“Superman Returns”, directed by Bryan Singer, aims to honor the classic image of the Man of Steel while offering a more introspective, reflective version of the hero. The attempt to show Superman as a melancholic, displaced figure is promising, as it opens up rarely explored nuances of the character. But the somber tone that runs through the film ends up working against Superman’s essence as a symbol of hope and optimism.
The story starts with Superman (Brandon Routh) returning to Earth after a long absence during which he sought out the remnants of his home planet, Krypton. Coming back, he finds a world that, for the most part, has learned to live without him—especially Lois Lane (Kate Bosworth), who has moved on and built a family. At the same time, his greatest enemy, Lex Luthor (Kevin Spacey), is working on a sinister plan to create a new continent using Kryptonite crystals, both to reestablish his power and eliminate the hero. Any similarities to the original 1978 film are “pure coincidence”—especially considering that this movie is supposed to be a “sequel” to the first two.
Routh, who clearly aims to honor Christopher Reeve’s work, lacks the charisma needed to convey Superman’s strength and Clark Kent’s vulnerability. His performance, although solid at times, falls short of humanizing a character that’s already hard to connect with emotionally. The main relationship with Lois Lane, for instance, lacks the intensity that could have grounded the storyline. Kate Bosworth, as the iconic reporter, brings a restrained and detached take that doesn’t really help build the connection between them.
The supporting cast, who could’ve created a more dynamic foundation for the story, doesn’t get the space or depth needed to give a rich view of Metropolis or Clark’s colleagues. The Daily Planet, once the stage for intense, engaging interactions, feels like a lifeless, impersonal place. Characters like Jimmy Olsen (Sam Huntington) and Perry White (Frank Langella), who play big roles in Clark’s life, feel dim and almost unrecognizable here. Jimmy, usually the lighthearted, energetic foil to Superman’s serious side, comes off shallow and forgettable, while Perry, typically a figure of authority and respect, barely has any relevance in the plot. Even Richard White (James Marsden), who should add some intrigue to Lois’s life, comes across as a generic “good guy,” flattening the love triangle and making the story even more predictable.
Casting Spacey as Lex Luthor initially seemed like a strong choice, but the execution didn’t quite hit the mark. Spacey plays Luthor in a more subdued way, which contrasts with the villain’s usual boldness and cunning from the comics. Luthor’s scheme to create a new continent made from Kryptonite crystals, although grand, feels implausible and lacks a solid purpose, failing to deliver a truly compelling threat for the audience. Luthor, who should be a genius manipulator and visionary, comes off more as someone with a vague ambition, which keeps the tension between him and Superman way below its potential. Though some scenes do showcase the villain, the lack of a genuinely threatening presence lessens the excitement of the hero-villain conflict.
The screenplay attempts to mix introspective drama with heroic action, but this balance throws off the movie’s pacing. Instead of smoothly shifting between tension and dramatic pauses, the plot often drags, with long scenes that lean into a melancholic tone, making the story feel heavy and, at times, dull. Action scenes appear sporadically, but they don’t bring the needed rush, as the challenges Superman faces lack any real emotional weight.
The visuals and action sequences, typically a highlight of superhero films, suffer from a lack of innovation. Superman is repeatedly shown in scenes that should pack a punch—like lifting massive objects and dealing with Kryptonite—but the delivery doesn’t create tension or emotion. These moments feel more mechanical, without the emotional impact that would help the audience feel the weight of the struggle. The addition of Lois’s son is another element that could have added some emotional depth, but in practice, the kid becomes more of a random plot point with no real purpose. Instead of enhancing the family drama between Superman and Lois, the boy ends up underutilized, missing a chance to add more complexity to the story.
Overall, “Superman Returns” has some good ideas and tries to explore a reflective side of the hero, but the tone and narrative choices ultimately hurt the story’s impact. While there are interesting aspects, like the nods to classic Superman (when they’re not just blatant copies), the film fails to capture the character’s grandeur and charm. Even for fans, it’s a challenging watch as it delivers little in terms of excitement or emotion, resulting in an experience that, while not disastrous, is marked by an average and forgettable execution.
