For as formidable an assemblage of luchadore might as Santo, Blue and Mil to descend upon one small town there has to be some kind of secret agenda. And, indeed, there is
One need only glance over the many titles in the lucha movie genre to see that there is a long history of enmity between Mexican wrestlers and mummies. This goes all the way back to 1964, when Elizabeth Campbell and Lorena Velazquez threw down against a pop-eyed, reconstituted Aztec warrior.
The resulting era of movies eschewed any attempts at the Gothic classiness of the earlier production and simply went for goofball comic book action. Think of it as the luchadors’ Jun Fukuda years.
For me, though, I prefer to see Santo and Blue on the same team, despite — or perhaps even because of — the much documented ill will between them. It might just be that the fact that they would rather have been tearing one another’s heads off provides that element of friction so necessary to the chemistry of all great screen couples.
I love Santo y Blue Demon contra los Monstruos. And, judging by the way it struggles so mightily to give me so many of those things that make me the happiest — like cheesy monsters, masked wrestlers, low budget gore, and lots of incoherent but frenetic fight scenes — I have to conclude that it loves me, too.
Though I didn’t realize it at the time, Teleport City was created for one reason and one reason only: to eventually review Intrepidos Punks. And now our destiny is at hand
Scenes such as those certainly do contribute to an air of breathless excitement — almost as if we are watching a story projected directly from the brain of a sugar-addled eight-year-old boy who’s caught up in the excitement of recounting the action of the cartoon he’s just watched.
Mil Mascaras: Resurrection — which was initially titled Mil Mascaras vs. The Aztec Mummy — doesn’t come to us by way of the normal channels one might expect a Mil Mascaras movie to come through. In fact, it may very well be the only Mexican wrestling film whose writer-producer holds a Ph.D. in robotic engineering from Oxford.
The thing that I love most about Superargo vs. Diabolicus is how, completely unlike lucha movies — in which no one reacts in the least to the fact that the hero, whether he be wrestling a mummy or standing in a bank line, is wearing a colorful head-enveloping mask — absolutely everyone reacts to the fact that Superargo is wearing one.
I wonder why the only time Superargo uses his super strength is when he throws the tree at the robots. The rest of his powers are pretty useless. He gets to levitate once, but he misses the chance to really piss off Dr. Wond by using mental powers to shatter the madman’s assortment of antique vases.