Marvel Studios: 11 Years and 21 Movies Ranked

With Avengers: Endgame just about to hit theaters, I and everyone else obsessed with movies whether professionally or otherwise have decided to look back to the beginning in 2008 and rank and talk about the 21 movies which have been released prior to the epic finale of phase 3 and of the entire Marvel story line thus far.   The feature films in the MCU could arguably be the most consistently entertaining, crowd pleasing group of movies ever released by a studio, but that doesn’t mean they are all equal nor that they don’t have their share of issues.

The secret to Marvel’s success and consistency, in my opinion, is a deep understanding of their characters and themes.  While they have had an issue giving life to their villains at times (and certainly not all the time, there are a few great villains in their canon), they otherwise give us three dimensional, exciting, witty people we can get deeply invested in.  Where they fail is in lack of stakes and in being so true to visual and storytelling formulas that all their films look and feel far too similar, creativity gets lost to what is seemingly studio mandate.

From their worst to their best, here is how I feel about the pre-Endgame MCU feature films.

21.  Thor: The Dark World (Taylor; 2013)

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Underwhelming writing, dull cinematography, and a cast which doesn’t seem to want to be there make for Marvel Studio’s worst film by a rather large margin.

If any of the MCU films can be called downright bad, it would be Thor: The Dark World. The villain problems extant in much of the MCU is at its worst here with a villain so basic, so lacking in any personality or distinguishing traits that he’s nearly impossible to remember for most.  The heroes aren’t much better with Chris Hemsworth not being used to the best of his ability, yet, and obvious lack of chemistry between most of the cast, and supporting characters who don’t seem to have much of a reason to be in the film beyond exposition and snark.  Even Tom Hiddleston, the best part of the first two Thor movies, is somewhat wasted here as Loki is only in half the film and his character is written inconsistently.

 

20.  Iron Man 3 (Black; 2013)

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Much like Thor: The Dark World, Iron Man 3 is a mess of a movie with dull villains and an unnecessarily complicated story line.  The exploration of Tony Stark’s PTSD after the events of The Avengers is a fantastic idea, but the idea is poorly executed and diluted by too many unrelated subplots.

Iron Man 3 does take its fair share of risks, something I wish more Marvel Studio’s films would do, but in this particular case those risks don’t pay off and can be actively aggravating.

I admit to this low of a ranking being subjective.  I did not see Iron Man 3 until many years after its release by which time I had seen a few MCU films which already grappled some with Stark’s PTSD and so the impact wasn’t as great as it could have been had I seen the films in order.  I decided to not take that into account in my rankings, however, as this demonstrates one of the many ways personal experience can impact one’s investment into and enjoyment of art.

19. The Incredible Hulk (Leterrier; 2008)

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The Incredible Hulk is sort of the poster child for what makes a bad MCU film.  It understands the character of its protagonists well enough, but it again has dull villains (yes, that will be said a lot throughout this list), is predictable, takes no risks with its story, and outside of its action sequences has little creativity in its technical aspects.  The tensions between Edward Norton and the studio are also well known, and almost certainly played a part in The Incredible Hulk‘s lack of inspiration.

William Hurt’s role as General Ross was arguably the movie’s highlight, and his return in later films was appreciated.  Hulk – not a smash.

18.  Iron Man 2 (Favreau; 2010)

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Iron Man 2 is undeniably a mess.  It touches on Tony Stark’s irresponsibility and alcoholism, but not to the degree necessary for those themes to contain any weight.  Its story line is a little all over the place trying to grapple with more conflicts and character arcs than its running time can reasonably allow.  And, its action sequences are arguably the hardest to follow in the entire MCU.

It does have two often forgotten saving graces, however, in Mickey Rourke and Sam Rockwell as well thought out, well acted villains.  Mickey Rourke famously hated working on the film and refuses to return to the MCU, which is too bad because his professionalism still allowed him to give a captivating turn as Whiplash, but the fact that Rockwell has never returned as Justin Hammer is a little bewildering as he was excellent as well.

17.  Thor (Branagh; 2011)

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Thor’s origin movie suffers from the same problems as its sequel where the cast chemistry is concerned, but has the advantage of Hemsworth being allowed to flex is comedic muscle a bit more and Tom Hiddleston has a much larger role.  The film does suffer from pacing issues, and the fact that Hiddleston and Hemsworth are separate for the majority of the film means we are stuck with Hemsworth and Portman’s comedically bad rapport for most of Thor.

The screenplay does do an excellent job of getting the primary characters personalities down, Branagh’s direction does add a distinction most MCU movies don’t contain, and Hiddleston was so great that I believe he is the reason Rourke and Rockwell were all but forgotten about from Iron Man 2.  Thor has more positive than negative, but is still far too inconsistent and rocky to be considered among even the more moderate movies of the MCU.

16.  Captain America: The First Avenger (Johnston; 2011)

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By the time the first Captain America movie came along, Marvel Studios had a plan and it showed.  However, it did not have a complete formula and that also shows for better or worse.

When Chris Evans was chosen to play Captain America the general consensus was that he looked perfect for the part, but since he was just coming off of a short run as The Human Torch in the not so great Fantastic Four movies many were dubious as to his being able to give the role the calm charisma needed.  We know now that he perfectly embodied the role to the same degree Hugh Jackman embodied Wolverine, Ron Perlman did Hellboy, or Ryan Reynolds Deadpool.

The rest of the film is not quite as great.  Cap’s relationship with Bucky is near perfect, but the rest of the characters don’t fare quite as well.  His chemistry with Peggy is certainly better than Thor’s with Jane, but it’s still not stellar, and Hugo Weaving gives a so-so performance as Red Skull.  Overall, a solid, but slightly underwhelming entry into the Marvel canon.

15.  Ant-Man and the Wasp (Reed; 2018)

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Ant-Man and the Wasp is a film which may epitomize both the best and the worst parts of the MCU in one film.  On the one hand, it understands the majority of its characters intimately, nailing their relationships with one another, the positives and negatives of their personalities, and what their talents and abilities allow them to accomplish on both a practical level and in a fun for the audience way.  It’s humorous without devolving into pure camp, its action is creative and exciting, and its dialogue witty but light and unpretentious.

However, it suffers from having a truly underwhelming and underwritten villain in Ghost (which is particularly annoying here since the last few Marvel films had gotten past this flaw), and it’s primary plot shows that stakes in Marvel films are not just light, but non-existent.  It’s a running gag that people never die in the comics, but the Marvel films could fix that since actors have contracts and while Spider-Man in the comics has to survive for decades to sell books, the movies not only don’t have that problem, they can’t even if they wanted to.  So, to have the Marvel films constantly resurrect their dead protagonists lowers the stakes when we know it isn’t ever permanent, to have a plot which revolves around essentially bringing a character back from a point of no return epitomizes and exacerbates that.

14.  Avengers: Age of Ultron (Whedon; 2015)

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What Marvel having a cinematic universe allows it to do better than any series of films before or since is have large event films with dozens of characters and gigantic action scenes which don’t need the usual exposition and set up since this has already been done in other movies.  Personally, I enjoy these large event movies more than the smaller films (spoiler alert as to which films are going to be toward the top of this list) as they allow me to see something on an epic scale done in a manner few if any films prior to the MCU have been able to accomplish.

Avengers: Age of Ultron most definitely has the touch of its director Joss Whedon with witty dialogue, a light tone which uses self awareness and verbal prestigitation, and death to evoke an emotional reaction.  Unfortunately, these very qualities undercut the film’s tone giving us a villain more snarky than scary (though not dull, at least), a film with emotional beats more manufactured than earned, and an action movie which depends more on what the characters say than what they do.

Add to all that inconsistent tone and many scenes which have little to do with the main story and break the narrative flow, and that makes Avengers: Age of Ultron the worst of these large event films.

13.  Ant-Man (Reed; 2015)

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One thing Marvel did in its second phase of films is start branching off into different genres than straight comic book action dramas.  In Ant-Man we got Marvel’s first heist movie with all the fun and large supporting cast heist movies generally entail.

Going with the Scott Lang version of Ant-Man rather than the original Hank Pym version was a bit inspired as it allowed Ant-Man to be portrayed by Paul Rudd with his “aw shucks” brand of hilarious charisma rather than an Ant-Man who is incredibly intelligent but otherwise bland as Pym is in the comics.  It also created a far more interesting character dynamic than Pym’s origin had in the printed version.

Unfortunately, Ant-Man was severely hampered by a plot far too similar to the other Marvel origin movies, including the usual lackluster villain, and the comic, light-hearted tone means the film didn’t even have high stakes tension to lean on for excitement factor.

12.  Dr. Strange (Derrickson; 2016)

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The fact that a movie as solid as Dr. Strange is this far down the list speaks to why the Marvel Cinematic Universe has struck such a chord with general audiences.  We’re not even halfway through the list and we’re to films that aren’t just good, but have positive qualities which far outweigh their negatives.

Dr. Strange is nearly perfectly cast, it has trippy, creative visuals, it separates the magic of the Marvel world from the fantasy magic we are used to from traditional fantasy films, and it is written with a deep understanding of its characters without being afraid to change their more problematic elements.

All that being said, Dr. Strange still has horrible villain problems, the only interesting factor involving the villains is how the ultimate enemy is finally defeated, and is predictably formulaic to an extreme.  Benedict Cumberbatch is perfect for the role, and Ejiofor as Mordo showed a lot of promise as a future villain, so I have to believe that the second solo Dr. Strange film will be superior.

11.  Spider-Man: Homecoming (Watts; 2017)

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The only entry in the MCU not distributed by Disney/Marvel Studio’s, Spider-Man: Homecoming is a solid entry for Sony, one of the best of the Spider-Man films, but not quite good enough to break into the top 10.  Sony made the very intelligent choice to not make Spider-Man: Homecoming and origin story, figuring most likely correctly that its audience already knows this story and more than a little sick of it.  Another aspect of Spider-Man: Homecoming which demonstrates a lot of intelligence on the part of its creators is a phenomenal cast including the rare for Marvel movies fantastic villain Vulture played by Michael Keaton and Tom Holland as Spider-Man the first person to take on the role who is excellent as both Spider-Man and Peter Parker.

The very personal story line of Spider-Man: Homecoming allows for one of the most intimate character studies in a Marvel movie to date of both Peter Parker and Adrian Toomes (Vulture) but it also makes for much smaller stakes than we are used to in an MCU film.  I do like the fact that this means for his first MCU feature we get a “friendly neighborhood” Spider-Man, I don’t like that this makes for a movie which has very little to say beyond its surface.

Still, what we get is enough to make it a strong entry in the MCU, the second best live action Spider-Man film after Spider-Man 2, and while its themes of working class man who gets screwed over by the powers that be are shallow, they are enough to make for a bit more than just surface level investment.

10.  Thor: Ragnarok (Waititi; 2017)

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I’ve stated that Marvel has never made a truly bad movie, except possibly for Thor: The Dark World, but past this point we go beyond mediocre and good into exceptional.  Which if you have already calculated the very simple math means I believe that nearly half of the output of Marvel Studios enters the exceptional category (though, I don’t believe any approach anything resembling a masterpiece).

Thor: Ragnarok is the first Thor film to recognize and utilize Chris Hemsworth’s talent for comedy to its fullest extent, which makes sense since it is directed by Taika Waititi the New Zealander responsible for What We Do in the Shadows.  What doesn’t make sense, yet absolutely works anyway, is that this comedic tone is taken in a film which focuses on gladiatorial combat, the end of the universe, and the goddess of death.

The first Marvel Universe film which is a straight-up comedy also deals with its darkest subject matter (until we get to Infinity War) but Waititi somehow manages to balance the light tone with the heavy stakes without turning to cynical dark comedy.  It’s an amazing feat, and I hope that Waititi and Marvel Studios can somehow find a way to work together again sometime down the line.

9.  Guardians of the Galaxy Vol. 2 (Gunn; 2017)

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This was perhaps the most difficult film for me to place on this list as it does the thing I love most in a film better than any other Marvel movie, and that’s use the fictional and the fantastic to grapple with a theme relevant to reality.  In Guardians of the Galaxy Vol. 2‘s case its using superhero space opera to cast the light from a semi-warped mirror onto the dysfunctions present in most every family on Earth.  It sheds that light primarily onto those with “daddy issues”, but it also tackles sibling rivalry, being overly attached to a parent, and issues prevalent in foster families.

Guardians of the Galaxy Vol. 2 also has the best cinematography of any MCU film.  Somehow, Gunn managed to get away with more than just the standard practical but farthest away from anything which could be considered art cinematography of the other Marvel Studio’s films and gave us a few scenes, in particular the opening credits scene of all things, which have a definite artistic personal style to them.

Even though GoG 2 does two things better than any other MCU entry, though, I can not rank it any higher than this because it suffers from the same villain problems as most other Marvel films (though not quite to the usual degree) and its comic tone never finds a true balance and is often downright distracting in it inability to just let a tender emotion sit and stew with the audience.

8.  Black Panther (Coogler; 2018)

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There is one reason and only one reason that Black Panther isn’t far enough up on the list to make it the best of the Marvel solo origin movies, and that reason is that starting with Iron Man we had already seen this film 5 times before in the MCU.  Man lives morally questionable lifestyle, said lifestyle threatens man’s life, man makes better choices and acquires superpowers simultaneously, man meets his villainous mirror image, man overcomes villainous mirror image in final battle to make up for past self is the Marvel solo movie formula, each one having one variation on the theme, and Black Panther is no different.  But, this no different is the 6th time it was no different.

Beyond that, though, Black Panther is brilliant.  There’s the obvious fact that it highlights a continent and a culture which too much of the world is largely ignorant of.  While T’challa may not be the first black superhero to lead a film, not even the first time for a Marvel movie, Black Panther is the first superhero film to have a very predominantly black cast and, in my opinion even more importantly, crew.   It has a solidly African American message, too, which may be handled with the subtlety of a jackhammer, but not every movie needs to be subtle, and it being primarily a big budget, epic scale, superhero action movie I can definitely forgive it not making its audience discover its themes.  In fact, that was absolutely the right way to go in a film of this sort.

Black Panther is also the very rare Marvel movie which has a villain more interesting than its hero.  Its costumes won it an Academy Award, every aspect of its production design was incredible, and even its soundtrack was excellent and original.  Except for its way too derivative plot, Black Panther is top notch superhero origin movie material.

7.  Captain Marvel (Boden & Fleck; 2019)

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Captain Marvel is far from a perfect movie.  It tries to do too much in its just over 2 hour running time to maintain consistency.  Its tone is a little all over the place, its humor is inconsistent, and its the rare Marvel movie which neglects protagonist characters as well as its villains.  But, this all occurs because Captain Marvel is an incredibly ambitious, risk taking movie – a quality far, far too rare in Marvel films – and those risks make for a unique experience among the MCU, and while that uniqueness occasionally is discordant, it more often adds up to a very powerful experience.

The risk that always works is its overtly, and also sometimes not so overtly, feminist themes.  Wonder Woman was an inspirational film, and it was wonderful to see a well made movie about a woman with godlike powers finally do well with both audiences and critics, but Captain Marvel not only has all those same qualities, but it also intelligently scrutinizes the way women are treated by their male peers (lest anyone think that means this movie “hates men”, may I point out her closest companion throughout the movie is a man).

But, what sets Captain Marvel just ever so slightly above Black Panther in my esteem is the fact that it finally breaks the MCU solo origin movie formula.  Rather than show a man overcome his past both literally and metaphorically, we get to see a woman gain power through her own heroism, then realize there is nothing wrong with fully embracing that power despite what the men around her whisper in her ear.

6.  Avengers: Infinity War (Russo & Russo; 2018)

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This is the ultimate example of what the Marvel Universe was created to do.  It would be impossible in any other circumstance to make a movie with dozens of protagonists all with established personalities, motivations, and backgrounds.  Even a television show, which in many ways the MCU resembles more than any other series of films, would take multiple seasons to establish a cast of characters as Marvel has, and a television series wouldn’t have anywhere near the budget a feature film has.

Avengers: Infinity War‘s genius is that it does even one better than would seem necessary, though.  Not only did Marvel studios have the patience to wait for 20 films so that it could tell a story so epic in scale without having to use the majority of its running time for exposition and character development, it wrote its villain as its protagonist so that we still do have that exposition and character development for a singular character for which it’s most important.  This also has the not incidental side effect of making it so Avengers: Infinity War does not have the MCU’s usual villain problem.

Avengers: Infinity War is not the smartest, most emotional, most artistic movie in Marvel Studio’s canon.  But its epic scale, particularly where the sheer number of characters is concerned, has arguably never been matched in any film before.  It does that without sacrificing cohesion or audience investment, and that’s damn impressive.

5.  Iron Man (Favreau; 2008)

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The movie that established the MCU is still one of its very best.  Prior to 2008, Iron Man was at best a third stringer superhero.  If you said the name people had heard of it, though it’s just as likely it was because of the Black Sabbath song as the comic character, but they probably couldn’t say much more.  As someone who collected comics for a while in my teen years, I still had never bought a title in which he was a main character. But, post 2008 Tony Stark is a household name just as much as Clark Kent or Bruce Wayne.

The secret to Iron Man‘s success (and Dr. Strange‘s, and Thor‘s, and Ant-Man‘s, and Black Panther‘s, and The Incredible Hulk‘s if it can be considered a success) was that the story came from the character and his growth and experience rather than the other way around.  Tony Stark isn’t a man reacting to circumstances beyond his control, he’s engineering his own fate and everything that happens to him from his accident, to his change of heart, to his battle with his former partner comes naturally as an extension of who he is.

Iron Man is not just the first of the Marvel movies, it’s still the best of the origin movies and it’s the movie that defined what the Marvel formula was to be (at least until Captain Marvel – we shall see what happens from here).

4.  Captain America: The Winter Soldier (Russo & Russo; 2014)

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Captain America: The Winter Soldier has as much, if not more, in common with The Bourne Identity as it does with other superhero movies.  This, the second Captain America movie, was the first of the Marvel movies to play around with genre by giving its audience a political spy thriller instead of straight comic book action/adventure.  Its success both with audiences and with critics meant it wouldn’t be the last Marvel film to incorporate different genres into its story and tone.

What made the success of The Winter Soldier more surprising than perhaps any other factor, was its directors.  Prior to this movie, Joe and Anthony Russo were known for directing comedies.  Television situation comedies for that most part, at that.  Many thought prior to The Winter Soldier‘s release that the heads at Marvel Studios had lost their marbles and had made their first major, possibly studio ending, mistake.  What the heads at Marvel had actually done was demonstrate their genius, or at least their luck, in a grander fashion than ever before.

The Winter Soldier is a fantastic film on its own merit even if none of the other Marvel Studios films had ever existed, but it ended up being more as much of the storyline still going on derives from this movie.  The first Captain America movie defined his character, but this is the movie that defined his place in the Marvel Cinematic Universe, and thus the path of the MCU in general to a very large degree.

3.  Marvel’s The Avengers (Whedon; 2012)

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The first big Marvel event movie had huge expectations partially due to the quality of the films leading up to it, partially due to Joss Whedon helming the project, and partially just from pure hope that it could be as much fun as the idea seemed.  It not only met those expectations, it exceeded them and became one of the top grossing movies of all time as well as a critical success.

It was made in the days before Marvel Studios forced the same visual style on all of its directors, and so had some truly fantastic visuals including a long, unbroken shot during its final fight scene which has been equalled in artistic and technical merit only by the opening credit sequence of Guardians of the Galaxy Vol. 2 mentioned earlier.  It also had Joss Whedon’s style tattooed all over it from its witty dialogue, to its subversion of both character and genre, to its use of humor and drama when least expected to heighten the impact of each.

Marvel’s The Avengers created the template for the huge event movie of today, and remains one of its best examples still.

2.  Guardians of the Galaxy (Gunn; 2014)

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Guardians of the Galaxy was Marvel’s greatest risk not only because it was a property which not even die hard comic book nerds had much familiarity with let alone the majority of its potential audience whom had never heard of it at all, but also because it had to be an origin story for an entire group, not just a single person, and could thus very easily have lost focus. done a disservice to its characters, or more likely both for a movie this large in scale with this many moving parts.

It not only pulled off giving us five fully fleshed out, engaging, charming protagonists within an epically scaled space opera along with just as fully formed side characters, Guardians of the Galaxy and director James Gunn created the tone which would propel forward not only the rest of the Marvel Cinematic Universe, but which would also be copied by movies such as Baby Driver, Suicide Squad, Atomic Blonde, and many more.

It broke the mold on Marvel movies and action movies in general, created a new one which everyone wanted to get their hands on, made household names of characters whom nearly no one had heard before, and did it all in a movie seemingly cram packed with too much material for anything to get the attention it deserved, yet somehow was actually perfectly paced.  Its only real glaring problem was, say it with me, the villain, whom even by Marvel standards was especially bland.

1.   Captain America: Civil War (Russo & Russo; 2017)

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Like Guardians of the Galaxy, Captain America: Civil War somehow managed to have its cake and eat it too by being both one of Marvel’s epic event movies and a piece which was personal in scale by focusing more on character than on plot.  It has the large scale action and fight sequences with many characters and moving parts to keep your heart racing and your eyes glued to the screen, but at its heart is a movie about duty, friendship, and responsibility and what those values mean to different people.

Captain America: Civil War‘s secret to success was to focus not on the accords nor the assassination attempt, those were merely excuses to move forward the action, but on Captain America’s friendships with both Bucky and Tony Stark and the lengths to which he’ll go to protect those people and ideals which mean the most to him.

Everything great about any individual Marvel movie is present in Captain America: Civil War, except for the occasional brilliant camera work.  It has relatable, engaging characters who change and grow throughout the movie, it takes risks in making those we’ve always seen as heroes before into the villains here, it has some of the greatest action sequences ever put into a Marvel movie which means they are in the running for greatest of all time, period, and it does all this while also having themes with far more depth than all but a handful of the other Marvel films and it introduces two characters brand new to the MCU on top of all of that.  If Marvel ever manages to top this movie, it will only be because they somehow managed to add art to their formula, because aside from that missing factor Captain America: Civil War is a near perfect comic book movie.

 

Justice League (Snyder; 2017)

Warner Bros. more than just stumbled out of the gate when they started producing their line of films based on DC Comics which they are now claiming was never meant to be a cinematic universe.  They gave us a story in mid-telling with only the most minor of clues what had gone on before, they made this story overly dark both literally and figuratively, and worst of all it seemed they didn’t understand their own characters by giving us a Superman who doesn’t care about collateral damage and the lives of civilians, a Batman who mowed people down with guns, and a Joker and Lex Luthor who seemed to have switched bodies.  Then they gave us Wonder Woman.  Wonder Woman showed us they could make a character who could inspire, that they were capable of starting a story at the beginning without cloning every other origin story out there, that they could give us visuals that were both gorgeous and vibrant, and that they did understand at least one of their characters.

Justice League comes to us from Zack Snyder, the director of Man of Steel and Batman v. Superman: Dawn of Justice, and since those are the two films which started the DC movies down the path of “what the hell are they doing?” I admit to a lot of skepticism over whether he could pull off a Justice League film.  When Snyder left the project after primary shooting was done, but before post-production was very far underway, and gave the reins of the project over to second unit director Joss Whedon my concerns became even stronger as even though I love most of Whedon’s work, the possible clashing of styles did not seem like a good omen.  I can say having now seen the film that while Whedon’s influence in the film’s script is definitely noticeable, the directorial styles did not overly clash.  Yes, you can notice Snyder’s heavier, darker style not blending that well with the more light-hearted, self-aware, bantery style of Whedon’s during Justice League‘s introductory scenes, but the film quickly hits its groove making you forget about its imperfect start rather quickly.

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Justice League also manages to get its focal characters which were so wrong in earlier DC movies right.  Ben Affleck as Batman, who I felt was the best part of Batman v. Superman, brings more of the same except without the inclination for murder and just a tad more humility and humor.  Not enough to break the character, but enough to make him more relatable.  Gal Gadot, on the other hand, does not quite give us the tour de force performance she gave as Wonder Woman in her solo movie, but she is still very much the same character inspiring those around her while also kicking ass and looking great doing it.  The only reason she doesn’t stand out as much is that she has to do so much spotlight sharing this time around.  Ezra Miller gives us a very fun, awkward Flash, and Ray Fisher’s Cyborg while perhaps the least dynamic member of the team in terms of personality is still well acted as he portrays a young man trying to come to terms with the fact that he has become something of a monster.  In the least surprising spoiler ever to be termed a spoiler, Henry Cavill returns as Superman and his performance may be most surprising of all finally showing us the Superman we all know and love who views himself as a humble, “aw shucks” protector of the weak and not as a powerhouse who happens to hate bad guys.  The chemistry among this crew is also excellent making the cast a true ensemble rather than a bunch of solo actors who happened to be thrown together.

You’ll notice I did not mention either Jason Momoa as Aquaman nor the villain (who I will not name so as to not spoil it, it’s not who you think it is) voiced by Claran Hinds, because they were the two disappointing characters in the bunch.  Aquaman may not be a character most understand past a joke character, but the one thing he has in common among all his various incarnations is a regal quality.  Sometimes he seems haughty, other times noble, but always regal.  Jason Momoa’s Aquaman struck me as a guy you’d see hanging out at a biker bar picking fights.  Sure, he’d be the wittiest guy at the biker bar, but he’s less a ruler and more an alpha dog, and there’s a big difference between the two.  Our villain is also disappointing because he is just so generic.  I don’t remember him ever rearing his head back and letting out an evil laugh but nearly every other bad stereotype a villain can encompass is there.  He even wears a helmet with devil’s horns.

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The story is a lot more coherent than the first three DC films.  Sure there are a few references here and there to past events, but never in such a way that it seemed like we missed some major plot point, so major it could be an entire film unto its own, like in Batman v. Superman and Suicide Squad.  The story does have one rather large weakness in that it relies on the audience remembering Superman as the character he is in the comics rather than as the character he was in Man of Steel and Batman v. Superman, and a lot of the character motivation loses most of its oomph due to that.  The story also is awfully generic in its villainous plot which we’ve seen many times before in comic book movies, but I can, for the most part, forgive this as what we needed in a Justice League movie was a solid establishment of the universe we’re in and the characters inhabiting it, so in a way a time-worn familiar plot is what we needed so as not to overly complicate the real focus of the story which is the formation of the world’s most famous team of superheroes.

It’s that story that really shines.  Seeing the group get together is very satisfying and entertaining.  Once we get past the missteps of the past and the film’s opening, we have a team which really is a team.  In The Avengers we saw a group who was a team because everyone knew their roles and performed them well, but in Justice League, we have a group who work well together, seem to really enjoy each others’ company, and who have each others’ backs while also having their roles, as well.

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Final verdict:  Justice League is far from perfect, but most of its imperfections are due to what came before.  If you look at the plot as the villain’s attempted takeover of Earth, then what you have is a very generic film, but the true story here is not that,  that’s just an excuse.  The true story is about the formation of a group of larger than life, powerful individuals finding each other, getting to know each other, and becoming a team who really like each other.  On that level, Justice League works wonderfully.  2017 has had a great many superhero films, and while I feel both Logan and Wonder Woman stand head and shoulders above the rest, Justice League acquits itself admirably putting it in the same category I’d put Spider-Man: Homecoming and Thor: Ragnarok – movies with no real depth, but are so much fun to experience you don’t really miss it while in the moment.

P.S.  Stay all the way through the credits.  Unsurprisingly there is a teaser for a future Justice League movie.  The surprising part is what they imply the plot will be, and if it’s true it could be a lot more fun than anything I was expecting.

Thor: Ragnarok (Waititi; 2017)

Thor: Ragnarok is the seventeenth movie in the Marvel Cinematic Universe.  Fifteen movies in nine years.  James Bond, of course, has more at twenty-five, but it took fifty-six years to get there.  Batman has had seventeen movies over twenty-eight years, but that’s not a franchise so much as a popular character getting rebooted.  Star Trek got thirteen movies over thirty-seven years.  Those numbers alone should show how remarkable the Marvel film franchise is, but all of those other long-lasting franchises have also had some terrible entries and box office flops, Marvel has yet to make a film that has disappointed on either an entertainment or a box-office level, though the Thor films have come the closest to doing both.  Thor: Ragnarok not only continues Marvel’s pedigree of excellence, but it is also far and away the best of the Thor films and in the upper echelon of Marvel movies period.

Marvel is advertising Thor: Ragnarok as the studio’s first comedy, though I would argue that the Guardians of the Galaxy movies and particularly Guardians of the Galaxy Vol. 2 were, but if you know what the term Ragnarok means you know that it’s dealing with pretty dark subject matter for a Marvel movie let alone a comedy.  (If you don’t know, I won’t spoil it for you here.)  This contradiction is a balancing act walked throughout the entire film by its cast and crew as they try to keep things light-hearted and fun while at the same time showing that the story has serious stakes and consequences for those taking part in it.  While they do have to cheat here and there to pull off this feat, pull it off they do and spectacularly enough that the cheating can be mostly overlooked.

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Chris Hemsworth (Thor) was initially cast as Thor largely because of his appearance and because he’d worked with Joss Whedon earlier on Cabin in the Woods so he’d proven he could take on a large film anchoring role.  Take on the role he absolutely did, and with gusto, but the character of Thor is one the more bland Marvel heroes as he has to be both so immensely powerful as to rarely be in honest danger, but also has to embody humility and virtue so doesn’t really have major character flaws, either.  He’s Marvel’s Superman, but without a great rogue’s gallery and level of fame, and this made for a character that even when played as well as possible by Hemsworth is still the least interesting of the Avengers.  Over the last few years, though, Hemsworth has proven he has some real comic chops between his shorts as “roommate Thor” and being the funniest character in the 2016 Ghostbusters reboot.  Marvel very intelligently ran with that and allowed Thor to also be the funniest Avenger, which is the defining character trait he’s needed all along and allowed Thor: Ragnarok to finally be a truly special Thor movie.

The rest of the cast is also fantastic with Mark Ruffalo returning as The Hulk/Bruce Banner and showing that he also has comic talent, Tom Hiddleston giving us a Loki who we already knew could be both hilarious and nefarious, and Jeff Goldblum appears for the first time in a Marvel movie as the Grandmaster and manages to steal every scene he appears in with his own eccentric brand of comedic performance.  While these four give the film its heart and soul, Cate Blanchett as the god of death Hela is incredibly menacing and captivating, and Tessa Thompson as Valkyrie and Karl Urban as Skurge hold their own in this amazing cast as two Asgardians with more personality than we get from the majority of the gods.  The only real disappointments here are Idris Elba returning as Heimdall and Anthony Hopkins as Odin who both seem like they were more or less phoning in their roles, and Hopkins not even caring if anyone noticed.

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The movie does play fast and loose with the lore of both Marvel comics’ version of Thor and actual Norse mythology.  For the most part, the changes work and add a fun unpredictability to the film for those who know either story of Ragnarok well but could annoy the geekier purists out there.  The patchwork light and dark tones also make for a story able to surprise, particularly in the film’s climactic battle which is the most daring ending to a Marvel film yet, but it can also make for inconsistent motivations from the characters as they act in ways which are more concerned with what is funny or exciting than what is consistent or realistic.

Thor: Ragnarok has one of the most unusual soundtracks for a Marvel movie to date.  Most of the Marvel films use a classic orchestral score while the Guardians of the Galaxy films are famous for their use of classic rock.  Thor: Ragnarok has a largely orchestral score, but it also mixes in techno music reminiscent of 80’s New Age music and somehow has the rights to Led Zeppelin’s “The Immigrant Song” despite the band’s legendary stinginess with giving out the rights to their music.  This mix works for the most part and allows for some incredibly epic action, but every now and then it can be distracting enough to break the movie’s spell.

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Final verdict:  Thor: Ragnarok continues the Marvel tradition of giving us an excellent thrill ride with just enough of the familiar to make us comfortable and just enough spin to make a superhero movie not quite like any we’ve seen before.  Its mix of comedy and bold plot complications makes for a bit of a patchwork, but a pretty remarkable patchwork that manages to work far more often than it distracts, though it certainly isn’t perfect.  If you’re already a fan of the Marvel Cinematic Universe then heading out to see Thor: Ragnarok as soon as possible on the largest screen possible is an absolute no-brainer.  If you are either not a fan or have somehow avoided seeing any of the other fourteen films for this long, it’s not quite as easy of a recommendation, but while you will miss some of the nuance longtime fans of the series will enjoy, Thor: Ragnarok is so much pure fun that I find it hard to believe that any but the most interminable stick in the muds will find a good amount of enjoyment in it.

 

 

 

Professor Marston and the Wonder Women (Robinson; 2017)

My full name is Shaun Ferguson.  I’ve been fascinated with film my entire life, and have intensively studied both screenwriting and acting while also dabbling in nearly every element of film making I can including a rather detailed online study of film editing from a person in the industry, lots of time discussing film criticism with fellow critics, worked with close friends and family who have degrees in cinematography or at least a lot of time in classes behind a camera, and so on.  While my majors in college were in English and Theater, my minor was in psychology and I have had a fascination with it ever since and have continued studying it on my own my entire life.  I have always been enamored with comic books and superhero culture, and while I haven’t collected comic books in a very long time, I still continue to follow what is going on in the worlds of superherodom to some extent and I love studying the genre in regard to sociology, culture, politics, and religion.  Also, I was raised in an extremely sexually repressed environment of very conservative Christians both at home and at the school I attended, and as an adult have turned a near complete 180 degrees away from that upbringing.  I say all this so that when I gush incessantly about how groundbreaking, fantastic, and enlightening Professor Marston and the Wonder Women is, we will both understand that I realize this is a film that may as well have been written with myself specifically as the target audience, it all hits that close to my home.

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Professor Marston and the Wonder Women is yet another biopic in this part of the movie season which gives us biopic after biopic about Professor William Moulton Marston (Luke Evans), Elizabeth Marston (Rebecca Hall), and Olive Byrne (Bella Heathcote), the polyamorous trio who created Wonder Woman and made her a household name.  In 1928 he two Marstons were pioneers in the new field of psychology.  He had a doctorate from Harvard and taught at Tufts University, she also had degrees in both psychology and law, though not doctorates because she wasn’t allowed to at the time as she was a woman, and in addition to their work in the psychology department at Tufts they were also developing a brand new machine which they called a lie detector.  Olive Byrne was a student of William’s whom he became quite enamored of largely due to the fact that she seemed to be an exact mirror image of his wife.  Professor Marston and the Wonder Women shows us the story of how all these factors ultimately weaved together to create the comic book character Wonder Woman.

While the writing of Professor Marston and the Wonder Women definitely follows the beats of the stereotypical biopic formula so closely you can practically predict ahead of time exactly when character introductions will move onto the inciting incident then to the next complication and so on, most everything about the way the film’s story is told is quite unique.  It’s neither a life story nor a focus on one specific event.  It doesn’t chronicle primarily one character, but the relationship between three, and it’s not about one specific event but rather how so many events, interests, and interactions culminated in something which not only still resonates today, but has only become an even greater and more beloved symbol than when Wonder Woman was first introduced.  Yet, despite the complexity of the story, Professor Marston and the Wonder Woman never confuses nor slows its pace to a crawl always keeping up the perfect balance between making sure the story is told in great enough detail and gripping the attention of its audience.

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The way Professor Matston and the Wonder Women treats its subject matter is also noteworthy.  While the character development is fantastic, the fact that it focuses so vastly on psychology sets it apart from standard character development and makes the writing both insightful and educational simultaneously.   It also treats the polyamorous relationship between its three main characters with an incredibly deft touch, never judging it in either a positive nor a negative way and also avoiding ever making it exploitative nor entirely clinical but rather portraying an unusual sexual relationship and the psychology behind it in the most mature manner I’ve ever seen in a film.

The camerawork in Professor Marston and the Wonder Women is nothing spectacular overall, but it is a step above your standard biopic cinematography and the occasional scene, such as when Marston first sees Olive in the outfit which inspires Wonder Woman’s appearance, is a downright work of art.  The costumes and art direction are top notch, though creating a look to the film which is both authentic and gorgeous and the costumes in particular could get notice come award season.

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Any biopic’s success hinges on the quality of the acting particularly by its leads and not only does it not disappoint in this area, but everyone here entirely impresses.  The two women, Rebecca Hall and Bella Heathcote, in particular display talent so on point and nuanced that nearly any actor working today would consider what they’ve done in this film a triumph.  Luke Evans despite playing the title character doesn’t have the emotional depth to his Professor Marston that the ladies do, but he still gives an excellent portrayal anchoring the plot and the other characters in what is the best performance of his career.

Final verdict:  It’s rare enough that a film can be complex, emotional, intellectual, educational, and entertaining at the same time, but Professor Marston and the Wonder Women also has true insight into human psychology and sexual dynamics.  I wasn’t that excited about seeing yet another biopic in a year which seems to be layering them on one after another more than seemingly any other year in at least recent memory, but not only did Professor Marston and the Wonder Women absolutely blow my socks off, it’s one of the best biopics I have ever seen and far and away the best so far of this year.  I fell in love with its characters and its story, and I’m pretty sure I had a personal psychological breakthrough by the time it was over, but the best compliment I can give it is that when Professor Marston and the Wonder Women was finished and the credits began to roll I didn’t want it to end.

Spider-Man: Homecoming (Watts; 2017)

Spider-Man: Homecoming is called such because it is the first Spider-Man film since Marvel originally sold the rights to the character and those surrounding him to Sony way way back at the turn of the millenium.  Since then Sam Raimi has made three movies featuring the character being played by Toby Maguire, one of them actually really good, and Andrew Garfield took on the role twice, and was meant to play him a third time, but Sony realized they didn’t really know what they were doing.  So, while Sony did not give the rights to Spider-Man back to Marvel, they did turn to Marvel for help, and the result is an agreement in which Sony retains the rights to produce and distribute the Spider-Man solo films, but Marvel gets to include him in their cinematic universe, Sony gets to include the Marvel Universe in their films,  and Marvel oversees the writing on the solo films so that the character and the world he is in are done justice.  Spider-Man has left his bubble created by Sony and has come home to the world he began in.

We got to see a bit more than a glimpse of Marvel’s take on Spider-Man last year in Captain America: Civil War. and regardless of what you thought of the film as a whole, though it was well received, you were looked at really funny if you didn’t agree that Tom Holland was a fantastic choice as the actor to portray the wall-crawler, and that the writing of the character was spot on.  Now we get to see how Tom Holland does when he has to take the spotlight for more than twenty minutes, and when given the chance to anchor an entire story surrounding him, Tom Holland shines even more brightly.

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Spider-Man: Homecoming is more than just a superhero movie, it is also a coming-of-age character piece which uses the superheroic conflict as the means through which our teenage protagonist grows into, if not manhood, then at least his next stage in life.  Tom Holland gives us a spot on Peter Parker and Spider-Man, showing his vulnerability, his awkwardness, horrible luck, and his friendly but nerdy nature as Peter Parker, then changing into the wise-cracking, blustering superhero when the time comes as a means to hide what is really a lack of confidence.  This is a facet of the character that has been missed in all the earlier cinematic incarnations, the fact that his jokes are really just a way of covering up his inferiority complex, and it is fantastic to finally see it realized on the big screen.  Another part of the character that we apparently needed Marvel on board to see is his remarkable intelligence, and that we get here, too.  Only his youth and inexperience keep Peter Parker from being one of the preeminent brains in the universe of Marvel comics, and we see that in Spider-Man: Homecoming, as well, both his genius and the inexperience that holds him back.

A character piece is best when there is more than one strong character, however, and definitely get quite a few here.  I could write quite a bit about the crew of high school friends that surround Peter in his everyday life or about Marisa Tomei’s unique but great take on the now not-so-decrepit Aunt May because they are all very well written and acted, but instead I’ll tell you that Michael Keaton as Adrian Toomes a.k.a. Vulture is not only a very well written and well rounded foil, I believe that he is the best villain yet in the Marvel Cinematic Universe (though, not quite the Netflix shows).  While he may not have near the charm of Tom Holland’s Loki, he makes up for that in being a real person. This is the first Marvel villain with real motivations, real ambitions, and isn’t just a stereotyped cartoon that is around solely for the good guys to overcome.  Vulture in the comics is not only a bad villain, he is one of the worst villains ever put to page in 4 colors, however he is a good foil for the very early Spider-Man still learning his powers.  Spider-Man: Homecoming realizes this, modernizes the character, makes him far more threatening than just an old man in a suit that can fly, but not so threatening that The Avengers would take much notice of him. While this would probably be enough to make a good foe for Spider-Man’s first solo outing, they go the extra mile and make him a character with motives we understand and can even see ourselves going along with under the right circumstances as well as a character who challenges the teenage Spider-Man’s intelligence and ethics, allowing Peter Parker to grow as a person as well as as a superhero.

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But, if you go to a comic book movie to see action and characters are just a nice bonus, you still will not be disappointed.  The film spreads out its action set pieces at excellent intervals and all of them show off the agility, strength, intelligence, and big mouth of our favorite costumed arachnid.  Special effects have advanced a bit since Andrew Garfield’s turn in the red and blue suit, and an awful lot since Tobey Maguire’s day, and we can get a real sense of the speed Spider-Man has, as well as the limitations in scenes such as a hilarious bit in which Spider-Man finds himself in the countryside rather than the city and realizes he can’t swing on his webs to the rescue, like never before.  The action bits take on true creativity as Spider-Man and Vulture learn from one another over time and learn to counteract the regular strategies the other uses, making for action that relies on the intelligence of the pro and antagonist as much or more than on their superpowers.

Spider-Man: Homecoming is not content to be just a good action movie and character piece, though, it also is finally a well realized coming of age story.  It’s not a movie about beating the bad guy as much as it’s a movie about Peter Parker growing into the man he needs to be.  This is going to be a journey made over multiple films, so I don’t think this movie is meant to show us the end of his personal growth, but the true catharsis at film’s end is not that Spider-Man beats the bad guy, but how, and what he learns from this in his life as Peter Parker.

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The film does have some flaws.  The fact that it is in the Marvel Universe and the writing was overseen by Kevin Feige added a ton to the film, but the way Iron Man and Happy Hogan were included in the action was awkward.  Happy is given a role of Peter’s watchdog, which seems odd enough on its own, but then he performs these duties by acting as if he doesn’t want them.  Tony Stark himself, also, only seems to be in the movie as less a mentor and more a harsh critic until the end when he suddenly turns 180 degrees without our being shown the change of heart.  This all adds up to a really awkward and unnecessary tie in to the rest of the MCU which probably would have been best left out and merely hinted at.  They also do something odd with an incredibly iconic Spider-Man character, nearly as iconic as Spider-Man himself, that makes for a character who may as well be someone else entirely, just with the same name, and while we will have to wait and see how that plays out in future films, it just seems like a really unusual decision in a film that otherwise manages to nail nearly every major part of the Spider-Man mythos.

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Final verdict:  Spider-Man: Homecoming finally brings us the Spider-Man from the comics to the big screen, and does so in a way that isn’t merely action packed, but also thoughtful and with characters as well rounded and authentic as you could hope for in a comic book movie.   I left the theater knowing that I had just seen the best portrayal of Spider-Man himself ever put on screen, but not sure if the movie itself was better than Spider-Man 2, my favorite of the previous Spider-Man films.  I decided that not only was it better, but that it was a great movie for all the same reasons, just that they took everything Spider-Man 2 did to another level.  Yes, I did say Spider-Man: Homecoming is a great movie, and therefore I wholeheartedly recommend it to all but the most ardent detractors of the modern superhero movie.

Wonder Woman (Jenkins; 2017)

Last November, I wrote on article on what the Marvel film universe is getting right, and the DC film universe is getting wrong.  To sum it up, I stated that Warner Brothers and DC don’t understand their own characters, are starting their stories in the middle giving us no frame of reference, and they are focusing solely on action and using no other elements of genre.  We are shown a Batman who unthinkingly kills, a Superman who couldn’t care less about collateral damage, a Lex Luthor who acts like a clown, and a Joker who doesn’t.  We have a story where Batman has been fighting the good fight for a long time and supervillains are filling the prisons, but no one seems to have heard about any of them until now for some reason.  And, every movie has been little more than excuses for people wearing unusual clothing to punch and otherwise injure each other.   I am happy to announce that for at least one movie every single one of these issues has been fixed in a DC Universe film, and the result is a movie comic book fans, action film lovers, and women everywhere have been anxious to see for a long, long time.

The character of Wonder Woman has been a tough one to crack for a very long time for some reason, probably because until recently the comic book business has been all boys, and even now the number of women working in the superhero creation industry is a very, very small percentage.  The history of the character is a long and interesting one, but until the last decade and a half or so, her personality hasn’t been much more than a desire to do good, a mission statement, and some superpowers.  Modern writers have started to latch onto the fact that she is an Amazon warrior and have used that very element of her backstory to give her a role very different from her male counterparts and very well defined.  The film Wonder Woman captures those elements of her character perfectly and expands upon them, giving us the first protagonist, or really character of any size, in a DC film that is true to her source material and also captivating.

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This film is also an origin story, which means we actually start the story at the beginning.  We get to see Diana’s (Gal Gadot) training on Themyscira, her relationship with the other Amazons as she was growing up, and her meeting with Steve Rogers (Chris Pine) which inspires her to leave her sanctuary and enter the world of men.  You would think giving characters motivations would be  an obvious element of story telling, but until now the motivations in the DC films have been muddied at best.  Not so here.  We get to see what inspires Diana, what her life was like growing up, and more so that we end up with a fully formed character we can relate to and root for rather than someone who is just fun to watch.

Wonder Woman is not just an origin story, it is also a film that takes place during World War I, giving us not only an additional genre of war film to work with, but also an interesting historical period as a backdrop, one not used nearly often enough in film.  We get to see a Europe ravaged by war, battles in which chemical weapons are an ever present threat and victories are measured in inches, and technologies which are nearly obsolete today are state of the art.  Throwing a fierce demigoddess into this mix works wonderfully, and gives us a truly original superhero origin story not quite like anything we’ve seen before.

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The one thing DC has always gotten right is its visuals.  While the stories are messy and the characters confused, watching the action on display in the DC Universe is a wonder to behold, and that is no different in Wonder Woman.  The sharply angled viewpoints, the technique of making some colors vibrant and others dull, and the use of slow motion to concentrate on detail rather than just being a cheap trick is all on display here.  This time around the battles are not just fun, though they certainly are that, but most are also inspiring.  Where most superhero action sequences are really a well choreographed dance with special effects mixed in, the battles here feel like battles, grittier than your usual comic book fare, and Wonder Woman herself feels less like an untouchable icon and more like a badass general leading and inspiring her troops to their best.

The relationship between Diana and Steve Trevor is handled as well as it possibly could be.  Chris Pine pleasantly surprised me last year with his tour-de-force performance in Hell or High Water which showed the world he had a lot more talent than just a pretty face and a decent Captain Kirk impersonation, and he brings that level once again here giving us just the right amount of confidence, smarts, self effacement, and wonderment to make a real person out of this character in a most surreal situation.  Chris Pine and Gal Gadot have some real chemistry going on, and half way through the film we feel it’s absolutely natural that this American spy and demigoddess should be so attached to and inspired by one another.

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The film does have a handful of minor issues, and two fairly major ones keeping it from being absolutely the best superhero film I’ve seen and only meaning that it’s in that conversation.  The film is fairly predictable.  They try to be clever about a major plot point which I won’t go into any more detail about, but if you’ve seen more than five movies in your life you will see a certain major reveal coming from miles and miles away.  The other major issue is that the climax of the film is a bit of a let down with a sort of deus ex machina of a type I thought movie studios were done with using a couple of decades ago giving Wonder Woman her ultimate victory.  These two disappointments were certainly not enough to sour the overall film’s effect for me, but they did make me sigh a bit.

Final verdict:  DC and Warner Brothers finally got it right, and in doing so they outdid themselves to a level that can only add pressure to both themselves and Marvel for the future.  Wonder Woman is exciting, inspirational, thoughtful, and visually stunning.  It makes a few missteps, but not fatal ones by a long shot, and I am so happy that the first superhero film in one of the comic universes starring and directed by women is one of the best films ever seen in the genre as a whole.  Wonder Woman is a must see movie.

 

Guardians of the Galaxy, Vol. 2 (Gunn; 2017)

In 2014, Marvel Studios took a pretty big chance, which ended up having a huge payoff, in bringing us Guardians of the Galaxy, a Marvel property which was largely unknown even to comic book fans, let alone those who had never picked up a comic in their life.  In Guardians of the Galaxy movie fans got a fast paced space adventure with incredibly charismatic characters and just the right amounts of adventure and humor.  It was the best “Star Wars” movie since The Empire Strikes Back (I went there).  Three years later, and the Guardians are back, minus Groot but plus Baby Groot, except this time we already know and love these characters and are familiar with their schtick and how they fit into the Marvel Universe, so can Guardians of the Galaxy, Vol. 2 have the same impact as the original?

This time around, the characters are just as, if not more, charming as in the original.  Chris Pratt as Peter Quill (Star-Lord, man) is still the leader of the Guardians with Zoe Saldana as Gamora, his right hand bad ass assassin, Dave Bautista as Drax the overly literal Destroyer, Baby Groot voiced once again by Vin Diesel, and Sean Gunn and Bradely Cooper both working to bring weapons expert Rocket (don’t call him a Raccoon) to life.  Michael Rooker is also back as Yondu in an expanded role from the first Guardians of the Galaxy, and he deserves special mention as he and Dave Bautista are, in my opinion, the two true stand outs in the cast. Last time around, while the Guardians did ultimately end up as a complete group, there was still some definite pairing up going on with Quill and Gamora being one team, Rocket and Groot being a second, and Drax being the unfortunate fifth wheel.  This time around, the relationships are much more advanced with every character having quality time with each of the others and now very established ties to each other, making their interactions far more dynamic than the first time around – most of the time, but I’ll get to that in a few paragraphs.

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The visuals are of the quality we’ve come to expect from Marvel, with very proficient camera work and excellent special effects even if neither is ever terribly inventive.  The art direction on display, however, is definitely unique.  We are shown that the galaxy is a diverse place with equal parts ’60s psychedellia, dystopian grunge, and medieval retro pastiche making up its reaches.  The settings don’t always make a lot of sense, even within the confines of the story, but they are always creative and eye catching.  Even the opening and closing credits hold onto those creative and eye catching visual elements, with the opening credits being one of the most visually dynamic pieces in the entire film and a great way to open things up.

The script is well done with its dialogue being its stand out element.  The plot does have a few pacing issues unlike the first film, and the methods used to move it along can get a tad clunky, but overall it’s a story that does its job of drawing you in and raptly holding your attention, so even the few lulls aren’t obvious in the moment.  The dialogue, though, is the best I think has ever been written in a Marvel film.  Every single line is full of character, is crisp and entertaining, and this is by far the funniest Marvel film made to date with quip after quip, joke after joke, I was laughing so hard I had tears in the corners of my eyes for Guardian of the Galaxy, Vol. 2‘s entire running time, and I have never really found Marvel films quotable before despite how entertaining they are in general, but I’ve found myself wanting to quote many lines from this one, virtually biting my tongue even as I write this.

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This, however, leads me to the films largest flaw, and the flaw large enough that it keeps me from ranking it among Marvel’s best.  Can a movie be too funny?  The jokes are non-stop, one after the other, often verging into straight on slapstick territory, yet the film has a lot to say about familial themes.  Every character in the film deals with daddy issues on some level, with the exception of Baby Groot, and we see the Guardians and their various acquaintances playing the parts of a family unit in the film and all that entails.  It’s the point of the movie, showing when a family is at its strongest and when it can hold you back.  Guardians of the Galaxy, Vol. 2 has a lot to say about family, and it could say it well, except that it undercuts every serious moment in the film save one with a joke.  Sure the jokes work, but Gunn and the cast did not know when to let the humor go for a minute and let a poignant moment sink in.  I will say, though, that the part of me that’s more analyst and less film fan finds it fascinating that the movie’s main weakness is also its greatest strength.

To those who are wondering how this movie specifically plays into the Marvel Cinematic Universe, and whether it can be seen without knowing much about the rest of the movies Marvel has created, Guardians of the Galaxy, Vol. 2 is practically a stand alone entity.  The only references to other films in the Marvel canon are to the original Guardians of the Galaxy, and even those are more character references and not needed to understand the story going on here.  The future world building that goes on in most Marvel films also seems to be absent here, though it is possible they are just more subtle about it than is often the case and we will see ripples from this movie in future Marvel installments, but importantly even if that is the case it is never distracting nor even obvious.  Anyone can see this movie without having seen another Marvel film in their life and still enjoy it just as much as someone who has seen every Marvel Studios movie to date.

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Final verdict:  Marvel films are always entertaining, they have yet to release an outright dud, and Guardians of the Galaxy, Vol. 2, while not being one of Marvel’s greatest, is still excellent and continues the tradition of high quality we now have come to take for granted from Marvel.  While Guardians of the Galaxy, Vol. 2 may take the humor a bit too far at times, it is still Marvel’s funniest movie to date, never, ever letting up on the laughs while also giving us plenty of eye popping action taking place in eye popping settings.  You will be entertained, and you may even gain a little insight into family while you’re at it.  Guardians of the Galaxy, Vol. 2 is highly recommended by yours truly, go make Marvel and Disney even richer than they already are, they keep earning it.