Nobody seems to know who Mona is, why she has these powers, or where she came from.

At its core the narrative is great on paper: the idea of taking traditionally villainous criminals and attempting to redeem them is ripe with potential, potential reaped by films like last year’s The Suicide Squad, and even Dreamworks’ own Megamind, but it’s the tropes it ends up using to get there that make it feel like it’s largely re-treading familiar ground.