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The first-ever live-action Latino superhero movie from DC Studios exceeded expectations. “Blue Beetle” is not just a competent superhero film, but it stands as the pinnacle of DC’s recent endeavors, showcasing heart, soul, and flavor.
“Blue Beetle” triumphs over the competition that DC has faced in the past decade. It is not Marvel Studios, but rather their own illustrious history of creating legendary superhero movies helmed by greats like Richard Donner and Tim Burton. Indeed, it is challenging to live up to the standards set by iconic films such as “Superman” and “Batman.” The Dark Knight trilogy by Christopher Nolan and the unforgettable performance of Heath Ledger as the Joker raised expectations even higher. Thus, DC fans anticipated nothing short of perfection when the studio released “Man of Steel” in 2013. However, perfection did not follow. In its pursuit of matching Marvel’s success, DC delivered some good movies but produced only one masterpiece—the first “Wonder Woman” movie directed by Patty Jenkins and starring Gal Gadot in 2017.
“Blue Beetle” is the second masterpiece and the introduction to a promising new era in the DC Universe, under the guidance of James Gunn. Do not underestimate the significance of this film due to its modest budget, mid-August release date, and lack of promotion during the actors’ strike. Those of us who adore superhero cinema can recognize when we have witnessed something exceptional. It is a feeling that used to propel us to midnight screenings and inspires us to watch a movie four or five times in theaters. Rest assured, “Blue Beetle” evokes those emotions as well.
Personally, I was taken aback by the impact of “Blue Beetle.” Attending a private screening with only my daughter in an empty theater, I did not expect this movie to matter in the grand scheme of DC’s plans. I believed “Blue Beetle” would suffer the same fate as “Batgirl,” ending up forgotten in the Warner Bros. graveyard. Even James Gunn’s positive comments about the film’s future in his DC cinematic world failed to sway my skepticism. However, I was proven wrong.
Xolo Maridueña’s portrayal of Jaime Reyes, the teenager behind the Blue Beetle armor, reminded me of Robert Downey Jr.’s performance as Iron Man in 2008. It wasn’t just the exceptional acting or the high-tech suit that resonated—it was the feeling that this is the start of something significant.
The moment the credits rolled for the second “Blue Beetle,” I knew I had just witnessed the best DC movie in the last ten years. The movie oozed heart, humor, and a multitude of compelling villains. It left me questioning whether it deserved a spot alongside the greatest moments in DC movie history, such as Christopher Reeve’s iconic shirt-ripping scene in a phone booth or Michael Keaton’s Batman gracefully descending upon unsuspecting criminals. Does Blue Beetle warrant a place among the GOATs (Greatest of All Time) of DC? The answer is a resounding yes.
Furthermore, the Latinidad of “Blue Beetle” cannot go unnoticed. This film was crafted for Latinos by Latinos. Puerto Rican director Ángel Manuel Soto expertly presents the story of a Mexican American family raising a superhero, thanks to the masterful script by Mexican writer Gareth Dunnet-Alcocer. Soto’s Puerto Rican background, combined with the island’s complex relationship with the United States, and Dunnet-Alcocer’s accurate depiction of growing up Mexican in America under the watchful eyes of “gringos,” infuse the movie with genuine Latinx experiences. Themes of immigration, gentrification, and the struggle of navigating a world that primarily acknowledges English resonate powerfully throughout “Blue Beetle.”
While watching “Blue Beetle,” I found myself unexpectedly shedding tears—a rarity for me during superhero movies. Consulting with other Latino journalists who had also seen the film, I discovered I was not alone in my emotional response. This reaction is what transpires when you witness a story made explicitly for people like yourselves. In the last two decades of superhero cinema, I have felt this connection only twice before, with “Black Panther” and “Spider-Man: Into the Spider-Verse.”
Consider for a moment loving something your entire life—beginning with Keaton’s Batman in 1989—yet seeing yourself represented on screen only thrice in decades. “Blue Beetle” represents the third time I saw myself in a superhero, proving the old adage true: the third time indeed is the charm.
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