“Superman” Review: The New Punk Rock

James Gunn did it.

In October 2022, after directing the beloved “Guardians of the Galaxy” trilogy as well as an onslaught of other successful comic-book projects, Gunn took on the role of co-CEO of DC Studios. Responsible for launching an entirely new cinematic universe—the DCU—amidst studio struggles, Gunn made the high stakes decision to begin this new line of DC movies with a hope-filled Superman story.

I was nervous as I walked into the theatre opening night on July 11. Time and time again, Superman on the big screen has never really felt right to me. Not because the character isn’t deserving of a cinematic appearance, but because since the 1978 version of the film, his good-heartedness and love for humanity have been effectively captured for audiences to see. While previous portrayals by such directors as Zack Snyder and actors like Henry Cavill are certainly worthy of high praise, depictions of Superman snapping necks or destroying populated cities paint the character as a violent and destructive force, not the warm, gentle figure to whom we ought to aspire. Further contributing to my nerves, the success of this film would dictate whether the studio could continue producing projects with the beloved characters of the DC universe following a series of disappointing releases.

Little did I know, my nerves would quickly be put to ease.

In short, Gunn’s “Superman” drops audiences three years into his time as the iconic hero. Lex Luthor, canonical villainous billionaire hellbent on destroying Superman, does everything in his power to take the hero down, including inciting a foreign military conflict and the subsequent tarnishing of Superman’s reputation. Joined by the Justice Gang—a group of superheroes including Mr. Terrific, Hawk Girl, and Guy Gardner—Superman fights against Luthor’s forces and protects the people of Earth, all the while taking care of a superpowered foster dog donning a red cape. 

To start, I would go as far as to say David Corenswet was born to play the role of Superman. Trained at Juilliard, the 32-year-old actor disappears into the role of Clark Kent/Superman. He brings the physicality and presence of an incomprehensibly powerful being while simultaneously conveying a warmth and vulnerability that reflects not only the character’s boundless love for humanity but also his innate desire to be a part of it. 

While Corenswet soars in this role, it’s the strength of the ensemble that makes this movie particularly special. Rachel Brosnahan’s Lois Lane, journalist for the major Metropolis newspaper “The Daily Planet” and Superman’s love interest, possesses a self-determination and individual purpose distinct from her relationship with the titular character. Still, her chemistry with Corenswet is off-the-charts, shining through politically-charged arguments, witty workplace banter, and vulnerable emotional moments. Nicholas Hoult’s Lex Luthor embodies a pure unadulterated hatred for Superman in every moment on screen, capturing a sense of evil that defines his performance as an iconic villain. Krypto, a CGI dog with a red cape and superpowers, is arguably the most genius inclusion, tastefully bringing light-heartedness and comedy to each scene.

The magic of these actors in capturing their comic-book counterparts is only made stronger with set and costume design that looks as though it was ripped out of the comic books. At “The Daily Planet,” where Kent and Lane work as journalists, natural light illuminates the open office, shining brightly on journalists who hustle to capture stories in a universe with constant fantastical chaos. Whether in the vibrant city of Metropolis or the gloomy “pocket universe” where Luthor hides, the crew composes Superman’s bright blue and red suit to pop in every scene.

Of course, like the character, “Superman” is not without weaknesses. Visual effects occasionally appear slightly unfinished or misrendered, whether in the opening flight scene or in climactic battles. Scene changes sometimes feel abrupt and awkward, changing dramatically in tone and leaving the audience questioning the amount of time that has passed from scene to scene. While this film’s use of humor is notably strong, comedic dialogue falls flat at times, unnaturally placed in narrative when it does not feel as though a character cracks a witty one-liner. For example, Mr. Terrific suddenly appears to tell Superman to “quit messing around!” almost immediately after one of the most violent fight sequences of the movie—a choice seemingly intended to break the tension created from the violence that instead takes away from the authenticity of the moment.

Further, for a film meant to launch an entire cinematic universe, Gunn’s risk-taking certainly veers from the safe route. Gunn leans into an ill-explored narrative alteration in Superman’s family origin—that Superman was sent to conquer humanity—with major implications for how audiences interpret his character. Superman’s first depiction is not of him soaring through the sky or triumphantly saving civilians, but rather of him crashing down after losing his first fight, bloodied and beaten. The film’s narrative is paced at lightning speed, simultaneously fitting several conflicts, multiple character introductions, and subtle explanations of off-screen character development in under 2 hours. Additionally, Gunn tells a Superman story while establishing a new group of other superheroes—the “Justice Gang”—to allude to a broader universe. 

Yet, these risks work. Gunn’s choice regarding Superman’s family history serves to create a more complex character, accentuating the importance of Superman’s intentional choice to love and protect. His choice to occasionally weaken Superman serves to develop a relatable hero, who shares—in the capacity allotted to a supernatural hero—weakness and vulnerability with the rest of humanity. Although I would have preferred another 20 minutes with these characters, the movie’s pacing manages to feel like a roller coaster ride that seamlessly includes insightful, drawn-out scenes, including a near 10 minute debate on the ethics of Superman interfering in foreign affairs. It’s a roller coaster ride you don’t want to end. Juggling the simultaneous development of many characters, Gunn makes each one shine and hold a distinct purpose behind their relationship with Superman.

The movie’s risks don’t necessarily end with its filmmaking practices, though. Gunn faced backlash from audiences after referring to “Superman” as the story of “an immigrant that came from other places,” seemingly making a statement on a particularly charged contemporary political issue. Furthermore, a central conflict of the film exists between the fictional Middle-Eastern nations of Boravia and Jarhanpur. With Boravia—supported by Luthor—invading the poorer and seemingly defenseless Jarhanpur, some believe the conflict to be a metaphor for Israel and Gaza, with Superman’s intervention in the fictional conflict being a direct moral statement on the war.

While certainly a valid interpretation, I see this film also as a celebration of human goodness, as opposed to an allegorical statement on our current political climate. In their most desperate moments, the people of Jarhanpur raise the flag of the Superman symbol exemplifying the universal hope one can offer by striving to work for peace. Though he comes from another planet, Superman’s true strength is expressly defined by his humanity, demonstrating the universal strength one can find in accepting others despite their differences. Many of “Superman”’s controversies, to me, are what serve to best define the character and his ability to transcend as an implicit model for humanity.

All of this is to say that I thoroughly enjoyed this movie and could not be more excited for the future of the DCU. This is the modern Superman I have been waiting to see on-screen my entire life—powerful but gentle, confident but vulnerable, fantastical but grounded. A relatable contradictory hero. 

“Superman” balances a fun cartoonish narrative while not being afraid to explore more serious topics or display more intense violence. For all its fantastical elements—a flying dog, dimensional portals, skyscraper tall beasts—this movie delivers a relevant and simple message of kindness and care for others, literally leaving an audience with a shot of Superman smiling as he reminisces on the love he receives from his human family. 

Though it is certainly finding success at the box office, the success of this film, to me, doesn’t have to do with the numbers. This movie describes kindness as “the new punk rock,” defining Superman as a punk-rock icon under this definition. Gunn did his job if just one person left the theater inspired by Superman to take on that punk-rocker persona—to be a better person, to treat others with kindness, or to go about their lives with more love for humanity.

I know I did.

Ryan F. Irving ’27 (ryanirving@college.harvard.edu) is now seeking a dog with superpowers.