Genuine human kindness stands out as rebellious in the modern day, where the news focuses on so much death, war and attempts to divide us. It is normal to be cynical and cruel nowadays, but director James Gunn’s newest feature, Superman, puts a spotlight on the belief that being generally kind and heartfelt is the way we should be. In the past decade where the Man of Steel was depicted as an unfeeling, God-like being through the films directed by Zack Snyder, it is fundamentally refreshing to see a film which depicts Superman as the closest yet to Richard Donners’ original big screen take.
Gunn’s newest big screen depiction of the Man of Tomorrow follows the hero as he sees his worldview and his public status tested when he saves lives in the middle of an ongoing war. When uncertain truths are revealed about his past, the hero sees himself coming into conflict with fellow heroes, the United States government and his archnemesis Lex Luthor.
Gunn has worked with ensembles throughout his career in the superhero genre, with his four previous features all following superhero teams, namely the Guardians of the Galaxy and The Suicide Squad. Crafting a solo feature is a different task for the director, and the extended cast for this film could have been a detriment for sure, but this talented director always makes it work.
This film feels the closest a director has come to capturing the tone and feel of an actual comic book, the film opens in media res, the characters already exist, and the origin stories are skipped, like the audience has opened a comic book in the middle of a story arc. All the characters have important roles to play in the film, but they all enter and exit the movie as the story requires of them, feeling like a Superman story with crossovers. Starting this new cinematic universe with the superheroes already active and the world being built around that really makes it stand apart from the competition. The film does get bogged down in some exposition in the first act, but the movie really functions perfectly without any need for justification of the events or the characters. The film also just retains its character-focus by the plot being so focused on the conflict between Lex and Superman.
David Corenswet is the newest actor to take on the iconic role of Superman. He is the linchpin of this film, the most important character who dictates the tone of the film, and Corenswet impresses as the character. The film reflects the light-heartedness and the earnest portrayal of the character, giving Corenswet so much opportunity to mark out a unique take on the character that sets him apart from both Christopher Reeve and Henry Cavill. He is a hero who believes in love, kindness, the fundamental ability for people to change and the protection of all life, to the point that so many action sequences in this film pay specific attention to the hero saving people and protecting them from harm’s way. The hero is charming and warm, brimming with personality and he uplifts the film’s cheesy nature into feeling hopeful and bright.
The actor also just has magnificent chemistry with co-star Rachel Brosnahan, who plays Lois Lane. Brosnahan delivers a levelled Lois Lane performance, depicting the character as troubled and untrusting, but so filled with the need to seek the truth. She is a realist, which clashes with Superman’s look at the world which may seem naïve to an audience, but is proven right through the character’s actions.
Nicholas Hoult portrays the film’s lead antagonist, Lex Luthor. Luthor is among the most iconic comic book movie villains, portrayed throughout the decades by many talented actors with vast different takes on the character. Hoult portrays the obsessive nature of Luthor, he is cold and calculating, treating his staff terribly, the only passionate speeches from him comes from talking about killing his archenemy. His character acts as an anthesis to the message portrayed by Superman, he represents the realistic evil of humanity, his xenophobic and cruel side opposing the kindness and emotional nature of the protagonist. His role also serves to configure the movie’s political analogy with the ongoing Palestine-Israel conflict, with the waring nations that Superman takes part in being a clear analogue to this real-world conflict. The film takes a clear side in the conflict and critiques the American government and the upper class for the role in the conflict through Lex, a hard stance that is a surprise for a mainstream Hollywood film.
Corenswet, Hoult and Brosnahan are joined by a massive cast of supporting actors who range in importance. Skyler Gisondo, Wendell Pierce, Beck Bennett and Mikaela Hoover serve as the team behind the Daily Planet newspaper, each having a small but memorable role in the film. Nathan Fillion, Isabela Merced and Edi Gathegi portray the heroes that make up the ‘Justice Gang’, Green Lantern, Hawkgirl and Mr Terrific respectively, three heroes that serve as supporting players in action sequences and as moral support. The characters serve as more of a taster for what’s to come, as a promise of more solo adventures in this new universe. Action sequences serve as a major highlight of the film, as Gunn makes the use of the heroes’ wide variety of powers to convey interesting and unique action sequences. Filmed on IMAX, Gunn’s direction consistently amazes and surprises, shooting flying sequences so dynamically and with head-on shots that remind of Tom Cruise’s Top Gun: Maverick.
A common critique of the Marvel films is their flat directions, commonly grey and dull in colour with very little stylistic flair. Gunn’s work has always stood out as visually interesting, and Superman is his most visually distinct yet. The film is colourful and bright, matching the tone with a direction which looks like it was ripped out of the comic pages. Gunn’s work is also commonly critiqued for its tonal mismatches, the mixture of both comedy and emotional moments leads to one overpowering the other. This film feels like his most tonally consistent film, the emotional beats land and the comedy feels contained and concentrated, and there is still a sizeable number of jokes that for everyone that doesn’t land, there will be one that does. The music needle drops are also very contained and focused to only two in this film, compared to the cohesive soundtracks of the director’s previous work.
Composers John Murphy and David Fleming’s score puts a great end stone to the film’s style, marking a hopeful film with an equally hopeful score, remixing John Williams’ original Superman score into something unique and vibrant. The electric guitar marks a connection to punk rock, connecting to Superman’s central vision, that human kindness and empathy is the true punk rock.
Rhys Reviews 
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