It’s hard to draw comparisons to the major commitment to long-form storytelling that the Marvel Cinematic Universe (MCU) has dabbled with over the course of ten record-shattering years of success. I can think of movie franchises that have been popular over long periods of time, like James Bond, but rarely do they keep to continuity. It’s been 18 movies and ten years since the caddish Robert Downey Jr. first stole our hearts in the original Iron Man, and its stable of heroes and villains has grown exponentially. Looking at the poster for Avengers: Infinity War, it’s hard to believe there’s even enough space just for all of the actors’ names. Infinity War feels like a massive, culminating years-in-the-making film event and it reminded me most of Peter Jackson’s concluding Lord of the Rings chapter, Return of the King. After so long, we’re privy to several separate story threads finally being braided as one and several dispirit characters finally coming together. This is a blockbuster a full decade in the making and it tends to feel overloaded and burdened with the responsibility of being everything to everyone. It’s an epic, entertaining, and enjoyable movie, but Infinity War can also leave you hanging.
Thanos (Josh Brolin) has finally come to collect the six infinity stones stashed around the universe. With their power, he will be able to achieve his ultimate goal of wiping out half of all life in the universe. Standing in his murderous way is a divided Avengers squad, with Tony Stark (Downey Jr.) still on the outs with a wanted-at-large Captain America (Chris Evans) and Black Widow (Scarlett Johansson). One of the in-demand infinity stones resides in the head of the Vision (Paul Bettany), who is in hiding with his romantic partner, Scarlet Witch (Elizabeth Olsen). They know Thanos will be coming for Vision eventually. On the other side are the Guardians of the Galaxy who have a few personal scores to settle with Thanos, the adopted father of Gomora (Zoe Saldana) and Nebula (Karen Gillan). Elsewhere, Thor (Chris Hemsworth) strikes out looking for the key to defeating the big purple menace. Thanos’ loyal lieutenants attack Earth to gather the remaining infinity stones, drawing the attention and push-back of Doctor Strange (Benedict Cumberbatch) and Peter Parker (Tom Holland). The various heroes of Earth and space unite to eliminate the greatest threat the universe has ever known.
Avengers: Infinity War serves not as much a series of payoffs as it is climaxes, with climactic event right after another, and this time it’s for keeps (more on that below). There are moments that feel like major payoffs and moments that feel like shrug-worthy Last Jedi-style payoffs. Infinity War is the longest MCU movie yet at 149 minutes but it has no downtime. That’s because it has to find room for dozens of heroes across the cosmos. With the exception of three super heroes, everyone is in this movie, and I mean everyone. This is an overstuffed buffet of comic book spectacle, and whether it feels like overindulgence will be determined by the viewer’s prior investment with this cinematic universe. If this is your first trip to the MCU, I’d advise holding off until later. Any newcomer will be very lost. I’ve deduced the seven MCU movies that are the most essential to see to successfully comprehend the totality of the Infinity War dramatics, and they are Iron Man, The Avengers, Captain America: Winter Soldier, Guardians of the Galaxy, Captain America: Civil War, Doctor Strange, and Thor: Ragnarok. Naturally, being intimately familiar with the previous 18 movies will be best, but if you don’t have thirty hours to spare then please follow my seven-film lineup and you’ll be solid.
As far as the stakes, the MCU has been notoriously reluctant about killing off its characters, but Infinity War is completely different. I won’t spoil circumstances or names, of course, but the march of death happens shockingly early and carries on throughout. There are significant losses that will make fans equally gasp and cry. This is a summer blockbuster that leaves behind an impressive body count across the known universe and ends in a downbeat manner that will naturally trigger reflexive Empire Strikes Back comparisons. It’s hard to feel the full impact of the drastic decisions, and the grief over their losses because I know there is a Part Two coming summer 2019, and with that comes the almost certainty that several important events will be diminished or straight-out reversed. After all, in comics, nobody is ever really dead, though with movies the heroes have the nagging habit of aging. With that said, you better believe I was holding my breath during some standoffs, tearing up at some sudden goodbyes, and reflecting upon journeys shared.
This is very much Thanos’ movie, which was one of the bigger surprises for me. Beforehand, our exposure to the big purple guy has been relatively minor, a brief moment here or a cameo there during a post-credit scene. Considering Thanos is supposed to be the universe’s biggest bad, it makes sense to finally give him his due, and that is what Infinity War does. Thanos gets the most screen time of any character and is given an honest-to-God character arc. He’s a villain who goes on an actual emotional journey as he follows a path that he feels compelled to even as it tests him personally. He finally opens up as a character rather than some malevolent force that is oft referred to in apocalyptic terms. We get his back-story and motivation, which is less a romantic appeal to Death like in the comics and more a prevention of the apocalypse reminiscent of the Reapers in the Mass Effect series. Thanos sees himself as a necessary corrective force and not as a villain. He’s never portrayed in a maniacal, gleeful sense of wickedness. Instead he seems to carry the heaviness of his mission and looks at the Avengers and other heroes sympathetically. He understands their struggle and defiance. Having an actor the caliber of Brolin (Deadpool 2) is a necessity to make this character work and effectively sell the emotions. Thanos is the most significant addition to the MCU appearing the latest, so there’s a lot of heavy lifting to do, and Infinity War fleshes him out as a worthy foe.
As an action spectacle, however, Infinity War is good but not great. The action sequences are interesting enough but there’s nothing special and little development. There’s nothing that rivals the delirious nerdgasm of the airport battle in Civil War pitting hero-against-hero to dizzying degree. The characters are separated into units with their own goals leading to a final confrontation that feels more climactic conceptually than in execution. That’s because this is an Avengers film that falls into some of the trappings of the glut of super hero cinema, namely the army of faceless foot soldiers for easy slaughtering, the over exaggerated sense of scale of battle, the apocalyptic stakes that can feel a bit like a bell rung too many times, and even minor things like the lackluster supporting villains. Thanos’ team of lieutenants are all the same kind of sneering heavy with the exception of one, a sort of alien cleric heralding the honor of death from Thanos. Carrie Coon (HBO’s The Leftovers) is generally wasted providing the mo-cap for the Lady Lieutenant That Sounds Like a Band Fronted by Jared Leto, a.k.a. Proxima Midnight. There are far too many scenes where characters reluctantly strike a deal to give up an infinity stone if Thanos will spare the life of a beloved comrade. The film’s greatest point of entertainment isn’t with its action but the character dynamics. The fun is watching years-in-the-making character interactions and seeing the sparks fly. There’s more joy in watching Downey Jr. and Cumberbatch try and out smarm one another than with any CGI collision of a faceless army of monsters. There are so many characters that few are given fully defined arcs. Most are given beginnings and stopping places. Though the eventual sequel will have fewer characters needing to share precious screen time.
The standouts on screen are Hemsworth (12 Strong) carrying a large portion of the movie and not missing a beat of his well-honed comic rhythms from Ragnarok, Bettany (Solo) brings a sad soulfulness to Vision as a man who knows fate is likely unavoidable, and Dave Bautista (Blade Runner 2049) is perfectly deadpan as Drax and has the funniest lines in the movie followed closely by the exuberant Holland (Lost City of Z). To even say which characters deal with more complex emotions might be a spoiler in itself but there are several actors showing an emotive level unseen so far in the bustling MCU.
Avengers: Infinity War marks a significant concluding chapter for one of cinema’s most popular series, until at least the next movie possibly makes it feel less conclusive. I pity Marvel because expectations are going to be astronomical for this climactic showdown. There are so many characters, so many crossovers, and so much to still establish, like Thanos as a character more than a spooky force of annihilation, that it feels rather breathless even at nearly two-and-a-half hours. You may be feeling a rush of exhilaration on your way out or an equally compelling sense of exhaustion. Infinity War doesn’t have the imaginative highs of a Dcotor Strange, the funky personality and style of a Guardians of the Galaxy, the wonderfully thought-out structure of a Spider-Man: Homecoming, the adroit weirdness of a Thor: Ragnarok, or even the hero-against-hero catharsis of a Civil War (still my favorite). What it does have is a sense of long-gestating finality, of real stakes and dire consequences. It’s not all pervading doom and gloom; this is still a fun movie, buoyed by crackling character team-ups and interactions. While, Infinity War won’t be all things to all people, myself included, it will please many fans, casual and diehard alike.
Nate’s Grade: B
Back in 1994, popular culture was rabidly obsessed with figure skating thanks to Tonya Harding (Margot Robbie), the “bad girl” who was accused of coordinating an attack on her skating rival, Nancy Kerrigan. Tonya’s skuzzy husband, Jeff Gillooly (Sebastian Stan), had hired a friend to “intimidate” Kerrigan, and the end result was a broken knee and the world-famous outcry of, “Why?!” I, Tonya takes a look at the players of this media circus and lets them tell their own stories in their own words.
I,Tonya feels brazenly like a Scorsese movie populated with kooky Coen brothers characters. Director Craig Gillespie (Lars and the Real Girl) cribs from the best and uses all those propulsive camera moves, voice over leading to fourth-wall-breaking, and music needle drops to draw an audience into this crackling crime story. The biggest decision made by screenwriter Steven Rogers (P.S. I Love You) is the dueling perspectives of Tonya and Jeff being given equal treatment. They both sit for a series of on-camera interviews and will even interrupt the flashbacks to object. Jeff will recount a time Tonya chased him around with a loaded shotgun, and then Tonya will turn to the camera and argue that this moment never happened. I, Tonya doesn’t tell you who to believe and who to doubt. The account will purposely contradict one another, often demonizing the other party and painting themselves as a larger victim of fate. The movie is steadily entertaining as it mixes moments of light and dark. Tonya breaking the fourth wall to talk about her domestic abuse is another way of showing just his disassociated she’s become to a life of abuse. It turns fourth wall break into coping mechanism. I was laughing at the buffoonery of Jeff’s goons and moved by the relentless torment of Tonya. It’s a story that’s worth revisiting and is given an invigorating sheen of inept crime thriller. Gillespie goes a little too hard with the Scorsese speed ramp zooms and quantity of literal song selections, but it doesn’t detract from the film’s overall entertainment impact.
This is a film about reassessing preconceived notions about who the characters are, what the story exactly is, and where the truth lies amidst all the madness. Tonya scoffs, “There is no such thing as truth,” as if she were channeling the forty-fifth president of the United States of America. This becomes a foundational thesis of the movie as we’re presented with conflicting personal accounts where characters will break the fourth wall to criticize the validity of what they are doing or saying. All of these conflicting accounts force the audience to constantly reconsider what we are seeing and being told. We have to consistently think about the source and how there might be bias at play. As expected, Tonya and Jeff’s differing versions of events paint the other as more knowingly duplicitous. Tonya flat-out accuses Jeff of years of physical abuse, the kind of relationship Tonya’s vicious mother had primed her for. LaVona Golden (Allison Janney) would say all of her cruel hostility was valuable in an ends-justify-the-means crucible. Through fighting to earn the approval of an abusive authority figure, Tonya became one of the greatest figure skaters in the world, the first to achieve the vaulted triple axle. LaVona shouts that “nice” doesn’t get you anything in this world (her own mother was nice and LaVona became a waitress). People throughout I, Tonya are reshaping worldviews, angling for sympathy, and spinning history for personal advantage. Everyone wants to be a victim, a martyr, or at least the person who was right in the end. By the end, you don’t know what exactly to believe and whose truth is closest.
This was a media scandal that the public gladly gobbled up every new morsel, bringing out the knives to carve up a villain served up on the Olympic stage, but I, Tonya is a very empathetic portrayal that still doesn’t take the edge off of its title heroine. She grew up poor and scrappy and had to make her own costumes for her skating performances. From a technical standpoint, Tonya Harding could out skate anyone, but she didn’t fit into the cookie cutter beauty pageant image of what a wholesome girl should represent. The same bias against her, the trailer trash girl who couldn’t catch a break, was still dragging her down even when her skating was superior to her competitors. It definitely helps to paint a sympathetic portrayal for the woman, and that’s even before the years of abusive relationships, and a husband she may have returned to in order to appear more “wholesome family.” It’s easy to castigate Tonya Harding as a villain, but it’s even harder to see the person inside the caricature that was sold for mass media consumption.
The use of humor has to be very delicate because of all the controversial material. We have naturally offbeat characters doing incredibly stupid things, and then we have a husband repeatedly hitting his wife. This seesaw of tone means that the comedy needs to be precise or else it will undercut the drama or, worse, cross into gross mitigation of abuse. LaVona is a popular source for verbal abuse, and it’s meant to be shocking, but at no point do I think the film trivializes the conditions of Tonya’s childhood for ironic comic fodder. It’s presenting an abnormal treatment of an abnormal upbringing, and the later detours with “The Incident” are highlighting the naturally cracked criminals. These people were not good at what they were doing and were easily caught. The nimwits-try-their-hands-at-crime subgenre is ripe for laughter, in particular Shawn Eckhardt (Paul Walter Hauser) and his self-professed masterful skills at counter terrorism planning. The Tonya Harding scandal is so inherently sensational and with so many bizarre, colorful characters that to treat it without its penchant of natural humor would be a disservice. Crazy people doing dumb things are going to tend to have some humor value. Where the film falls short is in the realm of media satire. There are a few tasty morsels sprinkled throughout, like LaVona forcing reporters to stand behind a rope line if they wanted to snap her picture, but overall the media satire feels flat. Bobby Cannavale (Spy) feels completely wasted as a Hard Copy reporter/exposition device. He offers few insights and fewer colorful anecdotes. The most pointed the film gets with media commentary is when Tonya looks directly into the camera and accuses each person of being her abuser. It’s a stark turn that stops the action cold, and the audience has to think about their own tacit approval through media consumption. By rewarding this coverage and the easily packaged version of events, have we all played a part in Tonya’s suffering and shame?
Robbie (Suicide Squad) is sensational in the role, eliciting so much emotion that it can instill whiplash. One moment you’re impressed by the depth of her vulnerability and the next you’re whistling at her hard-as-nails persona and sheer tenacity. It’s an unapologetic performance that goes dark places and serious places, but Robbie doesn’t stoop to pander. Tonya wants your empathy but she doesn’t want your pity, and she sure as hell isn’t going to pretend to be somebody she’s not. The tricky part is the question over who is Tonya Harding. With Robbie, she’s a profane firebrand who is impatient with a world that refuses to accept her and her talents. The scene where Tonya is stripped of ever competing again in professional figure skating is a dazzling piece of acting on Robbie’s part. Tonya has sacrificed much of her own life for this sport, and by her own admission she doesn’t know how to do anything else. To see it all go away with the pound of a gavel, she pleads for jail instead as a more humane punishment. This feels like Robbie marking her grand entrance into the next acting echelon in Hollywood.
The supporting roles nicely serve their purpose, with Janney (The Girl on the Train) being the obvious standout. Her hellish mother is overpowering in every sense. Janney is abrasive and fierce and a crutch for the screenplay when it needs something shocking. I do not doubt the voracity of what the Tonya and other participants have said about LaVona, but the filmmakers don’t know when to leave enough alone. There are insights to be had through LaVona’s relationship with her daughter but it’s too often one-note. She’s the angry older woman berating people for shock, comedy, or a transition.
I, Tonya might change your mind about Tonya Harding. She’s definitely unrepentant in the movie while at the same time asking you to view her with an empathy that was lacking during the parade of 1990s tabloids. She’s an abuse survivor who had to claw for every advantage she could earn. You might not like her, or maybe you’ll grow to appreciate her, but you will understand her better. Robbie is outstanding, Janney is highly memorable and perfectly cast, and the direction provides plenty of jolts, from electric camerawork to the energetic propulsion through its diverging viewpoints. The dark comedy works, the serious drama works, and the domestic violence is not trivialized with so many ironic winks. I, Tonya is an unflinching expose that forces you to question the validity of everything. It’s a movie that dares you to question your perceptions while you’re keenly watching. Perhaps twenty years later, Tonya Harding will get whatever she is due.
Nate’s Grade: B+
In the summer of superheroes, you’ll be excused for feeling some fatigue when it comes to men in tights. Captain America: The First Avenger is a surprisingly enjoyable sepia-tinted action film that flexes enough might to pleasantly hark back to the days of 1940s adventure serials. Taking place almost entirely in the era of World War II, the film, and its hero, and unabashedly square and earnest. Steve Rogers (Chris Evans) begins as a 90-pound weakling determined to fight for his country and gets transformed into a behemoth of beefcake by the Army. Captain America is devoid of the dark brooding that has come to encapsulate modern superhero movies, but it’s also playing its B-movie silliness straight. The flick has more in common with Raiders of the Lost Ark and Sky Captain than most other superhero product. Better yet, the movie finesses the in-your-face patriotism of the title character. I mean the guy is called Captain America. Yet the film finds a way to resonate a sincere nationalistic pride without falling back into Michael Bay-level jingoism. And who’s going to make for better villains than Nazis? Director Joe Johnston (The Rocketeer, Jurassic Park 3) turns out to have been the perfect choice to helm this rah-rah retro enterprise. The pacing is swift, the acting is engaging, the special effects are terrific particularly Evans’ transformation into a weakling, and the film is unexpectedly emotional at points. This is a comic book movie that would appeal to an older generation not normally interested in superheroes, namely people like my dad.
Nate’s Grade: B
Jonathan Demme’s dark comedy is a movie at battle with its context. At heart, there is a fantastic and engrossing family dysfunction that rears its ugly head and re-opens old wounds. Watching Rachel (Rosemarrie DeWitt, who didn’t get nominated for an Oscar why?) unleash years of repressed pain upon the likes of her toxic, needy, narcissistic little sister Kym (Anne Hathaway), just fresh from drug rehab, is enthralling because of how raw and hurtful the emotions are. You can feel the sting of the words. Through the arguments, a picture emerges of this family’s tragic history and he emotional tug-of-war between the siblings. This is the great stuff, but then the setting of the movie overpowers the drama and sidelines it. Rachel Getting Married will make you feel like you are apart of this martial extravaganza, so we see about fifteen minutes of toasting from EVERY PERSON, because, really, much of this is all exposition from characters who won’t be heard from again. We also see about 15-20 minutes of eclectic musical performances, dancing, and all the rest that comes at the close of a reception. While the wedding/reception is an interesting multicultural blend, it feels like an unyielding intermission from the terrific family drama. Hathaway is as good as advertised and soaks up the troubled life of a notorious problem child defined by little else than her problems. DeWitt is outstanding as the big sister tired of being pushed aside. Demme’s handheld camerawork, and the extensive ensemble of slightly eccentric characters, made me feel like this was an Oscar-serious version of one of the Christopher Guest mockumentaries like Waiting for Guffman. There is succulent family misfortune here, with great acting, but I wanted less wedding and more Rachel and friends.
Nate’s Grade: B