'Superman' review: James Gunn’s hopeful DC revamp doesn’t quite stick the landing

Courtesy of Warner Bros.

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It’s a bird, it’s a plane… it’s the seventh attempt to restart the DC Cinematic Universe.

Okay, maybe not the seventh, but James Gunn’s “Superman” does mark a new era for DC Studios, one where expectations from its parent company, Warner Bros. Discovery, are bigger than the planet Krypton. Led by David Corenswet, Rachel Brosnahan, and Nicholas Hoult, “Superman” is earnest in its ambition and refreshing in its attempt to bring light-hearted Saturday morning cartoon fun back to the big screen. But despite its good intentions, it ultimately falls short of its core message, about kindness, acceptance, and what it truly means to be human, and lands as a just-above-average superhero flick.

To Gunn’s credit, he wisely forgoes the traditional origin story. We don’t need a history lesson about baby Kal-El falling to Earth from a dying planet and being raised by farmers in Kansas. We know he works at the Daily Planet as Clark Kent (a clever bit involving the glasses gets a fun nod); he’s in love with his co-worker, Lois Lane (Brosnahan); and his eternal nemesis is the bald-headed Lex Luthor (Hoult), who in this version plays like a demented Elon Musk and engineers AI robots to capture and kill Superman. At several points throughout the movie, you’ll just see him screaming at computer monitors with random commands like “A-1! “ to initiate attacks. It’s bizarre, but entertaining in a deranged way.

On one hand, the film’s bright, bubbly aesthetic is a welcome change from the gloom of the Zack Snyder era. Gunn, who brought anarchic energy to “The Suicide Squad” and “Peacemaker,” injects a similar sense of play here, even as “Superman” juggles some heavy thematic material. And while Matt Reeves’ “The Batman” thrived in a noir lane that fit that character, Gunn’s Superman tries to balance cartoon charm with very real geopolitical stakes, including a megalodon-like monster tearing through Metropolis and the invasion of a third world country.

That’s where the movie starts to lose its might. The contrast between real-world allegory and outlandish spectacle blunts the emotional core. At a time when real-world threats feel closer than ever, Superman’s savior complex feels paper-thin, even by comic book standards.

Speaking of paper thin, the “Justice Gang” makes an appearance, featuring Guy Gardner, aka Green Lantern (Nathan Fillion), Hawkgirl (Isabela Merced), and Mr. Terrific (Edi Gathegi), but their inclusion feels more like obligatory setup than essential storytelling. Meanwhile, the film’s biggest misstep is sidelining Lois Lane. She’s reduced to a one-note trait (she doesn’t do relationships) which is a real shame, considering Brosnahan’s natural screen presence and charisma.

There’s a pivotal interview scene between Lois and Superman that crackles with tension and charm, hinting at what could have been if the script gave them more space to breathe. Ironically, skipping the origin story robs us of seeing their relationship develop from discovery to trust. It’s one of the few moments where backtracking might’ve helped, because Brosnahan and Corenswet have genuine chemistry, and the film doesn’t do enough with it.

Brosnahan, best known for “The Marvelous Mrs. Maisel,” plays Lois as a whip-smart, rapid-fire reporter, and she’s terrific in the role. An early scene where she challenges Superman after a catastrophic event hints at a strong dynamic. But as soon as the teleportation devices and interdimensional nonsense take over, that momentum crumbles.

Corenswet, great in “Pearl” and last summer’s “Twisters,” has star potential. He brings just the right amount of optimism and old-school charm to the role. Except he’s saddled with clunky, sentimental dialogue, and when he’s tasked with delivering a grand monologue about discovering who he is, the script leaves him hanging. We also don’t get enough of his Clark Kent or his daily life at the Planet. There’s a missed opportunity in not exploring his dual identity further.

That said, Skyler Gisondo is a scene-stealer as reporter Jimmy Olsen, who’s tracking down dirt on Lex Luthor with the help of an anonymous source. It’s a fun subplot, and it hints at what the film could have been if it had embraced more grounded, character-driven storytelling. Any deeper commentary about journalism’s role in society is brushed aside in favor of shoehorning in secondary characters and surprise cameos.

Still, one thing James Gunn never fumbles is CGI creatures you can actually care about. From Rocket in the “Guardians” franchise to now Krypto the Superdog, Gunn knows how to make animated animals soulful and lovable. Krypto could’ve been a disaster, (remember the “Call of the Wild” remake?) but instead becomes one of the film’s most convincing and emotionally resonant elements. Let this be the blueprint for CGI animal performances going forward.

There are obvious parallels to modern politics throughout. Lex Luthor’s xenophobic smear campaign to brand Superman as an “alien” doesn’t feel far off from today’s rhetoric. Hoult leans into the tech-bro villain archetype with twisted gusto, and while his performance is fun, his character ultimately gets lost in the chaos of stadium brawls and CGI-heavy slugfests.

But in the quiet moments, especially those between Corenswet and Brosnahan, “Superman” finds its beating heart. A scene where they kiss mid-air is pure movie magic. It’s in those small, human exchanges that the film soars, and where the character of Superman starts to become more than just an alien with powers. He becomes a symbol for resilience, empathy, and compassion in the face of overwhelming odds.

That’s the story Gunn wants to tell, a Superman whose strength isn’t in his fists, but in his convictions. Unfortunately, it gets muddled in all the cinematic universe noise. “Superman” may be a noble start to this new era of DC Studios, but it’s also a rocky one.

Grade: C+ 

SUPERMAN opens in theaters everywhere Friday, July 11th