nERDbOX_Dave

I'll be upfront, I'm not a diehard Superman fan. I've never been big on the DC Universe outside of Batman. Gods, aliens, and invincible beings from Krypton usually don't do much for me. That said, like every kid growing up with the Christopher Reeve films, I knew what it felt like to tie a towel around my neck and believe a man could fly. So when I saw the first images of Superman (2025) the Justice Gang, Krypto, a damn Kaiju-I braced myself for the worst. Another overstuffed, tone-deaf mess like Shazam! Fury of the Gods? I was sure of it.

But... I liked it.

Flaws and all, I actually liked it.

James Gunn's Superman is the first film in the new DC Universe reboot and, while uneven, it does one important thing right, it reminds you why Superman matters. It's not a fanboy fever dream, and it doesn't try to be too cool or too edgy. It just tells a story about a man with impossible power trying to earn the trust of a world that doesn't know what to make of him.

David Corenswet absolutely works as Clark Kent. He's not trying to copy Reeve, Cavill, or Tyler Hoechlin-he's nerdy, awkward, kind, and quietly confident. You believe his Superman is driven by empathy, not ego. There's a groundedness to his character that actually makes him feel more human than most human heroes. The dynamic with Rachel Brosnahan's Lois Lane is a huge win, sharp, funny, and emotionally believable. They carry the film, and their chemistry keeps it from tipping too far into cartoonishness.

The plot? A mixed bag. Lex Luthor (Nicholas Hoult) is a compelling villain, more of a manipulator than a madman, and the way he turns public opinion against Superman is one of the smarter, more timely aspects of the story. Gunn even dares to explore the accountability question: Should the world trust someone with unchecked power, no matter how good his intentions? It doesn't go as deep as it could, but the effort is appreciated.

Now... the problems.

James Gunn's tone is all over the place. His love for inserting pop music and undercutting tension with jokes is starting to feel less like a signature and more like a crutch. None of the humor lands here if anything, it undercuts the emotional beats and makes the film feel like it doesn't trust its audience to take anything seriously. The jokes aren't just flat, they're distracting. At times, they actively hurt the tone of the scene.

Then there's the Justice Gang. Cool to see? Sure. Do they add anything meaningful? Not really. Most feel like throwaway characters used to remind you, "Hey, this is part of a larger universe!" Which would be fine if they didn't take time away from what we should have gotten more of-the Daily Planet. Perry White, Jimmy Olsen, the rhythm of journalism in Metropolis, it's all glossed over. And the city itself? It's full of some of the dumbest civilians I've seen in a superhero movie. The opening sequence had me shouting at the screen: Why are you people standing around during a literal superpowered disaster?

Also, a personal note: James Gunn should not direct the sequel. This isn't Guardians of the Galaxy. Superman deserves a tone that breathes, that trusts its characters and world to carry the story without being dipped in irony every ten minutes.

Superman (2025) is far from perfect, but it's not the disaster many feared. It's a fun, surprisingly thoughtful popcorn flick that succeeds more often than it stumbles. David Corenswet's Superman is a strong foundation, and Rachel Brosnahan's Lois gives the heart real weight. It's messy, rushed in parts, and tonally off-balance-but it's entertaining, and for someone who walked in expecting a trainwreck, I walked out curious to see what's next.

John Cena's filmography continues its puzzling descent with Heads of State-a film that had all the ingredients for an explosive political action-comedy, but somehow ends up feeling like a lukewarm parody of itself. Directed by Nobody's Ilya Naishuller and featuring an ensemble cast including Idris Elba and Jack Quaid, the movie squanders its talent on a premise that promised buddy comedy fireworks but delivers diplomatic dullness.

Cena plays U. S. President Will Derringer, a meathead with a heart who governs with his fists almost as often as with policy. Opposite him is Idris Elba as British Prime Minister Sam Clarke, a more refined but equally intense counterpart. The setup? Classic odd-couple comedy: two global leaders with a very public grudge who must work together when Air Force One is shot down over enemy territory.

John Cena, once praised for his surprisingly sharp comedic timing in Blockers, seems to be regressing here. His performance is loud, broad, and one-note-like he's still trying to play the punchline without the setup. Cena's charisma, once used with subtlety and surprise, is now being thrown at the screen like spaghetti hoping something sticks. Unfortunately, not much does.

Idris Elba, as always, brings gravitas and commitment to a role that's beneath his talents. He does his best to elevate the script, but even his stoic delivery can't salvage the film's clunky jokes or painfully predictable story beats. Jack Quaid, typically a bright spot in ensemble casts, is underused here. Priyanka Chopra and Carla Gugino add style and some firepower to the supporting cast, but the script gives them little to do besides play second fiddle to the testosterone showdown between Cena and Elba.

The action sequences, while competently directed by Naishuller, feel disconnected from the comedy and lack the anarchic energy that made his previous work (Hardcore Henry, Nobody) stand out. The film plays it oddly safe, both in tone and spectacle, despite its globe-trotting, conspiracy-driven plot. The humor is painfully uneven-swinging from slapstick to satire without landing on either. Political jabs feel outdated, and most of the jokes about diplomacy and global politics have all the subtlety of a steel chair to the face.

With a cast this stacked and a director capable of inventive action, it's a shame the final product feels so lifeless.

After the mess that was Jurassic World: Dominion, it's honestly a relief to say that Jurassic World: Rebirth isn't terrible. In fact, it might just be the best Jurassic Park entry since The Lost World (1997). That may sound like faint praise-but when you're seven films deep into a franchise about resurrected dinosaurs and increasingly irrational humans, "not terrible" is a serious step up.

Directed by Gareth Edwards (Rogue One, Monsters) and penned by franchise veteran David Koepp, Rebirth is a darker, tighter, and more suspense-driven take that wisely scales down the global chaos of the last film in favor of something more atmospheric and claustrophobic. The story centers on Zora Bennett (Scarlett Johansson), a cool-headed but clearly haunted leader of a covert expedition sent to recover dinosaur DNA from a long-abandoned island facility......yes, the original Jurassic Park site, now even more overgrown, dangerous, and dripping with secrets.

The plot kicks off strong with a solid mix of military-precision mission planning and eerie tension-building. Mahershala Ali brings gravitas as the team's moral compass, and Jonathan Bailey, Rupert Friend, and Manuel Garcia-Rulfo round out a competent if underdeveloped crew. Ed Skrein, meanwhile, chews the scenery as a corporate stooge with shady motives, and you'll know exactly where his arc is heading from the second he smirks onscreen.

But make no mistake: this movie is a mess in places.

Character decisions defy logic more often than not. Highly trained operatives repeatedly wander off alone into the jungle like they've never seen a horror movie. There are moments when people stare at an approaching predator and just... wait. Still, Edwards makes it look fantastic. His signature visual style gives the jungle and ruined park a haunting, almost post-apocalyptic feel. The dinos themselves-especially a terrifying new predator introduced late in the film-are beautifully rendered, practical when it counts, and actually scary again. There's tension, atmosphere, and a few genuinely effective jump scares that make you remember why this franchise started as a thriller, not a blockbuster circus.

The third act veers into Resident Evil territory, with sinister labs, body horror lite reveals, and a twist that changes the way we view what the original park was really meant for. It's a bit bonkers, but honestly? It's the kind of gonzo direction this franchise needed after the bloated mess of the last few entries.

Jurassic World: Rebirth is far from perfect. The script is clunky, the logic is laughable at times, and some character beats fall flat. But it's also thrilling, eerie, and directed with a clear sense of purpose.