Gunn’s Superman is refreshingly self-contained and ambitiously tied to a broader forthcoming DC Universe. The story focuses on Clark’s journey: his values, his limitations, and his relationships, while still hinting at a cosmic scale of events waiting just off-screen. For the first film of this series, the choice of heroes and villains is interesting: Ultraman as an immediate adversary, intergalactic imps as a casual background presence, and Metamorpho joining the Justice Gang by the end. Some of these characters felt randomly selected, but these inclusions suggested an Earth already teeming with the strange and the powerful. Though it does raise questions about why other galactic heroes like Martian Manhunter or Wonder Woman aren’t yet stepping in, but that is for the best, that instead of rushing toward an all-hands-on-deck crossover, the film wisely plants seeds for the universe to develop. By centering on Clark, it avoids the problem of every solo outing feeling like an Avengers-lite scenario. The only misstep I can call out here is how little attention is paid to Clark Kent’s absence during Superman’s entrapment in the pocket dimension, which feels like an odd gap in an otherwise carefully grounded story.

Story & World-Building

Lex enters the stage already defined by hatred, charisma, and political influence. Gunn doesn’t waste time with a slow build up; from his first appearance, Lex feels dangerous, not just because of his genius but because of how effectively he bends culture and power around himself. Even with how his arc in the film ends, his influence within Metropolis & national politics foreshadows the presidential arc longtime readers know is inevitable. What’s impressive is how the movie captures both his ideological hatred for Superman, resenting him as an alien inhabitant, and his shrewdness as a strategist, setting up a physical adversary and a philosophical one. That tension, coupled with his imprisonment promises to shape the series for years to come.

Lex Luthor

Superman thrives or dies on the human ensemble around him at the Daily Planet, and this film gets it right. Lois Lane comes off as a sharp, thoughtful, and fearless reporter. Superman is the damsel in distress and Lois is more a partner whose drive matches his ideals and is there to save him when most needed. Jimmy Olsen brings a level of levity and heart to the troupe, and together they give the Daily Planet newsroom a spark we haven’t seen on-screen in years. It feels like a workplace alive with tension, humor, and real stakes. Lois transitions off the Daily Planet troupe smoothly into the inclusion of Mister Terrific, who adds another layer, just reminding viewers that Superman’s world isn’t just about Kryptonians and gods, but also brilliant human allies who contribute in their own ways. These dynamics give Clark something essential: a grounding in relationships that are as important as his superhuman feats.

Performances & The Daily Planet

David Fleming’s score is one of the film’s secret underlying weapons. The track 'Last Son' performs phenomenally well as an anthem, filled with motifs that emphasize Superman’s hopeful nature. Where Zimmer’s 'Flight' carried an air of awe and gravitas, Fleming’s composition feels lighter, more human, and more emblematic of Clark’s optimism. The pacing of the film reflects that musical tone: brisk and energetic without losing room for quieter beats of reflection. Action and spectacle land hard, but they’re never rushed, and quieter moments, like Clark on the farm, Lois at her desk, Jimmy cracking a joke, are allowed to breathe.

Music & Pacing

The fight choreography feels both brutal and perfectly character-specific. Superman doesn’t fight like a martial artist, he’s a kid from Kansas throwing haymakers, using raw strength rather than technique and that is exactly how it should be. This martial choice makes the action feel grounded and true to who Clark is. At the same time, the film hints at restraint: his underuse of heat vision reflects his peace-first instincts. Still, the set pieces escalate impressively and none more than the jaw-dropping moment when Superman pulls himself, Metamorpho, his son, and Krypto out of a black hole. It’s the kind of mythic feat that sparks debate among powerscalers and fans alike about just how powerful this version of Superman really is, without ever losing sight of the human costs at play.

Action & Powers

Ultraman’s involvement as an antagonist gives Superman a mirror image to fight against, and his defeat comes surprisingly early, though Lex’s obsession with cloning suggests this isn’t the last we’ll see of him. The film balances immediate threats with long-term setup, hinting at how villains will scale as the DCU unfolds. Guy Gardner’s cameo as Earth’s lone Green Lantern is both hilarious and concerning, but it’s a reminder that the larger cosmic stage is coming, especially with the onset of the Lanterns show. Nevertheless, his appearance never steers the focus away from Clark and rather it strikes an effective balance between the two. What works is that the movie feels like the first step in a larger saga without losing its identity as a Superman story first.

Villains & Future Setup

Visually, the film has a distinct and strong personality. The fish-eye lens is overused in places, but it creates a sense of perspective, albeit sometimes alienating and sometimes intimate, but that grows on you over the runtime. The flight scenes take a bit of adjustment, too; their angles feel unconventional, but by the end they encapsulate the sheer exhilaration of Superman in motion. (Plus we have years of flight scenes to come). The overall look of the film is lighter and friendlier than Man of Steel, but darker and grainier than others might expect, yet it serves the dual purpose of grounding the film while leaving space for bright moments of hope to stand out.

Cinematography

More than anything, Gunn’s Superman succeeds in reminding us why the character matters. It isn’t about unstoppable strength, it’s about hope, resilience, and the everyday humanity of Clark Kent. The movie leaves you with a genuine sense of optimism, not just for Superman’s future, but for the DCU as a whole. It avoids cynicism, embraces sincerity, and proves that a Superman movie can still make audiences believe in the power of good. It may not be flawless, but it feels right and it leaves you eager for what comes next.

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