The Umbrella Academy, review: Netflix superhero the most in debt with Stan Lee's Wes Anderson

Netflix's commitment to the superhero genre was perceived as a huge sway when it canceled most of its Marvel ties. Yet, even if fans mourn the loss of reckless, Iron fist is Luke Cage (The Punisher is Jessica Jones are certainly also for the chop), the streaming service has made the changes exciting with its adaptation of the series Gerard Way and Gabriel Bá cult, The Umbrella Academy.

Where Marvel shows became entangled in the dense war between Netflix and Disney – Marvel's parent company is in the advanced stages of launching its rival streaming platform – The Umbrella Academy saves his complications for the screen. It is both a revisionist – and often batty – that takes the hooded environment and a winning and gnarled mystery. And it is definitely the first story of super-budget big-budget super debtors with Wes Anderson that with Stan Lee.

The homonymous Umbrella Academy is a kind of X-Men for super-monsters of natural origin. Thirty years before the story begins, the world is shaken by the birth of 43 children in women who apparently remain pregnant shortly before. Seven of these children are acquired by the mysterious Sir Reginald Hargreaves (Colm Feore), who then names numerically in order of perceived utility (the super-strong infant is "Number One", the child with no discernible powers "Number Seven").

But now Sir Reginald is dead, apparently suffering from a heart attack. Having, in most cases, given up their careers as superheroes, her family returns to their Wayne Manor childhood home to mourn. Among the stepsisters Luther, aka Number One (Tom Hopper), the tedious, telekinetic Klaus, aka Number Four (a too cooked Robert Sheehan), and Ellen Page in the role of Vanya, aka Number Seven (the only thing that is good at is violin).

The tearful meeting takes place predictably until the sudden arrival of the missing number five (Aidan Gallagher). A time traveler tired of the world trapped in the body of his 13-year-old self, returns from a future in which humanity has been destroyed. On its tail there are supernatural murderers in grotesque animal masks (R & B icon Mary J Blige and Cameron Britton, by David Fincher Mindhunter).

Throw Sir Reginald's chimpanzee butler (Adam Godley) and a terrifying robotic "mom" (Jordan Claire Robbins) – or not have a role in the off the old man – and you have a superhero drama that enthuses you enthusiastically strangeness In this, it is encouraged by a dialogue that looks like a cousin once removed from the Wes Anderson school with sobriety and production values ​​imbued with Andersonian oddity. A flashback in which Umbrella children train by running on golden scales in matching tracksuits might, for example, come directly from The Royal Tenenbaums.

Devotees of fanatics of the boom-biff superhero may consider the irrelevant distraction. And yet, under the strange veneer. the Umbrella Academy is a rumination on how childhood scars can continue to call us adults. It is also a satisfactorily murky thriller that demonstrates a genuine innovation in its occasional action scenes (like a split-screen split in a department store with the "Do not Stop Me Now" soundtrack). While we are counting down for the last explosion of Avengers' avengers, The Umbrella Academy it is a reminder adapted to the adaptations of the crusaders can be delightful and perceptive along with punch-drunk and deafening. It's like crazy like anything else – but a really nice show to do.

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