'Superman' is Super-Meh
Charming, fun, humorous, all the elements for Superman are here, yet something is missing, making Superman float instead of soar. James Gunn knows Superman, but there are too many toys in the toy box and a rushed pace for any of the film's heart to really sink in. It's odd because all the right elements are there. The film does exactly what a Superman film should do. It doesn't retell the origin story. Since it has been done twice already, instead, it jumps straight into Superman's career. Here's where PR becomes a problem. The movie starts with a scene that, although it may be considered a spoiler, Warner Bros. has already inexplicably ruined for the audience by releasing it months ago. Warning, mild spoilers.
Superman (David Corenswet) lands outside the Fortress of Solitude. He's bloodied and bruised. I guess he does bleed. When he whistles for Krypto, the dog's superpowered hyperactivity causes Superman to yell in a cartoony high-pitched scream as the little guy keeps slamming into his back. It's interesting to see Superman hurt. It shows, like most heroes, he's vulnerable. Superman may be an overpowered superhero, but if a superhero isn't vulnerable when trying to protect his people, then he's not being heroic. Every element in the scene works, except for the humor.
It establishes that it's going for a lighter mood while also doing something different with the character. It's funny, yet Superman in pain isn't. Later, Superman is brought to a high-powered beam so the sun can heal his wounds. Superman screams as the sun cures him. We can see Superman in agony without having to comedically pull out the camera while the light blares on the protagonist, who makes the ugliest face he can muster. Instead of showing how Superman can handle pain, it highlights the humor of his being in it. The humor isn't nearly as thematically off-putting as the "yo momma" humor in The Last Jedi, but it's off enough to make something feel odd in this Superman movie.
Everything is right about this Superman, but it lacks the heart or influence that the Richard Donner films indelibly have. In fairness, no movie will match them. Donner's movies were the films that paved the way for today's superhero movies. Everything after Superman II has stunk, and this is by and large the best Superman film since Donner was abruptly fired from the franchise. Unfortunately, being the best at a tournament of mismanagement doesn't award you a gold medal. As a Superman film, they got the tone right. Mostly. The character just seems off.
It might just be our nostalgia, but Superman will always be associated with Christopher Reeve. He embodied everything perfect in a person, although he's an alien. One who didn't come legally. I guess we should deport him. Something this movie cleverly touches upon. This Superman isn't perfect. He's arrogant. When Lois Lane (Rachel Brosnahan) interviews Superman, she questions a conflict unfolding in a Monarch-like country. One that Lex Luthor (Nicholas Hoult) shares a relationship with that mirrors Trump and Putin. Superman gets defensive in his answers. Even if he's right, he immediately lashes out, behaving immaturely. Maybe Superman does that in the comics. But on screen, it doesn't make him very likable.
The direction David Conreswet takes the character is interesting. He and Gunn aren't trying to emulate Christopher Reeve, as Bryan Singer did with Brandon Routh. Yet the direction doesn't seem right for the screen. It's too stagey. Conreswet doesn't exuberate charm as much as he comes across like a frat boy. I don't expect Superman to utter the words "dude", and no, I haven't read the comics. So he might all the time. He comes across as a diet Star-Lord more than Superman. The movie tries hard to win us over to liking Superman, with kids flocking around him and people from across the globe chanting his name. But it's hard to vibe with someone who, even as Clark Kent, is a bit obnoxious.
The film even seems to ignore Superman's principles. In one scene, he attempts to get a few moments to talk to Lois while an imposing threat is happening outside of his window for a cheap gag. Would Superman really do that? I don't care if it's in the comics; it makes him seem more selfish than noble, which conflicts with the values he clearly states out loud in the film to the audience, as if he's making a PSA announcement. I'm sorry, but doing is one thing and saying is another. In fairness, Superman is very heroic to the point of saving a squirrel as a rebuttal to Zack Snyder's ruthless Man of Steel. But when speaking, Conreswet's Superman comes across as an egotist.
There are other ways to demonstrate Supe's flaws. Perhaps he's so busy trying to save people that it damages his life, as Clark Kent and Kal-El must come to terms with why he must be the protector of Earth. However, he never quits being Superman in the picture. Otherwise, you'd be aping Spider-Man 2.
To make matters worse, Nicholas Hoult is one of the most boring Lex Luthors brought to the screen. Hoult sounds like he's sleepwalking through his lines. He comes across as more of a whiny little Nancy who throws a tantrum when he doesn't get his way than a criminal mastermind. Hoult tries to play Lex straight, but Lex should have some charisma or life to him, certainly not like Jesse Eisenberg, who played the character as if he were Jim Carrey. Even Kevin Spacey gave the character more life. Oddly, it's the supporting characters who are the most well-cast.
Rachel Brosnahan is the best Lois Lane I've seen since Margot Kidder. She's sweet, but tough. She can bounce back against Superman while also being someone who will listen to you. Jimmy Olson (Skyler Gisondo) isn't just played as some wimpy photographer. He's more like a cool dork who knows how to get the scoop any way he can. Nathan Fillion does a wonderful job channeling a Woody Harrelson-esque Guy Gardner, who thinks he's cooler than he really is. Alan Tudyk plays Gary, a funny yet throwaway character in a film that's overloaded with such a large cast that it forgets to focus on Superman himself.
The movie's structure is fluid. We can tell who's who and what's what without needing to be absorbed in comic book lore. The problem is that everything moves at a breakneck pace, hardly letting any sentimental moment truly sink in. The movie features numerous characters, making it feel more like a boardroom decision to include as many cameos as possible rather than something heartfelt. As much as I like Guy Gardner in the film, he could have been cut, and it would have improved the picture.
The film shouldn't be longer; it just needs to be less action-oriented. The charm with Richard Donner's Superman was its perfect pace. It was neither too slow nor too fast. It knew how to rest on its character moments. Gunn's Superman comes close with some sweet scenes between the Kent family, but it's more of a footnote moment wrapped around an extremely questionable plot twist. For a movie that's so proudly faithful to the comics, why pull an Iron Man 3 Mandarin on the audience? That's a foolish chance to take.
James Gunn's Superman is trying to be original, but it's not the right kind of original. It's a solid effort, but as a movie in general, it doesn't feel particularly special. It's a contemporary mix of humor while still being chained to the past. The opening of the film repeats the same notes of John Williams' classic theme. And then we cut to a slapstick sequence. What does this film want to be? A callback to the Donner days, or a comedy? Superman ties itself to the past, unable to create something with real vision. Yet, it may still have a bright future.
With a less crowded script and a toned-down Superman, could we see a likeable character from Krypton emerge? James Gunn is a very clever filmmaker. His best work is Peacemaker and the first Guardians of the Galaxy. Superman feels like an in-between character who, if it weren't for his notorious status, would probably be the middle child in Gunn's filmography. There are chances for a more refined script to yield better sequels. The movie tries so hard to please everyone that it loses its focus. Superman gives us some much-needed optimism, but it lacks the restraint necessary to make the character relatable.
