Review of Avengers: Endgame

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This Marvel Cinematic Universe (MCU) movie was produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures. It follows The Avengers (2012), Avengers: Age of Ultron (2015), and Avengers: Infinity War (2018). It was directed by Anthony and Joe Russo, written by Christopher Markus and Stephen McFeely and features a large cast of superheroes, including Robert Downey Jr. as Tony Stark/Iron Man, Chris Evans as Captain America, Mark Ruffalo as the Hulk, Chris Hemsworth as Thor, Scarlett Johansson as Black Widow, Jeremy Renner as Hawkeye, Don Cheadle as War Machine, Paul Rudd as Antman, Brie Larson as Captain Marvel, Bradley Cooper as Rocket, Karen Gillian as Nebula and Josh Brolin as Thanos, etc., etc., etc., while Stan Lee makes his final cameo. This review contains spoilers.

After Thanos uses the Infinity Gauntlet to disintegrate half of all living things in the universe, Tony Stark and Nebula are rescued from space by Captain Marvel. The Avengers who are left organize and go after Thanos. Thor kills him, but this does nothing to reverse what Thanos has done. Back on Earth, everyone tries to get on with life, but they have to deal with the huge losses. Existence is hard and bitter, but they try to make new lives. Meanwhile, Scott Lang (a.k.a. Antman) has been stuck in the quantum realm since the catastrophe. Five years later he manages to find his way out. He takes stock of the situation and approaches Captain America and Black Widow with a plan to go back in time to reverse Thanos’ actions. Can the Avengers pull off a complex plan to capture the Infinity Stones before Thanos can get them? Can they create a new Infinity Gauntlet to defeat Thanos and bring back everything that was lost?

Good points: This movie has a little of everything: humor, pathos, love. It’s an ambitious script, and a lot of it goes by really fast. This is one possible explanation for the way it’s blown past USD$2B box office take in just a couple of weeks—people are going back to see it more than once because they missed a lot the first time around. It takes the main characters back in time for a brief visit with people they’ve lost, and in some cases, provides a do-over. For example, Gamora, who was sacrificed in Infinity War, gets a second chance. However, some other people apparently don’t and seem to be permanently dead. This may reflect the retirements of some of the bigger stars, including Robert Downey Jr. (RDJ), Chris Evans and Scarlett Johannson. Rocket the Raccoon is, as usual, a huge star in this film. The script didn’t tie up everything, though, which suggests a direction for future films: Loki got away with the Tesseract at the end of Infinity War, which sequence is reviewed in this film, and Carol Danvers’ not-a-cat puked it up at the end of Captain Marvel. Does this mean more time travels lie in our heroes’ futures?

On the not so positive side, this was a three hour movie that hurried through everything, suggesting they might have broken it up into two or three films and made better use of their stars. One big issue with putting all these highly charismatic people together is in suppressing the charisma to make clear leads. In all the Avenger films, it’s clear that Iron Man and Captain America are expected to be the leads, with Black Widow as a strong second. This probably reflects their seniority, contracts and the amounts they’re being paid. However, there are clearly obstacles to this plan. The first is Chris Hemsworth (a.k.a. Thor). In some of the other films, he’s had very few lines, and in this one, the script makes him into a cartoon figure. Surprise, surprise—Hemsworth is good for it. He does comedy well, too. Maybe this is supposed to demonstrate the dangers of alcoholism, but regardless, the role he’s given is offensive and smacks of body shaming. Ruffalo, also a strong personality, is disguised with CGI. Other obstacles include Tom Hiddleston as Loki and Chris Pratt as Star Lord, both of whom could steal the movie in a heartbeat. The directors were apparently expecting trouble here, though, so both are given very minimal appearances. In a three movie sequence, characters like these could have been given better roles and more screen time to develop subplots and make the film less jam-packed and hurried. Given the loose Tesseract and the fact that Thor went off with the Guardians at the end of this, we might expect they’ll get to follow up in future films, or maybe TV shows on Disney’s streaming service. Last, if RDJ, Evans and Johannson are all retiring, this will be a huge hit to the MCU films. Disney’s choices for replacement so far, like Brie Larson as Captain Marvel and Don Cheadle as War Machine, don’t really have the charisma and presence to carry the roles.

Highly recommended. Four and a half stars.

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Film Review of Captain Marvel

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This Marvel Cinematic Universe (MCU) movie is produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures. It’s written and directed by Anna Boden and Ryan Fleck, with Geneva Robertson-Dworet also contributing to the screenplay. Brie Larson stars as Carol Danvers, with Samuel L. Jackson as Nick Fury. This review contains spoilers.

On the planet of Hala, Kree Starforce soldier Vers has recurring nightmares about an older woman. Her commander Yon-Rogg trains her to use her abilities while the AI Supreme Intelligence reminds her to keep her emotions in check. During a raid on the shapeshifting Skrull, Vers is captured, and after analysis, seems to have memories of the planet Earth. Vers escapes from the Skrull and crashes in Los Angeles, where she attracts the attention of the SHIELD organization, including Nick Fury and Agent Phil Coulson. The alien Shrull infiltrate SHIELD and order Fury to keep tabs on Vers. Following up on newly awakened memories, Vers finds she is really Carol Danvers, thought to have been killed years before in an experimental flight of a jet engine developed by scientist Wendy Lawson. Fury and Danvers find Lawson’s not-really-a-cat, who has apparently survived alone for years in her abandoned orbiting lab. The Shrull Talos reveals Lawson was actually Mar-Vell, a renegade Kree scientist, and that Danvers has developed amazing superpowers from the destruction of the test engine. Can she gain control of her powers and stop the war between the Kree and the Shrull before it destroys the Earth?

Good points: This is a complex script with several twists and unexpected developments. Jackson as Nick Fury and Clark Gregg as Phil Coulson are old hands at this, and they carry off the alien contacts, the chase scenes and the Shrull infiltration of SHIELD with lots of class and wry humor. Danvers eventually sorts everything out and assumes her role as the hugely powerful savior of the universe. Plus, there’s an orange tabby non-cat. Not only is this a great addition to the cast, but it also pukes up a missing Tesseract in the post-credits scene, last seen in the hands of the Asgardian fire-and-mischief-god Loki Laufeyson. This device has been floating around through various of the MCU films, leaving us to wonder if it will feature in Avengers: Endgame and/or other films.

On the not so positive side, the script felt a little over-complex and convoluted. Like the shapeshifting Shrull, you couldn’t depend on anything being what it first seemed, which eventually turned a bit annoying. Danvers was represented as having god-like powers, a female version of superman but without the kryptonite issue; so why not stick around and handle things on Earth? Well, the universe calls. I’m suspicious—doesn’t she have any weaknesses? And last, like many of Disney’s recent choices for stars, Brie Larson doesn’t really have the presence and weight to carry this role.

Fairly entertaining and watchable. Three and a half stars.

Review of Aquaman (2018)

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This film is from the DC stable of comics, with Aquaman already introduced in the recent Justice League films. Here he has his own movie. This was released November 21, 2018, by Warner Brothers Pictures, and it’s the 6th installment in the DC Extended Universe (DCEU) films. It was directed by James Wan, and stars Jason Momoa as Aquaman, with Amber Heard, Willem Defoe, Patrick Wilson, Dolph Lundgren, Yahya Abdul-Mateen II and Nicole Kidman. This review contains spoilers.

Princess Atlanna of Atlantis washes up during a storm and carries on a romance with lighthouse keeper Thomas Curry that produces a son, Arthur. Atlanna is forced to return to Atlantis, leaving her son behind. However, she sends her advisor Nuidis to see that he is trained in underwater arts. Although Arthur is Atlanna’s firstborn and has a claim on the kingship, he is rejected by Atlantis for being a half-breed and makes a life on the surface instead. Arthur fights off a group of pirates attacking a Russian vessel and makes an enemy of David Kane (Black Manta). Orm, Arthur’s younger brother and current King of Atlantis, contracts with Kane to attack Atlantis as a pretext for war with the surface world. Orm’s bethrothed Mera refuses to accept the idea of war and goes to the surface world to find Arthur. Reluctantly, he sets out with her to find the symbolic Trident of Atlan, which will allow him to depose Orm and claim the throne of Atlantis. Can Arthur find the trident and defeat Orm to prevent the war?

This film has done really well at the box office (currently $1.1 billion worldwide), maybe just because people like to watch Jason Momoa do his thing. It’s CGI heavy, as you could expect from the heavily underwater setting, and it moves right along, without any slow spots where you might fall asleep. There are some thrilling fight scenes. The ending is emotionally satisfying, and the audience at my showing actually applauded at the close.

However, as often happens with high-budget action movies, the special effects here take a toll on what the movie can accomplish. I wasn’t thrilled with the script, or the vision of Atlantis as a high-tech underwater city. If it’s that scientifically advanced, then why are its social and political structures so backward? I got the feeling that the CGI displaced the human storyline here, which ended up being pretty thin. There was something of a whiplash effect at the beginning as the director tried to quickly lay out the background, jumping from Princess Atlanna to the pirates without any transition. Plus, the editing was really poor, where in one shot Arthur is bare-chested and in the next he’s got his shirt on. This budget was actually on the low end for DC, so maybe they didn’t have enough money to reshoot scenes like that. And last, I gather that Mera and Curry are supposed to develop a romantic relationship, but instead we get a sort of annoying-kid-sister vibe from the two of them. Atlannta and Orm are cold fish. There’s just not a whole lot of chemistry anywhere in this movie. And who came up with that hair color for Mera? It’s a sort of hot, hot, hot pink. Ick. This is watchable and maybe satisfying, but actually pretty messy.

Three and a half stars.

Review of Bumblebee (2018)

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This film is the 6th in the Transformer series and a prequel to Transformers (2007). It was released December 3, 2018, by Paramount. It’s directed by Travis Knight, and stars Hailee Steinfeld, John Cena and Jorge Lendeborg, Jr. This review contains spoilers.

It’s 1987. On Cybertron, the Autobots are losing the war against the Decepticons, and Optimus Prime sends B-127 to Earth to set up a protected base of operations. It crash-lands on Earth, disrupting a military training exercise. The humans attack, followed quickly by Decepticons. Badly damaged, B-127 transforms to a yellow 1967 Volkswagen Beetle and hides out in a junkyard. Meanwhile, Charlie Watson is turning 18. She is having adjustment problems, as her father recently died and her mother has remarried. She wants a car, and her Uncle Hank gives her B-127 from the junkyard. Charlie accidentally activates a signal that alerts the Decepticons that B-127 is active again, and two of them arrive on Earth. They convince the military that Bee is a dangerous criminal on their world, and obtain cooperation to find and destroy it. Charlie repairs the Volkswagen and manages to partially restore Bee’s voice and memory. Can Charlie, her friend Memo and Bumblebee defeat the Decepticons and save Earth?

So, the first Transformers film was pretty decent, but then they got sucky. When you sit through one, you can tell right away that they’re action flicks aimed at 14-year-old boys, pretty much to the exclusion of everybody else. This film dares to do something else, which means it’s pretty good as a stand-alone film. It’s about Bumblebee finding a couple of friends in a hostile world, and about how that friendship helps all of them to adjust and find their way forward. There’s great chemistry between Charlie and B-127, and the animation style makes Bee sweet and endearing, regardless of its hugely destructive capabilities. These show up briefly as the action line rises, but in the end, Bee manages to make peace and get on with its mission for Optimus Prime.

On the negative side, this is a pretty simple plot without a huge amount of depth—mostly about friendship, helping your friends, and how a warm, winning personality can prevail against unreasonable prejudice. The beginning sequence was a re-run of the kind of battle action that makes the other Transformer films sucky and boring, but once that’s done and we’re into Bee’s adventures on Earth, then the film picks up interest.

Recommended. Four stars.

Review of Ralph Breaks the Internet (2018)

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This is the second movie of this series, a sequel to Wreck-it Ralph (2012). It was directed by Rich Moore and Phil Johnston, distributed by Walt Disney Pictures, and opened on November 21, 2018. It stars the voices of John C. Reilly, Sarah Silverman, Jack McBrayer, Jane Lynch, Ed O’Neill, Gal Godot, Taraji P. Henson and Alfred Molina. It was nominated for Best Animated Feature for both the Critics’ Choice and Golden Globe Awards. For anyone who is confused by the scenario, Ralph and Vanellope are characters from obsolete arcade video games. This review contains spoilers.

Wreck-it Ralph and Vanellope von Schweetz live in neighboring games at Litwak’s Family Fun Center and Arcade. After the previous film where Ralph tries too hard to become a hero, Ralph and Vanellope become best friends. However, Vanellope is bored with her racing game. Ralph tries to help out with a bonus track and Vanellope is thrilled, but the diversion results in a broken steering wheel on her game’s cabinet. The part only seems to be available on Ebay, so the two of them take advantage of new wi-fi in the arcade to infiltrate the Internet in search of the part. As ingénues, they accidentally bid up the price, but win the auction, then have to raise the money to pay for it. After a couple of false starts, they find Yesss, an algorithm for BuzzTube, who helps Ralph make a lot of money from silly videos. Meanwhile, Vanellope finds friends among the princesses at the Disney site and is attracted by hazards in the game Slaughter Race, where she meets champion driver Shank. Horrified that Vanellope might leave him, Ralph looks for help in damaging Slaughter Race. Spamley introduces Ralph to Double Dan, who gives him an insecurity virus that will replicate flaws. The virus replicates Vanellope’s glitch and forces Slaughter Race to reboot, which will delete Vanellope. Can Ralph save the day? Can he keep Vanellope as his friend? What will happen if he can’t?

This is one of those wonderful kids animations that works on multiple levels. There are the bright, colorful characters for the little kids and important, serious themes for older ones. In addition, this seems to be light satire. The serious themes here are about the importance of friendship, about letting your friends grow and follow their own paths, and how your insecurities and need can sabotage relationships when you double down and don’t let them grow. The animators’ vision of the Internet as a huge, busy city with blue twittery songbirds is clever and entertaining—Disney must have recouped their costs just from the product placements alone. The sequence where Vanellope realizes she’s a real Disney princess that needs her own song is both ironic and priceless. Then Ralph makes the right decision at the end and everybody grows up a little bit.

I really couldn’t find any negatives in this. It was cute and heartwarming, and carries a great message. Awww.

Don’t miss the post-credits scene with the rabbit. Five stars.

Wrap up of the Daredevil Reviews

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So, there are a number of reasons why this series would never have happened on other entertainment services than Netflix with a MA (mature audience) rating. The first of course, is the darkness of both the subject matter and the production. This is about evil as represented by organized crime and a cast of people who are trying to do something about it. The production doesn’t hold back on either blood or the representations of evil. Lots of people get hurt and killed in ugly ways, and a few get tortured along the way. Especially in the first season, Daredevil isn’t always a nice person.

This production is tailored to fit well into today’s expectations, as the cast is diverse and there are some liberal additions to the story lines—organized crime forcing poor minority immigrants out of their homes, etc. However, there is a darkness in the heart of the story that current viewers may not recognize. This story is very much about the Irish experience. The Irish weren’t considered white in the US in the 19th century, and Daredevil debuted in 1964 when there was still active discrimination against Irish Catholics in the US. This means that when Marvel released the comic, it was actually a diversity addition to their offerings.

Next, I’m surprised that there’s been no comment on the ideology here. Despite the trimmings, this show presents something you don’t see much these days—that is conservative values including love, family, respect, religion, strict morals, Western culture and the rule of law. The discussion of good and evil is framed in Catholic terms as about the Christian God versus the adversarial Satan, and Matt is working from a strict Christian moral system that defines what is acceptable for a “good” person to do and what’s not. The danger in failing is losing his soul and, as Sister Maggie warns him, becoming the monster himself.

The last issue is something interesting that’s understated here, but built clearly into the concept. It’s considered politically incorrect to discuss racial characteristics these days, but since the Irish and Germans are now both white, then they’re fair game, right? Plus, I’ve got a lot of Irish and German in my family tree, and I can talk about my own roots. So, the Germanic tribes really like order, punctuality and world domination. The Celtic tribes, on the other hand, are known for passion, wit and ferocity. This means you want to put Germans in control of your transportation system and the Irish in as first responders—firefighters and police. If you don’t believe in racial characteristics and you want to do it the other way around, then fine, but the results are your problem. So this story is about Matt Murdock’s Irish fire against Wilson Fisk’s Germanic drive for order and world domination. It’s an old war, going all the way back to the Iron Age in Europe, but still playing out here in the neighborhoods of NYC.

I love complex works. Congratulations to the show’s stars and production team for carrying it off so well.

Review of Netflix’s Daredevil Season 3

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This MCU show premiered on Netflix in October of 2018, produced by Marvel Television in association with ABC Studios, with Erik Oleson as the showrunner. Principal stars include Charlie Cox as Matt Murdock, Deborah Ann Woll as Karen Page, Elden Henson as Foggy Nelson, Vincent D’Onofrio as Wilson Fisk/Kingpin and Wilson Bethel as Poindexter/Bullseye. This review contains spoilers.

Daredevil is thought to have been killed in a building collapse (see The Defenders review), but a badly injured Matt washes out of the city storm sewer and is found by a passer-by. He refuses to be taken to the hospital, and takes sanctuary at Clinton Church, where Father Lantom places him with Sister Maggie, back in the orphanage where Matt grew up. He makes a slow recovery, emotionally, physically and spiritually, and eventually starts going out as a vigilante again. Results are poor at first, but as he gets stronger, he finds that Fisk is gaining power again as an organized crime boss. Convincing the FBI he is a valuable informant, Fisk has moved into a penthouse apartment in Manhattan where he gives out enough information to eliminate other crime bosses, while working to establish a new protection racket. He subverts the agents guarding him, including Nadeem and the psychopathic Poindexter. Meanwhile, Foggy Nelson is still working at his job with a new firm and Karen Page has taken a position as a reporter for The Bulletin. The two of them continue to pay the rent on Matt’s apartment, but they are losing hope that he’s still alive. After Fisk’s release hits the papers, Foggy is surprised by a sudden encounter with Matt, who steals his wallet and uses the IDs to gain entrance to Fisk’s prison. He is identified and manages to escape, but is intercepted by a taxi driven by Fisk’s man and plunged off a dock into the river. He escapes there, too, and when Fisk sends the FBI to get him, they find only wet clothes in a pile on the floor of Matt’s apartment. Foggy and Karen insist that they need to work through the law, and Matt joins them to try to find witnesses to turn on Fisk. The stakes continue to rise, as Fisk gains more power and outfits Poindexter with a fake Daredevil suit to make trouble for the trio. Eventually Matt decides that the law won’t prevail, and that he needs to kill Fisk. He misses once because Fisk has Page cornered at the church, but with Karen safe, he crashes Fisk’s wedding with his love Vanessa in order to try again. Confronted with the dark Daredevil, Matt has to make a final decision about how his life will go.

So, this season is absolutely brilliant. Completely reduced by events, Matt Murdock has to totally rebuild his life from nothing. He lurks around in a parka and a baseball cap, and he’s back to basic black for his vigilante work. He’s got no friends, no ID, no money, and depends on charity at the church to eat. He’s haunted by his father’s ghost, his missing mother, an ephemeral Fisk, and a fake, sneering, evil Daredevil that’s exactly what he could become. However, he’s shed Matt’s disability, too—now he’s just himself. In this season, the black of his mask is relieved by a touch of white lining, though at the end we see a red edge peeking out from under his tee-shirt. On the action side, Matt’s escape from the prison is pretty awesome, and all shot in one take. Plus, in the unrelieved grimness of the series so far, suddenly this season presents some completely hilarious moments.

Check it out on Netflix. Five stars.

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