Filmed in Los Angeles by Wilbur Force Prods. and Renaissance Pictures in association with Universal Television. Executive producers, Sam Hamm, Sam Raimi, Robert Tapert; producers, David Eick, Steve Ecclesine; director, Eric Laneuville; script, Hamm; story, Raimi, Hamm; Asuperhero who stuns evildoers and leaves a mummified praying mantis insect as a calling card may sound like the latest Saturday morning cartoon tied in with an action figure. But “MANTIS”– an acronym for Mechanically Augmented Neuro Transmitter System — is an all too serious, lethargic romp that borrows heavily from every genre imaginable.
Mixing themes from “Darkman,””The Six Million Dollar Man,””Shaft” and a low-budget “Broadcast News,” the Fox telepic has all the earmarks of a direct-to-video B movie.
Surprisingly, two of the three exec producers — Sam Raimi and Robert Tapert — offer little of the wit and solid story structure they brought to “Darkman.” The result may let down viewers attracted to the telefilm by the pair’s names.
Action sequences are far too infrequent to sustain interest, and scripter Sam Hamm (who had a hand in writing both “Batman” pix and serves as the third exec producer) further exacerbates the snail’s pace with preachy, message-heavy dialogue.
Perf by Carl Lumbly as the central character, Dr. Miles Hawkins, is the glue that holds together this otherwise wobbly presentation. But Lumbly’s ease in the role may cause some viewers to wonder if pic is a serious drama or a farcical takeoff on the superhero, crime-fighting genre.
Supporting players do not fare as well, most notably Gina Torres as the unflappable, headstrong pathologist who is given the unenviable task of driving the story as she tries to discover the source of numbing nerve gas.
And those wearing the white hats are ultimately revealed as no-gooders, in a plot device that has so little to do with the overall story, its inclusion is a distraction.
Attempts to spark interest with effects-laden chase scenes and with MANTIS’ vehicle, a flying, swimming, high-speed Batjet-like contraption — which one pursuer describes as a “’57 Caddy with a hell of an options package” and illustrates in one sentence the story’s pervasive inane dialogue — does little to advance the story or suck viewers in.
Eric Laneuville and d.p. William Dill deserve a hearty handshake for combining their extensive talents to deliver a visually interesting program, but ultimately the flash far outweighs the substance and may cause some viewers to wish they caught “Murphy Brown” instead.