James Gunn’s Superman is an ode to the timeless character, which, while rocky in places, proves to have as much entertainment value as it does heart in its emphasis on the importance of humanity.
Attempts to create a cinematic universe adaptation of the beloved DC comics have been rough, to say the least. While the DC Extended Universe (2013-2023) had the occasional good film, such as Birds of Prey or The Suicide Squad, it was largely plagued by inauthentic drama and a rushed effort to catch up with its Marvel counterpart. James Gunn, writer-director of The Suicide Squad, has returned to steer the cinematic universe into a fresh beginning, starting with 2025’s Superman. This first outing is a much better opener, offering eye-popping spectacle and compelling themes, despite its periodic unevenness.
We all know the Superman story – a baby from the dying planet of Krypton is sent to live on Earth. After years of assimilating with humans, he emerges as a self-proclaimed protector of the planet, known as Superman. However, Gunn wisely takes a page from 2022’s The Batman by having his film begin three years after Clark Kent (David Corenswet) has donned his superhero persona. Yet it opens on a dire note as Superman loses a fight for the first time.
This began due to Superman intervening in a geopolitical conflict between the countries of Boravia and Jarhanpur. Because of this seeming self-insertion, the American government begins to question whether Superman, with his otherworldly powers, poses a threat to humanity, forming an agreement with Lex Luthor (Nicholas Hoult), a billionaire tech-bro with a prejudiced vendetta against Superman. When Superman discovers that his biological parents’ reasons for sending him to Earth were not as pure as he first thought, he must reconcile his Kryptonian heritage with his life on Earth, all while trying to prevent all-out war.
It’s strange to type this, but one can see parallels between this new Superman and Scorsese’s The Last Temptation of Christ. What made Scorsese’s exploration of the story of Jesus so enthralling was its recognition that Jesus was as much a human as he was a God-like figure. In this film, Superman faces a similar crossroads regarding his humanity. He is adored and vilified for his multitude of powers, his status potentially becoming a slippery slope towards a God complex. This film explores the turmoil that comes with such a level of power and the uncertainty of whether aspirations are genuine. It’s a captivating angle from which to dissect an otherwise overexposed character.
In a way, 2025’s Superman is a counter to the DCEU’s opening film, Man of Steel, a dreadful movie that fundamentally misunderstood Superman by lionising his Godhood. This film, like The Last Temptation of Christ, argues that it’s one’s humanity, and not one’s power, that defines the individual. Regardless of their beginnings, in this case, a superpowered alien, empathy, solidarity, and overcoming struggle are what truly matter in a life well-lived. This stance forms the crux of the film’s emotional beats and narrative conflict, generating a story as enamoured with its protagonist as generations of superhero fans have been.
Reflecting this heartfelt stance is the film’s bright colour palette and tonal joviality. Instead of forcing a misplaced edginess, as the DCEU often did, Superman embraces the inherent silliness of the source material. Not only do the red shorts and obvious disguise glasses return, but the film playfully mixes the geopolitical scale of its conflict with light-hearted humour. This includes the idiosyncrasies of Superman’s powers, as well as the antics of his canine sidekick, Krypto the Superdog. Not every joke lands, and Gunn’s tongue-in-cheek approach is sometimes ill-fitting in its bluntness, namely the obvious parallels between the Boravian dictator and Donald Trump. Nonetheless, we have a film that’s regularly bursting with visual joy.
Corenswet proves he’s more than up to the challenge of embodying Superman. Combining an initial coolness, even arrogance, with later demonstrations of vulnerability, Corenswet captures the emotions of a character struggling to find a definitive identity. He’s charming and energised with just the right amount of pathos, creating a Superman whose humanity is never in question. Joining Corenswet is a plethora of other charismatic performances, from Rachel Brosnahan’s spunky interpretation of Lois Lane to Edi Gathegi’s delightfully grumpy superhero, Mr Terrific and Nicholas Hoult’s sinisterly childish version of Lex Luthor. In playing Luthor as an ultra-wealthy man-baby who disregards everything except his own self-proclaimed “genius”, the parallels between Hoult’s performance and Elon Musk are clear but nonetheless refreshing.
Because Gunn and team hold such affection for these characters and the resonance of their chosen themes, the action becomes that much more awe-inspiring. Whether it’s fisticuffs inside Superman’s ice palace lair or flying over the top of Metropolis to save the city, there is a scale to the spectacle that’s dazzling to witness. Humongous setpieces parallel to the enormous pressure on Superman’s mind, with the smaller, quieter scenes, such as on his adoptive parents’ farm, serving as the calm needed before one wades through the storm. That the cinematography often flows and spins with Superman as he flies, punches and fires laser beams only adds to the kinetic intensity and fun of the picture.
Although the film mostly remains focused on Superman’s emotional growth, the need to insert teasers for future instalments and tie-in characters occasionally overpowers the film’s flow. While the inclusion of a team of superheroes – dubbed the Justice Gang – aids the themes of solidarity over Godhood, their inclusion nonetheless feels forced, with Nathan Fillion’s Green Lantern looking as though he’s wandered in from a different film. Meanwhile, the initial assembly of the film’s components—whether its themes, tone, or character-based narrative—does feel a tad clunky. Placing all the pieces into this jigsaw puzzle of a film is somewhat rocky, given the numerous pieces that need to be assembled; yet, the picture they form in the end is one that’s thematically rich and thoroughly entertaining.
James Gunn’s Superman is an ode to the timeless character, which, while rocky in places, proves to have as much entertainment value as it does heart in its emphasis on the importance of humanity. With kinetic action, lively performances and a colourful tone that never once undercuts the weight of its chosen themes, it’s a much-needed return to form for DC superhero films. Who knows whether the rest of the cinematic universe coming from this will be as charming or heartfelt as this one? But whatever happens, Superman fans can be proud to see this newest film leap over the height of expectation in a single, if not always graceful, bound.
James Gunn’s Superman is released on July 10 in Australia, and on July 11 in the UK and the US.
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