MCU Retrospective: Avengers: Endgame

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. If you heard me crying in the theater every time I watched this, no you didn’t.

80/100

Seeing Avengers: Endgame in theaters was akin to a religious experience (or at least I would imagine, having never had a religious experience myself), but with crowds much rowdier than most congregations: there were cheers, there were gasps, there was a hefty dose crying, there was a palpable sense of excitement and tension that pervaded movie theaters across the globe. Every emotional beat landed, every fan service moment hit just the right notes, every music swell struck the right chords. If The Avengers and Avengers: Infinity War were big, they were nothing—nothing—compared to this. 

Upon retrospection, some—but certainly not all—of that midnight opening magic has waned, as we look back now upon what was ultimately a very large speed bump for the MCU, which took only a slight breather before barreling forwards again. But, like Infinity War before it, like The Avengers before that and Iron Man before that, the fact that Endgame succeeds at all is astonishing. How do you properly conclude a 22-movie arc? How do you end a franchise that has reshaped the very fabric of pop culture?

Well, the real answer is, you don’t—you just keep making movies. But even though the MCU has continued on, Endgame still serves as a monumental, well, endgame, wrapping up loose threads, bidding emotional farewells, and finally letting all those years of buildup pay off.

Structurally speaking, Endgame is much neater than Infinity War, helped, of course, by the fact that nearly every character except the original Avengers and a handful of others got turned to dust by Thanos (Josh Brolin). The latter cut between disparate storylines, and even by the end not all of them had collided; Endgame, on the other hand, clearly divides itself into three acts, each with a proper beginning, middle, and end, and despite its lengthy runtime, this tactic helps the movie go by swiftly.

Act one neatly continues the tone from the end of Infinity War. In other words, it’s bleak. Though its opening should ostensibly be cheery, there is a sense of unease as Clint Barton (Jeremy Renner), on house arrest from the events of Captain America: Civil War, teaches his daughter (Ava Russo, daughter of director Joe and niece of other director Anthony) how to shoot a bow and arrow while his wife, Laura (Linda Cardellini), prepares hot dogs and his other sons play catch. It’s a scene of domestic bliss, but as grizzled survivors of Infinity War, we the audience know better than to trust a scene of happiness, and so the tension continues to mount until the inevitable happens: Clint’s entire family gets dusted. That this is predictable makes it no less harrowing, and so that pit in the stomach, so familiar from Infinity War, settles back in for the ride.

Meanwhile, Tony Stark (Robert Downey Jr.) and Nebula (Karen Gillan), the lone survivors from the battle on the planet Titan, become stranded in space, and we get the first inkling of how important Nebula will become to the film. After all, not everyone is important enough to play paper football in space with Iron Man himself, and even within this brief scene we begin to see Nebula thaw as the two try to cope with their losses by flicking wads of paper at each other. (Nebula’s reaction to being told that she won is perfect: shock and disbelief, then pride, as she’s never won a thing in her life, especially not when compared to her recently-deceased sister, Zoe Saldana’s Gamora.) Yet soon the oxygen runs out, and things look even darker as Tony and Nebula stare down imminent death. Even Tony barely has any snark left in him.

Luckily, Carol Danvers (Brie Larson) shows up to save them and take them to Earth, where they reunite with the remnants: Natasha (Scarlett Johansson), Thor (Chris Hemsworth), Bruce (Mark Ruffalo), Pepper (Gwyneth Paltrow), Rhodey (Don Cheadle), Rocket Raccoon (Bradley Cooper), and Steve (Chris Evans), who has shaved his glorious beard in a blow to straight women with taste everywhere. The opening two scenes had little dialogue, instead letting mood take precedence; here, when Steve and Tony come face-to-face for the first time since they nearly killed each other in Captain America: Civil War, that silence swiftly breaks. While at first it seems like the events of the past few days may have rectified the yawning gap between the two, soon Tony, looking absolutely terrible and horribly malnourished, lays into Cap: “What we needed was a suit of armor around the world. Remember that? Whether it impacted our precious freedoms or not, that’s what we needed… I said we’d lose. You said, ‘We’ll do that together too.’ Guess what, Cap? We lost, and you weren’t there. But that’s what we do, right? Our best work after the fact? We’re the Avengers, not the Pre-vengers, right?” Though the Avengers are finally back together, Infinity War has only widened the chinks in their armor. While Steve puts on a brave face, this is the most desperate we’ve ever seen Tony, and it’s most certainly the weakest he’s ever looked; Downey Jr. gives a fine performance of a man well past the end of his rope.

But even with the gulf between the Avengers, they manage to band together to track down Thanos and the Stones in an attempt to reverse the Snap. Yet Thanos, as established in Infinity War, isn’t just psychopathic for the sake of being psychopathic: he truly believes in his mission, and he knows the Infinity Stones could cause temptation for beings lesser than him, so he has destroyed the Stones, thus destroying the Avengers’ chance at bringing everyone back. 

When asked by Stephen Strange (Benedict Cumberbatch) in Infinity War what he will do once he accomplishes his goal, Thanos says, “I finally rest, and watch the sun rise on a grateful universe.” That’s how Infinity War ends, and that’s how we find our villain in Endgame. Driven to a rage fueled by the decimation of his homeworld, the death of his brother, and the culling of his people, Thor goes for the head this time, and with a splatter of blood and a quiet thunk as his head hits the floor, Thanos dies before the title ever flashes on screen. Yet it’s a hollow victory, because our heroes have well and truly lost. If the end of Infinity War was bleak, the beginning of Endgame is worse. 

Cut to five years later, and the Avengers have scattered. Only two remain at the Avengers Compound: Steve leads a therapy group (featuring cameos from Joe Russo and Jim Starlin, the creator of Thanos) and Natasha gathers intelligence from their allies scattered across the universe, including Rocket, Carol, Rhodey, and Okoye (Danai Gurira). Even if things might bear a slight resemblance to normalcy, it’s clear that grief has a stranglehold on everyone. So when Scott Lang (Paul Rudd) shows up when he was presumed snapped, suddenly there is a glimmer of hope. 

Scott, it turns out, wasn’t snapped (as you know if you watched the post-credits scene in Ant-Man and the Wasp), just trapped in the Quantum Realm until a fortuitous rat crawled over the right buttons in his van. Yet while five years passed in the outside world, only five minutes passed in the Quantum Realm, and through the power of some Quantum technobabble, Scott theorizes that time travel could be possible, meaning they could gather the Stones and undo the Snap. The trio brings this theory to Tony, who has retired to a cabin in the woods with Pepper and their new daughter, Morgan (Lexi Rabe), who is quite possibly the cutest, most precocious child to have ever existed. However, Tony has no interest in what they’re selling: he’s failed at saving the universe already, so best to focus on protecting what’s right in front of him. “I got my second chance right here, Cap,” he says.

So instead the team seeks out the next best scientist they know: Bruce Banner, who has come to terms with his Hulk half, becoming what is known as “Professor Hulk” (or “Smart Hulk,” take your pick), which merges Banner’s brain with Hulk’s body. There’s no real explanation for this (though there was a deleted scene about it), though it’s an innocuous enough development that seems to finally end the Banner vs. Hulk war that has been raging since 2008… at least, until Bruce shows up in Shang-Chi and the Legend of the Ten Rings looking one hundred percent human. But in Endgame, at least, there’s no drama surrounding Hulk’s destructive tendencies or the agony Bruce feels about his alter ego, so instead we watch Mark Ruffalo go around in an advanced Shrek cosplay, and luckily Bruce acting like a bit of a stoner and dabbing (no pun intended) with some fans (played by more Russo relations) is a fun enough time.

Unfortunately, Bruce can’t quite crack time travel, resulting in some very fun shenanigans with Scott turning into a teen, an old man, and then a baby. Back in his cabin, though, Tony figures it out, and finds himself torn between the idyllic life he leads and throwing himself back into the fray. “Something tells me that I should put it in a locked box and drop it at the bottom of the lake and go to bed,” he tells Pepper. But Pepper knows him; she knows the weight of that guilt would hang over his head forever, and she knows that he’s really only bringing it up so she can tell him that it’s okay. “But would you be able to rest?” she replies. It’s a brief moment of dialogue, but it perfectly encapsulates why Pepper and Tony work together in a way that precious few MCU couples do: they know each other inside and out, they have from even the first Iron Man, and weren’t simply thrown together because the MCU overlords dictated that the two main hot people of the opposite sex must bone. And so Tony returns to the Avengers Compound and gets to work.

Rhodey, Nebula, and Rocket also arrive to help out, and soon Bruce and Rocket go off to find Thor, who has not been doing so hot; in fact, he’s become a fat, depressed alcoholic who has locked himself in his cabin on New Asgard (aka Tønsberg, a town seen in Captain America: The First Avenger, Thor, and Thor: Ragnarok), the place where the few remaining Asgardians have resettled, to play Fortnite and yell at a teenaged player styling himself “NoobMaster69.” 

In a film series full of some very attractive people, Chris Hemsworth has always stood out—or, at least, he’s had the most shirtless scenes, including this entirely unnecessary, frankly bizarre scene from Thor: The Dark World that exists only to show off Hemsworth’s glistening pectorals. To see him in a fat suit with tangled, unkempt hair and a tangled, unkempt beard is thoroughly shocking. “Fat Thor” tries to strike a balance it cannot always achieve: Thor’s slovenly ways are clearly positioned as funny (and often are), but underneath is a very raw anguish he is attempting to hide through booze and online gaming. Hemsworth, as in Infinity War, proves his dramatic chops here as he lets Thor’s self-hatred at his failings seep through: “Now I know that… guy might scare you,” Bruce begins, talking about Thanos. “Why would I be…? Why would I be scared of that guy? I’m the one who killed that guy, remember?” Thor scoffs, but he’s on the verge of tears as he says it. He dismisses Bruce’s request for help, saying, “Why don’t you ask the Asgardians down there how much my help is worth? The ones that are left, anyway.” Yet this powerful commentary on grief and the strength of Hemsworth’s performance occasionally gets lost underneath the surface-level jokes about Thor’s weight and unhealthy drinking habits (though Tony calling him “Lebowski” is pretty damn funny, to be fair); Thor is at his best in Endgame when we’re allowed to see glimpses of the simmering anger lurking underneath that he’s been trying to drown in beer, but that’s not always the case—he’s played just a little too often for laughs for his depression to be as effective as it could be. Case in point: Thor only agrees to return to the Avengers Compound when Rocket tells him there will be beer there.

Natasha, meanwhile, has gone off to find Clint Barton, who has gone on a killing spree against any sort of ne’er-do-well that survived the Snap, including the Yakuza, in an effort to bring (what he sees as) justice to a world without it. He re-enters the movie through a single take fight scene along the streets of Tokyo, culminating in a standoff against legendary actor Hiroyuki Sanada, who gets nearly nothing to do before Clint slices his throat. It’s a far cry from the family man we got in the first scene: he’s shaved part of his hair, he’s wearing a hood, he’s got a tattoo sleeve now, he’s edgy as all hell. Though no one ever calls him this, Clint’s new style has clearly taken inspiration from his Ronin persona from the comics, and while it’s brutal and a bit weird, it is an interesting path to take an otherwise largely unnoteworthy character from the MCU (at least when compared with his peers). Grief changes people, man.

So now we have now gathered all of our Avengers. Thus act two starts, and here the movie begins to get a little messy, as time travel flicks often do. 

The plan: go back in time and grab each of the Infinity Stones, regroup, and re-Snap. (During the planning sequence, there is an excellent bit of meta humor: when Thor explains the plot of The Dark World and the Reality Stone’s involvement in it, most people start to nod off or look utterly confused. Scott, meanwhile, has no idea what’s happening and is just happy to be involved, bless him.)

The team is split into four: Steve, Scott, Tony, and Bruce go to 2012 New York to nab the Mind Stone (from Loki’s (Tom Hiddleston) scepter), the Space Stone (from the Tesseract in S.H.I.E.LD.’s possession), and and the Time Stone (from the Sorcerer Supreme on Bleecker Street). Rhodey and Nebula go to the planet Morag in 2014 to get the Power Stone and Natasha and Clint go to Vormir to get the Soul Stone, not knowing the sacrifice they will have to make. Thor and Rocket, meanwhile, go to Asgard in 2013 to get the Reality Stone, aka the Aether.

For such a gargantuan movie, Endgame is quiet: the first act saw almost no action, and what action was there did not elicit any fist pumps, the way Marvel action sequences are so often designed to do; act two also sees very little fight scenes, instead bouncing characters off each other in their small groups, focusing less on action and more on problem-solving. While there is good character work here, act two also serves as an excuse to make Marvel’s “Greatest Hits” album and poke good-natured fun at their lesser efforts; it’s almost entirely fanservice, but fanservice that feels well-earned after 11 years of movies, even if it is a little self-congratulatory. To those who have been there since the beginning, your indulgent overlords are here to reward you with easter eggs filled with tasty morsels.

Track number one: The Avengers. As Steve, Scott, Tony, and Bruce arrive in 2012 New York, we get glimpses of Loki, secret Hydra agent Rumlow (Frank Grillo), and Secretary of S.H.I.E.L.D. and Hydra head Alexander Pierce (Robert Redford). Steve, after being objectified by both Tony and Scott, even gets to fight his own 2012, stick-up-the-ass, mischaracterized self so he can grab the Mind Stone, successfully distracting 2012-Steve by telling him that Bucky (Sebastian Stan) lives. (“That is America’s ass,” he proclaims knocking his doppelgänger out.) Bruce goes to find the Time Stone, but instead of running into Stephen Strange, he finds Tilda Swinton’s Ancient One, back for a cameo which forces us once again to question if Swinton is completely human (meant as a compliment). While Bruce gets the Time Stone, a Hulk-sized kerfuffle occurs that ends with Loki escaping with the Tesseract so his mischievous adventures can continue in his own TV show. 

To remedy this, Tony and Steve travel back to Camp Lehigh (where Steve trained as Captain America and where he returned in Captain America: The Winter Soldier) in the 1970s, at a previous point in time where the Tesseract could be easily reached. Tony runs into his father, Howard (John Slattery), and finally comes to terms with his daddy issues, though their interaction leaves Howard a bit confused; we also glimpse a de-aged Michael Douglas as Hank Pym, with peeks at an old-school Ant-Man helmet. Steve stares at Peggy Carter (Hayley Atwell) through a window, but more on that later. They get the Tesseract easy peasy, and their interactions within this block with the people they’ve lost are poignant and affecting; it’s not all time travel jargon and discussion of Infinity Stones.

Track number two: Thor: The Dark World. On Asgard, Thor runs into his mother, Frigga (Rene Russo), and nearly falls apart when talking to her because he knows that she will die on this day. Yet her advice on failure is sage, and it sets Thor on a better path; when he summons 2013-Mjolnir and rejoices, “I’m still worthy!,” it’s a lovely, genuine moment for a character who is too often used as the butt of the joke in Endgame. Rocket, while Thor has this heart-to-heart, steals the Aether from Jane Foster (Natalie Portman); Portman, having disliked the production experience for The Dark World, appears through a deleted scene from The Dark World grafted onto Endgame, with a CGI raccoon added in the background. Voilà. Space Stone, Time Stone, Reality Stone procured.

So on to track number three: Guardians of the Galaxy. Rhodey and Nebula on Morag give us a chance to relive Peter Quill’s (Chris Pratt) “Come and Get Your Love” dance from Guardians of the Galaxy to excellent results. Good, silly fun. (“So he’s an idiot?” Rhodey asks.) While her sister Gamora was the stealth MVP of Infinity War, here the title passes to Karen Gillan’s Nebula. As Gamora’s role in Infinity War was much bigger than expected, and perhaps even bigger than her role had previously been in the Guardians franchise, so too does sister Nebula play a crucial role in Endgame, and Gillan gives far and away her best performance yet. Nebula and Rhodey prove to be an unusual but strong pairing, both bonding over their physical disabilities: “I wasn’t always like this,” Nebula murmurs as she looks at her robotic hand. “Me either,” Rhodey says, reminding us that the only reason he can walk is some fancy Stark Industries tech. “But we work with what we got, right?” It’s a brief scene but no less affecting because of it, proving that Endgame’s strengths lie in its character beats rather than fight sequences, of which we have had nearly none so far, and its plot, which is about to get a lot more confusing with the introduction of 2014-Gamora, 2014-Nebula, and 2014-Thanos as prominent characters.

Because, of course, Rhodey and Nebula aren’t the only ones hunting the Infinity Stones. Time travel in the MCU is not, as Bruce and Tony inform us, like Back to the Future. Each time you travel back in time, you create a branched timeline: when Steve, Tony, and company travel to 2012, for instance, they make an alternate universe where 2012-Loki escapes with the Tesseract and 2012-Steve knows that Bucky is alive. In the 1970s, there is now a branching timeline where Howard ran into a stranger who encouraged him to be a bit more present with his soon-to-be son, resulting in an alternate Tony who might not be saddled with severe daddy issues. Thor creates an alternate timeline where 2013-Thor doesn’t have Mjolnir (since his other self took it) and 2013-Jane gets the Aether sucked out of her more quickly, and so on.

Through some technological wormholes, 2014-Thanos finds out that our main timeline 2023-Nebula is hunting Infinity Stones and that 2019-Thanos bit it. Determined to win, he captures 2023-Nebula and hatches a plan.

Meanwhile, on Vormir (god, there are so many spinning plates in this movie and it’s not even as many as Infinity War), Clint and Natasha realize that the Soul Stone requires a sacrifice—“A soul for a soul.” As neither of them want the other to die, given their long and storied history, they have a brief scuffle over who gets to be the one to hurl themselves off the edge of a cliff. In the end, it’s Natasha.

Like Gamora before her, she dies to procure an Infinity Stone; unlike Gamora, she does so willingly. This, naturally, made some people very angry. However, here’s the thing: Natasha sacrificing herself for the Avengers, for the family that welcomed her even with her bloody past, is a perfect end to her arc. Of course it’s bad optics that the sole female Avenger kicks the bucket (in the same location one of two female Guardians died to boot), and yes, she did sometimes get the short stick in the MCU (especially in Avengers: Age of Ultron, ugh), but neither of those things negate that this was always how Natasha was going to go. Of course she would hurl herself off a cliff for those she loved—she has always been the kindest, most empathetic Avenger underneath her cool front, and to claim that Endgame fridged” her ignores the fact that her ending stays completely in character, and it ignores the fact that she actively chose to do this and that it wasn’t done to further a man’s tragic story but to save the entire universe. 

Yes, of course Marvel should do better by their female characters, and their oft-talked about “girl power” scene later in the movie feels even stranger than it would otherwise given the fact that they killed their most prominent woman just a half an hour earlier. But those are bigger, systemic problems to be addressed; Natasha’s farewell in Endgame isn’t a sign of the MCU’s mistreatment of women (though that certainly exists), it’s a sign that the writers understood her character, and that is far better than keeping her alive for mere tokenism.

And so, at great personal cost, the Stones are procured, and everyone—except Natasha—comes back intact. Well, except for the fact that 2023-Nebula is still on board 2014-Thanos’ ship, and 2014-Nebula has taken her place in 2023 Earth (like I said, it’s messy). So as the Avengers debate who gets to snap their DIY Infinity Gauntlet, 2014-Nebula helps to prepare for her father’s arrival.

Though Thor lays out a strong, sad case—“Let me. Let me do it. Let me do something good, something right,” he pleads—it’s ultimately Bruce who snaps, because not only is he the strongest Avenger, but because the Gauntlet’s radiation is “mostly gamma. It’s like I was made for this.” Sure? I guess? So he snaps, and the birds come back, and Clint gets a call from his wife: for a moment, all is well.

But then, act three: the battle and its aftermath.

2014-Nebula opens up the Quantum Tunnel and 2014-Thanos’ ship bursts out of it, which then promptly obliterates the Avengers Compound. 

It seems all is lost, especially when 2014-Nebula corners Clint, who is clutching the Gauntlet, and levels her gun at him. Luckily, 2023-Nebula convinced 2014-Gamora to join forces, and 2023-Nebula shoots her alternate timeline past self, a sign not only of her loyalty to the Avengers but also her deep self-loathing. But even if the Gauntlet is safe for now, when Tony, Steve, and Thor go out to face 2014-Thanos, he easily bests them. Knowing that they killed his alternate self in the future, the battle has become charged: “In all my years of conquest, violence, slaughter, it was never personal,” he tells our trio. “But I’ll tell you now, what I’m about to do to your stubborn, annoying little planet… I’m gonna enjoy it. Very, very much.”

But, as Thanos begins to well and truly wreck our heroes, suddenly Mjolnir begins to crackle with electricity and zooms not to Thor’s hands, but to Steve’s—the God of Thunder isn’t the only worthy one here. “I knew it!” Thor exclaims as Steve begins to wield the hammer against 2014-Thanos (it’s sick as hell). But yet again he is bested, and when 2014-Thanos reveals the army waiting in the ships above, any hope we gained quickly deflates. But Steve Rogers does not give up so easily. This shot of Cap standing against Thanos and his army is a beautiful, wordless way to convey this comic panel, but it is a hopeless image.

Then, suddenly, a familiar voice in Steve’s ear says, “On your left,” and, impossibly, things begin to look up. Slowly, and then all at once, everyone Thanos snapped away comes streaming in from sorcerer-conjured portals, and then excitement rushes in like a freight train. It builds, and builds, and builds along with Alan Silvestri’s now-iconic theme from The Avengers, and when Cap, Mjolnir and shield in hand, finally, finally, finally says, “Avengers… assemble!,” it is about the coolest fucking thing you have ever seen in a movie theater (just watch any number of the reaction videos on YouTube). It is pure fanservice, it is pure comic boy joy, it is—whether you like it or not—one of the most emotionally resonant moments for cinema audiences ever, and even years later, it still soars. Nothing either within the MCU or without will ever be able to match the utterly insane hype level for those entrances and that line.

Unfortunately, the battle that follows, like that of Infinity War, isn’t that interesting visually except for a few moments where the characters get to show off their powers in tandem with one another, but even those moments are disappointingly dull to look at. The success of screenwriters Christopher Markus and Stephen McFeely and directors the Russo brothers doesn’t lie in their visuals, but rather in their abilities to balance an assortment of different characters and coax out new sides of the MCU by thrusting said characters into new situations. Another battle hardly treads new ground, but it’s requisite for the MCU, and so here we are.

But it’s still got those requisite cool Marvel fight moments: Wanda Maximoff (Elizabeth Olsen) is an especially fascinating combatant, almost obliterating Thanos before he orders his ship to “rain fire,” and the game of hot potato played with the Infinity Gauntlet certainly keeps viewers engaged. 2014-Gamora, having no knowledge of Peter Quill, knees Chris Pratt twice in the crotch. Captain Marvel also arrives and withstands a headbutt from Thanos, which is cool, but it’s still no visual spectacle.

Of course, at long last, our heroes get the upper hand. Thanos gets the Gauntlet and goes to snap, proclaiming self-righteously, “I am inevitable,” but it doesn’t work, and a split-second later we realize why: Tony managed to steal the Infinity Stones from off the Gauntlet, and as we watch his Iron Man nanotech snake up his arm to form an iron glove, we realize with sudden, terrible comprehension what is about to occur (or at least it was terrible for me). With one last “I am Iron Man,” Tony snaps his fingers, and so the guy who started off as an unsavory, narcissistic arms dealer dies sacrificing himself for the rest of the world. 

And so in an inverse of Infinity War, it’s now Thanos and his lackeys that turn to ash which scatters over the smoking battlefield, yet the moment is not entirely triumphant as the cost of the snap quickly catches up to Tony.

“You can rest now,” Pepper tells him. That one line sums up Tony near perfectly: restless, reckless, prone to bouts of self-destruction under the guise of narcissism, ultimately driven by an obsessive desire to protect the ones he cares about. And now he’s protected the entire universe. He can rest now. It’s a powerful scene made all the better because there are no real last words, no drawn-out death whilst cradled in someone’s arms, no sugarcoating: he is broken and bloodied, he can barely even speak, he just waits long enough to see Pepper and then dies. 

Multiple someones were certainly going to die in Endgame—that was clear from the first. That it’s Tony who makes the sacrifice play lines up perfectly with his arc, and of course it’s our very first hero who does the impossible and stops Thanos, even if he loses his life in the process. This scene and the funeral that follows, where Pepper puts that first arc reactor—the one engraved with “Proof that Tony Stark has a heart”—in the water, and Tony has one final pre-recorded message for his daughter, is a fitting and bittersweet sendoff for the hero who kicked off the Marvel Cinematic Universe all those years ago. Love him or hate him, without Tony Stark, the MCU would not have come to be, and so this funeral is not only a farewell for Tony, but a tribute to the character (and actor) who started it all. All our heroes gather around for one last goodbye, and as the camera pans over the crowd, we see the legacy of not only Iron Man the character, but Iron Man the movie, and the enormous universe it spawned. 

Captain America’s sendoff, however, is a bit like an inverted Sour Patch Kid: it starts off sweet, but the more you suck on it and turn it over in your mind, the more it sours.

Tasked with going back in time to return the Infinity Stones to their rightful place on the timeline, Steve Rogers decides to take the long way ’round and stay a while with old flame Peggy Carter (Hayley Atwell); when he comes back, he’s now an old man. Age and time, it seems, finally caught up with Steve, who hands his shield off to Sam to become the next Captain America

Both Sam and Bucky have taken that mantle in the comics, and both would have been good choices here to grapple with the legacy of that shield, each bringing their own unique baggage to the table—Sam as a black man in a world that repeatedly tries to deny him humanity, and Bucky for all the murder and whatnot—but ultimately Sam wins out. It’s a good choice (even if, from a more cynical viewpoint, Marvel only did it to garner brownie points and check off their diversity list), one which will hopefully pay off in the untitled fourth Captain America movie more than it did in Disney+’s The Falcon and the Winter Soldier.

Yet even though Steve and Peggy’s ending tugs at the heartstrings as they finally get their dance, the whole thing sits uneasily. Post-Captain America: The First Avenger, much of Steve’s arc has been devoted to adjusting to the 21st century and all the moral ambiguity he now has to wade through; he mourned and grieved for the loss of his friends and loved ones, but he changed and adapted with the times. Now, suddenly, after we’ve spent so much time watching Steve figure out the modern world, he just ups and leaves?

It would be one thing if the films had shown Steve constantly pining after what he lost when he went into the ice. Of course they do, but only to an extent, and while the pangs of losing everyone he ever knew still hurt occasionally, Steve has moved on. The relationships he has built here, in this timeline, have been given far more weight than the ones he had back in The First Avenger, and to have him completely backtrack on his forward-moving arc to go back in time feels disingenuous and lazy. Christopher Markus himself once said, “He’s the most adaptive man on the planet,” but apparently failed to listen to his own words when writing Endgame.

Three things in particular make Steve’s ending leave a bitter taste in the mouth, with the first being the rules of time travel as established in this movie. As Endgame (and subsequent Marvel properties dealing with time travel) makes clear, travelling back in time creates a branched reality. Once you return to the moment you left in the main timeline, that alternate reality ceases to exist. (By these rules, Steve appearing at the lakeside randomly make any sense: as this is a different timeline from the one he grew old in, he couldn’t have just waited until this precise moment and moseyed on over to the Avengers Compound—he would have had to use the Quantum Tunnel doodad. But I guess it’s too much to ask for consistency, seeing as the writers and directors disagree on that whole alternate timeline thing.) This means that Steve went back in time, reunited with Peggy, presumably had a family, and then promptly erases everyone in that timeline from existence the minute he travels back to the future to give the shield to Sam. That is an incredibly selfish thing to do for someone whose actions, up to this point, have mostly been quite altruistic; even within the branched timeline that Steve creates, questions arise: Does Steve try to avert events like JFK’s assassination, or 9/11? Does he help advance civil rights? Does he rescue Bucky in this timeline before he becomes completely brainwashed? Or does he just sit on the sidelines, content with his own happiness?

Thing number two: Bucky. Whether you’re into “Stucky” or not, you cannot deny that Bucky has been a driving force all throughout Steve’s story. In The First Avenger, it’s the thought of Bucky being tortured in a Hydra prison camp that spurs Steve to truly become Captain America; in Captain America: The Winter Soldier, Steve’s world gets turned upside down by the knowledge that Bucky still lives, and he nearly dies trying to save Bucky from himself; in Captain America: Civil War, Steve goes on the run from the United States government (…again) to keep Bucky safe, and then he breaks the Avengers apart for the same reason. You’re telling me that this guy, this guy who has laid it all on the line multiple times out of love for his best and oldest friend, would leave said friend—who is, by the way, still massively traumatized from losing an arm, being brainwashed, and then turned into an assassin for essentially Nazis—for a woman that he knew back in the 1940s for, at best, a year or two? Even earlier in the film, the only thing that broke 2012-Steve’s concentration was the mention that Bucky lived. The two exchange an astonishingly brief goodbye which echoes their one from The First Avenger: “Don’t do anything stupid until I get back,” but now Steve says that to Bucky instead of the other way around. “How can I? You’re taking all the stupid with you,” Bucky replies, but nostalgia can only get so far. They have a quick hug, and that’s it. For a relationship that was previously given so much thematic weight to be tossed aside with such little care is astonishing.

The third thing is the much-maligned Sharon Carter (Emily VanCamp), who does not appear in this movie, and no, she is not related to Steve, because in the original timeline she is from, Steve never married Peggy. Everyone needs to stop saying that she’s his niece. She’s not. Pay attention. 

Problems with Sharon, unfortunately, have been building since her introduction in Winter Soldier. Though her comic counterpart has a long and storied history both with and without longtime love interest Steve, Sharon in the MCU movies has been shamefully underused. Initially positioned as a love interest yet given little screentime or character, VanCamp and Chris Evans had precious little time to build chemistry; thus, when Steve and Sharon share a kiss in Civil War, it feels hastily tacked on, as if the only reason the two characters are together is because of their history in the comics, so of course movie fans didn’t take kindly to this development, especially fervent “shippers” of the Stucky and Steggy kind. 

Hayley Atwell herself has done little to help matters, saying, “Well, first of all [Peggy would] be turning over in her grave” at the thought of Steve and Sharon getting together. “She’d be like, ‘no.’ And she’d inject herself with the blue serum and become a super villain. She’d break out of her coffin and ground [Sharon]. She’d ground her. Then she’d kick Steve’s ass as well.” Yes, how feminist to pit two women against each other for the attention of a man! Thank you! Fans across Twitter and Tumblr were atrocious and misogynistic towards both Sharon and VanCamp, and it would have been hard for Markus and McFeely et al. not to notice. 

What follows is, admittedly, pure speculation, but it does not take much to imagine that this backlash—one that the MCU brought upon itself for not giving Sharon her proper due and rushing to throw her together with Steve despite having no buildup—caused Markus, McFeely, and the rest to backtrack and quickly reframe Peggy as the ultimate love of Steve’s life in Endgame, having him pull out his picture of her and make goo goo eyes at her through some blinds while no one mentions Sharon. It’s as if she never existed. It’s only Peggy and Steve, it’s always been Peggy and Steve, no one else has ever been as important in his life as she has (never you mind the fact that Steve—and I am repeating myself—broke the Avengers apart for the sake of Bucky!). Faced with a negative fan reaction, instead of fixing what wasn’t landing, Marvel retreated to something they knew worked, and so Steve goes back in time without ever saying goodbye to Sharon. Even if the writers and directors wanted to move on, it feels wildly out of character for consummate good guy Steve Rogers to just kiss and ditch. 

The Falcon and the Winter Soldier will at least attempt to address some of this, but because Marvel wants us to like Steve Rogers and frames his reunion with Peggy as a morally unambiguous win, it’s never allowed enough leeway to truly tackle the abandonment issues that Steve’s actions would have saddled Sharon and most especially traumatized, formerly brainwashed, currently PTSD-ridden Bucky with because Marvel doesn’t want us to get mad at Captain America. The Falcon and the Winter Soldier at least tries to make Sharon a real character, though it feels like a slap in the face more than anything. But I’m getting ahead of myself.

If anything, Steve should have died and Tony should have retired. Logistically and logically this would have been difficult, as it would have been hard to explain why Tony didn’t show up to whatever world-ending events happen next, and if he did show up, there is the small matter of Robert Downey Jr.’s exorbitant payday. However, as cappers to their characters, it works (at least in my esteemed opinion) better for Tony, always so self-destructive and suicidal, to finally find peace rather than make the sacrifice play (besides, we already did that arc in The Avengers), and for Steve, the forever-soldier, displaced out of time, to lay down his life for the cause in heroic, tragic fashion. Even both of them dying would have been better than this logically flimsy, out of character ending which falls to pieces the minute you examine it more closely; besides, having only two Avengers die in Endgame feels a bit weak. No, more main character death does not make a story better, but thematically appropriate endings do, and Steve’s death would have been exactly that. 

This isn’t to say that Steve and Peggy’s reunion isn’t emotional—there’s a reason they stuck in the minds of fans, and there was nary a dry eye (mine were certainly very, very damp) in theaters upon watching them dance. It’s just a shame that none of it holds up to scrutiny. 

Well. Anyway. To round out the “Big Three,” Thor decides to hand the throne to Valkyrie (Tessa Thompson) and go off with the Guardians of the Galaxy. This is fine enough taken alone, and promises plenty of merry mayhem in Thor: Love and Thunder, but when taken in sum with the rest of his films, feels a bit like whiplash. In Thor, he abandons his reckless ways and rises to the task of kingship; in Thor: The Dark World, he abandons said kingship to be with his lady love; in Thor: Ragnarok, he once again takes up the mantle of king and assumes full responsibility for Asgard; in Endgame, he gives it all up again and passes the mantle of monarch to Valkyrie, who, while cool, has not exactly shown how or why she is the right pick to govern an entire race, even one whose population has been decimated. Thor, like Hulk, ping pongs around at the whims of the directors, and him reneging on his kingship feels like a rejection of his entire Ragnarok arc—there is no consistency to his choices, and this lack of consistency doesn’t feel like a purposeful character choice but rather Marvel just shuffling him around wherever they need him to go instead of letting his own arc be the guide. So we beat on, boats against the current… ah, never mind.

And so Endgame concludes: Tony dead, Natasha dead, Steve written off, the other Avengers still continuing to fight the bad guys. Any other film franchise would have called it quits after this: half the original Avengers roster gone, the threat building up for nearly a decade averted, almost all loose ends tied up. That the MCU has continued on afterwards can be viewed as a shallow cash grab that continues to drive out mid-budget films from the theaters, a genuine curiosity to explore as of yet underutilized characters and adapt some more of the rich history of Marvel Comics, or a bit of both. 

One common criticism of the MCU is that there are no proper endings. To some extent, that’s true: each entry acts more as an episode of TV than anything, with its own introduction, rising action, climax, falling action, and resolution, but then a little stinger at the end to ensure we tune in next week, and Endgame is no different. It wraps up the stories for many of its characters even as it tantalizes us with what’s to come—ooh, Thor is going with the Guardians, what a fun team that will be; Sam gets to be Captain America, how intriguing; Loki escapes with the Tesseract, what mischief could he get up to next! Everything is designed to keep people buying tickets, and with the cultural dominance of the MCU firmly solidified by now, in order to understand why everyone keeps saying, “I love you 3,000,” you’re going to have to fork over your money to the Mouse. 

Yet for all the griping I have done about this film, nothing can match the magic of that opening night. Endgame, for all its flaws, largely succeeds—and succeeds well—at what it sets out to achieve, and it has that excellent mix of ensemble humor and individual pathos that the Russo brothers balanced so well in their other MCU films and which other Marvel directors often struggle with. Its place in the cultural pantheon is deserved; even if you despise Marvel for ruining cinema, there’s no denying the influence Endgame has had, and that influence only is as big as it is because Endgame is, ultimately, a pretty solid flick which only drops a few balls out of the several hundred that it juggle

It’s hard to quantify, exactly, what impact Endgame made in pop culture. You could count Twitter hashtags or ticket sales (nearly $3 billion made worldwide), but that wouldn’t capture the conversations between acquaintances, the texts sent, the calls made to buzz about some moment from Endgame. For a brief moment, it seemed as if almost everyone in the world spoke the same language. The Red Wedding was a hill, Endgame Mount Everest. So even if Marvel and Disney are helping to strangle independent cinema, for a brief, shining moment, it felt like they had united the world.

Which, I suppose, is actually quite a frightening thought. But I digress.

There was quite a big hullabaloo several months after Endgame came out when Martin Scorsese equated Marvel movies to theme parks, and a bunch of fragile fans began insulting Scorsese’s body of work while trumpeting the MCU as a paragon of art. The thing is, Scorsese is right: Marvel is notoriously risk-averse and it almost always quashes a director’s individual voice—even when half the world was snapped away in Infinity War, you could rest assured that they would all come back in Endgame (lo and behold, they did), and even singular directors like Taika Waititi and Chloé Zhao can only fight so much against the formula. That popular cinema has increasingly become reboots and sequels, and originals are tossed onto streaming services with severely limited theatrical runs, is not entirely Marvel and Disney’s fault, yet they seem to be doing little to mitigate this, instead barreling on with their tried-and-tested formula; it’s always about expanding the universe, it’s always about branding the franchise, it’s all about making that capital, baby, even if they couch this in different terms.

But the reason Endgame was able to have such a strong hold on the collective consciousness wasn’t merely because consumers have all become slaves to the brand. Scorsese is right, but he makes one misstep: when talking about the films he loved as a child, he writes, “It was about characters—the complexity of people and their contradictory and sometimes paradoxical natures, the way they can hurt one another and love one another and suddenly come face to face with themselves,” as if to say that the MCU lacks characters other than stock ones, when in fact the biggest reason for the MCU’s success isn’t its action sequences or aliens, it’s the people at the heart of everything.

No, obviously the MCU is not filled with character-driven dramas, and even its attempts to do that, like WandaVision, have all ultimately devolved into typical Marvel fisticuffs. Yet if you want to see big action setpieces, there are plenty of places to slake your thirst—but no one is talking much about Transformers: The Last Knight years after its release, whereas Endgame remains an easy cultural touchstone. Yes, it helps that Marvel has continued to churn out films, but even after The Avengers in 2012, with only five prior films under its belt, it was clear that these popcorn flicks stayed in the mind a bit longer than the others at the multiplex, and that is all due to the careful character work laid down in the films. When Tony dies, after 11 years on our screens, after 11 years of watching him alternatingly preen and self-destruct, watching him contradict himself and mess up and triumph, it carries weight because we know him, we love him (or hate him, take your pick; I think it’s pretty clear where I fall). If Marvel had not spent so much time making these characters feel like people, albeit hot and superpowered people, the whole endeavor would have failed. People don’t shell out money to see these just because they want to watch people shoot bad guys, but because they care about the characters populating this universe. So, yes, Scorsese is right, but he misses the key point as to why people keep circling back to the MCU time and time again. I guess he’s still pretty alright.

It’s a bit odd to say that Marvel lacks ambition when its very basis was built on risk. Iron Man was a risk. The Avengers was a bigger risk. Only now, with Marvel firmly seated as top dog, can we begin to pick apart the endeavor, poke holes at the formula, and make fun of those with blind brand loyalty. That it’s morphed into what it is today is entirely unprecedented: a connected cinematic universe spanning galaxies, filled with dozens of main characters, stuffed with overlapping and overarching plots that pay off years down the road. Other franchises have tried to emulate Marvel’s success in creating a shared universe (the DCEU, the failed Dark Universe, even now Star Wars), yet none have succeeded in quite the same way because none took the time—and the associated risk—to build from the ground up. So while some claim Marvel has grown complacent, they only have the luxury to do so because they had such sheer guts in the beginning. 

So here we are. Endgame may not be the best MCU entry, but as a cultural and cinematic event, it remains unparalleled; that it doesn’t buckle under the weight of its plot (and runtime), that it gives each character strong emotional beats, that it succeeds in concluding a story that started with a movie about a nobody superhero directed by that guy from Swingers and starring an ex-convict, is nothing short of a miracle.

Well, maybe that’s a bit of an exaggeration. But it’s still one hell of an achievement.

Captain America vs Thanos Army [3840 x 1608] : r/marvelstudios

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:

  • That iconic “I am Iron Man” line in Endgame came from reshoots.
  • Two more Community alums pop up: Ken Jeong and Yvette Nicole Brown.
  • Okoye mentions an earthquake under the ocean. You know who’s rumored to be the villain of Black Panther 2? Namor the Sub-Mariner of Atlantis.
  • Howard Stark appears as he’s looking for Arnim Zola (Toby Jones), the scientist from The First Avenger who became a Hydra plant within S.H.I.E.L.D.
  • Peter Parker (Tom Holland) not wanting to activate instant kill mode with his suit was a running gag in Spider-Man: Homecoming, but here he actually does activate instant kill mode.
  • James D’Arcy reprising his role as Edwin Jarvis, the Stark family butler (for whom J.A.R.V.I.S. the artificial intelligence was named), from Agent Carter was a completely unexpected cameo that absolutely floored me. Considering that Jeph Loeb’s Marvel Television has been largely ignored by the MCU (though that may change come Hawkeye and Spider-Man: No Way Home…), to have a supporting character from one of the more minor shows cameo, if only for a brief second, felt wonderful. Jarvis rocks.
  • You know, not a whole lot of groundwork for this one, since it’s wrapping up so many things. Well, that’s a lie, it’s just that most of that groundwork hasn’t paid off yet: the Guardians will appear in Thor: Love and Thunder, which will presumably also deal with Valkyrie’s queenship; Guardians of the Galaxy Vol. 3 will deal with the search for 2014 Gamora; there’s going to be Captain America 4 with Sam (Anthony Mackie), etc. etc. We just haven’t seen all that happen.
  • Well, that’s a bit of a fib: Loki stealing the Tesseract did net him his own TV show.
  • The song that Steve and Peggy dance to (“It’s Been a Long, Long Time”) was playing in Steve’s apartment in Winter Soldier when Nick Fury (Samuel L. Jackson) paid him a visit.
  • The Amazon series The Boys did a very excellent parody (or two) of the “he’s got help”/A-Force team-up scene from Endgame, but, honestly, it’s not that bad. I, for one, felt pretty pumped about it in the theater, even if it is a bit ham-fisted. Far, far more egregious things have happened then a bunch of women superheroes teaming up together for lip service. It was clumsy, but there are worse things—like, if you want to take a political issue with Marvel, talk about its weird relationship with the military-industrial complex, or American exceptionalism, or the damage it’s doing to cinema as a whole. This one scene is not the biggest issue at stake here. (Also, is it any worse than Marvel trumpeting the fact that Endgame has the MCU’s first gay character and for that to turn out to be Joe Russo making a cameo?)
  • It was very nice that the MCU remembered Harley Keener (Ty Simpkins) from Iron Man 3. Would be cool to see him again; after all, he’s “connected.” Ironheart or Armor Wars, maybe? The inevitable Young Avengers movie or show? Could be fun.
  • Not to diss Kathryn Newton again (…and again), but Emma Fuhrmann, who has two brief scenes in Endgame as an older Cassie Lang, Scott’s daughter, absolutely kills what little time she has. It’s very unfair she was passed over for someone with more star power.
  • In case anyone was peeved (as I was) at this Daniel Sousa (Enver Gjokaj) from Agent Carter the TV show erasure, never fear: he gets his own happy ending with Daisy Johnson (Chloe Bennet) in the future, in space, presumably working for S.W.O.R.D., except Agents of S.H.I.E.L.D. probably wasn’t legally allowed to say that. But, regardless, at least the ABC show universe doesn’t forget about their loose ends (well, most of the time).

Anna’s Favorite Scene: I mean. Come on. It’s the portal scene. It’s “Avengers, assemble.” Come. On. I have never felt that exhilarated watching a movie in my life. (“It’s a baby.” “It’s Scott!” “As a baby.” “He’ll grow!” never fails to tickle me, however.)

MCU Ranking: 1. Captain America: The Winter Soldier, 2. Avengers: Infinity War, 3. Captain America: Civil War, 4. Guardians of the Galaxy Vol. 2, 5. Thor: Ragnarok, 6. Avengers: Endgame, 7. Guardians of the Galaxy, 8. The Avengers, 9. Spider-Man: Homecoming, 10. Captain America: The First Avenger, 11. Iron Man 3, 12. Iron Man, 13. Black Panther, 14. Ant-Man and the Wasp, 15. Doctor Strange, 16. Ant-Man, 17. Thor, 18. Avengers: Age of Ultron, 19. Captain Marvel, 20. Thor: The Dark World, 21. Iron Man 2, 22. The Incredible Hulk

Avengers: Endgame Trailer

Avengers: Endgame 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.

MCU Retrospective: Captain Marvel

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. I’m sure this won’t be controversial at all.

60/100

Before it ever came out, Captain Marvel had become a contentious topic, to put it lightly, getting review bombed on Rotten Tomatoes so badly that the website had to revamp their design (though it would eventually settle at a respectable 79% approval for critics, it still lies at 49% for fans). Yet despite the vocal number of internet denizens committed to trashing this movie before it graced their screens, there seemed to be little true controversy regarding the film. Joss Whedon had almost included Captain Marvel in Avengers: Age of Ultron before that was scratched, the film was bumped around a bit on the Marvel schedule, and the search for a director was fairly lengthy until Kevin Feige et al. decided on Anna Boden and Ryan Fleck of Mississippi Grind fame, but things seemed to run pretty smoothly. Marvel’s first female-led solo film was a go.

No, the major problem, according to some on the internet, was that star Brie Larson had deigned to say that film criticism should be more diverse. 

Larson originally said that she would rather read what a person of color thought about A Wrinkle in Time, directed by once-hopeful Marvel director Ava DuVernay and starring a diverse cast, than a middle-aged white man; when the Twittersphere blew up, she acknowledged that she might have put her foot in her mouth and elaborated by saying, “What I’m looking for is to bring more seats up to the table.” This seemed to be taken as a personal attack by a certain segment of the population, and suddenly YouTube videos were popping up where so-called “body language experts” tried to convince you through a series of random clips that Brie Larson was, at best, a bitch whose co-stars hated her, and at worst… Well, it doesn’t bear repeating, but suffice to say that the majority of these attacks seem to have been driven by a deep and repulsive misogyny. Larson was too much of an “SJW,” she was wooden in her performances (despite winning an Oscar for Room), Captain Marvel was furthering the SJW agenda by focusing on a woman. She should smile more! (Larson responded to that particular suggestion with some great Instagram posts of her own.)

Larson’s fellow MCU actors such as Chris Evans and Mark Ruffalo have also been vocal about advocating for diversity and regularly sound off on Twitter about their political beliefs, yet no one has made clickbait YouTube videos with millions of views on how they are secretly reviled by their peers, making it hard to believe that the criticisms leveled at Larson, most of which are ridiculous to begin with, are made in good faith. Some people were even predicting that Captain Marvel would be the first Marvel movie to well and truly flop, going so far as to claim its box office numbers and ticket sales were manipulated.

Happily, the gross, misogynistic backlash against Larson and the film did not affect its box office numbers, as it grossed over one billion dollars worldwide. Unhappily, the film itself, despite the turmoil surrounding its star and the excitement over the MCU finally getting a superheroine with her own franchise, is not as exciting.

Much of that comes from the very premise of the film: Carol Danvers can’t remember who she is. She lives on the planet Hala and believes that she’s a Kree, an alien race last seen in Guardians of the Galaxy, where Ronan the Accuser (Lee Pace) served as an antagonist to the titular Guardians. She, however, is not blue, and she’s not Carol, either: she goes by Vers, and has recurring nightmares regarding a mysterious woman played by Annette Bening, which she tries to combat by sparring with her commander, Yon-Rogg (Jude Law). Vers has special powers in the form of strong and glowing fists that punch stuff real hard, but both Yon-Rogg and the Supreme Intelligence (in the form of Annette Bening), the artificial intelligence that rules the Kree, encourage her to keep her to control her powers by keeping her emotions in check. We’re told that Vers struggles with doing so, but we aren’t really shown: Yon-Rogg bests her at single combat until she blasts him with her powers, and for some reason this is looked down on, though we never really know why—Yon-Rogg just berates her and tells her, essentially, to be less emotional, a comment that has been thrown at many women over the years, but since there’s no real purpose behind it, any impact is lessened, and after this initial sparring sequence, the concept is largely dropped until the finale.

While the audience knows Vers is not really a Kree, and that something must be rotten in the state of Hala, the planet and the race that occupies it are so underdeveloped that none of it has any meaning. Why do the Kree have an A.I. leading them? What are the Kree like? Truly, do any of them have any defining traits outside of “battle-hungry”? Lee Pace is back as a younger Ronan, and Djimon Hounsou returns as Korath the Pursuer, and while that’s fun, it shows no hidden depths to their characters—though the opening act of Captain Marvel largely takes place on Hala, the lack of worldbuilding severely hinders any interest or impact.

The Kree apparently have a long history of conflict with the shape-shifting alien race known as the Skrulls, though why this conflict began or continues are mere afterthoughts. The Kree and Skrulls have a long history in the comics, but it’s given only cursory attention here; thus, when Vers gets captured by said Skrulls, the stakes are virtually nonexistent. The Skrulls, led by Talos (Ben Mendelsohn), start rooting around in her memories for something, finding remnants of time on Earth, but Vers escapes, crash-landing into a Blockbuster.

Read More of Anna’s Ongoing Marvel Retrospective Series Here

Thus begins her adventures on Earth. Even while the first act suffers mightily from lack of world-building, once the story begins in earnest, Carol’s lack of memories prevents the audience from connecting with her. Ostensibly this was done as a way to eschew the normal, rote superhero origin story—a commendable thing—but it also robs Carol of any memorable characteristics. As she roams Earth in 1995, her memories begin to bubble to the surface, sending her into an identity crisis—the problem is, she doesn’t have an identity to lose in the first place. We know nothing about Carol: she talks back, she’s impulsive, a bit cocky, and that’s about it. What does she like? What does she dislike? Who does she love? We don’t know, and as such it’s hard to form any particular attachment to her or investment in the plot as she sets about uncovering the secrets of the Kree.

This is Marvel, though, and as such, it has to connect to what came before; while we may not know or care much about Carol, Nick Fury (Samuel L. Jackson) and Phil Coulson (Clark Gregg) are reliable mainstays, and the de-aging technology employed to make them look as they did in 1995 is mostly seamless (except when Jackson runs). It’s a treat to watch them on screen, and once Fury and Carol team up to uncover the secrets of Project Pegasus, a joint venture between S.H.I.E.L.D., NASA, and the Air Force, and how it relates to Carol and her lost memories, the film gets a boost from the buddy-cop chemistry between Larson and Jackson. Carol’s flatness doesn’t come from Larson, who is an able performer, but rather because she is set adrift in the middle of a story inadvertently designed to make the character fall flat. When Larson gets paired with Jackson, and Carol gets to interact with a real character other than the flat Yon-Rogg or Supreme Intelligence (as with Larson, the actors who portray them are immensely talented and wasted in thankless roles), then the titular character finally starts to have some sparks of life.

These sparks become much stronger—though they never quite catch flame—upon the introduction of Maria Rambeau (Lashana Lynch), Carol’s best friend from her life on Earth and an Air Force veteran. Lynch is an absolute standout in this film; even though Maria could have easily been just a stock best friend character, Lynch sells Maria’s grit and her friendship with Carol so strongly that it makes you wish the movie had been about her instead.

It’s Lynch and, in a surprising turn of events, Mendelsohn as Talos that provide the film’s emotional core, rather than Larson. Though Mendelsohn has a knack for playing nefarious characters, here his Talos turns out not to be the villain, but rather a displaced refugee looking for a home for his family while the Kree do their best to exterminate his species and encourage hatred through military propaganda. It’s a twist that will shock even comic book fans, as the Skrulls have typically been villainous beings, most notably with Secret Invasion (which is being turned into a Disney+ show), and it’s a fun reversal of expectations. Mendelsohn manages to do a superb job even under pounds of green makeup, but it’s just too bad her supporting cast outshines Carol herself. 

With the help of both Maria and Talos, Carol is able to recover some of her memories. It turns out that Annette Benning was a Skrull named Mar-Vell who infiltrated Project Pegasus in order to gain access to the Tesseract, that pesky Infinity Stone container which keeps popping up throughout the timeline. (It’s probably best not to try and keep track of the Tesseract’s whereabouts since it jumps around at the whims of the latest Marvel plot.) However, Mar-Vell, upon learning of the Skrulls’ plight, turns coat and begins to help them instead; while testing out a Tesseract-powered engine with Carol, who was an Air Force pilot, Yon-Rogg kills Mar-Vell, but Carol destroys the engine before Yon-Rogg can lay his hands on it and get that technology to the Kree. Doing so, however, infuses Carol with the energy of the Tesseract, thus giving her her powers, and the Kree decided to wipe her memory and keep her close.

There is also a level of irony regarding the movie’s message about distrusting military propaganda when much of it reads as an ad for the Air Force. Marvel, as with many other film studios, has received funding from the Department of Defense, which is not unusual in Hollywood; for Captain Marvel, they also partnered with the Air Force, with Larson visiting various bases and a recruitment ad being shown before screenings of the film. The Kree might have issues with their military state, but clearly Earth’s military was different, never mind the fact that now-former Senator Martha McSally had testified just before the film’s release on the pervasive sexual harassment and assault many women experience in the Air Force. But, you know, girl power, am I right?

But, finally, we have answers. Except, maybe not. We know the Skrulls aren’t actually bad guys, but we still don’t know anything about the history of the Kree/Skull conflict, and both races remain frustratingly undercooked. “This is war,” Talos says to Carol. “My hands are filthy from it too.” That is a very interesting line, one with a lot of depth to be combed, yet it’s just one line amidst a sea of others, and any darker implications remain murky. How exactly are their hands dirty? It remains a mystery left up to our imagination (which is given very little to go off of). 

And once Carol gets her memories back, nothing really changes. She still talks back, she’s still impulsive, and still a bit cocky. There’s no arc because there’s nowhere for Carol to go, and what is framed as a triumphant moment rings hollow. What could be an empowering story of wresting back agency in a world that has tried to deny her that instead becomes a carefully calculated series of events designed to win applause from Twitter, culminating in a fight set to No Doubt’s “Just a Girl.”

It’s fun watching Carol plow through Kree warships and demonstrating a level of pure strength and bullheadedness that only male heroes have shown up to this point. It would be a lot more fun if we had seen her struggle with her powers in any meaningful or impactful way prior to the finale. Everything is framed as a #girlboss moment, but none of it lands. Carol is told to smile, she’s told by male pilots that she’ll never be good enough, she’s told by the men around her to stop being so emotional, but none of it gives her character any new depth, and these are just lazy touchstone moments that seemingly exist only to tick off empowerment checkboxes. While Captain Marvel’s existence is undoubtedly a good (and long overdue) thing, the titular hero does little to distinguish herself as a character and any commentary thus becomes, well, neutered, for lack of a better term. (Wonder Woman is a lazy comparison, but it’s also apt, and Diana Prince’s wordless march across No Man’s Land does far more in the way of empowerment than this entire movie.) It’s all hollow, it’s all an empty shell designed to let Marvel go around praising itself for doing the bare minimum regarding representation.

Despite all the fanfare surrounding the film and all the talk of female empowerment, Captain Marvel is one of Marvel’s most unexciting films. It’s not terrible, and has some good moments; to dedicated MCU fans, it’s likely passable at worst (as it is to me, Marvel’s biggest shill), but it simply has nothing special going for it—a fact made all the more frustrating because it could and should have been a standout. Instead, like Carol herself, it’s full of hot air.

Captain Marvel director on Carol Danvers' sexuality

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:

  • Nick Fury gets his eye scratched out from Goose (named as one of many Top Gun references), an alien Flerken who usually looks like a harmless cat. This is very lame and makes the Captain America: The Winter Soldier reveal about his eye look stupid. The movie tricks viewers multiple times into thinking Fury will lose his eye, and then only has the cat scratch it when the coast seems clear. And yeah, it makes sense that Fury would create a sense of mystery around his eye (“Last time I trusted someone, I lost an eye,” as he says in Winter Soldier), but this is lazy. Better to not explain it at all.
  • The film barely plays with the shape-shifting aspect of the Skrulls, which is a huge missed opportunity. Agents of S.H.I.E.L.D.’s L.M.D. arc in season four handles the whole “could-everyone-I-know-be-an-imposter-made-to-look-like-my-friends” thing so, so, so much better than this movie. It’s tense, it’s dark, it’s really, really good, and “Self-Control” (4×15) is the best episode of television that Marvel has ever done, and I imagine I’ll stand by that for quite some time.
  • Agents of S.H.I.E.L.D. also gives the Kree more culture and backstory than Captain Marvel. Honestly, it’s just superior.
  • Gemma Chan, who plays the forgettable Minn-Erva in this film, will rejoin the MCU as Sersi in Eternals, this time sans blue makeup.
  • The mohawk that appears when Carol uses her helmet is a reference to her comic look, which she’ll fully embrace come Avengers: Endgame. It won’t look that good, though.
  • There was a deeply stupid theory going around after this movie that Nick Fury was a Skrull. That in and of itself is not stupid (and gets proved in Spider-Man: Far From Home), but the reasoning behind this was that Fury says he has an aversion to diagonally-cut toast in this movie, and in Age of Ultron, he cuts and eats toast diagonally. Guys, listen. It’s fun to notice foreshadowing, but there is no way in hell anyone staged that scene in Age of Ultron thinking, “Oh, boy, in four years all the fans are gonna go crazy because we already showed them that Fury is a Skrull because he cut his toast diagonally in the background of a scene and we’ve already planned that he doesn’t like to eat diagonal toast, a fact he will reveal in a movie we haven’t even written yet and won’t come out for four years!” It’s absurd.
  • Pretty funny that they make such a big deal of Fury drafting the Avenger Initiative, which then takes 17 years to actually be implemented. I love democracy bureaucracy.
  • Monica (Akira Akbar), the daughter of Maria, mentions wanting to fly into space with Carol, foreshadowing her eventual transformation into Photon or whatever name they’re gonna give her, as seen in WandaVision, where she is played by Teyonah Parris.
  • Really not sure how they’re going to do Secret Invasion considering the Skrulls are good guys now.

Anna’s Favorite Scene: When Maria tells Carol, “You’re Carol Danvers…” and does that whole little monologue, because the lighting is nice, it doesn’t look green screened, and Lashana Lynch once again proves she’s the best part of the movie. Or the bit where Talos sips soda from a straw.

MCU Ranking: 1. Captain America: The Winter Soldier, 2. Avengers: Infinity War, 3. Captain America: Civil War, 4. Guardians of the Galaxy Vol. 2, 5. Thor: Ragnarok, 6. Guardians of the Galaxy, 7. The Avengers, 8. Spider-Man: Homecoming, 9. Captain America: The First Avenger, 10. Iron Man 3, 11. Iron Man, 12. Black Panther, 13. Ant-Man and the Wasp, 14. Doctor Strange, 15. Ant-Man, 16. Thor, 17. Avengers: Age of Ultron, 18. Captain Marvel, 19. Thor: The Dark World, 20. Iron Man 2, 21. The Incredible Hulk

Captain Marvel Trailer

Captain Marvel 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.

MCU Retrospective: Avengers: Infinity 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. Now, the beginning of an end of an era. But not really an end. Like, half an end.

85/100

“Dread it. Run from it. Destiny arrives all the same. And now, it’s here. Or should I say… I am.”

The unbearable anticipation for Avengers: Infinity War made the hype around Joss Whedon’s The Avengers look like child’s play. Ten years after the arrival of Iron Man, the MCU had built its own complicated mythology, weaving in characters and storylines in a way that no other movie franchise had attempted; its characters had become instantly recognizable, the actors who portrayed them became megastars, and its cultural dominance was absolute. Even if you didn’t watch every Marvel film, there was no way to avoid them: the memes, the inside jokes, the lines, the gestures were everywhere. Suddenly your arms crossed in an “X” over your chest meant something greater, and if you said something as innocuous as, “I understood that reference,” you would—intentionally or not—open the door for endless Marvel, well, references. 

Since The Avengers premiered in 2012, the looming threat of Thanos on the horizon had grown ever larger alongside Marvel’s own growing importance. Damion Poitier appeared as the Mad Titan in The Avengers’ post-credits scene as merely a tease, but two years later, in Guardians of the Galaxy, he was in the body of the movie, this time played by Josh Brolin. In Avengers: Age of Ultron, Thanos would again cameo in a post-credits scene, and so by the time he shows up in Infinity War, the audience has been prepared.

With Thanos come the Infinity Stones. First the Space Stone (within the Tesseract) in Captain America: The First Avenger, the Mind Stone (within Loki’s scepter) and the Space Stone again in The Avengers, the Reality Stone (aka the Aether) in Thor: The Dark World, the Power Stone in Guardians of the Galaxy, the Mind Stone again in Avengers: Age of Ultron, and the Time Stone in Doctor Strange. Always there, always waiting for their big payoff. 

And so, at last, Avengers: Infinity War, originally titled Avengers: Infinity War Part 1 but renamed to avoid misconceptions (and presumably to give Avengers: Endgame a more final-sounding name than simply Infinity War Part 2). Joe and Anthony Russo, directors of Captain America: The Winter Soldier and Captain America: Civil War, reunited with writers Christopher Markus and Stephen McFeely to craft the first part of the end of the Marvel Cinematic Universe (or, at least, the MCU as we knew it to that point). Theories were flying on who was going to die, and how, and when, with people hanging onto Kevin Feige’s every word regarding this movie and breaking down the trailers frame-by-frame. Clips shown at San Diego Comic-Con caused the enormous Hall H crowd to lose its collective mind, and the trailer now has well over 100 million views. It was all your favorite characters—even the disparate ones, like the Guardians of the Galaxy—coming together, it was the beginning of the culmination of 18 previous movies, it was all so unbelievably big

But when Infinity War begins, with no fanfare, no music, no images, just the crackling voice of Sir Kenneth Branagh (director of the first Thor movie) pleading for anyone to come help the Asgardian refugee ship last seen in Thor: Ragnarok, all the anticipation of the past ten years becomes swiftly replaced with foreboding. The opening of Avengers: Infinity War hits you like a bus, a train, an expletive, take your pick (I prefer the lattermost, starting with an “m” and ending in an “er”), and the ending only hits harder. 

That refugee vessel slowly comes into view as it floats listlessly in space, dead in the water; soon, the camera begins to survey the wreckage in one long, harrowing take, lingering on the dead civilians that litter the floor of the ship. Then Thanos (Josh Brolin) appears, dragging a beaten and bloodied Thor (Chris Hemsworth) across the wreckage like he weighs nothing. The fight has already happened, and Thor has lost—the triumph and jubilation from Thor: Ragnarok vanishes in an instant as we see how easily Thanos tosses Thor aside, and the dread only rises when even the Hulk (Mark Ruffalo), one of the most powerful beings in the MCU, gets bested by Thanos with little more than a flick of the wrist. It rises, and rises, and rises: Heimdall (Idris Elba) sends Hulk to Earth and gets killed for his efforts, Thanos adds the Space Stone to his collection, and finally it all culminates in the Thanos lazily snapping the neck of fan-favorite Loki (Tom Hiddleston). 

It’s a one-two-three-four gut punch: what remains of Asgard decimated, Hulk defeated, Heimdall killed, Loki killed, bam, bam, bam, bam. Loki’s death in particular sends a shock to the system: the formidable villain of the first Avengers movie tossed to the ground like a broken ragdoll, the antihero from the Thor franchise who stole so many scenes he brought that same Hall H to its feet all those years ago merely by shushing them, making one last heroic stand that gets thwarted with astonishing ease. Loki has perhaps the most gruesome, drawn-out death in the MCU, thrashing and writhing wildly about like an animal, blood trickling out of his eyes and ears from the force of Thanos’ meaty hand around his neck before the God of Mischief gets his corpse bodily dumped in front of his defeated, crying brother. It is an utterly bleak opening and unlike any other Marvel movie that came before—there are no quips, there is only defeat and despair as we finally behold the true power of the Mad Titan Thanos.

In short, it’s one hell of an opening, and Infinity War hardly lets up on the gas pedal for the rest of its hefty runtime.

The Hulk conveniently lands in the Sanctum Santorum, the abode of Dr. Stephen Strange (Benedict Cumberbatch) and fellow Master of the Mystic Arts Wong (Benedict Wong), and he turns back into Bruce Banner upon landing. (Despite Bruce’s proclamation in Ragnarok that if he turned into the Hulk again he would never turn back, here he is; depending on what the directors need him to be, the relationship between Bruce and the Hulk tends to change at the drop of a hat. Taika Waititi needed Bruce to be Hulked out, but the Russos need Hulk to be beaten down to establish Thanos’ strength and simultaneously leave a powerful player off the battlefield, because otherwise the Avengers might win too easily. Back and forth we go.)

Bruce’s proclamation that “Thanos is coming” spurs Dr. Strange to get the Avenging band back together again. Strange interrupts Tony Stark (Robert Downey Jr.) and Pepper Potts’ (Gwyneth Paltrow) walk through the park and family planning discussion, and Tony almost swallows his pride and calls Steve Rogers (Chris Evans), but they get interrupted by the arrival of Thanos’ lackeys, the Black Order. (A reminder, in case you forgot: the last time Tony and Steve saw each other, Tony was attempting to kill Bucky Barnes (Sebastian Stan), Steve’s childhood friend, for killing his mom, and Steve was doing his best to give Tony a very severe concussion or twenty.)

Trent Opaloch, the cinematographer for the Russo brothers’ MCU films, has crafted a handful of cool shots for Marvel, but by and large his camera has been workmanlike, favoring function over style. Yet here, like in the opening scene, he employs another long take that works beautifully to ramp up the tension: Tony walks out onto the streets of New York, the wind from the Black Order’s ship sending debris flying, and the chaos that unfolds around him gets no time to breathe or ease up via a cut, it only keeps growing. Someone runs into Tony and falls to the ground, a car hits a lamppost right in front of him, signs are precariously buffeted by the wind, and our trepidation only grows as he picks his way through the chaos to find the threat.

The threat turns out to be Cull Obsidian (Terry Notary) and Ebony Maw (Tom Vaughan-Lawlor), the former of whom is forgettable but the latter of whom proves to be very coldly frightening. Seeing the impending threat from aboard his school bus, Peter Parker (Tom Holland) joins the fight, which ends with Dr. Strange, Tony, and Peter all aboard Ebony Maw’s ship, headed to a rendezvous with Thanos on his home planet of Titan.

Read More of Anna’s Ongoing Marvel Retrospective Series Here

And then, with a needle drop of The Spinners’ “The Rubberband Man,” the Guardians of the Galaxy enter Infinity War. (It’s not all gloom and doom, guys!) Zooming through space to answer a distress signal, they soon realize that they’ve arrived too late: the source of the call, the Asgardian ship from the opening, has splintered apart, and its occupants float eerily through the cosmos, all dead save the one-eyed bodybuilder who lands on their windshield. So, finally, our space misfits get to interact with the Avengers, or at least one. The Guardians bring Thor onto their ship, where Drax (Dave Bautista), Gamora (Zoe Saldana), Mantis (Pom Klementieff), and Rocket (Sean Gunn for the motion capture, Bradley Cooper for the voice) ooh and aah over Thor’s significant muscles at the expense of Peter Quill (Chris Pratt). “He is not a dude,” Drax says. “You’re a dude. This… this is a man. A handsome, muscular man.” 

The subsequent interaction between Thor and the Guardians is a moment of immense fun amidst a very heavy movie (at least, heavy for Marvel), and seeing the Guardians finally interact with an MCU character outside of their own franchise sparks great joy. So much of the MCU’s success relies on how well it plays around in its own sandbox: it has established characters you know and love on their own, which is well and good, but when you put them together, it’s double the fun and double the novelty. Plus, the Guardians are such a bizarre bunch that putting them with any character even slightly less weird will pay dividends, and as these characters interact with their hitherto unknown fellows, it can coax out new sides of everyone involved, so not only is it simply fun to watch these worlds collide, it’s good character development, too.

In fact, the combination of Thor and Rocket produces one of the best scenes in Infinity War. The two, along with Groot (Vin Diesel), split off from the Guardians so that Thor can find a weapon strong enough to defeat Thanos, leaving the Guardians to go to the planet Knowhere to speak to the Collector (Benicio del Toro), seen in Thor: The Dark World’s post-credits scene and in Guardians of the Galaxy, who possesses the Reality Stone. Rocket, in a moment of remarkable maturity and empathy for the racoon (Yondu (Michael Rooker) really helped him with his issues in Guardians of the Galaxy Vol. 2), notices Thor is feeling a bit blue, to put it lightly. Where Thor: Ragnarok dealt with its own repercussions a little too glibly, here Markus and McFeely strike a perfect balance between the newfound humor in Thor and the immense trauma he just experienced: there are jokes, but they are laced through with a current of sorrow.

“You know,” Thor tells Rocket, “I’m fifteen-hundred years old. I’ve killed twice as many enemies as that, and every one of them would have rather killed me than not succeeded. I’m only alive because fate wants me alive. Thanos is just the latest in a long line of bastards, and he’ll be the latest to feel my vengeance. Fate wills it so.”

“Mhm. And what if you’re wrong?”

“Well, if I’m wrong, then…” Thor replies, “what more could I lose?”

It’s a standout scene in a standout movie, one elevated by Chris Hemsworth’s standout performance. Thor: Ragnarok leaned overly hard into the comedy, often forgetting Thor’s age and largely ignoring the bigger emotional repercussions from things like his dad dying, his sister getting released from Hel, attempting to kill him, slashing his eye out, and then dying, and his home world getting destroyed; here, you feel the weight of it finally come crashing down.

Elsewhere, yet another thread of the movie gets introduced as we are reacquainted with Wanda Maximoff (Elizabeth Olsen) and the Vision (Paul Bettany), now officially an item. Vision also looks like Paul Bettany for a few minutes, sparing the makeup team several hours of their time and letting everyone know he can change his appearance at will (and probably make it an easier pill to swallow for the audience that Wanda is dating a synthezoid thing). The two had shared moments in Age of Ultron and Civil War hinting at their future as a couple, but they were more snatches of time than anything, so Bettany, Olsen, and the movie have to work overtime to make their relationship believable. Luckily, it largely succeeds; even if Wanda and Vision will not get the limelight they deserve until their titular TV show, Bettany and Olsen’s charm and chemistry help sell their relationship very quickly.

Vision, unfortunately, becomes the target of the other two members of the Black Order, Proxima Midnight (Carrie Coon in a very thankless role, and I would please like Sarah Finn to cast her again as someone bigger, thank you) and Corvus Glaive (Michael Shaw). Vision gets wounded early on, conveniently nerfing (as the kids say) his formidable powers so he and the Mind Stone can’t run around and defeat the Black Order without dropping a sweat (not that Vision would sweat anyway). Luckily for our favorite sitcom couple, Bruce had called Steve, who shows up with Sam Wilson (Anthony Mackie) and Natasha Romanoff (Scarlett Johansson) in appropriately dramatic fashion. They decide to take Vision to Wakanda, where T’Challa (Chadwick Boseman) and Shuri (Letitia Wright) might be able to patch him up. (Steve, having been on the run since the events of Civil War, also sprouts a beard, a thrilling development everywhere for the female gaze.)

And so we finally have all of our plot threads: Tony, Strange, and Peter heading to Titan, having dispatched Ebony Maw; Thor and Rocket heading to the dwarf home world of Nidavellir to get a weapon; the Guardians off to Knowhere; the earthbound Avengers (now with Don Cheadle’s Rhodey in tow) off to Wakanda, where they also pick up recently de-brainwashed Bucky Barnes

Well, almost all. There’s still Thanos to deal with. Before the Guardians get to Knowhere, Gamora takes Peter aside and makes him swear to kill her if Thanos tries to take her; when the Guardians get to Knowhere, they find the planet burning and Thanos waiting for them, Reality Stone in tow. When Thanos takes Gamora, Peter follows through on his promise and shoots her, but the shot turns to harmless bubbles as Thanos harnesses the power of the Reality Stone. It’s a shocking moment—not the bubbles, but the fact that Peter actually tries to kill Gamora. Nearly every time something similar happens in a movie, the shooter can’t follow through. It’s become trite at this point, but Peter bucks tradition and pulls the trigger, which (conversely) speaks to the strength of his relationship with Gamora and the trust they have built between Vol. 2 and now. Like Olsen and Bettany, Pratt and Saldana have to work hard to sell their characters’ relationship, which was last seen as defined as “some unspoken thing” in Vol. 2, but it works. Saldana in particular turns out her best performance as Gamora yet as she confronts the adoptive father who slaughtered half of her planet, proving to be the unexpected MVP of Infinity War.

So now we finally have all of our plot threads: Tony and company on Titan, the Guardians on Knowhere, Thor and Rocket on Nidavellir, Steve and company in Wakanda, and Thanos on a quest to find the Soul Stone.

It is quite a lot of plates to keep in the air. Frankly, it is a marvel (ha) that Infinity War is even slightly coherent, considering that so many of its pieces stay separated throughout the entire movie. It operates, of course, on the assumption that you have seen at least a handful of the previous eighteen movies: it doesn’t have any pretensions about being able to stand on its own two legs without the foundations laid by its predecessors. It’s a movie that trusts its audiences, that trusts that we know the characters, that we know their relationships to each other, that we’ve been paying attention and understand what Thanos and the Infinity Stones mean to the universe. Taken in a vacuum, this would make Infinity War hugely messy, but it was never meant to be taken in a vacuum. You could count that as a valid flaw, and symptomatic of how the MCU is changing our movie landscape into a monolith, but you could also sit back and joyously watch ten years’ worth of solid character work pay off.

Infinity War marks perhaps the most obvious point in the MCU where it becomes nigh impossible to gauge a Marvel movie on its own: the MCU has built such a twisting mythos for itself that to judge Infinity War without judging what came before simply can’t work. The MCU has taken on a life of its own, and if you want to know what’s going on in pop culture, what’s making the rounds on Twitter, you’re going to have to sink quite a lot of money and time into the MCU just to catch up. There is a very cynical way to look at this, to view this money-making, independent-film-driving-away-ing, Disney-domination-cementing machine as nothing more than a hollow and artless cash grab, but the genuine glee that arises from pushing all these characters together in new ways and writing them into impossible corners is apparent from the care and love with which everyone is handled.

None of our main heroes get much development in Infinity War, per se, with a few exceptions here and there: Tony gets to yet again undergo extraterrestrial trauma, Thor processes his grief through vengeance, Gamora (and, later, Karen Gillan as Nebula) come face-to-face with the sins of their father. But most other characters, including even Steve Rogers, rely on their previous characterization to power them through this movie—luckily, a decade’s worth of content gives quite a lot to go off.

It’s not only the dense plot that forces these characters to the side, nor is it the sheer number of cast members to juggle (there were 23 character posters, which is insane), though those certainly played their part. It’s also the fact that Thanos is the true main character of Infinity War. In order for these stakes to be felt, and for this six-year buildup starting with The Avengers to pay off, Thanos has to be front and center. While all the rest of our characters get split up, he doggedly powers through with one goal in mind, going through his own hero’s journey. He makes pivotal decisions, he makes personal sacrifices, he is the one thread connecting everything—all the others are merely accessories.

Thanos’ goal comes from seeing his own planet, Titan, wither and die from a lack of resources; he had proposed an “at random, dispassionate, fair to rich and poor alike” culling of half of Titan’s population in order to stave off this destruction. Titan refused, and so it crumbled. Convinced he was right, Thanos then set out to eliminate half of the universe’s population to preserve the other half. “This universe is finite, its resources finite,” he tells Gamora. “If life is left unchecked, life will cease to exist. It needs correction.” This argument was so convincing that it spawned a lot of “Thanos did nothing wrong” memes, though they were mostly ironic; still, Brolin makes us feel something almost approaching sympathy for the big purple grape. Thanos is calm and logical, but he isn’t dispassionate, and he sees himself as a maligned hero honorably sacrificing everything for the rest of the world. Brolin does an absolutely tremendous job with the motion-capture and vocal performance, and he imbues Thanos with a tremendous amount of gravitas that has extended well outside the MCU and into pop culture; it’s thanks in large part to him that Infinity War works as well as it does and hits its emotional beats.

It turns out that the reason Thanos took Gamora was not entirely out of fatherly love; rather, it was because she knows where the Soul Stone is, and she reveals its location on Vormir after Thanos begins torturing her adopted sister Nebula (a nice parallel to the opening where Loki gives up the Tesseract and the accompanying Space Stone after witnessing Thor’s torture at the hands of Thanos). After Thanos and Gamora go to Vormir, Nebula escapes and alerts the Guardians to join her on Titan, and our threads slowly begin to coalesce. 

Unfortunately, not all of these threads are equally engaging. While Thor and Rocket have some of the best interactions in the movie, their plotline seems like a minor sidequest, one that ignores that whole moment in Thor: Ragnarok that establishes how Thor doesn’t need a weapon to go around and wreck shit. Ragnarok has him grappling with and overcoming the loss of his hammer, Mjolnir, before realizing that he is the God of Thunder, not the God of Hammers, but Infinity War has him turn right back around and decide that he needs a weapon. (It also gives him a replacement eyeball, which is easier for both Hemsworth and the VFX team, but negates another Ragnarok development.) The Nidavellir plotline seems to exist only to take Thor away from the action until the most opportune time while still giving him something to do, and the introduction of the giant dwarf Eitri (Peter Dinklage) feels like an unnecessary addition in an already-crowded movie. Sure, Thor gets a cool axe, and it’s Peter Dinklage, but… why? Is it really necessary? Not really.

Luckily, though, the Guardians are here to save the day. They arrive on Titan and immediately cross paths with the Avengers, resulting in some very funny misunderstandings and a lot of very tired, very exasperated looks from Tony as he deals with their insanity. Placing all these characters in new situations and letting their personalities clash organically results gives rise to some excellent humor. The Russo brothers’ previous forays into the Marvel world, Winter Soldier and Civil War, are among the most serious MCU titles (Winter Soldier especially), and Infinity War continues that trend while also, for my money, having some of the funniest scenes in the entire MCU, yet it’s not as quip-laden as many other Marvel movies. Markus and McFeely excel at naturally coaxing the humor out of character interactions, something they also did in Civil War; rather than tacking on a joke at the end of a beat, the funny moments are (by and large) seamlessly baked into the dialogue, advancing the plot, giving character depth, and keeping the audience entertained all in one fell swoop. Plus, it’s just so damn satisfying to watch all your favorites finally interact with each other—provided, of course, that you’re already invested in them, but again, the entirety of Infinity War is predicated on the fact that its audience already cares. If you don’t, then why are you watching? (Highlights: “Why is Gamora?,” “Kick ass, take names,” which is coincidentally my Instagram bio, “That’s on Earth, dipshit,” “What master do I serve? What do you want me to say, Jesus?,” and “Please don’t put your eggs in me!”) 

Elsewhere in space, Thanos and Gamora arrive on Vormir, where they are greeted by a familiar face: the Red Skull (formerly Hugo Weaving, now voiced by Ross Marquand in an uncanny imitation), last seen in Captain America: The First Avenger getting sucked into space by the Space Stone and now guardian of the Soul Stone. It’s a bit random, but a neat way to tie together a loose thread and a fun reappearance from an old villain. Vormir is a desolately beautiful place, a properly somber setting for what’s about to occur: to get the Soul Stone, you must sacrifice something you love. The resultant scene serves to heighten Thanos’ villainy, of course, but also his humanity: the horror at what he’s doing and the sheer willpower it takes to sacrifice Gamora plays out in vivid detail across Thanos’ face, turning the scene into a veritable Greek tragedy. The work that Infinity War puts in to build up Gamora and Thanos’ relationship pays off here, though it has no right to: Gamora has been a main character in the Guardians series, but not one who necessarily evokes much pathos, so to successfully build her up in this movie while balancing so many other characters and make her death truly mean something is no small feat. Saldana continues to grow more comfortable with Gamora, and here she turns in an incredibly impressive performance; combined with Brolin’s anguish, the pair expertly sell their twisted relationship, even though they get saddled with some clunky expositional dialogue in the middle, making it the unlikeliest heart of Infinity War. (Or maybe I’m just predisposed to care too much about these Marvel people, who knows.)

And so, now with four Infinity Stones, Thanos sets out to retrieve the Time Stone from Strange on Titan, and the remaining Black Order members go to Wakanda to get the Mind Stone from Visions forehead. The pieces inch ever closer.

The reason for how separate all these pieces are can be found in Civil War. When Steve and Tony broke up, they split the Avengers, and so when a threat like Thanos appears, they can’t band together and stop him. Thanos could divide and conquer because the dividing part was already done for him by the Avengers themselves; without a united front, the chinks in their armor become that much more obvious. See, guys, here are some events in the MCU that actually have ramifications down the line! 

As the climax approaches, we now only have three things (only three, imagine that!) to cut between: Thanos duking it out with the crew on Titan, Thor taking the full force of a star to make his axe, and the Black Order hunting Vision in Wakanda. The fight on Titan is the most interesting of the three plots as it allows Dr. Strange to go ham with his powers and Thanos to utilize the full force of four Infinity Stones, leading to some interesting visuals and downright cool moments; the fight on Wakanda doesn’t have nearly as much going for it, and the enjoyment from that scene comes from simply watching all the different characters’ fighting styles as they face down the Black Order and their unimaginative dog-looking alien things. (Why don’t the Avengers just destroy the Mind Stone and possibly Vision along with it, you ask? “We don’t trade lives,” Steve says, before asking a bunch of Wakandans to trade their lives to defend a synthezoid they have never even met. It’s a good sentiment, Steve, but… you might want to work on your logic a bit there, buddy.) When things seem to be looking dire, Thor arrives in the most triumphant fashion possible and does some very, very cool shit. It is very, very awesome, and the payoff almost makes up for the strange nature of his subplot in this movie. Plus, we get this eloquent exchange between Groot and Steve: “I am Groot,” Groot says as he skewers a bunch of bad guys. “I am Steve Rogers,” Steve says, very politely

Elsewhere on Titan, things seem to be almost looking up, and everyone is working together to restrain Thanos and get the Infinity Gauntlet off, but when Peter Quill learns of Gamora’s death, he discards the plan in favor of trying his best to cave Thanos’ skull in. A lot has been said about this moment and a lot of fingers have been pointed towards Peter as the reason the Avengers lost, and yes, it was a bad move on his part. But it was also completely, 100% in character: Peter is still emotionally stunted from his mother’s death and always incredibly reactive, thinking with his heart instead of his head, so of course he’s going to throw the plan out the window when he hears of the death of the woman he loves. The understandable impulses driving Peter’s actions make it that much more tragic when they allow Thanos to regain control of the Infinity Stones; Peter is, after all, only human (or at least 50% human). Reunited with the Infinity Gauntlet, Thanos handily defeats his foes and stabs Tony with a bit of his own nanotech in a very sudden move that provoked many a gasp in the opening night audience, prompting Dr. Strange to give up the Time Stone. (Tony patches up himself right away, but that scene is the closest I have ever come to having an honest-to-god heart attack.)

From there, Thanos arrives in Wakanda, and with five Infinity Stones in tow, proceeds to completely decimate the remaining Avengers. It’s harrowing to watch when we have become so accustomed to success after success for our heroes (barring Civil War, which had no winners); against Thanos, they’re nothing. Annoying gnats buzzing in his ear. The only one who can put up any fight is Wanda.

Faced with annihilation or the death of one man (robot, android, synthezoid, whatever), the Avengers finally choose the one—or, rather, Vision chooses to sacrifice himself. Alas, the only person able to hurt him is his lady love, and so Wanda gets saddled with the task of killing her boyfriend. Fun! As with Gamora’s (unwilling) sacrifice, this shouldn’t really work, given the limited screentime Wanda and Vision have had, but Olsen and Bettany act the hell out of the scene, a feat made even more impressive when you realize that some of it was improvised. It seems as though, through Wanda and Vision’s sacrifice, crisis was averted.

And then Thanos simply turns back time and takes the Mind Stone out of Vision’s head by force.

But wait! Thor is here to save the day, driving his axe into Thanos’ chest as revenge for everything he has suffered. Our heroes have finally won.

And then Thanos says, “You should have gone for the head,” snaps his fingers, and half the world turns to dust. Thanos vanishes, the music stops, the world stops as we slowly watch some of our favorite characters vanish from sight, disappearing in a puff of ash. If you’ve made it this far in the MCU, if you care in the least about any of these people, this moment should floor you. Indeed, it floored pop culture for quite some time, and you couldn’t move five feet on the internet without bumping into a reference about Thanos’ snap. (There was even a whole subreddit that banned half its community in an attempt to emulate Thanos, attracting the attention of Josh Brolin and Anthony Russo.) 

Peter Parker’s cries of “I don’t wanna go” (also improvised) in particular are gut-wrenching, because for all the ass-kicking he’s been doing over the course of the movie, he’s a 16-year-old kid clinging to his father figure in a desperate attempt to stave off the inevitable. It is incredibly heavy fare for Marvel. “It was the only way,” Dr. Strange tells Tony, but it certainly seems like the end times. Even Steve Rogers can’t think of a rallying cry, as he simply collapses next to Vision’s body and says, “Oh, god.” And Thanos, like he promised earlier, gets to “finally rest and watch the sun rise on a grateful universe.” And so the movie ends with the triumph of the villain.

Of course there’s going to be a sequel, and of course everyone who was snapped away will return, but that knowledge does little to lessen the distress evoked from seeing the utter decimation of the Avengers. Infinity War has some of Marvel’s highest highs (the Guardians meeting everyone else, Thor arriving in Wakanda to much fanfare), but its ending packs a wallop that no other MCU movie has even attempted to. It no doubt has its flaws, but at the end of the day, Infinity War is one of the gutsiest tricks Marvel has ever pulled—there is no reason a movie this crowded, this plot- and MacGuffin-heavy should have worked, and yet it did. It still does, even knowing what comes after. 

Avengers: Infinity War is one very agonizing descent into hell for our favorite characters, an inevitable fall made all the more excruciating because possible wins are presented at every corner before slipping through our heroes’ fingertips. They almost get the Gauntlet off on Titan, and then Quill lets his emotions get the best of him; Vision’s sacrifice seems to make Thanos’ goal impossible before Thanos winds back the clock; Thor’s axe strikes true but his desire to make Thanos suffer before death backfires. And so here we are, and the credits start to roll, and there’s no music playing, and you’re left to rot in the despair left behind in Thanos’ destructive wake. Put simply, there was nothing like Avengers: Infinity War: not because it’s the best movie ever made, or because it’s even the best Marvel movie (though it comes damn close), but because it turns the entire MCU on its head. I don’t think there will be anything like it for quite some time. 

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:

  • The post-credits scene shows Nick Fury (Samuel L. Jackson) paging Captain Marvel so we can all get excited about Marvel’s next movie and give them even more money!
  • Loki’s death sets the tone for the movie quite well, but some fans were upset that the consummate trickster’s big plan to best Thanos was… stab him with a knife. It was so straightforward a plan that people thought Loki would still be alive, and there were theories that he simply cast an illusion and hid himself among the wreckage and went off elsewhere; while this didn’t come to pass, and Thanos even says, “No resurrections this time” to preempt any “Loki lives” discussions, Richard E. Grant’s Classic Loki in the Disney+ show Loki did exactly what was theorized, probably as a nod to how flimsy OG Loki’s “plan” was.
  • There’s a far subtler “girl power” moment here than in Endgame with Wanda, Natasha, and Okoye (Danai Gurira) taking down Proxima Midnight. #girlboss
  • On the different side of the #girlboss spectrum, though, is Shuri making a dig at Bruce for not thinking of some science-y technobabble stuff, which isn’t unfunny but shows a lack of imagination: you shouldn’t have to knock others’ intelligence just to make Shuri look smart, she should simply be doing that on her own. (Game of Thrones fell into that trap all. the. time.)
  • I find it very funny that while T’Challa and Steve show off their superhuman strength and speed by sprinting out in front of everyone during the Wakandan battle, Bucky, who has that same strength and speed (as evidenced in Civil War’s car chase scene), is perfectly content to lag behind with the normies. He’s too old for this shit.
  • The Bruce/Natasha eye contact and Sam muttering, “This is awkward” is the perfect way to move past their misfire of a “relationship.”
  • The Russo brothers love to sneak in references to their past work on Community and Arrested Development in their Marvel movies: Community alums cast throughout, the Bluth staircase car in Civil War, and here, a blue man looking suspiciously like the never-nude Tobias Fünke slumped over in one of the Collector’s cases.
  • Ebony Maw burning his hand on Dr. Strange’s medallion is a nod to Raiders of the Lost Ark, which I learned because I, like all cool people do, watched the entire movie with commentary one afternoon.
  • If Eitri has no use of his hands, how does he pee? How does he do anything, as a matter of fact? How is he still alive? I need answers, Kevin!

Anna’s Favorite Scene: Woof. I have to say, the opening is pretty fantastic, even if it causes me great emotional distress, and Peter’s “I don’t wanna go” kills me every time, but I have to give it to Thor: both his “what more could I lose” scene with Rocket and when he arrives in Wakanda with Stormbreaker are very great scenes for very different reasons.

MCU Ranking: 1. Captain America: The Winter Soldier, 2. Avengers: Infinity War, 3. Captain America: Civil War, 4. Guardians of the Galaxy Vol. 2, 5. Thor: Ragnarok, 6. Guardians of the Galaxy, 7. The Avengers, 8. Spider-Man: Homecoming, 9. Captain America: The First Avenger, 10. Iron Man 3, 11. Iron Man, 12. Black Panther, 13. Doctor Strange, 14. Ant-Man, 15. Thor, 16. Avengers: Age of Ultron, 17. Thor: The Dark World, 18. Iron Man 2, 19. The Incredible Hulk

Avengers: Infinity War Trailer

Avengers: Infinity 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.

MCU Retrospective: Guardians of the Galaxy Vol. 2

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. The a-holes are back!

85/100

Like its predecessor, Guardians of the Galaxy Vol. 2 opens with a bang. After a brief sojourn with Peter Quill’s (Chris Pratt) parents back in 1980, with Laura Haddock reprising her role of Meredith Quill and a de-aged Kurt Russell making his debut as Peter’s father, we get treated to an opening credits scene that rivals even Vol. 1’s highs: Baby Groot (the voice of Vin Diesel) dancing around to the Electric Light Orchestra’s “Mr. Blue Sky” in one long tracking shot as the rest of the Guardians get ravaged by an interdimensional beast in the background. It’s an absolutely joyous beginning, one that sets up the strengths of the movie to come: an abundance of humor (Dave Bautista as Drax very seriously intoning, “I have sensitive nipples”), a more comfortable—if still prickly—team dynamic between the Guardians, top-notch music choices, and a bright color palette that is a welcome change of pace from the monochromatic norm for Marvel. Director James Gunn takes what worked in the first film and amplifies it, though the paths he treads still feel fresh.

The Guardians, consisting of Peter Quill, Gamora (Zoe Saldana), Rocket Raccoon (Bradley Cooper), Groot, and Drax, have been dispatched by the golden Sovereign race to deal with this interdimensional beast in exchange for their prisoner, Gamora’s adopted sister Nebula (Karen Gillan). The exchange seems to have gone smoothly until it’s revealed that Rocket stole some valuable Anulax Batteries (“Harbulary Batteries,” Drax confidently declares), and so Sovereign leader Ayesha (Elizabeth Debicki) sics a fleet of ships on the Guardians.

With the help of a mysterious man in a pod-like ship, the Guardians destroy the Sovereign’s fleet before they crash land on a planet. The man from the pod, looking like current Kurt Russell, meets them and introduces himself as Ego, Peter’s father. He offers to take Peter to his planet, and so the Guardians split up: Drax, Gamora, and Peter go with Ego, while Rocket and Groot (and Nebula) stay to fix the ship. It’s a classic sequel move, à la The Empire Strikes Back: the gang gets separated and thus are forced to grapple with their own demons.

These inner demons are the driving force of the movie. Peter, having been plagued all his life with daddy issues, has to face the father he feels abandoned both him and his dying mother, only to discover that maybe his father isn’t all that bad. The movie never fully tricks the viewers into believing that Ego’s a good guy, but it gives us enough to fully understand why Peter—who’s spent so much time longing for a bit of kindness from Dad and a sense of belonging—would buy into Ego’s shtick. (And there is a hint of genuine sadness in Ego’s voice as he discusses how lonely he is.) It’s not just that Ego shares a bit of Peter’s humor or that he has a beautiful planet to himself, it’s also that on this planet, Peter suddenly has access to superpowers and immortality. They feel like signs he’s finally home. 

And what a beautiful home it is. Ego’s planet is introduced with the sweet sounds of George Harrison’s “My Sweet Lord,” and it stands out as one of the most colorful sequences in the MCU. In a franchise that succeeds based on a certain level of predictability, Vol. 2’s array of brilliant colors present throughout the movie stand out, and Gunn puts a unique visual stamp on his film which few other Marvel films possess. The cinematography by Henry Braham similarly remains consistently impressive and stands far above most other Marvel films, representing what beauty can be found when the films are allowed to have a bit more character and individuality. Gunn, for what it’s worth, said that he had the utmost creative freedom when shooting Vol. 2, and while he might have been exaggerating due to the Marvel sniper aiming at anyone who speaks out of turn, it’s worth it to note that this was likely the first Marvel production completely free from the Creative Committee’s control, and Gunn’s voice is clearly heard throughout Vol. 2 in a way only rivaled by Taika Waititi in Thor: Ragnarok. It looks like a proper comic book, bright and colorful and sometimes a bit chaotic. Glorious.

Read More of Anna’s Ongoing Marvel Retrospective Series Here

Gamora, meanwhile, while initially urging Peter to get to know his father, quickly changes her tune once she begins to suspect Ego of malintent—she’s had a lot of trouble with her own family, most notably Nebula, and now that she feels a member her newfound family beginning to slip away from her and towards someone else, she reacts poorly. Drax spends a hefty chunk of this movie as (very effective) comic relief, but his friendship with Ego’s servant, Mantis (Pom Klementieff, an absolutely excellent addition), produces one of the most touching moments of the film: as Drax describes a day spent with his now-dead daughter, Mantis—whose empathic abilities let her feel what others do—lays a hand on his shoulder and begins weeping as she experiences the pain that Drax carries with him wherever he goes. 

Back on the ship, Nebula is filled with thoughts of revenge on Gamora, and Rocket stews with rage after he and Peter grate on each other’s sizable, fragile egos. (Baby Groot just looks cute.) They aren’t alone with their thoughts for long, however, as Yondu (Michael Rooker) has been hired by Ayesha to seize the Guardians; despite Rocket’s best efforts (and a wonderful setpiece to Glen Campbell’s “Southern Nights”), Yondu apprehends the three Guardians and Nebula. But then Yondu’s crew mutinies, and so he’s thrown into the ship’s brig alongside Rocket, Baby Groot is left to his own devices after getting manhandled, and Nebula flies off to go kill her sister. 

It sounds like a lot of spinning plates, and indeed it is, but Gunn balances them all well and allows each character to get their due without the movie feeling too overstuffed (but maybe just a little). Despite the balancing act going on, however, there’s not much plot actually happening: Peter and company go to see his father, Rocket and company get captured, and that is about it. Vol. 2’s plot doesn’t truly kick into gear until the third act, and for the first two-thirds of the movie, we are left to ruminate with the characters and a building sense of unease surrounding Ego. This kind of lulling story may not work for everyone, especially as it represents such a marked departure from the general shape of an MCU storyline, but coming off the heels of the disappointingly rote (though still fun!) Ant-Man and Doctor Strange, Vol. 2 feels like a breath of fresh air. The film is largely driven by character rather than simply going through the motions of the plot to get through it all, and as we know, character focus in the MCU will win out over plot almost every time for me. Vol. 2 lets its characters breathe, something that few other MCU movies seem able to do as they instead breathlessly rush from one action sequence to another. (Not to say, of course, that there aren’t action sequences in Vol. 2. There are still plenty.)

Part of the reason Vol. 2’s plot may seem thin is that there’s no clear villain until the third act. Ego, while obviously suspicious, is played with enough charm by the ever-great Kurt Russell that you find yourself wanting to believe his intentions are good, and so instead you can focus on the great character beats that happen in the leadup to Ego’s villainous reveal.

Gamora and Nebula, in particular, get standout moments in Vol. 2, and Saldana and Gillan’s performances make up for their stilted deliveries in their first Marvel outing. Where their awkwardness in Vol. 1 felt as though it came from the layers of makeup and odd dialogue that goes hand-in-hand with sci-fi and fantasy, here the two performers play their characters more comfortably: the awkwardness comes from Gamora and Nebula’s turbulent childhoods and lack of social skills rather than lack of acting prowess. The two rarely interacted in Vol. 1, but here their fraught relationship comes to the surface as both Nebula and Gamora find themselves without daddy Thanos to impress this time around. 

Nebula’s intense resentment towards Gamora, Thanos’ favorite, results in a fun sequence clearly inspired by North by Northwest as Gamora tries to outrun her sister’s ship and Nebula attempts to blast Gamora to bits. Though neither ends up dead, they do finally talk. It turns out when they were younger, Thanos would make the two of them fight together; when Gamora inevitably won, their father would replace some part of Nebula with a machine, so it’s no wonder Nebula’s got a bone to pick. “You were the one who wanted to win. And I just wanted a sister!” For a character who barely existed in Vol. 1, she works wonderfully here, and Gamora too becomes a much better character. (Her “unspoken thing” with Peter also succeeds where it was middling in Vol. 1, helped by the fact that it’s unspoken rather than acted upon in a rush.)

But it’s Rocket Raccoon who gets the biggest arc in Vol. 2, helped along by Yondu. Gunn perfectly bounces this pair of acerbic loners off each other as they reckon with the damage they have caused. Yondu, with his crew having mutinied against him, is ready to accept what he thinks he deserves and die, but Rocket is determined to get out of there. With the help of Baby Groot and Yondu’s right-hand man Kraglin (Sean Gunn), they escape, assisted by Yondu’s enormously cool flying arrow and “Come a Little Bit Closer” by Jay and the Americans. (The song choices in this one might even eclipse those of Vol. 1—they’re just so good.) When Yondu reveals that Ego wants to use Peter as an amplifier to take over the universe so that he, Ego, literally becomes everything, they set off to save him. Ego is a very literal name, apparently. 

Yondu and Rocket work so well together because they see themselves in each other, and that forces them to do some self-reflecting, even if they don’t want to. “I know everything about you,” Yondu growls to Rocket. “I know you play like you’re the meanest and hardest but actually you’re the most scared of all… I know you steal batteries you don’t need and you push away anyone who’s willing to put up with you ’cause just a little bit of love reminds you of how big and empty that hole inside you actually is… I know who you are, boy, because you’re me!” It’s one of the MCU’s most in-depth examinations and gives a raccoon more character than many of his human compatriots in other films, which says something about the strengths of this movie (and the weaknesses of the other ones). 

So, finally, as Yondu, Rocket, Baby Groot, and Kraglin go off to save Peter, Drax, and Gamora, who all finally accept each other as true family, flaws and all, the villain of Vol. 2 emerges, and to no one’s surprise, Ego the Living Planet turns out to be a massive narcissist. He meant it when he said he was lonely, but he’s only lonely because he thinks so highly of himself and his godhood that he couldn’t deign to spend his life among mere mortals. Meredith Quill got close to bringing him down to earth, and so he put a brain tumor in her head to avoid that fate. When Peter, whose love for his mother proves stronger than his desire to belong with his father, rejects his Celestial powers, Ego’s mask of kindness drops and we are submerged in the typical Marvel world-ending battle. 

The third act is the most unwieldy of the film as all the different players established earlier collide in one big messy heap, though it’s certainly not the most egregious Marvel finale. The bright colors that saturate Ego’s world make for an eye-catching final battle even though it begins to get a bit out of hand and go on for too long—but, again, it’s certainly not the first Marvel film to do that, and its offense is much smaller than Avengers: Age of Ultron or even the original The Avengers. Plus, Ego makes a a pretty compelling villain to watch, far more so than Lee Pace’s Ronan the Accuser from Vol. 1 (no offense, Lee, it wasn’t your fault). 

Even with the cluttered nature of the Ego vs. Peter showdown, it still manages to squeeze in affecting character moments and rollicking humor (mostly via a quest to find tape and Baby Groot, who was the cutest baby alien ever until Baby Yoda came along), and Yondu’s death as he sacrifices himself to save Peter is one of the most gut-wrenching moments in the MCU—and that’s no small feat, considering how ugly they make his teeth look (and the fact that he was basically sending kids to their deaths, of course)—and the resulting funeral with “Father and Son” playing is a hell of sendoff. 

Guardians of the Galaxy Vol. 2 isn’t the neatest Marvel film. It’s a bit messy and rough around the edges in places, but when it does succeed, it easily sets itself apart from its peers—even the original Guardians of the Galaxy, though it’s not quite the shock to the Marvel system that its predecessor was. But it’s still a feast for the eyes and full of an odd, thorny kind of heart that just beats stronger when you get to its core, much like its protagonists, and it serves as a reminder that while Marvel can sometimes get a little stale, there is something special to be found there every so often.

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:

  • Ego is a Celestial, beings which were mentioned in Vol. 1, as the mining colony Knowhere was situated within a Celestial’s skull, but will have much bigger roles to play come Eternals.
  • The “Adam” that Ayesha teases in a post-credits scene is none other than Adam Warlock, who will presumably show up at a future point in time. (Though not Vol. 3, apparently.)
  • Stan Lee’s cameo involves him talking to a group of Watchers, an alien race that, as their name suggests, watch over everything but don’t interfere. The Watcher named Uatu has become prevalent in What If…? and is played by Jeffrey Wright, though it remains to be seen if we will get further live action Watchers (Nick Fury sort of becomes one in the comics and chills on the Moon; it gets pretty wild.)
  • Jeff Goldblum’s Grandmaster from Thor: Ragnarok shows up in the credits.
  • The group at the end of Vol. 2, consisting of Sylvester Stallone’s Stakar and cameos from Michelle Yeoh, Ving Rhames, Miley Cyrus, and Michael Rosenbaum, is a nod to the original Guardians lineup from 1969.

Anna’s Favorite Scene: Yondu’s funeral + Cat Stevens. Instant waterworks. 

MCU Ranking: 1. Captain America: The Winter Soldier, 2. Captain America: Civil War, 3. Guardians of the Galaxy Vol. 2, 4. Guardians of the Galaxy, 5. The Avengers, 6. Captain America: The First Avenger, 7. Iron Man 3, 8. Iron Man, 9. Doctor Strange, 10. Ant-Man, 11. Thor, 12. Avengers: Age of Ultron, 13. Thor: The Dark World, 14. Iron Man 2, 15. The Incredible Hulk

Guardians of the Galaxy Vol. 2 Trailer

Guardians of the Galaxy Vol. 2 is currently available to stream on Disney+.

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

MCU Retrospective: Avengers: Age of Ultron

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.

65/100

You know the old adage that sequels are never as good as the original?

Yeah.

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.

Read More of Anna’s Ongoing Marvel Retrospective Series Here

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

Avengers: Age of Ultron 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.

MCU Retrospective: Guardians of the Galaxy

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 now, for something completely different.

80/100

There’s a scene from the beginning of Guardians of the Galaxy where Chris Pratt’s Peter Quill introduces himself as “Star-Lord” with all the seriousness and self-importance in the world, and he is promptly met with a violent, “Who?delivered courtesy of Korath the Pursuer (Djimon Hounsou).

That about sums up the reaction that many confused Marvel fans had when the first trailer for Guardians of the Galaxy was revealed, introducing us to an entirely new team comprised of that goofy dude from Parks and Recreation, a green lady named Gamora (Zoe Saldana), former WWE wrestler Dave Bautista playing someone called Drax the Destroyer, an honest-to-god raccoon (Bradley Cooper) named after a Beatles song, and a talking tree dubbed Groot (Vin Diesel). Who?

No one knew who these guys were. Even Iron Man, certainly far from the most famous of Marvel superheroes, had some name recognition, and Captain America, Hulk, and Thor were all Marvel staples. The Guardians of the Galaxy, though, not so much. This was Marvel’s first nonsequel since Captain America: The First Avenger? Marvel’s cultural importance had certainly grown, and coming off the heels of Captain America: The Winter Soldier, it was coasting on public goodwill, but here was its first true post-Avengers test: introduce a bunch of new characters that no one knows anything about and hope the film is good enough to strengthen brand loyalty rather than frighten casual fans away. It was risky: even the Thor films had elements of familiarity, setting much of the story on Earth and making some of our denizens main characters, but this was a movie set almost entirely in space about a bunch of nobodies directed by a guy who cut his teeth in horror-comedies. Even with the support of the Marvel brand behind them, Guardians’ success was far from assured; in fact, it was such a bizarre premise that Amanda Seyfried turned down the role of Gamora due to concerns over the talking raccoon and his tree buddy, thinking the movie might bomb. Would this be the first real MCU flop?

Luckily for Marvel, James Gunn ended up making one of its strongest films to date; it was a completely different tone from The Winter Soldier, which had arrived several months prior, but, like that movie, Guardians proved that Marvel wasn’t afraid to adapt and reinvent their wheel (not the wheel, just their wheel—at the end of the day, it’s still a Marvel film first and foremost) to stay fresh in the eyes of their fans. Winter Soldier went gritty, Guardians went goofy, and it paid off in spades.

Guardians’ opening scenes perfectly set the stage for that triumph, exhibiting the blend of heart and humor that courses through the film: we start with a young Peter Quill (here played by Wyatt Oleff) running away from a hospital after his cancer-ridden mother (Laura Haddock) dies. It’s a shocking opening, setting a much more somber mood than Marvel goes for and maybe even eliciting a few tears, despite the brevity of the scene. 26 years and an alien abduction later, an adult Quill goes to investigate an abandoned planet, the rain pelting down around him as he scopes out the harsh landscape.

And then, amidst this gloom and doom, something marvelous (ha) happens: Peter starts up his Walkman, “Come and Get Your Love” by Redbone starts to sound, and our hero begins to dance his way through these dank, vermin-filled ruins. In an instant, the movie has transformed; any tears that might have gathered vanish, replaced instead by a broad grin. It’s a brilliant juxtaposition, one that perfectly establishes the tone of the movie and introduces us to our hapless hero. Though he won’t speak for another two minutes or so, it’s already hard as hell not to like Chris Pratt’s Peter Quill. 

Read More of Anna’s Ongoing Marvel Retrospective Series Here

Quill isn’t our only hero, though. When he brings a mysterious orb to sell through a broker, he attracts the attention of some nefarious people, including Quill’s pseudo-foster father Yondu (Michael Rooker), who is tempted to let his Ravagers eat Quill as payback for stealing the orb; Gamora, who happens to be the adopted daughter of Thanos (Josh Brolin, in his first MCU appearance), and through him works for Kree warlord Ronan the Accuser (Lee Pace); Rocket Raccoon, a raccoon bounty hunter with a penchant for stealing prosthetics; and Groot, a talking tree who only ever says, “I am Groot.” The latter three all try to hunt down Quill—Gamora by herself and Rocket with Groot—but end up being apprehended by the Nova Corps, the planet Xandar’s police force. 

(Specifically, they are apprehended by John C. Reilly as Rhomann Dey, whose boss, Nova Prime, is played by Glenn Close. The door is open for a return from those two, provided they didn’t get annihilated when Thanos destroyed Xandar before Infinity War; Reilly and Close are two of the most well-known and well-regarded actors the MCU has collected, and they’re relegated to glorified cameos here. It’s actually kind of funny, watching these A-listers take a backseat to a sitcom actor.)

Our ragtag bunch get sent to the Kyln, a galactic prison, where they encounter Drax. Drax is hell-bent on destroying Ronan, who killed Drax’s entire family; this means destroying Gamora, too, until she reveals that she intends to give the orb not to Ronan, who will use it to unleash destruction on Xandar, but to the Collector, Taneleer Tivan (Benicio del Toro), and wants to use the money she will get to flee from her father and the destruction he plans to sow. The five prisoners then stage a delightfully clever prison break, retrieve the orb, and set about getting the reward.

As it turns out, that orb is actually the Power Stones, one of six Infinity Stones (which, of course, have no plot relevance whatsoever), and after it blows up the Collector’s collection and ends up in Ronan’s hands, our heroes reluctantly go off to stop Ronan and save the galaxy. (“What has the galaxy ever done for you? Why would you want to save it?” Rocket demands, unwilling to go suicidal to defeat Ronan. “Because I’m one of the idiots who lives in it!” Quill retorts.)

The plot proceeds largely as expected. There’s a big bad guy, they have to defeat him, blah blah blah. Ronan himself is a fairly underwhelming villain, motivated only by vengeance and bloodshed, though Lee Pace clearly had a good time hamming it up in increasingly absurd ways (also, I believe his is the only nude butt we have seen in the MCU). Add Pace to the list of underutilized actors who play bland villains in Marvel films, I guess. 

Yet, despite the rote plot, Guardians soars. Its humor consistently lands, its characters exude charm. It, like Winter Soldier, is a breath of fresh air in the MCU, but it, unlike the very serious Winter Soldier, approaches its strange source material with a sense of glee. Its heroes are reluctant, they’re selfish, and they are definitely, definitely weirder than any of the other Marvel heroes we’ve seen before (even the guy who flies around with a hammer), and James Gunn uses these oddballs to wring out some of the best comedy of the MCU. (If this sounds eerily similar to James Gunn’s 2021 The Suicide Squad, well, you’d be right. The guy likes his found families full of mean misfits.)

Of course, it’s hard to mention the success of Guardians without pointing to its soundtrack. From “Come and Get Your Love” to “Cherry Bomb” to “O-o-h Child” (especially to “O-o-h Child” and the corresponding dance-off), each song injects Guardians with a healthy dose of joy or sentimentality. Not only are the songs perfectly timed, they have plot relevance, too—while not always quite diegetic, each needle drop comes from a mixtape Quill’s mother had given to him, giving them an extra emotional resonance. Awesome Mix Vol. 1 is full of so many earworms that it reached the top of the Billboard 200 chart, the first time a soundtrack consisting only of previously released songs had secured the number one spot, and it even became certified platinum. Baby Groot dancing to “I Want You Back” took the Internet by storm, and suddenly decades-old songs were back in the collective consciousness; the soundtrack indelibly shaped the movie, and while moviegoers fondly think back on AC/DC in the Iron Man films, or recall the excellent use of Led Zeppelin’s “Immigrant Song” in Thor: Ragnarok, Awesome Mix Vol. 1 was a runaway success on an entirely different level, and it helped Guardians be one, too.

Guardians of the Galaxy isn’t a perfect film: its villain is nothing to write home about, and some performers (namely Zoe Saldana as Gamora and especially Karen Gillan as Nebula) take until Vol. 2 to settle into their (prosthetic, colorful) skin, but it’s so fun to watch that these criticisms become mere quibbles. It’s not just fun and games though—Guardians also sticks the landing on the more emotional beats, such as Groot’s tear-jerking (at least for this writer) sacrifice, and the moment when Peter finally takes his mother’s hand. 

Gunn has a knack for finding the heart under the rough surface; when he was (stupidly) fired for Guardians of the Galaxy Vol. 3 for decades old (but admittedly tasteless) joke tweets about rape and pedophilia (unearthed only after Pizzagate conspiracist Mike Cernovich sicced his followers on Gunn after Gunn took a dig at him), Gunn’s brother Sean (who plays Kraglin and provides the motion capture for Rocket) took to Instagram and said, “I’ve heard my brother say many times that when Quill rallies the team with ‘this is our chance to give a shit’—to care—that it’s the pep talk he himself needed to hear. It’s part of what made working on the Guardians movies such a rewarding experience for the cast. We managed to find ourselves involved in a big-budget superhero movie that was, at its core, deeply personal. That’s a gift. And that’s why it’s good… So I guess my hope is that fans continue to watch and appreciate the Guardians movies, not despite the fact that the filmmaker used to be kind of a jackass, but because of it. They are, after all, movies about discovering your best self. Working on those movies made my brother a better person, and they made me one too.”

Gunn was eventually rehired after he apologized and the cast rallied around him (though not before he was scooped up by DC to helm The Suicide Squad), but his brother’s post exhibits why Guardians was so successful. It’s superheroes flying around in space and blowing stuff up, sure, but there’s more to it than that: it’s a self-admitted “bunch of jackasses,” fallible and frustrating, finding family and above all working towards redemption, as Gunn did—and as we all do at some point or another. 

It’s really too bad that Marvel follows up these two back-to-back triumphs with… well. You know. (Or if you don’t, you’ll find out.)

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 is probably the biggest info dump we get about Infinity Stones (and the longest appearance of Thanos!) until Avengers: Infinity War.
  • Yondu was right: Quill’s father is a jackass, as we will find out in Guardians of the Galaxy Vol. 2.
  • When Rocket is being processed at the Kyln, “Lylla” is listed as one of his two associates (the other being Groot). In the comics, Lylla is Rocket’s otter soulmate, and seeing as Vol. 3 will have a heavy focus on Rocket, there have been rumors flying about her presence in the film.
  • Ronan and Korath both appear in Captain Marvel, which was a fun way to bring back two talented actors who didn’t get enough to do in this film. They don’t get enough to do in Captain Marvel, either, but it was a nice try.
  • There are a bunch of things in the Collector’s collection, including Howard the Duck (Seth Green), Cosmo the Spacedog, a Chitauri (one of the aliens from The Avengers), and a Dark Elf (from Thor: The Dark World).
  • Hey, you know, those Kree guys show up in Agents of S.H.I.E.LD.! Bet you thought I couldn’t find a way to connect it this time around, but I did.

Anna’s Favorite Scene: I mean, it’s gotta be “We are Groot,” right? That or the exquisite opening ten or so minutes. (Drax calling Gamora “this green whore” gets third place.)

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. Thor: The Dark World, 9. Iron Man 2, 10. The Incredible Hulk

Guardians of the Galaxy Trailer

Guardians of the Galaxy 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.

MCU Retrospective: Captain America: The Winter Soldier

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. Captain America: The Winter Soldier has a lot of favorite scenes, so buckle up.

85/100

Back in 2011, the Community episodes “A Fistful of Paintballs” and “For a Few Paintballs More” aired, both directed by Joe Russo. Joe and his brother, Anthony, both served as executive producers on the show, and directed many of its more iconic episodes, building on their experience with fellow sitcom classic Arrested Development. In this particular doubleheader, the denizens of Greendale Community College get pitted against each other in a paintball war; the episodes expertly mimic Spaghetti Westerns and Star Wars to create a parody so precise it could almost pass off as the real thing, save for Community’s self-aware brand of humor.

Well, as it turned out, Marvel bigwig Kevin Feige greatly enjoyed these episodes of Community, so much so that he reached out to the Russo brothers to ask about directing a Marvel gig. The gig turned out to be Captain America: The Winter Soldier, an entry widely regarded as among the MCU’s best (if not the best) and one whose success ensured that the Russo brothers would be at the helm for much of the Infinity Saga, concluding their tenure at Marvel with Avengers: Endgame. And to think, all of that started with a couple of episodes about a community college dousing each other with paint.

(The Russos will even bring back Community alums Danny Pudi, Jim Rash, and Yvette Nicole Brown to cameo in their Marvel films, as well as the infamous Bluth stair-car from Arrested Development. As it turns out, Community and Rick and Morty creator Dan Harmon has nurtured quite a few future Marvel employees on his shows, most notably Jessica Gao, the She-Hulk showrunner; Jeff Loveness, Ant-Man and the Wasp: Quantumania writer; and Michael Waldron, Loki showrunner and writer, who also wrote the upcoming Doctor Strange in the Multiverse of Madness and whatever Star Wars thing Kevin Feige is doing—Waldron in particular will be a very big deal for the MCU in the upcoming years. On a more unrelated note, Wonder Woman director Patty Jenkins worked on Arrested Development alongside the Russos, and is the director of the infamous “Mayonegg” scene. What humble beginnings all these folks had.)

Feige chose well: the Russo brothers took their action movie parody experience from Community and applied it seriously, crafting not only the best Marvel film to date but a solid spy thriller flick in its own right. The team of the Russo brothers with screenwriters Christopher Markus and Stephen McFeely (writers of Captain America: The First Avenger and, uh, Thor: The Dark World, unfortunately) would go on to shape the biggest moments in the MCU, but it all starts here.

Where I lamented Steve’s characterization in my review of The Avengers, Markus and McFeely smoothly course-correct; the banter and humor doesn’t just come from old man jokes at Steve’s expense, but allows Chris Evans to flex some subtle comedy chops. In The Avengers (and Avengers: Age of Ultron), Steve becomes a bit of a caricature—a hyper-patriotic goody two-shoes with a stick up his ass and his gaze constantly turning to the past—even down to his costuming choices, and it’s a lazy choice to mine for easy comedy. Here, he’s back to his old (no pun intended) self, breaking rules and creating the witty comments himself, rather than being the oblivious subject of them. 

As Markus himself put it: “We also knew what we didn’t want to do, which was the grandpa story of ‘Oh my god, I’m in the future! What are these buttons? What do they do?’ It’s very tempting to go ‘Oh, this rock and roll…’ But he’s the most adaptive man on the planet. His brain’s been juiced, so he’s not going to be baffled for very long by your iPhone, so you have all those ideas first and then you’re like ‘Those are stupid.’”

At one point, Sam Wilson (Anthony Mackie) says, “You must miss the good old days.” 

“Well, things aren’t so bad,” Steve replies. “Food’s a lot better—we used to boil everything. No polio is good. Internet, so helpful. I’ve been reading that a lot trying to catch up.” Steve of The Avengers might have agreed with Sam, but his answer here is much more in character.

This isn’t to say that Steve doesn’t think about his past; in fact, the movie is chock-full of ghosts, living or dead, coming back to haunt Steve. He prowls his own exhibit at the Smithsonian just to get a glimpse of the people he’s lost, most noticeably his best friend Bucky (Sebastian Stan) and lost love Peggy (Hayley Atwell), and one particularly gut-wrenching scene involves Steve visiting a very old Peggy, now bed- and dementia-ridden. He’s adapted easily to the world around him, but he’s done so alone.

Still, he’s managed to carve a life for himself by working for S.H.I.E.L.D. and Nick Fury (Samuel L. Jackson), jumping out of planes without a parachute and demonstrating some exhilarating hand-to-hand combat. He’s assisted by Natasha Romanoff (Scarlett Johansson), her cynical outlook bounces off Steve nicely, as he remains an optimist at heart; her presence also lets the MCU feel more lived-in—it doesn’t always require an Avengers movie to have our heroes cross paths. 

However, Steve begins to grow uneasy with S.H.I.E.L.D. and especially Fury, whose compartmentalization rubs Steve the wrong way; Project Insight, in particular, makes Steve properly angry. The project involves three helicarriers that would patrol the skies and eliminate threats before they occurred, à la Minority Report (but with computers as the Precogs), in order to avoid another Avengers-type cataclysm. While Fury, always the pragmatist, expresses pride in the project, Steve points out, “This isn’t freedom. This is fear.” Steve chafed when the government prohibited him from helping the war effort in the 1940s, and here he chafes again at the terrible oversight the helicarriers would give S.H.I.E.L.D., refusing to compartmentalize and become like Fury. 

There’s no particular political ideology behind Steve’s constant balking at governmental orders (the closest Marvel has gotten to endorsing any particular political leaning is The Falcon and the Winter Soldier, and even that is vague enough to avoid ruffling most feathers); rather, there is simply a refusal to bend before authorities abusing their power, though things are much grayer here than in Cap’s first outing. The First Avenger preyed on sentimentality and nostalgia for the clear-cut morals of World War II, whereas Winter Soldier complicates things a bit by throwing Steve into a world where even the good guys aren’t so good, drawing on the spy thrillers of the 1970s such as The Parallax View and Marathon Man.

Alas, just as Fury begins to feel suspicious about the organization he runs, he gets knocked out of commission by the mysterious Winter Soldier. (Or “Wiener Soldier,” if you’re Sebastian Stan.) Steve and Natasha find themselves on the run from S.H.I.E.L.D., armed only with their wits, Steve’s shield, and a hard drive Fury gave to Steve before he got shot. The hard drive directs them to Camp Lehigh, the training camp Steve attended in The First Avenger, and so the two make their way there, Evans and Johansson’s long-standing friendship lending authenticity to their characters’ hesitant allyship.

Steve and Natasha’s friendship never attempts to be anything more, a refreshing change of pace when Nat has been shunted around seemingly at random between men. Had they been written to be romantic, it would have been believable (certainly more so than the Natasha/Bruce misfire in Avengers: Age of Ultron); their friendship, however, is even better, especially in a universe where any attractive man and woman who glance at each other seemingly must go to bone town.

Speaking of bone town, Winter Soldier provides our first glimpse of Sharon Carter (Emily VanCamp), aka Agent 13. Sharon, the grand-niece of Peggy, is Steve’s main love interest in the comics and a formidable character in her own right, at various points joining different Avengers teams and becoming director of S.H.I.E.L.D. Peggy in the comics stays relegated to the 1940s, an afterthought next to Sharon. However, in the MCU, Sharon is the afterthought—much more on this later, but suffice to say most of this film could be summarized with nary a mention of Sharon Carter, and that is quite a damn shame.

Winter Soldier serves as a decent enough introduction for her, despite her lack of screen time; even with the brief appearances here, had she been given a bigger role in Captain America: Civil War, she might have even let fans forget about Peggy. However, Sharon’s treatment in the MCU leaves a hell of a lot to be desired, and it starts in Winter Soldier, even though easy fixes are staring Markus and McFeely in the face: put Sharon in the Natasha role, as she is another spy whose experience could help Steve on the run; put Sharon in the Maria Hill (Cobie Smulders) role as Nick Fury’s right-hand woman; have her join Steve and Natasha on the run; have her be a part of Fury’s secret cabal who knows he’s in hiding after the attempt on his life. (Kevin Feige, if you’re reading this, please hire me. I can fix your problems with female characters.) Any of the above would have given Sharon a) more screen time with Steve (with whom she shares a grand total of three scenes) and b) more screen time in general. Alas, this is perhaps the best version of Sharon Carter we’ve seen in the MCU, and we barely see her at all.

Read More of Anna’s Ongoing Marvel Retrospective Series Here

But back to the story. At Camp Lehigh, Steve discovers a computer containing the electronic consciousness of Dr. Arnim Zola (Toby Jones), the Red Skull’s (Hugo Weaving) lackey from the first Captain America, who was hired on by S.H.I.E.L.D. as a scientist after the Nazis fell, presumably as a part of Operation Paperclip or the MCU equivalent. Zola secretly grew Hydra, the Nazi rogue science division he and the Red Skull were a part of, within S.H.I.E.L.D. until it spread to the top, including World Security Council secretary Alexander Pierce (Robert Redford). 

Pierce is a memorable villain precisely for how ordinary he is. He’s every high-ranking bureaucrat you’ve ever seen, operating on cool logic and played perfectly by Redford in an inversion of his role in Three Days of the Condor, back when he looked a bit like Steve Rogers. “What if Pakistan marched into Mumbai tomorrow,” he posits to a member of the World Security Council, “and you knew that they were going to drag your daughters into a soccer stadium for execution, and you could just… stop it. With a flick of this switch. Wouldn’t you? Wouldn’t you all?” All the deaths Pierce plans to wreak are smoothed over by good old logic, but at Project Insight as well as Hydra’s heart is fascism.

So Steve sets out to stop Pierce and Hydra, and he and Natasha join up with newcomer Sam Wilson, aka Falcon. Anthony Mackie has an easy charisma onscreen, and provides a bit of levity in one of the most serious Marvel movies out there, proving himself a valuable addition to the MCU (an addition which, of course, will only get bigger and bigger). 

When Sam tells Steve and Natasha his wings are locked behind a fort, they shrug and tell him it’s not a problem, and we cut to Sam having already procured the wings. One of The Winter Soldier’s strengths is its trust in its audience: it has a somewhat unwieldy plot for an MCU entry, but largely avoids huge exposition dumps and overly obvious reminders of the storyline. The audience has well-earned faith in these characters by now, and in turn this movie has faith in its viewers. 

The trio’s plan to use Hydra mole/fake S.H.I.E.L.D. agent Jasper Sitwell (Maximiliano Hernández, reprising his role), however, falls apart when the Winter Soldier and Hydra jump them. The ghosts of Steve’s past come roaring to the forefront as the Winter Soldier is revealed to be none other than his childhood best friend, Bucky Barnes, brainwashed and turned into an assassin by Hydra. While the plot elements from Ed Brubaker’s original comic run featuring the Winter Soldier are completely different, Winter Soldier the movie still contains the thrust of its character beats, including the now-iconic “Who the hell is Bucky?” line

Understandably, this revelation throws Steve into a tailspin. He seemed to have made peace—or at least a tentative treaty—with the modern world and the personal losses brought with it, but here comes a blow that knocks him completely out of orbit, a living ghost perfectly preserved as he was in the 1940s but missing that crucial spark of humanity, that easy smile and charm, replaced instead by the empty shell of a killer.

For a certain corner of the internet circa 2014, a corner largely populated by teenage girls, the Steve/Bucky relationship became an obsession: whether you viewed Steve and Bucky as platonic or romantic, it was everywhere—it was hot guys acting torn up and tortured inside, so what’s not to love? Sebastian Stan’s performance as Bucky in particular—a mostly mute performance, but one brimming with inner turmoil and a deep vulnerability underneath that expressionless assassin mask—sent ripples through the fandom corners of the web. “Stucky,” as it’s called, became a sensation, for better or worse, and lines like “Even when I had nothing, I had Bucky” and “I’m with you till the end of the line” became peppered over the internet. (The “ship” itself, of course, is harmless, and a way for some fans to create some LGBTQ representation for themselves, since the MCU has been severely lacking in that department, but some of its fans are something else entirely—but let’s table that discussion until Civil War, when the Steve/Sharon kiss drew their ire and coaxed out some very virulent misogyny.) 

For a character with only a handful of lines—despite being one of the two titular characters—Bucky makes quite an impression as the Winter Soldier, helped by his cool-looking metal arm and cool-sounding theme by Henry Jackman. The great showdown on the helicarriers as Steve and company bring down Hydra has its grand CGI moments, as Marvel is wont to do, but the final fight between Steve and Bucky feels more visceral and emotional than most MCU finales, full of stabbings and punches but also loss and grief intermingled with hope.

Bringing down Hydra, though, means bringing down S.H.I.E.L.D. as well, tossing away the whole bad egg. Taking down the organization that shaped much of Phase One is certainly a bold move; unfortunately, this will have more of an impact on the television show Agents of S.H.I.E.L.D. than the MCU, seeing as Joss Whedon will resurrect a helicarrier in Avengers: Age of Ultron and have a S.H.I.E.L.D. skeleton crew help with the mess at Sokovia. 

Still, it’s a huge leap for The Winter Soldier to take, and though it’s one largely undercut by the next big team-up movie (thanks, Joss!), at the time it felt like a Big Deal. It was a risk, and showed that Marvel was willing to blow it all up—even if the fallout from this and subsequent blowups is never as steep as we expect. The illusion of change, as I’ve discussed.

Even if the storylines of the MCU only veer so far off the side of the road, The Winter Soldier did permanently change the nature and perception of Marvel films. It lived more easily in its shared universe than Iron Man 3 or Thor: The Dark World, as it wasn’t afraid to bring in preexisting characters even as Captain America remains a focal point; it had big plot points with ramifications outside a teamup movie; most importantly, it showed that superhero movies don’t only have to be superhero movies. Post-Winter Soldier, the diversity of Marvel films flourished. We had the ’70s political thriller of Winter Soldier, and that paved the way for the action comedies of Guardians of the Galaxy or Thor: Ragnarok, for teen coming-of-age flicks like both Spider-Man entries, for Black Panther and Eternals

Yes, obviously there are common threads and tropes running through all of these films—you can only go so far with a monstrous corporation like Marvel had become by this point, especially one owned by Disney and concerned with remaining palatable to the masses—but Winter Soldier feels distinctly unique within the Marvel canon: tight, visceral, light on quips (it’s probably the least funny MCU film) but heavy on thrills, exciting action choreography, and character moments. It deftly balances the introduction of new characters (well, maybe not Sharon) that will shape the future of the MCU while ripping the rug out from underneath the existing ones, and brims with a fresh energy sorely needed after The Dark World. If Phase One was the birth of the MCU, Winter Soldier is where it grows up.

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:

  • Not groundwork, but an easter egg that’s been pointed out many times before: the Bible passage quoted on Nick Fury’s fake tombstone, Ezekiel 25:17, doesn’t exist, and is a nod to Samuel L. Jackon’s Pulp Fiction character, who quotes this fictitious passage.
  • “Last time I trusted someone, I lost an eye.” This line of Nick Fury’s will be explained in Captain Marvel, which… hm. No comment.
  • The S.H.I.E.L.D. agent who refuses to initiate the Project Insight launch sequence also appears briefly in Avengers: Age of Ultron.
  • Oh, look, a Stephen Strange namedrop from Sitwell.
  • Robert Redford showing up in Avengers: Endgame was one of the most shocking cameos in a movie built on shocking cameos.
  • During computer Zola’s discussion about the Winter Soldier, a newspaper headline appears proclaiming that Howard and Maria Stark have died in a car accident, heavily implying that the Winter Soldier is the one that caused it. This will be an enormous source of conflict in Captain America: Civil War.
  • Batroc the Leaper (Georges St-Pierre), the leader of the pirates on the ship in the opening act, appears again in The Falcon and the Winter Soldier, which is fun. He does more leaping in that.
  • Steve’s notebook also appears in The Falcon and the Winter Soldier. Obviously that show takes a lot of cues and characters from this film, but some of the smaller ones are a bit less noticeable to a more casual viewer.
  • Both in this movie and the original Captain America, Bucky very briefly picks up Steve’s shield, a nod to his time as Captain America in the comics and foreshadowing in case the MCU decided to go down the Bucky-Cap road (which, of course, they did not, ultimately going with Sam Wilson, another shield-wielder in the comics).
  • If you stopped watching Agents of S.H.I.E.L.D. midway through season one because it was mediocre, the episodes set after Winter Soldier, when Hydra is revealed to have been inside S.H.I.E.L.D. all along, skyrocket in quality, and it keeps going up from there (generally). Just saying. They also do some time traveling in season seven and Project Insight plays a part in their travels.

Anna’s Favorite Scene: Where to begin? The hand-to-hand fight on the Lemurian Star, the “who the hell is Bucky?” fight on the highway, Robert Redford slapping around shirtless Sebastian Stan, the elevator fight, Natasha and Steve having a heart to heart which gives Natasha more characterization in two minutes than the entirety of Iron Man 2… the list goes on.

MCU Ranking: 1. Captain America: The Winter Soldier, 2. The Avengers, 3. Captain America: The First Avenger, 4. Iron Man 3, 5. Iron Man, 6. Thor, 7. Thor: The Dark World, 8. Iron Man 2, 9. The Incredible Hulk

Captain America: The Winter Soldier Trailer

Captain America: The Winter Soldier 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.

Army of the Dead

Written by Alexander Reams

85/100

Army of the Dead is the latest film from Zack Snyder, and his second of 2021. The film follows Dave Bautista and a slew of others including Ella Purnell, Omari Hardwick (who has not been getting enough credit for his performance here), Ana de la Reguera, Theo Rossi, Matthias Schweighöfer, Nora Arnezeder, Hiroyuki Sonada, Garret Dillahunt, and a standout who borderline steals the scene ever chance she is on screen, Tig Notaro. This ragtag group of mercenaries is hired by Sanada to steal $200 million dollars in Las Vegas, the only hiccup, the city is walled off due to a zombie virus infecting the city. 

Dave Bautista has been typecast ever since his breakout performance in 2014’s Guardians of the Galaxy as the buff tough guy who can also do comedy. In this film however he shows a much larger range. Snyder gives Bautista more room to work in, and leaves the comedy to other actors in the ensemble. The visual style of this film is similar to the previous style of Snyder’s previous films, but with him also being the Director of Photography along with Directing, he is in total control of the frame.

After the 8 year stint at Warner Bros and being screwed over constantly, Zack Snyder has been welcomed into the Netflix family with full creative control and support from the streaming giant. Giving Snyder full creative control might be the best decision made in this film. From the fantastic and mesmerizing opening scene and opening credits sequence, that has become a staple in Snyder’s visual style, that provide the viewer with as much laughs as shots that are nothing short of pieces of art. Snyder’s latest is the gory fun that we have come to expect from him and his return to the zombie genre is full of twists, great action scenes, and very colorful and memorable dialogue. 

Army of the Dead Trailer

Army of the Dead is currently in limited theatrical release and streaming worldwide on Netflix.

You can connect with Alexander on his social media profiles: Instagram, Letterboxd, and Twitter. Or see more of his work on his website.