<p>When James Gunn took over DC, fans hoped ‘Superman’ would soar again. What we get is all cape, no lift. It’s colourful, ambitious, and briefly engaging, but also cluttered, impersonal, and emotionally flat. Though ‘Superman’ shows up, the movie barely gets off the ground.</p><p>Clark Kent is already mid-career, flying into a fictional war between two forgettable nations. The film skips his origin in favour of scale, but the emotional core never catches up. We’re shown a modern-day Metropolis buzzing with social media chatter, public image debates, and news-cycle noise, but it adds texture more than substance. </p><p>The film prioritises metahuman skirmishes and political distractions over character development, and resorts to scattered cameos. </p><p>David Corenswet looks the part, but the script traps him in still, noble poses. Nicholas Hoult’s Lex Luthor has flashes of menace, but quickly becomes grating. Rachel Brosnahan brings sharpness and confidence to Lois Lane, but she’s sidelined just when her character starts to matter. Even Krypto the Superdog has more emotional clarity than most of the humans, and he’s animated. The presence of other superheroes feel forced.</p> .<p>Visually, it’s bright and colourful, shedding DC’s usual gloom. Gunn’s touch shows in the design and pacing, but the tone feels unsure, caught between spectacle and setup. His comedic scenes misfire, but the punk rock-driven moments crackle with energy. The soundtrack becomes the film’s most consistent voice.</p><p>Gunn’s ‘Superman’ has effort, not identity. It’s torn between tribute and tease, and never finds its voice. The suit fits. The rest doesn’t.</p>
<p>When James Gunn took over DC, fans hoped ‘Superman’ would soar again. What we get is all cape, no lift. It’s colourful, ambitious, and briefly engaging, but also cluttered, impersonal, and emotionally flat. Though ‘Superman’ shows up, the movie barely gets off the ground.</p><p>Clark Kent is already mid-career, flying into a fictional war between two forgettable nations. The film skips his origin in favour of scale, but the emotional core never catches up. We’re shown a modern-day Metropolis buzzing with social media chatter, public image debates, and news-cycle noise, but it adds texture more than substance. </p><p>The film prioritises metahuman skirmishes and political distractions over character development, and resorts to scattered cameos. </p><p>David Corenswet looks the part, but the script traps him in still, noble poses. Nicholas Hoult’s Lex Luthor has flashes of menace, but quickly becomes grating. Rachel Brosnahan brings sharpness and confidence to Lois Lane, but she’s sidelined just when her character starts to matter. Even Krypto the Superdog has more emotional clarity than most of the humans, and he’s animated. The presence of other superheroes feel forced.</p> .<p>Visually, it’s bright and colourful, shedding DC’s usual gloom. Gunn’s touch shows in the design and pacing, but the tone feels unsure, caught between spectacle and setup. His comedic scenes misfire, but the punk rock-driven moments crackle with energy. The soundtrack becomes the film’s most consistent voice.</p><p>Gunn’s ‘Superman’ has effort, not identity. It’s torn between tribute and tease, and never finds its voice. The suit fits. The rest doesn’t.</p>