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Frank Darrbo is a hapless fry cook. When his wife Sarah falls off the wagon and dumps him for Jacques, a drug dealer, Frank tries to get her back by reporting her kidnapped, grabbing her from Jacques' car, and wailing for her to return. After watching Christian TV and having a vision, he becomes a superhero to fight evil. He sews a costume, finds a weapon (a pipe wrench) and looks for crimes to stop. He has problems: his wrench inflicts real injury, so the cops want him for being a vigilante, his sense of boundaries is flawed, and Jacques' gang has guns. Libby, a clerk at a comic book store, becomes his sidekick, and it's time to go save Sarah. What chance do they have?
After his wife falls under the influence of a drug dealer, an everyday guy transforms himself into Crimson Bolt, a superhero with the best intentions, but lacking in heroic skills.
I watched this film the second time the day after the killing of 17 high school students in Florida by a kid who had lived a troubled life, known to be dangerous, but with no resources to help him.

What I realized is to a mass murderer, those whom he kills have offended against whatever values he holds sacred. In this film, once we ignore the comic book trope, we get to know the inner suffering of the person who describes the happy days of his life, both of them -- one being marrying another troubled soul, whom he loved dearly.

Sure, Rainn Wilsons', Frank Darbo vacillated between the earnest Frank Darbo and the super hero "The Crimson Bolt" was classic paranoid schizophrenia --- or elements of it. But, that's not the wavelength of this film, rather by creating empathy with his insanity, we can actually root for his smashing the head of a man whose crime was cutting in line for movie.

Evil is evil, and once in character there is no quarter, no mercy for those who would break the law, do wrong. He is no longer the nondescript short order cook, who has no resources to prevent a drug pusher from "stealing away" his wife. The process of his connecting with his sidekick, Ellen Page's Libby / Boltie allow unbridled lust, she for him, to spark the raw emotion that demolish all restraint, or even reason.

This viewing was an epiphany for me. The murder of 51 people at a rock concert in Las Vegas was by a man who was financially successful, no brain disease or any other explanation by those who knew him of his motivation. This film certainly doesn't answer this question, but it graphically illustrates how homicidal hatred can be unleashed within an individual who had never even been in a fight before.

Under the guise of entertainment we were seduced to identify with what we call a "monster" who wantonly kills without compunction. We share the excitement, the sense of merging with God himself in punishing evildoers. The more gory, the more shocked the person upon realizing his life is over, the more exaltation our very human super hero felt.

My first viewing of this film, was too stunning to let myself feel empathy for the suffering of the human character whose only release was in this joyous expression of violence. This time I got it, I had tears in my eyes over the life of suffering that Frank had lived, and could enjoy the pretend release of his vindictive carnage.

And then there's the last five minutes, the postscript, where the violence of what had come before could have all been a dream, a fantasy that happens in real life all too frequently.
Some things in life take very little effort. Puking. Sneezing. Bumping into things. And also, sadly, fudging comedy. Especially black comedy, which walks a razor wire at all times. Misjudge or miscast it, and you risk taking a tumble into the critical abyss of Very Bad Things.

Such is the case with Super, a sort of covered-market Kick Ass, in which Rainn Wilson's nebbishy cuckhold is 'fingered by God' one day and transforms into 'The Crimson Bolt', a psychopathic masked avenger prone to brutally braining miscreants (or queue jumpers) with a wrench.

Tonally, it's terribly uneven; as a self-fulfilment satire, it's unoriginal and laboured; while a shrill performance from Ellen Page playing an equally damaged sidekick hardly helps matters.

If you're looking for a moving, melancholy and darkly hilarious look at vigilantism, you'd do worse than track down Christian Watt's brilliantly quirky Channel 4 documentary 'Superheroes Of Suburbia.' By contrast, Super just doesn't deliver on its title.
Gunn successfully shifts between celebrating violence and mourning it, but his handling of emotional evolution is clumsier; he seems particularly out of his depth in the film's mawkish ending. But Page is a revelation: There isn't another gorgeous twentysomething actress working today who could more convincingly reveal sexual bravado to be simultaneously silly and creepy.
No, it is an original story by James Gunn. It is a cartoon specifically created for the movie. a5c7b9f00b
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September 2018