Once Upon a Superhero

Once Upon a Superhero is an ambitious and experimental film that has a fascinating take on superhero mythology that for the first half of the runtime manages to blend drama, humour and style together. However, the second half of the film could lead to viewers becoming frustrated.

The biggest strength this film possesses is how unique of a concept the central plot is. What if a supposed superhero lost his powers after being exiled? How would he go about getting them back, and how much do people believe his story? When this film was released in 2018, the superhero genre was at the peak of its powers, and Once Upon a Superhero offered a fresh interpretation of the genre. The main character we follow is dubbed Solar Flare, and it is left up to interpretation whether he is truly an exiled god-like superhero or a lone wanderer who wants to believe he is a superhero, as it is better than his current reality. We follow Solar Flare through locations such as Hollywood Boulevard, where he encounters the drugs, sex and violence that define the city's darker side. Through these activities he meets a wide range of characters, with each one helping examine the psyche of Solar Flare. The film's main theme and message, loneliness and isolation leading to endless wandering and unfulfilled hope, work whether we choose to see the film through the lens of an exiled superhero or an unloved human.

Adam Marcinowski does a great job portraying both sides of Solar Flare – the stoic fish-out-of-water superhero and the vulnerable homeless nomad. His interactions with the side characters bring out some good emotional and humorous scenes, particularly with the character of Captain Boulevard, played by Jason R. Hughes. One montage with Captain Boulevard was very well done and impactful. However, I found most of the side characters to be lightweight on depth and disappeared from the story without making that much of a notable impact.

From a production standpoint this film really works for me. The director John M. Kline had a clear visual style that he wanted to execute with dazzling visuals and impressive production design, considering the budget. The animated superhero sequences, used to suggest Solar Flare’s alleged backstory, add energy and momentum to the film. This sense of creativity also comes through in the sharp transitions, crisp shots and split-screen effects. The convincing superhero costume deserves praise, and the synth-like score complements the film’s atmosphere well.

However, my main criticism of the film is that it is far too long, and the unique concept wears off. There are too many scenes of Solar Flare constantly wandering with the story not progressing to any endpoint. I understand that these repeated wandering sequences are meant to reflect how lost Solar Flare feels, but across a 112-minute runtime, they become tiresome and frustrating. Some of these scenes are purposefully disorienting, which is effective at first but again can be overdone the more the film goes on. For me the pacing drags down the enjoyment of this film, as the first half was really engaging, but the film becomes less coherent the longer it goes on. The film would have benefited from 20 to 30 minutes cut from the film.

The film's ending will be divisive, and the audience will question whether the emotional payoff warrants the run time. To some, the ending would be in line with the tone of the film, and ultimately Solar Flare’s ending makes sense for where the character was heading. Others would say that a more complex and emotionally rewarding ending could have been conceived, one that would leave the film ending on a high note.

Overall, Once Upon a Superhero is an ambitious and creatively interesting film that starts off strong with its unique premise but ultimately drifts towards its conclusion. A strong lead performance and thoughtful themes carry the film strongly for the first half of the runtime, coupled with its strong directorial vision and production design. However, its ponderous pacing, uneven script and lack of emotional depth in the side characters mean the film loses momentum the longer it goes on, leading to what could be an unsatisfying conclusion.