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. 

Read More of Anna’s Ongoing Marvel Retrospective Series Here

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: Ant-Man and the Wasp

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. Anyone in need of a palate cleanser after the previous movie?

70/100

Avengers: Infinity War was a sprawling, sweeping epic that jumped between characters and planets so swiftly that the audience never got a chance to catch their breath, and it ended with the bleakest moment in the history of the MCU. Ant-Man and the Wasp, however, is as light and zippy as the insects it takes its name from, proving to be a much-needed break in between the gloom and doom of Infinity War and Avengers: Endgame; it’s nothing particularly special, but it doesn’t need to be, since it easily coasts by on the chemistry of its actors and its lighthearted humor. This time, there was no messy firing, and Ant-Man director Peyton Reed came back with no drama; the biggest hubbub during the production of the film surrounded its name, as Ant-Man and the Wasp marked the first time a woman shared titular status in the MCU. (To quote the end credits scene from Ant-Man, “It’s about damn time.”)

The last time we saw Scott Lang (Paul Rudd), he was in a prison cell on the Raft, put there for aiding Captain America (Chris Evans) in Captain America: Civil War. The last time we heard about Scott Lang, we were being told by Natasha Romanoff (Scarlett Johansson) that he and Clint Barton (Jeremy Renner) were on house arrest after taking a plea deal, thus explaining why they didn’t appear in Infinity War. So what has Scott been up to, post-Germany but pre-Thanos (Josh Brolin)?

Well, as we have all learned over Covid quarantine, being stuck in your house for an extended period of time results in some odd hobbies. For Scott, this includes makeshift bowling, reading The Fault in Our Stars, learning the drums, and organizing treasure hunts for his daughter, Cassie (Abby Ryder Forston). Even after the events of Captain America: Civil War, he’s still just a guy, a guy trying to make the most out of a bad situation. 

In addition to taking overlong baths, Scott now also helps his friends Luis (Michael Peña), Kurt (David Dastmalchian), and Dave (T.I.) run a security outfit called—fittingly, given their criminal backgrounds—X-Con Security. Contact with Hank Pym (Michael Douglas) and his daughter, Hope (Evangeline Lilly), has dwindled since they are on the run, trying to keep their technology from being taken by the government after Scott revealed himself in Civil War, but Scott—aside from bawling his eyes out over John Green—seems to be doing okay. He’s got his business, he has a good relationship with ex-wife Maggie (Judy Greer) and her husband, Paxton (Bobby Cannavale), and he has only three days until he’s free, though FBI agent and parole officer Jimmy Woo (Randall Park) keeps a watchful eye. In short, things are looking up, and the supporting performers are as charming and funny as ever, with Peña once again providing some top-tier comedy with his long-winded monologues.

However, when Scott has a vision of Hank’s presumed-dead wife, Janet (Michelle Pfieffer), in the Quantum Realm (the place you go when you shrink super small and keep shrinking, or something—it’s one of those Marvel scientific inventions where you nod during the explanation and try not to think too hard about it), he inevitably crosses paths yet again with Hope and her father. Hank thinks that, during Scott’s trip to the Quantum Realm during Ant-Man, he became entangled with Janet. “Hank, I would never do that. I respect you too much,” Scott says solemnly. 

“Quantum entanglement, Scott,” Hank replies, leaving us to ponder whatever the hell that means. 

Hope, while thrilled at the prospect of reuniting with her mother, was also understandably stung (ha) about Scott’s escapade to Germany during the events of Civil War, and not just because doing so put a target on all her and her father’s backs. Her iciness lies largely in the fact that Scott didn’t even ask her to come with him, despite having trained with him (and “other stuffing” with him): “If I had asked, would you have come?” Scott asks, to which Hope replies, “I guess we’ll never know. But I do know one thing… If I had, you’d never have been caught.”

Though never stated outright, Hope’s resentment feels very rooted in her womanhood. Her father passed her over in Ant-Man, and then her ostensible partner did the same thing in Civil War, and while neither say anything outright about Hope’s gender, and Hope doesn’t either, it’s clear that she feels they overlooked her, unintentionally or not, because she’s a woman. It’s a narrative that has clear resonance outside of the movie, and it’s handled with a subtlety and grace that Marvel often lacks when it comes to acknowledging social issues, so Hope comes off as sympathetic and understandable in her anger rather than simply an ice queen. She is an excellent addition to the male-dominated superhero roster: competent, flawed, and, unlike many (most) of her female counterparts, never sexualized. She’s allowed to have moments of intense vulnerability with her mother, but can be angry and cold in equal measure, giving her depth that was missing in Ant-Man where she exists primarily to be the token woman. Here, Lilly gets a chance to really shine in the role; while good in Ant-Man, when given a meatier role on equal footing with her male co-star, she eats it up, and it makes you wonder (as Hope herself does) why she was left out in the first place. (And, frankly, there’s no good answer to that.)

So, though off to a rocky start, everyone is soon off to build some quantum tunnel (whatever the hell that means) or some such, requiring a testy trade with shady tech mogul Sonny Burch (Walton Goggins, having a great bit of fun), but unfortunately the parts and Hank’s lab (which has been shrunk to the size of a suitcase) gets stolen by an unknown assailant. To get it back, the gang has to go to Bill Foster (Laurence Fishburne), a bitter former coworker of Hank’s known as Goliath in the comics. He helps them track down the lab through some more quantum stuff (“Do you guys just put the word ‘quantum’ in front of everything?” Scott wonders, echoing the audience’s thoughts), but when Scott, Hope, and Hank arrive to take the lab, they find themselves taken out again by that same unknown assailant, who reveals herself to be Ava Starr (Hannah John-Kamen), aka Ghost, and it turns out that Bill Foster is working with her too. Like Ant-Man, this sequel is all about parent-child relationships, even if only related in spirit: Scott and Cassie, Hank and Hope, Janet and Hope, Bill and Ava. Some are good, some are less so, most are messy, but it’s something that connects all of our main players.

Read More of Anna’s Ongoing Marvel Retrospective Series Here

Ava is, like most Marvel villains, a bit undercooked, but she has immense potential, due largely to John-Kamen’s immense charisma. Ava is a casualty of both Hank and S.H.I.E.L.D.: when Hank, the consummate asshole, fired Ava’s father, he continued to experiment on his own; one went awry and killed both him and his wife, leaving Ava alive but with molecular instability (again, whatever the hell that means). As a result, she inadvertently phases in and out of solid objects, so S.H.I.E.L.D. got a hold of her and used that for their own advantage on covert missions, making her their own version of the Winter Soldier (Sebastian Stan), but with a bit less brainwashing. Ava’s condition causes her constant pain and has begun to slowly kill her from the inside, and so father figure Bill wants to help her survive. 

Doing so apparently means getting the lab and using Janet’s quantum energy (…whatever the hell that means) to heal Ava, which may or may not kill Janet. Somehow. It doesn’t exactly make sense, but John-Kamen nonetheless proves compelling; unlike Killmonger (Michael B. Jordan) and Vulture (Michael Keaton) from previous MCU movies, here Ant-Man and the Wasp doesn’t try too hard to paint Ava as a villain. In fact, she purposely chooses not to use Scott’s daughter, ​​Cassie, as bait, though the option is brought up; most other MCU movies would have had the villain go down that route to establish that we shouldn’t sympathize too much with them. Here, we’re encouraged to. She’s only an antagonist because her goal of survival clashes with Hope, Hank, and Scott’s goal of freeing Janet, not because she is inherently evil or is going around beating up kids and killing her significant others. It’s an interesting take, and one with a lot of potential should Marvel ever pick up this thread down the road.

The remaining plot mostly involves four different groups trying to get to the lab: Ava, in an attempt to find a cure for her chronic pain; the bug trio, to try and get back the original Wasp; Burch, determined to sell it for a bunch of money; and the FBI, led by a Jimmy Woo determined to catch Scott breaking his house arrest. It’s not particularly complicated, nor is it particularly compelling in and of itself, but it allows for some killer comedy and sweet character beats amidst the chaos. In this case, less is more: Ant-Man and the Wasp is a better MCU entry because it doesn’t try too hard to connect to the greater universe, nor does it deal with world-ending apocalypses; instead, like its protagonists, it goes small.

It’s also very clever about its heroes’ use of their powers. It’s not only Scott who can shrink and grow, it’s now Hope, and it’s also a scientific lab, some Hot Wheels-looking cars, PEZ dispensers, and more. This makes all the car chase and fight scenes far more visually interesting than they would be otherwise, and provides no small amount of laughs. One great moment in particular involves Scott needing to make a run to his daughter’s school while his suit malfunctions, resulting in some incredible physical comedy when Scott gets stuck at around three feet tall. When you have a concept as absurd and delightful as a man who can shrink to the size of ants and grow to the size of whales, why not have as much fun as possible with it? Ant-Man and the Wasp certainly goes further with its main conceit than its predecessor did, and so even if there’s less plot to go around, it has a much firmer grasp on how best to deploy its characters and their powers. And, this time, we have double the shrinking shenanigans now that the Wasp has finally joined the team.

There is, frankly, not a lot to Ant-Man and the Wasp. But that’s okay—again, there doesn’t need to be. We just had an MCU-shattering event in Infinity War, so let’s take a little break, go back in time a bit, and enjoy watching some excellent actors bounce off each other. There’s some meat in here too, though: S.H.I.E.L.D.’s corruption continues to get exposed, once again showing that even our heroes can find themselves morally compromised; Hank and Janet reunite, and Douglas and Pfieffer, despite limited screentime together, sell the hell out of their relationship; Scott and Hope finally acknowledge each other as true partners and it isn’t some melodramatic, drawn-out saga like so many other MCU relationships are, but rather quiet and respectful. And, seriously, Michael Peña is an absolute gem in this franchise. It’s the perfect palate cleanser after Infinity War, and while it may not be the most memorable Marvel movie, but in terms of sheer enjoyment, it’s up there with the best of the best.

But, lest we get too comfortable, the end credits scenes are here to remind us that Ant-Man and the Wasp is part of a larger universe as Hope, Janet, and Hank all turn to dust from Thanos’ snap in Wakanda while Scott remains trapped in the Quantum Realm. The stinger at the very end, of a giant ant playing drums alone in Scott’s house, is equally absurd and eerie, as the camera pans over the static TV and the deserted streets of San Francisco. And so, even if you just tuned in to this movie for Paul Rudd, you’re gonna have to watch the next movie (technically the one after next) to figure out what happened to him—the Marvel machine keeps running, as always. But it was a nice break while it lasted.

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:

  • Ghost in the comics is a member of the antihero team the Thunderbolts, and with recent events from The Falcon and the Winter Soldier and Black Widow, a Thunderbolts team seems inevitable; hopefully Ghost is a part of that team. (I want a Thunderbolts movie or show so badly, my god.) We already have Yelena (Florence Pugh), Zemo (Daniel Brühl), US Agent (Wyatt Russell), Abomination (Tim Roth), Winter Soldier, and many more, and it seems like Julia Louis-Dreyfus’ role as Val is to serve as the Thunderbolts’ version of Nick Fury (Samuel L. Jackson). “There was an idea…,” except it’s a group of slightly less remarkable people.
  • Cassie makes multiple comments about being Scott’s superhero partner, alluding to her future superhero status (though she will be played as a superhero by Kathryn Newton, whom I greatly dislike, which is very, very unfortunate).
  • Jimmy Woo, who expresses amazement at Scott’s card tricks in the movie, reappears in WandaVision performing the exact same trick he sees in Ant-Man and the Wasp.
  • Kurt appears in What If…? and continues to fear Baba Yaga, eventually getting killed by a zombified Wanda Maximoff (Elizabeth Olsen normally, here a gurgling, animated zombie), but not before getting out one last, “Baba Yagaaaa!”
  • “Berkeley” was filmed at Emory University, specifically in White Hall, which is the ugliest building on campus. White Hall sucks. There was always gum under the chairs and hair tangled in the cushions.
  • On a similar note, Atlanta can passably stand in for many cities. It can’t really stand in for San Francisco, but they tried.

Anna’s Favorite Scene: Scott runs around an elementary school appearing like an oversized toddler. High-brow art. Or, honestly, the post-credits stinger, because it is so unsettling and such a weird vibe after a fun movie like this.

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. Thor: The Dark World, 19. Iron Man 2, 20. The Incredible Hulk

Ant-Man and the Wasp Trailer

Ant-Man and the Wasp 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: Civil War

Written by Anna Harrison

In these retrospectives, Anna will be looking back on the Marvel Cinematic Universe, providing context around the films, criticizing them, pointing out their groundwork for the future, and telling everyone her favorite scene, because her opinion is always correct and therefore her favorite scene should be everyone’s favorite scene. Hey, who took the last donut?

85/100

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

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

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

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

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

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

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

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

Read More of Anna’s Ongoing Marvel Retrospective Series Here

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Groundwork: Marvel has no big master plan; rather, they plant seeds wherever they can in the hopes that some of them might one day germinate. None of these were planned from day one, lest the whole ship sink, but the seeds germinated nonetheless:

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

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

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

Captain America: Civil War Trailer

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

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

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: The Avengers

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— wait, not yet, that comes later.

80/100

Take a moment, if you will, to go back to summer of 2012. I was 13 years old, about to enter eighth grade and be at the top of the middle school food chain, when my sister dragged me to see The Avengers against my will. I was an intellectual, I protested, who didn’t want to see some dumb superhero movie. I had taste.

Well, all those complaints died pretty quickly, and here I am almost a decade later, still invested (perhaps overly so) in these dumb superhero movies. 

The Avengers was a cultural phenomenon. It was ubiquitous, it was unavoidable; references dripped from everyone’s lips, memes were spawned, records were broken. For a period, it was the third-highest grossing movie of all time, and still stands at a very comfortable eighth place. It transformed the burgeoning Marvel Cinematic Universe into a fully-fledged monstrosity, cementing Marvel’s theatrical and cultural dominance; for many, this would become their Star Wars. It was Big in a way that no one could have predicted. The Avengers proved that the previous films weren’t simply flashes in a pan, and that Marvel was here to stay​​—like it or not.

In hindsight, it seems obvious that it would work, now that we have three other Avengers movies under our belt, but at the time, it was risky: there was every chance that these characters, when thrown in a room together, would refuse to gel. This wasn’t the self-contained Spider-Man trilogy, nor was it the X-Men movies, which came with a pre-formed team. This was something new, a grand cinematic gamble that had every chance of crashing and burning. A Russian assassin, a World War II veteran, a wealthy playboy, a man with anger issues, a guy with a bow and arrow, and a Norse god all walk onto a helicarrier—it sounds like the setup to a bad punchline. On top of that, at the time of production, both Thor and Captain America hadn’t come out in theaters yet. No one knew how audiences would receive these characters or the more outlandish aspects of these movies, but The Avengers hinged upon them; if their respective movies did poorly, there was nothing Marvel could do.

But somehow, impossibly, it all worked. How?

It certainly helps that we had five solo movies to establish each character beforehand by the time of The Avengers’ release. Audiences knew Tony Stark (Robert Downey Jr.), Steve Rogers (Chris Evans), Thor (Chris Hemsworth), and Natasha Romanoff (Scarlett Johansson). If you watched the previous MCU films, you were automatically invested in the stakes of this one—even more so, now that you were watching your favorite characters interact. 

Still, even if you walked in with no prior knowledge (as I did), the movie carefully takes its time to reestablish its characters in the opening third. We are reacquainted with S.H.I.E.L.D. boss Nick Fury (Samuel L. Jackson) and agent Phil Coulson (Clark Gregg), who have been working with scientist Erik Selvig (Stellan Skarsgård) to uncover the secrets of the Tesseract, last seen falling into the ocean at the end of Captain America: The First Avenger. When Loki (Tom Hiddleston) arrives through a portal in space powered by the Tesseract and begins wreaking havoc, putting S.H.I.E.L.D. agent Clint Barton (Jeremy Renner, first glimpsed in Thor but given a tiny bit more to do here), aka Hawkeye, under mind control, Fury decides it’s time to finally activate the Avengers Initiative, first mentioned in the end credits scene of Iron Man

So, Fury goes to collect the de-iced Captain America, who has been working out his feelings of loss on sandbags at the gym. (I have a very distinct memory of rewatching The Avengers for my 14th birthday party with all of my friends and having a lightbulb go off in my brain during this scene. There were several pause requests, for no particular reason.) Coulson gets sent to collect Tony in his new Stark Tower, and Natasha is dispatched to India to find Bruce Banner (Mark Ruffalo).

Ruffalo is at a disadvantage here: all the other key players have already been introduced in prior movies, and while Bruce Banner had his own movie, Ruffalo did not, and taking over for another actor midstream is never easy. However, even despite this, Ruffalo immediately puts his own stamp on Hulk; his Banner is simultaneously kinder, sadder, and more frightening than Norton’s, making him quite a bit more interesting. When he later says the now-oft-memed line, “That’s my secret, Cap. I’m always angry,” you buy it.

Everyone boards the S.H.I.E.L.D. helicarrier to apprehend Loki, who has been setting himself up as humanity’s savior. “The bright lure of freedom diminishes your life’s joy in a mad scramble for power, for identity,” he informs the crowd. Where Loki in Thor was a rather tortured figure, here he becomes a full-fledged villain, trying to become Earth’s fascistic ruler in order to assuage his own insecurities and ego. It’s enormous fun, and Hiddleston is solid as always. The Avengers stop his plan and bring Loki aboard the helicarrier, meeting Thor in the process (so much for being stranded on Asgard with a broken Rainbow Bridge), and then we are well and truly off to the races now that everyone is in the same room.

Much of the credit for Avengers’ success has to go to director and writer Joss Whedon; even with all the gross allegations against him that have come to light, it is still thanks to him that The Avengers works as well as it does. While these accusations should be treated with the utmost seriousness (and are made even worse by the fact that Whedon built his initial career by positioning himself as a feminist icon with works like Buffy the Vampire Slayer), Whedon was the director who truly solidified the MCU, and he did it well—though depending on your view of the MCU at large, his work in making it a cultural juggernaut may just be another strike against him. His fast-paced dialogue keeps things from getting too bogged down, and his obvious love for these characters shines through with enthusiasm; it’s a comic book movie made by a comic book nerd, but one still accessible to everyone.

Read More of Anna’s Ongoing Marvel Retrospective Series Here

Marvel has come under criticism for having too many quips and jokes thrown around, robbing certain scenes of any emotional impact; while the amount of jokes per film actually vary wildly (think of Captain America: The Winter Soldier versus Thor: Ragnarok), it seems that tendency largely originated from Whedon in The Avengers. Sure, Tony has a snide comment for everything in his solo outings, but here the quips come a mile a minute. While Whedon would overplay this in Avengers: Age of Ultron, here the gags work, by and large; they help establish a repartee between characters who previously had no interaction with each other, and the awkwardness of some of these interjections (“I do! I understood that reference”) only serves to highlight the awkwardness of the characters as they are thrust into this unfamiliar situation. Plus, they can be pretty damn funny: “[Loki] is of Asgard and he is my brother.” “He killed 80 people in two days.” “He’s adopted.” Worthy of a chuckle, at least.

The best thing about Avengers isn’t the big fight scenes (though those certainly can be a blast), it’s watching all of these actors and characters bounce off each other. Tony tries his hardest to push Bruce’s buttons, Thor watches everything with a certain level of amusing bemusement, Natasha rolls her eyes at all this posturing. The rapid-fire Whedon dialogue works like gangbusters, and he manages to give each character in his ensemble cast individual moments even in the team scenes.

The only thing that mars the more character-driven beats is Steve: he functions too much like a polished Boy Scout here, with none of the recklessness and smartassery that was present in Captain America: The First Avenger. Steve spends most of The First Avenger lying to his superiors and breaking rules, but here he berates Tony for investigating S.H.I.E.L.D.’s shady business? I’m not buying it. Whedon opts for the oversimplified, caricatured Steve Rogers, an easier version of a character that should be far more complex than what this script gives him. It stands out even more upon rewatch when there are more movies to compare against, movies where Steve Rogers continually flouts the chain of command to follow his own largely unerring moral compass. Steve is unmoored and set adrift in time, but there are better ways to play that up than an overreliance on his apparent old fashionedness.

Still, even with that misfire, the banter in The Avengers is just fun. You feel like a kid in a candy store, but like all your favorite candies had combined into one great delicious candy. (I’m not great at metaphors.) The film is at its best when foregrounding character over spectacle; the emphasis on the people behind the masks, the shields, the hammers, is what has given Marvel its staying power in the cultural consciousness and what made The Avengers a phenomenon in the first place. Mindless blockbusters are a dime a dozen, but rarer are the ones where you genuinely worry about a character’s safety, or where their deaths can make theaters full of grown men and women cry (see: Endgame). That’s what sets The Avengers apart. When all these characters come together for the first time, you remember it in a way you don’t remember Transformers. The Avengers may be a dumb superhero movie, but it’s one anchored by a beating heart.

But, of course, we can’t stay in character land forever: this is a superhero movie, after all, and so we need some big fights.

Several things happen all at once: the gang discovers that S.H.I.E.L.D. has secretly been building weapons of mass destruction (a government organization up to no good in a Marvel film? Say it ain’t so!), a verbal fight erupts in the science lab between everyone, and the brainwashed Hawkeye attacks the helicarrier. This spurs our heroes into action, but by then, Coulson has died (apparently), Thor and Bruce have been grounded (but separately), and Loki has escaped. Finally, this disparate group of people realizes that they need to work together.

What follows is just an excuse to have your favorite comic book heroes go and punch things. The Battle of New York (as it’s known in-universe) could certainly stand to be shaved down several minutes, and the alien Chitauri suffer from bland-generic-evil-henchmen-in-Marvel-movies syndrome. The Avengers’ final act is its weakest: no matter how cool it might be to see Hulk smash some bad guys, the fight against these nameless alien hordes goes on for too long. 

But damn if that circle shot of the assembled team with Alan Silvestri’s now-iconic theme swelling in the background doesn’t inspire a quiet little fist pump. We’ve had the setup in the previous five movies; here is the payoff. And it works. 

The Avengers is the first real Marvel movie: not just an action movie, or a superhero movie, but first and foremost a Marvel movie. It establishes the fun, zippy tone that by and large dominates the MCU. It—and I don’t think I’m exaggerating here, given just how enormous Marvel has become—starts an empire. Without the rousing success of The Avengers, the MCU might have fizzled and waned; with its triumph (your mileage may vary on how pretentious you think the use of that word is here), Marvel put its stamp on the collective cultural consciousness in a way not seen for a long time. Within the span of four years, Marvel transformed from a struggling studio forced to sell its best assets just to keep afloat to a pop culture juggernaut—so what’s next?

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:

  • What’s up, Thanos?
  • Loki’s scepter contains the Mind Stone, and will next be seen in the hands of Hydra as they use it to grant powers to Wanda and Pietro Maximoff (Elizabeth Olsen and Aaron Taylor-Johnson).
  • That whole scene between Loki and Natasha provides a lot of groundwork for Black Widow. “Dreykov’s daughter” becomes not just a throwaway line but a significant plot point, and Natasha will repeat tactics she used on Loki with Ray Winstone’s Dreykov, including her iconic “thank you for your cooperation” line. It doesn’t work as well the second time around, though, and feels a bit lazy. Oh, well.
  • “This is just like Budapest all over again” also gets addressed in Black Widow. (Before the ill-fated Black Widow/Hulk romance and Hawkeye’s farm family in Age of Ultron, a thousand pieces of fanfiction spawned from that single line.)
  • The clock on Grand Central Station gets destroyed in this film and in subsequent outings gets replaced by a monument to first responders to the Chitauri invasion.
  • Coulson’s death will begin a whole #CoulsonLives movement online, eventually resulting in Agents of S.H.I.E.L.D., where Clark Gregg reprised his role for seven seasons. (Though he wasn’t playing Coulson all those seasons, and in fact plays a Life Model Decoy—first mentioned in The Avengers by Tony—in season seven. It gets complicated.) The cellist that he mentions to Tony here will also show up in season one, played by Whedon alum Amy Acker. 
  • The World Security Council that repeatedly frustrates Nick Fury in this via the Marvel version of Zoom will pop up in person in Captain America: The Winter Soldier.
  • Gideon Malick (Powers Boothe), a member of the World Security Council, will appear in Agents of S.H.I.E.L.D. (including a younger version played by Cameron Palatas) and be unmasked as a Hydra agent. In fact, there are lots of Malick family members working for Hydra. This probably isn’t canon anymore, but as Kevin Feige has not come out and directly said that S.H.I.E.L.D. isn’t canon, I will cling to it.
  • Enver Gjokaj, another frequent Whedon collaborator, plays an NYPD officer here; he’ll go on to play Daniel Sousa in Agent Carter and, later, S.H.I.E.L.D., leading to a lot of different theories about this officer, but he turned out to be just a random cop and not related to Sousa at all. 

Anna’s Favorite Scene: Tony wheedles Bruce in the lab about the whole Hulk situation, producing what the internet will dub the “Science Bros” and revealing quite a lot about both characters involved. Or the Loki and Natasha interrogation, because Hiddleston is so great and the twist is fantastic (the first time around, at least).

MCU Ranking: 1. The Avengers, 2. Captain America: The First Avenger, 2. Iron Man, 3. Thor, 4. Iron Man 2, 5. The Incredible Hulk

The Avengers Trailer

The Avengers 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: Thor

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. Time for space shenanigans.

70/100

So far, the burgeoning MCU has remained grounded—relatively speaking, of course, as they feature a man flying around in a gold-titanium alloy suit and another man who turns into a big green rage monster if he gets angry. However, Thor marks the first time that Marvel ventures off-world, and even if the movie tries to explain away the magical elements by quoting Arthur C. Clarke (“Magic is just science we don’t understand”), the film still represents a marked departure from the three previous entries, serving as a litmus test for the MCU’s burgeoning audience. However, the departure that occurred with Thor wasn’t entirely clean: to ensure that the film didn’t get too otherworldly and alienate its audience, a large chunk of the movie is spent on Earth, which ironically ends up as the weakest portion of the movie. The result is a decent first outing for our God of Thunder, but one hampered by its tethering to reality. 

It is helped, though, by excellent casting in Chris Hemsworth as Thor and Tom Hiddleston as Loki. Hiddleston had worked with director Kenneth Branagh before, and, as is well-known by now, initially auditioned for Thor before getting the role of Loki, and the titular hero went to Hemsworth. Both of these actors have become mainstays of the MCU, and for good reason; even before Hemsworth could flex his considerable comedy chops in Thor: Ragnarok (and before his eyebrows were unbleached), he was exuding charisma, and Hiddleston is, for my money, one of the best actors in the entire franchise. 

It’s a good thing these two are so talented, because both characters could have easily been annoying had they been in the wrong hands. Thor, as presented initially in this movie, is overconfident, cocky, and unwise, but even so Hemsworth manages to make him charming (it helps that he is just ridiculously, superhumanly attractive). When Thor’s coronation day on Asgard is interrupted by Frost Giants from Jotunheim, Asgard’s greatest enemy, Thor immediately rushes off to fight Laufey, king of the Frost Giants, and get revenge. He is accompanied by Loki and Lady Sif (Jaimie Alexander) and the Warriors Three: Volstagg (Ray Stevenson), Hogun (Tadanobu Asano), and Fandral (Josh Dallas). Together, this merry group threatens to destroy the fragile peace between Asgard and Jotunheim, as well as get untold numbers injured or killed, until Odin shows up and prevents further catastrophe.

Apoplectic with rage, Odin casts Thor out, banishing him to Earth. “You are unworthy of these realms, you’re unworthy of your title, you’re unworthy of the loved ones you have betrayed!” he roars before stripping Thor of his powers and sending him away from Asgard. Finally, right before he throws Thor’s hammer, Mjolnir, after its owner, Odin murmurs, “Whosoever holds this hammer, if he be worthy, shall possess the power of Thor.” A challenge, then, for Thor to rise towards: become worthy of Mjolnir, of his father, of Asgard.

Now stuck in New Mexico, Thor has to adjust; luckily, he conveniently runs into Dr. Jane Foster (Natalie Portman), a scientist studying atmospheric anomalies, unaware she is chasing the Bifrost, the Rainbow Bridge that allows Asgardians to travel between worlds. Jane is joined by Dr. Erik Selvig (Stellan Skarsgård) and intern Darcy Lewis (Kat Dennings), and the trio take in a very dazed and confused Thor. Branagh mines this fish-out-of-water scenario for some good moments (Thor smashing a coffee cup on the ground and crying, “Another!”, Thor going into a pet shop and asking for a horse, Thor repeatedly getting hit or almost hit by cars because he has no idea what they are), but New Mexico drags compared to Asgard and all its cool costumes, production design, and royal intrigue. On top of that, the romance that brews between Jane and Thor is far too rushed to be believable (remember how I praised Marvel for going somewhat slowly with Pepper and Tony? Yeah, this is the opposite of that) and stunts Jane as a character by immediately saddling her with Thor. She certainly has potential (and is certainly more of a real character than, say, Betty Ross was), and Natalie Portman is good as ever, but stick her in the most boring aspect of the movie and immediately force her into the “love interest” box and you are heading towards failure.

Thank goodness for Asgard and Loki, then. Production designer Bo Welch had his work cut out for him, as he is tasked with the unenviable task of translating Asgard from page to screen, making it seem advanced enough to belong to gods but familiar enough not to alienate the audience, but he succeeds, making Asgard one of the most recognizable locations in the MCU and deftly straddling the line between the fantastic and the plausible. Frequent Marvel costumer and Oscar winner Alexandra Byrne manages a similarly impossible feat, clothing the Asgardians in regal fashion and crafting iconic looks that will last throughout the movies. This isn’t just a trip to the 1940s, as will happen in the next Marvel film, but a trek to an entirely new, alien world, and thus a lot hinges on its aesthetics; at this somewhat tenuous point in Marvel’s trajectory, a failure on the design fronts could have been catastrophic.

Back in Asgard, Loki finds out that he is adopted. What’s more, he is actually a Frost Giant; on top of that, he is Frost Giant King Laufey’s son. Understandably perturbed, he confronts Odin, who… falls asleep? Odin falls into the “Odinsleep,” a vague concept never truly explained, but essentially Odin gets very tired from all his troubles and must rest in a coma-like state to regain power. While the concept of Odinsleep is a) ridiculous and b) very convenient, the confrontation scene in the throne room stands out as one of the most affecting scenes in the whole film.

Marvel brought on Branagh partially due to his experience with Shakespeare, as the studio wanted to emphasize the family drama of Thor in order to make it more relatable, and no one does family drama better than Shakespeare, and no one does Shakespeare better than Kenneth Branagh. This scene shows why Marvel chose Branagh, and why Branagh sought classically trained actors like Hiddleston for this film. Hiddleston puts in the work here, cycling between rage, betrayal, jealousy, hurt, rolling a hundred different emotions into one performance. It’s good stuff.

As Odin has been knocked out of commission, the throne falls to Loki; with the added baggage of his backstory, Loki treks to Jotunheim, reveals that it was he who sabotaged Thor’s coronation, and agrees to let Laufey and his fellows into Asgard to kill Odin. Sif and the Warriors Three go to retrieve Thor from Earth to stop Loki, but Loki sends some faceless robot thing to kill Thor before he can come back. The faceless robot thing, called the Destroyer, nearly succeeds, but because Thor was ready to sacrifice himself to save innocents, he becomes worthy of Mjolnir, destroys the Destroyer, and heads back to Asgard to confront Loki. 

Well, it turns out that Loki only invited the Frost Giants to Asgard so he could kill them in front of Odin to make himself look heroic, and then Loki tries to destroy all of Jotunheim by using the Bifrost’s power. Thor, now against genocide (good job), prevents Loki from doing so, in the process destroying the Bifrost and preventing him from traveling back to Jane (the Bifrost is fixed with zero problems in the sequel). Thor is now worthy to be king, and Loki has fallen into the abyss of space.

The story beats in Thor trace a familiar arc dating back centuries: the unsuitable heir must go on a quest to prove himself worthy. The younger brother schemes to get the throne. So on and so forth. Even with Hemsworth’s winning performance (and Patrick Doyle providing one of the more memorable Marvel scores), were it not for Hiddleston, Thor would have easily been forgotten. 

Loki goes through far and away the most interesting arc in the film, an arc that has continued to this day with his titular Disney+ show, and one that very quickly captured the hearts and minds of Marvel’s audience. Marvel’s greatest strength lies with its characters; there are many instances where a weaker entry has been elevated by character work (see: Iron Man 2), and Loki is certainly a very strong contender for the title of “Most Psychologically Complex Marvel Character” even from his very first outing, boosting every film he appears in. The discarded son, never meant to rule but always feeling as if he is worthy of it—and in a family where “worthiness” is everything, of course that would twist him up inside. Then to discover that you belong to a different race entirely, a race hated by your home, your family, by everyone around you, and what’s more to learn that the only reason your so-called father adopted you was to use you as a pawn to broker a peace treaty? That would drive anyone to madness. (“Is it madness?” Loki asks, tears swimming in his eyes. “Is it? Is it?”) But instead of going after the father that lied to him his whole life, Loki only doubles down to prove himself a worthy son. (There’s that pesky “worthy” word again—it’s everywhere in this movie, haunting both Thor and Loki like shadows, always just out of reach. You have to be worthy of your hammer, of your throne, of your father. You have to prove yourself worthy of respect, even of love, even to your apparent family.) 

Of course, he tries to do this by committing genocide, which is admittedly not great—genocide against his own people, no less. You could easily dub Loki narcissistic, and in many ways he is, but at the root of all his posturing and peacocking runs a very deep thread of self-hatred, strong enough so that Loki is willing to kill his own race. Then, to cap it all off, the infamous exchange: “I could have done it, Father! I could have done it! For you, for all of us!”

“No, Loki.”

What a terrible thing to say to your son as he dangles off the edge of a bridge, the void of space yawning behind him. No wonder Loki lets go. Odin, in a cinematic universe full of bad fathers (Ego, Vulture, Howard Stark), might well take the cake, a sting made all the worse by the fact that Marvel has tried to paint him in if not an ultra-flattering light, at least a decent one. 

In the hands of a studio willing to get darker than Marvel, there is a hell of a lot to work with for Loki; even with the staunchly family-friendly MCU, it’s substantial. Thor only works as a character here because he has Loki to bounce off, and Thor only works as a movie because Hiddleston works overtime to make up for the boredom of New Mexico and the excessive Dutch angle shots that Branagh uses. Is this an exaggeration? Frankly, no. The movie might be called Thor, but it’s Loki’s show—and it’s a good thing, too, coming off the dull affairs that were The Incredible Hulk and Iron Man 2

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:

  • Hawkeye (Jeremy Renner) is here, I guess. Cool.
  • And there’s an after credits scene with the Tesseract, which contains the Space Stone, and will make its first chronological appearance in Captain America: The First Avenger, the next MCU movie. (In that film, the Tesseract appears in Tønsberg, Norway, the site of a Frost Giant attack in Thor and New Asgard in Avengers: Endgame.)
  • Speaking of Infinity Stones, there’s a (fake) Infinity Gauntlet in Odin’s vault. Hela knocks it over later in Ragnarok and makes a joke about it.
  • This marks the first appearance of S.H.I.E.L.D. agent/Hydra spy Jasper Sitwell (Maximiliano Hernández), who pops up in The Avengers, Captain America: The Winter Soldier, and Avengers: Endgame (and Agents of S.H.I.E.L.D.!).
  • Dr. Selvig makes unnamed references to both Bruce Banner and, more importantly, Hank Pym; the latter doesn’t show up in the MCU until Ant-Man 2015.
  • Not groundwork, but the nametag on Thor’s borrowed shirt belongs to Donald Blake, Thor’s human alter ego in (some) comics. Cool!

Anna’s Favorite Scene: The confrontation between Loki and Odin in the throne room, purely because it cemented Loki as one of the best and most interesting characters in the MCU and because it cemented Tom Hiddleston as one of best performers in the MCU.

MCU Ranking: 1. Iron Man, 2. Thor, 2. Iron Man 2, 3. The Incredible Hulk

Thor Trailer

Thor is currently available to rent and purchase on most digital storefronts, and is streamable on Disney+.

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