Black Panther (2018)

Black Panther is unlike any other Marvel Cinematic Universe (MCU) film prior. It’s unlike any other super hero film prior. Yes, there have been African-American leading men in comic-based movies, notably Wesley Snipes’ half-vampire-all-badass Blade. However, this is the first movie I can think of with this kind of budget, this kind of backing, and with this kind of ownership over its cultural heritage and the heavy burdens it carries.

We last saw T’Challa (Chadwick Boseman) in Captain America: Civil War mourning the loss of his father, the king of the African nation of Wakanda. The outside world does not know that Wakanda sits on a vast supply of virbanium, the strongest and more durable metal in the world and the key to Wakanda’s impressive technology. Under a holographic cover, Wakanda is a thriving metropolis with flying cars, skyscrapers, and next gen weapons. T’Challa goes home and must earn the right to the throne. However, Erik Killmonger (Michael B. Jordan), a former top-level black ops solider, is looking for his own path into Wakanda and onto the throne. Killmonger teams up with arms dealer, Ulysses Klaue (Andy Serkis), to force Wakanda to deal with being cut off from the world.

This is a movie populated almost entirely by black faces, notably black women (more on that later), and they are given a mainstream platform that celebrates its multitudinous African roots and traditions thanks to co-writer/director Ryan Coogler (Creed). This movie is proudly black, which will rankle some on the fringes of society, as if celebrating one’s own identity is somehow denigrating those who do not apply to that status. Black Panther is not an exclusionary movie because of its content and execution; this is a very accessible movie to a mass audience, even those who haven’t been paying attention to every nitty-gritty detail in the previous seventeen MCU entries. There are only two characters from other MCU films that appear, one as a post-credits cameo and the other an officious representative (Martin Freeman) of the outside’s clandestine organizations. This is a unique world isolated from the long shadow of colonialism. Wakanda has never known, to our knowledge, the depravity of the European and American slave trade. They have continued to develop uninterrupted by conquerors, slave traders, and the crippling aftereffects of racism. The Wakanda people could very easily be the conquerors themselves. They’re the most technologically advanced nation on the planet and hide as a “third-world nation,” utilizing the ignorance of the Western world to its security. The world of Wakanda is a fascinating, awe-inspiring, and defiantly independent nation.

The larger theme is over the responsibilities inherent to those with privilege. The nation of Wakanda is vastly successful by all conventional metrics. T’Challa must wrestle with whether to continue their exclusionary stance, ignore the plight of the larger world and say it’s none of their business or engage with the world, potentially putting his own kingdom’s peace and prosperity at risk. It’s a simple enough theme and yet it has tremendous weight to it especially when you account for those on the other end of the Wakanda borders. The character of Killmonger is a direct reflection of this. His experiences in Oakland are not the ideal pairing with the luxury of Wakanda. Killmonger sees Wakanda’s great influence as a way to protect beleaguered black citizens of the world and especially in the United States. It’s a way to prevent more senseless deaths from black citizens who were slain as a result of the fear of just being black (a powerful example was Coogler’s debut film, Fruitvale Station). It’s a pointed political statement that doesn’t get too heavy-handed (even though I would have preferred that). It questions the value of isolationism especially when suffering can be prevented. Killmonger works as a villain because you can understand his point of view. He goes beyond the need for vengeance. The wrongs he wants to right are larger and historical. Even Killmonger’s last line really attaches itself to this theme. T’Challa offers him a way out but with imprisonment. “No,” Killmonger declines, “My people were the ones who leaped over the sides of the slave ships. They knew death was better than bondage.” The emphasis is “his people,” not T’Challa’s, not Wakanda. His people were the ones who suffered from slavery. Could Wakanda have possibly prevented it?

Another wonderful surprise of Black Panther is its incredible all-female ensemble that provides expert support to their king. T’Challa has the good fortune of four strong women, each of them having a different and vital relationship to him. The standout will be Danai Gurira (TV’s Walking Dead) as the fierce chief of security, Okoye. She has a swagger that vacillates between being intimidating and being brashly enjoyable. Okoye has many of the best lines and she throws herself into every fight. There’s also a sense of duty that transcends a single man that challenges her loyalty. Letitia Wright (TV’s Humans) plays Shuri, the Q of this world, the top scientist and creator of many a gadget. She’s T’Challa’s little sister and their interplay is very competitive and teasing. She’s looking to be more involved in the action and a highlight is when she teams up with her big bro. Lupita Nyong’o (The Jungle Book) is Nakia, a former flame of T’Challa’s who comes in and out of his life as an undercover spy. All three of these women have a powerful sense of agency and are integrated in important and essential ways. Even though Nakia may slide into that romantic interest role, she still has a vibrant life outside whatever feelings she may or may not have for the hero. Then there’s T’Challa’s mother, Ramonda (Angela Bassett), who radiates strength and fortitude. These women gave me some of the biggest moments of entertainment in the entire 135 minutes of movie.

Now some careful readers might note that I haven’t done much to emphasize the actual action of the super hero action movie, and that’s for a good reason. Black Panther stands stronger on theme and character than it does its actual action sequences. Coogler had a wonderful sense of scale and verisimilitude with 2015’s Creed, relying on long takes to put the audience in the heightened drama of the boxing ring. With Black Panther, the action sequences can lose a sense of immediacy. Many happen at night or are filmed and edited in ways that diminish some of their impact, like hand-to-hand combat in splashing water where the splashes obscure the activity. Other scenes felt like a video game CGI cut-scene. Speaking of video games, Black Panther’s suit has a crazy ability to absorb the kinetic energy of weapons, which means the stakes take a dip when our hero can merely just stand and allow himself to get shot repeatedly. The payoff for this absorption is a giant energy shockwave but it plays out like a fighting game’s special feature. It’s an aspect that’s not really utilized in a satisfying or unique way. The final showdown between Black Panther and Killmonger feels too weightless in execution. It’s meant to even the playing field by nullifying their extra abilities, but if they both have the same “Panther powers” isn’t the field already even? The third act, the usual punching bag for MCU critics, is the best part of the movie from an action standpoint. It utilizes the characters in significant ways and allows for organic complications while still maintaining its wider sense of spectacle. Plus it’s one of the few action sequences that allow all the pyrotechnics to be enjoyed during the visibility of day.

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Boseman (Marshall) was an excellent choice for a stoic and too-cool-for-school character that can glide right on by. The ageless Boseman is at his best when he’s working off the other actors, especially his female posse. He has a couple of very effective emotional confrontations as he learns of his family’s secrets. As steady and soothing a presence as Boseman can be, this is Jordan’s movie. Michael B. Jordan (Creed) has been Coogler’s cinematic good luck charm and we’re still benefiting from that divine kinship. His character is at the heart of the central thematic question. While T’Challa is ultimately the one who has to decide, it is Killmonger who embodies that need for change and the desire to rectify the past. There’s a flashback with Jordan that got me to tear up, and this guy was the villain! It’s one of the film’s biggest mistakes sidelining Jordan for far too long. After his introduction, Killmonger is strangely absent for the next hour or so of the movie, ceding the spotlight to Serkis (War for the Planet of the Apes), a more antic and goofy scenery-chewing baddie who has a few regrettably “faux hip” lines of dialogue that land awkwardly. Serkis is having a blast but can feel like a holdover from a different film.

Much like last summer’s Wonder Woman, this is a movie that is going to mean a lot to a lot of people. It has a personal significance that I will not be able to fully tap into, no matter the expansive powers of empathy. Black Panther, as a long-awaited cultural moment, will have many ripples of inspiration. After my early screening, I sat back and watched an African-American boy, no older than seven or eight, walk out of the theater in a daze. His eyes were wide, his mouth agape, and he said in astonishment, “That was the best movie ever.” That kid has a hero he can call his own. That matters. Black Panther, as a work of art, is rich in topical themes and has a wide supporting net of exciting, robust, and capable women. I enjoyed how personal and relevant and political the movie could become, folding new and challenging ideas onto the MCU formula. Coogler is a marvelous director and storyteller showing rare acumen for being able to handle the rigors of a Hollywood blockbuster and deliver something hearty. The action has some issues and there are some structural hiccups that hold it from the MCU’s upper echelon (I enjoyed all of the 2017 MCU movies better). Black Panther is a winning movie when it features its sterling cast celebrating their virtues and solidarity and a still respectable enough action spectacle when called upon for big screen duty.

Nate’s Grade: B

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About natezoebl

One man. Many movies. I am a cinephile (which spell-check suggests should really be "epinephine"). I was told that a passion for movies was in his blood since I was conceived at a movie convention. While scientifically questionable, I do remember a childhood where I would wake up Saturday mornings, bounce on my parents' bed, and watch Siskel and Ebert's syndicated TV show. That doesn't seem normal. At age 17, I began writing movie reviews and have been unable to stop ever since. I was the co-founder and chief editor at PictureShowPundits.com (2007-2014) and now write freelance. I have over 1400 written film reviews to my name and counting. I am also a proud member of the Central Ohio Film Critics Association (COFCA) since 2012. In my (dwindling) free time, I like to write uncontrollably. I wrote a theatrical genre mash-up adaptation titled "Our Town... Attacked by Zombies" that was staged at my alma mater, Capital University in the fall of 2010 with minimal causalities and zero lawsuits. I have also written or co-written sixteen screenplays and pilots, with one of those scripts reviewed on industry blog Script Shadow. Thanks to the positive exposure, I am now also dipping my toes into the very industry I've been obsessed over since I was yea-high to whatever people are yea-high to in comparisons.

Posted on February 14, 2018, in 2018 Movies and tagged , , , , , , , , , , , , , , , , . Bookmark the permalink. 1 Comment.

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