Superman is currently flying high at the global box office in his first solo movie since 2013. Naturally but rather dully titled Superman, it is the first entry in DC’s new “universe” of superhero films supervised by writer-director James Gunn (formerly of the Guardians of the Galaxy series). While it definitely has its flaws (see below), Superman has clearly proven to be a crowd-pleasing adventure.
Wisely avoiding the origin story approach of most previous movies about the Man of Steel, the new film (written and directed by Gunn) drops viewers and even Supes himself—literally--into a scenario taking place approximately 3 years after the adult hero has identified and endeared himself to the world. He soon finds himself battling arch-nemesis Lex Luthor, who is manipulating world events as well as a pocket dimension he has discovered in an attempt to destroy him. Various other familiar names/faces include Lois Lane, Jimmy Olson, Perry White, and Ma and Pa Kent. There is also my personal favorite, Eve Teschmacher from the first two Christopher Reeve-led Superman films.
Among the frankly too many new names and faces in the movie are DC heroes Metamorpho, Hawkgirl, Green Lantern Guy Gardner, Rick Flag and Mr. Terrific. TV’s Peacekeeper also makes an appearance. And then there is the army of villains employed by Luthor, including the otherworldly Engineer. That we aren't given the backstories for any of them here requires viewers to be familiar with the original comics and/or various TV series in which some of them have previously appeared.
The one truly delightful addition for which little introduction or backstory is required is Krypto, the rambunctious superdog being “fostered” by Superman in the film. Both kids and adults will thoroughly enjoy his antics. Krypto adds needed comedy to the story’s darker moments and serves as necessary backup at one point to the kryptonite-poisoned leading man.
Speaking of the lead, David Corenswet makes a convincing, earnest and darn handsome Superman. He also conveys well the still-young hero’s naivete and overly trusting nature. Rachel Brosnahan, best known til now as TV’s Marvelous Mrs. Maisel, has good chemistry with Corenswet as the new Lois Lane.
The biggest liability in the movie is Nicholas Hoult’s Lex Luthor. Although I blame Gunn’s writing and the direction as much as Hoult, this version of the villain is excessively sadistic, humorless and histrionic. It made me yearn for the late great Gene Hackman’s campier take on the character.
Superman also struck me as excessively violent in general, especially during its big video-gamey battle scenes. Thankfully, Gunn’s approach is more colorful and faster-paced than director Zack Snyder’s dreary films featuring Henry Cavill’s dull performance as the hero.
Supergirl makes a brief appearance toward the end of the current film, setting up her own adventure due in theaters next year. I’m looking forward to it if somewhat cautiously. Hopefully, Krypto will also get his own movie at some point!
Reverend’s Rating: B-
Cabaret at the Kit Kat Club (Now playing at the August Wilson Theatre in NYC through October 19th)
It has been playing for over a year now but I was only recently able to partake in this immersive, Tony-nominated revival of the classic musical. With a memorable score by the great Kander & Ebb and book by Joe Masteroff, the show—which was first performed on Broadway in 1966—has received numerous revised productions. It also inspired the Oscar-winning 1972 movie.
What finally inspired me to visit the current, beautifully designed Kit Kat Club was queer country singer Orville Peck’s temporary run through July 20th as the show’s mesmerizing Emcee. Peck brought a physically stronger and more menacing presence in the role, certainly more so than this production’s original Emcee, Eddie Redmayne. Peck also sang the role beautifully and with fewer vocal flourishes than Redmayne, especially the second act’s “I Don’t Care Much.” Perhaps most notably for his longtime fans, Peck did not wear his trademark mask throughout his Broadway debut.
Matching him vocally and dramatically was Eva Noblezada as Sally Bowles, also through July 20th. They were very well paired, and their genuine admiration for each other was apparent during the curtain call of the performance I attended. I found Noblezada’s rendition of the show’s title song over the top during said performance, but this was a rare misstep on her part.
Another criticism of the current show is that the first act is too long at an hour and 45 minutes. To be fair, this isn’t necessarily the revival’s fault. Two of the film version’s original songs have been added to the stage rendition over the decades, and at least one of them (“Mein Herr”; the other addition is “Money, Money”) is excessive/unnecessary at this point.
Cabaret’s still entertaining but ultimately disturbing depiction of the Nazi party’s anti-Semitic rise in 1930’s Germany has previously proven timely in light of various world events. In 2025’s MAGA-infested USA, though, the musical registers as more frighteningly relevant than ever. I pray we all heed its lessons.
Reverend’s Rating: B+
Heathers: The Musical (Now playing at New World Stages in NYC through at least January 2026)
One of Reverend’s all-time favorite movies is 1989’s Heathers, a bitterly dark yet hilarious exploration of good vs evil and “teen-angst bullshit” written by the great Daniel Waters. I was aware since 2014 that it had been adapted into a stage musical since its off-Broadway premiere that year and had subsequently listened to the cast recording, but I just last week was able to experience it live for the first time. And what an experience it was!
The show began before even entering the theater. There were a large number of female teens, young adults, and queer people in Heathers-inspired attire present—most of them clearly too young to have seen the movie when it was first released. As soon as the lights went out in the theater and the initial musical notes sounded, they cheered as if at a rock concert. Their loud vocal enthusiasm continued undimmed (unvolumed?) throughout the performance.
I loved the audience’s enthusiasm and I generally loved the performance despite its flaws. Similar to Cabaret above, the first act is too long with at least one song (the misogynist Ram and Kurt’s more recently added “You’re Welcome”) completely unnecessary. Anyone who has seen the film knows what happens to Ram and Kurt, so better to just cut to the chase.
But the rest of the score, by screen-to-stage auteurs Kevin Murphy (Reefer Madness) and Laurence O’Keefe (Legally Blonde), has several powerful interludes. The extended opening number “Beautiful” establishes the show’s tone and lead characters well; “Candy Store” solidifies the domineering Heathers’ raison d’etre; “Our Love is God” epitomizes the deeply dysfunctional relationship between ethical-leaning Veronica (played by & Juliet’s Tony-nominated Lorna Courtney) and her emotionally scarred boyfriend J.D. (Casey Likes, who headlined Broadway’s Back to the Future as Marty McFly last year); and the wistful “Seventeen” transported this 50-something year old critic back to my idealized vision of high school during the 1980’s.
Bottom line: If one doesn’t find this high-energy revival of Heathers: The Musical affecting, infuriating or amusing (and probably all of the above), you must have eaten a brain tumor for breakfast.
Reverend’s Rating: B
