Review: Superman film mostly soars! Some of my thoughts

So, that there new Superman film, eh? Here are my spoiler-free thoughts.

Liked it. Entertaining. Stellar cast, clever fight scenes, and an array of characters that is arguably also the flick's Kryptonite. Director James Gunn brings his signature poppy, colourful, rock-n'-roll musical style that he applied to the Guardians of the Galaxy films.

David Corenswet as Clark/Superman is superb. I knew he would be from finding him in Hollywood (Netflix), the alternate timeline show that posits: what if a matinee idol modelled on Rock Hudson came out of the closet in 1930's studio  Hollywood? As a square-jawed, handsome, athletic invested actor, I thought then he could be a dead-ringer for Jack Kerouac ... or Superman. As for Corenswet's Superman? Idealistic, good-hearted, earnest, imperfect.  Nails it. And Corenswat's Clark Kent? Finally a worthy foppish success to Christopher Reeve. The film, though, could have used more Clark. In all, Corenswat's is a more upbeat, hopeful and colourul Kal-El. He's not landing like Henry Cavill's brooding Supes, with a boom that cracks the pavement. Yet Clark still struggles. The decisions he grapples with define him and challenge his optimism. In many scenes, there is a visual delight and almost serene acceptance of super-powered, otherworldly menace occurring around him, and Clark is just doing his best.

Clark/Supes, getting some help from someone he once saved.

Clark and Lois Lane, a rather sexy Rachel Brosnahan, are passionate. This bickering, passionate couple is terrific and the actors have chemistry. There's even a double entendre in there between them, if one watches closely.

Top marks go to the supporting cast. Nathan Fillion as smarmy Green Lantern Guy Gardner just shreds the scenery. The Daily Planet staff gets something to do, drawing from Grant Morrison's all-time quintessential comic-book masterpiece All-Star Superman. The news staff is great chaotic comic relief. And the Superdog, Krypto, Gunn's own pooch, wrecks every proverbial China shop he can in an abundance of comic relief. It's  Gunn's own canine, and they are a bit of a scene-stealer. I like the dog; many don't.

Nicholas Hoult is always superb and emotional, whether as the Beast/Hank McCoy in X-Men: First Class or as misguided Neo Nazi Bob Mathews in the recent chilling The Order. Here, Hoult makes a terrific, tortured, passionate, megalomaniac Lex Luthor, a barn-burner in all his scenes. Lex's hench-people are gleefully invested in being bad. Luthor even explains why he does what he does. Gene Hackman, a standard-bearer as Lex Luthor in the 1978 Superman: The Movie (and arguably Superman II), never really did explain the why— only the how

—about his evil plots. 

There is a veritable parade of comic characters at last receiving a live-action treatment and likely many cameos I missed.

But not my old pal Kim Brunhuber, who read at the Tree Reading Series I ran in Ottawa back in the day. I yalloped when I saw Kim in his cameo appearance as a news anchor. Way to go, Kim! You're my hero. P.S.; my mother-in-law harboured a crush for you and was knocked back when I said I knew you a fre years back.

Because of all of the elements James Gunn jams into this two-hour-plus feature, I have many mixed feelings because it's a big ball of everything and the above-mentioned surplus of characters. Maybe more Superman would have been better? Perry White is black, which is a change. The Superman S and costume are both slightly altered new takes on the 87-year-old design. As well, some characters have powers they don't have in the comics. There's more wanton widespread destruction that I care for (and find tedious these days in many comic-book fare, frankly). The depiction of quantum physics, as expected in a superhero flick. But still, Superman is quite spectacular. Will see it again, actually.

It's also a film brimming with hope. I can overlook many quibbles for hope. We need it now, more than ever. And Superman remains a symbol of hope.

Note: Stick around for the credits. There are two post-credit scenes. Also, I love the special thanks section, not only because co-creator Canadian artist Joe Shuster is listed along with American co-creator Jerry Siegel, but also comic-book-famous writer and Chaod Magick warlock Grant Morrison. Affable Jerry Ordway, my favourite (and masterful) artist from my days collecting The Adventures of Superman and also the fine The Power of Shazam! is in there, too.

As well, all photos are from Warner Bros. and I believe fall under fair use.