Frank isn’t a hero, he’s a deeply broken man who finds the most psychotic way possible to “save” the world. This week, we dive into 2010’s Super, James Gunn’s unhinged, ultra-violent, and deeply uncomfortable deconstruction of the superhero genre.
Guest Bio
We are joined by Josh Axelrod, a local Pittsburgh film critic and the Director of Communications and Media Relations at The Lindsay Theater. You can follow Josh on Instagram @jaxel22.
What We Cover
- Cold Open: “The Movie You’re Defending, Brian”
- James Gunn’s Unfiltered Troma Origins
- The Racial Coding Debate
- Trigger Warning: The Sexual Assault Scene, Examined
- From Troma to DC Studios: Gunn’s Full Trajectory
Deeper Analysis
Whether you view Super as a brilliant satire or a muddled, edge-lord mess, one thing is clear: it is the skeleton key to understanding the “Gunn-verse.” Before the polish of the MCU and the corporate weight of DC, Gunn was making movies that felt like they were shot in a fever dream. We debate whether the film’s shocking tonal shifts serve the story or just exist to make the audience squirm.
SPOILER WARNING
We discuss the full plot, including Frank’s final act, the death of Libby, and why the ending feels intentionally devoid of a traditional “happy” resolution.
Verdict
Is it really that awful? We find ourselves split. While the production value feels like a low-budget documentary, the character work—specifically the uncomfortable codependency between Frank and Libby—leaves a mark. It’s a bridge between Troma and the A-list, and for that alone, it’s a fascinating, if frequently repulsive, artifact.
🎧 Listen now to see where we land on the Psychos scale!
Next Episode: We’re taking a deep dive into the mockumentary classic, The Rutles: All You Need Is Cash (1978).