“What the hey, dude!” is one of the very first things our title hero says (to his trusty dog sidekick, no less). Beyond catching me off guard, the movie’s beginning clarifies “Superman” is betting it all on its main character’s inherent goofiness — a bet that more than pays off.
The 2025 version of “Superman” gleefully invites audiences into a world where everybody fails to recognize a very 6’4’’ David Corenswet as soon as he puts on his journalist glasses. To be fair, the movie awkwardly writes them off as “hypno-glasses” — but that’s really the only cop-out to be found. The rest of the comic book-isms remain untouched.
The movie’s playful tone is complemented by casting that plays wonderfully to each actor’s strengths.
Corenswet has all the makings of the Man of Steel, with his Superman being “tall, dark and Martian,” as Nicholas Hoult’s Lex Luthor would say. Speaking of Hoult, he gets a lot of mileage from his trademark blue eyes in portraying our petty villain. And, Rachel Brosnahan’s intrepid Lois Lane, who is a perfect match for Corenswet’s broccoli-permed Clark Kent (and a really good reporter), is on a mission to expose Luthor.
Other standouts include Clark’s Daily Planet colleague and pal Jimmy Olsen (Skyler Gisondo), who finds himself in an Adam Sandler-esque B-plot about gaining info from a clingy ex to help Lois with her investigative piece.
Despite the on-point casting, James Gunn still wouldn’t have been my first pick to direct a fresh take on Superman. Whether it’s Marvel’s “Guardians of the Galaxy” or DC’s “The Suicide Squad,” all his previous superhero flicks have this rebellious vibe that clashes with Superman’s brand of mainstream sincerity.
Even with this contrast, Gunn sticks to his guns and doesn’t ditch his subversive style. His method, as usual, involves music.
By turning awful punk rock into something that our leading couple bonds over, Gunn raises the idea that maybe unconditional compassion is “the real punk rock.”
It’s not too different from your typical corny superhero one-liner, but Gunn has a point.
Most superheroes in recent movies are lacking in the good deeds department. With every “golly” and “good gosh,” it becomes increasingly clear that this Superman isn’t a god or a soldier — he really is just a bulletproof boy scout.
This throughline is what makes our leading couple’s chemistry so endearing. While I’m not the biggest fan of Gunn’s offbeat humor — not even this movie is spared from one of his middle finger jokes — I’ve never doubted his ability to write romance.
As busy as the movie is, Lois and Clark’s relationship is hardly a backdoor rom-com. Even so, it’s hard not to root for them whenever they share a moment onscreen. Although simple, recent blockbusters, especially superhero ones, have been allergic to displaying any kind of romance. Another point for this movie’s freshness factor.
Being subversive doesn’t mean a movie’s good, but “Superman” never reeks of desperation. Just like the character Superman understands that being super is a thankless job, the film doesn’t ask anything of its audience.
Instead of being preachy, “Superman” meets audiences where they’re at — and as a result, may leave you wanting to hold the door open on your way out of the theater. After all, what would Superman do?
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