Movies

Up, up and … eh? A rebooted ‘Superman’ gives the Man of Steel a mind of marshmallow

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To put it simply, what I’m yearning for is none other than Superman. I’m longing for a character who embodies honesty and righteousness, whether he’s saving kittens or delivering news. The idea of such unwavering idealism was once considered cheesy; the cool, masked vigilantes usually had their share of moral gray areas. Even his recent films have seemed to shy away from the classic Superman, tarnishing him with skepticism. I find myself resonating with the latest portrayal of Superman (David Corenswet) when he tells Lois Lane (Rachel Brosnahan) that having a big heart is “the true spirit of rebellion.

In a fresh take on the classic story, director James Gunn’s reimagining of Superman skips the tale of baby Kal-El arriving in Kansas from Krypton. Instead, this new adaptation begins with Corenswet’s character landing on Earth for a second time, following his initial defeat. Lex Luthor (played by Nicholas Hoult) and his robotic henchmen have been roughing up Superman in Metropolis, causing him to retreat to his Fortress of Solitude in Antarctica with 14 fractured bones and a damaged kidney. The stark contrast between the white snow and Superman’s vibrant costume creates an intriguing question: What kind of hero will Superman become today?

The tale of Superman has consistently been a story of conflict: an almost flawless extraterrestrial tasked with safeguarding vulnerable, apprehensive humans who find it hard to acknowledge that we’re not the supreme beings in the cosmos. In this rendition, Kal-El’s parents (played by Bradley Cooper and Angela Sarafyan) are overheard criticizing Earthlings blatantly — “The people there are simple and deeply perplexed” — which, for the series, is relatively lenient towards humanity. Traditionally, we tend to disappoint him, tracing back to his somewhat prickly film debut in 1951’s “Superman and the Mole Men,” where George Reeves defended the movie’s title characters from a belligerent American mob. “Clearly, none of you can be trusted with guns, so I’m going to disarm you,” he admonishes the townsfolk, twisting their firearms into knots. “Stop behaving like Nazi storm troopers!

Gunn’s style isn’t merely punk rock; it’s more about pop punk, aiming for broad appeal. After assuming control over the DC Universe, he’s shifted from a darker tone to create a Superman who appears less sincere and somewhat dull-witted. Following a swift revival by his cute dog Krypton and robotic assistants (whose voices include Alan Tudyk, Pom Klementieff, and Michael Rooker, among others), Superman quickly returns to combat before he’s fully healed. He ends up getting brutally beaten once more.

Hollywood Inc.

As a devoted cinephile, I’ve noticed that the world of cinema isn’t just about blockbusters and flops. It’s also been turbulent due to unpredictable factors like political meddling and personal dramas involving our beloved stars.

A smart approach for a modern reboot of Superman is suggested. In today’s world, where even the simple phrase “Save the whales” might spark questions about caring for plankton, it seems fitting that Superman’s instinct to do good gets stifled. However, instead of making him seem naive, Gunn opts for a more oblivious and overpowered portrayal – a challenge even for an experienced actor like Corenswet to convey with any depth or personality. Despite his sympathetic dimples and blue eyes, the Superman character mostly appears bewildered rather than empathetic.

We need more evidence from this character before fully committing.

In this narrative, the boundaries between right and wrong, or even shades of gray, are not clearly defined; instead, they resemble intricate squiggles. There are no easy resolutions, no simple fixes, and there’s no way for Superman to respond when Hoult’s Luthor concocts a questionable sex scandal to accuse the Kryptonian of manipulating humanity, and then hires an army of typing monkeys to smear his online reputation. (You might recall that before Gunn was appointed to lead DC Studios, he was dismissed from Marvel due to a blogger revealing Gunn’s old offensive jokes about pedophilia and 9/11. It seems this past incident is still bothering him.)

The story moves swiftly, keeping viewers engaged, despite its hurried pace. Lex Luthor, portrayed by Hoult as a relentless tech-fanatic, devises numerous malicious plans, one of which is a desert tent city concealing a gateway to an off-world prison for his adversaries, both alien and domestic. (He’s got green-skinned infants and a weeping ex-lover confined within.) Gunn attempts to present the location in a bright light – Luthor’s henchmen are attired in incongruous Hawaiian shirts – but the scene could send chills down your spine.

Movies

This season promises a robust lineup, featuring blockbuster movies akin to major Hollywood productions, thoughtful independent films serving as intelligent options, and a nice selection of mindless yet enjoyable movies – all essential components for any summer cinema experience.

Gunn is recognized for gathering unconventional teams, such as those seen in “Guardians of the Galaxy” and “The Suicide Squad,” and transforming them into successful action-comedies. His approach is often characterized by adding a dash of silliness with whimsical soundtracks. In this case, however, the movie features a darker doom metal electronic score by John Murphy and David Fleming, yet it tends to become rigid whenever it requires seriousness. The visit to Clark Kent’s family farm is heartwarming, especially seeing his old bedroom. However, his straightforward parents (played by Neva Howell and Pruitt Taylor Vince) are written to speak so slowly that they seem to have sustained brain injuries. It appears as though “Superman” struggles to express sincerity without hitting the audience over the head with it.

In the script, the confidence level significantly increases when Gunn takes over writing in the margins, bringing Milly Alcock’s lively Supergirl for a swift and entertaining appearance (she will star in her own movie next summer). Luthor’s chief assistant, identified as the Engineer (María Gabriela de Faría), is made of shifting robotic cells, allowing her to transform like a multifunctional Swiss Army Knife, while his newest airheaded girlfriend, Eve (played humorously by Sara Sampaio), becomes an unforgettable highlight. The movie features numerous battles against kaiju, one of which introduces the Justice Gang, a team of superheroes sponsored by corporations, led by Green Lantern (Nathan Fillion) with Hawkgirl (Isabela Merced) and Mr. Terrific (Edi Gathegi). They handle the monster so ungracefully that Superman finally gains some common sense. “There has to be a better way to do this,” he complains.

The film’s mood fluctuates as wildly as the character Metamorpho (Anthony Carrigan), an inmate from outer space with the ability to transform into corrosive acid. Gunn seems determined to share his complete vision for the DC Universe. However, as he transitions from a subtle joke about a garage door opener to a genuinely violent execution and then to an exhilarating battle scene accompanied by a song proclaiming “Fun fun fun!”, I found myself yearning for even more of this entertaining mix.

In a nutshell, this isn’t exactly the uplifting “Superman” I was hoping for, but it’s intriguing enough to pique my interest about where his story goes next. However, it left me pondering over why comic book movies can be so influential and forward-thinking, yet people who have historically rooted against characters like Lex Luthor find themselves supporting them in reality. Perhaps a sequel could shed light on this paradox. Or maybe the human tendency to persistently misunderstand is what this Superman refers to when he says, “I make mistakes all the time, but that’s what it means to be human.

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2025-07-09 00:01

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