Merrick here…

So, a good friend came to town the other day. I gave her “the tour” (no, not that kind of tour): all the places someone coming to NYC would expect to see, a few she didn’t know she should see, and one or two she probably didn’t want to see. Then, in a moment no more special than any other…at a time of day when the city doesn’t exactly look its best…she asked a question. Matter-of-factly – almost arbitrarily. “So, where are all the superheroes?” My Geek heart was a flutter.

I include this anecdote NOT as the kind of review preamble so many AICN readers vocally dislike; I’m sharing it as an illustration of the very sensibility that drives MY SUPER EX-GIRLFRIEND. Scripted by Don Payne (MEN BEHAVING BADLY and THE SIMPSONS), SUPER EX is set in a world in which superheroes (at least one that we know of) and their super-villainous counterparts are common place – they’re already part of our every day lives. There is one brief moment of origin story here…told as a flashback ‘round the second quarter of the film…but it’s critical to the movie’s plot. The origin, it turns out, resonates in multiple, and not-entirely-expected ways for all involved in this story.

Personally, I’ve always felt Hollywood places far too much emphasis on origin stories, and prescribes far too much import to them. In the end, I believe audiences accept that someone with “superpowers” must have experienced a defining moment at some point, whether that moment’s as spectacular as a planetary apocalypse, or as mundane as a spider bite. Spending thirty or forty minutes showing us HOW someone got to a place is rarely as intriguing as what happens once they’ve arrived. So, why spin wheels? As such, I tend to prefer a cut to the chase. Which is what Payne does…literally.

This economy of storytelling immediately opens-up SUPER-EX to its full potential – there’s little waiting around for the obvious to happen. And, because the characters in its universe accept superheroes as an axiom, the intrinsic comedic possibilities of interacting with them are immediately available. The results?

Nearly anything a comic book fanboy might conjure is touched upon here in short order. I’ve heard more jokes than I can count about Clark Kent banging Lois with his Superschlong. THAT kind of clever (albeit sophomoric) thinking rules the first half of this movie. When Uma Thurman’s Jenny Johnson/G-Girl rides newfound boyfriend Matt (Luke Wilson) in bed, she grinds with super strength. This…HURTS…him, but also gives him an admirable, macho rush. They later get fetishistic: she dominates him while in her superhero costume, and he likes it. This is one of the most honest “Geek films” made in quite a while.

But, despite its title and subject matter (man meets a combustive and neurotic superheorine…does her…dumps her…she uses her powers to exact a FATAL ATTRACTION-esque revenge…what’s a guy to do?), this is a romantic comedy first and foremost, with a bit of bedroom comedy thrown in for good measure. It’s presentation isn’t particularly inspired --in style, and tone, SUPER EX often looks (and feels) like a Disney Channel TV movie (sexual subject matter aside).

Which brings us to two whopping shortcomings:

1) Much of this film is held together by Payne’s script. He gets little help from director Ivan Reitman (GHOSTBUSTERS, STRIPES, EVOLUTION) here, who helms the proceedings with a geriatric lack of urgency. The editorial/kinetic energy on-screen rarely matches with Teddy Castellucci’ s energized score, or the vaporous pop/rock (poprocks?) tunes interlaced throughout the soundtrack. If ever a film was in need of stylistic/editorial trickery, this would be it. SUPER EX seems almost defiant in its reticence to shine…it stubbornly resists coming to life. Leaving a clever, fun premise that is competently executed only in that someone managed to put it on a screen, but never as well realized as it could have been.

2) Compounding Reitman’s lack of directorial flare, leads Wilson and Thurman rarely seem terribly invested in their material (although Uma in psycho bitch mode is a bit unnerving). Much like Reitman’s direction, they feel like they’re going through the motions rather than taking their characters…or their interaction…to the next level. The same can be said of nearly all supporting cast; they all feel…bored. Sleepy. The glorious exceptions here are Anna Feris as the seductively adorable and irresistibly sweet Hannah, and Eddie Izzard – whose unerringly neutral, slow-burn monotone seems inspired by Phillip Seymour Hoffman’s MISSION: IMPOSSIBLE III baddie.

There are other issues here (one could argue that there’s not enough pathos for us to successfully connect with Thurman’s Jenny/G-Girl, and that Wilson entering into a relationship with her for sexual purposes is a bit dogly – and that he deserves what he gets, which pretty much undercuts the “poor, put-upon guy” motif the film is spinning), but to over think this film would ultimately be a disservice.

In this review, I’ve picked on Reitman’s hackish absence of artistry, and on the leads’ lack of conviction. I think both are fair criticisms, and addressing these issues would have undoubtedly made a “fine” film much better.

However, when evaluating any cinema, it’s important to consider the filmmaker’s intent. And, here, the intent was clearly to exploit a specific gimmick… and have a little bit of fun with a genre…period. On both counts, SUPER EX succeeds nicely. It’s merely light-weight, frothy entertainment presented with a nearly complete lack of pretense. It doesn’t get bogged down, and it does what it set out to do.

Should it have aimed higher? Probably – but it at least manages to hit its mark. And, really, how many films can say that? Word is: box office expectations for this one are low. I’m sorry to hear that – this means far less enjoyable films out there will be cleaning up at this project’s expense.

Although, maybe there’s hope yet. Not so long ago, most folks thought SUPER EX would be a complete wash. Then reviews like this started showing up, and we have a few more “positives” in our mailbox right now. If word gets out…maybe…just maybe…SUPER EX will find its way…