The Independent Student Newspaper of Oswego State

Like Paramount Pictures did earlier this summer, Amazon Studios has also dipped its feet into the oddly specific “child discovers a close adult is a superhero” subgenre through its release of “Samaritan.” In contrast to Paramount’s lighthearted Owen Wilson (“Marry Me”) vehicle “Secret Headquarters,” Amazon’s most recent foray into the superhero genre adopts a notably darker tone, despite being just as forgettable as the former. 

Set in the fictional Granite City, “Samaritan” follows Sam (Javon Walton, “Euphoria”), an impoverished pre-teen who is convinced his neighbor, garbage man Joe (Sylvester Stallone, “The Suicide Squad”) is the titular Samaritan, a once-legendary superhero assumed to have died during a battle with his adversary and twin brother, the laughably-named Nemesis. As Sam attempts to unearth his neighbor’s true identity, imposing gang leader Cyrus (Pilou Asbæk, “Game of Thrones”) takes over the Nemesis mantle, sparking chaos and riots as he carries on the legacy of the supervillain he once adored.

On the exterior, “Samaritan” shows plenty of promising themes and interesting character ideas. However, half-baked characters and feeble attempts at drama ultimately diminish any of their intended effects. 

From an obsessive criminal’s desire to replicate his idol’s work, to a young boy’s drive to unmask a superhero, the story heavily revolves around the idea of hero worship and the faults and dangers associated with it. While this theme has some merit, the film’s ensuing glorification of heroes and the established notion that Sam and the rest of Granite City need saving ultimately undermines its intended message.

On a lesser note, Joe’s characterization and Stallone’s strikingly somber performance  allow for a smaller, yet more effective theme to shine through. Throughout the narrative, the idea that people do not have to be defined by their past mistakes is heard loud and clear,  successfully being carried out through Joe’s past recollections and his desire to steer the troubled Sam in the right direction. 

Aside from the generically-named Joe, none of the film’s characters really stand out past their designed archetypes. Though Sam’s struggles to avoid involvement in organized crime and honor his overworked mother’s (Dascha Polanco, “In the Heights”) expectations are touched upon early on, his character serves as nothing more than an outlet to facilitate the reveal of Joe’s true identity, thus leaving little room for his character to grow despite the ingredients laid out. 

As for the main antagonist, Cyrus fails to transcend past the common “power-hungry gang leader” mold, and as such shows little charisma or engrossing character development as he carries out his rather generic, ill-defined plans. His characters’ lack of personality or distinct motivations especially comes as a disappointment, considering Asbæk’s track record for portraying captivating villains like Euron Greyjoy in “Game of Thrones.”

Along with Sam’s mother, other supporting characters seem to be almost entirely forgotten following their initial introduction. Such is especially the case for Albert (Martin Starr, “Spider-Man: No Way Home”), an author whom Sam tries to convince Samaritan is alive. While his character is initially introduced as a potentially important player in determining the hero’s true identity, his appearance in the film is left rather one note, representing nothing more than another abandoned storyline.

Whether it be a result of uninspired writing or possible superhero fatigue, “Samaritan” feels like it has very little to offer viewers beyond the promise of yet another helping of superpowered escapism. Despite its supposed dark, gritty take on the genre, the film ultimately stands as yet another vanilla diversion that will fade into obscurity as soon as the next Marvel film hits theaters.

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