#TAPReviews | DC Studios’ “Superman” movie review

The hype of a slow-moving IG meme machine influenced by 2018-esque social campaigns has primed DC fans for the first film under the new DC Studios banner— Superman. And whilst James Gunn’s pride and joy has made landfall in the world, much is riding on the success of this movie. The sequels, the spin-offs, the universe of God & Monsters and maybe even Gunn’s credibility.  Which feels unfair. We only had to bare decades of the lack of accountability and leeway given to Snyder for so many years. 

So, how has the Superman movie fared in the world of a shared reality? 

⚠️ SPOILERS funnily enough from this point forward ⚠️

Thirty 3 threes 

Angel numbers sets off the James Gunn DC Studios universe as if in a bid to bring divination to this excursion. It is not through the image but the word that we get a view of DC Universes topology. The existence of metahumans comes to earth some 300 years. Superman is now 30. And in three years as Superman, he gets his ass washed in a battle for the first time in a 3 hour battle with a powerful villain who no one knows or cares about. 

The first time we see Superman he is broken. I can only assume this to be a metaphor for the condition the franchise was in post Gunn’s inheritance. And he pretty much stays this way for the majority of the film. If not in body, in presence.

“Political?” “Woke?” Or are you just an asshole?

Has there ever been worse thinly veiled reference to a world conflict since Dune? Likely not. However, it goes a long way to define the character of the man. Many see superman as a boy scout, follows the rules, obeys the law. But at the heart of him in almost every iteration across all media, Superman is defined as someone who will act for greater, moral good. So, by that very characteristic, he is not police officer. He’s a firefighter. Not like the racist ones during Hurricane Katrina. One that is there to save lives. So while Lois Lane turns on her reporter and bureaucratic brain questioning Superman’s actions and their geopolitical repercussions, his earnest frustrated response “People were going to die!” hits home in a satisfying way. David Corenswet is Superman, if not for a second. 

As far as the intricacies of the geopolitical landscape in the DC universe, don’t expect any nuance you would get from Star Wars Clone Wars or even Justice League Unlimited. However, any complexity is stripped to its bare mechanics. The names of countries are a mouthful, everything is a black flag operation, and everyone evil is in Lex’s pocket. And that’s not even us talking about Lex’s black site holding his opps in the pocket universe. 

In the same way, investigative journalism experiences much of the reductive mechanics. You know, all discoveries are handed to them on a silver platter, a scowling editor-in-chief telling Lois to run the new story and Jimmy ‘get bitches’ Olsen working a sexy asset for intel who is conveniently embedded directly with the mark.

Metropolis population NPC

Cities in comics often become a character on to themselves. Many say Gotham and Metropolis represent the dichotomy of real life New York City. One, a city enshrouded in a seedy, criminal underbelly. The other, a city driven by promise, technology and a brighter future for all. Gunn’s Metropolis… how can I explain. Remember that Rick and Morty episode where aliens created a simulation of NPCs that looked and reacted like programs and protocols rather than humans? That is the population of Gunn’s Metropolis. An amalgamation of clotting people, sim physics and unrealistic reactions. I don’t care who you are or how often you experience a 9/11 event on your daily commute, you are going to have a visceral reaction. However Lex Luthor’s Gremlin Kaiju appears in the middle of the city to not much alarm. And as such they stood out like sore thumbs. This could be forgiven if it was all the way campy. But this is not that.

Cameo Porn 

We’ve heard Gunn’s criticism of the tail-end of Marvel’s prolific run. One that is most certainly true. There is a hyper-focus on comic book movies having cameos. Particularly Marvel. Though I would elaborate this by saying this level of cameo porn is a symptom rather than the disease. The true culprit is the long running sentence of interconnected film creates a link that is as strong as its weakest iteration. 

And if you thought Gunn’s critique was an acknowledgment that would send him to greener pastures when handling DC Studios Superman, you would be wrong. 

Maybe Gunn thinks the main variable of cameo porn is having popular, well-recognised characters. However, much of what Gunn at Marvel has contributed to the state of comic book movies has been cameo porn. Just with less mainstream comic characters characters on which he has imprinted his personality on and broke-clock-right-twice-a-day humour. And as co-head of DC Comics, Gunn has not stopped. In fact, he has doubled down. Guy Gardner, Mr. Terrific, Hawkgirl, Krypto, Supergirl, … all of which take huge chunks of the film’s memorable moments. Superman is left with scraps. And that is essentially what is the main problematic issue when it comes to cameo porn. Those that are looking for narrative get the raw end of the deal. Like, we do want to see the plumber get his qualifications after coming out of debt to then accept house calls from a cheerleading squad who also can’t get the leak to stop squirting everywhere? Just me? *turns on VPN*

Finally, as an exercise, I want you to think of the most memorable moments from Superman. Save for maybe Clark and Lois’ exchange at the beginning (which is a stretch). The simulacrum you envision will not have a red, blue and yellow palette in it. Not unless it’s Supergirl getting banged on the floor, Krypto doggystyle. How’s that for your cameo porn.

Mr Terrific

Even with the criticism of cameo porn, and generally group comic hero movies not done right, the entries that we do get in Superman get much deserved love, particularly Mr. Terrific. Superbly intelligent. Quick witted and prolific. He manages to steal the spotlight whenever he is on screen. And the jacket is fire. It reminds me just of how important these characters can become when they are treated with the respect and love they deserve. Now I’m not saying Superman didn’t get this. We’ve seen the impassioned exchange talking about Superman’s motivation in a scene between director Gunn and the titular Superman actor David Corenswet. What I am saying is that the ingredients in the gumbo are not properly balanced.

Superman nevertheless is a decent start to DC Studios fleshing of their filmic universe. And by decent I mean it didn’t full tank at the box office. 

No one is expecting Gunn to full recoup from the first movie in. 

However, setting the precedent as it has been done does limit the palette and constrains trajectory.

You gets no b*tches and it shows

Again, a very telling instance of side characters stealing the lime light. However, unlike Mr. Terrific, Jimmy Olsen feels particular forced. Not that it is not believable that such a guy gets b*tches. Far from it. I have seen the break in the matrix a few times in my life. It was more to do with Gunn’s sense of humour, particularly timing.

Gunn has a tendency to stretch a schtick pass its expiration date in an edit. So something like a disinterested Jimmy loathing reconnection with a beautiful, brain-dead blonde bombshell may pique interest the first time. However, Gunn makes this Jimmy ‘Mr. Bitches’ Olsen his entire personality. The guy you wouldn’t think that has this pull with women. Okay. we got that with the first interaction. Thanks, I guess?

Critter crutch

This is by far Gunn’s least endearing qualities and tropes as a filmmaker. The need to bolster– or dare I say–distract you from narrative. Cute, loveable critters. And by god, it works. Momentarily. And I do love Krypto. As painfully CGI as he is. And even with the trailer leading the charge as to what to expect. I still was blindsided by just how much the dog was used to provide comic relief from the hit-and-miss humour and story of Superman. And why not top it all off with a lazy cutscene of Supes and Krypto together watching Earth from space. “Aw”. That was the cinemas reaction. And a deserved one. Hell, I was there with them too.

Cheat codes are there for nothing if not to be used. However, if I keep using the a cheat code to generate and stock pile weapons in GTA Vice City but fail to execute a simple mission, does that make me a great gamer, or a shitty one?

New origins, new problems

Gunn has gone on record to denounce the origin stories in comic book movies. “No one wants to see pearls dropping in an alleyway” for Batman or a space ship leaving a dying planet for Superman. Is this true, I ask you. The inciting events that set these characters on a quest to be heroes that wish to vanquish evil. The defining moments of their lives should be ignored. Reduced to a flashback with no impetus. This is how I know Gunn’s underlying ideas of what makes these characters tick is flawed. It also shows why he seemingly gravitates towards lesser know comic characters. More chance to imprint his own DNA into established characters without blowback.

And as far as the disdain for origin stories being rehashed, it is a tactic that has seems to be a sentiment shared across the aisle at Marvel, with Fantastic Four taking a similar approach. However, here is the thing. These characters ARE their origins. And by changing the origins, you change the character.

And a simple variable change may be a nice caveat for a What If? / Elseworld story. However, James Gunn changes Superman eternally with a throwaway scene that I feel will be a true spectre of this entire “Gods and Monsters” run. Superman real parents true intentions was more Viltrumite than Kryptonian. Kal-El was planted on Earth to take many women and dominate the species of Earth a terrific, oppressive ruler. By doing this you have separated him from his Moses-centric origin story. Then melancholy to know he was the last of his kind. The thing that motivated him to defend his only home now – Earth. Instead, any action Superman takes now will forever have the tinge of Supes trying to convince humans that he does not want to take over the whole planet. The purpose of this origin story change is shortsighted and does not provide the ‘wow’ factor Gunn thinks it does.

And what does this say for Supergirl’s origin. Someone with memory of life on Krypton. Did she keep the true intentions of Krpytonian expansion from Kal-El. Is she a defector? A sleeper agent of Krypton, essentially the planet retconned by Gunn to be the red scare in space. Space Russia? Russia with a red sun. Who cares. All of this opens up a Pandora’s box that Gunn will spend the rest of his DC Studios’ career retconning like he has been doing to crowbar Peacemaker and the Suicide Squad ending of his sandblasting out Snyder’s Justice League scene. That’s one way to keep employed I guess.

Superman is not the cornerstone nexus people think it will be. And that is not even using foresight. It does little to fortify world-building. Neither does it feel like the spawn of something greater.

One pro point I have heard people say about the film is that Gunn knows how to handle Superman’s power. Of course, this is in reference to the dogpile near the climax of the film where he spins and burns his enemies with his heat vision that leaves him with racoon eyes. Which looks far more pathetic in comparison to Snyder’s depiction of raised glowy veins (pause). Everything to this point we are shown a Man of Steel with no steel. Even the man part is called into question with the change of his origin story transforming the Kryptonite from Alien Moses to Alien Pharaoh in a hacky telecom broadcast that every viewer sees right in that instant.

No one was expecting a billion dollar surplus first week. But a solid narrative would be nice. And while a saucy, drunk Supergirl on a red planet looks like fun, this movie campy rendition of Superman, nor the coming Supergirl movie, feels like a pillar fit to bolster DC’s future films on.