Superhero movies have consistently dominated the box office in recent years, thanks to the Marvel Cinematic franchise, introducing new fans to the world of superhero comics. For some, however, the influx of superheroes is starting to cause ‘Superhero Fatigue’ in which devotees to cape and cowl garbed heroes suffer a frustrating sensation of exhaustion – and sometimes boredom – thanks to the sheer volume of capes and bright colours on offer, sweeping over Comic Cons like a plague of super powered locusts. Previously known as the ominous James Gunn Horror Project, which sounds like a new concept band featuring ‘80s slasher stars, David Yarovesky teamed up with James Gunn and Kenneth Huang to offer Brightburn as an alternative for those who feel they have fallen victim to the unfortunate affliction.
I want to do good mom… I do!
Somehow I struggle to believe that, Brandon
This may seem familiar, even to non-superhero fans, as Brightburn begins when a small space pod crash lands in the middle of a farm owned by the Breyer’s, a young couple who have been unsuccessfully trying for a baby. How convenient. You can be sure that, as with most children, that ‘convenience’ will be seen in a different light later on as he gets older, though perhaps for different reasons, involving laser eyes and super strength. Regardless, named in true Stan Lee fashion, Brandon Breyer is raised like their own, leading him to believe he was adopted from an orphanage – news he doesn’t take too kindly to as he gets older. 10 years later, Brandon is at school and hitting adolescence, and like all would-be super kids, realises he has unique abilities. Naturally, he discovers this by shoving his hand into a lawnmower blade.
But where does his pod land? Why Kansas, of course. Because where else would an alien baby crash land? Like that other caped boy scout you might be familiar with. Right from the beginning you’ll recognise all the familiar tropes, whether you’re a more dedicated superhero fan, or have a more casual familiarity with Christopher Reeve and a few of those Robert Downey Jr. pictures people rave about – Iron Guy, was it? Wherever Brandon really came from, his folks were kind enough to gift wrap him in a red blanket to become his own cape – though the hood makes him look more like a demonic Sandman, which will be an ongoing theme later on.
However as the story progresses, Brightburn makes it clear that it isn’t a conventional superhero movie. While it certainly follows the familiar origin narrative we’ve seen since the debut of our favourite do-gooder in the pages of Action Comics #1 (June 1938), Brandon Breyer takes as many opportunities as he is presented with to subvert our expectations, whether a brooding session ends with a tantrum that results in someone being crushed in a car, or drawing his satanic double ‘B’ insignia (as in Brightburn, aka Brandon Breyer) all over the place, like using Superman’s ’S’ as a psychotic calling card.
Kyle: Maybe there is something wrong with Brandon. He may look like us. But… He’s not like us!
Tori: I will never turn against our son
Kyle: He’s not out son! He’s something we found in the forest
Kyle and Tori argue over the danger Brandon poses
The similarities are clear enough, making the subverted nature of his character all the more potent. Admittedly his behaviour becomes more predictable as the story progresses; you can hazard a guess that where Christopher Reeve would romantically fly Lois into the sky and catch her if she fell, Brandon would more likely take her up and simply let go. Even despite this, as a twisted parody, Brightburn is still entertaining and retains a tense, apprehensive atmosphere. One scene in particular mirrors the iconic cover of Action Comics #1, but offers an alternative answer to the question it originally sparked: is the new character (Superman) holding up the car hero or villain? As he proceeds to smash it with a hapless victim inside, Brightburn’s answer becomes fairly clear. Incidentally, scenes like this do provide the film with a more predictable horror style.
To comic book fans, Brightburn is more inline with popular ‘what if Superman…?’ stories, like a DC Elseworlds comic with the likes of Superman: Red Son, in which Superman’s pod crashes in Soviet Russia during the Cold War, instead of Kansas. I don’t doubt for a moment that James Gunn came up with the idea for Brightburn from one of those conversations all good comic book fans have about ‘what if Superman was more like Damien from The Omen?’ or ‘What if Zod’s baby crashed in Kansas instead of Kal-El?’
Considering the unique nature of the concept alongside current popular superhero cinema, it is a shame it’s crammed into a short 91 minutes. It’s not often we’re left wanting more to elaborate on concepts and plot points, usually finding a preference for ‘less is more’ since in the world of superheroes, we’ve seen it all before. Regardless, Brightburn is undeniably unique as a dark Superman parody. There’s also a deal of emotional depth present which would certainly have benefitted from a longer run-time, though perhaps Brandon’s body count part way through prevented him from allowing this to happen, taking up the mantel left by slasher villains such as Jason Voorhees and Michael Myers, with more of a Superboy x Carry vibe. Makes you think Batfleck was right to question Cavil’s Superman in Batman vs. Superman.
Brandon: You’re one of the few people who know how special I am. I know I’m superior
Caitlyn: My mom doesn’t want you anywhere near me anymore
Brandon: Don’t worry… I’ll take care of it
Caitlyn receives an unexpected visit from Brandon…
With Elizabeth Banks and David Denman as Tori and Kyle Breyer, the story of our younger resident Kents turns drastically more tragic, seeing as the child they always wanted turned out to be a rampaging psycho with heat vision and anger issues. Something of a trend amoung adopted horror kids with powers, it would seem. Joining them is Matt Jones (Badger from Breaking Bad) as the unfortunate uncle, Noah McNichol, who’s moments of comic relief help establish Brightburn’s dark sense of humour. He also happens to be one of the highlight characters for this reason, offering much needed levity for those feeling drab and hopeless thanks to Brandon’s morbid tendencies.
As Kansas’ new Superson, Jackson Dunn manages to establish a sense of sympathy for the character early on, coming across as a bright kid with internal struggles. The usual 12-year-old stuff: dealing with school bullies, realising that he might be something ‘superior’ (to use his own term) to his foster family, while struggling with adolescence, though with more alien side effects. However you might find holding on to those sympathetic thoughts a challenge as he begins to walk down a darker path, showing little remorse or empathy for those around him. That, and he comes across as a bit of a creep at times. Jackson Dunn succeeds in elevating Brandon’s villainous potential beyond simply a twisted, introverted Superman – quite literally, since he can fly – even despite all the parallels and parodies, though that remains a valid part of his character.
Accompanying his descent into super-psycho-villainy, Timothy William’s score is somewhat minimalistic, though the ‘Breyer Family’ theme may seem reminiscent of Hans Zimmer’s Man of Steel score, ‘Flight’. For the most part, the music serves to fill out the background, without a pivotal theme – unlike most traditional superhero soundtracks. If anything, it’s more inline with what you might expect from a typical horror movie, an indication perhaps that Brightburn isn’t a Marvel or DC outing. In some regards this is a change of pace with it’s superhero introduction, and scores like ‘I’m Very Special’ or ‘Called to the Barn’ – which utilises a more industrial soundscape – add a sense of thrill and suspense to compliment the all-too-familiar creepy kid theme.
If Brightburn had a main theme, it might be Billie Eilish’s Bad Guy, which plays over the end credits. During these credits it’s also implied that there might be more to come from our anti-heroic kid in red, too. Perhaps this could be the making of a new Injustice Gang, or the troublesome, adolescent Ex-Kids?
You know, sometimes, when bad things happen to people, it’s for a good reason
Brandon Breyer to Merilee McNichol
With a bleak ending that subverts both the superhero origin plot and typical rampaging psycho kid horror ending, it’s certainly refreshing to see someone else tackle the familiar superhero without slapping on an ’S’ or a spider on their chest. If you’re feeling the superhero fatigue that inevitable plagues us all, you might find some solace in Brightburn‘s subversive origin story. Assuming Brightburn doesn’t melt you’re brain, or crush you in a car…
Coincidentally, while it’s promoted as ‘superhero horror’, doesn’t that just make this a ‘supervillain’ film? Brandon’s certainly super, but a hero he is not.
