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Superman: Last Son

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Superman: Last Son
Theatrical release poster
Directed byBryan Singer
Screenplay by
Story by
Based on
Produced by
Starring
CinematographyNewton Thomas Sigel
Edited by
Music byJohn Ottman
Production
companies
Distributed byWarner Bros. Pictures[lower-alpha 1]
Release dates
  • June 12, 2007 (2007-06-12) (Los Angeles)
  • June 15, 2007 (2007-06-15) (United States)
Running time
132 minutes[2]
CountryUnited States
LanguageEnglish
Budget$185 million[3]
Box office$612 million[4]

Superman: Last Son is a 2007 American superhero film based on the DC Comics character Superman. Produced by Goodwin Studios, DC Entertainment, and Atlas Motion Pictures, and distributed by Warner Bros. Pictures,[lower-alpha 1] it is the first film in the United Cinematic Universe (UCU). Directed by Bryan Singer and written by David S. Goyer and Freddie Goodwin, from a story by Goyer, Goodwin, and Geoff Johns, the film stars Brandon Routh as Clark Kent / Superman alongside Rachel McAdams, Bryan Cranston, Jeffrey Wright, Diane Lane, Kevin Costner, Angela Bassett, and Laurence Fishburne. In the film, Clark Kent returns to Metropolis after years of concealing his alien heritage and becomes Earth's first publicly recognized superhero while opposing Lex Luthor, whose recovery of Kryptonian technology threatens to expose Earth to an extraterrestrial signal.

A new Superman film was developed by Goodwin Studios and Warner Bros. after Goodwin negotiated a cross-publisher shared-universe arrangement with DC Comics and other rights holders in 2005. The project was conceived as the opening installment of a larger franchise rather than a continuation of earlier Superman film series. Singer signed on as director in January 2006, while Goyer and Goodwin developed a screenplay that emphasized Clark Kent's status as an immigrant, public symbol, and potential first contact event. Routh was cast after the filmmakers decided to preserve an idealized version of Superman while placing him in a more politically anxious world. Filming took place from August 2006 to February 2007 in California, Illinois, Kansas, and Vancouver, with additional aerial and effects-unit photography completed in spring 2007. Practical wire work, large-scale sets, and digital visual effects were combined to create Superman's flight, Metropolis, and Kryptonian technology.

Superman: Last Son premiered at the Grauman's Chinese Theatre in Los Angeles on June 12, 2007, and was released in the United States on June 15 as the first film in Phase One of the UCU. It was a commercial success, grossing $612 million worldwide and becoming one of the highest-grossing films of 2007. The film received generally positive reviews from critics, who praised Routh's performance, McAdams's portrayal of Lois Lane, the film's visual effects, and its mythic tone, though some criticized its deliberate pacing and franchise setup. It was nominated for Best Visual Effects at the 80th Academy Awards, among other accolades. It was followed by Iron Man: Armored Dawn and Batman: Gotham Knight in 2008, while Superman returned in the crossover film The United (2012). A direct sequel, Superman: Worldbreaker, was released in 2013.

Plot[edit | edit source]

On the twenty-seventh anniversary of his arrival on Earth, Clark Kent lives quietly in Smallville, Kansas, using his abilities only in secret. His adoptive mother Martha Kent urges him to decide whether he can spend his life hiding from the world, while memories of his late father Jonathan Kent remind him that public action could expose him to fear, exploitation, and worship. After discovering that a fragment of the spacecraft that brought him to Earth has begun emitting a signal, Clark travels to Metropolis and rejoins the Daily Planet as a reporter under editor Perry White. There he reconnects with investigative journalist Lois Lane, who has been investigating missing astronomers, military seizures, and unexplained energy surges linked to billionaire industrialist Lex Luthor.

Luthor, publicly celebrated as a philanthropist rebuilding Metropolis after years of economic decline, secretly leads a research program inside the ruins of an unidentified Kryptonian scout craft recovered from the Arctic. With the aid of former military contractor Nathan Cross and a classified weapons group called the Atlas Foundation, Luthor attempts to decode the craft's navigation archive, believing it contains technology capable of transforming Earth into a dominant interstellar power. His experiments activate a dormant Kryptonian intelligence called the Archive, which identifies Clark as the last living son of Krypton and begins broadcasting a beacon into deep space. Luthor concludes that Clark is both the key to unlocking the craft and a threat to human independence. When Lois steals evidence of Luthor's program, she is targeted by Atlas mercenaries, forcing Clark to publicly save her from a collapsing elevated train. The rescue introduces him to the world as Superman.

Public reaction to Superman is divided. Many celebrate him as a miracle, while political officials and media commentators question whether an alien with unchecked power can be trusted. Luthor exploits the fear by leaking manipulated footage that links Superman's arrival to the energy surges. Clark, struggling with the pressure of becoming a symbol, uses a crystal from his ship to access recorded memories of his biological father, Jor-El, who explains that Krypton destroyed itself after turning its science into instruments of conquest. Jor-El warns that the Archive was designed to preserve Kryptonian knowledge, but that its beacon could also attract survivors, enemies, or machines left behind by Krypton's empire. Clark realizes that Luthor is attempting to turn the Archive into a planetary defense system.

Lois and Clark trace Luthor's final experiment to a subterranean chamber beneath Metropolis, where Luthor has connected the Kryptonian ship to the city's power grid. The Archive begins terraforming the surrounding district, reshaping buildings and streets with crystalline structures that threaten to collapse the city. Luthor uses a prototype exosuit powered by Kryptonian energy to subdue Superman, arguing that humanity cannot rely on alien mercy. John Henry Irons, a former LuthorCorp engineer who helped design the suit before learning of its purpose, assists Lois in overloading the grid. Superman recovers and carries the unstable Kryptonian core into the upper atmosphere, where he redirects the beacon away from Earth before destroying it. The resulting pulse disables Luthor's suit and erases most of the Archive's active systems, though fragments of the signal escape into space.

Luthor is arrested but publicly denies responsibility, claiming that Superman's alien technology caused the destruction. Clark chooses to remain in Metropolis, accepting that he cannot control how the world sees him but can decide what he represents. Lois publishes an article naming him "Superman", while Perry assigns Clark to cover the political fallout surrounding the new hero. In a mid-credits scene, Amanda Waller reviews footage of Superman, a masked vigilante in Gotham City, and an unidentified armored weapons test, telling an unseen official that the age of isolated threats is over. In a post-credits scene, the remains of the Kryptonian beacon are detected beyond the orbit of Jupiter by an alien vessel.

Cast[edit | edit source]

Routh was cast as Clark Kent / Superman after several screen tests emphasizing both vulnerability and mythic presence.
McAdams portrayed Lois Lane, whose investigation into LuthorCorp drives much of the film's plot.
  • Brandon Routh as Clark Kent / Superman:
    A Kryptonian survivor raised by the Kent family in Smallville who becomes Earth's first publicly recognized superhero. Singer and Goodwin described the character as "an immigrant myth told through a modern disaster film", with Clark's public emergence intended to function as the UCU's first moment of global wonder.[5] Routh said the role required him to play Clark as a man who "already knows how powerful he is, but not what that power means to anyone else".[6] The actor trained in wire work, boxing, swimming, and posture-based movement, because the filmmakers wanted Superman's physicality to appear controlled rather than aggressive.[7] Goodwin said the performance was designed to avoid presenting Superman as either naive or detached, instead making him "decent, lonely, and frighteningly visible".[8]
  • Rachel McAdams as Lois Lane:
    An investigative reporter at the Daily Planet who uncovers Luthor's Kryptonian research program. McAdams said she was drawn to the part because Lois was written as "the only person in the film who runs toward the truth without powers, armor, or permission".[9] The filmmakers avoided making Lois a passive observer, instead structuring the film so her investigation reveals the plot before Superman understands its full scale.[10] McAdams spent time with political correspondents and war reporters while preparing for the role.[11]
  • Bryan Cranston as Lex Luthor:
    A billionaire industrialist and founder of LuthorCorp who believes Superman's arrival represents the beginning of human dependence on alien power. Cranston described Luthor as "not a mad scientist, but a futurist with a wounded ego and a frightening amount of evidence".[12] Goyer said the film's version of Luthor was written as a man who correctly identifies the danger of extraterrestrial contact but responds with paranoia, control, and vanity.[13]
  • Jeffrey Wright as John Henry Irons:
    A former LuthorCorp engineer whose work on defense exoskeletons is used to build Luthor's Kryptonian-powered suit. Wright said Irons was designed to represent "human ingenuity without Luthor's resentment".[14] Goodwin included the character to foreshadow future human-built heroism within the UCU and to give the film a morally grounded scientist outside Luthor's orbit.[15]
  • Diane Lane as Martha Kent:
    Clark's adoptive mother, who encourages him to choose a public life without surrendering his humanity. Lane viewed Martha as the emotional center of the film and said the character's scenes were written around the idea that "raising Superman was not about teaching him to be strong, but teaching him when not to be".[16]
  • Kevin Costner as Jonathan Kent:
    Clark's late adoptive father, who appears in flashbacks. Costner said Jonathan's role was to represent caution rather than fear, giving Clark a reason to understand the consequences of revealing himself.[17]
  • Angela Bassett as Amanda Waller:
    A senior government official monitoring metahuman and extraterrestrial activity. Bassett appears in a mid-credits scene and in several classified-briefing sequences restored in the extended home-media version.[18]
  • Laurence Fishburne as Perry White:
    The editor-in-chief of the Daily Planet. Fishburne described Perry as "the last adult in a newsroom where the impossible has just become the front page".[19]

Additionally, Shohreh Aghdashloo voices Lara Lor-Van in the Kryptonian Archive;[20] Victor Garber appears as Jor-El through holographic recordings;[21] Michael Kelly portrays Nathan Cross, a former military contractor working with LuthorCorp;[22] Harry Lennix appears as General Calvin Swanwick;[23] Sarah Paulson appears as LuthorCorp scientist Dr. Elise Vale;[24] Giancarlo Esposito appears uncredited as Atlas Foundation director Adrian Vale;[25] and Paul Adelstein appears as Daily Planet reporter Ron Troupe.[26] Freddie Goodwin makes a cameo appearance as a Metropolis police officer during Superman's first public rescue.[27]

Production[edit | edit source]

Development[edit | edit source]

A new Superman film intended to begin a shared superhero continuity entered development at Goodwin Studios in late 2005, after the company began negotiating a long-term production arrangement with DC Entertainment and Warner Bros. Pictures.[28] The project was distinct from earlier attempts to continue or relaunch the Superman film series, with Goodwin Studios seeking to build a continuity that could later include characters from several comic book publishers.[29] Freddie Goodwin, who had been developing an original superhero ensemble project at the time, proposed using Superman as the opening figure because he believed the character could establish "a moral and visual grammar" for the rest of the universe.[8]

The earliest version of the project was titled The Last Son of Krypton and was conceived as a first-contact drama centered on Clark Kent's decision to reveal himself to humanity.[30] Goodwin and David S. Goyer developed a story in which Superman's public arrival caused political destabilization rather than immediate celebration.[31] Goyer said that the creative team did not want to repeat a traditional origin story, since audiences already understood the broad mythology of Superman, but they did want to dramatize the moment when the character becomes a public figure.[31] Geoff Johns was consulted during early development to help identify which comic book concepts could be adapted without overcrowding the first installment.[32]

Goodwin Studios and Warner Bros. considered several directors during early development, including Brad Bird, Sam Raimi, and Alfonso Cuarón, before Bryan Singer entered negotiations in January 2006.[33] Singer was hired later that month, after pitching a film that combined the mythic sincerity of the Richard Donner Superman films with a contemporary political thriller structure.[34] Singer said he wanted the film to acknowledge Superman as an aspirational figure but not assume the world would automatically understand him.[35] Goodwin supported that approach, believing it would distinguish the UCU from other superhero franchises by beginning with "wonder that produces anxiety".[36]

The screenplay went through several drafts between February and June 2006.[37] Early versions featured Brainiac as the primary villain, but the character was reduced to the Kryptonian Archive after the filmmakers decided that Luthor should serve as the human antagonist of the first film.[38] Goodwin said that using Luthor allowed the film to explore human fear of Superman before moving the larger franchise toward cosmic threats.[39] The Atlas Foundation was added during rewrites to connect the film with future UCU projects without requiring direct appearances by other heroes.[40] The final screenplay also included references to Gotham City, S.T.A.R. Labs, Wayne Enterprises, Stark Industries, and A.R.G.U.S., though several of these references were removed from the theatrical cut to keep the focus on Superman.[41]

Pre-production[edit | edit source]

Pre-production began in June 2006 in Los Angeles.[42] Singer and production designer Guy Hendrix Dyas developed Metropolis as a city that combined Art Deco architecture, contemporary glass towers, and large civic spaces designed to make Superman's presence appear both mythic and plausible.[43] The filmmakers wanted Metropolis to contrast with Gotham City, which was already being planned for Batman: Gotham Knight (2008).[44] Dyas said Metropolis was built around "vertical optimism", with LuthorCorp's tower designed as a colder, more corporate echo of Superman's silhouette.[43]

The costume was designed by Louise Mingenbach and a team of sculptors and textile artists.[45] Goodwin wanted the Superman suit to be recognizable immediately while still appearing functional in a live-action setting.[46] Several versions of the emblem were tested before the filmmakers selected a raised shield that could catch light during flight scenes.[46] The costume used layered fabric, molded components, and a flexible cape rigged for wind and wire work.[45] Singer rejected armored designs, stating that Superman's costume should not suggest that he needed protection.[47]

Casting Clark Kent was considered the most important pre-production decision. The studio met with actors including Henry Cavill, Matt Bomer, Jim Caviezel, and Brandon Routh.[48] Routh, who had previously been considered for other Superman projects, screen tested opposite Rachel McAdams in July 2006 and was cast later that month.[5] Goodwin said Routh's performance balanced "stillness, sadness, and warmth", which the filmmakers considered essential to presenting Superman as a public figure who remains emotionally private.[49] McAdams entered negotiations for Lois Lane shortly afterward and was announced in August.[9] Cranston was cast as Lex Luthor after Goyer suggested the character should be older than Clark and established as a respected public intellectual before his villainy is exposed.[12]

Goodwin Studios considered using Zod or Metallo as the film's villain, but both were reserved for potential sequels.[50] Luthor's exosuit was developed from unused concept art for John Henry Irons and LuthorCorp defense technology, with the filmmakers wanting the final confrontation to reflect a human attempt to imitate Superman rather than a conventional robot battle.[51] The Kryptonian Archive was designed as a non-humanoid artificial intelligence, represented through light, voice, and environmental transformation.[52]

Filming[edit | edit source]

File:Chicago skyline from Adler Planetarium.jpg
Chicago was used for several exterior shots of Metropolis, while additional photography took place in Los Angeles and Vancouver.

Principal photography began on August 14, 2006, in Los Angeles, under the working title Beacon.[53] Newton Thomas Sigel served as cinematographer.[54] The first weeks of filming focused on Smallville scenes at rural locations in Kansas and California, including the Kent farm, Clark's childhood flashbacks, and the discovery of the spacecraft fragment.[55] Singer said the production intentionally began with grounded family scenes before moving into effects-heavy material so Routh could establish Clark's emotional foundation before performing flight sequences.[56]

Metropolis scenes were filmed in Chicago, Los Angeles, and Vancouver.[57] The production used Chicago's downtown architecture for the Daily Planet and civic plaza exteriors, while Vancouver soundstages housed the Daily Planet newsroom, LuthorCorp laboratories, and the Kryptonian ship interiors.[57] The Daily Planet set was built as a functioning newsroom with desks, working monitors, and full background article layouts created by the props department.[58] McAdams and Fishburne reportedly asked background actors to continue moving and improvising between takes to give the newsroom an active rhythm.[59]

The elevated train rescue was filmed over three weeks using practical train cars, wire rigs, miniature effects, and digital extensions.[60] Singer wanted the sequence to be Superman's first unmistakable public act, with news cameras, phone footage, and civilian reactions incorporated into the scene.[60] Routh performed several wire-assisted shots himself, though more dangerous impacts were completed by stunt doubles and digital doubles.[61] The sequence was one of the most expensive in the film and was nearly reduced during production, but Goodwin argued it was necessary because the film needed a public reveal that was not tied to combat.[62]

Filming at the LuthorCorp laboratory involved large practical sets built with reflective black surfaces and embedded light panels.[63] Cranston said the environment helped him play Luthor as someone who believed he was already operating in the future.[64] The Kryptonian ship interiors were built with partial sets and extended digitally by visual effects vendors.[65] A rotating chamber set was used for scenes in which the Archive begins transforming Luthor's laboratory, allowing actors to react to shifting floors and lighting before digital crystal structures were added in post-production.[66]

The production used extensive wire work for Superman's flight scenes. Singer and Sigel avoided constant fast movement, preferring long gliding shots to emphasize control and scale.[67] Second-unit photography captured clouds, city plates, and aerial reference footage in California, Illinois, and British Columbia.[68] Filming wrapped on February 9, 2007, though additional photography was completed in April to clarify Luthor's plan and strengthen the film's final scene between Clark and Lois.[69][70]

Post-production[edit | edit source]

Post-production began while filming was still underway, with John Ottman serving as both composer and lead editor before Elliot Graham was brought in to assist with the final cut.[71] Early assemblies reportedly ran over three hours and placed greater emphasis on LuthorCorp's corporate conspiracy, including extended scenes involving the Atlas Foundation.[72] The theatrical cut reduced several continuity references and removed most explicit discussion of other heroes, while retaining Waller's mid-credits appearance and the Jupiter post-credits teaser.[73]

Sony Pictures Imageworks, Industrial Light & Magic, Weta Digital, and Digital Domain contributed visual effects.[74] The visual effects team created digital doubles for Superman, Metropolis destruction, the Kryptonian Archive, the Luthor exosuit, and atmospheric flight shots.[75] Goodwin and Singer requested that flight scenes preserve Routh's face whenever possible, using digital doubles primarily for wide shots or impacts.[76] The effects supervisors studied aircraft footage, skydiving, and bird movement, but ultimately avoided making Superman's flight too physically literal, arguing that the character's movement should feel deliberate rather than aerodynamic.[77]

The final act was revised during post-production after test audiences responded strongly to Clark's emotional conflict but found the Archive's plan unclear.[78] Additional dialogue from Jor-El and Luthor was recorded to clarify that the beacon could attract hostile Kryptonian remnants rather than immediately summon a specific villain.[79] The film's final line, in which Clark tells Lois that he is "not here to rule anything", was added during additional photography.[80] Goodwin later said the line became a guiding statement for the UCU's use of Superman in later films.[81]

A post-credits scene involving Tony Stark was written but not filmed because Goodwin Studios and Marvel Entertainment were still finalizing the release strategy for Iron Man: Armored Dawn (2008).[82] The Waller scene was chosen instead because it could establish a wider universe without requiring another hero to appear.[83] The Jupiter scene was added late in post-production after the creative committee decided to foreshadow the cosmic mythology of the Dawn Saga.[84]

Music[edit | edit source]

Further information: Superman: Last Son (soundtrack)

John Ottman composed the score for Superman: Last Son while also editing the film.[85] Ottman said he approached the music as a continuation of Superman's cinematic language without directly relying on earlier themes, creating a new primary theme built around brass, strings, and choir.[86] Singer asked for a score that could move between "farmhouse intimacy, newsroom movement, and impossible scale".[87]

The soundtrack includes recurring motifs for Clark, Lois, Luthor, the Kryptonian Archive, and the Atlas Foundation.[88] The Clark theme is introduced on piano during scenes at the Kent farm and later expanded into a full orchestral statement during the train rescue.[88] Luthor's theme uses low strings and processed metallic percussion, while the Archive is represented by choral textures and reversed instrumentation.[89] Ottman recorded the score with a 104-piece orchestra and 40-person choir in Los Angeles.[90] A soundtrack album was released by Warner Records and Atlas Music on June 12, 2007.[91]

Soundtrack album[edit | edit source]

Soundtrack album for Superman: Last Son
Title U.S. release date Length Composer Label(s)
Superman: Last Son: Original Motion Picture Soundtrack June 12, 2007 (2007-06-12) 1:08:42 John Ottman Warner Records
Atlas Music

The album was released three days before the film's wide release and included 23 tracks from Ottman's score.[91] Several cues were edited for album presentation, including the train rescue suite, which combines music from three separate sequences in the film.[92] A limited collector's edition released in 2017 included additional demos, alternate versions of the Superman theme, and unused music written for the longer Krypton opening.[93]

Critics generally responded positively to Ottman's score. Film music reviewers praised the main theme for avoiding direct quotation of earlier Superman film music while still using broad orchestral language associated with the character.[94] The Archive theme was more divisive, with some reviewers finding the processed choral effects effective and others considering them too similar to contemporary science-fiction scores.[95] The train rescue cue, "The World Looks Up", later became one of the most frequently reused themes in early UCU promotional material.[96]


A short piece of source music, "Metropolis Morning", was written for the Daily Planet newsroom scenes and performed by a small jazz ensemble before being mixed low beneath dialogue.[97] Ottman said the cue was intended to make the newsroom feel active and contemporary without pushing the film away from its orchestral identity.[86] The cue was not included on the original 2007 soundtrack album but was released on the 2017 expanded edition.[93]


For the 2012 Phase One box set, Ottman also recorded a brief reprise of the theme to accompany a menu sequence that moved from the Kent farm to Metropolis and then into the larger UCU character gallery.[98] Goodwin later said that menu sequence was the first time the studio visually treated Superman as the opening image of the full franchise rather than only the lead of his own film.[99]


The expanded album was later cited by fans as one of the more complete archival releases from the Dawn Saga era.[93]


The cue was also reused in several later retrospective trailers.[96]


Marketing[edit | edit source]

File:San Diego Comic-Con International logo.svg
The film was promoted at San Diego Comic-Con in 2006 and 2007 as the first installment of the United Cinematic Universe.

Marketing for Superman: Last Son emphasized the film as both a Superman relaunch and the beginning of a larger continuity.[100] Warner Bros. and Goodwin Studios announced the title at San Diego Comic-Con in July 2006, where early concept art of Superman above Metropolis and the Kryptonian ship was shown.[101] The first teaser trailer debuted with Happy Feet in November 2006 and avoided revealing Luthor, focusing instead on Clark's voice-over and the tagline "The world will look up".[102]

A full trailer was released in March 2007, highlighting the train rescue, LuthorCorp, and Lois's investigation.[103] The campaign used in-universe Daily Planet articles, LuthorCorp corporate websites, and viral transmissions from the Kryptonian Archive.[104] Goodwin Studios also released a fictional government briefing titled "The Metropolis Event", which introduced A.R.G.U.S. and included heavily redacted images of Superman's first public rescue.[105] The material was later collected on the film's Blu-ray release.[106]

Promotional partners included Burger King, Nokia, Audi, and Coca-Cola.[107] DC Comics published a four-issue prelude comic, Superman: Last Son – Signal, which followed Lois Lane's investigation into missing astronomers before the events of the film.[108] A video game adaptation was released by Electronic Arts for PlayStation 2, PlayStation 3, Xbox 360, Wii, Nintendo DS, and Microsoft Windows in June 2007.[109] Routh, McAdams, Cranston, and Wright reprised their roles for the game.[110]

Release[edit | edit source]

Theatrical[edit | edit source]

Superman: Last Son premiered at Grauman's Chinese Theatre in Los Angeles on June 12, 2007.[111] It was released in the United States on June 15 in 4,211 theaters, including IMAX engagements.[112] The film opened internationally between June 13 and June 29, with early releases in Australia, the United Kingdom, Mexico, Brazil, South Korea, and Japan.[113] It was the first film released in Phase One of the United Cinematic Universe.[114]

The film was re-released in selected IMAX theaters in April 2012 ahead of the release of The United, alongside other Phase One films.[115] A restored version was screened in 2017 for the film's tenth anniversary and included a recorded introduction by Routh, McAdams, Goodwin, and Singer.[116]

Home media[edit | edit source]

The film was released by Warner Home Video on DVD, Blu-ray, and HD DVD on November 20, 2007.[117] The release included deleted scenes, an audio commentary by Singer and Goodwin, the documentary Becoming the Last Son, the "Metropolis Event" viral campaign archive, and featurettes on the film's visual effects and costume design.[118] A two-disc special edition included an extended cut running 145 minutes, restoring several scenes involving Amanda Waller, the Atlas Foundation, and John Henry Irons.[119]

Superman: Last Son was later collected in the United Cinematic Universe: Phase One – Heroes United box set, which was released on Blu-ray on November 13, 2012.[120] The box set included the theatrical cut, the extended cut, new retrospective interviews, and a short preview of Phase Two.[98] The film became available on Max and the United Hub streaming collection in 2022, with a remastered IMAX-enhanced version added in 2025.[121]

Reception[edit | edit source]

Box office[edit | edit source]

Superman: Last Son grossed $255 million in the United States and Canada, and $357 million in other territories, for a worldwide total of $612 million.[4] Its production budget was reported to be $185 million, with an estimated global marketing spend of $95 million.[3][122] Deadline Hollywood estimated the film generated a net profit of $112 million after theatrical revenue, home media, television licensing, and merchandising were accounted for.[123]

In its opening weekend, the film grossed $91.4 million in the United States and Canada, finishing first at the box office.[124] At the time, it was one of the largest June openings for a superhero film and Warner Bros.' second-largest opening weekend for a DC adaptation.[125] The film grossed $34.7 million on its opening day, including $6.2 million from Thursday previews.[126] It fell 48 percent in its second weekend to $47.5 million, remaining in first place ahead of several new releases.[127] The film passed $200 million domestically in its fourth weekend and finished its domestic run with $255 million.[128]

Internationally, Superman: Last Son opened strongly in the United Kingdom, Mexico, Brazil, Australia, South Korea, and Japan.[129] It performed particularly well in Latin America and several European markets, where the film's classical interpretation of Superman was cited by distributors as a major draw.[130] Its global performance was considered strong enough for Goodwin Studios to accelerate development on the remaining Phase One slate.[131]

Critical response[edit | edit source]

On review aggregator Rotten Tomatoes, 83% of 312 critics gave Superman: Last Son a positive review, with an average rating of 7.2/10. The website's consensus reads, "Earnest, visually grand, and anchored by Brandon Routh's sincere performance, Superman: Last Son gives the Man of Steel a hopeful new beginning while laying the foundations for a larger universe."[132] Metacritic, which uses a weighted average, assigned the film a score of 68 out of 100 based on 45 critics, indicating "generally favorable" reviews.[133] Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale.[134]

Todd McCarthy of Variety called the film "a reverent but confident relaunch" and praised Routh for conveying "a quiet decency that makes the enormous scale of the production feel emotionally specific".[135] Kirk Honeycutt of The Hollywood Reporter wrote that the film was at its best when treating Superman's arrival as a global event rather than a conventional superhero adventure, though he felt the final act was "overloaded with franchise machinery".[136] A. O. Scott of The New York Times described the film as "a solemn, occasionally stirring attempt to reintroduce innocence to a genre already becoming self-conscious".[137] Roger Ebert of the Chicago Sun-Times gave the film three out of four stars and praised McAdams's Lois Lane, saying she "turns exposition into pursuit and gives the movie much of its pulse".[138]

Some reviewers criticized the film's pacing and length. David Edelstein of New York wrote that the film was "handsome, sincere, and sometimes too cautious", arguing that its shared-universe setup distracted from its strongest scenes between Clark, Lois, and Martha.[139] Peter Travers of Rolling Stone praised the performances but said the film "spends too much time promising tomorrow when Superman is already enough for today".[140] IGN'ss Todd Gilchrist praised the train rescue and the film's score, but criticized Luthor's final suit as "less interesting than Cranston's performance without it".[141]

Retrospective assessments have generally credited Superman: Last Son with establishing the tone of the UCU's Dawn Saga. In 2017, Empire wrote that the film's greatest importance was not in its plot but in its "decision to begin a mega-franchise with moral clarity rather than irony".[142] In 2022, Collider ranked it among the strongest Phase One films, praising its Lois-centered investigation and the way its post-credits scene suggested a wider universe without overwhelming the story.[143] Some later commentators argued that the film appeared restrained compared with later UCU crossovers, but that its restraint helped make Superman credible as the franchise's symbolic center.[144]

Accolades[edit | edit source]

Main article: List of accolades received by Superman: Last Son

Superman: Last Son was nominated for Best Visual Effects at the 80th Academy Awards.[145] The film also received nominations from the British Academy Film Awards, Saturn Awards, Visual Effects Society Awards, Hugo Awards, and Critics' Choice Movie Awards.[146][147][148][149][150] Routh won the Saturn Award for Best Actor, while McAdams received nominations for Best Supporting Actress from several genre and critics' organizations.[151][152]

The American Film Institute named Superman: Last Son one of the ten notable fantasy films of 2007, citing its "restoration of a mythic American superhero within the language of contemporary blockbuster filmmaking".[153] The film was also included on several year-end top-ten lists, particularly from critics who praised its classical tone and visual design.[154]

Legacy[edit | edit source]

Superman: Last Son is widely regarded within the fictional history of the UCU as the film that established the franchise's narrative and stylistic foundation.[155] The film introduced the practice of using mid-credits and post-credits scenes to connect separate installments, a technique that became a recurring feature of the UCU.[156] Goodwin later said that the film's Waller scene was designed to tell audiences "this was not only a Superman film, but the first public incident in a much larger world".[157]

The film's portrayal of Superman influenced later UCU entries by positioning the character as a moral benchmark rather than a conventional team leader.[158] The United uses public trust in Superman as a major reason other heroes are willing to cooperate, while Superman: Worldbreaker builds directly on the escaped Kryptonian beacon signal established in the post-credits scene.[159][160] Elements introduced in Superman: Last Son, including the Atlas Foundation, the Kryptonian Archive, and Waller's metahuman monitoring program, recur across Phase One and Phase Two.[161]

Sequels and related films[edit | edit source]

Main articles: Superman: Worldbreaker and The United
Further information: List of United Cinematic Universe films

Routh reprised his role as Superman in The United, which was released on May 4, 2012, and brought together Superman, Batman, Wonder Woman, Iron Man, Spider-Man, Captain America, and other heroes introduced during Phase One.[162] He returned again in Superman: Worldbreaker, released on November 8, 2013, which followed the arrival of General Zod and expanded the Kryptonian mythology introduced in Superman: Last Son.[163] McAdams, Lane, Fishburne, Bassett, and Wright also returned for the sequel.[164]

A third Superman-centered installment was discussed during development of Phase Three, but Goodwin Studios instead used Superman primarily in crossover films before relaunching the character with David Corenswet in Superman: Legacy of Hope (2021).[165] Goodwin stated that the recasting was written as part of the UCU's post-End of Time continuity shift rather than a direct reboot.[166]

Themes and analysis[edit | edit source]

Several commentators have described Superman: Last Son as an unusually classical opening film for a modern shared universe because its central conflict is not whether Clark Kent can defeat Lex Luthor, but whether a world defined by institutions, surveillance, and corporate power can accept a figure who refuses to belong to any of them.[167] The film repeatedly contrasts private virtue with public symbolism: Clark is presented as emotionally certain about helping people, but uncertain about becoming a symbol that others may interpret, exploit, or fear.[168] Goodwin said this tension was central to choosing Superman as the first UCU protagonist, because the wider franchise needed a character whose morality could be clear without making the fictional world simple.[99]

The film's treatment of Clark as an immigrant and first-contact figure was also widely discussed. Writers noted that the film avoids presenting Krypton as a lost paradise, instead framing Kryptonian history as a warning about technological arrogance and imperial failure.[169] This allowed the film to separate Clark's moral identity from Krypton's political legacy, a distinction that later became important in Superman: Worldbreaker and United: Infinite War.[170] Lois Lane's investigation provides the human perspective on this theme, as she initially approaches Superman as a public mystery rather than a romantic ideal.[171]

Luthor's role in the film has been interpreted as a critique of defensive exceptionalism. The character identifies real dangers in alien technology, but the film presents his response as corrupted by ownership, insecurity, and the belief that fear justifies preemptive domination.[172] Cranston said he played Luthor as someone who could not tolerate the idea that humanity's future might be inspired by someone he did not create or control.[173] Some critics later argued that this made Luthor one of the more ideologically coherent villains in the early UCU, even though the film's final exosuit battle was more divisive.[174]

The film's religious imagery was intentionally restrained. Singer and Goyer avoided overt messianic parallels in most dialogue, preferring to use visual composition, public reaction shots, and news coverage to show how ordinary people begin projecting meaning onto Superman.[175] Goodwin later said the creative team wanted Superman to be "inspiring but not worshipped by the movie", which informed later UCU films where characters debate whether superheroes should be treated as institutions.[176]

Superman: Last Son also established the UCU's recurring interest in institutions responding to impossible individuals. The Daily Planet, LuthorCorp, A.R.G.U.S., and the Atlas Foundation each represent a different method of interpreting Superman: journalism, privatized technology, state security, and covert futurism.[177] Later phase articles and retrospectives have cited this structure as one reason the film remained important to the franchise even after later entries became larger and more crossover-driven.[178]

Tie-in media[edit | edit source]

Comics[edit | edit source]

Main article: United Cinematic Universe tie-in comics

DC Comics and Goodwin Comics released several tie-in comics connected to Superman: Last Son. The first, Superman: Last Son – Signal, was a four-issue prelude series written by Greg Rucka with art by Jesus Saiz, following Lois Lane's investigation into disappearing astronomers and the first public rumors of LuthorCorp's Arctic project.[179] The series was marketed as a direct prequel to the film and was later included in collected editions of UCU Phase One tie-in comics.[180]

A second comic, Superman: Last Son – The Farm, was released as a one-shot in November 2007 and focused on Martha Kent after Clark leaves Smallville for Metropolis.[181] Reviewers praised the one-shot for expanding Martha's role without retelling the film's plot.[182] A third digital comic, A.R.G.U.S.: File 001, was released in 2012 as part of the marketing campaign for The United, retroactively showing Waller's first classified report after the Metropolis Event.[183]

Tie-in comics for Superman: Last Son
Title No. of issues Publication date Writer(s) Artist(s)
Superman: Last Son – Signal 4 March 2007 – June 2007 Greg Rucka Jesus Saiz
Superman: Last Son – The Farm 1 November 2007 Geoff Johns Gary Frank
A.R.G.U.S.: File 001 1 April 2012 Marc Guggenheim Pia Guerra

Video game[edit | edit source]

Main article: Superman: Last Son (video game)

A video game adaptation of the film was developed by EA Tiburon and published by Electronic Arts in June 2007.[109] The game loosely follows the events of the film while adding missions in which Superman prevents disasters across Metropolis and investigates LuthorCorp technology caches.[184] Routh, McAdams, Cranston, Wright, and Fishburne reprised their roles, while several supporting characters were voiced by different actors.[110] The game received mixed reviews, with critics praising its flying mechanics and orchestral score but criticizing repetitive objectives and inconsistent combat.[185]

The game later gained attention from UCU fans because several side missions referenced Gotham City, S.T.A.R. Labs, and a prototype Stark Industries satellite, connections that were not emphasized in the film's theatrical release.[186] Goodwin Studios later confirmed that some of the game's continuity references were considered "broadly canonical" as background material, though not every mission was treated as part of the film timeline.[187]

Books[edit | edit source]

Several books were published to accompany the film. A novelization written by Max Allan Collins was released in May 2007 and included additional scenes from Clark's childhood, Lois's investigation, and Luthor's first contact with the Kryptonian Archive.[188] A young readers adaptation was released by Scholastic, while The Art of Superman: Last Son collected concept art, production design, storyboards, and interviews with the cast and crew.[189][190] In 2017, Goodwin Studios released Superman: Last Son – The Official Tenth Anniversary Companion, which included a new oral history of the film's development and its role in establishing the UCU.[191]

Deleted and alternate scenes[edit | edit source]

Several deleted scenes from Superman: Last Son were included on the film's home-media release. These include an extended opening on Krypton, a longer sequence of Clark traveling through Smallville before leaving for Metropolis, and a scene in which Lois interviews families displaced by LuthorCorp land purchases.[192] The extended Krypton opening showed Jor-El and Lara placing additional restrictions on the Archive before sending Clark to Earth, but Singer removed the scene because it explained too much of the film's mythology before Clark appears.[193]

A longer version of Waller's mid-credits scene was also filmed. In that version, Waller directly names Gotham City, Stark Industries, and "the Sentinel file", but the references were shortened because Goodwin Studios did not want the first film to feel like a trailer for later installments.[194] The scene was partially restored in the extended cut, though the Tony Stark reference remained absent.[119]

The most discussed deleted sequence involved John Henry Irons testing an early version of the exosuit's stabilizer gauntlet during the final battle. The scene would have foreshadowed Irons becoming Steel in a later project, but it was cut to preserve the focus on Superman and Lois during the climax.[195] Wright later said he understood the deletion, but was pleased that the character remained important enough to return in later UCU projects.[196]

Influence on the United Cinematic Universe[edit | edit source]

Superman: Last Son introduced several formal devices that became common in the UCU. The film uses news broadcasts, institutional briefings, and civilian reaction shots to show how major superhero events affect the wider public, an approach later used in Batman: Gotham Knight, Captain America: Civil Order, and The Authority: Black Sky.[197] It also established the franchise's habit of connecting worldbuilding through fictional organizations rather than constant hero cameos.[198]

The Atlas Foundation, originally conceived as a background organization for Luthor's research, was later expanded into a major connective element across the Dawn Saga.[199] The group appears or is referenced in Iron Man: Armored Dawn, The Flash: Velocity, Spider-Man: Web of Tomorrow, and The United.[199] Goodwin said the organization was useful because it could connect corporate, military, and scientific storylines without making every threat originate from one comic-book universe.[200]

Superman's public debut in the film is also treated as a historical event in later installments. The Flash: Velocity refers to the Metropolis Event during S.T.A.R. Labs testimony, while Batman: Gotham Knight uses Superman's existence as one reason Gotham officials intensify their pursuit of masked vigilantes.[201] In The United, Superman's rescue of the train is shown in a montage of events that convince Nick Fury and Amanda Waller that independent heroes cannot be treated as isolated incidents.[159]


See also[edit | edit source]

Notes[edit | edit source]

  1. ↑ 1.0 1.1 Although Superman: Last Son was distributed theatrically by Warner Bros. Pictures, Goodwin Studios retained creative control over the film's continuity and later home-media inclusion within the United Cinematic Universe.[1]

References[edit | edit source]

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  3. ↑ 3.0 3.1 Lua error in Module:Citation/CS1 at line 2547: attempt to call field 'is_valid_date' (a nil value).
  4. ↑ 4.0 4.1 Template:Cite Box Office MojoTemplate:Cbignore
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  169. ↑ Lua error in Module:Citation/CS1 at line 2547: attempt to call field 'is_valid_date' (a nil value).
  170. ↑ Robinson, Joanna (2021). The Dawn Saga: Inside the United Cinematic Universe. New York City: Atlas Press. pp. 41–54. ISBN 978-1-55555-202-1. {{cite book}}: Check |isbn= value: checksum (help)
  171. ↑ Lua error in Module:Citation/CS1 at line 2547: attempt to call field 'is_valid_date' (a nil value).
  172. ↑ Lua error in Module:Citation/CS1 at line 2547: attempt to call field 'is_valid_date' (a nil value).
  173. ↑ Goldman, Eric (July 2007). "Bryan Cranston's Rational Monster". SFX. pp. 58–61.
  174. ↑ Lua error in Module:Citation/CS1 at line 2547: attempt to call field 'is_valid_date' (a nil value).
  175. ↑ Lua error in Module:Citation/CS1 at line 2547: attempt to call field 'is_valid_date' (a nil value).
  176. ↑ Lua error in Module:Citation/CS1 at line 2547: attempt to call field 'is_valid_date' (a nil value).
  177. ↑ Template:Cite journal
  178. ↑ Edwards, Gavin (2013). Heroes United: The Making of UCU Phase One. Los Angeles: Goodwin Books. pp. 19–33. ISBN 978-1-55555-101-7. {{cite book}}: Check |isbn= value: checksum (help)
  179. ↑ Lua error in Module:Citation/CS1 at line 2547: attempt to call field 'is_valid_date' (a nil value).
  180. ↑ Lua error in Module:Citation/CS1 at line 2547: attempt to call field 'is_valid_date' (a nil value).
  181. ↑ Lua error in Module:Citation/CS1 at line 2547: attempt to call field 'is_valid_date' (a nil value).
  182. ↑ Lua error in Module:Citation/CS1 at line 2547: attempt to call field 'is_valid_date' (a nil value).
  183. ↑ Lua error in Module:Citation/CS1 at line 2547: attempt to call field 'is_valid_date' (a nil value).
  184. ↑ Lua error in Module:Citation/CS1 at line 2547: attempt to call field 'is_valid_date' (a nil value).
  185. ↑ Lua error in Module:Citation/CS1 at line 2547: attempt to call field 'is_valid_date' (a nil value).
  186. ↑ Lua error in Module:Citation/CS1 at line 2547: attempt to call field 'is_valid_date' (a nil value).
  187. ↑ Lua error in Module:Citation/CS1 at line 2547: attempt to call field 'is_valid_date' (a nil value).
  188. ↑ Collins, Max Allan (May 29, 2007). Superman: Last Son. New York City: Del Rey Books. ISBN 978-0-345-55555-1. {{cite book}}: Check |isbn= value: checksum (help)
  189. ↑ Teitelbaum, Michael (June 2007). Superman: Last Son Junior Novel. Scholastic. ISBN 978-0-545-55555-2. {{cite book}}: Check |isbn= value: checksum (help)
  190. ↑ Vaz, Mark Cotta (June 2007). The Art of Superman: Last Son. Chronicle Books. ISBN 978-0-8118-5555-9. {{cite book}}: Check |isbn= value: checksum (help)
  191. ↑ Bennett, Tara (2017). Superman: Last Son – The Official Tenth Anniversary Companion. Goodwin Books. ISBN 978-1-55555-217-5. {{cite book}}: Check |isbn= value: checksum (help)
  192. ↑ Template:Cite AV media
  193. ↑ Lua error in Module:Citation/CS1 at line 2547: attempt to call field 'is_valid_date' (a nil value).
  194. ↑ Lua error in Module:Citation/CS1 at line 2547: attempt to call field 'is_valid_date' (a nil value).
  195. ↑ Lua error in Module:Citation/CS1 at line 2547: attempt to call field 'is_valid_date' (a nil value).
  196. ↑ Lua error in Module:Citation/CS1 at line 2547: attempt to call field 'is_valid_date' (a nil value).
  197. ↑ Template:Cite journal
  198. ↑ Lua error in Module:Citation/CS1 at line 2547: attempt to call field 'is_valid_date' (a nil value).
  199. ↑ 199.0 199.1 Lua error in Module:Citation/CS1 at line 2547: attempt to call field 'is_valid_date' (a nil value).
  200. ↑ Template:Cite AV media
  201. ↑ Lua error in Module:Citation/CS1 at line 2547: attempt to call field 'is_valid_date' (a nil value).

Further reading[edit | edit source]

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  • Lua error in Module:Citation/CS1 at line 2547: attempt to call field 'is_valid_date' (a nil value).
  • Lua error in Module:Citation/CS1 at line 2547: attempt to call field 'is_valid_date' (a nil value).
  • Template:Cite AV media

Template:Refend

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