Written by Anna Harrison
In these retrospectives, Anna will be looking back on the Marvel Cinematic Universe, providing context around the films, criticizing them, pointing out their groundwork for the future, and telling everyone her favorite scene, because her opinion is always correct and therefore her favorite scene should be everyone’s favorite scene. Avengers, assem— oh, sorry, still not yet.
You know the old adage that sequels are never as good as the original?
Avengers: Age of Ultron has the benefit of familiarity; our titular Avengers are already acquainted, so we waste no time with introductions but get right back in the fray as the they go about cleaning up the Hydra facilities unearthed from the fall of S.H.I.E.L.D. in Captain America: The Winter Soldier. It’s comfortable: we’re back to Joss Whedon’s old quippy dialogue that worked so well in The Avengers, but this time around everyone is more at ease with each other and work as a well-oiled machine. Robert Downey Jr.’s Tony Stark, Mark Ruffalo’s Bruce Banner, Jeremy Renner’s Clint Barton, Chris Hemsworth’s Thor, Chris Evans’ Steve Rogers, and Scarlett Johansson’s Natasha Romanoff, all back together again, their skillsets showcased in several of Whedon’s favored long, uncut takes as he opens the movie with style and pizzazz to spare. (We’re also back to Whedon’s frumpy old geezer Steve, who now gets offended when Tony says, “shit,” but it’s a bit less egregious this time around.)
Unfortunately, Age of Ultron gets rather unfocused after its tight opening, branching out into several different plots, some of which won’t pay off until later installments, and shoving some characters where they ought not to be shoved. It’s ambitious to a fault, and while watching it you can feel the Herculean effort it must have taken from Whedon to put this together. Alas, Whedon is not quite a demigod, and so the result is a grand but uneven tale with some truly weird character developments.
At one of these Hydra facilities, the gang runs into Pietro (Aaron Taylor-Johnson) and Wanda Maximoff (Elizabeth Olsen), citizens of the fictional Sokovia who volunteered to undergo experiments using Loki’s scepter from The Avengers, which contains the Mind Stone. The results left Pietro a speed demon and Wanda a… well, as Maria Hill (Cobie Smulders) puts it, “He’s fast and she’s weird.”
In the comics, Wanda and Pietro—codenames Scarlet Witch and Quicksilver—have been a part of both the X-Men and Avengers teams, making their film rights a bit fuzzy: while Marvel sold the rights to the X-Men to 20th Century Fox, they kept the rights to the Avengers, meaning that Wanda and Pietro could appear in both Fox’s X-Men movies and the MCU. In fact, a year before Age of Ultron, the world was introduced to Evan Peters’ Quicksilver in X-Men: Days of Future Past, who quickly became a fan favorite due to his now-iconic “Time in a Bottle” scene. (Wanda, meanwhile, is only hinted at in the Fox franchise.)
With how beloved Peters’ version quickly became, Joss Whedon had a tall task in front of him. He and Taylor-Johnson opt for a more serious take, one without big slow-mo set pieces. Barred from saying the word “mutant” as those rights belonged to Fox, Wanda and Pietro came to their powers not by their lineage (in the comics, they are the children of powerful mutant Magneto) but through illegal human experimentation. They’re “enhanced,” and neither get codenames; in fact, it takes until WandaVision for “Scarlet Witch” to be uttered aloud, and no one ever calls Pietro “Quicksilver.”
The two had volunteered for Hydra’s experiments due to fierce anti-American sentiment in Sokovia; this sentiment is bolstered by the fact that Wanda and Pietro’s parents were killed by a Stark Industries shell when they were young (and Tony was still being irresponsible and inadvertently causing war crimes), and the twins were almost killed themselves, saved only because the shell that landed by them was faulty. Staring at the Stark Industries logo for days and days as they waited to be rescued, it’s easy to understand why that grudge fueled them to try and gain enough power to topple the Avengers.
The turmoil and unrest that led Wanda and Pietro to volunteer has the potential to be an interesting thread—after all, the Avengers are a largely American group constantly trespassing in international territory and shooting a bunch of people, seemingly with no (or very little) government oversight. Surely that’s a bit murky, legally-speaking, and this unchecked American group running amok would no doubt cause tensions to flare. Yet Whedon only obliquely acknowledges this by showing a couple scenes of angry protests, which somehow seems worse than ignoring the issue altogether: why bring it up at all if you’re just going to gloss over it?
It’s a problem that Marvel has largely avoided by staging their conflicts either in America or in outer space, but here the logic of the MCU begins to buckle a bit under its own weight. Marvel will only commit so much to exploring the geopolitical consequences of the Avengers’ existence; a movie dedicated to unraveling the American exceptionalism that bubbles beneath the team might alienate some of their audience, and so Marvel continually tiptoes around the subject.
After retrieving the Mind Stone, Tony and Bruce begin to experiment with it to create an artificial intelligence. As Dr. Frankenstein found out all those years ago, playing god usually doesn’t end well. In this case, it results in the creation of Ultron (James Spader), who was meant to be a global defense program but decides that the best way to achieve “peace in our time” is to eliminate humanity.
It’s a shame that Tony had a wonderful arc in his last movie that ended with him blowing up all of his suits only to relapse in Age of Ultron and create a bunch more. “A suit of armor around the world,” as he says. The weapons manufacturer turned protector. It fits that Tony would do something like this, that his fear, guilt, and ego would mix together and create a murderbot, but it fits poorly after the events of Iron Man 3 and makes that film seem simply like a bump in the road for Tony’s character arc, though it certainly frames itself as the end. But what would be the point of a movie featuring Iron Man that doesn’t actually have an iron man in it? So here we are, not back quite at square one but at about square… well, not where we should be. (Thor will also run into similar problems with his characterization; it all depends on what the directors and screenwriters need his character to accomplish in their respective movies, and so he bounces all over the place.)
Fan response to Ultron himself was generally tepid, and coming off the heels of Loki’s malicious turn in The Avengers, he had big shoes to fill. There were complaints that Ultron wasn’t strong enough, that he was too quippy (though that is to be expected with a Whedon film; besides, Tony Stark made him, and Tony is the quip king), but he’s certainly not a terrible villain as these things go. He just fades a bit into the background and offers nothing particularly interesting, and his fondness for religious settings and divine metaphors never goes anywhere. (Are Tony, Ultron, and Vision the Father, Son, and Holy Ghost? Each progenitor tries to get usurped by their offspring… Very Oedipal, though there’s no mother to speak of. I might be on to something.) James Spader gives a great vocal performance, but the interesting philosophical doors that Ultron’s A.I. existence could have opened remain shut.
In their attempt to defeat Ultron, the Avengers run into Wanda and Pietro, who have begun working for the A.I. Wanda uses her powers to get into the Avengers’ heads and toy with their brains, sending everyone into a spiral; Hulk spirals so much that he destroys a large swath of Johannesburg. Fearing international retribution, the team retreats to a safehouse, which turns out to be Clint’s family’s home. However, Thor doesn’t stay long, instead spurred by the vision Wanda gave him to go on some mythic quest with Erik Selvig (Stellan Skarsgård) to discover more about the Infinity Stones.
Hawkeye’s secret family—two kids and pregnant wife Laura (Linda Cardellini), who apparently waits in an isolated house twiddling her thumbs until her husband drops by—proved to be an enormous point of contention between Marvel and Joss Whedon. It’s not hard to understand why the studio raised issues, as this revelation comes out of nowhere, but the conflict also showcases much of the studio meddling that defined Phases One and Two, and how it so often drove Marvel’s creatives away from the studio.
Much of this meddling came at the hands of the so-called “Creative Committee,” a group consisting of Ike Perlmutter, whom I’ve previously railed about (reminder: he said Black people look the same, he didn’t want Black Widow toys made because he thought they wouldn’t make money, he didn’t want a female villain in Iron Man 3, etc.), and various others ranging from executive Alan Fine to comics writer Brian Michael Bendis. The group had caused issues on Iron Man 2, pushed back against the use of Awesome Mix Vol. 1 in Guardians of the Galaxy, and wrested creative control away from Marvel’s employees, leaving everyone from Alan Taylor to Mickey Rourke burnt out. Their meddling came to a head in Age of Ultron, and the compromises that Whedon and the Committee arrived at resulted in a messier movie and an unpleasant production. They wanted to nix the farm scenes, Whedon wanted to nix Thor’s Stone visions he receives with Dr. Selvig, and so ultimately we got a truncated version of both, stretching the movie to its breaking point as it juggles too much at once.
The Committee was dissolved in 2015, the year Ultron was released, as Marvel was restructured and Kevin Feige began to report directly to Disney CEO Bob Iger instead of Perlmutter. Feige and Perlmutter had reportedly butt heads repeatedly, to the point where Feige almost quit, but eventually Iger shuffled things around, freeing Feige from Perlmutter’s tight leash. It’s no coincidence that the MCU produced their most creative crop of movies after the disbanding of the Committee, or that no Phase Three and Four directors have been vocal about lack of creative autonomy. With the Committee off the creatives’ back, everyone can breathe a little easier and think a little more freely, but unfortunately that came too late for Whedon.
While studio interference has done more harm than good with the MCU, there is one thing their interference would have been welcome on in this case: One of the most glaring issues with Age of Ultron, and one that really kicks into gear at the Barton home, is the absolutely nonsensical romantic subplot between Natasha and Bruce. Marvel has been very hit-or-miss with its romances, but even its misses (namely Thor and Jane) have some buildup and at least a sliver of believability. This, however, comes out of absolutely nowhere—Bruce and Natasha had barely shared screen time in The Avengers except when the Hulk tried to smash Natasha (and not in the sexy way), and, what’s more, it largely reduces Natasha to the stereotypical female caregiver role. She, with her soft and feminine energy, is the only one who can calm down Bruce when he Hulks out, and the best thing to come out of that whole ridiculous lullaby nonsense is Thor: Ragnarok’s parody of it.
It’s uncomfortable to watch the sole female member of the team be the one to soothe the Hulk, to be the only one with enough empathy towards him to bring him back from the edge; it feels as though Natasha has become a housewife from sixty years ago, waiting patiently for her stressed out husband to return from work so she can fasten a napkin around his neck and feed him a nice cut of steak. It’s disturbing to see that the task of emotional labor has fallen to the woman (the! only! woman!), who must soothe her turmoil-filled man. It’s… well, it’s not great, Bob.
Even removing the gross stereotypes the relationship imposes on Natasha, it’s written terribly. It starts with some atrocious, overly sexy flirting at a bar, continues with Bruce falling onto Natasha’s breasts (an absolutely hilarious “joke”—ha ha I am laughing so much ha ha—Whedon will repeat in Justice League), includes a nice family planning scene despite the fact they haven’t kissed by this point, and ends with the Hulk flying away in a quinjet and resurfacing in Thor: Ragnarok as a galactic gladiator. It feels wildly out of character for both of these people to act the way they do in this movie—Natasha even discusses running away with Bruce, and when has she ever been one to run from a fight, even if she has some self-doubt? In a different world, maybe the characters could work out a relationship, with both of them facing their inner demons together, but as it is, it stuffs a poorly written, out-of-nowhere plot line into an already crowded movie.
Seriously, where the hell did this come from? Was this Joss Whedon’s self-insert fanfiction, with the sexy hot girl falling in love with the nerdy awkward man? (To say nothing of the 17-year age gap between Mark Ruffalo and Scarlett Johansson, though that is about par for the course with Hollywood.) The depth that Natasha was given in Captain America: The Winter Soldier flies out the window, and she becomes some bizarre mashup of caring mother figure and flirty Bond girl ripoff. It’s wholly unnecessary for both the characters and the plot. It’s not just another mediocre romance from Marvel, but a development so out of left field that it ends up damaging an already-overloaded movie.
(Luckily for all the unwitting denizens this relationship was inflicted upon, it was so poorly received that subsequent directors will drop the matter entirely, save for a few offhand references that mostly play as humorous.)
Other than the bizarreness happening with Bruce and Natasha, the Barton family home gives the movie a welcome chance to breathe a little bit, though Clint’s family life remains a bit of a puzzle. Seriously, does Laura just do nothing but wait for her husband? Does she have a job? Does she have a personality outside being “wife”? Again we have a woman assigned to the emotional support role, and while Cardellini is lovely, the whole situation rests uneasily in the stomach. It’s good to have an Avenger with their boots firmly on the ground, less good for this revelation to feel so strange (especially after many fans believed Clint and Natasha were bound for romance after the events of The Avengers—“Is this love?” Loki hisses at Natasha as she bargains for Clint’s life—and they have a romantic history in the comics, something that Bruce and Natasha do not). But the farm gives everyone a chance to recoup and take a break before the second half of the movie.
Over in Seoul, Ultron uses Loki’s scepter to put Avengers ally Dr. Helen Cho (Claudia Kim) under his control so he can utilize her lab to create a synthetic body for himself. During this sojourn, Wanda looks into Ultron’s mind as he uploads himself and discovers his plans for human extinction, so she and Pietro flee and join up with the Avengers, who seize Ultron’s wannabe future body; Thor remembers some of his trippy cave visions (prompted by some “Water of Sight” that gets mentioned only right before it appears on screen, and then never again—it’s not hard to understand why Whedon didn’t like this clunky sidequest) and activates the Mind Stone in the body’s head, and thus the Vision (Paul Bettany) is birthed.
Bettany, initially booked just for a voice gig as J.A.R.V.I.S., Tony’s personal robotic assistant, proves to be an excellent Vision; he has the knowledge of J.A.R.V.I.S., Ultron, and the Mind Stone, yet still retains the naïveté of a child. Vision and Wanda give each other a couple knowing looks, but neither will get the development their Avenging peers do until WandaVision, though it’s off to a smooth enough start here. (For the record, I would like to add that while everyone started thinking Vision was hot in WandaVision, I was on that train from the start. Thanks.)
With Vision, Wanda, and Pietro in tow, the team heads back to Sokovia to stop the impending destruction of the world. Ultron’s plan involves sending out smaller robot Ultrons to wreak havoc while he literally raises Sokovia into the air so he can let it drop like a meteor and raze life on earth, letting his metal children reign supreme. It’s one of the more absurd villainous plans from Marvel, and Ultron’s robot army is thoroughly uninspiring after so many movies before it (including The Avengers) have dealt with hordes of interchangeable baddies, and sloppy editing doesn’t help matters.
Things seem to be looking dire for our team until Fury shows up with a S.H.I.E.L.D. helicarrier full of S.H.I.E.L.D. employees like nothing ever happened in The Winter Soldier. The implication is that Phil Coulson (Clark Gregg, here only in spirit) and the gang helped dust the helicarrier off, as the MCU had not completely abandoned Agents of S.H.I.E.L.D. at this point, but it still feels weird, especially considering that Fury had previously told the team they would only have their wits in this fight as no backup could come.
One of the most frustrating parts of this battle, however, is the death of a certain speedster. How did all those bullets kill him when he could have easily outrun them? Or, taking a cue from a different Quicksilver, couldn’t Pietro have simply pushed the bullets away so they shot harmlessly into the air? His death lacks emotional resonance as well, though it’s framed as a big moment: alas, Pietro, we barely knew ye, though what we got seemed promising and it still stings that this is how Whedon chose to off you. Logistically, it’s hard to present tangible threats to a speedster (as evidence, see The Flash’s increasingly absurd justifications for their villains’ successes), so Pietro would be tough to write for; furthermore, confusion with the wildly popular X-Men version would no doubt have abounded had our silver-haired friend lived. However, these excuses don’t make Pietro’s death any better. It’s still cheap, illogical, and a waste of a good performer. (Seriously, the fastest man in the MCU was killed by bullets?)
His death does spur Wanda (and Vision) to finally kill Ultron, though Ultron’s ultimate demise feels as though Joss Whedon was trying to achieve two opposing goals: have a big superhero beatdown required in Marvel movies, and also have the defeat of the bad guy be a bit more sad and poetic, showing that not every showdown needs to end with a bang—sometimes it’s a sad whimper. However, it’s nigh impossible to have both of those things, and the shift from a world-ending city-meteorite infested with robots to a quiet execution on a hillside is jarring.
It’s a problem that Age of Ultron seems to run into repeatedly: it wants to let its characters breathe, but what the characters say and do during this downtime can often be incongruous to not only the rest of the film, but the MCU at large. If it can get bigger than its britches sometimes and fail to keep all its balls juggling, it’s admirable that Ultron at least tries to get introspective (and indeed is more subdued in places than its sequels). If only that introspection were filled with something other than Natasha flirting with Bruce, or Steve rebelling against change (“the most adaptive man on the planet,” Winter Soldier screenwriter Christopher Markus called him—he’s got the gist of Steve more than Whedon does, although perhaps Markus should have paid more attention to this Whedon line of Steve’s, “Family, stability… The guy who wanted all that went in the ice seventy-five years ago. I think someone else came out,” when writing Avengers: Endgame).
Not all of it’s bad: Tony and Bruce get some excellent dialogue together, and Tony, still full of that potent mixture of self-loathing and narcissism, gets an extra heaping of guilt from this film that will fuel his future actions. Steve rips a log in half with his bare hands, and Thor steps on a LEGO set. The good aspects of this film, and how easily The Avengers seemed to flow, make Age of Ultron’s misfires that much more baffling; its glaring mistakes are few but so obvious that they threaten to derail the entire thing.
It’s flawed but garners points for its very grand ambitions; it’s a tale of legacy, fear gone haywire, the dangers of acting preemptively, the follies of humanity, the dangers of playing god (for both Tony and Ultron). Ultimately, Age of Ultron simply gets too big, so it’s a good thing the next movie goes so small…
Groundwork: Marvel has no big master plan; rather, they plant seeds wherever they can in the hopes that some of them might one day germinate. None of these were planned from day one, lest the whole ship sink, but the seeds germinated nonetheless:
- More Thanos and Infinity Stone teases, look at that.
- Steve lifted Thor’s hammer a little bit, that seems like it could be cool down the line.
- “That up there, that’s the endgame.” Sounds kinda familiar, doesn’t it?
- This is the first mention of Wakanda, and the first appearance of Andy Serkis’ Ulysses Klaue, who will appear in Black Panther.
- Hulk’s quinjet goes into space at some point, seeing as it’s present in Thor: Ragnarok, but here it’s said that the signal is lost over the Banda Sea. Initially, the plan was for the signal to be lost in space, but in order to dispel rumors that Marvel was adapting Planet Hulk, Feige had Whedon change this. Of course, Marvel did end up adapting part of Planet Hulk in Ragnarok.
- Holding off on Steve actually saying, “Avengers, assemble” until Endgame will pay dividends.
Anna’s Favorite Scene: That little dinner party scene before things go south is nice, except for the god-awful flirting between Natasha and Bruce, and so is the bit with Tony and Fury in Clint’s barn. “I watched my friends die. You’d think that’d be as bad as it gets, right? Nope. Wasn’t the worst part,” Tony says. To which Fury responds, “The worst part is that you didn’t.” Tony, I am begging you to get a therapist even though your guilt makes for an interesting character. Or Wanda and Clint having a heart-to-heart that inspires her to mess up some bad guys and allows for some self-reflection on Clint’s part.
MCU Ranking: 1. Captain America: The Winter Soldier, 2. Guardians of the Galaxy, 3. The Avengers, 4. Captain America: The First Avenger, 5. Iron Man 3, 6. Iron Man, 7. Thor, 8. Avengers: Age of Ultron, 9. Thor: The Dark World, 10. Iron Man 2, 11. The Incredible Hulk
Avengers: Age of Ultron Trailer