Running Time: 130 Minutes
Certification: 12
Starring: David Corenswet, Rachel Brosnahan, Nicholas Hoult, Edi Gathegi, Anthony Carrigan, Nathan Fillion, Isabela Merced, Skyler Gisondo, Sara Sampaio, María Gabriela de Faría, Wendell Pierce, Alan Tudyk, Pruitt Taylor Vince, Neva Howell, Beck Bennett, Mikaela Hoover, Christopher McDonald
There is a lot riding on the back of Superman. After the DC Extended Universe closed with 2023's Aquaman and the Lost Kingdom, plans have been in place to launch a new DC Universe on-screen. Much like Zack Snyder did in 2013, the new universe is being established with a brand-new iteration of Krypton's last son. While Snyder's depiction of Kal-El was a visually and thematically dour tale of a world which lost hope, writer/director James Gunn takes things in a different direction with a more hopeful realisation that is reflected by how colourful the visuals are.
Trusting its audience to know the well-established origin tropes, the film kicks off with Krypton already gone, and Superman already established as a notable figure within a world already full of metahumans. In a way that skirts around previous complaints about how overpowered Superman is, the first look at the titular hero is a more humbling moment after the character has suffered his first loss in a fight. The culprit? A mysterious figure called The Hammer of Barovia, in retaliation to Superman intervening in an international war to save lives. It is an act that others see as a more complex issue, while behind the scenes of it all is Lex Luthor, who is enacting his plans to destroy Superman once and for all.
In a world full of superpowered beings, this film does tremendous work to show why Superman stands out amongst such powerful heroes. It's not that he can punch harder than others, it's his optimism and genuine desire to do good that towers above all. His desire to see the best in others is inspirational, and feels like a much-needed balm within a world that can feel hopeless. None of this would land were the titular role miscast, but there is no worries about that here. David Corenswet shines brightly in the role, effectively bringing alive the character who just simply wants to help people in danger, and become the person that lives up to his parents' ideals. He is somebody that feels deeply, and this drives him to save the day in superheroic fashion.
Driven to help by the might of her journalistic capabilities, Rachel Brosnahan is strong support as Lois Lane. She is not just a love interest who is to be placed in peril, but somebody determined to go beyond her limits to change things, regardless of whose crosshairs it puts her in. In the antagonistic role, Nicholas Hoult is a strong presence as Lex Luthor, a vicious figure driven by envy to destroy Superman, while also profiting from unfolding atrocities. In a world of pathetic billionaires trying to influence governmental institutions, it is a timely depiction of a decades old character.
In a film full of tremendous cast members, there admittedly might be too many to fit within this feature, leaving a portion struggling to stick in the mind. In Sam Raimi's Spider-Man trilogy, he managed to make even small inclusions like Ted Raimi's Hoffman and Aasif Mandvi's Mr. Aziz standout through the slightest of interactions. That same feeling is not replicated across the board, like for most of the Daily Planet team. At the very least, the supporting cast that do stand-out do wonders to help bring alive this world. This is obviously a priority for the heroes intended to recur in this universe, such as Edi Gathegi's scene-stealing straight man performance as Mister Terrific, or the ever-watchable Nathan Fillion as the douchiest Green Lantern imaginable, Guy Gardner. But it is also true of the human characters, including Sara Sampaio's entertaining Eve Teschmacher, or Skyler Gisondo's charming ladies man interpretation of Jimmy Olsen.
When it comes to the directorial reigns, Gunn was a curious choice. Time and time again, the man has delivered extraordinary stories about rough-and-ready misfits trying to overcome their situation in life to do good. Much of that can be attributed to Kal-El, but a character synonyms with being good-natured feels like a different kettle of fish. There is no need to worry, as Gunn is a brilliant fit for this character while his directorial style works wonders here.
He has an eye-catching flair that compliments the attention-grabbing sequences, from fight to flight. Whether it is a slickly crafted fight scene set to Noah and the Whale, or flying sequences that replicates the turbulent feeling of the characters in-flight, these are exciting moments to see unfold on the big screen. It is not just the larger-scale scenes where Gunn excels, as he can also flit between the tension of a Russian roulette scene, offer a touching heart-to-heart between Clark and Pa Kent, include moments of intergalactic weirdness, and also deliver relevant commentary involving a fascist nation looking to invade their neighbouring country.
Admittedly, there are a lot of pieces in play that leaves the film feeling rather overstuffed, while a jailbreak sequence is hampered by its visuals. But despite these quibbles, the score by John Murphy and David Fleming is an inspiring piece of work that magnificently drives the film throughout. It all makes for an effective film about the much-needed importance of kindness. As a result, Superman is a triumphant start to this new era of the DC films.
Superman is available in cinemas now
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