a5c7b9f00b 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. 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? For those familiar with "The Toxic Avenger" (1985), "Super" should come as no surprise. If you remember "The Toxic Avenger," Troma's blood-soaked spoof of superhero movies, a meager 95-pound janitor is transformed by a vat of misplaced toxic waste into a mutant crime-fighter obsessed with ridding the world of evil. As a comic book reader and having watched "Super," I couldn't help but be reminded of "The Toxic Avenger."<br/><br/>But "Super" is actually quite different from its Troma-produced/-inspired brethren. Although it shares many of such qualities including outrageous humor and bloody violence, "Super" has a great production behind it (despite its limited budget), first-rate actors, first-rate performances, humorous new satire ultimately aimed at the tried & true superheroes-in-the-real-world approach and extremely graphic, bloody violence.<br/><br/>Viewers familiar with Troma should have no problem with the last part. The violence here is indeed brutal and bloody, but ultimately gets to a point where it's almost too outrageous and comic to be truly believable. "Super" was written and directed by James "'Dawn of the Dead remake'/'Slither'" Gunn, the same James Gunn who is also an alumnus of Troma and their catalog of low-budget bad-good movies. He applies what he learned from Troma and the "Toxic Avenger" movies to create his own unique superhero satire. Gunn has effectively taken a "Taxi Driver"-style approach to "Super," lending the film a brutality and darkly comic edge not before seen in films about superheroes.<br/><br/>Admittedly when I first heard of "Super" earlier this year, I immediately thought of the graphic novel series "Kick-Ass" by Mark Millar and John Romita, Jr., which dealt with a comic book-obsessed New York City teenager who takes his superhero obsession too far and decides to become a real-life superhero himself, with disastrous - albeit hilarious and brutal - consequences. I hate to say it, but "Super" is even more "real" than "Kick-Ass," and this is from someone who just absolutely LOVES the comic (I thought the 2010 movie was so-so because they "sanitized" it).<br/><br/>For one, what makes "Super" even more realistic than "Kick-Ass" is how utterly pathetic and mentally unstable Frank Darbo (Rainn Wilson) truly is. Frank is a short-order cook with a loving and beautiful wife named Sarah (Liv Tyler). The first of many wrinkles in the story comes from the fact that not only has their marriage soured and the two have grown apart, but Sarah is also a recovering drug addict, saved from her former life by her marriage to Frank. When she is presumably kidnapped by Jacques (Kevin Bacon), a suave, smooth-talking local drug dealer, that's when Frank decides to don a home-made costume and become a real-life superhero, The Crimson Bolt.<br/><br/>Like Kick-Ass before him, Frank/The Crimson Bolt has no real superpowers but unlike Kick-Ass, he does have a real and noble reason for wanting to fight crime. Frank's main weapon is a pipe wrench, which he effectively applies to wrong-doers major and minor (like a couple who cut into a long line at a movie theater). He is joined in his battles by Libby (hilarious Ellen Page), a local comic shop employee who also has an obsession with superheroes and soon becomes his sidekick, Boltie.<br/><br/>What is clear in "Super" is that even though Frank Darbo/The Crimson Bolt is indeed a hero - rightfully earning the love and respect of the public and the ire of the police in equal amounts - and we can sympathize with his noble intentions, he is also a deeply disturbed individual with a frightening concept of right and wrong (like the episode I described earlier with the couple in line at the movie theater). What ultimately seems to drive Frank to become The Crimson Bolt is a hazy vision in which he is mentally raped by phallic-shaped tentacles from God and is further edged into super-heroics by The Holy Avenger (Gunn's "Slither" alumnus, Nathan Fillion).<br/><br/>"Super" does unfortunately seem to lend credence to a commonly-held belief that people who decide to become real-life superheroes are mentally disturbed loners teetering on the edge of explosive violence. In this regard, The Crimson Bolt is actually a lot closer to "Taxi Driver's" Travis Bickle than he is other non-super-powered heroes like Kick-Ass or Batman.<br/><br/>This does not mean that "Super" is in any real way a bad film. In fact, it's quite the opposite: it's actually a very good film with some really great acting from its principal cast members. Rainn Wilson's portrayal of Frank, while semi-psychotic in nature, is nonetheless sympathetic and we hope that he accomplishes his task, even though it's also quite clear that he has no idea what he's doing (there are indeed echoes of Robert De Niro's ticking time-bomb Travis Bickle in his performance here); at least Ellen Page's comic book-obsessed Libby/Boltie is able to provide some measure of guidance. And Kevin Bacon has always found some way to make the most loathsome of characters likable and slimy, as he does here with Jacques, who in the end is ultimately revealed here to be timid and somewhat of a coward - despite everything we think we've come to know about the character.<br/><br/>And like "Taxi Driver" (and most other Troma productions), "Super" ends in a bloodbath at Jacques's house in which The Crimson Bolt and Boltie storm the place looking for Sarah. The way "Super" ends, is on a note of bittersweetness. Rest-assured, though, all the bad guys die in a horrible bloody mess, Sarah is rescued and evil is finally vanquished, but at what cost? Frank's marriage? Frank's sanity? Frank's innocence? Frank's mental stability? Did his super-heroics really accomplish anything?<br/><br/>It's a note that "Super" was not expected to end on, but it nonetheless proves that James Gunn is maturing as a filmmaker and has gleamed what he's learned from the great superhero movies of the past to finally make a superhero flick that truly earns the title of a superheroes-in-the-real-world superhero movie.<br/><br/>8/10 I didn't like Super, but I can definitely see why some people would.<br/><br/>I probably didn't like Super because I was expecting work from James Gunn that was similar to his not quite porn web series. I was eager to watch sexiness turn into hilarity as things were turned on their ear. This lady was looking for some delightful awkward humour with Ellen Page, Rainn Wilson and Linda Cardellini, but it you're looking for a comedy, do not watch this movie. It's a lot more dark than it is funny.<br/><br/>This movie's a study of how far someone will go to have good in the world and whether those lengths for decency can make an individual less than decent. By choosing Rainn Wilson as the lead the movie's message becomes poignant and much more relatable. The mission is portrayed by one Rainn Wilson, not Hollywood's handsomest or fittest leading man. Playing Frank Garbo, Wilson portraysa simple man with armed with nothing but conviction and faith. Garbo is at times uncomfortable to watch, but compelling nonetheless. Smart, sick, and subversive, Super gives you what you want only to make you wonder why you want it. No, it is an original story by James Gunn. It is a cartoon specifically created for the movie. 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