“Superman” Marks a Fresh Start for DC But Offers Few Surprises

It’s a bird…it’s a plane…it’s Superman flying solo on the big screen again! The Blue Boy Scout has had it rough post-“Superman III” (1983) and neither of his 21st-century films—“Superman Returns” (2006) and “Man of Steel” (2013)—managed to bring back the aura of Kal-El as the symbol of truth, justice, and everything good.

As director, and more so as co-CEO of DC Studios, James Gunn promised to do what others failed to do with “Superman” and simultaneously usher the audience into a brand new DC Universe. Admittedly, the filmmaker doesn’t look Superman director-worthy. But with his track record of always delivering, there’s always the underlying sentiment that this was THE Superman movie. And it needed to be. Starting the reboot of an unloved franchise on the wrong foot is a sure way to piss off the audience even more.

All this is to say: a lot was riding on “Superman” to deliver on both the commercial and word-of-mouth fronts. Fortunately, the film is fulfilling both strategic objectives. Tactical ones, however, are not as sublime.

Gunn’s first assignment is getting audiences to be familiar with a world that’s entirely new yet already in full swing. He wastes no time establishing such with Superman (David Corenswet) getting his ass handed to him by the Hammer of Boravia and the Engineer (Maria Gabriela de Farla) in the middle of Metropolis, barely five minutes into this film. Instantly evident are two things: one, Superman is just one of many super-powered freaks prowling the world that humans have become accustomed to; and two, not all of them like him.

Meanwhile, an imminent invasion by the bigger fictional country of Boravia of their smaller neighbor Jarhanpur is just a Superman-absence away from kicking off. Our hero has worse problems than two warring states. Ideals he stands on are apparently grounded on a false mandate. The public is already questioning his authority to interfere in the politics of two states, one of which is an ally to his host nation, the United States, and now it seems even the good he’s been doing is…a feint?

Of course, Lex Luthor (Nicholas Hoult) looms large. Ever the opportunist, he seizes on the political uncertainty to smear Superman’s name. But Gunn isn’t just painting a classic hero-villain rivalry. He’s tickling politics with “Superman” in a way that feels strikingly current. The symbol of truth, justice, and the American way? Sure. It just depends on what “American way” means. In this film, it’s certainly not about closing borders or idolizing tech billionaires who cozy up to governments.

Visually, David Corenswet is the American way: six feet of charm, square-jawed idealism, and approachable warmth. His Clark Kent/Kal-El is not infallible. He questions himself, is overly conscious of how he’s perceived on social media, and even illegally coerces a political leader off-screen. But flaws are human qualities, and that humanity is this Supes’ greatest strength.

Rachel Brosnahan also shines, with a Lois Lane that crackles with wit and warmth. Her chemistry with Corenswet adds emotional texture, and a quiet apartment scene between the two becomes one of the film’s most resonant moments; a pause in the chaos that reminds us of what Superman is fighting for.

Hoult’s Luthor is the star of this show. He is the perfect example of how to be an expert-level hater. The only thing that matches his obsession with bringing Superman down. What truly drives him is his intellectual pride; the intolerable presence of someone more powerful, more admired, more beloved than him. Short of memorable Thanos- or Joker-like lines, he’s the Luthor-est any Luthor has been before him.

“Superman” is an ensemble film cosplaying as a solo—no matter how much Gunn argues to the contrary—with a lot going on at breakneck speed. Thus, getting attached to these characters is almost impossible…unless they are Edi Gathegi’s Mister Terrific—the most fleshed out of the bunch and the most useful when the shooting starts—Skyler Gisondo’s dedicated journalist Jimmy Olsen, and the stubborn but lovely snowy-furred flying canine, Krypto.

Comparisons of “Superman” to “Man of Steel” are inevitable. The latter holds realism at heart, and there’s more time to be sympathetic to his cause, while “Superman” gladly identifies with the comic book genre without shame, relying on humor and escapism. 

Gunn’s film clearly lacks the gravitas and grandeur of Snyder’s touch, but at least its visuals and action set pieces are just as competitive.

Unlike Snyder, though, Gunn rarely takes risks with “Superman.” Bar Krypto, novelty is scarce in this film. It’s essentially Richard Donner’s “Superman: The Movie” extremely reimagined with the score and references to show for it. Unsurprisingly, the 2025 film ends with the same third-act CGI playground as tens of comic book movies before it.

Sticking to the plan and crafting big, punch-dominated battles plus other overworn comic-booky third-act shenanigans isn’t criminal; that’s what the audience came to see. But being just as generic as any other comic book film is grounds for questioning the franchise’s long-term ambition, regardless of how hooked the audience is.

There are four questions that any fan will ask regarding “Superman”: Is it a good film? Is it a good Superman film? Does it improve over Man of Steel? And is it a good start for the DC Universe? To all four, it’s “Yes.” That’s enough. After decades in danger of obsolescence, “Superman” has returned not with reinvention, but with reassurance, reminding audiences what made the character iconic in the first place.

Release Date: July 11, 2025

Runtime: Approximately Two Hours

Streaming Service: None — Cinematic Release

Directed by: James Gunn

Cast: David Corenswet, Rachel Brosnahan, Nicholas Hoult, Edi Gathegi, Anthony Carrigan, Nathan Fillion, Isabela Merced, Milly Alcock, María Gabriela de Farí­a, Skyler Gisondo, Wendell Pierce, Sara Sampaio, Beck Bennett, Mikaela Hoover, Pruitt Taylor Vince, Neva Howell, Frank Grillo, Alan Tudyk, and Sean Gunn.