REVIEW COLLECTION: The Marvel Cinematic Universe (PHASE THREE, Part 2)

(Source: YouTube) 

Captain Marvel (2019) 

Those who wondered what the logo was on Nick Fury's pager at the end of Avengers: Infinity War got the answer to that the following year. Brie Larson made her MCU debut in an origin story of Air Force pilot-turned-galactic superhero Carol Danvers, who gains superpowers and becomes one of the Marvel Universe's most powerful characters. It also marked the first major superhero movie with a solo female lead since DC's Wonder Woman two years prior. Not to mention the first MCU entry with a female director and composer each. 

Released one month before DC’s Shazam (which, ironically, carried the name of Captain Marvel in its original comic book series), this 2019 tentpole—chronologically the second in the MCU, between Captain America: The First Avenger and Iron Man—has a very non-linear structure. The main plot centers around Danvers a.k.a. Vers struggling to remember who she is, the life she may have once had, and how she got to where she ended up. Said identity crisis and trust issues make her question if the memories and thoughts she’s been having are hers to begin with. And if so, what do they mean? Her journey takes her from the planet of Hala (the civilization of the Kree race, a callback to Guardians of the Galaxy) to Earth a.k.a. C-53, landing in, of all places, a Blockbuster Video store. 

Speaking of which, Captain Marvel represents another big-budget spectacle made by indie filmmakers. And the directing duo of Anna Boden and Ryan Fleck (known for acclaimed films like Half Nelson and It’s Kind of a Funny Story) are more than up to the task of delivering several exciting sequences in the style of action movies of the time (i.e., Speed, Independence Day), considering this story is set in the mid-1990s. They also apparently have a good working relationship with actors, including extras. It’s nostalgic, even amusing, seeing various elements like Mac computers, dial-up internet, Radio Shack, and music by both grunge bands (No Doubt and Nirvana) and R&B artists (TLC and Des’ree). Carol even looks awesome in a Nine Inch Nails t-shirt and brown leather jacket, while composer Pindar Toprak’s score is very retro. 

It’s also fun seeing Samuel L. Jackson as a younger Nick Fury and Clark Gregg as a younger Phil Colson, both seamlessly de-aged for an entire feature (another first for the MCU). Ditto the scene-stealing cat named Goose (supposedly named after a character from Top Gun). Aforementioned callbacks and backstories of characters from Guardians of the Galaxy (co-writer Nicole Perlman also worked on that 2014 film) include Djimon Hounsou reprising his role as Korath the Pursuer, as well as Lee Pace as Ronan the Accuser. And I’d be remiss if I didn’t mention the fitting tribute to Stan Lee (who passed away the previous fall) that opens the film. For one of his final screen cameos, it’s a callback to Kevin Smith’s 1995 cult classic Mallrats. 

Perhaps, more than any other MCU release at the time, Captain Marvel gained a lot of negative publicity from audience members prior to its theatrical release, even making some fans, quote on quote, rage quit. Some claimed the movie had a feminist and/or political agenda, in terms of female representation onscreen. Then there were the portrayals of an alien race known as Skrulls (antagonistic, shapeshifting characters from the Marvel comics), and a possible retcon of how Nick Fury lost his eye (just a theory). In all honesty, Captain Marvel is not as bad as people say or think it is. In fact, it’s not a bad movie at all. It’s not great either. Nor would I rank it up there with the best MCU movies. But it is entertaining and sophisticated. Carol is constantly told to back down, stay down, and not show emotion. But she is resilient and keeps getting back up, and does so with confidence, strength, stamina, and sass. 

Larson also displays vulnerability and emotion in her performance, remembering what it means to be human (reminders of what made her performances in acclaimed films like Room and Short Term 12 so great), and what it means to be the best version of yourself—but not as others think or insist, even by deception. Is it any wonder her catchphrase is, “Higher Further Faster,” or why a certain powerful moment is well-earned? My only quip is that (like Chris Evans’ debut as Steve Rogers and Benedict Cumberbatch’s debut as Stephen Strange), I would’ve liked to see a little more depth and nuance from Larson’s performance, even though she does a committed job, both physically and as an actress. Plus, her dynamic with Jackson (whom she worked with on Kong: Skull Island) is what helps carry the movie. Ditto her chemistry with fellow pilot Maria Rambeau (Lashana Lynch) and daughter Monica (Akira Akbar). Her subsequent objectives give viewers an idea of what she’s been doing throughout the rest of the MCU (setting up Avengers: Endgame and her potential role in that anticipated release), and what inspired Nick Fury to create the “Avengers Initiative” back in the day. 

Ant-Man and the Wasp (2018) 

Let’s be honest: after the devastating conclusion of Avengers: Infinity War, audiences were in need of some cinematic therapy. Marvel Studios provided some of that two months later with a light-hearted popcorn muncher that continued the arc of former criminal Scott Lang and his tiny super-powered alter ego. In the two years since he helped Captain America and company in Civil War, Scott has been under house arrest. 

Biding his time learning card tricks and singing to the Partridge Family, he still gets frequent visits from his daughter Cassie (Abby Ryder Fortson, who mentions she wants to help alongside her dad someday) and has a better relationship with his ex-wife and her second husband (Judy Greer and Bobby Cannavale, respectively). Scott also tries to help his fellow ex-cons build their own business, and land better opportunities (working in security, of all things). Michael Peña’s Luis steals every scene he’s in, reiterating his trademark fast-talking storytelling while also showing signs of maturity. With three days to go, Scott suddenly and reluctantly gets pulled back into action with scientist Hank Pym and love interest Hope Van Dyne—both on the run, and tense about Scott’s previous activities. 

Ant-Man and the Wasp improves on its predecessor in so many ways. For one thing, it gives actress Evangeline Lilly a more active and maturing role to really flex her wings (as the titular Wasp). And she sure makes quite an entrance. Alongside Michael Douglas’s Dr. Pym, his long-lost wife, Janet Van Dyne (Michelle Pfieffer), is central to the plot (an opening flashback de-ages Pfieffer and Douglas), as she had been missing in the Quantum Realm (where Scott briefly ended up in the last movie) and our heroes hope to bring her back from that dimension. One standout new character is named Ghost a.k.a. Ava Starr, a mysterious phasing figure that may or may not represent a mistake from Hank’s past. Not to mention another case of weaponized technology and superhuman abilities. (As Scott would say, “Yeah, well, what else is new?”) Actress Hannah John-Kamen gives quiet stealth and rage, as well as sadness and complexity, in her performance. 

Returning director Peyton Reed was influenced by chase movies for this sequel’s tone and style, with side characters that represent obstacles and deadlines for our main characters to get through (i.e., Black market tech dealers, the FBI, a former colleague with scientific insights, and even themselves). Ditto mentions of the consequences of going subatomic, and what that series mentally. Another obstacle includes Scott’s malfunctioning suit, which leads to several moments of clever slapstick comedy. Speaking of which, this sequel features other clever lines and jokes, as well as scenes where the VFX artists and sound designers go to town (we also see more of the Quantum Realm). Whoever thought a Hello Kitty Pez dispenser would be so useful? Another unexpected, funny, and weird moment has Rudd pulling off a seemingly-possessed state so convincingly. 

Select scenes were shot in IMAX, retain the first movie’s taller aspect ratio. (I frankly prefer that size better than this sequel’s wider frame.) This adds scale to set pieces like Hank’s lab (when it shrinks, it becomes a compartmentalized suitcase) and the Quantum Tunnel, with detailed components that keep it from overheating. Chase sequences are fun, giving the filmmakers (including composer Christophe Beck) creative ways to play with size, scale, and character arcs. Likewise, a set of replaceable shrinking cars makes the action feel like kids playing with Hot Wheels or action figures, but in the best way. 

The first two Ant-Mans are some of the MCU’s most fun entries. They’re also some of the franchise's most light-hearted flicks, with themes about regrets and resolutions. Still, we are reminded of the events of Infinity War (which technically takes place after this movie), setting up the role that Scott Lang will potentially play in the second half of the culminated conclusion to this massive saga. 

Avengers: Endgame (2019) 

To paraphrase screenwriter Christopher Markus (and the Russos, Anthony and Joe), if Avengers: Infinity War broke our hearts in 2018, then the following year’s Avengers: Endgame would reportedly blow our minds. Courtesy (in part to) co-writer Stephen McFeely and co-producers Louis De’spisito and Victoria Alonso, it took twenty-two films to get to this point. As Tony Stark tells us, “Part of the journey is the end.” 

The remaining Avengers and superheroes (including War Machine/Rhodey, Nebula, Rocket Raccoon, Okoye, Ant-Man, and Captain Marvel) are all devastated by the events at the end of Infinity War. Led by Stark/Iron Man, Steve Rogers/Cap (clean-shaven), Bruce Banner, Thor, Natasha Romanoff/Black Widow, and Clint Barton/Hawkeye, our main team struggles with overcoming trauma, as well as worthiness, time, and moving on. In a move that may potentially change the course of the future (and the MCU), they seek to undo what Thanos did, while remembering the high risks involved (even willingly, and what can or cannot be “undone”), and everything that this team means (i.e., family, friends, worlds) 

I’ve said it before, but I really want to commend the marketing department for this movie. Infinity War was advertised with the hashtag #ThanosDemandsYourSilence, while the one for this flick was #DontSpoilTheEndgame. This is how you build up anticipation: by showing as little as possible while not revealing too much about the plot or entire movie. It’s one of the reasons this Part-Two conclusion to what is now known as “The Infinity Saga” quickly became the most popular superhero movie of all time—and the highest grossing film in history for a time. (Adjusted for inflation, it still ranks up there in the Top 20.) 

In retrospect, Endgame packs more excitement and thrills than punches. Not to say that there aren’t still moments that hit like a ton of bricks. Like Infinity War, Endgame was filmed entirely with IMAX digital cameras (honestly, the best way to experience this). At times, it feels like a “Greatest Hits” collection, with callbacks to some iconic moments from the first three Phases of the MCU. Plus, the directions these characters go in, and the events that unfurl, may not be what we expected. But they’re constantly surprising nonetheless (especially in the case of the Hulk, Thor, and Nebula, who reveal strong humanity within themselves, and encounter unexpected talks/meetups that become crucial turning points). We also get to see what Clint Barton has been up to after Civil War and into this film. As for how Thanos is involved in this story, I won’t say. Except to say it is chilling and menacing. Alan Silvestri’s score is melancholic, bittersweet, thrilling, triumphant, and roaring. The same with how this movie balances a spectrum of emotions and reactions. 

Speaking of Silvestri, several references to Back to the Future (including different perspectives of past events à la Part II of that franchise) explicitly highlight how different the plot of Endgame will be with its time travel elements. As one character describes, “If you travel to the past, that past becomes your future, and your former present becomes the past, which can’t now be changed by your new future.” Granted, there are some convoluted twists. But it’s exciting and nostalgic to watch while largely being its own thing. (I can only imagine how it must have been filming this.) As such, the Russos have described Infinity War as a hunt story (as in, Thanos hunting for the Infinity Stones), whereas Endgame is described as a heist story, with elements that help set up future MCU projects. Marvel Studios CEO Kevin Feige has also mentioned how the MCU would be defined by two different eras. The first era would be everything before this movie, while the second would be everything after. 

It’s a once-in-a-generation experience that ended on a crowd-pleasing, jaw-dropping, roaring, and worthy note, with one particular moment/callback that was, for me, worth the price of admission alone (“On your left”). I’ll never forget that experience in the theatre on opening weekend, when everyone cheered at that moment, and many, many others throughout the three-hour runtime. (The movie’s title truly lives up to its name at this moment.) With elements that recall Star Trek VI: The Undiscovered Country (in terms of that series’ original cast), Avengers: Endgame concludes most of its arcs really well; some on a very bittersweet note. And while more was to unsurprisingly come from the MCU, this marked the final time we may get to see Robert Downey Jr., Chris Evans, Chris Hemsworth, Mark Ruffalo, Scarlett Johansson, and Jeremy Renner, assembled in the same movie. 

We love you 3,000. 

(Source: The Hollywood Reporter) 

Spider-Man: Far From Home (2019) 

The first trailer made me wonder if the events in this follow-up to Tom Holland's arc as Peter Parker and his superhero webslinger would be set before or after the events of Infinity War and Endgame. I won’t spoil that detail, especially for those that are experiencing the MCU for the first time. However, I will say that Spider-Man: Far From Home is far more than its main plot of Peter and his classmates going on a European summer vacation. 

There are characters who question is the Avengers are still a thing nowadays? If so, who will lead them? If not, who is going to step up? This places a few self-burdens on Peter, who is conflicted over whether he can step up, or if he has too much responsibility. Then there are references to those who try to take control of that responsibility for their own purposes. 

Far From Home sees the MCU return of Nick Fury (Samuel L. Jackson) and Agent Maria Hill (Cobie Smulders), which creates sort of a full-circle moment back to when the former met Tony Stark over ten years ago. Here, Peter gets roped into another world-saving mission (“I think Nick Fury just hijacked our summer vacation”) and partners with Quinten Beck a.k.a. Mysterio, who is supposedly from another universe (another reference to the Multiverse, since Doctor Strange and Endgame). 

This is arguably where the engaging dynamics between lead actors Tom Holland (Peter), Zendaya (MJ), and Jacob Batalon (Ned) really became a thing. And they’re all terrific to watch, highlighting teenage romance and friendships, as Peter realizes he has feelings for MJ. It is, on the other hand, awkward for Peter to see his Aunt May and Happy Hogan (good to see Jon Favreau again, too) have feelings for each other. Plus, this variation of the wall crawler has been doing an impressive job with his rogues gallery, with Mysterio being the main one here—or so it seems? Peter also has a really cool black suit this time around, and is part of one of the trippiest VFX sequences since the Sorcerer Supreme’s 2016 film debut. 

On the downside, this story seems to sort of treat the events of Infinity War (and previous MCU entries) like a joke. Fury and Hill are portrayed as being very dismissive of Peter (and in general). And don’t get me started on certain misunderstandings and mishaps that lead to a few unnecessary suggestive elements. On the plus side, there seems to be a commentary on media influence and deception (“It’s easy to fool people when they’re already fooling themselves”), what is real and what’s not. That’s even more significant when the story takes a radical turn halfway through, pulling the rug right out from under us. A lot of that is thanks to Jake Gyllenhaal’s performance, making him one of the most unpredictable and complex characters in the MCU. Ditto other twists and turns we don’t see coming. 

In retrospect, Far From Home may have been released too soon after Endgame. Like its predecessor (Homecoming), it represents part of a larger franchise and less of a standalone entry, while also missing some of the wit and charm of that 2017 flick. But it’s still very entertaining, exciting, and subversive, with themes about adapting to a changing world—some weird, even confusing elements (as Bruce Banner describes in Endgame). Peter also learns more about growing up, becomes more his own and less like others before him. Consider this the penultimate conclusion to the “Infinity Saga,” as well as a transition to what would be on the horizon. As Nick Fury tells us, “Be ready for anything.”