If someone watched Richard Donner’s “Superman” in 1978 then was time-jumped 47 years to watch James Gunn’s “Superman,” they might be wowed by the advances in special effects, and would also notice that the same themes are repeated, with a little less earnestness and a little more cheek.
Maybe not magical, but certainly fun
Since we’ve seen gradual advances in effects, though, “Superman” ’25 is actually rather rote, as Gunn doesn’t have much to add to the cinematic language of action spectacle. I’m suspicious that effects are done on the cheap in some modern superhero films, with flaws easier to hide in darker environments. Regardless of the reason, the scenes in a pocket dimension have among the worst cinematography of the superhero era.
Overall, though, “Superman” ’25 is the fresh direction the DC Universe knew it would get when it hired Gunn (“Guardians of the Galaxy”) as writer-director and overseer of the saga. (He had already done “The Suicide Squad” and TV’s “Peacemaker” for the previous incarnation, the DC Extended Universe.) The Earth-based scenes are comic-book colorful in visuals and in the raw fact of what’s happening. He’s not afraid to embrace the goofiness of Guy Gardner/Green Lantern (Nathan Fillion) using a giant magic hammer on a space kaiju.
“Superman” (2025)
Director: James Gunn
Writer: James Gunn
Stars: David Corenswet, Rachel Brosnahan, Nicholas Hoult
This happens outside the window of the Metropolis apartment of Lois Lane (Rachel Brosnahan) as she chats with Clark Kent/Superman (David Corenswet) about their relationship and his role in overseas wars nudged along by U.S. funding. You’d think this might be too much for one sequence, a desire to pack the frame and pack the narrative, but it’s actually relatively calm because Gunn’s effects-laden action sequences just don’t mean that much anymore.
Another visually familiar sequence that’s supposed to be thrilling finds Mr. Terrific (Edi Gathegi) using his powers to easily mow down the film’s equivalent of ICE agents. Lois looks on in amazement, but honestly, I think Superman catching Lois in 1978 holds more of a sense of wonder.
On the other hand, the heroes are cheer-worthy, the villains are hiss-worthy, and the commentary on current events is sharp without being a lecture. Gunn manages to touch upon ICE internment camps, the Russia-Ukraine war (or the Israel-Palestine genocide, or both), social-media bots and above all, the military-industrial complex as a tried-and-true moneymaking scheme. The fact that Lex Luthor (Nicholas Hoult, added to the list of Marvel/DC double-dippers) literally aims to own half of a conquered country is a bit comic-booky, but the broad scheme is all too real.
Back to the boy scout
Corenswet is more of the boy scout version of Superman compared to Henry Cavill’s brooder, Brosnahan is pretty much a perfect Lois, and Skyler Gisondo (as Jimmy Olsen) and Krypto the Superdog are immediate fan favorites. Gunn spices things up with delightful but not on-the-nose references to all four Christopher Reeve-era “Superman” movies. Everything flows well.
If I have a criticism other than the “been-there, done-that” action, it’s that “Superman” ’25 can’t quite transcend its status as product. Don’t get me wrong, we’re getting the product we pay for; few will ask for a refund. It’s just that – even though this is the best “Superman” since 1978 – it’s a “Superman” in a Gunnian fan-feedback riff more so than pure movie magic.
The DCU is off to a fine start with those old-school “Superman” characters, plus a seamless assist from “the Justice Gang” – Guy Gardner, Mr. Terrific and Hawkgirl (Isabela Merced), with one more added later. The humor isn’t as sharp as past Gunn projects – with several laughs coming simply from looking at Fillion’s tapered bowl cut – but the tone is pleasant and the barely-over-2-hours runtime is worth a chef’s kiss by today’s standards.
Yes, Gunn is efficiently building up this world. He clearly knows various branches of the lore but doesn’t let the movie devolve into a string of ’memberberries. It’s a workmanlike achievement, and the sense of purpose and direction is what DC needed after the end of the DCEU with 2023’s “Aquaman and the Lost Kingdom.”
But “Superman” ’25 doesn’t reinvent the genre; it’s worth a raised eyebrow more so than a dropped jaw. Instead of believing a man can fly, I merely believe a solid, well-cast franchise has been launched.