REVIEW COLLECTION: The Marvel Cinematic Universe (PHASE THREE, Part 1)

(Source: Logopedia) 

Captain America: Civil War (2016) 

Getting into their third phase of movies, Marvel Studios followed their redefining work on Captain America: The Winter Soldier with another deconstructed, genre-bending entry: a third solo outing for the “Star Spangled Man.” To be fair, though, Captain America: Civil War is more of an unofficial Avengers movie, considering the number of Marvel characters that show up throughout. Captain America. Iron Man. Black Widow. Falcon. Scarlet Witch. Vision. War Machine. They’re all here, one way or another. (Spoiler alert: Thor and the Incredible Hulk are the two major characters absent. More on that for another time.) 

Recent global events and casualties have led government officials (including General-turned-Secretary of State Ross, played by William Hurt) and world leaders to hold the super-powered individuals in check—via a document known as "The Sokovia Accords"—considering said individuals to be a “danger” unless needed when they deem it necessary. As such, every character has their own reasons for which side they choose, and why they do what they decide to do, whether out of fear, a lack of understanding, or any other reason. For one, Tony Stark argues, “I’m doing what needs to be done, to stave off something worse.” (Remember his PTSD from the end of The Avengers?) As for Steve Rogers, he chooses what he believes is right but challenges authority (perhaps no different than Tony?), and it becomes a question of how long he can hold this out for. 

Sebastian Stan’s Bucky Barnes (still on the run, framed for some current incidences, and trying to remember who he was before he was brainwashed) is the central fugitive in this story, which, in turn, makes Steve Rogers go on-the-run. Together, they search for a mysterious man who wants nothing more than to break the Avengers apart. A man who uses a mysterious red book and information about a certain incident in the early-1990s. Daniel Bruhl plays Baron Zemo, a man with no superpowers like Loki or Ultron, but with very cold, calculating, and manipulative methods. These make him one of the most unlikely but formidable and ruthless opponents the Avengers have ever faced, leading to some truly shocking twists and revelations that take a huge turn and deeply affect the course of their individual and/or collective journeys. Bucky even argues, “I don’t know if I’m worth all this.” 

Civil War feels like everything that Avengers: Age of Ultron didn’t quite live up to. With Winter Soldier directors Anthony & Joe Russo and screenwriters Christopher Markus & Stephen McFeely working behind the scenes, this feels like a more confident story, and with a lot of personal conflict and stakes. In fact, what our main characters did by the end of Ultron is part of the straw that breaks the camel’s back here. Sure, the main narrative focuses on conflicting views and objectives between Tony Stark and Steve Rogers. Yet, the film gives itself time to breathe and generally doesn’t overwhelm itself with its stacked roster of actors and characters. The result is a very character-driven, ensemble piece. 

This may be the most politically-focused movie that Marvel Studios has ever made, and one of their most tragic. Think of this as the ultimate superhero break-up movie (DC’s Batman v Superman: Dawn of Justice was released one month earlier), with characters that are emotionally-driven (i.e., revenge plots, grief) It’s a haunting atmosphere at times with slow tension. Make no mistake, it’s heightened reality and action. But grounded humanity, nonetheless. On that same note, the massive stunts, action, fast choreography, and electrifying score (courtesy Henry Jackman) give the film a kinetic and gripping vibe. Stan even does an insane motorcycle stunt (a real effect, not CGI), while Evans shows off some bulging biceps during an attempted helicopter escape. Even Emily VanCamp’s former SHIELD agent Sharon Carter gets in on some of the action. 

Besides a growing romance between Wanda Maximoff/Scarlet Witch and Vision (Elizabeth Olsen and Paul Bettany, respectively, with the latter’s insights as intriguing), Civil War is known for a few other things. For one, it introduced Chadwick Boseman as T’Challa a.k.a. Black Panther, a very dignified and respectable figure. Then there was the MCU debut of teenage webslinger Peter Parker a.k.a. Spider-Man (played by Tom Holland), who brings a lot of wit and energy—and some perspective on powers and heroism—to the mix (including a great scene between him and Downey, who could be a potential mentor-in-the-making). But the sequence that most people would know from this flick is the airport battle between two groups of opposing superheroes (led by Iron Man and Cap, obviously). Filmed in IMAX, this sequence feels a little uneven with the rest of the film, yet livens things up a bit with numerous face-offs, quips, and “gimmicks," even bringing in Paul Rudd’s Scott Lang a.k.a. Ant-Man ("What's up, Tic Tac?") and Jeremy Renner’s Clint Barton a.k.a. Hawkeye (“Made you look”). Compared with the bigger picture (and what is to come) from the MCU, some of these individuals remind themselves (and the audience) that “this isn’t the real fight,” as personal and complicated as it is.  

Black Panther (2018) 

Director Ryan Coogler had made two impressive films prior to 2018–the raw true story Fruitvale Station, and the Rocky spinoff Creed—each representing a unique perspective on the history (past and current) of the African-American experience. But nobody anticipated that his third directorial effort would be more than just another Marvel movie. It became a worldwide phenomenon that examined culture, history, mythology, politics, ethics, customs, family, community, and leadership in a way that audiences had never seen before. 

Likewise, actor Chadwick Boseman had been working in the industry for over the past decade, recently excelling at playing historical African-American figures like Jackie Robinson (2013's 42), James Brown (2014's Get On Up), and Thurgood Marschall (2017's Marschall). The beloved actor made his debut as African prince T'Challa and his superhero alter ego Black Panther in Captain America: Civil War two years before getting to headline his own movie. Like the late, great Sidney Poitier before him, Boseman imbued the superpowered prince-turned-king with so much dignity, grace, honor, and maturity, resulting in one of the most influential black superheroes since Wesley Snipes as Blade. And he gets help from a great ensemble cast of predominately black actors, including Michael B. Jordan, Lupita Nyong'O, Danai Gurira, Angela Bassett, Forest Whitaker, Sterling K. Brown, Daniel Kuluuya, Leticia Wright, and Winston Duke. Two exceptions include Hobbit veterans Andy Serkis (as arms dealer Ulysses Klaue, introduced in Age of Ultron) and Martin Freeman (as CIA agent Everett Ross, introduced in Civil War). 

Black Panther features glorious vistas and incredible CGI, balancing both practical and visual elements, including real locations and large-scale sets. Select sequences were shot in IMAX, including gripping and engrossing action scenes (some involving rhinos), while Ruth Carter's colorful costumes and Hannah Bleacher's captivating production designs helped bring the fictional world of Wakanda to life. Then there’s the nation’s advanced technology, with scientist sibling Shuri acting as Q to T’Challa’s James Bond. Their spirituality, meanwhile, involves ancestral worship, as well as a "heart-shaped herb" that gives powers. 

Jordan's performance as the intimidating and radicalizing Erik Killmonger (who has a connection to Wakanda's past) is key in this story of generational shifts, secrets, and wounds; even self-inflicted "scars.” This raging adversary proves to be as colonizing and tyrannical as his own “enemies,” resulting in a legitimate but deeply misguided, ruthless, and destructive perspective that eventually shakes everyone else to their core. A turning point for T'Challa occurs when he learns a sad and heartbreaking truth. (Reportedly, filmmaker Francis Ford Coppola was impressed with this scene when he saw an advance screening of the movie.) 

Overall, this is very smart writing and execution, with thematic arcs that are multi-dimensional and complex. The narrative illustrates the differences and thin lines between old ways ("traditions") and new ways, serving and saving (i.e., Okoye's conflicted character and where her loyalties lie), and showing fairness to others (including enemies) rather than tyrannical methods. More importantly, Black Panther showcases what it means to lead and what it means to be human—either being “more of the same,” or being more than that. A recurring question T’Challa asks himself is whether he and his people (including his home and his family) keep their resources to themselves or share it with others, especially those in need. The same goes for either dwelling on the mistakes of the past or turning/leading into the future. 

Black Panther was arguably the first film of its kind since The Lion King, considering both are rooted in African culture. Composer Ludwig Gorannson (a good friend of Coogler) created several themes that represent the different tribes within Wakanda. The theme for the militaristic Dora Milaje, for one, is jaw-dropping. The film's soundtrack features artists like The Weeknd, SZA, and Kendrick Lamar, helping bring a lot of flavor to the MCU—and, more specifically, inspiration for audiences of color, who could now, more than ever, see themselves as superheroes on screen. (Spider-Man: Into the Spider-Verse would do the same with its diverse cast, soundtrack, and groundbreaking animation at the end of the year.) As Guardians of the Galaxy did from the get-go, Black Panther is filled with characters that have become instantly iconic, household names, including strong female characters like spy Nakia (Nyong'O), warrior Okoye (Gurira), and scientist Shuri (Wright). And it's awesome seeing all three of these ladies in action. The result is arguably the best film that Marvel has made to date. It's certainly the best in the MCU. Like Iron Man and Guardians, it works as an effective standalone entry. "Wakanda forever!" 

Spider-Man: Homecoming (2017) 

Following his scene-stealing MCU debut in Captain America: Civil War, Tom Holland made his first solo outing as a 15-year-old Peter Parker (succeeding Tobey Maguire and Andrew Garfield, respectively) who exists in the same universe as the Avengers. Spider-Man: Homecoming practically opens with a flashback to the aftermath of the Battle of New York from 2012, regarding alien tech from wrecked ships, as well as people who decide to steal and profit off of said tech. With its story set after the Sokovia Accords (from Civil War) became a thing, the events that follow for Peter and company coincide with Tony Stark’s famous tower relocating to a new facility upstate, as well as Peter dealing with typical high school adolescence while trying to keep his secret identity intact. 

This first installment in the third cinematic iteration of Spider-Man (Marvel Studios' first co-production with Sony, since the latter technically owns the character) benefits from not being an origin story, nor replaying the familiar story beats of Peter getting bitten by a radioactive spider or Uncle Ben dying. (We’ve seen those more than once already.) As referenced in Civil War, the quippy teenager lives with his Aunt May (Marisa Tomei) and has had his powers for over six months. Homecoming centers on Peter wanting to prove that he can be more than a "friendly neighborhood" hero, even though he's still just a teenager and has so much more to learn and experience about how the world works. We also get to see how difficult it is for Peter not being where he wants to be and not live a regular life. After all, how do you explain this to others? He also gets some tough love from Tony when necessary, and even (as Tony did in Iron Man 3) identifies himself by his suit before remembering the man in the suit. 

Along with director/co-writer Jon Watts, the film credits five other writers, who were all clearly influenced by the '80s coming-of-age films of John Hughes (i.e., Ferris Bueller's Day Off, Pretty in Pink). In fact, unlike previous adaptations, many of the young actors here are age-appropriate, Gen Z stars who genuinely play off each other. These include love interest Liz (Laura Harrier), school bully Flash Thompson (Tony Revolori), best friend Ned Leeds (Jacob Batalon, who almost steals the show), and sardonic classmate Michelle (actress-singer Zendaya made her big screen debut here). And like Chris Pratt did as Star-Lord in Guardians of the Galaxy, Holland reportedly based his performance off of Marty McFly from Back to the Future. And the kid kills it, being funny, energetic, ecstatic, and thoroughly relatable. 

The writers and filmmakers also give Peter a legitimate adversary in former construction worker turned high-tech arms dealer Adrien Toomes (played by none other than Michael Keaton. First Batman. Then, Birdman. Now, the Vulture. Honestly, what is it with Hollywood casting Keaton in bird-like roles?) His costume is incredible, while his presence is genuinely intimidating. Yet, his arc reveals why he does what he does, and who he does it for, as misguided as it is. And I didn't even mention a shocking twist that is unexpected but brilliantly written, acted, directed, and executed. Let's just say it helps put a new spin on the anxieties of school events and young love. 

On the other hand, the fact that Spider-Man: Homecoming is part of a larger narrative makes it feel less like a standalone entry. That's not to say it's not fun seeing characters like Robert Downey Jr.'s Tony Stark (now a mentor-of-sorts to Mr. Parker) or Jon Favreau's Happy Hogan (who sees Peter as nothing more than a nuisance). Ditto a 2012 version of Chris Evans' Captain America. (Stay through the credits for a brilliant meta bit.) Then there's the heavy amount of CGI, including Peter's high-tech suit (invested by Tony). The kid's homemade costume fairs much better, in my opinion. 

Parents of younger Spidey fans should be aware of some brief but crass and/or suggestive references and surprising language choices (some of which weren't needed). Those elements notwithstanding, this is one of the MCU's funniest and most entertaining movies. It also isn't devoid of powerful moments or difficult character choices, some of which are challenging but life-affirming. A few standout sequences include the Washington Monument (with a real sense of vertigo), a climactic aerial chase, and some stylish animated credits (set to the Ramones' "Blitzkreig Pop"). Not to mention a thoroughly entertaining score by Michael Giacchino and some nostalgic '80s tracks.  Go, Spidey, go! 

Guardians of the Galaxy, Vol. 2 (2017) 

Becoming a family is one thing. It's also a hard thing. But being a family may be harder. That’s one of the central thematic underlines of James Gunn’s follow-up to his 2014 adaptation of the lesser-known Marvel comic, Guardians of the Galaxy. With this 2017 sequel, Gunn and company pick the story up a few months after the events of the first movie, making this the first MCU story set during a previous Phase but released during a later one. 

The titular quintet is back, including Earth native Peter Quill (Chris Pratt), former assassin Gamora (Zoe Saldana), literal-minded muscle Drax (Dave Bautista), humanoid raccoon Rocket (voiced by Bradley Cooper), and the scene-stealing tree Groot in adorable baby form (voiced by Vin Diesel). Vol. 2 introduces new characters like Celestial planet Ego (Kurt Russell in human form), the "empathic" Mantis (Pom Klementieff), and Sovereign priestess Ayesha (Elizabeth Debicki), while the central narrative expands and deepens the arcs of characters like space pirate Yondu (Michael Rooker) and Gamora's cyborg sister Nebula (Karen Gillian). Yondu's team-up with Rocket (feelings of bitterness, betrayal, exile), Drax's new friendship with Mantis (which some have viewed as examples of people on the autism spectrum), Peter and Gamora's growing but quiet romance, and the latter's complicated relationship with Nebula, are some of the subplots in this grander and wilder space adventure that takes the central gang to other planets and expands their respective arcs and issues as well. 

But the main subplot centers on Peter's backstory on his parents, including his biological father he never knew. (An opening flashback to 1980 reveals when Peter's parents met.) And when the self-proclaimed "Star-Lord" meets the charismatic Ego and his self-created home world, Peter discovers abilities he didn't know he had. But is this place what it seems? Is Ego what he seems? And how blurred will the lines between fantasy and reality become? 

Vol. 2 continues its predecessor's playlist of classic pop songs, this time with artists like ELO, Glen Campbell, Fleetwood Mac, and Cat Stevens. An action sequence that opens the film showcases Baby Groot dancing to "Mr. Blue Sky" in the foreground, while Looking Glass's "Brandy" (and its lyrics) are central to the plot. Not to mention its twists and turns, including a dark secret that is malevolent and sadistic. There are also some clever pop culture references to David Hasselhoff and Knight Rider. (The iconic actor even contributes to an original, 70s-inspired song on the film's soundtrack.) 

On first viewing, this second Guardians feels overwhelming and overstuffed. (It easily has quite a few post-credit scenes out of any MCU film to date.) The dialogue is still witty and snappy but can be heavy at times. There's a lot of CGI, as colorful and creative and weird as it is (especially Ego's planet). And Drax sure laughs a lot. More importantly, the film's violent, suggestive, and crass elements are nothing you would probably want to expose any little kids (including pint-sized Groot fans) to just yet. Action sequences and massive set pieces sometimes play like video game levels with bonkers mayhem, while one particular scene (set to Jay and the Americans' "Come a Little Bit Closer") finds Yondu wiping out a fleet of traitorous pirates with his sentient arrow (a macabre and darkly humorous scene, to be sure). 

In retrospect, Guardians of the Galaxy Vol. 2 is an effective, personal, and (mostly) self-contained story about father figures (including characters with daddy issues) and families, with one character who turns out to be more of a father figure than we thought. It showcases themes of pride and humility, temptation, and what it means to be human and/or real. Like its predecessor, this sequel has deeper drama, meaning, and existence than we expect, showing how complicated families are, how they communicate (i.e., social skills, Groot's three-word vernacular), and how they work together (or not). As one character tells us, "Sometimes, that thing you're searching for your whole life is right there by your side all along." Flaws and all. 

Doctor Strange (2016) 

Next to Thor, another Marvel property that had been in development, on-and-off, for decades was Stan Lee & Steve Ditko's series about famed neurosurgeon Stephen Strange and his role in the mystic arts as the so-called “Sorcerer Supreme.” Directors like Wes Craven and Guillermo del Toro (the latter along with author Neil Gaiman) each took a crack at it over the years, although nothing came to fruition, partly due to rights issues—which reverted back to Marvel in the 2000s. 

Director Scott Derrickson (The Exorcism of Emily Rose, Sinister) is a fan of the original comics. And the horror auteur was able to bring the MCU into another diverse phase of stories, characters, and unique visions that expanded this cinematic universe. (The origin story of Doctor Strange also marked the debut of the new Marvel Studios logo, which features clips of characters and films up to that point.) 

While Benedict Cumberbatch is engaging as the titular neurosurgeon-turned-sorcerer, the real stars of the movie are the psychedelic and kaleidoscopic visual effects. From yellow-sparked portals to various dimensions that bend like Rubix cubes, origami, or M.C. Escher mazes, things get really crazy and sometimes hard to keep track of. (Think Inception, but on a whole other level. Doctor Strange also pre-dates another Nolan release, Tenet, considering one sequence in this MCU flick reverses time and destruction.) As for Strange’s character arc, it is a bit rushed. Then again, the man does have a photographic memory and can learn fast. His journey takes him to Nepal (to a place called Kamar-Taj) and to what is known as the Sanctum Sanctorum (with locations in Hong Kong, London, and New York City). As Chiwetel Ejiofor's Mordo advises us, “Forget everything you think you know.” 

There are some interesting similarities between Stephen Strange and Tony Stark. Both start out as brilliant but arrogant, ego-driven figures in their respective fields, who have to learn the hard way what it is to be humble. They have accidents that change the course of their lives; in Strange’s case, it's a result of pride (and distracted driving). As such, the man spends subsequent time, money, and self-pity trying to fix his broken hands but to no avail (“All I need is possible”). Furthermore, the motif of time foreshadows the subplot of another Infinity Stone (in this case, the Eye of Agamotto), as well as defending the world against mystical threats--unlike the Avengers, who defend it against physical threats. In retrospect, it’s a better story, and a more complex and complicated one, considering how Strange still tends to break the laws of nature along the way. 

Some viewers felt the humor and comedy throughout were out of place (elements that other previous MCU films had been criticized for at the time), with jokes about single names of music artists, as well as the red Cloak of Levitation (like Aladdin’s magic carpet) having a mind of its own. There was also some controversy over the casting of Caucasian actress Tilda Swinton as the Ancient One. To be fair, most of the rest of the otherwise engaging cast (including Rachel McAdams, Mads Mikkelsen, and Benedict Wong) is a diverse and cultural bunch. 

More discerning viewers should be aware of the film’s elements of dark magic and occultism, mostly from the traitorous Kaecilius (Mikkelsen), who confuses peace with torment and false doctrine. Then there's the presence of a malevolent cosmic being that seeks to control everything (no different than Ego in Guardians Vol. 2). That being said, other spiritual elements in Doctor Strange (though secular) are likely to generate compelling theological discussion, with themes of skepticism and doubt, belief, seeing in part but not the whole (“how much you don't know”), and surrendering control (and the fear of failure). For Strange, his journey proves to be more than about healing himself, and about an ongoing spiritual battle and who he is in it. Hold on. 

Thor: Ragnarok (2017) 

After two solo outings and two teamups, Chris Hemsworth was reportedly getting bored with the role that made him famous, and he wanted to shake it up. Enter Taika Waititi, a New Zealand native known for making quirky, offbeat independent films in his home country (including the vampire mockumentary What We Do in the Shadows and the coming-of-age adventure Hunt for the Wilderpeople). As such, Waititi and Hemsworth took the titular Asgardian in a more comedic and outrageous direction while still maintaining his mythological roots. 

Teased at the end of Doctor Strange, Thor and his adopted brother Loki are on Earth, looking for their father Odin, after Thor learns that his mischievous sibling has taken the throne. And that an impending apocalypse may be coming, due partly to some recurring dreams he's been having of his home world in ruins and the Nine Realms in chaos (as seen in Avengers: Age of Ultron). Hence the film's title, Thor: Ragnarok. Both estranged brothers soon learn that they have an older sister, the formidable Hela the “Goddess of Death” (Cate Blanchett gives Tom Hiddleston's “God of Mischief” some competition), who is bent on conquering Asgard, almost single-handedly taking out full armies in battle. (She can sure reduce Thor's hammer to a pile of rubble.) It's a major thematic subplot involving an untold, dark history—what has been hidden versus what has been cast out, as well as what is real and what is fantasy. 

Both Thor and Loki suddenly end up on the strange alien planet Sakaar, ruled by the eccentric Grandmaster (Jeff Goldblum, as only he could do) and filled with garbage heaps, gladiatorial matches, and (wait for it!) Hulk-mania (not to be confused with a certain pro-wrestler). There, they also meet Valkyrie (an engaging Tessa Thompson), a former warrior traumatized by loss (including herself) and death and who can't get herself off the bottle. And, in motion capture garb, Waititi even has a supporting role as the quirky and scene-stealing rock being named Korg. 

The result is a colorful, eye-popping sequel, with many visual homages to Marvel legend Jack Kirby. As with Doctor Strange and Guardians Vol. 2, select sequences were filmed in/for IMAX. But while some found this new approach to be fresh and fun—going so far as to call it the best Thor movie to date, as well as one of the funniest MCU movies ever made—it threw off other viewers, who found it crass and/or uncharacteristic. Either way, Thor: Ragnarok is a very subversive flick. It's energetic, action-packed, and witty, often literally knocking the audience into reality with humor. (My favorite bit: “I have been falling for thirty minutes!”) 

The film includes clever cameo appearances during a play-within-a-play (one of the movie's biggest surprises), while side characters from the previous entries are there for a moment and then suddenly gone. Lord of the Rings alum Karl Urban has a key side role as current gatekeeper Skurg, while the previous gatekeeper Heimdell (Idris Elba, as commanding and active as he's ever been here) leads an Exodus for Asgardians-in-hiding. Anthony Hopkins has limited screen time as Odin, but (as usual) makes the most of it, giving the film some of its most profound and powerful moments. It helps give Thor some assurance and inspiration, in terms of facing the past instead of running from issues (which Valkyrie could use as well), a reminder of those who seek war versus those who are ready for it, what it means to be a hero and a leader, and that a nation is not merely a place, but rather the people who make it (much like the church shouldn't be a place, but rather it's people, wherever they are). 

One of the highlights of Thor: Ragnarok is the reunion between Thor and the Incredible Hulk/Bruce Banner (their first since Age of Ultron). It’s also kind of a full-circle moment from their first credited screen duel—a made-for-TV Hulk movie in the late-1980s—and certainly explains why they were absent in Captain America: Civil War. A now-unforgettable gladiatorial match between these two powerful characters in beast mode is both exciting and speechless. Even the way Thor tries to use Black Widow’s “lullaby” for Hulk (from Ultron) is amusing (“Sun’s going down”). Ditto some callbacks to what Hulk did to Loki in The Avengers. It is interesting if different hearing Hulk speaking more. (I thought, is that Mark Ruffallo’s voice instead of Lou Ferringo’s? It is.) And I haven't even mentioned the genius inclusion of Led Zeppelin’s “Immigrant Song” (which references Norse mythology). This element is guaranteed to give you chills. The same could be said for composer Mark Mothersbaugh's score including elements of 80s rock. As for Thor and Loki’s relationship here, it may be the most engaging, dynamic, and (in many ways) mature as it’s ever been. And the events that collectively unfold—partly from difficult but noble choices—change the course of their worlds, and that of the MCU. 

Avengers: Infinity War (2018) 

Ten years. Eighteen films. It’s all been leading to this. Marvel Studios CEO and lead producer Kevin Feige has described the third official Avengers movie as the culmination of everything the Marvel Cinematic Universe had been building up to since the first Iron Man. Since teasing him at the end of the first Avengers, mad titan Thanos is now center stage in this universe-spanning battle for the fate of the universe and the future. As such, Avengers: Infinity War became arguably the most anticipated release since The Lord of the Rings: The Return of the King fifteen years prior. 

As we've seen in previous MCU films, there are numerous team ups here where various characters cross paths. These include Tony Stark and Stephen Strange (plus Peter Parker), Steve Rogers (bearded and taking on his Nomad identity from the comics) and King T’Challa; Vision and Scarlet Witch; and Thor and the Guardians of the Galaxy. This is, most certainly, the biggest ensemble of any Marvel movie to date. Several character entrances are off the charts, and it's really something to see how they interact. The same goes for how their respective screen times are balanced, and how they each have moments to shine. Even so, viewers are reminded that (after the events of Civil War), the Avengers have disbanded, and everything that Tony had feared for the past six years is finally coming to fruition. 

In fact, the main characters in Infinity War are at their lowest, most vulnerable, and most flawed. Vision is evolving. Hulk won’t come out of Bruce Banner (an opening scene shows how formidable and unstoppable a certain opponent is). Gamora still has trauma from when she was taken as a child. Our heroes each have conflicting objectives and directions and are either willing or unwilling to do certain things as they go up against the most powerful, merciless adversary they’ve ever faced. The overarching plot centers on Thanos (played by Josh Brolin, in a thoroughly convincing motion capture performance) and his sinister, cold-hearted army, as they stop at nothing to retrieve all six Infinity Stones to wipe out half the universe—a twisted worldview of trying to “bring balance” to all life. The mad titan believes the universe has an overpopulation (and finite) problem, while the Avengers and other characters beg to differ that such lives shouldn’t be taken for granted. 

That doesn't mean that Infinity War isn’t devoid of heroic and sacrificial acts. Ditto so many now-unforgettable and crowd-pleasing moments, lines, and memes, many of which are hilarious (like Drax’s improvised “Why is Gamora?”). It's awesome seeing Bruce in the Hulkbuster as well. Directors Anthony and Joe Russo, writers Christopher Markus and Stephen McFeely, and the entire crew take full advantage of an entire color scheme throughout (despite a prominent gold), as well as a wide range of emotions. Kudos to composer Alan Silvestri, whose main Avengers theme officially became iconic by this film’s release, and who balances every character and scene brilliantly. Avengers: Infinity War became the first movie shot entirely in IMAX (the best way to experience this). 

A majority of this is digital effects (including Iron Man’s nano-tech suit and Peter’s Iron Spider outfit, and key action set pieces in Wakanda and Thanos’s home planet Titan), which are undoubtedly mind-blowing. But it’s the emotion that makes it work, and the pacing and editing is done with such confidence and subversion. One moment, audiences are excited; another, they’re laughing; another, they’re shocked. The result is the biggest, most phenomenal, most exciting, most dramatic, most powerful, and (frankly) the most devastating Avengers flick. It’s arguably the best, strongest, and most challenging Avengers (and MCU) entry to date. Talk about a cinematic experience unlike anything before it. 

The good news: this is the first-half of a two-part finale. So, it doesn’t end here. The bad news: audiences had to wait a whole year for the rest of the story. Still, I don’t think I’ve ever experienced more of a gut-punch of an ending to any movie I’ve seen in my lifetime. Make no mistake, some of the costs throughout this film are deeply heartbreaking. And let’s be honest, nobody was prepared for this. (My initial reaction was like Rhodey’s reaction to Vision in Age of Ultron: “Okay, what?!?”) Another thing is for certain: the MCU was entirely deconstructed here and would never be the same.