Witty, warm-hearted, and breathlessly paced, this first official movie outing from DC Studios under the stewardship of James Gunn and Peter Safran doesn’t try to reinvent the cape, nor does it drown itself in origin-story solemnity. Instead, we’re offered an often riotous reintroduction to the Man of Steel, inflected with Silver/Bronze Age comic sensibilities.
Director Gunn, who also penned the screenplay, wisely skips yet another tour through the ruins of Krypton or the cornfields of Smallville. Instead, we’re dropped into a fully formed world, confident enough to let comic book lore stand on its own.
David Corenswet dons the cape with understated charisma, bringing a sincere, boyish charm to Clark Kent…
David Corenswet plays the alien who fell to Earth with understated charisma, bringing a sincere, boyish charm to Clark Kent. His Superman is a figure of extreme compassion – we know this because he saves a squirrel (not a plot spoiler); this isn’t a hero driven by guilt or trauma.
The tone is brisk and buoyant. Gunn’s gift for ensemble dynamics, so evident in Guardians of the Galaxy, is put to good use here. Jokes land, beats are tight, and the script zips along without bloat. Gunn also knows when to let a quiet moment breathe.
Characters are introduced with no explanation of backstory – but they’ll all be instantly recognisable to long standing comic book fans. Gunn cites All Star Superman, the limited series written by Grant Morrison and and illustrated by Frank Quitely, from the mid-noughties, as a major influence.
This is very much a modern, comedic take. Superman’s Pal Jimmy Olsen gets his scoops via messaging apps, Metropolis buzzes with social media (Superman doesn’t do selfies), and Lex Luthor (Nicholas Hoult, chewing the scenery with varying success) hires gamers to outmanoeuvre Superman in real-time fisticuffs.
That’s not to say the action lacks traditional impact. Shot with IMAX cameras and engineered for theatrical spectacle, Superman features crowd-pleasing set pieces that earned spontaneous applause at the screening I attended. The scale is epic without feeling exhausting, aided by John Murphy’s score, which hits all the necessary heroic swells, and the sound design is sensational.
The supporting cast is eclectic and fully committed. Rachel Brosnahan’s Lois Lane is sharp and uncompromising. Nathan Fillion as Green Lantern Guy Gardner is delightfully obnoxious, and in a standout turn, Edi Gathegi’s Mr Terrific walks away with nearly every scene he’s in, making a strong case for a solo outing down the line.
Even Krypto, the super dog, turns in a stellar performance – the pooch is beautifully executed, much as Rocket was in Guardians.
For the most part, James Gunn handles his oddballs well, with only Hoult’s Lex Luthor feeling slightly off-key.
Overall, quibbles are minor. This Superman is fresh, fun, and full of invention. It feels like the start of something not just new, but right. It doesn’t reinvent the genre, but maybe, just maybe, it helps remind us why we love these characters in the first place.
A soaring debut for DC Studios, and a hopeful sign for what’s to come.
Superman is directed by James Gunn, and stars David Corenswet, Rachel Brosnahan, Nicholas Hoult, and Krypto. 12A, 130 minutes.
In Prisoner, the new high octane thriller from Sky, a prison transport officer and a contract killer partner in a race across the country, after a violent ambush leaves them handcuffed together and pursued by ruthless criminals. It’s an outlandish premise but the show moves at such a breakneck pace, you’ll barely have time to…
Cinephile video label Masters of Cinema has confirmed the third volume in its Laurel & Hardy archive restorations. Arriving on Blu-ray in the UK for the first time, Laurel & Hardy: The Silent Years (1929), is a two-disc collection of the boys’ final silent-era collaborations, reminted nearly a century after they were made. Newly restored…
After a sold-out tour across the UK and Ireland, Derren Brown is bringing his latest stage show Only Human to London’s West End, with a residency at the Apollo Theatre this autumn. Brown has long occupied a singular place in British theatre. Part illusionist, part psychological showman, his productions blend suggestion, storytelling and audience participation…
The Luxe Review 
Witty, warm-hearted, and breathlessly paced, this first official movie outing from DC Studios under the stewardship of James Gunn and Peter Safran doesn’t try to reinvent the cape, nor does it drown itself in origin-story solemnity. Instead, we’re offered an often riotous reintroduction to the Man of Steel, inflected with Silver/Bronze Age comic sensibilities.
Director Gunn, who also penned the screenplay, wisely skips yet another tour through the ruins of Krypton or the cornfields of Smallville. Instead, we’re dropped into a fully formed world, confident enough to let comic book lore stand on its own.
David Corenswet plays the alien who fell to Earth with understated charisma, bringing a sincere, boyish charm to Clark Kent. His Superman is a figure of extreme compassion – we know this because he saves a squirrel (not a plot spoiler); this isn’t a hero driven by guilt or trauma.
The tone is brisk and buoyant. Gunn’s gift for ensemble dynamics, so evident in Guardians of the Galaxy, is put to good use here. Jokes land, beats are tight, and the script zips along without bloat. Gunn also knows when to let a quiet moment breathe.
Characters are introduced with no explanation of backstory – but they’ll all be instantly recognisable to long standing comic book fans. Gunn cites All Star Superman, the limited series written by Grant Morrison and and illustrated by Frank Quitely, from the mid-noughties, as a major influence.
This is very much a modern, comedic take. Superman’s Pal Jimmy Olsen gets his scoops via messaging apps, Metropolis buzzes with social media (Superman doesn’t do selfies), and Lex Luthor (Nicholas Hoult, chewing the scenery with varying success) hires gamers to outmanoeuvre Superman in real-time fisticuffs.
That’s not to say the action lacks traditional impact. Shot with IMAX cameras and engineered for theatrical spectacle, Superman features crowd-pleasing set pieces that earned spontaneous applause at the screening I attended. The scale is epic without feeling exhausting, aided by John Murphy’s score, which hits all the necessary heroic swells, and the sound design is sensational.
The supporting cast is eclectic and fully committed. Rachel Brosnahan’s Lois Lane is sharp and uncompromising. Nathan Fillion as Green Lantern Guy Gardner is delightfully obnoxious, and in a standout turn, Edi Gathegi’s Mr Terrific walks away with nearly every scene he’s in, making a strong case for a solo outing down the line.
Even Krypto, the super dog, turns in a stellar performance – the pooch is beautifully executed, much as Rocket was in Guardians.
For the most part, James Gunn handles his oddballs well, with only Hoult’s Lex Luthor feeling slightly off-key.
Overall, quibbles are minor. This Superman is fresh, fun, and full of invention. It feels like the start of something not just new, but right. It doesn’t reinvent the genre, but maybe, just maybe, it helps remind us why we love these characters in the first place.
A soaring debut for DC Studios, and a hopeful sign for what’s to come.
Superman is directed by James Gunn, and stars David Corenswet, Rachel Brosnahan, Nicholas Hoult, and Krypto. 12A, 130 minutes.
Prisoner review: Sky’s handcuff thriller is an explosive rollercoaster that’s worth the ride
In Prisoner, the new high octane thriller from Sky, a prison transport officer and a contract killer partner in a race across the country, after a violent ambush leaves them handcuffed together and pursued by ruthless criminals. It’s an outlandish premise but the show moves at such a breakneck pace, you’ll barely have time to…
1929 Laurel & Hardy silent shorts get 2K restoration for Masters of Cinema Blu-ray release
Cinephile video label Masters of Cinema has confirmed the third volume in its Laurel & Hardy archive restorations. Arriving on Blu-ray in the UK for the first time, Laurel & Hardy: The Silent Years (1929), is a two-disc collection of the boys’ final silent-era collaborations, reminted nearly a century after they were made. Newly restored…
Derren Brown’s latest stage show Only Human heads to London West End after sell-out tour
After a sold-out tour across the UK and Ireland, Derren Brown is bringing his latest stage show Only Human to London’s West End, with a residency at the Apollo Theatre this autumn. Brown has long occupied a singular place in British theatre. Part illusionist, part psychological showman, his productions blend suggestion, storytelling and audience participation…
Share this: