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Superman is undoubtedly one of the most comic book accurate superhero blockbusters to hit the big screen in years - for better or worse.

Aiming to claw back some much-needed goodwill after Zack Snyder and co’s divisively ponderous DC Extended Universe and 2022’s The Batman, beloved by many but with a sequel still in limbo, Warner Bros has reunited with Marvel’s most consistent hitter James Gunn to pitch a brand new universe of gods and monsters.

With an optimistic slate of blockbusters and TV spin-offs in various stages of production, a lot is riding on Superman to re-introduce moviegoers to some of the most iconic comic book characters of all time and prove they can compete with the now dwindling success of the MCU.

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Thankfully, this first big screen entry in the DCU is, for the most part, a blast, with interpretations of both beloved and more obscure heroes and villains that feel lifted straight from the funny pages and huge, barmy spectacle promising fans that absolutely anything can and will happen in this superhero sandbox.

More of a mission statement than an origin story, David Corenswet’s Kal-El, aka Clark Kent, aka Superman, glosses over his well-trodden Kryptonian roots and gets right down to business, three years into his tenure as humanity’s greatest protector. A (freeze) breath of fresh air after Henry Cavill’s brooding bodybuilder, Corenswet is the closest we’ve gotten to the definitive version of the character since Christopher Reeve donned the blue tights and made us believe a man could fly.

Plucked from relative obscurity, the actor previously known for supporting roles in Pearl and Twisters exudes all the charm, strength and well-intentioned naivety needed to play DC’s poster boy, with just enough roguish energy to ensure his back and forth with the impeccably cast Rachel Brosnahan as Lois Lane truly sings. A blistering 10-minute interview/argument between the pair early on is the greatest sign the franchise is in safe hands, and a soaring romantic moment in the climax is perhaps the closest superhero movies have gotten to an iconic kiss since an upside down Tobey Maguire locked lips with Kirsten Dunst in Spider-Man over 20 years ago.

Casting is certainly the film’s greatest achievement, with Nicholas Hoult’s thoroughly unpleasant Lex Luthor barrelling bald-headfirst into the ranks of the greatest comic book movie villains ever put to screen. Equal parts sadistic, threatening and pathetic, Hoult succeeds where Jesse Eisenberg’s weaselly interpretation of Superman’s nemesis failed, a megalomaniacal obsessive driven by hatred who would literally rather open a pocket dimension to imprison anyone who disagrees with him than go to therapy.

Previously known for bringing more obscure comic book heroes to life in Guardians of the Galaxy and The Suicide Squad, Gunn’s pitch perfect tackling of Superman’s more well-known roster is somewhat let down by an over-stuffed narrative that barely gives its key players any downtime. A moving moment with Clark’s adoptive human parents (scene-stealers Pruitt Taylor Vince and Neva Howell) feels over before it begins, and the admittedly delightful Krypto the Superdog hogs the spotlight to ensure the film’s merchandise sales please the Warner Bros shareholders.

There’s also a lot of familiar, Marvel-style humour thrown at the wall, with minimal stickage. An extended gag involving a slow garage door is particularly painful, while the Fortress of Solitude’s sassy robot helpers speak almost exclusively in quips that feel like C3PO’s leftovers from the weaker Star Wars entries.

It’s unfortunate that, for a fledgling franchise promising not to rush sequels into production without a polished script, Superman’s most glaring shortcomings all come down to the writing.

Many of the gags and plot threads feel half-baked, several characters, particularly the Daily Planet crew, are under-served or get lost in the comic book chaos and Gunn relies a little too heavily on his usual tricks.

Edi Gathegi’s Mr Terrific, for example, who otherwise emerges as the film’s secret weapon, has an impressive one-take action scene that eerily recalls far superior set pieces with Guardians favourite Yondu (Michael Rooker) and his whistle-controlled arrow. Meanwhile, the rest of the Justice Gang, Nathan Fillion’s Green Lantern and Isabela Merced’s Hawkgirl, are solely written with hit-or-miss gags and are mostly just set dressing to assure fans a larger comic book universe is out there. Still, even Fillion’s cocky Guy Gardner is preferable to Ryan Reynolds’ Hal Jordan.

Clark’s relationships with his journalistic colleagues also feel rushed despite the superb casting of Wendell Pierce as editor-in-chief Perry White and Skyler Gisondo’s womanising Jimmy Olsen. An inevitable sequel would do well to slow down and develop Superman’s human drama with as much attention as the world-ending threats.

Thankfully, a lot of the superhero genre’s usual failings are either minimal or non-existent here. Other than a couple of cameos, there are no egregious attempts to set up sequels or build up the extended universe with ham-fisted mentions of Gotham City or scarlet speedsters. It’s simply easy to imagine the likes of Batman and Wonder Woman already existing in this madcap fantasy world without the usual condescending to the audience that this is all part of a wider narrative.

Although some of the sillier elements will be alienating to non-comic book fans, Superman is still the summer’s most satisfying crowd-pleaser so far. Packed with bold swings and Gunn’s trademark giddiness to be bringing his favourite stories to live-action, when it works, the first cinematic entry to the rebooted DC Universe is a soaring promise of even more triumphs to come down the line - as long as he keeps a tight hold of the reins.

Superman will be released in UK cinemas on Friday, 11th July.