Flawed, Human, Political - Is James Gunn’s Superman Enough to Save the DC Universe?

If there was ever any doubt that James Gunn could salvage the collapsing DC Universe, Superman takes a solid first step towards it. Not only does the film stand tall on its own, but it also kickstarts a whole new superhero era, right when the Marvel machine is clearly in decline. It's been a rollercoaster of hits and misses lately, with Captain America: Brave New World crashing hard, and Thunderbolts only just managing to recover some of the momentum.

With Fantastic Four still looming on the horizon, Superman confidently claims the cape as the superhero movie of the year, at least for now.

David Corenswet brings a much-needed freshness to a role we’ve seen reimagined time and time again. His Clark Kent has a quirky charm and a quiet ache to do good, to belong, even when he’s in the cape, and especially when he’s in the vest of Metropolis’s hero. What makes this Superman compelling isn’t his invincibility, but his vulnerability. His desire to be accepted. To be understood.

From the very first scene, we see him bruised and beaten down. A clear statement that he is not indestructible. He wants to be relatable in his flawed and deeply caring conviction, so that we look at his as more than an alien immigrant, as more than a cape.

His chemistry with Rachel Brosnahan? Off the charts. I’ve loved her since The Marvelous Mrs. Maisel, and her Lois Lane is more than just a love interest or plucky reporter sidekick. She’s sharp, layered, and unafraid to challenge Clark, not just question his action. An early scene set in her apartment (don’t worry, no spoilers) is a standout: beautifully written, packed with character insight, and it sets the tone for everything that follows, as it reveals fundamental traits of both characters and the reasons behind their action.

Gunn balances the old-school charm of Superman with a modern message and a sharp execution. His love for and knowledge of the comics allows him to do justice to this universe. Metropolis isn’t just a vague stand-in for New York anymore, it feels like a real, breathing city. The Daily Planet newsroom buzzes with life. Skyler Gisondo’s Jimmy Olsen brings a goofy, effortless charm, while Wendell Pierce is pitch-perfect as Perry White.

We also get a glimpse into the wider universe Gunn is clearly setting up. This isn’t just a reboot, it’s a launchpad. Nathan Fillion’s Green Lantern appears, rocking an ash-blonde bowl cut that practically begs to be roasted. Hawkgirl and Mr. Terrific round out the extended superhuman crew.

And yes, it might feel a bit crowded. The number of heroes introduced is more than expected, and since they’re mostly deployed when the plot needs them, they’re less fleshed out and harder to connect with. Still, somehow, it works. Even if we don’t get full arcs, their presence supports the idea that Superman can’t (and shouldn’t) stand alone.

But the true standout of the cast? Nicholas Hoult as Lex Luthor. Simply phenomenal. I’ve admired his work for years; the craftsmanship and dedication he brings to every role makes him a rare gem in today’s industry, and this performance doesn’t disappoint.

This isn’t your typical cartoonish billionaire villain. Hoult reinvents Luthor as a tech-era megalomaniac, pulling strings like a gamer controlling avatars. He’s calculating, magnetic, and borderline absurd, and I mean that in a good way. At one point, we discover he has a pocket universe where he stores a horde of annoying ex-girlfriends. I won’t spoil anything, but the whole concept of the pocket universe was one of my favourite elements in the movie. 

Luthor’s motivation isn’t just envy (though he bluntly admits it). There’s something deeper, more unsettling in his obsession with Superman. Hoult portrays a villain who’s deeply flawed yet captivating, never slipping into one-dimensional territory. His speeches are theatrical, almost Shakespearean, but never feel out of place. He’s despicable, yes, but fascinating to watch.

Let’s get into what most reviews aren’t talking about: Superman has a political edge, and it’s sharper than you’d expect from a studio blockbuster.I was genuinely surprised it even made it past the studio gates. Hollywood is famously allergic to political transparency, but Gunn sneaks in some undeniable parallels. Whether intentional or not, it’s hard to ignore the echoes of the genocide in Palestine at the hands of the Israeli government. Lex Luthor, supplying weapons to a neighbouring aggressor exploiting a defenceless population, is too on-the-nose to be coincidental. And judging by the audience’s reaction, I wasn’t the only one picking up on it. My hope is that this inclusion comes from a genuine desire to raise awareness about global injustices, and not just a strategic move to boost international sales, especially at a time when, according to Gunn himself, anti-American sentiment is affecting box office numbers abroad.

So, where does that leave Superman overall?

On paper, it’s everything a superhero reboot should be: bold, fresh, emotionally grounded. But maybe it doesn’t quite go far enough. I found myself waiting for the emotional crescendo, for the moment that would hit me in the chest, and when Corenswet’s big final speech came, it just didn’t land. It had all the right ingredients, but lacked that extra punch. The film’s heart gets lost somewhere between the explosive set pieces and comedic beats, leaving the emotional arc feeling thin and forgettable. And so, I left the theatre entertained, but not fully moved.

Still, Gunn has laid solid groundwork for DC’s next chapter. And I'm definitely intrigued.

We won’t have to wait long. Supergirl: Woman of Tomorrow, starring Milly Alcock (House of the Dragon, Upright), is already on the horizon. Gunn’s vision is only just beginning to unfold, and if Superman is any indication, the new DC might not blow us away just yet... but it is on the right track.

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