REVIEW COLLECTION: The Marvel Cinematic Universe (PHASE TWO)

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Thor: The Dark World (2013) 

Although it was only the second release in the second phase of the now-established Marvel Cinematic Universe, the second standalone chapter in the “God of Thunder” Thor’s journey did mark the debut of Marvel Studios’ new, modified company logo, adding dimension and excitement to their ever-growing film brand. The same can’t quite be said for how Thor: The Dark World turned out. The result was, for a time, considered to be the black sheep of the overall crossover franchise. 

Let me explain. This movie had a bit of a complicated production. Monster filmmaker Patty Jenkins (years before she helmed Wonder Woman for DC) was originally tapped to direct but reportedly left over creative differences. Co-star Natalie Portman (who plays physicist Jane Foster) also wanted to leave the production as such, but couldn’t due to contractual obligations. Alan Taylor (known for directing several episodes of Game of Thrones) was the one who helmed this sequel in the end. 

Just as the Tesseract was the main driving force in the last few movies, the Aether (a dark red substance) takes center in this story, also marking the first MCU release to mention Infinity Stones. Then, Jane Foster accidentally gets involved, giving her an excuse for Thor to bring her to Asgard for the first time (a reverse fish-out-of-water story, compared with its 2011 predecessor), in a plot that involves Asgard’s history with a malevolent race known as the Dark Elves, as well as a cosmic “Convergence” of worlds/realms. 

Overall, The Dark World feels lackluster, with elements that recall The Lord of the Rings (i.e., a centuries-old battle) and Superman (General Zod, anybody?), and a color scheme that, while distinct, feels a little drained. Some of the dialogue is a little clichéd and lacks a bit of originality. While it has dark elements, most of the film doesn’t feel as gripping as it could’ve been, despite some shocking and/or grotesque imagery/moments. Much of the same cast from the first movie returns, save for Zachary Levi, who replaced Josh Dallas as swordsman Fandral. (Levi previously voiced Flynn Rider in Disney’s Tangled.) However, actors Christopher Eccleston (who plays the villainous Malikech) and Idris Elba (returning as gatekeeper Heimdall) have said that they didn’t have a good experience making this film. 

Yet, since it is canon, it does have a few things that work. Tom Hiddleston ironically livens things up a bit as Loki, imprisoned for his former crimes (if you’ve see The Avengers, you know what I mean). As he previously did, the actor adds layers of unpredictability and depth that make us wonder if we should trust him or not. It’s also nice seeing Darcy (Kat Dennings) and Erik Selvig (Stellan Skarsgard) again, as well as a couple of clever cameos. Anthony Hopkins is still commanding as Odin (with quiet layers of emotion and thought, and intriguing clarification that he and his people are not “gods” or deities), while Rene Russo’s queen Frigga gets more screen time (and one powerful twist). Chris Hemsworth’s hair is much more natural and fitting for the titular character, who is torn between ruling Asgard as king and living on earth. There may also be a bit of a love triangle between Thor, Jane, and Lady Sif (Jaimie Alexander, who still holds her own, yet doesn’t have a lot of screen time). One shirtless moment of Hemsworth will most likely have female audiences swooning. 

The production and art designs and set pieces are noteworthy and lavish, while Brian Tyler’s score has its moments, especially during powerful scenes. But it’s the climactic action sequence—with its excitement and various teleporting elements (strange, inter-dimensional phenomena in London, of all places)—that Thor: The Dark World could’ve used more of. Ditto unpredictability, creativity, and genuine investment. 

Guardians of the Galaxy (2014) 

While Marvel Studios had been introducing each of its main heroes across several films before teaming them up for a big crossover in 2012, they took a bigger risk by introducing a group of intergalactic criminals for their big screen debut two years later. Teased during the post-credits of Thor: The Dark World and cleverly introduced during a surprising teaser trailer, Guardians of the Galaxy was an even more obscure comic book series than Iron Man. Director and co-writer James Gunn (whose previous credits included the gross-out horror feature Slither and the comic book satire Super) ended up bringing something daring and fresh to the MCU, including a soundtrack filled with hit songs from the 1970s.

Co-written by Nicole Pearlman (who, along with Gunn, provides witty, clever dialogue, with a “plan" scene as a standout), our main characters—from antiheroes to power-hungry tyrants, either seeking profit or dominance—search for an orb that holds a mysterious power. As it turns out, this central MacGuffin provides another direct reference to the history of Infinity Stones (previously hinted at in Thor: The Dark World). The main lineup includes Peter Quill, a scavenger abducted from Earth as a child; Gamora, an assassin who desperately wants to leave that life behind; Drax, a vengeful and literal-minded brute; Rocket, a smart-aleck experimentation of a raccoon; and Groot, a humanoid tree with only three words in his vocabulary (“I am Groot”). 

As with The Avengers, Guardians made household names out of many of its characters, as well as the actors playing them. While the terrific roster of supporting actors includes the likes of Benecio del Toro, John C. Reilly, Glenn Close, Djimon Hounsou, Michael Rooker, Karen Gillan, Lee Pace, the key breakouts included Parks & Recreation veteran Chris Pratt (Quill a.k.a. Star-Lord), Avatar’s Zoe Saldaña (Gamora), and WWE pro Dave Bautista (Drax). Plus, the voices of Bradley Cooper and Vin Deisel have made Rocket and Groot fan favorites, respectively, while Josh Brolin made his MCU debut as mad titan Thanos. 

Also like The Avengers, Guardians recalls the experience of seeing Star Wars in the 1970s. (The fact that it’s the third MCU release to feature opening credits could be another homage to that decade.) And yet, it stands as its own franchise, including its diverse race of aliens and its aforementioned nostalgia of mixed tapes and Sony Walkman players (with help from Tyler Bates' score). Speaking of which, some of the select songs (particularly Blue Swede's “Hooked on a Feeling”) even experienced a resurgence for being included in this big-budget tentpole, with a soundtrack that features everyone from Redbone to David Bowie, the Jackson 5, Joan Jett, and the Five Stairsteps. Even more, they represent Peter Quill (one of the only human characters in this story)'s connection to Earth. 

As such, for all its thrills and humor, Guardians opens with heavy drama, as a young Peter watches his ailing mother dying in her hospital bed. This unexpectedly powerful prologue helps set the stage for a unique and effective balance of action, comedy, sci-fi, and drama. Characters come with their own agendas, issues, and traumas, which, to be fair, makes them more complex and relatable, and sometimes heartbreaking. Add to that, unexpected moments of self-sacrifice, heroism, and enemies becoming friends, as well as characters choosing to save others, in spite of their own flaws, mistakes, and regrets. This is a movie that really has everything, and then some. The story and worldbuilding take their time, set on various planets and quadrants (each believable and full of history and mythology). Not to mention some truly eye-popping visuals, practical set pieces, and makeup effects. 

Despite some weird elements (including one disturbing scene) and suggestive references, violence that can be rough and harsh (including but not limited to the malevolent and merciless Kree race), and language that can be colorful and crass, Guardians of the Galaxy is one of the MCU's most entertaining and subversive entries, and arguably the first real standalone Marvel movie since Iron Man. It even has something of a full circle moment to one infamous film adaptation from 1986 (true cinephiles and Marvel fans will know what I’m talking about). As I already mentioned, Groot may say only three words. But there's more to him than that. The same goes for this movie. 

Iron Man 3 (2013) 

When Iron Man was first released in 2008, Marvel Studios and Paramount Pictures had a six-picture deal that continued for the next five years, concluding with a third solo outing for Tony Stark and his tech-suited alter ego in 2013. After giving Robert Downey Jr. one of his comeback performances in the 2005 crime comedy, Kiss Kiss Bang Bang, director and veteran screenwriter Shane Black (Lethal Weapon) took over for Jon Favreau with a narrative that chronicles Tony's post-traumatic stress from the events of The Avengers, as well as the notion of the past coming back to haunt him. 

In fact, the film opens with Stark narrating against a lineup of exploding suits (a foreshadow to a theme of death and rebirth?), emphasizing how “we create our own demons,” sometimes from making emotional and/or careless decisions. Despite a current suit variation that comes together in separate pieces, Tony suffers from sleep deprivation and panic attacks as he searches for (and hopes to take down) a mysterious terrorist, with Don Cheadle’s War Machine (now called Iron Patriot?) there to help Tony. 

Key to this story is a subplot involving research and theories on DNA rebuilding itself, as well as its glitches and flaws (“A bomb is not a bomb when it's a misfire”). This apparently gives disabled or handicapped individuals superpowers, but for the purposes of weaponizing them, which results in characters falling victim to desperation and losing their way—and themselves. Characters without souls. Without mercy. Characters obsessed with perfection and ego that drive them insane and make them unstable. People that need fixing. “You used to have a moral psychology,” Tony tells one of these people, “You used to have ideals.” Ergo, there are things (like Tony’s armor and this flawed research) that need fixing. 

Black is known for setting his action films during Christmastime, from Lethal Weapon to The Long Kiss Goodnight. Iron Man 3 is no different. Which is part of what makes it a palpable experience. (To be fair, its Christmas setting is just a backdrop, not the forefront. But still.) It's also more far-fetched and bombastic. Then there's the presence of the mysterious and threatening Mandarin (played by Ben Kingsley), as well as a twist that reportedly polarized audiences and especially comic book fans. But it’s Pearce's Killian who just as much (if not more of) a complete psychopath. (“Oh, you breathe fire? Okay.”) To his credit, the Memento actor really knows how to play slimy and despicable characters. Add to that some problematic sexual content (i.e., references to flings, cohabitation, prostitution, and an inflatable bunny), and we’re reminded that Iron Man is a franchise that's really more for older audiences. 

The violence and action in this one are insane, explosive and, at times, disturbing, even though the visual effects are spectacular, detailed, and mind-blowing. Standout sequences involve the destruction of Tony’s Malibu penthouse, as well as an ambitious skydiving stunt. Plus, the VFX artists really went to town with the climax. To be fair, the narrative is unpredictable and surprising, but not always in positive ways. Certain viewers, on the other hand, may find some strong theological angles and symbolism in this story, in which Tony spends much of it battered and bloodied, and without the suit. 

That lack of tech power also brings out the humanity and ingenuity in Tony, a man who has been identifying himself by his work, and now has to rely solely on his skills and his wits. All things considered, the movie still has funny, clever moments and banter (including a hilarious bit in a TV van, or when Tony is cuffed to a mattress). The movie also marked the first screen credits for Ty Simpkins (as an unexpected kid ally), Corey Hawkins (as an officer), and a young Jenna Ortega. It also features one of my favorite sets of end credits (in the style of the 1960s) and post-credit scenes in any MCU flick. And again, it is something seeing Tony at work without the suit. Iron Man 3 is arguably his best character arc since the first movie. As this was RDJ's final solo outing as the self-described “genius-billionaire-playboy-philanthropist,” he certainly went out with a bang. 

Captain America: The Winter Soldier (2014) 

After being frozen in an ice cap for seventy years and helping the other Avengers in the Battle for New York, Steve Rogers struggles adapting to the modern world and knowing who to (really) trust in his second solo outing. In other words, what was once a black-and-white world is now morally gray and complex one. Furthermore, instead of a nostalgic WWII adventure, Captain America: The Winter Soldier plays more like a ’70s political thriller. And a very engrossing, gripping, and grounded one at that. 

The plot gets going when an assassination attempt on Nick Fury (Samuel L. Jackson, at his most vulnerable with this character) leads to Steve becoming a fugitive on the run, with only a few small people on his side, including spy-assassin Natasha Romanoff (Scarlett Johansson, sporting long red hair here), and new friend and war veteran Sam Wilson a.k.a. the Falcon (an awesome Anthony Mackie). Their mission also pits them against the titular, cold, and haunting Winter Soldier (Sebastian Stan), a mysterious figure brainwashed into committing numerous assassinations. Not to mention numerous political coverups and conspiracies, including shocking revelations about the organizations SHIELD and HYDRA, and a subplot involving a plan to neutralize threats around the globe to stop potential threats. Ditto the idea of parasitic and corrupting organizations within others--the former of whom apparently confuse freedom with fear. 

It shows how much the times have changed—what was lost, what was stolen, and the cost of freedom. (That includes Steve's longtime friend, Bucky Barnes.) The filmmakers even bring back a key supporting character from the previous movie, but this time as a frightening, pixelated database (with ancient technology that recalls Alan Turing's time), adding to the story's already palpable but heightened real world themes of characters trying to “rebuild” the world on an imperfect system. Even those who draw a line between “achievements” versus “responsibilities.” 

The Winter Soldier is significant for marking the MCU debut of directing siblings Joe & Anthony Russo (previously known for directing episodes of Arrested Development and Community, as well as the lesser-known 2006 comedy You, Me & Dupree). With returning screenwriters Christopher Markus & Stephen McFeely, the inclusion of seasoned actors like Robert Redford (a well-respected screen veteran who was also a staple of the 1970s), and an awesome score by Henry Jackman, this is agreeably Cap's best solo feature—and one of the rare sequels that improves on its predecessor in every way. It’s easily one of the MCU's best (if not their best), and one of their most mature. 

The movie is filled with intense action sequences, opening with a bang and keeping us on the edge of our seats, from Nick Fury's chase in the streets to three Helicarriers in the sky (the detail is crazy), some very impressive fight choreography, and an effective combination of practical and visual effects (including a seamless aging technigue for one character). But the elevator brawl between Steve and several agents may be this film's most unforgettable scene. (“Before we get started, does anyone want to get out?”) Even the way Steve uses his iconic shield is rough. (He practically carries it everywhere he goes.) Likewise, the action and mayhem throughout feels much more visceral and dangerous. Sometimes, shocking and chilling. (Be forewarned, there's a lot of gunplay in this movie!) Unlike most comic book adaptations/superhero flicks, however, The Winter Soldier also gives itself time to breathe with quiet, character-driven moments. 

Many of these characters (some who lead dual lives) question what they stand for, what they're doing, who they've been fighting/working for (without even realizing it), and what the right thing is. It's smart that the writers included elements of war veterans equally struggling back on the homefront. Not to mention the cost of getting the truth out there (a bit old-fashioned, perhaps). “If I'm the only one, so be it,” Cap tells us, “But I'm willing to bet I'm not.” In their earlier films (namely, their first two phases), Marvel Studios would, every so often, subvert our expectations and take their narratives and characters in unexpected directions. The Winter Soldier was and remains a significant part of that larger, growing narrative. And I, for one, am with it 'til the end of the line. 

Avengers: Age of Ultron (2015) 

Marvel's main superheroes return for another big team-up in this highly anticipated ensemble piece. Trailers suggested a darker chapter with a more menacing villain: a rogue AI entity that Tony Stark (still traumatized by the events of New York in 2012) originally creates as a global peacekeeping program to defend the world from impending attacks. Instead, Stark's PTSD, fear, and misguided sense of peace—not to mention his “good intentions”—spill over into the titular, malfunctioning, “mad science”-driven Ultron, who quickly becomes bent on global destruction. 

Avengers: Age of Ultron gets right into action and doesn't let up. Returning writer-director Joss Whedon brings back the iconic cast, witty banter and character balance that made the 2012 movie such a hit, along with a distinct tone, color palettes and set pieces galore, as well as updated powers, skills, artillery. Numerous globe-trotting missions in this story take the team everywhere from Italy to Africa and the fiction city of Sokovia. (This was released the same year as Mission: Impossible—Rogue Nation.) Add to that detailed visual effects, slow-motion action, and mayhem, with its biggest destruction saved for last. On that same note, this is the first movie I remember reading multiple VFX companies listed in the end credits. (I counted at least twenty.) But Whedon has more of a challenge this time, considering a bigger scale and unpredictable stakes. 

USA Today called this inevitable blockbuster “too much of a good thing.” And make no mistake, Age of Ultron has a lot going for it. There's the introduction of new characters like twins Pietro & Wanda Maximoff a.k.a. the fast-running Quicksilver (Aaron Taylor-Johnson) and the magic-conjuring Scarlet Witch (Elizabeth Olson). James Spader provides both rich and cold vocals, as well as motion-capture work, for the titular Ultron, who is both imposing and chilling. The character also emphasizes and twists religion and Biblical angles in a narrative filled with challenging and thought-provoking themes on technology and spirituality. Paul Bettany, who has been providing the voice of JARVIS (Tony's AI program), makes his MCU debut in the flesh as android Vision, who is partly made from regenerative tissue; hence, artificial life. Despite Tony's doubts, ego and self-pity, and Steve Rogers' beliefs in fighting this together and not/never alone, this second Avengers movie lacks much character development compared with its predecessor. 

Some would argue that this is just as much a set-up for future Marvel releases. Andy Serkis makes an appearance as black arms dealer Ulysses Klaue (which references the nation of Wakanda and element of vibranium, as in Black Panther). The story incorporates the four of six Infinity Stones presented in the overall franchise so far (with the Mind Stone being the center of this narrative, as well as a recurring motif). The story also foreshadows growing conflicts between Iron Man and Captain America. Scarlet Witch's “visions” for characters like Thor (his home world), Cap (what and who he lost), and Black Widow (her dark past) can feel like a bit much, while brief appearances from characters like Rhodey (Don Cheadle), Sam Wilson (Anthony Mackie), Maria Hill (Cobie Smulders), Dr. Selvig (Stellan Skarsgard), and of course Nick Fury (Samuel L. Jackson) stack the already-big cast. 

Other convoluted elements include the fact that Tony has new tech, despite getting rid of his chest piece in the last Iron Man flick. Plus, viewers may wonder if he really changes, despite his apparent desperation coming back to bite him. Age of Ultron bookends with certain characters literally taking matters into their own hands (metaphorical examples of puppets and strings, in reference to Disney's version of Pinocchio), while other characters express regret over past mistakes (and define themselves by such), have difficulty seeing where they're at now and what they can do to change now. Overall, this second Avengers team-up seems like a more passive and popcorn-munching narrative by comparison. The experience of making this movie was reportedly so “exhausting” for Whedon, that he didn't return for future Marvel projects. (He has, in later years, sadly become a figure of cancel culture, due to reported allegations from numerous actors who have worked with him over the years.) 

Although it's agreeably the least of these team-ups, the film still has its moments, from numerous hero shots to lines that have since become memes. In retrospect, it's a little better than I remember (but only a little). Two standout scenes include the roller-coaster “Hulkbuster” fight in Africa. (Mark Ruffalo provides motion-capture performing as the big green beast, who is given more photo-realism, especially in outdoor environments.) The destruction in this sequence, on the other hand, strangely echoes 9/11. The other scene in question finds everybody trying to lift Thor's hammer; Cap comes the closest, giving the Asgardian warrior a priceless reaction. A romance quietly and suggestively brews between Bruce Banner and Natasha Romanoff (including a “lullaby” that turns the Hulk back into Banner). And aside from Vision, Clint Barton (a.k.a. Hawkeye)'s arc in this flick is the one that stands above the rest, showcasing the guy’s (and actor Jeremy Renner’s) maturity, stealth, and commitment. “Humans are odd,” we’re told, “But there is grace in their failings.” Let that sink in.  

Ant-Man (2015) 

For those who thought Avengers: Age of Ultron was overwhelming, Marvel's next movie (released two months later in 2015) offered something smaller in scale yet strong in character and action. Not to mention roller-coaster popcorn thrills, as well as a therapeutic, less-is-more mentality-of-sorts. And to think it would come, in part, from a comedic actor who was the latest (following Chris Pratt) to step into a lead superhero role. In this case, the incredible shrinking Ant-Man. 

Paul Rudd plays Scott Lang, a tech genius-turned-thief—and father of a little girl—just released from prison and trying to get his life back together. He genuinely wants to be a part of his daughter Cassie (an adorable Abby Ryder Fortson)'s life. But it's hard for an ex-con like him to find work, and he's pressured to fall back into a life of crime (which he doesn't want), especially when things get desperate and hard. Ironically, his skills, wits, and knowledge attract the attention of scientist Hank Pym (Michael Douglas), who takes him under his wing to pull off a break-in heist that will stop a corporation (and former protege, played by Corey Stoll) from releasing research and tech into the world for nefarious purposes. Another case of weaponizing research, if you will. In this case, shrinking technology. The plot seems to recall the first Captain America, in terms of the abuse of power versus power used for right/responsible reasons. 

This movie's journey from the comic book pages to the screen reportedly took over a decade—long before the establishment of the MCU—and has been a complicated road. Edgar Wright had spent a majority of that time developing the script and was responsible for the castings of Rudd, Douglas, and Evangeline Lilly (who plays Hank's daughter, Hope). Reportedly, the Cornetto trilogy auteur envisioned Ant-Man as a standalone feature. But when Marvel Studios decided to make it a crossover installment, Wright left the project over creative differences. (He's still credited as a co-writer.) Director Peyton Reed eventually stepped in, with many of the same actors still on. Michael Pena (who plays Scott's friend, Luis) added genuine humor to the mix, with his montage of snappy and clever storytelling, especially with various actors synching up with his quick-witted narration. (Online reactors have said that this element fits Wright's style of creative filmmaking.) As such, the Ant-Man movie we got is still entertaining and fun. 

Shot in a brilliant 1.85:1 aspect ratio (the second MCU release to do so), the film's biggest visual draw are its miniature and photorealistic effects, with mind-boggling and detailed perspective shots that put us there in the ground and above with Scott and his fellow insects. The first time he wears the suit (a character on its own) sure takes him on a wild ride. It recalls similar effects from Joe Johnson's 80s family fantasy, Honey, I Shrunk the Kids. Plus, de-aging effects used on Douglas in a prologue scene are quite convincing. It's interesting that the most unexpected place for an action sequence in this movie takes place in a child's bedroom, but with an ironic sense of kids playing with action figures and train sets. 

More importantly, Ant-Man has a lot of heart. Not to mention some genuine, emotional stakes, and some difficult but noble (even sacrificial) moments. Its recurring motif is the role of fathers and daughters, as well as complicated father figures. Scott's relationship and love for his little girl is sweet and heartwarming (“Just be the person she already thinks you are,” he's told). The backstories and arcs of Hank and his former protege Darren Cross (who becomes the Yellowjacket) brilliantly highlight the psychological and physical toll that the suit takes on the one who wears it. Ditto obsession with said power and tech, as well as letting desperation taking over. Then there's Hank's estranged relationship with Hope, which exemplifies themes of redemption, reconciliation, and second chances. “It's not about saving our world,” Hank says of him and Scott, “It's about saving theirs.” 

Ant-Man caps off the second phase of the MCU in an entertaining fashion. It's about more than how the past defines us, as well as the notion of finishing the job, fixing things, and moving on. I didn't even mention it has a cameo from SNL veteran Garrett Morris (who first played the character in the late-70s), as well as one of Stan Lee's best bits. It also features one of my favorite scenes in any Marvel movie (and a great appearance/action sequence), partially setting the stage for what was to come next. (“I know a guy.”) It goes to show that, sometimes, the biggest actions come from the smallest of places. Ditto the “smallest” of heroes.