There are effective and funny well gored scenes in order to physically provoke the body. A sense of repulsion where the eyes unwittingly close. However, they open up quickly enough to discover just how rarely does history embrace its insane themes.
What would happen if the superheroes gathered on Earth were not there to defend human beings? It is this original idea that takes root in Brightburn.
A couple living on a farm who found a baby in a meteorite falls naked when growing up, this boy uses his special powers for the wrong purpose. No more calling him Superman…
The superhero film is increasingly bathed in specific genres, whether it’s the spy drama, the western or the romantic comedy. This time it is a matter of horror, following the pattern of the wicked children – let us think of The Omen or We Need to Talk About Kevin – who do harm, voluntarily or not. Was this evil seed there from birth, or was it shaped by parenting, intimidation of loved ones, and failing humanity?
Let’s go for the teenage crisis, as the body changes and abilities appear, just like those damn voices in the head. The rather long first part explores this metaphor without skimming on the common places (Carrie’s shadow is evident there). A little more and you’d think you’re looking at a variation or a parody of Man of Steel. Even the music is similar.
Suddenly the psychological aspects are put in the cloakroom and the feature film turns into an elementary slasher, in the line of Halloween. It doesn’t matter if the actors’ play is very variable and the realisation of David Yarovesky (to whom we owe the very ordinary The Hive) lacks inventiveness. There are effective and funny well gored scenes in order to physically provoke the body. A sense of repulsion where the eyes unwittingly close.However, they open up quickly enough to discover just how rarely does history embrace its insane themes.
Brian and Mark Gunn’s superficial narrative – the duo behind the Journey 2: The Mysterious Island – has more of an evocative effect, referring to a certain James Gunn (the brother of the first and the cousin of the second) who acts as a producer. Long before his Guardians of the Galaxy, the filmmaker loved to feel the thrilling hemoglobin and the thunderous malaise, both as a director (Slither) and as a simple writer (Dawn of the Dead, Tromeo and Juliet…). The whole thing culminated with his incredible Super, which brilliantly diverted the work of superheroes for purposes of horror and black humour.
There is no such ambition behind Brightburn.Nor that, as in the recent and unloved Glass, to rethink the genre. Yet there are many Mr. Night Shyamalan within this both powerful and poetic conclusion. The space of a few majestic seconds, the spectator is no longer in front of a simple B series or a Chronicle for informed public. The return to earth is only more brutal.