Superman is a film with a tremendous amount of pressure on its shoulders. The first theatrical release in James Gunn’s new, interconnected DC universe is plagued by the sins of the father (much like its eponymous hero), as DC’s previous attempt to create a shared world in their name was a disappointing failure. Fortunately, the latest attempt at kickstarting this ambitious project appears much more optimistic, much like Gunn’s version of the character.
David Corenswet’s Kal-El is a breath of fresh air. Corenswet’s iteration is hopeful and kind. Gunn makes it important for the viewer to see his superhero focus on protecting the innocent first, as opposed to attacking the evil. This is demonstrated in scenes where he rescues and shields various people (even a squirrel), remembers civilians’ names, and calms the fearful. His gentleness makes him easy to back; we want to see him save people, because we see how much joy and purpose it gives him. Superman, in my opinion, should not be an emotionless superweapon sent from the heavens to punish evil (aka Man of Steel). Leave the brooding to Bruce Wayne.
Journalist Lois Lane, portrayed this time by Rachel Brosnahan, is utilised excellently as an anchor to her alien lover, keeping him down to Earth (sorry). This is perhaps best displayed during the brilliant scene early on where Clark Kent switches in and out of Superman mode as she plays devil’s advocate, questioning how much he should be doing. The pair are imperfect, something Gunn seems to emphasise in his work: the Guardians of the Galaxy, for example, have serious issues. Depth is what makes these characters likeable.
A hero can only be as good as its villain, however. Superman’s follically challenged nemesis is depicted spectacularly by Nicholas Hoult, a casting decision many questioned prior to the film’s release. Hoult’s Lex Luthor is a commanding presence on screen and is gloriously spiteful. This is the performance that will likely be remembered most from the film, as Hoult makes the billionaire simultaneously pathetic and dangerous: likely Gunn’s own feelings on them.
A superhero film needs action, and Superman has it in droves, with well-choreographed, weighty fight scenes that manage to make the titular hero feel vulnerable. Of course, being a James Gunn film, a long take of combat backed by upbeat, ill-fitting music is a guarantee. The scene I reference is a particular highlight, with Edi Gathegi’s Mister Terrific wiping out Luthor’s cronies with ease.
One problem the film has is that it is potentially overstuffed. While the abundance of characters and high-concept ideas that are present from the get-go makes this a lived-in, immersive world, it results in pacing issues. Those characters who are not fortunate enough to receive as much screentime, such as the other journalists at the Daily Planet, will not leave an impression on viewers, and they become almost decorative.
Overall, Gunn’s Superman is a highly promising debut for this cinematic universe. Much like the titular hero, the future of DC seems optimistic.
4/5
Image Credits – The MovieDB
