We are looking at the 2025 box office to see what the genre’s performance tells us about audiences and the industry. As well as what opportunities are being presented for other films.

The Year Of Change For Superheroes?

The main topic of discussion this year is the lack of high-performing superhero movies. This is the first time since 2017 (excluding 2020) that a superhero movie hasn’t been in the top 5. Additionally, the top performer is not a Marvel film but DC’s new Superman reboot.

Marvel’s usual dominance has been completely shattered. Both their newer titles (Fantastic 4: First Steps and Thunderbolts*) and their returning branding (Captain America: Brave New World) failed to crack the top 10. Something that hasn’t happened (excluding 2020) since 2011. Analysts have mentioned superhero fatigue before, but this is the first year the box office seems to reflect it.

Up and Comers

Outside of the superhero bubble, this is also the first time since 2020 that we have had two top 10 performers not in the English language from more than one country. Ne Zha 2 (China) and Demon Slayer: Kimetsu no Yaiba- The Movie – Infinity Castle (Japan).

Video game adaptations continued to do well. A Minecraft Movie is 2025’s third-highest-grosser at the time of writing. Horror also performed well. Of the year’s 20 highest-grossers, 4 were horror films. And while many of the biggest films are still sequels or films using existing IP to bolster their performance, Sinners and Weapons, 2 original films, made it into the top 20.

What This Means

Superheroes are far from being done. Superman’s success proves that, and as Kofi Outlaw points out, Marvel could recover its top position with the next slate of big brand titles, Spiderman: Brand New Day, Avengers: Doomsday, and Avengers: Secret Wars. However, this year proves Marvel’s name isn’t a guarantee of dominance anymore. The MCU films mentioned above are part of franchises that are between 8 and 13 years old. Marvel can’t rely on dedicated fans to sustain them forever. Superman’s reboot managed to capture a younger audience and DC’s diverse upcoming release portfolio covers a range of interests and age groups. If Marvel wants to succeed in the future, to justify those huge budgets, it must get younger audiences invested in the next saga project. Not just those familiar with the MCU. But even then, superheroes are seeing competition from other areas.

The top 20’s 4 horror movies each cost around or below $100 million, and took between $268 – 494 million worldwide. A market still clearly exists for mid-budget films. These films also included the year’s two highest-performing original films. Showing that when well-marketed and written, audiences will go to see new ideas.

Similarly, Demon Slayer, on a $20 million budget, claimed over $760 million. Over $520 million came from territories outside of Japan. Also, while Ne Zha 2 primarily made money in China (over $1.8 billion on an $80 million budget), it still made almost $40 million in other territories. According to Think China, it is the 10th highest overseas takings for a Chinese film. It could have made more if it weren’t for distribution challenges. Again proving, given an outlet, international cinema can be popular. 

Lastly, video game movies are having a resurgence. After the success of the Sonic the Hedgehog trilogy and The Super Mario Bros Movie, A Minecraft Movie captured family audiences and made almost a billion dollars. Thus, studios are preparing a slate of video game adaptations. Including Return To Silent Hill (Cineverse), Mortal Kombat 2 (Warner Bros), Super Mario Bros Galaxy (Illumination) and The Legend of Zelda (Sony).

Conclusion

Competition for the top is definitely getting more diverse. Among the constant non-comic book sequels, Disney animations and remakes, DC’s newfound strength will hopefully encourage Marvel to get less insular to keep audiences interested. Video game movies are also coming out to play; mid-budget horror and international releases have proven capable of reaching great heights, given the chance, and even original IP has a crack at the top. It’s definitely an interesting time to be going to the movies.

The post From Demon Slayer to Minecraft: The 2025 Box Office Shift Beyond Superheroes appeared first on Big Picture Film Club.

What Happened?

At San Diego Comic-Con 2024, Marvel revealed plans for several upcoming projects, including the next Avengers films. Along with announcing the change in direction by unveiling the retitled Avengers: Doomsday, the Russo brothers were also announced to be directing both it and its follow-up Avengers: Secret Wars. But the biggest moment came when it was shown that Robert Downey Jr. would be returning to the MCU. This time as another Marvel Comics mainstay, Victor Von Doom/Dr. Doom. Will he be the real Dr Doom, a variant, or something else? We’ll just have to wait and see.

Marvel: The Big Picture

These announcements come at a time of relative uncertainty for Marvel. After the MCU’s prior Phases, all managed to outperform each other Phase 4 only just managed to outgross Phase 2. Despite incorporating more projects and having the benefit of already being an established brand. Plus Phases 5 and 6 have suffered major delays. 

Of course, there are wider issues to bear in mind. Phase 4 had to weather the impacts of a global pandemic which will have skewed the people willing to attend cinema screenings for its early films. Phases 5 and 6 were also impacted by the SAG/AFTRA and WGA strikes, leading to delayed productions which can impact audience enthusiasm and budgets. Plus Marvel has had to overhaul its narrative plans due to Jonathan Majors’ assault conviction. Marvel can still recover. Deadpool and Wolverine just had the most successful MCU run since Spiderman: No Way Home.

But whether it be the continual stories about them short-changing creatives, the less consistent positive reception for their movies or the fact that they have seen their first genuine box office loss, despite being a pop-culture juggernaut for years, Marvel no longer enjoys an unstoppable reputation.

Could It Work?

Having the directors behind some of Marvel’s biggest hits back will likely attract Marvel fans. Plus bringing Robert Downey Jr back to the MCU as someone other than Iron Man, undoubtedly his most recognisable role, will be a huge draw for general audiences. Especially, since he is playing one of the most recognisable comic book villains ever.

That said it’s hard not to feel cynical about this. After years of hiring new and interesting filmmakers (Chloe Zhao, Nia DaCosta, Destin Daniel Cretton etc.) and working with some of the world’s best actors (Gael Garcia Bernal, Oscar Isaac, Florence Pugh and more coming) this feels like a toothless move.

Some may say this is needed to generate as much excitement as possible but that doesn’t ring true. Marvel has spent years honing its look. Many commentators state that filmmakers with unique voices have often, with some exceptions, had to subordinate their talents to making films in Marvel’s style. Therefore the Russo brothers’ return seems to merely be a nostalgia ploy. Functionally, if the producers don’t allow any creative freedom the new Avengers projects will look like every other Marvel film. Regardless of who directs them.

Marvel has also picked talented actors to play their villains before. So long as they build their presence enough and they have good material to work with they can thrill viewers. See Josh Brolin’s Thanos for proof. But having RDJ as the first face leading the upcoming Avengers movies serves at best as a cheap mystery box driven by the actor’s reputation. At worst, it gives the impression that Marvel can think of nothing better to revive interest than bringing a popular actor back, which cheapens Robert Downey Jr’s talents and makes him into just a marketing gimmick.

Summary

Of course, this is just my opinion and there is no reason these announcements won’t potentially lead to a great box office. As it says, the next Avengers projects are in stable hands and provide enough mystery to get people interested. But ultimately given how much Marvel makes and its pull in the industry this move feels incredibly cheap. And if Marvel is to retain audiences as the storylines continue to become more complicated it can’t just rely on mystery marketing and nostalgia to sustain it forever.

Also Read: Deadpool & Wolverine: The Antidote For A Stagnant MCU?

This article may contain sponsored content or affiliate links. Big Picture Film Club may receive compensation if you click on or make purchases through certain links.

The post Marvel Re-Assemble: Can Robert Downey Jr Spark Mass Interest In The MCU Again? appeared first on Big Picture Film Club.

Pizza Time!!

Following on from the smash hit success of the original, director Sam Raimi returned to bring his unique vision of the character to life. This time Peter Parker (Tobey Maguire) is facing Doc Ock (Alfred Molina), while still trying to maintain an ordinary life. Peter’s efforts to live a normal life take just as much focus as his mission to save New York, and his relationships (or lack thereof) with Mary Jane Watson (Kirsten Dunst) and best friend Harry Osborn (James Franco) follow up from the first film.

One of the reasons it has stood the test of time is it feels timeless. In a way that is comparable to Batman: The Animated Series, the version of New York presented here is almost a character itself and stylised in such a way that it both feels like it’s set in the present day, the early 2000s, or even in the 60s. The tone is influenced by the original Stan Lee and Steve Ditko comic run, with the film taking massive influence from “Spider-Man No More” right down to cover. Part of this is that, by virtue of being one of the earlier 21st-century superhero films, it doesn’t try to compete or react to anything. The reboot is a reaction to a post-Iron Man and The Dark Knight world, opting for more “realism” while the later series exists as part of the MCU and is forced to sit comfortably in that world. Raimi’s version is very much in the vein of Tim Burton’s Batman or Richard Donner’s Superman. An artist and their vision with little studio interference, rather than as an excuse to maintain a copyright or as part of a cinematic universe. 

The power of the sun, in the palm of my hand!

In an interview regarding a possible Spider-Man 4, Raimi said that the challenges were the same that he faced for all the films “Is there an emotional arc? Is there a great conflict… and is there a worthy villain that fits into the theme of the piece?” Doc Ock is indeed a worthy villain. A personal hero of Peter’s, we spend time getting to know him and his vision of a better world, being almost a father figure to Peter. Octavius’ life is upended in a tragic accident, and even when he is in full-blown villain mode, he’s not actually out to hurt anyone, he just simply doesn’t care if people are, believing that “the real crime would be not to finish what we started”. Molina, a respected stage actor, but hardly a big name at the time, effortlessly plays the kind-hearted and warm Otto, before becoming tortured and racked with guilt. When he finally does go full villain, it’s almost charming. This version of him is one of Peter’s heroes,  and we spend time getting to know him and his wife, with Peter being almost the son they never had. This serves to only make his downfall that much more tragic. The scene in the hospital after the accident, in which his mechanical arms brutally murder the surgeons, not only allows Raimi to tap into his Evil Dead roots, but shows how dangerous Doc Ock is.

You have a train to catch!

Both Peter and Otto’s journey is about them trying to live their dreams. Peter wants to live a normal life, and Otto wants to complete his experiment. We also see the consequences of those dreams, with Peter eventually realising that New York needs Spider-Man, which leads to the train fight. A ten-minute sequence that is the film’s most impressive set piece. Despite being CG, the fight weights it, with the passengers adding to the tension. It all culminates in Spidey stopping the train with brute force and a powerful moment where the passengers defend him. The train scene has become almost as iconic as the upside-down kiss from the first film, referenced in cartoons, comics, the Spider-Verse films and even the Playstation game.

Spider-Man 2 builds upon the success of the original, but rather than going bigger as most sequels do, it instead goes deeper. Peter’s relationships are at the heart of this film and each of them are explored in far more depth than the first. While Doc Ock is a threat, Peter’s self-doubt is just as much his enemy. All of this comes together to create a film that proved the first wasn’t just a fluke, as well as setting the gold standard for the genre.

Also Read: The Story of James Cameron’s Spider-Man

The post 20 Years On: An Ode to Spider-Man 2 appeared first on Big Picture Film Club.

Today we are going to look at several challenges the MCU has been facing recently. We will review how they could respond to them, and whether we think their response will be enough.

Far From Satisfactory

So what problems is the MCU encountering at the moment? Well firstly, as Tatiana Siegel has pointed out, the franchise has had to drastically change its plans after Jonathan Majors, who was to play Kang the Conquerer, the MCU’s next big villain, was charged with domestic violence. The MCU, therefore, has to change all of its plans to pivot away from Majors. This will require time and money to do as the character was apparently already a major part of several upcoming projects.

A tall order but as the world’s most successful franchise the MCU has access to the capital to shift things. However, the franchise has also just had its worst box office performance ever with The Marvels. Regardless of its overall quality, The Marvels marks the first time an MCU film has made an outright box office loss. Which could signal the start of more uncertainty in the studio’s box office footing.

Additionally, we have seen many stories about Marvel butting heads with its creatives. VFX artists who work for Marvel have recently made moves to unionise in the face of large workloads and a lack of adequate time management and compensation. The studio has also faced many accusations of undercutting its creatives work through constantly changing direction and underpaying its writers. Something that might not be viewed favorably in the aftermath of the industry strikes.

Plus with much discussion about Marvel potentially losing its audiences as they age or become alienated by the number of intertwined movies, Marvel could be in trouble if it doesn’t think of solutions fast.

No Way Out?

So what is Marvel planning on doing? Well as Siegel stated there are talks about the potential of bringing back the original Avengers stars for a new film which could regain fan confidence and box office attendance. Marvel has also already announced that releases would be slowing down to try to retain good-quality output.

There is also potential to reinvigorate the franchise with the release of the new projects that Disney got from Fox. Coupled with the incorporation of the Netflix properties.

And Marvel is also taking steps to change the direction of some of its upcoming projects. Marvel even plans to have dedicated executives oversee the development of its television projects. Which will hopefully produce more focused results.

Marvel’s Endgame

It is entirely possible to see Marvel bounce back. Dialling back the number of productions to combat audience fatigue and allow more time for creatives to make good films and deal with the troubles currently faced by too many titles and Jonathan Major’s departure is a positive thing. However, the MCU is still at risk if it doesn’t fix its attitude towards creatives and think about its overarching goal.

With some of its VFX artists now unionised (which could hopefully influence more artists) Marvel will have to operate with more regard for its workers if it wants to keep them on board in the future. This means they should expect higher production costs/time if they want good quality end results. Equally, if the company doesn’t fix its relationship with writers and directors, it’s easy to see the brand being avoided by many creatives. If Marvel wants to continue making these movies it needs creatives onside to keep people watching. The recent strikes taught us that Hollywood cannot live without its creative blood and if the studios refuse to recognize their contributions then the price will be costly.

And if the MCU still aims to indefinitely produce interconnected media then it will eventually begin to alienate audiences as individual projects keep requiring more and more things to be watched. Marvel certainly needs to think more about its plans for the future.

Also Read: The MCU Phase 4: Dividing Audiences?

The post Marvel Cinematic Universe: From A Love To Hate Relationship appeared first on Big Picture Film Club.

Previously…

Of course, a film ending on a cliffhanger is nothing new. In the early days of cinemas, serials would play before the feature presentation, with the hero in a seemingly impossible situation, to be resolved in the next instalment. The practice is very common in television. The obvious reason for this is it encourages an audience to come back for the next instalment, in order to find out what happens.

One of the main reasons to split a film is because of runtime. There has been some talk in recent years around films being too long, with the likes of Avengers: Endgame, Oppenheimer and Avatar: The Way of Water all running over three hours. Older films, like Lawrence of Arabia or Seven Samurai, featured an intermission, allowing an audience chance to stretch their legs, use the bathroom, and think about the film. Quentin Tarantino chose to release Kill Bill into two parts, rather than cut “some of the best scenes”. The film was written and produced as one film, only being split during the edit. Sam Raimi wanted to do something similar with Spider-Man 3, but could not find the right point to split the film.

Of course, some films go into production, knowing it’s only part of the story. Back To The Future, Pirates Of The Caribbean: The Curse of The Black Pearl and The Matrix had sequels greenlighted after the original instalment was a success. Parts two and three were filmed back to back. Filming in this manner allows the production to save money, work around actors’ busy schedules and avoid things like characters ageing between instalments.

Next Time…

Harry Potter and the Deathly Hallows started a trend of two-part finales. Warner Brothers were concerned about a long runtime, and the filmmakers did not want to miss key scenes from the books. The decision was made before production began, and it was treated as one film. Interestingly, the fifth film The Order of the Phoenix, is the second shortest film, despite being the longest book. The decision to split the final book in two worked, as both parts were well received, and the final entry was the highest-grossing of the franchise.

Many other franchises saw this success, with it becoming common practice to split the concluding chapter into two. The Hunger Games: Mockingjay, Twilight Breaking Dawn two other big YA franchises followed suit. It was also attempted with the Divergent series, but the poor box office cancelled the fourth entry.

One of the biggest two-parters in recent years is the two-part “finale” of the Marvel Cinematic Universe. Originally announced as Avengers: Infinity War Part One and Two. The two films were shot back to back but were very much envisioned as two films. Likewise, the It films adapted two different parts of the book, but the second film was dependent on the first’s success, as with Dune. These films all have a lengthy runtime on their own, so splitting them seems natural (because intermissions are less popular now).

Ultimately, part one of a story seems unavoidable sometimes. Many of these films likely could be cut down, but some moments that turn out to be favourites would have to be cut, and that can make later moments not hit as hard. As we’ve seen countless times, trying to cram a whole book, especially into two hours is incredibly difficult, so Dune: Part Two makes a lot of sense. It doesn’t seem likely they’ll be going away anytime soon either, at least not unless the interval comes back.

Also Read: Don’t Make That: Films That Don’t Need A Sequel/Reboot

The post From Harry Potter to Dune: The Rise of Two-Part Movie Epics appeared first on Big Picture Film Club.

Today I want to discuss the benefits of the MCU having a definitive ending. I will look at how ending the MCU will be positive for its overall narrative, the creatives behind it, and the industry as a whole.

The Narrative

The MCU has so many characters, narratives, and so many projects overlap, it’s becoming hard to keep up. This will be more pronounced in the upcoming cross-over movies. Where prior story knowledge is necessary to invest in the action. The MCU was bound to eventually encounter this problem. As its universe grows it’s gradually becoming more alienating for those who haven’t seen everything.

Since Endgame the MCU has had to conclude or continue the stories of characters with prior status in the universe, introduce new characters for future projects, and set up the next universe-spanning goal. All in a shorter time frame than the Infinity Saga. It’s a lot for non-die-hard fans to deal with. Plus with the huge cinematic end goal now passed, representing the culmination of years of emotional investment, it feels as if the MCU is only continuing because it can. Which could represent a problem in keeping fans invested. Introducing beloved characters can rejuvenate interest. But if this continues indefinitely it may lessen the shared universe’s impact by lacking focus and enforcing how replaceable characters can be.

A definitive ending meanwhile would tell audiences that everything being released is building toward something. It will also build a sense of stakes and emotional engagement as having a finite time left with these characters will build appreciation for everything audiences see. Most of all it will give audiences satisfaction from having a sense of closure to these characters and stories. People remember endings and if it’s done well the MCU’s legacy will be permanently cemented.

The Creatives

This move would also benefit the creatives. It’s often noted how few directors can showcase their own styles in the MCU. Additionally, with the number of projects increasing more demand has been placed on workers like effects artists. This has led to many MCU films feeling similar and interchangeable, along with quality suffering and artist burnout.

The Marvel brand in general shows a lack of appreciation for what industry artists bring to a project. Valuing brand cohesion above all else. It’s therefore in the best interests of creatives that the MCU has a well-planned endpoint. To ensure the films’ quality don’t continue to degrade, to give breathing room back to the artists, and to end the high-profile devaluation of industry creativity.

The Industry

Some may say ending the MCU would lower cinema attendance. But other studio superhero projects can still bring in audiences. Ending the MCU wouldn’t end superhero films. But it would allow space for new voices and stories.

The MCU represents a golden age for superhero films. If it were to end satisfactorily it could, like the classical westerns, encourage future creators to explore, experiment with and critique the genre. It also would not necessarily mean an end to future Marvel projects. However, not having to continue the ongoing MCU story and aesthetic would allow for more creative freedom. All leading to more exciting genre possibilities.

Conclusion

This isn’t meant as an anti-MCU article. The MCU experiment has had many great aspects. But post-Endgame its flaws have become impossible to ignore. Personally, I think it would be best for the MCU to end before its self-perpetuation destroys the goodwill it has engendered over the years.

Also Read: The MCU Phase 4: Dividing Audiences?

The post Endgame: Why The Marvel Cinematic Universe Needs A Definitive Ending appeared first on Big Picture Film Club.

Love and Thunder

Phase 4’s box office was disappointing compared to Phases 2 and 3 but the dip is explainable. Firstly, Phase 4 had fewer films than Phase 3. Marvel’s 2021 film releases also had to entice people back to cinemas after the pandemic. Even with that disadvantage Black Widow, Shang-Chi and Eternals all did respectable business. And Spider-Man: No Way Home became Marvel’s third highest-grossing film. Meanwhile, 2022s Doctor Strange in the Multiverse of Madness outperformed its predecessor. Thor: Love and Thunder also did well for a more modestly performing subseries.

Regarding critic and fan reactions 2 Phase 4 projects (at the time of writing) have rotten RT ratings (Eternals and She-Hulk). While this represents an increased negative reaction to prior phases, which had 3 rotten ratings across 34 projects, it hasn’t increased by much. On IMDb 4/6 Phase 4 films are rated below 7 stars. The most of any phase. Additionally, only 1 of this phase’s 8 shows is rated above 8 stars (Loki). These are harsh reactions, but the site also shows that Marvel’s series are generally divisive. Only 3 of their 18 shows have ratings above 8 stars. And while Phase 4’s films were generally disliked, they were only disliked slightly more than Phase 1. Which has 3/6 films rated below 7 stars. So Phase 4 when judged in context is hardly a complete loss.

Age of Trolls

One other thing to bear in mind is that several Phase 4 projects were review-bombed and targeted for negative criticism before even being released for focusing on telling socially conscious stories with more diverse casts. Slightly compromising review site data.

This makes it harder to review Phase 4’s impact because it’s blighted by such toxic discourse. And, just to restate the obvious, telling socially conscious stories based around diverse, marginalized voices is not the problem with the MCU. Anyone who thinks it is has no place in any discussion about media.

Far From Perfect

There are however legitimate criticisms that could explain some audience dissatisfaction. One common complaint is the MCU’s recent oversaturation. With 14 big projects released from 2021-2022, there simply hasn’t been enough room to let fans breathe before another project comes along. Which could have resulted in franchise fatigue.

Additionally, the sheer number of projects, straddling different genres, characters and timelines, has made it harder for fans to identify their purpose in relation to the Multiverse Saga’s overarching narrative. Although prior phases had confusing moments each project felt like a contained story that slowly progressed the overarching plot. But the sheer volume of new elements being sprawled across different mediums in such a short time may be making it harder to keep audiences invested.

And this saga’s reduced time frame (five years, compared to the Infinity saga’s eleven) has led to Marvel putting more pressure on their workers. Which results in many things feeling rushed, undercooked or unfocused. 

New MCU Order

Overall Marvel’s Phase 4 was affected by many factors, such as the pandemic fallout and targeted hate campaigns, making it hard to claim the era is a total dud from audience and box office perspectives.

Of course, Marvel does have problems. Its brand oversaturation, scattershot approach to storytelling and reduced timescale have resulted in much less polished productions in a universe that feels less comprehensively thought out and has created a sense of fatigue which failed to invest many in future projects. If left unresolved these issues could produce even worse results for audiences and workers.

If Marvel is to regain its footing it must focus on quality over quantity and give its workers more time to produce better work. Though Phase 5’s schedule makes that seem unlikely. For those unhappy with the way Marvel has been going (for legitimate reasons) vote with your wallet, encourage others to do likewise, and support the workers campaigning for better conditions. Don’t let Marvel take its workers or audience for granted.

Also Read: Has The Marvel Cinematic Universe Reached Its Peak?

The post The MCU Phase 4: Dividing Audiences? appeared first on Big Picture Film Club.

Some spoilers to follow, mainly for post-credit scenes and Loki

“Welcome to the circus”

The films of Phase 4 have been mostly focused on introducing new heroes. Black Widow, although following Natasha’s adventures in the lead up to Avengers: Infinity War, showcased Florence Pugh’s Yelena, as well as Red Guardian. Yelena is set up for a confrontation with Hawkeye in the post-credits scene. Reaction to the character is very positive, so she could be the lead in any potential sequel.

Elsewhere, Shang-Chi and the Legend of the Ten Rings showcased the martial arts master going up against the Mandarin. Arguably one of the best solo outings in the MCU, the film showcased new characters, as well as expanding and improving upon the Ten Rings. The controversial twist in Iron Man 3 is woven in as part of the villain’s story. Although largely standalone, cameos from Wong, Abomination and Bruce Banner helped fold Shang-Chi into the wider universe.

Eternals, while being divisive, expanded on the cosmic side of the MCU. A sequel seems likely to be set in space, as the characters search for more Eternals. Which opens up many possibilities for the future – Eros meeting Star-Lord and Adam Warlock perhaps? It also introduced Dane Whitman, who claimed the Ebony Blade to become the Black Knight. Blade, the half-human vampire hunter, also has a brief voice cameo.

A Visionary New Age of Television

Phase 4 is unique in that it now features TV shows. While there have been several other TV projects set in the MCU, the links have been vague at best. The Disney+ series though, are as big as the films. Delving into the aftermath of Avenger: Endgame, they have followed familiar characters who were supporting players in previous films. WandaVision is a mysterious, decade hopping sitcom, featuring the Scarlet Witch and the seemingly resurrected Vision. The globe-trotting The Falcon and The Winter Soldier explores the legacy of the now-retired Captain America. Hawkeye introduces Kate Bishop to the universe, while also giving the original archer his time in the spotlight.

While many of these have been mostly standalone, there are hints of an arc. In Loki, the god of mischief works with the Time Variance Authority to preserve the timeline. However, the finale introduced He Who Remains, who keeps the various timelines in check. With his death, things instantly start to change, with Loki returning to a very different TVA. The multiverses are starting to collapse. What If…? explores various multiverses, with changes to the existing MCU timeline having ripple effects, although it is unclear if this will tie in, as the show is animated.

The Multiverse of Madness

Phase 4 seems to be heading in a multiverse direction. With What If…? offering a simple but effective starter course in what exactly the multiverse is. Loki encountered “Variants” of himself, Loki’s from other universes during his series. These included Sylvie, Kid Loki, the classic Loki and an alligator. This sets up the possibility for multiple versions of the same character to exist. Spider-Man is set to encounter various villains (and maybe other Spider-Men) from the multiverse in Spider-Man: No Way Home. From the trailer, it looks like Doctor Strange is partly responsible for the multiverse trouble, which is likely going to be explored in Doctor Strange and the Multiverse of Madness.

Scarlet Witch has been confirmed to have a substantial role in the sequel, which will likely follow the events of WandaVision. Strange seems to be emerging as a potential leader for the new Avengers team, whatever that ends up looking like. It’s possible that the sequel could end up being like Captain America: Civil War, having a large impact despite being a solo film. Or Strange could end the multiverse plotline, perhaps leading the world open to a greater threat…

While the MCU might not have headed straight into another 10-year arc after Endgame, it isn’t resting either. Phase 4 isn’t even halfway through yet, so it’s almost impossible to tell where it’s going. Returning favourites like Ant-Man, Thor and the Guardians of the Galaxy will likely have their own stories to continue, as well as introduce new characters. Kang the Conqueror, a variant of He Who Remains is set to debut in Ant-Man: Quantummania. The Guardians are set to face Adam Warlock. As well as all-new heroes like Blade, Moon Knight, She-Hulk, and the Fantastic Four making their debut in the MCU. Phase 4 is doing exactly what it should be.

Also Read: Has The Marvel Cinematic Universe Reached Its Peak?

The post Marvel Cinematic Universe – Phase 4: So Far So Good? appeared first on Big Picture Film Club.

The Critics view

Some critics have been against superhero films for a while, after having to review so many of them it’s understandable that “superhero fatigue” would start to set in. Some critics just don’t like the genre. While this likely isn’t the cause of the divide, it is important to acknowledge, as Rotten Tomatoes takes all reviews into account, whether positive or negative.

Another point may be the director, Chloe Zhao. Her previous film Nomadland won Best Picture at the Oscars, and some critics have compared Eternals to it, despite the obvious differences. Critics may have expected more from Zhao, expecting it to be more like her usual films, rather than an MCU project.

Critics also tend to be harsher on things they dislike, and the overreliance on CGI is a complaint that comes up time and again. As most of the film’s fight scenes involve it, as well as most of the villains being entirely CG, it’s hard not to notice. Many of these complaints are not new, or specific to Marvel movies, but it’s easy to understand why critics would become bored over time.

Eternals, like every film, has its own flaws. The 153-minute runtime, as well as its slower, more thoughtful pacing, makes it feel long. The addition of 10 new characters is a lot and some characters get more development than others, and the villans seem like an afterthought

The Audience View

Unlike critics, audiences don’t seem to be tired of superhero films just yet, after all MCU films are doing well at the box office, taking into account the pandemic of course. Marvel has a legion of fans that will see and enjoy all their projects, whether that be because they are a fan of a particular character, or want to see what is next for the universe.

Audiences are usually less critical of films too, with technical aspects like camera work or effects not focused on in favour of the characters or story. Eternals large cast of characters, including some big names like Angelina Jolie, and Robb Stark himself Richard Madden, has something for everyone. Everyone can have a different favourite amongst the cast, as they each have their own distinct personality and powerset. They are also representative of a wide range of people, of different races, sexualities and abilities, as well as Makkari (Lauren Ridloff) being deaf.

Many people also enjoy that the film does play differently than most Marvel films, as it dedicates time to deconstruct its heroes and explore their humanity. The Eternals themselves are less typical Marvel heroes, with less quippy humour and few nods to the Avengers. Audiences likely go with their overall feelings on the film after it has finished, as well the potential teased in the post-credit scenes.

The divide between audiences and critics is interesting but goes to show that they consume media differently. Perhaps most importantly, it shows that while critical reviews can be helpful in deciding what to watch, it is still best to watch it yourself and form your own opinion.

Also Read: How Much Influence Do Movie Reviews From Film Critics Have On Audiences?

The post Eternals: Audiences Vs Critics – Why Is There A Huge Difference In Ratings On Rotten Tomatoes? appeared first on Big Picture Film Club.

10. Chinese Doctors ($197,143,218/£142,009,160)

Despite only seeing a major release in China, Australia, and New Zealand this tale of a group of doctors working together in Wuhan to combat Covid-19 has become an unlikely hit at the box office.

9. The Conjuring: The Devil Made Me Do It ($201,965,074/£145,472,413)

The latest instalment in the popular Conjuring franchise, based on the real-life trial of Arne Cheyenne Johnson, was the first main series entry not directed by James Wan. Instead, it was directed by The Curse of La Llorona’s Michael Chaves. And although not as highly regarded as the other main Conjuring movies it definitely encouraged horror fans to return to the cinema.

8. Cruella ($222,184,131/£160,035,897)

Released simultaneously on Disney+ and in theatres this origin story for everyone’s favourite dog skinning maniac managed to outperform Disney’s previous live-action reinterpretation of an animated classic, Mulan (2020). But it remains one of Disney’s lowest-performing live-action adaptations of an animated movie.

7. Free Guy ($242,943,984/£175,030,208)

Free Guy follows a videogame NPC (Non-Playable Character) called Guy as he slowly becomes self-aware and breaks out of his predetermined path. Currently, Free Guy is one of the highest-grossing original IPs of the year.

6. A Quiet Place Part II ($297,372,261/£214,243,332)

While not quite as successful as the original, A Quiet Place 2, which takes the Abbot’s into the wider world outside their home, still performed admirably after a long release delay. And is currently the year’s highest-grossing horror film.

5. Black Widow ($372,376,568/£268,328,969)

Marvel’s highest-grossing film this year follows Black Widow as she goes off-grid and confronts her dark past. But its release has been mired in controversy. The film’s star Scarlett Johansson announced she would be suing Disney (Marvel’s owners) over Black Widow’s simultaneous streaming release. This is because it allegedly breached Johansson’s contract, which said the film would be released theatrically with her salary being tied to its box office earnings.

4. Godzilla vs. Kong ($467,863,133/£337,135,156)

The fourth entry in Legendary Pictures’ MonsterVerse managed a higher income than its prior entry, Godzilla: King of the Monsters. And it also marked the second time the classic movie monsters have fought. The first being in 1963’s King Kong Vs Godzilla.

3. Detective Chinatown 3 ($686,257,563/£494,506,906)

Chinese cinema continues its presence in the top 10 with the Detective Chinatown series’ highest-grossing entry so far. This time detectives Tang and Qin are involved in a battle with the strongest detectives across all of Asia to solve a case in Tokyo.

2. F9: The Fast Saga ($710,873,160/£512,244,536)

F9 follows Dom and his crew as they battle against a new threat. Dom’s estranged brother. F9 is the highest-grossing Hollywood movie so far this year and the highest-grossing Hollywood film since the Pandemic started.

1. Hi, Mom ($822,009,764/£592,327,906)

So far the highest-grossing movie of 2021 is not a huge blockbuster, instead, it’s a small movie about a young woman travelling through time, who befriends her own mother and tries to give her a better life. It’s exceptional taking also makes Hi, Mom the highest-grossing film ever made by a solo female director.

This concludes our look at the highest-grossing films at the 2021 box office so far. And while the receipts for the high scorers are not as high as those of 2019 they are still higher than those of 2020 and the films are an interesting mix. With 3 foreign language films (all produced in China), 3 films not based on pre-existing material, 2 horror films and only 3 Disney/Disney affiliated movies being included. It shows that cinemagoers are looking for different film experiences to sit alongside big blockbuster releases. Let’s hope for even more diversity when the year-end list comes.

Also Read: Did High-End TV Replace The Mid-Bidget Indie Film?

The post Top 10 Highest Grossing Films At Cinemas Worldwide In 2021 (So Far) appeared first on Big Picture Film Club.

“There was an idea…”

It’s important to remember that Marvel Studios was not always the huge player it is today. Back in 2010, when Romanoff was introduced in Iron Man 2, there was a lot of uncertainty about whether they would ever get to the first Avengers film, let alone Avengers: Endgame. Back when Marvel was selling the rights to their characters, Lionsgate developed a film with David Hayter set to direct, but after the poor reception to films like Æon Flux it was cancelled, and the rights reverted back to Marvel.

In 2010, Scarlett Johansson was cast as Black Widow (after Emily Blunt had schedule conflicts) and appeared in Iron Man 2, as an ally and intermediary between Stark and Nick Fury. Johansson had some impressive acting credits, including Ghost World and Lost in Translation, but was not the household name she is now. She appeared in the team-up The Avengers where she was the standout to many, which furthered talks of a solo film. Johansson’s deal was for multiple films, which included her following appearances in Captain America: The Winter Soldier and Avengers: Age of Ultron. Around 2015 she noted that her original contract had been extended due to the character’s unexpected popularity, and Kevin Feige repeatedly saying a solo film was in development.

“Whatever it Takes”

In 2015, Marvel Studios underwent some restructuring. Instead of Kevin Feige reporting to Marvel Entertainment CEO Ike Perlmutter, he now reports directly to Disney. Rumours have often said that Feige and Perlmutter clashed frequently. One of the notable decisions Perlmutter was against was the deal with Sony, meaning Spider-Man was almost not a part of Captain America: Civil War, which would have knock-on effects for the series. While Feige was pushing for films like Captain Marvel and Black Panther, Perlmutter was of the belief that these films would not do well (he was very wrong, as both grossed over $1 billion). With Perlmutter no longer having a say in the movies (but still being involved in TV), Fiege has more freedom and creative control with regards to what films are made and which characters appear

Unfortunately, Marvel Studios can be like a runaway train at times, once it starts it’s hard to stop. When Marvel initially announced Phase Three in 2014, the plans detailed films up until what was eventually revealed as Avengers: Endgame. Although the plan did change slightly, as Spider-Man: Homecoming was added due to the Sony deal, as well as Inhumans becoming a (poorly received) TV series and replaced with Ant-Man and the Wasp (another effect of the corporate shakeup). The presence of Captain Marvel in this original announcement signalled the first MCU film to star a solo female superhero. In theory, this slot could have been filled by Black Widow, but with Captain Marvel having a role Endgame and likely being already developed, it was chosen instead. As the two Avengers films were shot back to back, Johansson was likely not available to shoot a solo film during this time.

Of course, even when the film finally was about to be released, it was delayed by the pandemic, like many other big films, by over a year.

While it’s hard to argue that Black Widow shouldn’t have been released sooner, it’s good that it finally has arrived. As one of the original Avengers it was odd she hadn’t been given a solo outing (Hawkeye is receiving a series), it’s likely the last time Johansson will play the character and goes some way to adding context to her controversial fate in Endgame. The film implies that her legacy will continue, and it seems lessons have been learnt. It’s a shame but sometimes it really is better late than never.

Also Read: MCU Storylines That Are Still Unresolved

The post The Journey of Black Widow appeared first on Big Picture Film Club.

To ensure we don’t continually focus on the same properties and characters each selected fan film will be from a different comic company. We will look at the narrative of each film and explain what makes them special.

2000AD – Rogue Trooper: The Quartz Massacre

When Genetic Infantrymen (artificial soldiers) are airdropped onto Nu-Earth they are ambushed by an army of Norts. Only one GI remains with his body intact, Rogue. Can he escape the ambush alive? 

This brief adaptation of a 2000AD staple makes up for its short length with amazing action and effective economic storytelling. Within five minutes the narration and visuals demonstrate the conflict’s scale and why we should root for Rogue, as he navigates the hostile battlefield which killed many of his comrades. The use of interesting sci-fi ideas such as storing the personalities of fallen GIs on microchips that can be stored on army items adds humour and uniqueness to the story. But it’s the exciting well-staged, nicely shot, and superbly edited action that provides the reason to watch this short. If you want a must-see action fan film, watch this.

DC – New Wings: A Batgirl Fan-Film

After fighting Clayface, Barbara Gordon (Batgirl) is visited by Bruce Wayne. Bruce tells Barbara she must stop being Batgirl. However, both must put their differences aside when a part of Clayface that Barbara brought home comes to life. Can they fix the problem without Barbara’s father, Jim Gordon, finding out?

New Wings is incredibly fun. The dialogue between the characters is hilarious and the cast perfectly fit their roles, with their chemistry making them a joy to watch. Emma Catharine effortlessly captures Barbara Gordon’s youthful eagerness; Anthony Paderewski pulls off a terrific balancing act as a Bruce Wayne that pivots between dark and humorous, and David H. Horne is charming as the oblivious Jim Gordon. Couple that with some wonderful direction, impressive effects work, and perfectly timed editing, and New Wings becomes, to date, the best live-action Batgirl interpretation. 

Image – Spawn: The Recall

After young Michael disappears in a supermarket his mother tries to find him but discovers dark forces at work around her. What do they want with her and her child? 

The Recall is not just a great Spawn adaptation but a moody, horror tale that succeeds thanks to the acting of the central cast. Johanna Genet as the mother really sells her desperation as she searches for her child. Tom Maurice also does a pretty good job as the innocent Michael and Gregory Paris is a terrifying Spawn. Apart from the cast, it is also helped along by its use of dark atmospheric visuals (with mostly well-done CGI helping to realise some creative spooky images) and an eerie score that enhances the film’s tone.

Marvel – Truth in Journalism

Journalist Eddie Brock takes a documentary film crew on a tour of his life but gradually the crew realise that life around Brock is more dangerous than they anticipated. Especially considering the secret he is hiding.

Clearly inspired by Man Bites Dog, Truth in Journalism makes the Marvel universe feel disturbingly grounded through its pseudo-documentary framing. Which combined with the grainy black and white, cinema verité style presentation makes the grim story hit much harder. And Ryan Kwanten’s central performance makes Eddie Brock into an equal parts sleazily watchable and horrifying presence.  

Vertigo – Fabletown

Deputy Mayor of Fabletown Snow White and former sheriff Bigby Wolf must reunite when someone from the real world sees the Beast’s (from Beauty and the Beast) true form. Can Bigby and Snow solve the problem?

Fabletown feels like a quality network TV show. The series’ visuals are very professional. In addition, the narrative is engaging and well-paced. With a fantastic mixture of wit, mystery, action, and heart always keeping viewers invested. But the diverse characters are Fabletown’s biggest strength. All the actors do superb work and the writing gives everyone a nice amount of depth. Above all special mention must go to Emma Van Lare as the commanding Snow White, Holly Day as the sarcastic Cindy, and Jordan O’Neal as the anti-heroic Bigby Wolf. All of whom bring enthusiasm and humanity to their roles. Fabletown deserves to be your next binge-watch.

So ends our list of must-see comic book fan films. Let us know your thoughts and please tell us any comic fan films you would recommend.

Also Read: Holy Fan Films, Batman

The post Five Must-See Comic Book Fan Films appeared first on Big Picture Film Club.

Mild Spoilers for the first episode to follow

“This is gonna be a gas!”

In case you were worried about “Superhero fatigue“, WandaVision is closer to a classic sitcom, than a superhero show. Although their powers are used, they aren’t fighting evil aliens or homicidal robots. Instead, Wanda is using her powers in the kitchen, to quickly cook a meal for Vision’s new boss. She also may or not be responsible for their new life, but more on that later.

The show captures the sitcom feel perfectly, with a musical title sequence explaining the “premise” of the show: he’s a robot, they’re an odd couple. Vision has an office job, even though he isn’t quite sure what he does, using his powers to look like a normal human. While Wanda is trying to be the perfect housewife with the help of their neighbour. The look and feel of the show is perfect for the era it’s going for. The formal accents, clothes and even the way characters walk really sell the era. Perhaps most importantly, it’s actually funny, and not in the typical Marvel self-aware way. Even without the franchise connections, this is a solid premise for a sitcom.

It’s not all audience laugh tracks though, it’s implied that there is something “strange” (pun intended?) going on. Wanda and Vision can’t seem to remember how they arrived in the neighbourhood, or anything outside it. The trailer seems to hint that this will become a mystery throughout the season, but with no second season offically announced, who knows how it will end?

“What’s your story?”

Wanda is set to return in Doctor Strange In The Multiverse of Madness, so it’s safe to assume that whatever happens here will lead into the upcoming film. The MCU is in a transition phase, as new heroes step up to fill the gaps left in the wake of Avengers: Endgame. With no Avengers 5 to build towards, it’s unclear where she’ll show up after that. Likewise, it’s unclear if Vision will appear after the series ends.

Marvel’s current slate includes a mix of old and new characters, over films and series. With most of these focusing on new heroes or ones that haven’t been a focus (like WandaVision or Falcon and Winter Soldier), the universe is clearly moving forward. Most of these seem much smaller scale than recent entries, more akin to Phase 1. It could be that the franchise is going for a “soft reboot”. With over 20 films, there are a lot of plot threads and characters to keep up with, so some smaller stories which could see new heroes replace older ones (Hawkeye, Falcon and Winter Solider) would be welcome. Additionally some multiverse, time travel stories could fix some continuity errors or close some plot threads.

Rating (4 / 5)

Marvel has clearly gone as big on its Disney+ offerings as Star Wars has. Unique and refreshing, it’s a real treat after the superhero drought. Olsen and Bettany have great chemistry, and it captures the sitcom feeling perfectly. With dozens of theories already out there, the wait for answers seems like it’s going to be worth the wait.

While they may have been gone longer than intended, the next stage of the MCU is finally here. And if this is anything to go by, it’s going to be like nothing we’ve seen before…

Also Read: MCU Storylines That Are Still Unresolved

The post First Thoughts: WandaVision And The New MCU appeared first on Big Picture Film Club.

Although the main characters and big plotlines were resolved, the story isn’t over. After all, heroes like Thor, Spider-Man and Doctor Strange all have films coming, continuing their adventures. However, there are some threads that seem to have been forgotten. Will Phase 4 resolve them?

Samuel Sterns – The Incredible Hulk

While not remembered as fondly as some of the other films, The Incredible Hulk is one of the most interesting. Acting as a psuedo-sequel/reboot, the film finds Banner on the run from the military and trying to cure his “condition”. He enlists the help of Samuel Sterns to help him, who later starts to mutate into his alter ego “The Leader”.

We haven’t seen him again since, and there hasn’t been a small reference to the character. The Incredible Hulk occupies a strange place in the franchise’s history, with the character tied up in a rights issue and Banner being recast for subsequent appearances. General Ross reappeared in Civil War, and the events have been referenced, but no mention of Sterns as yet. Interestingly the actor was contracted for 3 appearances, so he could still return one day. Kevin Fiege himself has ruled it out, it’s just a matter of finding the right place for him, with no sequel in sight, that isn’t the easiest task.

The Mandarin – Iron Man 3

The controversial Iron Man 3 saw Tony deal with PTSD after the battle of New York. While a new terrorist group led by the Mandarin attacks. Tony discovers that the Mandarin is actually a character, played by an out of work actor. Aldrich Killian then claims to be the villain in the finale, but the one-shot “All Hail the King” reveals that another, more comic accurate version, is the true one.

Tony Leung has been cast as the Mandarin in “Shang-Chi and the legend of the ten rings” which should hopefully connect some of the dots. “All Hail The King” ends with Trevor being taken to see the real Mandarin, which is presumbly the one who will appear in Shang-Chi. Whether the Iron Man 3 versions were inspired by or just using his name remains to be seen

Ultron Lives? – Avengers: Age Of Ultron

The second Avengers film sees the team reunite to defeat Tony’s rogue A.I protector. Ultron quickly hacks the internet, makes thousands of copies of himself and plans humanity’s extinction. The Avengers defeat him with the help of Vision, an android Ultron intends to use as a new body. Vision removes Ultron from the internet and is left alone with the last drone.

It’s made clear in Age of Ultron that if one drone survives then he could return at full strength. The final exchange between Ultron and Vision is left ambiguous, but it’s fair to assume Vision destroyed him. Where it gets murkier is the apperance of an Ultron head in “Spider-Man: Homecoming”. The final battle with Ultron took place in Sokovia, so why is there a head in New York? Further, it’s in the posession of Adrian Toomes and crew, so it’s not on it’s way to be destroyed. While this could be little more than an easter egg, it would be interesting to know where it ended up.

Time Travel – Avengers: Endgame

After their devastating defeat at the hands of Thanos, The Avengers are lost. Half of all life in the universe has been extinguished, and the world mourns. After 5 years, with some helo from Ant-Man, Tony Stark discovers time travel, allowing them a second chance. The Avengers perform a “time heist” to gather The Infinity Stones, to bring everyone back. After, Captain America returns the stones to their proper place in the timeline.

It’s unclear if the Avengers tell the public about their time travel adventure. But it’s possible that some people like Nick Fury are aware. Bruce Banner is still a public figure and time travel is a huge scientific breakthrough, so what are they going to do with it? It’s hard to believe the Avengers are just going to let it sit in their base gathering dust, but they can’t exactly use it for guided tours. It’s established that they can’t affect the future with time travel, but that wouldn’t stop them from looking at events in the past to solve mysteries or crimes. It’s likely this one won’t be resolved for a while until they need it again.

Also Read: Has The Marvel Cinematic Universe Reached It’s Peaked

The post MCU Storylines That Are Still Unresolved appeared first on Big Picture Film Club.

A Sure-fire Hit

The film The New Mutants is based on comic book series of the same name, essentially taking place in the same universe as the X-Men films and comics but with a different sensibility and focusing on teenaged characters. The director is Josh Boone who is probably best known for directing The Fault In Our Stars and the film stars Maisie Williams (Arya Stark from Game of Thrones) and Anya Taylor-Joy (from The Witch and Emma). This is a pretty good formula for success – a hugely successful franchise, a talented director and some popular, likeable and skilled actors. But despite being finished filming years ago the film is currently scheduled for release in April 2020. I remember seeing the trailer for it and being quite excited, it seemed to have a darker tone than the X-Men films, perhaps even something closer to horror than sci-fi.

What exactly is this film about? Well, imagine you’re an unlucky mutant who instead of ending up in Charles Xavier’s School For Gifted Youngsters – a place of nurturing and education, you found yourself trapped in a very sinister and isolated hospital. The handful of mutants seem to have a very dark past with their powers – of harm and violence and are told they need to get better and they can do that in this hospital. This very sinister hospital.

What Happened?

I watched the trailer quite some time ago, in fact, a suspiciously long time ago. A lot of work goes into deciding when a film is released. Should it be late December/early January for an Oscar push? Or a summer blockbuster? Do you want to counter-programme against blockbuster with something completely different? And timing it badly can be disastrous to the success to the film. The Marvel Cinematic Universe has this planned out for years and every other film has to work out how best not to get crushed by the latest MCU movie. In the case of The New Mutants it was originally scheduled for release April 13 2018, however, after realising this clashed with Deadpool 2 it was pushed back to February 2019, which then clashed with Dark Phoenix so it was pushed back to August 2019. So a summer 2019 release then, well, no, Disney bought 20th Century Fox and rumour is were not impressed by the film and had raised the idea of not having a cinema release and putting it straight onto Disney+. Obviously, being released on a streaming service is no longer the sign of a bad film anymore with Netflix boasting a number of great films that never saw the inside of a cinema, but still, it could be seen as something of a demotion. There seems to have been a lot of reshoots, never a good sign with a film, with the idea to further lean towards the horror genre.

An Addition To The MCU?

Then comes the inevitable question, the dilemma that stalks every new X-Men film, where will it fit into the MCU? I’ve written on this site before that I don’t think every Marvel film needs to be part of the MCU and with the acquisition of 20th Century Fox and X-Men that the X-Men especially should be kept free from it. My basic feeling is that a world full of mutants doesn’t mix well with a world of superheroes, compared to Wolverine, Captain America is not terribly impressive. Concerning The New Mutants…part of this rests on where The New Mutants fits in with X-Men, will other Professor X or Cyclops show up? Keeping the timeline of the X-Men films clear is already far too complicated, will adding The New Mutants push things too far?

Without any additional problems getting in the way, the film is due for a UK release of 10th April and so we’ll all be able to see whether it has been worth the wait.

Also Read: When Great Video Games Become Lacklustre Movies

The post The Difficult Road Of The New Mutants appeared first on Big Picture Film Club.

It’s clear that pop culture would look very different without his contributions, so with the start of a new decade, let’s take a look back at how Favreau rose to power

“I’ve always wanted to call the shots because I would rather fail than not have a chance to figure it out on my own”

Favreau studied at Queens College in New York but dropped out (twice) to pursue a career in comedy in Chicago. While there, he scored a role in Rudy, where he befriended Vince Vaughn on set. He had a few smaller roles, including a clown on Seinfeld. He then moved to Los Angeles, where he would get his big break.

While in LA, Favreau wrote and starred in Swingers, where he plays a struggling comedian from New York. Vince Vaughn, who plays a struggling actor, befriends him and helps him get over his ex-girlfriend. Despite the low budget and guerrilla filmmaking, the film was a success, making a star out of Vaughn and director Doug Liman.

“For a movie – any movie – to work, all the bread has to fall jelly side up; everything has to go right. You have to hit the zeitgeist “

After Swingers, Favreau had a few more acting jobs. Including a billionaire UFC fighter who dated Monica during several episodes of “Friends”. He also appeared as himself in an episode of “The Sopranos”. He plays a Hollywood Director faking interest in a screenplay, in order to use the material for his own.

He also made his directorial debut with “Made”, a film about aspiring boxers getting involved in mafia crime. While it received positive reviews, it had a very limited release. A few years later, he played Foggy Nelson in Daredevil, his first interaction with Marvel.

But before Marvel came “Elf“, the first post-SNL film from Will Ferrell. Favreau wasn’t initially interested, as it was “too dark” for him, but after another rewrite, it became the classic we all know. This was the biggest film Favreau had ever worked on, but things were about to get much, much bigger.

“‘Batman Begins’ set the bar very high for the superhero movie, as it showed that you could get a great cast for these movies and take a real filmmaker’s perspective”

After Elf, and several TV cameos, came his next film, Zathura: A Space Adventure. It received positive reviews but was not very successful at the box office.

In 2008, Iron Man was released. The film had gone through an arduous development process but was finally moving ahead. His experience on Daredevil had introduced Favreau to Marvel producers, and they liked his grounded, spy take. The casting of Robert Downey Jr in the title role raised many eyebrows, but Favreau insisted he was the perfect choice.

Downey proved his critics wrong, of course. Iron Man went on to be the eighth highest-grossing film of 2008 and launch the Marvel Cinematic Universe. Many of the films in the MCU follow Iron Man‘s structure, as well as tone.

After directing the follow-up, Iron Man 2 and serving as a producer on the crossover team-up, The Avengers, Favreau decided to step back on the third film. Instead of choosing to direct Magic Kingdom, he still worked as a producer and appeared in his role as Happy Hogan, though. He directed the adaptation of Cowboys vs Aliens, which did not do well critically or commercially.

After working on several multi-million dollar studio films, Favreau decided to take a break and developed a pilot for the TV show Revolution, as well as directing the first episode. He then made Chef a “back to basics” indie film about a travelling chef. Several people saw the film as a response to Favreau’s experience with Marvel and wanting to strike out on his own again. It was well-received and has even spun off into a Netflix show

Although the Magic Kingdom project has yet to move forward, he did work on two beloved Disney properties, the “live action” remakes of The Jungle Book and The Lion King. He has continued his work with Disney, creating and show-running The Mandalorian, a series set in the Star Wars universe, for Disney+. This has also received widespread acclaim, as well as introducing “The Child” or “Baby Yoda”.

With a second season on the way, as well as the Jungle Book 2 in development, it doesn’t look as though he will be slowing down anytime soon.

Also Read: The Biggest Financial Film Flops

The post The Rise of Jon Favreau appeared first on Big Picture Film Club.

These films were picked based on their creativity, the impact of the action and how well the story complimented the action. And because there were so man good action films this decade I will be including honourable mentions for you to also watch. Without further ado, let’s begin.

2010: Inception (dir. Christopher Nolan)

With an interesting story about implanting ideas into someone’s mind while having to battle through not only the subject’s mental defences but your own baggage as well as incredibly staged action sequences like the rotating hallway fight and using minimal CGI, Inception is a true sci-fi action masterpiece.

HM: Kick-Ass & 13 Assassins.

2011: The Raid (dir. Gareth Evans)

After a swat team is ambushed in an apartment complex the survivors must reach and arrest the kingpin before his henchmen kill them. From this simple premise, The Raid quickly ratchets up the tension as we are never sure who will escape alive. And the action sequences use of flowing choreography, camerawork and editing turn the film into a remarkable ballet of violence.

HM: Captain America: The First Avenger & X-men: First Class.

2012: Dredd (dir. Peter Travis)

Similar to The Raid, Dredd finds two judges (police officers who are judge, jury, and executioner) Dredd (Karl Urban) and Anderson (Olivia Thirlby), trapped in a skyscraper, having to fight their way to the kingpin to escape. However, Dredd keeps The Raid’s tension while also injecting a healthy dose of comic book action. With bloody violence, great world-building, beautiful slow-motion usage and endearing characters, Dredd, packs a punch despite its small stature.

HM: The Avengers, The Dark Knight Rises & Skyfall.

2013: Snowpiercer (dir. Bong Joon-Ho)

While the premise is far-fetched (the remnants of humanity are trapped on a perpetually running world-spanning train after a climate crisis), Snowpiercer’s story about humanity in microcosm and fight scenes are very affecting. The skirmishes are protracted and merciless, combined with the claustrophobic setting and masterful editing, Snowpiercer will keep you riveted till the end.  

HM: The Worlds End & Elysium.

2014: The Raid 2 (dir. Gareth Evans)

After surviving the first film, Rama (Iko Uwais) must infiltrate the mob and bring them down from inside. From there this sequel improves on everything great about the original. With more impressive choreography, more brutal violence; even more memorable characters, all wrapped around a fantastic story of family and loyalty. The Raid 2 is my favourite action film of the decade.

HM: Captain America: The Winter Soldier & Guardians of the Galaxy.

2015: Mad Max: Fury Road (dir. George Miller)

Mad Max: Fury Road puts all other 2015 action movies to shame, with an effectively slight story about Max Rockatansky (Tom Hardy) helping a band of women escape an oppressive patriarch; spectacular vehicle stunts. By the movie’s end, you’ll feel exhausted by the relentless action. Impressed by the practical stunts and special effects. And moved by characters like Furiosa (Charlize Theron) and Nux (Nicholas Hoult). High octane action at its finest.

HM: Furious 7, Avengers: Age of Ultron & Sicario.

2016: Captain America: Civil War (dir. Joe Russo)

Civil War is the highlight of the MCU. The story grounds the conflict in each heroes’ hopes and fears, examining them and playing them against each other expertly. Every character is relatable, making the fights more impactful. And each action sequence is creative. From the opening robbery to the final 2 on 1. Marvel has made many good films, but none topped the impact of Civil War.

HM: Deadpool.

2017: Dunkirk (dir. Christopher Nolan)

Depicting the titular WWII evacuation from three perspectives: the soldiers trapped at Dunkirk waiting for rescue, the civilians coming to evacuate the soldiers and the airmen covering them from above, Dunkirk’s tension becomes almost unbearable as we hope the soldiers escape in time. The use of practical effects, incredible sound editing, and Hans Zimmer’s tense score make the film effective and harrowing.

HM: Baby Driver.

2018: Spiderman: Into the Spiderverse (dir. Peter Ramsey, Bob Persichetti, Rodney Rothman)

The perfect balance of spectacle, personality, and high personal stakes. Into the Spiderverse is an expertly crafted love letter to comic books. With beautiful visuals that are used inventively in action sequences, all anchored by protagonist Miles Morales. Who allows us to feel his wonder, excitement, and fear better than any other spiderman.

HM: Avengers: Infinity War.

2019: John Wick Chapter 3: Parabellum (dir. Chad Stahelski)

Parabellum marks the culmination of everything great about John Wick. The story is full of unique, intriguing characters, John Wick (Keanu Reeves) is still thoroughly engaging and the grounded, varied, constant action easily beats the overblown spectacle of other films this year.

HM: Avengers: Endgame.

So ends my list of the 2010’s best action movies. Be sure to tell me your favourite action movie of the decade in the comments. There have been some great action films this decade, now let’s see what the 2020s have in store.

Also Read: How to Revive a Franchise After Many Years

The post The Best Action Films of the Decade (2010 – 2019) appeared first on Big Picture Film Club.

No one could’ve predicted just how big the MCU would become when it started back in 2008, Iron Man wasn’t as popular as characters like Spider-Man, so there was very little chance the film would be a success, let alone that it would give birth to the highest grossing franchise ever. It not only catapulted “cult” comic book characters into household names but also inspired several other studios to adopt the “shared universe” model.

“Become part of a larger world…’

The first “Avengers” film is still to date the 6th Highest grossing film worldwide and is when people really started to pick up and take notice of the franchise after all the planning and easter eggs had paid off. “Iron Man 3” kicked off “Phase Two” a year later, which included “Captain America: The Winter Soldier” and “Guardians of the Galaxy”, the former being the first film directed by the Russo Brothers, who would go on to direct “Infinity War” and “Endgame”, while the latter proved Marvel could experiment with the more outlandish elements of their canon, leading to films like “Doctor Strange” and “Thor: Ragnarok”

“Phase Three” saw Marvel get even more ambitious, with everything leading towards the massive crossover events of the final two “Avengers” films as well as putting their own spin on familiar characters, when they struck a deal to use Spider-Man in their shared universe, who now gets to share the screen with the Avengers just like in the comics, as well as have a film directly deal with the fallout of Avengers: Endgame, the film that broke box office records almost instantly.

“We’re in the endgame now”

The MCU won’t be stopping anytime soon, although Marvel has yet to officially announce any of the films in Phase 4, there are several rumours about what could come next. And the recent Disney/Fox merge means that they now have access to the X-Men and Fantastic Four, so expect to see them appear alongside (or even against) the Avengers before long. While this crossover would likely not feature the cast of the previous X-Men films, it would still be exciting to see versions of them with characters we are familiar with, such as a Spider-man and Wolverine team up.

However due to the scale of “Avengers: Endgame”, it is likely that the MCU will slow down and tell smaller stories for a time, focusing on more standalone stories with occasional team-ups, like Falcon’s cameo in “Ant-Man” or the Hulk’s role in “Thor: Ragnarok”. While the solo films are popular, they never quite reach the heights of the Avengers films, although several have grossed over $1 billion dollars, like “Black Panther” so a sequel would likely do very well.

“Avengers Assemble”

But the appeal of a shared universe is the team-ups and connections, otherwise, they may as well be standalone franchises (which is no bad thing). As of Endgame, there are over 20 superheroes, that either have their own franchise (Spider-Man, Doctor Strange, Black Panther etc) or are major players in another (Falcon and Winter Soldier have huge roles in the Captain America films) and that cast is only likely to expand as the films go on. In addition to the feature-length outings, several established characters are getting spin-off series on the upcoming Disney+. These will crossover with the films “in a big way” (although previous Marvel shows, such as Agents of SHIELD and The Defenders, had tenuous connections at best).

Given all of this, it’s likely “Endgame”, as a conclusion to “The Infinity Saga” will be the last official Avengers film for a while, but the characters will crossover with each other at every opportunity. Given the success of some solo outings like “Black Panther” that are guaranteed sequels, it is possible that one of them could break even more records. However, the likely option is that Marvel will once again try to replicate their success several years down the line. With several newer characters, the old guard can call in for back up. So while Endgame might be the end for the foreseeable future, don’t expect this to be the last time the Avengers assemble…

Also Read: Spoiler Etiquette: To Spoil Or Not to Spoil…

The post Has The Marvel Cinematic Universe Reached Its Peak? appeared first on Big Picture Film Club.

J Jonah Jameson isn’t the only one trying put Spider-Man down, as despite the genre’s overwhelming success (Endgame earned over $1 Billion in its opening weekend) it is often neglected upon awards season. With powerful enemies like James Cameron against them, can our heroes ever get the respect they deserve?

“For your consideration..”

To be clear, superhero films have been nominated and won in some cases. Heath Ledger posthumously won an Oscar for his Joker in “The Dark Knight”. “Black Panther” won in three categories as well as being nominated for best picture. Even Spider-Man 2 won for Special Effects. But many big names in Hollywood still seem to dismiss them.

Comic book movies are regularly nominated in several technical categories, with “Spider-Man: Into the Spider-verse” winning “Best Animation” at the 2019 Oscars, for its unique animation style. But it is rare they win any of the “big awards” such as best actor/picture. There are several calls for Robert Downey Jr to earn an Oscar, for his portrayal of Iron Man.

And regardless of whether he does or not, it’s hard to argue that the character is ingrained in pop culture, with Downey Jr a massive part of that. It’s no secret that the character was a B-Lister before 2008, but now everyone knows Iron Man. Joe Russo (co-director of Avengers: Endgame) thinks he deserves it for the way he’s motivated pop culture, and that “there’s a prejudice against popular cinema”.

Great Power, Great Responsibility

This superhero snobbery doesn’t just apply to movies, comic books are often considered childish, and, true, Batman punching someone with a large “Kapow” bubble might not be the most complex thing to follow. But some of them delve into real-world issues. Iron Man famously had a storyline where he dealt with alcoholism. While the films didn’t follow this, “Iron Man 3” features him dealing with PTSD.

This isn’t the only time the MCU deals with mental health. Captain America shows several symptoms of depression. A big part of Thor’s arc in “Avengers: Endgame” deals with coming to terms with his failure and if he is still worthy. The Avengers might be superheroes, but they’re still flawed, like the rest of us.

But they also tackle social issues, the “Captain America” films deal with him adapting to the modern world after living in WW2. “The Winter Soldier” deals with the idea of a surveillance state. While in “Civil War” he battles against Iron Man about whether the Avengers should be ruled by politicians.

This isn’t just Marvel either. “Man of Steel” is rammed with political themes, from, climate change on Krypton to Superman being an immigrant. Films allow us to explore different themes, and superheroes are no different

Origin Stories

Superhero stories are the Greek myths of our time. With each generation of filmmakers wanting to retell the story with a more modern perspective. “Shazam” for instance, features a young Billy who has grown up with Superman and co, so he and his friend are aware of all the tropes, as people today are. A huge part of the “Deadpool” films’ appeal is its fourth wall breaking antics and how it pokes fun at superhero cliches (like the “superhero landing“)

This self-awareness could be a sign the genre is becoming stale, with the dreaded “superhero fatigue” setting in and Spielberg himself saying they will “go the way of the western”. While that may be true, it is far more likely the genre will simply evolve, as it always has done. Superhero films are arguably an evolution of 80’s action classic’s like “Rambo” and “Robocop”. While they may not have powers, they still perform superhuman feats, like surviving explosions, big dramatic leaps, stopping villains taking over the world.

And Superhero films have evolved, with the release of “The Avengers” it seems like every studio has been trying to launch its own franchise. From DC to the failed “Dark Universe”, it seems like every studio has been trying to follow in their footsteps, with mixed results. The “Marvel Cinematic Universe” now encompasses 22 films, as well as several TV shows (and counting). It’s hard to think that what started as a huge gamble for a company on the verge of bankruptcy, is now the behemoth it is.

In the 1970’s “Jaws” created the summer blockbuster. In 2012, “The Avengers” created the “cinematic universe” and superhero films will likely continue to push new boundaries with special effects, like the latest de-aging, storytelling (“Endgame” is the end of a 22 film long storyline), and more. Films like “Wonder Woman” and “Captain Marvel are helping to prove that girls are just as good as boys, inspiring young girls as well as bringing in huge bank.

Superhero stories might seem silly on the surface, but whether in comic book or movie form, should not be dismissed as “just for kids” because they are so much more than that.

The post Superhero Standoff: Superheros vs Art appeared first on Big Picture Film Club.

Another Avengers movie release, another midnight showing, another day as a work zombie…all totally worth it.

Avengers: Endgame finally hit the big screen on 25 April, and I was one of the hundreds of ecstatic movie-goers packing out one of several booked-out screens at our local cinema. I’ve been to a few midnight showings, and I don’t think I’ve ever seen so many super-enthusiastic fans gathered in one place. The atmosphere was electric – it’s the perfect way to enjoy a much-anticipated film, because everyone who’s there really has to want to be there at that time.

Anyway, on to the review. This one is SPOILER-FREE, but I’ll probably do a follow-up piece soon discussing the film in more depth.

For now, here are my initial impressions of the final Avengers movie.

Why now?

Endgame was released on 25 April and is in cinemas in the UK right now.

In a nutshell

With half of all life in the universe ‘snapped’ out of existence by the titan Thanos, the remaining handful of Earth’s Mightiest Heroes set about trying to find a way to reverse what their arch nemesis achieved at the end of Infinity War. I can’t say any more than that without dropping a spoiler, but from the trailers, you’ll know that Ant-Man and Captain Marvel play a part in it all.

Who’s it for?

The movie is rated 12a, so some children may need an adult along. It’s just Marvel-level violence for the most part though, so don’t worry too much about it.

Who’s in it?

I’m not even going to touch this one because the cast of this film is freakin’ huge. If you’ve seen Captain America Civil War, Infinity War, Ant-Man and Captain Marvel, however, you’ll already be acquainted with the entire cast.

Really struggling to contain myself here…

The good stuff

Man, I wish I hadn’t set that no-spoilers rule at the start of this review!

If you’re a Marvel fan (and of course you are), this film is everything you’ll have wanted it to be. It is at least as good as Infinity War, if not a few shades better, and if you’ve read my review on it you’ll know that’s high praise indeed.

On every level – writing, direction, acting, special effects, etc – Endgame exceeds expectations. I went in having no real clue what was going to happen, as I think most fans did, but even if I’d formulated my own carefully-concocted version of the plot, it would never have come close to what actually happens in the film. Right from the start, the plot spins off in directions I could never have predicted. Characters die who I expected to live (that’s not a spoiler, you knew some of them would die), others survive who I assumed would be killed off at some stage; certain heroes play key roles while others sit a little further back, but every member of the cast gets their time to shine. How the Russo brothers managed to achieve that in such an effortless way, I’ll never know.

And that’s another awesome thing about this movie – the great moments you hoped would happen do happen, just not necessarily in the ways you anticipate. There are fantastic twists, set pieces, stunts and phenomenal cinematography throughout, and the final battle sequence tops anything ever played out in the history of action movies, let alone those in the Marvel Cinematic Universe. Pretty sure that isn’t an exaggeration, either.

Finally, on an emotional level, Endgame trumps everything that’s come before it. There were plenty of tears in our screening towards the end, explosions of laughter all the way through, and spontaneous applause when the final credits rolled. Be warned – this is an emotional experience, and you will leave the cinema feeling very sad and very happy in equal measure.

The not so good stuff

There really isn’t much to say here. My only complaint, and it’s extremely minor, would be with some of the early sections of the film that seem a bit slow, but there’s a lot of character development going on here and numerous story arcs being concluded simultaneously, so I suppose that’s to be expected. I would have liked to have seen a few of the characters get slightly more screen time as well, but again, it’s a tall order getting everyone into a film that acts as the culmination of ten years’ worth of storytelling.

The bottom line

Avengers: Endgame is all that you hope it’ll be and a bag of chips. The Russo brothers hit all the right notes from start to finish, and the ending in particular is thoroughly satisfying.

Like I said, I’ll write a second review TEEMING with spoilers in the near future, but for now, just take my word for it that this film is incredible – see it as soon as possible on the biggest screen you can.

Verdict: (5 / 5)

The post Avengers: Endgame [Spoiler Free] appeared first on Big Picture Film Club.

With time running out for Disney to milk Marvel for all it’s worth (which is a lot, by the way), they’ve churned out one last origin story for us to feed on until Endgame is unleashed. The final piece in Stan Lee’s complex and colourful jigsaw.

Let’s talk about Captain Marvel.

Why now?

Captain Marvel was released on 27 February and is in cinemas in the UK.

In a nutshell

Captain Marvel is a Kree warrior caught up in an intergalactic battle between her people and the Skrulls, a race of shape-shifters aiming for universal conquest. She finds herself on Earth in the mid-90s 1995 and quickly discovers that she was once U.S. Air Force pilot Carol Danvers. Teaming up with a two-eyed Nick Fury, she sets about defeating the Skrulls and uncovering how she came to gain her incredible superpowers.

Who’s it for?

The movie is rated 12a, so some children may need an adult along. But apart from some mild Marvel-style violence, this one’s pretty tame.

Who’s in it?

Brie Larson played Carol Danvers/Captain Marvel, and unsurprisingly, she’s very good. Danvers is actually not the easiest role to bring to life – her past is a bit complicated, and you’re not really sure if you’re supposed to be watching a human pilot with a penchant for karaoke or a battle-hardened alien being just trying to fulfil a mission. Either way, Larson pulls it off, and I’m really looking forward to seeing her in Endgame.

Samuel L. Jackson reprises his role as Nick Fury, but with a twist or two. He’s considerably younger here (via some clever CGI), still retains both eyes, and isn’t quite as cynical as we find him later in the MCU. It was a nice change seeing Fury being somewhat less furious than usual.

The film also stars Ben “bad-guy voice” Mendelsohn as the leader of the Skrulls, Jude Law as Danvers’ Kree mentor and Clark Gregg as Phil Coulson (again, de-aged marvellously). It’s a relatively small but strong cast.

The good stuff

The good aspects of this film are obvious from the get-go, as are its negative qualities.

The cast is great, especially Larson. As I said, I’m looking forward to seeing how she integrates into the final Avengers movie, particularly under the direction of the Russo brothers. I imagine there’ll be some nice banter between her and the other super-powered heroes we’ve come to love.

Technically, the film looks and sounds good. It’s competently directed by Anna Boden and Ryan Fleck with some great action sequences and stunning visuals. When Danvers comes to realise the full extent of her power later in the film, you genuinely get the sense that she’s fairly unstoppable.

And as with all Marvel movies, there’s a great deal of humour interspersed with the more serious moments throughout. It’s a fun movie, and most Marvel fans will enjoy it well enough.

However…

The not so good stuff

Maybe it’s the onset of Marvel fatigue, but I felt like I’d seen this movie already. While the narrative starts off with Danvers already in possession of her powers, it quickly rolls back into the usual MCU origin story formula: gets powers, learns more about powers, beats the Big Bad in the final act with said powers. This has all been done before, and better in some cases, unfortunately.

Secondly, the writing is often sub-standard for a Marvel movie. Some of the lines spouted by characters felt lazy and too by-the-book, especially in the case of Nicky Fury, who swung too far towards Hollywood cliché at times.

The filmmakers’ desire to empower women with this film and its lead character, while definitely admirable, becomes more of a distraction at times from the actual plot. It felt like some lines had been shoehorned in just to give the audience and critics a few sound-bites to take home. Yes, this is a film that gives younger viewers a great female role-model to emulate, but a blatantly-obvious pointed line like “I have nothing to prove to you” (addressed to a man) actually detracts from the flow of the narrative, like a big diversion sign by the side of the road.

Captain Marvel shouldn’t be deemed an excellent MCU film simply because it has a strong female lead, in the same way Black Panther shouldn’t be elevated just because it debunks racial stereotypes in its genre. Those plaudits should be gained on the merits of good film-making, which I believe Black Panther achieved more successfully, though not as successfully as many others suggested (I’m one of the few Marvel fans who wouldn’t rank it in my top five MCU movies).

My own gripes aside, Captain Marvel is a bit of an ‘almost’ movie: the writing is almost good, the humour is almost funny, the plot is almost engaging. But I felt like I’d seen it all before, and the filmmakers were in too much of a hurry to bang out one more quick origin story before it all wraps up next month.   

The bottom line

Captain Marvel is another enjoyable instalment in the MCU. Brie Larson grabs the lead role by the horns and is well-supported by a strong cast. It’s a solid enough movie, but it suffers from an overbearing need for its agenda to be pushed – had it been handled with a little more care, it could have been fantastic.

Verdict: (3.5 / 5)

The post Review: Captain Marvel [spoiler free] appeared first on Big Picture Film Club.

Marvel has come a long way since Robert Downey Jr first donned the Iron Man suit in 2008 and took on Jeff Bridges’ Obadiah Stane, with a wide range of villains coming and going throughout the course of the Marvel Cinematic Universe’s realisation. Every protagonist needs a worthy antagonist, and many directors have tried (sometimes succeeding, sometimes failing) to bring a comic book bad guy to life effectively on the big screen.

The MCU has gifted us some enduring villains (like the brilliant Loki) and completely forgettable ones (remember Whiplash in Iron Man 2? No?). Some of these bad guys were merely temporary foils for our favourite superheroes to gleefully slap around in a few big-budget action sequences and ultimately played a small role in any build-up before the film was released. Some, however, were absolutely critical to the plot and featured heavily in trailers and publicity material prior to making their anticipated appearance on screen.

As we complete our series on Villains, let’s take a look at two Big Bads in the MCU, one of whom hit the nail on the head, and one who ultimately proved to be a let-down.

Part Three: Marvel Villains

Ultron – so much potential, so little payoff

Calm down, this is just my opinion.

When the first teaser trailer for Avengers: Age of Ultron dropped and I heard James Spader growl “I’m going to show you something beautiful”, my instant reaction was…..oh yes. Spader has one of the best voices in Hollywood, and I thought he was the perfect choice to play the evil, evolving robot hell-bent on destroying humanity and the Avengers. And of course, he delivered every line exquisitely – better, in fact, than some of his fellow actors in the movie.

There is, however, only one word to adequately describe what Age of Ultron turned out to be – meh.

I’m probably in the minority here, but I was disappointed with this movie in the end. The first Avengers is just so good, one of the most enjoyable Marvel movies by far, perhaps with the exception of Thor: Ragnarok. Joss Whedon had set the bar pretty high in 2012 and had a lot to live up to with his 2015 sequel. His previous villain had been Loki, after all – not an easy act to follow.

But Ultron, in spite of everything he appeared he would be in the trailers, was ultimately a pretty two-dimensional villain. Yes, he had some complex daddy issues with Tony Stark and his actions resulted in the necessity for the Sokovia Accords, which caused the fallout in Captain America: Civil War, and yes, he helped create Vision, but Ultron just didn’t do it for me in the end. Age of Ultron itself isn’t written as well as its predecessor either and becomes a bit muddled towards the end – maybe if the film as a whole had been more successfully executed, Ultron would have reached his full potential.

Thanos – well worth the decade of anticipation

I’m a huge fan of how the Russo brothers brought Infinity War to life on the big screen. It was a monumental challenge given the sheer number of characters involved, all of whom had their own personal backstories, but they pulled it off. You can read my glowing review here.

And one of the primary reasons for the success of that film is, I believe, its antagonist.

Marvel had been building steadily towards the big reveal of Thanos since his first cameo appearance in Thor in 2011. And when the titan finally appeared, he did not disappoint. In his first scene, he bumps off two of those enduring MCU characters we talked about and beats Hulk in a fist fight, which very few others can claim to have done. And that’s just him getting started.

I was always a little worried that Thanos would be just another two-dimensional villain driven by an unwavering desire to take over the universe, and while cosmic annihilation is indeed on his agenda, there’s something that very clearly sets him apart from all other villains in the MCU – he actually achieves his goal and defeats the good guys.

There are some pretty great villains in Marvel’s grand project, but for me, Thanos is the one who absolutely nailed it and very much lived up to the hype.

The bottom line

So there we have it – the movie villains who were worth the wait, and those who ultimately let us down (or let me down, anyway). Hope you’ve enjoyed my little rants, even if your opinion differs completely. But I’m sure we can all agree on one thing: a really great villain can raise the bar for any film.

Also Read: The Movie Villains Who Nailed It (And Those Who Didn’t) – Part Two

The post The Movie Villains Who Nailed It (And Those Who Didn’t) – Part Three [Marvel Cinematic Universe] appeared first on Big Picture Film Club.

What is Disney+ offering?

Disney+ is stated to be a child-friendly streaming hub for all of Disney’s owned films and TV shows. These include properties like Star Wars, Pixar, Marvel, and National Geographic. Hulu will broadcast the more adult-oriented content owned by the company. So far, the service has not set a price, but has promised that it will be cheaper than a Netflix subscription. Similar to Netflix and Amazon Prime, Disney+ also plans to host exclusive content. These include Star Wars: The Mandalorian and a series based on Marvel’s Loki. It will also be the first place where all the latest Disney films become available.

How will this effect the industry?

Disney+ could herald the beginning of the next generation of streaming. With the studio’s pedigree and the exclusive big names they have, including Star Wars and Marvel, it seems likely that the production value of their exclusives will be high, with both properties usually focusing a lot on spectacle. And if the service becomes successful with a cheaper price, other streaming companies will have to step up their game. Perhaps lowering their price, offering new selling points or allotting higher budgets for their new projects. Competition breeds creativity and Disney+ seems poised to encourage that.

It is also interesting that Disney does not intend to dismiss cinema distribution. Allowing films to run their course in theatres rather than exclusively releasing it on Disney+. It is interesting that despite the rise of streaming, cinema exhibition continues to generate over £1 billion in revenue each year. And this display from Disney reinforces the importance of cinematic distribution. Therefore, cinemas will still benefit from the income that big releases bring to them. As well as allowing a broad audience to see the films before it becomes exclusive and potentially allowing platforms for smaller films to be seen by a larger audience.

However, if Disney+ is successful it’s not hard to see other big studios forming their own streaming companies to retain distribution rights. Meaning that a movie will run its course in cinemas and then become exclusive to that studio’s website. Customers will thus lose the variety of current streaming sites. Instead, they’ll have to sign up to multiple companies, with different prices to find what they want. This isn’t a particularly consumer-friendly environment to encourage. Plus with the four highest grossing movies of 2017 being produced by them, it’s not hard to see why Disney wants to keep using the cinema box office.

Netflix Vs Disney+

And with Disney+’s announcement, many saw it as a direct challenge to Netflix’s hold on the market. With a cheaper price, a large back catalog as well as original programming and exclusive retention of its latest cinema releases, many predict that Disney+ will be a great Netflix competitor. However, this judgment seems rash. It is exciting to see what Disney will bring to the table. And the more family-focused content of Disney+ makes it unique amongst current streaming companies. Which mainly focus on offering content for different age ranges. But ultimately it is hard to see Disney+ felling Netflix completely for one simple reason, a lack of variety.

The reason platforms like Netflix and Amazon Prime have succeeded is because they provide a vast range of content for all ages and interests. Genre cinema, documentaries, critically acclaimed work, schlocky trash, foreign language cinema from all over the world, kids films and the latest blockbusters are all available on those platforms. And not everyone wants to watch a Disney show or movie when they get home. Some people want to watch an adult-oriented comedy or violent action films, not exclusively family-orientated films.

Just look at the domestic box office figures for Disney’s releases last year. Their box office takings are incredibly sporadic. With some projects earning hundreds of millions while others never reach the hundred mark. Fatigue can set in easily when there is little room to breathe between brand projects (comparatively speaking). Even big-name brands don’t guarantee success, see Solo: A Star Wars Story for proof of that. Disney+ will undoubtedly have a big fan base to rely on. But the limited audience range and content makes it seems more like an Amazon Prime add on than something you would exclusively pay for. 

What does the future hold?

Ultimately these judgements are merely speculation and we will find out what happens when Disney+ launches later this year.

It will be interesting to see how established companies will deal with the challenge posed by Disney. A healthy dose of competition is sure to produce a good amount of change. Both in business and in the products produced. And the retention of cinema distribution will give faith to cinemagoers and smaller filmmakers looking for potential platforms to reach a wide audience.

But it is also hard to not be pessimistic about what this could do to the industry by promoting insular distribution rather than reaching the widest possible audience. Overall this feels like something being done for business rather than art. And even devoted fan culture can get burnt out when given too much to chew.

The post Disney Strikes Back: Disney+ Breaks The Internet appeared first on Big Picture Film Club.

Full disclosure: these are three film franchises that I adore, so apologies in advance if this gets emotional.

Let’s do them chronologically, just to keep things simple.

Avengers: Endgame

The Endgame title was revealed just last month, along with a decidedly threadbare teaser trailer. We saw Tony Stark saying his goodbyes to his beloved, a clean-shaven Captain America concocting a plan, and the reappearance of some faces notably absent from Infinity War. This next (and very much not final) entry in the Marvel Cinematic Universe will be the 21st in the series since Iron Man kicked it all off in 2008, which is in itself a remarkable achievement.

Hopes and fears:

The Avengers find themselves in a sticky situation, with a significant portion of their team (along with half of all beings in existence) wiped out by the jolly purple giant Thanos at the end of Infinity War. Plenty have speculated, but no-one really knows exactly how everything’s going to work out fine in the end for our superheroes, though Ant-Man and his quantum tunnel machine thing surely have something to do with it…right?

Personally, I’m excited to see how Captain Marvel fits into this increasingly-complex puzzle – is she the key to defeating Thanos? More importantly, just where did everyone go after The Snap? I hope the Russo brothers can deliver another perfectly-balanced visual spectacle to follow on from the first film, with solid performances from a very talented cast and plenty more breath-taking MCU action. My only fear is that Endgame won’t live up to expectations, and that the weight of eleven years-worth of interwoven narratives and characterisation finally collapses in on itself.

Fingers crossed we can make it beyond April without that happening…

Star Wars Episode IX

The as-yet-untitled final episode in the new trilogy is perfectly poised to surprise, I believe. The Resistance has been reduced to a handful of rebels stuffed into the Millennium Falcon, with the ever-angry Kylo Ren now the Supreme Leader of the First Order hell-bent on wiping them out. Han’s gone, Luke’s gone, and, as a result of tragic real-life circumstances, Leia probably won’t feature for long in the new movie. That leaves us solely with the new cast, as well as Lando Calrissian, who is due to make another appearance in that galaxy far, far away.

Hopes and fears:

I’m pretty hopeful for the final act in the Skywalker saga since J.J.Abrams retook the reins. The Force Awakens was excellent, while The Last Jedi was marmite (I loved it, for what it’s worth). Abrams is one of the best currently in the business, and with the story right on the brink of something truly special, I’m already getting excited about seeing how the inevitable Kylo-Rey-Finn love triangle pans out (don’t lie, you were thinking it too).

My fears for Star Wars always stem from Disney’s control over the final product. The worst part of The Last Jedi (ie. the middle bit at the casino) had clearly come about based on the advice of executives who wanted to retain a fun, child-friendly element in what was otherwise a darker and more interesting storyline. If Abrams and his writing team can keep the pesky Mickey Mouse meddlers out of production, we could have an epic space opera on our hands that’s worthy of George Lucas’s original vision, before pod-racing and Jar Jar Binks.

Jurassic World 3

I know a lot of people didn’t like Jurassic World: Fallen Kingdom, and I understand why. I also know that, as a long-time fan with rose-tinted glasses fused to my face, I will always find a silver lining in every velociraptor-shaped cloud that floats my way, so I’ll do my best to be objective here.

The Jurassic World movies, though clearly not as expertly-crafted as the original movie, are fun to watch, and have introduced a whole new generation of movie-goers to the classic cloned reptiles. And I think that’s great.

Hopes and fears:

My hope for the final movie in the new trilogy, which hits the big screen in 2021, is that all of the potential that’s been simmering under the surface throughout the first two instalments comes together in the way I’ve always hoped it would. No more weak writing, no more ‘filler’ characters, and no more sauropods left behind on lava-soaked docks as I try not to die inside.

Colin Trevorrow, who did a fine job of resurrecting the series back in 2015, has returned to the director’s chair after being let go by Disney (“creative differences”, and all that jazz), and I think that might be enough to get the trilogy over the line in a satisfactory way – while Fallen Kingdom was often preoccupied with trying to either scare or sadden us, Trevorrow leans more towards giving JP fans what they always wanted to see.

The bottom line

Of the three series in question, Jurassic World 3 has the most potential to crash and burn, which I desperately hope it doesn’t. I think Avengers: Endgame and Star Wars Episode IX are both in great hands and stand a much better chance of delivering, especially since both franchises are guaranteed to carry on beyond 2019 with plenty more Marvel movies in the works and an entirely new Star Wars trilogy reportedly under development.

Fingers crossed for satisfying conclusions featuring copious amounts of Hulk smashing, lightsabre clashing, and T-rex jaws gnashing.

The post Three franchises ending soon: my hopes and fears for each appeared first on Big Picture Film Club.

2018 has been a monster year for superhero films, largely due to Disney’s Marvel Cinematic Universe with Avengers: Infinity War & Black Panther being the two highest grossing films in the world this year. With the release of the trailer for Avengers 4: End Game, audience appetite for the Marvel’s franchise shows no signs of slowing down.

Similarly, if you’re a fan of horror films the last few years have been something of a golden age: Get Out, A Quiet Place, IT, Hereditary, Halloween & Mandy are all part of a new generation of horror films that have seen critical success and have spearheaded a revival in the genre. A testament to this is horror films increasing their take at the U.K Box Offices, going from £50.8 Million in 2016 to £66.2 Million in 2017. 

2017’s Logan has served as the precursor what we could potentially see from grittier-darker toned superhero films. As the appetite for both superhero and horror films show no immediate signs of slowing down, surely it’s only a matter of time until we see these worlds merge, right?

New Mutants Delay

The New Mutants was one of our own selected Must See films of 2018. The X-Men spin-off sees five mutants escaping from a secret facility where they are being held captive. The release of the film was delayed by a year, as a result of reshoots and the Delay of X-Men: Dark Phoenix. The reshoots have reportedly allowed director, Josh Boone, to make the film “scarier”, with him even calling the film “a full-fledged horror film“. We’re keeping our fingers crossed that the film can reach it’s potential.

Enter BrightBurn

“What if a child from another world crash-landed on Earth, but instead of becoming a hero to mankind, he proved to be something far more sinister?” – the synopsis of Brightburn reads like an “evil” Superman and certainly, that’s the direction the first trailer appears to be heading in. The film is directed by David Yarovesky (Guardians of the Galaxy) who has coined the phrase “Superhero Horror”, to describe the merging of the two. Brightburn will be released in May 2019.

History repeats

The idea of a popular superhero-horror franchise on the big screen isn’t exactly new. Marvel first saw success 20 years ago with the release of Blade in 1998, the film followed Blade (played by Wesley Snipes) who stars in the lead role as a vampire killer. Amassing an impressive $130 Million worldwide, a cult following and spawning two more successful sequels, the Blade trilogy has the honour of being Marvel’s first trilogy franchise and first live-action superhero film led by a black actor. Wesley Snipes has spoken openly about bringing Blade to the Marvel Cinematic Universe, so perhaps a reboot isn’t too far-fetched.

Keeping on the theme of vampires, following the commercial success of the Spider-Man spin-off Venom, Sony has had its eye on the continued expansion of its own Spider-Man Universe (not part of Disney’s MCU) with Morbius, the Living Vampire. The lead antihero, Biochemist, Dr Michael Morbius, will be played by Jared Leto. In the comics, Morbius has pseudo-vampiric superhuman abilities and physical traits stemming from a failed biochemical experiment which was intended to cure his rare blood disorder. Although exact plot details of the feature film aren’t known at this stage, expect to hear more news soon. The film is currently at the pre-production stage, so will likely be released in 2020 at the earliest, however, with the release of edgier comic-book based films beforehand Sony will be keen to build off the momentum of other films.

One reboot which is definitely happening is Hellboy. However, based on the trailer it might not be as dark in tone as the original 2004 feature film starring Ron Perlman. Should the reboot prove successful it should film studios further incentive to work on developing more superhero – horror films.

Who wins?

Ultimately this could be a win-win situation for fans and the film studios. In order to maintain interest in comic book film adaptations in a post-Avengers; End Game world, it makes sense for the major studios to branch out and experiment with the genre to keep fans engaged. Increased attention in comic-book films also allows studios to take more risks in producing more niche titles, which may already have their own cult following among comic-book readers.

The post 2019: The Year for Superhero Horror? appeared first on Big Picture Film Club.