[Rating: Rock Fist Way Up]
In Theaters Friday, July 11
A kitchen-sink filmmaking exercise that somehow gets every varied component to not just work, but shine, Superman is the very best of what this genre (and character) can aspire to. A sometimes brash and irreverent take on a sacred archetype that also cherishes and respects its characters/history, the film is a timely fable that speaks with urgency about the real world in which it lands. What’s more, it is also that thing which has largely eluded the eponymous character this first quarter century: fun.
On-screen text in the opening seconds establishes that “Metahumans” have existed on Earth for hundreds of years, and were joined by the orphaned Clark Kent/Superman (David Corenswet) some thirty years ago. The text goes on to explain that Superman has been operating in the open for about three years, and recently started an international incident by way of an invasion intervention: the fallout from which he’s battling as the movie kicks off. Lex Luthor (Nicholas Hoult) is leading a covert effort to combat Superman in the skies above Metropolis, where other Metahumans like Mr. Terrific (Edi Gathegi), Hawkgirl, (Isabela Merced) and Green Lantern Guy Gardner (Nathan Fillion) also operate.
Luthor’s plans extend beyond the physical, however, and before long Superman is dealing with a media and imaging crisis that puts him on the wrong side of the U.S. government’s favor (not to mention a good chunk of the public). Superman is pretty awesome, sure, but Luthor is even more clever, forcing Clark’s allies in Lois Lane (Rachel Brosnahan) and Jimmy Olsen (Skyler Gisondo) to pitch in both intellectually and physically to clear his name. It’s a lot of characters to juggle in a story with several moving pieces (and we haven’t even touched on Krypto, the Super-dog), but in two tight hours (pre-credits), writer/director James Gunn figures out a way to make it equal parts exciting, impactful, and prescient.
There’s a healthy amount of positivity running through the core of Superman, even if it doesn’t extend to the normies featured in its margins. Frequent shots of Metropolis’ citizenry glued to their phones while imps from other dimensions do battle with Metahumans litter the film, and highlight the fickle nature of mankind’s attention span. Luthor’s use of the media (social and otherwise) as the most lethal and effective weapon in his deep arsenal speaks to an all-too-real cancer that Gunn (correctly) believes is ripping apart the social fabrics of universes both legitimate and imagined. As a result, while Superman as a character might represent the best of what America and humanity has to offer, he doesn’t necessarily inspire a response in-kind.
Sometimes he does, though, and it is this brave optimism that shines through and establishes itself as the primary driver of this story and incarnation of Krypton’s favorite son. Corenswet is the lynchpin of all this, and finds the proper frequency for his peppy, wide-eyed take on the character within this particular universe. Less aloof and more knowable/vulnerable than previous incarnations, Corenswet and Gunn’s take on this story feels like Clark at the beginning of a bigger, exciting journey.
It’s a marvelous introduction to the character, and is aided in no small part by a Lois Lane counterpart with real agency (and something to do, here). An active component in a story that sees more value for the character than simply as bait for the action set pieces, Lois in this universe is out there getting stuff done, and the movie is better for it.
And while it’s true that this Superman is packed full of characters and arcs that crowd the field at times, none of it feels shoehorned in as a platform for the larger, extended universe. There are Easter Eggs and additional tangential characters from other DC properties, here, but most of these come and go quickly, and appear as little more than an opportunity for a brief chuckle. Indeed, this version of Kal-El is tonally lighter on his feet than more recent incarnations, and it is due in no small part to the fact that he’s carrying around a hell of a lot less baggage for DC writ large.
It’s not just the tone and tenor of the effort that’s lighter, though. Gunn’s visual palette gives this world a richer, more textured look befitting the overall flavor and thematic thesis on display. What’s more, the action isn’t lost in shadows and movements so fuzzy that they blur in syncopated flashes like the wings of a hummingbird. With the exception of the Engineer henchwoman (María Gabriela de Faría), Gunn’s characters and action largely avoid these traps.
So, yeah: it’s good…great, even. Hell, a person could even call it “super.”
Gunn’s signature mix of impertinent attitude mixed with a coy heart finds a willing and able backstop in Corenswet’s earnest portrayal of Smallville High’s most notable alumni. Stellar supporting turns by Brosnahan and Hoult bolster the overall effort, as does the “hell yeah!” energy of every scene featuring Krypto (the bestest good dog EVER). This might not be the “greatest” version of Superman/Luthor in film/TV history (we still see you Welling/Rosenbaum), but considering everything that’s going on in the world, this story of a literal illegal alien fighting for a home/people that sometimes hesitate to fight for him has never landed at a better time or place.
“Obvious Child” is the debut novel of Warren Cantrell, a film and music critic based out of Seattle, Washington. Mr. Cantrell has covered the Sundance and Seattle International Film Festivals, and provides regular dispatches for Scene-Stealers and The Playlist. Warren holds a B.A. and M.A. in History, and his hobbies include bourbon drinking, novel writing, and full-contact kickboxing.
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