This is exactly what I needed. After the dense cultural aspects of Black Panther and the darker pathos of Avengers: Infinity War, there’s a refreshing break from the bleak with Ant-Man and the Wasp. There’s no painful conflict of a father trying to be a hero, nor a hugely tragic villain of messy plight for him to best. It’s just a light and bright spectacle of a summer blockbuster that has fun with its size-altering heroes and phase-shifting villains. You remember what fun was like in these movies, right? Before half the universe died in that last Marvel film?
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If the abundance of superheroes at the cinema has fatigued audiences, Avengers: Infinity War may be the most exhausting of the subgenre, albeit the most satisfying of the Avengers films. There are well over 30 heroes present, multiple arcs that splinter and crossover, and the grandest of action scenes in a superhero ensemble to end all superhero ensembles. It’s a mighty ambitious project with a budget as monstrous as its casting, but it’s a relief to report that directors Anthony and Joe Russo have proven once again they can juggle dozens of characters and twice as many plotlines. There isn’t much time for the audience or the characters to catch their breath in this mad dash of an event picture, but the amount of chemistry and pathos weaved into this oversized action picture is an amazing enough feat in itself, daring enough to dizzy even the most astute of Marvel fans.
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There is a lot of pressure in the tsunami of cinematic superheroes to make something that will stand out from the crowd, but Ryan Coogler is more than up to the challenge with Black Panther. He doesn’t merely give the hero first introduced in Captain America: Civil War a standard solo film to showcase his powers, world, and rogues gallery. Coogler loads his picture up with a unique style, purpose, and, yes, even politics, to create one of Marvel Studio’s best films and not just a bridge to Avengers: Infinity War.
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Thor always felt like a character of untapped potential. He’s a god of thunder that defends his mystical kingdom of Asgard from the other intergalactic forces of the nine realms. So why does everything have to take place on Earth? Finally ditching his female love interest, Thor finds on a new mission where he gets to fight more monsters, meet more odd characters and travel amid the most lavish of locations. It’s more fun to watch his adventures on a junker planet of gladiator combat than stopping yet another doomsday device from blowing up the planet. There are more than enough heroes on the planet for the hammer-wielding god to have a Work-From-Home-Realms week.
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The best and worst thing that can be said of the sequel to Guardians of the Galaxy is that it’s more of the same. If you liked the last movie, you’ll be delighted to hear that Vol. 2 is just as abundant with crass, crude, cute and kicking 70s tunes. Not only are these elements present, but they’ve been doubled and smashed into 138 minutes. More subplots, more characters, more music, more slow-motion shots, more end-credit scenes and more than enough starship battles to make Star Wars blush. It’s rather surprising that, for as much fun as this movie transfers over from the previous film, it forgets to add the originality that made it stand out so well against the competition of other superhero movies.
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