18-07-2025
- Entertainment
- Otago Daily Times
The comic book Superman returns
Photo: Jessica Miglio/Warner Bros. Pictures/TNS
Director: James Gunn
Cast: David Corenswet, Rachel Brosnahan, Nicholas Hoult, Edi Gathegi, Anthony Carrigan, Nathan Fillion, Isabela Merced
Rating: (M)
★★★★
REVIEWED BY AMASIO JUTEL
The Gunn didn't jam on the first entry to his brand-new DC Universe. The colourful flair of Superman (Rialto, Reading) is undoubtedly a positive indicator of the direction director-turned-chief executive of DC Studios, James Gunn, will take his new comic book sandbox. Donning the blue and red tights, prominently featuring the iconic red boxer briefs, Clark Kent teams up with journalism, justice and his juvenile super-pup, Krypto, to take to the skies and bring down Luthor Corp and its bloodthirsty international ally.
As with any totemic media character, the central focus has been on whose face will be rendered in the Kryptonian armour. I can happily report that David Corenswet's punk-rocker Kal-El is the injection of himbo earnestness severely lacking from the character's previous keeper. Corenswet is a stark departure from the dark and moody Man of Steel, last portrayed by Henry Cavill, bringing a kindness and naivety, off which Gunn bounces his comic sensibilities. His chemistry with Brosnahan's Lane is electric, and paired off against Hoult's raging Lex Luthor, the central trio is cast to perfection.
From the film's opening frame, Gunn subverts the franchise template. Superman effectively leapfrogs the "origin story" component of the caped crusader's tale, trusting that viewers will recognise the sensibilities of comic book storytelling that pre-MCU era comic readers grew up on. The film itself plays like a feature-length Saturday morning cartoon, much like Sam Raimi's 2000s Spider-Man trilogy: a close analogue in style. Gunn's universe feels real in its own cartoon logic — a world where Superman swoops in to save a single squirrel during a full-blown Kaiju attack.
The film doesn't shy away from balancing G-rated elements with allegories for real-world violence and geopolitical conflict, nor from Deer Hunter-level traumatic violence. In the plot, a xenophobic smear campaign from Luthor's army of online trolls inconveniences our do-gooder protagonist, who is caught up in media turmoil for acting against the fictional Boravia's war crimes. From the newsroom with Lois and Jimmy to the Jarhanpur/Boravia border to a "pocket universe", Superman, the movie, delivers on the "woke" grievances voiced by right-wing commentators.
Boravia's US-backed military has been mobilised against the unarmed civilian population of Jarhanpur, and Superman has been under fire for preventing civilian casualties. The film's most effective non-action scene plays between Lois and Clark (as Superman), her interviewing him on the authority he had as an American to interfere with the affairs of other nations. To Superman, the answer is plain: stopping a war. Subtextually, Gunn eloquently echoes the critiques of media outlets for their quote-unquote "objective reporting", instead of reflecting the human rights issues of the conflict.
And, although the nuances of the conflict escape the plot, the final action scene directly mirrors the 2018 Gaza border protests, in which 189 Palestinians were killed. While Luthor has Superman subdued in Metropolis and the Boravian troops raise their weapons to fire on an unarmed boy, Green Lantern disperses the IDF-analogue with a wave of massive green middle fingers.
