Superman must reconcile his alien Kryptonian heritage with his human upbringing as reporter Clark Kent. As the embodiment of truth, justice and the human way he soon finds himself in a world that views these as old-fashioned.
James Gunn’s latest take on Superman is full of ambition. You can see exactly what he was trying to achieve; a break from the usual reliance on well-known actors, simplified plots, and overblown heroism. Instead, he has aimed for something more grounded, accessible, and emotionally human. There’s a clear effort to tell a story that doesn’t lean too heavily on spectacle or cameos, but rather focuses on characters with flaws, choices, and real-world dilemmas. Gunn wants to modernise the 'Man of Steel', make him relatable again, and bring a sense of humour to the sometimes self-serious superhero genre. Unfortunately, while the intention is commendable, the end result doesn’t quite deliver a convincing or compelling Superman film.
This version of Clark Kent is more introspective, less grandiose, and more interested in doing the right thing than appearing invincible. He’s allowed to have doubts, to question his role, and to wrestle with his identity. That’s a refreshing change from the perfect, muscle-bound icons we’ve seen in the past. Gunn clearly wants us to see the man behind the cape. There’s also a noticeable attempt to inject some humility and heart into the character, showing that even someone as powerful as Superman can feel uncertainty and moral tension.
However, the character development never fully takes hold. Clark’s journey lacks real emotional weight, and much of the tension he experiences is explained rather than shown. What’s missing is a sense of internal struggle that evolves through action and consequence. We’re told he’s wrestling with his place in the world, but it never truly unfolds in a way that feels believable. Despite some small, promising scenes, the overall narrative doesn’t push the character far enough into uncharted or meaningful territory.
Part of the problem lies in the central relationship. The dynamic between Clark Kent and Lois Lane should serve as the emotional centre of the film, but here it feels flat and underdeveloped. The chemistry simply isn’t there. While both actors deliver competent performances, there’s little spark between them, and their scenes often feel scripted rather than natural. Without a convincing connection between these two, it becomes difficult to care about the romantic thread that the story tries to weave into the larger arc.
Another missed opportunity lies with the film’s antagonists. The villains here are not subtle. They’re pulled straight from the pages of a comic book in the most exaggerated way; full of theatrics, lacking in complexity, and clearly evil from the outset. There’s no sense of moral ambiguity, no grey areas to explore, just bad people doing bad things. This lack of depth makes it hard to invest in the stakes of the film. The audience is never asked to consider the villains' motives or question the lines between right and wrong. As a result, the conflict feels simplistic and uninteresting.
The film also struggles with its visual effects. The heavy use of CGI in action scenes is hard to ignore. While modern superhero films rely on digital effects to bring larger-than-life sequences to screen, in this case the volume and quality of the CGI becomes distracting. Scenes that should feel tense or impressive instead come across as artificial or bloated. There’s a lack of texture and weight to many of the larger set-pieces, making them feel disconnected from the rest of the film. Rather than adding excitement, the CGI often pulls viewers out of the moment.
Gunn’s trademark humour is present throughout the film, and for some viewers, it may be a welcome change of tone. There are moments of light-heartedness, banter, and slapstick that aim to balance out the heavier themes. However, the humour is sometimes poorly placed. In scenes that should carry emotional or dramatic weight, jokes are inserted in a way that diffuses tension. As a result, the threats never feel particularly serious. The world-ending stakes that the plot suggests are never convincing, largely because the film undercuts them with too much levity. When danger is constantly treated with a wink or a punchline, it becomes difficult to believe the consequences are real.
This tonal inconsistency undermines one of the film’s central goals; to present a more thoughtful and introspective Superman. You can’t ask the audience to consider serious moral questions while also making fun of the idea that anything truly bad could happen. Gunn tries to walk the line between sincerity and satire, but in doing so, he weakens both.
Still, the film isn’t without its highlights. Edi Gathegi’s portrayal of Mr Terrific stands out as one of the most enjoyable parts of the film. The character brings energy and intelligence to the screen, offering a fresh addition to the DC roster. His performance feels measured and assured, without tipping into parody or exaggeration. It's a reminder that there’s room for grounded, well-written secondary characters in this universe.
Nicholas Hoult also deserves recognition. His performance as Lex Luthor is stronger than many expected, bringing a sense of control and clarity to a role that’s often played with unnecessary flair. While the character still lacks some complexity, Hoult’s interpretation is far more convincing than previous versions. He finds a balance between menace and restraint, even if the script doesn’t fully support deeper development.
The film moves at a steady pace, and to Gunn’s credit, it avoids retreading the traditional origin story. By dropping us into a world where Superman is already established, the story can focus on current challenges rather than old ones. This choice gives the film a fresh feeling in its early scenes and allows for more direct exploration of Clark’s relationships and responsibilities. Unfortunately, the momentum slows in the second half as the plot becomes increasingly predictable. By the time the final act arrives, we’re left with a standard save-the-world scenario that feels tired and formulaic. Even the introduction of a key item or ‘macguffin’ meant to drive the climax is too transparent, removing any real suspense.
Gunn’s Superman is a film that knows what it wants to be but doesn’t quite achieve it. The intention to tell a more human story, free from over-reliance on star power and loud spectacle, is admirable. There are flashes of brilliance and sincerity. There’s an earnest desire to modernise these characters and make them feel relevant again. But the film is let down by weak character dynamics, underwhelming villains, excessive CGI, and a tone that can’t decide whether to be serious or silly.
There’s a lot of potential in this new direction for the Superman franchise, and parts of this film point towards a better version that could exist in the future. But this first step, while not without merit, doesn’t quite soar. It walks, it stumbles, and it occasionally shines; but it never flies.
Superman was released in NZ cinemas on July 10, 2025