James Gunn’s Forgotten Superhero Flops

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Without a doubt, James Gunn reigns supreme in the realm of comic book movies. No other director has achieved such consistent success within both the Marvel Cinematic Universe (MCU) and DC Extended Universe (DCEU). Although Gunn’s initial forays into filmmaking with independent superhero movies were commercial flops, films like “The Specials” and “Super” exhibit glimpses of the greatness that was yet to unfold.

The Specials showcases Gunn’s love of quirky comic book characters

In the year 2000, the movie “The Specials” portrays an ordinary day for what’s allegedly the sixth or seventh best superhero squad globally. This day was significant because they were due to be celebrated with their own action figure line. However, the team’s future faced uncertainty as long-held resentments erupted into a public relations crisis.

From the beginning, The Specials faced a tough situation. Its premiere was postponed because it shared a theme with the more expensive production, Mystery Men, which ultimately flopped at the box office. As a result, The Specials was given a limited cinema release instead of being cancelled altogether. Prior to this, the film’s creation was fraught with difficulties and time constraints, as James Gunn stepped down from directing due to his fatigue from portraying the shrinking superhero Minute Man, as well as rewriting the script to fit the compressed production schedule.

Additionally, Gunn encountered creative differences with director Craig Mazin regarding the movie’s structure. Originally, Gunn intended The Specials to be a mockumentary, similar to This Is Spinal Tap. However, Mazin opted to film it more like a situation comedy and eliminated many scenes where characters addressed the camera directly.

In subsequent years, James Gunn stated that his initial script for The Specials brought him more opportunities than the movie itself. Yet, the final production is not devoid of value and showcases several of Gunn’s distinctive traits. Similar to Guardians of the Galaxy and The Suicide Squad, it centers around a motley crew battling insurmountable odds. Additionally, it boasts an eccentric dance sequence, synchronized with Reunion’s 1974 hit “Life Is A Rock (But The Radio Rolled Me).

James Gunn’s Super is no Superman

Although Super, created by James Gunn in 2002, was often seen as a copycat version of Kick-Ass due to their shared theme of ordinary individuals taking on superhero roles, it’s worth noting that Super offers a significantly different perspective. Unlike Kick-Ass, which also revolves around a loser finding his heroism, Super approaches the themes of superheroes and heroism in a much more respectful manner.

As a devoted fan, I’d rephrase it like this: In the heart of the story, I find myself as Frank, a man feeling helpless when my recovering-addict wife slips up, rekindling her relationship with a local gangster. When the police seem indifferent to my worries, I take the initiative, transforming into The Crimson Bolt – a vigilante born from a divine vision where God calls upon me to combat crime.

In the marketing of the movie, there was an emphasis on the absurdity of superheroes in our everyday lives. However, director James Gunn portrays Frank as a character reminiscent of Don Quixote. The script of Super suggests that Frank is both deranged and divinely appointed. The final scene of the film presents arguments for both perspectives, as Frank ponders the idea that “sometimes appearances can be deceiving.

The film “Super” is marked by intense violence and struggles with inconsistent mood changes. However, it effectively conveys the notion that indifference and inaction pave the way for evil. This theme is likely to strike a chord with countless admirers of Superman who continue to hold the belief that a person can soar above ordinary limits.

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2025-07-10 23:06