Why do we love superheroes? Yes, their powers are extraordinary, their costumes are cool, and their gadgets are incredible. The adventures they go on are exciting, and they symbolize the modern mythology of our time. However, it’s more than that. Superheroes embody the best of us. They give us hope, inspire awe, and encourage us to become better. All of this began with the original and greatest superhero of all time: Superman! And now, so too does James Gunn’s new era of the DC Universe.

Superman is, perhaps, the quintessential example that everyone thinks of when the term “superhero” comes up, and there’s a good reason why. He is often our first exposure to the principles of right and wrong, good and evil, and the model we use to describe these ideals to future generations. This is partially because he is the oldest and best-known superhero, debuting in Jerry Siegel and Joe Shuster’s Action Comics #1 in June 1938. The lasting endurance of the character spawns from something deeper than time: He is a representation of hope, justice, and the persistence to believe in the good within all people. He is, morally, the best of the best: caring, compassionate, and kind. And regardless of how much history and time have changed aspects of this character, those staples remain evergreen.

These are the qualities I felt were significantly downplayed in more recent cinematic interpretations, which really focused on Superman more as a threat and symbol of “badass slow-mo violence” than a beacon of hope and protector of life. These are the qualities about the character that I absolutely found in my favorite interpretation of the DC Universe: Bruce Timm’s DC Animated Universe (spanning from Batman: The Animated Series, to Superman: The Animated Series, and culminating with Justice League Unlimited).

I bring this all up because for once, in the modern era of comics, I’m so grateful that these are the qualities a filmmaker is finally leading with cinematically. It’s the very reason why I think Gunn’s inspiring vision of this hero is the closest and most comparable cinematic live-action equivalent to the Timmverse we’ve ever had, and why I loved this movie so very much.

It’s no secret that Gunn’s Superman will be immersing audiences in a version of the DC Universe that’s already been fully established for centuries. In a universe where Metahumans exist, the most powerful of them is, of course, Superman (David Corenswet). In an attempt to stop a war prompted by the country of Boravia’s unjustified invasion on the nation of Jarhanpur, Superman sets off a chain of events that ends up causing him to call into question his own Kryptonian heritage and the values and morals he stands for. Instigating much of the chaos is Lex Luthor (Nicholas Hoult). However, helping Kal-El are his allies, Lois Lane (Rachel Brosnahan), and fellow superheroes Mister Terrific (Edi Gathegi), Hawkgirl (Isabela Merced), and Guy Gardner (Nathan Fillion), who begin to discover Luthor’s involvement may be much deeper than anyone thinks it is.

While admittedly I grew up as more of a Batman fan as a child, I grew to appreciate Superman even more as I got older. I even had the pleasure of teaching a student-run course at UC Berkeley called “Superman As American Mythology” back in the Fall of 2007. The reason why I grew to love the character so much was because during that time, I came to discover that he was the most human of all DC’s characters. Yes, Batman was physically a human, but the fact of the matter is when we grow up, our experiences in childhood are typically much more aligned with Clark Kent’s experiences with Jonathan and Martha Kent.

People generally grow up trying to see the best in others, trying to do right by society’s standards, feeling love, loneliness, happiness. And we simply just try to get by day-to-day looking for our purpose in this life. This is incredibly important when considering the character, because it’s something Gunn fully understands about who Superman/Clark Kent is. Because of that understanding, his interpretation of the character comes off as the most relatable incarnation of the character that we’ve seen in cinemas.

And yes, I’m also looping in Reeve’s version of the character into this comparison. Naturally I’m skeptical that Corenswet’s version will be considered as iconic by the mainstream public in time. However for my money, what Gunn and Corenswet have crafted is the single best modern day interpretation of Clark Kent that we’ve seen on the big screen. Especially considering Reeve’s version is somewhat outdated; closer to the Golden and Silver Age iteration of the character than the Modern Age version.

Corenswet’s version prioritizes the Clark Kent persona first, revealing that the truest personality of the character is when he’s around his parents and Lois. Corenswet plays these notes with a hopeful naivety, because he understands this is a character that believes so blindly in the good of others, that he’s almost shocked when the world he’s trying to protect shows him the opposite or questions this goodness. This is a powerful component that separates Gunn’s version from others we’ve seen on the big screen because it makes the character so much more relevant than he’s ever been. Having the world question Superman’s kindness and his willingness to do the right thing is exactly what would happen today if we saw a bright and optimistic being trying to do good.

We’re living in a time where people trying to do right by many could easily be met with resentment and bitterness by those envious of them, or at minimum, absolute skepticism by many others. That makes it easier for things like the media or even critics on social to target or discredit them. And that’s a challenge that Superman can’t punch his way out of, and a real precedent that even the most powerful being in the world can’t necessarily defeat. Gunn’s script understands this, and Corenswet’s terrific performance absolutely reinforces it.

Corenswet’s Superman is bright and consciously determined to preserve life, no matter what, but as an actor he’s also able to play up the drama when he questions the very things he stands for, as well as his history. It’s a strong performance for a well written interpretation of the character that makes him both endearing and enduring. Even when Gunn’s script hits its “all is lost” moment, per its necessity to the narrative, Corenswet’s humanity easily and believably restores the hope back into Superman, and consequently, the hopefulness of his Superman is able to persistently and stubbornly believe in humanity’s worthiness for a peaceful, better world.

As stated, however, the script smartly questions Superman’s motives and actions in a relevant way, and much of that is driven by the stellar performance of Brosnahan’s Lois Lane. Brosnahan is a marvel as the character, giving us a spot-on rendition of the fearless and intrepid legendary reporter, that surpasses previous cinematic interpretations from Margot Kidder, Kate Bosworth, and Amy Adams. She’s sympathetic and kind, giving off a very easy chemistry with Corenswet’s Clark, but tough, persistent, smart, and unflinching. Brosnahan and Corenswet’s dynamic connection is at its strongest in two of the film’s best scenes: one argument and one scene of emotional support. What we see from Brosnahan in both of these scenes is that sensible nature between Lois’ inquisitive and hungry nature, but also her tenderness and strength when Superman’s own strength is lost.

The apartment argument sequence, which was heavily promoted in the trailers, for instance, is perhaps the best written moment in the entire film. Gunn’s script treats the relationship between Lois and Clark in such a realistic way, with dialogue that flows naturally but also calls into question the very nature of Superman’s methods and his naivety. And the person doing this questioning, rightfully so, is Lois. Brosnahan delivers her lines in a rapid-fire, almost Sorkin-inspired way, flexing her Maisel muscles to infuse the character with a lightning wit and spark we haven’t seen in previous cinematic iterations of Lois.

She does justice to Gunn’s script, which allows us to immerse ourselves in the position/perspective of a good, reasonable, rational person, who sees more of the real world beyond Clark’s idealistically myopic viewpoint of humanity. The relevancy of this story and how it questions Superman’s character and ideals is completely driven by Brosnahan’s delivery and pitch perfect attitude, which sets up the movie and Superman’s internal and external conflicts perfectly!

Then, later on, to take that explosive chemistry and give us the opposite, with a quiet moment of support and love and emotion between Lois and Clark, following an occurrence that levels The Man of Steel down to reality, as humanity turns on him, allows Brosnahan to showcase a tender kindness that matches Corenswet’s Clark. It’s the basis for any and all realistic romance in this movie, showcasing the dichotomy between how the couple’s vast differences could create turbulence for their relationship, but ultimately how their more important similarities (love, kindness, compassion) are why they need each other, in a world that is increasingly becoming less kind.

In short, it’s a multi-layered performance that showcases the range of complexity that Brosnahan, along with Gunn’s script, infuse this character with, exemplifying why Lois is every bit as legendary and crucial to superhero mythology as Superman.

Now Gunn has publicly stated that this movie is about three primary viewpoints: Clark’s, Lois’, and lastly, Lex Luthor’s. And as such, the viewpoints of Clark and Lois don’t work without the opposing ideologies working against them. Enter Hoult’s Luthor.

What Gunn and Hoult do with the character of Lex Luthor in their universe is completely spot-on, both in terms of being an accurate portrayal of who this character should be according to modern day interpretations in the comics, but also what a Lex Luthor would look like in our world: smug, arrogant, temperamental entitled billionaires trying to control policy and news. This again reinforces the relevance of this film on today’s world, while staying true to who Lex Luthor’s character is, as we’ve seen since the John Byrne run in the mid-’80s, to even the Timmverse Clancy Brown-voiced interpretation from the ’90s, and the current comics runs we’re seeing today.

Hoult plays Luthor with a steely brilliance; cold, calculating, manipulative, intelligent, and petty. Unlike other iterations, he’s studied Superman for years now, understanding his weaknesses, and able to exploit them. It’s a *perfect* interpretation of the character, and one I’ve only ever dreamed about seeing done well in the films, since Gene Hackman’s, Kevin Spacey’s, and Jesse Eisenberg’s failed to capture these aspects. Hackman’s and Spacey’s were too goofy, and reduced to underground mad scientist/non-public facing figures obsessed with real estate. Eisenberg’s was… I don’t even know what they hell they were trying to do with his twitchy, urine collecting, poorly defined interpretation. But finally, with Hoult, they struck gold.

Lex is a character that shouldn’t be as difficult to adapt as it has been, but multiple filmmakers and actors have completely missed the mark, and misunderstood who this character is at his core. Until now. Gunn and Hoult get who Lex is. He’s a character who is as brilliant as he is reckless, and able to cunningly make himself appear as a smooth, respectable, self-made public figure for which the government and the public would view favorably. Hoult plays up the egomaniacal aspects of Lex, as well as the stealthily petty figure who cares only about himself and his image (Remind you of any US Presidents of late?).

He and Gunn understand this is a character driven exclusively by his own ego, which triggers his obsession with Superman, and his apathy towards Metropolis and anyone else who loves The Man of Steel. His performance quickly became one of my personal favorites in this film, sharing more in common with the Brown-voiced interpretation of the character from Superman: The Animated Series than any other media interpretation we’ve seen so far. And that’s an extraordinarily good thing.

The one thing you’ll likely be picking up on here, rather the one thing that ties all of my compliments together so far, is that the success of this film and its performances hinges on Gunn’s script and direction. This is truly where the film shines. Gunn cares deeply about these characters. And while there might be a couple of misplaced jokes here and there, he knows this isn’t Guardians of the Galaxy or The Suicide Squad. Gunn is fully and completely aware this is Superman and it has to be Superman.

While I think I would have loved a smidge more reverence, what he does here on an aesthetic and stylistic level is take world-building cues from Silver Age material and Superman: The Animated Series, in that this is a larger than life, absolutely timeless version of the DC Universe, with monsters and creatures and Martians and Metahumans. As such the world is crazy, expansive, and immersive.

However, brilliantly, the characters are human. These are grounded characters in the backdrop of a fantastical world. In short: this is a modern day Superman comic come to life. It’s absolutely perfect and respectful of what Superman mythology is all about. Now granted, in a nitpicky way, I think some of the visual choices were gambles I wouldn’t have taken, such as some of the close up shots of Superman’s face as he’s flying, or one or two silly looking moments in the final battle. However, these are very surface level criticisms, in a movie that truly gets the point, the look, and the feel of what a modern-day superhero movie needs to be.

Furthermore, in an almost terrifying way, Gunn has written story elements into the narrative that are shockingly mirrors of things happening in our world today. There are several aspects to Superman that hit extremely close to home, from watching a petty, arrogant billionaire trying to control government and security to better suit his pathetic ego and biases against immigrants, to watching two countries trying to bomb the hell out of one another after one decides to invade the other. You can easily swap out Boravia and Jarhanpur for modern day, real world countries like Russia and Ukraine, or Israel and Palestine, which is incredibly eerie. And you can easily swap out Lex Luthor for Donald Trump, Elon Musk, or any number of entitled one-percenters trying to control the world.

These aren’t even things Gunn has to be subtle about because all of what’s happening in this movie, and what we have seen quite often in the comics as well, are things we have seen happen in our world today. So you have to give Gunn so much credit for a very smart, very on-point screenplay and story that takes the challenges we’re seeing in the world today, and pitting all of that against Superman. It answers the question, what would happen if characters like Kal-El existed today? How would these challenges be resolved? Would they be resolved? How would all of this be complicated by the presence of Metahumans. This is a movie that boldly asks difficult questions of its all-powerful hero, and gives us the most realistic responses ever, while giving us much to think about regarding the state of our world today.

If there’s one complaint about the screenplay that I have, it is the use of a single POC character as a plot device/motivation for Superman. I love that a POC character like this exists, and represents the compassion Superman has for regular everyday individuals living in the city of Metropolis. However I wished the movie hadn’t fridged said individual, especially a POC, just to show the ruthlessness of Lex and elevate the emotions and motivations for Clark and one other character. It plays a bit into the idea that POC characters are sometimes treated like sacrificial lambs to motivate non-POC characters.

Now don’t get me wrong. It absolutely doesn’t negate the good this movie does. But I won’t deny it rubbed me the wrong way, and I think other POCs in our community may feel the same. If not, then great. But that was, perhaps, the one aspect of the screenplay and this movie that left me with a bit of a bad taste. Pros for the idea of the representation, but cons for its execution.

One thing that I know a lot of folks reading this will be antsy for me to get into (and apologies it’s taken this long in the review) will be the inclusion of the other Metahuman superheroes (aka “The Justice Gang” as the movie likes to joke). It was a smart way for Gunn to showcase a number of things. Firstly, the addition of Mister Terrific, Hawkgirl, and Guy Gardner contributes to the world building and mythology of the DC Universe. Second, it smartly showcases the differences between Superman as a hero and others with a corporate sponsorship. And thirdly, it also contributes to Superman’s compassion when he calls on them to play a big part in the film’s third act.

Fillion’s Guy Gardner is hilarious, though I half wonder if Gunn just hilariously cast him as Guy so he could stick a stupid bowl-cut wig on him. And Merced is terrifically vicious as the Kendra Saunders iteration of Hawkgirl. Having said that, their roles aren’t as big as one would think, as the spotlight for the secondary heroes almost exclusively shines on Gathegi as Mister Terrific.

Let me tell you, Mister Terrific is *awesome* in this movie! I love how Gunn fully acknowledges how brilliant this character is, and despite technically being the third smartest character in the DC Universe behind Bruce Wayne and even (academically) Lex Luthor, his calm demeanor serves as a foil for Luthor’s recklessness. Gathegi is perfectly cast as a character who cares about doing the right thing, and getting justice, but is terrible at expressing emotional support. He’s the one character within the Justice Gang who seems to respect and like Superman and plays a really great part at the end as they both try to prevent Metropolis’ destruction.

That being said, the biggest highlight for this character, surprisingly, might be that he has, perhaps, the best action sequence in this movie. Mister Terrific is just exceptionally cool, both as a character, and watching him in action as he demolishes bad guys with T-Spheres. Easily the best supporting role among the other superheroes and an absolute scene stealer! I literally can’t wait to see more of Gathegi’s Terrific down the line in future DCU installments!

On a technical level, Superman mostly looks great. There are moments where the cinematography, courtesy of frequent Gunn collaborator, Henry Braham, absolutely shines with future iconic moments, as you can probably tell from the trailers. Like his work on Guardians 2 & 3, as well as The Suicide Squad, there’s a surrealism and dynamic colorful palate to this movie. However, there are aforementioned moments of flight that don’t always work, harkening back to his work on The Flash. Those moments are very much few and far between, thankfully, absolutely sidestepping some of the subpar work we saw in that film, with most of Braham’s shots looking incredible, so you can overlook the less aesthetically pleasing ones.

The VFX are also pretty top notch, with the opening sequence of The Fortress of Solitude’s emergence being absolutely awe-inspiring, and kaiju, Krypto, and the Superman bots looking fantastic. The one area where the greenscreen seemed a bit obvious was during a prison escape sequence, that I personally think is one of the few missteps the film takes on an action level. But again, these are nitpicky details that don’t ruin the movie at all. And finally, the score by John Murphy is iconic. It brilliantly adapts John Williams’ score, but with a modern day flair that makes everything feel, as the movie likes to say, “punk rock.”

I feel like I can talk about this movie forever with great enthusiasm. It genuinely spoke to what I love most about DC Universe, and managed to capture its spirit theatrically in a way I’ve been waiting for since I was first introduced to this world. There’s even more I didn’t touch on, such as some great action scenes with María Gabriela de Faría’s The Engineer and Ultraman that are spectacular. There’s also a lot of humor with Skyler Gisondo’s version of Jimmy Olsen and Sara Sampaio’s Eve Teschmacher that is charming, really modernizing both characters well. And there’s a lot with Krypto that’s fun too.

However, when you condense everything down to what really matters within this movie — the emotion, the themes, and the characters — Superman perfectly encapsulates the spirit of what this character needs to be and why we need him now more than ever, both in fiction and in reality. Not only does Gunn prove he understands what makes these characters and this universe work, but for me, he’s crafted perhaps the most definitive cinematic versions of Clark, Lois, and Lex I’ve honestly ever seen on the big screen.

Gunn has managed to take a superhero that’s been around for almost 90 years, and pay homage to every iteration of him, while also challenging him with a sense of relevancy that mirrors the world today, allowing us to relate to a god-like alien on the big screen in a way we have never been able to before. And frankly,  this is the closest anyone has ever gotten to the Bruce Timm DCAU, which was my favorite interpretation of the DCU. Grounded characters and relevant themes in a comic book world.

I realize everyone is going to have their favorite versions of the DCU and Superman to hold on to, and perhaps this won’t be yours. And I’m not suggesting that your taste has to be the same as mine. It’s fine if it isn’t. However, for me, Superman is simply epic, heartfelt, and hopeful, and my favorite cinematic interpretation of the larger DC Universe so far. Thus, more than anyone else before him, James Gunn has finally given me a reason to look up, and look forward to more adventures in the DC Universe.

Overall Score (on an entertainment level): A-
Overall Score (on a representation level): B