Movie Reviews
Movie Review: SUPERMAN
Hollywood never tires of telling certain stories. They’re always going back to the same well. Trust me, I’m a jerk, and I love to remind them of it. So, when DC announced Superman would once again be jump-starting their newly re-established cinematic universe, I was skeptical. Well, the comic book tentpole finally hit theaters this week. Does Superman leap to box office gold in a single bound? Or are we heading straight for another “Martha” situation? Read on.
Superman
Superman follows the titular superhero (David Corenswet), who finds himself struggling to match wits with supervillain, billionaire and all-around bad guy Lex Luthor (Nicholas Hoult). Will “Supes” be able to rise up and meet the challenge? Rachel Brosnahan, Skyler Gisondo, Nathan Fillion, Edi Gathegi and Isabela Merced co-star in the movie. James Gunn directs Superman from his own script.

I was admittedly skeptical looking at the trailers. I desperately wanted to buy in, but something kept holding me back. Do we really, truly need yet another Superman?
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Kids, I could not have been more wrong. I should know this. Always trust in James Gunn. Few filmmakers feel quite as at ease with finding not only the heart but also the humor in a story. Gunn and Corenswet gel to find such a delightful sense of wonder in Superman, and this made the film for me.
Unassuming Sweetness
There’s a lot of pressure on Superman, and with that, a lot of focus on David Corenswet as he steps into the iconic titular role. Some should likely recognize him for his recent work in Twisters and Pearl. For most, though, this is the young actor’s big-screen breakout.

Corenswet brings an unassuming sweetness to the daunting part. As Superman, he’s a Boy Scout, and that’s okay. His sense of wide-eyed wonder is imperative to Gunn’s narrative vision and sells the story’s emotion. It’s easy to get caught up in Clark’s joy, and with that, his pain.
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David Corenswet is, however, only one member of a supremely talented cast. In truth, it would be impossible to call out all the stellar performances by both new and existing members of Gunn’s recurring acting troupe. With names like Nathan Fillion and Alan Tudyk in the cast, this felt like a return to a joyful old-school “Nerdvana,” the likes of which we haven’t seen in a long time.
A Crusading Reporter
However, there’s one more performance I’d be shirking my duties if I didn’t call out. Friends, I’ve been a Rachel Brosnahan fangirl going back to her days on Manhattan in 2014. It remains one of the best shows no one talked about, so call me biased. It’s probably true.

Perhaps it should come as no surprise that I’m in love with Brosnahan’s portrayal of Lois Lane. Her’s is a rare comic book love interest that steps beyond the usual formula. She has her own voice, her own life and a story that could easily be told. I’m officially sending a plea to the DC TV programming team. Can we get an Agent Carter-like series featuring Lois Lane as a crusading reporter? I would watch the heck out of that. We need that spin-off. We deserve that spin-off.
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Doesn’t Break Its Stride
Gunn, meanwhile, is far from a newcomer to superhero films. We know this. I was pleasantly surprised to find, though, that Gunn avoids falling into the usual Superman traps. For one thing, this isn’t an origin story. We really didn’t need to see Smallville and what happens to Pa Kent yet again.
With that, I suppose, there are some light struggles with characterization. As the audience, we’re ushered into a fully established world. Gunn assumes (rightly so) that most already know Superman’s origin story. There’s some pointed narrative setup, but the film doesn’t break its stride to stop and fill in needless gaps.

Ultimately, though, Luthor’s “hands-off” villainy allows Superman to step into a different comic movie structure. The resulting film is packed to the gills with stunt set pieces. There’s plenty of comic action, but it never feels hurried or jammed, despite the fact that Lex Luthor throws a lot at our protagonist. With everything that happens, it’s hard to see where the next threat is coming from, and with that, there are stakes that often feel lacking in comic book movies. There’s a beautiful tension here.
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A Wide-Eyed, Wonderful Look
As the final credits rolled, I found myself with the biggest smile on my face. Superman restarts the DC Cinematic Universe with infectious joy. This doesn’t feel like the same old Superman origin story, and that’s how it should be. This is a wide-eyed, wonderful look at the complicated truth of humanity. Here’s hoping the rest of Gunn’s DCU follows suit.
Superman is now playing in theaters nationwide.
Movie Review: JURASSIC WORLD REBIRTH
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Movie Reviews
Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC
Nintendo’s Shigeru Miyamoto says he’s surprised at the negative critical reception to the Super Mario Galaxy Movie.
As reported by Famitsu, Miyamoto conducted a group interview with Japanese media to mark the local release of The Super Mario Galaxy Movie.
During the interview, Miyamoto was asked for his views on the critical reception to the film in the West, where critics’ reviews have been mostly negative.
Miyamoto replied that while he understood some of the negative points aimed at The Super Mario Bros Movie, he thought the reception would be better for the sequel.
“It’s true: the situation is indeed very similar,” he said. “Actually, regarding the previous film, I felt that the critics’ opinions did hold some validity. “However, I thought things would be different this time around—only to find that the criticism is even harsher than it was before.
“It really is quite baffling: here we are—having crossed over from a different field—working hard with the specific aim of helping to revitalize the film industry, yet the very people who ought to be championing that cause seem to be the ones taking a passive stance.”
As was the case with the first film, opinion is divided between critics and the public on The Super Mario Galaxy Movie. On review aggregate site Rotten Tomatoes, the film currently has a critics’ score of 43% , while its audience score is 89%.
While this is down from the first film’s scores (which were 59% critics and 95% public) it does still appear to imply that the film’s target audience is generally enjoying it despite critical negativity.
The negative reception is unlikely to bother Universal and Illumination too much, considering the film currently has a global box office of $752 million before even releasing in Japan, meaning a $1 billion global gross is becoming increasingly likely.
Elsewhere in the interview, Miyamoto said he hoped the film would perform well in Japan, especially because it has a unique script rather than a simple localization as in other regions.
“The Japanese version is a bit unique,” he said. “Normally, we create an English version and then localize it for each country, but for the first film, we developed the English and Japanese scripts simultaneously. For this film, we didn’t simply localize the completed English version – instead, we rewrote it entirely in Japanese to create a special Japanese version.
“So, if this doesn’t become a hit in Japan, I feel a sense of pressure – as the person in charge of the Japanese version – to not let [Illumination CEO and film co-producer] Chris [Meledandri] down.
“However, judging by the reactions of the audience members who’ve seen it, I feel that Mario fans are really embracing it. I also believe we’ve created a film that people can enjoy even if they haven’t seen the previous one, so I’m hopeful about that as well.”
Movie Reviews
‘I Swear’ Review – Heart Sans Sap, Cursing Aplenty
The sixth outing in the director’s chair for filmmaker Kirk Jones, I Swear dramatizes the real-life story of touretter John Davidson (played by Robert Aramayo). Tourette’s Syndrome, for those unfamiliar with the condition, is a nervous system disorder that causes various tics, the most prolific being erratic and explicit language. However, as I Swear expertly showcases, the syndrome is far more than ill-timed outbursts of curse words. Davidson’s story is one of societal frustration, finding your people (both with and without the condition), and using your voice to help others rise. The subject and subject matter are handled with absolute care and understanding under Kirk’s measured vision and Robert Aramayo’s BAFTA-winning performance.
The film kicks off with the greatest exclamation to democracy ever uttered (*%#! the Queen!), as a nervous John Davidson prepares himself before entering an awards ceremony hosted by Britain’s royal family. Right away, the film tells us what it is: a triumph over adversity that blends humor and human drama with education. It’s an important setup, as the film flashes back to Davidson’s 1980s youth, where we see his time as a star soccer recruit flatline as his condition takes hold. Davidson’s life spirals from there. Some aspects, like school bullying and accidental run-ins with authority figures, are expected but important to empathizing with young Davidson’s (young version, played with heart by Scott Ellis Watson) new everyday life. The more tragic, a complete meltdown of his family system, is unsettling if quick. His father (Steven Cree) is never given enough screen time to explore his alcohol coping tendencies. However, his mother Heather’s descent into easy fixes and blaming is crushing and convincing. Harry Potter series actress Shirley Henderson (Moaning Myrtle) gives a layered performance as Heather. Someone who loves her son, but also feels cursed by him as the entire family exits the picture. It’s bitter, she’s tired, and fills each conversation with ‘only medication and your mother can save you’ energy.
From there, the viewer and Davidson find refuge in a host of characters. Maxine Peake plays Dottie, the mother of a childhood friend and a retired mental health nurse. Screen vet Peter Mullan plays maintenance man Tommy Trotter. Together, they help Davidson build a life and an understanding of himself that carries the film forward into its second half. After that, the film is primarily a 3-actor show as director Kirk fills the screen with these tour-de-force performances. Peake and Mullan are great vessels to get the film’s main message across: patience, love, and a shared responsibility between the diagnosed and those who understand their struggle can help change the path for people quickly left behind by a normative world. Together, they are the soul of the movie, with the filmmakers clearly hoping the audience will follow their lead after they exit the theater (in my case, the beautiful Oriental Theater for the Milwaukee Film Festival). Both performances are perfectly warm and reflective and shouldn’t be left out in discussions of I Swear.
I say this because the movie is anchored by The Rings of Power actor Robert Aramayo, who leaves Elrond’s elf ears behind to bring an acute naturalism to his performance of main character John Davidson. Aramayo’s physicality and timing of the fitful Tourettes Syndrome never feel out of place or overplayed. In fact, the movie as a whole does an amazing job of never veering into sentimentality. While many moviegoers left with tissues dabbing their eyes, the filmmaking never felt like it was forcing that reaction out of audiences. It straddles the line between feel-good and reality with every story beat and lands squarely on the side of letting the real inform our feelings. Anyone with an ounce of empathy will grasp the film’s message and hopefully take it with them into life.
I Swear continues at the Milwaukee Film Festival on Tuesday, April 21st, and releases nationwide April 24th, 2026, courtesy of Sony Pictures Classics.
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