Superman (2025): Steel Yourself, It’s Decent, But Don’t Expect a Cinematic Leap

In a world still reeling from years of Marvel blockbusters and DC’s on-again off off-again attempts to build a cinematic universe, it’s fair to ask, do we really need another Superman movie? James Gunn seems to think so, and Superman (2025) is his shot at reminding us why the Man of Steel still matters. With a lighter touch, familiar beats, and some unexpected character choices, Gunn gives Superman a fresh coat of paint. But the big question is, does it stand out in a sea of superhero fatigue?

Trading Muscles for Heart

Of course, we can’t really talk about the movie without mentioning the new man behind the cape. David Corenswet steps into the role with a performance that works. He leans into the Boy Scout persona with warmth and emotional sincerity. His Clark Kent feels like a believable Kansas farm boy trying to make sense of a bigger world, and his Superman, the Big Blue himself, carries just enough gravitas to convince you he is Earth’s protector. Interestingly, while his on-screen parents are portrayed with a clear Midwestern accent, Corenswet’s Clark does not adopt it himself, which adds an unspoken layer to his dual identity. His chemistry with his parents helps cement this Superman as one who has not lost touch with his roots.

Corenswet does bear a strong resemblance to Henry Cavill but a softer, less muscled version of Cavill’s Superman. The familiarity works in the film’s favour, bridging the gap between the previous era and this new one without feeling like a direct imitation. He may not have Cavill’s bulk, but he brings a warmth and earnestness that feels right for this take on the character.

The film also adds a couple of subtle but thoughtful touches to the character. There is a quick, clever line that addresses how Clark manages to keep his identity secret with just a pair of glasses. It is a small moment, but a welcome nod to a long-running question. Similarly, the return of the red trunks might raise eyebrows at first, but they actually work in context. The costume as a whole strikes a good balance between nostalgia and modern design, without feeling forced or overly stylised.

Corenswet may be stepping into a long line of actors who have worn the cape, but he wears it well. If this film is meant to mark a new chapter for Superman on screen, it feels like one worth continuing and not just another one off like Brandon Routh’s run.

Supporting Cast: Some Shine, Some Fizzle

Nicholas Hoult delivers a strong, standout performance as Lex Luthor. It is not just comic book villainy. His Lex oozes superiority, narcissism, and a kind of corporate evil that feels disturbingly real. He is the kind of person you would hate at a tech convention, a boardroom, or a political debate, and Hoult plays him with such conviction that there were moments I genuinely wanted to reach through the screen and punch him in the face. Even his motivations against Superman stay true to modern interpretations of the character, rooted in fear, ego, and a twisted belief in human supremacy, yet Hoult manages to make them feel believable rather than over the top. It is one of the better portrayals of Lex I have seen, especially compared to past versions that often leaned too far into camp or caricature.

Nathan Fillion is a scene-stealer as Guy Gardner, the Green Lantern with a massive ego and zero filter. He absolutely leans into the cocky bravado of the character and brings much-needed levity and bite to the team dynamic. It would have been nice to see more of him in this outing, but hopefully, he returns in future DC films where the character can be explored further.

Edi Gathegi’s Mister Terrific also leaves an impression. In fact, he gets more screen time than Guy Gardner and makes the most of it, coming across as intelligent, cool under pressure, and weirdly compelling. For a character that could have easily been pushed to the background, Gathegi elevates him to someone you want to see more of, and hopefully, he returns in future DC projects where the character can shine further.

Then there is the issue of underutilisation, particularly when it comes to the film’s female characters. Isabela Merced as Hawkgirl gets barely any material to work with. She is there, she punches things, but beyond that, she feels like a throwaway inclusion. María Gabriela de Faría as The Engineer gets a fair amount of screen time, but the film never explores her beyond the surface level, leaving her feeling flat despite her visual impact. Rachel Brosnahan gives a solid performance as Lois Lane, convincingly balancing the role of principled reporter and someone emotionally caught up in Superman’s world. One standout scene shows her giving Clark a hard time during an interview, capturing the sharp edge fans expect. But for all that, Lois does not quite feel like a central emotional anchor or a real driver of the narrative. The overall lack of development for the female characters becomes even more noticeable in contrast to how much attention the male ensemble receives. It is one of the areas where the film feels particularly thin, and a real missed opportunity.

World-Building by Assumption

Unlike most modern superhero films, Superman (2025) avoids lengthy exposition or overt attempts to map out a cinematic universe. There is no detailed origin story or explanation of how this Superman fits into a broader DC timeline. Instead, the film assumes viewers have at least some familiarity with the DC Universe, whether from comics, past films, or animated series.

This approach keeps the pacing brisk and focused, which works well for fans who already understand the setting and characters. However, for someone entirely new to DC or anyone expecting a more structured introduction to the new cinematic direction, it may feel disjointed or lacking in narrative scaffolding. It is a double-edged sword: confident in its audience but potentially alienating to those less informed.

A Peek at the Larger DC Universe (And The Boys, Apparently)

There are nods to the wider DC universe throughout, though not all are fully developed. María Gabriela de Faría’s portrayal of The Engineer stands out as the most direct reference to the now-integrated WildStorm line, originally from The Authority and Stormwatch. However, she is the only character from that side of the DC multiverse to appear in this film. Her inclusion feels more like a light nod to the Wildstorm legacy than a sign of a larger arc being set up.

One of the more curious additions is Ultraman, who in the comics is traditionally the evil version of Superman from an alternate Earth. In this film, Gunn appears to merge that concept with the character Apollo from Stormwatch, reworking him as a Planetwatch (obvious nod to Stormwatch) operative. Interestingly, the Ultraman shown here bears a strong visual resemblance to The Boys’ Black Noir: silent, masked, and militaristic. It is an interesting take and likely a playful nod to the popularity and influence of The Boys in the current superhero landscape.

Beyond that, the film introduces a Justice League-lite ensemble, unofficially dubbed a “Justice Gang,” with characters like Guy Gardner, Hawkgirl, Mister Terrific, and Metamorpho appearing throughout. Sean Gunn also takes on the role of Maxwell Lord, another familiar DC name, adding to the mix of comic references and Gunn family cameos (fans of Guardians of the Galaxy will recognise the crossover). There is even a casual mention of “metahumans,” subtly laying groundwork for a world populated by powered individuals.

Fans who pay close attention to the credits will also spot some familiar names from Gunn’s past MCU films. DC die-hards may also enjoy seeing appearances by previous Lex Luthors Alan Tudyk and Michael Rosenbaum (who also voiced the animated Flash). See if you can figure out where they pop up.

The Plot: Animated Series Vibes (Not Always In a Good Way)

At times, the film also feels like it is trying to mirror current societal tensions. Lex Luthor’s animosity towards Superman, this powerful outsider from another world, can be read as a commentary on xenophobia and the hostility often aimed at migrants or those perceived as ‘other.’ Superman, after all, has always been the ultimate immigrant figure, and Gunn seems to lean into that idea subtly.

The backdrop of conflict and militarised escalation shown in the film also draws a few clear parallels with current global tensions. There is an underlying sense of unrest throughout the movie that mirrors the real-world unease seen in ongoing wars and political instability, especially in how the film portrays power, fear, and preemptive aggression. Some of the hate-fuelled rhetoric voiced in the film may strike viewers as uncomfortably familiar, particularly those aware of the political climate in the United States. While it never gets heavy-handed, there are definitely moments where the story seems to echo real-world narratives about division, fear, and who gets to belong.

Here is where things get messy. The plot is far from perfect. It plays out more like a patchwork of comic book moments than a traditional three-act blockbuster. It feels deliberately stylised to mimic the structure and rhythm of a well-produced animated special or limited comic run. The stakes are technically huge, there is a world-ending threat in the background, but it never feels urgent. The story hops around quickly, dropping hints at bigger conflicts, introducing characters mid-stream, and moving on without much resolution or reflection.

There are noticeable plot holes and logic gaps, and while seasoned comic fans might shrug these off, general audiences may find it jarring. It feels less like a cohesive movie and more like a well-made animated special or standalone issue of a comic. And maybe that was intentional. Gunn clearly loves the animated universe tone, but for something that is supposed to launch a new cinematic era, the lack of narrative polish holds it back.

Gunn’s Signature: Loud, Funny, Nostalgic

This is unmistakably a James Gunn film. The humour is quippy, self-aware, and often effective. The musical selections (yes, his love for turn-of-the-millennium tracks is on full display) blend with montages and set pieces in ways that will feel familiar to anyone who watched Guardians of the Galaxy. He is also clearly paying homage to the Richard Donner Superman era, the iconic score, the tone, and the optimism. But whether that nostalgia is enough depends on how much you want something new versus something familiar.

Final Thoughts: Good, But Could Have Been More

At the end of it all, Superman (2025) is a decent watch. It has got heart, action, solid performances, and some memorable moments. But it does not feel like a movie that reboots a universe. It feels like a really good pilot episode of something larger.

If you are expecting something groundbreaking, something with the cultural impact of Black Panther or the surprise magic of the first Guardians, you may walk out underwhelmed. But if you are looking for a superhero film that leans into the comics, brings the fun, and does not take itself too seriously, then you will probably enjoy this.

Still, I could not shake the feeling that it could have been more. Superman is already an icon. What we needed was not another safe, familiar take, we needed something definitive.

Whether this version of the DCU will find its footing in the long run, time will tell. For now, Superman (2025) gives us something decent to work with. But the weight of greatness? Not quite yet.