Sometimes you go into a movie with tempered, even nervous expectations—and get surprised. I’ll start off by saying everything you’ve read about this movie is true:
- This is without question a James Gunn movie.
- There are a lot of characters in it.
- This version of Superman is not as strong.
- He really does get beat up a lot.
- Then—there’s Krypto.
David Corenswet is a different kind of Superman. While he isn’t stoic or physically imposing, he exemplifies the core values of the character—just in a different way. Rachel Brosnahan is a fine Lois Lane. The two have great chemistry, and although they aren’t given enough time together, Gunn uses the complexity of their relatively new relationship as a backdrop for the larger story. Unlike previous depictions, this couple has doubts. They argue, they disagree—and in the context of the overarching plot, it works for me.
It works because we finally have an equal relationship. Gunn avoids the modern trope of making Lois superior to Clark in every way. She isn’t smarter than him, she isn’t constantly making a fool of him, and she doesn’t emasculate him. Both are simply trying to figure things out—together—without one being elevated over the other
Clark, on the other hand, doesn’t get much screen time as “goofy Clark.” The film opens with the two already in a relationship, so what we see is Clark in his natural state. That works because we get to see how he ticks—what his values are, and why. The story challenges his beliefs through the controversial change to the lore you’ve likely heard about. His birth parents sent him to Earth not to be a hero, but to rule (and to spread the Kryptonian gene through multiple wives or whatever).
This is revealed through a hidden message encoded in the ship he arrived in, though Clark only ever sees half of it—believing for most of his life that he was sent to do good. Lex uses the rest of the message against Superman in an attempt to turn the world against him.
Let’s get this out of the way: yes, I’m a traditionalist—but this change works because of the message Gunn is sending, and it’s delivered beautifully through Jonathan Kent. Your actions define who you are. To his credit, Gunn never deconstructs Clark. The twist challenges his beliefs, but he stays true to his values. He is Superman.
The supporting cast does a good enough job. Edi Gathegi is great as Mister Terrific, Nathan Fillion is Guy Gardner and does what Nathan Fillion does. Isabela Merced’s Hawkgirl is mostly just there, while Metamorpho actually serves a purpose.
Where the movie dips a bit for me is in the villains. Lex Luthor doesn’t have a strong motivation—it boils down to envy. This makes him more of a mustache-twirling villain, but Nicholas Hoult does what he can with it. The Engineer is forgettable, and Ultraman is just a zombie clone of Superman. Contrived? Yes. But this isn’t an overly complex movie. Lex’s plan boils down to trying to ignite a war between “Not Israel” and “Not Palestine” so he can get government permission to kill Superman.
Uh, okay.
This plot point has gotten flack online for being “woke,” but I don’t see it that way. Gunn is telling a simple story: how would the world today view Superman? How would he handle complex issues like geopolitical conflict?
If it serves the story, I don’t mind “current-day-ism.” It’s when the message takes priority over the story that I have an issue. Here, it doesn’t. Superman intervenes because people will die—not because he’s taking a side. This theme echoes throughout the film. When he fights the kaiju, he tries to stop it without killing it. This Superman is against death—any death.
We’re also introduced to Jimmy (who is apparently some kind of stud?) and his crush, Eve Teschmacher, who plays a part in taking Lex down. It’s all very convenient. But again—this is a James Gunn film through and through.
Then there is Krypto. There were moments I found him annoying, and others where I laughed. He’s a mixed bag. He probably gets in Superman’s way more than he helps. He’s strictly comic relief—and as usual, Gunn doesn’t know when to pull back on his worst impulses.
This movie has stakes. It builds tension. But Gunn doesn’t give us much time to absorb it. The film moves at a frantic pace and only slows down for a few moments. You wish there were more, because the actors play off each other well. We just don’t get enough quiet, tender scenes between all the action.
Speaking of which—my next complaint is that this version of Superman gets beat up. A lot. There are multiple scenes where he has to be saved, and I would’ve liked to see him portrayed with a bit more stoicism and strength. I wish I could take this Superman’s moral compass and combine it with Cavill’s physical presence.
Even when the CGI is a bit… wonky, the film is well-produced. If you’re a stickler for Reeve's or even Cavill-style Superman, you might have issues. But Gunn’s Superman delivers a clear message: there’s still good in people. Clark is likable, and so is the rest of the cast.
I hope this film has legs, because Gunn might have just shown Hollywood that you can still tell a good story without any progressive nonsense. As it turns out, Lois can be a strong female lead without having to weaken Clark to prove it. You can mirror real-world conflict—if it fits the story, and without the one-sided political messaging Hollywood has abused for the last decade.
And although this movie has its flaws, it’s still a feel-good film that gives hope—not just for the future of Superman, but for modern Hollywood storytelling.
If you can forgive some of the conveniences and the liberties Gunn takes with the lore and with Superman himself, you might be surprised. I was.
I give it 3.5 out of 5 stars.