Directed by: James Gunn
Written by: James Gunn
Run Time: 2 hours 10 mins
James Gunn certainly has the relevant experience when it comes to directing superhero movies. With Guardians of the Galaxy (2014), its two subsequent sequels and The Suicide Squad (2021), he’s been able to find much success with both Marvel and DC, proving himself more than capable of crafting comic book stories on a suitably cinematic scale. Sticking with superheroes for his latest project, Superman sees the director not only offer his take on the mighty Man of Steel, but also entirely reboot the now abandoned DC Extended Universe.
After a brief summary of the hero’s arrival to Earth thirty years previous, Gunn’s film begins with the fallout after Superman (David Corenswet) prevents the invasion of Jarhanpur by neighbouring nation Boravia in the present day. In the midst of criticism from political leaders and government officials, billionaire Lex Luthor (Nicolas Hoult) unearths further information about the Kryptonian that sees the public too turn against him. Questioning his identity Superman must now, with the help of Daily Planet colleague and love interest Lois Lane (Rachel Brosnahan), attempt to restore public trust in himself, while also neutralising multiple threats to civilian life across the globe.
No doubt keen to make their mark with the debut film in DC’s exciting new cinematic universe (DCU), Gunn and co-creator Peter Safran immediately introduce audiences to a madcap Metropolis. Doing away with over-told origin stories, Gunn’s Superman is already well-established when we meet him. And so too are many of the film’s supporting characters, perhaps most notably the ragtag “Justice Gang” consisting of heroes Green Lantern (Nathan Fillion), Mister Terrific (Edi Gathegi) and Hawkgirl (Isabela Merced). With these, and so many other characters arriving rather unceremoniously, Superman quickly starts to feel like the third or fourth film in a franchise, not the first.
Some may well find the lack of backstories refreshing, however for those who have become accustomed to the careful planning of the Marvel Cinematic Universe (MCU) – at least in its early stages – these abrupt and often unexplained appearances may well prove too jarring. It takes time for audiences to become invested in characters, and rather than devote this inaugural film to a considered reintroduction of this universe’s poster boy, Gunn has slipped into his default setting, giving fans yet another comic book movie about a superhero squad – and at that, an overcrowded one.
It’s not just the wealth of characters that brings bewilderment though, but the makeup of the comic book world too. Gone is the darker, more grounded tone of Zack Snyder’s Superman – to the relief/dismay of many, delete as appropriate – in favour of Gunn’s more colourful and camp take on the character. Within only the film’s first act he includes caped canines, secret ice fortresses and cutesy kaijus. He presents it all so matter of fact too, which is completely valid considering these are all part of the hero’s comic book lore. However, it’s all a touch chaotic and ends up feeling more like a childish saturday morning cartoon than a big screen blockbuster.
This makes it hard to take much of anything seriously, as the lack of character context and the more cartoonish antics directly conflict with the film’s surprisingly mature themes of power and politics. Admirably, Gunn presents a relevant story of corrupt foreign policy, but it’s often undermined by his soft spot for silliness. Of course superhero films should be fun, and many audiences will indeed be entertained by the director’s trademark humour, but Superman is always at its most effective when it’s being sincere.
Pa Kent telling Clark he’s proud of him, Luthor’s impassioned outburst detailing just why he hates Superman so much, and Lois’ uncompromising interview with the hero she may well be falling in love with. These are the moments where Gunn’s Superman begins to soar, packing far more of a punch than any of the over-stylised action or often ineffective humour elsewhere. Cleverly positioned at the beginning of the film, the faux interview also establishes the impressive chemistry David Corenswet and Rachel Brosnahan boast. The pair are great together, however after this promising start their relationship becomes underutilised, kept under wraps and only unveiled in pivotal moments.
Nevertheless, Corenswet dons the red trunks with considerable ease. His natural charisma sees him fly high despite the weighty exceptions that come with such an iconic role. He’s without doubt the film’s strongest asset and Superman owes what little success it has to him. He possesses a star power dazzling enough to distract from the film’s less than shining shortcomings. Nicholas Hoult as Lex Luthor is similarly stirring. He furiously commits to this particularly spiteful incarnation of the classic DC villain, but Gunn’s one-note writing holds him back from connecting in a stronger, less surface-level way.
This same reluctance to properly develop all of its narrative threads, numerous other characters and a variety of different settings – why are we in a “pocket universe” now? – makes it too much of an effort to entertain all of Gunn’s superhero silliness. As clearly aflutter with the exciting concept of a clean slate – and admittedly exciting it is – he has somewhat (if you’ll pardon the pun) jumped the gun, ambitiously overstuffing this DCU debut to its detriment. After all, it doesn’t take x-ray vision to see that this Superman comes up slightly short.
Star Rating: ★ ★
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