Film Review: Superman 超人 (2025) - USA
Rating: ★★★☆☆ (7/10)
Reviewed by Andrew Chan (Film Critic Circle of Australia)
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Tagline: Superman Soars, But Doesn't Quite Reach the Stratosphere
There’s a comforting familiarity to the sight of that iconic "S" crest rippling against a bright blue sky. James Gunn’s *Superman* understands this deep-seated yearning. It arrives not with gritty deconstruction, but with a deliberate, almost defiant embrace of hope, primary colors, and the fundamental decency of its hero. It wants to be an antidote. And for much of its runtime, powered by a genuinely charming David Corenswet, it succeeds. Yet, like its hero learning the limits of his powers, the film stumbles just enough to keep it grounded when it clearly aims for the stars.
Corenswet is Clark Kent. More importantly, he is Superman. He captures the essential duality perfectly: the endearing, slightly awkward reporter fumbling with glasses, contrasted with the serene, confident strength of the Man of Steel. His performance radiates a wholesome goodness that feels neither cloying nor naive. This Superman believes in people, and Corenswet makes us believe in him. Rachel Brosnahan’s Lois Lane is a worthy match – sharp, fearless, and driven, far more than just a damsel or a plot device. Brosnahan brings wit and a palpable intelligence that crackles in her scenes with Corenswet. The supporting cast, including the always-welcome Nathan Fillion as Guy Gardner and a menacingly calm Nicholas Hoult as Lex Luthor, fill their roles with gusto, even if some feel underserved by the script’s broader ambitions.
Gunn, known for his irreverent ensembles, reins it in here, focusing squarely on Clark’s journey. The film wisely avoids yet another Krypton destruction/origin rehash, dropping us into a world where Superman is already established, yet still finding his footing against larger threats. Gunn’s visual flair is evident – Metropolis feels vibrant and lived-in, the flight sequences (especially an early, quiet moment over the cornfields of Smallville) are genuinely exhilarating, imbued with a sense of wonder sometimes missing from superhero fare. The color palette is a welcome shock to the system after years of desaturated tones; this world “looks” like a place worth saving.
So where does it falter? Primarily in its pacing and villain structure. The film juggles multiple antagonists – from street-level Intergang thugs to the intergalactic menace promised in the trailers. While each serves a thematic purpose (testing Superman's ideals from different angles), the connective tissue feels rushed. The film sprints through setups and confrontations, particularly in the bloated third act. The sheer scale of the final conflict, while visually impressive, tips into CGI overload, momentarily drowning the character-driven heart that made the first two acts so engaging. Some plot mechanics, particularly concerning Lex Luthor’s grand scheme, feel conveniently contrived to escalate the threat level beyond what the character moments can comfortably sustain. It’s a common superhero pitfall, but one Gunn usually navigates with more finesse.
Furthermore, for all its emphasis on hope and optimism, the film sometimes tells us about these themes rather than letting them breathe organically through quieter character moments. We get stirring speeches about light and truth, but the most potent moments are often the smaller ones: Clark helping a stranded motorist, Lois chasing a lead with dogged determination, Perry White (a gruffly perfect Wendell Pierce) barking orders in the Daily Planet bullpen.
“Superman" is not a perfect film. Its reach occasionally exceeds its grasp, leading to a final act that feels more obligatory than inspired. Yet, its core achievement is undeniable and vital: it successfully resurrects Superman as a symbol of aspirational goodness for a new generation. David Corenswet embodies the role with such innate sincerity and charm that you root for him instantly. Gunn delivers spectacle with genuine heart, even if the machinery groans under the weight of its own ambition. It’s a course correction the genre needed, a bright, earnest blockbuster that believes in its hero. It doesn’t redefine the superhero film, but it warmly, confidently reminds us why this particular hero endures. It leaves you hopeful – hopeful for Superman, and hopeful that the inevitable sequels will smooth out the kinks and let this promising new iteration truly soar. It’s a step in the right direction, flying confidently, if not yet flawlessly. (Neo, 2025)