Super

James Gunn’s version of the superheroes-are-really-pathetic-losers film didn’t, on paper, seem to cry out for my attention. People said it was a lot more Travis Bickle than Kick-Ass, which was less deconstructive than delirious about the silliness of certain genre set-ups. And while most of its cast made my eyebrows go up (Andre Royo! Michael Rooker! Nathan Fillion! Kevin Bacon as the baddie? Ellen Page as a lunatic sidekick?) I was a little nervous about star Rainn Wilson. It is hard to displace Dwight Schrute’s high cheekbones and fake hard smile. But Super, while hitting a lot of familiar notes, also hits them with a wrench, repeatedly and confidently bashing expectations, shifting tones.

It manages a level of emotional engagement and complexity that is impressive, largely because of Wilson and Page, who are each excellent at turning from outsized insanity and mayhem to a pervasive sadness; their actions almost seem a continual surprise to themselves, and at heart the film isn’t troping the creaky superhero trope about good and evil (and the thin line, ye innocents!, between the twain); Super (like Taxi Driver) is about alienation and loneliness.

Which makes it sound grim, when it is often quite funny; bloody in a manner that teases a Troma-like eccentricity but also critiques the comic-book indifference to consequence; cautiously hopeful despite its dark worldview. I thought it was really pretty darn good.