THE FANTASTIC FOUR: FIRST STEPS – Review

After “Big blue”, the “man of steel” made a successful return flight into the multiplex almost two weeks ago, have you been waiting for the “other shoe” (in this case a boot made of “unstable molecules”) to drop? Yes, the “DCU” is back in a big box office triumph, but what about those “guys down the street”, a nod from DEADPOOL & WOLVERINE? Are they resting on the good reviews (and so-so ticket sales) of THUNDERBOLTS*? Oh no, my Marvel-maniacs, the MCU is also back and as “big” as ever with a spin on the “IP” that really began Marvel Comics way, way back in 1961 (they could retire, already). According to a legend (which may be something Stan Lee came up with on the TV talk show circuit), Martin Goodman, publisher of then-Atlas comics, spoke with his DC rival at a golf course. He boasted of the brisk sales of his superhero team book, “The Justice League of America”. Goodman got his writer/editor Lee on the “horn” and ordered him to create a “super group”. He brought in artist extraordinaire Jack Kirby, and Marvel was soon born. However, the road to the big screen for the team has been a treacherous one (though there have been several animated TV shows). In 1994, a low-budget feature was pulled days before the premiere (I recommend the documentary DOOMED, which is probably streaming). Then Fox snagged the screened rights and had two medium-sized successes in 2005 and 20027. A relaunch in 2015 was a true disaster, so comic fans rejoiced when Disney acquired FOX in 2019, allowing Marvel Studios a “crack” at their “legacy property”. So will the “fifth” time be the “charm” with THE FANTASTIC FOUR: FIRST STEPS? “Nuff said”, for the history lesson…

On to the “main event”, the flick itself. This sets itself apart from the nearly 30 MCU entries in that it is set on Earth 828, rather than “good ole’ 616”, established in SPIDER-MAN: FAR FROM HOME. For four years, this Earth (which looks to be a 1960s “retro future”) has been protected by the FF. It’s all explained by the host of a popular TV talk show, Ted Gilbert (Mark Gatiss), whose latest episode is a celebration/history of the quartet. Using archival footage, we’re introduced to the brave astronauts who went into space on the star-cruiser the Excelsior, and came back “changed”. After mysterious “cosmic rays” (which forced an abrupt landing) penetrated the ship’s hull and their suits, the leader, brilliant scientist Reed Richards (Pedro Pascal), became the flexible, stretching, rubber-like Mr. Fantastic. His blushing bride, Sue Storm (Vanessa Kirby), became the Invisible Woman, who can vanish from sight while creating and manipulating “force fields”. Her brother Johnny (Joseph Quinn) could control flames, flying through the skies as the Human Torch. Their pilot, Reed’s old buddy Ben Grimm (Ebon Moss-Bachrach) underwent the most radical transformation. His body doubled in size, his skin morphing into a rock-like shell as the unblievably strong being known as the Thing. They all share living quarters atop the Baxter Building, which is also home to the United Nations-inspired Freedom Foundation. Over the big Sunday Dinner, Ben figures out why the now-married Sue and Reed are acting so “off”; She’s pregnant. Reed’s happy, but concerned over how those cosmicly-altered genes may affect their “bundle of joy”. They go about their heroic duties until Reed detects a strange being entering Earth’s atmosphere. The four meet a floating lady, an alien seemingly made of metal, the Silver Surfer (Julia Garner). She proclaims her role as the “herald” of her “master”, the giant, planet-devouring creature called Galactus (Ralph Ineson). The Surfer warns that he’s on his way to make a “meal” of them, so they’d best use the next few months to say their goodbyes. Will the FF go into action against them? C’mon, now! They take off in the Exceslior and track down the Surfer and her “big boss-man”. Reed wants to negotiate, but the price to be paid for erasing the Earth from his menu is monumentally steep. Even with his “ginormous” brain and the team’s combined might, can they possibly thwart the Surfer and her very hungry controller, Galactus?

So, do the four leads “play well together”? Well, the film really insists on that, as we’re pretty much a “fly on the wall” through the whole story. The answer is a resounding “Yes, indeed”, with a crackling chemistry that’s “off the charts”. Since she was usually the “damsel in distress” for many of the early comics issues, it’s surprising that the plot really hinges on Sue, who is played with a fierce, steely determination by the dazzling Ms. Kirby (no relation to the co-creator). She’s the gentle beacon of decency that nudges the team in the proper direction, in terms of combat and ethics. She’s also the protector of “her guys”, though she’s the ultimate cosmic “mama bear”. Plus, she sweetly coaxes humanity from the often socially awkward Reed, played with an endearing “absent-minded professor” demeanor by the compelling Pascal. Bringing lots of good humor into the mix is the energetic Quinn, whose Johnny is the “teen dream” who really wants to be taken seriously as he yearns to contribute more to the group than tossing some fireballs as he scorches the baddies. And then there’s the remarkable rendering of the most complex and visually interesting member, Ben, whose plight is given the proper tragedy and pathos by the gifted Moss-Bachrach. The Thing is a lovable “gentle giant”, rock-hard but still cuddly to the kids that adore him. He still yearns to become that dashing “space ace” once more, as he wistfully looks at TV news film of his past visage. Even through the layer of CGI granite, Moss-Bachrach never loses Ben’s humanity.

As for the supporting players, it’s probably best to start with the big, destructive duo. Garner is sleek, sinister, and sympathetic as the woman who was once Shalla-Bal, but is now required to issue mass death sentences to entire worlds. Even through her silver coating, Garner conveys Bal’s inner torment. But when your “master” dwarfs the city, intimidation’s a big concern, especially with Galactus, who is given a growling, terrifying deep, deep bass delivery by Ineson, his real horror is displayed as he smiles and “plays with his food”. Sarah Niles is very good as Sue’s very human aide Lynne, while Paul Walter Hauser is a real hoot as a former FF foe now turned reluctant friend. And I really hoped to see more of the always enchanting Natasha Lyonne, as a gal from the “old neighborhood (hopefully not Yancy Street)” who responds to Ben Grimm, he man beneath the walking rubble. And be on the lookout for some delightful cameos that pop in, plus one of this Summer’s robot scene stealers, along with SUPERMAN’s pal, Gary, H.E.R.B.I.E.!

Yes, it’s a compelling space opera, though one that also dazzles in its look with a team of truly talented “world builders” reminding us of a hoped-for. promised but not quite delivered sparkly future. I’m sure I’m one of many filmgoers who wished they could be beamed into this wonderful “playground” supervised by director Matt Shakman, a former child actor who has graduated to the MCU after stellar work on my favorite of the Marvel Disney+ streaming shows, “WandaVision”. He has great control of the big action stunt scenes, while always showing us their emotional impact on the characters. He conveys how Reed is literally stretched to his limits, along with the simmering attraction between the Surfer and the Torch (fire clashes with cool metal). As I said, the actors are incredible as their performances blend with the eye-popping visuals. This Earth’s “take” on 60s Times Square is dizzying visual “candy”, a contrast to the oppressive atmosphere of the Galactus vessel, as cold and cruel as this creature. The period costumes, namely the “off duty” wardrobe of the quartet, wonderfully harken to the “Mad Men” era’s “vibe”. Then there’s the TV graphics, along with the splendid crowds of stunned “onlookers,” set us right inside this dreamland right out of those classic 60s comics. About those, longtime fans will be giddy about the many “nods” to those “collector’s item classics”, but those casual filmgoers shouldn’t feel lost. The “homework” plot points have been a major complaint for many in MCU movies, so they’ll be happy to know that with this “other Earth” not tied to the MCU need not be recalled. That’s a credit to the five (almost four) screenwriters credited, who deftly peppered the story with lighthearted comedy and truly earth-shattering drama. And as with most Marvel movies, there’s a mid-end credits and post-credits scenes that are actually worthy of your time. And I must also toss some accolades at the producers for the many nods and acknowledgments of the talents of the “king of comics” (he never liked that nickname, but oh, how that crown fits), Jack Kirby. Mind you, Stan Lee was a big part of those characters (he even slapped a banner at the top of the book proclaiming it was “the world’s greatest comic magazine”), and he got to be a cameo star in the MCU, while sadly Kirby put away his pens and pencils forever in 1994. So I’ll consider this cinematic “love letter” his “screentime” as the movies have finally “cracked the code” for the “cornerstone” of Marvel with the fabulous THE FANTASTIC FOUR: FIRST STEPS, which, true believers, naturally earns..

4 Out of 4

THE FANTASTIC FOUR: FIRST STEPS is now playing in theatres across the cosmos