Superman has been one of the marquee characters of our times for almost a century now. From 1930s comics to iterations from filmmakers across the map, one thing’s for certain: the Last Son of Krypton’s legacy is forever cemented. Now, over a decade since Zach Snyder’s stint with the 2013 Man of Steel, James Gunn enters the picture with his iteration of the character, leaving us with his signature style and substance.

Superman (2025) certainly has some deep flaws within its core that keep it from the cream of the crop in this genre, but it manages to deliver on the true ethos of what makes Superman a compelling character: hope. It helps when the cast holds the movie up tremendously, and virtually everyone truly embodies the nature of the characters, especially David Corenswet as the title character. Gunn has a little too much going on at times with threads from a newly formed universe feeling underdeveloped and a truly mixed bag of visuals, but when Superman soars, you’ll truly believe that this man can fly. 

Unlike in previous films, we begin years after Superman has revealed himself to the world, and his relationships with his alter ego, Clark Kent, and his Super persona have already been cemented. Currently, the hero is under a heavy amount of fire for his involvement in a war in Boravia, where he stopped the conflict and has become a polarizing figure in the media.

With Lex Luthor (Nicholas Hoult) closer to taking Superman down than ever, thanks to his government connections, and Clark’s relationship with Lois Lane (Rachel Brosnahan) taking turns, the last remaining Kryptonian is put to the test now more than ever to prove himself as the protector of Earth.

Within its story, Superman already has a great core. The geopolitical conflict and Kent’s desire to help those in need create tension between a hero who just wants to help and the familiar modern evils of our world and media.

The film is never exactly subtle in its portrayal of the modern political landscape, with even a Fox News parallel shown verbatim on a TV in the film. Still, I found it fascinating how Gunn decides to place Superman into a very modern cultural climate in unique ways that have never quite been done before with the character. It’s a swing, but one that works well within the spirit of Superman, and his relationship with the world as an alien outsider. 

Visually, I was worried the digital sheen and overly CGI look of the film would hamper a fair portion of the action, but it’s implemented through dynamic framing, leading to a feeling like you’re flying with Superman. A lot of the film still relies on some uncanny-looking optics, but the effects work is at its best when the camera movement feels just as unwieldy.

Gunn inserts a similar visual language to that of the Guardians of the Galaxy trilogy (2014-2023) with specific shots; a plethora of long tracking shots and one-take set to classic rock and R&B needle drops that are too familiar to his previous projects. Instead of carving out a new identity with a new character, Gunn sticks to what he knows, but it still works, giving an energetic punch to some action scenes.

In a similar vein to Sam Raimi’s Spider-Man trilogy (2002-2007), we see Corenswet’s Superman struggle with his identity as a Hero and finding his purpose as an Alien. It gives him a heart sense of empathy, yes, but it also makes all his moments of victory so much sweeter to watch unfold. 

The performances in the film, specifically from Corenswet and Brosnahan, are the best they’ve been in a Superman film. Clark Kent and Lois Lane have such an incredible dynamic that it makes me wish we got more of their lovable banter. It’s clear from the start of the film that Corenswet and Brosnahan were matches made in heaven with these castings, Corenswet embodies the warm lovability and hope of Superman so flawlessly and Brosnahan provides a great spunk for Lane, it’s a wonder acquainted you feel towards them even when this story takes place years after they first meet.

Hoult, as the despicable Lex Luthor, exceeded all expectations as a villain. He not only channels the utter hatred for everything Superman stands for perfectly, but he also nails what’s more important, Lex’s jealousy and pure pettiness as a human being. He can’t handle not being at the world’s center of attention like an alien is, and he’s willing to do whatever it takes to make Superman suffer. Through a wide range of rageful facial expressions and actions like holding loved ones hostage and killing the innocent like it’s a game, Hoult further proves his acting prowess as the evilest version of the character we’ve seen. 

Where the characters become frustrating is the introduction of the “Justice Gang:” Guy Gardner (Nathan Fillion), Hawkgirl (Isabela Merced), and Mr. Terrific (Edi Gathegi). Gathegi is the only one able to bring any life within these characters, Merced gets virtually nothing to do as Hawkgirl, and Fillion probably has his most insufferable role in a Gunn movie yet. Most of the film’s tonal clashes and humor misses reside with these characters. This is where the aspects of forming a new universe with metahumans that are poorly developed clash the most with just telling a Superman story.

Superman sets out to do a ton. Starting an entirely new universe, introducing us to new and old elements of the character, and juggling numerous ideas and not all of the land perfectly, but when the film hits its stride, it finds a beautiful balance within it all. With amazing lead performances, a beautiful score, dynamic action, and a sense of all-around wonder, Superman, regardless of its flaws, gave me something not many superhero films do anymore: hope.

Review Courtesy of Joshua Mbonu

Feature Image Credit to Warner Bros. and DC Studios via Variety