MCU Retrospective: Doctor Strange

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. And we are back to origin stories… 

70/100

A tortured genius, a bit of an asshole, a lot socially inept—I could be describing any number of the characters Benedict Cumberbatch has played throughout his career, but in this particular case I am describing Stephen Strange, first name-dropped in Captain America: The Winter Soldier and now, two years later, making his big screen debut. Yet while Cumberbatch seems destined for the role, and indeed he was the first actor suggested, scheduling conflicts forced Marvel to look at a whole host of other performers, with everyone from Joaquin Phoenix to Matthew McConaughey apparently in the running, as well as future co-stars of Marvel’s upcoming Moon Knight, Oscar Isaac and Ethan Hawke. But, finally, Cumberbatch sealed the deal, cementing his typecast forever.

There’s a reason, though, that Cumberbatch is so well known for playing these rather callous individuals (a trend which started with Sherlock back in 2010)—he’s damn good at it. Stephen Strange, renowned neurosurgeon, is a huge ass. While he seems to have a decent relationship with his colleagues, he regularly touts how superior a surgeon he is (especially to Michael Stuhlbarg—woefully underused here—as Nicodemus West, a minor antagonist to Strange in the comics); he has an obnoxious collection of rotating watches; he turns down patients because he doesn’t want to mess up his perfect record and treats them as experiments rather than people in need of help. His fear of failure and desire to control everything drive him to extremes, so when he gets into a car crash, it’s not exactly heartbreaking.

It kickstarts an existential crisis for Strange, though, who loses the use of his hands—the hands which gave him his livelihood, which vaulted him to excellence—and, in his despair, pushes away the only person who truly cares about him (and his ex), Dr. Christine Palmer (Rachel McAdams), another in the long line of neglected female love interests. Eventually, he sinks so low that he is willing to seek out solutions that come not from science, but magic. Dr. Strange quickly finds his way to the Kamar-Taj in Nepal, where he meets a group of sorcerers led by the Ancient One, played by Tilda Swinton.

Marvel, as in Iron Man 3, tried to sidestep controversy in casting Swinton, and instead wound up stirring it up as they cast a white woman in a role traditionally occupied by a Tibetan man. Doctor Strange’s director, horror veteran Scott Derrickson, avoided casting an Asian actor in an attempt to steer clear of stereotypes, saying, “In this case, the stereotype of [the Ancient One] had to be undone. I wanted it to be a woman, a middle-aged woman. Every iteration of that script played by an Asian woman felt like a Dragon Lady… Who’s the magical, mystical, woman with secrets that could work in this role? I thought Tilda Swinton.” Co-writer (with Derrickson and Jon Spaihts) C. Robert Cargill called the situation “Marvel’s Kobayashi Maru,” referencing the impossible training situation from Star Trek: have a mustachioed Asian man dispensing “Eastern wisdom” to the white man, or have accusations of appropriation thrown your way by casting a non-Asian.

Yet the choice shouldn’t be between stereotypical representation or no representation at all. As Kevin Feige would later admit, “We thought we were being so smart and so cutting-edge. We’re not going to do the cliché of the wizened, old, wise Asian man. But it was a wake up call to say, ‘Well, wait a minute, is there any other way to figure it out? Is there any other way to both not fall into the cliché and cast an Asian actor?’ And the answer to that, of course, is yes.” (That he declines to elaborate on how he would do this now is perhaps an indicator that he only said this to cover up bad PR from years ago, but…)

Casting Swinton also means that Doctor Strange lacks Asian representation aside from Benedict Wong’s character (named, uh, Wong), something that stings when much of the movie builds itself on Westernized Asian “mysticism,” with monks and magic and chakras and no specificity. The white man goes to Asia, ogles at some things, and finds his spirit healed, hooray! Marvel would have similar problems with Netflix’s critically panned Iron Fist, with Finn Jones’ (white) Danny Rand utilizing his Chi to take down (Asian) bad guys, and to a lesser extent in Daredevil, where season two villainous group The Hand consisted of ninjas that had no characteristics except “foreign/Asian” and “scary.” Daredevil actor Peter Shinkoda would even claim that former Marvel Television head Jeph Loeb said, “Nobody cares about Chinese people and Asian people. There were three previous Marvel movies, a trilogy called Blade that was made where Wesley Snipes killed 200 Asians each movie. Nobody gives a shit.” 

(Loeb, it should be noted, reported to Ike Perlmutter rather than Kevin Feige until Marvel Television shut down in 2019, giving all television powers to Feige. It also should be noted that Marvel Television had Marvel’s first Asian superhero with Chloe Bennet’s Daisy Johnson, aka Quake, in Agents of S.H.I.E.L.D., which also featured Ming-Na Wen’s Melinda May as a main character for all seven seasons, and had an Asian co-showrunner in Maurissa Tancharoen, whose brother Kevin helmed some of the series’ best episodes. S.H.I.E.L.D. is where it’s at, folks.)

In the case of Doctor Strange, there is also the small issue that China does not recognize Tibet as a sovereign state, and Marvel didn’t want to lose out on that sweet, sweet Chinese box office. Cargill explained, “[The Ancient One] originates from Tibet, so if you acknowledge that Tibet is a place and that he’s Tibetan, you risk alienating one billion people who think that that’s bullshit and risk the Chinese government going, ‘Hey, you know one of the biggest film-watching countries in the world? We’re not going to show your movie because you decided to get political.’ If we decide to go the other way and cater to China in particular and have him be in Tibet… if you think it’s a good idea to cast a Chinese actress as a Tibetan character, you are out of your damn fool mind and have no idea what the fuck you’re talking about.” This was not the first time Marvel catered to China and the CCP, nor will it be the last.

Read More of Anna’s Ongoing Marvel Retrospective Series Here

The circumstances around Swinton’s casting (and Marvel’s historically abysmal handling of Asian representation) are unfortunate, as she does a stellar job as the Ancient One, conveying all the wisdom of eternity while still maintaining a sense of playfulness that prevents the character from slipping into caricature or tropes. And, of course, she really looks like she could be an ageless, ancient sorcerer with immense power at her fingertips. “You’re a man looking at the world through a keyhole,” she tells Strange, and then opens the door.

What follows is a very trippy sequence involving Strange travelling through outer space, tumbling through different dimensions, and getting dragged to hell by a horde of hands. Up until this point, the MCU has largely tried to ground itself in some kind of implausible plausibility. Even Asgard’s magic was cloaked as science and handwaved away with Arthur C. Clarke quotes, but in Doctor Strange, we dive headfirst into something that cannot be explained with pure science, as much as its titular character would like to think so, and open up innumerable doors within the MCU sandbox. Strange, the ultimate logician, gets pushed so far that he seeks answers outside of the scientific realm he built his life on. It’s an interesting conundrum for a character to find himself in, though he seems to change course quickly enough, which leaves us wanting a bit more emotional turmoil. The revelation that magic exists should entirely upend Strange’s world, but we have a plot to get through, after all, and so after the initial shock of the Ancient One punching Strange’s astral form out of his body, he gets down to work.

Like Ant-Man before it, Doctor Strange has all the elements required for some very kooky shenanigans, yet plays it disappointingly safe. To Doctor Strange’s credit, none of its predecessors have tiny hands swarming around the main character as he tumbles through a strange LSD trip, but it never truly breaks free of the largely uninspiring Marvel visual palette. There’s always the sense that things could and should go even further, even though it certainly breaks new ground for Marvel. But not everything in this universe should just be good for Marvel (though that has certainly satisfied me plenty of times, don’t get me wrong), it should be bold in its own right, and Doctor Strange never quite goes far enough, leaving us only with weak comparisons to Inception and The Matrix.

As Strange throws himself into his sorcerer training, and his old arrogance begins to return, though it’s tempered with a bit more humility this time around. Still, he sees fit to pocket the Eye of Agamotto, a powerful magical object with the ability to reverse the flow of time, for himself. Control freak to the last, it would seem. 

Trouble comes in the form of Kaecilius (Mads Mikkelsen), a former student bearing striking resemblance in personality to Strange. Kaecilius wants to fold Earth into the Dark Dimension (whatever that is) and Dormammu (whoever that is, though he is also played by Benedict Cumberbatch) to give everyone eternal life (through locking everyone in a place without time), which is not the most exciting motivation for Marvel villain—world annihilation is so overdone these days—but it’s Mads Mikkelsen, and that gives a measure of gravitas to the proceedings. But it’s not just a desire to avoid the ravages of time that drives Kaecilius: in a reveal that bears less weight than it should, given that the Dark Dimension means virtually nothing to the audience, it turns out that the Ancient One can be so ancient because she draws on force from the Dark Dimension to extend her life, and Kaecilius wishes to drag her hypocrisy out into the light.

That he does, disillusioning fellow sorcerer Karl Mordo, played superbly by Chiwetel Ejiofor; though Mordo does not have a whole lot to do here, Ejiofor is magnetic, and poised to become one of the more interesting characters in future entries. Mordo is rigid, unyielding, and has no tolerance for the bending or breaking of rules, especially as the Ancient One made herself the only exception.

Kaecilius succeeds in fatally wounding the Ancient One, but before she dies, she and Strange astral project to have one final conversation on a hospital balcony, watching the snow fall. “We don’t get to choose our time. Death is what gives life meaning: to know your days are numbered, your time is short,” the Ancient One tells Strange. It’s a beautiful moment frozen in time, and Tilda Swinton is phenomenal; unfortunately, the Ancient One’s excuse for utilizing the Dark Dimension—“Sometimes one must break the rules in order to serve the greater good”—rings a bit hollow. Perhaps “hollow” isn’t the right word, but I wish her hypocrisy had been explored more, rather than by and large glossed over, as it adds an interesting dimension to the world Strange now inhabits, the Ancient One, and Kaecilius.

With their leader dead, Strange, Wong, and Mordo set out to stop Kaecilius and Dormammu once and for all. The finale to Doctor Strange serves as one of Marvel’s more unique ones: set in Hong Kong, our sorcerer trio have a relatively small-time fight against Kaecilius and a couple of his lackeys, but what sets it apart is Strange’s use of the Eye of Agamotto, which means that the final showdown happens while everyone around the combatants goes backwards in time. It’s a neat trick that allows for more engagement than, say, Avengers: Age of Ultron’s mind-numbing onslaught of robots. The real kicker comes when Strange enters the Dark Dimension to go toe-to-toe with Dormammu—not with his magical prowess, but with his mind. 

The actual logistics of this sequence don’t entirely hold up to scrutiny (mostly because it’s never really established what the Dark Dimension actually is), but Strange annoying Dormammu to defeat via a time loop and endless repetitions of, “Dormammu, I’ve come to bargain” is certainly a first for the MCU, and maybe cinema as a whole. (It even became a meme!) If the rest of Doctor Strange had shown the originality it does in its finale, the film would be among the best. As it is, there are brief flashes of brilliance amidst an otherwise rote Marvel story that pretends to be breaking new ground.

To be fair, origin stories are hard. Marvel is at its best when playing in an already-established sandbox, playing its characters off each other and letting them marinate in their interwoven world, but it’s much harder to come out of the gate swinging when so much of your success relies on crossovers and cameos (if that’s a good thing on a storytelling level, well…); if the MCU is a glorified television show, origin stories are a bit like bottle episodes, and like bottle episodes, they don’t always work. Doctor Strange is far from bad, and indeed has some stellar moments, but it’s not exactly memorable, either, though it should have had every right to be.

Groundwork and stray observations: 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:

  • Well, uh, that’s another Infinity Stone. Cool.
  • Christine Palmer goes by the Night Nurse in the comics, a moniker which goes to the Netflix character Claire Temple in the MCU, portrayed by Rosario Dawson (if we’re still counting the Netflix shows as canon, that is, but with the rumored appearances of Charlie Cox in Spider-Man: No Way Home and Vincent D’Onofrio in Disney+’s Hawkeye, it seems we are).
  • There were rumors flying that one of the potential patients Strange turns down was Captain Marvel, though this turned out not to be the case.
  • “This universe is only one of an infinite number,” the Ancient One says. You could even say that there’s a multiverse of madness out there!

Anna’s Favorite Scene: Strange and the Ancient One conversing on the astral plane while the latter lays dying on an operating table, but runner up is Strange and Kaecilius’ minion duking it out on the astral plane while Christine operates on Strange in reality.

MCU Ranking: 1. Captain America: The Winter Soldier, 2. Captain America: Civil War, 3. Guardians of the Galaxy, 4. The Avengers, 5. Captain America: The First Avenger, 6. Iron Man 3, 7. Iron Man, 8. Doctor Strange, 9. Ant-Man, 10. Thor, 11. Avengers: Age of Ultron, 12. Thor: The Dark World, 13. Iron Man 2, 14. The Incredible Hulk

Doctor Strange Trailer

Doctor Strange is currently available to rent and purchase on most digital storefronts, and is streaming on Disney+.

You can follow more of Anna’s work on LetterboxdTwitterInstagram, and her website.

Toronto International Film Festival 2021 Review: Jockey

Written by Anna Harrison

70/100

Every time you get on a horse, you roll the dice. If it’s a good day, then you listen to each other, you forgive mistakes, you work in tandem; if it’s a bad day, well, you might find yourself with rattled nerves and a few bruises, or in an ambulance, or in a grave. For aging jockey Jackson (Clifton Collins Jr.) in Clint Bentley’s film Jockey, he’s had enough bad days for a lifetime, but while he knows his days are numbered, he refuses to face the fact. He lives in a trailer, he drinks, he smokes, his back has been broken more than once, and his right side occasionally goes numb, but still Jackson gets up before dawn to exercise trainer Ruth’s (Molly Parker) horses, riding and racing until the sun sets and then doing it all again. 

Everything in Jackson’s life has a certain familiarity to it: he’s respected around the Arizona race track he calls home, he has a close relationship with Ruth, his friendship with his fellow jockeys—many of whom are played by real jockeys, in the same vein as Chloé Zhao’s The Rider—is steady and strong. He’s able to ignore his aches and pains and inevitable retirement until a jockey named Gabriel (Moises Arias) shows up, claiming to be Jackson’s son.

Toronto International Film Festival 2021

For being a “horse movie,” there’s remarkably little fanfare about the animals or sport. There’s a slight focus on a new filly Ruth has bought, one which spurs Jackson to get back into top shape and lose extra weight so he can sit light atop the horse. The races are either shown on a grainy TV in the jockey’s locker room or focus only on Jackson’s face, with Collins’ performance (and the amount of dirt hitting his face) letting us know the results. Bentley, the son of a jockey, focuses instead on the riders, avoiding the pageantry and fanfare often associated with racing movies and opting instead for a quieter, more introspective take on the jockeys. 

Though initially hostile to Gabriel, Jackson begins to warm up to him, taking him under his wing and getting him a position with Ruth. There are no big revelatory or overly emotional moments between the potential father/son duo, though their relationship—tentative and halting—remains affecting nonetheless. This forms the emotional cornerstone of the film rather than Jackson’s relationship with the filly or his desires to win a certain race, and so while Jockey is a “horse movie,” it’s a character study for Jackson, and Collins provides ample material to parse with his stunning performance. Though Arias and Parker put in great performances, Collins wins this particular race by several lengths. Jackson’s not unlike the animals he rides: you have to tell a horse when to stop, as Ruth says, or else they’ll just keep running until they give out, and Jackson keeps pushing himself closer and closer to the edge.

It’s nothing particularly groundbreaking—an aging athlete grapples with his physical decline—but it deals with a corner of the world that typically gets the glossy Hollywood treatment, something that Jockey staunchly refuses to do. It treats the athletes and the sport with care, but never glamorizes their situation; they exist on the fringes of the American West, carving out their own existence in the lonely beauty of predawn Arizona racetracks, shot with care by cinematographer Adolpho Veloso. The narrative might be too thin at times, but the mood is rich, and Collins’ performance, all the more powerful for its understatement, makes Jockey a decent bet.

Jockey was screened as part of the Toronto International Film Festival.

You can follow more of Anna’s work on LetterboxdTwitterInstagram, and her website.

Toronto International Film Festival 2021 Review: Violet

Written by Anna Harrison

65/100

Violet’s titular heroine (Olivia Munn) has everything going for her: she’s an attractive and successful Hollywood executive, admired for her talent at choosing scripts and in possession of caring childhood friends, one of whom—named Red (Luke Bracey)—is letting her stay in his multimillion dollar house while Violet’s own multimillion dollar house gets a new kitchen. (Her friends, too, are attractive.) Alas, even for someone like Violet, there’s always “the committee.” “You know,” she tells her friend Lila (Erica Ash), “the voice that tells you you’re a piece of shit.” But in the hands of first-time director Justine Bateman, this voice (embodied by an offscreen Justin Theroux) isn’t just a voice: it’s a bombardment of images of death and decay, a scrawling cursive onscreen displaying Violet’s true desires, a steady crescendo in unsettling music, a red tint that overwhelms the screen at various points in time. 

It’s only through brief hints and flashbacks that we uncover the true source of Violet’s damaging conscience: her mother. Violet allowed her mother’s insults (most especially “you’re a baby,” though why that of all things is the most harmful degradation escapes me) to worm her way into her brain, and even all these years later they persist, snidely telling her to ignore her boss’s (Dennis Boutsikaris) inappropriate comments, to resist telling her friends her problems, and that dating Red would be career suicide as he’s only a lowly screenwriter, despite the fact that Red has been tailor made to be the perfect movie boyfriend; his only flaw is that he isn’t on Violet’s level professionally (apparently). 

Toronto International Film Festival 2021

Bateman’s own extensive experience in the industry lends a credibility to Violet’s interactions with those around her as she navigates the treacherous waters of Hollywood, where even for all the bluster with the #MeToo movement so often deals are made with sex, and so often women have to fight tooth and nail to be thought of as anything other than a hunk of meat. (And so often crew members go unappreciated, something Bateman tries to rectify by showcasing Violet’s crewmembers on camera after the credits roll.) While Bateman never directly calls attention to the gender dynamics at play, their presence can be felt nonetheless: Violet worries about being thought of as a bitch, about being too bossy, about appearing ungrateful, about her weight. It’s a very gendered approach to this issue, but never becomes overly didactic or heavy-handed, which makes it all the more effective.

The voiceover and onscreen written words, however, begin to become a bit too much as Violet goes on. The latter, in particular, begins to drift into college slam poetry night territory, and the metaphors become faux deep, self-satisfied fluff (though I’ve never been one for even good slam poetry in the best of times), but Bateman’s addition of these elements shows a unique voice and willingness to play around with the medium that many first time directors do not possess, so I’m inclined to forgive after an exasperated eye roll. Even if the stylistic choices may not always land, the choices themselves are bold and that’s worth at least some merit, though Munn gives a strong enough performance that she doesn’t even need these gimmicks.

Yet for all the doubt that racks her mind and the self-hatred that she grapples with, Violet seems to work through her issues swiftly enough. There’s no one epiphany for her, but rather a series of little victories that seem to have been won handily, and where Bateman avoided being too on-the-nose with her gender commentary, subtlety gets replaced by kitsch for Violet’s final bridge burning, everything wrapping up a little too neatly and with a little too much #girlbossery. But Violet still shows that Bateman has a strong command of her own voice, this bold but imperfect debut still has plenty going for it.

Violet Clip

Violet was screened as part of the Toronto International Film Festival.

You can follow more of Anna’s work on LetterboxdTwitterInstagram, and her website.

MCU Retrospective: Captain America: Civil War

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. Hey, who took the last donut?

85/100

Thus far, the MCU has done precious little introspection. The arrival of aliens on Earth, the collateral damage our heroes cause, international laws and politics, all of that has been either swept under the rug or acknowledged only with the wave of a hand, but Captain America: Civil War is here to rectify this. Like Captain America: The Winter Soldier before it, Civil War attempts to be a different breed of Marvel film; while the MCU would crumble if it spent too long looking inward and figuring out the mechanics of its world, it can certainly pretend to do so, and pretend well. If you are looking for an erudite, soul-searching movie about the costs of combat, look elsewhere, but for a theme park ride superhero movie, Civil War does a bang-up job of positing some serious problems, even if its answers don’t quite live up to the questions. 

Its title is a bit of a misnomer. Really, it should be Avengers: Civil War, or at the very least Captain America and Iron Man: Civil War, because it’s really a twofer between Chris Evans’ Steve Rogers and Robert Downey Jr.’s Tony Stark. Marketing revolved around “Team Cap” or “Team Iron Man,” and the hype around this movie was perhaps even stronger than for Avengers: Age of Ultron. It was more than just a Captain America movie, it was an event that wouldn’t change just one character, as was the case with most other non-Avengers Marvel efforts, but whose effects would reverberate through the MCU at large.

The Civil War comic only features the barest similarities with its movie counterpart (it relies heavily on the existence of secret identities, which have very little presence in the MCU, and in the aftermath, a brainwashed Sharon Carter kills Captain America and then stabs her own womb to get rid of her unborn child, so there is quite a lot more going on here), but the showdown between Captain America and Iron Man is integral to the plot (this shot from the film is based off this comic cover), and to attempt an adaptation without Iron Man, or to have Iron Man’s presence lessened, would be nigh impossible, yet that was what our favorite interfering overlord Ike Perlmutter sought to do. 

Initially, Tony was going to have a smaller role, but Downey and his team lobbied for a bigger one; this apparently angered the famously frugal Perlmutter so much that he ordered Iron Man to be written out of the script entirely over fears of a ballooning budget. Kevin Feige, hell-bent on making Civil War the spectacle it should be, became so upset that he apparently toyed with quitting, and it was this kerfuffle between Perlmutter and Feige that finally caused Disney CEO Bob Iger to restructure Marvel, shunting Perlmutter to the side and centralizing Feige’s power. This move would ease restrictions on cast and crew, opening the doors for films such as the female-led Captain Marvel and the zany Thor: Ragnarok; since Perlmutter moved and his Creative Committee was disbanded, Marvel has allowed much more creative freedom or has gotten much better at making its talent keep their mouths shut. Either way, it’s hard to view Perlmutter’s departure as anything other than a success—as I have discussed, his outdated and offensive views on gender and race hampered Marvel, and it’s easy to see how (by and large) the MCU has only gotten better since it escaped Perlmutter’s clutches.

Once the dust settled, Robert Downey Jr. emerged with screen time nearly equal to that of Civil War’s titular Captain America, and while this may seem incongruous with the fact that this is supposed to be a Captain America movie, Downey does such tremendous work here, and Tony has such an interesting arc, that it’s hard to be that mad at returning directors Joe and Anthony Russo or Marvel veteran screenwriters Stephen McFeely and Christopher Markus. 

After the catastrophic events of Avengers: Age of Ultron (flying city, hordes of murderbots, etc.), public scrutiny has been turned on the Avengers. It becomes especially critical when what should have been a routine mission in Lagos—aka downtown Atlanta with a yellowish filter slapped over it—goes horribly wrong and winds up killing 23 civilians. This, coupled with a confrontation with a grieving mother (the immensely talented Alfre Woodard, who would go on to play Mariah Dillard in Netflix’s Marvel offering Luke Cage) whose son was killed during the events of Age of Ultron, sends Tony Stark spiraling as his ever-present guilt and self-loathing rear their heads again, and so when Secretary of State Thaddeus Ross (William Hurt, who is the first actor from The Incredible Hulk to reprise his role and prove that Marvel doesn’t want to sweep it entirely under the rug) approaches with the UN-sanctioned Sokovia Accords, which would put the Avengers under the oversight of a UN panel, Tony is the first to sign.

It’s quite a remarkable turnaround from the man in Iron Man 2 who said such things as, “You want my property? You can’t have it!” and “I’ve successfully privatized world peace” at a Senate hearing, yet it fits seamlessly into his arc. The arrival of aliens and the existence of threats such as the Chitauri completely altered Tony’s worldview, saddling him with PTSD and resulting in the creation of Ultron, because Tony believed that no one else would be better equipped to protect the world than himself. When that backfired spectacularly, giving Tony proof that, contrary to what Steve Rogers may believe, the safest hands are not his own, and that he can’t be trusted on his own because everything he touches turns rotten. And, as always with Tony, there’s an intensely personal element to this as well now that Tony has pushed Pepper (Gwyneth Paltrow) away again: “A few years ago I almost lost her so I trashed all my suits. Then we had to mop up Hydra. Then Ultron, my fault. And then, and then, and then. I never stopped. ’Cause the truth is I don’t wanna stop. I don’t wanna lose her. I thought maybe the Accords can split the difference.”

Steve’s ideology, on the other hand, has always been consistent. He is an embodiment of our anxiety over the post-9/11 surveillance state (where Iron Man represents a very different post-9/11 American chutzpah and desire for a swift end for terrorism and safety), and his faith in institutions has understandably grown thin: first he’s a dancing monkey for the United States government, then a pawn for S.H.I.E.L.D., then learns that S.H.I.E.L.D. has secretly been his old enemy Hydra the entire time. Steve has never gone through a true character arc like Tony has, because his strength of moral character is already such that it’s hard for him to improve, and so to make his character dynamic you have to throw him in hot water and place him among those whose moral compasses might be a tad shakier: it was Hydra in Winter Soldier, and here the Accords present the conundrum. Steve refuses to sign, and thus the Avengers’ Civil War begins. To the film’s credit, it really does try to focus on the MCU’s internal politics and lays out decent arguments for both sides of the Accords debate (even though it is ostensibly Captain America’s movie), avoiding condemnation as best it can. 

Read More of Anna’s Ongoing Marvel Retrospective Series Here

The real trouble doesn’t begin until there’s a bombing in Vienna at the signing of the Accords, and everything points to one James Buchanan Barnes (Sebastian Stan) as having been the perpetrator. This prompts a worldwide manhunt: Steve and Sam Wilson (Anthony Mackie) race to get Bucky before the authorities do so Steve can protect his oldest friend, the UN wants to bring him in for questioning, and a certain Prince T’Challa (Chadwick Boseman) of Wakanda wants to kill Bucky as revenge for the explosion that killed his father, T’Chaka (John Kani). There is a very fun chase scene in Romania that involves Steve, Bucky, and T’Challa all handily outstripping the passing cars and Bucky flipping onto a motorcycle in a way that captured the minds of many a teenage girl around the world (myself included), but it ends with the three heroes apprehended by the UN. 

Remarkably, this is the first big action sequence in the film and it doesn’t come until about 45 minutes in, which has got to be a record for Marvel. Civil War is perhaps the least action-heavy MCU entry so far, only having three notable fight scenes (four if you count brainwashed Bucky vs. everyone else), none of which are against more than six people; for being all but an Avengers movie in name, it certainly bucks the trend of fighting innumerable faceless foes, and that’s a welcome change of pace. 

Boseman, of course, nails his introduction as T’Challa. Both he and the character he plays would go on to become revered figures, not only due to the cultural impact of Black Panther finally arriving on the screen, but because T’Challa, through Boseman’s performance, is such a commanding presence from the first: he’s a powerful and regal king, but still a fallible human being battling with grief and a desire for vengeance. His quiet scene with Zemo at the end is a beautiful moment that, despite his little screentime, cements T’Challa as iconic far before the release of his solo movie. “Vengeance has consumed you. It’s consuming them. I’m done letting it consume me.” (And he gets to run fast and beat up fellow superheroes to boot. What’s not to love?)

Back in UN custody, things seem to be going alright—Tony even almost convinces Steve to sign the Accords until he lets slip that he’s keeping Wanda Maximoff (Elizabeth Olsen), the inadvertent creator of the destruction in Lagos, under lock and key with Vision (Paul Bettany) at the Avengers compound—until the psychiatrist assigned to analyze Bucky speaks the trigger words implanted in his brain by Hydra and sics him on the rest of the Avengers after drilling him about a mission report from December 16, 1991. Turns out this psychiatrist is actually Helmut Zemo (Daniel Brühl), a former member of the Sokovian military whose family was killed during Ultron’s attempt to drop a city-meteor on the world in Age of Ultron. Zemo will go on to become a fan favorite in The Falcon and the Winter Soldier, but here he is all cruel and cold calculation setting out to topple the powers that killed his family, and the personal nature of his issues with the Avengers gives his actions more weight than most Marvel villains. He is also the only villain besides Thanos to succeed at his goal. (Of course, the threat of Thanos eventually brings the gang back together again, but Zemo’s villainy certainly has more repercussions than, say, Malekith’s evildoings.)

And topple the Avengers do. Determined to exonerate the last remaining thread connecting him to his old life, Steve goes after Bucky, accompanied by Sam. When Bucky reveals that other genetically enhanced Hydra soldiers exist, Steve assumes that Zemo means to wake them from their cryogenic sleep and use them to destabilize the world’s governments, and so the three set out to stop him. They enlist Wanda, Hawkeye (Jeremy Renner), and Ant-Man (Paul Rudd), but find the path barred by those who supported the Accords: Tony, Rhodey (Don Cheadle), Black Widow (Scarlett Johansson), T’Challa, Vision, and some kid with web shooters called Spider-Man (Tom Holland). 

The ensuing fight in an empty German airport is simply an excuse to show off all the characters’ cool powers and acts as little more than fanservice, though if you’re like me, it’s certainly enjoyable fanservice, though the reasons for its existence are flimsy at best. But Ant-Man becomes Giant-Man, Spider-Man swings around and does backflips, Black Widow and Hawkeye duke it out, et cetera, and it provides a good deal of fun. Marvel has finally gotten their hands back on some of their most valuable IP, dammit, and they’re not going to let it go to waste.

Spider-Man, of course, has a long history on our movie screens, starting with Sam Raimi’s original trilogy in the early 2000s, continuing with two Amazing Spider-Man movies with Andrew Garfield before that endeavor was aborted, and finally winding up here in the MCU proper. Having sold off their rights to Spider-Man before the MCU, Marvel was forced to make do without him at first while Sony continued to try and pump the character for money; with the recency of The Amazing Spider-Man duology (2012 and 2014, respectively), not to mention the Raimi trilogy (Spider-Man 3 was only 2007), it seemed unlikely there would be a third reboot of the character within less than two decades.

That is, until the infamous Sony email hacks from 2014 revealed that… maybe? But then talks broke down and people forgot about it, though some were hopeful that, given Spider-Man’s prevalence in the Civil War comics, he would be a presence in its adaptation. Rumors continued to swirl, though as some rightly pointed out, Civil War the movie could work just fine without Spider-Man. The rumors were tantalizing nonetheless: the MCU had been built off the back of lesser-known heroes, but what would happen when they finally got their hands on Marvel’s most iconic character?

Well, it turns out the speculation didn’t last long, and Sony and Marvel reached a deal to share Spider-Man, with Peter Parker’s first appearance in Captain America: Civil War

The Sony/Marvel relationship has been very contentious, and Sony’s desire to expand into their own Spider-Man universe confuses things immensely. While everything seemed to be going smoothly at first, things broke down in 2019, after Spider-Man: Homecoming and Spider-Man: Far From Home had already come out, and it seemed like Tom Holland’s Spider-Man would be no more, and Peter Parker would be relegated to Sony’s Marvel Universe—not to be confused with the MCU at large—which so far only consists of 2018’s critically panned but financially successful Venom. This caused a brief meltdown among fans (myself included) before another agreement was reached, which pulled Spider-Man back into the MCU, but also allowed him to visit some of Sony’s other offerings. Probably. 

It’s all very vague, but Sony’s upcoming Morbius—which looks just absolutely dreadful—features Michael Keaton’s Vulture, who first appeared in Spider-Man: Homecoming. All in all, it’s a very confusing deal, one which will only continue to muddy the MCU canon upon the release of Morbius and Sony’s upcoming Spidey-related slate. Disney and Marvel’s steady amassing of IP is concerning from an artistic standpoint as they continue their stranglehold on the entertainment industry, subbing recognizable IP for capital-A Art, but, you know… there’s something to be said for simplicity and streamlining. At the very least, some clarity would be appreciated. (Yes, if it must be said, I vote in favor of axing the Sony Spider-Man Universe and folding it all under Marvel and continuing the agonizing death of independent cinema. Yes, a not-insubstantial chunk of this desire is the fact that I do not want certified creep Jared Leto to be in the MCU proper.)

Despite the treacherous road to his MCU debut, Spider-Man shines in Civil War. It helps that Tom Holland actually looks like a high school student, unlike Tobey Maguire or Andrew Garfield, and this Peter Parker radiates a charm that is decidedly boyish in energy. This is just a kid—a very strong and a very smart one, but a kid nonetheless. Even though Spider-Man could have been excised from the Civil War plot with no consequences (he’s really just there because it’s all about increasing that Marvel brand, baby!), his presence gives an infectious jolt of energy to the proceedings and provides a great source of humor in a film that, for Marvel standards, is practically dour. 

But where Spider-Man gets some great moments in Civil War, you know who doesn’t? Sharon Carter (Emily VanCamp). I have previously lamented Sharon’s wasted role in the MCU, and it continues here. Judging from concept art, she was supposed to have been a part of the big airport battle, but in the finished product does exceedingly little. The kiss between her and Steve doesn’t work because Markus and McFeely spent so little time developing Sharon as a person that it reads as a character beat they were forced to hit rather than something that came about organically, so of course fan response would be tepid (at best, and harassment at worst—take a gander through the fandom side of Twitter or Tumblr and you will find some truly vile and downright misogynistic takes about Sharon, though the “stan” corner of the internet is mind-numbing to begin with). And yes, I will continue to pick this bone until it snaps, because it is frankly infuriating. Sharon’s writing in the MCU has been and continues to be lazy, though—as with Winter Soldier—it seems the easiest thing in the world to slot her in on “Team Cap” and give her a more substantial role other than “designated love interest” who gets “strong woman” qualities such as fighting prowess so Marvel can pretend they’ve written a good female character. I will, in fact, stay mad. (If you think this is bad, wait until Avengers: Endgame.)

After the two sides, sans Sharon, fight it out, Steve and Bucky escape to Siberia to catch Zemo and those who didn’t sign the Accords get shipped off to the underwater prison known as The Raft. Rhodey, having been inadvertently injured by Vision, gets over his paraplegia very quickly with the help of fancy Stark technology. The brief disability representation was nice while it lasted, though it never really got started. Tony realizes that Bucky has been framed for the UN bombing, gets Steve and Bucky’s whereabouts from Sam, and goes rogue, ignoring Secretary Ross’s wishes.

Yet when the three of them arrive in Siberia, they discover that Zemo hasn’t let out Bucky’s fellow superhuman assassins. In fact, Zemo has killed them all while they were in cryosleep. He never intended to unleash them on the world, only lure Tony, Steve, and Bucky here so he could end the Avengers that ended his family. “An empire toppled by its enemies can rise again. But one which crumbles from within? That’s dead… forever.” 

But how to topple an empire full of superheroes? You can’t beat them physically, so you appeal to their emotions. Tony has never been entirely emotionally stable even at the best of times, especially when it comes to his latent feelings of guilt and even more so when it concerns his relationship with his parents, and Steve has shown that he’s willing to go to the ends of the earth to protect Bucky, so the revelation that Bucky not only killed Tony’s parents on December 16, 1991, but that Steve purposely withheld this information from Tony, is the perfect storm that throws these unshakeable Avengers into a tailspin. The ultimate showdown isn’t about the Accords themselves, but Tony’s grief over his parents, his guilt over his failure to express his love for them, Steve’s drive to protect the only old friend he has left, and the clash that these conflicting desires cause. 

Civil War is perhaps Marvel’s most personal movie. In the end, it’s just Steve, Bucky, and Tony, duking it out in an abandoned Hydra base in Siberia. That’s about as personal a finale you can get at Marvel, and it anchors the final confrontation in frighteningly understandable human impulse: it’s not the world ending, it’s just yours, and sometimes that can feel even worse. There are no Chitauri or robots, there is no Hydra or Mandarin, just two friends (and a brainwashed assassin) that hurt each other in different ways.

While it certainly makes for an affecting climax, the pivot to an intensely personal battle means that the political nuance that Civil War set itself up for gets left by the wayside: Tony and Steve’s differences on the Accords become forgotten in the wake of the revelation about Tony’s parents, and so any true ethical examination of said Accords gets tabled for another day. Civil War discards that which made it unique in the first place—attempting to address the ramifications of its predecessors—in favor of a more personal approach that, conversely, makes the film more unique than standard MCU fare, so we are at net zero. Both impulses are welcome in the MCU, but perhaps they would have worked better in separate films, rather than one replacing the other. Still, in a somewhat homogenous cinematic universe, you get credit for trying, and Civil War uses its solid performances and character beats to elevate itself to the upper echelons of the MCU.

The effects of Civil War are all but gone after the first act of Avengers: Endgame, and the existence of the Accords has, so far, barely changed a thing about how these heroes operate, but Civil War almost makes the illusion of change real. It certainly affects Avengers: Infinity War, where our heroes’ divisions keep them apart and ensure their loss, but otherwise, while the Accords’ existence makes Civil War one of the more compelling Marvel movies, they remain largely inconsequential. Marvel was never going to seriously examine the political ramifications of its heroes’ existence because the foundations of its universe would collapse, but it was certainly nice to pretend for a while.

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:

  • This marks the first appearance of The Raft, which will pop in and out of the MCU whenever they need a place to store a villain for a while in case Marvel wants to reuse them.
  • Certain Avengers: Endgame set photos sent everyone into a tizzy about how Tony’s B.A.R.F. (binarily augmented retro-framing) technology would come back into play and help the team find hints about the Infinity Stones or whatnot. This did not happen.
  • Natasha says, “You could at least recognize me” when fighting Bucky, leading some fans to speculate that future MCU movies could expand on their relationship—in the comics, they have a storied romantic history that begins when Natasha was first in the Red Room and Bucky was brainwashed by the KGB—but alas, this never happened, and so Natasha was only referencing The Winter Soldier. If Marvel had gone down this route, though, it would have been easy to elaborate on this.
  • It’s hard to think of specific groundwork/easter eggs when the whole movie is basically setting up what’s to come: it introduces Black Panther and Wakanda, Spider-Man, Everett Ross (Martin Freeman), reintroduces Thunderbolt Ross (no relation to Everett), splits the Avengers for Avengers: Infinity War, sends half of the team on the run, etc. There aren’t that many offhand references to things that will come down the line: they’re all in plain sight.

Anna’s Favorite Scene: “Can you move your seat up?” “No.” That’s not really a whole scene, though, just a couple lines, so my favorite scene might be T’Challa stopping Zemo from killing himself. It wonderfully encapsulates T’Challa’s arc in this movie, and is an affecting and quiet moment before the big Cap vs. Iron Man beatdown.

MCU Ranking: 1. Captain America: The Winter Soldier, 2. Captain America: Civil War, 3. Guardians of the Galaxy, 4. The Avengers, 5. Captain America: The First Avenger, 6. Iron Man 3, 7. Iron Man, 8. Ant-Man, 9. Thor, 10. Avengers: Age of Ultron, 11. Thor: The Dark World, 12. Iron Man 2, 13. The Incredible Hulk

Captain America: Civil War Trailer

Captain America: Civil War is currently available to rent and purchase on most digital storefronts, and is streaming on Disney+.

You can follow more of Anna’s work on LetterboxdTwitterInstagram, and her website.

Shang-Chi and the Legend of the Ten Rings

Written by Anna Harrison

75/100

Shang-Chi and the Legend of the Ten Rings, as Marvel’s first introductory story since Avengers: Endgame, has a lot riding on it. The Avengers we know and love are slowly fading out, and now Marvel has to fill the rosters with newcomers and hope audiences latch onto them the same way they did Iron Man and Captain America; plus, as Marvel’s first Asian-led film, the heavy baggage of representation also rests on Shang-Chi’s shoulders. The film neatly emerges from Marvel’s sleek assembly line, yet this time, under director Destin Daniel Cretton’s sure hands (and helped by a beautiful score by Joel P. West, who bucks the tradition of forgettable Marvel melodies in favor of more memorable motifs), it feels a little fresher, a little bolder, and shows that Marvel might be slowly eking towards something a little bit braver as it begins (somewhat) afresh in Phase Four.

It helps, of course, if you have one of the world’s greatest living actors in your movie. Shang-Chi and the Legend of the Ten Rings opens with Tony Leung’s Wenwu single-handedly decimating an army with no weapon other than the ten rings that adorn his arms. Wenwu is the MCU’s new Mandarin (old, technically, since he’s been around for a thousand years) as Marvel handwaves away Guy Pearce’s Aldrich Killian in Iron Man 3 and gives the power behind the Ten Rings a new name in the process—and a good thing, too, considering the original Mandarin from the comics was steeped in racist caricatures and preyed on yellow peril, something that Iron Man 3 tried to lampshade with varying degrees of success. (“He didn’t know my actual name. He invented a new one,” Wenwu says of Killian. “He gave me the name of a chicken dish. It worked. America was afraid of an orange.”)

An expository voiceover reveals that Wenwu had used the power of the Ten Rings to gather power for more than a thousand years until the day he met his match, Ying Li (Fala Chen). Through the sensual power of Tony Leung’s eyes and wuxia-inspired fight scenes, Wenwu and Ying Li fall in love, and both of them abandon their old lives to start a family. While this beginning is certainly exposition-heavy, the lushness of the scenery and grace of the choreography pave the way for what’s to come, and Leung radiates an intense, quiet charisma (though Chen ably holds her own as well).

Read Anna’s Ongoing Marvel Retrospective Series

While Tony Leung’s name may not be ubiquitous in the West, his legendary status in Asia is most decidedly well-earned, and his presence as villain Wenwu elevates every scene he appears in; as Simu Liu, the titular Shang-Chi, told GQ, “[Leung is] Leonardo DiCaprio, Marlon Brando, Brad Pitt, George Clooney, all rolled up into one.” Marvel has a talent for racking up, well, talent, but even among peers such as Sir Anthony Hopkins and Glenn Close, Leung stands out, and not just because I’ve nursed a massive crush on him since I first saw In the Mood for Love in my intro to film class, though that certainly has made me biased.

So it stands to reason that the children of these two powerful warriors would be poised for greatness, right? Well, maybe not. After the death of Jiang Li, Wenwu slipped back into his terrorist ways, driving away son Shang-Chi and daughter Xialing (Meng’er Zhang) in the process; when we first lay eyes on adult Shang-Chi, he’s working as a valet in San Francisco and going by the Anglicized “Shaun,” and he and his friend Katy (Awkwafina) spend their free time getting wasted in karaoke bars. Soon enough, though, his father has roped Shang-Chi and Xialing back into the world of the Ten Rings.

Shang-Chi is at its best when exploring the fractured family dynamics whose effects have continued to ripple out even years after Jiang Li’s death: Shang-Chi ran away, preferring to bury the pain of his past, and Wenwu relapsed into his life of crime and murder, but both abandoned Xialing, whose icy exterior developed as a way of protecting herself from further abandonment. The moments where they come face-to-face with each other and are forced to grapple with their own failings are among the film’s strongest, and again Leung excels in a role that could have easily been one-note in the hands of a lesser performer. Though Wenwu sends assassins after his children and locks them in prison, and Leung delivers his lines with a cool cruelty, at his core, Wenwu is a tragic, heartbroken romantic, the only peace in his life having shattered with Jiang Li’s death. There is perhaps no one better at forlorn love than Leung, and though his younger co-stars are all capable and admirable performers, Leung acts circles around them (which is more a testament to his skills than a dig at the others; Zhang in particular is a standout).

The movie stutters as it enters its exposition-laden third act and introduces an entirely new threat which fails to completely mesh with the earlier portions of the film. Still, even as the typical Marvel CGI finale ensues, said finale stands apart from its brethren, as do the rest of Shang-Chi’s fight sequences, due to its stellar fight choreography (and, uh, the fact that there’s a dragon…). The late Brad Allan, a member of the Jackie Chan Stunt Team and stunt choreographer here, puts in the work, and the results are eye-popping fights whose use of martial arts gives them a kinetic energy that Marvel fights often lack.

Even with its stumbles, Shang-Chi ultimately finds its balance and opens up an entirely new side of the Marvel universe. Aside from a few fun but non-vital cameos, Shang-Chi largely exists within its own sphere, and so is not beholden to the larger mythos at play; instead, it crafts its own, and lets the MCU creep out a bit from its hyper-American roots. Its majority-Asian cast is both welcome and overdue (and especially relevant with the recent spike in anti-Asian hate crimes), and while Shang-Chi may not feel entirely like a breath of fresh air, it’s at least a nice breeze to cool you off.

Shang-Chi and the Legend of the Ten Rings Trailer

Shang-Chi and the Legend of the Ten Rings is currently out in theaters.

You can follow more of Anna’s work on LetterboxdTwitterInstagram, and her website.

MCU Retrospective: Ant-Man

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. Ants!

70/100

Avengers: Age of Ultron was an ambitious, scrawling, sprawling mess, so worried with setting up the future MCU that it left its own plot to limp along. Ant-Man, on the other hand, switches gears, introducing a new cast and a new story, one that is largely self-contained outside of cameos from the likes of John Slattery, Hayley Atwell, and Anthony Mackie, and it’s a breath of fresh air after Age of Ultron’s world-ending robot hordes. 

Yet for being such a breezy flick to watch, Ant-Man had a laborious birth. Edgar Wright was attached to an Ant-Man film as far back as 2006, though it was put on the backburner as Marvel began its plans for what would become the MCU proper and the leadup to The Avengers. In 2012, things finally got rolling: Wright shot some test footage, and by 2013 a script was ready. Casting soon became locked and loaded, but Marvel kept pushing back on the script; eventually, they even commissioned some in-house writers for rewrites without Wright’s knowledge, and this finally drove Wright away only two months before filming was supposed to begin.

“I think the most diplomatic answer is I wanted to make a Marvel movie but I don’t think they really wanted to make an Edgar Wright movie,” Wright said of the whole debacle. His firing is one of the nastier stories from the Creative Committee era; you can’t help but wonder what Wright’s film might have been like had he been given more creative freedom. Now free of Ike Perlmutter and his ilk, Marvel generally allows directors more creative control (to an extent, of course): Thor: Ragnarok very much feels like a Taika Waititi movie, just one with more action and starring the god of thunder, and Eternals is shaping up to closely resemble Chloé Zhao’s other directorial efforts, at least as much as a Marvel film can. Perhaps a post-Creative Committee Marvel would have been more willing to let Wright make an “Edgar Wright movie,” but who knows. (It would certainly make a great What If…? episode.)

Now with Ant-Man sans a director, Marvel had to scramble to find a replacement, courting directors such as David Wain, Ruben Fleischer, and Adam McKay before settling on Peyton Reed, previously a contender for the Guardians of the Galaxy gig. (McKay withdrew his name from directing consideration but helped out with the script enough to get a screenplay credit; he and Paul Rudd—also credited—used large chunks of Wright and Joe Cornish’s script, tweaking here and there but keeping roughly the same outline.)

Despite all the hullabaloo that occurred before shooting, the shoot itself was relatively smooth, and the finished product blends nicely into the rest of the MCU while still having enough merits on its own to make it a worthwhile, if slight, watch. It’s certainly a nice palette cleanser after Age of Ultron and gives everyone a bit of breathing room before the fisticuffs of Captain America: Civil War, the film which will kick off Phase Three.

In Ant-Man, our hero is just a dude: he’s Paul Rudd, America’s most likable everyman, funny and ageless but still a relatable guy. Scott Lang might have a master’s in electrical engineering, but he has to grind like everyone else. He’s not an uber-wealthy playboy, a genetically engineered super soldier, or a god from outer space. He’s… just a dude.

Well, not entirely. After blowing the whistle on embezzlement at his previous job, Scott hacked into his company’s bank account and distributed the money back to the customers, eventually getting arrested for his good deeds. Now out of prison and determined the walk the straight and narrow, he struggles to hold down even a job at Baskin-Robbins and is unable to see his daughter, Cassie (Abby Ryder Forston), as he can’t make the child support payments he owes his ex-wife, Maggie (Judy Greer). Parts of his backstory—the kid, the ex-wife, the struggle to provide for himself and his family—may be more relatable than, say, the playing Robin Hood and getting thrown in prison part, but Rudd’s charming presence makes it easy to pretend that a Scott Lang could be among us. After all, at his core, he’s just a man trying to be better for his family.

However, Scott quickly backslides and gets roped into a get-rich-quick heist as he becomes desperate to find a way to make his child support payments so he can visit his daughter. He joins ex-con and friend Luis (Michael Peña), along with Kurt (David Dastmalchian, who should be in everything) and Dave (T.I., as in the rapper, who should not be in everything with all his recent sexual assault accusations), and the four set out to steal from an unknown man’s safe while he’s out of town. There, Scott finds nothing but an odd motorcycle suit, which he takes home. 

Well, it turns out that motorcycle suit allows Scott to shrink to the size of an ant, and was purposely planted by Hank Pym (Michael Douglas) for Scott to find. Hank, it turns out, was the first superhero known as Ant-Man (in the comics, Hank is also the creator of Ultron, a role which was given to Tony in the MCU), and he’s been looking for someone to pass the mantle to so he can take down his rogue protégé Darren Cross (Corey Stoll). That someone happens to be Scott. 

Read More of Anna’s Ongoing Marvel Retrospective Series Here

Why Scott? There are the burglary credentials, of course, but there is also Hank’s desire to live vicariously through Scott. Hank too has a daughter, Hope (Evangeline Lilly), though their relationship has become frosty ever since the death of Hope’s mother, Janet, and Hank seems to believe that if he can help Scott redeem his relationship with Cassie, then Hank can salvage his relationship with Hope. The father and daughter relationships in Ant-Man drive the film—specifically, the sins of the father—as both Scott and Hank try to live up to what they should be so they can have their daughters look at them with pride and love once more, though the order is taller for Hank, who has isolated himself from his daughter for nearly 20 years and all but driven her away completely.

Other than the Thor franchise, few other Marvel films have such a focus on family, and the complicated dynamics at play here elevate the character relationships in the film. The “overprotective parent (usually a father) wants to shield their child (usually a daughter) from the world so they inadvertently stifle them” trope has been done a thousand times before, but Douglas and Lilly do excellent work here and make Hank and Hope’s relationship more than the sum of its stereotypes. 

While Scott and Cassie’s relationship can’t have quite the same depth (she is a small child, after all), Cassie is just so damn cute that you might want to end up adopting her, and her presence succeeds in grounding Scott the way Whedon wished Hawkeye’s nameless spawn would have in Age of Ultron. Cassie isn’t just some random child inserted so we feel empathy for a character, she has a personality and plot function in her own right, and as a result this MCU family is one we actually care about. Take notes, Joss! (Also, as far as I know, Peyton Reed is a decent guy, so maybe take notes on that too, Joss…)

Hope, of course, will join Ant-Man as a titular character in her next film, Ant-Man and the Wasp, as the stinger at the end (pun intended) hints at. As she very rightly points out to her father in this Ant-Man, she has all the skills necessary to stop Cross from selling the Ant-Man technology to Hydra, yet her father won’t entrust her to do so. Finally trying to rectify the pain he caused his daughter, Hank eventually reveals the truth about Hope’s mom: Janet had been a compatriot known as the Wasp and, in order to stop a Soviet missile in 1987, had to go “subatomic,” meaning she was lost forever to the Quantum Realm (aka the microverse, but Marvel can’t say that for legal reasons, because nothing’s ever easy when you sold off a bunch of your IP to keep your company afloat), and so he never wanted his daughter to risk befalling the same fate. Now that she understands the reason behind Hank’s overprotective nature, Hope manages to forgive him.

Of course, as the sole female of the movie, Hope was bound to become romantically entangled with Scott, though this movie is more setup than payoff. And, to the movie’s credit, Hope stands far better on her own two feet than most other Marvel love interests, and she has relationships that are important to the plot other than the one she shares with Scott. Hope stands nearly side by side with our titular hero in Ant-Man and has her own grand ambitions outside of him, so it’s no surprise that she gets co-billing the next time around. It’s certainly a step in the right direction, even if Evangeline Lilly’s wig strains believability in certain scenes. 

But, of course, it’s not Ant-Man and the Wasp yet, so Hope stays largely on the sidelines of the action as everyone prepares to stop Cross. Like Captain America: The Winter Soldier before it, Ant-Man attempts to cross genres, but where Winter Soldier went for political thriller, Ant-Man goes for heist movie, and the results aren’t as grand or elaborate as an Ocean’s Eleven, but they’re fun sojourns nonetheless (though why you wouldn’t go as balls to the wall as possible with your heists when your hero can control ants and get up to all sorts of shenanigans is beyond me).

The inevitable Ant-Man vs. Cross-in-the-Yellowjacket-suit showdown that we march towards is bolstered by the fact that it involves two men who can shrink to the size of insects, which results in some great set pieces and one excellent Siri joke. While he doesn’t play an overly memorable villain, Corey Stoll is quite good at creating a manic glint in his eye, and it’s enjoyable enough to watch his sanity slowly slip. (Does that make me sound psychopathic?) Gone are the masses of indistinguishable bad guys from the two Avengers movies so far; instead, we have two grown men running around a Thomas the Tank Engine playset, the life and death stakes with which they battle looking pretty meager when the camera zooms out and all we see is poor Thomas quietly falling off his tracks, accompanied by some pitiful sparks. The MCU has, historically, not been known for its creative fight sequences, so Ant-Man’s playful action provides an excellent dose of fun and makes full use of its hero’s unique and rather bizarre superpowers.

That said, Ant-Man is certainly not the most memorable Marvel movie, and falls pretty squarely in the middle. It’s certainly a good deal tighter than Age of Ultron’s unwieldy mess and the burgeoning relationship between Scott and Hope has more going for it than, say, Natasha and Bruce’s ogling of each other, but you’d be forgiven if you don’t remember specific plot details from the movie. This review isn’t as long as the others for a reason: there’s just not as much to discuss.

Ant-Man is perhaps the best example of your typical Marvel movie post-Phase One: it’s inoffensive fun bolstered by a game cast (Peña provides some of the best humor in the MCU) and an easy way to spend an afternoon. Like, really, it is a whole lot of fun. Marvel has finally become a well-oiled machine, and so Ant-Man comes off the assembly line ready to drive exactly how you expected (and how you like), but it’s not going to be winning races anytime soon. (Is that how car metaphors work? I don’t know.) For some, that’s an indication that Marvel is too stale, that it lacks creativity and too often plays it safe. And to a certain extent, that’s true: they’ve found a formula and they’ve stuck to it. But for others, that formula works even when it’s not firing on all cylinders, and maybe that’s enough. 

If that’s good for movies as a whole, well, let’s wait until Avengers: Endgame to unpack Marvel’s prickly cinematic legacy.

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:

  • “Tales to astonish!” Cross says at one point, mocking the tales of Hank Pym’s time as Ant-Man. Tales to Astonish was the comic series that introduced Ant-Man. Not groundwork, but fun.
  • If Scott returned from the Quantum Realm/going subatomic, it stands to reason that the presumed-dead Janet van Dyne could too, no? And we see a shape that looks suspiciously like the Wasp while Scott’s in the Quantum Realm.
  • In the comics, Cassie Lang becomes the superhero known as Stature. With the casting of Kathryn Newton as an older Cassie Lang, it seems inevitable that Stature (and the Young Avengers) will soon make her MCU debut. (Kathryn Newton has consistently rubbed me the wrong way as a performer, and it was shitty of Marvel to recast Emma Fuhrmann—the older Cassie in Endgamewithout telling her. But I should withhold judgement until Ant-Man and the Wasp: Quantumania… I guess.)
  • Hank talks about how he never wants his work falling back into the hands of a Stark. Well, I hate to break it to you, buddy, but… that’s exactly what’s gonna happen in Endgame
  • There was a whole theory that the TVA in Loki was actually located in the Quantum Realm. Technically that hasn’t been disproven yet, but it seems unlikely. Still… 

Anna’s Favorite Scene: The Falcon vs. Ant-Man. The cameo is brief enough not to overshadow everyone else in the movie and keeps the MCU connected even when it’s not an Avengers movie, plus it’s funny to watch Sam get dragged around a bit.

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. Ant-Man, 8. Thor, 9. Avengers: Age of Ultron, 10. Thor: The Dark World, 11. Iron Man 2, 12. The Incredible Hulk

Ant-Man Trailer

Ant-Man is currently available to rent and purchase on most digital storefronts, and is streaming on Disney+.

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