Now that I've caught up on the numerous Marvel shows on Disney+ (as well as feature films in the fourth phase of their Cinematic Universe), I have to say that I'm generally impressed with what they've done--despite not being entirely "family-friendly". (Then again, like their films, they manage to stay within PG-13 boundaries, even while occasionally pushing the envelope in terms of intense violence and problematic language/crass content peppered throughout.)
A unique throwback to the evolution of television since the 1950s, merged with Marvel's blockbuster aesthetic. Former Avengers Wanda Maximoff a.k.a. the Scarlet Witch (Elizabeth Olsen) and Vision (Paul Bettany) are at the center of this genre-bending narrative, providing clever homages to everything from I Love Lucy to Malcolm in the Middle and Modern Family. Meanwhile, this inexplicable "world" is a place where things aren't as they seem, as government agents try to solve the mystery behind these strange occurances--and why/how Wanda and Vision are at the center of it. Olsen and Bettany are as committed as ever, while Kathryn Hahn is a surprising standout in this genre-bending miniseries. You may never hear The Monkees' "Daydream Believer" the same way again.
Sam Wilson (Anthony Mackie) and Bucky Barnes (Sebastian Stan) team up to uncover a global conspiracy, even as they find difficulty adjusting to a world without Steve Rogers. This series is the most gritty and palpable of the aforementioned shows, echoing the political-thriller vibe established in 2014's Captain America: The Winter Soldier. Wyatt Russell is engrossing as a potential successor to the Cap mantel, despite complex layers and agendas throughout. Ditto Erin Kellyman as a super-soldier runaway and rebel organization leader. Next up: Captain America: New World Order in 2024!
The ever-popular Norse "god of mischief" (Tom Hiddleston) finds himself in a strange time variant loop following the events of 2019's Avengers: Endgame. Both this series and WandaVision are very creative and subversive in the directions they take with their cast of characters and how they effect the MCU from thereon. How they do it, I won't say. Except to say that Owen Wilson (as a time variant agent) is along for the ride. A second season is on the way in 2023, as part of the MCU's Phase Five.
Agent/assassin Natasha Romanoff finally makes her long-awaited solo feature debut in the MCU--and kickstarting a postponed fourth phase on the big screen (after WandaVision did on the small screen). In a story set between the events of 2016's Captain America: Civil War and 2018's Avengers: Infinity War, the Black Widow is on the run while seeking to bring down the very secretive organization that made her who she is.
A thoroughly gripping and intense experience (arguably the first of its kind since 2014's Captain America: The Winter Soldier). Some of its humor is a bit out of place, especially during scenes with Natasha's Russian family (David Harbour, Rachel Weitz, and a breakout Florence Pugh), but this was made for the big screen where it belongs. Scarlett Johansson (in her final MCU outing) has come a long way, and counting. (Originally scheduled for a May 2020 release, but postponed for a year, due to the COVID-19 pandemic.)
An animated anthology series that takes events from previous MCU films and flips the script in alternate realities. High points include seeing Agent Peggy Carter (Hayley Atwell) as the next Captain America, and T'Challa/Black Panther (Chadwick Boseman, in his final screen credit) as a ravager in the Guardians universe. Jeffrey Wright perfectly narrates as the mysterious Watcher. A very daring and polarizing risk that may leave many fans and viewers scratching their heads.
I've got to be honest, I had low expectations for this martial-arts action-adventure--the second film installment in Phase Four of the MCU. But I was quite blown away by how good it was.
Sure, Shang-Chi has dynamic and genuine action sequences (despite the fact that half of it is clearly CGI), a killer score, slick direction (courtesy indie filmmaker Destin Daniel Cretton, of Short Term 12 and Just Mercy), and an awesome cast (mostly Asian and Asian-American actors, including the legendary Michelle Yeoh). But it has a strong, beating heart in its central story of the son of a centuries-old assassin and the complicated family dynamics, misguided use of power, and past mistakes he has to face and ultimately make right. The film does lose a bit of momentum in its second act, and some of the dialogue (unnecessarily crass at times) could've easily been avoided; it even gets surprisingly dark with its elements of mysticism and Eastern spirituality.
Overall, this is an exciting (if occasionally benign) blockbuster that goes in unexpected directions, showcasing, in the process, how to take what we've learned from those before us and making it our own. Wow. This is one of the biggest surprises of 2021.
One thing that's for certain about Marvel Studios, fan or not: they never lack ambition. Even after two monumental Avengers finales and now four phases into their already-unprecedented franchise, Eternals represents one of their most daring and challenging films. Based on Jack Kirby's celebrated comic book series of extra-terrestrial beings who have been on Earth for thousands of years, there's a lot to like about this epic story, as much as there is to be confused by (especially if your not familiar with the history of the series or characters).
First the good news: the film looks and sounds stunning (especially in IMAX, despite its distracting aspect ratio shifts). The cast is stellar--further proof of Hollywood's significant shift in onscreen and cultural representation, not to mention universal appeal. (Deaf actress Lauren Ridloff is a standout as Makkari.) And the fact that it was shot at real locations around the world (my hats off to director Chloe Zhao and crew) adds to its authenticity and rich world-building.
That being said, that world-building and mythology can be hard to follow, considering the story jumps back and forth between various time periods in which our central characters have lived through. It can also get very meandering and too introspective. At more than two-and-a-half hours, Eternals (much like another Disney-produced feature this year, Cruella) feels longer than it needs to be, even more than Zack Snyder's Justice League--and that one was barely over four hours in length! Like I said, Marvel Studios never lacks ambition. Only time will tell how this world within their cinematic universe will thrive or shake from here.
Clint Barton just wants to spend Christmas with his family, but suddenly finds himself thrust into a mission with young archer (and fan) Kate Bishop. This series is thoroughly entertaining, and benefits from the presence of the always-engaging Jeremy Renner and the multi-talented Hailee Steinfeld, respectively.
I mentioned in
one of my previous Spider-Man reviews the term "oversaturation," which makes sense in this day and age of multiple franchises and studio tentpoles. In my review for last month's
Ghostbusters: Afterlife, I didn't bring up the term "fan-service," which makes more sense when analyzing that sequel in retrospect.
Both of those terms could easily apply to the MCU's third solo Spider-Man movie starring Tom Holland. At least on the surface. If you've been paying attention to the trailers and marketing, you know by now there would be appearances by former foes like Alfred Molina's Doc Ock and Willem Dafoe's Green Goblin. But No Way Home is way more than that. In fact, it's better.
Not only does it subvert all expectations out of proportion--and you're in for a whole load of surprises! This is a powerful story of second chances and making the right choices, no matter how difficult. And it's not only the best solo Spidey entry in the MCU (honestly, they've been doing an incredible job overall with these installments, and third time really is the charm here), but arguably the best moviegoing experience since Endgame in 2019. Trust me, this one is worth going to the theaters for. My only warning: prepare to be wowed!
And one more thing I'd like to mention: much like Jared Leto got to revisit (and reimagine) his version of the Joker in Zack Snyder's Justice League, so here does Jamie Foxx get to revisit his rendition of Electro from 2014's The Amazing Spider-Man 2. I did mention second chances, didn't I?
POSTSCRIPT: An extended edition of No Way Home was released in theaters over Labor Day weekend of 2022, featuring over 20 minutes of footage not shown during the film's initial release. Some of these scenes--including a new post-credits segment--involved Midtown High School reporter Betty Brant (yes, that one), as well as another certain crime-fighter's alter ego. The former scenes drag a bit, but the overall thrill of seeing Peter Parker going up against multiple villains from different universes is still in tact.
A lesser-known Marvel property that is thoroughly convoluted and murky as it is ambitious. Oscar Isaac gives convincing dual roles (as an English gift shop employee, and as an assasin) in a grand story set in ancient and contemporary Egypt. The mild-mannered Steven Grant (who suffers from a sleep disorder) soon discovers he has been given the powers of an ancient moon god, alternating between his own world--and personality--to that of several others. (This is the MCU's "Multiverse Saga," after all.) This is overall the least of the aforementioned series on Disney+, in the same league as 2021's Eternals. Although, it does get interesting after a mind-blowing twist halfway through, but only just.
On the heels of Spider-Man's previous experiences with the "multiverse" (see 2018's phenomenal Spider-Verse and 2021's awesome No Way Home) and the ambitious Daniels feature Everything Everywhere All At Once, Benedict Cumberbatch's Dr. Stephen Strange has an even more head-trip of a journey through the very concept in this sequel to 2016's psychedelic origin story. Let's just say the plot involves Strange protecting a universe-jumping teenage girl (a breakout Xochitl Gomez, as America Chavez), with Elizabeth Olson's Wanda Maximoff a.k.a. the Scarlett Witch thrown in.
If you've seen WandaVision and What If . . .? on Disney+ (and the latter aforementioned Spidey flick), then Multiverse of Madness will make more sense. All you need to know, otherwise, is the experience is jaw-dropping (surprise appearances will blow your mind) and polarizing (arguably the studio's first since 2018's Infinity War). This is, after all, Marvel's first full-on horror feature disguised as a superhero adventure; Sam Raimi (who returns to the director's chair after nearly a decade) is a veteran of both genres, having previously made the Evil Dead and Tobey Maguire Spider-Man trilogies.
The result is, shall we say, a strange blend of thought-provoking themes (i.e., what could've been, the dark sides of various characters); incredible cinematography, art direction, and action sequences (especially in IMAX); chilling sound design; and frightening (sometimes, demonic) imagery that more discerning families ought to think twice about. At least there are other, less problematic, viewing options in this cinematic universe.
Continuing its push for more diverse stories and characters, Marvel presents Muslim-American teenager Khamala Khan, a die-hard Avengers fanatic (especially of Carol Danvers) who soon discovers a long-kept family secret that she may be carrying her own superpowers. Granted, this six-part series weilds some ridiculous CGI and some misplaced humor. But its sense of multiculturalism and emotional stakes improve as the series nears its climax, with rich mythology (recalling Moon Knight), references to Bollywood movies, some clever eye-popping animation interludes, and ultimately a lead-up to 2023's highly-anticipated The Marvels. Move over, Kate Bishop and Yelena Belova. You've got company.
Thor has now officially bested fellow Avengers Iron Man and Captain America with the most solo outings in the Marvel Cinematic Universe. It's interesting that it took as many films for Chris Hemsworth's God of Thunder to find his own unique footing, and counting.
Thor: Love and Thunder redefines the "go big or go home" aesthetic of blockbuster moviemaking. It's thrilling. It has exciting set pieces, visual feasts for the eyes (including the sights of Omnipotent City), and energetic action sequences. The aforementioned banter works best during moments of camaraderie between Hemsworth, Tessa Thompson's Valkyrie, and Natalie Portman's "worthy" return as Jane Foster a.k.a. Mighty Thor. (Don't ask me how.) It's also cool to see the Guardians of the Galaxy in on some of the action, and to hear several 80s rock anthems (especially Guns 'n Roses' "Sweet Child of Mine") put to good use.
However, like Thor's current identity crisis and damaged Mjolnir hammer, Love and Thunder struggles to hold itself together. One minute, it's rapid-fire witty, and the next, it's quite dark (a standout Christian Bale is menacing and frightening as the villainous Gorr). The film ups the ante of its content issues from the last installment, not to mention the industry's growing inclusion of LGBTQ representation. (Okay, not every mainstream movie has to have these just for the sake of them, or to try and stay relevant.) Plus, the film's handling of various spiritual/religious elements will make it hard for more discerning or sensitive viewers to navigate through. Thor may have the most solo MCU movies at this point. But, as he himself may be the first to admit, he still has some growing to do. Something similar could be said for Marvel's current phase, which has no doubt been ambitious as it has been challenging.
This series of 5 four-minute shorts centers on the baby humanoid tree from Marvel's Guardians of the Galaxy franchise. Vin Diesel reprises his iconic role as the titular creature takes his first steps out of a flowerpot, discovers a tiny colony of cute critters, has a dance-off against a shape-shidting stranger, has a sauna that makes him look like a chip pet, and makes a group portrait out of an A.L.F. comic book. Visually eye-popping and appealing.
WRITER'S NOTE: The "Bath" segment has a few references to gender confusion, while Groot's childlike nature occasionally results in some explosive mayhem.
The MCU turns on itself with this completely subversive legal comedy, based on the comic book series centered on Bruce Banner's attorney cousin, Jennifer Walters. Struggling to balance a work life and a new role as a "superhero," Jen's clever fourth wall narration (thanks to lead actress Tatiana Maslany) throughout this nine-part miniseries almost gives the equally-meta Deadpool a run for his money, as she takes on numerous cases and encounters old rivals, as well as a few new allies (I won't say who). In agreement with some critics, the CGI is, at times, uncanny. Plus, some of this show's more problematic elements do get a little too crass and suggestive at times (particularly references to casual sex). But the meta humor ultimately pays off by the finale, with eye-popping animated closing credits as icing on the cake. (Green icing, that is.)
Next to Multiverse of Madness, the MCU fully embraced the horror genre once again with this brilliant homage to Universal monster movies of the 1930s and 40s. The story centers on a group of international creature hunters (including Gael García Bernal and Laura Donnelly) as they compete for their wealthy leader's estate. Celebrated composer Michael Giacchino makes an impressive directorial debut here. But this morbid tale is also very occultish, violent, and bloody--even in black-and-white. To paraphrase author R.L. Stein: "Viewer beware! You're in for [more than] a scare."
Any discussion of the Marvel Cinematic Universe these days would be remiss without mentioning the impact that the late Chadwick Boseman a.k.a. T'Challa a.k.a. Black Panther has had not only on the franchise, but the entire world. And his absence is felt throughout this powerful follow-up to the surprise 2018 movie phenomenon.
Director Ryan Coogler and company waste no time in honoring Boseman's memory, while also telling an epic and compelling story--rich in culture and mythology--about carrying on a legacy and mantel in the face of loss and grief. From Ruth Carter's stunning costume design, to Ludwig Gorannson's jaw-dropping score, adrenaline-filled set pieces, and fully-committed performances (including returning players Leticia Wright as Shuri, Danai Gurira as Okoye, Lupita N'Yongo as Nakia, and Angela Bassett as Queen Ramonda), Black Panther: Wakanda Forever is an exceptional follow-up that expands the MCU while still being an equally exceptional standalone film in its own right.
In quite possibly the first time since that infamous Star Wars holiday special back in the early-1970s, Marvel decided to give the Guardians franchise their own Christmas. The plot centers on Drax and Mantis deciding to cheer up Peter Quill by heading to earth and kidnapping, of all people, Kevin Bacon. Featuring James Gunn's trademark wit, macabre and twisted sensibilities, a rocking 80s soundtrack, and visual spectacle, this Disney+ special (like its cinematic predecessors) crosses into some edgier territories that aren't kid-friendly (i.e., one scene of excessive drinking; others involving property damage). Than again, it has more to do with the secular version of the season. A few other elements that stand out: some animated flashbacks (in the style of Ralph Bakshi), and the debut appearance of Cosmo the Space Dog (voiced by Maria Bakalova).
