SUPERMAN (2025)

Review by John Larkin

James Gunn's interpretation of the classic comic book character and story is wildly entertaining and delightfully wacky in equal measure.

James Gunn's GUARDIANS OF THE GALAXY VOL. 2 was one of my favorite films of 2017. While the first GUARDIANS didn’t really land for me, VOL. 2 won me over with its barrage of non-stop action, character antics, jukebox soundtrack and a general infusion of bright, kinetic, fiery energy that summed up the ultimate popcorn theater experience. Now Gunn brings that same energy to yet another reboot of SUPERMAN—and the good news is, it’s the best one since the original Christopher Reeve version.

What was unexpected—and surprisingly not a deterrent—is that Superman takes a backseat at times, almost feeling like a supporting character in a larger cosmic battle. This time around, Superman has friends: both the canine (Krypto) and other “metahuman” beings in the Green Lantern Corps—Guy Gardner (Nathan Fillion), Hawkgirl (Isabela Merced), and Mr. Terrific (Edi Gathegi). Gathegi nearly steals the film in the second act, armed with both ultra-cool swagger and comedic sensibilities that feel fresh and character-driven. David Corenswet as Superman is incredibly likable, striking the perfect balance of tenderness, vulnerability, and comedic energy to make this version of the character feel fresh and uniquely his own.

As for Superman's love life—gone are the light, subtle flirtations between Clark Kent and Lois Lane, replaced now by a full-blown passionate relationship, with Lois (Rachel Brosnahan) fully aware of Clark’s true identity. Brosnahan as Lane is deeply woven into the plot: she isn’t just a love interest—she’s an investigative force. Brosnahan’s portrayal brings a mix of fierce intelligence, emotional vulnerability, and journalistic tenacity making her easily the best Lois Lane to ever grace the screen.

In GUARDIANS OF THE GALAXY VOL. 2, one of the best sequences involves Michael Rooker’s Yondu escaping a celestial prison and tearing through an army set to “Come a Little Bit Closer” by Jay and the Americans. Gunn echoes that with Mr. Terrific wielding his T‑Spheres in a high-tech prison breakout that delivers a knockout adrenaline rush—though it doesn’t quite match the visceral highs of Yondu’s moment, it sets the stage for a wild romp through interdimensional portals, alternate Earths, and escalating set‑pieces that keep raising the stakes.

Gunn doesn’t shy away from modern politics as allegory: Lex Luthor (Nicholas Hoult) is a technocrat allied with a European world leader, intent on overthrowing an entire population. Think Trump and Musk merged into one character colluding with Putin to invade Ukraine. Superman himself is the ultimate immigrant—his “illegalness” becomes a hot-button debate within the film. Luthor manipulates public opinion by broadcasting a doctored recording of Superman’s Kryptonian parents urging him to take control of Earth—a misinterpretation that fuels global distrust and lands Superman in a high-tech prison within a pocket universe. That arc builds tension and ambiguity: beloved hero is suddenly branded criminal due to Luthor's propaganda, yet it fits the larger narrative without overshadowing the film’s fun.

While I generally dislike the simplification of real-world politics in superhero films—it often simplifies complex issues in a somewhat nearsighted way—here it doesn't hurt the narrative or overtake the fun. The emotional stakes felt real, as Luthor’s smear tactics echoed real-life misinformation campaigns while still rooting for heroes to triumph. Gunn manages to use politics to flesh out his world rather than overshadow the popcorn spectacle.

Stylistically, I’m still unsure whether the frequent use of fisheye lenses works. Thankfully, they’re not overused too much. That said, a few scenes could have benefited from the rich cinematic depth offered by anamorphic lenses—adding more grand scope to Superman’s flights or the cosmic portals. Overall, though, the choice supports Gunn’s energetic, kaleidoscopic aesthetic: it’s bold, modern, and undeniably visual.

Gunn’s SUPERMAN is a total delight: a film worth re‑enjoying that will assuredly spawn multiple spinoffs from the peripheral characters it introduces. I’m already eagerly awaiting a MR. TERRIFIC film—and they’d be nuts not to greenlight it next.