REVIEW COLLECTION: The Marvel Cinematic Universe (PHASE ONE)

(Source: Logopedia) 

 

Iron Man (2008) 

Last year, when revisiting each existing film and documentary I could/did on The Fantastic Four, I commented on how different studios had owned the previous rights to certain characters from Marvel Comics, including (but not limited to) the X-Men at 20th Century Fox and Spider-Man at Sony. It wasn’t until the mid-2000s (during which time Christopher Nolan revitalized the Batman saga) that Marvel decided to produce and finance their first movie independently—with distribution from Paramount Pictures—under the banner of “Marvel Studios.” Led by producers Avi Arad and Kevin Feige, their choice of character and story came from an obscure series that most of the general public wasn’t familiar with, but most diehard comic book fans were: a tech billionaire who leads a double life as a hero in a mechanized suit of armor. 

Not since Johnny Depp was initially cast as Jack Sparrow in Pirates of the Caribbean has a major studio taken such a bold and (originally) controversial risk with the casting of its main character. Robert Downey Jr. came from both a respectable and complicated background as an actor. His father, Robert Downey Sr., was a maverick filmmaker who exposed his son to drugs at an early age. The younger Downey was even nominated for an Oscar for playing Charlie Chaplin. In the early 2000s, RDJ was coming off of a record of substance abuse issues and started rebooting his own career. While he was nominated for an Academy Award in the previous decade for his screen portrayal of Charlie Chaplin, one of his standout roles by 2005 was in screenwriter Shane Black’s directorial debut, Kiss Kiss Bang Bang, a black comedy where RDJ played a washed-up thief who is mistaken for a method actor. 

In retrospect, the actor’s personal and professional personas may have been a perfect fit for the quirky and smart-alecky Tony Stark, who (in an intense opening sequence) is kidnapped by terrorists that want him to build a warfare missile for them. The experience becomes a wake-up call for the narcissistic and self-absorbed man. Using only his brains and skills, Stark creates a mechanized suit—and a chest piece that keeps him alive—to escape and begins changing his ways and resources for the greater good, much to the shock of his company and peers, who think he’s lost his mind. The result was one of the biggest comebacks for an actor in film history, a role that (at the age of 43) significantly changed both his career and his screen presence. And he got support from a terrific cast, including Jeff Bridges, Terrence Howard, Gwyneth Paltrow, and Paul Bettany. 

Looking back, it’s incredible how subversive and unconventional Iron Man is. Director Jon Favreau came from an indie film background but extended his resume with genre entries like Elf and Zathura earlier in the decade. On the surface, it’s easy to commend the filmmakers and artists behind Iron Man for balancing practical and digital effects. (A friend of mine from college at the time, who enjoyed the film, commented on how he couldn’t tell where one effect left off and the other began, and vice versa.) It’s a seamless blend that gives the movie a photorealism unlike anything before it. Not to mention science and tech that is plausible (à la Batman Begins-meets-Transformers), and VFX that have a purpose and aren't just there for entertainment. Standout scenes include a cave escape, test flights, and aerial battles between aircraft and other machines. Likewise, this generation will forever associate AC/DC's "Back in Black" and Black Sabbath's "I Am Iron Man" with this flick. (This was one of the last credits for effects master Stan Winston before his death that same year.) 

Even more amazing is how much more we are invested in Tony Stark than in the Iron Man suit itself, as cool as it is. (This portrayal was reportedly inspired by tech pioneer Elon Musk.) Just as Tobey McGuire did as Peter Parker and Christian Bale as Bruce Wayne, RDJ gives us a fully realized, complicated, and redemptive character arc. And to think he did this the same year he played an Australian actor in blackface in Ben Stiller’s satirical and controversial comedy Tropic Thunder. Ditto the fact that Christopher Nolan’s The Dark Knight was released two months later in what made the summer even more of a landmark. On that same note, Iron Man layers its narrative with themes of heroism, war profiteering, fear, and respect. 

That being said, there are a few elements that dampen/dent this otherwise entertaining and awesome superhero entry. Considering Stark’s initially spoiled playboy persona, there are some suggestive references, include a one-night stand and one character getting mistaken for Playboy founder Hugh Hefner. As such, I can only recommend this surprise blockbuster with discretion, which showcases that it’s never too late to change your legacy (or your heart). For the most part, it gave Marvel Studios the credibility to produce more films independently—and, again, subvert our expectations in more ways than one. And they immediately continued that same summer with a standalone entry based on one of the comic book company's most popular characters. 

The Incredible Hulk (2008) 

In 2003, Crouching Tiger, Hidden Dragon director Ang Lee made a live-action feature film that marked the cinematic debut of scientist Bruce Banner and his green-skinned alter ego known as the Incredible Hulk. While visually distinct with a unique comic book editing style, as well as a dramatic character-driven narrative, Hulk was ultimately a sluggish and depressing story. Not to mention a silly and dated one. (The big guy's CGI avatar hasn't aged well.) The filmmakers behind the 2008 reboot (including director Louis Letterier, writer Zak Penn, and producers Avi Arad, Kevin Feige and Gale Anne Hurd) went back to the roots of the TV adaptation from the 1970s and improved on the 2003 movie, while infusing the story with exciting and intense action that fit the contemporary landscape. 

Released by Universal Pictures, who previously owned the rights to the character (that same year, the studio released sequels to The Mummy and Hellboy), The Incredible Hulk is an on-the-run action flick that follows Bruce Banner trying to find a cure for his anger issues—the result of a lab accident that exposed him to gamma radiations. Hiding out in Brazil and other places, while sending messages and data samples to a mysterious scientist that may help him find a cure, Banner is pursued by the United States Army (led by the relentless Colonel Ross) hot on his trail, and who want him for experimental and weaponized purposes. Regarding the accident, Ross ponders, "Either something went very wrong, or it went very right." 

The first-rate cast is led by Edward Norton (who channels the late Bill Bixby as Banner), Liv Tyler (as love interest Betty Ross), William Hurt (as the relentless General Ross), Tim Blake Nelson (as a fellow scientist who secretly helps Banner), and Tim Roth (as a fighter who undergoes a super-soldier procedure—a reference/foreshadow to another famous Marvel character?—that eventually becomes, ahem, an abomination). Norton never reprised his role, due to creative differences with the studio. (The otherwise committed actor has been said to be difficult to work with.) The Fight Club alum actually plays Bruce Banner very well and keeps us engaged with the man more than with the beast (similar to how Robert Downey Jr. kept us more immersed with Tony Stark than with the Iron Man suit). His scenes with Liv Tyler are dramatic, accompanied by Craig Armstrong's emotional score.  

Need we be reminded that the Hulk is not so much a superhero as he is a tragic Shakespearean figure. A man with powers he didn't ask for. Co-creator Stan Lee was influenced by Frankenstein's Monster, as well as Dr. Jekyll & Mr. Hyde. He's one of the most unconventional and complex comic book characters ever created. Perhaps unsurprisingly, there are several characters in this story/series who underestimate (or simply don't really understand the magnitude of) said power. 

As far as his CGI counterpart here is concerned, he has weight and presence and strength. Yet, it's a little off-putting and uncanny; something about the hair and face, it seems (something, I think, Ron Burgundy would point out). The intense action makes up for that, however, and it's riveting and electrifying throughout, despite some bloody and weird images and suggestive elements/references (including brief nudity). For the latter, Bruce argues, "I can't get too excited." Plus, its beast-mode climax arguably becomes a standard-issue comic book moment, something on par with a made-for-TV SyFy movie. 

Stan Lee's cameo is interestingly a plot point (a rarity for the Marvel co-founder). It's also great seeing original Hulk Lou Ferrigno in a cameo. Norton's Banner even tells him, "You are the man." My question is, was The Incredible Hulk originally a standalone production? And did Marvel Studios decide, at the last minute, to add a post credit scene to cross over with Iron Man? Either way, it remains the second and last—and arguably best—solo Hulk movie to date. It's certainly one of Marvel's most underrated. 

Iron Man 2 (2010) 

It’s no secret by now that everyone knows billionaire tech genius Tony Stark is Iron Man. As such, everybody wants a piece of his resources, whether for control, for gain, or for credit. At the same time, the elements that are keeping him alive (namely the arc reactor in his chest) are also killing him, as he works to find a replacement element. Not only that, but elements of the past unexpectedly come back to haunt him, including histories and revelations he never knew, for better or worse. 

When the first Iron Man was being filmed, the script wasn’t even finished yet. As such, several now-iconic moments were improvised, which was a benefit for Robert Downey Jr., who had a knack for it. The same team behind the 2010 sequel (including returning director Jon Favreau and present screenwriter Justin Thoreaux) tried the same approach on an apparently rushed production. It shows in the finished product that some elements don’t work, while some do (although, it takes a while to get into, shall we say, “hardware mode”). As such, this follow-up is nowhere near the first movie in terms of gravitas. Plus, Tony’s character arc seems to be a step back from where he last was, this time being so full of himself, forgetting himself, and/or covering up. 

Fresh off of his Oscar nomination for Darren Aronofsky’s heavy wrestling drama The Wrestler (the same year RDJ was nominated for Tropic Thunder), Mickey Rourke continued his own career resurgence as antagonist Ivan Vanko a.k.a. Whiplash, whose father had a working history with Tony’s father, Howard. Rourke reportedly did a lot of research and prep as the Russian baddie, from his tattoos to his scientific knowledge. As such, the actor presents some interesting choices and nuances. But a lot of it seemed to be left on the cutting room floor, and the character—despite some cool tech—was reduced to a generic and forgettable villain bent on revenge. Sam Rockwell's talkative and slimy tech tycoon Justin Hammer has more color and fitting absurdity. To be fair, both Downey and Rourke do have an effective interrogation scene together. 

Another noticeable difference with this sequel is that Terrence Howard never reprised his role as James Rhodes a.k.a. Rhodey. The well-respected actor had a pay dispute with the studio and was replaced by Don Cheadle, who respectably made the role his own, even debuting as the War Machine. Another difference with Iron Man 2 is that it doesn’t have as many content concerns as its predecessor. But there are still some suggestive elements, some insane action/violence, and some emotionally intense drama. Then there’s the AC/DC music (“Highway to Hell” over the end credits. Really?) 

A few elements that do work include Scarlett Johansson’s Natasha Romanoff, who kills it in her debut as the mysterious Black Widow, complete with deadpan humor and skilled fighting. (The actress insisted on doing her own stunts, specifically for a now-iconic and standout hallway brawl against a gang of henchmen. In the end, she did some of them, while the rest were handled by her stuntwoman Heidi Moneymaker.) The film also introduces Mad Men actor John Slattery as Howard Stark and comedian Garry Shandling as Senator Stern, while returning players Gwyneth Paltrow (Pepper Potts, who becomes CEO of Stark Industries), Paul Bettany (the voice of computer program JARVIS), and Favreau (who has a bigger role as Happy Hogan this time) make the most of their screen time here. A couple of other familiar faces from the first movie show up as well (“I don’t want to join your super-secret boy band”), while Tesla and PayPal CEO Elon Musk (who influenced the main character in the first flick) makes a brief cameo. 

The visual effects by Industrial Light & Magic are state-of-the-art (i.e., Monaco race track, suit variations, suit dual, World’s Fair). Ditto the thunderous sound design. With action sequences are exciting and crazy, and undoubtedly never lacking spectacle, Iron Man 2 is a descent movie in retrospect, somewhat like a metaphorical phoenix rising from the ashes. Some viewers would argue that this 2010 sequel is just as much (if not more of) a setup for future Marvel movies, including two more released the following year.

Thor (2011) 

In the early-1990s, filmmaker Sam Raimi (following his original superhero flick Darkman, and years before Spider-Man) and Stan Lee developed and pitched an adaptation of Lee & Jack Kirby’s comic-book series, The Mighty Thor, a loose take on Norse mythology. Nearly two decades later—and as a setup for a big team-up of legendary/iconic superheroes at the turn of the decade—Marvel Studios released two big-budget tentpoles in 2011, the first of which brought the “God of Thunder” and his fantastical home-world of Asgard to life. 

Kenneth Branagh was a fitting choice to direct this 2011 solo outing, given the actor-filmmaker had been making a career out of adapting Shakespeare works for the big screen. Similar universal elements translate here for Thor as well, from brotherhood to a father mentoring (and disciplining) his children, and lessons learned the hard way when transitioning from arrogance to maturity, from selfishness to humility, from destructive tendencies to build things up. Or, at least, working towards that. 

Thor is led by a cast that gives this material gravitas, including (but not limited to) Chris Hemsworth (in a breakout role as the titular being, though his golden-dyed eyebrows are a bit distracting), Tom Hiddleston (whose breakout as Loki, with a sad backstory and revelations, is both cunning and strangely sympathetic), Anthony Hopkins (commanding as Odin), Natalie Portman (as physicist Jane Foster), Stellan Skarsgaard (as scientist Erik Selvig), and Idris Elba (as gatekeeper Heimdall). Plus, Clark Gregg's Agent Phil Colson (who showed up in the first two Iron Man movies) has a more prominent role in this one, complete with the actor's/character's dry wit and charisma. 

To be fair, Thor has ridiculous elements (at least on paper), from frost giants to rainbow bridges and weaponized hammers à la King Arthur’s sword Excalibur. Characters like Odin and Loki had been referenced in film before (namely, The Mask). It’s also loud and bombastic (released the same year as Transformers: Dark of the Moon), with hard-hitting violence and action (i.e., Thor breaking into a secret military base, a small town getting destroyed), and some macabre images. Then there's a shirtless Hemsworth, which would make any female audience member blush. 

But the movie is done with such dignity and complexity, that it qualifies as both escapism and substance, blending a unique mix of childhood stories, mythology, magic, science, history, and legend. (Sci-fi author Arthur C. Clarke once said, “Magic is just science we don’t understand.”) Patrick Doyle’s score helps balance the fantastical world of Asgard and the other intergalactic realms with the culture shock of a contemporary American setting (namely, a small town in New Mexico). 

One of the biggest takeaways with this summer tentpole is its portrayal of the consequences of selfish actions. And not just from the powerful moment when Thor is banished to earth. (Hemsworth and Hiddleston have gone on record that Hopkins’ performance in this scene made them and the crew emotional.) While the titular “God of Thunder” can present himself as a gentleman, he goes through some hard lessons (and breaking points), regarding what takes to be humble, sacrificial, truly heroic, and worth of respect and honor—and to acknowledge being a work-in-progress. As another character tells him, “It’s not a bad thing finding out you don’t have all the answers. You start by asking the right questions.” Like Jane Foster, the otherworldly being discovers “something extraordinary.” So do we as audiences, and then some. 

Captain America: The First Avenger (2011) 

Citizen-turned-super-soldier Steve Rogers had been portrayed on screen before, dating back to the early-1990s when various studios had the rights to certain Marvel Comics characters, including Howard the Duck, the Punisher, and the Fantastic Four. Obviously, these portrayals and respective films haven’t aged well. Fast forward two decades and several big-budget blockbusters, and audiences were treated to an origin story set during World War II in the 1940s, when Rogers (chronologically) became the world’s first “Avenger” a.k.a. superhero—at least in the Marvel universe. 

Actor Chris Evans had already had a few go-arounds with comic book characters, having previously played Johnny Storm in two Fantastic Four flicks, Casey Jones in the CGI-animated TMNT, and narcissistic stuntman Lucas Lee in Scott Pilgrim vs. the World. His portrayal of the All-American boy scout Rogers is respectable, selfless, noble, relatable, and persistent. (“I could do this all day.”) Likewise, director Joe Johnson is no stranger to big-budget VFX, having worked on the Oscar-winning effects for Raiders of the Lost Ark, as well as period pieces like The Rocketeer and October Sky. Vibes of the former blockbuster are clear throughout Captain America: The First Avenger, which also marked the first Marvel screen credit for writers Christopher Markus & Stephen McFeely (remember those names, they’ll be important later on), as well as the last of Marvel Studios’ releases distributed (primarily) by Paramount Pictures. 

During the first twenty minutes of The First Avenger, subtle visual effects make us believe Evans is a short, skinny kid, before he transitions to a tall, buff soldier. Seeing the guy in his original costumes (starting with his USO performances, serial film roles, and comic book publications, as a poster boy for the war) and how he got his iconic shield is spot-on. Just as believable is the film's impeccable production design that, while heightened and fantastical, brings us right back to the 1940s while also feeling both old-fashioned and modern, as well as balancing practical and visual effects with massive set pieces like aircrafts and the World’s Fair pre-Iron Man 2. Not to mention some historical relevancy and numerous scenes of the realities and costs of war. Alan Silvestri’s patriotic and epic score adds to the nostalgic vibes.

Along with Evans, the sophisticated cast includes Hayley Atwell (as Agent Peggy Carter, a love interest who holds her own and is never a damsel in distress), Tommy Lee Jones (as the gruff Colonel Phillips), Stanley Tucci (who makes the most of his small screen time as German scientist Abraham Erskine), Dominic Cooper (as a young Howard Stark), Sebastian Stan (as fellow soldier and best friend Bucky Barnes), Toby Jones (as Dr. Arnim Zola), and Hugo Weaving (menacing and scary as scientist Johann Schmidt a.k.a. the Red Skull, whose schemes prove more than just world domination). The interrogation scene between both Jones’s is a personal favorite of mine. 

Last seen in Thor, the Tesseract (an object of both magic and science) is the central element that is weaponized by the enemy (this marked the cinematic debut of the totalitarian HYDRA organization) and is the driving force for power and control, leading Rogers and company on numerous, globetrotting adventures and missions in a battle between humanity and inhumanity. Ditto weakness and strength, and the positive and negative effects of both. The film runs at a brisk pace, and is thoroughly entertaining and engrossing. Although, it does rush a bit in its first half-hour. I would’ve liked to see a little more emotional resonance and time with characters processing griefs and other situations. 

When we first meet Steve, he clearly wants to fight in the war, but is constantly rejected due to his health and physical appearance. Despite falsifying his documents more than once to do so (as well as going against direct orders), his heart is clearly in the right place, sometimes acting on faith and who he is apart from everyone else. He's probably the one character out of all the previous Marvel flicks that most embodies making difficult but noble choices, as well as remembering who he is as a man, not just as a soldier. As such, he doesn't just fight for all of “the little guys” but for the world. Likewise, this movie isn't just edge-of-your-seat thrills and explosive action. As with Thor, Cap's first solo outing in this roster has a bittersweet anti-climax that is reminiscent of Saturday matinee serials from the 1940s, just as the original Star Wars and Indiana Jones series did in the '70s and '80s. And, with a special “sneak preview” during the post credits of The First Avenger, they were officially about to get some heavy company in 2012. 

The Avengers (2012) 

Crossover events have occurred in cinema before. Universal had several of their iconic screen monsters meet a few times throughout the 1940s. Horror figures from the ’80s and ’90s faced off against each other in the early-2000s, including Freddy Kruger and Jason Voorhees, and the Xenomorph Alien and Predator hunter, respectively. But never had there been such a case that brought so many characters together as when Marvel Studios united the characters they had been introducing through their own standalone features across four years since 2008. The result was a real gamechanger for the superhero genre. Not to mention one of the best cinematic experiences—and audiences—I've ever been a part of as a moviegoer. 

In their first major production with Disney since being purchased by the Mouse House in 2009, Marvel Studios (with support from Paramount) brought together Tony Stark/Iron Man (Robert Downey, Jr.), Steve Rogers/Captain America (Chris Evans), Thor (Chris Hemsworth), and Bruce Banner/Hulk (Mark Ruffalo), as well as spy Natasha Romanoff/Black Widow (Scarlett Johannson, introduced in Iron Man 2) and archer Clint Barton/Hawkeye (Jeremy Renner, introduced in Thor), for a daring team-up against the dastardly demigod Loki (Tom Hiddleston), who is bent on ruling the planet Earth. Following Jon Favreau, Louis Lettiere, Kenneth Branagh, and Joe Johnson, genre fanboy favorite Joss Whedon shepherded this ambitious feature with all the scale, wit, and depth that have made his previous credits (from Buffy the Vampire Slayer to Firefly and even the original Toy Story, the latter of which he co-wrote) iconic. 

Last seen in Thor and Captain America: The First Avenger), the Tesseract is the key plot device of Marvel's The Avengers, with an alien race that follows Loki into a war against mankind, starting with a portal into New York City. (Ain't it always the way?) The blockbuster flick has plenty of intense, exciting action sequences, including Thor and Hulk duking it out (a real fanboy moment), incredible visual effects (the Helicarrier is a massive and detailed set piece alone), and a climax that pulls out all the stops with massive alien ships and heroics, giving the previous year's Transformers: Dark of the Moon a run for its money. Ditto numerous hero shots and other crowd-pleasing moments. The taller 1.85:1 aspect ratio opens this world up and makes it larger-than-life, while the simple plot really takes its time but also manages to subvert our expectations. It even unexpectedly boosted sales at Schwarma restaurants that summer. (If you've seen the movie, you know what I mean.) 

The standout in this cast is Ruffalo, who replaces Edward Norton as Bruce Banner. The actor even performs motion capture on his big, green alter ego (a first for the character), looking the best he's ever looked as a digital avatar by then. I also liked Renner's Hawkeye (when he wasn't under Loki's control). Plus, Johansson really holds her own with grit and depth, while Clark Gregg (as Agent Phil Colson) can't hide his fandom for Cap. The same goes for the genuine chemistry between certain castmates and characters (Evans and Johansson previously worked together on The Perfect Score and The Nanny Diaries, while Downey and Ruffalo previously starred in Zodiac). In fact, The Avengers is as much (if not more of) a character-driven piece as it is a big-budget tentpole, showcasing vulnerability in these characters. That goes just as well for S.H.I.E.L.D. and its agents/directors, including Nick Fury (Samuel L. Jackson) and Maria Hill (Cobie Smulders). Did I mention that, most of the time, these characters don't wear masks? 

The narrative here recalls the original Star Wars from 1977–or, at least, the experience of seeing that game-changing flick for the first time. Universal themes include power, trust issues, control, secrets, moral complexity, hearts and minds being manipulated and/or restored, and a misguided sense of “freedom.” There are some who believe that the titular team-up—or, rather, the idea of it—is too unpredictable and dangerous. Ditto the question of what these people are doing in the same team, let alone the same room. To be fair, they have their own disagreements and reasons. But they do share a couple of things, in terms of what they know and don't know (both uniquely and collectively), and by each making the individual and collective choice to protect and/or fight for others. Just as commendable is one character's belief in heroes and there being a reason for this team-up, as “old-fashioned” as it seems. 

The release of The Avengers in May of 2012 officially completed “Phase One” of what became known as the “Marvel Cinematic Universe,” with composer Alan Silvestri helping to give this franchise (and its studio) a united anthem, if only orchestrally. Unexpected moments throughout this defining summer hit changed where the stories in Marvel would/might go from there—some shocking, some mind-blowing—affecting fans, critics, and the general public with what they reportedly started, and the promise that they would return when needed. As Sam Jackson famously said in Jurassic Park, “Hold on to your butts.”