It’s a mess, but it’s often a fascinating mess. It’s also the most nihilistic superhero picture I’ve ever seen, so dour and misanthropic that it makes Christopher Nolan’s Dark Knight Trilogy suddenly seem as chirpy as that animated Fantastic Four series from the ‘70s.

The terrific performances by the three leads and debuting director Dan Trachtenberg’s effective staging (the bunker atmosphere alternates between friendly and foreboding) are worthy enough to earn this a modest recommendation.

An unexpectedly complex mystery, one that also allows for an examination of cultural differences and the poisonous prejudices that result in being judged by the color — and, in this anthropomorphic world, the texture — of one’s skin.

Another winner in the indie-horror sweepstakes, joining the likes of The Babadook and It Follows in its ability to establish an unsettling atmosphere of dread and not let up until the light once more breaks across the auditorium.

While other heroes eventually enter the fray, this is The Ryan Reynolds Show from beginning to end, with the actor clearly relishing the opportunity to rescue this character from being merely relegated to future Trivial Pursuit status.