Superman is not a difficult character to get. Sure, he can be pretty complex–even more so than the usual suspects like Batman or Spider-Man–and posing a physical challenge that is also meaningful to the narrative can be tough. However, the recent hurdles the character has had to overcome for the big screen have more to do with issues the creators have with their own understanding of Superman than anything else.
With the recent (mis)handling of Superman over the last decade, it’s easy to see why there’s been either excessive trepidation or extreme hope regarding a movie that lives up to the character. And with James Gunn, of Guardians of the Galaxy and The Suicide Squad fame, the anticipation/apprehension meter has been on overdrive.
And, for the most part, Gunn delivers.
A hard truth to first accept is that Gunn is not the deft character craftsman that he is often mistaken for. When left to his own devices, characters quickly become caricatures of themselves, or shallow tropes with moments of heaped exposition instead of any actual development. And, while this was a constant problem with the Guardians sequels, much of it has been reined in for his maiden voyage with the quintessential superhero.
It’s almost as if writing Superman, a character who is arguably as distant from Gunn’s usual stable of characters as could be, helped in finding a sincere balance between action, irreverence, and emotion.
This, in no small part, is gravity-defyingly elevated by the cast. David Corenswet, Rachel Brosnahan, and Skyler Gisondo are all seamless in their performances of these near-century-old characters. Even what little we get of Wendell Pierce’s Perry White is executed to a tee. There is no doubt that each will easily stand as the definitive version of their characters to a whole generation, and maybe more.
The only regret would be that an obvious amount of character scenes have been left on the cutting room floor, leaving some iconic characters, deserving of far more, out in the cold.
Gunn’s approach to Ma and Pa Kent is especially endearing. I’ve always best liked it when Clark’s parents are alive through his Superman years, and Gunn sticks to that now familiar formula. But where he does deviate, interestingly, is in keeping them thoroughly Smallville.
Recent depictions of these characters, primarily in the Lois & Clark and Smallville TV shows, tend to find ways to modernise them or “glam” them up. Gunn sticks true to the small town, midwest tone and, in doing so, drives home their roles as a godlike being’s very human parents.
This strength, unfortunately, is sorely lacking with its villains. Gunn’s use of some obscure (and not entirely necessary) characters as the secondary antagonists is a smart move, but also a little clunky. María Gabriela de Faría’s Engineer, for example, is not necessarily used to her best extent, but is mostly there to connect to the upcoming The Authority movie. The same can be said for Frank Grillo’s Rick Flag Sr., a carryover from the Creature Commandos animated series, but somewhat a more justifiable presence given his role in this new DC universe.
Thankfully, Gunn’s approach to the execution of the DCU is such that while Superman can sometimes come off as the Iron Man 2 of this shared universe, where many moments are utilised as set-up for future franchise needs, it does so in far neater and less blatant ways.
The weakest point in casting, sadly, is Nicholas Hoult’s Lex Luthor. While Hoult’s performance is by no means weak, it feels like the character is written to fill an awkward space straddling an imaginary line between Gene Hackman’s and Michael Rosenbaum’s versions.
On paper, this sounds like a fantastic infusion of two iconic and beloved renditions of a character whose form and function have been ever-shifting, depending on the current threat facing social climates. However, this attempt to fill that space with a little of both iterations ends up with an oddly forgettable take on the character.
But, this is Lex Luthor we’re talking about, so it won’t be long before Hoult will have an opportunity to leave a more indelible mark on the bald billionaire.
A great point of concern, which is quickly proven unfounded, is the sheer number of characters in a movie supposedly introducing us to a fresh take on this universe. With a key Justice Society member, a Green Lantern, and a possible second alien all pulling up in the ranks of the heroes, the possibility of overcrowding the narrative or overshadowing Superman seemed possible.
That said, all the supporting characters are not only used in the perfect amounts, but also exist purely to serve both plot, and progress of the chief protagonist.
While Isabela Merced, Edi Gathegi, and Anthony Carrigan are all great in their roles, it is (unsurprisingly) Nathan Fillion who delivers a pitch-perfect Guy Gardner, practically ripping panels straight off the comics when displaying his combative nature.
Much can also be said about the relevance and poignancy of Superman’s depiction of today’s global affairs. Some things are very obviously intentional, and some are just very scary coincidences which have come to pass in reality. But topical relevance is not the point of a superhero movie, let alone a Superman one.
Just like how the message of acceptance and tolerance of George Reeves’ take, or that of doing what you can because you can in Christopher Reeve’s, and the idea of a hero being a friend first, as explored in countless Superman-inspired TV shows, the message of this Superman also transcends today.
Have no doubt, differences in vision aside, this is the most genuine Superman we’ve seen on the big screen since Christopher Reeve first made us believe.
Superman is out now. Go watch it.