The Hyperions (2022)

The Hyperions is the kind of superhero movie that feels like it was beamed in from an alternate timeline—part retro caper, part bruised family drama, all powered by a slyly original idea: what happens when your identity can be pinned on, taken off, and repossessed. Jon McDonald leans into a colorful, slightly campy vibe without turning it into a joke, letting the humor and action play off a surprisingly sincere heartbeat about belonging, replacement, and the cost of being “chosen.” Cary Elwes is a delight as the charismatic, questionable patriarch at the center of it all, anchoring the film’s oddball energy with just the right wink. It’s not for viewers who want sleek, modern superhero spectacle, but if you’re in the mood for something scrappier, weirder, and genuinely inspired, this one earns your time.

The Hyperions wants to be a quirky, retro-tinged superhero caper about a broken “found family” cashing in on fame and then paying the emotional bill years later, and that’s a solid idea. The problem is the movie often feels oddly low-voltage for an action film, with scenes that should pop landing a bit flat and the whole thing never quite cashing the check its premise writes. Cary Elwes is game and the offbeat world-building has charm, but the pacing and tone can make it feel like a pilot episode stretched into a feature. If you’re expecting punchy superhero spectacle or sharp comedy, you’ll likely be disappointed; if you’re okay with a scruffier, indie take that’s more concept than fireworks, you may find it mildly enjoyable.