Superman Review: Soars high with very minor turbulence

James Gunn‘s Superman kickstarts the new DC Universe with heart, momentum, and real potential. Anchored by a compelling trio—Clark Kent, Lois Lane, and Lex Luthor—the film brims with charm and emotional weight. But its brisk pacing comes at a cost: quieter moments are rushed, and most characters outside of Superman are sketched in broad strokes, leaving us with only tantalizing glimpses of a world we want more time in. When the film does pause to breathe, though, it reveals the kind of rich, lived-in universe Gunn seems eager to build.

Superman Overview

Gunn’s Superman and 2013’s Man of Steel are very different takes on the same icon, each serving distinct goals in building a cinematic universe. While Man of Steel presents Superman as a god among men, with strong performances from Henry Cavill and Russell Crowe, it stumbles with a rushed Lois-Clark romance and that infamous tornado scene. Snyder kept the focus squarely on Clark’s origin, rarely stepping beyond his journey.

Gunn’s Superman takes the opposite approach: a lived-in world already teeming with metahumans. The backstory is minimal, introduced via a brief crawl, as the film throws us into a moment in Superman’s life—a time when he loses. This loss, both physical and emotional, is key to how Gunn successfully humanizes the character. His trademark humor is present but restrained, and always character-driven.

The story is clean and efficient. After intervening in an international conflict, Superman becomes a political flashpoint, as Lex Luthor exploits rising distrust. David Corenswet channels the warmest, grounded Superman since Christopher Reeve. Rachel Brosnahan’s Lois Lane is perfectly cast, and her chemistry with Corenswet crackles, especially in their standout interview scene. That said, the film could’ve used more of their dynamic, and more of Clark Kent as a reporter—he only gets one real newsroom scene.

Nicholas Hoult delivers the best Lex Luthor performance since Michael Rosenbaum, striking a balance between petty jealousy and intellectual menace. Edi Gathegi is the breakout as the emotionally distant Mr. Terrific, joined by Nathan Fillion’s Guy Gardner and Isabela Merced‘s Hawkgirl, both of whom are solid but underused.

Superman is a strong, spirited foundation for the DCU. The shallow characterization of everyone outside of Superman and breakneck pacing hampers the story at times. However, the visuals are striking, John Murphy‘s score soars, and the central trio—Superman, Lois, and Lex—make this world one worth returning to.

Humanizing Superman

The opening of Superman does a strong job of grounding the character in humanity. After a brutal fight with a kaiju, a battered Superman crashes to Earth. He whistles, summoning his wild but loyal dog, Krypto. Then he retreats to the Fortress of Solitude to heal before flying back into action.

This version of Superman focuses on saving lives, not just winning battles. He tries to protect everyone—people, animals, even the kaiju—and limit damage to Metropolis.

After the fight, Clark returns to work at the Daily Planet. A fun exchange about Jimmy Olsen (Skyler Gisondo) “beating” Superman adds humor. Later, Lois comes home to find Clark cooking dinner. The scene turns romantic. After making out, Clark agrees to let her interview him as Superman.

That interview doesn’t go well. Clark sees his actions in Baravia—where he threatens the president—as justified. Lois pushes back. She raises real concerns about a metahuman interfering in international politics. It’s a smart, tense scene that puts their relationship on shaky ground.

We get another look at Clark’s humanity when an injured Superman is brought to the Kent farm. Lois sees the love and care in his parents, and it shifts her perspective. Pruitt Taylor Vince and Neva Howell are great as Jonathan and Martha Kent. They don’t get enough screen time, though. Their first scene, a phone call with Clark, is awkward and unnecessary. Still, Jonathan’s soft heart and Martha’s quiet strength give us a glimpse into the family that shaped the man behind the symbol.

One standout aspect of this version is Superman’s physical vulnerability. He loses fights more frequently and doesn’t appear as overwhelmingly powerful as the Cavill/Snyder incarnation. But this slightly weaker portrayal works in the film’s favor. It emphasizes his humanity over his Kryptonian strength, making him more relatable and emotionally grounded.

Lex’s Plan

Outside of Superman, most characters are thinly written, but the performances help elevate them, especially Hoult’s Lex.

Hoult plays Lex as a brilliant, ego-driven billionaire consumed by jealousy. While some past versions—like Michael Rosenbaum’s in Smallville—view Superman as a genuine threat to humanity, Hoult’s Lex has no such pretense. He’s not trying to save the world; he just wants to prove he’s the smartest, most powerful man alive.

Lex orchestrates a monster battle to distract Superman while his metahuman operative, The Engineer, infiltrates the Fortress of Solitude. There, she completes a corrupted message from Superman’s Kryptonian parents. When the whole recording is broadcast globally, it claims Superman was sent to Earth to conquer. It’s a bold deviation from canon, and one that doesn’t quite land. Still, it deeply shakes Clark, who voluntarily surrenders to Lex and the government.

Hoult shines as a calculating manipulator. He’s measured and smug when in control, but once the advantage slips, so does his composure. His unraveling is compelling to watch, especially opposite a humble, grounded Superman who ultimately displays more humanity than the so-called genius trying to destroy him.

Justice Gang and The Daily Planet

The Justice Gang and Daily Planet staff add flavor to Superman, but the script underserves them.

Guy Gardner/Green Lantern (Fillion), Kendra Saunders/Hawkgirl (Merced) and Michael Holt/Mr. Terrific (Gathegi) make up the Justice Gang. Only Guy likes the name. They work under Maxwell Lord and have a fun, tense dynamic with Clark. Later, a scene with Lois also stands out. Superman allies with them despite clashing over methods. After his disappearance, Lois seeks their help. Kendra and Guy refuse, but Mr. Terrific steps up to the challenge. Gathegi gets the most screen time and makes the most of it. He brings charm and intelligence to every scene. Fillion and Merced are entertaining, but their roles are too limited to leave a lasting mark.

The same applies to the Daily Planet crew. Lois teams up with Mr. Terrific to rescue Clark, then begins investigating Lex’s Boravia scheme with Jimmy Olsen. Gisondo is a standout as Jimmy—eager, awkward, and endearing. His subplot with ex-girlfriend Eve Teschmacher, now dating Lex, has excellent potential but leans too cartoony for the film’s tone. Wendell Pierce is well-cast as Perry White, but somehow has even less presence than Laurence Fishburne’s version in Man of Steel.

In the end, Mr. Terrific and Jimmy get their moments, but most of the supporting cast is left on the sidelines. With stronger writing, these characters—and performances—could have truly elevated the story.

Superman Final Thoughts

Superman is a confident, heartfelt start to the new DC Universe—flawed but full of promise. James Gunn centers the film on a version of Clark Kent who isn’t just powerful, but deeply human. Corenswet, Brosnahan and Hoult form a compelling core trio, grounding the story with charm, conflict, and emotional depth

That said, the film’s brisk pace leaves much of its rich supporting world underexplored. Characters like Jimmy Olsen, Perry White, and the Justice Gang feel more like glimpses than fully formed pieces of the story.

Superman’s shallow supporting characters make it a weaker film than 2025’s Thunderbolts. However, the positivity, action sequences and cohesive story place it above Captain America: Brave New World.

Despite its stumbles, Superman captures something essential: the hope, humility, and quiet strength that make the character resonate. It’s not just a franchise reset—it’s a reminder of why Superman matters. And if this film is any indication, the DCU is finally flying in the right direction. 

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