For the last two decades, filmmakers and writers alike have struggled to depict Superman in cinema. Bryan Singer’s Superman (2006) had a gloomy and serious tone that did not bode well for an attempt to reinvigorate one of comic book’s most vibrant characters in the public imagination. Zack Snyder’s Man of Steel (2013) went even darker, with characters making questionable decisions that were widely unpopular with fans and critics alike. The same is true for popular video game adaptations, with Injustice: Gods Among Us depicting a tyrannical Superman ruling over the world with an iron fist.
So what do writers need to do to make a good Superman story? Many have touched on the difficulty of writing Superman because he’s just too strong, too fast, and has too many powers and too little weaknesses to write an interesting conflict around. As a result, most writers tend to overcompensate and overcomplicate their adaptations, peppering them with shocking turns of events that push Superman to his limit, giving him something he can’t punch his way out off. Because what do you do with the man who has everything? Why, take everything away of course—pair off Lois Lane with Perry White’s nephew, kill off Pa Kent in an easily preventable scenario, or better yet, fridge Lois Lane herself. And while these efforts could be interpreted as valiant attempts to explore more mature themes and newer sides of Superman, the ham-fisted manner the stories contort themselves to accommodate these developments seem too far-fetched and outlandish, even by comic book standards.
What these attempts seem to miss is that we don’t need to drive Superman into a corner using cheap tricks, shock value, and edgy storytelling. Superman’s real struggle is that of a literal alien—an immigrant whose home is somewhere he can never go back to. He is someone who doesn’t belong but wants to be accepted, who by most practical standards is above humanity but embraces it wholeheartedly anyway. This is James Gunn’s Superman, and here are High Five reasons why it might just be the best superhero film in recent years. Spoilers ahead.
Worldbuilding the DC Universe
The Justice Gang and Metamorpho in Superman | Photos from Warner Bros. Pictures
Gunn’s Superman is the first film in DC Studios’ latest attempt at a cinematic universe. Kicking off this new chapter is no small feat, as the film has the unenviable task of treading a fine line between worldbuilding and maintaining a cohesive story. While at times it might feel a bit overwhelming with too many things happening one after the other, it manages to balance this out by having a strong character-driven core.
There is no need to retell Superman’s origin story because everyone knows who he is and what he stands for. By grounding the film in Superman’s character and humanity, it manages to start the DC Universe in an organic way, and by jumping straight into the action, introducing multiple factions, characters, and their motivations, it makes this world feel big, real, and lived in. There are also a few easter eggs that point towards a much larger hero (and villain) community, such as the mention of Stagg Industries and LordTech, which, in the comics, are owned by antagonists of Metamorpho and Wonder Woman, respectively.
One common critique I’ve found about the film is that there are too many characters and not enough time spent on Superman himself. I’d argue that it’s not a Superman movie if you don’t see his effects on the people around him, and that includes civilians and heroes alike. From the children of Jarhanpur calling out to Superman in the face of impending war, to Metamorpho’s change of heart while imprisoned in Lex Luthor’s pocket dimension—viewers get to see Superman as the shining beacon of hope that he is for the people of the DC Universe.
An All-Star Cast of Characters
Rachel Brosnahan, David Corenswet and Nicholas Hoult in Superman
Speaking of characters, most of the actors are perfectly cast in their roles, especially the main trio of Superman, Lois Lane, and Lex Luthor. David Corenswet makes his mark as Superman, with his straightforward charm and unexpected vulnerability; Rachel Brosnahan is sharp as a tack in the role of Lois Lane, relentlessly pursuing leads and stories in a way that only she can; and Nicholas Hoult modernizes Lex Luthor as an egotistic and media savvy tech mogul.
A minor gripe I have with the film is how it promotes questionable stereotypes with the way it treats some of its supporting female characters. While she is an established gossip columnist in the comics, the film depicts Cat Grant (Mikaela Hoover) as the resident gossip of The Daily Planet without any speaking lines outside of office chatter. There is also the introduction of Supergirl (Milly Alcock) at the end, which shows her as a drunk party girl—and while this does set up the upcoming Supergirl movie lined up for 2026, it takes away from the satisfying conclusion of the film and does not give us any insight as to why she acts the way she does. Add to that a couple of narcissistic and shallow influencer characters (Sara Sampaio as Eve Teschmacher and Paige Mobley as Fleurette) who care more about selfies and status, and it doesn’t paint a pretty picture about how this film depicts women.
There is also the case of Martha (Neva Howell) and Jonathan Kent (Pruitt Taylor Vince)—Superman’s adoptive parents from Smallville, Kansas, who are more like caricatures of Midwestern Americans than actual characters, save for one touching moment with Pa Kent and Clark.
Despite this overreliance on stereotypes leaving much to be desired in the way of some minor characters, the film as a whole gives its ensemble cast their own time to shine: Edi Gathegi as the no-nonsense genius, Mister Terrific; Isabela Merced as the hard-hitting and feisty upstart, Hawkgirl; Nathan Fillion as the resident jerk and self-proclaimed leader of the Justice Gang, Guy Gardner; Anthony Carrigan as the conflicted metahuman with a heart, Metamorpho; and Skyler Gisondo as the uniquely rizzed up version of Jimmy Olsen. The DC Universe is off to a great start with these characters showing us just how diverse this world of gods and monsters can be.
Super Music
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The first trailer for Superman came out seven months ago, and boy, do I still remember the chills I felt upon hearing how it reworked the iconic motif from the “Superman March.” The film had sprinkles and more of John Williams’ original theme for Superman (1978), inspired by a little bit of Hans Zimmer, who composed and arranged the music of Man of Steel. At its best, the score felt as awe-inspiring as Superman himself, which says a lot about how effective the music is in adding to the stakes, emotions, and drama of the film.
Aside from the musical score, the film also makes sparing but good use of pop music in its soundtrack, both instances of which stand out. The first is an unexpected needle drop of Noah and the Whale’s “Five Years Time” during a one-take fight scene (à la Guardians of the Galaxy), which highlights just how easy it is for Mister Terrific to take Lex’s forces apart as Lois Lane watches on. The second is “Punkrocker” by the Swedish band Teddybears, which plays during the credits as a callback to an earlier conversation in the film, where Lois teases Superman for liking radio-friendly pop tunes that mimic punk rock, and Superman argues that caring about people and doing good is the real punk rock thing to do.
If you’re expecting more pop songs in the soundtrack, then you’re in for disappointment, as James Gunn’s Superman holds back on his trademark needle drops. But do keep watching with an open mind—film music is not just about singing along to a familiar song, but about how it complements the narrative and immerses viewers in the story. And in this vein, the Superman soundtrack definitely does its job.
Comic Book Come to Life
Superman vs Kaiju | Still from Warner Bros. Pictures
Colorful costumes? Check. Larger-than-life action sequences? Check. World-ending threats? Check. From flashy characters to silly concepts that you just have to take at face value, Gunn’s Superman is definitely a comic book movie through and through.
Getting inspiration from the Silver Age of comic books where eccentricity was the norm, and taking cues from Grant Morrison and Frank Quitely’s seminal All-Star Superman comic book run, James Gunn’s adaptation does not shy away from absurdity and silliness. Where else will you see a super-powered dog help your protagonist fly away from a black hole in the middle of a pocket dimension?
While it may feel like whiplash for common moviegoers to be flung from an impossibly epic scene to an undeniably goofy one, it’s common for avid comic book readers to follow stories this way, just like how reading comic books may sometimes feel abrupt or disjointed as you go from panel to panel. This may be seen as a detriment for a blockbuster film of this scale, but comic book readers will feel just as home watching this as if they were reading pages off of the latest Superman comic.
Superman is Super-human
David Corenswet as Superman | Still from Warner Bros. Pictures
Much like in the Nietzschian tradition of the Übermensch, Superman has his own personal moral compass and does what he feels is right no matter the consequences. And to the eyes of the military, of some foreign powers, and of Lex Luthor, this makes him a threat to humanity. But what these people fail to see is what makes Superman super isn’t his abilities—it’s his humanity.
Unlike Lex Luthor who is greedy for power and who aspires to be worshiped like a god, Superman himself longs to be human. James Gunn’s version of Kal-El is someone who sees the value in living life one day at a time, in struggling and making mistakes, in learning from those mistakes and becoming a better version of yourself.
In stark contrast with modern superhero adaptations where the main focus is on big action set pieces, this film goes out of its way to show us Superman saving people time and again. This simple thing cuts to the heart of who Superman is as a character: he embraces being human in a way that only an alien from a dead planet can—by helping others because he has the power to, because Earth is the only home he’s ever known, and because that is the most human thing to do in times of crisis.
Despite the admittedly crowded ensemble cast, the unfortunate reliance on stereotypical characters, and the heavy burden to build a believable world for the succeeding installments of the DC Universe, James Gunn’s Superman manages to take a big superpowered swing and hit a home run to the moon.
At a time when political tensions are running high, global conflict is at a breaking point, and people are starting to lose hope, Superman is a small reminder to look for the humanity within ourselves, to find the strength to go on, to be kind, and to help out in whatever way we can. SEA Wave gives Superman 4 out of 5 waves.
What did you think about James Gunn’s “Superman?” Let us know in the comments below!