THE FLICK
Back in 1977, CBS aired The Amazing Spider-Man, an hour long action live action action adventure series centering on everyone's favorite web head. In that show, Nicholas Hammond (aka Peter Parker and Spider-Man) dressed in an ill-fitting suit complete with mirror-like circles for his eyes. He didn't exactly swing between buildings on webs jetting out from his wrists; he fought non-descript bad guys using his fists in a pseudo-martial arts stance. In the Chilean production Mirageman, actor Marko Zaror is given the same kind of outfit, along with wildly protruding "bug" eye lenses to create another super hero named after the description given to him by TV news reporter Carol Valdivieso (Maria Elena Swett).
The idea-I think-behind Mirageman is twofold. One, capitalize on the fascination around the world with superhero films (it was made in 2007) and, two, portray a regular, ordinary joe becoming a city's savior. Ernesto Diaz Espinoza's second project as writer/director does fail because of the intentions. It fails strictly because of its running time. Clocking in at only 87 minutes, the story jumps from one plot line to another with no regard to developing any of them in a meaningful way. For example, we're introduced to Maco (Mirageman) over the opening credits. English subtitles translate a newspaper headline proclaiming parents dead, elder son raped...or something like that. Mere moments later, Maco breaks up a burglary attempt. Is he out for revenge a la Batman or a good guy trying to keep people safe? The movie doesn't care, opting to fill the running time with action sequences instead of actual character development.
I have a theory on why that is, too. Zaror is physically impressive, muscular, powerful and built. He even handles the martial arts sequences well (assuming, of course, he is under the Mirageman mask). Yet he has absolutely no charisma or personality. Hell, he's a terrible actor, delivering his handful of lines with all the emotion of a tree. And therein lies the issue: Espinoza had to decide if he wanted someone who looked the part or could carry the film with his acting ability. He chose the former, writing the script around his leading man's deficiencies. When he did that, all semblance of story went right out the window and that is (mostly) why Mirageman is largely a joke.
Oh, it has some good ideas floating around in it about the backlash "vigilantes" experience when their exploits are seen by the general public or how he learns of people needing help when he doesn't have super hearing like Superman or a nifty red phone like Batman. Mirageman even makes an effort to showcase a character-changing arc for romantic interest Valdivieso, turning her from a corporate shill to arbiter of morality within the run time. None of it is enough, considering Espinoza doesn't have the ability to really use Zaror in the way he needs to. Part of me thinks there is an extended cut of this film floating out there somewhere with all sorts of missing story and character development. I'd prefer to think that than to entertain the notion Espinoza is this bad of a writer.
At least some of the story deficiencies aren't due to the actors. The film drops the name "Pedophile Network" at various times, insinuating the network is at the heart of little girls disappearing. I'm sure Espinoza wanted to create a big bad enemy for Mirageman to fight in the climax of the film and that's why he peppers the film with mentions of this organization. Unfortunately, not enough time is actually spent with the Pedophile Network to make it appear menacing in the least. There's no beef to these people, no motivation for what they do. Instead of being a true menace, they come off as thugs with a fetish for little girls. And while battling them is a noble calling for Mirageman, we're similarly given no reason for him to take them on.
There is so much story material missing from the final product, the audience is asked to make grand leaps in the narrative, running to connect the images on screen from one scene to the next. Characters don't earn their advancement; it generally comes from being lucky or out of the needs of the plot. What's worse, Espinoza asks the audience to be stupid for the entirety of the film. Why? My only guess is so his job as writer is easier...and to keep the action scenes coming fast and furiously.
I don't have any major problems with the direction; it's competent enough in a natural, realistic sort of way. Espinoza shows the audience exactly what we need to see and nothing else. Fight scenes are mercifully not edited like a video game, allowing the participants actual martial arts abilities to be showcased without whip pans and quick cuts. That's all besides the point, considering Mirageman has all the production value of the Spider-Man series I mentioned at the outset. Respectable combat sequences don't make up for a shoddy script.
THE LOOK
It may not be entirely fair to hold Mirageman to any kind of standard. This is a production from a country not exactly known for its feature film industry. As such, the anamorphic picture is generally acceptable with some pretty major caveats. There seems to be some kind of issue with the lighting either on set or in the mastering process. Scenes are either too dark, blown out or completely sapped of any color. These same sequences are hampered by a lack of detail, at least to the extent of detail we're used to in features. A few shots include moire effects, though they don't stick around too long. Some audiences may lament the grain in every scene, but it tends to add a bit of character to the production.
THE SOUND
Audio-wise, there isn't much of a difference between either Spanish track (5.1 and 2.0). Dialogue seems a bit low for whatever reason; it's not much of an issue if you're using the English subtitles. Action sequences and the heavily stylized disco-type score are bombastic. Late in the film, directional sound effects come into play for a visual effect. Considering the sound mix doesn't do a whole lot to engage the audience, having layered sounds come out of the speakers in harmony with the images is a small thrill. English dubbed mixes are also included.
THE STUFF
Mirageman comes packaged in a normal black keepcase without an insert. Aside from a dozen chapter stops, the extras are pretty thing. A selection of trailers for other Magnolia product are included, either initially when the disc begins to play or from the Special Features menu. (For the record, the trailers include spots for Ong Bak 2, The Canyon, Not Quite Hollywood and the HDNet network.)
Otherwise, a short three minute-ish piece billed as "Behind the Scenes" is included. There's some raw footage of stunts and other B-roll footage, but nothing terribly interesting.