{"id":1247916,"date":"2026-02-28T17:33:12","date_gmt":"2026-02-28T17:33:12","guid":{"rendered":"https:\/\/www.polygon.com\/?p=611560"},"modified":"2026-02-28T17:33:12","modified_gmt":"2026-02-28T17:33:12","slug":"james-gunns-dcu-reboot-builds-a-more-vulnerable-and-sillier-superman","status":"publish","type":"post","link":"https:\/\/arcader.org\/news\/james-gunns-dcu-reboot-builds-a-more-vulnerable-and-sillier-superman\/","title":{"rendered":"James Gunn\u2019s DCU reboot builds a more vulnerable (and sillier) Superman"},"content":{"rendered":"
\"In
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Ever since the 1978-1987 run of Superman movies starring Christopher Reeve ended, filmmakers have been puzzling over how to make the character vulnerable in a meaningful way, to ensure that dramatic conflict in his stories doesn\u2019t look like a breeze for such a godlike figure. Usually, this has involved looking to whatever version came directly before. With 2006\u2019s Superman Returns<\/a><\/em>, director Bryan Singer tried to tease emotion out of the characters\u2019 own memories of the early Reeve movies,\u00a0 making it a strange but heartfelt follow-up. In 2013\u2019s Man of Steel<\/a><\/em>, Zack Snyder wanted to break from Returns<\/em>\u2019 constant challenges of lifting and Kryptonite; he placed Superman in an all-out brawl with an equally superpowered being, and added some ambivalence about the nature of heroism to boot. Now, writer-director James Gunn pivots away from that grimness in his 2025 Superman<\/em><\/a>, for a story where the hero\u2019s challenges are often downright whimsical, even as they rough him up.\u00a0<\/p>\n

Gunn\u2019s major innovation here is dropping in on Superman (David Corenswet) decades into his life on Earth, and a few years into his stint as the protector of Metropolis, that great city so often beset with otherworldly disasters. In a break from superhero reboot orthodoxy, his origin story \u2014 you know the one; a baby alien sent to Earth from a dying planet and raised by Kansas farmers \u2014 is much-mentioned, but not dramatized.<\/p>\n

As the movie opens, Superman is starting to dip his toe into international affairs. The results are not much less controversial than they are in the similar storyline in Snyder\u2019s Batman v. Superman<\/a><\/em>, in the previous incarnation of the big-screen DC Comics Universe. The audience first meets Superman fresh from a defeat at the hands of another superhero fighting on behalf of Boravia, a (fictional) country he has recently stopped from invading a neighboring country.\u00a0<\/p>\n

\"In<\/p>\n

Gunn quickly dispenses with questions about whether Superman should serve as the world\u2019s police force. He isn\u2019t the only superpowered being (\u201cmetahuman,\u201d in DC parlance) on Earth, but the others in the movie \u2014\u00a0Guy Gardner (Nathan Fillion), Mister Terrific (Edi Gathegi), and Hawkgirl (Isabela Merced) \u2014\u00a0are corporate-backed and seem less likely to operate without clear government sanction. Still, they ensure that Superman is not expected to personally fix every single worldly disaster. Considering that at one point, he goes out of his way to save a rodent during a city-wide catastrophe, this is probably a relief.<\/p>\n

But this Superman, still early in his relationship with reporter Lois Lane (Rachel Brosnahan), has some psychological kinks to work out, mainly related to his superheroic self-image. Even if he no longer wears the Jesus-like onus of mankind\u2019s great savior, making decisions and experiencing blowback as one savior among many nonetheless takes its toll. Parts of the public regard him with suspicion and second-guess his priorities, chipping away at his sense of purpose. <\/p>\n

Those second-guessers include malevolent billionaire Lex Luthor (Nicholas Hoult), who neither Superman nor his human alter ego Clark Kent have apparently yet met. But they also include Lois, who knows about Clark\u2019s high-flying secret, and feels ethically conflicted over his habit of granting himself carefully curated interviews at the newspaper where they both work. In their first big scene together, Superman lets her take a crack at interviewing him, and rankles at her questions about his unilateral actions in Borovia.<\/p>\n

Corenswet, like so many Superman performers before him, has a difficult line to walk, figuring out how to convey Clark\u2019s essential goodness without coming across like a ramrod-straight parody of an overgrown Boy Scout. Corenswet leans into the dorkiness charmingly, while teasing out some human irritation at the pitfalls of his chosen life. (Superman knows he shouldn\u2019t read the tweets or pay attention to the trending hashtags, and yet\u2026) Though a little bit of Superman\u2019s faith in humanity gets the told-not-shown treatment, with Lois describing him in terms we don\u2019t fully see played out on screen, Corenswet squares the hero\u2019s big (and obviously heavily CG\u2019d) physical feats with a surprising amount of interior conflict. <\/p>\n

There\u2019s more to Gunn\u2019s Superman<\/em> story than simply Superman chafing over public criticism and private self-doubt, but it all feels rather less cataclysmic than the Snyder version, despite another set of tall buildings that eventually do tumble like dominos. In some ways, Superman<\/em> illustrates the limitations of the current superhero industrial complex, with Gunn swapping out Snyder\u2019s preferred overused visual signatures for his own without rethinking the visual grammar of franchise filmmaking.<\/p>\n

So instead of Snyder\u2019s documentary-style snap-zooms, slow-motion interludes, and earthy color schemes, Gunn uses a hovering videogame-y camera, images with overexposed bright whiteness, and weirdly distorted close-ups. It might sound horrifying to admit this, but the Superman<\/em> visual style makes Gunn\u2019s statements in support of the 2023 DC flop The Flash<\/em><\/a> seem, in retrospect, less like PR glad-handing, and more like genuine kinship. This movie isn\u2019t as garish or misjudged as The Flash<\/em> at its worst, but it\u2019s similarly cartoony, and, for that matter, plenty toyetic. This isn\u2019t the Superman equivalent of superhero high-bar marks like The Dark Knight<\/a><\/em>, Logan<\/a><\/em>, or Black Panther<\/a><\/em>.\u00a0<\/p>\n

\"In<\/p>\n

Gunn\u2019s real superpower, though, is his ability to wear this comic-book nonsense lightly \u2014 to take it seriously within the world of the movie without feeling like he\u2019s assigning homework. The other DC figures present in this movie aren\u2019t primarily here to tease their own spin-offs or refer to comics lore; they\u2019re obviously included because Gunn saw potential for some Guardians of the Galaxy-like testiness between teammates, and because he likes to depict oddball superpowers. (OK, one late-breaking cameo is<\/em> definitely there to tease a future spinoff, but it\u2019s also played for laughs, not portent.)<\/p>\n

This is a Superman movie that favors sci-fi weirdness and slapstick over lugubrious exposition; it\u2019s nearly as kid-friendly as the \u201990s Superman: The Animated Series<\/em><\/a>. There\u2019s even a major plot point about Superman\u2019s Kryptonian parents that could have easily fit on the cover of a Silver Age comic teasing a character-defying revelation. An exclamation of \u201cThis is not an imaginary story!\u201d would not be out of place. The movie\u2019s humor and sweetness offer plenty for comics-friendly adults, too, provided they haven\u2019t taken a flying leap off the superhero train.<\/p>\n

Yet there is a nagging feeling that, like some of the Clark characterization we glean from Lois, some of the movie\u2019s resonance as an immigration story<\/a> is vague and thin enough to have been boosted in post \u2014 or worse, played up on the press tour, after the movie was actually finished. More pointedly, Gunn uses Superman<\/em> to amalgamate Elon Musk and Donald Trump into several different villainous figures. Hoult isn\u2019t imitating either of them in his Luthor mannerisms, but there\u2019s still plenty of Musk in his control room of young-ish gamer minions, believing in his promise of a tech-driven utopia that, naturally, he will rule himself. For that matter, the fictional countries on the brink of conflict clearly bring to mind Russia\u2019s invasion of Ukraine.<\/p>\n

However, in an attempt to make a Superman for \u201ceveryone,\u201d it feels like Gunn may have watered the guy down, passing on the opportunity for him to take more contemporary versions of stands that were once commonplace. Historically, Superman would appear in PSAs against racism or in favor of public work projects<\/a>: Here, he\u2019s more likely to defend his love of the radio pop that he mistakes for punk rock.\u00a0<\/p>\n

Still, Gunn didn\u2019t invent 21st-century superheroes with watery politics; that\u2019s most of them, actually, and that tendency has only gotten worse with the quasi-political, say-nothing likes of Captain America: Brave New World<\/a><\/em>. At least this one feels like the work of an individual; Superman<\/em> is a surprisingly apt fit for the writer-director\u2019s cute-ugly, emo-edgelord sensibility, with less belabored sentimentality than his Guardians of the Galaxy movies. Gunn cuts through the treacle with fists: Where Snyder\u2019s Superman often looked stricken by his own torment (or annoyed at Batman), this one spends a lot of the movie getting his ass kicked before bouncing back. Even the bounding enthusiasm of his super-dog Krypto poses a minor threat to his well-being<\/a>.\u00a0<\/p>\n

Gunn doesn\u2019t just turn down the dial on Superman\u2019s powers to hastily raise the stakes, either. If anything, he seems more interested in the mechanics of Superman\u2019s individual saves than how he confronts truly apocalyptic threats. He spends much of the movie getting knocked around, and Gunn uses a more physically vulnerable Superman to key into his resilience as one of the most stubbornly touching aspects of his heroism. Yes, there\u2019s also a hint of corporate resilience here, as Superman returns yet again for another universe-rebooting kickoff. But Gunn knows how to locate the human frailty in big-budget behemoths without weighing them down.<\/p>\n

\n

Superman<\/em> opens in theaters on July 11.<\/p>\n

Source<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Ever since the 1978-1987 run of Superman movies starring Christopher Reeve ended, filmmakers have been puzzling over how to make the character vulnerable in a meaningful way, to ensure that dramatic conflict in his stories doesn\u2019t look like a breeze for such a godlike figure. Usually, this has involved looking to whatever version came directly before. With 2006\u2019s Superman Returns, director Bryan Singer tried to tease emotion out of the characters\u2019 own memories of the early Reeve movies,\u00a0 making it a strange but heartfelt follow-up. In 2013\u2019s Man of Steel, Zack Snyder wanted to break from Returns\u2019 constant challenges of lifting and Kryptonite; he placed Superman in an all-out brawl with an equally superpowered being, and added some ambivalence about the nature of heroism to…<\/p>\n

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