Review: ‘Superman,’ a fresh start for the Man of Tomorrow

Without real threat, there are no emotional stakes. And James Gunn establishes that threat early on, when Superman (David Corenswet) appears beaten and broken, blood spilling from his mouth — a striking contrast against the whiteness of snow.

This sets the tone: Superman is fallible and will face daunting challenges. The Man of Tomorrow will win, of course, but how he arrives at victory is an arduous, painful journey — but steers clear of the full-on grimness of the Zack Snyder era.

In this cinematic reset, the first offering from DC Studios, where Gunn serves as co-CEO, the Alien Messiah is literally restored to life. Gunn skips the ubiquitous origin visuals that even normies like me already know, and jumps right into a slice of Superman’s life, dropping us in the thick of things: a refugee alien in America, secretly dating Lois Lane (Rachel Brosnahan), and carrying out his daily heroics.

Gunn’s bold color palette brings comic-book visuals to life. Metropolis is rendered in a warm, textured blend of orange, brown, yellow, and gold, making Superman’s primary colors pop. The Daily Planet feels like a dream office — a ’70s retro newsroom fused with sleek, modern tech.

Superman in today’s social media age is still steeped in sci-fi. It's a visual treat: from Lois Lane’s lived-in, semi-shabby apartment to a sleek pocket universe, to the Eastern European-vibe Boravia, the arid stretches of Jarhanpur, deep space, and sunlit Kansas.

Gunn’s needle drops aren’t overbearing. He blends John Murphy’s original orchestral score with John Williams’s iconic theme, though the music mostly lingers in the background.

Supporting characters like the corporate-backed trio of cocky Guy Gardner (Nathan Fillion), cranky Mister Terrific (Edi Gathegi), and serious Hawkgirl (Isabela Merced) border on overshadowing Superman, but the Man of Steel remains central.

Corenswet, despite lacking a sharply chiseled jawline, plays a boyish-looking Superman with a softer, more human quality. He’s the metahuman-next-door: an approachable, low-key hero. 

The people of Metropolis don’t swoon over him; they watch from a distance. This is a city desensitized to disaster, where evacuations, cracked streets, and collapsing buildings feel routine — and where heart-to-heart conversations still happen while the Justice Gang battles a neon, floating, other-dimensional jellyfish outside your window.

You immediately sympathize with Corenswet’s portrayal of an alien refugee trying to save lives, only to be smeared by Lex Luthor (Nicholas Hoult) in a campaign that threatens not just his reputation but his very identity. Gunn makes us feel the emotional and existential weight of that alien-refugee crisis without tipping into overt politics.

But the best thing in Gunn’s reboot is Hoult. 

To root for Superman, we need a convincingly evil supervillain, and Hoult delivers. He oozes deep, unfathomable envy without slipping into theatrical excess. Even wordlessly, his eyes reveal a psychotic obsession and irrational bitterness that makes you fear for Superman’s life — and maybe even wish Luthor had access to professional psychiatric help. But we don't want him in therapy, right? We want Luthor fighting Superman, because that’s what entertains us.

Armed with his fighters — the terrifying Hammer of Boravia and The Engineer (María Gabriela de Faría) — plus his heartless tech team and actual monkey internet trolls in a neon-lit digital war room, Luthor is a cold-blooded enemy.

Gunn’s writing, though, lacks wit. And he gives us little room to breathe, reflect, or absorb. Aside from a few Smallville scenes and tender Lois moments, the film barrels from one action beat to the next. His dynamic camerawork and whip pans, while visually playful, sometimes feel abrupt — slightly dulling emotional momentum — but the pace sustains the excitement.

And while there are occasional big monsters for Superman to lift, it’s the fight scenes that stand out: visceral and effective. Every punch, kick, laser beam, and collision lands hard, with clever sequences — like the delightfully LEGO-like anti-proton river — keeping you at the edge of your seat.

Adding to the charm is Krypto (3D-modeled on James Gunn’s own dog), an amusingly untrained pup who appears at just the right moments. More than a bonus for dog lovers, Krypto adds heart to the tale. Brosnahan and Corenswet also have sizzling chemistry, and this completes the “Superman” movie experience.

In a way, Gunn gave the franchise Truth, Justice… and yes, did it the Hollywood American Way.

4 out of 5 stars

Opens today, 9 July, in Philippine cinemas