The first film in James Gunn’s new DC Universe, you’d think a reboot of Superman would be weighed down with scene-setting, backstory, and exposition. But Gunn sweeps all of that aside with surprising deftness. The result is a film that feels light, breezy, and mercifully free of the lore that often bogs these stories down. It’s not just the best Superman film since Richard Donner’s 1978 classic — it’s the best superhero film in years, at least since Spider-Man: Into the Spider-Verse.

Refreshingly opening in media res, Superman wastes no time. We meet the Man of Steel in the aftermath of his first-ever defeat, already recovering and facing a mysterious new threat. Gunn whisks through the admin so efficiently that we’re plunged straight into the action: yes, the new villain is under the control of none other than Lex Luthor (Nicholas Hoult), who has tracked Superman to his Fortress of Solitude. Characters are introduced with minimal fuss — Gunn is less interested in establishing lore than he is in diving headfirst into the plot.

I’ll admit, I’m not the biggest Superman fan. Post-Reeve iterations have struggled to make the character feel emotionally grounded or even remotely relatable. He’s often too morally uncomplicated, too perfect, and the films themselves tend to lean toward the heavy-handed and grim.

But Gunn addresses this smartly, without ever being didactic. His Superman is appropriately idealistic without being dull, and crucially, he isn’t an idiot. David Corenswet brings a gentle charm and guilelessness to the role that makes this version of Clark Kent compelling in a way we haven’t seen in decades. No, he hasn’t quite mastered the effortless charisma of Christopher Reeve, but his sincerity shines through. He’s naive but never descends into parody.

Rachel Brosnahan’s Lois Lane is just as strong. She’s sharp, tenacious, resourceful and yes “a damn good journalist,” and never just Superman’s girlfriend. The mock interview between her and Clark over Superman’s involvement in an international conflict is the perfect introduction to their dynamic in this film. Combative, thoughtful and layered with a tension that continues through the film. Their chemistry feels lived-in, and the film wisely uses these moments of ideological conflict to deepen their relationship. It’s smart writing that says a lot without leaning on clunky exposition, depicting a couple who haven’t quite found their footing yet.

And then there’s Lex Luthor. Hoult delivers the best version of the character since Gene Hackman – a a paradoxical mix of arrogance and insecurities, supremely confident, coldly calculating and yet emotionally fragile. Hoult’s performance will surely go down as one of the definitive screen superhero villains. Gunn’s script gets Luthor dead on, allowing him to be truly terrifying. This Lex isn’t a pantomime villain – he’s shrewd enough to recognise that Superman’s weaknesses lie in his political naivety and his clear moral boundaries (he knows that as long as he doesn’t make a move to defend himself, he will always have the upper hand) and yet he completely misunderstands his nature. While he characterises their conflict as brain vs brawn, it’s much closer to cunning vs naivety (but then that doesn’t have the same ring to it).

Gunn’s trademark goofy humour runs through the film, even in the more dramatic moments – the Kaiju fight taking place entirely in the distance as Lois and Clark argue is a great visual. This might best be personified in the “Justice Gang” – a ragtag group of B-list heroes who often seem more narcissistic than heroic. Nathan Fillion is a joy as this version of Green Lantern, complete with bizarre bowlcut and peacocking attitude. Isabela Merced’s brooding Hawkgirl and Anthony Carrigan’s unrecognisable turn as the poignant Metamorpho both stick in the memory, but it’s Edi Gathegi who steals the film as the dryly sardonic Mr. Terrific. He gets the film’s standout set-piece, a meticulously choreographed scene of destruction that recalls Yondu’s arrow massacre from Guardians Of The Galaxy Vol. II set to the chirpy sound of Noah & The Whale.

Elsewhere, it’s nice to see the supporting characters given a decent amount of screentime, as Skyler Gisondo’s Jimmy Olsen actively helps with the plot – his characterisation as an unlikely heartthrob in the office has a brilliant payoff, while also pushing the story forward. It’s rare for a superhero film to spend quite so much time with its supporting characters, but it’s a welcome change!

Despite being essentially a soft reboot of the DC Universe, there are a few tiny touches that connect Superman to Gunn’s other DC work – Peacemaker and The Suicide Squad – It’s nice to see that Crawley (Tinashe Kajese) somehow escaped Waller’s wrath, now in a shady government post, while one surprise cameo at my screening got the biggest reaction of the night.

It’s not perfect, mind. A couple of minor plot points veer dangerously close to cliche, one twist near the end feels overly telegraphed – and the finale gets a bit overstuffed. There’s also a slight overreliance on John Williams’ iconic theme. The moment where the electric guitars kick in is suitably epic, but it would have been so much more impactful if we hadn’t heard it so frequently beforehand. And yes, Krypto the Superdog is delightful… but he probably gets more screentime than necessary.

But I’m picking nits. What matters most is the overall tone. Gunn sidesteps the grimness and self-seriousness that have plagued so many recent superhero films. Superman is irreverent without being cynical, earnest without being cheesy. Gunn modifies his tone from his darker films – even the Guardians films, but the result is vital, energetic and fresh.

Gunn harnesses the apathy we have all felt towards the superhero genre for the past ten years and creates something colourful, refreshing and vital. It’s, full of personality, and buzzing with life. The film doesn’t reinvent the genre – it doesn’t have to. Gunn simply approaches from a different angle: with affection, humour, a deep understanding of the source material and a sincere belief in the power of these characters. There’s a real love for the story and characters that is evident from the opening scene, where the inclusion of Krypto feels like it’s there for James Gunn the comic book fan as opposed for selling merchandise.

It’s been a bit of a tiring year (well...) to be a film writer – there have been some great films but but generally it’s all been a bit lackluster, so it’s nice to be genuinely excited by a film again. I can’t remember the last time I came out of a cinema with such a smile on my face. Superman is a truly joyous experience from beginning to end, the perfect superhero film for this moment in time. A triumph of filmmaking, it’s a timely reminder that superhero films can still surprise us. If nothing else, it shows there’s hope for the genre yet.

Superman is in IMAX and cinemas in the UK and Ireland now