‘Superman’ Review: David Corenswet, James Gunn’s Man of Steel rises in a world that’s forgotten how to fly

James Gunn’s ‘Superman’ is not just the beginning of a new DC Universe—it’s a bold statement, an emotional reset, and a love letter to everything Superman stands for.

As the first film in the DCU's ‘Chapter One: Gods and Monsters’, Gunn manages to strike a fine balance between comic-book spectacle and grounded, heartfelt storytelling. It's safe to say: Superman is back—and this time, he's got a point to make.

When Gunn was announced as the new head of DC Studios, replacing the much-discussed Snyderverse, the reception was mixed. Snyder’s darker, mythic take had its loyal fanbase. But Gunn, known for bringing heart to unlikely heroes (Guardians of the Galaxy), has made it clear that his Superman would be different—softer, more relatable, and, importantly, political. That decision could’ve gone wrong.

It didn’t.

The direction is tight, focused, and packed with charm. Gunn injects the film with a tone of optimism and warmth without ever slipping into cheesiness. There’s a sense of “classic Superman” in how Clark Kent is portrayed, but it’s filtered through a very modern lens.

Yes, there’s alien tech, world-ending threats, and a flying dog named Krypto (who, hilariously, refuses to listen), but it all feels rooted. You believe in this world, and more importantly, you believe in this Superman.

The story itself is a clever mix of grounded reality and superhero fantasy. On one hand, we have a plot full of larger-than-life elements—the Hammer of Bovaria, Lex Luthor’s twisted schemes, and dimension-hopping escapades. But on the other, Gunn uses this canvas to comment on real-world issues. From immigration to fear-mongering, from media manipulation to moral choices, the film reflects the state of our very own planet. Superman, an alien immigrant, becomes a mirror for how we treat the “other” in our society.

A standout moment comes during the film’s final act when Lex Luthor—played with chilling charm by Nicholas Hoult—explodes in rage, accusing Superman of being a threat simply because he’s not human. Superman’s calm reply—that every day, he just tries to do the right thing—is Gunn’s thesis in a nutshell. It's subtle, not preachy, and it works.

David Corenswet’s Superman is the heart of the film. While fans were initially divided about him replacing Henry Cavill, Corenswet makes the role his own. He’s confident yet kind, strong yet clumsy. His Clark Kent is every bit the awkward journalist, while his Superman is a beacon of hope. This version isn’t weighed down by existential dread—he flies lighter, laughs easier, and feels more human than ever before.

The supporting cast is just as strong. Rachel Brosnahan’s Lois Lane is smart, driven, and never sidelined. In fact, one of her best moments involves her convincing Mr Terrific to rescue Superman—then joining him on the mission herself. She’s not a damsel. She’s a partner. More of their dynamic would’ve been welcome, but what we get is excellent.

Hoult’s Lex Luthor deserves particular praise. He plays the role with a restrained menace, but also moments of vulnerability that make you question your loyalty. That kind of layered villainy is rare, and it adds depth to the story.

He also brings this certain pettiness to Lex which makes his take on this character very definitive.

But the unsung heroes of the film are Pruitt Taylor Vince and Neva Howell as Jonathan and Martha Kent. They’re not A-listers, but their performances feel the most grounded. Their warmth, concern, and quiet wisdom feel real—like your own parents trying to guide you through the madness of life. They’re arguably the best screen Kents we’ve ever had, and yes, that’s including Kevin Costner and Diane Lane.

Edi Gathegi and Isabela Merced were also equally good as Mr Terrific and Hawkgirl but Nathan Fillion's Green Lantern with that absolutely insufferable bowl-cut (comic accurate) was a cherry on top. 

Technically, the film is top-tier. The cinematography is crisp and colourful, perfectly capturing both the grandeur of Superman’s powers and the intimacy of his human moments. The action scenes are brisk and clear, never overwhelming.

The musical score shines especially in the final showdown between Lex and Superman. Their themes shift with each camera cut—similar enough to hint at shared complexity, yet different enough to underline their opposing ideologies.

If there’s one thing this ‘Superman’ gets right above all else, it’s pace. From the moment he crash-lands in the ice to the climactic battle, the film wastes no time. It moves with purpose and never drags. Gunn doesn’t over-explain or overstuff—he trusts the audience to keep up.

In short, ‘Superman’ (2025) is the hopeful reset DC needed. It’s fun, emotional, action-packed, and politically aware without ever losing the joy of watching a superhero in action. It gives us a Superman we can believe in again—one who isn’t afraid to smile, stumble, or stand up for what’s right, even when it’s hard.

And really, isn’t that exactly what we need right now?

Verdict: An easy 4 out of 5 stars for this revamped Man of Steel.