Avengers: Age of Ultron (2015)
The Avengers wasn’t just a blockbuster it was a mega-blockbuster and rewrote the Hollywood playbook in the summer of 2012. It wasn’t just about powerful franchises anymore. Now it was about franchises that would link into a super franchise. Sony got anxious to expand their Spider-Man universe in a similar fashion as Marvel had done in buildup to The Avengers. After one poor movie, that plan was scuttled and now Spider-Man is being rebooted for the second time in five years, this time with active help from Marvel itself (look for Spidey to appear in Captain America 3). Writer/director Joss Whedon (TV’s Buffy the Vampire Slayer) was the mastermind behind the jaunty smash-em-up fun of The Avengers and was quickly signed on for a sequel after the billion-dollar mark was crossed. With great success comes great risk of upsetting that continued success. It feels like Whedon’s hands were tied to the greater forces at work. As a result, I shouldn’t be surprised but I’m still disappointed with how muddled and overstuffed as Age of Ultron comes across.
The Avengers are cleaning up the last remnants of HYDRA, taking them to a castle in a fictional Eastern European country. The HYDRA doctor has been genetically experimenting on volunteers, birthing Wanda “Scarlet Witch” (Elizabeth Olsen) and Pietro “Quicksilver” Maximoff (Aaron Taylor-Johnson). She can tap into people’s minds and he can run super fast. They’ve got a grudge against the Avengers, particularly industrialist Tony Stark/Iron Man (Robert Downey Jr.). Stark takes a piece of alien technology and plugs it into his home system to build a super fleet of automated robots to patrol the world. In no time, the A.I. has taken form in the shape of an insane robot named Ultron (James Spader) whose mission is to save the planet by eliminating mankind. He builds an army of robotic soldiers with the assistance of the Maximoff twins. Tony, along with Captain America (Chris Evans), Thor (Chris Hemsworth), Hawkeye (Jeremy Renner), Black Widow (Scarlett Johansson), and Bruce “The Hulk” Banner (Mark Ruffalo), must stop Ultron while not destroying much of the world themselves with their collateral damage.
Eleven movies into the Marvel Cinematic Universe (MCU), a movie of the size of an Avengers sequel cannot simply be a movie. It’s too important to the overall vision of the MCU, and so it has to set up and establish other characters, franchises, and the many monetary tributaries that keep the world of superheroes going. It’s already got a slew of superheroes and it adds even more new faces into the mix (I guess we needed an Avengers B-Team). The development of Ultron is also far too rushed; it’s literally minutes from being plugged in that he’s already settled into kill-all-Avengers mode. The movie barely has any time to even contemplate the perils of artificial intelligence before Ultron is already proving their fears correct. While Ultron is a fun villain (more on that later) his plan feels quite haphazard. His biggest strategic advantage is his duplication, the fact that he can exist without a physical body and can inhabit many bodies at once. Except for a hasty escape via the Internet and a climax stuffed with CGI robot mayhem, this advantage isn’t really explored. Why does a self-replicating creature beyond the bounds of physicality need or even desire a physical body? If you’re made from a nigh indestructible metal and can control numerous beings at once with a hive-mind intelligence link, why would you want to be turned into flesh thanks to what amounts to a 3D printer? The introduction of The Vision (Paul Bettany, this time in the flesh) is quite muddled and confusing. The incorporation of the Maximoff twins is awkward and they feel more like accessories than needed additions. This Quicksilver doesn’t come anywhere close to the memorable prankish Quicksilver from Days of Future Past. The pacing of the film is so ramped that it feels like the movie is falling over itself to get to the next large-scale action set piece. At 140 minutes, they could have removed one or two action pieces and devoted more time to streamlining and cleaning up the narrative.
And the action sequences start off with a bang but they invariably fizzle out. The opening sequence begins with a Birdman-styled tracking shot to connect all our fighters, and it’s a fun way to kick things off while visually tying together the team. The Hulk vs. Iron Man brawl is fun for a while, partly because it harkens back to the pleasures of the first film, namely watching our heroes battle each other as much as the villains. After a while, the CGI onslaught becomes overwhelming and just dulls the senses. You’re watching CGI smash into other CGI and then keep smashing, with little variation. The disappointment with the action is that it too often feels weightless and hollow. It has glimmers of fun but it can’t hold onto these glimmers because the action doesn’t change. It gets bigger and more chaotic, yes, but it doesn’t develop with organic complications and real attention to setting. These big battles could happen anywhere because they almost all descend into simply fighting amidst rubble. Even Iron Man 3 found ways to spice up its action set pieces through complications, limitations, and clear differentiation. Perhaps this is a larger outcry of fatigue with the overall state of CGI overkill in effects-driven films. The concluding fight versus Ultron and his many copies just feels like the same scene on repeat but in slightly different locations. Whedon has shown an affinity to coordinate exciting and satisfying action sequences, but you just feel like the pressure and demands get the better of him.
However, every moment with Ultron onscreen is a highpoint because of the malicious cattiness of Spader (TV’s The Blacklist). He’s a perfect fit for a character who is at turns childish and petty, bonkers, and condescending. In some ways he’s like a giant robotic teenager who thinks he’s just above the rest of these so-called adults. It’s such an enjoyable villain, an area of real need in most MCU films (Loki can’t be everywhere for every movie), that I wanted more and more of him. My friend and critical colleague Ben Bailey describes Ultron as the villainous alternative Tony Stark, and Whedon does a fine job of laying out the parallels, especially with regards to ego. It’s a weird reunion for the stars of 1987’s Less Than Zero.
The most boring characters, i.e. the humans, are the ones that get the biggest expansion for character development, with mixed results. Let’s face it, Hawkeye is never going to be anyone’s favorite Avenger. I think even he acknowledges this in a moment that almost breaks down the fourth wall (“None of this makes sense. I’m fighting with a bow and arrow.”). Hawkeye’s personal life is given a spotlight and it sets up an obvious worry that he’s going to bite it by film’s end. If there was an expendable member of this team, it would have to be Hawkeye. The added attention and personal attachments seem like a dead giveaway that he’s going to be dead. I don’t think I was any more invested in his character knowing about his hidden life outside the Avengers, but I certainly played a game of, “Is this gonna be it?” as the film continued. Black Widow started as an interesting character, a spy trying to make amends for her bloody past, or the “red in [her] ledger,” as they referred in the previous film. Her budding romance with Banner makes some sense but it still feels like the character is being forced into Romantic mode not because of her character but mostly because she has a vagina. Any romance with a guy who turns green and monstrous seems like it might be best as unrequited. She’s also defined by a past trauma that, while upsetting and cruel, is also a bit too tied into her identity as Woman/Mother. It’s an unfortunate positioning for what is an inherently interesting character (the slut shaming of the character in promotional interviews by certain Avengers cast members is also highly unfortunate). Can’t we get a Black Widow movie yet, Marvel?
An aspect of Age of Ultron I did enjoy was how conscious the heroes are about mitigating collateral damage and especially human casualties. At every turn, the Avengers are thinking about saving those caught in the cross-hairs first. They go out of their way to save those left behind. I think, and I’m not alone in this conclusion, that Whedon is directly responding to the disaster porn that was Zack Snyder’s miserly Man of Steel. The latest Superman movie bothered me with how callous it was with human life, treating devastating city-wide 9/11-style destruction as mere entertainment. As Superman and Zod were colliding through every damn building in Metropolis, you knew thousands if not millions of unseen people were perishing in this rather pointless melee. Whedon’s band of heroes places a priority on human life regardless of region.
It would be disingenuous of me to say Age of Ultron is not entertaining. Whedon is still a terrific storyteller and that still shines through the troubled areas and spotty plotting. The action makes good use of the various heroes and their abilities, providing fun combos like Cap hurling his super shield so Thor can redirect it further with his hammer. The use of humor was one of the bigger enjoyments of the first Avengers, and while it’s still abundant and enjoyable here as well I’d say it’s overdone. When every character is cracking quips every fourth line of dialogue, it pulls you out of the movie and the stakes feel lesser. The running joke where the Avengers make fun of Captain America for his prudish sensibilities on profanity is a joke that works at first but then loses all sense of fun as it’s pounded into the ground on repetition. The larger set pieces each have their moments to delight, especially the opening and the Hulk vs. Iron Man battle. Age of Ultron isn’t a bad movie and it has some truly great moments and great character moments and payoffs, but it’s only moments. The plot meant to connect the dots is too labored with the burden of setting up several Marvel franchises. In the MCU pecking order, I’d place Age of Ultron right around Iron Man 2 quality (another movie compromised by the extra burden of setting up other movies, namely The Avengers).
It’s sure to set box-office records and I imagine fans of the original will happily lap up another super team-up, but Avengers: Age of Ultron is something of a disappointment for me. The more I think about it the fun parts become a little duller and I find more areas of criticism. It’s just not as fun a movie experience, and that’s due to the rushed and muddled story and too many characters. After the critical and commercial success of the first film, I doubt that Whedon could have produced a film that would live up to the sky-high expectations, but that doesn’t excuse the finished product. It feels like Whedon had to struggle to pull this one off, especially with the added demands, and I can’t blame him for wanting a break from the MCU. The Russo brothers who so dazzled audiences with their direction of Captain America: The Winter Soldier will be stepping in to direct the next Avengers sequel(s). I hope they’re up to the task because the burden of carrying a billion-dollar franchise with its tendrils connected to other franchises appears to have been overwhelming for one of the greatest storytellers of a generation. Enjoy Age of Ultron but be wary of what the future holds for the larger MCU.
Nate’s Grade: B-
Posted on May 6, 2015, in 2015 Movies and tagged aaron taylor-johnson, andy serkis, chris evans, comic book, elizabeth olsen, jeremy renner, joss whedon, mark ruffalo, marvel, robert downey jr., robots, scarlett johnansson, sci-fi, sequel, stellen skarsgard, super hero. Bookmark the permalink. 1 Comment.