Avengers: Endgame

2019’s The Avengers: Endgame, directed by Anthony and Joe Russo.

Starring Robert Downey Jr, Chris Hemsworth, Chris Evans, Mark Ruffalo, Don Cheadle, Scarlett Johansson, Karen Gillan, Paul Rudd, Jeremy Renner, Brie Larson, Bradley Cooper, Zoe Saldana, Josh Brolin, John Slattery, Tilda Swinton, Rene Russo, Benedict Cumberbatch, Elizabeth Olsen, Sebastian Stan, Jon Favreau, Hayley Atwall, Taika Waititi, Anthony Mackie, Tom Holland, Tessa Thompson, Gwyneth Paltrow, Robert Redford, Frank Grillo, Maximiliano Hernández, Linda Cardalellini, Chris Pratt, Evangeline Lilly, Chadwick Boseman, Dave Bautista, Pom Klementieff, Vin Diesel, and Tom Hiddleston.

What is it about?

Avengers: Endgame is the second part of a story (following Avengers: Infinity War) about the galaxy’s super powered defenders’ quest to thwart the plans of ultra villain Thanos. At the end of Infinity War, we last saw Thanos being successful in his plans to harness all 6 of the Infinity Stones- and exterminate half of the universe. Reeling from the trauma of losing so much, the survivors (lead by Robert Downey Jr’s Iron Man, Chris Hemsworth’s Thor, and Chris Evans’ Captain America) cobble together and begin scheming how to even the score, and get back that magic that they once had. Will they be successful against the powerful mad titan, or will he outsmart them to doom the rest of the survivors?

Why is it worth seeing?

Avengers: Endgame is the 10^th film in the Phase 3 stage of the Marvel Cinematic Universe (MCU), which is parent company Disney’s unprecedented corporate franchise universe of domination. With a year taking place between the releases of Infinity War and Endgame, a substantial amount of hype has overtaken the first installment’s previously unprecedented heights. Over the course of 11 years (starting with 2008’s Iron Man), Marvel’s episodic connected universe style of story telling lead to 21 interconnected films, setting the table for the final course that is presented here. As a result, it’s can’t miss viewing with a serious side of FOMO (otherwise known as box office domination). One of the special things about the MCU is what critic Scott Tobias refers to as Marvel’s “high floor, low ceiling”, in that Marvel might not make flat out masterpieces, but never lays out stinkers either. The results are what are essentially a number of prequels and sequels that are, considering Hollywood’s history with franchises (take solid idea, photocopy it into oblivion, repeat), better than they really need to be (just ask Fox and DC).

The good news is that the hype is justified, as Endgame offers something that none of the previous 21 films could- resolution. One of the more successful (and possibly cynical) strategies of the MCU was that each film was simultaneously an event of itself- but also a teaser for the next mega event. While this is hardly the last we’ll see of the MCU, there are character arcs that are completed, and characters who are… concluded. One of the flaws of the previous film(s) was a lack of stakes. It was always kind of odd how with so much violence and destruction being branded about by these mega creatures that there was a lack of consequence to proceedings involving guns, lasers, and a lot of kicks and punches. Not so much here, and it’s the better for it. Now if they could just get the respective character’s powers straight (and more importantly how they relate to each other).

Writers Stephen McFeely and Christopher Markus (of the Captain America trilogy, Thor: Dark World, and Infinity War) continue on with the unique Marvel banter and sight gags. They have no issue being self referential, as characters reflect on how they’re riffing on Robert Zemeckis classics from the 80’s, and even dive deeper into the previous films’ settings to produce a fusion of old and new that will drive fanboys to salivation, and logicians to insanity. They also continue to show characters growing into, and sometimes out of, themselves, for alternately humorous and powerful results. More importantly, unlike the previous film, which propelled itself from place to place and character to character breathlessly, they aren’t afraid to consider taking their time. Oh, there’s a LOT of action, particularly in the film’s climatic scene. But as always in the MCU, the strongest scenes are when the characters get together, and chat. The first third of the movie, and quieter parts of the last third, reinforce that. It may not always flow, but when it hits, the beats are that much stronger.


Directors Anthony and Joe Russo return to the fold (Captain America: The Winter Soldier, Captain America: Civil War, and Avengers: Infinity War), and cap off a career in the MCU that will certainly give them the keys to the blockbuster kingdom. Once again, in a movie overstuffed with characters, with too much ground to cover (and questionable science and logistics of scale), they nimbly hold the enterprise together and keep the phenomenal chemistry of its stars zipping along. Indeed, for a universe where half of life has been wiped out, it has no qualms interrupting a mission to show a character humming along tunelessly to his headphones while being followed by others, or to make fun of Captain America’s ghastly costume from Avengers. As always, they keep the missions zipping along, even with the film’s ambition trumping coherence in a climax of Ready Player One proportions.


For some actors’ last time, not enough can be said for the performances of the film. With Marvel always having success with the casting of their respective roles, it really is something watching the actors play through their narratives and cap off careers that have been launched, maintained, and even reinvigorated. While some Oscar winners have been squandered (hello Gwyneth and Natalie), and there are too many characters to each get the burn that they deserve, Evan’s Captain America, Hemsworth’s Thor, and in particular, Downey Jr’s Tony Stark are some of the greatest characters ever created (honourable mention to Ruffalo’s Hulk, Cooper’s voice work as a cybernetic raccoon, and Renner’s very vulnerable Hawkeye). If for no other reason, Endgame is the place to watch their suns set as they go in their respective directions. The box office numbers and positive critical reception will reflect one’s love of sunsets.

Rating:

4/5

Trailer: Click Here.

Marvel Cinematic Universe Ranked (update)

With Avengers: Endgame about to premiere, it's time to go back and rank the MCU's 21 previous films so we can catch up for Endgame's much anticipated results. Happy comic book surfing!

21. The Incredible Hulk

Easily the least entertaining and captivating film of the bunch, Edward Norton cemented his career as difficult to work with (and would later be replaced by the superb Mark Ruffalo)- but the real disappointment was the effects and limp story.

20. Thor: Dark World

The God of Thunder Thor’s second movie features more of his bland Uncanny Valley world of Asgard, combined with the bleak and dismal world of Svartalfheim (the title of which says it all). Featuring likely the worst (and under utilized) villain in the MCU (Christoper Eccleston), Natalie Portman’s talents would also be wasted here for the last time.

19. Thor

We’re introduced to Thor, prince of the bland afore mentioned Uncanny Valley of Asgard. With the additional earth scenes not having much more authenticity, Thor’s self seriousness is hard to take seriously, especially with the listless Destroyer robot shooting laser beams out of its (not) face. A decent introduction but ultimately disappointing showing for the villain, Loki.

18. Captain Marvel
Marvel’s first female lead solo film, it also features a 90’s locale and the origins of the Avengers initiative in introducing Nick Fury and Agent Coulsen. What it doesn’t feature is an actual explanation of the potent super heroine’s motivations- never a good thing for an origin story.

17. Iron Man 2

Coming out only 2 years after the original, part 2 featured more Downey Jr, more mechanical suits, and robots fighting each other, but is also a rushed product that feels more like a check list than an actual movie. A waste of Mickey Rourke (and his poi spinning talents), but a rousing introduction to the Black Widow.

16. Ant Man and the Wasp
Paul Rudd returns for more giggles and pint sized fun, and adds a partner in crime in Evangeline Lilly’s Wasp character. While the film goes deeper than the original, it doesn’t make as much of an impact- despite sidekick Michael Pena’s hilarious best efforts.

15. Doctor Strange

Doctor Strange’s origin story features jaw dropping effects- and little else. With a couple of non descript villains, the story is a bit of a fizz and neglects the finer points of Eastern mythologies. Plus, finding a new Marvel love interest to squander (Rachel McAdams) is the real trick for this cosmological sleight of hand.

14. Avengers: Age of Ultron

Probably the toughest ranking, Ultron brings back the gang from the original smash hit, but similar to Iron Man 2, feels oddly hollow. More corporate tick box than complete movie, it features some memorable scenes but would really benefit from more of the gang chopping wood at the farm or trying to lift Thor’s hammer.

13. Iron Man 3

Another tough one, likely Marvel’s most interesting writer/director Shane Black brings his trademark Christmas themed quips to a story involving Tony learning how to cope with his PTSD from the New York attack in The Avengers. While some interesting character growth is introduced, and its snarkiness at times amusing, it’s also uneven and introduces interesting developments that are dropped for later films.

12. Thor: Ragnarok
The third time proves a charm as Thor has a (badly needed) sort of reboot, with him bringing more of a snappy attitude into an irreverent universe full of Jeff Goldblum. A fresh and funny take from director Taika Waititi with rocking music- but I liked it better when it was called Guardians of the Galaxy.

11. Guardians of the Galaxy Vol: 2

The Guardians return for even more irreverence, classic music, and space travel- but bigger is not necessarily better. The freshness and underdog status, so prominent in the original, fades significantly. Features my favourite scene in the entire MCU.

10. Ant Man

The origin story of the tiny sized Ant Man has the most comic chops in the MCU, and has thrilling scenes of micro adversity. But its tone varies wildly and the movie struggles the most when Ant Man is normal sized and grappling with his domestic life.

9. Spider Man: Homecoming

The origin story (and 6^th Spiderman film!) of Spidey brings a fresh high school perspective to things and a sympathetic villain, but its army of writers mean this is more like a patchwork of scenes than a cohesive web of a story.

8. Captain America: The First Avenger

Captain America’s origin story gets off to a great start with runty Steve Rogers getting a super serum to become WWII’s greatest hero. The well cast Chris Evans shows off his athletic prowess and the film is historical (while wildly diverging from actual history)- it’s a lot of fun with a wonderfully campy villain.

7. The Avengers: Infinity War

MCU’s busiest and most combustible film, it’s the culmination of 18 films that came before it- and an enormous hype machine. It’s also a fast moving roller coaster of action and characters. With the sheer amount of multitasking, it’s a bit of a miracle it works at all. It’s exhilarating- and physically exhausting. Suffers from having too much to do and needs to take a breath, similar to Ultron.

6. Black Panther

One of MCU’s most popular origin stories, Panther features an authentic home land that the hero hails from, and the best villain in the MCU. Its effects can be questionable, but its authenticity is one of a kind.

5. Captain America: Civil War

Essentially an Avengers sequel, the Russo brothers continue their strengths of globe hopping and inspired hand to hand combat. While at times overstuffed with characters, it’s an amusing and rousing end of a super partnership.

4. Guardians of the Galaxy

A team up that didn’t even bother with origin stories, Guardians came out of nowhere and won the hearts of many with its oddball cast, rapid fire quips, kick ass soundtrack, and swashbuckling adventure. A dangerously re-watchable treat that may have almost been as influential as The Avengers.

3. Iron Man

The first movie in the MCU is also one of its best.  We are introduced to the most iconic character in Marvel history- Tony Stark. Robert Downey Jr. is electrifying as the arms industry titan that uses his magnetic personality to earn back his soul while working out the kinks in his super suit. A pleasure, with underrated work by Jeff Bridges as the villain.

2. Captain America: The Winter Soldier

A comic book movie that has more in common with Jason Bourne than Superman, the Russo brothers deliver a thrilling ride that features almost as much paranoia as it does action. Thawed after being on ice for 70 years, we join Cap, who has to negotiate a world that no longer resembles the one he used to fight for. One of the best MCU movies, and proof of why the Captain America series is the most consistent in the MCU.

1. The Avengers

The reason there is an MCU. Along with Dark Knight, one of the most influential comic book movies ever made. It set an impossibly high standard that both Marvel and DC have continually tried to ape ever since. Exquisitely paced, tightly executed, fun, exciting, and full of funny moments, it also features a strong villain at his best.

Boyhood

2014’s Boyhood, written and directed by Richard Linklater.

Starring Ellar Coltrane, Patricia Arquette, Lorelei Linklater, Ethan Hawke, Marco Perrella, Elijah Smith, Charlie Sexton, Libby Villari, and Steven Prince.

What is it about?

Mason Jr. (Ellar Coltrane) is a young boy, growing up in childhood in Texas through the 2000’s and 2010’s. He puts up with his older sister, Samantha (Lorelei Linklater), and is raised by his single mother, Olivia (Patricia Arquette), with occasional visits with his father, Mason Sr (Ethan Hawke). Mason Jr. gradually transforms from a young boy, into an adolescent, then a teenager, and finally, a young adult. He and his sister move around the state as his mother moves in with different men, and he experiences the joy and pains of maturation as he discovers who he wants to be.

Why is it worth seeing?

Writer/Director Richard Linklater’s Before trilogy explored two soul mates and the way time changed themselves and their relationship. Its actors’ real time physical transformations (over 18 years) reinforced how their characters evolved year by year, while appreciating the moments that celebrated both the ecstatic and mundane delights of being human. One would forgive Linklater for creating those monuments to the passage of epochs, and leave his (massive) efforts at that. Fortunately, Linklater goes another level deep in Boyhood.


Filmed in yearly segments over the course of 13 years, we spend the movie’s running time embedded as a fly on the wall to a boy’s metamorphosis. As armchair documentarians (think a fictionalized version of the 7-Up series), we observe his boyish wonder at the garden of delights that is our world, his youthful naiveté in the face of intrapersonal violence, his exuberance in discovery- all juxtaposed against the pain of growing up and sharing in life’s transgressions. For a movie that literally passes years between scenes, it has uncommon patience for the microscopic milieu that is everyday life. Linklater has always excelled at creating environments that not only beg to be hung out in, but also that celebrate the passage of time- none more so than here.


Few are as talented as Linklater at depicting the art of, well, just hanging out (little wonder he made a film titled, Slacker). One potential fault to be found with some of his more quixotic work is an occasional lack of reality- that is, creating worlds where people fall over themselves to share their small college town inspired philosophies and to just go wherever the wind takes oneself. That hang loose vibe is able to feel more grounded here, as some of the uglier moments of life are witnessed and contrasted. From the jarring reality of leaving one’s comfort zone and social circle due to moving, to sibling rivalry, to the circular patterns of domestic violence- life’s less inspiring moments, so ripe for the opportunity of learning and growth, can be felt and absorbed. But even more stirring, are the unacknowledged passages of time that occur, when one’s history is wiped away. Whether it’s painting over you and your sibling’s height chart, or arguing with a parent about which of your personal mementos to keep, Boyhood’s nostalgia never bogs down since it’s always barreling forwards.


Initially, Linklater goes to great lengths to establish the time period of the respective eras. From the needle drops, the school computers, the political news in the background, the video game consoles, the torture porn cinema sub-genre, and disgraced baseball players, a game of “what year is it?” can be played to figure out the setting. But the film really finds its feet when it becomes (a little) less obvious what year it is, and the character’s lives bear fruit. Indeed, for a two hour and forty five minute run time, the film starts out deliberately- and all of a sudden won’t stop moving at a breakneck pace. We start to share the experience of Arquette and Hawke’s mom and dad characters, where they just want to spend more time with their children, (most of) their lives in front of them- but are helplessly locked in a slow motion vehicle that moves too fast.

Linklater, again so good at dialogue that sounds of the everyday level of ordinary human beings, couldn’t have asked for more from Arquette and Hawke. Both of them get richer, deeper, wiser as their kids age, and further validate the faux documentary-like vibes of the film, being captains of the genuinely authentic distinctiveness. Coltrane’s performance is a little more questionable, however, how much of that is professional liability, or merely the results of portraying the various tics of teenage awkwardness/being under the influence, will be up for debate after further projects.


A perennial celebration of time and the ways that it shapes us, Linklater utilizes fantastic performances from his actors to propel dialogue into places that start rooted in nostalgia, and blossom into a sublime present. So much more than just a cinematic gimmick, it’s a deeply affecting scrapbook brought to life.

Rating:

5/5

Trailer: Click Here.

The Immigrant

2014’s The Immigrant, directed by James Gray.

Starring Marion Cotillard, Joaquin Phoenix, Jeremy Renner, Angela Sarafyan, Yelena Solovey, Dagmara Dominczyk, Maja Wampuszyc, and Ilia Volok.

What is it about?

Set in 1921, The Immigrant stars Marion Cotillard as Polish refugee, Ewa Cybulska. Ewa comes into Ellis Island, NY, with her unwell sister, Magda (Angela Sarafyan), who is quarantined indefinitely on the island. Told by immigration officials that due to an Aunt and Uncle’s NY address not actually existing, combined with a negative experience on the ride over that results in Ewa being eventually targeted for deportation, she runs into Bruno Weiss (Joaquin Phoenix). Bruno offers Ewa room and board in exchange for her performing in his dance troupe- and prostituting afterhours. Trying to come up with the money to have her quarantined sister released, Ewa also meets magician, Emil (Jeremy Renner), who like Bruno, takes a liking to her- and also may not be able to actually help her situation. Her resources scant, and options few, will Ewa be able to release her sister and be able to participate in the American Dream?

Why is it worth seeing?

If one wants to understand the artistic tragedy that disgraced Hollywood producer Harvey Weinstein wreaked upon the film industry, one only needs to study The Immigrant’s lack of support when being released into the media landscape. Director/Co-Writer/Producer James Gray, possessing final cut of the movie, fought against Weinstein’s wanting to change the film’s sublime ending. As a result, Weinstein delayed the film’s release, minimized its marketing, and nixed any kind of awards season buzz for its capable creators. The film was completed in 2012, toured the film festival circuit in 2013, and was finally released in 2014- receiving zero Oscar nominations. While not every movie is guaranteed a shot at cinema’s most prestigious award ceremony, Weinstein was renowned for his ability to push dark horses and underdogs to glory- and decided that he would just sit this one out. While Weinstein ended up getting his fair share of justice, The Immigrant hasn’t- it’s a beautiful, underrated, and criminally unseen piece of cinema that deserves more praise.


Co writers James Gray and Richard Menello (Menello had teamed up with Gray and Phoenix also in 2008’s Two Lovers, sadly he passed shortly after The Immigrant wrapped) write between the margins to continually exceed expectations. It’d be easy to label the film as simply an ode to the fallacy that is the American Dream, and call it a night. But Gray and Menello make it about more, make it go deeper. It would also be easy to frame Cotillard, Phoenix, and Renner’s relationship as merely some sort of love triangle. But Gray and Menello leave their resolutions to realistic and subtle ends. The characters of Bruno and Ewa are also masterful in their subtleties- for example Bruno’s clever weakness (and somewhat concealed Jewishness), or Ewa’s continual trauma that she barely acknowledges. Finally, the film’s slow reveal of Ewa’s story, told patiently throughout the film in traces, and never able to coalesce until the film’s stunning climax, is an able demonstration of the art form at its finest.

Gray, who is adept at coaxing career performances from actors, continues his proficient relationship with Joaquin Phoenix (The Yards, We Own the Night, and Two Lovers). The two exist in synch where Gray’s thoughtful intelligence wraps around Phoenix’ unpredictable intensity to create a potent dynamic, a fulcrum somewhere between manipulation and unhinged id that’s difficult to take your eyes off of. Phoenix’ excellence aside, this is Cotillard’s show. Gray, who’s had his share of experiences in working with Hollywood actors, called Cotillard the best he’s ever worked with. It’s not hard to see why. As alluded to above, she walks a fine line between victim (or even martyr), and resilient survivor. Her take on Ewa, a flawed character who is locked into her quest to rescue her sister, but whom struggles to identify with fellow Poles who are experiencing similarly awful struggles, rewards attention. She’s proud, but conflicted, hateful towards her captor but forgiving, scared but brave- it’s riveting to watch. Cheering for her, a survivor who looks like she could explode with success if she got half a break, feels right. Finally, Jeremy Renner makes yet another appearance where he’s not the star of the show, but is potent in the role of the film’s #3 as the magician who is related to Phoenix but couldn’t have different goals- other than his plans for Ewa.

Gray has always been a cinematic romantic, favouring a classical look to his films that look like they’re glossy time capsules from the 1970’s. It excels with the setting of Ellis Island (the first time a film was filmed there) and New York City during the 1920’s. The historical look contrasts with the time period’s casual racism and systemic corruption, and the subsequent patriarchal ugliness of the situation is mitigated along by the film’s stunning closing shot. Reminding of Alfonso’s Cuaron’s mastery of different subjects collaborating within a frame, it beautifully integrates existential self imposed punishment with hope. That’s the thing about the subtleties behind The Immigrant. On a surface level, it has plenty to admire- a captivating story that takes its time, characters we can feel through our eyes, and period authenticity. But behind that, there’s even more. It’s the sort of experience that rewards multiple viewings- once to get the gist, and again to savour the turns and how it gets there.

Exquisitely written, superbly acted, populated with movie stars playing flawed characters, historically accurate, and deeply felt, The Immigrant comes highly recommended as a film of underrated excellence.

Rating:

5/5

Trailer: Click Here.