Superman gives flight to the new DC Universe with a phenomenal leading trio of David Corenswet, Rachel Brosnahan and Nicholas Hoult who embody every element of the beloved characters, that packed with an exciting and hopeful screenplay that albeit has conflicting tones and too many ideas at play, promises a bright future for DC on the big screen.

 

For decades, Superman has remained a cornerstone of DC Comics, both in print form and film since Christopher Reeve’s debut as the character in Richard Donner’s 1978 film. Since then, the character has become a regular on both the big and small screen, most recently portrayed by Henry Cavill in the DC Extended Universe on the big screen and Tyler Hoechlin on television's Superman & Lois, both of which were both a part of extended universes of DC Comic characters. Taking a second run at creating a shared universe for DC Comics on the big screen, the keys to the kingdom have been handed to director James Gunn, best known for the Guardians of the Galaxy trilogy and The Suicide Squad, offering a more traditional approach to the heroic idol of the DC Comics brand in hopes on getting the fans back on board after Zack Snyder’s divisive grounded take on the characters. With Gunn at the helm, Superman becomes a colourful and funny summer blockbuster, that even though his humour gets in his own way at times, that instills a hope and courage in the beloved character that when paired with the casting of David Corenswet, Rachel Brosnahan and Nicholas Hoult, gives audiences a hero to believe in again.

 

To forge a new future for DC Comics on the big screen, Gunn looks to its origins on screen. The legacy of Reeve’s iconic portrayal significantly influences the creative choices of Gunn in reigniting the DC brand, from the motifs of John Williams’ iconic score constantly popping up in John Murphy and David Fleming’s musical score (which the score for this film itself is very good), the design of Superman’s suit which looks like a modernization of Reeve’s suit, but most importantly, the hope that permeates every element of the screenplay and helps to reinforce the notion that a man can fly, which was the marketing tag of the Reeve films. It is a safe move to bring these beloved characters back to the bring screen in a manner that won’t divide fans, unlike Snyder’s divisive (and almost biblical) take on these characters in Man of Steel, but it prevents the film from having its own distinct take on these characters. By no means is this bad, as it calls back to one of the most beloved iterations of Superman of all time, in a rousing and crowd pleasing spectacle, but it will leave the more casual non-comic book obsessed viewer wondering what makes this time any different than the last time we saw a hopeful Superman on the big screen.

 

With an undeniable eye to the past of Superman, the film is full of Gunn’s signature humour and storytelling, which is both a strength and a weakness. The screenplay feels like a weekly comic run, with lots of subplots working to give each supporting character a purpose from Jimmy Olsen, Eve Teschmacher, Mister Terrific to Ultraman, evoking that fun childhood feeling many got from reading DC comic books or watching a superhero cartoon series. In terms of substance, there is nothing vastly new to what viewers have seen in other iterations of the character: we see questions around the jurisdiction and position of Superman in human affairs that was explored in Batman v Superman: Dawn of Justice, the highlighting of alien themes (with a modern political undertone) as Kal-El is reminded of his own humanity and place in our world as seen in the original Richard Donner films and re-explored in Superman Returns, and even an element that is reminiscent of one of the better moments of Superman III. Narratively, every element that Gunn is playing with comes together and works as pieces of the larger struggle between Superman and Lex Luthor to set up the grand final act showdown, though it’s hard to imagine what a more focused film on Superman, Lois and Lex would have felt like with the powerhouse casting of Corenswet, Brosnahan, and Hoult (but more on that later). While feeling hyperactive in its focus, as Gunn bounces all over the place as he juggles too many characters in a pre-established world that the audience is seeing for the first time, with a levity in its tone, an undeniable heart, and Gunn’s proclivity for needle drops,  it's hard not to be whisked away with Gunn’s endearing approach to Superman.

 

Being a Gunn film, directed and written by him, his wacky sense of humour is woven into many of the film's moments, though it does not always work. A good portion of these moments generate some great laughs, largely being relegated to the supporting players and keeping the core trio of Clark, Lois and Lex true to their comic book identities. Though, at the same time, many of these moments get in the way of the hope that Gunn is so desperately trying to recapture in this film, and sadly more often than not it's Krypto who is overused in abundance that dampens the spark of his standout moments in the film. Distracting at times as not all the jokes land as intended, causing a clash between the hope and Gunn’s sense of humour, it never fully squanders the film’s potential as it is a big, colourful summer blockbuster full of exciting fight sequences and great visual effects work, resulting in a film that captures what fans love about comic books. But when paired with a lack of differentiating identity compared to previous iterations of Superman, Gunn more often than not gets in his own way and prevents the heart of his screenplay and characters from defining the film, as there are some truly beautiful moments between Clark and Lois and that third act scene between Clark and Jonathan that embody everything that fans love about Superman.

 

The strength of the film, and hopefully for the future of the DC Universe, unequivocally lies in its casting of Corenswet, Brosnahan and Hoult. Beyond looking similar to Christopher Reeve, Corenswet has that endearing quality that transforms him into an inspiring hero that audiences can’t help but look up to and be in awe of. Holding himself perfectly on screen to become the hero audiences know and love, Corenswet also brings a humanity and vulnerability to Clark as he struggles with the challenges he is facing in the film as he grapples with his human and Kryptonian heritage. It’s an impressive performance that captures everything about the character that audiences have loved for decades, making him an excellent leader for the new DC Universe. Hoult has never been more sinister or brilliant as Lex Luthor. Perfectly capturing the diabolical and calculating nature of Lex as he plots to take down and make Superman obsolete, Hoult revels in the wickedness of the character, especially in his final act confrontation with Superman which proves that he is exact actor you want being the Man of Steel’s greatest nemesis.