A recent college grad accidentally forms a symbiotic relationship with superpower-bestowing alien tech in Blue Beetle, a DC Comics movie that isn’t, story-wise at least, necessarily a piece of any particular DC franchise but probably will get absorbed in the new DCU if it does OK, box-office-ally speaking.

I mention this because if you didn’t watch The Flash or can’t remember the whole deal with Black Adam, that’s fine, none of that business is part of this movie.

Jaime Reyes (Xolo Maridueña, bringing his floppy-haired goofballness from Cobra Kai) is a recent college graduate who gets several bites into his celebratory taco homecoming dinner before his sister Milagro (Belissa Escobedo) lays out an assortment of the family’s difficulties: they’ve lost the family business (an auto body shop), dad Alberto (Damian Alcazar) has had a heart attack and the family house — where mom Rocio (Elpidia Carrillo), Nana (Adriana Barraza) and Uncle Rudy (George Lopez) also live — is being sold out from under them. Some of this misfortune seems to be due to the gentrification spearheaded by the Kords, a wealthy family in Palmera City (kind of a Miami-ish/ Los Angeles-y city of gleaming futuristic buildings and neighborhoods of Mexican Americans who are being shoved around by banks and developers).

As it turns out, pricing people out of their communities is only one of many crummy things Victoria Kord (Susan Sarandon) is up to. She’s building a militarized force of augmented humans with a bit of tech that can snap in to soldiers’ spines and gear them up with weaponry and armor. She’s also digging up alien tech, the Scarab, a blue-beetle-y-looking device that can bond with humans, to make those devices even more powerful. Her niece, Jenny Kord (Bruna Marquezine), disagrees with this direction of the company and wants the family business to focus less on weaponry, like her father wanted before he disappeared. When she spots the Scarab in Kord labs, she hides it in a takeout box and tries to rush it out of the building. On the way, she runs in to Jaime, who came looking for her after she offered to get him a job (to replace the house-cleaning job he lost by standing up for Jenny to her aunt Victoria). She gives him the box and tells him to rush out. At the urging of his curious family, he opens the box. Several members of the family handle the blue beetle but it’s Jaime that the Scarab chooses to bond with.

That bonding leads to Jaime being covered in armor, shot into space, accidentally slicing a bus in half and slamming back down to Earth, creating a second hole in the roof of the family house.

Before Jaime gets to the “great power, great responsibility” portion of superhero-power-acquirement, Victoria and a bunch of henchmen — led by Scarab-bonding-hopeful Carapax (Raoul Max Trujillo) — show up at the family home to attempt to get the Scarab back.

Jaime’s battles are, sure, against racism — he’s told that delivery people use the back when he shows up at Kord headquarters for a job interview, Victoria rather snootily tells him to “ándale” when she fires him and refers to her head scientist as “Dr. Sanchez” (Harvey Guillen) despite his regular reminders that that’s not his name. But the battle Jaime fights is largely one to protect his family — who in turn aid him when he has to face off against Victoria, who has no problem killing him to get the Scarab back. The movie maybe has some wider “the community” ideas but those never really get fleshed out. Nor exactly do the personalities of his family — beyond Rudy’s role as comic relief and Nana’s surprise experience with anti-imperialist revolution. Jaime’s sister Milagro feels like she should be a bigger character than she is; she’s sort of positioned as his closest confidant within the family but the movie’s use of her just sort of peters out.

There are other elements of Blue Beetle that just feel messy — half finished or thrown in without a lot of thought. Jenny’s whole back story — her missing father who was himself a sort of secret-identity superhero — and her relationship with Jaime feels like a bunch of tasks (love interest, sequel setup, narrative shortcut to getting superhero tech to regular people) just shoved into a character who doesn’t really have a lot going on separate from Jaime’s storyline. Something about Sarandon’s portrayal of the villain feels not quite there — like the movie couldn’t decide if she was a cackling fairy tale witch or a more banal hyper-capitalist. The actress herself seems confused and I found a lot of her performance to just feel flat.

Also, it feels like an already overused dig to say that a movie’s dialogue sounds like it was written by A.I. — but wow did this movie’s dialogue feel like what would happen if you smooshed every superhero cliché and dialogue tic into a Blue Beetle mold. The trailer seemed to suggest that this movie came with some sharper humor and less plasticine human interaction, but I think this was largely just because it was giving us George Lopez’s best lines.

Blue Beetle ultimately felt like it had some good ideas and some nice framework for character relationships set up by Jaime’s family but it just wasn’t sure what to focus on. C+

Rated PG-13 for sequences of action and violence, language and some suggestive references, according to the MPA on filmratings.com. Directed by Angel Manuel Soto with a screenplay by Gareth Dunnet-Alcocer, Blue Beetle is two hours and seven minutes long and is distributed in theaters by Warner Bros.

Featured photo: Blue Beetle.