This is an undated contributed photo of David Corenswet as Superman in a scene from "Superman."
JESSICA MIGLIO, Warner Bros. via the AP
James Gunn’s “Superman,†despite supposedly being a fresh start for the DC Universe, is so tied up with the past that it’s incapable of moving forward, trapped in a cinematic Phantom Zone, a prison-like parallel universe associated with many Superman comic books and films.
Gunn uses John Williams' theme song and the iconic title font from Richard Donner’s 1978 version. He liberally borrows so much from comic book story arcs, it feels as if you need a DC Encyclopedia to understand the film. Gunn also traverses familiar territory, ripping story beats straight from 2016's “Batman v Superman: Dawn of Justice†and 1987's “Superman IV: The Quest for Peace,†to the point that the film becomes a tonally haphazard patchwork of squandered potential.
The director’s pastiche of 87 years of comic book lore — everything from Krypto the Superdog to pocket universes — lacks a clear and motivating identity. Gunn seems afraid to give this Superman, played admirably by David Corenswet, a distinctive emotional heft, instead falling back on his signature daddy tropes, already exhausted by three “Guardians of the Galaxy†films.
The film begins with a lengthy title screen explaining Krypton, Metahumans, Superman’s existence, and everything in between. Gunn is in such a rush to get to the exciting part that he forgets the journey from refugee to farm boy to savior is the most valuable aspect to his emotional voyage. The film is bathed in a fisheye-lensed recreation of the Silver Age of Superman, unwilling to do the hard work of laying the groundwork for this new take on Kal-El of Krypton.
A man of steel, or a man of glass?
This is an undated contributed photo of David Corenswet as Superman in a scene from "Superman."
Less of a man of steel, and more of a man of glass, Gunn writes Superman has an overgrown man-child — less of the virtuous and good-natured boy scout and more Star Lord from Gunn’s own “Guardians of the Galaxy.†He’s petulant and hard-headed. Typically, both on-screen and in the comics, Superman is written as stoic and level headed, which makes it that much more potent when he becomes volatile. But Gunn’s limited ability to write outside of his wheelhouse turns the most resigned and composed of all superheroes into an insecure baby.
The same goes for Lex Luthor, who lacks none of the wit of Gene Hackman, nor the nervous mania of Jesse Eisenberg. Instead, he’s written much the same as Superman — he screams and yells and seethes. His hatred of Superman is eruptive. Despite Nicholas Hoult (Lex Luthor) and Corenswet’s best efforts, Gunn's lack of willingness to invest in these characters lets down the best possible casting decisions.
Between throwing temper tantrums and continual beatings by Lex Luthor’s thugs, he’s by far the least virtuous of all of the Superman’s we’ve seen on-screen. The marketing promises that this film is hopeful, but that is rarely on-screen. When it is, it’s spelled out clumsily. Gunn is incapable of letting a moment sit and breathe, otherwise the audience might get distracted and realize how hollow the beating heart of his film is.
The best part is the audience
The most enjoyable parts of the film were not on-screen. They were in the audience. When Superman would save the day, young children applauded. It reminded me of my childhood, running around the neighborhood in my homemade Superman cape. For them, this is that moment when they realize that Superman is an ideal to strive towards — an encapsulation of a virtuous spirit without the desire for thanks or approval.
Superman’s enduring strength is that he has survived a lack of fortitude on the part of writers and filmmakers for the better part of a century. The legacy of hope and integrity, of standing strong against the worst intentions of humanity, is so baked into his DNA that he can survive even the most misguided cinema interpretations.
Gunn's film is far from the worst, but it may be the only one that lacks the steely conviction of its Kryptonian hero.
