10 NEW TO NETFLIX

“10 Things I Hate About You“
“28 Years Later“
“Are You There God? It’s Me, Margaret“
“The Blackening“
“Bombshell“
“Daddy’s Home“
“Karate Kid Legends“
“Liar Liar“
“The Pledge“
“San Andreas“

15 NEW TO BLU-RAY/DVD

“28 Years Later“

Danny Boyle’s long-awaited sequel to “28 Weeks Later” is a truly insane and ambitious blockbuster. There aren’t a lot of filmmakers would even attempt something this bizarre, much less get Sony to put up $60 million for it. Set the titular time after the virus that decimated England, Boyle shot his film on iPhones, included more prosthetic penises than seems reasonable, and even embedded a Brexit commentary in his action flick. At its core, it’s a traditional coming-of-age action narrative about a young man who discovers that not only is the world unsafe but that adults in it will betray you, but it’s also just a visually stunning piece of work, a movie that looks like nothing else that played in a multiplex this year. The Sony Blu-ray quality is fantastic, showing off Anthony Dod Mantle’s unforgettable cinematography, but the special features are a little slight. With another movie coming in January and a third Boyle flick in production, a more special edition of this seems inevitable, but this will do for now.

Special Features:

• Days to Years
• Capturing the Chaos
• The Survivors
• Becoming The Infected
• Behind The Cameras

“Creepshow 2” (Arrow)

Arrow Home Video continues its admirable quest to give even the most unloved horror sequels the kind of treatment typically reserved for widely acknowledged masterpieces. While George A. Romero and Stephen King’s 1982 anthology flick “Creepshow” is widely considered a classic of its era, you would have trouble finding anyone willing to say the same about its follow-up, which was directed by Michael Gornick and dropped five years later.

This sequel had some notorious production problems (there were supposed to be five stories but the budget was cut so badly that it was trimmd back to three), and was widely hated by critics (29% on RT), but I’m here to defend at least “The Raft,” based on a short story included in King’s great Skeleton Crew. I think about it every time I’m on a raft in a lake (which is more often than you might think).

More importantly, Arrow nailed another horror release with interviews, commentary, and much more; however, the coolest feature might be a comic adaptation of “Pinfall,” one of the aforementioned canceled segments that was originally written for the first “Creepshow.” Given it’s never been included in a short story anthology, it feels like a must-own for King collectors.

Special Features:

• Audio commentary with director Michael Gornick
• Screenplay for a Sequel, an interview with screenwriter George A. Romero
• Tales from the Creep, an interview with actor and make-up artist Tom Savini
• Poncho’s Last Ride, an interview with actor Daniel Beer
• The Road to Dover, an interview with actor Tom Wright
• Nightmares in Foam Rubber, an archive featurette on the special effects of Creepshow 2, including interviews with FX artists Howard Berger and Greg Nicotero
• My Friend Rick, Howard Berger on his special effects mentor Rick Baker
• Behind-the-scenes footage
• Image gallery
• Trailers & TV spots
• Original screenplay galleries
• Creepshow 2: Pinfall, a Limited Edition booklet featuring the comic adaptation of the unfilmed Creepshow 2 segment “Pinfall” by artist Jason Mayoh
• Illustrated collector’s booklet featuring writing on the film by festival programmer Michael Blyth
• Reversible sleeve featuring original and newly commissioned artwork by Mike Saputo

“Daybreakers“

Ethan Hawke is having an incredible year with one of the most acclaimed new shows (“The Lowdown“), an upcoming drama for which he should be considered for an Oscar (“Blue Moon“), and a soon-to-be-hit horror sequel (“Black Phone 2“). One of the best actors of his generation, there was a time when he seemed to be struggling to figure out the next phase of his career, appearing in genre flicks like “Staten Island” or “What Doesn’t Kill You.”

Even in this stretch of his filmography, Hawke distinguishes himself by working with interesting directors, including the Spierig brothers, who broke through with “Undead” in 2003 and would work with Hawke again on the fascinating “Predestination.” In between was the 2009 vampire flick “Daybreakers,” now given a 4K steelbook treatment with an excellent new cover and even new special features. The release also includes a commentary by the Spierigs and their short film “The Big Picture,” from 2000.

Special Features:

• NEW Building the World of Daybreakers
• NEW Art and Craft: The Actors of Daybreakers
• NEW Gag Reel
• NEW Art Department and Lighting Tests
• NEW Costume, Hair, and Make-up Tests
• NEW First Subsider Test
• NEW Make-up Effects Tapes
• NEW Stunt Department
• NEW On the Set of Daybreakers
• Making of Daybreakers
• The Big Picture (The Spierig Brothers Short Film)
• Audio Commentary with Co-Directors Peter and Michael Spierig and Creature Designer Steve Boyle
• Theatrical Trailer
• Poster Art Gallery

“Elio“

The first ten minutes of “Elio” are a tender study of a grieving child who becomes so lonely that he wants an alien species to take him away from everything. It’s a reminder of how empathetically Pixar can handle this kind of material. Sadly, the rest of “Elio” is largely a different movie, an adventure story of a kid and his alien BFF saving the universe.

While it remains largely inoffensive in a time when family entertainment from major studios can often be horrible, it squanders that early potential. And Pixar clearly saw the writing on the wall, burying this more than any movie they had made previously. Part of me wants to defend “Elio” because I dislike that Pixar has become a nostalgia factory that only supports its sequels. But even if we need more original Pixar ideas, we also need better ones than that.

Special Features:

• Inside the Communiverse: The World and Characters of Elio
• Out of This World: An Astro Q&A
• Astronomic Art Class: Ooooo and Glordon
• Extraterrestrial Easter Eggs and Fun Facts
• Galactic Gag Reel
• Deleted Scenes

“Flow” (Criterion)

One of the most unexpected Oscar winners was this Latvian tale of a cat trying to survive a dystopian future with rising water levels. Rather than just give the critical darling the Janus Contemporaries treatment like they’ve been doing with a lot of recent arthouse hits, Criterion gives “Flow” the full boat of special features, including new interviews and a new commentary with director Gints Zilbalodis.

As they’ve been doing often lately with new filmmakers, they include short films from early in his career, both with commentaries by the director. There is also a making-of documentary called “Dream Cat” about the making of the film. Everyone talks about the Oscar win (and nomination for International Feature), but here’s another cool piece of trivia: This is the most-viewed theatrical film in Latvian history, and has made over 50 million Euros worldwide on a budget that’s a fraction of that. People love “Flow.”

Special Features:

• 4K digital transfer, with 7.1 surround DTS-HD Master Audio soundtrack, approved by director Gints Zilbalodis
• 4K digital master of Away (2019), Zilbalodis’s debut feature
• One 4K UHD disc of Flow and Away and two Blu-rays with Flow, Away, and the special features
• New audio commentary featuring Zilbalodis
• Full feature-length animatic
• New interviews with Zilbalodis and cowriter-coproducer Matīss Kaža
• Dream Cat (2025), a making-of documentary produced for Latvian Television
• Aqua (2012) and Priorities (2014), short films by Zilbalodis, with new commentaries by the director
• Unused-shot reel, with new commentary by Zilbalodis
• Trailers, TV spots, and proof-of-concept teasers
• English subtitles for the deaf and hard of hearing and English descriptive audio
• PLUS: An essay by critic Nicolas Rapold and collectible stickers

“Friendship“

Just as Tim Robinson’s brand of cringe humor is about to return to pop culture in HBO’s “The Chair Company,” A24 drops his acclaimed anti-buddy comedy in which the “I Think You Should Leave” star plays the most awkward guy in suburbia. It may be written and directed by Andrew DeYoung, but “Friendship” clearly channels Robinson’s sense of humor, and all of his fans should snag this A24 online shop exclusive.

He plays Craig, a guy who becomes a bit too attached to the new guy in his neighborhood, a meteorologist played by the always-likable Paul Rudd. Robinson is all-in for this story of a friendship that approaches stalking, and A24 has given the future cult classic a solid release with a commentary and deleted scenes. One more thing: This movie wins the award for tagline of the year: “Men Shouldn’t Have Friends.”

Special Features:

• Commentary with Writer-Director Andrew DeYoung, Director of Photography Andy Rydzewski, and Conner O’Malley
• Deleted Scenes
• “Men Talking in the Dark” Extended Q&A with Eric Rahill, Paul Rudd, Tim Robinson, and Andrew DeYoung
• Conner O’Malley Extended Garage Scene
• Six Collectible Postcards with Behind the Scenes Photography

“The Good, The Bad, The Weird” (Arrow)

This might be my favorite Arrow release of the year, and that’s a high bar to clear. 2008’s “The Good, the Bad, and the Weird” is a wonderfully gonzo Korean Western from the brilliant Kim Jee-woon, who also directed “A Tale of Two Sisters” and “I Saw the Devil,” two modern horror masterpieces that I’d love to see get the Arrow treatment too.

“GBW” is a gorgeously shot film that centers on two of the best Korean actors of their generation: Song Kang-ho, of “Parasite” fame stateside, and Lee Byung-hun, of “Squid Game” and the upcoming “No Other Choice,” in which he may do his best work to date. They are just two parts of this creative, funny, thrilling film. Arrow pulls out all the stops, offering multiple versions of the movie, multiple audio commentaries, new interviews, and stunning artwork. Get this one.

Special Features:

• DISC ONE – 4K BLU-RAY
• 4K MASTER approved by director Kim Jee-woon
• DOLBY VISION/HDR PRESENTATION OF THE FILM
• Includes both the International and Korean versions of the film presented via seamless branching
• DTS-HD MA 7.1 audio on both cuts of the film
• Optional English subtitles
• Audio commentary by film critic James Marsh and film critic and producer Pierce Conran
• Archival audio commentary of the International Cut by director Kim Jee-woon and actors Song Kang-ho, Lee Byung-hun, and Jung Woo-sung
• Archival audio commentary of the Korean Version by director Kim Jee-woon, cinematographer Lee Mogae, lighting director Oh Seung-chul, and art director Cho Hwa-sung (Korean Version)
• Introduction to the film by Kim Jee-woon
• DISC TWO – BLU-RAY
• Corralling Chaos in the Desert, an interview with director Kim Jee-woon
• Dusty Dust-ups and Sweaty Saddles, an interview with martial arts coordinator Jung Doo-hong
• Archival making-of films and featurettes
• Trailer gallery
• Image gallery
• ADDITIONAL CONTENT
• Reversible sleeve featuring original and newly commissioned artwork by Nathanael Marsh
• Perfect bound collector’s book featuring writing by Darcy Paquet, Kyu Hyun Kim, Cho Jae-whee and Ariel Schudson
• Three postcard-sized artcards
• Double-sided fold-out poster featuring original and newly commissioned artwork by Nathanael Marsh

“Hellbender” (Arrow)

The Adams Family becomes a more essential part of the genre landscape every year. Their truly excellent “Mother of Flies” is currently making the fest circuit after lauded screenings at Fantasia and Fantastic Fest. Be sure to check it out when it drops early next year.

Before then, pick up the latest Arrow edition of one of their works, 2021’s twisted “Hellbender.” Arrow turns this one into a study of the family that acts, writes, and directs together, not only allowing all four of them to do a new commentary but including a 2021 short film by Zelda called “Fort Worden,” and four music videos made for the band within the film (who also handle the music in the new one, by the way, because of course they do).

Special Features:

• Brand new audio commentary with filmmakers Toby Poser, John Adams, Zelda Adams and Lulu Adams
• From the Forest She Rises, a brand new video essay by filmmaker Jen Handorf
• Black Magic Tricks, a featurette on the visual effects by VFX artist Trey Lindsay
• Behind-the-scenes compilation footage
• Fort Worden (2021), a short film by Zelda Adams
• Four music videos: Hit and Run (2024), Drive (2021), Lovely (2021) and Black Sky (2020)
• Original trailer
• Reversible sleeve featuring newly commissioned artwork by Beth Morris and original artwork by Sister Hyde
• Illustrated collector’s booklet featuring new writing on the film by Natasha Ball and Kat Hughes

“High & Low” (Criterion)

One of Akira Kurosawa’s best films (and that’s truly saying something) was remade this year in Spike Lee’s “Highest 2 Lowest,” which takes the basic premise of the 1963 original and then truly turns it into a Lee film in the second half. It’s a great example of how to do a remake, blending both the original voice and your own.

But this isn’t about Spike, as we’ll sadly probably never get a Blu-ray of that Apple TV+ original. This is about Akira, who shot this thriller about a man (Toshiro Mifune) who struggles when his chauffeur’s son is kidnapped after being mistaken for his own. Criterion has released this before, but has gone back and given it the 4K treatment, including archival material such as an interview with Mifune and a Toho Masterworks documentary about the making of this masterpiece.

Special Features:

• New 4K digital restoration, with 4.0 surround DTS-HD Master Audio soundtrack
• One 4K UHD disc of the film and one Blu-ray with the film and special features
• Audio commentary featuring Akira Kurosawa scholar Stephen Prince
• Documentary on the making of High and Low, created as part of the Toho Masterworks series Akira Kurosawa: It Is Wonderful to Create
• Interviews with actors Toshiro Mifune and Tsutomu Yamazaki
• Trailers and teaser
• PLUS: An essay by critic Geoffrey O’Brien and an on-set account by Japanese-film scholar Donald Richie

“Jurassic World Rebirth“

It’s hard to believe we’ve now had more “World” movies than “Park” movies, as this is the fourth flick since the relaunch of the franchise based on the hit novel by Michael Crichton about people who resurrect dinosaurs. “Jurassic” feels like it becomes bigger every year with theme park rides, video games, Netflix cartoons, and more. But how about the movies? This is another bland CGI blockbuster, a story of a team that travels to a former dinosaur facility to extract some samples and gets caught up in dinosaur chaos again.

While I appreciate the simplicity of the plot (it’s essentially the first movie in which scientists go in and need to get out), the overabundance of CGI strikes me as lifeless. None of it creates the same sense of wonder that we experienced from Spielberg’s original over three decades ago. You should know that this is an impressive Blu-ray, complete with alternate opening, deleted scenes, featurettes, and two commentaries. At a time when studios seem to be pulling away from physical media, kudos to Universal for producing this one so well.

Special Features:

• ALTERNATE OPENING
• DELETED SCENES
• RAPTORS – Featuring Mahershala Ali, Jonathan Bailey, Rupert Friend, Manuel Garcia-Rulfo, David Iacono, Luna Blaise and Audrina Miranda
• MUTADON ATTACK – Featuring Scarlett Johansson, Manuel Garcia-Rulfo, David Iacono, Rupert Friend, Luna Blaise and Audrina Miranda
• JURASSIC WORLD REBIRTH: HATCHING A NEW ERA
• THE WORLD EVOLVES – Journey into a reimagined Jurassic World with Scarlett Johansson, Jonathan Bailey, Mahershala Ali and the rest of the cast and filmmakers.
• OFF THE DEEP END – Dive into the thrilling ocean sequence and learn about the challenges of shooting on open water, the one-of-a-kind gimbal used to toss around the Essex and Mariposa, and the VFX wizardry that brought the Mosasaurus and Spinosaurs to life.
• TREKKING THROUGH THAILAND – Follow the cast and crew’s footsteps as they navigate the challenges of shooting in exotic jungles, beaches, and tall grass fields that become home to the Titanosaurs.
• REX IN THE RAPIDS – Brace for a T. rex encounter that’s different than anything experienced before with a nail-biting river chase recreated from Michael Crichton’s original Jurassic Park novel.
• DON’T LOOK DOWN – Soar into the Quetzalcoatlus sequence with Scarlett Johansson, Jonathan Bailey, and Bechir Sylvain as they train for and shoot their cliff rappelling scenes.
• MINI-MART MAYHEM – Go inside the heart-stopping third act of Jurassic World Rebirth and witness the process of crafting sets that allow the movie’s mutant dinosaurs to step out of nightmare-inspired designs and stop on an exhilarating rampage.
• GAG REEL
• MEET DOLORES – Meet the animatronic Aquilops with an extraordinarily lifelike personality.
• MUNCHED: BECOMING DINO FOOD – Get a victim’s firsthand view inside the frightening jaws of deadly dinosaurs that munch, chomp, and chew their way into creating unforgettable death sequences.
• A DAY AT SKYWALKER SOUND – Actress Audrina Miranda guides a personal tour of Skywalker Sound in California to meet the audio editors, foley artists, and mixers who design the movie’s wide array of sounds.
• HUNTING FOR EASTER EGGS – Find out where to look for cleverly hidden Easter eggs that pay homage to everything from the first Jurassic Park film to other Steven Spielberg classics.
• FEATURE COMMENTARY WITH DIRECTOR GARETH EDWARDS, PRODUCTION DESIGNER JAMES CLYNE, AND FIRST ASSISTANT DIRECTOR JACK RAVENSCROFT
• FEATURE COMMENTARY WITH DIRECTOR GARETH EDWARDS, EDITOR JABEZ OLSSEN, AND VISUAL EFFECTS SUPERVISOR DAVID VICKERY

“Lilo & Stitch“

I don’t know what to say anymore about the live-action remakes of Disney and now DreamWorks titles that haven’t been said repeatedly by critics all over the world. Most of them are soulless echoes of the original, and it feels like people I talk to agree with their artistic vacuity, and yet they make a FORTUNE. This one made more than its source did in its entire run on its first weekend, ending up with over $1 billion worldwide. They’re already working on the sequel. Can we ensure that one doesn’t resemble a Disney+ original? Please? I’m begging.

Special Features:

• Deleted Scenes
• ‘Ohana Means Family: Making Lilo & Stitch – Learn how an animated classic becomes an instant live-action favorite. Explore the challenges of bringing Stitch into the real world, how the familiar images of the original were recreated, and join returning cast members on a set that embodies ‘ohana.
• Drawn to Life – Check out scenes from the animated original film alongside their live-action counterparts to see how these beloved key moments were faithfully recreated. And uncover some easter eggs along the way!
• Bloopers – Take a look at some of the fun mishaps on set with the cast and crew of Lilo & Stitch.
• Scenes with Stitch – Hear Stitch talk about some of his favorite scenes as he watches the movie play.

“Materialists“

Celine Song’s follow-up to her Oscar-nominated “Past Lives” is a smart movie that knows it’s smart. Sometimes, that intelligence is a drawback in scenes where characters played by Dakota Johnson and Pedro Pascal sometimes sound more like screenwriters’ creations than real people. As a matchmaker and the millionaire she personally matches with, both performers are engaging; however, the real MVP of the movie is Chris Evans, who delivers his most relaxed and genuine performance in years. He’s a bit miscast in that it’s hard to believe he’d struggle as much as he does into his mid-30s (he’s kind of a “unicorn” in a different way), but it’s so great to see him in something this naturally charismatic.

As much as I love “Past Lives,” this is a bit of a step down, but it’s not the sophomore slump you may have heard. And, even with its flaws, I wish we saw more films like it.

Special Features:

• Director Commentary with Celine Song
• “The Math of Modern Dating: Making Materialists” featurette
• Composer Deep Dive with Japanese Breakfast
• Six Collectible Postcards with Behind the Scenes Photography

“The Phoenician Scheme“

Wes Anderson is the king of physical media this month with a fantastic box set from Criterion of his first 10 movies that I’ll cover separately later this week. Also recently released? His 12th film is this clever 2025 comedy about a man who reconciles with what matters in life after several attempts to kill him. While that might sound more melodramatic than Anderson typically attempts, this movie smartly weaves issues of religion and business into another Anderson diorama film, one of precise compositions and quirky characters.

After how much I adored “Asteroid City,” I think this mid-life crisis Wes may make for one of the more interesting stretches of his career. Note: This is a bare-bones edition with an awful cover. Safe bet it’s a placeholder for an inevitable Criterion release in the next couple of years.

Special Features:

• Behind THE PHOENICIAN SCHEME
• The Cast
• The Airplane
• Marseille Bob’s
• Zsa-zsa’s World

“Superman“

The highest-grossing superhero flick of the year is James Gunn’s launch for his vision of the DCU, a complete dismantling and restart for some of the most famous heroes in world history (with the possible exception of Matt Reeves’ “Batman” films, which appear to be progressing). Gunn does a few smart things with his take on the Man of Steel. One, he eschews the origin story everyone knows by heart and drops us into a Metropolis already reckoning with their alien hero. Two, and this is even more important, he discards the cynicism that has drowned so many recent DC films for a story of kindness.

I think “Superman” is a tick overrated and not my favorite Gunn, but I like what it promises for the future of all the heroes now under the Gunn empire. The Blu-ray? It’s pretty slight for one of the biggest films of the year, failing to include a commentary or deleted scenes. However, it does have that rocking WB 4K video quality, which is the best of the major studios.

Special Features:

• Krypto Saves the Day!: School Bus Scuffle – (5:32)
• Adventures in Making Superman Featurette (60:00)
• Icons Forever: Superman’s Enduring Legacy – Featurette (6:05)
• Lex Luthor: The Mind of a Master Villain – Featurette (5:18)
• Kryptunes: The Music of Superman – Featurette (6:31)
• Paws to Pixels: Krypto is Born – Featurette (5:54)
• Breaking News: The Daily Planet Returns – Featurette (5:23)
• The Ultimate Villain – Featurette (5:30)
• The Justice Gang – Featurette (10:37)
• A New Era: DC Takes Off – Featurette (4:53)

“This is Spinal Tap” (Criterion)

“Spinal Tap II” just hit theaters and was greeted largely with a shoulder shrug. The real news about everyone’s favorite ’80s rock stars is that they have joined the Criterion Collection with a new 4K special edition approved by Reiner himself and STUFFED with special features. There are three audio commentaries, including one that features the band members in character. Not enough? How about 89 minutes of deleted scenes? Does anyone remember the special “Spinal Tap: The Final Tour”? You can have that now, too. There are even interviews about the largely forgotten Back from the Dead, the band’s reunion album from 2009. It’s everything a Tap fan could ever want in one Blu-ray release.

Special Features:

• New 4K digital restoration, supervised and approved by director Rob Reiner, with 5.1 surround DTS-HD Master Audio soundtrack
• Alternate 2.0 uncompressed stereo soundtrack
• One 4K UHD disc of the film presented in Dolby Vision HDR and two Blu-rays with the film and special features
• Three audio commentaries, featuring Reiner; actors Christopher Guest, Michael McKean, and Harry Shearer; producer Karen Murphy; editors Robert Leighton and Kent Beyda; and band members Nigel Tufnel, David St. Hubbins, and Derek Smalls
• Conversation between Reiner and actor Patton Oswalt
• The Cutting Room Floor, featuring ninety-eight minutes of outtakes
• Spinal Tap: The Final Tour (1982)
• Excerpts from The Return of Spinal Tap (1992)
• Interviews with the band for its 2009 Back from the Dead album
• Trailers, media appearances, and music videos
• English subtitles for the deaf and hard of hearing
• PLUS: An essay by critic Alex Pappademas

In James Gunn’s “Superman,” the titular hero (David Corenswet) is joined by an astonishing number of friends and foes. There’s Krypto, the hyper-active dog that aids him in taking down enemies, and Clark Kent’s coworkers at the Daily Planet, who help him expose Lex Luthor’s (Nicholas Hoult) ties to the illegal invasion of the fictional country Jarhanpur. Instead of feeling bloated, each character is given a chance to shine; but nobody comes out on top like Mr. Terrific (Edi Gathegi). The actor is no stranger to Hollywood blockbusters, or the superhero genre. Back in 2008, Gathegi starred in “Twilight” alongside Rachelle Lefevre and Cam Gigandet as the vampire Laurent, a nomad who split from his coven to help the Cullens save Bella (Kristen Stewart) from Laurent’s coven leader. In 2011’s “X-Men: First Class,” Gathegi starred as Darwin, a god-like mutant whose body can adapt to survive anything that stands in his way.

Despite the strong beginnings for these two characters, by “Twilight: New Moon” (2009) and the second act of “X-Men: First Class,” both Laurant and Darwin had been killed off, the sole casualties in two movies where almost every other character gets to live and continue on into further films in the franchise. Gathegi’s role in both of these franchises felt tailored to the Hollywood system of the 2010s, where Black actors were dismissed or killed entirely in science fiction and fantasy properties. Despite this, Gathegi’s presence in both films is immense, enchanting and magnetic in a way that displayed he was made to dominate our screens, despite the industry’s willingness to cast Black actors aside. 

Now, Gathegi stars as Mr. Terrific, a hero who uses brains over brawn to take down intergalactic monsters and eventually break from his own crew to help Superman take down Lex Luthor, stopping Metropolis from being ripped apart by a seismic world-splitting rift. At first stoic and unwavering to the way Superman deals with citizen saving, Terrific’s shell is slowly chipped away, portrayed with jibes filled with an air of fondness rather than contempt. “Mr. Terrific is not your typical hero, he doesn’t wear a cape or have superpowers; he’s a broken man with a beautiful mind and is unapologetically him,” says Gathegi of his character. His arc reflects the core themes of “Superman,” and what it means to be “punk” in a world so rife with conflict. “You know, ideally, we get kids feeling like it’s cool to be different. Smart, nerdy, awkward whatever. If your heart is in the right place and you try to do good in the world, that’s what makes you cool.”

For years, James Gunn has deftly taken lower-tier comic book characters and turned them into engaging fan favorites who shape up to be even cooler than the well-known heroes and villains. Gunn takes the genius character archetype and flips it on its head, transforming Terrific into a suave and smooth hero who abides by nobody’s rules but his own. “True character is revealed under pressure and the choices one makes,” says Gathegi, “And Mr. Terrific is a part of so much at the heart of the story’s movements.” He fits perfectly into this saccharine world, providing a grounding presence that despite not being completely warped by its dark realities, has clearly been irrevocably changed by it. While Mr. Terrific doesn’t get a backstory in the film, the capacity in which Gathegi plays him hints at his tragic comic background, one that involves the death of his wife and contemplating suicide.

This hardened front slowly melts away as the character becomes more entwined with Superman and Lois Lane (Rachel Brosnahan). As he spends more time with these two, Gathegi adds some of the best comic relief the film has to offer, delivering each line with precision and an air of well-earned exhaustion. Not many actors can embody all of the qualities Mister Terrific exudes—especially as a side character—yet Gathegi does so effortlessly, standing out amongst a cast that could potentially feel bloated, holding his own alongside Corenswet and Brosnahan as one of the story’s essential heroes. 

While watching “Superman” it’s easy to think back on Gathegi’s previous blockbuster roles, which felt much too slight for the talent he was able to exude in such a short amount of time. Here, each time he’s on screen it feels as if we’re watching magic happen, and it’s a particular kind of magic that Black audiences don’t often get to see. “Watching my people embrace this character and my performance is a beautiful, beautiful thing,” says Gathegi. “[…]As someone who has felt on the outside, I’m in conversation with all people in the margins through my work. I see you and I hope you see me too.”

Gathegi’s star-making turn is boasted by one of the film’s fight sequences, set to a needle drop of Noah and the Whale’s “5 Years Time.” While we know Terrific is a genius, we are quickly shown that he also wields a certain physical capability. Everything feels effortless when Mister Terrific does it; he rapidly re-opens Luthor’s pocket universe, incapacitates an intergalactic monster, and here, single-handedly takes out all of Luthor’s employees at Fort Kramer. As the only one to step up to help Lois, Mister Terrific flexes both his brains and brawn, gliding along the screen with a graceful precision that not even Superman wields, and does it all without breaking a sweat. 

Watching Gathegi on screen is like watching a dancer sweep across a stage. He uses his body to precisely tell the story his director envisioned, which Gathegi says is testament to a set that allowed him to engage with material in a new way. “The working environment was fun and positive in a way that we felt supported to be able to do our best work. And I have to say, I never enter a scene as a kleptomaniac. I enter the scene to do my best and to help my scene partners do their best.” This dynamic on set translates to Mister Terrific’s presence on screen, which in an age where superhero media still tends to sideline Black characters, feels nothing short of a miracle. 

While he may have only had a brief appearance in his previous superhero film, Superman makes up for it by finally giving Gathegi  a chance to shine 13 years later. Just last week, a report from the Wall Street Journal claimed that James Gunn is thinking of a Mister Terrific spinoff, and although what form (TV or film) that will take is unknown, Gathegi’s future in the DCU is unbelievably bright. As someone who has been watching Gathegi’s work for over a decade, and has yearned for him to get the leading roles he deserves, I can only hope that we get to spend more years with Mister Terrific, and the actor’s dynamic presence.

Edi Gathegi wields a type of star quality within this film that we often don’t get in the modern age, using it to boost “Superman” into a grander film, and cementing his portrayal of Mister Terrific as one of this year’s most magnetic performances. In a world that so often diminishes Black roles, Mister Terrific stands out as a character that has been done right by the scriptwriters, director, and helmed perfectly by the actor who portrays him. Gathegi feels the same. “He has true agency. It’s been a gift — the sense that they really care and value the character, and by extension me the artist.”

★★★

It’s hard not to feel for Henry Cavill on watching James Gunn’s revitalised Superman, freshly rendered, as it is, in the sort of bright hues that have proven anathema to the character since 2013. As other turns attest, Cavill has charisma and charm aplenty but sprawled terribly across a decade of moribund self-indulgence. His last turn, a bum note cameo in Dwayne Johnson puff project Black Adam, was meant to herald production on a long-gestated Man of Steel sequel. Alas, it was but ill conceived clickbait and soon followed by Cavill’s unceremonious shelving. His replacement is the younger, less seasoned but more baby-faced David Corenswet. On this debut alone, we might hope for a more dignified run. Gunn’s Superman is quite notably flawed but at least knows its raison d’etre: to entertain.

The film’s style is familiar. It’s Gunn’s penchant for pulp that powers proceedings, guiding a narrative set snugly at the intersection of crowd pleasing populism and omnipotent geekery. On the former count is broad humour, a cute super-powered dog and mewling alien baby. In the latter lies a half dozen unexpected cameos, winning callbacks to John Williams and Hans Zimmer in a stirring score from Johnny Murphy and David Fleming, and nerdy nods to fan favourite comics and bygone in-jokes. Devotees are hard to please and this review offers no insight as to how Gunn’s Superman will go down with the best versed of fans. As for the masses, likability contends with ensemble overcrowding and a certain aimlessness to the whole. Those less invested in the eight decade long antagony linking Superman with Lex Luther might well find the latter’s motivations somewhat petty.

It is, nonetheless, a judicious call that sees Gunn skip through the Clark Kent origins story, a witty opening sprawl cutting to the chase by cutting through the chaff. Further detail is thread through Gunn’s script with nuance that feels admirable in a film that also includes a punch up to Noah and the Whale’s ‘5 Years Time.’ As we open, Clark Kent is already a bespectacled – they’re hypno-specs, apparently – and unreliable reporter for The Daily Planet. He’s already loved up with Lois Lane and already known the world over as America’s premier caped vigilante. It’s not easy to pull off blue tights and oversized panties but Corenswet nails it.

He’s also, as things begin, just lost a fight for the first time. Three minutes earlier, specifically. It’s neither here nor there who he was fighting – an immediately forgettable foe – but it is notable how refreshingly fallible Corenswet’s Superman proves to be. Certainly so after years of Cavill’s dull impenetrability in the face of heavy punching. Corenswet’s Kryptonian bleeds, bruises and often screws up. He suffers too from insecurity and something of a savour complex. 

What’s more, the film enjoys greater humanity than was ever the case under Zach Snyder’s stewardship, courtesy of an approach to heroism in which every life counts. Corenswet frequently goes out of his way to rescue innocent souls from falling buildings and giant alien feet, even pausing to save a squirrel in one nimble footed set piece. Such moments prove infinitely more impactful than the requisite city-pocalypse that lands with a predictable thud come the final act.

None of this to say that the film is entirely devoid of DC’s now trademark pomposity, albeit in its own particular guise. Take the weight of franchise origination carried by the film. One longs for the days when a superhero film could blockbuster on its own terms without need for broader world building. Superman is chockablock with other so-called ‘metahumans’ and cannot help but set up next year’s Supergirl.   This closing two hours full of superfluous canon additions and overstuffing. 

What’s more, Gunn lands a country mile from unsubtle in his external reference points for the film, with transparent inspiration drawn from only the front pages of current affairs. A conflict in the Middle East? Misinformation? Immigration phobias? Social media bots? All present and correct. Superman has no meaningful comment for any of these matters, instead risking the appearance of smugness in its righteous handling. As Cavill found to his super-peril, walking the walk is never quite enough on its own. Reference is not relevance alone. There’s fun to be had here but going the distance will want for more.

T.S.

For a character that’s been around for nearly 100 years and has been reinterpreted and re-contextualized in countless ways, people sure do have strong opinions on what a definitive Superman is. Is he the embodiment of the American way, a metaphor for the importance of immigrants, an indestructible god that should be feared, or just a guy who doesn’t realize that underwear goes on under the pants? Basically what I’m getting at is that the character means different things to different people, so it’s hard to say if one interpretation is more valid than another. Maybe you like your Man of Steel a little more dark and brooding. That’s okay, and now it’s your turn to say something respectful instead of something completely unhinged.

But if there’s one guy I probably trust to know his stuff about comics, it’s James Gunn. The writer/director was one of the best minds working in the MCU with his fantastic Guardians of the Galaxy trilogy, and he’s already kicked off his run with DC Comics pretty well with The Suicide Squad, Peacemaker and Creature Comandos. But this movie is where all the chips are down. This is the launchpad for a whole new cinematic universe, whose future almost completely relies on this being a success. Not only that, but it has to re-introduce the character to a modern audience that may have only experienced the darker side this type of character can inhabit. And even though I said many interpretations are valid, I gotta say, this Superman feels a lot like the one I grew up with.

Superman 2025 brings the eponymous character back to the character’s cornerstone of truth and justice with a colorful, often outlandish reintroduction that feels ripped straight out of the Silver Age of comic books. It’s zany and littered with good intentions, but also maintains the era’s heavy lack of subtlety. By forgoing an origin story, the film throws you right in the middle of a world with a lot happening in it, and at times it can be a bit overstuffed with its world building, side-characters and surrounding narratives. And while a lot is being thrown at the wall, a good amount of it stuck for me, culminating in a fun if a bit messy time that attempts to reaffirm Superman as the beacon of hope many of us remember him as.

Three years into his journey as Superman, Clark Kent has a lot on his plate. He’s dating his coworker Lois Lane, he’s getting involved in international incidents and he’s trying to look after an unruly superdog. But when his reputation and public opinion begins to suffer at the meddling hands of Lex Luthor, Clark must learn to become his own man and fight for what’s right in a world that could use a little more kindness.

And that’s the simplified version of it. There is a lot being thrown at you and, to the uninitiated, it might be a bit overwhelming. It really feels like you’re picking up a comic book in the middle of a run, because you are only given very brief mentions of Superman’s origin while some of the holes are filled through some very direct dialogue. It’s a bold move, even though this character is known by so many, but I think it works out fairly well. It does make some emotional moments feel a little tacked on, like Clark’s relationship with his Earth parents, as well as forcing the film to rely on heavy expository dialogue to connect the dots. Meanwhile there’s things like pocket dimensions, fortresses of crystal, cloning and interdimensional imps that are just kinda thrown at you and you just gotta accept that that’s the kind of world this is. The foreplay is basically non-existent, but I kinda liked that. It allows the story to get a lot weirder and more comic booky from the get-go, rather than starting from ground level and building its way up. Superman is not the only superhero in this world, nor is he the first, which is super unique for these movies, even though it can make the story feel bloated at times.

Luckily, the cast is nothing short of fantastic, with everything from the leads to the supporting roles feeling perfectly suited for these iconic roles. Of course, a lot of the film’s success had to hinge on David Corenswet’s take on the last son of Krypton, and I think he does a solid job. It’s definitely a bit closer to the Christopher Reeves characterization, but there’s a goofy earnestness to Corenswet’s performance that still gives it a bit of uniqueness. He really exemplifies that boy scout mindset, while showing a vulnerability to the character I haven’t seen in forever. Dare I say that this is the most human Superman has felt in forever. While I don’t think this is a career defining performance like an RDJ in Iron Man, I’m quite happy with our new Superman. And by his side is Rachel Brosnahan’s Lois Lane, who is as much an integral part to the plot as she is a love interest. I think these two have great, earnest chemistry that manages to be both tender yet prickly at times as they still try to figure out how to make this relationship work. The scene between the two of them in Lois’ apartment is great, managing to balance why they work so well together and why their differing views on the world might not make their union possible. But their budding love is palpable, really injecting a healthy dose of romance into the superhero genre that sometimes forgets its characters aren’t just smooth-crotched Barbie dolls. 

But a hero is nothing without his villain, and Nicholas Holt’s Lex Luthor is every bit the obsessive, neurotic hater I was hoping for. While the exact reasons behind his hatred for Supes is a bit unexplored or surface level, Holt’s unrelenting jealous rage grips the scene whenever he’s on screen. He’s a straight up bastard and I love it, especially when he’s essentially shouting fighting game combos to one of his lackeys to take down his enemy. Other standouts include the entirety of the Justice Gang, with Isabela Merced’s Hawkgirl, Nathan Fillion’s Green Lantern and especially Edi Gathegi’s Mr. Terrific, who may just see an uptick in popularity after this movie. Despite my narrative issues with the film, I think the cast is an absolute homerun and I can’t wait to see what’s in store for them next.

But let’s talk about those narrative issues. As stated before, there’s a lot going on here and there’s a lot of ideas and themes to unpack. If I had to pick out the core idea of the film, it’s the drive to do good in a world where some people argue some issues are black and white while others are a bit more gray. The biggest reflection of this is Superman constantly trying to stop the invasion of a foreign nation, parallelling a very real and very talked about global issue happening today. The issue is that the film tries to be both a reflection of global politics and a Saturday morning cartoon, and the juggling doesn’t always work. Alongside that, you also have thematic elements like governments controlling the actions of metahumans ala Captain America: Civil War, through both Superman, the Justice Gang and Luthor’s manufactured “heroes”. Then there’s the drive to be more than what your parents envisioned for you, which leads into some pull between Clark’s biological and adoptive parents. And then there’s kaijus and imps and robots all mixed into it as well, but not everything feels equally as cohesive. Things go from being as simple as “be kind to each other” to more complex world politics reflective of our own time at a moment’s notice. But those more “complex” moments are only complex in theory, not so much in execution. The intentions are definitely in the right place, but in the end, the film doesn’t manage to say anything meaningful about most of these ideas, leading to big moments of emotion that don’t entirely feel earned. I think a film can manage to have themes of those with money directing public hate towards immigrants to achieve their own goals and an internet rage comment center entirely run by monkeys, but it’s gonna take a bit more narrative consistency to make it work.

Yet the fun of the film definitely keeps this thing going, from high-energy action sequences to trademark James Gunn needle drops. A lot of the action is bright, poppy and loaded with flare, but I do think the way it’s shot can sometimes be a detriment. This is the same cinematographer that’s worked on two of the Guardians films and The Suicide Squad, but also shot The Flash, and unfortunately, I see a little bit of those same issues from that film in this one as well. Visuals will sometimes have this rubbery, uncanny look to them that I think could be skirted by if some shots were just structured a different way. There’s some shots where way too much focus is put on the characters moving through the scene, often being the focal point of the shot, like Superman flying towards the screen. I don’t know, these shots, coupled with the effects, just sometimes look wonky to me. But not every burst of action is like this, as there’s moments like a battle on a baseball field that are presented in such a fun and energetic way. Overall, I’m happy the film decided to get a little weird and out there with its visuals, because it truly feels unlike any kind of Superman film I’ve seen before.

When I left the theater, I knew I definitely liked this film, but didn’t outright love it. Its kickstarting of a brand new universe presents countless opportunities to branch off in the future, but at times it can feel like a hindrance to fully establishing the character the film is supposed to be about. Superman does remain the centerpiece of Superman, but the drive to load this film with so many possible thematic takeaways does make the man of steel’s journey a bit scattershot at times. But if you’re a fan of James Gunn’s usual style, this film is nothing if not fun, anchored by a great cast and a solid directorial style that mostly knows when to lean into goofy comic book weirdness and grounded, human moments. I probably would have loved a slightly stripped back version of this that didn’t overwhelm itself with too many ideas, but I still think this is a solid start. “Kindness is the new punk” certainly resonated with me, and if you don’t have a heart of kryptonite, it just might do the same for you.

RATING

METROPOLIS ICED TEA

Ah, the city of Metropolis, where insurance includes kaiju coverage and skyscrapers fall down faster than they’re put up. You must need a strong drink to get through a day there, and that’s where this drink comes in. Modeled after the Long Island Iced Tea, this multi-liquor cocktail packs a man of steel-level punch while offsetting the strength with some some sweet fruit flavors. And to make it as iconic as the boy in blue (and red), we’re going to be layering the cocktail to match Superman’s iconic color palette. A good, strong drink has always been my kryptonite, and if you can relate, this may just be the drink for you.

INGREDIENTS

• 3/4oz vodka
• 3/4oz tequila
• 3/4oz white rum
• 3/4oz gin
• 3/4oz blue curacao
• 3/4oz raspberry liqueur
• 3/4oz lemon juice
• Top: Lemon lime soda
• Garnish: Lemon peel

INSTRUCTIONS

1. In a shaker, add the vodka, tequila and raspberry liqueur to a shaker and shake with ice.
2. Strain into tall glass.
3. Clean out your shaker, then add the remaining ingredients and shake with ice.
4. Fill glass with ice, then slowly pour the cocktail on top of the red mixture.
5. Top with soda.
6. Garnish with lemon peel.

[Note: I do not consider myself a movie critic. What follows is just one fanboy’s opinion based off of a single viewing of the film. Oh, and there are SPOILERS ahead for this movie, so take heed.]

Aside from my thoughts on the Adam West Batman and the 2017 Wonder Woman film, I haven’t talked about DC comics much on this blog. It’s not because I don’t like the characters from DC comics — because I definitely do — but those characters have not played as much into my daily discourse as those from Marvel (though that is changing). With the release of Superman last week, we now have a fresh take on the DC universe, which has been in a weird state for the last couple of years.  

I will say right up front that I wasn’t a big fan of the Snyderverse. I found the grim-dark take on Superman and the Justice League to be fundamentally at odds with the DC characters as I had come to know them from years of reading comics, watching other movie versions of them, playing video games, and so on. With that in mind, let’s talk about Superman. 

First Impressions

I tend to like James Gunn movies, in general, but I really like Guardians of the Galaxy Vol. I & II. So, when I heard that he was taking the Kevin Feige role of chief creative of the burgeoning DCU, I was encouraged by this.

As the trailers and marketing came out for this new version of Superman, I was…less sure. The tone felt off, Superman’s costume had the red trunks, but otherwise looked like a mid-range cosplay attempt. And, the first glimpse I got of David Corenswet as Superman was of him beaten and bloodied in the snow. I also wasn’t sure about introducing Guy Gardner as the Green Lantern before we had a chance to see Hal Jordan or John Stewart (no, the other John Stewart) in the role.

So, it was a mixed bag going in, but I was glad to get away from the uninspiring, depressing version of Superman from the Snyderverse. I hasten to add that I absolutely love Henry Cavill in the role of Superman, but I  just did not connect with the stories involving that version of the character. Even with these concerns, I was still going to go see the movie.

What I liked

Finally, a Superman Movie: Understand that I love Christopher Reeve Superman movies, particularly the first two. The hope and light that Reeve brought to that role is the gold standard for me. Other actors have captured the essence over the years. Tom Welling, Brandon Routh, Taylor Hoechlin, just to name a few. I was looking for that spark within David Corenswet’s performance, and I’m overjoyed that I found it. Superman films have not really had the magic for me since Superman Returns in 2006. Sitting there, watching this movie, there he was. Big Blue was back.

The Musical Score: The John Williams Superman theme is one of the most iconic pieces of music in cinematic history. Rarely has a piece of music so encapsulated a character within its notes as that one. The score for this film picks up from that theme, but adds to it, giving it new dimensions and new emotions that are wonderful. 

Lois & Clark: This movie definitely subscribes to the in media res theory of storytelling. There’s no origin story, no flashbacks. We start with Superman already a few years into his superhero career. His relationships are already in place. The chemistry between Corenswet and Rachel Brosnahan is excellent. From their very first scene together, it seems like they’ve known each other for years. The actors inhabit these roles like they already have a few movies under their belt. The scenes between them are as natural as breathing. I just wish there had been more of that.

The Justice Gang: I honestly can’t think of a more unlikely trio of JLA founding members than these three. It’s so early into the formation of the Justice League that they don’t even have the name nailed down yet. That said, any time we get Captain Mal in a movie, I’m pretty happy, regardless of what role he takes. I must admit that Mr. Terrific is not a character I was terribly familiar with, and the name definitely smacks of the 1940s Golden Age, but I really liked Edi Gathegi in this role. The Justice Gang needed a super-smart, tech-based superhero, and Mr. Terrific is all that, and more. Just like the other actors, Gathegi feels like he’s been playing this character for years instead of this being our introduction to him. I also liked Hawkgirl. I wish she had more things to do, and I could’ve used less screaming (see below), but as the third part of the trio, she’s a solid presence.

Real Stakes: It may have thrown me for a loop to see Supes beaten and bloody in the snow, and it did seem like he got hurt a lot in this movie, but it also gave some much-needed stakes to the story. Superman is known for being able to shrug off lots of punishment effortlessly, so when something does hurt him, it just underscores how dangerous the situation really is.

Pa Kent: I have a great respect for Pruitt Vince as a character actor. His range is pretty astounding. Seeing him worried about Clark’s condition upon arriving in Smallville was the set up. And when Clark is debating on his motivations for being on Earth, hearing Pa Kent’s voice break when he tells Clark just how proud he is really spoke to me. As a father myself, I identify with Pa Kent even more now.  

The Hall of Justice: The moment it appeared on screen, the announcer from Superfriends enthusiastically proclaimed “Meanwhile, at the Hall of Justice” in my head. I’m not sure where they filmed the interior shots, but it feels like a real place, if a little understaffed at the moment. I’m also not sure why the word “TRAINS” is written in silver letters on the back wall, but I’m really hoping that we get to see more of the Hall of Justice in future DCU movies. It did my heart good to see it on the big screen.

The Secret Guardians of the Galaxy Reunion: I didn’t realize this until I was looking up information on IMDB, but Pom Klementieff (Mantis) and Michael Rooker (Yondu) voice two of the robots at the Fortress of Solitude, and Bradley Cooper (Rocket) plays Jor-El in the recording. I see what you did there, James Gunn.

What I DIDN’T like

Changing Jor-El and Lara’s Motivations: Let’s talk about the elephant in the room. I understand for story reasons why this change took place, but having Jor-El and Lara’s last message to the young Kal-El be along the lines of “go create a harem and conquer the planet” is fundamentally at odds with the idealistic philosopher-scientist version of Jor-El that has been the mainstay of the Superman story for nearly a century. I know there have been other stories along this line, like Byrne’s The Man of Steel limited series. Smallville similarly departed from Jor-El’s lore (even going so far as to have Terrence Stamp, who had previously played General Zod, voice him). That was one of the big misses of that series, and I don’t care for it here either. It feels way off considering the tone of the rest of the movie.

Undercutting Serious Moments with Humor: There’s really only one writer who can pull this off consistently, and his name is Joss Whedon. Unfortunately, the Marvel tendency to emulate Whedon’s style by immediately following a serious moment with a joke is something that appears to have followed James Gunn over from the MCU. The worst offender is, by far, Taika Waititi in the Thor movies, but Gunn had his share with the Guardians of the Galaxy. When Gunn allows serious moments to play out, they are so much stronger, such as the case of Clark and Pa Kent. Poignant moments don’t need a punchline.  

Transformers All Over Again: Early in the movie, almost everyone in the world turns on Superman. Even though he has been actively saving people and helping Earth avoid catastrophe for three years, when the news about his parents’ message comes out, people are calling for his arrest instantly. One guy throws a can at Superman that I’m pretty sure Supes helped save only moments before. For movie purposes, I see why they did it, but it’s like Superman has not garnered any good will at all with the public. There are no dissenting voices or people on the fence. Then, when he is exonerated, it’s like all’s forgiven. Everyone hates Lex now, and just as rapidly. It feels a bit like how the people of Earth keep turning on the Autobots in the Transformers movies. It doesn’t matter what Optimus has done, or who he has saved, he’s just one mistake away from being hunted by the humans he has helped.

Lex Luthor: I should preface this. I think Nicholas Hoult is a fantastic actor, and it’s always nice to see someone ‘cross the isle’ from Marvel to DC. Hoult’s Lex Luthor definitely has the look, and is HEAD AND SHOULDERS above Jesse Eisenberg’s portrayal of the character in the Snyderverse, but that’s not enough. Instead of a cold, methodical mastermind that Superman should be really afraid of, we get a tech-bro who seems to have mainlined one too many espressos, acts like an immature teenager when he doesn’t get his way, and rarely comes off as a threat as much as an annoyance. I think Hoult did well with what he was given, but this is a weird take on Superman’s arch-nemesis. I much prefer Rosenbaum or Cryer’s approach to the character.   

Krypto, the Super Dog: This will likely be an unpopular opinion, but I could have done with a 95% reduction in the amount of screen time and consideration given to this dog. The Super-Pets have always been a bit weird to me, and are an odd relic from the early days of DC comics. A super monkey, a super horse, a super cat — all from Krypton, all with powers similar to Superman. Ugh. They are, at best, cameos if they are acknowledged at all. The Terrier/Schnauzer mix of this Krypto is not only distracting from the story, but a danger to everyone around him. Superman takes him away from the Kent Farm for fear of the dog killing his family’s cows. Having a hyper-active dog that powerful is a threat to every human he encounters. Superman should really keep him bottled up in the Fortress of Solitude.

Punk Rock Theme: The movie goes out of its way to establish Clark as a punk rock fan. A version of Iggy Pop’s Punk Rocker even plays over the credits. It’s a good song, for sure, and Gunn has historically had a way of using classic music to underscore great moments on screen. However, If I had to rate the members of the Justice League on who might be into Iggy Pop, I would have to rate Superman as dead last. The Flash, Blue Beetle, even Batman? Sure. Superman, the boy scout version that we get in this movie, seems like he would be into folk or country & western, maybe bluegrass, especially being from a small town in rural Kansas. Punk rock is just such a weird, discordant choice here.

Hawk Girl’s Screams/Murder: Her ‘death scream’ started to edge into ‘the goats screaming in Thor: Ragnarok’ territory. But the main moment Hawkgirl gets in this movie is a straight-out murder. Guy Gardner said previously that the Justice Gang was not political. Intervening in the slaughter of innocents is one thing, but kidnapping a head of state and dropping him to his death is pretty suspect. Generally speaking, assassinating the leader of a sovereign country is a political act, but here it’s played for laughs. Do you want the DC equivalent of the Sokovia Accords? Because that’s a surefire way to get them.

Ma Kent: I don’t know what accent James Gunn thinks country folk in Kansas have, but it’s not whatever cornpone that Ma Kent was yelling into her phone. Come on, Martha. You don’t have to yell, he can hear you. In fact, he could probably hear you without the phone. Considering how wonderful the portrayal of Pa Kent was here, that it’s weirdly reversed for Ma Kent is another mystery to me.

A Conveniently Empty Battleground: I’m not sure what the population of Metropolis is, but I’m guessing that it’s up around Chicago or Boston, possibly even New York. Evacuating that many people would take days, maybe even weeks. When the final battle throws down, and skyscrapers are falling like dominoes, however, there are zero people in them. When Superman saves the lady on the bridge, she’s the only car around. That bridge should be packed, but as she’s taking off there’s nary another car in sight. Still, I much prefer this to Superman and Zod duking it out during the peak hours of the day with zero evacuation and reducing downtown Metropolis to below sea level. The death toll would have been in the tens of thousands.

Unanswered Questions

I mentioned the message from Superman’s Kryptonian parents earlier. As far as everyone in the movie is concerned, the message is authentic. It’s a bit weird that any linguist from Earth would be able to crack an alien language when there are so few examples available to study. We’re not even sure if Superman himself knows that much of the Kryptonian language. He certainly didn’t grow up speaking it. The only one who might speak it fluently is Supergirl, but I doubt that she’s taking time out of her busy, off-world party tour to teach a course on Kryptonian grammar and rhetoric.

For the very fact that we never hear the message spoken in English is itself a bit of a mystery, so I have to wonder if we’ll see it again in the future to discover that there’s some additional context to consider, or that someone got their verb tenses off where the message means something else. It’s likely wishful thinking on my part, but the pieces are already in place if they choose to revisit it.

I suppose the other question I have at this point is just how well the movie itself is doing. The news praised its strong performance out of the gate, but at the time of this writing, Box Office Mojo has it a $261 million worldwide, and it looks like attendance is already tapering off just a week into its release. For context, Thunderbolts* made $382 million worldwide during its run, and it was considered a huge flop. I desperately hope this is not the case for this movie. The parts I didn’t like were numerous but ultimately trifles. I want the new DCU to succeed, and so I hope that Supes doesn’t go down without a fight.

Conclusions

I have been waiting years for this movie, before Gunn was the head guy at DC, heck even before Snyder first got his hands on the property. I’ve wanted a Superman movie that gave me that same thrill as when I first saw Christopher Reeve pull open his button-up shirt to reveal the familiar ‘S’ underneath, set to the John Williams theme.

That’s what I’ve been chasing all these years. I got a taste of that with Superman Returns, which was a direct sequel to the Richard Donner films, but it didn’t quite get there in the end. On the small screen, I’ve been luckier. The first few seasons of Smallville were amazing along the Buffy: The Vampire Slayer template. More recently, the last vestige of the CW DC universe, Superman & Lois, was one of the best versions of Superman I’ve ever seen on screen.

But the Snyderverse was a vast desert for me when it came to Superman. That’s why this movie is an important one, even if some of the creative choices were odd. Overall, if this is the way the new DCU is going, count me in.

In closing, the tagline to Superman: The Movie in 1978was “You’ll believe a man can fly.” After seeing this movie, I can believe it again.

And that’s the way this fanboy sees it.

“I owe a tremendous debt of gratitude to John Williams; without his music, Superman’s powers are greatly diminished. Believe me, if you try to fly without that theme, you go nowhere.” —Christopher Reeve

The above statement, said at a 1993 celebration honouring the composer, applies not only to the actor playing him but also to the character of Superman. Since Reeve flew onto screens in 1978, John Williams’ theme has been synonymous with the most famous hero in DC Comics’ stable, and it continues that legacy in “Superman,” which opens this week. So perhaps it’s time to ask ourselves: Just what is it about that theme that keeps it going beyond the film that spawned it?

“One of the essential things about the film to me,” Williams said in the 2001 documentary “Making Superman: Filming the Legend,” “was that it was fun and didn’t take itself too seriously. The way Richard [Donner] had directed it, and particularly the way Chris and Margot [Kidder] played the parts, it had almost this kind of theatrical camp to it that didn’t take itself too seriously, and if one could strike a level of theatre and sleight of hand and tongue-in-cheek in the creation of the themes, that it might be the right idea.”   

Williams wrote seven different themes for “Superman: The Movie,” including a beautiful love theme and a nostalgic Aaron Copland-esque theme for the sequences in Smallville. But it’s the Superman theme that’s appropriately dominant. It’s made up of two sections: a powerful fanfare acting as a precursor to action and a call to arms, and a big and bright main theme that uses a three-note phrasing that sounds like it says “Sup-er-man.”

So when Clark Kent has to become Superman to save Lois Lane from becoming a sidewalk Jackson Pollock, Williams plays a big rendition of the fanfare as he opens his shirt to reveal that big “S,” creating a truly iconic moment. Subsequently, the main theme plays with exuberance and vigour as Superman catches the falling helicopter, with the crowd beneath him doing the same thing the audience is doing: cheering. And it’s not just the selfless heroic act we react to, it’s the fist-pumping triumphant music underneath it.    

“Like all of John Williams’ great themes,” says Tim Greiving, author of the forthcoming book John Williams: A Composer’s Life, “the Superman theme feels like it has existed since the dawn of time, and feels like it came here with Kal-el all the way from Krypton. A great fictional character theme, like a great pop song, feels inevitable and predetermined while also delighting our ears with a sense of surprise—and Superman’s theme does that in spades.”

Williams’ theme continued to soar across the three remaining Reeve “Superman” pictures and beyond. “Supergirl” came to screens in 1984, with the same producers behind it: the infamous Ilya and Alexander Salkind. Jerry Goldsmith scored the film and wrote mostly new material for the picture, but he also found space to include a brief but reverent quote of Williams’ theme, in a scene where the title character sees a dorm poster of Reeve’s Man of Steel. This continued in both live-action and animation, with Shirley Walker’s excellent theme to the 1996 cartoon “Superman: The Animated Series,” which also utilizes the “Sup-er-man” three-note device. Although, to be fair, that phrasing was first used by Sammy Timberg in the 1941 “Superman” cartoons as produced by Max and Dave Fleischer, so it’s not especially a new thing—Williams just gave it that added oomph.

2006 saw Williams’ theme return to cinema in a big way, courtesy of Bryan Singer’s “Superman Returns.” A pseudo-sequel to the first two Reeve pictures, and featured a number of homages to the films, not least the adaptation of Williams’ themes by Singer’s regular scoring partner John Ottman, who reintroduced the theme in a big main title sequence very similar to the 1978 original. Even Zack Snyder was initially interested in using Williams’ music for 2013’s “Man of Steel.” In 2022, storyboard artist Jay Oliva posted on Twitter that Snyder wanted to use the theme, but Warner Bros. preferred a new approach, eventually hiring Hans Zimmer. “Zack and I loved that theme,” Oliva said, “but the studio wouldn’t let us use it because they wanted something new for this Superman. It turned out to be a good thing because Hanz’s [sic] theme was perfect.” Williams’ theme did appear briefly in “Justice League,” as scored by Danny Elfman, but this was reversed in “Zack Snyder’s Justice League,” which featured music by Tom Holkenborg.

Zimmer’s approach to Superman was admirable, but it was doomed to fail as part of a film that didn’t seem interested in taking the character seriously. The dark and gritty tone that many fans admire is ill-fitting for Superman, and as much as they tell us his “S” is the symbol for “hope,” there seems to be very little of that in the actual picture. As a result, Zimmer’s music is much more enjoyable away from the film. 

Gunn, however, didn’t hesitate to bring John Williams’ theme back. “That soundtrack,” he told Gizmodo in 2024, “was one of my favorite of all time. When I was a kid, the thing I loved the most about the movie was the music. That was the thing I took home with more than anyone else.” For “Superman,” Gunn recruited English composer John Murphy, who had scored “The Suicide Squad” and “Guardians of the Galaxy Vol. 3.” But at the time, Gunn had not even finished writing. “He was one of the first people I gave the script to, along with Peter Safran and a couple of others, so that he could start writing music for it. And I said, ‘I want to use a version of the Williams theme, but I want to do our own version of it.’” 

Murphy’s version of the theme debuted with the first teaser trailer in December—a more concise version of the melody played initially on electric guitar before being reprised with an orchestra and chorus. It feels fresh and unique, but still definitively John Williams, a Superman for a new generation, but one that respects where he’s come from. 

“What’s really amazing is how that leads into a lot of other pieces,” Gunn said. “Some of which come back to the Williams theme, but some of which are purely John Murphy. It goes into that, comes back out, and it’s used beautifully throughout the movie. And John has worked almost non-stop for the past almost two years, putting the score together.”

It would appear that John Williams’ Superman theme is not going away anytime soon. Perhaps this is appropriate for a world in so much turmoil, where audiences still require the escapism and symbolism his heroic acts bring, as his comics did during the Great Depression. As George Lucas is so fond of saying, it’s like poetry. It rhymes.

“The Superman theme,” says Greiving, “became permanently glued to the character, not just because the movie was so popular or even because the tune was so catchy, but because it fit Superman like a bespoke blue suit. Williams so expertly forged the right melody for that character, the perfect melody, that we just can’t imagine him without it.”