Tag: marvel

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

See Mr. Fantastic, Invisible Woman, Human Torch And The Thing In Final Trailer For THE FANTASTIC FOUR: FIRST STEPS

In one month, Marvel’s first family flies into theaters around the globe. Mr. Fantastic, Invisible Woman, Human Torch and The Thing are joined by H.E.R.B.I.E., the Silver Surfer and planet-eating cosmic being Galactus in a retro-futuristic thrill-ride.

Opening in theaters on July 25, check out the final trailer for THE FANTASTIC FOUR: FIRST STEPS.

Set against the vibrant backdrop of a 1960s-inspired, retro-futuristic world, Marvel Studios’ “The Fantastic Four: First Steps” introduces Marvel’s First Family – Reed Richards/Mister Fantastic (Pedro Pascal), Sue Storm/Invisible Woman (Vanessa Kirby), Ben Grimm/The Thing (Ebon Moss-Bachrach) and Johnny Storm/Human Torch (Joseph Quinn) as they face their most daunting challenge yet. Forced to balance their roles as heroes with the strength of their family bond, they must defend Earth from a ravenous space god called Galactus (Ralph Ineson) and his enigmatic Herald, Silver Surfer (Julia Garner). And if Galactus’ plan to devour the entire planet and everyone on it weren’t bad enough, it suddenly gets very personal.

The action adventure also stars Paul Walter Hauser, Natasha Lyonne and Sarah Niles. “The Fantastic Four: First Steps” is directed by Matt Shakman, produced by Kevin Feige and executive produced by Louis D’Esposito, Grant Curtis and Tim Lewis.

Tickets are on sale now.

Ebon Moss-Bachrach as Ben Grimm/The Thing in 20th Century Studios/Marvel Studios’ THE FANTASTIC FOUR: FIRST STEPS. Photo courtesy of 20th Century Studios/Marvel Studios. © 2025 20th Century Studios / © and ™ 2025 MARVEL.

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.

Tom Hardy Stars In First Trailer For VENOM: THE LAST DANCE – In Theaters October 25

In VENOM: THE LAST DANCE, Tom Hardy returns as Venom, one of Marvel’s greatest and most complex characters, for the final film in the trilogy. Eddie and Venom are on the run. Hunted by both of their worlds and with the net closing in, the duo are forced into a devastating decision that will bring the curtains down on Venom and Eddie’s last dance.

VENOM: THE LAST DANCE stars Tom Hardy, Chiwetel Ejiofor, Juno Temple, Rhys Ifans, Peggy Lu, Alanna Ubach and Stephen Graham. The film is directed by Kelly Marcel (Saving Mr. Banks, Fifty Shades of Grey, Venom and Venom: Let There Be Carnage) from a screenplay she wrote, based on a story by Hardy and Marcel.

The film is produced by Avi Arad, Matt Tolmach, Amy Pascal, Kelly Marcel, Tom Hardy and Hutch Parker.

The film opens in theaters on October 25, 2024.

https://venom.movie

MARVEL and all related character names: © & ™ 2024 MARVEL

A Look at the Big FANTASTIC FOUR Cast Announcement

This past Wednesday Marvel Studios made a very special casting announcement via their social media platforms. It was a gift much sweeter and tasty than any Valentine’s Day candy sampler. And it’s been in the works for nearly five years. That’s when Disney officially purchased Fox Studios, which finally brought one of the most celebrated Marvel Comics (hey, they started the “line”) into the “fold”. In the years before the 2008 launch of Marvel Studios, some of their characters were licensed out to several different studios. Sony still has Spidey, while Daredevil, the X-Men, and the Fantastic Four were then at Fox. DD was brought back in with the Netflix series (and a new Disney+ Maxi-series soon), and DEADPOOL & WOLVERINE will rule this July, all the while fans were clamoring for a “new take” on the “first family” of Marvel. Studio head Kevin Feige has teased it at a couple of Comicon appearances, while many filmmakers have been linked to directing the project. Oh, and the casting speculations have filled the internet. Ah, but now this “holiday greeting” makes the acting line-up official.

So let’s dive into the sketch and see what we can glean from the many visual “clues”. Aside from the actors themselves, we get some interesting “tidbits” in the background and the “props”. First, Ben Grimm AKA The Thing is holding a magazine which is a rendition of the LBJ cover of Life Magazine in 1964. And behind Benjy we see him in his “human form” all “suited up” in a big framed photo that resembles one of the official NASA portraits of their Mercury and Apollo crew. These two clues strongly suggest that some or part of the film (perhaps a big majority, much like the 1940s of CAPTAIN AMERICA: THE FIRST AVENGER) is set in the early to middle 1960s. Appropriate as their book was begun in 1961 (more about that a bit later). Perhaps a supervillain (and the FF has a superb rogues gallery) whisked them forward in time (could it be the Quantum Realm at work again). Or is the film set in one of the many alternative worlds, other than the “standard” 616 of the current MCU? Could the FF “cross over” to us to begin another “phase”? We’ve got another year to ponder the possibilities.


And what about their attire? Could this be the new “spin” on the famous blue and white jumpsuits comprised of “unstable molecules”? It’s certainly possible for Reed and Sue on the right side of the art. But there’s a more casual feel to the outfits worn by Ben and Johnny, which fits into the whole “lazy afternoon” vibe lounging on the retro-style furniture. Oh, and I’ve got to mention their “help”, as the robot that appears to be serving Ben a warm mug of coffee or cocoa certainly resembles H.E.R.B.I.E. the plucky droid created for the 1970s animated adaption (also more about that soon).


Now, on to the cast themselves. We’ll begin (ladies first, of course) with Vanessa Kirby a celebrated British actress perhaps best known for her roles in the Netflix series “The Crown” as Princess Margaret and as the “White Widow” in the MISSION IMPOSSIBLE franchise (she’s also in the FAST & FURIOUS franchise via the Hobbs & Shaw spinoff). She was recently in Ridley Scott’s NAPOLEON as Josephine. Ms. Kirby (nice last name) plays Susan Storm/Richards AKA the Invisible Girl/Woman.

One of our busiest actors, Pedro Pascal, is the leader of the team, Reed Richards AKA Mister Fantastic (nicknamed “Stretch-o”). This is his latest role in a film and TV career that goes back to 1997 (he was on an episode of “Buffy the Vampire Slayer”). His “breakout” work may be in the Netflix series “Narcos” which led to parts in several action “franchises”. He was the villain in WONDER WOMAN 1984, a “cowboy” in KINGSMAN: THE GOLDEN CIRCLE, and is the man and voice behind the helmet in several seasons of “The Mandalorian” for Disney+. Most recently Pascal has been earning raves and award noms for playing the lead in HBO’s series based on the video game “The Last of Us”.


Another twenty-plus TV and veteran plays comics fan favorite Ben Grimm AKA the Thing (affectionately known as “Benji blue eyes”). Ebon Moss-Bachrach’s first notable role may be on HBO’s “Girls” which lead to roles in two big franchises, STAR WARS with the “Andor” Disney+ series and in the MCU (well TV really) with the Netflix series “The Punisher”. Recently he won his first Primetime Emmy as Richie in the FX series “The Bear”.

Finally, London-born actor Joseph Quinn takes on the role of Johnny Storm AKA the Human Torch (Ben calls him “Match-head”). His most prominent TV work (in addition to some independent films) includes “Game of Thrones”, “Catherine the Great” and his lauded breakout role as Eddie Munson in “Stranger Things” on Netflix.


In the director’s chair is Matt Shakman in his triumphant return to the MCU after helming the acclaimed Disney+ series “WandaVision”. He’s also helmed episodes of “The Boys”, “Monarch: Legacy of Monsters”, “Game of Thrones” and most prolifically (43 shows) “It’s Always Sunny in Philadelphia”.

Hmm, could the super quartet of comics meet up with the super quartet of music in 1964?

So what’s the history of this fantastical foursome? Well, part of their origin was instigated by the success of, as they were later called. “Brand Echhh’, or the Distinguished Competition. Legend, now somewhat debunked, is that Atlas, formerly Timely, publisher Martin Goodman asked some DC execs, while they were out golfing, just what was selling. They supposedly bragged about the sales of the Justice League of America. And so, Mr. Goodman, eager to jump on any “fad” instructed his editor Stan Lee to come up with a superhero team. Later Mr. Lee stated in interviews that he wanted out of the “funnybook” biz. His wife Joan advised him that if he was going to quit anyway he may as well write something that he’d find entertaining. He enlisted comic art icon Jack Kirby (who did a similar team book at DC, the Challengers of the Unknown) to do the pencil and character designs for the book. The first issue of The Fantastic Four in 1061 told the story of a quartet who decided to “get the jump” on our Cold War-era enemies by taking their untested rocket into space. But as they entered orbit mysterious cosmic rays penetrated the ship and sent it crashing back to Earth, The crew was unharmed, though each member acquired unique superpowers. Their investor/leader Reed Richards was able to stretch his body almost like rubber (or the Golden Age Quality Comic hero Plastic Man) and called himself Mister Fantastic (maybe that ego stretched, too). His old army buddy, co-pilot Ben Grimm. morphed into an astoundingly strong rock-like behemoth and took the less flattering moniker, the Thing. Shy Susan Storm seemingly vanished and then was able to re-materialize, so naturally she was the Invisible Girl, later maturing to Invisible Woman and being able to generate “force fields”. Her hot-headed kid brother Johnny burst into flames, was able to fly, and could toss fireballs while controlling heat. His alias has a history as one of the first superheroes from Timely was the android called the Human Torch. Since he was introduced in Marvel Comics issue #1 back in 1939, the Atlas line soon was renamed Marvel.

The book was an immediate smash hit (especially after getting their “hero uniforms” in issue #3 while bickering and clashing unlike any heroes in print), leading to a whole roster of superheroes. The FF was instrumental in promoting them as they appeared on the cover of the first issue of The Amazing Spider-Man (he thought they’d pay him to be part of the team). The Human Torch got his own solo series in Strange Tales, while the Thing would get a solo book in the 1980s. New characters would be introduced in the book, like the Black Panther, the Inhumans, and the Silver Surfer. Oh, that rogues gallery I mentioned earlier included the Mole Man, Galactus, the Red Ghost, Diablo, Klaw, and the greatest Marvel supervillain of them all, Doctor Victor Von Doom. With each issue, the creator team of Lee and Kirby just produced one science fiction-inspired epic after another and truly lived up to the “hype” line at the top of the cover title, “World’s Greatest Comic Magazine”. After one hundred issues, the duo finally left the book, which led to memorable runs by writers Roy Thomas, and Gerry Conway along with artists George Perez, John Buscema, and writer/artist John Byrne.

Oh, I was up extra early on that magical morning!

Of course, Hollywood would want the residents of NYC’s Baxter Building during the big mid-60s superhero craze on TV. The biggest animation studio for television, Hanna Barbera, scooped up the rights to produce a half-hour Saturday morning show for ABC in the Fall of 1967. It was a fairly faithful translation of the comics benefitting from the sleek, simplified design of Alex Toth and a stellar vocal cast headed by Gerald Mohr as Reed and Paul Frees as Ben (I can still hear them in my head when I read the stories). It helped that the show was followed by Spider-Man for that initial season.

Jack Kirby and Alex Toth, now that’s truly a dynamic duo!

There was a detour in syndicated radio in 1975, with Bill Murray voicing Johnny, before the FF returned to Saturday morning three years later. But this was a different lineup. As the Torch was part of a development package for Universal TV (which spawned the smash series of “The Incredible Hulk”) and supposed fears of immolating imitating kiddies, he was replaced by H.E.R.B.I.E. the robot (told ya’ I’d get back to him). It was produced by Depatie-Freling. HB would be back for a weird solo Thing show about a teenage Benjy Grimm (“Thing-ring, do your thing!”) before the full team was back in syndicated cartoons that ran from 1996 to 1996. In addition to guest spots on various Marvel animated shows, they’d get one more series in 2006, “Fantastic Four: World’s Greatest Heroes”.

Dig the jazzy opening title music from Ted Nichols!


Finally, a live-action film was produced…and shelved in 1994. In order to retain the rights, Constantin Film enlisted Roger Corman to produce a feature that played overseas but was pulled before it could screen in the States. The campy finished flick has become a bootleg video staple at comics conventions and inspired a terrific documentary, DOOMED: THE UNTOLD STORY OF ROGER CORMAN’S FANTASTIC FOUR, which can be streamed on several apps. BTW, I saw the movie Thing suit on display at the San Diego Comicon, which impressed me more than seeing it later in a grainy, blurry VHS dupe.

This paved the way for a big studio, 20th Century Fox via producer Chris Columbus, to step in. 2005 saw the release of FANTASTIC FOUR from director Tim Story, who also helmed its 2007 follow-up FANTASTIC FOUR: RISE OF THE SILVER SURFER. Both featured a pre-Captain America Chris Evans as Johnny Storm. And they’d be back in a much darker version in the critically lambasted FANT4STIC (the “funky” title didn’t help) directed by Josh Trank who engaged in a nasty public “smackdown” with the studio just days before its dismal release. Of course, I should mention the terrific cameo by (it’s been a couple of years, but I’ll slap a SPOILER ALERT on it anyway) John Krasinski as Reed in DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS.

And now, we’ve got more than a year to await the return of the original Marvel Comic superteam to return to the big screen. Yes, it’s due on July 25, 2025, but that could change. If so, this will give us more time to speculate about the plot. Perhaps the next big reveal will be the villain. My bet is on Doctor Doom as he was part of all the previous movies. Of course, there are rumblings of Galactus or even the Frightful Four. So, I’ll leave you with the first bit of FF merchandising, the T-shirt that was sold through the ’60s comics (oh, if only the superhero craze had lasted another year we would have gotten an Aurora model kit set…*sigh*). If my repro print still fits I’ll be wearing it adorned with my original M.M.M.S. pin to the multiplex for the premiere. See you there, True Believer! Excelsior! Or should I say, “Flame on! It’s Clobberin’ Time!”?

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

MADAME WEB First Trailer Drops And Stars Dakota Johnson

MADAME WEB opens in theaters on February 14, 2024.

“Meanwhile, in another universe…” In a switch from the typical genre, Madame Web tells the standalone origin story of one of Marvel publishing’s most enigmatic heroines. The suspense-driven thriller stars Dakota Johnson as Cassandra Webb, a paramedic in Manhattan who may have clairvoyant abilities. Forced to confront revelations about her past, she forges a relationship with three young women destined for powerful futures…if they can all survive a deadly present.

Directed by SJ Clarkson, watch the first trailer now.

MADAME WEB stars Dakota Johnson, Sydney Sweeney, Celeste O’Connor, Isabela Merced, Tahar Rahim, Mike Epps, Emma Roberts, Adam Scott

Listen to Dakota Johnson talk about the film below.

Cassandra Webb (Dakota Johnson) in Columbia Pictures’ MADAME WEB.