As far as superheroes go, Superman was the first, both on the page (dating all the way back to Action Comics No. 1 in 1938) and on the screen (George Reeves in the 1950s and Christopher Reeve at the dawn of the blockbuster era). Yet, despite the continuing pop cultural dominance of superhero cinema, the Last Son of Krypton has had trouble finding his footing in the 21st century: Bryan Singer’s “Superman Returns” (2006) came and went faster than a speeding bullet, and Zack Snyder’s “Man of Steel” (2013) and “Batman v. Superman: Dawn of Justice” (2016) remain deeply divisive. DC Studios’ latest attempt, once again simply titled “Superman,” tasks director James Gunn (of Marvel’s “Guardians of the Galaxy” films) with revitalizing Superman as a character and rebooting DC’s cinematic universe. While he more or less succeeds at the former aim, one wishes they’d give the latter a rest.
This “Superman” skips past the character’s origin story, which at this point is as ingrained in our national consciousness as Paul Bunyan or John Henry. When we meet Superman, played by David Corenswet (“The Politician”), he has established himself as the defender of Metropolis; Clark Kent is already in a relationship with fellow Daily Planet reporter Lois Lane (Rachel Brosnahan), who in turn already knows his secret identity; and tech-whiz billionaire Lex Luthor (Nicholas Hoult, having a ball) has already vowed to be his undoing. Luthor’s latest plan involves his own team of superpowered special ops, as well as an alliance with a decidedly Putinesque foreign dictator (“Triangle of Sadness” scene-stealer Zlatko Buric). There’s also, of course, the standard rip-a-hole-in-the-space-time-continuum threat to humanity, leaving it once again up to our boy in blue to save the world.
From its opening moments, “Superman” positions itself as a repudiation of the grim-and-gritty excess of the so-called “Snyderverse” films. It frontloads its most exuberantly comic-booky elements, from Superman’s Antarctic Fortress of Solitude and fleet of robot butlers to his faithful companion, Krypto the Superdog (an absurdly adorable, CG-assisted mutt). Unlike the stoic enforcer played by Henry Cavill in those films, this Superman makes a point of rescuing each and every bystander, at one point even escorting a wayward squirrel to safety. Even the bright blues and reds of Superman’s costume stand in contrast to the muted, metallic tones favored by modern superhero flicks. Gunn wisely leans into the character’s old-fashioned sunniness, and the film is better for it.
Likewise, Corenswet plays Superman as an affably square figure, an eternal optimist who at times feels like an overgrown kid playing dress-up (he can’t even bring himself to swear, favoring interjections like “Golly!” and “Aw, heck!”). He’s complemented well by Brosnahan’s Lois, here portrayed as a brash reformed punk driven by a need to tell it like it is. The bustling newsroom of the Daily Planet (sadly, as much of a fantasy these days as believing a man can fly) is filled with familiar faces, from Wendell Pierce’s no-nonsense Perry White to Skyler Gisondo’s lothario Jimmy Olsen. The ensemble takes to Gunn’s trademark back-and-forth repartee, ably bringing this near-century-old cast of characters into the modern age.
It’s a pity, then, that they don’t get a movie to themselves. From the opening crawl, which offhandedly mentions that “metahumans” have been on earth for at least 300 years, it is clear that “Superman” is doing double duty as a launching pad for yet another interconnected universe of blockbusters-to-be. The film is stuffed with auxiliary characters and ideas, from Metamorpho and Hawkgirl to “pocket universes” of interdimensional beings, each clearly planted to launch future franchises. Some of these additions, such as Nathan Fillion’s thick-headed, egotistical Green Lantern, are entertaining, but you shouldn’t need Green Lantern to sell a Superman movie. He’s Superman, and is just as capable of carrying a film as DC stablemate Batman.
This excessive universe-building feels particularly misjudged at a moment audiences at large are tiring of the homework required to understand the latest Hollywood spectacle (even Marvel seems to have gotten the hint, partitioning their upcoming “Fantastic Four” reboot in an alternate-universe ’60s). The time spent sowing future movies comes at the expense of the dramatic beats of this one; one twist, which should be a devastating turning point, is almost comically rushed, telegraphed on a giant screen mere seconds after a big, silly monster battle. Worse, the cynical nature of this plotting cuts against the earnestness and decency that makes this character so special. There has never been a better time for a film about Superman, an immigrant refugee hero who, in his earliest outings, battled corrupt politicians and robber barons as often as super-powered bad guys. The best moments in “Superman” show that Gunn and his cast understand this – if only the Lex Luthors in the boardroom were content to let their hero hold center stage.
At Landmark Kendall Square Cinema, 355 Binney St., Cambridge; Apple Cinemas Cambridge, 168 Alewife Brook Parkway, Cambridge Highlands near Alewife and Fresh Pond; Somerville Theatre, 55 Davis Square; and AMC Assembly Row 12, 395 Artisan Way, Assembly Square, Somerville.
Oscar Goff is a writer and film critic based in Somerville. He is film editor and senior critic for the Boston Hassle and his work has appeared in the monthly Boston Compass newspaper and publications such as WBUR’s The ARTery and iHeartNoise. He is a member of the Boston Society of Film Critics, the Boston Online Film Critics Association, and the Online Film Critics Society.
A stronger
Please consider making a financial contribution to maintain, expand and improve Cambridge Day.
We are now a 501(c)3 nonprofit and all donations are tax deductible.
Please consider a recurring contribution.