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Chaos Walking (2021)

Chaos Walking has been shrouded under the ominous reputation of “troubled production” from its very inception. It’s based on a 2008 YA science fiction series by Patrick Ness and has gone through writer after writer, trying to hone this story into a visual medium. At one point, Charlie Kaufman was attached as the screenwriter, and if Kaufman, the man who turned his struggle to adapt a book about flowers into a meditative and meta experience, can’t find a way to make your story work, then I doubt many other Hollywood writers can. It began filming in 2017 with director Doug Liman (Edge of Tomorrow) and sat on the shelf for years, with the studio execs reportedly dismissing the finished version as “un-releasable.” Fifteen million dollars in reshoots took place in 2019, helmed by Fede Alvarez (Don’t Breathe), and now the finished movie has been quietly dumped to theaters and on-demand markets. Chaos Walking is, indeed, chaotic, but it’s mostly dull and simplistic with a premise that feels ripe for social commentary that the movie has no interest in because it would detract from its eighteenth depiction of another forest chase.

In the future, mankind has settled on an alien world with some unexpected results. There is a strange quirk about this planet – the men are incapable of hiding their inner thoughts, which materialize in front of their heads as visuals with their narration echoing (nick-named “The Noise”). Women, for whatever reason, are unaffected. It’s been so long since another supply ship from Earth has come that life on this alien world has begun to resemble the struggles of the early terrestrial pioneers. Todd (Tom Holland) wants to impress his small town’s authority figure, Mayor Prentiss (Mads Mikkelsen), and become an adult faster than he might be ready. Viola (Daisy Ridley) has made the multiple-generations trip from Earth but her spaceship crashes. Todd finds her and panics because she may very well be the only woman alive on the planet. He elects to hide her and try and reach an old technological outlet, while the Mayor leads a posse to round her up and maybe kill Viola.

Given that premise, you would think that Chaos Walking was setting itself up for some sharp, uncomfortable, and relevant social commentary about the plight of being a woman in a modern society. If Get Out was a horror story about being a black man in America, I was thinking Chaos Walking would be a horror story about being a woman in America, but I was wrong. Think about the premise, with every woman subjected to a society of men that cannot hide their unconscious objectification, their leering harassment, their distressing ulterior motives, where every man’s uncontrollable thoughts will be broadcast. It’s an empathetic and horrifying glimpse into the daily dismissal, exploitation, and condescension that woman experience. You add the extra element that women are immune and now they also become the subject of projected male resentment, that they feel judged, and this only makes the men more hostile and confrontational. Being “the last woman” also presents an obvious threat of sexual violence as well. It’s all right there, and yet Chaos Walking barely even toys with its explosive gender commentary; there’s a reason all the women are dead on the planet, but it’s not exactly revelatory, and its inclusion, at the expense of all other notable social or political commentary, makes the explanation feel more perfunctory. Why even bother having a premise that features a gender disparity if you’re not going to really say something about the treatment of women? If you think about those old movies where it’s one man on a planet entirely of women, or some similar dynamic where there is a giant gender upheaval, and they always say something about it. What would be the point of making an exception for one kind of person and then ignoring the larger implications? Well, I’ll never truly know, because Chaos Walking doesn’t seem to know either.

I can see why this premise works on the page where the reader is already able to immerse themselves in the inner thoughts of a point of view character. I’ve never read the source material but I can imagine it being like a jigsaw puzzle of first-person perspectives. It’s a little harder to translate into a visual atmosphere in a clear and meaningful way, especially when you’re limiting what it all says. As its portrayed onscreen, The Noise is often muddled and visually hard to decipher, and while it mimics the half-formed nature of thoughts (people don’t typically think in complete, declarative sentences) it’s still too abstract and confusing. The wispy visuals are opaque and glisten like sunlight in gasoline pools, which makes the imagery less easy to determine. It’s like someone made a sci-fi thriller and just ladled on extraneous visual elements but didn’t want anyone to properly decode these special effects. Sometimes the premise works, like when Todd is trying to hide his fears, like when he envisions a beat-down from a dangerous crowd, or when he purposely imagines scary imagery to spook a rival’s horse. Too often The Noise just feels exactly like that when it comes to the narrative. It’s a peculiarity that is underdeveloped and could well be forgotten. It’s such a strange experience to watch a high-concept movie where the filmmakers are seized by indifference with their high-concept. I don’t know if maybe this is a subtle acknowledgement of defeat.

There’s one character that symbolizes the futile adaptation of The Noise and that’s Reverend Aaron (David Oyelowo). He’s living in conflict with his own community and his Noise is more apocalyptic, fire and brimstone, and he views The Noise as a connection between man and God. Now that is interesting, looking at this quirk as a gift or curse from God and trying to make a spiritual understanding over why man, and only man, has been given this ability. It seems to radicalize him. At long last, here is a character with a direct and personal relationship with The Noise, the hook. How does this change his relationship with God, his sense of self, and his feeling of disconnect from being so far away from home in this alien world? Well, all of that tantalizing characterization and potential depth is cast aside. Reverend Aaron is merely a religious zealot and a boring one at that. It’s hard to determine whether he’s gone over into violent extremism or is seeking absolution, which makes him just another dangerous antagonist that appears here and there but you can’t quite square. This character could have been legitimately intriguing from the story specifics of how he would respond to drastic change, isolation, introspection, and a crisis of faith brought on by the environmental turmoil. Instead, he just becomes a secondary heavy chasing characters for vaguely unsatisfying reasons.

Chaos Walking is not a fascinating failure or a so-bad-it’s-amazing fiasco, it’s just a mediocre chase movie. It’s patterned after Westerns visually and structurally, with the frontier town being lead by a Black Hat who is chasing after the Drifter who represents a threat to the status quo. It’s not just the horses, dusty trails, vilified natives, and small-towns shootouts, Chaos Walking is very intentionally a science fiction Western, a pairing that seems to keep getting tried on by Hollywood studios like an old pair of cowboy boots they’re positive fit perfectly once long ago. As far as space Westerns go, it’s fine. The action is fine, though I grew tired of the visual mundanity of characters continuing to walk in the woods, run through the woods, and take refuge in the woods. For an alien landscape, Chaos Walking often feels frustratingly plain and unimaginative. All of these interesting science fiction asides and additions and it’s really just interested in being a second-rate space Western. The screenplay is held together as a series of rote chases. The main characters are bland and Ridley’s straw-like blonde wig gave me bad memories of Kate Mara’s bad wig from the infamous Fantastic Four reshoots. For its 110 minutes, you won’t exactly be repelled from the screen with boredom but you won’t be tempted to pay close attention either. Chaos Walking is too generic, too safe, and too derivative to be anything more than passing entertainment. I wish it was more chaotic and un-releaseable just to be more memorable and worth your time.

Nate’s Grade: C

Cherry (2021)

Between 2014 and 2019, the Russo brothers directed four Marvel movies with a combined worldwide box-office of over six billion dollars, so for their first foray from the world of super heroes and magic space gems, the brothers had carte blanche to pick whatever project they desired and Cherry was it. Watching all 140 minutes of this true-life tale, you get the feeling it’s less a story about loss and redemption and more an overly extended excuse for Joe and Anthony Russo to use every stylistic trick they’ve ever wanted to employ to make their own inferior Goodfellas (or Casino). Free of MCU oversight, these guys are practically going full Tony Scott or Darren Aronofsky with the multitude of their visuals tricks and gimmicks. We’re talking different aspect ratios, color washes and spotlights, heightened fade outs, fourth wall breaks and freeze frames, chapter titles complete with prologue and epilogue, in-your-face subtitles, tracking shots, and even oblique angles such as a point of view from inside Tom Holland’s inspected rectum. Cherry is aggressively flashy to compensate for how little substance there is with its story and humdrum characters. It’s based on a true story about Nico Walker (Holland), an Iraq War veteran coming back to Ohio, getting hooked on drugs, and resorting to robbing banks The trauma of his war experiences leads him to seek help and the system fails him and pushes opioids on him, turning him into another addict among too many who is desperate to do anything for cash. On paper, that sounds like it would be interesting, and the shocking part is that for all these identifiable dramatic elements and stylistic flourishes, Cherry is kind of dull. Everything feels like it’s kept at a surface-only level. Walker is just not that interesting even though interesting things happen to him. You would think it’s about PTSD, the opioid crisis, economic anxiety, and while these elements are present they are not really explored with any sustained nuance or theme. The level of social commentary stops at Fight Club-level snarky sight gags, like the names of the banks being “The Bank” and “Shitty Bank.” There’s too much bloat with the plot and running time. By far the most interesting section of the movie was his descent into addiction and the criminal excursion, but Walker doesn’t even exit the war until over an hour in. We did not need all the fluff before the war to properly set up this limited character. The real drama of the movie is post-war, and there’s an hour of setup that could have been cleaved away. You leave this stuff in as “texture” if you’re building something rich in atmosphere and character but I can only tell you what has happened to Walker externally. He’s perfectly unremarkable. The movie is too shallow for its own possible ambitions, and it ultimately feels like cribbed notes and homages to other movies the Russos enjoyed, like Goodfellas or Requiem for a Dream or Boogie Nights. It only reminds you of other, better movies, and one I was reminded of was Roger Avary’s Rules of Attraction. I appreciated the flash and style of that 2002 movie because it was about empty characters living empty lives striving for something they were incapable of, so the excessive and prioritized visual artifice worked. With Cherry, the visual trickery is distraction from the underwritten characters who the movie very much wants us to see favorably through their struggles. I enjoy Holland (Spider-Man: Far From Home) as an actor immensely but he is miscast here. He’s too boyish and charming and genial to ably perform dark and gritty antiheroes. You sense he’s eager to try these “darker roles” to prove himself but he doesn’t need to. Ciaria Bravo (Wayne) plays the girlfriend/infatuation object/junkie partner and she looks so young that see feels like an unsupervised child onscreen. Maybe that works with her as a symbol of innocence. Cherry is a movie that left me indifferent and shrugging throughout all its excesses and meandering. It feels like a movie the Russos needed to get out of their system, one of creative indulgence charging into familiar territory when more restraint, nuance, and contemplation would have sufficed, and maybe their next movie will be more mature and fulfilling and worthy of 140 minutes.

Nate’s Grade: C

Onward (2020)

In a modern fantasy suburbia, Ian Lightfoot (voiced by Tom Holland) and older brother Barley (Chris Pratt) have been gifted with a magic staff from their long-departed father. Barley was only a young child when their father died, and Ian never knew him, and now both are granted an opportunity via magic to bring their dear old man back for one more day. The magic spell is interrupted and, as a result, only one half of their father is brought back to life, the lower half, chiefly his legs. The boys must travel on an epic quest in order to bring the rest of their father back to life before all of him disappears again.

Onward is the first time Pixar has ventured into a fantasy realm and the mixture of the modern with the high-fantasy setting allows for some fun juxtaposition. The teenage worries about fitting in, testing your boundaries, and finding out your sense of self can be very relatable, even in a world of trolls and elves. I enjoyed the combative and compassionate brotherly dynamic between Ian and Barley, and Holland (Spider-Man: Far From Home) and Pratt (Avengers: Endgame) are terrific together and really do feel like feuding family members. Their high energy performances translate well to animation. The Pixar creative team does enough to provide little distinguishing character touches for both, enough to provide some extra shading so they don’t quite feel like cartoon versions of their more famous Marvel counterparts. Ian is all awkward and lacking in confidence whereas Barley is overloaded with self-confidence and an unshakable sense of arrested development. I enjoyed the small number of memories relating to their father that Barley holds onto, and I enjoyed how Ian listens to a brief, ordinary test recording of his father on a cassette tape and creates a dialogue between father and son. It’s such a sweet moment that also demonstrates Ian’s ache. I enjoyed how the screenplay connects the external to the internal, namely the obstacles on this quest to the personal trials for Ian and Barley. It allows more meaningful payoffs and more rewarding character growth for our duo. I enjoyed spending time with both boys and was glad their quest was more about them than magical ephemera.

Amazingly, what works best in this movie is its emotional core, which sounds slightly bizarre considering it’s a road trip with a pair of legs. As Onward progresses and settles down with its better honed second half, it puts more emphasis on the relationship between the brothers, their hopes and worries for one another, their sacrifices and shames, and ultimately it becomes a movie about two boys trying to find closure with the memory of their dearly departed dad. The genuine emotion of the brothers is enough to pave over most of the undeveloped elements of the world and storytelling (more on that below). I would have thought, going in, that Onward would present a so-so story with an intriguing world of possibility. I’m surprised that my experience was the exact opposite. The story and central relationships are what kept me going, and it’s what ultimately earned some teary eyed responses from me late in the movie. The topic of seeking closure is a personal one for me and something I value highly, so it was very easy for me to plug my own yearning and vulnerability into these characters. They’re going through all this dangerous trouble not just to see their departed father one last time but also to say goodbye, and that got me big time. It gave the entire movie a new weight that I wasn’t expecting. Who wouldn’t want another chance to tell a loved one how much they miss and appreciate them?

The whole concept of being stuck with a loved one’s lower torso allowed me many moments of contemplation. First, I wondered what their father must be going through to only experience the world through his legs. It felt limited. How do you communicate to others? The film finds its ways. How do you express emotions simply from a pair of disembodied legs? The film finds its ways. As Ian and Barley drag him along on a zipline leash, I kept thinking about the dad. What is he thinking in this moment? Is he waiting for some kind of comforting confirmation from his sons to tell him where he is and what is happening? I kept thinking how confused he must be. To the filmmakers’ credit, they don’t ever emphasize the potential hell of this half-existence. He’s presented often as a figure of comic relief, especially as his upper torso pile of clothes sloshes around and tumbles off. In a way, the pair of legs reminded me of the visual metaphor of the floating house in 2009’s Up, the manifestation of the protagonist’s heavy grief. They’re tethered to this half-formed memory of their father, unable to fully interact with him and let him go. I was worried that Onward was going to be the Pixar equivalent of Weekend at Bernie’s and it is not.

There are some issues with the movie, nothing major, but enough to make it feel under developed, especially in comparison to the Pixar movies of past. The imagination is there, however, the world-building of this fantasy world is decidedly lacking. There are some cute asides like unicorns as the equivalent of trash-eating raccoons, but as a whole the fantasy world feels underdeveloped to its full potential. There’s a significant story point where the current world has forgotten its magic roots thanks to the ease of technology and its inoculating effects, which seems like a pretty straightforward message for our own lazy world. Again, though, Onward doesn’t dig deeper into this theme or what it could mean for the larger mythology of its own world and its history and the rules governing its magical creatures. I started to wonder whether Pixar could just have set this story anywhere.

Likewise, the supporting characters don’t amount to much and feel like leftovers from earlier drafts where they had richer involvement. The ongoing subplot with their mother (Julia Louis-Dreyfus) teaming up with the fabled beast-turned small business owner Manticore (Octavia Spencer) offered little other than occasional exposition. The Manticore is supposed to best represent how the new world has traded its culture and history for comforts and safety, but it’s not clearly realized and integrated. My pal Ben Bailey reflected that the Manticore seemed like a one-scene character that the filmmakers didn’t want to drop, and so she was stretched through the rest of the film to diminished returns. The last act has a sudden and arbitrary monster to defeat that feels like the kind of thing expected in these sorts of movies, which is a rarity for Pixar and thus a slight disappointment.

Lastly, much of the humor just doesn’t work. The jokes can be stale, safe, or one-note, like a team of very tiny pixie bikers. It’s often silly without exactly being clever. There’s more fleeting visual humor with the incongruous nature of fantasy in a modern setting. There’s less slapstick than you would think considering one of the main characters lacks a torso. I chuckled a few times but, much like the fantasy setting, felt the humor was kept at an superficial level of thought.

Onward isn’t top-tier Pixar but it’s a solid mid-tier entry, an enjoyable adventure with a resonant emotional core that makes me forgive many of the film’s other aspects that don’t quite work. The brothers are the best part, their interactions are the most interesting, and their heartfelt journey and hopeful desire for closure is what ultimately left me emotionally satisfied. The jokes and world and supporting characters don’t feel as developed, but it hits with its core relationship and its emotional center, so Onward works where it counts the most with its storytelling. Mid-tier Pixar is much like mid-tier pizza — still satisfying and better than a lot of other options.

Nate’s Grade: B+

Dolittle (2020)

Here’s the revelation of the new year: I didn’t hate Dolittle. In fact, I kind of admire it and mostly enjoyed it. Given the advertising, bad buzz, and mountain of critical pans, I was expecting very little from this movie, so perhaps it chiefly benefited from dramatically lowered expectations, but I feel comfortable going on the record in the Dolittle fan club. Robert Downey Jr. stars as the magical vet and adventurer who can speak with animals, and for the first 15 minutes or so, I was laughing at this movie and shaking my head. There’s a moment where Dolittle, a gorilla that just showed its backside while playing chess, and a duck are laughing uproariously in their own languages, and the moment holds awkwardly and it was so weird. After 15 minutes, I began to adjust to the movie’s wavelength and I began to appreciate how committed to being weird the movie was. This is not exactly a movie that aims for a safe broad mass appeal, even though it has familiar messages of family, acceptance of loss, and confronting personal fears. It takes chances on alienating humor. You could take any incident from this movie, including its finale that literally involves disimpacting a dragon’s clogged bowels, and on paper, without context, it would be the dumbest thing you could imagine. However, when thrown into a movie that never takes itself seriously, that is actively, almost defiantly being weird (a joke about a whale flipping off humans with its fin made me cackle), the things you might mock take on a new charm. Director/co-writer Stephen Gaghan has worked in Hollywood for years and given the world Traffic and Syriana, so he knows his way around working within a studio system. Dolittle at times feels like a live-action Aardman movie with its anarchic spirit. Downey Jr. (Avengers: Endgame) bumbles and mumbles in a thick Welsh accent that he may regret but he’s fully committed. Michael Sheen (Good Omens) is a delight as a seafaring antagonist, and he knows exactly what kind of movie he’s part of. The animal CGI can be a little dodgy at times for a movie this expensive and not every jokey aside works but enough of them did to win me over. I’m under no illusions that a majority of people will just scoff at Dolittle and never give it a chance, and I thought I was ready to join their ranks, but then a funny thing happened when I sat down to watch the movie and accepted it on its own silly terms. I had fun, and I know there will be others that do as well. It may be a disaster to many but to me it’s a beautiful mess.

Nate’s Grade: C+

The Current War (2019)

The Current War has been on the shelf for two years and now finally getting a release, strangely subtitled “The Director’s Cut.” Can a movie that has never been released to the public, outside of some festival screenings, really declare its first impression a director’s cut? Aren’t these supposed to be different, and generally longer versions of the original edit? Regardless, the movie acts like a 19th century version of The Social Network with the battle over the nation’s electrical grid up for stakes between Thomas Edison (Benedict Cumberbatch) and George Westinghouse (Michael Shannon). You may think Nikola Tesla (Nicholas Hoult) is a big player in this game, but you’d be mistaken as he’s more a glorified cameo. I appreciated how the history came alive under director Alfonso Gomez-Rejon (Me, and Earl, and the Dying Girl) and his overwhelming sense of style. This is a period film that feels excitedly modern in its presentation, with lots of clever transitions, stylish camera angles, and wide angle photography to go along with a churning score that even reminded me of Trent Reznor and Atticus Ross’ Oscar-winning music. The characterization of these Great Men of Industry also finds ways to humanize them, especially Westinghouse who shuffled his employees into his burgeoning and debt-ridden electrical gambit so he wouldn’t have to fire anyone. Edison’s portrayal is decidedly charitable, positioning him as a principled family man who rebuffed a shameless J.P. Morgan (a great movie bastard) and easy money for military contracts because he refused to participate in any endeavor that would take life. There’s an ironic subplot where Edison, forced into desperation, cooperates with New York state’s implementation of a new “more humane” way of executing prisoners, and pinning the deadly results on Westinghouse’s alternating electrical current. This is certainly not the Edison of litigious infamy. I enjoyed immersing myself in this older world where the men of science and vision were akin to magicians creating miracles that dazzle. Their competitive race is doomed to be a bit one-sided if you know the history of AC versus DC (it’s hard to compete when one option is both better and cheaper) but I was still entertained by their tit-for-tat and how each man responded to pressure and expectations. The screenplay by Michael Mitnick is judicious with its information and very accessible for a lay person. The acting is solid even if many side characters are glorified extras (Tom Holland, Katherine Waterston, Tuppence Middleton). The Current War has been getting some pretty dim reviews, with even dimmer puns, and I don’t quite follow why critics are turning out the lights on this movie (sorry). It might not have the stuff of greatness but it’s a perfectly enjoyable period piece with attention to character and a panache of style to liven up the dustiest of history.

Nate’s 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

Avengers: Endgame (2019)

This may prove to be the most difficult review I’ve ever written in my twenty years (!) of reviewing movies. How do I ever begin to describe the events of Marvel’s culminating blockbuster Avengers: Endgame without stepping too far into the dark and dangerous territory of the accursed spoilers? I thought it would be difficult talking about last year’s Infinity War considering the shocking plot events and general secrecy, but this concluding chapter to a 22-movie journey is even more secretive (the trailer accounts for only footage roughly from the first twenty minutes). I’ll do my best, dear reader, to give you the clearest impression I can of this unique experience while respecting your need to be un-spoiled. In short, Avengers: Endgame is unparalleled in our history of modern popular blockbusters because it needs to work as a clincher to a decade-plus of hugely popular blockbusters for the Marvel Cinematic Universe (MCU), and boy do they ever stick the landing.

The film picks up with our surviving Avengers picking up the pieces following the events of Infinity War, namely Thanos (Josh Brolin) eliminating half of life throughout the universe. The original six Avengers are all suffering through guilt, depression, and degrees of PTSD following their failure to defeat Thanos. Scott Lang a.k.a. Ant-Man (Paul Rudd) arrives after having spent time in the quantum realm and has a potential solution that will involve traveling through time to correct the mistakes of the past and bring everyone who vanished back to life. The remaining teammates assemble at the behest of Steve Rogers a.k.a. Captain America (Chris Evans), including Bruce Banner a.k.a. Hulk (Mark Ruffalo), Black Widow (Scarlet Johannson), Thor (Chris Hemsworth), Hawkeye (Jeremy Renner), Rocket Racoon (voiced by Bradley Cooper), Nebula (Karen Gillan), and War Machine (Don Cheadle). However Tony Stark a.k.a. Iron Man (Robert Downey Jr.) needs the most convincing, as he is most afraid of making things even worse and losing more people he feels are too precious to be casualties to their failures once again.

The thing to know ahead of time is that Endgame is not for the casual fan. This is a long love letter to the fans that have pored over all 22 preceding films, not just a scant one or two. Infinity War was accessible to relative newcomers because of the structure and focus on Thanos as the main character, providing a self-contained arc that lead up to his finger-snapping triumph. It also benefited from the fun factor of simply watching a bunch of popular characters interact and team up for the first time in MCU history. Now that a majority of those characters have turned to dust, the emphasis falls back on the original core of the Avengers, bringing things full circle. In several ways, Endgame is about bringing to a close this mammoth project that began with Iron Man, this decade of storytelling ambition that has stretched out into multiple inter-connected franchises. If you love these characters, then Endgame is a movie made specifically for you. There is a long stretch in Act Two that relies upon a decent amount of fan service and sentimentality, but I don’t think either is an automatically negative attribute. Before we reach the finish line it’s important to take stock of how far we’ve come and this goes for the essential characters and their long arcs. There are several fun cameos strewn throughout and the filmmakers even take an interesting tack of trying to reclaim and re-contextualize the MCU movies that fewer people enjoyed. It makes for a filmgoing experience that is heavy in references, in-jokes, Easter eggs, and cozy nostalgia, which will confuse and frustrate those not well versed in this big world.

The other thing to know, especially if you’re a long-standing fan, is that there will be tears. Oh will there be tears. I lost count of the amount of times I was crying, which was pretty much on and off nonstop for the final twenty minutes. I was even tearing up for supporting characters that I didn’t know I had that kind of emotional attachment for. The film is done so well that the first third actually could play as the MCU equivalent of HBO’s The Leftovers, an undervalued and elegant series about the long-term recovery of those that remain in a post-rapture world. The opening scene involves a character having to go through the loss of loved ones via Thanos’ snap, and it’s brutal as we wait for what we know is coming, dread welling up in the pit of your stomach. The Russo brothers, the returning directing team from Infinity War, know what scenes to play for laughs (the line “That’s America’s ass” had me in stitches), what scenes to play for thrills, what scenes to play for fist-pumping cheers, and what scenes to play for gut-wrenching drama. They allow the movie to be an existential mood piece when it needs to be, actually dwelling on the repercussions of a life post-universe culling. There’s a character who frantically searches to see if a loved one was among the missing, and that eventual reunion had me in tears. With the three-hour running time, the Russos have the luxury of allowing scenes to naturally breathe. This might be the most human many of these characters have ever seemed, and it’s after recovery and grief. Needless to say, the conclusion feels very much fitting but also unabashedly emotional, unafraid of diving deep into its feelings. I sobbed.

I was worried once the film introduced the time travel plot device that everything was simply going to be erased and invalidate the struggles that came before. The worst use of time travel is when it eliminates any urgency or danger, allowing an endless series of do-overs to correct the past. Fortunately, returning screenwriters Christopher Markus and Stephen McFeely (Civil War, Winter Soldier) realize that in order for there to be a reversal, a glint of a happy ending, there must be a cost or else it all meant little to nothing. There are finite events in the movie that cannot change (as of now) and losses that will be permanent (as of now, if they don’t want to cheapen the journey). People died with Infinity War but we all knew, at least when it came to its dreary conclusion, that it wasn’t going to be too long lasting, which allowed the communal grief to be short-lived. After all, there’s a new Spider-Man film coming down the pike two months from now, so it’s highly unlikely the teenage web-head will remain dead. However, with Endgame, the deaths serve as the cost for resurrecting the MCU, and they will be felt for years. The screenplay provides limitations to the time travel mechanics, though I don’t think the collective hand-wave to the nagging paradoxes was as successful as the movie thinks it was. The film barrels ahead, essentially telling you to forget about the paradoxes and enjoy the ride, focusing on the characters and remembering what is really important.

Suffice to say Downey Jr. is once again his charming, self-effacing, and enormously entertaining self. The MCU began with this man and his contributions cannot be overstated. He is the soul of this universe. Evans is compelling as the straight-laced inspirational figure who takes stock of what he’s sacrificed over the years, Hemsworth showcases a potent mixture of comedic and dramatic chops, Johannson is definitely the Avenger going through the “bargaining” phase to try and make things right and she has some subtle emotional moments that belie her desperation and guilt, and Renner makes a welcomed return in a way that made me appreciate Hawkeye like I never had before. Brie Larson does reappear as Captain Marvel but the movie smartly puts her back on the sidelines protecting the many other worlds in the universe needing assistance because of how overwhelmingly powerful she can become. Larson filmed her scenes for Endgame before her own solo movie, released a month prior, so forgive the different hair and makeup, Twitter nit-pickers. I will say there is one scene that is a bit convoluted how it gets there but is destined to make women in the audience cheer with excitement as the MCU says, “Hey, that whole ‘strong female character’ thing? Yeah, we’ve had all that for years, and here you go.”

How does one properly assess a movie like Avengers: Endgame, a conclusion not just to an Infinity War cliffhanger but to a twenty-two movie prelude over the course of eleven years? The emotional investment in these characters, their journeys, has to come to something to be ultimately meaningful when it’s time to close the chapter on one massively ambitious story before starting the next. And there will be a next chapter; the MCU’s unparalleled financial success assures the fanbase they’ll have plenty more high-flying and wild adventures to come in the years, and more than likely, decades to come. Marvel had the unenviable task of wrapping up a major narrative in a way that would prove satisfying without devaluing the individual films and overall time investment. Hollywood is filled with trilogies that messed up their conclusions. Nailing the ending is just as important as getting things going right, because without a satisfying conclusion it can feel like that level of emotional investment was all for naught. Endgame reminds you how much you’ve grown to love these characters, what fun you’ve had, and genuinely how much you’ll miss these characters when they depart for good. It’s hard not to reflect upon your own passage of time with the ensuing eleven years, how you’ve changed and grown from the MCU’s humble beginnings in the summer of 2008. These heroes and anti-heroes can begin to feel like an extended family for many, and so fans desperately need the ending to do them justice. Avengers: Endgame is the ultimate fan experience.

Nate’s Grade: A

Avengers: Infinity War (2018)

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

Spider-Man: Homecoming (2017)

15 years. 6 movies. 3 different lead actors. 2 reboots. I wouldn’t be surprised if a majority of the American public likely knows more about Spider-Man than their relatives. In 2002, the first Spider-Man movie kicked off the new century by affirming to studios that superhero movies are a sound financial investment. Director Sam Raimi and Tobey Maguire kicked off the glut of superhero cinema, paving the path for the massive Marvel Cinematic Universe (MCU) and its own unparalleled run of financial and critical success. Then the overreach killed off Raimi’s Spider franchise in 2007 and overreach again killed off Sony’s Spider reboot in 2014. Sony wisely sought out an assist from the gurus of Marvel, striking a deal and having the web-slinger return to the MCU. Fans rejoiced. Spider-Man: Homecoming announces itself as a brash, exhilarating, hilarious, and amazingly assured film that immediately lines up with the upper tier of the MCU. Marvel should use this as Exhibit A, submit it to Fox, and say, “Here’s how we can do your franchises better.”

Peter Parker (Tom Holland) is your ordinary 15-year-old from Queens, New York who was given amazing powers after being bit by a radioactive (or genetically modified) spider. It’s been weeks since he was called into action by Tony Stark (Robert Downey Jr.) to thwart Captain America (Chris Evans). Now Peter is back home and waiting for his literal call to adventure, for Stark to officially call him up to join the Avengers. Peter anxiously waits for school to end so he can don his Spider-Man suit, modified by Stark Industries, and fight local crime and injustice. This mostly amounts to stopping bicycle thieves, helping old ladies with directions, and other inglorious tasks. Peter’s Aunt May (Marisa Tomei) would prefer he focus on his studies rather than the time he’s been spent on the “Stark internship” (his fib to cover said crime-fighting). New weapons begin appearing on the streets, built from the discarded alien technology from The Battle for New York. Spider-Man investigates the source, Adrian Toomes (Michael Keaton), a pilot who adopts the moniker of The Vulture while in the sky with his winged jet pack. The formidable weapons pose a real pressing danger to society, and Peter pushes further, at his own peril, to confront the Vulture and stop the flow of high-tech weapons.

For many fans of the webhead, this will feel like the first time they’re watching the Spider-Man of the comics on screen. This is the first film incarnation where Peter remains in high school for the entire duration of the movie, and it’s also thankfully the only telling that eschews an origin story. He just is Spider-Man, however, the arc of the movie is him settling into that identity. It’s in many ways a coming-of-age story for the superhero set, as Peter has to come to terms with his earnest desire to help others and his own maturation, both as Spider-Man and as a high school sophomore. He’s learning just as much to be Peter as he is Spider-Man. Just because he has these powers doesn’t mean he’s ready for the rigors of the world. Homecoming is very much a high school movie. There are familiar John Hughes influences throughout, and the film smartly subverts certain high school tropes (driving lessons, prom dad from hell). It presents our hero struggling with asking the cute upperclassman (Laura Harrier) to the dance just as much as the demands of being a fledgling local superhero. His interior life is much more available and relatable but he’s still a teen navigating the world. Also, by having Peter be the youngest film incarnation yet, it allows for the satisfying indulgence of superhero wish-fulfillment. Whereas the X-Men powers are naturally linked to the progression of puberty, those are usually portrayed as a curse, something that ostracizes, confuses, and produces great anxiety and fear. With Spider-Man, being a superhero is the coolest thing in the world. He’s not consumed with angst like Andrew Garfield’s broody Peter Parker and his weirdly special DNA (what was the deal with his parents and that conspiracy? Oh well). Watching this exuberant Peter Parker embrace his new abilities with glee is a great way to keep the movie light and bouncy.

This is also, bar none, the funniest film yet in the MCU (yes, even dethroning Guardians of the Galaxy). With the lighter tone, the movie finds consistent opportunities to inject comedy, from the irony of Peter trying to lead a normal life, to the awkwardness of Peter’s attempts at crime-fighting, to his over eager demeanor, to misunderstandings and hasty excuse-making to conceal his double life, to the sterling supporting cast of characters that contribute different flavors of jokes when called upon. If anything there is so many talented supporting players I wanted even more time with them (Donald Glover, Hannibal Buress, Martin Starr). This cast is a comedic embarrassment of riches.

I was laughing pretty much from beginning to end with Homecoming. Just thinking back on the school’s morning announcements (complete with anchor Betty Brant) makes me giggle. Peter’s best friend Ned (Jacob Batalon) is the movie’s chief source of comic relief, and in less careful hands he would become rapidly annoying. Instead, he’s a reliable presence and given a character arc with a payoff of his own, his desire to be Peter’s “guy in the chair.” It’s genuinely impressive screenwriting when even the comic relief sidekicks have arcs. Zendaya does an impressive job of selling every one of her jokes, which traffic in a very specific smart-aleck, apathetic tone. She’s graduated from the Disney Channel to the bigger leagues. There’s a hysterical series of inspirational education videos featuring Captain America, and if you stay past the end credits there’s a great payoff for that. There’s even some sly meta jokes calling back to Raimi’s Spider-Man. Every joke at least lands and most of them hit hard, benefiting from strong development and timing.

Nevertheless, just because it happens to be one of the funniest movies of the year, Spider-Man: Homecoming still finds plenty of space to be dramatic and thrilling. The comedy doe not tonally detract from the other elements. This is not an insubstantial movie just because it knows how to have some fun (take notes, Zack Snyder and DC). This is not a flippant movie because of tone or the heavy joke quotient. There are sincerely sweet moments born out of the characterization, like when Aunt May takes it upon herself to teach Peter how to dance (this would not be possible with a geriatric Aunt May). Director Jon Watts (Cop Car) has a steady command with his high-flying visuals and maintains the tight walk of tone that allows all the elements to work together as a blissful whole.

There are superb action sequences that advance the story forward and allow for the characters to grow. It’s exactly what good action is supposed to do, besides, you know, quicken the pulse. The humor can also arise naturally from these set pieces. Take for instance Peter suiting up while attending a suburban house party. He spots some alarming energy discharges on the other side of the suburb, but without any tall buildings for him to latch onto, he has to hoof it the whole way on foot. It’s a smart comedic aside and it helps to remind us that this Spider-Man isn’t an instant pro after getting his powers. It all comes together best in a D.C. rescue at the Washington Monument. It bridges the personal with the action. The bifurcated ferry set piece serves as the Act Two break and it’s a killer segment that pushes Peter to his limits to solve a dilemma that seems incapable of being fixed. There may not be any action scene to rival Raimi’s finest but the character-centric action and the organic development of the complications lays a foundation for a consistently entertaining film littered with joyful payoffs.

The biggest fear I’ve read from Spidey fans was that the involvement of Robert Downey Jr. would tip the scales, turning a Spider-Man movie into a defaco Iron Man sequel. Considering America loves Iron Man, I don’t see how his inclusion is a problem. Civil War was still very much a Captain America film even though Iron Man was the co-lead. Tony Stark represents a distant mentor for Peter and also the gatekeeper. Peter is anxious to become an Avenger and looking for Stark’s approval, which brings an enjoyably unorthodox paternal side from Downey. If there is a complaint I can foresee, it will be that Spider-Man is too similar to Iron Man thanks to the special suit. Spider-Man’s suit has its own Jarvis-style A.I. program (adeptly voiced by Jennifer Connelly, wife to Paul Bettany, former voice of Jarvis) and extra special gadgets including a spider drone and unusual web shooting options. It provides a new sense of discovery for the character since we’re already starting with him powered. The second act is Peter getting accustomed to the boost his suit gives him, becoming reliant upon them, and then having it stripped away as a natural Act Two break so that the conclusion has even more stakes without the security of the suit. It makes Peter much more vulnerable. The Iron Man parts are more a background motivational force and this is still very much a Spider-Man film.

Holland (The Lost City of Z) is already my favorite Spider-Man. Period. He made such an immediate and strong impression in Civil War that I was greatly looking forward to his first big starring venture, and Holland does not disappoint. This is the first Spider-Man that doesn’t feel crushed by the heavy burden of being a superhero. He’s a kid eager to grow up and join the world of other caped crusaders, but he’s modeled his crime fighting from what he’s seen on TV. He doesn’t really know what he’s doing. He’s still an awkward kid, and Holland brings great authenticity to the smaller character moments and the bigger heroic strides (while maintaining a convincing American accent). This is a more relatable, vulnerable, and interesting Peter Parker. Even though he thinks he should be beyond the mundane life of high school, he doesn’t ever act pompous or look down on other characters, which is endearing. At times Holland feels like he’s going to explode with energy, as if life is too much to process in the intermediary. He’s a teenager and the world feels so big and open. It’s an instantly engaging and likeable portrayal that wonderfully capitalizes on the introduction from Civil War. This is a Spider-Man, and his spider world, that I want multiple sequels to further explore and challenge.

Keaton’s Vulture already ranks as one of the best villains in the MCU (a low bar, I admit), and that’s because the movie humanizes him and gives him significant moments. He’s just a regular working-class man trying to provide for his family. In fact the first five minutes of the movie focus exclusively on Toomes and explains his sticky situation. He feels cast aside by those in the upper echelons of power. His eventual “you and I are the same” speech to Spider-Man has credible points. You can see, from his perspective, how he’s an underdog sticking it to the rich elites. Shockingly, there’s only one death in the entire movie and even that is an accident. Toomes is not your standard comic book villain, and there’s a brilliant third act twist that makes him even more centrally involved in the narrative. That opens a delicious sequence of dramatic irony. Keaton has a quiet menace to him that’s very unsettling. It’s all in the lower register. His character doesn’t blow up. He just narrows his brow and intensifies that scary stare. I’m glad the filmmakers realized that more Keaton was an asset to the film.

Let’s also take some time to celebrate the sixth Spider-Man movie for having a diverse population of characters that would actually represent Queens. Peter’s best friend is of Filipino descent, the girl he crushes on is biracial, the loner girl is biracial, and even the high school bully, Flash Thompson, is Hispanic, played by Tony Revolori from The Grand Budapest Hotel. This might be Marvel’s most diverse cast yet, though “yet” being the operative word considering that Black Panther is arriving in early 2018.

This movie is a total blast. Spider-Man: Homecoming actually manages to give new life to a character that has already appeared in five other movies. That’s an amazing feat. Another amazing feat is that six different screenwriters, including the director, are credited with this movie, yet it feels fully coherent in its vision and presentation. This is Peter Parker, the teenager struggling with self-doubt, hormones, and an eagerness to grow up, and the movie feels much more human-scaled, forgoing giant CGI smash-em-ups for something more grounded, personally involving, and ultimately successful. Just because Homecoming is fast-paced and funny doesn’t mean it lacks substance. I was elated during long portions of this movie, impressed by the steady stream of setups and payoffs, the incorporation of the many characters and comedic voices, and the varied action set pieces that were focused on character progression. If you are tired of superhero stories, I’d still heartily recommend this movie. Dear reader, I feel like I’m failing you and turning into a frothing fanboy because I can only think, at worst, of negligible quibbles against the film. Everything in this movie works. Everything. It’s everything I was hoping for and then some.

Nate’s Grade: A

Captain America: Civil War (2016)

captain-america-civil-war-15Think you were disappointed by last summer’s Avengers: Age of Ultron? The pressure-packed experience broke writer/director Joss Whedon who swore off being the creative shepherd of the Marvel cinematic Universe (MCU). Enter the Russo brothers, a pair who were widely known for their work in eclectic TV comedies like Community and Arrested Development before blowing away all modest expectations with 2014’s Captain America: Winter Soldier. I can say that the Russos are more than capable for the challenge. My simplistic blurb for Captain America: Civil War is thus: everything Batman vs. Superman did wrong this movie does right.

After the cataclysmic events of multiple movie climaxes, the world governments are wary of the power wielded by the Avengers. Secretary Ross (William Hurt, the lone returning element from 2008’s Incredible Hulk) is pushing the superheroes to sign the Sokovia Accords, which would put them under the control of a U.N. joint panel. This panel would decide when and where to deploy the Avengers. Captain America, a.k.a. Steve Rogers (Chris Evans), is worried about a group of people taking away their choice. Iron Man, a.k.a. Tony Stark (Robert Downey Jr.), believes that they need to accept limitations and that agreeing to these terms staves off something worse later. This division becomes even more pronounced when Rogers’ old friend the Winter Soldier, a.k.a. Bucky Barnes (Sebastian Stan), reappears as the chief suspect in a U.N. bombing. Black Panther, a.k.a. T’Challa (Chadwick Boseman), swears vengeance against Barnes for the bombing. As the assembly of heroes squares off over the fate of the Winter Soldier, Baron Zemo (Daniel Bruhl) is tracking down classified Hydra documents to uncover pertinent information that will topple an empire.

Captain-America-Civil-War-Team-Cap-attackingWhile I don’t want to turn every new film review as an opportunity to beat a dead horse, I cannot help but draw immediate and stark comparisons between Civil War and the earlier titanic superhero slugfest, Batman vs. Superman: Dawn of Justice. Let’s take this case point by point so there is no reasonable doubt left for the jury of ticket-buyers.

Batman vs. Superman doesn’t set up its conflicts with enough time to develop them and it lacks real emotional stakes.”

With BvS (I’m saving my fingertips some drudgery), we hadn’t known these characters for more than one movie at best, and in the case of Bruce Wayne less than one. When they fought there wasn’t any real stakes despite the apoplectic marketing because we hadn’t built relationships with these characters. In the case of Henry Cavill’s Superman, many were turned off entirely by the guy (not necessarily by Cavill’s physique, though). Did anyone really care who won? The filmmakers relied on the audience to supply their pop-culture good will for the characters instead of proper characterization and development. In the case of Civil War, we’re dealing with the cumulative effect of having twelve movies to build up storylines and character relationships. We’re invested in these characters and their friendships, so when they fight it actually does matter. You feel for both sides and multiple characters and the movie does a good job of providing each side a credible motivation. It’s a political thorny issue but it’s kept very streamlined, focusing more on the characters. If the MCU has had one nagging problem throughout its history it has been a dearth of good villains. There’s Loki and… Loki. One solution is to just pit the heroes against each other and this produces as many fist-bumps as winces. My audience was gasping at reveals and twists and turns. They weren’t doing that with BvS. And wouldn’t you know Civil War actually has a climax that’s more than just an increasing series of punches and kicks (though plenty of those are featured); the climax is an emotionally grounded confrontation that cuts to the core of the group. The events of this movie matter and while obviously it can’t follow its divisions to an irrevocable end, I appreciated that not everything is resolved. These storylines and the conflicts between characters will carry onward when we pick up the pieces in 2018.

Batman vs. Superman is too burdened with setting up an array of other film franchises that it loses badly needed focus and momentum.”

Captain-America-Civil-War-images-previewTo be fair, this charge can also be laid at the feet of Age of Ultron, which buckled under the heavy weight of setting up multiple other future movies rather than telling a completely satisfying movie in its own right. Once the franchises gave birth to mega-franchises, the wheels-within-wheels of moneymaking, now the studios require a lot of heavy lifting from our entertainment. They’re investments in futures and if done improperly can easily crumble under the failed execution like the Amazing Spider-Man series (R.I.P. 2012-2014). Miraculously, Civil War finds ways to involve every member of a large ensemble cast into the story in ways that matter. The movie finds small character moments that make them feel better rounded, like Vision (Paul Bettany) and Scarlet Witch (Elizabeth Olsen), and it introduces featured supporting players with great care. Black Panther is a terrific addition and brings a quieter intensity that contrasts nicely with the more colorful characters. Hawkeye (Jeremy Renner) introduces himself and Black Panther curtly says, “I don’t care” and goes back to fighting. Boseman (ageless I tell you!) is smooth and magnetic. Then there’s everyone’s favorite neighborhood Spider-Man (Tom Holland), or whom I’m already referring to my pals as “best Spider-Man.” It’s another incarnation of Peter Parker but the first that feels like an actual teenager, a bundle of adolescent energy and excitement. He’s the voice of the fans and during the big battle he can’t help but gush that he gets to be involved alongside the big names. Spidey’s a fanboy too. He also has a few choice meta one-liners that had me cackling. Holland (The Impossible) makes an immediate impact and, unlike BvS, finds new ways to make us care. I’m genuinely excited for solo Black Panther and Spider-Man adventures with these characters. Even the more traditional villain of Civil War, Baron Zemo, is handled in a way that provides an emotional motivation for his character that is sincere rather than mustache-twirling villainy. In a lot of ways this feels like a third Avengers film just with the size and scope alone. The dozen characters are juggled skillfully but the emphasis is always on Rogers and Stark and their significant personal conflicts.

Batman vs. Superman’s action sequences are repetitive, joyless, and dank.”

I challenge some enterprising soul to even try and decipher what is happening during the climactic three-on-one monster battle in BvS. I was sitting in the theater and just gave up. I wasn’t having any fun and I couldn’t even literally tell what was happening onscreen with all the confusing CGI obfuscation. The action droned on and on with little variation and was at pains to include certain members and storylines (Lois, maybe don’t get so hasty with that kryptonite spear). It was all just one big overwrought mess that made you question whether anybody on that film production actually liked these superheroes. With Civil War, the action sequences are smartly conceived and choreographed, making excellent use of geography and adding organic complications. The standout is the 20-minute superhero-on-superhero brawl at the Leipzig airport. It is nothing short of nerd nirvana. The characters use their powers together in exciting ways and it further helps them feel like an actual team taking proper advantage of their resources. It’s the culmination of a child’s imagination at play, the living embodiment of smashing action figures against one another and flying around the room. I was thrilled that the Russo brothers found ways to incorporate all the heroes into the action. The specific powers are taken advantage of in fun and surprising ways. The action changes as the stakes keep getting more complicated as more heroes enter the fray. It’s a set piece that will become legendary within film geek circles and it provides payoff after glorious payoff.

Batman vs. Superman is devoid of all fun and takes itself far too seriously. You feel beaten down, exhausted, and punished by film’s end.”

captain-america-civil-war-spider-manThe Marvel movies have earned a reputation for their brisk and breezy nature, which has unfairly been labeled as “weightless” and “silly.” I challenge someone to watch Civil War and tell me just how weightless and silly it is. The Russo brothers and the screenwriters take these characters seriously and their care shows. While there can be plenty of rapid-fire quips and one-liners, the movie’s sense of humor does not detract from the emotional weight of its dramatic shifts. There are political and thematic overtones, mostly the costs of vengeance and culpability, that provide extra depth to the onscreen derring-do. However, Civil War understands that an audience wants to be entertained as well with their heavy-handed messianic imagery. There are payoffs galore in this movie. Some are several movies deep from set up. It all comes together to make a thrilling and highly enjoyable movie experience that plays to its audience in the best way possible. It’s an expert summer blockbuster that packs its own punch. There’s a reason I have already seen Civil War three times already. There is so much to enjoy and it’s so tightly packed and structured that you can jump right in and go for the ride. This is the movie fans were hoping for. This is the movie that washes out the bad taste of the dreadful BvS. If one of my lasting disappointments with BvS was how it made me lose hope for future DC movies, Civil War has cemented my anticipation. The future creative direction of the MCU is in good hands with the Russo brothers. This is the movie that reminds you just how damn good superhero movies can be when they’re at the top of their game. I’d place Civil War right up there at the top of the MCU, though at this time I’m still holding Guardians of the Galaxy as the apex. They’re still achieving this high level of quality after a dozen movies, people. I would not have thought that Captain America would become the gold standard of the MCU but there it is. I felt beaten down by the merciless end of BvS. I felt the elation of an adrenaline-rush from Civil War.

I’ll conclude this unorthodox film review with my in-summary blurb: everything Batman vs. Superman did wrong Captain America: Civil War does right. Do yourself a favor and start the healing process from BvS and enjoy Marvel’s latest cinematic gift to its fans.

Nate’s Grade: A

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