#markmillar

The Unfunnies prioritizes shock value over substance, presenting a series of grotesque scenes in lieu of a plot or compelling protagonist. As someone who appreciates underground comics, horror films, and "extreme" literature (also known as splatterpunk), I’m open to gritty themes when they offer an interesting perspective. However, The Unfunnies falls flat in that regard.

Unlike the cream of the underground comic or horror crop—which uses disturbing content to challenge the audience—The Unfunnies frequently employs cartoonish dialogue as a jarring contrast to its dark subject matter. Characters often break the fourth wall in the style of vintage Gold Key or Archie comics, but this is juxtaposed with disturbing contexts, such as a character being arrested for possessing child pornography. While this contrast can make certain scenes unsettling, it quickly becomes apparent that this is the only brush in Millar’s palette, and it grows tiresome.

Even when a more intriguing supernatural horror storyline emerges toward the end, it remains bogged down by filler content and shock tactics. A more structured approach with developed character arcs and organic plot progression could have elevated the series into a memorable horror comic. The premise—a cartoonist’s fictional world degenerating as he becomes a serial killer—is strong and could have provided a solid foundation. But rather than exploring that concept, Millar leans on disjointed, depraved vignettes, making the series feel more like a string of tasteless sketches than a cohesive story.

Millar has stated that The Unfunnies was intended as a comic counterpart to disturbing ensemble films like Happiness or Magnolia. Unfortunately, it lacks the believable character motivations and thematic interconnectedness that make those films work. Instead of resonating as an ensemble piece or anthology, it comes off as a scattered assortment of sketches made solely to offend.

Superman: Red Son is one of the greatest Superman stories - an impressive feat considering it twists some of the most iconic aspects of the character and turns him into a villain. While the film adaptation may not entirely capture the power of the original work, it makes slight tweaks that in some ways improve the story.

What if Superman was raised in the Soviet Union? Under Joseph Stalin (William Salyers), Superman (Jason Isaacs) is the ultimate agent of propaganda and Communism's firmest supporter. When the United States government tasks Lex Luthor (Diedrich Bader) to develop countermeasures against him, a rivalry that will span decades is formed.

Viewers will benefit greatly from being familiar with the Superman mythos. Lois Lane (Amy Acker), Batman (Roger Craig Smith), Wonder Woman (Vanessa Marshall), Brainiac (Paul Williams), and other familiar faces show up prominently. Recognizing how these alternate universe versions differ from the traditional interpretations gives the story much more impact. We're not merely wondering what Superman might be like if he was raised somewhere else, we're exploring what would happen to the man of steel if he used his powers to rule and battle alien threats. An immortal, invincible ruler who can see and hear everything, from which there is no escape. While Superman is an alien capable of incredible feats, he is also, ultimately, a man, and capable of being corrupted just like us. Lex Luthor is now the hero. Red Son is filled with reversals and re-imaginings of figures and events (both comic book and real-world) that are fun to discover and fill you with just the right amount of unease.

The book's essence is kept intact, with a couple of changes made here and there. Wonder Woman is given a bigger role, as is Louis Lane. On the negative side, there are a couple references to sex that are largely unnecessary. They feel like Warner Bros. Animation desperately trying to convince us that this story is serious, not for kids.

Those who have been following the DC Universe Animated Original Movie series will be disappointed by the quality of the animation. It’s but no better than your standard episode of Justice League Unlimited. While the comic featured terrific artwork, the style used was never integral to its impact, unlike Superman vs. the Elite or Batman: The Killing Joke. The simplified style used here is not a Kryptonite bullet shot at your heart, but it’s still a letdown.

On home video, a short featuring The Phantom Stranger accompanies the main feature. It’s a nice bonus but not on the same level as the one that accompanied Wonder Woman: Bloodlines. Superman: Red Son is one of the better DC Animated films in some time. The action is exciting, the references to historical events and characters are fun to decipher. The characters and plot capture your imagination. It never supplants the original work but makes a great companion piece to it. This is one I’ll excitedly revisit. (On Blu-ray, October 8, 2020)