Superman review: ‘Bursting with geeky weirdness’

Superman Review: James Gunn’s Bizarre Reboot Soars… Then Crashes

James Gunn’s much-anticipated Superman reboot is finally here—and it’s not what anyone expected. The film, starring David Corenswet as the iconic Man of Steel, marks the official launch of DC’s new cinematic universe. But instead of a heroic revival, Gunn delivers a chaotic and self-indulgent mashup that feels more like an eccentric sci-fi B-movie than a confident franchise starter.

Gone is Zack Snyder’s grim, brooding Superman. Instead, Gunn embraces comic-book absurdity in full force, introducing viewers to flying dogs, superhero robots, interdimensional eyeballs, and a metahuman militia—all before the halfway mark. While some comic fans may relish the chaos, others will be left wondering: is this really the Superman we needed?

No Origin Story Here

One of the boldest choices Gunn makes is to skip Superman’s well-known origin story. When the film begins, Clark Kent has already been Metropolis’s guardian for three years. He’s dating Lois Lane (Rachel Brosnahan), already has enemies like Lex Luthor (Nicholas Hoult), and is surrounded by a team of morally ambiguous “metahuman” allies including Green Lantern (Nathan Fillion), Mr Terrific (Edi Gathegi), and Hawkgirl (Isabela Merced). Gunn’s decision to drop audiences into the middle of the action has its merits—it avoids repetition and gets straight to the superheroics—but it also strips the film of emotional buildup.

An Overload of Weirdness

What Superman lacks in structure, it tries to compensate for with geeky weirdness. From clones and hypno-glasses to fire-breathing monsters and social media satire, Gunn stuffs the runtime with ideas that feel like they were ripped from obscure comic panels. His imagination is on overdrive—but the result is a film that never stops long enough to build real emotion or suspense.

Visual effects are bright and glossy, but often cartoonish, and the action sequences feel more like cutscenes from a video game than meaningful cinematic moments. There are fights, collapses, and chaos galore—but little weight or consequence.

A Glimpse of Charm… But Not Enough

David Corenswet is well-cast. He brings the right look and charm to both Superman and Clark Kent, but the script gives him little room to show depth. Oddly enough, his Superman comes off more as a frustrated manchild than a beacon of hope. He frequently lashes out at Lois, and we rarely see the kind, principled hero fans have admired for decades.

It’s a baffling move. Superman, at his core, is about compassion and restraint—qualities that are glossed over here in favor of hyperactive plot beats. Gunn’s attempt to modernize Superman’s personality ends up undermining the very traits that define him.

A Franchise in a Rush

Rather than establishing a solid foundation for future DC films, Superman feels like a desperate attempt to cram in everything at once—perhaps out of fear there won’t be a sequel. There’s so much going on, from geopolitical metahuman debates to jokes about internet trolls, that the story forgets to breathe.

The film’s tone swings wildly between silly, sincere, and cynical. One moment features a touching nod to John Williams’ classic Superman score, the next introduces a floating imp from a pocket dimension. The tonal whiplash makes it hard to tell what this film wants to be—a tribute, a satire, or something entirely else.

Final Verdict

Gunn’s Superman is undeniably bold, brimming with imagination and oddball flair. But in its rush to reboot a universe and impress die-hard comic fans, it forgets the basics: heart, clarity, and character development. It’s a curious spectacle—sometimes charming, often baffling, and ultimately unsatisfying.

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