'Superman' versus 'Fantastic Four': Who wins the red carpet style showdown?
When superheroes swap capes for fabulous designs, the results are nothing short of spectacular. The stars of Superman and Fantastic Four have confidently stepped into the fashion spotlight.
Their recent press appearances reveal a new kind of superpower: impressive style.
With each stop of their promotional tour, these leading actors are redefining what it means to dress like a hero – one impeccably tailored suit or statement dress at a time.
This brings to mind the fashion face-off between the Barbie and Oppenheimer casts back in 2023, where the competition spilled over from the box office to the red carpet.
Read more: 'Barbenheimer' fashion: Red carpet square-off between 'Barbie' and 'Oppenheimer'
Barbie channelled a vibrant, pink, and glittering aesthetic, while Oppenheimer leaned into a darker, more sombre elegance rooted in timeless tailoring. The contrast not only influenced fashion trends but also sparked conversations about each film's visual and cultural impact.
A similar dynamic emerged with last year's Wicked and Gladiator releases – one whimsical and theatrical, the other gritty and grounded.
For Superman and Fantastic Four, however, the contrast is not so stark.
Instead, it has evolved into a stylish game of one-upmanship, with each star delivering yet another lesson in suave or glamorous dressing.
It's worth noting that Superman belongs to the DC Comics universe, while Fantastic Four is part of Marvel Comics' world.
With very different – and fiercely loyal – fan bases, the competition between the two camps can be intense.
So far, Nicholas Hoult has come out swinging for Superman, photographed in sleek, designer ensembles at nearly every appearance.
Read more: Michelle Yeoh and stars of 'Wicked' bring fashion A-game to film's premieres
Pedro Pascal, meanwhile, brings his signature charm and effortless cool to Fantastic Four events, often opting for classic silhouettes with bold, fashion-forward twists.
Other cast members like David Corenswet, Rachel Brosnahan and Isabela Merced made a strong impression at the Superman premiere in Los Angeles.
Meanwhile, across the Atlantic, Vanessa Kirby, Julia Garner and Joseph Quinn turned heads in standout looks at the Fantastic Four's London premiere.
In recent years, red carpet fashion has become a marketing tool in its own right – not just to generate buzz, but to visually extend the world of a film beyond the screen.
Apparel and accessories are now meticulously curated to reflect a film's characters, tone, or overall identity, blurring the lines between costume, campaign, and occasionally, couture.
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The Star
2 hours ago
- The Star
Who are the other metahumans in the new 'Superman' movie?
From the get go, the new Superman movie establishes that it is set in a world where metahumans have already been around for 300 years. Therefore, it is no surprise that there are plenty of these super-powered characters in the film. Much has already been said about the new Superman and his arch-nemesis Lex Luthor, but what about the rest of these metahumans? From the self-styled 'Justice Gang' to the element-shaping Metamorpho and the villainous Engineer, here's the lowdown on some of these characters. Guy Gardner Among all the human Green Lanterns that have been introduced into the DC universe, Guy Gardner has to be the one that stands out the most, mainly because of his abrasive, hot-tempered nature, and his tendency to do what he pleases with no regard for the rules. Still, while Gardner may not be the most likable hero around, he's proven over and over again that he is a true Green Lantern, worthy of standing alongside the likes of Hal Jordan, John Stewart and Kyle Rayner in the Sector 2814 Hall of Fame. Co-created by John Broome and Gil Kane and played by Nathan Fillion in Superman, Gardner made his first appearance in 1968's Green Lantern #59, in which it is shown that when the terminally injured Abin Sur crash landed on Earth, his power ring identified two humans suitable to take over his mantle as Green Lantern – Gardner and Jordan. The only reason Jordan was chosen was because he was just miles closer to Abin Sur than Gardner! That wasn't the only time Gardner missed out on the Power Ring though – in 1971's Green Lantern #87, Jordan is getting ready to pass the ring to him, but Gardner's ascension is halted when he is hit by a school bus during a rescue after an earthquake! As a result, John Stewart is chosen as Jordan's successor instead. Guy Gardner may be hot-headed and abrasive by nature, but he has a heart of gold. — Photos: DC Comics His bad luck didn't end there – when his turn finally came to don the ring (1979's Green Lantern Vol. 2 #116), a faulty power battery got him transported into the Phantom Zone, and eventually left him with brain damage and in a coma. This experience also drastically altered his personality to the current hot-headed, arrogant version of Gardner. Gardner's highest-profile appearance came when he was inducted into the (then) newly formed Justice League International, a stint that is best known for him being knocked out by Batman with one punch. Despite his intolerable nature, Gardner is a complex character who has earned the respect of the Guardians, and even Superman (Gardner was among the first to fight (and fall) to Doomsday during the Death Of Superman event). Hawkgirl While Hawkgirl is one of DC's earliest super-heroines, the one in Superman (played by Isabela Merced) is actually the third version of the character. The first one, Shiera Sanders Hall, was created all the way back in 1940's Flash Comics #1, by writer Gardner Fox and artist Dennis Neville. The second Hawkgirl is Shayera Hol, created by writer Gardner Fox and artist Joe Kubert, and first appeared in The Brave And The Bold #34 (March 1961). The current Hawkgirl, Kendra Saunders, was created by writer David S. Goyer and artist Stephen Sadowski, and first appeared in JSA: Secret Files and Origins #1 (August 1999). She is the granddaughter of the Golden Age Hawkgirl's cousin, Speed Saunders, and has also made appearances in the live-action DC Arrowverse series The Flash and Legends Of Tomorrow. The Hawkgirl in the movie is actually the third one to bear that name, Kendra Saunders. While all the Hawkgirls have had almost the same powers and tools (flight, enhanced strength, healing factor, and a nifty Nth metal mace), the origins and past of the hero is quite convoluted, with numerous ret-cons over the years, going from being a reincarnated ancient Egyptian princess, to a warrior from the planet Thanagar. This was made even more complicated by the Crisis On Infinite Earths event, which drastically changed the entire DC universe back in 1985. While she is often seen alongside Hawkman, Hawkgirl has since grown into her own over the years, becoming a member of the Birds Of Prey, Justice Society, the Justice League and the Wonders of the World, among other super teams. Mr Terrific Though a character called Mister Terrific, real name Terry Sloane, actually made his debut in 1942's Sensation Comics, it is the second version of the hero, Michael Holt, who makes his big screen debut in Superman, played by Edi Gathegi. Holt made his first appearance in 1997's The Spectre #54 (written by John Ostrander and penciled by Tom Mandrake), and is a super-rich, super-athletic, super-smart genius who fights bad guys with his highly advanced 'T-Spheres'. These T-spheres are flying robot spheres that help Holt with all his superheroic needs - from passive functions like communications and reconnaissance, to weaponised ones like electric shocks and explosive charges. Misterr Terrific fights using high-tech 'T-Spheres' which have multiple powerful functions. Holt's origin story begins with him growing up in a poor family, and then using his intelligence, athleticism, and a lot of hard work to form one of the world's leading tech firms, and even finding time to win an Olympic gold medal along the way. However, when he loses his humanitarian wife to a tragic accident, Holt becomes depressed, until the Spectre tells him about Terry Sloane, the original Mister Terrific. 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In the comics, Spica is actually the second Engineer, and was a scientist who was researching technology that could fuse human beings with machines. The original Engineer (whose real name is unknown) was an expert in nanotechnology, and when Spica decided to replace him as the Engineer, she combined her research with his, and eventually decided to merge her body with nanotech, replacing her own blood with liquid machinery. This not only gave her a body covered fully in metal, but also gave her the power to create metal tools and weapons.
Hype Malaysia
4 hours ago
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'The Fantastic Four: First Steps' Review: A Bold Cosmic Debut For Marvel's First Family
They have arrived. After years of teases, casting rumours, and multiverse detours, 'Fantastic Four: First Steps' brings Marvel's First Family into the MCU proper — with a surprising mix of retro flair, cosmic weirdness, and heartfelt family drama. You know them: Reed Richards (Pedro Pascal), Sue Storm (Vanessa Kirby), Johnny Storm (Joseph Quinn), and Ben Grimm (Ebon Moss-Bachrach) take their first steps into a new iteration. One that leans harder into the family dynamic that has defined them for decades. One that, crucially, quietly introduces new threats along the way. Of course, the Fantastic Four have taken a long, bumpy road to reach this moment. After the 2015 disaster, Fant4stic, Fox scrambled to retool the franchise, considering a kid-friendly reboot inspired by 'The Incredibles'. They were also working on a Doctor Doom solo film from Legion's Noah Hawley. But before those ideas could materialise, the Disney-Fox merger returned the rights to Marvel. Nearly a decade later, First Steps arrives not just as a reboot — but as a redemption arc. So, how do these first steps fare? Are they solid? Or still wiggly-wobbly? 'I herald his beginning.' Set in an alternate reality, far removed from MCU mainstays like the Avengers or the Snap, The Fantastic Four: First Steps doesn't dwell on Infinity Stones or multiversal hangovers. Instead, much like the recent Superman, the film plunges us into a brand-new world — one that's unapologetically stylised. Picture this: retro-futuristic Jetsons vibes, flying cars, a chrome-drenched Manhattan skyline, and a generous helping of mid-century charm soaked in Jack Kirby energy. Clearly, the space race shaped this version of Earth. Retro brand references and vintage vehicles dot the landscape — even the MetLife building gets a cheeky Pan Am-style makeover. From the very beginning, it's clear how much love went into portraying Marvel's First Family — both in-universe and behind the scenes. A high-energy montage shows the Fantastic Four in action, battling classic villains who've never made it to the big screen: Giganto! Red Ghost! Mole Man! It's a greatest hits parade for longtime fans and a clear signal that First Steps embraces the team's weird, pulpy roots. In many ways, it recalls The Incredibles — especially how that film opens with nostalgic heroics. The tone here feels similar, and that's a very good thing. The opening montage celebrates the Fantastic Four not as outcasts, but as beloved icons in their prime. These aren't rookies still figuring things out. This team already works like a well-oiled machine. Their rapport, rhythm, and trust come through in every interaction. They've clearly been through battles and triumphs together. And yes, it's just plain fun to see The Thing play with kids on the sidewalk — handing out high-fives and lifting cars — instead of being reduced to a tragic, brooding monster. Ben's presence feels more like an old-school uncle — calm, grounded, perceptive. He picks up on tension and gives the kind of advice only a big brother could offer. Ebon Moss-Bachrach brings charm to the role with a performance and voice that would make Aunt Petunia proud. Joseph Quinn's Johnny blazes onto the screen with hyperactive flair. Sure, he's still a hothead and full of himself. But like Ben, he exudes 'fun uncle' energy — the kind who roasts you at dinner but still wins everyone over with charm. Meanwhile, Reed and Sue's relationship anchors this version of the team. Vanessa Kirby and Pedro Pascal bring a strong, parental energy that genuinely changes everything. Sue isn't just the heart of the team — she's the compass. Brilliant, composed, protective, and already carrying the weight of the world before the baby even arrives. Notably, we also see her rise into a leadership role as the face of the Future Foundation. Reed, on the other hand, remains the brilliant but distracted mind — often lost in calculations or tinkering with gadgets. He ropes HERBIE, their robot companion, into tasks involving the baby, much to Sue's irritation. Their dynamic is warm but laced with the tension of impending parenthood — subtle, grounded, and deeply human beneath the cosmic chaos. Naturally, the family dynamic runs through every part of the film — not just in dramatic set pieces, but through dinners, cooking banter, and hushed lab conversations. These people care about each other. That connection matters. 'I herald your end.' However, that jolly feeling of the first act is soon torn apart when a visitor descends upon Earth. Our journey shifts tone, becoming more grave — the brightness of discovery and family now overshadowed by the looming spectre of annihilation. The Silver Surfer (Julia Garner), radiant in chrome, arrives in Times Square — not to attack, but to warn. Her ghostly presence delivers a dire message: Galactus is coming. The Devourer of Worlds is en route, and this beautiful, hopeful planet is doomed. Yet the looming threat of Galactus doesn't break the team. These heroes don't just defend — they explore. And so, they push forward. They devise a plan. They aim to meet Galactus head-on. Not with force, but with reason. With empathy, boldness, and science. They try to negotiate. Anything to stop Earth from being consumed. But then, what Galactus demands in return… is too much. The film refuses to offer easy answers. This is a classic trolley problem, delivered on a cosmic scale. The choices weigh heavily. What is the price of saving Earth? What — or who — do you sacrifice? It's this moral weight that elevates First Steps. The characters become more than superheroes. They become people grappling with the unthinkable. Thunderbolts explored similar emotional terrain — difficult choices, grey morality — and First Steps follows suit. We like that. We like it when Marvel movies trust us with the hard stuff. When they know spectacle alone isn't enough — it's the soul that sticks. Director Matt Shakman clearly understands this. He's no MCU newbie — having directed all nine episodes of WandaVision. That series was celebrated for its stylistic ambition and emotional depth. A heartwarming, and ultimately tragic tale about grief, love, and identity. It too was about family — albeit a fabricated one — but a superhero domestic drama nonetheless. That same sensibility extends to 'The Fantastic Four: First Steps', where Shakman once again balances emotional nuance with genre spectacle. Only this time, the family isn't imaginary — and the world is watching. He understands that this family of four has a lot riding on their shoulders. Cosmic threats, moral quandaries, the sheer weight of expectation — all loom large. Yet Shakman's direction leans into what keeps them together. He gives space for quiet moments amidst the chaos, building tension constantly. There's a standout sequence in the second act that reminds us — albeit not quite as strongly — of A Quiet Place. It's tense, perilous, and emotionally charged. Everyone, especially Vanessa and Pedro, fires on all cylinders, bringing nuance to a nail-biting moment in the sci-fi backdrop. It's terrific. Each act of First Steps carries a defining line that encapsulates its emotional shift: Act 1: 'The world is about to change.' — signalling wonder and excitement. Act 2: 'We will protect you.' — the moment when exploration becomes responsibility. Act 3: 'I don't know.' — a rare, vulnerable confession from Reed, showing that even geniuses can be lost. These lines are not just spoken — they reflect the deeper theme: that heroism isn't about having all the answers. It's about what you do when there aren't any. 'I herald… Galactus' The film's main villain is utilised to great effect. And oh, how far we've come from the cloud version of Galactus. In First Steps, the Devourer of Worlds is rendered with the mythic weight fans have long craved. Towering, ancient, and eerily composed — he's not a force of nature. He is nature. Intelligent. Terrifying. His presence isn't just a plot device. It's an existential reckoning. And thank the cosmos — he has a face. Visually, Galactus is awe-inspiring. The film delays his full reveal, instead building tension with gravitational shifts, celestial warnings, and haunting stillness. When he finally emerges, it's operatic. A living mural stretched across space. Every shot feels loaded with dread and beauty. Ralph Ineson's voice? Perfect. Gravelly, commanding, ancient — his baritone carries the weight of countless consumed worlds. Speaking of visual effects — they absolutely cooked with this. From planetary destruction to dimension-hopping madness, every set piece feels pulled from a sci-fi artist's sketchpad. The inspirations are clear: Interstellar, Star Wars, and, of course, classic Jack Kirby cosmic chaos. And while some of it may echo familiar territory, they execute it with style. It blends awe with abstraction — the kind of film you want to pause just to admire every frame. Galactus alone? IMAX-worthy. If we had one small gripe? It's with Shalla Ball. Her arc, teased and developed in the background, is resolved too quickly. A subplot that deserved more impact gets swept aside a little too easily. Seriously, we don't have many complaints—other than the fact that we want more. This film feels like the start of something vast, cosmic, and emotionally rich. And while it does stand on its own, you can sense that this is just the first chapter. Some threads are deliberately left dangling, relationships just at their start, and a universe of possibilities waiting beyond the stars. It's not a flaw, really—just a testament to how much this story deserves to be expanded. And that's all. So, is this the 'Fantastic Four' film we've been waiting for? Absolutely. It's bright. Quirky. And unabashedly sci-fi, which is what the core essence of the team has been for years. The film leans into the team's pulpy, cosmic roots with confidence, embracing time travel, alternate dimensions, and existential threats. It doesn't lose sight of the human heart at its core. As of now, we're excited to see what comes next for the First Family in 'Avengers: Doomsday'. This isn't just about powers—it's about family. We sure think Vin Diesel would be giggling in his Charger from afar. 'The Fantastic Four is currently having its 'First Steps' in cinemas. Say that again?
Malay Mail
6 hours ago
- Malay Mail
Cancer Diaries: On Superman — The ‘E' in Evil stands for ‘easy'
JULY 23 — Being in active treatment as a cancer patient means I try to avoid crowds when I can. Still, I couldn't resist watching Superman though it meant watching it during non-peak hours (mornings on weekdays). Like Superman I have dodged way too many bullets but while his were literal, mine came in the form of infections and injuries. Every outing now has a risk assessment after all my falls and near-falls. I couldn't possibly trip (again) sitting in a cinema seat, right? It was worth waking up early for the show as I got to enjoy a waffle in an empty café though I did have to wolf it down quickly to make the screening. I was thankful that the sound drowned out my ugly sobbing at parts in the cinema — yes, I am a marshmallow at the movies and cry very easily. Superman was the superhero of my childhood, the true poster boy for what a superhero should be and as an old school fan I think James Gunn's version of him was a lot more palatable than Zack Snyder's vision. Synder's films feel too much like they were made by a child who played with action figures by bashing them together, then grew up to be a film director. People who complain about the film being a bit too on the nose about do good-erism seem to forget that's what Superman films were made for. Director James Gunn attends a premiere for the film "Superman" at the TCL Chinese theatre in Los Angeles, California, U.S., July 7, 2025. — Reuters pic In an age where the actress who played Marvel's Black Widow proudly schills for Zionism, it's almost refreshing having a superhero film that states quite plainly targeting civilians in a land grab excuse of an invasion is bad, actually. Yet what stayed with me watching the film is how casually the people who work for the villains in the story go along with what their employers do. There is no hesitation nor remorse about just plain murdering civilians, whether unarmed children or a reporter investigating what is pretty much a war crime. I thought, right then, that the 'e' in evil stood for 'easy'. It is easier to go along with the flow, to keep taking the pay cheques, to obey directives, to work in Alligator Alcatraz than to say no, this is wrong. That's what superhero movies do well: they demonstrate that doing the right thing is the harder choice. Whether you're wearing a cape or working for a supercorporation, there will be consequences but, the movies argue, you should do the right thing anyway. Easier to leave a nasty comment, ignore a person who collapsed suddenly or is being harassed on a train or only sympathise with refugees if they prove themselves to be deserving by being the meek, grateful and downtrodden people you want them to be. If it takes a thousand superhero movies to convince people to take the harder road because it is the right one, then make them — I will watch them all. Another thought made me smile when I left the cinema; how as a child I watched superhero movies but I didn't want to be Superman or Supergirl. I wanted to be Lois Lane. No, I didn't want a superhero boyfriend. I believed then as I believe now that journalists do have a role in making the world a better place... though I don't think they should be put on pedestals for it, either. As that Foo Fighter song goes, so many of us are looking at the sky to save us. We forget that we can all be superheroes even if it means we can only be that hero for just one person, and even if it means we won't get an award, a thank you or even acknowledgement. The late Connie Francis who passed away last week comes to mind. Francis was a sexual assault survivor, and lost her brother when he was murdered by the Mafia for testifying against them. She grew up under a controlling father, struggled with PTSD and mental health issues and while she called her personal life 'a regret from A to Z', Francis was an advocate for rape victims and mental health awareness. By suing the hotel where she was assaulted, she helped improve hotel safety in general. She said in an interview: 'It was a struggle to reconcile all of the tragedies that had occurred in my life, and I'd like to be known for my music. I'm always honoured and privileged when people remember, and it brings back happy memories for a lot of people, and that makes me happy.' Francis had never had it easy throughout her life but she made the best of sometimes tragic circumstances. In her later life she worked with veterans, even helping create support groups for them as she personally understood the effects of PTSD, which is common among veterans. 'We all have it in us to make a difference in someone else's life. The more you help others, the more it enriches your life, too,' she said. May we all find our own inner superheroes. * This is the personal opinion of the columnist.
