Superman: We Review the DC Studios film from James Gunn

As longtime DC and Superman fans, we review the 2025 DC Studios summer blockbuster film "Superman" as the Man of Steel makes his return to the silver screen from director James Gunn.

With the numerous incarnations of the Man of Steel on screens recently, it's evident that every generation has "their" Superman. For me, it's not exactly Superman, but Tom Welling's Clark Kent from Smallville. I inevitably compare Jonathan and Martha to John Schneider and Annette O'Toole's version. Lex Luthor to Michael Rosenbaum. Lois Lane to Erica Durance. This becomes the barometer by which I judge any new version.

I approached James Gunn's movie with no expectations. While concerned about potential immature themes (yes, I assumed at least one or two poop jokes), I thought DC Studios' first entry "Creature Commandos" was pretty good. After seeing "Superman," I feel similarly. The story is solid, the acting mostly great, the effects top-notch, and the music works—especially in how it evokes the majesty of John Williams' iconic theme.

Still, the movie sometimes feels lackluster, dragging viewers from scene to scene as if portions had been cut. I wouldn't call it boring, though.

• The Engineer character, presumably from the Wildstorm comic series The Authority, isn't properly explained. The Justice Gang—including Green Lantern Guy Gardner, Hawkgirl, and Mister Terrific—simply exists without context. They're a team funded by billionaire Maxwell Lord, yet they have a Hall of Justice? Without DC knowledge, I doubt viewers would understand who these characters are. Fortunately, Nathan Fillion's Guy Gardner avoids being a clichéd copy of the comic version. Ironically, while I've never enjoyed Mr. Terrific in comics, Edi Gathegi's portrayal here is quite good.
  

• Two elements I didn't care for: Krypto and the Supergirl cameo. Like many elements in this film (such as Superman robots), Krypto is distinctly a Silver Age creation—and it shows. Dog lovers might find it charming, but the canine antics quickly grow tiresome. Worse was Kara Zor-El's cameo, portrayed as white trash Supergirl getting drunk on planets with red suns. This is a disappointing departure from the noble CW version.
  

• Another major issue was the message from Superman's biological parents, suggesting they sent Kal-El to Earth as a conqueror. While this was Lex Luthor's manipulation, it remains uncorrected by the film's end. Both Superman and humanity still believe he was sent with malicious intent.
  

• Those claiming the movie is "too woke" are seeing what they want to see. Perry White is Black again, as is Lex's henchman Otis—both white in the comics. The conflict Superman resolves has parallels to the Israel/Palestine situation, but applying real-world politics to the film is absurd.
  

• The Kents will always be John Schneider and Annette O'Toole in my mind, but this older, frumpier, supposedly poorer version works well too. I don't mind different interpretations—I only object when changes serve an agenda.
  

• Rachel Brosnahan shines as Lois Lane. Unlike previous Superman films, no one here feels miscast.
  

• There's no Batman, Wonder Woman, or other major DC characters. Peacemaker appears briefly, but I dislike that character, so the cameo did nothing for me.
  

• In a nod to Smallville, Lex's company is "Luthor Corps" instead of the comics' "LexCorp." Another reference appears in Clark's bedroom: a Smallville Giants poster—from Silver Age comics rather than the TV show's Crows.
  

• The film sets up potential sequels as the new DC movie universe unfolds. It has a distinct tone compared to both Christopher Reeve's films (including Superman Returns) and Henry Cavill's recent portrayal.
  

• Unlike Marvel movies, the mid- and end-credit scenes serve little purpose.
  

• The trailers didn't do the final movie justice.
  

• Skipping the origin story works well, as it weaves naturally throughout the plot without explicit depiction.
  

• One off-putting aspect has little to do with the film itself—the merchandising. Two local Walmarts never received McFarlane figures or displays, and Spin Master versions were scarce. I got a Superman Blizzard from Dairy Queen, but that's it. For a DC tentpole movie, the merchandise is surprisingly limited.
  

• A perspective from a longtime fan: I've largely stopped buying Superman comics. They became tedious and repetitive, with uninspired art and dull storylines. This movie might rekindle interest if comic creators step up their game. Recycling decades old material in an lame attempt to bring in new fans won’t cut it though. Most of those stories are not as good as DC would like us to think they are. The current Action Comics stories with Clark as Superboy are decent. The Absolute Superman comics are excellent! (As are most of the Absolute line of DC Comics.) Both succeed by breaking from the tired formula of Superman married to Lois with a child (I just threw up a little writing that, btw). Almost as bad as turning Batman into a parent. I've advocated for a 1950s-set Superman with modern sensibilities—it would work in both comics and live action. Consider DC's animated masterpiece The New Frontier, based on one of their finest comics.
  

• This movie is good—not great. The same with Creature Commandos. I didn’t like Peacmaker at all. This is a troubling sign for DC Studios. DC's flagship character, Batman, remains years away. The upcoming DCU entries—Supergirl in theaters and Peacemaker on HBO—don't appeal to me, though I hope to be proven wrong. I was partially wrong about this film, partially right. Gunn still seems compelled to add just enough snark and edge to appeal to a certain audience.
  

At least there were no poop jokes.

Final Grade: Three Superman Robots out of Five.