James Gunn’s ‘Superman’ Rotten Tomatoes Score Proves Henry Cavill’s Kryptonite Was Zack Snyder

When James Gunn was announced as the writer-director rebooting Superman for a brand-new DC Universe, the reaction was — let’s be honest — somewhere between baffled and cautious optimism. There was also the question of why he wouldn’t bring back Henry Cavill? Gunn wasn’t exactly known for reverent, all-American earnestness. So giving him the keys to Superman, of all characters? It sounded like a setup for disaster, or at the very least, another polarizing swing at DC’s most iconic hero.

But here we are. Early screenings are in, the Rotten Tomatoes score is currently sitting at 87% from 105 reviews and counting, and Gunn’s Superman is being hailed as not just a course correction — but one of the best Superman movies ever made. Meanwhile, the last solo Superman film, Man of Steel (2013), starring Cavill and directed by Zack Snyder, sits at 57% on Rotten Tomatoes. That film was supposed to launch an entire cinematic universe. Instead, it launched a decade of divisiveness, tonal inconsistency, and online warfare between critics and fans. So what happened? Why was one well received and the others incredibly divisive? Well, let’s look at all the SnyderVerse films too.

Film	Year	Critic Score
Man of Steel (Snyder)	2013	57%
Batman v Superman (Snyder)	2016	28%
Justice League (2017 theatrical)	2017	39%
Zack Snyder’s Justice League	2021	71%
Superman (James Gunn)	2025	87%

Why Have Critics Liked James Gunn’s Superman More than Zack Snyder’s Version?

To be fair, Rotten Tomatoes scores are not gospel. They’re not a perfect indicator of quality. But they do reflect how a movie is being received in the moment — and how much goodwill it has with critics and early audiences.

From what critics are suggesting, Gunn’s Superman works because it doesn’t try to “fix” Superman by turning him into Batman. It doesn’t drench the screen in grey. It doesn’t snap Zod’s neck. And it doesn’t spend two hours asking, “What if Superman was actually the problem?” Instead, Gunn leans in — all the way in — to the idea that Superman is fundamentally good. As Collider’s Ross Bonaime put it in his glowing 8/10 review:

“Superman is a magnificent feat, a film that makes the Man of Steel fascinating in a way we’ve rarely seen on film, with a take on the hero that is trenchant, clever, and delightful… At this point, it’s rare for superhero films to give a sense of wonder and a reminder of how beautiful these films can be when executed well. But Gunn has brought optimism, hope, and care back to Superman.”

This isn’t to say Man of Steel was without merit. It had ambition, it had scale, and Cavill gave a great performance. But it also had a Superman who let his dad die in a tornado and wrestled with whether humanity deserved saving. Snyder’s version was mythic, aloof, and burdened by symbolism. But Cavill was never the problem, he was let down by the material at the end of the day.

Cavill had the look, the charm, and the earnestness to be a great Superman. But the vision surrounding him never allowed it. In fact, as James Gunn recently revealed, Warner Bros. had already been eyeing a new direction long before Gunn and Peter Safran took over DC Studios. They even approached Gunn to write a Superman film before he made The Suicide Squad in 2021.

After Man of Steel, he spent years in cinematic limbo — showing up in team-ups, cameos, and never getting a real sequel. In Black Adam, he made a buzzy return in a mid-credits scene, only to be let go two months later when the new DC regime officially rebooted the character.

Even then, Gunn defended Cavill:

“We didn’t fire Henry. Henry was never cast. He was just put into a cameo by someone for a movie, who then went on to make press about being back. It’s not Henry’s fault.
“It was really kind of a mess… I like Henry. I think he’s a great guy. I think he’s getting d***ed around by a lot of people — including the former regime at this company.”

Ultimately, Cavill’s Superman was stuck in a cycle of what-ifs and studio indecision. In the end, his Superman didn’t fail — he just never had the creative support he needed to truly fly.

Superman soars into theaters on July 11.