I have often lamented the over-preponderence of superhero movies currently dominating the multiplexes. Those who share my misgivings may take some solace in Brightburn, which, although an unashamed slice of shlock, at least gives this increasingly played-out genre a fresh coat of paint (even if the colour in question is undoubtedly a dark shade of crimson). Produced by James Gunn, written by his brother, Brian, and his cousin, Mark, Brightburn is founded upon a simple question. What if somebody with superpowers was actually a psychopath?
Tori and Kyle Brever (Elizabeth Banks and David Denman) are the long married couple living in the wilds of Kansas, who have been trying for years to have a baby, with zero success. The late night crash-landing of a vehicle from outer space gives them the unexpected opportunity to adopt its sole passenger, a newborn baby. If this sounds familiar, it should do. It’s a cheeky borrowing of the Superman origin story.
The child, whom they name Brandon (Jackson Dunne), is fairly ‘normal’ until he hits puberty, when he starts to experience anger issues. Quite typical of an adolescent, I’ll grant you, but Brandon also begins to discover that he has some pretty amazing super powers – and, as they develop, so do various unsavoury habits that would give Clark Kent an attack of the vapours – like wearing a seedy-looking costume, spying on any girl who is unlucky enough to pique his interest, unleashing bloody mayhem on those who are rash enough to cross him, and leaving his monicker at the scene of the crime. (Be warned. The film focuses unflinchingly on visceral injury detail. Anyone who is twitchy about eyes and broken glass may want to look away at a key moment in the story.)
So yes, this is shlock, but it’s better produced and acted than most of the films that occupy this genre and manages to generate enough suspense to keep you hooked throughout. There are jump-scares too for those who like that kind of thing. Whilst the storyline doesn’t stand up to an awful lot of scrutiny, you do at least identify with Tori and Kyle’s inner conflict. Coming to terms with the fact that your adopted son is a brutal killer is not the kind of thing anybody would want to have to deal with, but deal with it they must.
And, as the body count steadily rises, they realise it’s time to take a stand…