For everyone who tromped through the dishwatery muck of Zack Snyder’s Man of Steel/Justice League bog, here is your reward. At long last, director James Gunn delivers a bright, shining Superman, hovering above a vibrant, bustling Metropolis. The result is a fun, breezy experience that both captures the essence of the character and understands the world around him. Superman ain’t perfect, but after the four-hour laxative that was Snyder’s Justice League, this is King Lear at the Globe.
Let’s start this shindig with the film’s biggest strength: Gunn spares us yet another recap of Superman’s origin. (I mean, let’s face it–after the campy scene of Marlon Brando in mylar pajamas, mumbling like he’s reading the ingredients off a Bisquick box, this avenue should’ve been permanently closed.) Here, we hit the ground running. Or, flying. Whatever. In Gunn’s world, Supes (David Corenswet) has been on the scene for three years, and humanity has adjusted to him as its greatest protector.
Meanwhile, Gunn also fills a key plot hole from the Richard Donner films: Lois Lane (Rachel Brosnahan), the world’s foremost investigative journalist, has already deduced that the 6’4 stud in prop glasses is actually Superman. Even better, the two have settled into a romantic relationship. Any fan of the character knows this is bound to happen anyway, so major props to Gunn for cutting to the chase.
As for the actual plot, well…hope you’re hungry, because Gunn has cooked too much. For a modest runtime of 129 minutes, Superman offers a full sampler platter of lore, side characters, and Easter eggs. Let’s start with Lex Luthor (Nicolas Hoult), Superman’s iconic nemesis. This version of Lex is a petulant demagogue–a profoundly insecure billionaire who attempts to skewer Supes on social media before killing him in person. (Undoubtedly, Donald Trump will continue to inspire scenery-chewing villains for at least the next generation.)
On the other team, a crowded roster emerges. Gunn swaps out the high-borne Justice League with a ragtag squad worthy of his own Guardians of the Galaxy. These ragamuffins are led by Guy Gardner (Nathan Fillion), a Green Lantern with a sass-mouth and the bowl cut your mom gave you in 1994. Also along is Mr. Terrific (Edi Gathegi), a surly scientist with a barrage of fancy gadgets and a black rectangle on his face. Finally, the “Justice Gang” rounds out with Hawkgirl (Isabela Merced), who looks like a shorter and squawkier Thor. This group specializes in snarky banter and slouching like they don’t give a shit. While the Gang successfully models Gunn’s freewheeling humor, every added hero threatens to make Superman a supporting player in his own movie.
This points to Superman‘s biggest issue–busyness. Gunn stuffs his movie so full, it pops at the seams. In one scene, Lois and Clark casually chit chat while a squad of heroes battle a giant eyeball monster in the background. On one hand, Gunn admirably builds a world where anything can and does happen. On the other, it also shows how hard this film is working to make the fun look easy. (Superman’s dog, Krypto, is the perfect example of this. You’ll think his constant yapping is either totes presh or completely annoying.) In apologizing for Snyder’s downmouth drabness, this Superman occasionally does too much.
Fortunately, Gunn makes it easy to forgive his overreach. When it comes to casting, he has the eye of an eagle…or maybe a hawk. Corenswet finds that balance between easy charm and sturdy naivete as Superman. Brosnahan is the best cinematic Lois Lane yet. She has the usual moxie, but also the sweet-salty combo of fragile humanity and earned cynicism. As a couple, they spark genuine chemistry, and it elevates the entire movie by at least half a star.
As for the big bad, Hoult’s Lex Luthor hits just the right note. He has some of Gene Hackman’s preening peacock, melded with Kevin Spacey’s belligerent insecurity. That makes it a bit of a bummer when Gunn relegates his showroom villain to staring at a bank of computer monitors and hollering at subordinates for most of the movie. Maybe it’s selfish, but I demand more facetime between hero and villain in my Superman. Lex loves to play head games, but some of the impact gets lost over a Zoom call.
And that’s the thing: Any franchise with the depth and duration of Superman comes with the burden of expectations. As fans, we expect our to-do list to be satisfied. When someone like Snyder avoids or tinkers with those sacred tropes, the online wrath comes swift and severe. (Although, it must be noted that Snyder also commands a legion of devotees, for reasons that pass understanding.)
For the most part, Gunn checks the boxes. We see Clark wading through Kansas wheat, and sharing a tender front porch moment with Pa Kent (Pruitt Taylor Vince). Gunn also makes sure the offices of The Daily Planet are the usual bustle of flummoxed reporters hollering spelling and syntax questions to each other. And there’s my favorite: Gunn deploys John Williams’ triumphant motifs throughout the film. To be honest, I wished for even more, but after Hans Zimmer’s misfired Man of Steel score, whatever we can get is great.
That’s Superman‘s biggest achievement. It doesn’t hit the same highs as Christopher Reeve’s first film, but this adaptation embodies the same spirit. As with Fantastic Four: First Steps, Gunn’s Superman doesn’t forge a new path so much as pull a beloved franchise out of the weeds. After all, the obnoxious missteps of the DC universe shouldn’t be forgotten, but Gunn finally shows us the path to forgiveness.
129 min. PG-13. On Demand.
