Talking about these kinds of works has always troubled me in some way. Usually, I don't have a hard time putting into words what I like about something because it's usually writing-related, and I can pinpoint the exact character progression, plot structure, and etc. It's not the fact that Megamind is a live-action movie or anything, it's just that breaking down why I enjoy things like Speed Racer 2008, Utena Apocalypse, or Getter Robo when they run contrary to my normal stuff has always ended up in confusing wording or contradictory phrasing.
The basic formula for these types of movies is this: sacrifice substance and meaningful dialogue in favor of blazing fast pacing. The scenes are always very packed, leaving barely any time to think about what's going on, not that you'd need to because the plot and characters in these movies are purposefully simple. Usually, as a bit of a bonus for rewatchability and to give these movies more flavors, the creators will add tons of imagery and nods you wouldn't notice on the first watch.
Megamind perfectly encapsulates this formula. It's very easy to look at Megamind and try to break down how its meta points argue against the superhero movie, but honestly, all that talk is mostly bullshit. The movie isn't really trying to be some grand critique against the genre, and I would even go so far as to argue it fits perfectly within the genre. It generally goes through the motions of the hero's journey at its most basic level and the main character comes out a changed hero at the end. No need to overcomplicate it.
And it's not like the movie is trying to be subtle about it. The entire setting is built around this fascination around what it means to be a superhero or a supervillain without brooding on that too much. The characters constantly try putting themselves in roles and voice this fact many times through dialogue.
The only one that doesn't fit this mold is Hal, who exists to solely make the characters realize that all they've doing is an act. Hal represents the actual definitive "supervillain" to which Megamind thought he was being throughout the movie. He represents genuine evil both through character and through his actions. Unlike Megamind, he doesn't have sympathy for people, has no qualms about hurting others, or holding back his destruction. Throughout the film Megamind presents himself as a "comic book supervillain" with flashy presentation, who doesn't commit any destructive crimes or really would ever hurt another human being. His sole focus is to go against Metroman, the "comic book superhero," always, and his expectation is never to be truly killed or to kill Metroman, but to be beaten, imprisoned, and repeat the cycle in a later issue.
This isn't anything that anyone can't realize, far from it, all the shit I just wrote here is pretty much the barefaced plot of the movie. But what I really want to point out is that the movie isn't trying to take this concept super seriously. Even the final fight is filled with quips, jokes, and sequences basically made to make you laugh, not really trying to make you feel scared that anyone is gonna die despite Hal firing off laser beams at the characters constantly, or literally knocking down an entire building on to the characters. The entire movie is telling you to "just have fun with it." And that's great. Because at the end of the day just about the only thing that I can say about movies like these are that "they're fun" and elaborating past that is pointless.
The simple act of watching them is fun. They're made that way, as experiences, not thought pieces. You come out of the movie extremely satisfied and want to watch it again. It's plainly a rollercoaster, without the metaphor that there are low and high moments. The experience is a high moment in itself.
So, what's there to take from Megamind? Nothing, and that's ok. You don't need some grandiose message or life-changing expose from everything. Critics and, frankly, me like to ridicule works that are vapid and without substance, and honestly, I'll stand by my opinions which are like that nine times out of ten. And the takeaway isn't that substance is everything, but that if you're going to make a vapid piece, don't half-ass it. Make that the point and run with it.
