Superman or Super Woke? - film review
Reviewing James Gunn’s Superman (2025) *spoiler warning*
Unfortunately, I fell victim to the superhero movie hate train after the MCU was dead and buried. However, with Thunderbolts (2025) releasing recently and Fantastic Four: First Steps (2025) arriving this month, I figured I should give it one last try before giving up on hero films. Besides, I’d say they are often the epitome of cinema when done correctly. After much convincing and a few stellar reviews, I decided to see Superman to kick off my superhero binge this year. With names like James Gunn, David Corenswet, and Nicholas Hoult attached to the project, I should’ve known what a fulfilling ride I was in for.
Something that immediately knocks a film up a few notches for me is when suspense is done right. By this, I mean a suspense that doesn’t rely only on your senses or your fear of a jump scare, but one that banks on your emotional connection to a character and what you think will happen. Films like this often get this wrong, making predictable plays that we saw coming miles away. But in Superman, it all worked together so well to not only give me a story that I was invested in, but one that gave me surprises in scenes where I didn’t think it possible. It was during one of the earlier scenes in the film, when Lois interviews Clark as Superman, that the initial shock came. In no way did I expect such a simple scene to tell us so much in a way that could have been so boring. But there were peaks and dips in the scene that made me want to keep listening. It was subtly suspenseful and just fiery enough to make me feel like I was in the room myself, whilst also giving us piles of information that explained Kent’s situation without feeling like the first five pages of a fantasy book in which word vomit of information is thrown in, none of which I’ll remember. The score played a big role in this film, as it would creep in without distracting the audience, but routinely and fittingly enough so that whenever I hear it in the future, the exact scene will play back in my head. The tension in the scene of Superman fighting Luther’s monster, Ultraman, which looked exactly like Superman, rose so gradually that when Krypto was called, I let out a breath I didn’t know I was holding, and the audience in my theatre began to clap. We were rooting for our main character, and that can only work when they’re given a story that not only makes sense, but is dynamic enough for us to actually care. Another scene that had electrifying suspense was the battle scene between The Engineer, Ultraman, and Superman. As nanotechnology crawled down his throat and filled his lungs, I could feel the panic through the screen, and for a moment, I thought he was going to pull a Tony Stark. But once again, the movie surprised me.
The idea that this movie was “woke” truly makes me lose faith in humanity. Superman’s story of being a literal alien from outer space was utilized to (potentially) nod at questions that have torn the U.S. in half for years. It repeatedly begs the question of: Does legality = morality? Near his end, Lex Luthor says, “The government gave me authority to kill you.” I knew exactly what was being said and recognized when I’d heard similar arguments being made in real life. Such a universe was built in this movie in so little time, and as someone who has (shamefully) never seen any Superman film previously, in no way did I feel left in the dark. I felt like drama and comedy were well balanced, which surprised me, as when I hear “Superman,” the last thing I expect is a complex background with tearjerking realizations. James Gunn is reportedly not a fan of post-credit scenes that reveal something that wasn’t said in the movie itself. When Supergirl showed up, it almost felt like a post-credit scene, but I can confirm that it flowed much better as a wrap-up at the end of the film as opposed to a secret hidden after the credits.
On the topic of Supergirl, I am forever a Milly Alcock fan, and in the short amount of screentime she had, I already fully entrust her with Supergirl (2026). However, I do feel that her performance was one of the best in the film. With that being said, I can recognize that a lot of our supporting characters simply weren’t given much to work with, as so many of them didn’t have a ton of screentime. They were in no way lackluster; they just had no opportunity to give us more. With that being said, Hoult and Corenswet gave us the performances of a lifetime. They were both huge personalities, so I imagine it wasn’t the hardest to disappear into their characters — Regardless, when they were on screen together, they truly sold the superhero vs. supervillain story. Hoult has had my respect for a long time, and this film only solidified what I already knew. Overall, the performances in Superman were far from bad, and when the actors were given the time, they were outstanding.
Our main characters in Superman were very well developed. Specifically, I was enthralled with Lex Luthor. I’m sure I’m extremely late, as there have been tons of Luthors over the years. But Hoult’s portrayal, I imagine, will be hard to outdo in the future. One of my favorite types of villains is the fanatic. When a villain becomes so obsessed with their enemy to the point where they’re almost fascinated by their being. They might know their enemy better than anyone else, so much so that they can predict their next moves exactly. They become two sides of the same coin, and it’s a thrilling dynamic to watch.
Superman (2025) surprised me in ways I absolutely did not expect. From the complex character backgrounds, to the stellar performances, to the electrifying suspense, I would recommend everyone see it at least twice, and think hard about what it’s speaking on and why that may upset you so deeply.