James Gunn has done it, and done it with aplomb. He’s pulled off the impossible. He’s made Superman feel new, classic, and completely alive all at once, making it the cinematic feat of the summer. With his debut as part of the newly formed DC Studios and its “Gods and Monsters” chapter, Gunn doesn’t just reboot the beloved character—he reinvigorates him, launching the DCU with heart, humour and heroism, all soaring on a big red cape of hope.
From the very first scene, you can feel that this is something special. The film opens with Superman already established – no origin story rehash here. Instead, we dive straight into Clark Kent’s daily struggle to balance life as the most powerful being on Earth with that of a humble reporter, a caring son, and a hopeful beacon in a world full of cynicism, tense political battles and economic upheavals that pull from real-world fears and tensions – all prayed on by Hoult’s truly evil Lex Luthor. Focusing instead on Superman’s inner strength, his empathy, kindness, and belief in people gives this film its soul and helps bring Richard Donner’s famed “verisimilitude” flying into the 21st century.
Plucked from a few candidates – including Hoult himself – it was David Corenswet who won out in the casting process, and what a choice it was. He is simply phenomenal as Clark Kent/Superman. He brings the warmth of Christopher Reeve, a new charisma that’s both witty and charming, and a unique vulnerability that makes this interpretation truly stand out. His Superman is strong but gentle, wise yet humble, and, like Reeve, embodies the true symbol of hope that here presents for so many.
Rachel Brosnahan is equally superb as Lois: she’s sharp, fearless, and utterly magnetic as a whip-smart, crackerjack journalist, with bite and brains to match. The chemistry between Brosnahan and Corenswet crackles with love, emotion and a tension that feels new for their dynamic, some of which has been hinted at in the trailers for the film. They, too, are in a different place in their relationship that we have seen on-screen before, and for this story, it works perfectly.
Then there’s the aforementioned Hoult as Luthor: deliciously layered, this is perhaps the best interpretation of the character on film ever – chilling, calculating, intelligent and dripping with hatred, Luthor isn’t a cartoonish megalomaniac—he’s a visionary, a control freak, and a deeply insecure genius who sees Superman as both a threat to humanity and his fragile ego. His presence looms large over the story, and his scenes with Corenswet sizzle with philosophical and bureaucratic tension.
There’s also excellent support from the “Justice Gang” in Hawkgirl (Mercad), Metamorpho (Carrigan), a hilariously grumpy Guy Gardner – played to perfection by Nathan Fillion – and Ed Gathegi’s brilliant Mister Terrific. And, lest we forget, Krypto the Superdog, who steals every scene he’s in. Gunn’s affection for the odd corners of the DCU shines through, and it’s infectious.
And the action? Spectacular. The flying sequences are breath-taking, with gravity-defying choreography and emotionally charged stakes, but Gunn, true to form, never lets action overwhelm the story. Every punch, every explosion, every rescue has weight and infuses the film with optimism, emotional depth, and visual flair. As with Guardians, Gunn brings that same energetic blend of humour, sincerity, and comic‑accurate vibrancy here, crafting a Superman who feels both relatable and mythic, revitalising the character not as an aloof alien god, but as a moral centre in a cynical world that gets darker with every passing moment, with the tone pitch-perfect throughout, punctured by John Williams’ original score and John Murphy’s new, lofty tones.
Perhaps most impressively, it feels as hopeful as he intended. In a cinematic landscape often obsessed with grit and gloom, Gunn reminds us that idealism isn’t as corny as some may say – it’s courageous, just like its subject. Superman is a celebration of doing the right thing, even when it’s hard. Especially when it’s hard.
Funny, exciting, heartfelt, and deeply human, Superman soars not just because of its flight scenes, but because it believes, unapologetically, in the good in people. It’s not just a great Superman movie – it’s a great movie. And, like almost five decades ago, you’ll believe a man can fly.
