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https://blacknerdproblems.com/hope-and-heroism-superman-2025-review/
(WARNING: Moderate spoilers for Superman (2025) ahead.)
I’m a certified old, definitely in the Joel category. So I didn’t quite know what it meant to be “back.” My kids say “WE ARE SO BACK,” and I smile and nod and keep it moving rather than admit my confusion. Then, I exited the theater after 2025’s Superman.
Folks: WE. ARE. SO. BACK.
As Good as It Gets
2025 has been incredible for movies thus far. Between Thunderbolts* and Sinners, with Fantastic Four: First Steps right around the corner, being Black and a nerd has us eating real good. I’ll be honest – that context in mind, I was a little skeptical to get behind yet another DC project when I’ve been burned before. A lot.
I am a lifelong fan of comic books and all things nerd. I have always had a special affinity for DC’s works, and especially the Superman family of characters. When I was younger, they were considered less “cool” than characters like Batman or Spawn (which I also love), because those were more dark and edgy, and it was the 1990’s. My fandom is such that I saw the movie Steel in theaters. I, of sound mind and free will, watched a movie starring Shaq, Ray J, and John Bender from The Breakfast Club.
Were the DC movies of late quite that bad? No, but I’d be lying to say they weren’t a let-down for someone looking for their favorite characters on-screen. Movies like Man of Steel, Batman v. Superman, and Justice League were not bad in a traditional sense – but they didn’t capture what made the characters they were portraying who they are. The writing was trying far too hard to be gritty, and it brought down both the mood and quality of a whole series of films.
After the success of projects like the Snyder Cut of Justice League and The Batman, I was a mix of worried and resigned. If this is as good as it gets, that’s acceptable, I guess, but not what I wanted for my favorite heroes. I wanted more than the faux noir and edge that we’ve become accustomed to with everything from 300 to Watchmen and beyond.
Dawn of a New Day
Let me be clear: this is not that. This is not that in the slightest. Gone is the grim veneer that seemed mandatory in a DC movie, right along with the Snyderverse’s apparent allergy to colors. The first thing you’ll notice is that this movie is BRIGHT. Some intentional decisions were made here that, on the surface, seem counterintuitive to what we know of filmmaking. One of the biggest ones is the usage of the sun. Some scenes almost seem blown out in their lighting, and I will fully acknowledge this may not be for everyone and could be distracting or overwhelming on a big screen. For me, though, it works. It evokes the power of the sun and invigorates us as viewers as much as it does the last son of Krypton.
This isn’t the only place where the film and its director, James Gunn, make an effort to connect the viewer to Superman and make him more relatable though. One of the biggest digs I consistently hear about the Man of Steel is that his power set makes him boring or low-stakes. He does have, after all, god-like powers. What does one do with that? How does the movie address this? A slow Star Wars-style text crawl that cuts immediately to our hero having just gotten
handled…
whooped…
mollywhopped, if you will, by a villain.
First Time for Everything
The movie makes it clear that this is a first for our new Supes (played with both great levity and depth by David Corenswet), and that he’s been at this job for the last several years. This kind of worldbuilding is often overlooked and can do so much heavy lifting for a film that has the level of background knowledge that Superman inevitably has. We know the context.
So, this movie picks up on a relatively green Blue Boy Scout and gives us a slice of life with his work, relationships with his coworkers, and interactions with his family. This is presented in a natural way and maximizes its minutes with establishing characters that are both faithful to their comics counterparts and unique personalities. We are presented with the film’s central conflict, and its antagonists in the Hammer of Boravia and the frankly iconic Lex Luthor.
Generational Performance of a Generational Hater
I have to take a moment here to give flowers to Nicholas Hoult, whose complete dedication to his part gave everything and everyone in this movie something to rally around (against). Every scene with Hoult’s Luthor is intense, arrogant, and single-minded to a point of legitimate concern.
What I admire about James Gunn is his ability to make us care about his characters. It could be someone we’ve known for years but were mostly indifferent to (Superman), someone we know nothing about (the Guardians of the Galaxy, Peacemaker), or someone we have known and loved to hate our whole lives (Luthor). He does this by making characters that are grounded, even in their scenery chewing hyperbole. Lex Luthor is, at his core, a first ballot, hall of fame level hater. That is his prime directive, and anything more is at best superfluous and at worst detracts from his character. Nick Hoult captures this perfectly with a self-aware performance that borrows from the real world. It overlaps quite a bit with the almost comically evil turn of the character we got from Jesse Eisenberg but perfects it by keeping his eye on the ball and never forgetting the character. Lex Luthor made this movie exciting by being a true antagonist and getting in our heroes’ way at every turn.
Yes, I Said “Heroes”
Superman also introduces us to the Justice Gang, a small group that is funded by Maxwell Lord (a blink-and-you-miss-it Sean Gunn). This consists of Nathan Fillion as Guy Gardner, the arguably worst but equally arguably most entertaining Earth Green Lantern, Isabel Merced as Hawkgirl, and Edi Gathegi as Mr. Terrific. This collective is a somewhat antagonistic, but ultimately friendly, group to Superman and almost serve as veteran figures to his rookie. All three of them steal every scene they are in, and special props to Edi Gathegi as the not legacy or previously seen on the big screen Terrific. His performance is, well, terrific, and his timing and foil to Rachel Brosnahan’s bombastic and sharp-witted Lois Lane are absolutely spot on. His fight scenes are also among some of the best I’ve seen in any superhero or even action movie, period.
Perry White is his classic, grumpy self, and Jimmy Olsen’s charm isn’t so meta anymore as the ladies love him. Lois Lane is fiery and a great contrast to the, for want of a better word, simpler Clark.
Ma and Pa Kent are in rare form and occupy just enough of the movie to establish their place in the mythos without overstaying, and Krypto is the best good bad dog since Ace in Batman Beyond: Return of the Joker.
All of the performances hit. There wasn’t a one that stands out as not being good, it’s just a matter of which is the best (SPOILERS: it’s neck and neck between Edi Gathegi and Nicholas Hoult).
Big Blue
That said, though, I do need to talk about the solar-powered elephant in the room: how does David Corenswet do as our new Kal-El/Clark Kent/Superman? In a word: great. In a bunch of words: I had little hope about another DC project going in, and even in just a preview, my hope was restored. Corenswet portrays a young, but not brand new, Superman, who is embroiled in a conflict in both his personal and hero lives. Having recklessly intervened to prevent an invasion in a foreign country, he deals with the fallout from his new love interest Lois and the US government. He spends the whole movie on the back foot and playing from that position is absolutely to the benefit of the film’s tension and stakes. It is sincerely uncomfortable to watch sometimes in part because our villains are presented so credibly and in part because the conflict itself is executed to devastating effect. Clark is awkward, humorous, and wholesome, and so is Superman. The almost childlike innocence is refreshing and brings so much heart in a way I’ve come to expect from a James Gunn-helmed work. He really makes you believe in Superman’s belief – in a better world, in the redemption of all people, in hope. And so many little things happen to reinforce that. I have never been so emotionally invested in a squirrel or an intergalactic zoo.
Not All Light Hearts and Woodland Creatures
Speaking of the elephant in the room, though, I couldn’t talk about this movie without talking about its central conflict. In the film, the fictional nation of Boravia invades the equally fictional nation of Jarhanpur, and this is both the inciting incident and central frame of most of the runtime. It is impossible to look at this and not see the real-world parallels and implications. I’m honestly shocked James Gunn even got away with putting it to screen, but it works perfectly to portray a more modern Superman at the same time as going back to his roots: this is a Superman for the people, and not just the American people. The movie handles this deftly and, in doing so, makes a challenge so big that it becomes a feasible obstacle even for a man who can fly and outrun bullets. It also nods to Action Comics #900, which saw Superman renounce his American citizenship under similar circumstances, and Absolute Superman, where Kal-El is more globally motivated due to being raised on Krypton until puberty.
The conflict also illuminates the character of Lex Luthor in a big way and gives us one of my favorite portrayals therein of part tech bro and part scientific mad genius. In the end, there are twists galore that I won’t go into here, but I will say I was both surprised and impressed with how much Superman “went there.”
Verdict
If it’s not already clear, Superman is a movie I highly recommend. Is it perfect? No. One of my biggest gripes is that it has a blistering pace and is all gas no brakes from beginning to end. It’s also unnecessarily corny as anything in parts, and that won’t be for everyone.
But, to borrow from another universe entirely:
“It’s the greatest gift we have: to bear their pain without breaking. And it comes from the most human part of us: hope.” – Charles Xavier, X-Men: Days of Future Past (2014)
A little belief will get us through the darkest of trials. By the end credits, if it’s made nothing else clear, Superman shows that in spades.
If you’re a fan of the character, comic books, or action sci-fi, I say go check it out on a big screen for sure.
Cover image via IMDb
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The post Hope and Heroism: ‘Superman’ (2025) Review appeared first on Black Nerd Problems.
(WARNING: Moderate spoilers for Superman (2025) ahead.)
I’m a certified old, definitely in the Joel category. So I didn’t quite know what it meant to be “back.” My kids say “WE ARE SO BACK,” and I smile and nod and keep it moving rather than admit my confusion. Then, I exited the theater after 2025’s Superman.
Folks: WE. ARE. SO. BACK.
As Good as It Gets
2025 has been incredible for movies thus far. Between Thunderbolts* and Sinners, with Fantastic Four: First Steps right around the corner, being Black and a nerd has us eating real good. I’ll be honest – that context in mind, I was a little skeptical to get behind yet another DC project when I’ve been burned before. A lot.
I am a lifelong fan of comic books and all things nerd. I have always had a special affinity for DC’s works, and especially the Superman family of characters. When I was younger, they were considered less “cool” than characters like Batman or Spawn (which I also love), because those were more dark and edgy, and it was the 1990’s. My fandom is such that I saw the movie Steel in theaters. I, of sound mind and free will, watched a movie starring Shaq, Ray J, and John Bender from The Breakfast Club.
Were the DC movies of late quite that bad? No, but I’d be lying to say they weren’t a let-down for someone looking for their favorite characters on-screen. Movies like Man of Steel, Batman v. Superman, and Justice League were not bad in a traditional sense – but they didn’t capture what made the characters they were portraying who they are. The writing was trying far too hard to be gritty, and it brought down both the mood and quality of a whole series of films.
After the success of projects like the Snyder Cut of Justice League and The Batman, I was a mix of worried and resigned. If this is as good as it gets, that’s acceptable, I guess, but not what I wanted for my favorite heroes. I wanted more than the faux noir and edge that we’ve become accustomed to with everything from 300 to Watchmen and beyond.
Dawn of a New Day
Let me be clear: this is not that. This is not that in the slightest. Gone is the grim veneer that seemed mandatory in a DC movie, right along with the Snyderverse’s apparent allergy to colors. The first thing you’ll notice is that this movie is BRIGHT. Some intentional decisions were made here that, on the surface, seem counterintuitive to what we know of filmmaking. One of the biggest ones is the usage of the sun. Some scenes almost seem blown out in their lighting, and I will fully acknowledge this may not be for everyone and could be distracting or overwhelming on a big screen. For me, though, it works. It evokes the power of the sun and invigorates us as viewers as much as it does the last son of Krypton.
This isn’t the only place where the film and its director, James Gunn, make an effort to connect the viewer to Superman and make him more relatable though. One of the biggest digs I consistently hear about the Man of Steel is that his power set makes him boring or low-stakes. He does have, after all, god-like powers. What does one do with that? How does the movie address this? A slow Star Wars-style text crawl that cuts immediately to our hero having just gotten
handled…
whooped…
mollywhopped, if you will, by a villain.
First Time for Everything
The movie makes it clear that this is a first for our new Supes (played with both great levity and depth by David Corenswet), and that he’s been at this job for the last several years. This kind of worldbuilding is often overlooked and can do so much heavy lifting for a film that has the level of background knowledge that Superman inevitably has. We know the context.
So, this movie picks up on a relatively green Blue Boy Scout and gives us a slice of life with his work, relationships with his coworkers, and interactions with his family. This is presented in a natural way and maximizes its minutes with establishing characters that are both faithful to their comics counterparts and unique personalities. We are presented with the film’s central conflict, and its antagonists in the Hammer of Boravia and the frankly iconic Lex Luthor.
Generational Performance of a Generational Hater
I have to take a moment here to give flowers to Nicholas Hoult, whose complete dedication to his part gave everything and everyone in this movie something to rally around (against). Every scene with Hoult’s Luthor is intense, arrogant, and single-minded to a point of legitimate concern.
What I admire about James Gunn is his ability to make us care about his characters. It could be someone we’ve known for years but were mostly indifferent to (Superman), someone we know nothing about (the Guardians of the Galaxy, Peacemaker), or someone we have known and loved to hate our whole lives (Luthor). He does this by making characters that are grounded, even in their scenery chewing hyperbole. Lex Luthor is, at his core, a first ballot, hall of fame level hater. That is his prime directive, and anything more is at best superfluous and at worst detracts from his character. Nick Hoult captures this perfectly with a self-aware performance that borrows from the real world. It overlaps quite a bit with the almost comically evil turn of the character we got from Jesse Eisenberg but perfects it by keeping his eye on the ball and never forgetting the character. Lex Luthor made this movie exciting by being a true antagonist and getting in our heroes’ way at every turn.
Yes, I Said “Heroes”
Superman also introduces us to the Justice Gang, a small group that is funded by Maxwell Lord (a blink-and-you-miss-it Sean Gunn). This consists of Nathan Fillion as Guy Gardner, the arguably worst but equally arguably most entertaining Earth Green Lantern, Isabel Merced as Hawkgirl, and Edi Gathegi as Mr. Terrific. This collective is a somewhat antagonistic, but ultimately friendly, group to Superman and almost serve as veteran figures to his rookie. All three of them steal every scene they are in, and special props to Edi Gathegi as the not legacy or previously seen on the big screen Terrific. His performance is, well, terrific, and his timing and foil to Rachel Brosnahan’s bombastic and sharp-witted Lois Lane are absolutely spot on. His fight scenes are also among some of the best I’ve seen in any superhero or even action movie, period.
Perry White is his classic, grumpy self, and Jimmy Olsen’s charm isn’t so meta anymore as the ladies love him. Lois Lane is fiery and a great contrast to the, for want of a better word, simpler Clark.
Ma and Pa Kent are in rare form and occupy just enough of the movie to establish their place in the mythos without overstaying, and Krypto is the best good bad dog since Ace in Batman Beyond: Return of the Joker.
All of the performances hit. There wasn’t a one that stands out as not being good, it’s just a matter of which is the best (SPOILERS: it’s neck and neck between Edi Gathegi and Nicholas Hoult).
Big Blue
That said, though, I do need to talk about the solar-powered elephant in the room: how does David Corenswet do as our new Kal-El/Clark Kent/Superman? In a word: great. In a bunch of words: I had little hope about another DC project going in, and even in just a preview, my hope was restored. Corenswet portrays a young, but not brand new, Superman, who is embroiled in a conflict in both his personal and hero lives. Having recklessly intervened to prevent an invasion in a foreign country, he deals with the fallout from his new love interest Lois and the US government. He spends the whole movie on the back foot and playing from that position is absolutely to the benefit of the film’s tension and stakes. It is sincerely uncomfortable to watch sometimes in part because our villains are presented so credibly and in part because the conflict itself is executed to devastating effect. Clark is awkward, humorous, and wholesome, and so is Superman. The almost childlike innocence is refreshing and brings so much heart in a way I’ve come to expect from a James Gunn-helmed work. He really makes you believe in Superman’s belief – in a better world, in the redemption of all people, in hope. And so many little things happen to reinforce that. I have never been so emotionally invested in a squirrel or an intergalactic zoo.
Not All Light Hearts and Woodland Creatures
Speaking of the elephant in the room, though, I couldn’t talk about this movie without talking about its central conflict. In the film, the fictional nation of Boravia invades the equally fictional nation of Jarhanpur, and this is both the inciting incident and central frame of most of the runtime. It is impossible to look at this and not see the real-world parallels and implications. I’m honestly shocked James Gunn even got away with putting it to screen, but it works perfectly to portray a more modern Superman at the same time as going back to his roots: this is a Superman for the people, and not just the American people. The movie handles this deftly and, in doing so, makes a challenge so big that it becomes a feasible obstacle even for a man who can fly and outrun bullets. It also nods to Action Comics #900, which saw Superman renounce his American citizenship under similar circumstances, and Absolute Superman, where Kal-El is more globally motivated due to being raised on Krypton until puberty.
The conflict also illuminates the character of Lex Luthor in a big way and gives us one of my favorite portrayals therein of part tech bro and part scientific mad genius. In the end, there are twists galore that I won’t go into here, but I will say I was both surprised and impressed with how much Superman “went there.”
Verdict
If it’s not already clear, Superman is a movie I highly recommend. Is it perfect? No. One of my biggest gripes is that it has a blistering pace and is all gas no brakes from beginning to end. It’s also unnecessarily corny as anything in parts, and that won’t be for everyone.
But, to borrow from another universe entirely:
“It’s the greatest gift we have: to bear their pain without breaking. And it comes from the most human part of us: hope.” – Charles Xavier, X-Men: Days of Future Past (2014)
A little belief will get us through the darkest of trials. By the end credits, if it’s made nothing else clear, Superman shows that in spades.
If you’re a fan of the character, comic books, or action sci-fi, I say go check it out on a big screen for sure.
Cover image via IMDb
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The post Hope and Heroism: ‘Superman’ (2025) Review appeared first on Black Nerd Problems.
The 2020s have been a Golden Age of Gay. The current political situation aside, there has been an outpouring of queerness across the culture. Chappell Roan, I Saw The TV Glow, literally every character in Baldur’s Gate 3, queerness is alive and thriving in music, movies and video games. And when it comes to books? Don’t even get me started. There has been a deluge of queer literature flooding the market, with queer fantasy surging to the top. If you’re a connoisseur of the decade’s finest queer art, you can’t miss 10 best queer fantasy books of the 2020s (so far).
She Who Became The Sun
A historical fantasy novel set in Imperial China, Shelley Parker Chan’s She Who Became The Sun is a queer reimagining of the rise of one of the nation’s most famous royals: the Hongwu Emperor. The founder of the Ming Dynasty, he’s one of the most influential figures in Chinese history – and according to Shelley Parker Chan, one of its most important queer figures. The story begins with a young girl’s decision to take on the identity and destiny of a dead brother, Zhu Chongba. Newly rechristened, Zhu joins up with a rebel group to stick it to the invading Mongolians – establishing themself as a respected military figure. After ascending into the halls of power, Zhu begins a relationship with a noblewoman, who helps them navigate the intricacies of politics. It’s a sweeping novel about a person who refuses to let adversity, circumstance, violence, or gender roles bar them from the height of their ambition, which, in this case, is to rule China entirely. Dream big, y’all.
Alongside the holiday fireworks, a magical air filled the air was felt in Los Angeles on the Fourth of July as Crunchyroll hosted a panel at Anime Expo to celebrate the critically acclaimed animated fantasy series Frieren: Beyond Journey’s End. Lighting up the faces of eager fans with delight who were anticipating news of Season 2, Crunchyroll presented an exclusive global reveal of its first trailer, and they also confirmed the acquisition for worldwide streaming rights excluding Asia –but including India and the Indian Subcontinent – which will be simulcast from Japan in January 2026. #ReasonsToLive
Held in the Peacock Theater in downtown LA, the panel of guests included the Japanese voice actor for the character of Stark, Chiaki Kobayashi (Hell’s Paradise), Producer Yuichiro Fukushi (One-Punch Man), and Composer Evan Call (Violet Evergarden), each of whom spoke about their experiences working on the beloved show and their excitement for Season 2.
In addition to the new trailer, Producer Yuichiro Fukushi shared with fans that Tomoya Kitagawa will direct Season 2. Kitagawa worked on storyboards and also directed multiple episodes in Frieren: Beyond Journey’s End Season 1. The trailer also confirmed Season 1 director Keiichiro Saito (BOCCHI THE ROCK!) will be overseeing Season 2 as its Supervising Director. Additional staff for Season 2 will include Assistant Director Daiki Harashina (takt op. Destiny); series composition written by Tomohiro Suzuki (One-Punch Man); Character Design by Takasemaru (Violet Evergarden), Keisuke Kojima (100 Meters), and Yuri Fujinaka (key animation on SPY x FAMILY CODE: White); Concept Art by Seiko Yoshioka (background art on Evangelion: 3.0 You Can (Not) Redo); and Evan Call will return to compose the music.
Based on the popular, ongoing manga of the same name written by Kanehito Yamada and illustrated by Tsukasa Abe, Frieren Beyond Journey’s End is produced by the animation studio Madhouse, who are best known for their work on Yu Yu Hakusho, Trigun, Cardcaptor Sakura, Paranoia Agent, Death Note, One-Punch Man Season 1, OVERLORD, and Sonny Boy.
Here at BNP, we love us some Frieren. Ja-Quan chose the series as his favorite anime for the year of 2024, writing “Come take a walk with me as Frieren shreds all preconceived notions of what a quality fantasy looks like”.
Our E-I-C, Will dropped a rare write up cosigning it’s immediate goat status, titling it, Frieren: Beyond Journey’s End is the Best Anime in the Last Few Years. Period. Exclamation Point.
Even I had to drop into the mix last year with a editorial I eventually titled, Lessons Learned from Watching Frieren: Beyond Journey’s End. A lesson that I did feel was worth mentionign was “Work on Defining a Legacy on Your Own Terms” as Legacy is a very important theme throughout Frieren: Beyond Journey’s End, coincidentally.
Frieren: Beyond Journey’s End coming back with a season two feels like being rewarded…feels like the world hasn’t given up on stellar storytelling and those who happily await for more of it to arrive.
The Season 1 characters and voice cast (Japanese and English) include the following:
- Frieren voiced by Atsumi Tanezaki | Mallorie Rodak
- Fern voiced by Kana Ichinose | Jill Harris
- Stark voiced by Chiaki Kobayashi | Jordan Dash Cruz
- Himmel voiced by Nobuhiko Okamoto | Clifford Chapin
- Heiter voiced by Hiroki Tochi | Jason Douglas
- Eisen voiced by Yoji Ueda | Chris Guerrero
- Flamme voiced by Atsuko Tanaka | Lydia Mackay
- Sein voiced by Yuichi Nakamura | Christopher Wehkamp
- Übel voiced by Ikumi Hasegawa | Morgan Berry
- Denken voiced by Jiro Saito | Ben Phillips
- Serie voiced by Mariya Ise | Anastasia Munoz
Frieren: Beyond Journey’s End was nominated for Anime of the Year and the winner of Best Drama, Best Director (Keiichiro Saito), Best Background Art, and Best Supporting Character at the 9th Annual Crunchyroll Anime Awards held earlier this year.
Frieren: Beyond Journey’s End Season 1 is currently streaming on Crunchyroll and available to own on Blu-ray in the Crunchyroll Store, among other franchise merch, as well as the manga.
Frieren: Beyond Journey’s End is coming to Crunchyroll January 2026!
About Crunchyroll
Crunchyroll is the global anime brand that fuels fans’ love of anime. With the ambition to make anime an even bigger part of pop culture, Crunchyroll offers fans the ultimate anime experience and destination centered around a premium streaming service. Crunchyroll has the largest dedicated anime library, an immersive world of events, exciting theatrical releases, unique games, must-have merchandise, timely news, and more. Anime is for everyone and is accessible to stream across territories through Crunchyroll—whether on the go on mobile, through gaming consoles and big-screen devices at home, or on desktops anywhere.
Crunchyroll, LLC is an independently operated joint venture between U.S.-based Sony Pictures Entertainment and Japan’s Aniplex, a subsidiary of Sony Music Entertainment (Japan) Inc., both subsidiaries of Tokyo-based Sony Group.
Cover Image: ©Kanehito Yamada, Tsukasa Abe/Shogakukan/ “Frieren”Project
Love anime? So do we! See what else we have to offer on the site via anime here! See our recent Summer 2025 anime coverage here!
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The post ‘Frieren: Beyond Journey’s End’ Season 2 – Coming to Crunchyroll January 2026 appeared first on Black Nerd Problems.
An Iowa man recently had an experience in a restaurant that left him scratching his head. He says that the server added 20% automatic gratuity because they were a party of six.
His issue isn’t with automatic gratuity itself. He’s miffed because the sixth person is their 11-month-old infant. And three of the diners are their small children.