Coincidence, art imitating life, or just the brutal nature of politics? Call it what you like. But what’s fascinating is how the first act of this movie mirrors what was happening in Kenya through most of June and early July.
I’m not talking about the protests. I mean everything that was happening in the background. You know the story: a person with influence, say, a politician, an African politician, a Kenyan politician, orchestrating chaos behind the scenes for political gain.
Stirring things up just to pin the chaos and destruction on those trying to do something positive.
Then later on, showing up, pointing fingers, and pretending to be the reasonable ones. It’s exactly what you get with Lex Luthor and Basil Glarkos in this film’s opening act, only reworked through the lens of a bright, colourful comic book.
But wait, what movie are we even talking about?
Superman
Superman is a 2025 American superhero film directed and written by James Gunn. It’s produced by DC Studios co-CEOs Peter Safran and Gunn himself.
Released on July 11, 2025, with a reported $225 million budget, the film stars David Corenswet as Clark Kent/Superman alongside Rachel Brosnahan, Nicholas Hoult, Edi Gathegi, Anthony Carrigan, Nathan Fillion, and Isabela Merced.
It’s the seventh solo Superman film and marks the second official reboot. The story follows Superman trying to prove his value as Earth’s protector while billionaire Lex Luthor engineers a media campaign to destroy his public image.
What works
Let’s get this out of the way, Mister Terrific, played by Kenyan-born Edi Gathegi, is excellent. He is not just a side character in this, he is integral to the story. I even thought this should’ve been called Superman and Mister Terrific.
Gathegi plays him with confidence and composure, like that quiet friend who always gets things done. He's logical, calm under pressure, and gets one of the most uniquely shot action scenes in the movie.
The film does a great job of setting up a believable modern world.
The Daily Planet still prints newspapers, but there’s a subtle nod to modern publishing beyond just physical papers. Social media exists in this universe and is fully embraced, including the chaos it brings. It helps ground the world in the modern era where social media can be used for both good and evil.
I was happy to see both of Clark Kent’s parents featured. There’s a touching moment in Smallville that adds heart and sets up an important emotional beat in Clark’s relationship with Krypto. It’s small, but effective is giving us an idea of the relationship between the two.
Lex Luthor is portrayed as a serious threat, he is pure evil, but smart. This isn’t the cartoonish version with a kryptonite suit punching it out with Superman. He’s using systems, a well-equipped team, and a psychological approach.
His strategy is more terrifying because it’s calculated. And his team of villains are excellent. There’s precision and energy in how they operate, they enjoy what they do. They’ve studied Superman and know how to exploit him.
Visually, the cinematography leans into wide lenses. That allows the film to show a lot of scale, especially during flight and action sequences. While it can distort the central subject at times, it creates a kinetic energy.
It takes getting used to, but once you do, it works. The colors are saturated and bright, it’s visually pleasing and sticks to the comic book aesthetic without looking cartoonish.
Krypto is a scene-stealer. He’s mischievous and powerful in a way that never feels over-the-top. Because it’s a James Gunn film, you get those little animal moments that make you smile but never overused.
This isn’t the Superman I expected. Physically, yes, he’s powerful, but the film leans into his vulnerability. He doesn’t always have things under control. I wanted a more assertive, confident Superman, but I get what Gunn was going for. It’s more about “man” than “super.” And despite my reservations, he makes it work.
On geopolitics, the film offers a surprisingly layered take. It still plays like a superhero movie, but it manages to touch on themes relevant to our world, whether it’s Russia-Ukraine, Israel-Palestine, or even the situation here in Kenya. The script finds a way to nod at these real-world issues while staying true to its comic book roots.
The score is both recognisable with a touch of uniqueness. James Gunn, as always, sneaks in pop songs at just the right moments without it feeling forced. The music plays into a universe that itself feels lived-in.
There are cameos, Green Lantern, Hawk Girl, Peacemaker, and others, that tie into the larger DC Universe being built. It’s exciting, but it doesn’t overwhelm the core story. And the tonal balance between seriousness and humor is just right. The themes are heavy, but they’re handled with levity and style.
That suit. I’ve seen it a few times now, and even on the silver screen I still don’t like it. It looks fine in motion, during flight, but just standing still, it doesn’t quite work.
And as much as I appreciated the humanisation of Superman, I wanted a more confident version of him. He spends much of the film overwhelmed, second-guessing, arguing with Lois, cornered, which is not what I expected.
Don't get me wrong, It’s all set up properly, and there’s one great moment in the third act when he smiles and goes all out and that’s the Superman I grew up reading. That's the Superman I paid to see but it takes a long time to get there.
The film also feels crowded. Hawk Girl, Green Lantern, Krypto, they pop in and out. Some scenes are great (Krypto made me laugh out loud), but it gets busy. It’s obvious this film is setting up the next phase of the DCU. That’s fine, but it pulls attention from Superman himself.
A few of those appearances feel like setup for future spin-offs. And aside from Mr Terrific, I’m not convinced we needed all of them here.
This next part isn’t a complaint, just a heads-up. This is very much a comic book movie. There are portals, black holes, and dimensions. If you were expecting a grounded story, something self-contained, this isn’t it.
But to Gunn’s credit, those elements serve the story rather than distract from it. It’s not Snyder-level spectacle, but it’s still big-budget Hollywood.
Conclusion
I want a Mister Terrific solo film. He was really good in this and pairing him with Superman was a stroke of genius.
As a standalone, ignoring the wider DCU for a moment, this is a fun movie. Sometimes messy, sure, but thoughtfully constructed. For comic book fans, there's a lot to unpack in this, may need a second viewing to catch all the Easter eggs may be needed.
This isn’t a cultural event like Black Panther, Avengers: Endgame, Tim Burton’s Batman, or even the original Superman.
But for a general audience, it’s a cohesive, entertaining film that justifies the price of that ticket. It lays strong groundwork for DC’s future while remaining accessible to newcomers.
