Last Friday, November 23, the Spanish cinemas hosted this awaited premiere, a film distributed in Spain by Buena Vista International (Disney), directed by the young Javier Ruiz Caldera (Anacleto: secret agent, 2015) and written by the renowned Borja Cobeaga and Diego San Jose (Eight Basque Surnames, 2014), which has divided specialized critics and viewers.

The film tells that when Skorba and his army of robots invade their planet, the most important scientist in Chiton sends his newborn son to Earth to protect him and safeguard a vital secret.

Baby has become Juan Lopez

Thirty years later, the baby has become Juan Lopez, a gray office worker who has never used his superpowers, so as not to be discovered and… because in this country envy is very bad! But Luisa’s arrival at the office will make her think about not standing out and, to impress her (of course!), She decides to become Superlopez.

Just what Skorba and her daughter Agatha have been waiting patiently for. Now they will finally be able to locate him, hunt him down and return him to Chiton.

We are facing the most exciting crisis of ideas in the history of Spanish cinema, at least if we want the protagonism to be borne by the superheroes. As is known, in 1973 the 79-year-old Leon cartoonist, Jan (Juan Lopez Fernández), wrote Superlopez, an argument on which the story at hand is based, and which reported the greatest success of Spanish comics. Perhaps ultimately, although elaborated in 1958, Ibáñez’s work with Mortadelo and Filemon is one step ahead of Jan’s.

Disappointing result of Superlopez

Be that as it may, the result of Superlopez is disappointing. And it is for various reasons. Aside from how difficult it is to bring the national comic to the big screen in Spain, it is worth remembering that the technique of this film is poor.

The special effects are not very special and efficient, their staging does not dissociate itself from the absurd, and for some successful screenwriters with 8 Basque surnames they have preferred to shoot down the middle street and Supermanize the film by Richard Donner as From there, design a structure and some low-profile dialogues, very mean, very clumsy… that reveals not only their imaginative shortcomings, but the essence of a job like this, that is, laughter, because in Superlopez hardly one is laughs, if anything, even sometimes you feel embarrassed.

There was a time when the landismo had created trend in the Spanish cinema, until Alfredo Landa resigned from that genre because it found that denigrated him. Now, Javier Ruiz 

Caldera has invented Superlopezismo, the best term to define the imprecision of a simple and seedy film, despite the fact that it has good interpreters, from whom little of its essences has been extracted.

At most, Alexandra Jimenez and Pedro Casablanc are saved. Dani Rovira is very just in this role, expressive when he needs it, but it is still a repetition of gags from his other roles. 

You are right, Caldera, to be happy in Spain you have to be mediocre. Nothing more to add. Okay, yes. If viewers don’t want to waste time, use it by reading a good book. Don Groucho was not without reason!