BRIGHTBURN. Country: USA. Director: David Yarovesky. Screenwriters: Brian Gunn, Mark Gunn. Language: English. Cast: Elizabeth Banks, David Denman, Jackson A. Dunn, Matt Jones, Runtime, 90 minutes. Release, May 24, 2019. Home Release: August 20, 2019.
Mostly Indies rating: B–
Earlier in May, a little movie called Brightburn suddenly showed up in several multiplexes (mainly AMC) and with next to no promotion, no commercials, nothing. It went to score rather respectably in the box office, making back its budget in its opening weekend and emerging quite the winner despite a lack of back up of seasoned critics. I will admit that I sometimes tend to avoid pictures like these because there is a risk that they will either be truly terrible and go straight to video merely a month later, and who wants to waste even 90 minutes plus promos to sit back and watch an atrocity play in front of you? Yeah, me neither. [It’s why there will be a conspicuous lack of Fs and barely some D ratings here at Mostly Indies because… well… I just won’t.]
So I did the logical and decided to wait for its release. Now that I’ve seen it in the middle of an insane film festival I can say that this one’s not that bad, not even close. Brightburn tells the story of Superman — or at least, it uses the blueprint of the Superman mythos — and flips it like an omelette. Let me explain. So at the start of the movie we get Tori and Kyle Breyer (Elisabeth Banks and David Denman), a married couple living in rural Kansas. Right from the start their lives are upended when a meteor crashes onto their property. Curious to see what it is, they go out, and soon we learn through home video that they’ve become the parents of a baby boy named Brandon (Jackson A, Dunn). Brandon is whom they found in the ruins outside their house.
Flash forward a few years, however, and Brandon, who’s at the threshold of puberty, starts to sleepwalk around the house and is attracted by something locked behind closed doors in the shed. Elements of violence start to emerge from nowhere in his personality and he begins to display unusual feats of strength. A crush on a schoolgirl yields incredibly creepy results, found drawings underneath Brandon’s bed paint a picture of emerging, disturbing attractions, and before you know it, Brandon seems to be morphing into a rather scary psychopathic young boy bent on getting what he wants and at any cost and he has the nascent superpowers to use them at will.
Much of the success at Brightburn depends on the fact that it is extremely economical and makes use of its budget rather well, to the point that you would think a lot more money had gone into it. [It only cost a little north of 6 million to make.] Its pacing is on the faster side, but not too much that you miss any character development. Banks and Denman create a believable couple facing something straight out of a nightmare and their reaction, from denial even at the face of evidence to eventual recognition works because most parents often believe their children, monsters or not, are the best. [And if you don’t believe me, take a look into another couple facing a son they soon start to realize they don’t recognize anymore in the outstanding movie Luce (now on home video). And in that one, the mother, played by Naomi Watts, actually hinders an investigation by hiding crucial evidence, a thing that comes to haunt her in the end.]
I just wish that Yarovesky would have allowed his movie to create a little more suspense in its scenes involving Brandon, once he starts stalking his neighbors. Some of the scenes happen in a manner that look a bit too flat and don’t leave for much tension. An early confrontation in a diner between Brandon and the mother of a girl he’s attracted to feels rushed (despite some gore). Yet another sequence, while unbelievably gory, also fails to have any build up but just “happens”. See, to me, horror movies in general should invoke a creepy buildup that places its characters in an increasingly arena of danger. The deeper they wade in, the more we realize they are in for a nasty surprise. Here, much of what happens does so in a prompt, efficient manner, and it made me feel a bit flat.
Other than that, Brightburn is a slick little horror film that can stand on its own without the Superman lore. If you took that away you’d have The Bad Seed with the gender flipped to male. Its just a bit too eager to get to the gore and that is what may take from its impact of a boy gone wrong.