Written and directed by James Gunn, “Superman” serves as the launchpad of the DC Universe, a new franchise that overhauls the most recent batch of films based on DC Comics characters. Introducing this new universe, the opening text explains that “metahumans” were discovered over three centuries ago, ushering in an era of superpowered beings. Wisely avoiding retelling the titular character’s well-known origin story, Gunn dives headfirst into action: Superman (David Corenswet) crash-lands somewhere in the Arctic, battered and bleeding after losing his first battle.
This moment –– perhaps a meta commentary on the failure of DC’s previous attempt at a cinematic universe –– sets the pace at which the film will fly along. It feels like it’s missing a first act or even an entire preceding film; characters from the DC catalogue, including Lex Luthor (Nicholas Hoult), Lois Lane (Rachel Brosnahan) and Green Lantern (Nathan Fillion) appear with minimal expository fanfare. The movie assumes a basic familiarity with the Superman character and with the superhero genre at large. While this decision might give some audience members a bit of whiplash during the first half-hour, it also excises much of the tedious information dumping that tends to plague comic book movies.
The film follows the efforts of Lex Luthor –– the billionaire CEO and Superman’s arch-nemesis –– to publicly discredit and eventually kill Superman, who is three years into his superheroic stint by the time of the film’s start. The egomaniacal genius publicly casts Superman as a threat due to his “alien” status but is clearly driven by his own feelings of envy and inadequacy. We learn that Luthor is colluding with the fictional nation of Boravia, an Eastern-European-coded U.S. ally plotting to invade its smaller neighbor Jarhanpur. The conflict –– which Superman controversially tries to prevent –– fuses elements of the ongoing Russo-Ukrainian and Gaza Wars. While this aspect is sure to provoke the ire of some viewers, the film refrains from much explicit political messaging beyond a basic call for international peace.
Many of the film’s components will feel familiar to those who have seen Gunn’s “Guardians of the Galaxy” trilogy: offbeat humor, wacky sci-fi creatures and a celebration of found family. The world of “Superman” is similarly populated by a myriad of zany characters and outlandish technology. Unlike most comic book movie fare, which often present a world resembling our own that happens to feature superheroes, “Superman” is highly stylized, oversaturated with bright colors and shamelessly comic-booky. During battle scenes, for example, some characters seem to barely register the chaos around them and simply go about their days –– suggesting epic showdowns are a daily occurrence.
Corenswet plays Superman as brave, pure-hearted, dorky and trusting to a fault. An easy-to-root-for, effortlessly-inspiring boy scout, it’s the best live action version of the character since Christopher Reeve. The film successfully makes Superman cool without any forced edginess. He’s the type of hero, for instance, that goes out of his way to save a squirrel and give a reassuring smile to a bystander in peril.
Meanwhile, Brosnahan’s whip-smart Lois Lane provides a snarky counterbalance to Superman’s naivete, and the actors’ chemistry makes their banter a delight to watch. As Luthor, Hoult makes for a supremely hateable antagonist, endowing the villain with a toxic combination of resentment, charisma, genius and insecurity. The three leads feel like fully-fleshed versions of these oft-adapted characters and will surely continue to shine in future installments.
The supporting cast includes Krypto, a cute but unruly super-dog with a habit of pouncing on Superman at the worst possible times. Though perhaps slightly overused, the computer-generated canine is sure to become a fan favorite. Then there’s the “Justice Gang,” a loosely organized trio including Green Lantern, Hawkgirl (Isabela Merced) and Mr. Terrific (Edi Gathegi). The super smart Mr. Terrific has visually stylish technology and a biting sarcastic wit that make him a clear standout. Hopefully, he’ll appear more prominently in future films.
It wouldn’t be wrong to observe that this setup sounds a little overstuffed with characters and plot points. At just over two hours, the film can’t help but feel a little hyperactive, jumping from one character to another between huge effects-driven fight scenes. Still –– other than one second act action sequence that has a visually ugly CGI backdrop and goes on for too long –– the film’s breathlessness works in its favor. Whatever finer plot critiques one might have, the movie makes it virtually impossible to get bored. Sure, there are probably too many jokes that don’t land, but the film doesn’t leave enough time between beats for these flaws to really set in. Like its titular character, “Superman” might be overly sincere, slightly awkward, and moving a little too fast for its own good — but it’s impossible not to root for.
