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Morbius (2022)

Not the train wreck the advertising made it seem, Morbius is merely a bland superhero retread that reminded me of the early 2000s superhero output like Daredevil and the Tim Story Fantastic Four. Having been delayed almost two years thanks to COVID-19, the film was released on April 1 for full unintended irony, and it’s a silly mess but also nothing worth getting too worked up over. Method actor extraordinaire Jared Leto (Suicide Squad) plays Dr. Michael Morbius who is suffering from a rare disease and finds a solution via a serum mixing vampire bat DNA but it has some consequences. He has super powers but needs to feast on blood every six hours and is dreading the point where he may not be able to resist the allure of feeding on humans. It’s a very Jekyll/Hyde concept, man trying to control his inner demons made literal, and once again we have a villain that essentially has the same powers as the hero. Matt Smith (Doctor Who) play’s Morbius’ childhood friend who also suffers from the same rare blood disease, but Dr. Morbius refused to share the cure because he explains it’s a “curse,” although maybe let the man suffering make that personal health choice. Bless you, Matt Smith, because you’re the only one having any fun with this movie, and that includes in the audience. Leto is actually fine though not much about the Morbius character is really imparted. The action sequences are erratic and the stylistic flourishes, like the “look at me” slow-mo ramps and the inexplicable wispy colorful smoke clouds trailing Morbius in action, hamper the ability to even discern what is happening onscreen. Maybe that’s on purpose after two years delay. The movie establishes a basic structure, series of goals, antagonist, and problems efficiently enough to make it to the end credits after 90 minutes. It’s just that we’ve come to expect better from our super hero cinema by now. As a disposable monster B-movie, Morbius is okay. It’s not recognizably campy, it’s not so-bad-it’s-good, it’s just a generic origin story/Dr. Jekyll and Mr. Hyde territory with a lot of dropped subplots and subpar CGI. I have my serious doubts about Sony’s plan to hatch solo movies for all these different Spider-Man villains, and the creakiness of this plan is even more evident with their contrived post-credit scenes trying to awkwardly establish their retinue of villains to confront Spider-Man. Does Morbius know who Spider-Man even is? Morbius the movie and character just feels too half-hearted for anyone to care.

Nate’s Grade: C

Doctor Strange in the Multiverse of Madness (2022)

The first Doctor Strange is one of my favorite movies in the ever-expanding and incredibly popular Marvel Cinematic Universe (MCU). It was a visually audacious and imaginative sci-fi action movie that just had one standout set piece after another. The original director, Scott Derickson, departed over creative differences with the MCU brass, and having now seen Doctor Strange in the Multiverse of Madness, I might have the same stark differences of opinion.
Dr. Stephen Strange (Benedict Cumberbatch) is still nursing his regret over his former flame, Dr. Christine Palmer (Rachel McAdams), who is now getting married to another man. During their wedding reception, Strange helps a young woman being chased by a giant one-eyed monster. America Chavez (Xochitil Gomez) is from another universe and has the power to open portals to other dimensions. Unfortunately, she doesn’t know how to control these powers and they only seem to activate when she’s reached a level of fear. Strange protects America Chavez from a malevolent force that wants to gain her unique power and open the multiverse for conquest.

It’s been almost ten years since Sam Raimi directed a movie and Multiverse of Madness is at its best when it feels most like a Raimi picture. The man’s beginnings in low-budget horror comedy are still evident, and it’s that campy combination that entertained me the most in Multiverse of Madness. There are some creepy, goofy moments that definitely reminded me of Evil Dead 2 and Army of Darkness. If you’re not a fan of these heightened levels of horror that incorporate slapstick and camp, then you might roll your eyes and find these moments to be too goofy for the MCU. As much attention as this movie has gotten for being darker, which is a tad overblown, it’s also one of the goofier Marvel movies. The MCU has a relatively breezy, wiseacre sense of humor that can occasionally undercut some of its more serious or sentimental moments of drama, but with Multiverse of Madness, Raimi is inviting the audience to laugh and cringe in equal measure. A horror sequence where reflections are a vulnerable point has both laughs and creeps. It’s a different kind of tone for a Marvel movie, which propelled my entertainment level when it occurred. Raimi getting to play once again in the superhero sandbox and still retain his signature style and impulses, which is exactly what I would want from this man as a blockbuster filmmaker. I loved the match cuts of Wanda experiencing two different universes in one smooth camera move. I cackled when Doctor Strange took his final form for the finale, and how ridiculous it looked, and that screenwriter Michael Waldron (creator of Loki) set it up with Chekov’s corpse.
For a movie with “multiverse” in its title, we don’t really get much of an exploration of the alternate universes. The concept of a multiverse is mostly kept at a thematic level and as a delivery system for wishes. The villain views the prospect of a multiverse as their means of fulfilling a vision of their life that is unrealized in their present reality. Strange thinks of an alternate version of himself where he got the girl. Beyond these reflections, that’s really about it. We jump to about two alternate realms and the only real exploration we have is that, hey, in this version of the universe people walk on red lights. It’s a bit trifling considering that there are endless imaginative possibilities, some of which are showcased during some stylish visual transition sequences crashing through different realms. It feels far too small for a concept with boundless possibility. Strange was already in another multiverse movie six months earlier with 2021’s Spider-Man: No Way Home. That movie also explored the idea of second chances, redemption, and sacrifice but far better. For a better multiverse movie that really lets loose on the wild possibilities of alternate realities, as well as grounding the feats of imagination in relatable human drama enriched by its theme, see the amazing Everything Everywhere All At Once.

I’m not just disappointed because the movie doesn’t take full advantage of its plot possibility, it’s because what it settles for is so much more predictable and disposable as fan service. This current phase of the MCU is setting up a dilemma of multiverse proportions, so things are getting very expansive and their slate of Disney Plus TV series are becoming more incorporated into the direction they’re heading. The danger starts to become whether the entire process is becoming more and more specialized, insular, and directed for the most hardcore of hardcore fans, and whether or not such a heavy undertaking, across platforms and franchises, can be done well. Marvel has earned some faith from me with how they’ve handled their interconnected franchises and film universe, but my main complaint with 2010’s Iron Man 2 and 2015’s Age of Ultron was that they were spread too thin trying to set up other movies and offshoot franchises, so this still remains a danger. As the MCU gets more and more successful, and integrates more characters, this is always a risk, the balancing of the spinning plates, making the movies their own but fitting into a larger whole. With Multiverse of Madness, it feels like the mighty gears of the Marvel machine are a little too forceful and crushing for this endeavor. This doesn’t feel like an essential next chapter in Doctor Strange’s ongoing cinematic journey. The first film was already about him regretting what his life could have been, an expert surgeon, and learning to accept his new role as a sorcerer and ultimately sacrificing his ego and old sense of self. We’re running through the same motions this time but instead of lamenting he could have been a great surgeon he’s lamenting he could have gotten the girl. It’s again coming to terms with his personal regrets.
The other notable aspect of the multiverse is the inclusion of fun but diverting cameos that don’t so much as serve this story as provide winks and nods of what is down the line. I won’t spoil who shows up in the middle portion of the movie but there are a few alternate version characters and a few characters that have yet to be fully integrated in the MCU, meaning these early appearances also serve as confirmation of the intention to bring these characters, stories, and worlds into the ever-expanding reach of their storytelling. This sequence is best as throwaway fun and has some neat visual moments including a disturbing death played for effective gallows humor. Ultimately though, it’s meaningless because it’s one other universe of characters who only serve as reflections of the past and coming attractions for the future. Even the mid-credits sequence is just more of this (and it’s becoming a trend). It’s disposable fan service and no more meaningful than serving as a tacit promise of what’s to come.
But the biggest problem I have with Multiverse of Madness is also its biggest storyline, which concerns a certain character making a big villainous turn and becoming the primary antagonist. I was getting a lot of Game of Thrones season 8 vibes from this plotting insofar as the end result is not out of the question but it sure feels like we skipped a lot of necessary stops along the way. I won’t be able to go into greater detail without delving into spoilers, so dear reader now is the time to skip to the last paragraph if you wish to remain pure. I like the concept of a friend becoming a foe because we already have an investment in that relationship and therefore there’s more at stake with the fights and possible consequences. That’s the kind of drama that lends itself to heartache and tragedy. When it feels forced, that’s a tragedy of characterization.

I have to imagine that fans of Wanda Maximoff (Elizabeth Olsen) a.k.a. The Scarlet Witch are going to be let down from this movie’s calamitous turn of events. I wasn’t the biggest fan of the character prior to the WandaVision TV series, which I also found to be pastiche that wore thin before finally settling on what the show’s core would examine, the messy process of one woman dealing with her powerful grief. I liked that they didn’t excuse Wanda’s misdeeds, namely holding an entire town of people hostage to her reality-bending whims. However, by the end, the show had her come to terms with letting go of Vision and her fake life with him she had manifested. To then have her next film appearance revolve around her universe-destroying mission to get her fake kids back doesn’t just feel like backtracking, it feels like we’ve erased the character journey and growth from her TV series. If you hadn’t watched the series, then this villainous turn would feel especially jarring. The whole “You’re a monster’/”No, I’m a mother” hysterical villain lady is tiresome. This is why I was making the Game of Thrones season 8 comparisons. It’s cool to see Wanda fully unleashed and how formidable she can be, but it’s at the expense of wiping out her character’s growth for a single-minded crazy momma. It’s reductive. If she can assume the life of her multiverse self, why not just do that? Also, what’s the great urgency? Wanda wants to kill America Chavez and absorb her power so she can jump through multiverses. Why can’t she just wait a matter of months to allow America to learn how best to control her powers? The movie never explains why the villain can’t just work with her magic MacGuffin rather than kill her. And then it all comes to Wanda realizing, “Oh no, what have I become?” and allowing herself to die as penance for the hundreds if not thousands she has killed over the multiverses. It’s all just a rather dispiriting development and questionable end for a character that I feel deserved better.
Walking away from Doctor Strange in the Multiverse of Madness, I feel like there’s a better movie buried under everything (everywhere all at once). This movie was originally supposed to come out before Spider-Man: No Way Home, and America Chavez was the original reason for Spider-Man’s multiverse dilemma, but it was delayed because of COVID. Raimi has gone on record that they figured out the plot of the movie while filming and conceived of the ending halfway through the film shoot. That’s not a great place to be for creativity, but then again, neither is being the twenty-eighth film in an ongoing interconnected chain of franchises. I won’t harp on that too much because plenty other MCU movies have excelled under such conditions and requirements, but every now and then one of Marvel’s movies just feels like a sacrificial offering to the greater altar of the MCU’s need to keep progressing with its multiple projects. Doctor Strange in the Multiverse of Madness isn’t a good Doctor Strange sequel, it isn’t a good multiverse movie, and it could have even used a little more madness, as those were my favorite moments, excluding the sharp villainous turn. I’d consider this film in the bottom tier of the MCU, among the likes of Iron Man 2 and Age of Ultron, other similar altar offerings.

Nate’s Grade: C+

Spider-Man (2002) [Review Re-View]

Originally released May 3, 2002:

Hollywood take note, Spider-Man is the prototype for a summer popcorn movie. It has all the necessary elements. It has exciting action, great effects used effectively, characters an audience can care for, a well toned story that gives shades of humanity to those onscreen, fine acting and proper and expert direction. I recommend movie execs take several note pads and go see Spider-Man (if they can get in one of the many sold out shows). What summer needs are more movies in the same vein as Spider-Man, and less Tomb Raider’s and Planet of the Apes.

Peter Parker (Tobey Maguire) is a dweebish photographer for his school yearbook clinging to the lowest rung of the popularity ladder. He lives with his loving Aunt and Uncle who treat him like a son. Peter has been smitten with girl-next-door Mary Jane Watson (Kirsten Dunst) ever since he can remember, but he’s been too timid to say anything.

At a field trip to the genetically altered spider place (there’s one in every town) Peter is snapping pictures when he is bitten by one of the eight-legged creatures. He thinks nothing of it and awakes the next day to a startling change. He has no need for his rimmed glasses anymore and has a physique that diet ads would kill for. He also discovers he can cling to surfaces, jump tall building in a single bound and shoot a sticky rope-like substance from his wrists. Hairs on his palms and shooting a sticky substance from his body? Hello puberty allusion! Peter tries to use his new abilities to win the girl and when that doesn’t work out he turns to profiting from them. He enters a wrestling contest in a homemade costume and proceeds to whup Randy Savage. Following the fight Peter’s Uncle Ben is dying after being involved in a car jacking Peter inadvertently let happen. Haunted by grief Peter becomes Spider-Man and swings from building to building as an amazing arachnid crime stopper.

But every hero needs a villain, and that is personified in the Norman Osborn (Willem Dafoe), scientist and businessman. Osborn is experimenting with an aerial rocket glider and a dangerous growth serum. When the military threatens to cut his funding and shop elsewhere Osborn haphazardly undergoes the serum himself. What it creates is a duality of personalities; one is Norman, the other is a sinister and pragmatic one. The evil alter ego dons the glider and an exoskeleton suit and calls himself the Green Goblin. The Goblin destroys all that are in his way, and has his yellow eyes set on the pesky Spider-Man.

The casting of mopey-eyed indie actor Tobey Maguire over more commercial names like a DiCaprio or a Prinze Jr. (I shudder to think of a Freddie Prinze Jr. Spider-Man) left some people scratching their heads. Of course the casting of Mr. Mom to portray the Dark Knight likely got the same reaction in the 80s. Maguire plays the nerdish and nervous Peter Parker to a perfected awkwardness with his sensitive passivity. When he explores his new powers with exuberant abandon then begins crime fighting, we as an audience are with him every step of the way pulling for Peter.

Kirsten Dunst was also a surprising casting choice but works out very well. She allows the audience to fall for her along with Peter. Her chemistry with Maguire is great and could be a major reason why rumors have surfaced about the two leads taking the onscreen romance off screen.

Willem Dafoe is one of the creepiest actors in the business (though he made an effective creepy-free Jesus) and delves deliciously headfirst into the cackling menace of Spider-Man’s nemesis. Dafoe, with a face that looks like hardened silly putty and jutting rows of teeth, relishes every maniacal glare and endless evil grin. But instead of being one-note he adds certain amounts of sympathy and understanding as Norman Obsorn. No one could have done this role better than Dafoe.

Director Sam Raimi was most known for his cult splatter house Evil Dead series, but he’s got a new resume topper now. Raimi was chosen over a field of directors because of his passion for the character and story. Raimi brings along integrity but with a joyous gluttony of spectacular action sequences. He expertly handles the action and daring-do all the while smoothly transitioning to the sweet love story. He has created the movie Spidey fans have been dreaming of for 40 years.

Spider-Man swings because of the respect the source material has been given, much like 2000’s X-Men. The story follows the exploits of the comic fairly well but has some stable legs of its own. The multitudes of characters are filled with life and roundness to them, as well as definite elements of humanity. You can feel the sweet romance budding between the two young stars, the tension and affection between Osborn and son, but also the struggle with Norman and his new sinister alter ego.We all know villains are the coolest part anyway. Isn’t that the only reason the last two Batman films were made?

There’s the occasional cheesy dialogue piece but there is that one standard groaner line. In X-Men it was Halle Berry’s query about what happens when lightening hits a toad. In Spider-Manit was the response to the Green Goblin’s offer to join him, to which he asked “Are you in or are you out?” (Obviously channeling George Clooney). The dreaded response: “You’re the one who’s out Goblin. Out of his mind!” Sigh. Maybe a well placed “freaking” before “mind” would have made the line better.

Spider-Man is the best kind of popcorn film: one that leaves me anxiously anticipating the sequel (which will come out two years to the day the first one was released).

Nate’s Grade: A-

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WRITER REFLECTIONS 20 YEARS LATER

Twenty years ago, 2002’s Spider-Man changed the landscape of studio blockbusters. Since swinging into theaters twenty years ago, we’ve gone through three different actors playing three different Spider-Men in three different franchises, plus an Oscar-winning animated movie, and oodles of toys. If X-Men’s success in 2000 made Spider-Man possible, then Spider-Man’s record-breaking success, the first film to earn more than $100 million in a weekend, made the Marvel Cinematic Universe, the defining chain of blockbusters for our age, possible. X-Men provided a template and Spider-Man was the confirmation for those curious bean counters in studio offices. From there, it was a gold rush to secure their own superhero franchise. Universal launched Hulk. Fox launched Daredevil and the Fantastic Four. Warner Brothers started trying to reboot Batman and Superman again. It was an IP scramble and not every property proved worthy (see: 2004’s Catwoman, or better yet don’t see it). For better or worse, 2002’s Spider-Man ushered in the modern era of superhero mega blockbusters. Now with twenty years of hindsight and influence, it’s interesting to go back to the OG Spider-Man, especially after the nostalgic revisit with 2021’s Spider-Man: No Way Home, and see why this movie was so successful. 

Created in 1962 by Steve Ditko and Stan Lee, the friendly neighborhood Spider-Man took a circuitous path toward big screen stardom. He had a popular cartoon in the 1970s, a cheesy U.S. tv show, and Lee even licensed the character into a 1978 television series in Japan that is well and truly insane. The main character is a racer injected with alien blood, from planet Spider no less, who leaps into a giant robot to fight giant monsters (it’s basically Power Rangers before Power Rangers). Legendary genre house Cannon Films bought the film rights and then sold them to Carolco, the studio killed by Cutthroat Island’s bombing in 1995. Carolco reached out to reported king of the (blockbuster) world James Cameron to rewrite an existing draft with Peter in college. He envisioned Edward Furlong as Perter Parker and Arnold Schwarzenegger as Doctor Octopus. Later, his new Spider-Man script was reset in high school, brought back in a previously absent Mary Jane, and involved Electro and Sandman as the primary villains, and apparently was going for an R-rating with language and an intended sex scene between Peter and Mary Jane on the Brooklyn Bridge, which brings into further question his organic web-shooting inclusion.

It all fell apart when it was revealed Carolco didn’t actually own the full rights to Spider-Man. After Carolco’s bankruptcy and the ensuing legal wrangling, Sony eventually ended up with the rights for a deal that is absolutely brutal in retrospect: a mere $7 million plus five percent of film grosses and half of merchandising. That’s it. For a character that earns over a literal billion dollars a year in merchandise even when there are no movies being released. As of this writing, No Way Home has made almost two billion dollars world-wide at the box-office.

Sam Raimi was picked as director because he was so passionate for the project, owning over 20,000 comic books and knowing the character and his universe inside and out. It’s not like Raimi was some schlub that Sony just drafted from the street in a contest either. The man was a genre visionary from the beginning with the chaotically kinetic Evil Dead movies. When the studios were unsure about tapping him for comic book movies, Raimi decided to make his own with 1991’s Darkman, a gloriously fun, weird, and gory Phantom of the Opera-esque action movie with Liam Neeson and Frances McDormand. After that, Raimi expanded his style by directing four very different movies in different genres (The Quick and the Dead, A Simple Plan, For Love of the Game, The Gift), and by that time the studios had come around to embracing Raimi as their trusted shepherd of coveted comic book IP. Director Chris Columbus also turned down the job first, instead opting for the Harry Potter cinematic universe. I don’t know if Spider-Man would have been as successful with anyone else at the helm. Let’s not pretend that the movie would have been a commercial failure with some other director attached (I’m sure, prior to Cutthroat Island, there was a very real chance of “Renny Harlan’s Spider-Man” – that’s right, the hits just keep on coming, Cutthroat Island). But Sam Raimi perfectly encapsulates the combination that has worked so well for other later superhero directors: passion and peculiarity. 

Raimi is a first-rate visual stylist with the comedy of The Three Stooges, and I don’t mean this as a negative. He has a rare, instinctive sense, much like Cameron and Steven Spielberg, about what will play best on the big screen with a packed crowd, those kinds of blockbuster moments. The one thing you can say about any Raimi feature is that they are exploding with verve and energy. The man nailed a camera to a plank of wood and chased after Bruce Campbell in 1980, and he’s been running wild ever since. That gleeful, childlike sense of entertainment exists in a Raimi picture. His horror instincts and influences are readily apparent in his editing, tone, and setup, across all pictures and genres. Horror is such a precise genre, and Raimi knows the ins and outs of developing scares, tension, and payoffs, and he also knows that editing can make everything sing. A Raimi film might be more self-conscious with its antic camera angles, movements, and editing, but this man is a natural conductor of the chaos of moviemaking. He is a natural for big stages and has only made one movie for less than a hundred million in the last twenty years (2009’s throwback, Drag Me to Hell). It’s also a little disappointing that Raimi has only directed one movie in the last 13 years (2013’s failed franchise-starter, Oz: The Great and Powerful).

Raimi’s movies also have a deep sense of humor, twisted and loony, not afraid to get gross or goofy. When I watched Drag Me to Hell, his first film after leaving Peter Parker’s orbit, I was busting a gut as often as my stomach was churning. Raimi’s Spider-Man 2 sequence where Doctor Octopus (Alfred Molina) awakens and his cybernetic arms slaughter the doctors has been repeatedly re-evaluated in social media circles as a nigh perfect sequence. Raimi isn’t afraid to veer to the edges of what is considered conventional; he’s not afraid to be goofy just as he’s not afraid to be sincere. This is a director who embraces his peculiarities but also has a reverence for visual storytelling and blockbusters. With the exception of Oz, I cannot recall a Raimi film that just felt like a slapdash work-for-hire job. The man has a signature style. It was what Marvel insisted they wanted when they hired him to direct the Doctor Strange sequel (now in theaters!). Finding auteurs with peculiar sensibilities, zany humor, and new ideas for studio projects is what has allowed directors such as Joss Whedon (Avengers), James Gunn (Guardians of the Galaxy), Taika Waititi (Thor: Ragnarok), and Jon Watts (the Tom Holland Spidey films) to flourish. 

Revisiting OG Spider-Man, we have two more versions of this universe to compare with, three if you count the animated escapades of 2018’s Into the Spider-Verse, so some things just seem a little more quaint, like an old story from your childhood. Part of this is because the character and his lore have become as familiar in popular culture as Batman or Superman. That’s why the Holland version skipped the origin part of how Peter Parker got his super powers and lost his dear old dead Uncle Ben (just like we don’t need to ever see Batman’s parents die onscreen again). The first two Spider-Man films still hold up; I re-watched Spider-Man 2 shortly after 2017’s Homecoming to see which was the overall best Spider-Man film, and it was still very good. They’re earnest and cheesy but easily transporting and you feel the passion for those involved. Raimi clearly loves this character and wants you to love him as well, and we do. There are a few moments that just speak to the dated nature of culture from twenty years hence, like Peter Parker cracking an unfortunate homophobic joke about his wrestling opponent. The special effects are still strong throughout and benefit from Spider-Man’s costume lacking exposed skin. The action sequences are a bit tame and especially lacking compared to even later Spider-Man films.

Maguire might even be regarded as the least favorite Spider-Man actor at this time after the successful revamping of Andrew Garfield’s version from No Way Home. He stands out from Garfield and forever boyish Holland. He was 26 when he began playing Peter the high schooler. His prior indie film roles would make him seem more likely to be cast as a moody school shooter than as a clean-cut superhero (I guess it worked for Ezra Miller), and the fact that he pulled it off is a credit to both Maguire and Raimi. Maguire hasn’t been able to escape the long shadow of Spider-Man and he seems to be fine with that, having only appeared in one movie since 2014. The conniving celebrity poker player that Michael Cera played in Molly’s Game is believed to be Maguire in real life. Dunst was maligned throughout the original trilogy and you can clearly see her disinterest in the character. To her credit, this iteration of Mary Jane is fairly one-dimensional. She’s little more than the object of Peter’s desires and a damsel to be saved. Dunst has become a much more interesting actress after shedding the Spider-Man universe with Melancholia, season 2 of Fargo, and The Power of the Dog, earning her first Oscar nomination. 

Dafoe had to beat out many actors for the role that seems perfected by him. Raimi intended for Billy Crudup (Almost Famous) to be his Norman Osbourn but the producers worried Crudup was too young to portray a middle-aged scientist. Dafoe’s normal face already resembles the Goblin mask. He demanded to do as many of his stunts as possible, and apparently he was a natural learner with the Green Goblin’s winged glider. Dafoe loved the part so much he begged Raimi to find ways to include him again even after his character died. I grew to love him even more after No Way Home reminded everyone of the mental anguish of Norman, a man torn apart by his demons. Dafoe is so maniacal and vulnerable and indispensable in this role. It’s no wonder they even bent space and time to have him generously visit us once more. 

I was worried that my older review from 2002 was going to be overly flattering, gushing about what the filmmakers had gotten right and a little too pleased with results that haven’t aged as well with so many others running with what Raimi and company established. It’s still a solidly enjoyable movie that moves along at a steady pace and still finds time to have important character moments so that the quiet still matters paired with the spectacle. We’ve had a generation grow up with the Maguire Spider-Man trilogy and for many of us these early superhero films have a special place in our hearts. There’s a nostalgic factor. The first Spider-Man was more successful in creating an exciting kickoff than X-Men, though that film had bigger hurdles in adaptation, and it still has a lasting appeal at its core because of the skill and passion of the filmmakers involved. I’m very curious about revisiting 2007’s Spider-Man 3, where it all fell apart and seeing if it’s due some begrudging respect, though I doubt it (I know what I’ll be watching in 2027). Spider-Man is a little dated but still swings mighty high. 

Re-View Grade: B+

Spider-Man: No Way Home (2021)

This is going to be a difficult review to write. It’s the third Spider-Man movie in the Tom Holland era, though his sixth Marvel Cinematic Universe (MCU) appearance as the character, that much can be said. The MCU has been teasing a universe of parallel universes for a while now, even famously in 2019’s Far From Home, the previous Spider-Man film, and which No Way Home opens seconds later to deal with its immediate aftermath. The scuttlebutt with this new Spider-Man movie is that it is the most Spider-Man in all senses, bringing past iterations from the original Tobey Maguire run (2002-2007) and the maligned Andrew Garfield reboot (2012-2014). We know villains from each non-MCU Spider-Man film are making special appearances, and there are expectations for plenty more special appearances, so by that notion, writing a film review about a movie built upon surprise inclusions and secret revelations can be daunting to even be readable without giving too much away. I’ll do my best, dear reader. Spider-Man: No Way Home is not the best Spider-Man movie, in the MCU or prior, but it’s a rollicking adventure that will play like catnip for fans of the series, all iterations, and has some of the strongest moments of any web-slinging blockbuster.

In the wake of Mysterio framing Spider-Man (Holland) and revealing Peter Parker’s real identity, life has not been kind to your friendly neighborhood Spidey. The public has turned on him and even his best friends are suffering the consequences of their personal relationship. It’s enough that Peter seeks out his old pal, the wizard Doctor Strange (Benedict Cumberbatch), to cast a spell to erase the world’s memory of who Spider-Man really is. The magic spell, naturally, goes wrong, and villains of Spider-Man from other universes begin to appear. These larger-than-life characters are dangerous but also confused; this isn’t their universe, and this isn’t their Peter Parker. Doctor Strange is happy to send them all back to their primary universes, to correct the loose ends of the spell, but Peter doesn’t want to send them all to their fated deaths. He wonders if maybe they can be cured or reformed and if it’s too late to still do the right thing.

First things first, you need to know that this movie is going to play much, much better if you are familiar with, and especially if you’re a fan of, the previous Spider-Man movies. No Way Home almost feels like it was written by a fan who has been nurturing a desire to do right by all past Spider-Man films. This feels like someone who had assembled a list of unresolved issues from different Spider-Man movies for over twenty years and said, “Hey, could I write these characters another ending that can redeem them and provide better closure in a way that is meaningful?” Because of that, each new character that comes through has a definite jolt of fan excitement like an all-star reunion, especially for characters you never thought you would see again. Certainly, some characters have more meaning than others, but I was pleasantly surprised how well integrated and written so many of the villains come across. Returning screenwriters Erik Sommers and Chris McKenna have ret-conned and redeemed the various Spider-Man missteps of old and have given characters more attention and fitting resolution, which makes this a surprisingly emotionally deep Spider-Man in ways you weren’t expecting. There are character reunions and resolutions that I didn’t know I needed, and I was smiling and even battling back tears of my own at various points. If you’re a fan of the recent Holland run, then the movie will still play well, but if you’ve been with Spider-Man from his cinematic beginning (if you really want to feel old, the original Spider-Man teaser involved the World Trade Center) then this movie will feel like a nostalgic blanket to warm you all over.

I think it’s safe to discuss some of the villains that have been prominent in the advertisement and later trailers, but if you wish to skip any character details, then skip to the next paragraph. It shouldn’t be much of a surprise that the two biggest villains are the ones with the biggest screen time and most allowance at redemption. Willem Dafoe as Norman Osborne (Green Goblin) and Alfred Molina as Doctor Octavius (Doc Ock) are treasures. It’s so good to see them again in these roles and each actor is just as good as you recall from their time 15-plus years ago. I was worried that bringing Doc Ock back could spoil the redemptive turn he has at the end of 2004’s Spider-Man 2, sacrificing himself to save the day from his own dangerous experiment. Little did I know that the entire movie was going to seek redemptive arcs for a veritable Sinister Six-worth of Spider-Man villains. It becomes the backbone of the movie, and I was skeptical at first but the movie found ways to win me over with just about every character’s inclusion. Norman and Octavius are similar in that they are battling other sinister personas in their heads, and when the real versions of each man break through, it’s often in heartbreaking moments of existential confusion and sadness. This is a movie that has time to fit in Spider-Man memes as well as question the moral culpability. It’s fascinating that a huge Marvel movie is so concerned with providing glimpses of humanity and compassion to bad guys from movies that the general public didn’t even generally like.

This is the best acting of Holland’s Spider-Man run. He really gets put through the wringer about the consequences of trying to make the moral choice, both good and bad. His most emotional moments got me each time because of the investment in his character growth over six movies as well as the added investment in the supporting characters too. This is the most integrated and important both Ned (Jacob Batalon) and MJ (Zendaya) have been to the plot, and they have a platonic hug at the end that sent me into a tailspin of emotions for what it meant. The humor and natural camaraderie of the actors is still there, a hallmark of the MCU Spider-Man series. I laughed plenty, especially with certain characters deconstructing their parallels and connections (“Gotta watch where you fall,” a villainous understatement). However, this is the most emotional Spider-Man likely ever, and the actors all perform ably. I want to single out Marissa Tomei as Aunt May because she’s been undervalued in these movies until now. This is the biggest role Aunt May has played and she serves as the voice of morality to push Peter to do what he knows is right even in the face of outlandish adversity and personal cost.

No Way Home works better thematically than as a well-constructed plot. The solutions to the villain redemption are laughably convenient, and while it’s not as expressly magic as Doctor Strange’s spells, it’s pretty much the equivalent of technological magic. That’s fine, because it’s less the struggle of invention and more the choice that matters for each character. The mechanics of the ending also feel overly convenient and tidy (you could have just done this the whole time?). When Doctor Strange is chastising characters for hasty decision-making, it’s the movie calling attention to its own cheats. The movie splits so much of its time across multiple villains and drafting off of your old feelings. There are other narrative shortcuts taken and abbreviated, especially Strange’s involvement. He’s left out of much of the movie for the same reason Captain Marvel was left out of much of the final battle with Thanos in 2019’s Avengers: Endgame: he’s too powerful to have on the board. I’m not saying the screenwriters made the wrong choices on what to emphasize. The emotional beats of this movie hit strongly, and if they have to rely on a few cheats and nit-picky hand-waves to get there, then so be it.

From an action standpoint, I think this might rank last for me in the series. Returning director John Watts has never wowed me as an action director. He’s not bad at staging the big moments but he seems more present in zippy tone than in style on a big stage. The added wow factor of seeing the various characters assembled on screen will compensate for much of the action feeling contained to dank sound stages. I think this was done as a cautionary measure to keep the secrets from being leaked, but it also shortchanges the action possibility. There’s nothing in this movie, from a pure action standpoint, that rivals the Venice or London sequences in Far From Home. The movie utilizes portals, and it got my hopes up for clever action inventions, but it serves as more plot device than action complication. There have been some artistic sacrifices, narratively and visually, to accommodate the Spider-Man Movie All-Stars approach, and while I think the filmmakers have emphasized the correct parts, it does still feel like there are some nagging shortcomings to an overall experience that plays exuberantly.

Finding a comfortable medium between fan service and creative constriction, Spider-Man: No Way Home is not the best Spider-Man movie but at the same time it just might be. It serves as a salve to the rest of the franchise, five iterations across two different runs, and because of that level of attention and compassion, the past movies get a little bit better, with more added resolution, more character moments, and second chances to correct miscues and blunders. Who among us wouldn’t want another opportunity to correct our mistakes? While ostensibly setting up the troubles ahead for the MCU (the trailer for 2022’s Doctor Strange: The Madness of the Multiverse is the final post-credit scene), the movie feels entirely backward-looking, rewarding fans of the character and resolving to do better where other films had gone awry. Maybe (Disney)Fox could do something like this for the bad X-Men movies? I don’t know if the same punitive charges of being slavishly nostalgic will hit No Way Home like they’ve done for the new Ghostbusters and Star Wars. It’s definitely still accessible for newer fans but plays best to the people with the longest investment, but isn’t that every continuing movie series? No Way Home is a rewarding cinematic experience of many highs and fun surprises and cameos as well as a humane redemption for the sins of Spider-Man’s past. It’s not the best superhero movie but it might be the most joyous one yet.

Nate’s Grade: B+

Eternals (2021)

Chloe Zhao is the biggest name Marvel has gotten yet for its cinematic universe (MCU). Sure, they’ve had major directing names before like Kenneth Branagh and Ryan Coogler, and successful populist genre filmmakers like Jon Favreau and Joe Johnston and Joss Whedon and Shane Black, and quirky auteurs like James Gunn and Taika Watiti. However, Zhao is the first Academy Award-winning director to jump into the Marvel sandbox. Zhao seems like an odd fit for something as mainstream and successful as the MCU, but she was excited to tell a big story with the biggest studio operating in Hollywood. Eternals (no “The”) is just as much about the question over what it means to be human as Zhao’s Best Picture-winning Nomadland, and it’s a lot easier to watch with one hundred percent less Frances McDormand pooping in a bucket in her van (granted, she did win an Oscar for that performance). Eternals has received the lowest critical rating of any MCU film in its thirteen-year history and I’m trying to figure out why.

Thousands of years ago, the Eternals were created by the Celestials, powerful beings that are responsible for birthing new galaxies into the universe. The Eternals were sent to protect the inhabitants of Earth from the Deviants, terrifying tendril-heavy monsters that will consume and overrun a world. The Eternals are instructed by their masters not to intervene in human conflicts; only to intervene to save them from Deviants. Now that the last Deviant has been dead for over 500 years, the Eternals have settled into comfortable lives among present-day humans. Then the Deviants return, evolving with added powers and posing a new threat to humanity and the Eternals, but the real threat might be outside the confines of Earth.

Eternals feels like a different kind of Marvel movie in that stretches feel like it’s a Stanley Kubrick movie, or a Terrence Malick movie, or a DC movie. The plot structure and tone even reminded me of Watchmen. Don’t get me wrong, the standard Marvel elements are recognizable, but this is a much slower, more methodical, more cerebral, and more challenging movie that really feels like a distillation of Zhao’s humanist indie naturalism and the crazy cosmos from Jack Kirby’s trippy source material. I can understand why some people would find this movie to be boring and poorly paced. There are extensive flashbacks and setup. It definitely doesn’t need to be a staggering 157 minutes long, second only to the three-plus hours of Endgame. Granted the movie is introducing a dozen characters, their relationships, their powers, their histories, as well as a new history for the universe that doesn’t relate to anything that came before it. There are assorted references to Thanos and the events of Endgame, bringing half the population back, but this is more a standalone movie that can serve as an introduction for those less well-versed in two dozen movies’ previously on’s. I knew going into Eternals it was going to be slow, and I knew several friends that outright hated it, but I think pacing is more to its benefit and detriment. The scenes feel like Denis Villenueve (Dune) is pacing them, where moments are given more time to breathe and where characters are given space to reflect and absorb. Like a Villenueve film, Zhao wants her audience to take in the grandeur of the moment, but she also wants the characters to be able to take in the drama of their circumstances. Some people will find it all too boring, and while there were points that could be trimmed, I was enjoying myself because of the attention to character perspectives that are given precedence over splashy beat-‘em-ups.

I was drawn in by the character reveals, their conflicts, and the time Zhao allows to examine their emotional and philosophical states. Look, it’s still a big, action-packed Marvel movie with plenty of monster fights and a world-saving cataclysm climax, and while those are agreeably executed, I was more taken by letting the characters pontificate on their problems. There’s Sprite (Lia McHugh), an eternally looking child who can never live an adult life she craves. There’s Druid (Barry Keoghan), a man with the power to control the minds of all humans on Earth but is explicitly instructed to remain hands-off with their conflicts. He is severely torn and emotionally wrecked over watching them slaughter one another and knowing he has the power to intervene and resolve genocide, prejudice, and poverty. That’s the eternal question over why a loving God seemingly chooses to be hands-off, all rolled into one character. There’s Thena (Angelina Jolie), a legendary warrior of physical renown but whose mental state is fracturing and who poses a potential lethal threat to her family. There’s her partner, Gilgamesh (Don Lee), who would rather watch over his love as she suffers and potentially declines than have her lose her identity and erase herself. There’s Phastos (Brian Tyree Henry), a man who only wants to help the humans with his technological skills but regrets his contributions and declares humans as unworthy of their keep after Hiroshima. Then there’s a reveal halfway through the Eternals that loads a needs-of-the-many sacrificial debate that positions different characters on different sides of the divide for the final act. I enjoyed that even the villains are presented with their rationale and are tortured over their choices they deem to be necessary for the greater good.

I’ve written a lengthy paragraph all on the meaty character conflicts, and none of them revolve around the goal to gather a magic item or learn a special power. I didn’t mind Zhao’s movie taking its sweet time to allow these conflicts and struggles to be felt because they were evocative, and Zhao’s storytelling shines when she focuses on the noble and often tragic struggles of people being complicated, contradictory, and confusing. Even the big dumb beasts evolve and have a perspective that has an understandable complaint. The final confrontation doesn’t come down to a giant sky beam and an endless army of disposable CGI brutes. It rests upon character conflicts and a romance that spans thousands of years where empathy is the secret weapon. Early on, you think it’s going to be a love triangle, and the movie just teleports out of that trope. I found myself more invested in the ending, even if I could already predict the conclusion. I was more interested in what the conflict was doing to the Eternals as a family fracturing under the weight of their destinies and the consequences of defiance. The film ends on a cliffhanger with significant fallout, and I don’t know how the rest of the MCU is going to square what we learned and accomplished here. This seems in sharp contrast to everything down the road.

Eternals is also an often beautiful-looking movie with Zhao’s penchant for natural landscapes and magic hour lighting. The editing and photography feel nicely matched and allow the viewer to really soak up the natural splendor and the impact of the battles. The action is kept at a human level with the camera tethered to the characters even when in flight. There is the occasionally eye-opening shot of a landscape, or Zhao’s use of visual framing, or the special effects revelations that reminded me of 2001: A Space Odyssey. It’s certainly not the most breezy, action-packed movie in Marvel’s lengthy canon of blockbusters, but it’s not devoid of spectacle.

So then why has Eternals scored so low with film critics and a significant portion of general audiences? Some wonder if the level of diversity and inclusivity of the movie is a factor; we have many non-white characters including a deaf character and a gay male character in a committed relationship, with a genuine and loving onscreen kiss no less (your turn, Star Wars franchise), and that seems like a trigger point for certain fans that grumble about “woke culture.” I’m sure for some that’s a factor. I think the length will be a factor too. I think the elevated emphasis on emotional stakes and philosophical conflicts might be another factor. This doesn’t feel like any Marvel movie that has come before. It’s much more comfortable with silences, with patience, and with cerebral matters (again, not to say the dozens of other MCU entries were absent these). This one is just different, encompassing the directing style and humanist attentions of Zhao and looking at a far larger scope of drama than toppling one super-powered being. I saw this in theaters with my girlfriend’s ten-year-old daughter and her friend and they both said they enjoyed it, so I won’t say it’s too mature or impenetrable for younger viewers. Eternals might be too boring for some, too long, and too different, but I was happy to endure it all.

Nate’s Grade: B

Shang-Chi and the Legend of the Ten Rings (2021)

After dominating the cinemas for over the last decade, Marvel took 2020 off thanks to that great menace even its own superheroes couldn’t overpower. Now in 2021, we’re eager for those big popcorn thrills of old, of a time before lockdowns and denials and vaccine misinformation. There’s a gauntlet of Marvel Cinematic Universe (MCU) movies coming down the chute, including The Eternals (November), Spider-Man 3 (December), Doctor Strange 2 (March), Thor 4 (May), Black Panther 2 (July), and Captain Marvel 2 (November). That’s eight movies from July 2021 to November 2022, and Shang-Chi and the Legend of the Ten Rings might just be the one that has the least recognition with the general public (I had never heard of him, sorry). And yet, I entered a theater for the first time in two months to see Marvel’s latest superhero blockbuster on the big screen, and as the MCU’s first foray into the fantastical world of martial arts epics, Shang-Chi is a mostly agreeable success in the realm of expert face punching.

Shang-Chi (Simu Lei) is the son of a very dangerous and powerful man, Xu Wenwu (Tony Leung), who has lived for thousands of years thanks to the power of ten magic rings that give him tremendous power to annihilate armies. Shang-Chi ran away as a teenager, leaving his sister Xialing (Meng-er Zhang) behind. She sends word requesting her brother’s assistance; dear old dad is on the warpath, and the two siblings might be the only ones who can stop him. Shang-Chi, living as Shawn in San Francisco, is trying to avoid larger responsibility as a valet with his good pal Katy (Awkwafina). However, he cannot ignore the assassins his father has sent, and so he and Katy travel back to China to regroup with Shang-Chi’s sister and face his destiny.

This is the most fantasy-heavy movie of a universe that previously defined the magic from the Thor universe as just another advanced form of science. The entire third act looks like it’s taking place in Narnia itself; legitimately, the color palate and overly lit, CGI-assisted green landscapes reminded me so much of the 2005 adaptation of C.S. Lewis’ novel. Within the extended prologue over the history of the ten rings, the movie is acclimating you toward its larger-than-life universe that it treats with sincerity and graceful appreciation. The courtship of Shang-Chi’s parents is handled in that flirt-fight style reminiscent in classic martial arts films, and the balletic wire work and dreamy slow-motion, set to the soothing flute-heavy musical score, evokes romantic memories of Crouching Tiger, Hidden Dragon. Very early on, the work goes into convincing you that Marvel is taking this assignment seriously, and I appreciated that assurance and the follow-through. From a pure filmmaking standpoint, Shang-Chi works as a martial arts action film because it’s filmed and edited like one should be. The camerawork is vividly fluid and consistently roaming around the space of battle to better showcase the choreography and effort of the performers. The editing is also likewise very smooth and patient, with lots of longer takes blending together so that we can see multiple moves and counter moves, and if there are throws, we’ll travel with the fighters to continue the fight. I enjoyed a fight taking place on multiple levels of scaffolding. It all made my girlfriend nauseated in our theater, so you might be affected as well if you have a susceptibility to cinematic motion sickness. This movie allows you in on the martial arts fun.

I wasn’t expecting this kind of leap from co-writer/director Destin Daniel Cretton. This man was responsible for one of the best films of 2013, and the 2010s-decade, Short Term 12, which starred (drumroll please) future Oscar-winner Brie Larson, future Oscar-winner Rami Malek, future Oscar-nominee LaKeith Stanfield, Kaitlyn Dever (Booksmart), Stephanie Beatriz (Brooklyn 99, In the Heights) and the best-known actor at the time of release, John Gallagher Jr. (HBO’s The Newsroom). Wow that cast is an all-timer. This is like the Millennial Outsiders with a cast of up-and-coming actors who have gone on to ascendant and award-winning careers. It’s also a hard-hitting, deeply emotional and upending movie worth your time. Cretton has stuck to adult dramas based upon real stories of people struggling through the justice system (Just Mercy) and parental dysfunction (The Glass Castle). A big-budget martial arts epic I wasn’t expecting, and perhaps the Marvel Machine makes it easy for indie auteurs to plug right in, but it feels like Cretton clearly has an affection and at least a tacit understanding of favorable stylistic genre choices. At this point I shouldn’t discount what filmmakers can make those big artistic leaps with a studio project. James Gunn can go from Super to the Guardians of the Galaxy, and so Cretton can go from Short Term 12 to helming a large-scale, CGI-heavy martial arts fantasy.

Another aspect I found pleasantly surprising was the amount of work put into its primary villain and the ensuring father/son dynamic. I’m not going to say that Xu Wenwu, a.k.a. The Real Mandarin, is one of the more complicated or nuanced villains in MCU history, but he’s given more dimension than a simple “destroy and/or conquer the world” motivation. In fact, that was the motivation for the man before he met Jiang Li (Fela Chen), Shang-Chi’s eventual mother. Real Mandarin (or RN as I’ll refer to him because I’m lazy) was going about the whole conquer and raze kingdoms thing for thousands of years, establishing another one of those all-powerful yet still clandestine and very vague shadow societies pulling the levers of power. He found a person who made him want to reform, to put his old ways of violence behind, and it’s her death that spurs him back to his views of power absolving all conflicts, so the most powerful is the one who can have the most say and protect the people close to him or her. If he had the full power of those ten rings, ordinary gangsters wouldn’t have dared to threaten or harm his loved ones. He trained his son to follow by example, and despite the fact that he sent trained killers after his son rather than a more constructive and clearer message, RN declares his love for his children. He is moving forward to return his beloved back to the land of the living. Being motivated by grief and wanting to see a departed loved one no matter the cost is a relatable struggle and one that brings degrees of nuance that Leung can imbue with his great pained, hangdog expressions. Having a father be the villain but still love his children and be primarily motivated by bringing back his dead wife and honestly assessing how she made him a better person is a breath of fresh-ish air.

Liu (Kim’s Convenience) is easily charming and demonstrates a sharp affinity for the martial arts training and choreography. With the longer takes and clean edits, it’s clear that Liu is performing many of the moves, and he moves with great skill and balance to believably crack some skulls. A fight aboard a city bus is our real intro into seeing this man as he’s avoided, as a well-trained fighting machine, the identity of his father that he’s been attempting to run away from. Liu has a self-effacing charm to him that doesn’t cross over into smug. Awkwafina (The Farewell) is her reliable comic relief asset, though too often the movie resorts to just spotlighting her for a riff or one-liner when the context doesn’t provide the opportunity. It’s rather mystifying why her supporting character, a normal human, would accompany her pal into the word of underground martial arts ninja conspiracy fantasy, let alone that she could take up a bow and arrow and becomes a valuable member of a fighting force. Leung (2046, The Grandmaster) is just movie royalty, so getting him to read the phone book would have been an acceptable start. He sits out for long periods and his absence is noted. He brings such a heaviness, a quiet yet dignified despondency to the character, and there are several instances where he undersells his character’s danger and power, which just makes him so much more intimidating. I feel like Leung is finding connections with the somber, brooding heartache of his War Kong Wai roles, and yes film nerds, I just made that connection for a Marvel movie.

Not everything quite works in this MCU outing. There are several jumps in the screenplay that feel like further revision or clarity were necessary. I don’t really know why Shang-Chi is finally able to take on his father at the end except for some abstract concept of, I guess, believing in himself more. The power of the rings feels a little too unexplored for deserving of the movie’s subtitle. The rings come almost as an afterthought for much of the movie. There are a few moments where I was trying to connect how characters understood what they were supposed to do in any given moment, and I just gave up, which is kind of what the film also feels like it’s doing. There are clear characters included with the sole decision to sell merchandise. I don’t know if the nation’s children will be screaming for a faceless winged furry ottoman but that’s the gamble Marvel execs took and by God, you’re going to get many appearances. The sister addition to the movie feels decidedly undernourished, like she’s drafting from the father/son relationship that’s getting all the narrative attention. It feels like occasionally the movie pans to her to nod and go, “Oh yeah, me too.” The visual color palate is so brightly colored for so long, and then once the big splashy Act Three battle commences between CGI good and CGI evil, the visuals become so grey and murky and definitely hard to keep track of in the scrum. I wish the fantasy rules were more streamlined and explored rather than feeling grafted on when needed and forgotten when inconvenient, but this is their first foray into this sub-genre of action and while Marvel doesn’t need a sliding scale at this point, it’s still a moderate achievement.

Look, this isn’t exactly The Raid or Ip Man or anything that will challenge the most heart-pounding, intense, acrobatic heights of the crossover martial arts epic. Consider it a solid effort at watering down a Hero or House of Flying Daggers and switching over to the typical Marvel formula final act complete with onslaught of weightless CGI. Shang-Chi and the Legend of the Ten Rings is a fun action movie that does just enough right to land it in the cushy middle-of-the-middle for the annuls of the MCU (I would rank it around the level of Black Panther). The fight choreography and presentation, as well as the exploration of the father/son dynamics, are surprisingly refined, which is good considering one provides the entertainment value for the eyes and the other the emotional connection for everything to matter more than flashes of punches and kicks and fireballs. It doesn’t transcend its genre or the tried-and-true Marvel formula, but it’s packed with enough to even keep a casual fan entertained for most of its 130 minutes. It’s more of a one-off that doesn’t require extensive knowledge of the two dozen other MCU titles, so Shang-Chi might be just the right Saturday morning cartoon of a movie to introduce new people to the larger world of Marvel movies.

Nate’s Grade: B

Black Widow (2021)

If you ask anyone who their least favorite Avenger is, every one of those participants will have the same exact answer: Hawkeye. If you ask that same group who is their second least favorite Avenger, chances are that a clear majority are going to next say Black Widow. The character has been part of the Marvel Cinematic Universe (MCU) since 2010 in Iron Man 2, a full decade of idling to gain her solo movie to the point it became a long-running question in the fanbase. Then they killed the character in 2019’s Avengers: Endgame and then also announced she would be getting her solo movie, and the fanbase said, “Wait, now?” Delayed a full year thanks to COVID-19, Black Widow is Marvel’s first theatrical release in almost two years and will likely benefit from some low expectations and eagerness to get back to the big screen spectacle of summer movies.

It’s not Black Widow’s fault that she’s paired with a super soldier, essentially Batman in a flying suit, a nigh indestructible god, and a giant raging id monster. There’s a significant gap between that upper tier of the super powered Avengers and the two non-powered members, Lady with Guns and Guy with Bow and Arrow. It’s hard to compete with all of that, and the glimpses we’ve been given with previous MCU movies haven’t exactly been the most nuanced or dimensional for Black Widow (remember her dubbing herself a “monster” because the state took away her ability to bear children?). We’ve had hints about past troubles and regrets, but it’s never been explored with any significance… until now.

Taking place shortly after the events of 2016’s Civil War, Natasha Romanoff (Scarlett Johansson) is on the run from American authorities. She reunites abroad with her estranged sister, Yelena (Florence Pugh), who has recently broken free of the chemical mind control of the sinister Widows program. Yelena and Natasha were living as sisters for three years as a cover family of Russian agents, with Alexei (David Harbour) and Melina (Rachel Weisz) as their parents. They were whisked back to Russia, separated, and thrown back into the Widow program where they were trained to be elite assassins by Dreykov (Ray Winstone, barely flirting with a Russian accent). The combative sisters are being chased by S.H.I.E.L.D. agents, other killer Widows still under the chemical-induced mind control, and Dreykov’s best hunter, the ruthless Taskmaster, a masked warrior who can learn and mimic the moves from other fighters. Natasha and Yelena decide the only way to stop Dreykov is to reunite their old family once again.

I’m a little confused by the general indifference Black Widow seems to have generated from critics and fans because I thought, while with some flaws, that this is still a good movie that I would say is on the cusp of being above average for the MCU’s already high bar. Perhaps, again, this movie is benefiting from lowered expectations. I wasn’t going in with too many demands considering my personal investment with the Black Widow character was minimal prior to her sacrificial death. I wanted a fun movie that provided further insight into her character, considering this would likely be the last time we see Natasha in the MCU. I was surprised how emotionally engaged I became with her movie. While the action is fine, it was the dramatic parts that really grabbed me. This is the first MCU movie where I was looking forward to the breaks in action more than the actual action. The pre-credits flashback (to mid-90s Ohio no less) sets up this fractured family dynamic that serves as the core of the movie, the question over whether these relationships ever really mattered on a deeper level or whether each person was simply playing their assignment. It makes for intriguing drama about vulnerable characters sifting through the small measures of happiness they’ve had and the difficulty of reaching out to people that are important to you. Natasha is in a delicate yet reflective place considering her isolation. The movie is structured like a Jason Bourne-style spy caper, jumping from one locale to the next, but it’s more of a family drama about hurt people reconciling and reconnecting. On its own terms, it’s a real family movie.

There are some major themes and some serious subjects with Black Widow and they are well handled and tied to the character journeys. The opening titles, set to a melancholy cover of Nirvana’s “Smells Like Teen Spirit,” covers human trafficking. This is a story about the systems of abuse, primarily abusive men demanding control from throngs of women, and it’s about overcoming abuse and establishing support systems. For Natasha, she made some hard choices to defect to S.H.I.E.L.D., and many others have suffered because of her decision to escape. Many women could not escape their tormentors, and the level of control only became more methodical. Yelena talks about being conscious of everything but unsure what parts of you are really your own doing, and this seems eminently relatable about victimhood. The movie is about breaking free of unhealthy relationships, coming into your own control, and finding healthy families even if they are troubled and a work in progress. That’s why the family moments resonated as much for me. Real attention was given to the supporting characters in Natasha’s orbit.

To that end, the villains exemplify the themes by design, especially Taskmaster serving as a literalization of Natasha facing off against the sins of her past, much like in 2017’s Logan where Old Logan fought young Logan. Fans of Taskmaster from the comics may well be disappointed by the adaptation because the character was very sardonic and, in here, never utters a word (there is a certain Deadpool-in-X-Men Origins: Wolverine reminiscence). More could have been done but the villain represents the consequences of abandonment. I appreciated that even until the final moment, the villain could be redeemed and meant something more than simply another masked heavy to be blown apart. Dreykov, on the other hand, is just a typically awful abuser and his lack of definition fits. He’s a general stand-in for the toxic control of men accustomed to power and the dismissal of female agency. He’s dull but more a designated symbol.

The traveling Black Widow family van is the real draw of this movie. I have been a Florence Pugh fan since her star making turn in 2017’s emotionally disquieting Lady Macbeth, and I welcome her and Yelena into the MCU with open arms. Pugh (Midsommar) is terrific and full of sarcastic wit, at one point criticizing Natasha’s familiar three-point “superhero landing.” She’s also convincing in all the action and gunplay. Even better, there are several dramatic scenes that allow the talented actress to tap into her prowess. She could make me cackle, then the next minute impress me with the finesse of her leg-swinging attack movements, and then the next make me feel something as she tearfully reflects that her cover family was the best years of her life (as the youngest, Yelena had no idea until they ran off that they were all Russian agents). Her combustible yet affectionate relationship with Johansson imbued so much more emotional investment into the Black Widow character for me. Harbour (Hellboy, Stranger Things) is inhaling any available scenery as a past-his-prime Russian super soldier still holding onto his glory days as a communist answer to Captain America (he eagerly asks Natasha if Cap ever mentions him, so hopeful it’s adorable). He’s a regular source of comedy but also has a credible paternal warmth to him as he tries to don the mantle of fatherhood like a costume that no longer fits quite as well. Unfortunately, Weisz (The Favourite) isn’t on screen as much as the other members of the family unit but I still greatly enjoyed watching her finely attuned deadpan delivery.

From an action standpoint, Black Widow will mostly suffice but there is little to really get the blood pumping. The chases and fights are entertaining without delivering anything new. The third act involves an extended set piece with characters plummeting from the sky amid fiery debris. It’s at least visually interesting and the action high-point of the movie. Under director Cate Shortland (Lore, Berlin Syndrome), the action is easy to follow even as it escalates into big video game carnage and explosions. The lack of development in the action would be more of an issue for me if the non-action elements, the story and acting, weren’t as involving. I feel like Shortland was hired for the dramatics and performances and character moments, less so the explosions.

It took eleven years, one more thanks to COVID, but Black Widow finally has her starring vehicle and the MCU is finally back on the big screen (or your home screen via Disney Plus and thirty additional dollars). I watched the movie with my girlfriend and cheerfully noted it would be the first theatrical Marvel movie we watched during our year-plus courtship, thus a real milestone in modern geek dating (we’ll have many opportunities ahead as there are six more Marvel movies scheduled between now and summer 2022). I was surprised how much I enjoyed Black Widow once it had reassembled its family dynamic and I hope to see the extended Romanoff family members in future MCU editions. It’s a late but welcomed swan song for Natasha Romanoff and her checkered past. For the first time, I felt for her character, and part of that was the result of enjoying her family nucleus and the pathos they brought. Black Widow is a serviceable action movie with fun characters and potent dramatic interactions with heavy, well-realized themes. I’m baffled by the general critical indifference (I have a lot fewer qualms than I did with 2019’s Captain Marvel). It’s the rare big movie where the quiet moments are the high-points, and twenty-plus movies in, that’s at least something new from the juggernaut that is the MCU.

Nate’s Grade: B+

The New Mutants (2020)

The story behind The New Mutants is decidedly more interesting than the movie itself, the last of the twenty-year span of Fox X-Men movies. There was a three-year gap in between trailers for this movie, an adaptation of a Marvel comics series and fronted by co-writer and director Josh Boone (The Fault in Our Stars). It was originally supposed to come out in 2017, and then it was delayed with the rumors that Fox wanted to push for a more prevalent horror angle. There were rumors of extensive re-shoots, possibly half the movie, and then the Disney merger effectively froze the post-production process, and then the rumors were that the film was removing all the elements to tie it into the X-Men universe, to stand on its own. Apparently, all of this speculation and the talk of re-shoots was a lot of hot air and the finished film is what was originally back in 2017, before the X-Universe imploded with the great Disney takeover. Because of the many years of delays and gestating rumors, The New Mutants became a strange artifact of another time and fans began anticipating how bad it might be and whether they might ever really see it. Finally released at long last, The New Mutants is only aggressively mediocre and thoroughly boring.

Danielle Moonstar (Blu Hunt) wakes up in a strange asylum. She’s the only survivor from her reservation where something powerful and supernatural attacked. The medical facility is run by Dr. Reyes (Alice Braga) and secluded in the country. It’s also kept under a force field until the mutant patients make breakthroughs on their paths to processing their trauma and controlling their volatile powers. Rahne Sinclair (Maisie Williams) is from Scotland and was hunted as a demon by religious extremists. Illyana Rasputin (Ana Taylor-Joy) was terrorized by Slenderman-like intruders as a young girl. Roberto de Costa (Henry Zaga) accidentally burned his girlfriend alive. Sam Guthrie (Charlie Heaton) lost control in his town’s coal mine and is responsible for several deaths, including his hard-working father. Together, they uncover the sinister forces keeping them trapped and confront a powerful menace from the past to gain their freedom.

Even with years of curiosity and anticipation, once it got started, I found myself nodding off during The New Mutants. This is because the script by Boone and Knate Lee (Kidnap) is predicated on predictability. Of course, you know exactly what will be revealed about this so-called helpful medical facility. Of course, you know who will be revealed to be part of that conspiracy. So then we wait for the obvious plot turns and bide our time for close to an hour with each mutant experiencing their own It-style scary encounter with a trauma of their past. Since we have four additional supporting players, each contributes a PG-13 studio spooky set piece until we reach our most obvious reveal about who is responsible for their worst nightmares coming to violent fruition. Seriously, just having read the above, I guarantee that the majority of you can figure out all the spoilers I’m dancing around. This is the kind of movie that quotes the “two wolves” metaphor (“Inside every person are two wolves…”) though the internal animal is changed into bears to align more with Danielle’s native culture. Makes me wonder if every person has two of different animals fighting for dominance within them (“Inside every person are two really irritable ducks…”). This metaphor is hammered home multiple times so you better believe it’s going to relate to our final climax. Normally, I would cite this as smart screenwriting, layering in setups and connecting theme to a personal confrontation. The showdown though is so goofy and the final villain free of personality, because ultimately the final villain is a symbol, an idea, and that is too vague and prone to basic platitudes on fear and responsibility.

The characters are also a major flaw for The New Mutants. It feels like somebody was trying to follow a formula of popular teen movies and sticks with the stereotypical stock roles but gave it a slightly modern twist. Our lead character is indigenous. There’s a chaste lesbian romance. There’s a level of diversity here even if fans of the comics also have expressed insult at possible white-washing of a Brazilian comic character’s ethnicity. At its core, the characters are still the same high school cliche roles: the Mean Girl (Illyana), the Outcast (Rahne), the Tomboy (Danielle), the Jock (Roberto), the Poor White Trash (Sam). It’s not too difficult to imagine The Breakfast Club faces being reapplied into these familiar roles onscreen. They even have a cheesy “cutting loose” montage when their authority figure is away that might remind you of that John Hughes classic. Worse, the characters just aren’t that interesting, each defined by their past that figuratively and then quite literally haunts them. This leads to some intriguing moments of them reliving horror but no sequence makes any character more interesting. The fears don’t provide further insight. Illyana might be the most annoying character of the group. She’s immediately pushy, malicious, racist, and her combination of powers just doesn’t make any sort of sense (teleportation and a disappearing arm sword, huh?). The boys are boring but Danielle is just as boring as our lead. The only character with a spark of possibility is Rahne and her push against religious harassment. If you’re going to be trapped in a contained thriller with a group of super-powered teens, could they not be more interesting than this sullen lot of underdeveloped high school cliches?

For a movie that was supposed to be something different, it’s the flashes of horror that made me wish the extensive Fox re-shoots had been real. As a mystery or an action movie, The New Mutants isn’t going to be able to compare to the highlights of its fabled franchise. The action at the end feels rushed and sloppy. However, it could have found a tidy place for itself as a more adult horror movie within the broader X-Men fold. The spooky set pieces don’t have much to them because they’re meant as passing torment, reminders of negative feelings rather than extended sequences. They can be eerie and made me wish we could dwell further with this. A horror movie in a confined space with teenagers with powers they didn’t fully understand or couldn’t control, I can see the possibilities there aplenty. That’s what makes it all the more disappointing how predictable Boone and the filmmakers go with their one-off genre riff. The creepy Slenderman creature design is actually good, though I don’t really know if they are real in this world or a figment of Illyana’s childhood imagination. I don’t really know much about the rules of The New Mutants, so when it takes its turns, I was mostly shrugging and saying to myself, “Well, okay then.” Why do these super powered and angst-ridden teenagers never attempt to overthrow the one woman who patrols this otherwise empty facility? I watched Roberto repeatedly wash a giant soup vat in the empty kitchen when he could have been plotting escape. Who is consuming that much soup on a regular basis between the six of these people?

In short, The New Mutants was not worth its unceremonious three-year wait. It’s a middling super hero movie with flashes of potential, especially when it could have been something so different and new than any of the previous X-Men flicks. The movie is so easily predictable that I’m shocked more effort wasn’t put into its scary set pieces to better compensate. There are more twisted accents in the movie than genuine twists and genuine scares (your ears may bleed). It’s barely 85 minutes long and you feel like it’s gasping for breath by even that modest run. It never quite feels like the concept of a horror movie set with super heroes was ever really well imagined. If this is the actual preferred version Josh Boone always had in mind, it still manages to feel incomplete and underwhelming in execution. It’s not exactly a good comic book movie, or a good horror movie, or even a good movie. Thus ends The X-Men. Rest in peace.

Nate’s Grade: C

X-Men (2000) [Review Re-View]

Released July 14, 2000:

Take a storied franchise that has long been the backbone of Marvel comics and develop it into a feature film where the last superhero movie was the purple-spandex-in-the-jungle The Phantom and you’re just asking for trouble. A nation of fans is breathing down the neck of the film crew nitpicking every fine detail. Studio execs want the film done as fast as possible and under budget regardless of the numbers of effects needed. Despite what would seem like a cataclysmic set-up, X-Men proves that Hollywood can occasionally take a comic book and get it right. For the most part.

X-Men is basically the pilot for a movie franchise. It sets up characters, conflicts, origins, but periodically forgets its audience. Numerous people are introduced and then given a grocery list sized amount of dialogue to read. Some even have atrocious John Watters-like wigs they are forced to wear. It’s a good thing then that the film centers mainly around Wolverine (Hugh Jackman), Rogue (Anna Paquin) and Magneto (Ian McKellen), the three most interesting characters.

Often times the action in X-Men is surprisingly lackluster and contained. The battle royale finale atop the Statue of Liberty might induce more than a few eye rolls. I can’t help but hope that with all the groundwork laid out with this film that the eventual sequel will be more efficient with its action set pieces.

For the most part the dialogue in X-Men is passable and it even has a few rally snazzy sound bites. However, there is that ONE line delivered by Ms. Berry (“You know what happens when a toad gets struck by lightening? The same thing that happens to everything else.”) that is groan-worthy and destined to be notorious.

It may sound like I’m coming down hard on X-Men, but for a comic adaptation it got a whole hell lot more right than wrong. I want to congratulate director Bryan Singer (The Usual Suspects) for the amount of pressure he had looming over his head and what he pulled through with. X-Men is no campy nipple-plate festival but an attempt at possibly serious drama with tortured characters. The whole mutant/racism metaphor may be a little bludgeoned at times but for the most part is handled very well. The best aspect X-Men has is its patience. The film is in no rush and takes its time even if it is only like an hour and 40-some minutes. Still, it’s a welcome change in the summer action.

Singer’s direction is smooth and well executed. The casting of the movie is near perfection with some minor exceptions. Stewart and McKellen were born to play their dueling think tank leaders. Jackman is an exciting breakout in a role that was supposed to be occupied by Dougray Scott (thank you MI:-2 delays). I look forward to more from this actor. And does anyone know when young Oscar recipient Anna Paquin became so attractive? Someone buy this casting director a fine steak dinner.

X-Men may have its flaws, one of which is an absolute mundane score, but the film is one of the better summer entries into the world of explosions and noise. I just hope the sequel(s) will be a tad better.

Nate’s Grade: B

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WRITER REFLECTIONS 20 YEARS LATER

It’s hard not to understate just how eventful the first X-Men movie was back in 2000. Beforehand, the public’s conception of super heroes was that they were kids’ stuff, fed by recent duds like Batman and Robin and Steel. Then came X-Men and it changed everything. There wouldn’t be a Spider-Man without X-Men. There wouldn’t be a Marvel Cinematic Universe (MCU), arguably the defining cultural franchise of the twenty-first century, without X-Men. It was an immediate hit with audiences and would go onto spawn two sequels, four prequels, three direct spinoffs, and two indirect spinoffs (Deadpool) over the course of 19 years. It’s a franchise that has made over $6 billion dollars worldwide and will soon be intermingled into that MCU, re-imagined with new actors filling out the famous names for the first time in decades. I can recall the importance of the X-Men in my own maturation and love of comics. I grew up adoring the animated series in the early 90s, and this began my relationship with the Marvel universe. I have boxes filled with old comics and I even started one of my own in my junior high school years (it’s unfinished and about 160 pages). I fondly recall seeing X-Men opening weekend with my pal Kevin Lowe and both of us just being relieved. A big studio had done it justice. They got it right.

Twenty years later, one must remember how different X-Men was with the super hero landscape. The more grounded, more political, and more reverent take on splash pages and spandex was in direct contrast with the cheesier, dumber, and more slapstick-heavy comics movies. Sure, you’d have your occasional hit like Blade, but the vampire genre inoculated it from larger scrutiny as a “comic book venture.” Director Bryan Singer wanted to make a brooding, serious version of the X-Men, a fact bolstered by his opening a summer super hero blockbuster with a Holocaust flashback. The mutant metaphor inherent in the X-universe has always lent itself to broad social commentary, easy to apply to any disadvantaged and targeted group for simply being different. It had men and women, and aliens and robots and more, doing amazing feats of derring-do, but it also featured these same characters fighting for equality with a public that increasingly feared and despised them for their gifts. Singer recognized this greater political allegorical relevancy and wanted his foray into blockbusters to be more meaningful than another disposable punch-em-up to consume mass quantities of popcorn. The X-Men franchise might not have ever been as successful without Singer’s early vision, and of course, many years later upon its demise, the producers might wish differently given the director’s righteous career reckoning.

But let’s talk about the movie first before we get into the controversy of the man in the director’s chair. I haven’t watched the original really since the superior X-2 came out in 2003, and I was amazed at how patient and assured the movie plays. For a super hero action movie, there really isn’t that much action until the final act. There are confrontations and what I would call “action beats” but nothing lasting longer than a minute in conflict. In its place is a patient movie that takes its time to establish its world, its ideological counterpoints, and its characters and their relationships. We have two entry point characters with Wolverine (High Jackman) and Rogue (Anna Paquin) being hunted and taken in by Charles Xavier (Patrick Stewart). Even though the final movie is barely longer than 100 minutes, it doesn’t feel rushed in its pacing. It has a lot to do in establishing a new world but by grounding it with a scared runaway and a lonely drifter followed by trouble, the movie taps into Western archetypes to act as a helpful surrogate guideline. Fortunately, screenwriter David Hayter (and un-credited writers Ed Solomon, John Logan, Christopher McQuarrie and a heavily rewritten Joss Whedon) anchors us with the most interesting characters who have the most to fear and rebel. Wolverine and Rogue are an excellent pair and Jackman and Paquin have a real nurturing onscreen connection that provides an emotional investment. By taking its time to set up characters and their internal conflicts, X-Men makes a wide audience care about what’s to come.

When it does transition to action, you can see the beginnings of something great tempered with the growing pains of staking out new territory. The special effects are still relatively good, especially Rogue’s life-draining powers on the human body. That’s another thing the screenplay does well is finding ways to demonstrate and then incorporate every mutant’s special ability. We learn about Wolverine’s metallic claws through him being antagonized, and his healing ability from going headfirst through a windshield after Rogue admonishes him about wearing his seat belt. Later Rogue uses her powers to tap in Wolverine’s healing ability to save herself, setting up the Act Three climax where she is the key to Magneto’s (Ian McKellen) evolutionary-charged scheme. One more note on that (I apologize for the deluge of digressions) because Magneto’s big evil scheme is really about empathy. He plots to turn the world’s leaders into fellow mutants so they can understand the plight of a subjugated minority class, and yes, sure, some of them will not survive the genetic re-calibration, like the prejudiced firebrand Senator Kelly (Bruce Davison), but it’s not like Magneto wants them all dead. He wants them to understand (at least until the next sequel where he welcomes an opportunity to kill all non-mutant humans). Thanks to Singer, the movie has plenty of dynamic visual compositions and a few wow-moments to pack a trailer. I was reminded what an excellent visual artist Singer can be as he stages his scenes. The placement of figures, the depth of focus, the fluidity of his camera movements. He was certainly one indie darling ready for a bigger stage, at least in an artistic sense and not necessarily a personal one.

It’s impossible to think of any other actor than Jackman as Wolverine but it almost never happened. Dougray Scott was in place but because of Mission: Impossible 2 delays which themselves were previously affected by Eyes Wide Shut delays, the role had to be recast already weeks into filming. Jackman entered the picture per a suggestion from Russell Crowe, to our collective pop-culture elation. Jackman is rugged, rebellious, funny, gruff, secretly warm-hearted yet clearly still the enjoyable F-You anti-hero, and watching him inhabit what, in comics lore, was a short, stout, hairy Canadian grump is a reminder that you can still recognize star-making performances when you see them. He fully inhabits the character and brings him to startling life. Jackman would become indispensable to the X-Men franchise and earn three spinoff movies, culminating in 2017’s R-rated and Oscar-nominated neo-Western, Logan. It’s only a matter of time before the MCU reboots this character because he, like Batman, is simply too valuable an IP to keep on the sidelines. It feels like heresy to consider another actor in this role, much like it will if anyone other than Robert Downey Jr. steps into the role of Tony Stark/Iron Man. This is a role defined by its signature actor where possible early choices now seem offensively wrong (like Tom Selleck as Indiana Jones, or Christopher Walken as Harrison Ford, or John Travolta as Forrest Gump).

The ensemble was extremely well cast with Oscar-winners and nominees past (Paquin, McKellen) and future (Halle Berry, Jackman). Stewart (Star Trek: The Next Generation) was born to play Professor X, enough so that when he first viewed X-Men comics he said, “What am I doing on this cover?” McKellen brings a gravitas to his villainous role as well as a smirky flair that makes him hard to hate. He had his shooting schedule re-arranged to accommodate the Lord of the Rings shoot in early 2000. Most people can only hope for one generational, pop-culture defining role, and McKellen had two after the age of 60. Paquin was making her transition from child-actor to adult, which was further solidified with HBO’s bloody and steamy vampire series, True Blood. Marsden was filling out his fledgling leading man potential, though he’s always been more appealing to me as a charming comedic actor (27 Dresses, Enchanted). Supermodel Rebecca Romijn (Femme Fatale) made a favorable impression as the shape-shifting Mystique thanks to low expectations and a costume made of 100 scales covering her nearly nude body that took nine hours to apply. The only real miss for me was Berry (Monster’s Ball) because I always envisioned Angela Basset (Black Panther) as my Storm. This is also the only X-Men where Berry adopts her character’s Kenyan accent.

Looking back over 19 years of movies, the wonky timelines of the X-Men world begin to break apart if given even cursory contemplation. Given what happens in the prequels set in the 1970s and 80s, including Apocalypse (Oscar Isaac) launching all of the world’s nuclear missiles, it certainly seems like the worldwide perception of mutants would be more pronounced. Then there’s characters being alive, like Mystique, when she dies in the 1990s in the last X-Men film, 2019’s Dark Phoenix. The back-story of Jean Grey (first Famke Janssen, later Sophie Turner) and her Phoenix powers got two big screen showcases that also happen to be two of the worst movies. The biggest issue was the prequels arbitrarily following a movie-a-decade model, hopping from the Cuban Missile Crisis in 2011’s X-Men: First Class to the 1990s three films later. That means that somehow within less than ten years that Michael Fassbender (12 Years a Slave) and James McAvoy (Split) were going to resemble old men McKellen and Stewart. Do they get exposed to radiation? The conclusion of X-Men: Days of Future Past was meant to rewrite the timeline miscues, erasing the bad X-Men movies at that point from existence (2006’s Last Stand and 2009’s first solo Wolverine). Instead, the producers then followed with two more of the worst films of the franchise. You tried.

And now it’s time we discuss the controversy that has followed Singer for decades from film set to film set. There have been uncomfortable rumors and allegations that have surfaced ever since 1998’s Apt Pupil when Singer filmed a high school shower scene and insisted two underage actors be physically naked during the onset filming. Seems pretty questionable, right? This was eventually settled out of court, as were other allegations of abuse. According to a revealing Hollywood Reporter article, the teen who played Pyro, Alex Burton, was personally flown from L.A. to the Toronto X-Men set. This is quite bizarre considering he doesn’t have any lines and the part is a glorified cameo. Burton said he was held hostage by Singer and his wealthy friends for months and was repeatedly raped. Singer has been out as a gay man in Hollywood early into his career, and he would host regular all-male parties that reportedly descended into lurid bacchanals. Ironically, his status as a prominent and out gay director in the industry might have afforded him an aura of perceived protection, the idea that any journalist snooping too closely would be accused of homophobia or a double standard. It wasn’t just Singer but also the company he kept. Several associates of Singer have been accused of sexual abuse and against underage men that have led to undisclosed settlements.

These allegations of abuse continued when Singer rejoined the X-universe again in 2014’s Days of Future Past but he weathered it out, and then again during the filming of 2018’s Bohemian Rhapsody, and this time he wouldn’t be able to weather it out. He was fired with a month left to film and Dexter Fletcher (Rocketman) was brought onboard to finish directing the eventual Oscar-winning and shockingly successful Queen blockbuster (nobody seemed to cite Singer by name in their acceptance speeches). Singer also built a reputation of showing up to his sets extremely late, sometimes impaired, and for sudden and unknown disappearances. It’s amazing that with all of this chronic misbehavior he was still getting big studio offers, but the man kept producing hits, including the long-running TV show House, and so his shady behavior was overlooked until, finally, it wouldn’t be in a post-Me Too world. Even after he was attached for a Red Sonja remake for a time until another round of accusations made him too radioactive for the time being. I would not be surprised if in a few years some production company happily offers him another project. Singer seems like a new test subject as far as what can be forgiven for the hitmakers.

So, what do we as viewers do with this damning profile of Singer? It’s become a regular habit now of re-examining an artist’s legacy in light of new or old allegations of wrongdoing. I personally have no interest in ever listening to a Bill Cosby comedy album again or watching any of his many heralded TV shows. I feel different listening to Michael Jackson’s music now. I wince when I watch Kevin Spacey in performances now and try to only see the character instead (Spacey won his first Oscar for 1995’s Usual Suspects, directed by… Bryan Singer). Can you watch the early X-Men films, or the later sequels, and still enjoy them knowing that Singer has been repeatedly accused of sexual misconduct including against minors? I have no answer. This is a deeply personal call for every person. I have too much personal attachment to 1999’s American Beauty to cast it aside, and that’s a movie that prominently features Spacey lusting after an underage girl. I’ll never look at the film the same but I cannot discard the whole. X-Men might mean too much to too many to disregard as well.

Looking back on my original review in 2000, I’m genuinely a little stunned because it’s almost word-for-word my assessment upon re-watching in 2020. It does feel more like a pilot to a franchise, laying the groundwork for the world and character relationships. The action is surprisingly contained. The “toad struck by lightning” dialogue line did become notorious. The casting was marvelous. The score was weak, greatly improved by the addition of John Ottman as editor and composer in the sequel (that Nightcrawler assassination attempt scene is a matserclass of editing and shot design). I even note the patience. I even think my original grade is fair. The original X-Men is a perfectly good movie but it led the way for great movies to come.

Re-View Grade: B

Spider-Man: Far From Home (2019)

Spider-Man: Far From Home arrives as the tasty dessert to the epic five-course meal that was Avengers: Endgame. It picks up weeks after the events of the climactic chapter, starting right away with the consequences in a clever, albeit light manner. Peter Parker (Tom Holland) is excited to go on a class trip to Europe and has big plans to confess his true feelings to his crush, MJ (Zendaya). He’s pulled into hero work by a testy Nick Fury (Samuel L. Jackson) who needs Spider-Man to stop a group of inter-dimensional elemental monsters. Quentin Beck (Jake Gyllenhaal), dubbed “Mysterio” by the Italian media, is the last survivor of that other dimension and looking for assistance to thwart them and save this Earth. Peter tries to live a “normal life” and balance his superhero duties, but his secret life is increasingly intruding upon his actual life, especially as the world looks for the next superhero to step up in the absence of Tony Stark. Far From Home is an enjoyable road trip movie that feels like Junior Spy Hijinks for the first half. It’s funny but I definitely felt like the filmmakers weren’t fully engaged in telling that story, so I was left a tad disengaged. There’s a big reason for this and it’s a turn that comes halfway through, and from there out the movie is mostly great. The action sequences are directed with flair and even better visual acuity by returning director John Watts (Cop Car), there are some vivid nightmarish hallucinations that are glorious and disorientating. Gyllenhaal (Nightcralwer) becomes much more interesting in the second half and makes better use of the actor’s comic and dramatic range. It almost feels like some of the staid back-story from the first half is a satirical point of the second half, but you have to get through it all first. This bait-and-switch storytelling structure leads to certain pluses and minuses, and had it gone on much longer it would have more negatively affected the overall enjoyment factor. The first post-credit scene is definitely a game-changer in the world of Spider-Man and has a fantastic character debut that made me cheer and will be big especially for fans of the recent hit PS4 game. Far From Home doesn’t have the polish and brilliant structure of 2017’s Spider-Man: Homecoming but it’s a Spidey sequel that doesn’t lose track of the characters, presents an interesting villain as something we haven’t quite seen before, and has a good sense of humor while still being able to thrill and chill. The MCU is in a different world now after Endgame and with Holland and company leading the way, I could use more of this Spider-Man pronto.

Nate’s Grade: B

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