‘Archenemy’: the producers of ‘Mandy’ bring to Movistar + a superhero fantasy that balances its modesty with good ideas
That not all superheroes are Marvel and DC is something that fans of the genre are very clear from the moment they there are dozens of medium-sized or downright tiny publishers trying to replicate the success of the two giants or pose their own mythologies. It’s normal – there are multiple aspects of superheroes that Marvel and DC’s highly polished business strategies keep their characters from tackling.
For example, the use of violence, inherent to the very concept of superheroes (let’s not forget: people who solve problems with blows), or the point of insanity that moves many of their acts (¿is Batman a hero or a schizophrenic?). ‘Archenemy’, which has been available on Movistar + for a few weeks, grasps the spirit of those alternative visions to mainstream superheroic and exploits some of its points of interest from the most absolute financial independence and, therefore, from a healthy creative freedom.
Those assumptions are what have moved Spectrevision, one of the most interesting independent production companies of the moment (‘Mandy’, ‘Color Out of Space‘), which raises this origin story whose background could belong to a Marvel or DC hero, but whose brutality is typical of an independent approach. For it They have had the script and the direction of Adam Egypt Mortimer, who already made for them the wonderful ‘Daniel is not real’.
En ella, Adam Egypt Mortimer approached reality distortion disorders from a horror movie approach, and here he performs the opposite path: it approaches the mythology of superheroes from the possibility of schizophrenia. Or that seems to be what affects Max Fist (imposing Joe Manganiello), a homeless man who claims to be a hero from another dimension who has been stripped of his powers upon arrival on Earth.
Neither memory loss nor the urban environment are completely novel in the approach to superheroes, and ‘Archenemy ‘enjoys being aware of both her clichés and her distancing from established canons.. That is why we understand with little explanation the fascination that Hamster, a young reporter for a digital medium, experiences with his new friend. The references to codes that we all handle (colossal cities in other dimensions, the disgraced hero, the archenemy to defeat) always oscillate between the conventional and the original, and there is part of the interest of ‘Archenemy’.
This optic is reinforced with Resulting animated, synthetic and colorful sequences, which effortlessly transport us to the world of origin of Max Fist. Halfway between budget savings and effective aesthetic decision, these flashback scenes are the most characteristic of ‘Archenemy’, and without a doubt what will make many viewers lose their grip on considering that they deserve a “realistic” vision of the past. of the hero.
‘Archenemy’ lacks in putting forward a genuinely solid mythology, and sometimes he takes certain liberties with his hero which is evidenced by the script holes: from homeless that literally depends on strangers to get drink to possessor of effective ultradimensional inventions of opportune utility. The relationships between the hero, the journalist and his sister are also taken by the hair, and they go from condescension to total surrender from one scene to another.
All in all, the global balance is positive. Without revolutionizing the genre, Manganiella’s presence, her clever visual assets, and her utter shamelessness When it comes to putting together a superhero story on a tiny budget, they make it easy to forgive the twists and turns of the script. A successful entertainment that shows that there are as many superheroes as approaches we can imagine.