There’s an irony in that Zack Snyder’s version of the character relentlessly attempted to tie his origin to Christianity and Jesus Christ, as “Superman” was the creative achievement of two Jewish writers who faced persecution in the 1930s.
Although “Superman” does have faith in people, he is not blind to the fact that public opinion is easily malleable, especially when it comes to things that they do not understand. The lionization, rejection, and apathy that Superman faces within the Internet era are one of the film’s most perceptive attributes, as it does not sugarcoat the inherent controversy that comes from an individual intervening in international conflicts.
“Superman” takes a while to find its stride. It seems as if Gunn is so keen to get into the meat of the DC Universe that he is rejecting any extended period of exposition. Superman’s relationship with Lois Lane (Rachel Brosnahan) has already moved past its “love at first sight” phase, as she is now facing the moral dilemma of having to take a journalistic approach to her superhero boyfriend.
At times, the sheer amount of faces, characters, and events that the film casually refers to can become convoluted for a non-comic book expert. Even if the established history gives the universe a sense of weight, the pacing is so frantic that it is hard for the film to continuously raise the stakes.
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There are certainly times in which the film’s cheekiness goes too far, as anyone familiar with Gunn will not be surprised that this version of Superman has becomes stressed out by Internet commenters and right-wing media pundits that tarnish his character; although some of this contextualization is quite clever, a not-so-subtle dig at Internet “bots” is eye roll-inducing.
Nonetheless, Gunn’s willingness to accept the wider aspects of the DC Universe gives it a leg up over comic book films that must meticulously take the time to explain every component of their mythology. Even when monsters appear to attack cities and civilians take selfies amidst urban devastation, seeing Superman leap to save the day is still novel.
Corenswet makes for a fantastic, vulnerable Superman who is more than capable of being harmed; despite the frequent criticism that Superman isn’t a relatable character, Corenswet’s version takes physical and emotional beatings as he struggles to find his purpose.
Even though this depiction of Superman has already acquired his powers and suit, the film examines his process of self-actualization, which includes an understanding of his heritage. There’s a surprising nuance to the film’s commentary on destiny and faith, as it does not assume that endless strength would fix the world’s ailments overnight.
Some aspects of the character’s mythos work better than others, as Clark’s Earth-bound guardians, Jonathan (Pruitt Taylor Vince) and Martha Kent (Neva Howell), are inserted at just the right moment to plainly explain the film’s themes in an extended sequence that feels a touch too saccharine. Nonetheless, the composition of the “Daily Planet” is a strong mix of old-fashioned journalistic charm and the modern landscape, with Skyler Gisondo’s “gee whiz” performance as Clark’s affable best friend, Jimmy Olson, being a standout.
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Even if the film’s introduction of the “metahuman” concept is rendered with a good deal of jargon, the narrative has a reason to include the various members of the emerging “Justice Gang,” including Guy Gardner (Nathan Fillion), Kendra Saunders (Isabela Merced), and Michael Holt (Edi Gathegi).
While their inclusion is certainly meant to build toward future installments in the DCU, each character has a memorable personality and a few great one-liners, with Fillion’s arrogant performance as the self-confident bearer of the “Green Lantern” mantle being a standout. The same can be said for Superman’s dog, Krypto, whose prominence in the film is a healthy reminder that there’s nothing wrong with being a little bit corny.
While the compounding of different threats helps to hammer home the point that Superman is never allowed a day’s rest, the conspiracy on which the narrative hinges does rely on a fair amount of assumptions and coincidences, many of which can be challenging to ascertain on an initial viewing.
Nonetheless, the terrific performance by Hoult as Luthor provides the perfect literalization of the type of threat that a modern Superman faces — the hateful, seductive ideology of a wealthy tech-bro with an inferiority complex resembles a distinctly 21st-century type of evil. Hoult has his turn to chew the scenery, but there’s a surprising amount of nuance to his eccentric performance.
The film is not without its flaws, as the CGI is often shaky, with a few early action scenes feeling not that far removed from the mixed bag of superhero films in the early 2000s. Even if the chemistry between Brosnahan and Corenswet is terrific, Lois’ dominant role in the first half underscores the fact that her character has little to do in the second.
There’s also Gunn’s tendency to overwrite, as there are several instances in which the themes of the film are spoken in dialogue, breaking the flow of a film that already has its heart open. Even if “Superman” is genuinely laugh-out-loud funny in a way that superheroes rarely aren’t, the constant need to undercut dramatic scenes with jokes can occasionally do it a disservice, particularly in a dramatic twist towards the end that goes in a surprisingly dark place.
Even if it is overstated at times and somewhat reliant on the viewers’ inherent love for the character, “Superman” does not have flaws that come from a cynical place. The overstuffed, rambunctious tone feels like the product of a lifelong fan who is determined to jam in as much lore as possible, as there is nothing in the film that lacks passion.
“Superman” will almost instantaneously be judged on what it means for the rest of Warner Bros.’s slate of DC projects, but as an earnest, joyful adventure for the “Man of Tomorrow,” it’s the most authentic depiction in decades.
