Super isn’t tied to the world of comics. Writer/director James Gunn didn’t make a satire or a spoof; instead Super is its own extremist beast. The Taxi Driver-inspired religious tale is a gritty, dirty, and dark comedy that just so happens to have the leads sporting superhero costumes. These aren’t your fluffy and perfect men-in-tights leads, but some seriously damaged individuals. There’s a jarring dichotomy to the film and its characters, which is something that split both critics and audiences back in April. Frank D’Arbo, a.k.a The Crimson Bolt, is a sympathetic and understandable protagonist, but you question his sanity. Libby, a.k.a. Boltie, gains great glee from slicing up goons in the bloodiest ways possible, and yet has an endearing charm to her psychopathic and wish-fulfillment ambitions. These are repellant characters on the outside, but understandably unstable in the inside. Here’s what James Gunn had to say about the fluctuating tone, writing a character driven film versus a set-piece driven film, and making possible psychotics sympathetic in Super:

Episodes and seasons and weeks after its inspiration and its humor have peaked, I still continue to watch new episodes of The Office week in and week out. I don’t know why – I never do this with dramatic shows, only with comedies – but I tend to stick with comedy shows whose legacy I appreciate even if their time has passed, either out of respect, blind hope, or simply the desire to have some noise in the room while I take a break to eat a meal or fold laundry. While The Office certainly isn’t what it used to be, even before Steve Carell left, it’s still an inoffensive and enjoyable way to pass some time. I can’t deny that the affinity I developed for the show’s characters early on in the series has carried me through a lot of its creative droughts (in other words, I hardly watch it only for its comedy) even as more recent network sitcoms like Modern Family, Community, and (especially) Parks and Recreation have made me LOL significantly more often. But in the bizarre cameos leading up to a strange and dry seventh season finale, The Office seems to have encountered much greater problems than a rudimentary lack of inspiration typical for the (possibly cyclical) lifespan of a long-running television show. The Office seems to have rejected the defining characteristics that made it unique in the first place.

Hesher (played by Joseph Gordon-Levitt) is a character that represents almost all different sides of life, and mainly, childhood. He’s reckless, narcissistic, always looking for fun, and you never know whether or not he’s your friend or your greatest enemy. Hesher is a cypher, someone that you can never truly understand or grasp. Many will love him and many will hate him. A character such as Hesher can’t be easy to write. If he becomes too extremist, he can lose any hints at humanity and could become a total cartoon. But director Spencer Susser and co-writer David Michôd (the director behind last year’s tremendous Animal Kingdom) managed to find an authentic grounding in this coming-of-age film that chronicles the extreme emotions of childhood. Hesher isn’t the star of the film, but he represents everything about childhood and what the lead, T.J., is going through. Here’s what Susser had to say about writing a jarring tone, the max levels Hesher goes to, and writing spontaneity:

Everywhere you look there’s another superhero movie these days. Countless studio dollars, a stream of big stars and endless articles have been expended on the subject. Thor, Captain America and the Green Lantern headline an upcoming summer movie season that’s chock-full of various forms of masked avengers. Concurrently, there’s arisen a far less prolific counter-industry of satirically oriented films, such as Kick Ass, that attempt an indie-friendly examination of the questionable sanity and real world practicality of these figures. It’s these latter films that I’ve personally flocked to, having long-grown tired of the formulaic non-Christopher Nolan big-budget superhero aesthetic. Thus, James Gunn’s Super is – in the same vein as protagonist Frank’s heavenly calling to justice – a gift from above. In framing the birth of a real-life superhero as a disturbed man’s religious awakening, the Slither filmmaker gets to the heart of the grandiose self-absorption at the core of superherodom. To don a mask and tights, formulate a nickname and spend your nights prowling the streets, seeking out drug dealers and other unsavory elements, you’d have to be, well, more than a little bit crazy. Frank (Rainn Wilson), the luckless, depressed everyday schlub central figure here fits the bill, driven to unhinged rage when his wife Sarah (Liv Tyler) leaves him for scuzzy drug kingpin Jacques (Kevin Bacon).

Peep World is an excruciating assemblage of one-dimensional nags, linked under a sub-par quasi-Wes Anderson family dysfunction narrative umbrella. It’s a portrait of estranged narcissistic siblings, a high-society Los Angeles architect’s grown sons and daughter, who misbehave and alienate everyone around them amid convoluted circumstances drawn exclusively from the long tradition of stories about the intelligentsia’s human failings.

There are certain expectations that come with any filmmaker’s work based off the movies that have come before. Their styles, attitudes, and overall creative skill-set are usually visible to some degree throughout their career. James Gunn is no different. His last feature, Slither, was an incredibly fun and gross monster movie that maintained a good balance between the laughs and the horror. That combined with his previous efforts should leave you unsurprised that his latest would include copious amounts of bodily fluids, a complete disregard for good taste, and a face made of fecal matter floating in a bowl. What you don’t expect to see are scenes of real beauty, wit, and sincerity floating in a sadly disjointed mess of a film.

The film I’m by far the most excited to see at the upcoming SXSW is James Gunn‘s dark superhero tale, SUPER. Everything about it sounds like the perfect film for nerds that crave divisive dark humor. Rainn Wilson as a wrench-wielding, head-busting vigilante? Awesome. Ellen Page as his annoying and narcissistic sidekick? Even better. The best part, though? Kevin Bacon as a slimy looking drug dealer. It’s been quite sometime since Bacon has done some solid scenery chewing and played the bad guy, which he rarely often does. I mean, who would have thought that kid from Footloose would one day be playing a charming wife-stealing drug dealer? Check out the trailer below.

One of the few minor highlights of Comic-Con this year was the charming and charmingly foul-mouthed Super from the totally well-adjusted mind of James Gunn. The film stars Rainn Wilson as a man who loses his wife to drugs and another man and straps on the spandex in order to get her back. Because, as we all know, every hot woman (including Liv Tyler) is helpless to resist even the schlubbiest of men if they’re skin tight in red tights and a cape. Brace yoursef. You, too, may not be able to resist sliding your tongue against the computer screen in an inappropriate manner when you see Dwight Schrute ready to fight for justice.

The real-life superhero movie is becoming a genre unto itself. With Special, Defendor, Kick-Ass and now James Gunn’s Super – the premise of regular men and women putting on costumes and fighting crime seems to be steadily growing. There hasn’t been a lot of information about the film, and without that information, it’s seemed a little generic. However, with the footage shown at Comic-Con this morning, James Gunn took a monkey wrench to that idea’s forehead and then shoved its grandmother out of her wheelchair. After all, if you’re going to make a film, why not make an “F’d up, low rent Watchmen“?

Sometimes all it takes is for a director of a film to step in and shield us from all the bad news that comes out these days.

I can hear the conversation in the pitch meeting now. “This is Joseph Gordon-Levitt’s film. But he isn’t going to be the charming, clean-cut, charismatic Joe that the world has seen. He’s going to be fucking crazy, man.”

Writer/Director James Gunn has done many things. Most recently, he’s become a beloved Twitter celebrity and delivered the uber-popular web series PG Porn. But beyond that, he makes movies.

Kevin Carr reviews this week’s new movies: Transformers: Revenge of the Fallen and My Sister’s Keeper.

More Shia LaBeouf talking about how this isn’t his war, more Megan Fox yelling “Sam!” and looking rather attractive and more Optimus Prime telling us that there’s a lot that has been kept from us. It must be Wednesday, it must be Transformers 2.

The company picnic offers a chance for Michael (Steve Carell) to win back Holly and the Scranton branch to go for volleyball glory.

Michael has to mediate a dispute within his new sales team. Meanwhile, trouble brews in the office when several employees take the term “casual” Fridays too loosely.

Like LL Cool J said, “Don’t call it a comeback. The Early Edition’s been here for weeks.” Or something like that.

10 major clients are moving over to the Michael Scott Paper Company, and the Dunder Mifflin looks to stop the bleeding by buying out MSPC.

Dwight (Rainn Wilson) crosses over to Charles Miner’s (Idris Elba) way of doing business, and Michael (Steve Carell) looks to avenge the betrayal.

Michael (Steve Carell) looks to assemble a team of stud salespeople that can make his company competitive in this epic double-dose of The Office.