Brightburn is one caped guardian that does not burn brightly. This was always going to be divisive. Blending the common "Superman" archetype with a refreshing horror spin. Exploring the eternal question of "what if a superhero turned bad?". The answer is, unfortunately, not Brightburn. Whilst it does dabble into its original concept, there were too many Gunn's in this pitch-black saloon shooting blindly at each other. A couple adopt a boy who crash lands in his spaceship near their farm, only for him to accept his intended murderous purpose years later.
Nature versus nurture. Determining whether human behaviour is factored by the environment or parental upbringing. That, should've been, the central premise to this unique and often harrowing story. And occasionally, in times of emotional turmoil, it illustrates the argument. Whether it is Banks (who was excellent in this!) and Denman arguing over the fate of their extraterrestrial son, or Banks sobbing to save her life (bad move...).
Frustratingly though, the story veers down a different a route. A more simplistic, nihilistic and monotonous road that never lives up to its full potential. James Gunn, as of late with the Twitter non-story, is becoming a household name for imaginative plots. However, instead of writing the screenplay himself, he hired brother Gunn and cousin Gunn. Both of which are not well versed in screenwriting, which clearly showed here. The unnecessary forced comedy failing to crack any smiles. Exploring themes of bullying and remorse yet never utilising them to affect the character. Metaphorically representing emotional changes when undergoing puberty, but rather focusing on abnegation.
The Gunn's set up these contemporary strands of excellence, only to predictably fly straight down the obvious middle path. A certain plot point, involving a glowing red message from the glowing red spaceship, instantly relinquished any means of thematic purpose. That, for me, was the biggest letdown. For such a unique premise, it could've done so much more with the genre. Literally picking it up with its superhuman strength and flipping it repeatedly until it became something new entirely.
Atleast Yarovesky delivered on gore and the ominous horror elements. Inventively using a range of traditional super powers, from searing heat vision to super speed, to murder townsfolk. These scenes, and fortunately there were several, was when the film truly entertained. Embracing the terrorising aesthetic to create suspense-driven carnage. The third act was a true testament of this. A shame about the rushed and emotionless ending though, which hindered the staying power of the film's dread. Oh, and for such a low budget I was impressed with the technical elements. Dallatore's cinematography was often stunning, particularly when surrounded by red strobing lights. And Elsen's editing, minus the unusual abrupt transition after one sudden killing, flowed effortlessly.
Just infuriating that the direction the story took was too dull for its own good. Neither fully encapsulating me with its proposed entertaining concept or boring me with its outlandish horror. Much like the film, my opinion lies straight down the middle.
