BRIGHTBURN Review—This Sets the Bar for Superhero Horror Movies
Josh Millican
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Starring Elizabeth Banks, David Denman, and Jackson A. Dunn
Written by Brian Gunn and Mark Gunn
Directed by David Yarovesky
Brightburn met all of my expectation and, believe me, I went in with high hopes. Did it exceed my expectations? No, but for one very specific reason (and my only real complaint about the film): The money shots have already been revealed in the film’s trailers. Had I not already seen this imagery, I would have been stunned, but I knew exactly what was coming (and was actually waiting for it). In its defense, the trailers don’t spoil all of the film’s gems, especially when it comes to close up, cringe-worthy gore. But the conclusion is already out there: Clear as day. In that sense, it couldn’t possibly exceed my expectations, since it already set them.
Moral of the story: If you haven’t seen the trailer for Brightburn, please don’t. Perhaps I’ll be able to live vicariously through your experience of what is a very heavy and, objectively shocking ending. If I can only save one person from seeing those money shots in advance, this review will have been worth it. And the good news is, Brightburn is good enough to see without getting confirmation from a trailer. You can take my word for it: Brightburn sets the bar for superhero horror movies, potentially paving the way for a legitimate, new subgenre in the 21st century.
Yes, I’m aware that the Blade trilogy exists, but what makes Brightburn exponentially more terrifying is that (as far as we can tell) the film doesn’t exist in a fantasy world like those presented by Marvel and DC; rather, it’s our world, where all the laws of physics function normally, and the idea of a creepy kid who can fly is actually unnerving—especially when he can also kill with ease. Whereas Blade exists in a world crawling with vampires, and Venom exists in the same universe as The Avenger, Brightburn takes place in the real world. Once that fact is sufficiently conveyed, everything becomes genuinely tense (and I mean that in the best possible way).
As far as storytelling goes, it Brightburn essentially relies on the fact that the Superman mythos is part of the zeitgeist, needing no introduction or recap in order to subvert. There’s no surprise beyond this unique premise (and the fact that director David Yarovesky pulled it off because Brightburn could have easily gone south in less capable hands) but there’s plenty of subtexts. Unfortunately, screenwriters Brian Gunn and Mark Gunn hit us repeatedly over the head with it.
I think the audience is smart enough to figure out that, thematically, Brightburn is a metaphor for puberty without exposition explaining the obvious. The porno under the bed parallel was instantaneous and didn’t need to be articulated. Because it’s a story we all know: Brandon Beyer (played by Jackson A. Dunn) was mama and papa’s pride before the dreaded switch. Practically overnight, he’s not a kid anymore: He’s stronger, disobedient, girl-crazy. And while most boys don’t actually go psychotic during adolescence, there is an explosive cocktail of hormones in every teenager’s blood; paired with a lack of impulse control and a sense of entitlement, sprinkle in some narcissistic disorder, and it’s a formula worthy of a horror movie even before you throw in the otherworldly elements.
If you take a deep dive, Brightburn could be a jumping-off point for conversations about parental accountability when it comes to children who commit atrocities. Of course, this line of inquiry gets depressing fast, and I honestly doubt it was at the forefront of anyone’s mind during any stage of the movie’s production.
Brightburn is what I would consider a soft-R: Definitely worthy of its restricted rating, but not so over-the-line that it’ll offend fans of superhero movies. This isn’t Martyrs by any stretch of the imagination. So brace yourself for a few good jump-scares and some heavy gore, but no one’s going to walk out of the theater traumatized (even underaged kids who may be lucky enough to sneak in).
What I love most about Brightburn is the way it claims residency in the world of cinematic comic-book adaptations without actually being one, because there is no pre-existing source material. So while there’s no Brightburn series or graphic novel for fans to explore, there also aren’t any pre-conceived notions about who these characters are supposed to be, eliminating the fanboy backlash factor. It’s also a brilliant reminder (especially at a time when the superhero movies are becoming, like, so 2015) that today’s fear practitioners and studio execs don’t need to rely on built-in audiences. Quit rehashing that past and, instead, reward those who forge new pathways. Congrats to the entire team who brought Brightburn to life. Long may his mayhem reign!
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Brightburn
Summary
Brightburn sets the bar for the burgeoning superhero horror subgenre, meeting all of my high expectations based on the film’s marketing. Despite the overhanded conveyance of its puberty metaphor, the film has heart, soul, and scares. Brightburn also has franchise potential written all over it, so if enough people dig it as much as I did, we could be seeing more of Brandon Beyers in the future.
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