James Gunn’s Superman is here, and if you haven’t been feeling the hype across the fandom, you should probably check your Fortress of Solitude’s Wi-Fi. Warner Bros. Discovery bet big on this movie to reboot the DC Universe, and it came with a combination of hype, anticipation, and drama. Gunn, known for his irreverent hand on Guardians of the Galaxy and The Suicide Squad, accepted the challenge to reimagine one of the most iconic superheroes of all time. The result? A film that’s as divisive as Kryptonite at a family reunion.
Beginning with the creative approach, Gunn’s Superman embarks upon unrestrained corny charm. It’s not a loose decision—it sets the tone for the film. David Corenswet’s Superman sprinkles his lines with “golly” and “gosh,” giving the impression of old-fashioned innocence. The return of the traditional red trunks and a tip of the hat to the circus-strongman aesthetic gives Superman the sense of being a throwback to his 1930s origins. The movie wears its heart on its sleeve, even if some viewers may find it “cringeworthy.”
Responses have been polarized. Some fans like the new direction—a Superman who inspires and motivates rather than moping interminably. Others complain that the movie’s too generic and thematically inconsistent. But the box office account is different. Opening at $125 million in the United States and now well over $550 million globally, Superman demonstrates that even a controversial take on the character can get butts in seats.
One of the big watercooler topics is the huge cast. From Rachel Brosnahan’s Lois Lane to Nicholas Hoult’s Lex Luthor, alongside a Justice Gang featuring Nathan Fillion’s Green Lantern, Isabela Merced’s Hawkgirl, and Edi Gathegi’s Mister Terrific, a lot is happening on screen. Some critics say the sheer number of characters leaves little room for depth, and Superman himself occasionally gets lost in the shuffle. The action leaps from one crisis to the next at a frenetic pace and more resembles a list of superhero tropes than a well-wrought narrative.
Visually, Gunn’s Superman is garish and vibrant, but sometimes too much so. The CGI looks more cartoon than movie-like, and the soundtrack is eclectic. John Williams’ iconic Superman theme makes a return, but not everyone finds it fitting for the new tone. The closing song, “Punkrocker” by The Teadybears featuring Iggy Pop, is catchy and remains in your head long after the credits.
Gunn does not hesitate to toy around with Superman’s powers either. Heat vision is reimagined with red lines tracing the eyes, coining the hero’s lesser abilities from the comics. This Superman already has his feet planted firmly in his universe, with Clark Kent working for the Daily Planet and Lois Lane absolutely in the loop. The approach makes it simple to envision subsequent films pushing the character’s powers further to their extremes.
Down the road, this film sets the table for DC Studios to come. Warner Bros. Discovery boss David Zaslav is all aboard for Gunn and co-boss Peter Safran’s 10-year plan, which includes films like Supergirl: Woman of Tomorrow, Clayface, a new Wonder Woman, and television shows like Peacemaker and Lanterns. The Batman Part II, where Robert Pattinson returns, will start production in the spring for an October 2027 release, and Colin Farrell reprises The Penguin. Gunn will also write and direct the Super-Family sequel, each of which will have its tone and flavor, just like the comics.
Gunn’s Superman is a bold and sometimes sloppy swing. It pulls no punches, corny, heartfelt, and idealistic, even as it struggles to contain a busy cast and clumsy tone. Love it or hate it, Superman is back, and the DC Universe is once again a sandbox for epic concepts and surprise.