If you knew the early work of the Jameses Gunn Before conquering the world with a bunch of loved ones the wrong movies through Marvel's "Guardians of the Galaxy", there may be some of you (only small) that feels like a bitter for him to become a great filmmaker. Don't get me wrong: God bless the Gun that gave us the Chinese versions of Peter (Chris Pratt), Gamora (Zoe Saldana), Grot (Vin Diesel), Rocket (Bradley Cooper), Drax (Dave Bautista) and all the miraculous creatures in that spectacular. He even previously turned the trapped "suicide detachment" into a decent and pleasant blockbuster that deserves to be.

But before that, there was a rare potential in Gun to become one of the most intriguing and singular directors of his generation. I say it because he started as an enthusiast for a trash horror in a trim entertainment and his first feature (which he wrote and directed), "Slitter", a horror comedy that wounded cult classic, showed a characteristic vision we don't see much more. In that film, his passion for horror, stupid characters and dark humor dripped out of every scene. He was well acquainted with the genre and knew how to craftsmanship, relative and vulnerable characters for which we were prone to root-so "Gotg" became immediately loved in the first place. However, instead of lowering the rough and bumpy path of horrors, he chose another direction.

It brings us to his second characteristic, "super", criminal underestimated pseudo-superhero tremor in which Gun has taken his approach to Weirdo and a morbid sense of humor even far from before.

"Super Protagonist", Frank Darbo (Rhein Wilson channeled his inner madman who made a starvet in the "Office"), was the plan of the protagonist of the rejection/loser he made to perfection four years later in the Guardians of Galaxy Tom 1. Somewhere it was an experiment for the writer-director to see how far he can resign, a little deceived and false character and turn it into a hero (in a ranking movie, however, who gave him much needed creative freedom). Therefore, Frank is rude and unbalanced at times, but it is also strange and realistic because of its attraction.

When we first meet him, he is an antithesis of cool - boring, wimpy and unattractive. His beautiful wife Sarah (Liv Tyler) is with him out of gratitude. Frank Helped helped cleanse her drug addiction, so she married him. But whatever it was that forced Sarah to fall for him, it was worn out a long time ago. Their marriage no longer works. So it's hard to surprise Kevin Bacon's macho dealer and the strip club owner withdraws to get him out at one point. At first, Frank feels extremely depressed and powerless against this mattress, but for once in his life unfortunately, he finds the courage to oppose the bully and defend what is his. Well, only after he touches the finger of God and meets the Holy Avenger (Nathan Fillion) (a fictional character of a bizarre religious network, which tells him to fight crime) in a disturbing vision. After all, we all need a divine purpose to fight.

Of course, Frank is Wairo. So, his way to become a superhero, to catch criminals and take his girlfriend back is unusual. He goes to the local comic book inspiration store - where he also finds his possible coach, the nerve store clerk, Libi (Eliot Page) - and comes out with his Non-Issuer Crusade, Crimson Bolt. Having no supernatural ability, muscle or wit, he must deal with bad guys in his own way. Thus, he dresses Daredeville's bad suit, grabs a pipe key and develops the phase, "shut up, crime!" By doing so, he is ready to dive and become a savior - until the reality kicks him in the nuts.

Although "Super" was a critical and commercial failure at the time of its release, he served as a film that helped Gun find his voice. In retrospect, it basically expanded the same tone that made the "slit" explosion. While that film celebrated and paid tribute to the specific horror tropes, "Super" was intended to falsify its own way by turning the superhero clichés on their heads. Admittedly, it was also shot at a significantly lower budget ($ 2.5 million versus a $ 15 million "similar"), forcing Gun to come up with a cheaper but inventive visual and narrative tricks that have largely complemented the primary spirit of the story.

However, the fact that it came out immediately after Matthew Extra beloved and thematically similar "kick-gaz" didn't help. In terms of volume and action, Gun's film had no chance of competing. Her excessive violence, black humor and sometimes strange sexual energy may not have been in the function of the general audience. Most of the world was simply not ready for such an eccentric and awkward hero as "Crimson Bolt". However, to the fans of "Slitter" (like I), the "super" over-the-turn seemed as a natural evolution of the director who felt the most vibrant at the intersection of funny and strange.

"Simitar" and "Super" were refreshing original and attractive, which always asked me what Gun could do if he was not drawn from the big study. If there was an alternative universe where it was held to make horrible horrors and distorted comedies, mixing genres in any way that wanted and sets a different space in the country of pop culture from what it ended. I guess we'll never know. But at least we will always have these two films back if We get tired of Superman And whatever another superhero gun can bring us to the big screen in the coming years.