Superman (2025) Movie Review – The 4th Best Man Of Steel Film

Superman (2025) isn’t the best Superman movie. It’s not the best DC movie. Heck, it’s not even the best James Gunn movie. But somehow, none of that matters. What Gunn has delivered is a comic book film that feels like it was pulled from the Silver Age, dipped in modern VFX, and sprinkled with the kind of camp you’d find in Japanese tokusatsu shows. Yes, the director behind Guardians of the Galaxy went full Ultraman. There are plenty of giant monsters, heartfelt family drama and practical effects mixed with CG. And somehow it all works together to create one of the most unique takes on the character we’ve ever seen.

It all opens with Superman crash-landing into the Arctic after an off-screen fight with a villain named Hammer of Boravia (don’t worry if you’ve never heard of him. No one has). But this opening doesn’t just drop you into the action. It throws you into it like Superman hurling Ultraman through a building. And that chaotic pacing doesn’t let up. One minute, Kal-El is recovering in the Fortress of Solitude. Next, he’s duking it out again in Metropolis. Then he’s Clark Kent at the Daily Planet. Then he’s arguing with Lois Lane. Then here’s the Justice Gang. Then there’s Lex Luthor. Then the Kents. Then a flying dog. Then a foreign war. Breathe? Who has time for that?

According to reports online, early test screenings included a Tarantino-style chapter format to separate it all out. And honestly, that might’ve helped. Without it, everything kind of blurs together like someone watched four Superman movies at 1.5x speed.

But if the storytelling is a bit rushed, the cast at least holds it all together. David Corenswet nails the part. He has the awkward kindness of Clark Kent and the hopeful gaze of Superman, even if he spends most of the movie getting thrown through walls. He bleeds. He bruises. He cries out in pain. A lot. And while that adds some vulnerability to the character, it also feels a little off. When Green Lantern (Nathan Fillion) steps up and threatens him, it’s not a “wow, bold move” moment. It’s more like, “Yeah, nobody should be stepping up to Superman like this.” That’s a bit jarring, especially for longtime fans. Superman is supposed to be the guy you call when the Justice League runs out of options. Here, he’s kind of just one of the guys.

And while we’re nitpicking, let’s talk about that suit. The classic red trunks are back. But sometimes they sit a little too high. In one scene where he’s handcuffed and led off a plane, the costume makes him look like he’s wearing retro swimwear. It’s awkward. And so are some of the CG issues. His arms occasionally stretch weirdly. His boots shift shapes. And yes, he’s still slightly cross-eyed in those flight shots.

James Gunn also gets a little experimental with lenses. Blurry edges, weird wide shots, and fish-eye close-ups pop up in the most random moments. It’s clearly a stylistic choice, probably an homage to those vintage Japanese shows he mentioned, but it might make some people squint in confusion rather than wonder.

Still, let’s not pretend it’s all bad.

Rachel Brosnahan is great as Lois Lane. She brings back the spunk, the edge, and the no-nonsense reporting style that’s been missing from recent takes. Her chemistry with Corenswet is believable, though a few more scenes between them would’ve helped Superman a lot.

And then there’s Nicholas Hoult as Lex Luthor. Easily the best Lex to ever hit the big screen. Yes, better than Hackman. Yes, better than Spacey. Even better than Rosenbaum. Hoult’s Lex hates Superman. And you feel it. He doesn’t just monologue about world domination and property scams. He genuinely wants Superman gone. Every scene he’s in is electric. He steals the spotlight and gives the film its sharpest moments.

Of course, it’s impossible not to compare it to previous Superman movies (or to other popular superhero films). But if we’re honest, James Gunn is not Christopher Nolan. And he’s not Zack Snyder. As a director, he’s not quite in their league when it comes to visual storytelling. Pause Man of Steel at any moment, and it looks like a beautiful painting or a poster. Pause Superman (2025) and, well… depending on the scene, it could look like a drawing scribbled at the back of a high school textbook.

Gunn’s strength has always been his scripts. The Suicide Squad and the Guardians of the Galaxy films are proof of that, but here, the story feels like it’s been shoved through a blender. There’s a lot of heart, yes. A lot of joy. A lot of laughter. But everything moves so fast that the emotional beats barely have time to land. If you’re not paying attention, you’ll miss important moments just trying to keep up.

And yet, I liked it. I didn’t love it. But I liked it. And I’m pretty sure I’ll grow to love it more over time.

My 7-year-old, on the other hand, loved it from the first minute to the last. And that might be the real point here. This isn’t a Superman movie for the people who argue about canon on Reddit. This is a Superman movie for a younger generation raised on TikTok cuts, fast edits, and movies that get straight to the point.

Also, and I cannot stress this enough: Krypto. Is. Amazing. Every time that dog showed up on screen, I smiled. He’s chaotic. He’s powerful. He’s loyal. And he’s the best reason to watch this film more than once. Kids are going to go crazy for him. Heck, I want a Krypto plush now.

Superman (2025) isn’t perfect. But it’s fun. It’s fresh. And it’s the start of something new. Maybe not the Superman we’ve been used to. But definitely one worth flying with.

RELATED: The MCU’s Success Depends on Superman