A few years into his superhero career, Superman (David Corenswet) intervenes to stop the nation of Boravia from invading its neighbor Jarhanpur. In doing so, he falls into a trap set by Boravia’s financial backer, tech billionaire Lex Luthor (Nicholas Hoult). Luthor uses his metahuman pawn Ultraman to attack the hero physically while launching a media campaign to turn public opinion against him. At the same time, Superman’s relationship (as his civilian alter ego Clark Kent) with fellow reporter Lois Lane (Rachel Brosnahan) is fraying, and he is forced to question his purpose.
For as often as he’s been adapted, Superman is a deceptively difficult character to do well. Faithful takes risk being stale and insipid while conspicuous attempts to try something different risk alienating the audience. But if there is anyone equipped to handle this balancing act, it is writer-director James Gunn, who brings both knowledge of and appreciation for the source material as well as a well-honed sense of how to make a movie fun. His version of Superman isn’t without its divisive aspects, but it’s also fresh and entertaining.
A good deal of how well this movie works can be chalked up to its impeccable casting. Corenswet (an actor of Jewish descent finally playing an allegorical Moses) bears more than a passing resemblance to the beloved Christopher Reeve. His version of Clark/Kal-El is still idealistic and powerful but also relatably human. Brosnahan’s quick-witted, resourceful Lois shows the character at her journalistic best, and the Daily Planet as a whole comes across as more relevant here than in some adaptations. Wendell Pierce as Perry White and Skyler Gisondo as Jimmy Olson honor the classic versions of the characters. Something of a novelty for a Superman film, Clark’s super-allies are also given a chance to shine. Spinoff bait as they may be, Edi Gathegi and Nathan Fillion are in good form as Mr. Terrific Michael Holt (a bored tech genius) and Green Lantern Guy Gardener (an abrasive space cop with a terrible haircut). Previous Gunn films were known for balancing humor and earnestness with an incredibly vile antagonist, and that trend continues here. Hoult’s version of Luthor lacks the camp of Gene Hackman or the upbeat quirkiness of Jesse Eisenberg. He’s instead a toxic brew of selfishness, intellect, smug superiority, and petty jealousy, and Hoult nails it.
For as well-cast and performed as these characters are, the sheer number of them in a two-hour movie can feel overwhelming, especially to viewers unfamiliar with the source material. The Fortress of Solitude robots and Metamorpho might get nods of approval from comic books fans, but they may also leave casual viewers wondering if they missed something.
Beyond that and a few tired set pieces – a city-leveling fight against a giant monster feels like a cliché at this point – there is little room for complaint. Superman is bright and colorful, Gunn’s direction is energetic, and the Boravia-Jarhanpur conflict echoes enough of Russia-Ukraine (and Luthor of a Silicon Valley type) to strike a relevant chord without being obnoxiously polemical.
If you’re completely
over superhero films or never enjoyed them to begin with, Superman isn’t
likely to make you change your mind. But if you’re looking for something to
rekindle any affinity (for the genre, the character, or even for some degree of
hopefulness), it just might.