An inversion of the iconic ‘Superman’ origin story, ‘Brightburn,’ released in 2019, is a film with an aggressively simple pitch, essentially boiling down to “What if the Man of Steel was Humanity’s Oppressor Rather Than its Saviour?” And even though the film doesn’t fully follow through on that enthralling premise, primarily as a result of its sketchy screenplay and often botched sense of dread, ‘Brightburn’ crossbreeds horror tropes with superhero staples in an effective enough fashion to at least offer something unique for enthusiasts of both genres.
Plot Summary: After a difficult struggle with fertility, ‘Tori Breyer’s dreams of motherhood become a reality when a child from another world crash-lands on her farm. But, years later, as ‘Brandon’ nears puberty, a darkness begins to manifest within him, leading ‘Tori’ and her husband: ‘Kyle’ to become overwhelmed with terrible doubts concerning their son, doubts that soon put them in grave danger…
Directed by David Yarovesky (The Hive, Nightbooks) and written by James Gunn’s brother and cousin, Brian Gunn and Mark Gunn, respectively, ‘Brightburn’ certainly succeeds in its main goal, setting-up an almost identical scenario to ‘Superman’s origin before then taking the narrative in a far darker direction. And the film clearly has no pretences with what it’s drawing from, as ‘Brightburn’ actually shares many similarities to the ‘Superman’ comics beyond just its story. From ‘Brandon Breyer’s name following the comic book convention of superheroes with alliterative first and last names, such as: ‘Clark Kent,’ ‘Peter Parker’ and ‘Bruce Banner,’ to the story taking place in Kansas, the same state where ‘Kal-El’ touched down and later grew-up to become ‘Superman.’ The film’s connections to the ‘Man of Steel’ are ever-present, even extending to the costume design in certain scenes as ‘Brandon’ wears combinations of blue, red and yellow, the principal colours of: ‘Superman’s classic outfit. Still, all of this association doesn’t fix what is ‘Brightburn’s most predominant problem; its runtime. As the plot is squeezed into a very brief ninety-one-minutes, meaning the film wastes no time in jumping straight into ‘Brandon’ discovering his abilities and embracing his detrimental side, thus, the story allows for little emotional investment, with much of the first act being nothing but scene-after-scene of what seem like trailer-made moments.
When it comes to the cast, Elizabeth Banks and David Denman share most of the film’s character-related scenes as the pair portray concerned parents starting to suspect that their blessing from the stars might, in actuality, be a curse. However, whilst this is an acceptable start for writing your central characters, ‘Tori’ and ‘Kyle’ have little nuance and barely any development outside of the love (and eventual doubt) they share for their son. Then there is ‘Brandon Breyer’ himself portrayed by young actor Jackson A. Dunn, who does a great job not only considering his age, but also a similar lack of characterisation. As once ‘Brandon’s twelfth birthday arrives, his psychopathic behaviour suddenly arises, morphing him from an innocent child to a homicidal supervillain so swiftly it appears forced, even if Dunn’s performance does help to make the transition feel slightly more believable through his complete absence of emotion during the latter half of the film.
Aside from some nice visual nods to further associate itself with ‘Superman,’ including a sweeping rural landscape and a farmhouse interchangeable with that of: ‘Clark Kent’s. The cinematography by Michael Dallatorre is fairly unremarkable, often just displaying shots without much thought or creativity put into them. With that said, many of the film’s CG effects are solid, especially when taking into account the film’s budget, which was considerably smaller than most superhero blockbusters.
Moreover, despite being described as a merging of superhero and horror soundtracks, make no mistake that the bulk of the original score for: ‘Brightburn,’ composed by Tim Williams, is firmly entrenched in the horror genre, with tracks usually starting-out slow and composed before warping into something far more nightmarish, likely symbolising ‘Brandon’s gradual corruption from the evil that dwells within him. This idea is further illustrated by the unnerving sound design, as the more ‘Brandon’ falls into the abyss of immorality, the more distorted voices he begins to hear, each speaking a foreign alien language.
Unfortunately, out of the two genres ‘Brightburn’ is attempting to represent, the film undoubtedly appears underbaked on the horror side of things, as ‘Brightburn’ lazily relies on clichéd scares like flickering lights and twitching curtains. Meaning it’s a rarity that the film actually tries to build tension or have any frightening occurrences outside of loud jump-scares or the admittedly gruesome ways ‘Brandon’ disposes of his victims.
In conclusion, between the red cape and blazing heat-vision, ‘Brightburn’ is a film that knows exactly what it is; an immoral retelling of an established superhero’s beginnings complete with plenty of violence and an abundance of horror trickery. Yet all of the film’s spectacle ultimately feels meaningless when compared to its deficiency of strong characterisation and emotional depth. And, as such, a majority of the film’s most entertaining moments come at the expense of understanding any of the characters on a deeper level, consequently leaving ‘Brightburn’ a film that never manages to strive past the subversive elevator pitch it was conceived as. Final Rating: high 5/10.