In what feels like a watershed, a movie showcases a Latino superhero centrally and fully, along with his culture, family, food and, subversively, politics.
For Jaime Reyes — the Blue Beetle — being a superhero is a family affair. While most superheroes shield their identities from loved ones, in “Blue Beetle,” the first DC Comics movie to feature aWhen recent college grad Jaime unknowingly brings home an alien scarab in a fast-food box handed to him by industrial heiress Jenny Kord , which she spirited away from the headquarters of the family business, he’s egged on by his sister Milagro and Uncle Rudy to check it out.
The alien suit may be nifty, allowing him to fly and fight and conjure weapons out of thin air, but Jaime derives his strength and drive from the tight-knit Reyes clan. His family is a crucial component in the comic books, lovingly transferred to the screen by director Angel Manuel Soto and writer Gareth Dunnet-Alcocer. The first Latino superhero movie is a true reflection of Latino culture, including the food, the music, the history and the focus on family, first and foremost.
“Blue Beetle” is a good old-fashioned origin story, a stand-alone film unrestrained by crossovers and cameos. As a hard reset for the, it’s refreshing, despite its adherence to formula. Soto and Dunnet-Alcocer inject the film with a welcome dose of tropical Latin flavor, a new set of values and a fair amount of humor; at times it can be a bit goofy, but that proves to be a powerful antidote to the otherwise dour tone that has bogged down DC movies of late.
Threaded throughout is a subtly radical storyline about the complex history of Latin America, and the complicated relationship with the United States, including immigration, gentrification and the exploitation of Latino labor and bodies. In the backstories of Nana and baddie Carapax , Victoria’s super-soldier slave, the film also references the legacy of Latin American revolutionaries, and the outsize influence of the U.S.
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