But this version is all about the origin, the movie spending most of its time in laboratories talking pseudo-science as the characters build the machine that will eventually give them powers.
This edition creates an opposing organization to the Impossible Mission Force, theoretically putting the heroes up against a force equally capable of insane feats of derring-do.
This is another case of a movie getting a new, more generic title for the local release, presumably so that people can immediately recognize it as a horror movie.
There is some educational value in this film, which touches on the history of Vincent Van Gogh and his paintings, and occasionally constructs sequences that explain the effects of differential air and water pressure.
The story of the Lost Boys of the Sudan is a terrific one, and The Good Lie does a fairly good job of depicting the terrors that these young men faced.
The film doesn’t really do much to go beyond the basic set up of young people doing stupidly dangerous things in a remote location.
To its credit, Chain Mail at least manages to look fairly okay. This isn't Albert Banzon's best work by far, but his cinematography will always be a pleasure regardless of context. But that's the best one can really say about this movie. It isn't scary. It isn't affecting. It doesn't even make any sense.
It often feels as though the film is just running through a set of genre obligations, filling out a checklist of all the required elements of the crime picture.
This sequel sidelines Wahlberg's character and sticks him with a romantic plotline with a new character that doesn't really seem much of a person, and is instead a collection of lame girlfriend fantasies.
It actually paints a pretty interesting portrait of the problem, with a generation of kids growing up in an increasingly sexualized society with little proper guidance or direction.