Defendor: héros ou zéro

A superhero movie is best when it subverts the genre itself, like in Chronicle or Birdman. Defendor does just that. What happens when someone with a vulnerable mental state claims to be a superhero, fighting Captain Industry? They are looked down upon. They are seen as harmless and pitiful. Until they start to take action. Then they need to be contained and get psychological help. This movie tries to shine a light - through the psychologist - on that vulnerability and shows us there's something noble, even something pure in people who (try to) fight injustice. Woody Harrelson is in top form playing the protagonist Arthur aka. Defendor. His quest to defeat Captain Industry is a sobering and fruitless one, but the public begins to care for him. Maybe just because of Athur's general naivety. A graffiti artist paints a wall with his portrait, calling out to "fight back". That's what this movie was about for me. Fight back. Fight the self-righteous world who divide 'normal' people from those whore aren't according to some arbitrary measurement. Defendor is a warm eulogy for those defying normality and a subtle criticism on what is perceived as sane.

The story really works and the actors are doing it justice. Low budget canadian film that goes a long way. Amusing drama like in real life. Murderous criminals like in real life. Some minor flaws due to budget.

Defendor is the story of a simple, deluded, child-like man, who thinks he's a super-hero. In all likelihood, he should have died a swift and brutal death no later than ten minutes in, but it seems that God watches out for the simple-minded, even in movies. Somehow, Defendor even ends up bumbling his way into doing some good.

Woody Harrelson portrayed Arthur in a way that completely avoided mocking him. Imagine Tom Hanks in Forrest Gump. Arthur has definite reasons for his quest and his actions, and as those reasons are revealed during the movie, you become more and more attached to his character. Kat Dennings plays a young prostitute who befriends Arthur and is instrumental in helping him to his final destiny, and Sandra Oh stars as a psychiatrist who learns about Arthur along with the audience.  No one is responsible for the acting burden that Harrelson has, but their performances are still solid. 

I liked this movie a good bit. It was funny in some parts, and sad in others. We really don't get to spend enough time with Arthur/Defendor and his world, but what's here is pretty satisfying.

While at first I thought it was a comedy, I was soon proved wrong. I like Woody Harrelson for his comedic value, this pushed his acting skills in a newer direction. While still maintaining a comedic overtone it settled into a serious note that is very seldom seen in most newer movies. It's not big on special effects or huge explosions, but the movie its self makes up for all that for being big on heart and able to touch feelings that haven't been touched in a while.All in all I'd say Woody Harrleson doesn't deserve an Oscar for his performance(while it was quite memorable), the movie does deserve an honorable mention at as many award shows as possible!

Given the recent onslaught of superhero films hitting theatres, it would seem only natural to anticipate parodic responses to the genre, sending up its excesses and sillier elements. On the surface, it would appear that debut director Peter Stebbings' Defendor is exactly such a film, casting Woody Harrelson's oddball everyman as a surrogate crimefighter and exploiting his antics for humour in the vein of 1999's Mystery Men. And initially this is the approach the film itself appears gearing up to take, opening with a hysterical spoofing of overblown superhero film clichés, including rooftop billowing fog, high contrast city lights against nighttime darkness, and larger than life acrobatic feats ("always check the garbage days" moans a wounded Defendor after leaping off a rooftop into a dumpster recently emptied of garbage to cushion his fall). Such astute genre awareness combined with the wonderfully imaginative collection of Defendor's makeshift crimefighting weapons (including the most inspired use of marbles seen in ages) could easily have assured for an hour and a half of lighthearted, enjoyable cinematic fun.

But Stebbings' film has grander ambitions than a mere surface level parody, which subtly unfold as the film progresses. As the laughs slowly become fewer and fewer, Defendor's narrative becomes steadily more engrossing, settling on a tone pitched halfway between exhilarating crime/mystery thriller and poignant character study, as the viewer is led increasingly to question Defendor's mental stability, and even the ethics of his imbalanced war against injustice. While such transitioning between tones could prove a dangerous stumbling ground, Stebbings is careful to distinguish between his darker themes and moments of levity, utilizing dashes of all too real violence to savagely undercut the fantasy or parodic elements. For all Defendor's silliness, it certainly packs a brutal punch when necessary.

Of course, being the work of a first time director, one would expect the occasional fumble, and Stebbings' film does lose its way for a period nearing the climax, meandering somewhat and losing its rhythm. Nonetheless, an emerging subplot musing on the roots and importance of heroism (clearly borrowing amply from Christopher Nolan's recent two Batman reboots among other sources) which could have been the clumsiest addition to the movie actually emerges as surprisingly tasteful and functional, adding more nuance and complexity to the unfolding film without coming across as excessively pretentious. Completing the package is the wonderfully grandiose musical score by John Rowley, managing to perfectly encompass each tonal shift, whether gleefully riffing on superhero musical motifs or offering something more profound and honest, either way adding welcome depth and volume to a film already far from lacking in either.

The casting of Woody Harrelson as the titular hapless crimefighter also proves a stroke of genius, as Harrelson's naturally wacky yet powerful charisma exemplifies the essence of the film, beautifully blending child-like emotional simplicity, tenacious determination and enough flat out weirdness to make it all ring true, as well as an inspired ripoff of Christian Bale's now iconic Batman voice. Kat Dennings is equally delightful to watch as a young prostitute who may be either befriending or manipulating Defendor, warping her naturally quirky and spunky energy into something darker, yet just as resonant. Elias Koteas essays antagonistic clichés with the utmost grotesque skill as a crooked cop, and Michael Kelly reconciles a weakly written role with a gruff credibility as Defendor's employer and solitary friend. Finally, Sandra Oh is superb in her few scenes as Defendor's psychological examiner, infusing impressive dramatic tension with moments of deadpan humour, and bringing welcome life to the film.

It would be easy to compare Defendor as a film to its protagonist: slightly cumbersome and prone to stumbling at times, yet cleverly self-aware, comical yet with layers of unexpected darkness, and overall encompassed by such an infectious sense of classic, cheesy charm that it is near impossible not to love in the end. Whether taken as a superhero parody, straight out superhero film or character study (or ultimately all three), Defendor proves a highly enjoyable success, and one easily worth a watch.

-7.5/10