James Gunn’s Superman is not a reinvention and that’s exactly why it works. In a time when superheroes are either overly cynical or drowning in ironic humor, Gunn gives us something we didn’t realize we were missing: sincerity. His take on the Man of Steel is heartfelt, hopeful, and most importantly, human.
This is a return to the real Superman, the symbol of hope, not just strength. Gunn and lead actor David Corenswet understand that Superman isn’t about power fantasies or alien battles. He’s about decency. About being raised by two humble, kind farmers in Kansas who taught him right from wrong. He’s a story of compassion, not conquest.
That emotional core is clear from the very beginning. Ma and Pa Kent, beautifully portrayed by Neva Howell and Pruitt Taylor Vince, are the soul of this film. They remind us that before Superman ever saved the world, he learned to help his neighbors. Whether it’s rescuing a squirrel from a tree or saving a child from a missile, Gunn’s Superman doesn’t act out of obligation, he acts out of love. It’s not “the right thing to do,” it’s the human thing to do.
And Corenswet? He nails it. His Superman is confident without being arrogant, gentle without being weak. He brings a warmth and depth that makes him instantly believable as both Clark Kent and the world’s most powerful man. It’s a performance that feels like a spiritual successor to Christopher Reeve’s iconic portrayal and that’s saying something.
But it’s not just Corenswet. Nicholas Hoult’s Lex Luthor is the perfect foil: petty, egotistical, and chillingly relevant. He’s the villain we love to hate, a true “hater-coded” antagonist. Hoult plays him with enough smugness and cruelty to make your skin crawl, but you can’t look away. Then there’s Rachel Brosnahan’s Lois Lane, who is sharp, fearless, and finally given a plotline that’s not just about being saved. Edi Gathegi brings balance as the ever-rational Mr. Terrific, and Nathan Fillion’s Green Lantern offers well-placed comic relief.
The movie is also visually stunning. Gunn’s direction leans heavily into comic book aesthetics, bright, bold, and stylized without ever feeling cartoonish. The soundtrack, as expected from Gunn, is another highlight. It’s not just background noise; it immerses you in the emotions of the scene and the ideals of the character.
While Superman may not be Gunn’s most revolutionary work (Guardians of the Galaxy and The Suicide Squad still sit on that throne), it stands out in a different way. It trusts the audience. It doesn’t hide behind sarcasm or cynicism. It doesn’t rush to undermine emotional moments with awkward jokes. It simply believes in what it’s saying and hopes you will, too.
And then there’s the boldest part of the film: its political commentary.
Spoiler alert here, the film introduces a fictional conflict where a militarily superior nation called Boravia invades a neighboring country, Jarhanpur, under false pretenses of “liberation.” The parallels to Palestine are not subtle. There’s an open critique of U.S. foreign policy, media narratives, and the cost of war, especially on innocent lives. It’s a major studio film making a clear political statement, and whether or not it’s done with completely pure intentions, the directness is unprecedented.
It’s rare to see a superhero movie this emotionally honest and politically brave. Sure, it opens the door to debate about whether Hollywood is co-opting causes for clout, but Gunn’s storytelling feels like it comes from a place of genuine care. And that care runs throughout the film.
