Avengers Endgame: Coming to an Epic Close

So, this is it. The culmination of stories spread across 21 movies. The Endgame. If someone had told me six months ago that I would be this excited for a superhero movie, I would’ve laughed. Six months later, I’m just so glad I got into the genre. The journey has opened up a new universe (literally) for me. Celebrating the end of this journey was a completely different ballgame. I couldn’t get the tickets to an IMAX 3D show on the opening weekend, and I was naturally upset. Of course, this meant that I was watching the movie twice. At least.

That being said, let’s talk Endgame. There is a lot to say here. The movie left me with many questions and many, many feelings. Let us first get the negatives out of the way. The movie is not perfect. The pacing and narrative are a little choppy which makes the film seem slow in the first half. The first half of the film is largely about getting the avengers to assemble and figure out their plan. It tells a number of emotional stories of how each of the Avengers are dealing with the loss of half the universe. A universe that they vowed to protect. In the end, Tony Stark and Bruce Banner are the only people who have accepted this new reality (sort of). Starks relationship with his daughter is particularly endearing (“I love you 3000”? Come on!) Thor’s self-destructive behaviour, a radical departure from his usual macho self is a welcome turn. It makes the movie feel much more realistic and relatable. These stories were great and made me invested in the characters all over again. The build-up was essential for a movie this intense and emotional. But it made the first half feel slow. It is not boring, but I kept thinking to myself, when is a big action sequence coming up? And this is coming from someone who doesn’t think of herself as a fan of action movies (at least so far).

The other problem with Endgame is that for a large chunk of the movie, the Avengers aren’t dealing with an antagonist. Thanos realises that the Avengers are going to use the infinity stones to derail his plan of mass genocide a good few minutes into the movie. The Avengers don’t face off with him until later. This means the Avengers, already set up to be the “Earth’s mightiest heroes,” are not being challenged by an external antagonist as they do their jobs. The heroes barely display their powers. While there is a lot of emotion, we don’t see much avenging for a long time.

There are also a couple unanswered questions in the movie. For one, time travel. I hate when films use time travel because the physics of it cannot be soundly explained and it leaves me with more questions than I know what to do with. What happens to the alternate timelines created by the Avengers’ actions when they go back in time. What does Cap’s decision to life his life with Peggy mean for the universe? Furthermore, when and how did Cap become worthy to lift Mjolnir?

Lastly, I didn’t quite like the treatment of Black Widow and Hawkeye. I love both of these characters, and while they are integral to this film, their arc doesn’t feel as complete as that of the others. Black Widow’s big scene was in Vormir, when she sacrifices herself so Hawkeye could get the Soul Stone. One of the highlights of Infinity War was the scene where Thanos sacrifices Gamora to get the soul stone. It was deeply emotional and helped demonstrate the significance of the stone. When this scene was recreated in Endgame, the bar was set very high. Unfortunately, the scene missed the same emotional intensity. Black Widow’s death was incredibly sad, but treated better, it could have been one of the best scenes in the movie. Similarly, Hawkeye’s turn for the unhinged was a bit of a downer. Like Thor, Hawkeye cannot come to terms with his new reality and changes radically. Only in his case, the change feels much less organic. I cant understand this new Hawkeye, because I don’t know what he is feeling. True, Hawkeye is a doer, but I wish the film would’ve given the audience more of an insight into his mind and heart.

I know I am being nit-picky. I wish the emotional scenes had action and the action scenes more emotion. But Endgame isn’t just any old movie, is it? It represents the end of an era for true fans, and the directors, Anthony and Joe Russo, have made it suitably grand. There are more than a few great shots and scenes. The shots of outer space, for instance, filled me with awe. The fight between Captain America and his older self from 2012 is awesome. The shot where they clash shields is one of my favourites from the MCU. Of course, when Cap yells, “Avengers, assemble!” a big smile swept across my face. And of course, there is the big action sequence towards the end of the film. Whatever misgivings I had about the paucity of action in the movie simply disappeared as soon as that scene began. It is grand and nostalgic and features every character from the MCU. Some characters get more attention than the others, but I guess in a film this big that comes with the territory. These scenes and shots, however, are simply embellishments on what is a solid movie. The film’s real strength comes from getting the audience invested in the characters. It is so easy to focus on the powers the characters possess rather than the people they are. Endgame avoids that trap by a mile. Instead it presents us with three-dimensional characters who have grown, both since their first films in the MCU and within the movie itself. Since it is impossible to do this for all the characters in a three-hour long movie, the film chooses to focus on the three main Avengers – Thor, Captain America and Iron Man.

Take the case of Iron Man. I never much liked his character (I know, I know, it’s an unpopular opinion). I thought he was too arrogant and quippy. After the first Iron Man movie, when he reveals to the world that he is Iron Man, it is largely another feather in his cap. He is not just a genius, billionaire, playboy, philanthropist, but also a literal superhero. Over the years, he understands the responsibility he has on his shoulders because of his suit both towards his fellow Avengers and to the people affected by his actions. Thor transforms from a brutish fighter to a protector of nine realms to realising the magnitude of his own power to languishing in despair when he finds that his power isn’t enough. Over the years, Captain America sheds some of his old fashioned, military man personality and begins to question authority. He goes from being just a supersoldier to becoming an Avenger who keeps the interests of the universe at heart. These are changes that the Avengers and other MCU movies have showed us over the years.

Endgame completes the arcs for these characters. It does so by making these characters dig deep into their feelings. Additionally, Banner finally reconciles with the Hulk and the characters work together to become mutually beneficial to each other. Thor and Stark get to reconnect with their (dead) parents. Iron Man – or shall we say Howard Potts – who had always been distant from his father gets a chance to spend some time with him and learn how much he is loved. Frigga’s counsel helps Thor accept his failure and move on from it. The drunk and sloppy Thor returns from Asgard as the God of Thunder with his beloved Mjolnir. Cap gets to see Peggy again and gets glimpse of the life he lost. These backstories are important because they dictate the course of the characters’ actions for the remainder of the movie. Thor sheds his sloppy avatar and returns to battle as the fighter he is. Cap understands the magnitude of his sacrifices over the years and accepts that he needs to live for himself, and not just for his duties as Captain America. That explains his decision to live his life with Peggy as Steve Rogers and pass on the mantle of Captain America to Falcon. Stark realises that his father loved him very much, but he had to do the work he was supposed to. When it comes time to sacrifice himself, Stark – initially reluctant to re-join the Avengers for the fear of losing his own family – then fully accepts the responsibilities that come with his suit and comes through for the Avengers and the universe. After all, he is Iron Man. Despite the paucity of action in the first half of the movie and the disappointing character arcs of Black Widow and Hawkeye, Endgame’s ability to make me care about the characters the way it did left me feeling a multitude of emotions at the end of the movie.

I think I can safely say that Avengers: Endgame was exactly the sort of ending that this phase of the MCU needed. And what a ride it has been! When else have you seen twenty-one inter-connected stories come together in one great movie? Starting to follow these movies has given me one more thing to love and be excited by. And that is absolutely wonderful. I can wait to see what Phase 4 has to offer.

 

 

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Ant-Man and the Wasp: I hope this ends here

I don’t know what it is with Ant-Man movies. They are simply not great.

This movie is less dumb than its prequel, and has some genuinely enjoyable sequences. But ultimately, the movie is just lukewarm. I don’t think it’s because Ant-Man isn’t a serious superhero. I mean, the Guardians of the Galaxy films are light and fun, but never venture into the territory of silliness. The movies are pretty intense, all things considered, and the stakes are sky-high (literally :P). The problem with Ant-Man, in my opinion, is that in trying to make the films light and cool, they fail to make them memorable. I think that is because of two reasons. First, in order for a film to be memorable, it should succeed in engaging the audience. This will happen only if the viewer is as concerned about the stakes in the story as the characters. Second, since this is a superhero movie, the tech/powers that are integral to the movie need to be understandable and believable for the audience. Ant-Man fails on both these counts.

Let us first look at the stakes in Ant-Man and the Wasp. Hank Pym, the physicist who invented the Ant-Man suit wants to go into the quantum realm to find his wife who got lost there many years ago. Keep in mind, this is the twentieth film in the MCU. By now I am used to the fate of the universe being at stake. This film turns that trope around by making the stakes the lives of two women – Pym’s wife in the quantum realm and Ava Starr/Ghost, the daughter of a former associate of Pym’s whose body is disintegrating due to quantum phasing (there is a lot of ‘quantum’ in this film that I will discuss in the next part of the review). So far so good. Not every superhero film needs to be about saving the galaxy from supervillains. But they do need situations and characters the audience can care about. Good movies in the MCU have done that by having the antagonists pose moral quandaries in addition to physical challenges for the protagonists.

In this case, the two antagonists – Sonny, a black-market tech-dealer, and Ghost didn’t do anything of the sort. Instead, the challenge they presented was entirely in the form of chase and action sequences. Ghost had started to make herself credible by stating that her condition was as a result of her father being discredited by Pym, but rather than explore that threat, the film quickly resolved it by establishing her father as a liar and a thief. Even the one person who was helping her, another pissed-off former associate of Pym’s (the guy managed to piss off every single person he interacted with), abruptly changed his tune and began supporting Pym’s mission to find his wife instead of his own goal of harnessing Van Dyne’s energy from the quantum realm to cure Ghost of her affliction. Even Ghost’s affliction loses its seriousness towards the end of the film, when a newly returned Van Dyne can cure her simply by touching her and passing on the quantum energy she supposedly absorbed over the years.

This brings me to my second point. This film explores the quantum realm, an area where physics changes character completely. The problem is that the film overuses the concept and spews out ideas that must impress the audience simply because they have the word ‘quantum’ before them. The film acknowledges this by having Ant-Man say, “Do you guys just put the word ‘quantum’ in front of everything?” Far-fetched quantum mechanics is supposed to explain everything – how Van Dyne managed to survive for years in the quantum realm, how she managed to make an antenna, meet with and plug it on to Ant-Man when he entered the quantum realm, understand that there is healing energy in the quantum realm, harness that energy in her own body… All of this is simply too far-fetched, even for a universe that tells us stories about adventures in outer space.

So, if you’re still wondering why Ant-Man wasn’t called to be a part of the Avengers in Infinity War, you know that the silliness of the series probably had more than a small part to play in it.

Pacing and editing in Infinity War

I can’t believe I am nearing the end of my Marvel journey. Although I am ready for more diversity in the movies I watch, my little project of watching and reviewing Marvel movies has been such fun. I didn’t immediately review a few movies towards the end and wasn’t very good about posting all reviews before Endgame released. And while I wish I had been better about that, distance from this project has made me better at understanding the nature of Marvel movies. A number of film nerds, particularly those who have read comic books, don’t like the formulaic nature of Marvel movies. I didn’t really mind that, especially because I was trying to understand the genre and dissect different elements in the movie. But now (after 23 movies!) I appreciate a movie like Infinity War much more for breaking the formula and giving the viewer a roller coaster ride.

Writing a film with over twenty protagonists is no easy task. Don’t expect to understand all or even a few of them by the end of this film if you are not familiar with the Marvel universe already. Infinity War is one of two Marvel movies that doesn’t work as a standalone film. I hadn’t watched Guardians of the Galaxy when I first saw Infinity War. I doubt I had watched Ragnarok. And I remember not enjoying the movie and wondering what the hype was all about. Oh, how wrong I was! Once I was familiar with the characters, the movie kept me on the edge of my seat throughout its run time.

What struck me most about Infinity War (other than the ability to weave multiple stories into one mega-narrative) was the pacing of this film. Infinity War starts with full force. There is no time to get settled in and take stock of what is happening either for the audience or for our protagonists. This conveys a sense of urgency that lingers for the entirety of the film. Everyone just has to react to the situation in front of them. In this fast-paced movie our favourite superheroes seem to be in a constant state of struggle, with their heads just above the water. As a viewer, I have seen them struggle in previous films but they have always come out on top. This time, their victories are small, and come with a sense of desperation. As if there is another fire just waiting to be put out. For instance, we see Ironman, Spider-Man and Doctor Strange struggling to protect the Time Stone aboard Maw’s spaceship. While together they are able to match up to the far more powerful Maw, there is no time to relax or take a breath. The film cuts to Scotland where Vision is attacked and it is up to Wanda – and later, Cap, Falcon and Black Widow – to protect him. The audience is now exposed to another action sequence within minutes of the first. The non-stop action distinguishes Infinity War from the films that have come before it.

This kind of pacing – short, intense action sequences ending in small victories before moving on to the next challenge – is also instrumental in subverting audience expectations and making the film’s climax shocking. This is because, after a while I got used to the fast pace and small victories in the film. Furthermore, the superheroes, though down on their luck, don’t seem defeated. I mean, Thor took the power of a star to make Stormbreaker, arrived in Wakanda like an absolute badass and struck Thanos in the heart. So, when Thanos snaps his fingers and wipes out half the population of the universe, with the superheroes scattered and defeated in different parts of the universe, I was left more than a little stunned. This is the first time that the heroes have failed in their mission.

Apart from the pacing, film is made so that the sense of shock lingers on right until the post-credit scene. Thanos’ snap doesn’t cut to a black screen followed by credits. We see our favourite superheroes turn to dust. We see Ironman’s horrified expression (and we share that horror) when we hear Spidey say, “Mr. Stark, I don’t feel so good… I don’t want to die.” We see resignation on the faces of the survivors when they realise they have failed, and that their failure has wiped out half of all life in the universe. They, along with everyone else, have lost people they loved. This is further compounded by the next scene, wherein we see Thanos retire like he said he would. We see him alone, calm, walking through empty green fields, believing he did the right thing and that the universe was grateful to him. That genocide was his mercy to the universe. That wordless scene, seemingly calm in its setting, makes the end even more eerie. Furthermore, I think the credits make it such that we cannot snap out of that feeling soon. So far, MCU movies have half the credits shown in a stylised manner with fun music to accompany it. Not this film. The film’s grim tone is carried forward through the design of its credits – a black screen with formal font. The film manages to show what Doctor Strange says after handing over the Time Stone to Thanos, namely, “we’re in the endgame now.”

To me, the form of the film is what made Infinity War special. It helped me understand how constructing a scene and editing can help steer the viewer’s emotions and expectations. Most of my reviews so far have been focused on writing and character development. Perhaps because I am only beginning to understand filmmaking as an art. I think this film is my cue to pay closer attention to editing and understanding the elements that go into constructing a scene.

Before I sign off, I must make a note about Thor’s character in this film. I think it is safe to say that of all the superheroes, Thor gets the strongest part in the film. A lot of that, I think, is owing to how the character was written in Ragnarok. At the beginning of this film, we have a character who has found himself but lost everything of worth to him. Thanos kills all the Asgardians aboard the spaceship along with his best friend, Heimdall and his brother, Loki. The Russo brothers do a fantastic job in using Thor’s arc in Ragnarok as a base and taking the character forward. He is still funny in this movie. But we can see that it is more to cover up his pain than anything. The scene between Thor and Rocket on the way to Nidavellir conveys this perfectly. Thor jokes about losing every person he ever loved. The scene is funny but also horrifying. With a realisation of his power, and nothing to live for except revenge, Thor comes the closest to defeating Thanos. The viewer, in turn, wants to see Thor come out on top as the towering hero. His entry in Wakanda is epic. But it isn’t only because of the stylised entry and his blow with the Stormbreaker. It is because of a close understanding of character and careful writing to carry him forward.

Before Endgame, Infinity War was probably the boldest movie in the MCU. It is no easy task to write a coherent, compelling story that follows narratives and characters across 18 movies and then present that story convincingly to a hungry audience. But Infinity War manages to deliver an entertainer that turns the Marvel formula on its head without relying on clichés (perhaps because it doesn’t rely on clichés). So, do yourself a favour, and watch this movie (or watch it again). Ponder on the journey it takes you through. You will not be disappointed.

Black Panther: An Absolute Delight

I must admit, I cannot call myself a true superhero fan. I became interested in the genre only a few months ago, and I have primarily watched movies from the MCU. But I want to go on a limb to say Black Panther is one of the best superhero movies out there. Granted it cashes in on an important social conversation of our time, but the story is so well written that the conversation about race appears organic and not forced. The music is beautiful and the film looks great. Overall, it’s an absolute delight to watch.

Black Panther is set in the fictional kingdom of Wakanda in Africa. Home to the world’s only stores of Vibranium, the strongest metal in the universe, Wakanda has become technologically advanced and prosperous. The erstwhile king of Wakanda, T’chaka died in an explosion in Vienna (shown in detail in Captain America: Civil War) and his son T’challa is set to become the new king and will be bestowed with superpowers to protect the tribes living in Wakanda as Black Panther. That is until his cousin, Killmonger, comes to lay claim to the throne. T’challa needs to prove his worth as Black Panther and make an important decision to open up Wakanda (wrongly believed to be one of the poorest nations on earth) to the world.

The writing is a real win for Black Panther. It makes the utopian idea of an advanced and prosperous society without want seem believable. The characters are endearing, particularly the women. T’Challa’s sisters, Okaye and Shuri, and his girlfriend are all shown as strong, capable and independent women. They are not just shown in relation to T’challa but as their own people, making significant contributions to the world around them. T’Challa is strong and deserves to be king, but when he doesn’t have the superhuman strength of the Black Panther, he isn’t invincible. He is empathetic to the conditions Killmonger grew up in and transformed him into what he ultimately became. Which brings me to Killmonger. I found his character underwritten. I wish the writers and director had taken the time to show the conditions he grew up in rather than assuming knowledge about black people’s experiences growing up in America, particularly because Marvel has an international fan base. That being said, Jordan has an impressive screen presence and makes for a formidable villain in the movie.

The movie is made even more engaging by the superb use of music. After watching the film, I heard its soundtrack again and I was amazed by the variations in the songs. From the intense car chase in Busan to the powerful scenes of the Jabari tribe to the emotional scene accompanying Killmonger’s death, my emotions were heightened by the music. Furthermore, the production design and cinematography were instrumental in creating the world of Wakanda and giving me a view of just how majestic a technologically advanced, prosperous world can look like. Add to that the costumes and the film is an overall visual treat.

Marvel Studios is making its mark by churning out good film after good film. Black Panther is a gem in Marvel’s productions, not least because it became the first superhero film to receive a nomination for Best Picture at the Academy Awards. If you are even vaguely interested in superhero films or just want to watch a good movie, Black Panther your film.

Thor: Ragnarok – Giving Thor a movie he deserves

Okay, this movie is a little different. Unlike the previous Thor movies that were grim in their tone, Thor: Ragnarok is an out and out comedy and a full-blown entertainer. From the very outset, the film demands that the viewer buy into this premise to fully immerse himself/herself into the film. This took me a while to get used to. For instance, in my first two viewings of the film, I couldn’t quite get used to Led Zeppelin’s Immigrant Song in the background during the first and final battle scenes. Battles, after all, are supposed to be serious affairs with a few light moments peppered in to ease the audience. The MCU has established that. Ragnarok breaks this mould. And once you buy into its tone, you really appreciate the difference. You even enjoy Immigrant Song and play it on a loop for days after the fact. Ragnarok is supposed to be the end of worlds. But there is no time for doom and gloom here. The movie leaves you feeling satisfied. A large part of this has to do with the development of the two central characters in the movie – Thor and Loki.

Let us start by analysing Thor. Until this movie we have seen him transform from a brutish fighter who would punch his way into and out of dangerous situations to a man who understands the purpose of governance, understands that he isn’t interested in taking on that responsibility and continuing to work as a soldier for the nine realms. But so far, we don’t really understand who Thor is. In trying to write this review, I was struggling to write about his journey. I kept taking breaks, disappointed that I hadn’t completely understood my favourite superhero. In one of those breaks I happened to watch a YouTube video about the movie. It made me realise that Thor doesn’t really have an arc so far. Ragnarok tries to remedy that by stripping the character of his paraphernalia – the throne of Asgard, Jane, his hammer – and exploring the man underneath. In an interview, director Taika Waititi said that he saw the story of Ragnarok as that of a man trying to find his way home. That man just happens to be a demi-god trying to stop the Goddess of Death from taking over his country. In the process, he discovers who he is and what it is that he values.

The first thing we notice in Ragnarok is that Thor seems much more human this time around. He no longer speaks in an archaic manner like a king from the past. He is funny, a bit stupid at times and sees himself as part of a social group outside of the palace (Remember when he calls the Hulk a “friend from work”)? Thor’s interactions with the Avengers have humanised him over the years, and the changes in his personality aren’t out of place. As the film goes on, we understand this character more. Unlike when the character was first introduced, Thor doesn’t seek out conflict. But he is essentially a fighter. Even without Mjolnir to help him, Thor is determined to break out of Sakaar and return to Asgard to try and save his home. This is perhaps best exemplified in the battle between Thor and the Hulk in Sakaar. When he realises that Banner isn’t going to recognise him and his only way out is to fight the Hulk, Thor puts up an impressive fight for his life and for the chance to leave the planet. This is also the scene gives a new layer to Thor the superhero.  When he shoots lightning at the Hulk, we see a new version of Thor who is ready to kick ass. But the audience and the character don’t realise the significance of this moment until much later in the film. Only after receiving counsel from his father (and losing an eye) does he realise that he is the God of Thunder, and as the God of Thunder he can harness lightning. He doesn’t need Mjolnir or anything else to defend himself and Asgard. This is a pivotal moment in the character’s arc. From being a warrior prince who chose Mjolnir as his coronation present and didn’t seem to amount to much without the hammer to a fighter who realises who he truly is, Thor has finally come a long way.

Furthermore, the film explores the meaning of home and nation in a much more significant way than any of the MCU films before it have done. The movie begins with Thor trying to stop Ragnarok. According to Norse mythology, Ragnarok is the end of everything. It is when entire worlds are destroyed and the gods are killed. At the beginning of the movie, Thor believes he can stop Ragnarok, and the audience believes him. But when the Goddess of Death seems unstoppable even after Thor realises his might, Thor’s character takes yet another turn. First, he is confronted with his limits despite his significant powers. He realises that he cant defeat Hela. And the only way to do so would be to destroy his beloved Asgard along with Hela by causing Ragnarok. Second, he realises that the essence of Asgard was never the planet, but the people who live on it. If Asgardians live anywhere in the universe, he will have saved Asgard. At this point, Thor has learnt much about governance. He has stopped seeking out war (unlike Odin in his early years, whose actions ultimately cause Ragnarok.) He is powerful enough to protect the universe from threats. And he understands what his kingdom really is. When he takes his place as king – in the Grand Master’s spaceship with a rotating chair as his throne – we know he is worthy.

Let us now look at Loki. Unlike Thor, Loki has had a pretty well-defined character arc. In the first Thor movie, he realises that he has been raised by his father not as the prince of Asgard but as a pawn for political gains. His resentment for his father and brother comes to the forefront in The Avengers when he tries to take over the Earth by force. In Thor: The Dark World we that he became the trickster after his mother took him under her wing to teach him tricks so that he can stand up to Thor and his peers, who are physically stronger than him. We see him consumed by revenge after he breaks down when his mother dies (he unintentionally aids the murder of his mother.) He is easily one of the most interesting Marvel villains (really, one of two great Marvel movie villains – the other one being Thanos). He has certainly been one of my absolute favourite characters in the MCU. And it is not hard to see why. He is such a well-written, layered character. We feel his pain and want desperately for him to abandon his villainous pursuits, and every time he does just enough to keep us rooting for him, but also just enough to squarely place him in the villain category. I think the discrepancy between writing Thor and Loki comes from the original source of this material – Norse mythology. After watching the movie, I ended up reading Norse Mythology by Neil Gaiman. It is a collection of fables in Norse mythology and it tells us the stories of the Aesirs (gods and goddesses), frost giants, elves, dwarves and Asgard. It focuses primarily on the stories in the court of Asgard – stories of Odin, Thor and Loki. It is certainly an interesting read. Even in those stories, Loki is featured far more prominently than possibly any other character. His actions are described in great detail, as is his impact on Asgard. Loki is even painted in a somewhat sympathetic light where Thor is portrayed as boorish and thick. Even in the Thor movies, where he is the supporting character, Loki has a far superior arc to Thor. His story in Thor: The Dark World and the chemistry between Thor and Loki is perhaps the only reason I like that movie.

In Ragnarok we see yet another layer to this character which helps us understand him further. Unlike Thor, when Loki lands on Sakaar, he doesn’t try to fight his situation. Instead, he wins over the Grand Master and starts building a life there. Even when he goes to see Thor when the latter is captured, he describes to him a plan where the two brothers could take over the position of the Grand Master in time. We see that while Thor is a fighter, Loki is a survivor. Loki’s fraught relationship with his father coupled with the sense that he didn’t quite belong in the land he previously called home (the previous films show Loki as standing apart from Thor’s peer group) left him with little attachment for Asgard. Since his emotional needs were left unfulfilled, Loki uses his charm and cunning to keep afloat (albeit comfortably) rather than fight to get back what he lost. It is only when Thor tells him that he thought the world of him and that he imagined them fighting side by side does he feel the need to go back and fight for Asgard, and ultimately to join Thor on the spaceship to create a new Asgard.

Thor films have always been about excess. This film is no exception. But this is excess done right. Ragnarok develops what is integral to the Thor movies – a family saga – by helping the two central characters in the movie shine. Thor helps us understand the political responsibilities of the family, while Loki (over three films) showcases the family’s dysfunctional dynamic. But the film doesn’t stop there. It adds excellent supporting characters in the Hulk, Valkyrie and the Grand Master who take away from the grimness of a Shakespearean-style drama. Granted, Hela’s character could have been better developed. She was also a victim of Odin’s awful parenting, and could have been developed into a good villain like Loki. But honestly, I am satisfied enough with Thor, Loki and the absolute madness of the film to let this bit go.

I am so happy that Ragnarok turned out the way it did. Thor is my favourite superhero, and so far, he was left stagnating in the MCU. This film brings him into the forefront as a cool superhero, something the Russo brothers take forward in Infinity War. But more on that later. Right now, I am just going to sign off, satisfied knowing that my two favourite characters got a movie they always deserved.

 

 

Spider-Man: Homecoming – A Good Balancing Act

This is the first standalone Spider-Man film in the MCU. Spider-Man was previously introduced in Captain America: Civil War where he fought alongside the other Avengers. Before that he was simply a local crimefighter whose superpowers were spider-like abilities to crawl walls, superhuman agility and enhanced mobilities and the ability to shoot high-tensile strength spiderwebs at his enemies. In Civil War, his abilities are further enhanced with the help of a brand-new high-tech suit by Tony Stark. This Spidey film explores the character following his adventures with the Avengers. The film must now contend with two challenges. First, it must prevent Spider-Man from becoming a gimmick. With many of his advanced capabilities coming from Stark’s technology, it is easy for the character to over-rely on technological features and lose his essence. Second, previous movies have seen set the precedent for conflicts that involved saving the universe. A movie that is setting up the “friendly neighbourhood Spider-Man” cannot possibly have stakes that high. At the same time, this film needs to be interesting enough to hold up after a number of awesome films.

Spider-Man: Homecoming is able to overcome both these challenges. Even though Parker has the new and improved Spider-Man suit he got from Tony Stark, the film isn’t about the suit. Despite having every advantage, for instance, Spider-Man’s able to survive and defeat his enemies because of who he is as a fighter on the inside, and not what the suit provides him. He almost drowns in his high-tech gear, but successfully beats Chitauri technology in an old pair of red tights.  Furthermore, it manages to keep the film interesting by using the technologies that have come from the Chitauri in the aftermath of the first Avengers’ movie. The challenges are still formidable – after all, it had taken a team of six Avengers, much older and much more established than Spider-Man to defeat them the last time. But the context is much more local. The film basically uses what is exciting about villains from outer space without having to involve them at all. So, Parker can be the “friendly, neighbourhood Spider-Man” and still be a total bad-ass about it.

There were two other note-worthy things about the form of the film. First, since our protagonist is only 15 years-old, the film needs to feel young. Tom Holland certainly does his part by playing the role to perfection. But beyond that, the film conveys levity and freshness through the use of music. Particularly in the first half of the film, when Spider-Man is established as a superhero, the accompanying music shows that this development is light and fun, rather than serious or epic. But the music doesn’t try to occupy centre-stage like it did in Guardians of the Galaxy (that film did it perfectly, but we don’t want that to become a hack, do we?) It is much subtler, and complements the developments on screen rather than highjacks them.

Second, the film made me think about how movies use flashback. In the scene when Spider-Man has almost been defeated by Vulture, and he must find the strength to get back up and fight, Parker stares at his reflection in a puddle of water that showed his mask as being only a part of his face. As a viewer, I can see that Parker’s dilemma in that moment is about whether he can do what is right when he doesn’t have his suit. This visual is also accompanied by Parker remembering Stark’s words, “If you are nothing without the suit, then you don’t deserve the suit.” In my opinion, this made an otherwise powerful scene too loud. I don’t understand why directors and editors choose to insert scenes or lines we may have previously heard/seen in the film as flashbacks in later scenes. If the film is engaging enough, the audience is already clued in to its tone. Adding extra dialogue is simply unnecessary and leads me to believe that the director considers his/her audience stupid.

In conclusion, Spider-Man: Homecoming can retain all of the charms of being a teenage superhero film while still holding up against the weight of the movies that have preceded this one.

 

 

Doctor Average

Doctor Strange has got a lot working for it. It’s the first sorcerer story in the MCU. The special effects are mostly visually stunning. The titular character is played by the beautiful Benedict Cumberbatch. It features another infinity stone. Music is used very well. And the plot is actually quite decent. But the promise of this film is left unfulfilled by poor writing. The writers have paid much attention to developing the character of Doctor Stephen Strange. Unfortunately, other parts of the story do not get a similar treatment. The movie is not as dumb as Ant-Man, but it gets close in parts.

Doctor Strange has a strange villain problem (#pungamestrong #Sorrynotsorry). It has two villains, and neither of them do justice to the film. From the very beginning of the film, we know Kaecilius is formidable. He also has a reasonably well-defined agenda. The problem is that he just lacks any personality or charisma. I couldn’t seem to care about him at all. The other antagonist is the Dark Lord Dormamu who wants to take over the Earth. I actively hated Dormammu. He is a piece of bad CGI and has no explicit motivation in his desire for the Earth. The conflict in this case relies exclusively on action in order to shine. To be fair, the special effects used are somewhat palliative in this case. It is a lot of fun to see different tricks being employed during action sequences. But I kept thinking how much better it would have been with a villain who made his presence felt or at least gave a damn. I also found Tilda Swinton’s character underwritten. I love Swinton’s presence in the movie, but her character also left me with more questions than answers. For instance, why did she have to draw power from the Dark Dimension? What did she do with those powers? Since the Dark Dimension is such a crucial part of the film, these questions definitely needed answering.

Now that I’ve finished hating on the movie, let me tell you what I absolutely loved – Benedict Cumberbatch shines in the movie. His character is extremely well written, and he essays the role perfectly. From the arrogant, almost insufferable doctor at the beginning of the movie, to a dedicated student of magic, to understanding that his gifts are not for his sake, but they are his to give to the world, Strange has a strong character arc. His evolution is what makes this film feel delightful when it does. It I also nice, I must say, to see an infinity stone being used strategically rather than being feared or weaponised. It shows that the infinity stones can be used in specific ways. Their power does not lie only in blowing things up (as shown in other movies).

Beyond this, I don’t have a lot to say for this movie. It’s a mid-range film through and through.