REVIEW: Gunn's 'Superman' soars with spectacle and heart
Barely three weeks after the cast’s Manila visit, Superman has arrived in cinemas to usher in a new era for the cinematic DC Universe. Under the direction of James Gunn (Guardians of the Galaxy), the film presents us with a spectacular adventure that looks ripped straight out of the comics.
It's often been said that Superman, with all of his powers, is a difficult character to write for, but the director, having already made audiences care about a talking raccoon and his monosyllabic tree friend in the MCU, makes it look easy. Similar to Matt Reeves’ Batman (2022), Gunn doesn’t dwell on the hero’s traditional origin story, peppering his script with enough context for anyone who somehow missed out on the last 80 years of pop culture.
When the film begins, Superman has been operating in Metropolis for three years, while his alter ego of Clark Kent is an established member of the Daily Planet news team. It’s a refreshing take that grants the filmmakers the sort of larger canvas usually reserved for sequels, taking into account that we’ve seen enough superhero movies by now to understand the basics. Heck, the fact that we don’t even need to see the international incident that kicks off the film’s central conflict speaks volumes to our knowledge of how Superman would act in that situation.
In the titular role, David Corenswet (Twisters) impressively embodies the character’s sense of selflessness and humility in a manner we haven’t seen on the big screen in decades. Much like Chris Evans' take on Captain America, the down-to-earth take is one that flies in the face of perceptions that modern audiences would be somehow unaccepting of a hero who wears his heart on his sleeve (or cape). As in the best Superman stories, this superhero may be an all-powerful alien, but his sense of values is recognizably human, complete with the insecurities, vulnerability, and, yes, humor, that implies. This is a Superman that is as timeless as he is contemporary, delivering a shot of hopeful optimism that isn’t just endearing, it’s straight-up inspiring. It’s easy to lose the MAN amidst all the SUPER, but Corenswet manages the balancing act with aplomb.
On the other side of the equation, Nicholas Hoult (Nosferatu) leaves no scenery unchewed as the nefarious Lex Luthor. His Lex is volatile, scheming, and undeniably brilliant, replete with a sense of superiority and underlying envy that colors his every decision. This is a billionaire obsessed with control, and the very existence of an alien that won’t bend to his will is offensive to him. That Superman’s status as an undocumented alien is called out won’t be surprising to anyone familiar with his creation; as imagined by Jerry Siegel and Joe Shuster, the children of Jewish immigrants, Superman’s first foes weren’t aliens or robots, but cruel landlords and corrupt politicians. The 1980s pivot that changed Luthor from mad scientist to genius billionaire is one that’s never been properly explored in film before, and Hoult revels in the opportunity. Let’s just say that this Lex wouldn’t be caught dead with a jar of piss.
On the side of the angels, Rachel Brosnahan (The Marvelous Mrs. Maisel) is beyond perfect, exuding intelligence and credibility as pop culture’s most famous reporter. We’ve had no shortage of tough-as-nails portrayals in the past, but rarely has Lois Lane’s role as a journalist been as pivotal as it is here. Here, Lois’s refusal to pander in her pursuit of reporting the truth is on full display, a trait as crucial to the plot as any superpower. No damsel in distress, Brosnahan’s crackling chemistry with Corenswet—visible during their global media scrimmages—provides the film with an emotional core that’s compelling as it is sincere. This is especially apparent in an early sequence, where a brilliantly-performed debate between Lois and Clark elevates them from archetypes into living, breathing characters.
While this Superman is grounded in old-school values, the world he operates in is, for all its comic book goofiness, unmistakably contemporary. Aliens, interdimensional imps, and metahumans abound, but so too are internet trolls, media manipulation, and malevolent billionaires. All that being said, the film is not without its flaws, as Gunn’s trademark sense of humor occasionally robs scenes of their poignancy, to say nothing of side characters being introduced and immediately forgotten about (until the story has use for them); for as rich as this new cinematic playground is, a little bit of place setting wouldn’t have hurt. Thankfully, the strong leads, inventive action, and overall sense of hopeful optimism more than make up for any narrative missteps.
All told, Superman is an altogether joyful experience, from a cast and crew that are clearly enjoying themselves. From little touches, such as the soundtrack’s snippets of John Williams’ immortal theme tune, to the way people react to Superman doing his thing, or even just the sheer compassion with which Corenswet delivers his lines, the film is a testament to the power of Man’s inherent goodness, and an audacious first step for a genre desperately in need of new ideas (even if those ideas are 80 years old).
Finally, a hero we can look up to.
Superman is now showing in Philippine cinemas.
