Superman is everything a superhero movie should be. It has heart, the sci-fi is insane, and it feels like a fantasy world come to life.
The story told in Superman is a classic one in the best way possible. It feels reminiscent of 2000’s superhero films, such as Raimi’s Spider-Man. Or classic DC animated shows, like Justice League Unlimited. And while the obstacles that Superman must overcome through the course of the film are filled with some insanely wacky science-fiction ideas, the core of the story remains simple.
This is a film about Lex Luthor doing everything in his power to take down Superman. And yes, Luthor uses some unique side-characters and villains to get in Superman’s way. But the pivotal conflict is the clash between those two titans. A man obsessed with brain over brawn, with skill over luck, with earned superiority over God-gifted powers. That’s what makes this film great.
The film opens with a series of moments from Superman’s life. Scenes at the Fortress establish, moments at the Daily Planet all establish Superman’s heritage well. The choice to ground the film in Superman’s relationship with his parents, and Lois Lane is a clever one, because it’s introduced early enough that it works when he uses their advice and learnings to complete his arc by the end.
The second act is where the strongest parts of the science-fiction elements are delivered. What James Gunn dreamt up using pocket dimensions and black holes is genuinely unlike anything seen before in a superhero movie. From a string of thousands of actual monkeys typing fake social media posts on computers levitating in a dimension beyond regular space-time, to a floating river of rainbow pixels that leads to an actual black hole, this is a movie ripped straight from the pages of the most imaginative and downright bizarre comic books you’ve ever read.
The final act delivers solid action and manages to achieve a feat that few superhero movie has done recently—the plot is resolved in a way that’s surprising, satisfying, and makes sense. It’s not overly complicated, making it a great film for all ages, but it retains enough surprises that each moments holds enough tension to keep you engaged. The addition of extra villains, and some supporting heroes also works surprisingly well. Gunn’s script affords each character their moment in the spotlight, but Superman remains centre-stage the entire runtime.
One standout worth mentioning though is Mister Terrific. As the member of the Justice Gang who gets the most screentime by far, he’s charismatic, funny, and brilliantly intelligent. Anytime he shows up he grounds the scene with a feeling of capability, assuredness and wit. His role highlights the power of good storytelling in superhero films that use interesting side characters to elevate the story by adding heroes who offer something unique.
One thing I love about the tone that Gunn crafts is that it feels nearly episodic in nature. With a comparatively short runtime of under 2 hours excluding credits, it’s incredible how much he fits into this film. The film is spread out over the course of a few days, and as we jump from scene to scene, it feels like turning pages from one issue of a comic book to the next.
In the same way that a comic book might tell self-contained stories in each issue, some more emotional, others more action-packed, the film does the same thing. Of course, every film has tonal shifts, but it’s the pacing of the editing that makes this feel different.
There are beats in-between major plot points where night turns to day and it suddenly feels like a new issue is beginning. We see Superman move from explosive battles in Metropolis, to extended dialogue scenes with Lois, and then back to check in on the Justice Gang’s escapades. In particular, it’s the quiet moments like a night-time ride that Lois and Clark take back to the Kent farm, where the movie slows down to stop and breathe that you feel the nuances and shades of this universe. It feels lived in, and Gunn takes his time letting us experience every part of it.
The performances of the main cast are what truly strengthen this film though.
David Corenswet is magnificent as Superman. He absolutely nails the essence of the character because he understands how to deliver both the highs and the lows. From his hugely expressive performance in action scenes where he shouts with all the vigour and might that a super-powered being would. To the gentle and sincere tone, he takes when having honest conversations with Lois or his adoptive parents.
There’s a scene during the first act where Lois interviews Clark. The same scene was used for David Corenswet and Rachel Brosnahan’s first screen test together. In that scene, both actors move effortlessly from romantic foreplay, to playful banter, some seriously combative argumentation, and then sincerity and regret all within ten minutes. Both actors embody every nuance of Superman and Lois’ unique and special relationship.
Nicholas Hoult however manages still to be a standout. His Lex Luthor isn’t just menacing, he’s filled with absolutely vitriolic hatred. Seething with rage to the point that it vibrates through his physical being. He’s snarky, unrepentant, and frustratingly skilled at manipulation. In the end, he’s the character who’s DCU future I’m most curious about.
The film is visually dynamic. Henry Braham’s cinematography is sharp, and has a sleek modern look combined with hugely inventive angles for Superman’s flying and fight scenes. The rigs that Gunn and Braham created allow for some insane camera work that tracks Superman’s fast movements in the air incredibly impressively. In addition, the more intimate moments are marked by low-key soft lighting, while scenes in the art-deco style Daily Planet building are filled with bright gold and wonderfully warm tones.
Thematically, Gunn’s script provides political overtones that mirror real-world conflict and combine them with the unique politics of a world filled with metahumans. Discussions that take place in the inner circles of high=ranking US Security officers offer some interesting political debate around the ethics of controlling the actions of super-powered beings, while the political manipulation that Lex Luthor uses to defame Superman is hugely relevant in the context of the disinformation onslaught that innocent people are facing in the political landscape today.
Notably, Luthor is given some strong philosophical overtones, connecting his ideological frustrations to that of Salieri jealously of Mozart’s God-given talent in Amadeus. Gunn’s script is sharp, clever, but ultimately doesn’t delve deeper than it needs to. This is a classic story that focuses on the rivalry between Luthor and Superman, and the political discussion is a sidebar.
In the end, the message of this film is a straightforward but important one. Your choices make you who you are. For a character that’s been defined by various moral ideologies over the decades, this clear and simple message is a strong one. Clark Kent is defined by the decision he makes every day, to wake up, and use his powers for good. Not because anyone asked him to, but because he believes it’s the right thing to do. Notably, for a film originally titled Superman: Legacy, the script does an excellent job of drawing a character arc for Superman that forces him to reckon with his heritage and upbringing in a way that fully forms his moral compass for good.
Superman is everything I’ve ever wanted from a classic superhero movie. The characters are relatable and played to perfection. It has massive action while still being family friendly. The DCU has begun and it’s incredible.
Superman is in Australian cinemas on July 10th.
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