Directed By David Yarovesky
Starring – Elizabeth Banks, Jackson A. Dunn, David Denman
The Plot – What if a child from another world crash-landed on Earth, but instead of becoming a hero to mankind, he proved to be something far more sinister?
Rated R for horror violence/bloody images, and adult language.
– Beauty in the darkness. As an expressive visionary, Cinematographer Michael Dallatorre has always been someone who visually brings forth an entrancing pulse to the settings and filming locations that make up his lurid shot compositions, but “Brightburn” is easily his best work to date. Channeling an ambiguous decay in coloring textures, which brings forth an inexplainable fog that constantly plagues our character’s, the film does what D.C couldn’t, in that it seeks out motive for the grittier, grimey presentation that is easily reflective of its central antagonist. Movies being dark for the hell of it are often taking advantage of a visual gimmick for nothing other than a brooding take on an ages old story, but Dallatorre grasps this poison in the air that many can feel, yet no one can admit, and it establishes a vibe for this film from the get-go that visually conveys that this superhero flick goes darker than any other one you’ve ever seen.
– Ties to Superman. This film has been credited as being James Gunn’s dark twist on the Superman origin relic that everyone young or old has come to know by this point, and while the similarities in alien powers and adoptive parents certainly goes a long way to cement this feeling, it’s the divided roads with the powers that each superhero has that makes this film stand-out as a ‘What if?’ tale of sorts, that brings Superman to The Twilight Zone. The kid in this film being too young to fully grasp the consequences of his powers is something that gives the movie great vulnerability and urgency for all of its character’s, and because of such we’re juxtaposed from a world seeking hope in Metropolis, to a world quickly losing it in Brightburn. It answers some long debated questions revolving around Superman taking the road less traveled, and stands as a worse case scenario when the world’s greatest strength is also its biggest destruction.
– Isolation in setting. This, just like the comparison to Superman, is inevitable, as the stretched countryside of this small town not only puts the character’s far away from the eye of the public when the devastation begins, which helps keep the lid on the details getting out, but also helps elevate the tension and anxiety of the constant silence that surrounds the curiosity of these people from what goes bump in the night. In addition to this, the nane of the town itself, “Brightburn”, is the answer to the question, as its banner is featured in a few blink-and-miss-it moments in the background, that play a subtle resolution to the film’s cryptic title. Finally, the school used in the film is actually the very same school used in “Stranger Things” seasons one and two, proving that other-worldly things is actually a common everyday occurrence for a place known for its curriculum terrors.
– Adolescent dynamic. One of the aspects of the script that I found so uniquely refreshing is in the way it contrasts and justifies what is going on in Brandon’s life to the spring of teenage puberty. In this regard, the film can be taken as a nuanced commentary piece towards adolescence, albeit in entirely satirically powerful directions given to our growing boy. When you consider that the terror begins on Brandon’s 13th birthday, the short nerves, testy decisions, and blossoming interest in females, all feel like familiar beats that every kid has to go through once he gets to that particular age, and with a quick re-write and a couple of scenes edited out, this film could’ve easily been just about the dreaded change associated with such a terrifying coming-of-age, but then we would miss out on so many of the cool things that I have yet to talk about.
– The birth of a new subgenre? Mixing the elements of superhero and horror is a very ballsy move, but thanks to the knowledge of the hands on deck of each respective genre, the film manages to seamlessly weld them into this Frankenstein project that lives and breathes with respect to the measures that make each familiar. Could these be considered cliches? Absolutely, but I feel like those familiar beats should be present, especially in a first time marriage between the two, if nothing other that to easily immerse audiences into how beautifully each of them vibe together. The jump scares, panning camera movements, and typecast parents dealing with a demented child, are all still there to represent horror, as are the origin story narrative, big budget effects, and of course iconic symbolism are to represent superhero stories, and each is represented in a way that gives a blissful 50/50 allowance for each to play into the story, without either of them encroaching on the effectiveness of their respective properties. During an age when superhero films are overcrowding the box office, “Brightburn” brings forth something fresh to breathe life back into it, and should be commended for the gutsy determination in stitching together two sides that up until now couldn’t be further from synonymous.
– One man stage. It’s not that I have a problem with Banks, Denham, or any of the other adult protagonists, but Dunn’s impression left on the film is one that commands much of the attention to him, leading to a breakthrough performance in his first starring role on the silver screen that echoes with each unsettling scene. As Brandon, Dunn’s stirring silence is something that seeps into our skin with triggered anxiety, establishing a level of sinkable weight on the perspective of this family that leaves them astonished in the transformation from this once sweet little boy, to the dangerously deviant defiant who stands before them. Most kid actors have trouble feeling believable in confrontations with adults, but because of the magnitude of powers instilled in him from a higher power, as well as the intelligence articulated from Dunn in understanding the depth of every situation, the work of Jackson flies higher than the heights reached by cape.
– Refined special effects. What is commendable here is that the inclusion of gravity defying feats are saved for sporadic moments of dazzle that maintain the wow factor in not overdoing it, as well as the sequences themselves having strong live action impact for the properties they collide with. This not only fleshes out the effects with weight for believability, but also renders the impossible possible with the scale of stunt feeling mostly reserved. There is one exception, however, and it deals with a lawnmower being thrown hundreds of yards to the bewilderment of the little boy. But the scene is shot and edited in a such a way that barely allows you time to focus on the mower itself, and long before logic sets in, the incredible launch of a 200 pound machine lights up the sky like a shooting star, solidifying a tempo for the film’s action sequences that remain sharp throughout the duration of the film.
– Perfect pacing. Although I have problems with the film’s run time, which I will get to in a minute, the pacing of the screenplay is so crisp in non-stop action and Brandon’s personal conflicts one after the other, that the film feels about half of the fluffy 85 minute run time that it boasts. It helps that the film wastes no time in bringing audiences into its world and character’s, introducing us right away to the couple and alien arrival that sows the seeds for each of their eventual confrontations, but what really triggered my interest was how little of downtime there is in between these scenes of extraordinary. This can normally hurt a film if it’s too much of the same thing, but what I appreciate is that each scene varies in pitting urgency, depending on that character’s kind of interaction with Brandon prior to this, and each evolution leads to dramatically different conclusions, bringing forth an air of creativity to the progression of scenes that constantly keeps familiar set-ups feeling fresh for the fun that this director and screenwriters incorporate into the fresh take of genre direction.
– Rushing the details. The backlash from that 85 minute run time is everywhere. From the limited exposition in the origin and backstory of our central character, to the longterm build of certain bully character’s not getting the revenge that they deserve, to the flat ending that just kind of lacked emphasis. In rushing through the script’s more personable moments, especially during the opening act, it will have an unavoidable consequence on your investment into the film and character as a legendary presence on-screen. For my money, the film could easily use another fifteen minutes to solidify the importance of some supporting cast, as well as offer more moments of personal reflection for the boy learning to grow with newfound powers.
– Skimping on the deaths. Aside from one death sequence, which is arguably the most lasting presence that an on-screen death has had on me in years, the majority of sequences minimalize the effects of the single biggest detail; the devastating final blow. For some of them, they happen so fast that we don’t register what actually happened. For others, the occasion happens so far in the distance that you don’t get to soak in the gory details of blood and prosthetics, which thanks to the exceptional death that I mentioned earlier, are actually superb when they get the rare focus that they rightfully deserve. While the elements of horror still resonate throughout the many obvious tropes throughout the film, the biggest one is rarely anywhere to be seen, standing as the one matter in a superhero horror film that requires articulation to reach perfection.
My Grade: 8/10 or B