Has the world ever needed Superman more? I don’t know about you, but I could really use a symbol of good right now who represents the best of us, fighting for justice and protecting the innocent against the diabolical in power that seek to profit and prey upon the vulnerable. Vulture film critic Allison Wilmore has a fantastic headline for her review: “Superman [the movie] isn’t trying to be political. We just have real-life super villains now.” James Gunn, the quirky filmmaker who made us fall in love with a raccoon and a tree in the Guardians of the Galaxy trilogy, ascended to be head of DC movies in 2022, and he eyed reigniting Superman as the top priority, selecting himself as writer and director. It’s a lot of pressure to rebuild the DC movie brand by yourself, as there are only two other movies with scheduled release dates currently. This movie could make or break the fledgling DC Universe (DCU) rebuild soon after the smoking demise of the DC Extended Universe (2013-2023), informally dubbed the Snyderverse. Fortunately, Gunn’s take on the boy in blue is a reminder why this character has lasted so long and why the world still needs a symbol of hope.

Superman (David Corenswet) a.k.a. Clark Kent, has been a defender of Metropolis for three years now. He’s romantically involved with ace reporter Lois Lane (Rachel Bosnahan), who knows his secret identity but still chides Clark on somehow getting all those “exclusive interviews” with Superman. He’s also been a thorn in billionaire industrialist Lex Luthor’s (Nicholas Hoult) side and become an obsession of his. The world is still debating Superman’s unexpected intervention, thwarting a powerful military from invading its neighbor’s sovereign border (very reminiscent of Russian aggression). The U.S. government needs actionable proof that Superman is a threat, and Lex is determined to eliminate the alien for good.

Amazingly, this movie feels like the second in a series rather than a reboot kickoff. From the opening text, Gunn drops us into this world already in progress. We’re skipping over the origin story, the character introductions, and all the table-setting that comprises many first films in franchises. It’s usually that second film that really takes advantage of the setup and patience of the first movie, expanding the world and deepening the character relationships and conflicts. Gunn has mercifully skipped over all that and gotten us right to the good stuff. The opening minutes of the movie drop us into a super-powered battle with the declaration that this is the first time our Superman has lost, and that beginning follows the most powerful alien on Earth having to patch up his injuries. I think that’s a very intriguing first impression, but I’ll detail more of that in a later paragraph. The world that Gunn establishes already feels well underway but the story is still accessible and the supporting characters have meaning within this world. This is a world that has been used to super heroes, a.k.a. metahumans, for some time, so when Superman finally dons his red underwear it’s not a complete shocker. This is not necessarily a reality where one super-charged character has reconfigured mankind’s entire sense of identity. The world is accustomed and adapted to extraordinary figures and monsters. This is where the Justice Gang comes in (Green Lantern, Hawkgirl, and Mr. Terrific). They’re the corporate supes, the ones called in to sign autographs, smile for pictures, and save the day for good P.R. Perhaps that’s too flippant, but the trio of established heroes doesn’t feel the same call to activism like Superman. It’s hard to fully articulate, so bear with me dear reader, but Gunn’s Superman already feels fully established, with the figure known, his relationship with Lois already in play, and Lex having already put nefarious time, research, and lots of money into combating this super obstacle with his own lethal experiments. With Gunn, there’s no time to waste. It’s already fully formed from his imagination, and the parts have their reasoning and meaning, making the whole much more satisfying.

Another way to differentiate this Superman is less from his strength than his vulnerabilities. This is a character long regarded as overly powerful, too indestructible and therefore lacking realtability. Well with Gunn’s version, here is a Superman that gets beat up. A lot. Ben Affleck’s Batman pointedly asked Henry Cavill’s Supes, “Do you bleed?” Gunn has answered in the affirmative. Much like Matt Reeves’ 2022 Batman, we get a work-in-progress superhero that is still feeling out how to best be a superhero. It’s a version that takes lots of lumps and Gunn finds interesting ways to test Superman’s limits, both emotionally and physically. The introduction of nanites into orifices certainly provides nods to Gunn’s body horror roots. While this is a Superman that gets knocked around quite a bit, his biggest vulnerability is his doubt. He’s simply trying to do good and save lives regardless of the political ramifications, but the world and its people, and especially their fears and paranoia of an Other, are more complicated. Superman explains he intervened in an international border war for the simple reason of saving lives. When Lois pushes him in a practice on-the-record interview, during one of the better scenes, about his decision-making, thinking through the consequences, consulting with world leaders and the like, he gets flustered and says there wasn’t time. All he wanted to do was save lives that would have been lost, so why is the rest of the world having a hard time with that? Over the course of those two hours and change, we watch this Superman battle through his self-doubts in a very real and compelling way that I don’t feel like any other Superman movie has better demonstrated. This is a world already rife with heroes, but is it better with a Superman? Is his existence a net positive?

Gunn truly understands the character in a way that Zack Snyder never did. With Man of Steel and the subsequent film appearances, we were given a Superman that didn’t really want to be Superman. He was an overburdened superior being tasked with serving as mankind’s savior, and came across as annoyed. That version of Pa Kent famously told his super son that it might have been best if Clark had just let a bus full of kids die to keep his secret. Thanks for the life lesson, dad, and oh, by the way, your sacrifice was ultimately meaningless when your entire worldview was proven wrong by the end of Man of Steel. Regardless, here is a Superman that is unabashedly sincere and even a little corny. That’s who this character is, a do-gooder wanting to inspire others and wanting to save all life, even the villains, even the wildlife (my theater took special note when Superman saved a squirrel from being crushed). Snyder’s Superman was part of an entire Metropolis 9/11 of horrible collateral damage disaster porn. Gunn’s Superman works hard to make sure the giant kaiju monster, when teetering over, doesn’t fall on any building to protect the people inside. This is also a Superman that feels compelled to be a hero, to do better with his super gifts, and to keep trying even when he fails, that there can be dignity in losing a fight but continuing on because you know that fight is worth it. The depiction of Superman/Clark makes him feel much more a character worth closer examination. He’s not a detached god feeling above these petty mortals always needing saving. The real super power is his empathy and desire to help others, and that may sound corny, but Superman is too, and that’s completely fine in a world that would be better if we had more Supermans and fewer wannabe super villains.

The big question for me was whether Gunn could adapt his cheeky, irony-rich goofball sensibilities from the Guardians movies and make a Superman movie that was earnest and restrained. He has, and let this be a lesson that Gunn does not disappoint when it comes to superhero projects. There are still unmistakable elements of Gunn’s humor and style, like the ironic distance from action serving as an extended joke while characters discuss an unrelated topic, the bouncy and specific needle-drops that cue extended fight or action sequences, and of course the quippy sense of humor. I don’t agree with some of the early reviews I’ve come across that accuse Gunn of undercutting his drama with too many jokes. That is exactly why I was afraid that Gunn would be too insecure with straight drama and earnestness that he would have to rely upon an awkwardly squeezed-in ironic joke to, in his mind, balance the tone. There are jokes, some of them wild and unexpected, but this is most certainly not a movie in the same tonal space as anything Gunn has done before either as a director or a screenwriter. I did not feel that the comedy ever undercut the stakes or the sincerity of the scenes and the movie as a whole. Gunn has shown he can re-calibrate his style and comedic voice while at the same time still making things his own without copious slow-motion. The action is refreshingly staged to be immersive, with few cuts and wide camera swings in order to present everything on the screen in an easily oriented field of vision.

Corenswet (Pearl, Twisters) has some big tights to fill, as I would argue while there have been iffy-to-bad Superman movies there hasn’t been a bad Superman. Obviously the one that all others are defined by is Christopher Reeve who was the greatest special effect the original movie had (I know the flying sequences were groundbreaking for their time, but they play out so cheesy and dated, complete with sudden Margot Kidder poetic resuscitation). Watching him switch from suave hero to clumsy Earthling in a split-second was the best. Corenswet certainly looks the part, clean-cut All-American looks, even though he’s British. He really channels the character’s big heart with his struggle to be accepted, by the public, by the media, by Lois, by even his enemies. He’s got the presence to fill out that suit but the emphasis is not on the contours of his abs but on the unfailing dedication and goodness of a character trying to do right. He won me over early, and it doesn’t hurt hat he has terrific chemistry with Brosnahan, who has been readying herself for this part for years with The Fabulous Mrs. Maisel. She’s great too. Hoult (Nosferatu) channels his smarm perfectly as a very punchable Lex who might make you think about a certain DOGE-master and his team of flunkies wreaking havoc on the rest of the country through unchecked hubris. I loved his pettiness and thinly-veiled vanity, like during an approaching apocalyptic cataclysm and he says to screw the people of Metropolis. “They chose him, let them suffer.” It sounds a lot like, “Your state voted against me, so you won’t get immediate emergency assistance.” You will cheer hard for Lex’s defeat, even more so when his plan involves literal extra-judicial forever confinement.

However, the real brreak-out star of the movie will most certainly be Krypto, the adorably jumpy super dog. Every time this pooch makes an appearance it is welcomed and he’s utilized as more than just easy comic relief. I expect a sharp uptick in the number of good boys named “Krypto” afterwards.

James Gunn has alleviated all of my fears about him tackling the Man of Steel, and he’s created a Superman that soars above the superhero field. It’s so vibrant and funny and accessible to anyone regardless of their prior feelings or understanding of Superman. It’s also a clear-cut example of what a Superman movie can and should be, sincere and bright and, yes, a little bit corny too. We need this character, and we especially need film artists that know how to craft engaging stories with this character who’s existed for almost 90 years. There’s an inherent lasting power to Superman, and it’s his sheer goodness as an outsider, a feared alien, who has all the powers in the world but just wants to help others. Many have long viewed Superman as boring, a Boy Scout in a world that has grown too morally murky to maintain such a morally unwavering figure of truth, justice, and the American way (what does that last part even mean any more in the bleak environment of 2025?). Gunn has shown us how necessary the character can be, a balm to our troubled times, and the reality that do-gooder figures can be inspirational and aspirational no matter the circumstances. He’s made a Superman movie with an intriguing, lived-in world, one that I now believe can easily support a fuller universe of stories and side characters. He’s also made what I consider the best Superman movie to exist yet (apologies to the nostalgia of the fans of the Richard Donner/Christopher Reeve originals). I have some minor quibbles, like how Lois fades into the background for the second half, but they are only quibbles. This movie was exactly what I needed. I’m sure there are millions of others yearning for the same. Superman is proof that the DC film universe might actually have the perfect person in charge of charting their cross-franchise courses. Kneel before Gunn.

Nate’s Grade: A-