Directed By Anna Boden and Ryan Fleck
Starring – Brie Larson, Samuel L. Jackson, Jude Law
The Plot – The story follows Carol Danvers (Larson) as she becomes one of the universe’s most powerful heroes when Earth is caught in the middle of a galactic war between two alien races. Set in the 1990s, Captain Marvel is an all-new adventure from a previously unseen period in the history of the Marvel Cinematic Universe.
Rated PG-13 for sequences of sci-fi violence and action, and brief suggestive language
– Delightfully engaging cast of characters all around. For the title character, Larson is solid at conveying the dramatic pull of Carol’s loss of life on Earth, as well as the personable side of her demeanor that allows her to have fun through some truly trying times in the balance. My lone problem is in her ability to come across as intimidating to her opposition because of her inherited powers. Perhaps it’s in the way that her enemies view her, as a weakling woman, but to me I felt that anger and fire deep below in Larson’s performance was missing from her complex character, and I hope it’s something they can further flesh out in future movies with her. What Larson does thrive at however, is being a sponge that soaks up and adapts to the change in personalities she comes across. Most notably, it’s in her impeccable chemistry with Jackson’s Fury and Jude Law’s Yon-Rogg where we get the most indulging sense of banter between scenes and characters, making for thoughts of a buddy cop movie that floats to the surface. Jackson is definitely the show-stealer for me, as finally we get a film where Fury is brought to the forefront of the conflict and resolution, allowing us to see him in his prime, long before time and shadows forced him to step away from the action. Ben Mendelsohn’s Talos also shouldn’t be slept on, as his exceptional range as an actor gives him the power to connect to the audience despite being under layers of make-up and prosthetics for his character.
– Complete musical package. For the first time in a Marvel film, we are treated to a female’s perspective in musical score and accompaniment, as Pinar Toprak’s electronic atmosphere gives the film’s scenes of war and reveal a fine combination of pulse and energy necessary to hook the audience firmly into the sometimes abrupt movements of the camera. Likewise, the film’s soundtrack collection of 90’s favorites, although topical at times, does succeed in capturing the eclectic essence of 90’s top 40 radio for now future generations to immerse themselves in. One such song near the end of the film, I actually predicted would pop up, and while there are instances like this that sometimes feel obvious, I’d be lying if I said I didn’t lip-sync along once they made their presence felt to the dynamic of the story and title character.
– Computer generation effects at their finest. For my money, the transformation effects used on Fury and Coulson in the film, to make them look decades younger, is some of the most seamlessly effective enhancements that I have seen to date, and speaks volumes to the way Disney calculates where to spend their cash. This is of course a story that takes place in the 90’s, so obviously make-up isn’t going to cut it. Instead, the actors are shot and redistributed to the audience in a way that adds an inspiring layer of reality to the movements and authenticity of their shapes and size to the film, that would before feel obvious in its inclusion. There’s subtlety in artificial effects work, and Marvel just paved the way for an entire generation.
– Touching tributes. Being that this was the first film after the untimely death of Marvel founder Stan Lee, you knew that the familiar face would pop up a time or two, and thankfully the movie takes ample time to pay respects to the reason we’re all here in the first place. I won’t spoil much, but there’s an introduction to the movie that is every bit as clever as it is resounding, as well as a usual cameo appearance that may be my new personal favorite for Lee, considering the prop that he carries with him in the scene, and where it fits from a timeline perspective. I’m not sure if this scene was shot before Lee’s death or not, but the computer generation that I mentioned earlier gives me hope that Excelsior will live on forever.
– Overabundance of comedy. This would usually be a big negative for me, especially considering there are a few deliveries that didn’t land for my auditorium, but the film’s tonal decision to establish a healthy amount of humor for this character is one that I give great credit for. When the film was missing for me in waiting for this lead character to remember who she used to be, I was treated to clever quips in the form of a dangerous cat, Jackson’s impeccable straight man persistence, and of course 90’s nostalgia that constantly reminds us how far we’ve come with technology. The latter is also part of the genius of the particular place and time of the film’s setting, as they don’t have Tony Stark’s inventions or advanced technological measures to guide them through, therefore creativity is all of the rage, and it is incorporated in such a way that will poke and prod at anyone in the theater who is over the age of 25 and still remembers their America Online Password.
– Positive pacing. Perhaps the single biggest accomplishment in this two hour movie is how, despite its narrative flaws, it never manages to slug or stand in place for too long. Instead, the pacing of this script constantly keeps moving and keeps you glued to the unfolding characters who move in and out of frame in the fight for this unforeseen power. As far as Marvel movies go, pacing is often one of the biggest flaws that I have, often times padding a film’s run time to reach a certain time destination, but I feel like two hours was perfect with the knowledge dispersed inside, all the while allowing for just enough time to soak up these rare character engagements and 90’s setting all the same.
– Struggles under the weight of its responsibility. As a narrative, this is a link to the past, an origin story, a fitting chapter to the on-going Avengers story, and a potential entry way into the next phase of the Marvel universe, and I think all of that simultaneously struggles under that weight. This is a very scattered narrative in the form of a non-linear style of storytelling, and that direction presented some issues with exposition obvious dialogue, as well as audible character narration that was only used to solidify what the previous scene already showed us. Beyond this, the jump cuts are edited in a way that felt every bit as choppy as they did visually unappealing, and when sequences are this visually repulsive, you wish that they would just go with the conventional dream effects that, while overdone in cinema, at least don’t force you to stop every few minutes to wonder where they fit in.
– Speaking of visual presentation, the film never carves out a visual captivation for its film in the same way that Black Panther, Guardians of the Galaxy, or the Thor films made famous. It doesn’t have to be as beautiful looking or enchanted as those movies, but the coloring filters used in this film wasted some eye-catching landscapes in planetary details that would usually pop with their introductions, but instead came off as looking like they were clouded in a dense fog that rendered them colorless. I point particularly to the first act of the movie, when the establishing scenes waste away so much of the movie’s stylistic personality in ways that don’t even allow the colors of the costumes to make their presence felt, and it all made me think the finished product required one final post production edit to remind us of the vibrancy of the worlds that Carol is fighting for.
– Fumbled fight sequences. Too many cuts, too mundane of fight choreography, and especially far too close on the angle in depictions. It was not only very difficult to follow through with what was transpiring on screen between these scenes of physical conflict, but it suffers in the same way that D.C Films resolve their conflicts: By throwing everything at the screen in order to convince you of resolution. There are no shortage of explosion porn or crash devastation to make the audience flinch, but because we have an editor who is anxious in making their presence felt, it all just comes across as jumbled pieces from a puzzle that never fits together in the movement of the scene. My favorite fight scene of the film was a practice fight that happens in the first five minutes of the movie, and that’s a nothing fight between two characters. It’s all downhill from there.
– No struggle what so ever with her powers. Carol Danvers ability to adapt to any new knowledge or power that the movie gives her, is something that I think takes away greatly from the human side of Captain Marvel that is never truly fleshed out. In any superhero film, self-conflict is the strongest form of developing empathy, and there is none when there’s never truly a moment where this character fails. Even though Captain America or The Hulk now tangle with newfound capabilities, it’s their inner tortured souls in vulnerability that allow them to connect with the audience, and this movie doesn’t afford Danvers the same bend. Any miniscule level of adversity is really more of a hiccup or an accidental move incorporated by someone else around her, and it ultimately constructs what feels like an android developed in Tony Stark’s lab, as opposed to a human being coming to terms with the fear of a new gift that she knows nothing about. MINOR SPOILER – It doesn’t just stop with Carol however, as a little girl also manages to come up with a familiar costume, thanks to some Skrull technology that she herself has never used.
My Grade: 6/10 or C+