When James Gunn was initially announced to be the director of a new Superman film, opinions were divided. His quirky style for Guardians of the Galaxy and Peacemaker left fans wondering how it would work for the innocent Man of Steel.
Superman isn’t exactly famous for being sarcastic or having a penchant for trouble, after all. But now that the movie has opened, it’s obvious Gunn wasn’t trying to redefine Superman in his image—he was attempting to remind people why the character was important to begin with.
Gunn’s take on Superman does something that most contemporary superhero movies avoid: it celebrates earnestness. There is no ironic distance, no gritty rebranding. This Superman, played by David Corenswet, really does say “golly” and “gosh,” and when he is asked why he saves people, his response is blissfully uncomplicated: “To do good. For, you know… good!” It’s the sort of sincerity that could’ve been seen as quaint a decade ago, but here, it feels like a breath of fresh air—nearly revolutionary.
Visually, the same philosophy continues. Superman’s vintage red trunks are back, not out of nostalgia, but out of respect for the character’s origins. Costume designer Judianna Makovsky designed a suit out of contemporary 3D printed fabric that looks like something Clark Kent might possibly wear, but still looks as though it has a place in the pages of a comic book.
The look is homage to Jim Lee’s New 52 period and the royal tone of Kingdom Come, placing Superman into a visual universe that connects the old to the new.
Lois Lane is also given a thoughtful reworking. Rachel Brosnahan depicts her with edge and energy, and her clothing suitably reflects this. Forgotten are the extreme styling of the past—now, Lois is clothed in the style of the sort of reporter who can pursue a story from the city streets to an international crisis. The adaptation is natural and authentic, much the same as the remainder of Gunn’s vision.
And it’s not just the leads who sparkle. Superman’s super-dog, Krypto, faithful hound that he is, steals a few scenes with his wit and comedic sense. And Edi Gathegi as Mr. Terrific delivers a memorable presence to an oft-neglected character, rounding out the strength of the ensemble.
Instead of dwelling on yet another origin retelling, Gunn bypasses the setup. Clark and Lois are together already, Superman is already an established public figure, and Lex Luthor (Nicholas Hoult, who is having a good time) is already plotting.
There’s no gradual build-up—more like jumping into a well-crafted issue of a comic book where the world just falls into place. Homecoming elements return—kryptonite, Pa Kent’s sage advice, Luthor’s plotting—but they are reframed in Gunn’s hands.
At its heart, this movie is a testament to hope. While superhero films have become more and more inclined to feature antiheroes, trauma, and nuanced ethical dilemmas, Superman serves as a reminder that sometimes a simple narrative about doing the right thing is sufficient. Gunn doesn’t attempt to make Superman modern by making him edgier—he makes him relevant by allowing him to be unapologetically good. And that, in the world today, is strong in its own right.
With sincere performances, daring visuals, and an honest embrace of heroism, Gunn’s Superman flies. It’s not only a return to form—it’s a reminder of how Superman has lasted for nearly a century.