Tag: based on the comic book

THE FANTASTIC FOUR: FIRST STEPS – Review

(L-R): Ebon Moss-Bachrach as Ben Grimm/The Thing, Vanessa Kirby as Sue Storm/Invisible Woman, Pedro Pascal as Reed Richards/Mister Fantastic and Joseph Quinn as Johnny Storm/Human Torch in 20th Century Studios/Marvel Studios’ FANTASTIC FOUR: FIRST STEPS. Photo courtesy of 20th Century Studios/Marvel Studios. © 2025 20th Century Studios / © and ™ 2025 MARVEL.

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…

So here’s some rare FF merch: from the 60’s, a Lancer paperback and a Whitman Big Little Book. From 1977, here’s a reprint from Kangaroo Pocket Books…

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

SUPERMAN (2025) – Review

This weekend’s big movie release, perhaps THE biggest of the whole Summer, may remind some folks of the song, “Everything Old is New Again”, which is itself over fifty years old. That’s because this flick’s subject matter, its title character, actually, is nearly 87 years old. But its influence and legacy have never left the pop culture landscape in all that time since 1938. Oddly, his first real foray into “big time” full-length feature films occurred forty years later, just in time to hit theatres before Christmas. Now that the Summer has been the usual domain for superheroics, naturally, this “re-boot/re-imagining” of his return flight, after a big “touchdown” twelve years ago, is only natural. The follow-ups to that 2013 film sputtered, so the force behind one of rival Marvel’s most popular trilogies has been given a chance to work his “movie magic” once more. The marketing art implores us to “Look up”, but you may want to lower your gaze a bit to screen level (unless you get stuck in the first row) for the sparkly shiny new epic of the “OG’ himself, SUPERMAN.

This version “draws a line in the sand” (the snow actually) with an opening that doesn’t recap the iconic “origin story”. No, they give us a few brief title cards concerning the rise of “Metahumans” during the time of “Gods and Monsters”. From there, we join Superman AKA Clark Kent AKA Kal-El (David Corenswet) plummeting into the frozen tundra after getting his a…cape “handed” to him by the armored assassin named the “Hammer of Boravia”. Seems that Supes had tried to block his homeland’s invasion of its peaceful neighbor Jarhanpur. It’s pretty much a return to the widely downloaded trailer as faithful dog Krypto arrives to drag Supes to the usually hidden Fortress of Solitude. Inside the gleaming towering crystals, he’s quickly checked on and patched up by a team of chatty robots. To facilitate his “healing,” the bots play a video message from his birthparents in his native Kryptonian, though much of the playback was corrupted when Kal’s spaceship crashed to Earth. Despite the robots’ protests, Supes is soon airborne on his way back to Metropolis USA. Ah, but someone in the snowbanks also observes his exit, the nanotech-enhanced villainess the Engineer (Maria Gabriela de Faria), who reports back to her boss in Metropolis, none other than the tech billionaire genius Lex Luthor (Nicholas Hoult), CEO of Luthercorp. He’s also badmouthing Superman to a shadowy military council in DC, while also keeping a hand in that “foreign conflict”. But before he can engage in a “rematch” with the “Hammer,” Superman assumes his disguise of reporter Clark Kent and checks in with the staff of the “beacon of journalistic integrity”, the Daily Planet. He’s friends with everyone, especially veteran “newshound” Lois Lane (Rachel Brosnahan). All the while, Lex puts his masterplan into motion, invading the Fortress, destroying Kal’s reputation, and creating a dimensional rift via black holes and “pocket universes” which could split the planet right down the middle. Even with some Methuman backup, can Superman, despite his “amazing abilities”, possibly swoop in and save the day?

With this big, sprawling epic, it may be best to first concentrate on the trio (or is it a quartet) at the heart of this tale. Which leads us right to the title character played by Corenswet, but also to that “alias” Clark Kent, who is almost “bird-like” in his fidgety mannerisms and quick replies to noisy questions from…y’know who. Corenswet spends most of his time as “big blue”, whose demeanor is typically bright and friendly, which makes him almost a “magnet” for kids and “everyday Joes” around the globe. But this hero is still trying to figure things out and is often frustrated by opposing forces and intense distractions. What really marks his interpretation is the fiery emotions that the previously portrayed cool and calm Kal-El had hidden away (though we saw his despair near the finale of the 1978 film). Corenswet shows us that burning desire to do “what’s right” while also giving a hint of his heartbreak when he can’t forestall tragedy. Plus, there’s that “big passion” for that “pesky reporter”, played with steely determination by Brosnahan, giving us a modern liberated spin on the feisty writers of classic films like HIS GIRL FRIDAY. Eschewing the often “damsel in distress” previous iterations, this Lois is very proactive, even leading the charge into battle and rallying reluctant aides. Plus, she’s no “shrieking violet” around “the cape” when an “interview” goes from “fluff” to a fiery ethical discourse, with no “moonlight flight” to soften bruised feelings. But who’s the real “monkey wrench” in this romance? Of course, it’s Luthor played with a seething bravado by the wild-eyed Hoult. This isn’t the clownish criminal kingpin of the past movies. Hoult makes him a hyper-focused tech titan, whose white whale is the flying “boy scout” usurping his well-earned glory. Still, Hoult shows us that he can “smooth out his edges,” whether conning some DC insiders and doing the “dog and pony” dance for TV. His supervillain is truly worthy of this greatest of superheroes.

As for the “standouts” in (as they used to say in the old DeMille-style flicks) this “cast of thousands”, I’ll mention the other superbeings that are introduced here. The trailers have presented a trio of flying friends who refer to themselves as the “Justice Gang” (not permanent). First off, Edi Gathegi is indeed terrific as Mr. Terrific, a science wizard with a somewhat surly no-nonsense swagger. All the nonsense really comes from the hilarious Nathan Fillion as the smirking, boastful Green Lantern rep, Guy Gardner. Plus, they’ve got some added “muscle” and ferocity in Isabela Mercid as the mace-wielding Hawkgirl. Back in the pressroom, Skyler Gisondo is quite the “playa” as chick magnet Jimmy Olsen, who still annoys Wendell Pierce’s Perry White by calling him “chief”. We get a side trip to Smallville to catch up with Clark’s Earth parents plyed with “cornpone” warmth by Neva Howell as “Ma” and Pruitt Taylor Vince as “Pa”, who’s quite touching during an early morning “heart-to-heart” chat with Clark on the “porch swing”. As for the “baddies”, de Faria is a somber “destruction device” as the cruel Engineer, while Anthony Carrigan elicits lots of sympathy as a reluctant villain, a “super pawn”, as the “Element Man” or Metamorpho to fans of Silver Age comics. Plus, we get lots of great “vocal cameos” for the FoS robots, while an “A-lister” shows up as part of the Krypton history.

And just who is the “defecting director” who made the BIG leap from the MCU to be half of the “guiding force” of DC Studios, while helming this “new beginning” from his own script (of course, the tilte character was created by the pride of Cleveland, Jerry Siegel and Joe Shuster)? None other than St. Louis’s own James Gunn, who had helmed the GUARDIANS OF THE GALAXY trilogy along with THE SUICIDE SQUAD. Now, many purists might be concerned whether he would indulge in some bits of raunchy humor and sight gags, much like that latter film and his “Peacemaker” and “Creature Commandos” HBOMax streaming shows. Happily, he has produced a “family friendly” entertainment that balances moments of heart with witty satire (his take on internet trolls is hysterical). Perhaps the biggest surprise is how relevant the story is to the current state of the world. Luthor stirs up animosity toward Superman’s “outsider” origins, and like some other recent screen stories, fires up paranoid fears about Kal going “rogue”. Gunn has come up with two fictional countries in the “global conflict” subplot that are almost “ripped from the headlines”. And aside from the Engineers and the “Hammer”. Luthor has an elite quad of heavily armed “enforcers” called the “Raptors,” whose faces are almost covered (hmmm, who might their “real world counterparts” be). So bravo for deftly combining social commentary with a high-flying fantasy.

And big, big kudos for presenting the story in bright warm colors closer to its comic book roots, rather than the dark dreary tones of the last Superman screen series (we’re not in the “Snyder-verse anymore). Happily, Gunn gives an affectionate wink to the best loved movie Supes with the use of the John Williams theme on the soundtrack, and two 1978 characters with a “tech-bro” named Otis (Terence Rodemore) and a surprisingly essentional Eve Teschmacher (Sara Saampaio). Well, like many comic fans I do have more “issues” (sorry about that). I was reminded of a line from the nadir of 1990s superhero flicks, BATMAN AND ROBIN in which George Clooney, in cowl and cape, says, “Now I know why Superman works alone”. While he does get a “push” in the 70s and 80s movie series, this “caped wonder” requires lots of help. mainly from the Justice Gang and Krypto, which somewhat tossed the established trope of Superman as a “solo” crusader.I realize that this happens early in crimebusting career, but Supes makes so many odd choices in his actions and doesn’t appear to be using his “super smarts”. I’m baffled that they turned the usualy awkward nerdy Jimmy Olsen as a ladies man. Maybe I don’t get “the joke”. Speaking of which, gifted SNL vet Beck Bennett has almost nothing to do as Planet “news jock” Steve Lombard while Mikela Hoover’s Cat Grant dashes about it a huge platinum blonde 70s ‘do. Since we’re thrown right in the middle of the action, we’re denied the first meeting and eventual romance of Lois and Clark (mind you, the chemistry between Brosnahan and Corenswet is quite engaging). I wanted more moments of those two talking, but time must be made for the CGI destruction of Metropolis, and Gunn does bring this all in at under 130 minutes. No superhero bloat here. As I mentioned earlier, Hoult is so compelling and deserves a better resolution to Lex rather than a retread gag from an MCU epic. But, as the old joke says, ” It’s a good start”, I’m eager to explore this new DC movie universe that Gunn and his filmmaking team are plotting. Here’s hoping that they’ll guide a sensational sequel (and prequels and spin-offs) to this often spectacularly soaring SUPERMAN.

3.5 Out of 4


SUPERMAN is now in theatres everywhere

THUNDERBOLTS* – Review

(L-R) Bucky Barnes (Sebastian Stan), Ghost (Hannah John-Kamen), Yelena Belova (Florence Pugh), John Walker (Wyatt Russell), and Red Guardian/Alexei Shostakov (David Harbour) in Marvel Studios’ THUNDERBOLTS*. Photo courtesy of Marvel Studios. © 2024 MARVEL.

May has finally arrived which means it’s time for those flowers to start popping up, after those torrential April showers. Well, that’s what most folks think of this month, but for movie fans, it heralds the start of the Summer cinema season. And as with most Mays since 2008, the first big flick out at the multiplex is from Marvel Studios. Now they did have a film open just about three months ago, but it was really an appetizer for a big sprawling “multi-hero” epic. Hold up, they’re not getting the “band back together” as in an assembling of Avengers. And the really major team, the “first family,” is still a couple of months away. So, rather than the “A team,” this is more of the “B team”, or for you baseball fans, the minor league “farm” squad. We have seen them all before, and a couple of the characters are true “scene stealers”. So, can these “second-stringers” work together as the THUNDERBOLTS*? Hang on, true believers!

The story begins with one of those “supporting players”, Yelena Belova (Florence Pugh), who is finishing a mission in Malaysia, but just seems to be “going through the motions” (can a former Black Widow have an existential crisis). Afterward, back in the states, she pays a long-overdue visit to her papa Alexei (David Harbour), the former Red Guardian, who now drives a limo, but wants to be “back in the game” freelancing like Yelena. On her way out, she checks in with her employer and requests a more high-profile, “in front of the camera” gig. Her boss agrees to it after the completion of her next job. Turns out Yelena’s boss has a lot on her plate. We then go to Washington, DC, for the impeachment hearing of the CIA director Valentina Allegra de Fontaine (Julia Louis-Dreyfus). Seems she’s also the “consultant” for a shadowy tech company OXE Group. A newly elected senator is also in the chamber, James “Bucky” Barnes (Sebastian Stan). After the hearing, Valentina instructs her assistant Mel (Geraldine Viswanthan) to make sure her forces converge on a defunct OXE lab site to destroy evidence of past shady experiments. And that’s where Yelena shows up, but she’s not the only one. Soon, the dusty research facility is a battle arena between her, US Agent AKA John Walker (Wyatt Russell), the first intended replacement for Captain America, the density-altering villainess Ghost (Hannah John-Kamen), who last fought the ANT MAN AND THE WASP. and another former Widow, the mimic assassin Taskmaster (Oleg Kurylenko). Oh, and there’s an unknown there, too. Scrambling in the shadows is the timid, confused young man who goes by “Bob” (Lewis Pullman). Finally, the quartet realizes that they’ve been “set up” by Valentina. So just how will Bucky AKA the Winter Soldier” come into play, along with the Red Guardian? And is there more to Bob than meets the eye? Perhaps these hopeless heroes will be destroyed before they can ever join forces against a common enemy. So who could that be?

So who’s the MVP of this ragtag bunch? I’d say that it’s the always compelling Ms. Pugh as the forlorn ball of energy, Yelina. She positively crackled when paired with her sister Natasha in the BLACK WIDOW solo flick (almost ditto with Kate Bishop in the Disney+ “Hawkeye” streaming show), but that fiery twinkle in her eyes has dulled. Pugh is fierce in the action scenes and funny and heartbreaking as she confronts her losses and her “sins of the past”. She also shows her nurturing side as the protector of Bob, played with a twitchy, mysterious edge by the terrific Pullman. He keeps us anxious as Bob keeps his secrets as we wait for his truth to be revealed. The big comedic scene stealer may again be Harbour as the loud, gregarious Red Guardian, a man trying to recapture all of his former glory, but falling very short as he almost explodes out of his worn-out, dingy uniform. Louis_Dreyfus is also funny as Valentina, which is no great shock, but she surprises us with her devious deceit and manipulations, giving us a very interesting villainess. Plus, she’s the “boss from Hell” with Viswanthan as the abused aide who finally sees Val’s true colors and tries to thwart her schemes. Many fans will be surprised that Stan’s Bucky isn’t really at the forefront of the story, as he uses his spy skills in DC and eventually gets back into super-warrior mode. More interesting is Russell as the bitter, arrogant, and abrasive US Agent, a man who thinks that leadership is a prize due to him alone. Luckily, John-Kamen is there to put him back on his heels with her scathing retorts and withering gaze.

Prestige TV director Jake Scheier (who also helmed the features PAPER TOWN and ROBOT & FRANK) keeps the multi-character adventure moving at a fairly brisk pace. He manages to balance the big action sequences with intimate emotional exchanges, bringing great depth to these “sideline supers”. Yes, we get the usual MCU carnage on the city streets, but the biggest battles are fought inside the minds of the core teammates. Childhood traumas are built up into a desperate showdown for NYC in the film’s surprisingly dramatic and sometimes touching tender finale. And just to set our heads spinning, screenwriters Eric Pearson and Joanna Caio stun us with some big “turnarounds” sprinkled with lots of keen media satires (love the end credit headline montage prior to the usual bonus scenes, which are pretty big). And it’s all enhanced by the music score from the band Son Lux. This wrap-up of MCU’s “Phase Five” is a tightly-woven dramedy that satisfies while getting us invested in the franchise’s future. It’s a super team tale that doesn’t match the scope of AVENGERS: ENDGAME, but provides an involving look at the psyche of these “upstarts”. And the superb cast led by Pugh and Pullman really brings an electric charge to these THUNDERBOLTS*. Nuff’ said (till July)!

3 out of 4

THUNDERBOLTS* is now playing in theatres everywhere

THUNDERBOLTS*. © 2024 MARVEL.

CAPTAIN AMERICA: BRAVE NEW WORLD – Review

And what’s a wonderful movie vacation spot for this big four-day (yeah, I’m counting Valentine’s) weekend? Well, if you and the little tykes aren’t “heading South” to join that lil’ bear and the Browns in Peru, then you may want to book a return trip to the Marvel Cinematic Universe (MCU) at the multiplex. It has been a while, more than six months since that monumental match-up of DEADPOOL & WOLVERINE, which was the only MCU flick of 2024 (we don’t count the Sony Spidey spin-offs). Being a longtime “Marvel buff” (still wear my M.M.M.S. button to the new flicks), folks ask me about my favorite of the “franchises”. Not counting the big “team’ series, the Avengers, I’d say it’s been the exploits of the “star-spangled man with a plan”, and not because he’s my favorite comics hero. The trio of Steve Rogers epics maintains a high level of quality, not missing a step from the first one from director Joe Johnson to the Russo Brothers helming the last two. But now the reigns have been handed over to a new filmmaker and more importantly that shield is now in the gloved hands of a new “sentinnel of liberty” for the fourth installment, CAPTAIN AMERICA: BRAVE NEW WORLD.


The story’s prologue takes place only a few months ago, during the last days of the presidential campaign of former General Thaddeus “Thunderbolt” Ross (Harrison Ford). Fast forward to now as new President Ross, who had hunted down “masked vigilantes”, sends one of those “heroes” out to join a Special Forces squad down in Mexico to rescue some hostages held by the terror group the Serpent Society, and retrieve a mysterious cylinder AKA “the package”. And who’s leading the charge but the new Captain America Sam Wilson (Anthony Mackie) aided by his new Falcon, Air Force ace Joaquin Torres (Danny Ramirez). The mission is successful although head Serpent Sidewinder (Giancarlo Esposito) escapes without revealing the name of the “buyer” for the “Package’ who had arranged the meet-up spot in a Mexican church. Sam catches up with Joaquin, who sustained some damage from the battle. He may need some more training, so the duo heads to Baltimore to meet up with Isaiah Bradley (Carl Lumbly), a Korean War vet who was wrongly incarcerated and experimented on with a new Super Soldier formula. Sam invites Isaiah to join them in DC for a big international summit held by Ross. But as he begins his speech concerning the harvesting of a lifeless gigantic alien creature in the Indian Ocean, dubbed the Celestial Island Initiative, Isaiah, in a trance-like state, whips out a gun and fires on the Prez as several other agents, also ‘zoned-out”, blast away. After a brief chase the now lucid Isaiah has no recollection of his attack. Is he one of several mind-controlled “sleeper agents”? Does this connect to the Serpents and their “buyer”? And just what are those pills that Ross secretly gulps down in times of stress? Is there a fiendish mastermind pulling the strings somewhere in the shadows? This may be the ultimate test to prove that Sam is truly worthy of that Vibranium red-white-and-blue shield…

Well, Mackie is certainly worthy of the lead title role in this new chapter in Cap’s big-screen saga. He brings a swaggering confidence and energy in the many action sequences, especially in the big hostage rescue early in the first act. But as things calm down a bit Mackie shows us Sam’s vulnerability, struggling with bouts of self-doubt and feeling the burden of his new very public role (and being a role model). He never loses that easygoing aura of coolness, tossing off some great asides. And then there’s his “boss of bosses” screen icon Ford who dives right into the role first played by the late great William Hurt. Happily, we get a flashback of him in full military regalia complete with a bushy mustache. His version of Ross is different as he tries to change from a braying “brass-buster” to a statesman who is learning to trust those “enhanced heroes” now that he’s in the Oval Office. But Ford shows us his weariness and inner sadness due to his estrangement from his adored daughter Betty. Ramirez is an endearing wise guy so eager to prove himself by soaring into the fray, Torres. At the opposite extreme is the worn-down but not out, cynical Isaiah given dignity and gravitas by Lumbly. Esposito is a silky smooth criminal as the sneering “master of mayhem” Sidewinder. An interesting new screen addition to the MCU is the intense and compelling Shira Haas as Ruth, the petite powerhouse that’s in charge of protecting Ross. Oh, and there’s the return of an actor from the earlier days of the MCU . Tim Blake Nelson is back (from 2008’s THE INCREDIBLE HULK) as the brilliant but sinister Samuel Sterns, though he’s not the only familiar face (hey, I’m no spoiler).

That new name on the director’s chair belongs to Julius Onah, who last gave us the smart thriller LUCE back in 2019. He’s adapted well to the MCU, giving a sizzling snap to the frenetic battles, putting us in the thick of the chaos while conveying the bone-crunching panic and the need for rapid strategies (Sam has to deal with any surprises in the blink of an eye). Plus he supplies an added layer of suspense even in some dialogue-heavy exchange in those dark meeting rooms and offices (and a bunker). Later Onah expands his scope as the conflict heads to the very open high seas with Sam and Joaquin in full TOP GUN mode. And Onah is to be commended for bringing the story in at just two hours sparing us the frequent super-hero cinematic ‘bloat”, though five or six minutes could have been trimmed. That editing might have helped with the big villain reveal since the makeup choices and motivations feel a bit forced despite the team of five screenwriters. Still, I wasn’t expecting the “deep dives” as they retrieved elements of that second MCU flick in 2008 while taking its “McGuffin” from the lambasted ETERNALS. Much of that will be forgiven as a comics fan favorite, the very savage rampaging Red Hulk roars into action to provide a ferocious finale fight (since Bruce Banner’s Hulk is now tamed, it’s great to see that destructive snarling giant again in a different hue). Despite its missteps, this is probably the best of the post-ENDGAME pre-D&W (aside from the Sony Spideys) MCU offering, though not as strong and steady as the Steve Rogers trilogy, so Marvel-maniacs should get a great action rush with Mackie as Sam Wilson in CAPTAIN AMERICA: BRAVE NEW WORLD.

3 out of 4

CAPTAIN AMERICA: BRAVE NEW WORLD opens in theatres everywhere on Friday, February 14, 2025

VENOM: THE LAST DANCE – Review

Okay “Marvel maniacs”, are you ready for a deep deep dive into another franchise? After all, it’s been nearly three months since the blockbuster “mash-up” DEADPOOL AND WOLVERINE. Of course you are, but hold up, true believer. This isn’t the beloved MCU (Marvel Cinematic Universe). Rather, we’re back in the “Sony Spider-verse”. So Tom Holland is off polishing his web-shooters (not a metaphor), as we get another “spin-off” from Spidey’s long-running comics series. And, unfortunately, this isn’t another romp in the surprisingly fun animated epics. No, this is the second live-action flick this year, after the “so bad it may be good” MADAME WEB, and while Kraven sharpens his claws for his December attack. And, sorry that vapid vamp MORBIUS is not returning, although this film’s focus has had better luck with two previous outings in 2018 and 2021. Now, with this third entry, Sony promises that this is the “finale of the trilogy”. Hence the full title VENOM: THE LAST DANCE. But that all depends on those all-mighty box office returns, so…

This time the story begins on the symbiote home world (or universe, perhaps) as its ruler/king Knull sends out several reptile/spider-like “hunters” to locate the “codex”, an energy portal that grants him access to all worlds, which Knull will conquer. So, who has the codex? None other than Eddie Brock (Tom Hardy) and his own BFF symbiote entity. When we last saw him (them) during the end credits of SPIDER-MAN: NO WAY HOME, he was getting blotto in a bar on our Earth (#616). Brock and V then pop back to his homebase, where his black-ooze buddy dispatches some baddies. Ah, but it turns out that morphing into Venom sends out a homing beacon to Knull’s hunters. Also, an elite group of special ops soldiers led by Rex Strickland (Chiwetel Ejiofor) is also trying to capture Eddie. He and his “inner voice” escape and set their sights on the “Big Apple”. We soon learn that Strickland is working with a team of scientists headed by Dr. Teddy Payne (Juno Temple) who operate out of a secret symbiote research lab deep below the soon-to-be demolished Area 51. In order to evade their “radar”, Eddie hitches a ride with the groovy Moon family in a van driven by daddy Martin (Rhys Ifans) and mom Nova (Alanna Ubach), who want their kids (Hala Finley and Dash McCloud) to take in 51 before it’s gone. They drop Eddie off in Vegas where a reunion with an old friend leads to a battle atop the casino canyons which spills into the desert and that iconic military locale, as Venom must make its “last stand”…with some unexpected support.

As with the previous two flicks, everything’s resting on Eddie B, the “host with the most” who is given a world-weary gravitas by Hardy. Again, he’s a bit baffled by his fate, and has a “push/pull” relationship with the toothy ebony puddle. He’s convincingly hungover in the opening sequence, but his hangdog grousing becomes a tad tiresome, even as he’s a “symbiote straight-man”. It’s odd that Brock is so often “one-note” since Hardy worked on the script (as he did with the last one), and too often sounds like his “cycle-poppa” from BIKERIDERS. Most of the supporting cast get little to do, perhaps to leave more time for the CGI chaos. The very talented Ms. Temple (so good in the streaming shows “Ted Lasso” and “The Offer”) does her best to bring nuance to the standard “don’t destroy my discovery” scientist from countless 50’s sci-fi flicks, but too often she’s shouting while doing a “deer in headlights” expression. Much of the same can be said for the equally gifted Ejiofor, who’s another “late show” cliched “kill this thing!” soldier, who is there to bark orders while spouting exposition. The biggest misuse of talent may be Ifans as the “Earth papa” who offers support to Eddie while having to deal with a corny “moonbeam” stereotype (ditto for Ubach). There is a nice “Lasso” reunion with Cristo Fernandez as a really patient “booze-slinger”.

This film marks the feature directing debut of actress/writer Kelly Marcel, who wrote the last two Venom flicks and teamed up with Hardy on the script for this one. She is adept at keeping the plot moving at a brisk pace for the first act or so, but the requirements of an action/effects “tentpole”, sends any character development and humor far into the background. There’s also some irritating “fan service” as a supporting character from the first films is clumsily “shoe-horned” into the big finale in Nevada. This one’s an improvement over CARNAGE as they make great use of the dusty locales. And we’re not stuck in those near-pitch black alleyways as the tenements crumble. Plus there’s a few nifty visual tricks as the symbiote bonds with various wildlife (be warned, his equine form is fleeting). But, by the time we get back to 51, the script desperation kicks in as we get an “Avengers-team” of “Venom-lites” to dash up and fill the screen with fire and pixels. As the smoke clears, we’re feeling as tired as Eddie Brock appears. This is one alien that should “phone home” since it has truly worn out its welcome (along with the moviegoers patience). But since the Spidey series is so strong. it’s a given that he’ll be back to bare his teeth and wiggle that serpent-like tongue despite the promise in the title of VENOM: THE LAST DANCE. I can almost hear that growling gravelly voice (I could only “get” two thirds of its quips) chuckling…

1.5 Out of 4

VENOM: THE LAST DANCE is now playing in theatres everywhere

DEADPOOL & WOLVERINE – Review

Wow, can you believe, true believers, that it’s been over eight months since our last multiplex trek into the Marvel Cinematic Universe (MCU)? Really! Sure, there have been a few Disney+ shows, and a Sony “Spidey spin-off” (the infamous MADAME WEB, inspiring so many memes), but it’s nothing like sitting down with your popcorn for a real MCU journey. Aside from the long “lead time” this one is pretty unique as it takes a “side road’ to include the “Fox Marvel movie-verse”. You see before there was a Marvel Studios, the comics giant licensed several of their characters to the established movie studios. After years of legal entanglements, Sony got Spidey (and partnered with Marvel for the Tom Holland trilogy). But the main home for many Marvel stars was 20th Century Fox. They produced three FANTASTIC FOUR features, DAREDEVIL and its spin-off ELEKTRA, and the X-MEN franchise including THE WOLVERINE solo flicks, and the NEW MUTANTS. Oh, I almost forgot the “Merc with a Mouth” DEADPOOL. Well, thanks to a big corporate acquisition five years ago, Disney got Fox and all its various properties. So now the “mutant misfits” are joining the MCU, with brief cameos in the second DR. STRANGE adventure and THE MARVELS. And now comes the ultimate “plunge”, a titanic team-up (and the first “R-rated” MCU movie) of DEADPOOL & WOLVERINE. Are film fans ready for the “snikt” (the sound effect of Logan’s claws) and the snark (from you-know-who)?

After that familiar logo, we plunge back into the madness of the “multiverse” as Wade Wilson AKA Deadpool (Ryan Reynolds) visits the scene of a recent franchise finale. After a brutal battle (set to a breezy pop tune), the story jumps back in time (and to another reality) as Wade deals with a disastrous job interview. From there we pop over to an alternate Wade over on Earth-10005, where he’s a burned-out used car salesman with his old superheroing buddy Peter (Rob Delaney). When they head back to Wade’s pad, his friends are gathered there for a big surprise birthday party. The group includes his ex Vanessa (Morena Baccarin)…awkward. Wade’s relieved when he answers a knock at the door. But it’s a squad of enforcers from the TVA (Time Variance Authority from the “Loki” Disney+ miniseries). After a brief scuffle he’s whisked via a portal to a TVA branch run by Mr. Paradox (Matthew Macfadyen), who scolds Wade for traveling the timeline, but offers him a new “home” as his new device (almost completed), the “Time Ripper” will prune (obliterate) 10005 since they’ve lost the “anchor”, Logan Howlett AKA Wolverine (Hugh Jackman). Wade springs into action, grabbing his TemPad ( a “controller’ that opens “portals”) and traveling through various universes to find a suitable Wolverine. Finally, he finds one ( a pretty surly, violent one, ‘natch) and takes him back to the TVA. Paradox regains the upper hand and informs Wade that this “variant” failed his heroic duties and destroyed his Earth. He then dispatches the duo to the barren hellscape known as the Void, a “dumping ground” for failed “multiverse variations”. Oh, its “ruler” is the powerful cruel Cassandra Nova (Emma Corrin), the twin sister of Charles Xavier, who leads an army of super-beings. Can Wade and Logan defeat her and find a way back to his Earth and thwart Paradox’s plans in order to save Deadpool’s crew?

In his third solo outing in the (co-) title role, Reynolds brings that manic motor-mouthed energy while also giving us a good bit of pathos. Deadpool’s mission is to save his pals and also himself, to prove that he matters and has real value. Plus there’s that unrequited affection for Vanessa to deal with as always. This proves to be a great counterpoint to the greatest “wiseguy” super fella around, who decimates the baddies and the “fourth wall”. And though they’re often at odds (to say the least), Reynolds is a great comedy/action partner to Jackman’s morose mutant. It’s amazing that he’s been with this “berzeker” fr nearly a quarter of a century, and still brings new aspects to the role. Though he gave one variant an emotional send-off this version is weighed down by enormous guilt, and like Wade, he sees this new “quest’ as a redemption. And while Reynolds delivers swift verbal ‘stings”, Jackman growls and pummels with his insults that slice deeper than those shiny claws. it’s interesting that this duo faces off against a villainous twosome. Macfayden is prickly and pompous as an “office overseer” with god-like aspirations. And like many bad guys, his “power play” blasts the doors open for an even greater threat in Corrin as the sadistic desert queen who desires new worlds to subjugate and demolish. With her gleaming pate and wide expressive eyes, she seems to thrive on sliding her slender fingers inside her victim’s skulls. She might be the best MCU menace since Thanos. Kudos must also go out to the comic support work from the devilishly dweeby Delaney as Wade’s fellow “wage slave’ who really misses the “spandex life’ and to the “force of funny nature’ that is the superb Leslie Uggams (hey I recall her CBS variety show that was replaced by the Smothers Brothers) as Wade’s forever cranky and foul-mouthed roommate “Blind” Al. I’d single out some more cast members, but we’d be diving into “spoiler-land”.

(L-R): Ryan Reynolds as Deadpool/Wade Wilson and Hugh Jackman as Wolverine/Logan in 20th Century Studios/Marvel Studios’ DEADPOOL & WOLVERINE. Photo by Jay Maidment. © 2024 20th Century Studios / © and ™ 2024 MARVEL.

And that’s the problem with trying to urge your friends to see this (although most have had their advance tickets for some time). You don’t want to accidentally reveal the movie’s many surprises and delights. As I mentioned earlier, that “fourth wall” is torn down early on, to make way for a virtual skyscraper of witty riffs on the movie biz in general and the MCU in particular (not just biting the “hand” but making a full meal of it). The pace is nearly unrelenting thanks to the expert comic/action direction by Shawn Levy (who also made the great FREE GUY with Reynolds) and the silly-smart script he co-wrote with Reynolds, Rhett Reese, Paul Wernick, and Zeb Welles (this “stew” needed these cooks). Unlike many superhero epics (especially those from the “guys down the street” as Wade says) this mixes its comic book origins with classic slapstick animation. Because of their healing powers, the title duo are almost beefy, “long-underwear” spins on Tom and Jerry, and all those Looney Tunes adversaries. They are dazed for a few seconds, the wounds close and the fight resumes. The laughs are so rapid and plentiful that the audience is nearly exhausted, but Levy then knows when to “shift down’ and get into the emotional core of the heroes and villains. As said earlier, the dramatics is unexpected, but the big stunner is the finale which is a somewhat sweet “s’long” to that whole “Fox-verse” that began with the new century. And aside from saving their friends, this dynamic duo is also defeating the cliche of “superhero fatigue” as they show us that there’s lots of life left in the recently maligned genre. Perhaps a big part of that is that there’s real affection between the two men, since there’s no “versus” in the title ( or “v” or “vs”, as with many monsters along with the two DC titans), but rather a simple (though pretty smart at times) DEADPOOL & WOLVERINE.

3.5 Out of 4

DEADPOOL & WOLVERINE is now playing in theatres everywhere

DEADPOOL & WOLVERINE. © 2024 20th Century Studios / © and ™ 2024 MARVEL.

MADAME WEB – Review

Hey “True Believers”, is it time for another trip into the Marvel Universe so early in the new year? Well, since the last adventure of the Ant-Man and the Wasp hit the multiplex almost on the same date last year, then it’s “Avengers Assemble” once more. But with a couple of big exceptions. You see, this isn’t a Marvel Studios production, rather it’s Sony “in association with Marvel” (small print on the poster, almost Scott Lang-sized). So, this is another effort by them to “spin-off” Spidey and bring another secondary character from the comics into their very own feature film. Oh, and the others were the “rouges gallery” AKA the bad guys. First, it was VENOM, who got a sequel followed by the disastrous MORBIUS, with KRAVEN “waiting in the wings” (probably sharpening his claws, too). Ah, but this time it’s another hero so Sony hopes that moviegoers will get tangled up in the strands spun by MADAME WEB.


Much like that vampire villain, this “origin story” starts in an exotic foreign land, far from NYC. In the rainforests of Peru circa 1973, a very pregnant Constance Webb (Kerry Bishe)is trying to find a rare strain of spider that can supposedly pass on miraculous powers and healing abilities. But when she’s successful her exploring partner Ezekel Simms (Tahar Rahim) steals it after shooting the whole research party and leaving Constance clinging to life. Luckily, the “spider-enhanced” local tribe retrieves her and delivers the baby before she passes away. Spring ahead to 2003 in the Big Apple as paramedics Cassie Webb (Dakota Johnson) and her partner Ben Parker (Adam Scott) respond to a traffic accident over a river. Cassie is trapped in a car that plummets into the water. Before she passes out she has a strange vision of light strands, and “ghost images”. Cassie awakens after Ben revives her. But the visions haunt her, and they happen again on a call as she sees a foreshadowed tragedy. Meanwhile millionaire Ekekel has nightmares of his own death at the hands of three costumed young women. He harnesses the powers of the rare spider to track down the trio, all high school-aged women. And somehow they all converge at Grand Central Station, just as Cassie is buying a ticket. On the train she sees a black-clad assassin kill them. But suddenly she snaps back and realizes these are images of what can happen. So Cassie goes into action to save Julia (Sydney Sweeney), Anya (Isabela Merced), and Mattie (Celeste O’Connor). Later the quartet is on the run from the arachid-like crawling killer, with Cassie as their “den mother”. Can she keep them safe? And what is her connection to their super-human hunter?

In between the big “evade and escape” action “set pieces” the cast does their best with their unevenly written roles. At the forefront is Ms. Johnson as the constantly evolving Cassie. We see her disconnect from humanity in the opening scenes (scoffing at a kid’s “thank you” crayon art), only bonding with her ambulance “side” man. Johnson shows her confusion as the “awakening” of her destiny forces her to become “engaged”. Ultimately she veers from nurturing “mama bear” to snarky “iron fist” as she gets her “gals” in line. Still, she doesn’t quite have the dynamism to convey the heroic leader mantle. Her “flock” are mainly teen flick cliches, though the actresses try to put a fresh “spin” on them. Sweeney upends her TV (and recent rom-com) persona as the timid, hesitant Julia, who begins to blossom around her new “sisters”. O’Connor is all sassy attitude as the pop tune-loving, skateboarder rich kid Mattie. As the dark, brooding but brilliant Anya, Merced brings a bit of soul to the often undefined neighbor of Cassie (Queens isn’t that small). Rahim gives good physical energy to the snarling, growling Ezekel who mainly barks threats when not suppressing his nightmare visions, and walking barefoot through the subway. Scott provides some much-needed humor as the confused but concerned “work buddy” Ben. Two terrific young actresses aren’t given much to work with in near-cameo roles. Emma Roberts is Ben’s expectant sister-in-law Mary who figures into the big finale, while Zosia Mamet is stuck at the computer monitors (yes, a spin on “the guy in the chair”) as Ekekel’s tech “tracker” Amaria.

In her feature film debut, TV director S.J. Clarkson works hard to get the pace taut while delving into the personality of Cassie Webb, but the sophomoric script derails her efforts. It all plays out as a superhero spin on the Terminator series, with Ezekel as the nearly indestructible seeker springing up to “jump-start” the sluggish plot and distract from the limp dialogue. He’s almost a spider-stalker, although he’s not spinning or swinging on web strands like our pal Petey making him look like a big silly black rubber frog as he jumps from buildings to the hoods of cars. Speaking of that, what kind of car can plow through the front of a building and drive off with merely a buckled hood? And that’s just one of the oddball story turns that rival the “skating on oil” ARGYLLE scenes. It’s tough to compellingly convey Cassie’s “power” as it’s really a barrage of “fake outs” to set up the big stunts, which become somewhat tedious, as does the bickering between the quartet. Oh, the tension is broken up so that Cassie can “dump” her charges on Ben in order to fly off for an absurd cave pool “therapy session”. I’m not spoiling things, but I should warn them about the “bait and switch” from the movie marketing team because these heroes only “suit up” for a minute or so of the nearly two hours. Ah, but there’s plenty of time for “in your face” product placement for that “other cola”. Plus, there are no bonus credit scenes, though the ending almost pleads for a follow-up franchise. There’s little chance of that since this initial entry should effectively squash the “spider sisterhood” led by MADAME WEB.


1.5 Out of 4


MADAME WEB is now playing in theatres everywhere

MERRY LITTLE BATMAN – Review

© Warner Bros. Entertainment Inc. MERRY LITTLE BATMAN and all related characters and elements are trademarks of and © DC. All rights reserved.

Here’s a new streaming flick that’s perfect for the season and answers a question that’s probably on the minds of many youngsters: do my favorite superheroes get to celebrate the holiday? I mean do the ‘super-baddies” give them a day off? Those queries have been explored in many animated TV shows and in the comic book source materials (the rival comics companies would usually publish a “Christmas with the Superheroes” annual special edition). So a feature-length “jolly romp” is well overdue. So, will Christmas Eve lighten up the Dark Knight? Especially if there’s a junior caped crusader in the mix (and we’re not talking about the “boy wonder”). Hey, who’s that swinging over the roofs of Gotham City? It’s none other than a MERRY LITTLE BATMAN.


The title refers to the son of Bruce Wayne, Damian (voice of Yonas Kibreab) who gets into loads of mischief with his pet cat Serena as they “cosplay” (he’s got a paper-bag cowl) through the vast environs of stately Wayne Manor. Luckily Alfred the trusted butler (James Cromwell) still has enough energy to clean up, while Papa Bruce (Luke Wilson) worries about his boy’s safety. He doesn’t have much else to do, since his alter ego has pretty much made Gotham crime-free. Ah, but there’s still his duties as a founding member of the Justice League. This afternoon he gets an emergency phone call from them requesting that he tend to an emergency in the Arctic, on Christmas for bat’s sake! But before he starts up the ole’ Batjet, Bruce lets Damian open one present. And it’s a great one, his very own utility belt! Sure it’s full of bandages, but still…wow! After Bruce departs, Damian figures out a way to get Alfred outta’ the way (urgent marshmallow run), so that he can really test out the belt, which leads him to discover the secret passage to the Batcave. In one display case, Damian finds the bat-suit made just for him. Of course, he’s gotta try it on which activates a monitor in its chest emblem. Plus it instructs him using the voice of his dad. And he’ll need that fatherly AI advice when two burglars bust in and somehow nab his prized belt. Damian’s pursuit of the duo leads him into a showdown with Batman’s “arch-est” enemy and most of the old rogue’s gallery. Even with all the hi-tech gizmos, can one eight-year-old lad save the city? And will Batman Senior return before the bad guys ruin Christmas?

Now, here’s a fun little stocking stuffer, a nice switch from the ultra-somber and serious hero in most live-action movie offerings, though missing the “camp” of the 60’s TV incarnation (though this film gives a quick nod to it). Much of the fun is conjured by the superb vocal performances. Kibreab has a natural energy to his line readings, as he conveys a sense of wonder over each discovery. Cromwell channels a bit of the classic British character actors (always enjoying a “spot o’ tea”) as the slightly grumpy but still grandfatherly Mr. Pennyworth. And in the father role, Wilson exudes a similar warm, naturing vibe that he perfected as the father of “Sttargirl”, a much-missed “under the radar” superhero TV show. Speaking of the small screen this has a much different look, much more exaggerated than the Bruce Timm-designed Dark Knight of the last thirty or so years. And thankfully it’s not “over-rendered” CGI either. The look here is very much inspired by the gnarly “ink-scratches” of the great Ronald Searle (for the movies he designed the title sequence for THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES), though I detected elements of the great magazine cartoonist Arnold Roth with a pinch or two of Charles Addams and Mad magazine’s Peter Paul Porges. It’s filled with scrunched-up noses and figures that shouldn’t be able to stand though they glide with grace past the exquisite ink-type backgrounds full of intricate machinery and towering buildings. And all popping to life with a color scheme that recalls delicate dyes and watercolor paints. I’m sure there was some software used, but it’s refreshing to see this old 2D animation in vogue once more. And did I mention how great the classic villains look in this type of “zany takes”? So, to steal a line from a popular schoolyard song parody, Mr. Wayne “doesn’t smell”, but instead hopes that his fans everywhere will have a MERRY LITTLE BATMAN. No “humbugs” here!

3 Out of 4

MERRY LITTLE BATMAN is now streaming exclusively on Amazon Prime

THE MARVELS -Review

Face front, true believers! This year we’ve had three multiplex visits to the realm of the “Distinguished Competition”, so you didn’t think the MCU would end 2023 with treks into Quantumania and Knowhere (hangout of those Galaxy Guardians)? Oh no, Smilin’ Stan wouldn’t want the fifteenth anniversary of the Studio to conclude without one more adventure. And it’s a sequel to a 2019 film that introduced the cosmic Carol Danvers, while also being somewhat of an expansion of her saga. That’s because she’s not completely going solo (oh, her old spy pal returns too) as she’s joined by two characters that made their heroic debuts on Disney+. Together this titanic trio is on a mission to save us all as THE MARVELS.

The action starts in a distant galaxy as a fleet of ships from the Kree empire converge on a desolate planet. The surface party led by the high-ranking officer Dar-Benn (Zawe Ashton) retrieves a familiar-looking “bangle”. Slipping it on her forearm, Dar-Benn creates a “hole” in the sky, a gateway “hopper” to other galaxies. And this hardware creates some unexpected chaos, reaching all the way to Jersey City, USA. That’s where Kamala Khan (Iman Vellani) AKA Ms. Marvel is enjoying a quiet day in her super-hero decorated bedroom, upstairs from her parents, Muneeba (Zenobia Shroff) and Yusuf (Mohan Kapur) and big bro Aamir (Saagar Shaikh). Meanwhile, near the S.A.B.R.E. space platform, Captain Monica Rambeau (Teyonah Parris), who possesses light-based superpowers, is checking out one of those “space schisms” as Colonel Nick Fury (Samuel L. Jackson) listens and observes. When Monica touches the glowering “hole” she switches places with Kamala and the protector of planets, Carol Danvers (Brie Larson) AKA Captain Marvel. The three continue zipping back and forth until a battle with Kree mercenaries ends. It’s decided that the three heroes must learn to work together as a team to stop Dar-Benn who wants to use the “gateways” to exact revenge on Danvers by destroying the worlds she loves, including her old home, Earth.

Though this is her third major appearance as the cosmic crusader (after a quick cameo in SHANG CHI), Larson brings an extra dimension to this story’s “big gun”. Yes, there is a steely confidence that conveys her strength without needing a “modified” uniform, but there’s also a bit of sadness. Despite the company of her trusty flerken Goose, we can see that her role of the “monitor of everything” quietly cruising the stars had taken its toll. And we see her remorse after a well-intentioned act went sideway earning her the unwanted moniker of “The Annihilator” (her downcast eyes tell us that this word truly hurts). But we see her mood lighten when meeting her “number one fan” Kamala played with buoyant energy by the bouncy Iman. She’s a bundle of sunshine, showing us that being a superhero can be fun (unlike the brooding folks at the other comics company). Temper that with her superb comedic timing and Ms. Vellani is certainly the MVP of this MCU entry (and you really should stream her solo series). Parris as the soon-to-be-named Photon is in the middle area of the other two characters as she does have a past with Danvers. Their reunion is awkward and melancholy as Danvers had promised to return to Monica, but couldn’t keep her word. She can’t be the “lil’ sister” to Carol, unlike Kamala, but Parris gives us hints that the emotional wound may be fading. Plus she scores a few laughs as she tries to hone her unusual abilities.

The main supporter of the “big three”, maybe their “Dutch Uncle, is the always entertaining Jackson in his fifteenth turn (including TV) as the stalwart spy turned “space cop”. He’s still an old school hard…case, but he lets us know with a hint of a wink in that “one good eye”, that he’s very impressed with this new team and has to control the urge to flash a beaming proud smile. He’s a great “straight man” for the “emotionally available” members of the Khan family. Their leader is the imposing Shroff, who is tough on daughter Kamala, but is also her biggest defender and a fierce “mama bear”. Kapur as the “papa bear’ is more of a pushover, but always attempts to offer aide, though it results in some slapstick with Shaikh as the baffled but loving big brother. As for the “big baddie,” Ashton projects a cool often unreadable menace as Dar-Benn, who believes her cause is just as she sets out to punish Carol while ending her peoples’ suffering. She’s more interesting than the other Kree villain Ronan (the first Guardian foe) as she has the noble pursuits of Thanos mixed with the rage of Star Trek’s Khan. Turning in good performances in brief roles are Gary Lewis as a somber Skrull leader and Park Seo-joon as a most helpful prince who has a diplomatic “bond” with Carol.

Once more Marvel Studios has handed the directing reigns to a talented filmmaker mainly known for “indies” (though her CANDYMAN reboot was more high profile), Nia DaCosta, who also co-wrote the screenplay with Megan McDonnell and Elissa Karasik. DaCosta makes good use of this bigger “canvas” and stages some impressive action sequences along with some scenes of old school “disaster”, especially the razing of the Skrull sanctuary. And she conveys some claustrophobic tension in the big attack on the Khan cottage. She is also adept in the comedy stretches, whether the rat-a-tat interplay between the three leads or the slapstick silliness of the Flerken (CGI can be silly). Happily, she also keeps the story briskly paced, so that it doesn’t have the “epic bloat” of many recent fantasy flicks, bringing it to a nice 105-minute runtime. In hindsight, a couple of extra minutes could have been used to better “flesh out” the masterplan of the “wormholes”, but the grand bonus “bits’ will leave MCU fans with big grins during the walk out to the parking lot. It may not have the emotional gravitas of the last MCU outing (oh Rocket Racoon), but the engaging performances from the cast (more, more Ms. Vellani) make us want to soar through the stars with THE MARVELS.

3 Out of 4

THE MARVELS is now playing in theatres everywhere

TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM – Review

All right, perhaps this unifying theme for the 2023 Summer movie season is nostalgia. Sure, the multiplex is usually filled with sequels and reboots this time of year, but at this moment the studios appear to be trying to exploit the treasured properties of our youth, over several different generations. Last weekend it was a beloved ride/attraction which has been a staple at the happiest place(s) on Earth for over fifty years. However the box office (and WB record-breaker) for the last couple of weeks stretches back another ten years to engulf theatre lobbies in a title wave of pink (“This BARBIE’s gonna’ bust a billion bucks at the box office”). Now, this Wednesday’s (gettin’ a jump on the weekend) new release also has a toy connection, but that merch arrived well after the characters’ comic book debut in 1984 (which spawned a TV cartoon a couple of years later). Oh, and it’s their seventh theatrical feature film (quite a few straight-to-home video and streaming flicks), and like the 2007 entry, it’s fully animated (no “mo-cap CGI” or big rubber suits). Time to return to those NYC sewers with TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM. Cowabunga!

For this retelling, the film is indeed back in the Big Apple for a flashback in the secret lab of scientist Baxter Stockman (voice of Giancarlo Esposito) who is testing his weird glowing ooze on several animals. Well, until his grungy “crib” is invaded by the forces of TCRI, under orders from Cynthia Utrom (Maya Rudolph). Ah, surprisingly some of the enhanced creatures fight back. Flash forward to now as the TMNT quartet, Donatello (Micah Abbey), Raphael (Brady Noon), Michaelangelo (Shamon Brown Jr.), and the leader, Leonardo (Nicolas Cantu) go on a nighttime grocery run for their “papa”/mentor Splinter (Jackie Chan). Of course, things go awry when Leonardo is outvoted and the guys try to join the crowd at an outdoor movie screening in the park. Naturally, Splinter is furious at their late return and retells the story of how he found them as infants, raised them, trained them in martial arts, and how the humans above nearly destroyed them. Promising to be more careful, they go for another supply run and are spotted by the high school student and aspiring reporter April O’Neil (Ayo Edebiri). She is looking into a series of daring high-tech robberies that have spawned a curfew that may cancel the school prom. A smitten Leonardo decides that they should help out by thwarting the next big heist. Oh, but this puts the quartet in conflict with a nastier group of mutated critters, led by the powerful Superfly (Ice Cube). Can the teen turtles stop them and keep “under the radar”? More importantly, can they spring into action without angering Master Splinter?

Well, this witty retelling is certainly one of this year’s pleasant surprises. That may be due in large part to the new producers/handlers of this feature franchise, none other than the SUPERBAD duo of Evan Goldberg and Seth Rogan, along with James Weaver. And Evan and Seth were also part of the writing team adapting the creations of Peter Laird and Kevin Eastman (who get a couple of nice background visual “nods”). It’s obvious that the team has a great deal of affection for the source material, though they indulge in a few playful “tweaks” at the “mythology”. A big part of the “re-energizing” is the decision to have the teen turtles actually voiced by teenage actors (a couple of them have since aged past 18), giving the film a distinct sound as if we’re listening in on kids at a party “cracking wise” and “goofing” on each other. But Rogan also joins in on the fun as the voice of one of the “meanie mutants” along with screen vets Rose Byrne, Paul Rudd, and Hannibal Buress. The biggest “standouts” and scene stealers may be the two opposing “leaders”. We can imagine Ice Cube’s sneer (and see a bit in the rendering) as the swaggering Superfly. And could anyone be more “spot on” than Chan as the worrying, stern but sweet Master Splinter? Of course, all of that talent at the “mike” would be a really swell audiobook without the superb look and movement of the animation. Director Jeff Rowe (fresh off THE MITCHELLS VS. THE MACHINES, which isn’t as polished as this) with co-director Kyler Spears have taken a bit of inspiration from the first SPIDER-VERSE movie, to give the computer animation a real loose “sketchy” look. The outlines are constantly moving, often ‘sliding off” the mass of the figures as though they were scribbled by a pre-teen in the margins of his spiral notebook with colored markers or ballpoint pens. And inside those wriggling lines, the characters, mainly the turtles, have the look of clay models, especially when the light saturates them. It’s not as gorgeous as Miles and his pals, but it feels right for this urban adventure. As for that character design, the turtles don’t have the same standard body proportions even though they retain the identifying mask and belt colors. The same unique design works for O’Neil, though I wish they had eased up on the scenes of her panic “hurling” (c’mon we’re not back in BABYLON). I was tickled by the “free-standing” silver eyebrows of Splinter, while the Superfly crew looked equally fearsome and funny (loved SF’s torso claws). The pace is smooth, even as it gives in to the popular trend of having too many “endings” in the third act. It’s a minor quibble as this 2023 edition is a splendid revisit/restart that reminds us of the wacky exploits from nearly 40 years ago. Hopefully, the concession stand will be well stocked with pizza when the fans return to revel in TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM. Welcome back you “heroes on a half-shell”.


3 Out of 4


TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM begins playing in theatres everywhere on Wednesday, August 2, 2023