Weekend Screen Scene: The Fantastic Four: First Steps, Oh, Hi!

It seems that about every ten years, we are blessed/cursed with a new Fantastic Four movie. However, I went into the latest version, The Fantastic Four: First Steps, having never seen any of those previous films. I have since rectified that, and can now safely say that yes, this decade's is the best attempt yet.

But it's a curious approach, in that we are plopped smack dab into the middle of things, with no real backstory to speak of, aside from a highlight reel prepped for a talk show on "Earth 828," which, being a Marvel movie, means this adventure takes place on a retro, multiverse version of Earth. 

The "Fantastic Four" are Earth 828's greatest heroes, bestowed with super powers after a trip to space goes awry. Reed Richard/Mister Fantastic (Pedro Pascal) is the patriarch of this makeshift family, a scientific genius with the ability to stretch any part of his body to extreme lengths. His wife is Sue Storm/Invisible Woman (Vanessa Kirby) who along with invisibility, can generate force fields. Her brother Johnny Storm/Human Torch (Joseph Quinn) can control fire and fly. And Reed's best friend Ben Grimm/The Thing (Ebon Moss-Bachrach) is a pilot and rock-like creature with super strength. 

When the Silver Surfer (Julia Garner) arrives on Earth with the announcement that their planet will soon be devoured by a being known as Galactus (Ralph Ineson) and there's nothing they can do to stop it, the Fantastic Four learn there actually is a way to stop it, but the price is too precious, and a new plan must be made.

There's a lot of standard superhero stuff in First Steps, including a battle that destroys part of a city, something I'm frankly getting tired of seeing in these movies. The lack of real backstory also requires us to just instantly love the Fantastic Four, but being that Pedro Pascal is one of them, that is not too tall of an order, although I feel like he isn't given nearly enough chances to be charming, and Mister Fantastic's stretching ability, which I find kind of inherently goofy, is taken a little too seriously.

But I can forgive almost all of this movie's flaws because of its greatest gift: its production design, which is a mid-century modern lover's wet dream. A retro-futurist world full of sleek architecture, atomic age furniture, men in suits and skinny ties, and women in shirtwaist dresses and big hair. (This is the first Marvel movie I've ever wanted to live in, but barring that, a stay at the TWA Hotel at JFK may have to suffice.)  

The Fantastic Four: First Steps, with this unique world, and fresh set of Marvel heroes, could easily work as a stand-alone movie. Of course it isn't, ultimately setting us all up for next year's Avengers: Doomsday, which, if it stays on Earth 828, for at least a little while, means I won't be giving up on the MCU any time soon.

If you've seen the movie Companion earlier this year, you may get a sense of deja vu as you start watching Oh, Hi!. Its got an attractive young couple driving to a romantic weekend getaway. Its got a girlfriend named Iris. And it all gives off the sense that things may not end up going the way this couple would hope they would.

And indeed things do not go quite as planned for Iris (Molly Gordon) and Isaac (Logan Lerman), though Iris goes to extremes to try and rectify that. Molly Gordon, who came up with the film's story, along with writer and director Sophie Brooks, has called Oh, Hi! "a romantic comedy gone wrong," and that's putting it mildly. 

At times what happens is funny, at other times, it's extremely cringe, and many times, I pondered how I was ever supposed to accept what Iris does; I'm still not sure if do. But I enjoyed never entirely knowing where the story was going, even if I don't entirely buy where it ends up.

Weekend Screen Scene: Thunderbolts*

I'll admit, after seeing Captain America: Brave New World earlier this year, I was pondering whether I would bother with Thunderbolts* and continue investing time in the MCU, which has now officially reached Phase Six(!). (And to be honest I don't really understand what that actually means, since both Captain America: Brave New World and Thunderbolts* are officially part of Phase Five, but seem more like the start of Phase Six?)

But I decided to give it one last shot with Thunderbolts*, and despite the lingering resentment I have over the fact that it is essentially kicking Sinners out of IMAX screens after only two weeks (though Sinners will be back), I will admit, it's convinced me not to quit the Marvel teat quite yet.

Yelena Belova (Florence Pugh) is the center of the film, and is facing an existential dilemma. Clearly, the death of her sister, the Black Widow, has had a lingering effect on her, and as the movie opens, she's questioning her own worth and existence. A secret op assignment from CIA director Valentina de Fontaine (Julia Louis-Dreyfuss) leads to a team-up between Belova, the new assholish Captain America (Wyatt Russell), Ghost (Hannah John-Kamen), Belova's father, Red Guardian (David Harbour), and a guy named Bob (Lewis Pullman).

This band of anti-heroes, some of whom would really prefer to be known as just heroes, join forces with the Winter Solider (Sebastian Stan) in fighting a familiar villain, and a new one, and it's this new villain which ends up feeling refreshingly novel. I've grown pretty tired of superhero villains whose goals are world conquering and/or destruction, with big battles that end up destroying cities. The villain in Thunderbolts* is essentially the deepest pits of depression personified, and that's a pretty relatable and scary foe to face.

To be clear, Thunderbolts* is still filled with lots of fights, shooting, and some urban destruction; the usual beats of a Marvel movie are all here. But what feels new is the decidedly human, emotional pain the heroes and villain have to face and try to overcome. I think it probably goes without saying that Florence Pugh is great, and the rest of the Thunderbolts, particularly David Harbour's Red Guardian, have their moments; Marvel movies have never been lacking when it comes to comic performances. But it's the darkness of this one that will linger.

*and be sure stay to the very end of the credits to learn what that asterisk is all about.

Weekend Screen Scene: Captain America: Brave New World, Paddington in Peru

Captain American: Brave New World is ostensibly a sequel to Captain America: Civil War, and the Disney+ series The Falcon and the Winter Soldier. At least, that's what one would assume. But in reality, it's also a sequel to 2003's The Incredible Hulk, which you may not remember since it came out over twenty years ago and didn't star Mark Ruffalo as the Hulk; it starred Edward Norton.

I may not be up on all Marvel Cinematic Universe lore, but I feel like I know enough to be confused by this decision, especially since the villain from that film also returns, and I'm sorry, as much as I may like Tim Blake Nelson, Samuel Sterns (AKA The Leader), at least as depicted in these two movies, is a boring villain! Also, very gross. Gross and boring do not a charismatic villain make! 

Sam Wilson (Anthony Mackie) is now officially Captain America, passing his Falcon wings down to Joaquin Torres (Danny Ramirez). This Captain America is not a super soldier, which one would assume would be a detriment, and it is. I can't believe at one time I complained about these Marvel movies having too many superheroes per movie because Brave New World feels empty with only one, especially one that could more easily die in any fight he's in.

For the majority of the movie, we also only have one villain, and this lack is only barely helped by the arrival of the Red Hulk, since that doesn't happen until the film's last fifteen minutes. (I'd say spoiler alert but it's on the poster. It ain't a surprise.) The overarching plot is also a snooze, centered on newly elected President Thaddeus Ross (Harrison Ford, taking over the role from the late William Hurt) and his efforts to garner a treaty centered on the Celestial Island in the middle of the Indian Ocean that you probably don't know about unless you saw Eternals (which I have, and I barely remembered it).

As this is a Marvel movie, there are plenty of action sequences and fight scenes, but aside from some ridiculous monumental destruction near the film's end, none are particularly memorable. (Also, the theater I saw the movie in was so loud I began to dread any scene that wasn't just characters talking.)

I appreciate the idea of a Black Captain America, but the issue of this Black man fighting in the name of a country that has historically not championed Black Americans is pretty much ignored. Perhaps they figured since it had been covered a bit in the TV series, it didn't need mentioning. But that decision ultimately makes this already hollow movie feel practically cavernous.

Let's move on to a movie franchise that has yet to have a misfire: the Paddington movies! Paddington in Peru is the third film in the Paddington series, and while this one is a departure in many ways. with a new director, a new location, and, in some cases, a new cast, it's still got the same Paddington, and is therefore a delight.

Paddington the bear still loves his marmalade, still lives with the Brown family, and is still liable to stir up some misguided mischief. When he learns that his beloved aunt Lucy has gone missing from the Home for Retired Bears in Peru, Paddington and the Browns venture to his homeland to find her, and, as it turns out, possibly find the lost city of El Dorado along the way.

Hugh Bonneville is back as Mr. Brown, but Mrs. Brown is now played by Emily Mortimer, replacing Sally Hawkins. Most importantly, Ben Whishaw continues to voice Paddington, because any changes in that sweet and calming voice would surely be the death of the franchise. The best addition to the cast this time around is Olivia Colman who is hilarious as the Reverend Mother at the Home for Retired Bears. She's a nun with some secrets.

Paddington 2 was one of the rare sequels that was actually better than the film it follows, and while Paddington in Peru doesn't quite reach that level, it still manages to carry on the series in a utterly satisfying way. (And fans of Paddington 2 should definitely stick around for the credits for a little cameo at the end.)

Weekend Screen Scene: Guardians of the Galaxy Vol. 3

I'm one of those people who does their best to avoid spoilers before seeing a movie, especially when it comes to genre films. That means I don't watch trailers (unless I'm forced to at a theater), avoid reviews, and stay away from internet chatter as much as I can before watching something that's bound to be filled with surprises.

But man alive, I wish someone had spoiled Guardians of the Galaxy Vol. 3 for me, because if I had had any prior knowledge of what happens in this movie, I probably would have skipped it entirely. Consider this review the kind of warning I wish I'd had, while being as spoiler free as possible.

Vol. 3 takes places after the events of the The Guardians of the Galaxy Holiday Special, and the gang's attempt to cheer up the depressed Peter Quill (Chris Pratt) apparently didn't stick, as the movie opens with Quill drinking away his sorrows on Knowhere, still mourning the loss of Gamora (Zoe Saldaña), who, while no longer dead, is not the Gamora Peter once loved. Like the first two films, this opening involves a tracking shot set to a pop song, though in this case, it's not a peppy classic. Instead, it's an acoustic version of Radiohead's "Creep", and it's being listened to by an equally depressed looking Rocket (voiced by Bradley Cooper, a fact that never ceases to amaze me). The tone for this sequel is set early.

Shortly after, Rocket's life is put in danger, and the remainder of the film is centered on a quest to save him, paired with flashbacks to Rocket's origin story, and as has always been suspected, there's a reason why he's never wanted to talk about that. It's because it's. Fucking. AWFUL.

I'm one of those people who has to check Does the Dog Die whenever I see there's an animal in a film, so I can make sure they make it out OK, or if they don't, so I can at least be prepared for it. Call me a pussy, but I just can not deal with seeing animals tortured or killed on screen. And I'm here to tell ya, that happens in Guardians of the Galaxy Vol. 3. A lot. And it is absolutely brutal to watch.

I'm not even sure if the rest of the movie that does not feature cruel experiments on cute animals, some of their deaths, and outright genocide is any good, because every time the film would jump from the horrible to our beloved gang of Galaxy Guards bantering and acting heroic, I was too distracted by the tears I had to wipe dry and the sobs I was muffling to really notice. 

Yes, I did laugh several times, and took particular pleasure in Drax (Dave Bautista) and Mantis (Pom Klementieff). I'd watch a spinoff focused on them in a heartbeat. But the drastic whiplash changes in tone made it hard to really appreciate the more lighthearted aspects of the movie. This is director James Gunn's final entry in the series, and perhaps his leaving explains some of the story choices he makes. The Guardians films are the Marvel movies I have probably enjoyed the most up until now, watching the first two more than once. But I don't think I can ever watch Guardians of the Galaxy Vol. 3 again, and would only recommend it to those who really, really, really feel the need to complete the series. 

But don't say I didn't warn you.

'Avengers: Endgame': No Safety Or Surprise

This image may or may not contain a spoiler.

Last year, I walked out of Avengers: Infinity War equal parts despondent and irked. The grief I felt over the deaths of multiple beloved characters was tempered by my annoyance at Marvel's manipulation. Of course all those characters didn't really die. So what was I crying for? In a year we'd all have proof we had shed those tears for naught.

It's exactly one year later and indeed that proof has come with Avengers: Endgame, the ultimate culmination of ten years of juggernaut franchising that brought us 22 movies and Marvel/Disney almost 20 billions dollars. And in many ways, Endgame is even more about loss than Infinity War was, since it means the end of an era, and whether characters really die this time or not, the franchise will never be the same.

And in Endgame, the remaining Avengers are truly living up to their title, hoping to avenge and ultimately reverse the deaths of their friends (and oh also, millions of other people and beings across the universe, but whatever). You didn't think they'd just accept defeat and retire, did you?

Although, for the first 30 minutes or so, many are doing just that, and man, it's an emo spectacle. There's so much gloom, doom, and clinical depression among the remaining team you'd think you were watching a DC movie. If you thought those final moments in Infinity War were a bummer, just wait and see what survivors' guilt has done to the gang.

The only hero this age of depression has a remotely amusing affect on is Thor (Chris Hemsworth), as it turns him into a pot-bellied, perpetually drunk Norse god version of the Dude, drowning his despair in beer, pizza, and video games. He's the film's comedic soul. Considerably less funny are Tony Stark (Robert Downey Jr) who begins the movie painfully skinny and on the verge of death, and Black Widow (Scarlett Johansson) who is the only one truly trying to keep the Avengers team alive (after all, she's barren and has nothing else to live for, right?).

But, unlike a DC movie, it isn't ALL doom and gloom, and thankfully, the majority of its three-hour (THREE!) running time is devoted to the kind of banter, camaraderie, and action that has made this decade long franchise the crowd pleasing money maker it is. All the characters get emotional arcs and big moments (some more crowd pleasing than others); I cried (genuine, earned tears this time) more than once. And as much as I'd like to discuss the specifics of those moments, or even some more general plot points, I completely agree with the studio's request to keep the film's surprises under wraps. If you're a fan of the franchise, you deserve to see it as unsullied as possible. (And if you aren't a fan, uh, what are you even doing here?)

So, instead I'll end this with a selection of likes and dislikes, as spoiler-free as possible:

• As a fan of any post-apocalyptic story (and destroying half of all life is nothing if not apocalyptic) I was disappointed that the film really doesn't show us what the new 50%-offed reality looks like around the world, or across the galaxy. What we do see is only within the Avengers' purview, and that's a pretty narrow purview.
• One character gets such a satisfying ending--it was one of many tear-inducing moments--that I didn't even mind that it doesn't make a whole lot of sense if you think about it too hard. (Actually, a lot of the movie has that same problem, but at least they acknowledge several of those logical leaps, and even joke about it.)
• The somewhat disappointing treatment of one female character is softened by the addition of one moment that will clearly piss off a certain segment of Marvel fans while making another segment burst into tears. (If you cried when Wonder Woman took to that battlefield, bring a whole box of Kleenex.)
• Speaking of female characters, yes, Captain Marvel is in the movie. How you feel about just how much she's in the movie will likely depend on where you fall in the segments mentioned above. (I will tell you this though: she doesn't come back to Earth, fly super fast around the planet to make it spin backwards thus turning back time like I was hoping she would.)
• Man, 2019 is a tough year to be a nerd, with the ends of Game of Thrones, The Avengers, and the Star Wars saga to contend with. But if each of them has taught us anything it's that nothing ever truly stays dead, does it?

'Captain Marvel' Doesn't Have To Prove Anything To You

The dream of the 90's is alive in Carol Danvers

When Wonder Woman opened in 2017, there were numerous reports of women breaking down into tears during the scene where Diana takes to the World War I battlefield, dodging bullets and saving lives, because all the men around her had given up. I was one of those crying women. Finally, finally here was the DC hero I cherished the most growing up, saving the world in a mediocre DC movie, just like all those male superheros had been doing for decades before.

Captain Marvel is the first Marvel movie focused on a female superhero, and if you're thinking "It's about damn time," you're right. While the Marvel Cinematic Universe does have its share of heroines, none have been allowed to carry a whole film until now. And as, essentially, a prequel to Avengers: Endgame, Captain Marvel also seems poised to carry the entire franchise.

But she's kind of a weird character to set up for that, because while Wonder Woman is quite literally a goddess, Captain Marvel is, most of the time, very much down to Earth, and, as the people around her have made sure she understands through each step of her life, just a girl.

As the film opens, our Captain Marvel (Brie Larson) is known as Vers, and she's a Kree, an alien warrior race at war with the Skrull, shape-shifters who are encroaching on Kree territory. Vers has a mentor, Yon-Rogg (Jude Law) with whom she spars both physically and verbally. He's always telling her she needs to control her emotions, while she sarcastically tells him he needs to stop worshiping her. After all, she's got photon blasters for fists, who wouldn't worship her?

After a capture by the Skrull and an escape that has her crashing through the roof of a Blockbuster in 1995 Los Angeles, on a planet she knows as C-53 (a real "shithole" according to her fellow Kree), Vers starts to realize the past she can never remember may have a beginning on this very planet.

This is a Captain Marvel origin story, but it's also a Nick Fury (Samuel. L. Jackson) origin story as well, because in 1995, he and Phil Coulson (Clark Gregg) are two very smooth faced agents of S.H.I.E.L.D. (CGI de-aging effects work better on Jackson than on Gregg, who I just assumed was some kind of android imposter for at least five minutes.)

Brie Larson brings an effortless breeziness to her character. Perhaps heeding the advice of her mentor, when Vers first lands on Earth C-53, she seems to be keeping her emotions in check, not letting much phase her, from the agents who want to question her, to the aliens who want to capture her, to the asshole on a motorcycle who tells her to smile (nice). This lightness also feeds into her scenes with Agent Fury, allowing Jackson to bring some comedy to his character. They have some great moments together. (Though none are as great as Jackson's moments with a cat named Goose, who basically steals the whole movie.)

The Marvel movies have been superior to DC movies in a number of ways, but the biggest reasons for me have always been their humor, perfect casting, and character authenticity. Captain Marvel has all three down, with much help from Annette Benning as a spooky AI god, Lashana Lynch as Carol Danver's best friend Maria, and Ben Mendelsohn as a very funny Skrull in a turtleneck. As tends to be the case with most of the Marvel movies, the big battles are never as entertaining as the quieter moments.

If you're a Gen X'er, the film's 90's setting is going to hit all your nostalgia buttons, from that Blockbuster, to the flannel shirts, to the music, which is heavy with girl bands like Garbage, Elastica, and No Doubt (though the use of "Just a Girl" is a little too on the nose). Misogynistic fan boys have had a field day hating on the movie, for a variety of "reasons," and that made me realize the 90's is the perfect era for Captain Marvel to land in. It was the last time women could make noise without having to immediately hear a response from a dozen men screaming about their own alleged suppression. (The Internet ruined everything.)

I'll be honest. Carol Danvers is an endearing and admirable character, but Captain Marvel is not the most exciting superhero. When she comes into her full powers (which happens too late in the film), she's basically unstoppable, and as a result, there's not a lot of tension in those later battle scenes.

And that in itself is fine. Just because Captain Marvel is the first female led Marvel movie doesn't mean it also has to be flawless. Both Thor and the Hulk were allowed to have their own meh movies, and go on to become beloved characters in the universe. The same should be allowed of Captain Marvel. She's here, and she doesn't have to prove anything to anyone.

'Avengers: Infinity War': Dust In The Wind

Wakanda Forever!

Ten years ago I saw the first Iron Man movie a week after seeing the first Sex and the City movie. It was an interesting contrast to see two films with equally eager, albeit demographically opposite audiences. Imagine an opening-night Iron Man crowd where everyone is dressed as their version of Tony Stark, and you'll understand what that Sex and the City opening night was like. I couldn't help but compare the two films, as they were both among the top movies of the summer. Ultimately, I decided I preferred Sex and the City's version of a New York fantasy (better shoes), but I could certainly understand the appeal of Iron Man and its new kind of comic book movie.

After the first Avengers film in 2011, I realized that I enter a viewing of most new superhero movies, especially those with multiple heroes, like it's going to be the last. Maybe this time, the big battle will end with the world being saved forever, and everyone will get to enjoy a life full of relaxation, sunsets...and a different kind of summer movie.

And in its own dark way, Avengers: Infinity War, an event Marvel has been building up to for the past decade, does satisfy that fantasy. One could walk away from it never needing to see another Marvel movie again, though I seriously doubt anyone who sits through its almost three hour running time isn't going to watch the sequel, due out next year.

And that's the thing; Infinity War deals some extreme blows, and some devastating losses. Moments made me tear up, and I left the theater genuinely sad. Of course, I've come out of superhero movies depressed before, but that depression was usually centered on disappointment (and OK fine, has only really happened after viewing a DC movie).

After a while, that feeling of grief was paired with a bit of anger. Marvel films rarely have true consequences, and what's the point of grief if the stakes aren't as high as they seem to be? How dare they dick me around just to insure I buy a ticket to part two? AND WHEN WILL THOSE TICKETS BE AVAILABLE??

It's ironic that one of Marvel's darkest films is also one of its most fun, with the character banter and personality clashes that have made so many Marvel movies memorable in full abundance. All the fan favorites get some screen time, some more than others (unless your favorite Marvel hero is Hawkeye, in which case, sorry, in so many ways), with multiple franchises coming together to fight Thanos (Josh Brolin), the Marvel Universe's ultimate big bad.

Thanos has been after six powerful "infinity stones" since the first Avengers movie, and as Infinity War opens, (immediately follwing the events of Thor: Ragnorak), he's gotten his giant purple hand on one more. Once he finds them all, he'll have the power to wipe out the universe with the mere "snap of his fingers."

One of my biggest gripes with comic book movies is villains whose goals never really make sense. They're usually centered on a desire to destroy the city/country/world/universe/whatever, with no real sense of why, or just what kind of existence they expect to have after that. All right big guy. You've destroyed the world. Now what?

But Thano's goals are very clear. He doesn't want to destroy planets or eliminate entire populations. He only wants to wipe out half of the universe's populations, indiscriminately, in an attempt to restore order to it all. With half of everyone gone, he believes, there will be no more fighting over resources, and those who remain will never want for anything again.

To Thanos, this is a noble goal. He chillingly rationalizes the destruction of half of the universe's population as necessary, as I imagine every perpetrator of a genuine genocide probably has. And he even earnestly presents a vision of his post-destructo life, which includes sitting on a mountain top, enjoying a sunset, satisfied with the knowledge that he's restored order to the universe.

Keeping the remaining stones out of Thanos's hands becomes the work of the Avengers, the Guardians of the Galaxy, Spider-Man, the nation of Wakanda, and some assorted cameo players, and for the most part, directors Anthony and Joe Russo do a good job of plate spinning. It's only near the end, as battles begin to take place at multiple locations, that the cross cutting becomes a little ridiculous. Nothing kills the excitement of a battle at Wakanda like cutting to Tony Stark (Robert Downey Jr.) crying on a planet in another part of the universe.

But really, it isn't the epic battles or fights that have made Marvel movies such pleasurable experiences, and the same holds true for Infinity War. What makes it memorable is seeing Doctor Strange (Benedict Cumberbatch) butt heads with the equally egomaniacal Tony Stark; it's hearing Peter Quill (Chris Pratt) try to convince his fellow Guardians that Thor (Chris Hemsworth) isn't the ultimate specimen of manhood; and it's seeing Bruce Banner (Mark Ruffalo) come down with a serious case of Hulk-itile dysfunction. It's the charm of all of these heroes that has made Marvel movies what they are, and it's the fear of losing even some of that--as unfounded as that fear may be--that will keep us coming back for more.

Fear Of A 'Black Panther'

There have been, and will be, many excellent think pieces and critiques written about Black Panther, and it's likely anything I would have to say about it, or even could say about it in the short amount of time I have between seeing it and having to write a review, is going to (pardon the terrible pun), pale in comparison. So, I'm skipping a traditional review this time.

But I still have thoughts about it!

* First, all the hype, cultural importance, and expectation aside, Black Panther is an excellent comic book movie. Perhaps one of the best I've ever seen. That it can stand alone, completely apart from the Marvel Universe, and is accessible to anyone who has never seen a single Marvel movie, may irk some of the more diehard comic book fans. But I think it's one of the movie's greatest strengths.

* Last year’s Wonder Woman finally brought an iconic female superhero to the big screen. While the movie wasn’t perfect, what it symbolized was important: finally an opportunity for girls to see themselves in the superhero movies that permeate the theaters year after year. There’s even more expectation for Black Panther. Sure, there have been movies featuring black comic books characters and superheroes before (Blade; Hancock), but none have been based on a classic character, or been part of a major franchise. That the world has been craving this should not come as a surprise, and neither should the fact that it is a certifiable hit even before its actual release.

* I believe that anyone who isn’t descended from slaves can’t fully understand why black America would be craving this kind of story. So many American families have the luxury of being able to trace their culture all the way back to a village their ancestors might have lived in. But much of the African American quest for cultural identification ends at the point their stolen ancestors landed on the shores of America. Seeing a film that not only embraces and celebrates African culture, but presents it as the ultimate strength (Wakanda is, after all, the most advanced nation in the world), is important.

* Black Panther is an amazingly beautiful film. Director Ryan Coogler and cinematographer Rachel Morrison (who has been nominated this year for an Oscar for her work on the film Mudbound) present the land of Wakanda as an illuminated, shining fantasy of Afrofuturism, bordered by waterfalls, with cities steeped in traditionalism and hi-tech advances. Brightly colored open air markets are surrounded by elevated trains and the occasional passing space ship. Citizens are dressed in traditional garb, while utilizing the latest in tech gadgetry. It requires more than one viewing to soak it all in.

* There's an amazing fight scene in an underground casino, where Coogler has the camera follow various characters around the room as they fight the bad guys, that's seamlessly edited to look like a single shot, and it's glorious. It's followed by a car chase in Korea that ends with one of the film's biggest laughs (and there are many laughs to be had throughout).

* The cast is almost entirely people of color, with two exceptions. One is the evil arms dealer, Ulysses Klaue (Andy Serkis), and the other is CIA agent Everett Ross (Martin Freeman). I could have done without the token addition of Freeman, who serves no integral need to the plot. On the other hand, I appreciated Serkis's villain only in that he is ridiculous and completely expendable, giving way to the film's real baddie, Killmonger (Michael B. Jordan).

* Killmonger is an extraordinary villain. He's not some alien superbeing with a goal of destroying the world. He's a human with some completely valid and rational beefs. And while what he ultimately wants to do is a little extreme, my main reaction was, "He has a point! Maybe it's worth a try!"

* Speaking of destroying the world: The destruction in Black Panther, when compared to the massive damage done to entire cities in so many Marvel movies, is relatively small beans, and that's really refreshing. It does not suffer from too many villains and too much destruction, (although the stakes for the characters themselves, and much of the world, couldn't be higher).

* Wonder Woman may have given little girls a superhero to relate to, but Black Panther gives them an entire army, in the form of the Dora Milaje, the all female special forces that serve as Black Panther's bodyguards. And how much did I love the casting of Danai "Michonne" Gurira as the head of the Dora Milaje? A LOT. She may risk being typecast as a strong black woman who knows how to swing a sword, but as long as she's OK with that, I am here for it.

* In fact, every single woman in the film--which also includes Angele Bassett, Lupita Nyong'o, and the delightful Letitia Wright, seen recently in the "Black Museum" episode of Black Mirror--is presented as strong, smart, and independent. None are there simply to serve as eye candy or as a disposable love interest. And that is, in every sense of the word, marvelous.

And so is Black Panther.

'Doctor Strange' Is A Superhero Movie On Peyote

This review originally appeared on SFist.com.

Having suffered this year through both Batman vs. Superman and Suicide Squad, I went into Doctor Strange with some trepidation. Yes, both of those disasters were DC flicks, and Doctor Strange is the latest entry into the expanding Marvel cinematic universe, which has time and again proven to be far superior. But along with B vs S, and Suicide Squad, this year has also brought us Captain America: Civil War, Deadpool, and X-Men: Apocalypse. Can you blame a woman for feeling some superhero fatigue?

At least Doctor Strange is going for something a little different, at times coming across as a superhero movie on peyote. Which makes sense, since the character's comic book rise concurred with the psychedelic sixties (even if its creators insist they were nothing but squares).

Dr. Stephen Strange (Benedict Cumberbatch) is, indeed, an actual doctor, a brilliant and arrogant neurosurgeon who trades romantic banter with Christine (Rachel McAdams), a fellow surgeon and former romantic partner. It seems they didn't break up as much as his growing ego just kind of pushed her out the door.

So, of course, he lives alone in huge New York apartment in the clouds, with only his drawers full of kinetic watches (FORESHADOWING!) to keep him company. He's the kind of guy who drives recklessly across winding two lane roads while checking his phone messages. Of course, that ends up with him nearly losing his life and tragically losing almost all use of this hands. And what's a brilliant surgeon without his hands?

When western medicine fails him, he seeks out alternative treatments, on a quest that leads him to Kathmandu, and the Ancient One (Tilda Swinton), an oracle/guru/witch/swami/sorcerer/everything else "mystical," who convinces the doctor the cure for his broken hands is via a stronger spiritual center.

There's some controversy surrounding the casting of Swinton in a role originally written as an Asian man. Director Scott Derrickson's defense is basically that the original character was a racial stereotype, so by casting a white woman, they were able to avoid those racist undertones. Of course, another reaction to such a character could have been to just write a better version of him, but with that said, I will admit I appreciated Swinton's presence. A lot. She's easily one of the best things about the movie, bringing her trademarked brand of kookiness, which is always delightful to watch. Plus, damnit, we need all the female superheroes we can get!

Dr. Strange trains with the Ancient One, getting further guidance from Mordo (Chiwetel Ejiofor), a fellow follower, learning to cast spells, open doorways in space, and throw a mean punch. These lessons lead the characters into psychedelic realities that look like a cross between an Escher painting, a kaleidoscope, and Inception. These moments are fun and colorful, at first. But once the trio has to fight bad guy Kaecilius, (Mads Mikkelsen), the ever rotating and expanding landscapes get a little exhausting. (I will admit the murky 3-D I was forced to watch the movie in did it no favors.)

When Doctor Strange works, it's for the same reasons most of the Marvel movies do: They aren't afraid of humor, and they know what's funny. Cumberbatch's dry delivery, some slapstick involving the Cloak of Levitation, and a funny bit about a wifi password had me laughing more than anything in Suicide Squad and B Vs S combined.

But it also suffers from the same big problem so many of these superhero movies suffer from: too many villains, and villains that are just too big. Kaecilius alone would be enough, but by the end, with the introduction of an even bigger bad, the destruction of the entire universe is at stake. How Dr. Strange deals with the situation, while supposedly a very bad thing to do, doesn't seem to have any negative consequences, and leaves you wondering, well, if he can just do that, why would we ever need any superheroes saving us from anything ever again?

The Anti-Batman V Superman: Captain America: Civil War

This review originally appeared on SFist.com.

Coming out a month after the miserable bomb that was Batman V Superman has only helped to make Marvel's latest entry into the Avengers franchise look like a damn classic in comparison. Captain America: Civil War isn't as instantly likeable as the first Avengers movie was, but it's certainly a better night at the movies than watching Batman and Superman fight a battle in a bleak and murky hellscape.

And have no doubt: this is more of an Avengers movie than it is a Captain America one, with almost all of the Avengers returning, (minus big hitters Hulk and Thor), and with the addition of a few new members, including Spider-Man (Tom Holland) and the Black Panther (Chadwick Boseman), to the team.

Well, actually, teams, as the central conflict pits the superheroes against each other. The world has finally gotten a little fed up with the collective collateral damage inflicted by the Avengers every time they save the world. And after innocent lives are lost one again, during the film's opening battle, Thaddeus Ross (William Hurt and his amazing wig) and the U.N. decide to force the Avengers to sign an accord that would, depending on how you look at it, either completely limit their ability to act or put some much needed governance on their growing power.

Somewhat ironically, the renegade Tony Stark (Robert Downey Jr.) is for the signing of the accord, while Captain America (Chris Evans), is against it. In both cases, their reasoning is pretty selfish. Stark thinks stepping away from the Avenging biz will result in the return of his beloved, Pepper Potts (who does not make an appearance in the movie), while Cap wants the freedom to help save his friend Bucky, aka the Winter Soldier, (Sebastian Stan), who he's convinced has been wrongfully accused of a terrorist act.

As battle lines are drawn, it comes down to a "civil war," with the Avengers either joining team Iron Man or team Captain, and it's this literal fight between them all that is the highlight of the movie. Once again I couldn't help but compare it to Batman Vs. Superman, and its fight scenes, which were dark, depressing, and ugly. Here we have a huge battle in broad daylight, on a relatively uncluttered airfield, fittingly devoid of people. (After all, more innocent deaths are the last thing they need).

But, more importantly, the battle is fun. Seeing Spider-Man fight Captain America is fun. Watching Iron Man fight-in-flight with Falcon is fun. Watching Hawkeye shoot arrows at...well, ok watching Hawkeye is never fun. But the scene as a whole is still wildly entertaining, culminating in a literal giant surprise.

Directors Anthony and Joe Russo, who directed the previous Captain America movie and also won Emmys for the work on Arrested Development, recognize the franchise's reliance on humor, so the film is peppered with some humorous asides, one-liners, and dialogue that's, for the most part, not cringe-worthy. (This time around Black Widow doesn't spend half her screen time crying about how she can't have a baby. THANK GOD.) If I have one complaint with their direction, it's that some of the action is a little too kinetic, resulting in moments that are nothing but a blur. (Seeing it in IMAX and 3D certainly doesn't help the matter.)

While there is a villain in the story, it's not the usual invading alien hordes or omnipotent superbeing; It's just a dude with a grudge. The Avengers have a lot of death to answer to, but in a clever way, the movie also manages to indict us, the audience, for getting off on the massive destruction seen in all those previous films. We should be ashamed of ourselves!

Until the next Marvel movie comes out, of course.