My Corner

July 2025

James Gunn’s Superman arrives with a surprising warmth and a steady moral core, a tonal pivot from the brooding grandeur of many DC outings. The film wastes no time on familiar origin beats, choosing instead to place audiences in a Metropolis already accustomed to its costumed protector. Superman’s stature in the public eye falters after he single-handedly prevents a looming war abroad, a decision that raises urgent questions about power, sovereignty, and the burden of unilateral action.

David Corenswet delivers a Superman defined not by invincibility but by an unshakable decency. This version saves a squirrel during a battle and wonders aloud whether a destructive creature might have been spared. Corenswet’s approach favors humanity over spectacle, offering a hero whose quiet gestures carry as much weight as any show of strength. The performance occasionally recalls Christopher Reeve’s open sincerity, though Corenswet grounds the character in a modern context where earnestness feels almost radical.

Rachel Brosnahan’s Lois Lane commands the screen with intelligence and grit. A moment early in the film, when Lois returns home to find Clark cooking “breakfast for dinner” in celebration of their three-month anniversary, sets the tone for their relationship. She corrects him, reminding him that the meal is his favorite, not hers. What begins as a playful exchange turns into a sharply written interview where Lois presses Superman on the ethics of his intervention overseas. The scene balances charm and confrontation, revealing a dynamic rooted in mutual respect and intellectual sparring.

Nicholas Hoult reimagines Lex Luthor as a polished, hyper-competent magnate whose calculated charm conceals a ruthless obsession with dismantling Superman’s reputation. Hoult’s Lex surrounds himself with willing, even enthusiastic associates, a choice that deepens the character’s influence. Supporting performances from Edi Gathegi as the razor-minded Mister Terrific, Nathan Fillion as an irreverent Guy Gardner, and Isabela Merced as a composed Hawkgirl enrich the ensemble, although the “Justice Gang” exchanges occasionally tread familiar territory. Krypto the Superdog receives more attention than expected, functioning as both comic relief and a mirror for Superman’s patient, compassionate nature.

Production design emerges as a quiet triumph. Gunn’s Metropolis feels tangible, with layered environments that invite curiosity. The action, while energetic, rarely overshadows the character work. A late confrontation between Superman and Lex unfolds as a battle of philosophies rather than fists, an approach that underscores the script’s comic book arc sensibility over the more predictable three-act template.

The film occasionally undercuts its family-friendly tone with sudden bursts of profanity or humor aimed at easy laughs. Certain character beats involving women register as tone-deaf, an unfortunate flaw in a project so focused on moral clarity. The decision to skip introductory exposition for the supporting cast will reward viewers steeped in DC lore, though others may find the roster dense and underexplained.

Despite these concerns, Gunn’s Superman achieves something rare in contemporary superhero cinema. The film reframes a figure often dismissed as outdated into a compelling reflection of moral courage. It champions the idea of a hero whose power lies as much in restraint and empathy as in raw strength. The result offers a vision of Superman that feels relevant, hopeful, and worthy of continued exploration.