Mirageman

a Real Chilean Hero!

After the failed attempt Kiltro was, Chilean film maker Ernesto Díaz decided to give a rest to martial art flicks and moved on into the superhero genre and instead of paying big money in renowned comic book characters he chose to create a 100% made in Chile superhero. Such hero, goes by the name of Mirageman and neither has  superpowers nor he has a fortune to aid him on his gentle goal.

Once again Ernesto Díaz relies on Marko Zaror for the lead role. Zaror as Maco Gutiérrez, is a quiet and respectful bouncer working at a local renowned strip club. When not working, Maco is a fitness and workout nut. Of course, there is a story behind that would explain why this bouncer spends his spare time training.

No Jarvis, no kevlar, just martial arts and guts.

a Tribute to the mexican hero Chapulín Colorado.

So, how does Maco becomes Mirageman?

At some point in his life, Maco suffered a brutal attack that took the life of their parents and left his younger brother traumatized & under medical surveilance 24/7 in a mental institution. Thus, making Maco train his brains out in case the brutality of his past returns.

One random night while jogging, Maco stumbles across a robbery in progress outside of a suburban house. After instinctively disabling one bad guy, Maco hears screams coming from inside the house. Maco grabs the bad guy's mask and enters, surprising the bad guys and saving the day. One of the rescued victims is a tabloid television freak reporter Carol V (played by Chilean soup opera starlet María Elena Swett. By the way she can't act at all)

Carol V broadcasts a commentary piece the next night on her television show in which she calls the man that rescued her "a hero without a Batmobile or cape." For some reason, his brother also watches the Carol V's commentary making him improve his condition. Therefore, inspired by Carlo & his brother, Maco decides to become "the Vigilante".

Mirageman Begins.

Stop the press!

"Mirageman" is a difficult and ultimately mediocre movie. In it's short 87 minute running time, "Mirageman" changes tone three different times. By far the most amusing scenes come early in Maco's career as Mirageman. Mirageman has to fight what would be the first real life challenge of any superhero: Practicality. Mirageman has to overcome cumbersome costume difficulties which include time required to change into the costume and where to stash his non-hero clothes. And of course transportation. Although Maco's "origin story" is similar to Bruce Wayne, Maco is no billionaire. His costume is pieced together from a sporting goods store and he owns no car. At first he takes the bus when battling villainy.

"Mirageman" also revels in the belly-bouncing glee of how a superhero must hold himself while walking around. "The Dark Knight" and "Spider-Man" never shows the viewer what it's like when the Caped Crusader or the Web-Slinger has to, say, simply walk up stairs or down a hallway. How would they act while doing the mundane? Marco deals with that as Mirageman. The extended sequences showing the costumed Mirageman 'creeping' in bright sunlight with his arms held to ready like an arcade game are both funny and uncomfortably awkward.

The second tone of "Mirageman" deals with the life of a hero after he's sorta figured it out. This includes the surprising public reaction to their very own superhero and the ways that a simple masked man trying to do good can be exploited and become something of which he never wished. Maco also has to deal with what fans he has and hopefully deal with that embarrassing transportation issue. Maybe a sidekick would be just the thing? 

Sin of the flesh.

Maco goes through many transformations during the movie. I honestly can't remember more than one or two lines that Zaror has as Maco. Most of the character building is deftly conveyed using what the viewer already knows about 'superheros' and situational drama. Although he never says it, we feel Maco's pain, inadequacies, and sense of justice.

The third tone is set as Maco has to deal with these issues and the very real likelihood that, in order the make a real difference, he may have to risk it all.

The last act is brutal and realistic – a sharp contrast when compared to the relative camp of the opening act. One gets the feeling that this is what it would be like to take that mantel of responsibility.

Overall, another awful movie made by a group of enthusiasts who lack the skills necessary to pull a serious project. The terrible acting, plus the poor plot are the biggest weaknesses this film has. Also, this urban hero never gets to face a challenge of the size of a superhero. Most of his battles are spent with pickpocketers & low lifes who barely stand a chance against his martial arts skill. However, there is one big challenge by the very end of the film where a fake commissioner Gordon wannabe tells Mirageman he is the only hope on dealing with a pedophile network. Why is he the only hope? he's barely trained! he's never fought big businness mob! and where are the police during the whole movie? How does he know where the pedophile network hideout is? oh, and one more thing: Commissioners do not exist in Chile, why did they put one in the script?  

Again, these bad films made by apparent connoisseurs of the genre leave me with the same question: How can a connoisseur make such a bad film? I for one seriously think, the guys involved in the making of the film have no idea about comic books and of course, nothing to do with film making. Watching Tarantino & Rodríguez flicks do not turn you into an exploitation expert at all.

Skip this piece of crap.

Here's the movie trailer:

And here's the movie trailer from the failed american remake "Defender Man":

Mandrill

Retro hitman.

Continuing with the growing Chilean exploitation genre, officially known as "Latinxploitation" since the introduction of Bring me the Head of Machinegun Woman Today we keep on following the career of Ernesto Díaz the only Chilean film maker that has made a career out of paying tribute to the exploitation films from the beloved 70's. Mandrill, is his third movie officially released in 2009 and currently available on DVD & Blu Ray at select stores around the globe. His second film was 2007's Mirageman but, we'll talk about that one later on. If Díaz earliest attempt (2005's Kiltro) at film making good exploitation was a rushed mess driven by anxiety, Mandrill is the complete opposite: A very well executed hitman story. The movie, obviously, cites the best of the secret agent genre. Take Shaft, James Bond & The Transporter and voilá! you have  Mandrill. Now, don't get me wrong, I'm not saying this is a deliberate rip off as Kiltro was, this is entirely a movie anyone with a taste for action would enjoy gladly.

As Díaz earlier films were a loving, tongue-in-cheek homage to the ’70s exploitation action films, so too is Mandrill, casting the martial arts expert Marko Zaror this time as an eponymous Bondian hitman, inspired equally by fictitious movie super-agent John Colt (with highly amusing and spot-on film clips) as by the childhood murder of his parents. Unfortunately for him, the daughter of his long-sought target is a beautiful and feisty young woman who provides him first with the challenge of seduction and subsequently that of staying alive.

the bad guys.

Revenge is a dish...well, you already know.

The film wears its superficiality happily on its sleeve, reveling in the hard bright light of glamorous commercial photography in sun-drenched exteriors or golden casino interiors, and in the superlative fighting skills of Zaror (with only a minimum of digital assistance). Motivation and characterisation are unashamedly clear-cut, although the sympathy-eliciting cracks in Mandrill’s tough-guy persona are a little over-exposed – his tears flow readily, and when denuded of his designer shades his eyes reveal too clearly the slow-moving cogs behind to convince as those of an invincible super-man. But otherwise Zaror is a manly force with something of both the monkey’s cunning and simple-mindedness. Now, has his acting skills improved? No. He can be an action hero but not an award winning actor. He still has difficulties speaking clearly, and his body language it's always forced never loosey goosey, which for an exploitation film isn't much of a deal anyways.

The transporter + James Bond= Mandrill.

Sex & Guns.

The film’s well-judged momentum falters only towards the end, in an oddly curtailed sequence that starts like some trial of strength in grainily-shot rooms (only two) containing ever-tougher opponents; it had the makings of a beautiful series of abstracted confrontations, given the fighting and film-making skills, but it cuts abruptly and disappointingly to the  climactic showdown, which itself fails to build on the earlier confrontation that it reprises. But the film is carried off with enough style and such good humour, particularly in flashbacks to a (well-cast) younger Mandrill and his caring and amusing uncle, and the pastiche is so lovingly accurate – including a vibrant soundtrack of exploitation funk, Barry-esque Bond lines and hopping tropicalia – that deficiencies of construction and rhythm (tension is too often curiously under-milked and the script was concocted on the run whilst shooting) are quite happily overlooked for the sake of plain simple enjoyment, fondly stylish film-making, and the prospect of an unashamedly set-up sequel.

Time for love...

...and Revenge.

Overall, a good film that deserves its place in the exploitation revival we've been seeing since the early 2000's. The film delivers what is promised and the supporting cast does a good job (you'll see some familiar faces from Díaz earlier films) The story, although there's nothing new to offer to an already tired secret agent genre, delivers and makes sense. The added segments with the fictional John Colt 70's movie is a lot of fun and helps explaining that Mandrill is just a kid who is looking to become a man doing what's right. If you watched "Bring the Head of Machinegun Woman" there is a small scene where Mandrill is a member of the hitmen website where Machinegun Woman works too, so there is open room for a crossover in the near future. 

Here's the movie trailer:

Kiltro

The first chilean martial arts movie.

The action film industry has always been far too distant from Latin America. Most of the films made in Latin America, no matter the country where they're made their stories all seem to be the same: romance, soup opera, sex & politics. In fact, if someone is asked if he has ever watched a film from Latin America the answer overseas will be a big no. The problem, if I may call it a problem, is that Latin America is always focused on filming stories that concern their people, their culture. So, in that scope it is very hard to film something to appeal foreign cultures. Nevertheless that didn't seem to be a limit for Chilean film maker Ernesto Díaz Espinoza. Instead of thinking about limitations he chose to pay tribute to his favorite films: Those from the exploitation genre. Did he succeed? perhaps...
 

Kiltro is a the first Chilean martial arts film ever, the first of its kind. Since the budget was so limited I can look past the bargain basement set pieces straight out of the 40s, but (unfortunately) what I can't look past is a jumbled, incoherent story full of plot holes; stone-faced actors; terrible pacing; and god awful CG blood. They would've been better off pulling a Tony Jaa and breaking everyone's limbs and neck. It would've looked better, saved money, and had a greater effect.

Zamir, the good guy.

Another gripe I have is with the whole love story. While the director seems to think it is cute and emotional, we're somehow lead to think its rather scary instead. Zamir (played by martial arts expert Marko Zaror) is nothing but an obsessed stalker. The opening of the movie has Zamir skulking in the shadows at a club watching a girl (Kim) dancing with some guy. When the guy gets a little frisky Zamir goes into rage mode and attacks. We find out later on that this guy that Zamir attacked is really Kim's boyfriend (WTF?) We also find out through the story and flashbacks that Zamir had been stalking Kim for 2 years and violently attacked any guy who tried to get close to her. I don't know about you guys, but to me that isn't a good way to set up a quirky love comedy. Now, is that a problem? Definitely! as this weird love story is what drives the whole film from start to end.

But I can't be all negative. Marko Zaror is an impressive individual. He is so ripped he makes some of the Spartans in 300 look scrawny, and for a man his size he has some incredible moves. I just wish he had a better director behind him. Espinoza's ham-fisted attempts at capturing the action was embarrassing. One reason why Tony Jaa is getting so popular, even though he shares the same stoic demeanor as Zaror, is because his director knows how to capture all of his moves and make them look gorgeous. Can he act as a lead role? I don't think so, he's definitely good at fighting but he's got no business acting. However, suddenly I'm reminded that Chuck Norris, Silvester Stallone, Arnold Scharwzenegger all became action heroes with the same amount of talent as this Chilean martial arts talent.

The princess our hero needs to rescue.

the awful Star Wars training moment.

Moreover, the girl Zamir is trying to rescue from non existant stalkers (but him of course) does not seem to be interested in him at all up until the very end of the story. Later, as the poor story develops, Zamir is faced with an old powerful enemy that wants to have his vendetta over Kim's father. Somehow, that becomes a turning point in the film and Zamir incapable of facing this mortal enemy as he is not ready yet, has to go on the clichéd journey of the hero that becomes a master and bla bla bla. If you're thinking "well, that is not so bad, there are plenty of films with the same idea" and while you may be right up to a certain extent all I can say is that in Kiltro, this is another monumental fail. 

Zamir leaves town to find a secret master from the Kiltro order. Once he finds him, you can't avoid LOL because this master is a poor midget fake replica of Yoda!!! and he's named "Nic Nac" (read as Neek-Nuk) just like the cookies!!! Anyways, he's too old to face his mortal enemy and too old to train Zamir so he tells him to go to the dessert and find José Soto to complete his training Jesus Christ man!!! stop hurting our eyes with that nonsense!! 

I'm the bad guy but I don't care about the main character.

Ok, I'll fight you good guy.

Eventually, Zamir becomes a member of the order of the Kiltro fighters and returns to the big city to out an end to his unifinished business with the bad guy who didn't give a shit about him but for some random reason, kidnaps her soon to be her girlfriend and instead of killing the girl's dad to fulfill his revenge he patienlly awaits the return of Zamir. What for? not even the film makers knows, I'm sure. By the way, the word Kiltro, actually Quiltro is translated from spanish as "Street dog" but somehow according to the film's mood I would dare to say "Underdog" fits a better translation although it is not correct. 

So, now let's take a look at the characters:

Zamir: The main character, a stalker by nature that gets in the way of a vendetta that has nothing to do with him.

Kim: The girl Zamir swore to protect. She does not want to be protected, she doesn't even like the guy until  he rescues her at the very end of the story! Also she goes to school dressed up as an Asian student while in Chile there isn't a single school in the whole country that wears that kind of dress so that is highly inaccurate for the setting of the story. Also, his father is Korean (couldn't they hire an actual Korean girl for the role)

Max Calva: The bad guy who's after Kim's father because he got the girl and oh by the way! he is Kim's true father after he raped the woman he loved so much (WTF)

Nic Nac: Named after the cookie brand this Yoda wannabe has no meaning in the whole story but to tell Zamir "go somewhere else, I can't train you"

Master Nic Nac.

Grand finale.

José Soto: Zamir's master and guess what: He is his long lost father!!! The problem with this character is that he is supposed to be a master and he speaks in street slang all the time! how many masters have we seen in movies who spoke like they were crap? None. Oh! and he is drunk all the time.

In conclusion, I think Marko Zaror has a lot of potential as a martial artist.In fact his long time friendship with the director granted him two more films which, fortunately, improved the quality positively. I don't mean to be meant with this film but being a long time Exploitation fan I simply can not believe this film maker didn't check some of the issues his first movie plot had. Fortunately he got better in time.

Here's the movie trailer: