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The new Superman flick is a good time at the movies. Go see it and then get in line to see it again. Maybe see it three times. Watch it not only because it’s the best DC superhero movie in decades, but also for its zippy story and magnetic cast. Mostly I want your butt in that seat to experience a movie brimming with warmth, humanity, and good vibes. It’s just fun, people. 

It’s top-notch summer entertainment by writer/director James Gunn, the guy that turned a bunch of misfits from an obscure Marvel comic into a blockbuster sensation. Besides making Rocket Raccoon and Groot household names with the Guardians of the Galaxy trilogy, he delivered the B-movie madness of Slither, the hardcore heroes of the Suicide Squad reboot, and a darkly hilarious Peacemaker series on HBO Max.

This guy knows his pop culture, and he’s the go-to guy for smart scripts with humor and edge. But Gunn restrains his dark side here because Superman is not an edgy character. No matter what the Snyder bros tell you, Supes does not need to be brooding. He’s just a good dude with super strength and heat vision. And that’s why we love him. 

There’s been a lot of noise made in the past that Superman is the ultimate outsider, but this strange visitor from another planet resonates most when he symbolizes the best in all of us. He’s not a superhero doing good. He’s a good person who’s a superhero. Gunn has taken inspiration from some of the greatest Superman comics of the modern era (All-Star Superman and Superman for All Seasons for starters) to create a story that honors the character’s past while breaking new ground. 

Despite being packed with superheroes, this movie is not weighed down by franchise baggage. While there are bread crumbs sprinkled throughout alluding to the emerging DCU, it’s not interested in spinoffs or sequels. Superman just wants to entertain you by presenting a beloved character in a context that is both new and familiar. Congrats to Gunn and David Corenswet, the latest actor to don the cape and boots, for giving us the best version of Superman since Christopher Reeve made you believe a man could fly. 

I’ve seen all the Superman flicks over the years, and Reeve is certainly this character’s North Star. He fully embodied Superman’s sincerity and idealism while also supplying plenty of high-flying derring-do. The first Superman movie was groundbreaking. Director Richard Donner gave us the template for the contemporary superhero movie. 

His rules were simple. Respect the source material, but don’t take things too seriously. Deliver eye-popping visuals to support a story with heart and soul. Have actors embrace their character’s comic book roots without winking at the camera. That movie inspired a whole generation to tie towels around their necks while pretending to fly around their living rooms. 

Superman’s monumental success unfortunately led to a trio of sequels of diminishing quality, but Reeve’s dedication never faltered. He was still giving 110% even in the lackluster Superman IV. His belief in the character’s ideals remained steadfast until the very end. Hollywood’s attraction to the Man of Steel waned as he became overshadowed by edgier superheroes like Batman and the X-Men. 

When an overly faithful reboot in 2006 tanked, studios said audiences didn’t want to see a wholesome Superman anymore, but I disagree. We just wanted a decent movie. Superman Returns was a love letter to Reeve and Donner’s vision, but it’s boring. Brandon Routh does an admirable job in the title role, but he’s stranded in a movie where nothing really happens. 

Seven years later, director Zack Snyder and star Henry Cavill gave Superman a macho overhaul with the grim Man of Steel. Cavill is a decent Superman, but this movie is seriously dreary. As a filmmaker, Snyder either delivers righteous cinema (Dawn of the Dead, 300) or brotastic nonsense (Sucker Punch, Rebel Moon). His Superman movie and its sequels/spin-offs fall somewhere in between. 

For all the chatter over the years about how to make Superman resonate with audiences, this new flick is the first to make it happen. The secret was never to make him dark and brooding. It was all about presenting him as a real person. This Superman likes pop music and makes his girlfriend breakfast for supper. He sees goodness everywhere and just wants to help. And he really loves his dog. 

I was originally hesitant when I heard Krypto the Super Dog would be in this film, but Gunn makes the character work. He is the goodest boy. Besides reminding all of us of our own fur babies, Krypto provides comic relief and brings out a self-deprecating side of Superman that we haven’t seen before. Knowing this writer/director’s proficiency with scene-stealing critters (remember Rocket Raccoon?), I shouldn’t have worried so much. 

Besides crushing the scenes with Krypto, Gunn has assembled an amazing cast that plays like they just walked out of the comic book. Rachel Brosnahan, Nicholas Hoult (Mad Max Fury Road), Nathan Fillion (Firefly and The Rookie), and Edi Gathegi (For All Mankind) all fully inhabit their roles. While there’s no doubt who is the star of this show, each cast member brings their A game. This ensemble really helps this flick to soar, especially Brosnahan (The Amazing Mrs. Maisel on Prime) as Lois Lane. 

She will forever be the gold standard for Lois from now on. In my opinion, her spunky take on the character surpasses even Margot Kidder in the original films. And that’s saying something because Kidder and Reeve had something special. Brosnahan and Corenswet have a similar dynamic but with an enjoyable twist. To see what I mean, compare when Lois interviews Superman in the original movie to its modern counterpart. 

Both scenes reveal a different side of Lois Lane and her relationship with the Man of Steel. In the 1978 version, Superman is the only one who can penetrate Lois’s tough gal exterior. Kidder plays her in this scene as giddy and sincere. In the new film, Lois puts her feelings aside to ask Superman some tough questions. The attraction is apparent in both films, but conveyed differently. They stand in riveting contrast while serving as signature moments in their films. 

Superman’s other notable relationship in this movie is with his arch enemy, Lex Luthor. The competition here is stiff because it’s hard to beat Gene Hackman’s portrayal in the first movie. He’s both dastardly and charming, like your snarky rich uncle if he were a megalomaniacal criminal mastermind. Subsequent movie Luthors never came close. (Editor’s note: But Smallville’s Lex Luthor, played by Michael Rosenbaum, was in the neighborhood!)

Kevin Spacey in Superman Returns parrots Hackman but comes off as creepy and mean. Jesse Eisenberg’s Lex in Batman v. Superman plays like that obnoxious nerd in the dorm next door. Just shut up already. Nicholas Hoult makes the character his own. He’s funny without being comical. Villainous without being over the top. He turns narcissism into high art. 

His Lex is a covert criminal, a billionaire CEO with government contracts. He uses his wealth and power to disgrace Superman simply because he’s jealous. This movie presents Lex and Superman as a one-sided rivalry. It’s like Salieri and Mozart with giant monsters and superpowers. This Lex Luthor is driven by pure ego. He feels his genius is overshadowed by Superman’s heroics. Lex wants to defeat him because he doesn’t want to share the spotlight.

Gunn’s movie brings this iconic character back to his roots. He knows we don’t need a majestic messiah metaphor or a morose action spectacle. We just want a fun movie. He wins the day by leveraging his affection for the material with a top-notch cast for a joyous comic book showcase. Kudos to Gunn and his stars, specifically Corenswet, Brosnahan, and Hoult. 

They are a winning trinity, overflowing with heart, moxie, and charisma. While Reeve and Donner’s Superman will always be the pinnacle, Corenswet and Gunn’s Man of Steel is pretty darn close. They have put this hero on the right path for a bright future. I’m excited to see what happens next. Like I said, go see this movie at least twice today. It’s worth it. 

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