Tag Archives: Marvel movies

Game of Stones

Avengers: Endgame

by MaddWolf

“How many of you have never been to space before?”

There is a lot to resolve in Avengers: Endgame, but it’s the film’s commitment to character and character relationships as articulated by fun, throwaway lines like that, that continue to elevate this series above its single-hero franchisees.

The Avengers who haven’t yet done space travel put up their hands, and it instantly rings true, underscoring a pillar of the MCU.

In every group setting, the different heroes don’t fight for opportunities to remind viewers who they are—the angry one, the sarcastic one, the winsome one. Instead, each reacts to another character; duos and trios bicker or riff, and true character dynamics emerge.

Directors Anthony and Joe Russo, and writers Christopher Markus and Stephen McFeely, Marvel vets all, return to reap what they’ve been sowing for years. With that veteran cast bringing instant investment to their respective roles, the filmmakers cultivate relationships Joss Whedon sparked back in 2012 when he first put Tony Stark, Steve Rogers, Bruce Banner and Thor at the same table.

You may have heard, Endgame goes to new lengths in the MCU: three hours and one minute, to be precise. While you might skip the jumbo soda to avoid restrooms trips, you won’t begrudge this film its time. In fact, give Marvel props for not splitting it into two separate blockbusters that would have diluted the impact of such an apt, respectful and yes, emotional capper to the saga.

There’s plenty of humor here, as well, but never at the expense of the drama or action developing. Rather, it’s the natural ribbing born of well worn, familial relationships. (One Lebowski comment and another about “America’s ass” both land really well.)

On the other hand, we still cannot get behind where this series has taken the Hulk. These developments may have comic-book roots, we won’t pretend to know, but outside of a memorable scene with The Ancient One (Tilda Swinton) this Hulk is no smash.

Thematically, the film thinks big: time, love, loss, sacrifice. It moves impressively from ruminating on a post-9/11 reality to the importance of cherishing your own time and place, even while you accept the challenge of fighting for a better world.

There is plenty of fighting. The action is well-placed and well-presented, delivering fireworks without the dizzying, rapid-fire editing which can often reduce battles royale to battles of patience.

And we need to clearly see who is doing what when these Avengers assemble, because, let’s be honest, Thanos (Josh Brolin) and his Infinity Stones are a tough out, and it’s going to take all hands on deck to take him down.

For any upset fanboys who might still be wondering, that does include female heroes, a fact the film makes inescapably clear with a sequence that’s well-intentioned but maybe a tad pointed (or tardy?) in its parting defiance.

In the months since Infinity War, there have been plenty of theories about how Marvel will address that mountain of a cliffhanger they dumped on us.

Maybe you’ll guess some of it, maybe you won’t (you probably won’t), but wherever the MCU goes from here, Endgame is character capital well-spent,

As long goodbyes go, this one is satisfying and …pretty marvelous.


Hardy Boys

Venom

by Hope Madden

We don’t need another superhero. That’s what the Venom trailers told us, and it’s pretty true.

So, what Venom had to offer—an antihero, a Jekyll/Hyde thing starring a brilliant actor who excels with complex, dark roles—felt like a great change of pace.

Tom Hardy was the ideal choice for the dual role of Eddie Brock, semi-doofus reporter, and Venom, flesh-eating alien symbiote. This should have worked, partly because Hardy knows how to mine villains for their humanity, and watching him wrestle with the good v evil duality never ceases to be impressive.

What Venom suffers from more than anything is the expectations set by a Marvel release. Don’t be mistaken, were this the DC universe it would be the second best comic book film released since Christopher Nolan cast Hardy as a super villain.

But it is, indeed, Marvel. (If you forget, Stan Lee shows up to remind you.) And for that reason, regardless of the fact that Venom boasts superior acting, FX, story arc, action choreography and writing than anything DC has done this century besides Wonder Woman, its regrettably traditional execution makes it feel a bit stale. Because it is Marvel.

A characteristically committed Hardy elevates scenes, indulging a far more humorous tone than what we’ve seen lately from the versatile actor. Riz Ahmed (Nightcrawler, Four Lions) is a solid choice to play Eddie/Venom’s nemesis. Never campy or over-the-top, Ahmed evokes a type of lifelong genius who cannot be persuaded that his ideas are at odds with the ideals he alleges to support.

Michelle Williams is uncharacteristically flat, and the balance of the cast is mainly forgettable, but the real problem with the film rests on uninspired direction.

Ruben Fleischer showed a flair for action, colorful theatrics and humor with his 2009 breakout Zombieland, but the joy of carnage and camaraderie that infected that flick is sadly missing here.

Zombieland was aided immeasurably by writers Rhett Reese and Paul Wernick, whose irrepressible irreverence made the Deadpool films such a riot. It’s a tone sorely lacking in this screenplay, penned by a team of four whose output includes a Fifty Shades film, Kangaroo Jack and Fleischer’s abysmal 2013 mob flick, Gangster Squad.

Venom is not a bad movie. It’s fun, competently made entertainment.

And a disappointment.





Personal Space

Ant-Man and the Wasp

by George Wolf

Like the titular heroes who get small to do big things, Ant-Man and the Wasp gets a boost by making its stakes more personal, and its mojo a sweet, witty blast.

“Do you guys just put ‘quantum’ in front of everything?”

Scott Lang/Ant-Man (Paul Rudd) asks that question for him and for us. The answer is yes, they do, but don’t sweat the science and the fun will win out.

Scott’s on the outs with just about everyone since his assist to Captain America (“We call him Cap!”) in Civil War, but he just might be what Dr. Pym (Michael Douglas) and his daughter Hope Van Dyne (Evangeline Lilly) need to rescue their long lost wife/mother Janet Van Dyne (Michelle Pfeiffer) from the “quantum realm” that’s held her for decades.

The team could be on to something huge, and their research has many interested and scary parties, including “Ghost” (Hannah John-Kamen from Black Mirror and Ready Player One), a molecularly challenged young lady who thinks it could save her life.

Too serious? Anything but.

Thanks to Rudd’s comic timing and affable charm, Ant-Man becomes the family friendly cousin to Ryan Reynolds’s Deadpool. Like Reynolds on his DP projects, Rudd again earns a writing credit, filling his character with plenty of snappy dialogue and tongue-in-cheek humor that feels like a comfortable extension of Rudd’s own persona.

He’s a natural, but Lilly is the welcome surprise here. The Wasp’s intro in the first film often seemed like an awkward distraction, but she earns the equal marquee time with a script that allows Lilly the chance to make the character matter.

Director Peyton Reed is also back from part one, showing a confident grasp on Ant-Man’s role in the Marvel Universe. He keeps the pace quick, the gags (many featuring a scene-stealing Michael Pena) on a PG-13 speed dial, and the effects team busy, showcasing plenty of the amazing scale-altering set pieces that give this franchise its unique calling card.

The film knows its place in Marvel’s lineup, too, and that’s hardly an accident. Good as Infinity War was, the break from galaxy-hopping is welcome. Two of the writers from Spider-Man: Homecoming are on board this time, bringing some of the less-is-more sensibility which gave that film such an unexpected freshness.

Yes, it could stand to lose about fifteen minutes of excess, but AMATW has an unassuming vibe that is infectious fun, and the perfect palate cleanser before another bite of Thanos.

And don’t leave early, or you’ll miss a mid-credits bonus that might drop some jaws.

 





Grateful Dead

Deadpool

by Hope Madden

R-rated super hero movies are few and far between, but there are some subjects that would be so neutered with a teen-friendly rating that the hero would cease to be. Like Deadpool.

A thug with a quick wit, foul mouth, a likeminded girl, and quite possibly a ring pop up his ass, Wade Wilson has it all – including inoperable cancer, which sends him into the arms of some very bad doctors. The rest of the film – in energetically non-chronological order – is the revenge plot.

Directing newcomer (longtime video game FX guy) Tim Miller gets the nod with this off-season but still highly anticipated Marvel flick, and he does two things quite well. He knows how to stage an action sequence – which is key, obviously. But more importantly, he understands the tone needed to pull this film off.

Deadpool was introduced onscreen back in 2009 in X-Men Origins: Wolverine, but those films are so serious. Miller understands that, to make the most of this character, humor is the name of the game.

An utterly unbridled Ryan Reynolds returns as the titular Super (yes) Hero (no), and though the actor’s reserve of talent has long been debated, few disagree that his brand of self-referential sarcasm and quippage beautifully suits this character.

T.J. Miller and Morena Baccarin go toe to toe with Reynolds, and Leslie Uggams gets a couple of good lines, too. I’m sorry – what?

Penned by Rhett Reese and Paul Wernick – scribes behind the brilliant and hilarious genre mash up ZombielandDeadpool is a nasty piece of fun from the opening credits (as magnificent a gag as any you’ll see for the entire 108 minute run time).

Even the sloppy and slow pieces – the inevitable X-Men tie ins, for instance – are sent up mercilessly, as if the writers and Reynolds himself know what the audience is thinking, which is: Who are these two lamos and why are they in this movie? Seriously, where’s Mystique?

All the sarcastic cuteness can wear thin, but Deadpool does not stoop to hard won lessons or self-sacrificing victories. It flips the bird at the Marvel formula, turns Ryan Reynolds into an avocado, and offers the most agreeably childish R-rated film of the young year.

Verdict-3-5-Stars