A retro fitted dramedy disguised as a superhero movie, The Hyperions is a surprisingly tender exploration of family and abandonment that embraces the quirky campiness of its 1970s kitsch setting.

The Hyperions stars Cary Elwes as Professor Ruckus Mandulbaum, the leader and “father” of American’s only superhero family “The Hyperions” – telepath Vista (Penelope Mitchell), super strong Ansel (Alphonso McAuley), and teleporter Maya (Elaine Tan) – who are given extraordinary powers through Titan badges made by Mandulbaum’s hand.

After a falling out between the Professor and Vista, The Hyperions are replaced by a new group of heroes. Desperate, Vista undertakes a criminal act that sets up a showdown with her father.

Written and directed by Jon McDonald, The Hyperions is what happen when you mix the costumed antics of the 1960s Batman TV series with the quirky heart of a Wes Anderson (Moonrise Kingdom) film. The movie is especially impressive in its distinctive use of style, with McDonald’s use of 2D animation - reminiscent of the cartoons of the ‘60s – especially well done.

Great too is the world building that is manifest in the use of gadgets and costumes, with one specific reference to Ray Harryhausen’s special effects work in Clash of the Titans in the use of a robotic bird, a real hoot (pardon the pun.)

Dry, absurdist humour that is reminiscent of the films of Wes Anderson and Jared Hess further fuels the films quirky tone. McDonald’s use of camera angles that often has his characters emote to the audience brings an intimacy to the films drama that is often touching and deals with themes such as abandonment, forgiveness, and reconciliation. A great selection of music choices features throughout, with Alex Bevan’s tender folk track “Silver Wings” a standout.  

Performances are a mixed bag. Elwes dials up the camp in a turn that can only be described as Charles Xavier meets Ronnie Corbett. It’s an interesting approach, yet one where the joke doesn’t last as long as the films runtime. Fairing better is Australian actress Penelope Mitchell. In many ways the emotional heartbeat of the film, Mitchell’s portrayal of a once important super woman discarded by both her family and the public is heartbreaking.

With The Hyperions, McDonald has delivered a film about reconciliation, as it is a love letter to the pop culture veneer of the ‘70s. Although its style is retro, its themes remain poignantly relevant.