Brightburn Movie Ending Explained (In Detail)

Spoilers Alert:

Anything but a superhero – in a small town BRIGHTBURN is a murderous boy who, on behalf of director David Yarovesky, shows us what if Batman hadn’t been a good person. This experiment turns out to be pretty damn entertaining. We reveal more about this in our review.

The plot summary

Tory and Kyle Breyer (Elizabeth Banks and David Denman) want nothing more than a child. One day they find a little boy in the nearby woods, who they take home and name Brandon. The family’s happiness finally seems complete, but when Brandon (Jackson A. Dunn) reaches his teenage years, he suddenly begins to develop abnormal powers. Not only does he throw a lawnmower hundreds of meters, but he also stops the cutting blade with his bare hands – or bends the tines of a fork with his mouth. Initially overwhelmed by these abilities, he suddenly begins to use them against people. For his increasingly desperate parents, one thing is clear: the boy they raised as their own son for many years is anything but a blessing. When Brandon finds out that he is not their biological child, Tory and Kyle also find themselves in the sights of the powerful child, who now goes from house to house in a costume and punishes everyone who gets in his way…

Brightburn Movie Meaning & ending

In recent months, a number of Hollywood celebrities have made the headlines with scandals. Some only lost their hosting of the Academy Awards because they made dubious anti-gay tweets (Kevin Hart), others lost their entire reputation because they were involved in much worse things (Kevin Spacey, Bryan Singer, Brett Ratner…). For a short time, James Gunn also joined this less than illustrious list, because many years ago the former Troma director trumpeted dubiously crude gags into the vastness of the Internet that became his downfall when the production of the third “Guardians of the Galaxy” film was imminent. But unlike the candidates mentioned above, with Gunn you never had the feeling that you were actually talking about a perpetrator; especially with a view to who made the allegations against Gunn at the time. And so not only did the “Guardians” cast, the fans and half of the staff unite behind Gunn and his work, the Disney company also understood and immediately ordered Gunn out (and the short-term departure to his competitor DC). back in the director’s chair for Guardians of the Galaxy Vol 3. You could still advertise your name with a clear conscience throughout the last few months, but now even more so. For example, in connection with the anti-superhero film “Brightburn”, which James Gunn produced and which his brothers Brian and Mark Gunn contributed to (“The journey to the mysterious island”) contributed the script. And the director David Yarovesky (“The Hive”) Fits in well – he played a small supporting role in the first “Guardians” film and is considered a good friend of the Gunn brothers.

Tory and Kyle (Elizabeth Banks and David Denman) don’t know what they’re doing when they bring little Brandon into their house…

The premise of “Brightburn” is somehow a little bit provocative: instead of representing the traditional values ​​of truth, justice and “the American way” that Superman usually lives out, the main character here is just a real puke. Strictly speaking, the description of an “evil superhero film” only partially does the film justice, because although Brandon later acquires a kind of alter ego with a mask cape so that he cannot be recognized during his bloody deeds, the classic “superhero part” of “Brightburn” remains. underexposed. The reasons for Brandon’s decision to go around in disguise from now on are not even discussed in detail. Instead, you just have to accept it as a given that a masked man who walks around at night and does things with otherworldly power somehow comes very close to the attitude of a superhero – except that this one does anything but good deeds. “Brightburn” is much closer to the Evil Child shockers of the brand “The Omen” or, to stay this year, “The Prodigy” than to Superman and Co. However, Brandon doesn’t just target his immediate surroundings as victims, but at some point the entire world. It has not yet been confirmed whether the latter will be seen in later films. Seen this way, “Brightburn” definitely works as an origin story, but also as a standalone film; and based on a reference to James Gunn’s 2010 Super, there’s even the possibility that we’re looking at the construction of an unconventional anti-hero universe.

For long stretches, the authors follow the typical patterns of a horror film: Parents Tory and Kyle notice changes in their boy, whose emotional and physical outbursts get worse day by day. Also thanks to the strong performance of a highly committed Elizabeth Banks (“Pitch Perfect 2”) For a long time it seems largely believable how the couple reacts to their son’s changes. The term puberty in particular appears several times here, which is where the dark humor in “Brightburn” develops, which clearly brands the film as a Gunn project. If Brandon breaks the hand of his adored school friend because she thinks it’s pretty creepy when her classmate suddenly stands at her window at night, or if Brandon hides disgusting pictures of intestines under his mattress (instead of the dirty magazines typical of this age), then go for it Tory and Kyle don’t raise the alarm until much later than it should be – after all, Brandon is just at a difficult age. Of course, this isn’t really new, but at least “Brightburn” avoids some stumbling blocks in terms of credibility. And even when the parents finally realized what kind of devil they were dealing with, the film was convincing with its remarkable consistency.

In a mask and cape, Brandon (Jackson A. Dunn) kills people at night who wish him harm.

Speaking of which: the occasional spikes of violence are also impressive – especially if you see “Brightburn” as a mainstream (horror) blockbuster; David Yarovesky goes into great detail here when he tears jaws apart in close-up or cameraman Michael Dallatorre (“Heartland”) Only in the super close-up does he show how a victim’s eye is pierced by a shard of glass and he even records the following scenes from her blood-smeared point of view, which means that you can only vaguely see Brandon getting closer and closer until you are finally completely together with the victim loses orientation. By the way, these are just two of several scenes in which we see newcomer Jackson A. Dunn (“Avengers: Endgame”) See the diabolically embodied Brandon in action. In the very meaty 90 minutes of “Brightburn”, the density of scenes in which something relevant to the plot happens is so high that there is almost no idle time. On the contrary: at times you even get the impression that some parts have been shortened in order to keep the tempo as high as possible – such as an explanation for Brandon’s penchant for costumes. But this is exactly the reason why “Brightburn” is still damn entertaining despite the actually well-known ingredients and the slight label fraud when it comes to “superhero film”: Here the events come so quickly and with the help of really good trick effects that you can’t help but notice doesn’t have the time to think about minor inconsistencies in content or narrative. And since the foundation has now been laid for continuing to tell the fate of this horror child, we would be interested in a sequel that might also shed more light on Brandon’s character (an emotional conflict between love for his parents and the urge to kill is hinted at , but quickly dropped), not unhappy.

Conclusion: “Brightburn” is more of an evil child horror than an “evil superhero film”, but due to the high pace, the solid effects and the beautifully nasty peaks of violence, David Yarovesky’s extraordinary genre experiment keeps you in the mood and leaves you wanting more. And interest in a sequel is really rare these days.

“Brightburn” can be seen in USA cinemas nationwide from June 20th.

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