Superman Review: A Successful Takeoff

'Superman' is a film about kindness. Not necessarily about justice, sacrifice, valour or duty. But about the simple act of helping someone because you want to, not because you have to. Or you need to. Just because you felt like it. And you could. 

In a cinema landscape saturated with superhero fiction that has attempted to subvert the genre by turning to cynical deconstructution and self-referential, ironic humour, Superman embraces every aspect of comic books that its peers steered away from. 

Director James Gunn takes a big swing at a larger-than-life comic book movie about a man who unironically flies around with his red innerwear on the outside and hits it out of the stadium, making it emotionally compelling and thought provoking. 

Marvel Studios alum James Gunn blows the dust off the timeworn tomes of Superman lore, taking major thematic inspiration from Grant Morrisson's seminal comic book 'All-Star Superman' to make the argument for why compassion just might be the most defiant act of rebellion. 

There is an earnestness and an innocence to this portrayal. Unlike his predecessor, actor David Cornsewet's Superman does not carry the weight of the world on his shoulders.

He has a childlike wonder for the planet he inhabits and helps its inhabitants out of his fascination with the inherent beauty of their lived experiences.

But he is not perfect, this imperfection is portrayed through his naivete rather than desperation or rage like previous adaptations. 

When he uses his powers to prevent a war on foreign soil, he faces public scrutiny for undermining international law. He can't help but express frustration as to why someone would think he did the wrong thing. 

People around him constantly attempt to show him why he needs to be cruel, why people should fear him, why the world is not fair and neither should he be. Why compassion may be outdated. 

Gunn also humanises the character by having him struggle with his own personal crisis of faith.

Superman does get angry in this movie, he does get sad and scared. He feels uncertainty over his choices like the rest of us.

But he never stops fighting for what he believes in.

The movie unashamedly commits to a narrative tone of heightened and dramatic camp (akin to Sam Raimi's Spider-Man trilogy) which is as whimsical as it is consistent. 

Viewers expecting more grounded and serious superhero fare might be polarised. They may either love it or hate it. 

Gunn infuses the film with his trademarked humour, heart and sincerity. It features heaps of surreal, bizzare and colourful visual iconography ripped straight from the kind of comics that would feature a world-conquering intergalactic starfish. 

The colour grading has a warm blue tint to it which contrasts well with the bright primary colours used throughout the film, making it feel like a living comic book.

The film does not hold back with its fantastical and pulpy visual aesthetic with otherworldy set pieces, character designs and environments that feel compelling in their zany audacity.

Dyanmic camera work immerses the viewer, putting them straight into the action. When Superman flies, you feel like you're flying. 

When he gets whacked in the face and is sent reeling across the planet, you feel that momentum, velocity and adrenaline. 

The script is brought to life by iconic performances, with Nicholas Hoult's turn as billionaire Lex Luthor being a standout, balancing his composed and ruthless businessman exterior with the volatile and envious mad scientist within who hates how much Superman makes his accomplishments feel so small.

Rachel Brosnahan, who plays intrepid reporter Lois Lane, is shown to be Superman's love interest and equal, balancing out his hope with her skepticism and his innocence with world weariness.

Other standouts include Nathan Fillion's egotistical and hilariously juvenile Guy Gardner, an intergalactic space cop known as Green Lantern, and Krypto, a pet dog with Superman's powers, whose hyperactivity and disobedience leads to many a comedy of errors.

In an era of comic book media where the makers try to convince an audience to buy what's happening on screen by grounding their story, Superman instead asks them to look up, so it can make them believe that a man can fly. 

James Gunn's superhero epic has more in common with his sombre vigilante dark comedy 'Super' than 'Guardians Of The Galaxy'. Despite being a larger-than-life spectacle, it never shies away from poignant reflection on heroism and human vulnerability.