Alex de la Iglesia and Jorge Guerricaechevarría’s 1992 transforms the real-life Seville Expo of the early '90s into a chaotic stage for a flamethrower-wielding serial killer. Rooted in historical events such as the fire at the Expo’s keystone pavilion and the iconic Curro mascot, the series begins with a bang—literally. The opening sequence sees the mysterious “Curro Killer” targeting a car showroom, resulting in the death of multimillionaire Roberto Valcárcel and, tragically, Alvaro, Valcárcel’s business partner, who happens to be in the wrong place at the wrong time. Alvaro’s wife, Amparo, finds his charred body next to a Curro mascot and faints from the sheer horror. Meanwhile, Richi, a private security firm head and Alvaro’s close friend rescues Amparo and vows to investigate after the police dismiss her claims about the mascot’s significance.
This setup teases a gripping thriller but quickly devolves into a slog. The story’s predictability is one of its glaring flaws; the killer’s motive is obvious well before the series even begins to unravel it. The six-episode format feels unnecessarily stretched, dragging the audience through a convoluted wild-goose chase only to reveal a climax that lacks any real punch. The writers attempt to comment on capitalism's role in enabling evil and the futility of revenge, but the payoff isn’t worth the journey. These themes could have been conveyed more effectively in a single email, let alone a bloated miniseries.
Tonally, 1992 struggles to find its footing, oscillating awkwardly between comedy, drama, and horror. Amparo, initially portrayed as a grieving widow driven by vengeance, suddenly shifts into a quirky investigator straight out of a Knives Out mystery, complete with whimsical music cues and flirtatious undertones. The Curro Killer, while visually striking, feels out of place—a hellish figure reminiscent of Freddy Krueger plopped into a show that doesn’t seem to know if it wants to terrify or entertain.
The technical aspects don’t help matters. The editing is jarring, the framing clumsy, and the fast-paced dialogue is often overwhelming. These choices exacerbate the tonal inconsistencies, making the viewing experience feel like sensory overload.
On the acting front, 1992 relies heavily on Fernando Valdivielso and Marian Álvarez as Richi and Amparo. Their chemistry is strong, and their performances manage to imbue their otherwise shallow characters with a semblance of depth. Victor Rivas, as the Curro Killer, deserves special mention for delivering a compelling performance entirely under prosthetics. Unfortunately, his talents are squandered in a role that would have been better suited to a straight-up horror series. The supporting cast, including Gorka Lasaosa, Jaime Ordoñez, and Paz Vega, is competent but largely wasted in underwritten roles.
Ultimately, 1992 fails to justify its runtime. While its premise had the potential for a gripping thriller, the series is undone by predictable writing, tonal confusion, and lackluster execution. Save yourself the time—1992 isn’t worth the watch.
Final Score- [4/10]
Reviewed by - Neerja Choudhuri
Follow @NeerjaCH on Twitter
Publisher at Midgard Times