Not so long ago, a movie like John Watts’ Spider-Man: No Way Home would definitely have prompted me to open my review by dubbing it, if not the best Spider-Man movie ever, at any rate the most Spider-Man movie ever.
Tony, Tony, Tony. How can we miss you if you won’t go away?
Running just over three hours long, Avengers: Endgame builds to a denouement with a valedictory air akin to the last act of Peter Jackson’s similarly sprawling The Return of the King, except that it comes at the end of 22 movies instead of three movies.
At this stage in Marvel Cinematic Universe history you almost need a Tolkieneque set of appendices and diagrams to make complete sense of everything.
No infinity. No war. (Almost.) Why can’t more Marvel movies be like this?
In some ways Ant-Man and the Wasp is the kind of movie I wanted Ant-Man to be: namely, a refreshing antidote to the rest of the Marvel Cinematic Universe.
Is Black Panther the first movie in Disney’s Marvel Cinematic Universe with something in particular on its mind?
No one almost destroys the universe or the planet, or even demolishes a large European city or a sizable chunk of a New York borough, in Jon Watts’ Spider-Man: Homecoming.
Here’s the thing: You haven’t even seen Guardians of the Galaxy Vol. 2 yet, but you’re already an incipient fan, aren’t you?
In each of their latest films, the battle against a threatening power raises questions about which principles the protagonist should or shouldn’t compromise in order to protect his world — questions that aren’t necessarily clearly answered by the end of the film.
The paradox of contemporary Hollywood blockbusters is that in our time virtually anything conceivable, no matter how wild and out there, can be put on the screen, but it almost never is.
At last, a Marvel Cinematic Universe movie that doesn’t come down to destroying a large urban area while saving the city, planet, or universe.
Civil War also demonstrates that the right way to do a “versus” movie pitting heroes against one another is by building relationships — and tensions — over time, then allowing characters to fall out over meaningful practical and personal issues.
The modern era of superhero movies was arguably inaugurated by two films: Bryan Singer’s 2000 X-Men and Jon Favreau’s 2008 Iron Man.
We aren’t exactly talking The Matrix here, but it’s been awhile since a Hollywood popcorn action movie elicited such a range of theological and philosophical analysis.
Three years ago, when Marvel first announced that Ant-Man would be getting his own movie, I tweeted, “I don’t care how much money Avengers makes. The world does not need an Ant-Man movie.” Ant-Man, I felt, was too minor a hero, too obscure and inconsequential — in a word, too small — to warrant the big-screen Marvel movie treatment.
The first word of dialogue spoken by an Avenger in Avengers: Age of Ultron, from Iron Man (Robert Downey Jr.), is a rude expletive. The second word, from Captain America (Chris Evans), is a mild rebuke. In two words of dialogue, writer-director Joss Whedon gives us characterization, conflict and theme.
Guardians is a romp, a lark — rare descriptors for a popcorn summer movie, alas, in these days of dark, grim tentpoles from Maleficent to Hercules, Edge of Tomorrow to Dawn of the Planet of the Apes.
If you’re not into turtles, and you have half a brain, this may be the movie for you.
I like Lawrence Toppman’s comment on this one: “This sequel is, by design, entirely absorbing and satisfying without being one whit memorable.”
Is Loki a villain or an antihero? Either way, the fan favorite is basically the Marvel Universe’s answer to Catwoman, but he can’t carry the movie if he isn’t the main antagonist.
Iron Man Three in 60 seconds: my “Reel Faith” review.
Iron Man 2 in 60 seconds: my “Reel Faith” review.
Iron Man in 60 seconds: my “Reel Faith” review.
It’s a potentially promising setup for a slam-bang finale to what has been, despite its flaws, one of the brightest and most entertaining franchises around. Unfortunately, the slapdash plot is pretty much a disaster. A string of miscalculations hamper the fun. And a late revelation, when you stop and think about it, undermines most of the preceding drama.
The Avengers in 60 seconds: my “Reel Faith” review.
If The Avengers isn’t necessarily the best superhero movie ever made, it is unquestionably the most superhero movie ever made — and, in that capacity, it is more than well-made enough to take comic-book entertainment to unprecedented levels.
After a rash of immature, bad-boy cinematic superheroes for whom responsibility is a bigger challenge than taking down supervillains — think Iron Man, Thor and Green Lantern — a hero for whom decency, humility and self-sacrifice come naturally is a breath of fresh air.
It starts pretty promisingly, and it stays pretty promising throughout, and at some point you realize it’s never actually going to deliver on that promise. There’s never a moment where it goes really wrong — it just never really gets started.
His suit may be iron, but he’s still got feet of clay. Tony Stark may not be the same narcissistic jerk he was at the beginning of Iron Man two years ago, but that doesn’t mean he’s someone completely different either. The road to redemption is seldom so straight as that.
Although most viewers will probably find The Incredible Hulk diverting but — after a strong first act — forgettable entertainment, for Hulk fans smarting from the limitations of the Ang film, it may just be balm for the soul.
Smart, sardonic and more than a little silly, Iron Man is a successful super-hero movie that never takes itself too seriously.
Copyright © 2000– Steven D. Greydanus. All rights reserved.