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James Gunn doesn’t waste time. No crashing rocket, no Smallville farmboy tripping over heat vision, no “it’s a bird, it’s a plane.” Thank God. We know the story. We’ve lived with this character for nearly a century. And Gunn knows we’re tired — tired of origin stories, tired of capes, maybe just tired in general.

So what does he do? He gives us a Superman film that’s less about Superman and more about us. Our mess. Our world. And, honestly, that’s both the best and most frustrating thing about it.

David Corenswet looks the part. Absolutely nails the physicality. Broad shoulders, kind eyes, that old-school movie star face. But Gunn doesn’t let him do much more than stand there and be Superman. He’s stoic. He’s gentle. He’s… fine. Too fine. We already know this guy, and the film leans on that familiarity instead of letting Corenswet carve something new.

What actually pops is Nicholas Hoult’s Lex Luthor. He’s not just “the bald villain.” He’s Silicon Valley with a fascist streak. A PR genius with an army of keyboard warriors. Literally monkeys on typewriters pushing hashtags. Funny, yes, but also scarily accurate. Hoult chews the scenery and then spits it out online.

The film’s at its most alive around the edges. Skyler Gisondo steals scenes as Jimmy Olsen. He’s got that jittery, fun energy the film desperately needs. Rachel Brosnahan makes Lois Lane sharp and believable, though the Lois/Clark romance feels more like an idea than a beating heart. And then there’s Krypto. He’s CGI. He shouldn’t work. But, come on, he’s a superdog. He works.

The problem? We’ve seen all this before. The mid-air punches. The cape swelling to brass fanfare. The city-level carnage. And Gunn, who’s usually great at injecting weirdness and wonder, plays it strangely safe. Instead of making us believe a man can fly, he makes us think about how heavy the world feels right now. Which is… fine. But also, come on. It’s Superman. We want to feel lifted, not lectured.

It’s not joyless, Gunn’s too smart for that. But it’s not joyful either. It’s caught between commentary and comic book splash page, and it never quite commits to either.

Back in ’78, Donner promised we’d believe. Gunn doesn’t give us that. What he gives us is a shrugging kind of hope. A reminder that, even now, someone out there still cares enough to try.

⭐️⭐️⭐️

Amazon Prime has released the first trailer for Ricky Stanicky.

When three childhood best friends pull a prank gone wrong, they invent the imaginary Ricky Stanicky to get them out of trouble! Twenty years after creating this ‘friend,’ Dean, JT, and Wes (Zac Efron, Andrew Santino, and Jermaine Fowler) still use the nonexistent Ricky as a handy alibi for their immature behavior. When their spouses and partners get suspicious and demand to finally meet the fabled Mr. Stanicky, the guilty trio decide to hire washed-up actor and raunchy celebrity impersonator “Rock Hard” Rod (John Cena) to bring him to life. But when Rod takes his role of a lifetime too far, they begin to wish they’d never invented Ricky in the first place. From director Peter Farrelly and featuring additional cast members including William H. Macy, Lex Scott Davis, and Anja Savcic.

“The Black Knight,” a captivating audio production crafted by the talented writer Lizbeth Myles, takes listeners on a thrilling and thought-provoking journey. This audacious narrative ventures into the uncharted territory of British history, melding it with elements of science fiction and social commentary. Myles skillfully navigates the storyline, delving into the prevalent sexism of the era while concocting a tale filled with conspiracies, moral dilemmas, and devastating consequences reminiscent of the beloved series Torchwood.

The story unfolds against the backdrop of Britain’s fledgling space program, a period that aligns with the existence of Torchwood Soho. Here, we encounter the indomitable Professor Lynne Sharman, portrayed with unwavering conviction by the talented Safiyya Ingar. Lynne, a brilliant scientist reminiscent of the trailblazing women of Doctor Who’s late ’60s and early ’70s episodes, finds herself trapped in a world dominated by pompous and outrageously sexist men. They dismiss her groundbreaking rocket science and discourage her involvement in the realm of scientific discovery.

At the heart of this male-dominated landscape stands Sir Christopher Grey, impeccably brought to life by Russel Bentley’s performance, oozing condescension with every swig of port and puff of cigar smoke. As the gatekeeper of funding and government support for ambitious projects like Lynne’s Viola rocket, Grey embodies the epitome of sexism and bureaucracy. His resistance to Lynne’s aspirations adds a layer of complexity to the narrative, a battle not only against gender bias but against the mysteries and failures of the Viola itself.

The Viola, Lynne’s brainchild, possesses a troubled history. Previous unmanned launches have met fiery ends, just as they were about to escape Earth’s magnetosphere. Faced with mounting pressure and the impending abandonment of her project, Lynne seizes her last chance to prove herself by proposing a manned mission. Enter Freddie Talbot, a close friend of Lynne’s and a man seemingly possessed of the right qualities for the task at hand. Their fates intertwine as Lynne’s relentless pursuit of scientific truth collides with the enigmatic forces thwarting her rocketry dreams.

In a stunning and all-too-brief scene, Lizbeth Myles and Safiyya Ingar offer a character study of Lynne that is both powerful and nuanced. Lynne emerges as a brilliant scientist, guided not by ego but by a deep understanding of her craft. Her unyielding dedication to the pursuit of knowledge leads her to consider the possibility of external factors influencing her research, delving into the realm of real-world conspiracy theories. It is this scientific curiosity and open-mindedness that sets her apart, propelling the narrative forward as she unearths a shocking revelation.

“The Black Knight,” a term Lynne assigns to a mysterious asteroid, unveils a grand cosmic conspiracy. Lynne posits that this celestial entity, positioned as a cosmic sentinel, actively impedes humanity’s journey beyond the confines of Earth. Her discovery raises questions about our place in the universe and the delicate balance between protection and isolation. Is this alien presence safeguarding us from unknown perils, or are they safeguarding the universe from us? The audaciousness of these inquiries drives the plot to thrilling heights, with Lizbeth Myles expertly crafting a tapestry of intrigue, suspense, and awe-inspiring exploration.

Alongside the riveting narrative, “The Black Knight” boasts exceptional performances from its cast. Safiyya Ingar breathes life into the formidable Professor Lynne Sharman, infusing her with intelligence, resilience, and an unwavering determination to challenge the status quo. Samuel Barnett and Jacob Dudman bring their considerable talents to bear as Norton Folgate and Freddie Talbot.

⭐️⭐️⭐️⭐️

Torchwood: The Black Knight is exclusively available to buy from the Big Finish website until 31 May 2022, and on general sale after this date.