Superheroes have always had political intentions embedded in their superhuman DNA. Captain America was created in 1941 to serve as a wartime symbol of good ol’ fashioned American patriotism—a massive red, white and blue middle finger towards Nazi Germany and global fascism. Wonder Woman was immediately introduced to us as a trailblazing feminist icon for women all over the world—the first female superhero to headline her very own mainstream comic series. Superman, an alien immigrant, was aligned with anti-racist values when he was depicted whooping KKK ass in 1946 in the radio series, “Clan of the Fiery Cross,” which actually dwindled KKK recruitment numbers upon release. Who would want to join a pathetic hate group that our favourite Big Blue Boy Scout made a total mockery out of? More than just entertainment, the superheroes we know and grew up with were created with the purpose of personifying society’s morals and values—mythologising the superpower of human kindness and bravery.

For the past 12 years though, it seems as if the world had completely forgotten Superman’s purpose. Under Zack Snyder’s dreary vision of the DC Extended Universe (DCEU), Superman was trimmed down into nothing more than just a caricature of what was expected of a superhero in the 2010s: painfully muscular, moody, and prioritised nonchalantly dodging explosions to make comic book fanboys squeal in their cinema seats.

I don’t mean to discredit the talents of Snyder, I do enjoy the occasional rewatch of the fashionably camp Sucker Punch (2011). However, Man of Steel (2013) was the antithesis to what Superman stood for: hope, optimism, love, et cetera. A decent action movie for the masses doth not make a faithful adaptation of the most iconic superheroes in history. Henry Cavill’s perfect casting was wasted, the DCEU was seen as the inferior cousin of the Marvel Cinematic Universe that everyone watched simply out of pity, and all hope for a well-made DC cinematic world was lost. Until James Gunn stepped into the frame, and pumped out one of the most enjoyable comic book films we’ve had in a long, long time.

We are introduced to David Corenswet as our new Clark Kent/Superman. He’s noticeably younger, diegetically more aloof and, most importantly, much kinder. He wastes no time zooming around Metropolis saving every living being in the midst of a colossal Kaiju decimating the city, no matter the species. Gunn understands the emotional equilibrium needed for comic book films; the dialogue is, at times, silly enough to imbue the signature Gunn style of raunchiness, yet there are moments where it’s all heart and no quips. It’s the type of film where Lois Lane (wonderfully portrayed by Rachel Brosnahan) can poke fun at a Guy Gardner’s (Nathan Fillion, a surprisingly flawless cast) bowlcut, but exposes vulnerability through her hesitancy in her relationship with Clark Kent only a few scenes prior.

It is equally whimsical as it is raw, and it’s emboldened by the fantastic performances of the cast. I genuinely cannot think of an actor in the roster that didn’t give it their all. Edi Gathegi’s Mr. Terrific absolutely steals the show with phenomenally choreographed fight scenes, and Nicholas Hoult shines (quite literally with his clean shaven scalp) as Lex Luthor. Never before have we been blessed with a multifaceted live-action Luthor the way Hoult magnificently portrays his devotion to destroy Superman at an uppermost emotional level. His unbridled rage manifests in an exceptionally explosive performance that gradually erodes away the tropes of an archetypal villain and uncovers more of an arrogant fool who you pity, concluding with his latest defeat and tears in his very own eyes. It’s easily the best Lex Luthor we’ve ever seen on the big screen, but my praises don’t end there. The characters are wonderfully dynamic and colourful, both emotionally and literally. The costume designs are pulled straight out of a comic book without any unnecessary, overly complicated additions—a lesson perhaps Kevin Feige and all the higher ups at Marvel should take home.

In spite of all my endless praise, the film does feel a little rushed and underdeveloped at times. It is understandable of course, as Superman is the first movie to kickstart a rebooted DC Universe. That doesn’t explain the jarring pacing by the third act, however. The bouncing back and forth between plotlines whilst simultaneously integrating each scene with CGI-filled fight scenes went on just a little too long.

One of the most prolific plots in the film is the war between Boravia and Jarhanpur; the former clearly mirroring Israel and the latter representing Palestine. It is never directly stated by Gunn or the film that this is supposed to reflect the ongoing Israeli ethnic cleansing of Palestinians, but the optics and imagery aren’t at all subtle. Luthor is closely working with Boravia, who are armed with tanks and a legion of armed soldiers while Superman and his allies in the Justice Gang protect the underpowered and outnumbered Jarhanpur, who attempt to retaliate against invading Boravian forces with pitchforks and shovels. I am joyous that the film even portrayed the issue at all, but the 2 hour run time feels way too short to expand upon a plot this substantial, and as a result makes the whole storyline feel like it didn’t pack as much of a punch as it could have and only remains as a backdrop.

Suffering from the same issue, a lot of the side characters at The Daily Planet barely have any screen time, only miraculously appearing by the end in a manner that felt shoehorned in and felt just as underdeveloped. The diegetic world of Metropolis would benefit greatly from extra scenes showing how The Daily Planet staff interact with one another outside of their work, especially with Clark Kent.

Superman is not a perfect film by any means. But it does the one thing any previous DC film was too scared to do, and that was to staunchly make a resonating statement. We exist in a politically volatile time that’s unfortunately all too familiar to those who have lived long enough to witness the world cannibalise itself in a never-ending pendulum of bigotry and hate.

Superman, regardless of its problems, is precisely the kind of unapologetically optimistic fun we need right at this very moment. The unnerving rise of fascism and alt-right movements both in the digital landscape and real world is scarily reminiscent of back when Superman was uppercutting the white hoods straight off of KKK members. I, along with many other diehard DC fanatics, am incredibly grateful for a film that perpetuates the very essence of Superman, reminding us of the purpose of his presence. When we are currently defined by self-interests and an “I don’t owe anyone anything” mindset conceived from a society still recovering from a global pandemic, there is truly nothing more punk rock than being kind to those around you.