Mjeteconer Just perfect...

Curapedi I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

Mathilde the Guild Although I seem to have had higher expectations than I thought, the movie is super entertaining.

Caryl It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties. It's a feast for the eyes. But what really makes this dramedy work is the acting.

cricketbat Super's premise it too goofy to be taken seriously, yet it tries so hard to be serious. It's a disturbing dark comedy that isn't very funny. It has a few interesting moments, but not enough to save this sinking ship. It's a waste of talent, in my opinion.

PubHound 8 -A really clever and exquisitely grotesque attempt from James Gunn, that gives us his vision of the everyday hero, not sparing any gore or violence and leaving us in the end completely unarmed with an heartbreaking conclusion.

Jack Bonar (Daedsikcaj) I've been a fan of James Gunn since 2006 when I first saw Slither and when I saw how complete it felt, I thought right then that the director had great things ahead of him. Unfortunately for me that promise didn't come to fruition until 2014 when he made Guardians of the Galaxy. Both movies sent me on a mission to spread good word of mouth to everyone I knew. Both just have the same kind of feeling of perfection. They blend romance, action, comedy, suspense, everything you could want in a movie and not one of those elements misses the mark. They just seem to offer so much that I walked away from both thinking, how can anyone not like this movie?I did not feel that way about Super. Not at all. I didn't tell anyone about it, mainly to remind myself of its existence as little as possible. I'm pretty dark as a person, my sense of humor is a bit twisted, I don't scare easily... dark themes are usually more of a draw than a deterrent. Super isn't just dark... it is depressing. It focuses on one character and ends with an immensely unfulfilling ending for that character. It puts a mentally ill person on an adventure where delusions are amped up and obstacles are removed sometimes by little more than luck and randomness. Sickness thrives and becomes all encompassing... and then just for a brief moment the audience sees the potential for the character being happy, being loved by someone for who he is instead of obsessing about someone who doesn't love him back. Someone loves him despite knowing all about his illness, he doesn't have to hide it she embraces it. If he can just stop thinking about something he'll never have and just focus on what he does have, maybe there's hope for clarity and an end to the insanity that at this point is spiraling out of control. And then Super takes that hope that it just gave you and completely smashes it in the most irrevocable and horrific way possible. And in the end our "hero" ends up right back to where he was, completely cut off and alone and empty and not even his fantasies to comfort him. He still loves someone who left him and never loved him back and she still dominates his thoughts. He stares off at pictures on a wall that tell a story of the great life she is having without him while the rest of his apartment is completely empty. He has nothing. It comes across as though we are supposed to feel good about this, about his acceptance and how he must truly love her if he wants her to be happy even if it's not with him and oh my isn't that wonderful. It isn't happiness. It's loneliness. She is still obviously all he thinks about except now he doesn't even have his fantasies to comfort him. The girl that did love him, she's gone now, because of his mission to save someone who very clearly does not deserve it. She's happy, gets to have a family, and he has nothing now having given everything for her to have that. I know there are some religious overtones here, and that he has faith and all, but I must have missed the part where he decides to embody Christ himself. A horrible person gets everything they want, the hero ends up with nothing... It completely destroys the film. It felt like a gut punch. It still stands out to me today because of how depressed I was when it was over, that's what I took away from it. The Aviator and Donnie Darko are the only two films that come to mind when I think of movies that hurt me like that. Lingering pain that you take with you for awhile, that's what Super has to offer people. James Gunn is a great storyteller and I'm happy he turned out to be such a huge success. In my opinion he's given us maybe the only legitimately good film out of the entire barrage of Marvel Studios movies that have come out so far. Guardians of the Galaxy couldn't afford to be mediocre. Absolutely no one knew who those characters were. The movie had to earn the audiences respect and keep them entertained and there isn't a single scene that is wasted. It never drags on because it couldn't afford to. For a director that doesn't waste screen time when he's on his game, I'm wondering if Super was a waste of his time. If there's a message to get here, if that was the point, I either missed it, or if I am right and this selflessness IS the message... I don't know, maybe I'm weak or I'm a bad person, but that's not a message I would ever care to learn.

NateWatchesCoolMovies Before James Gunn got all famous and whatnot in the Marvel universe, he made a few dark, perverse little gems that aren't for everybody, but have to be seen by those with the right sense of humour. Slither was his low budget, brilliant schlocker, and here with Super he takes a stab (literally) at the superhero genre, albeit in his own off kilter and unsettling way. Rainn Wilson, who is off kilter and unsettling himself, is our sad sack protagonist, a dreary nebbish named Frank Darbo, married to a troubled hottie (Liv Tyler) who is way out of his league and adorned with baggage. We soon learn that Frank is very disturbed, when his favourite TV superhero (Nathan Fillion in a brief cameo) informs him he must adorn cape and costume himself in order to fight the injustice in the world. His name? The Crimson Bolt. His weapon of choice? A great big crescent wrench, which he uses very generously to dole out his own extreme brand of justice. His motto? "Shut up, crime!!" (I laughed every time). He's an unconventional 'hero' to say the least, most of his good deeds consisting of brutally attacking citizens with said wrench for minor infractions like butting in line at the cinema, an uproarious scene if your sensibility is twisted enough, but then that's the jist of the whole thing. His longterm goal is to get Tyler back from the clutches of evil drug kingpin Jacques (a hilariously chatty Kevin Bacon), and prevent as many crimes as he can along the way. He ends up causing far more damage than he means to fix though, an awkwardly psychotic tornado of unwarranted violence and delusions of grandeur. Things get more out of hand when he aquires a spitfire of a sidekick named Bolty, played by Ellen Page in a performance that's right out to lunch and then some. Page plays her to the deranged hilt, cackling like a maniac at her own violent antics and getting super uncomfortable with Wilson in the bedroom (seriously… one messed up scene). Gunn can always be counted on to hire interesting actors, so be on the lookout for Linda Cardellini, Andre Royo, Gregg Henry and Michael Rooker as Bacon's lead thug. A lot of what happens here is awkward, cringey stuff, the chronicle of a misplaced and sad little man under the impression that his life has some preordained meaning, as delineated by the red suit. It's a thin shroud to hide the worthless and pathetic existence he has lead so far, and as such it's kind of a depressing thing to bear witness to. But rejoice in how darkly hilarious it is as well, because there's plenty of pitch black humour and perfectly timed comedic moments that spice it up. Gunn understands people and the way they talk (a trait so often lacking in writers), and even with concepts so out in the stratosphere beyond normality, his characters still have their feet on the ground and seem realistic. A treat, if a sourly bittersweet one.