While the undisputed champion, the Marvel Cinematic Universe, is currently at “a bit of a low point ” (Deadpool’s words not mine) the question of “superhero fatigue ” is once again entering the conversation. With both Marvel and DC banking on the audience’s continued interest, it doesn’t seem like the end is in sight, but what could the next big thing in Hollywood be?

Toy Story

Hollywood studios like to chase trends. If one studio has made something that’s making a lot of money, they try to do the same thing. It’s fair to say that cinema has had a rough few years since the Covid-19 pandemic. The biggest hit post-pandemic has undoubtedly been Barbie, becoming the highest-grossing film of the year, as well as the highest-grossing film from Warner Brothers and 15th highest of all time. Mattel has started development on films based around some of its other IP in an effort to recreate its success. Hasbro has been in the business of making films about its products for a while, with the Transformers and G.I. JOE franchises. The Lego Movie was a surprise hit, managing to spawn a franchise, including a Batman spin-off.

However, the Lego franchise reached diminishing returns very quickly. With four films in five years, the series quickly lost steam at the box office. Plans for the series are still in development, and the success of Barbie has likely reignited interest. Both Barbie and The Lego Movie benefit from being their directors, Greta Gerwig, Phil Lord and Chris Miller are very unique and distinctive voices, and it’s fair to say that the films would not have been anywhere near as successful without their vision. Would a director be able to find a compelling story about the human condition in an Uno film?

Life Story

Of course, Barbie didn’t do it alone. The other half of the Barbenheimer phenomenon, Christopher Nolan’s Oppenheimer, was also a huge hit and went on to win the Best Picture Oscar. It follows in the wake of several other high-profile biopics, including Bohemian Rhapsody and Rocketman. Biopics, have been around for a while, but seem to be much more high profile lately, especially ones centred around musicians. With films about Bob Dylan, Bruce Springsteen and each of the Beatles in development, it doesn’t seem like they will be going away anytime soon.

But at the risk of running into “Biopic fatigue” it’s not just musicians that are in consideration. We’ve had Ferrari and House of Gucci (both starring Adam Driver) as well as Le Man’s 66. There is always another incredible story to show on screen, although these often end up being rather one-sided (something Oppenheimer managed to avoid) and can run into trouble from family members. Or even having to change the narrative to make a more coherent film. The Iron Claw, for all its success, has an even more tragic story in real life. The biggest hurdle is probably that the audience for one film does not always mean they will see another. Oppenheimer and Ferrari are both period pieces, but they have very little in common, and it’s hard to find subjects that reach such a wide audience. But then again, Christopher Nolan made nuclear physics compelling, so anything is possible

Final Thoughts

As fun as it is to speculate, it is almost impossible to predict what the next trend will be until we are in it. It was hard for anyone to believe that superheroes would be the next big thing when Iron Man hit screens in 2008 or that the reign would last this long. With Deadpool and Wolverine being the fastest-grossing R-rated film of all time, it seems unlikely that superheroes are going away just yet. Joker: Folie a Deux is entering new territory with the first full superhero musical (although The Marvels technically had a musical number), but Hollywood seems averse to musicals and rarely advertises films as such. Only time will tell, but there will certainly be plenty of discussion about it until we get there.

The post Beyond Superheroes: What Will Define Hollywood’s Next Era? appeared first on Big Picture Film Club.

The History

Ryan Reynolds was first cast as Wade Wilson/Weapon X in the abysmal X-Men Origins: Wolverine, the fact that the character of Wade Wilson was something more significant than a minor villain would have only been apparent to comic book fans and the casting of Reynolds in of itself. For years Reynolds campaigned for there to be a Deadpool movie and he eventually got his wish. Deadpool was a brilliant and unusual addition to the comic book movie world, adopting many elements featured in the comics, most notably the fact that Deadpool breaks the fourth wall. A lot. And in an environment where the MCU is constantly criticised (including by me) for having a formula for its films Deadpool did feel different. Deadpool 2 didn’t quite manage the same success but still a very enjoyable film. Normally, Deadpool 3 might be expected to deliver less simply by the law of diminishing returns but it does have something going for it the others didn’t – Wolverine. This is not Deadpool 3, it is Deadpool & Wolverine.

The rivalry between Wolverine and Deadpool goes back to the comics. The two characters have a lot of similar powers and have faced off against each other as frenemies numerous times. The Deadpool movies have continued this rivalry with Deadpool breaking the fourth wall in criticising Wolverine and his movies. But then, and this has been going on for years, Ryan Reynolds and Hugh Jackman, have had a similar, somewhat staged, frenemy rivalry going on. Both men have spent a lot of time on social media playfully insulting the other, going back so far that it was before any notion of this film was dreamt up.

God’s Perfect Idiot

A lot of the success of the Deadpool movies is down to the charm of Ryan Reynolds and that is a lot of charm. As someone who enjoyed the short-lived Two Guys and A Girl sitcom of the early 2000s which starred Reynolds, I can say that that charm has always been there. Reynolds is immensely likeable and able to laugh at himself – Deadpool contains references to his brief and unsuccessful stint as Green Lantern, and even the opening credits listed him as “God’s Perfect Idiot”. So the stunningly handsome, charming, willing-to-laugh-at-himself and talented Reynolds was a phenomenal choice to play Deadpool.

The Wolverine

Hugh Jackman is of course a megastar and an actor who has found a career-defining role of an unkillable claw-slashing mutant (whilst still being able to be cast in high-budget Oscar-winning musicals). Logan is quite possibly the best superhero film ever made. Crossovers are hardly new but the fourth-wall-breaking nature of Deadpool allows them to have a bit more fun with it. The trailer seems to show Wolverine and Deadpool fighting next to a partially destroyed 20th Century Fox logo (20th Century Fox for a long time owned the rights to X-Men and this is why they were not part of the MCU). The multiverse shenanigans that now exist in the MCU comfortably allow characters who were not originally in the MCU to be brought in, and things like death and destruction are not barriers to appearing.

I hope Deadpool brings some spark back to MCU as just anything to inject some originality and difference into it. And I do realise looking for originality in a second sequel shows the dire state of things. Anything that moves the MCU from the formula they relentlessly cling to. And Deadpool does seem to try to constantly pull away from the formula – Deadpool bills itself as a love story, and Deadpool 2 is a family movie. Deadpool brings a level of brutal violence rarely seen in the MCU, let alone from the supposed hero. Every Deadpool movie has been Rated R in America (as opposed to the solid PG13 rating for just about everything else in the MCU) meaning swearing, drugs, sex and various adult situations are present in Deadpool movies and if nothing else that gives more freedom to the filmmakers. That said they do lean into this, in Deadpool there is literally a sex montage scene. Ultimately I am more concerned with Deadpool & Wolverine being a good movie than its place in the MCU, and I think if every MCU movie was made that way, the MCU would be a lot better.

Also Read: Marvel Cinematic Universe: From A Love To Hate Relationship

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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?

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What are Stand-Alone Movies, Anyway?

A stand-alone movie is a film that is made as a single body of work. The story, characters or fictional world of these movies are not part of a franchise. There’s no doubt that there’s a certain artistry to be able to tell a complete story in the span of one film. While serial films are amazing in their own right, not every story is meant to be dragged out for as long as possible.

As recently as the 90s, stand-alone movies were the norm. They were everywhere, from romances like Sleepless in Seattle (1993) to gritty dramas like The Shawshank Redemption (1994). While they definitely still exist, they are in a clear decline. Almost every recent hit movie is part of a franchise or a cinematic universe. Fast and Furious has endured 10 instalments and Spiderman: Across the Universe is the second of a planned trilogy. Even the recent Barbie blockbuster is rumoured to be the beginning of a toy-inspired Mattel cinematic universe.

How did we get to this point? The answer is simple; money.

Movie Industry Capitalism

Don’t get me wrong, stand-alone films definitely make money. Some of the biggest blockbusters in history were stand-alone films. Movies like E.T. The Extra-Terrestrial (1982) and Inception (2010) have had an immense cultural impact while still putting money in the bank. That being said, the last couple of years have had the highest box office revenue from franchises in history. Although franchises have been a thing since at least the 70s, they really hit their rhythm in the last 15 years.

In the early 2000s, serial films like Fast and Furious and Harry Potter proved that it was possible to draw out movies for longer than was previously expected, and it raked in millions. And then Marvel changed the game with the popularisation of the cinematic universe. A studio just needs to build one good fictional world and the number of films you can put in it is endless. This brings in far more revenue because fans are compelled to watch every movie in the set.

As profits increased, studios started expecting higher profit margins than before. 10% profit used to be a solid expectation, but studios are now going for 30% or higher. This makes them more inclined to opt for franchises and cinematic universe films that are guaranteed to bring in money at the cinemas. With the introduction of streaming and the death of the DVD, the box office is the main source of income for film studios. Consequently, most of their funding goes to guaranteed commercial box office hits. Indie studios struggling to create a few stand-alone films every year are suffocated against the monopoly of big studios making franchises. Stand-alone movies pale in comparison when the main metric is profit.

So Where Does That Leave Us?

With the focus now on franchises and cinematic universes, stand-alone films have hit the same decline as mid-budget movies. Cinema is an extremely expensive art form, and without funding, movies simply aren’t made. Unfortunately, commercial success is often at odds with artistic diversity and creativity. Without less and less stand-alone movies, the industry is characterised by films that sell, and not necessarily films that are good. While recent strikes in the film industry might destabilise the status quo, it will take a huge economic shift for stand-alone movies to come back into vogue.

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

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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?

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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?

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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?

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Blockbusters Vs Art

While these directors have specifically called out Marvel movies, the term “Marvel movie” has become a bit of a shorthand of late. Even “comic book movies” doesn’t feel accurate as the likes of Fast and the Furious are often mentioned in the conversation. So it’s likely they’re referring to the big-budget, CGI filled blockbusters, the likes of Avatar, Star Wars and Transformers should probably also be involved, but “Marvel movie” is a catchier term.

People looking down on comic book movies, in particular, is nothing new. Comic books themselves were looked down on for years, and the genre had a few stumbles like Daredevil and Green Lantern before The Avengers started its world domination. Part of that success is something called “The Marvel Formula”. While not a strict set of rules, there are noticeable similarities between a lot of MCU films that do make feel like copies of each other. Iron Man is often considered the blueprint. It introduces a snarky hero, knocks him down a peg, he’s humbled and fights a villain who is a mirror image of himself. A plot that could describe most MCU origin films.

Of course, these complaints are nothing new, and the franchise has made steps to avoid these criticisms. Phase Two in particular made efforts to make individual films stand out from each other, with Captain America: The Winter Soldier is influenced by spy/political thrillers and Ant-Man is a heist film. While they may not appeal to some people, the MCU is the highest–grossing film series of all time, so clearly lots of people do like them. Many families and groups of friends gather to watch the latest release, and many people are kept in jobs by working on them and writing about them. When they eventually go out of fashion, we’ll have a new popular genre that’s looked down on.

Prequels, Sequels and Remakes

All of this doesn’t mean that they don’t have a point. There has always been a divide between movies that are “popular”, designed to appeal to the broadest audience possible, and a directors passion projects. But the two aren’t as separate as one may think. Many smaller directors use films like MCU projects as stepping stones. Marvel likes to hire new directors, which gives them an experience of a much bigger production than they are used to. This puts them in a great spot going forward and often allows their next project to have a much bigger budget and/or reach. Filmmakers like Taita Waititi, Jon Favreau and even Christopher Nolan have all been given a much bigger platform and opportunities than they had before after directing a superhero film While Scorsese has had a very successful career making his own films, very few filmmakers are so lucky, with fewer opportunities for films to fail today. Likewise, many actors have got their big break from starring in these projects, with actors like Chris Evans, Tom Holland and Simu Liu becoming household names and getting many more great opportunities.

Of course, some directors just can’t get by with all the restrictions. The phrase “Creative Differences” is thrown around a lot when a director seems to clash with the studio. Edgar Wright spent years developing Ant-Man before it was intended to be in the MCU, eventually departing when the studio’s style clashed with his own. Although Wright has recently made peace with it and was still able to make his dream project Baby Driver (which was successful in its own right), it’s understandable why some directors would steer clear. It’s also important to acknowledge that these comments from Scorsese and Villeneuve came while promoting their own films, The Irishman and Dune respectively, so it makes sense they would be slightly frustrated at “Marvel movies” dominating the conversation.

At the end of the day, everyone has different tastes. Not everyone is going to like every film, and that’s ok if anything it’s good. That’s how we get different films. Some directors may not like Marvel movies and steer well clear of them, but for many of their peers, they are an important step in a career. Many great films may not exist if people didn’t go see big blockbusters, as they help bring in audiences and keep cinemas open. So don’t feel bad because you enjoy a nice bit of popcorn action, just don’t expect to see Scorsese’s take on Batman anytime soon.

Also Read: Is Hollywood Starting To Take Video Games Seriously?

The post Martin Scorsese and Denis Villeneuve Vs The “Marvel Movie” Formula 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.

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.

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.

Selling Priceless Treasures

Back in the late 1990s, no one knew how big superhero films were going to be. After all, it wasn’t that long after the trainwreck of Batman and Robin. So it made sense to sell the rights to some properties and let film studios take all the risk while Marvel still got a big pile of cash. Then X-Men was a huge hit and this started a slew of superhero films – some great, some not so great and Marvel came to regret giving up cinematic control to some of their most valuable superheroes.

The 2000s and 2010s saw an explosion of superhero films – a seemingly never-ending parade of CGI fight scenes, origins stories and heroic struggles. A bright spark had had the idea of making all of Marvel’s superhero films exist in one universe, a huge sprawling world full of heroes and villains and it was all connected. Each film would build on the shared success meaning that people would need to watch each one if they wanted to fully appreciate the whole. I have reservations about this idea but undeniably it has been hugely successful and there is definitely a feeling that you need to see them all. It was very cool to see Iron Man making fun of Captain America in Avengers Assemble, or Thor and the Incredible Hulk fighting in Thor: Ragnorak or seeing Spider-Man team up with Wolverine and Reid Richards in…well, that one hasn’t happened yet and that’s because 21st Century Fox used to own the rights to X-Men and The Fantastic Four.

There is, of course, something that has to be pointed out. While the X-Men films have been commercially and sometimes even critically successful launching a nearly twenty year ascendancy none of the three Fantastic Four films has made much of an impact. And I’m not sure how many people, outside of hardened comic books fans, have been calling for Fantastic Four to be incorporated into the MCU. But there is good stuff there to work with and they could be a useful addition and will satisfy completists out there.

Lessons To Be Learned & Problems To Avoid Rebooting X-Men and Fantastic Four:

• X-Men – if you have run out of ideas for interesting powers stop making characters. I’d rather characters have similar powers than the barrel-scraping powers that have popped up in the X-Men films.
• Fantastic Four – Sue Storm has the power of invisibility (as well as being able to create force-fields) and while such a power could lead to dozens of interesting ideas it falls flat on screen and there has to be an interesting way to use that power in a film.
• X-Men – The role of Wolverine made Hugh Jackman a huge star and is probably the lead character of those films so don’t try and repeat that trick when it’s rebooted, do something different. Wolverine isn’t the be-all and end-all, they’re a team, let some of the other X-Men shine.
• Fantastic Four – this may be controversial – find a way to make Doctor Doom and Silver Surfer into interesting cinematic characters or let them go – it’s okay to make new stuff up.
• X-Men – Too powerful – Stop making people all-powerful. Wolverine is practically indestructible and immortal and every so often Jean Grey becomes all-powerful and, Professor X can do everything from mind control to stopping time

But it’s not just going to be problems and things going wrong and it has the potential to do some really interesting stuff.

What Fans Want (or at least what this fan wants)

• Deadpool with the X-Men – Deadpool was a great film and while not exactly an X-Man he’s X-Man adjacent and in the graphic novels he is definitely part of that world. The terrible X-Men Origins: Wolverine already had one go at this and completely wasted their opportunity so maybe finally the MCU can give us the insanely over-the-top fight that a Deadpool Vs Wolverine Battle of the Indestructible Mutants deathmatch that we all desperately want.
• Who’d Win In A Fight Between….every playground’s favourite argument is who’d win in a fight between two people who should have no reason to fight. A popular one is who would win in a fight between The Hulk and The Thing (my money is on The Thing as The Hulk is driven by impulses whereas The Thing very much remains Ben Grimm). Reid Richards is a genius who could perhaps knock some of the smug out of Tony Stark while Magneto is perhaps the best villain in any of the Marvel films to date.
• Making Up For Past Mistakes – The Fantastic Four films were a disaster from start to finish and the X-Men franchise has not always struck gold so maybe this time they can take two decades of experience and get it right. The MCU has a had a go with the odder and wackier superheroes with Doctor Strange, Ant-Man and Guardians of the Galaxy and I don’t see why they can’t apply the same skill to a new Fantastic Four film. As for the X-Men, putting Gambit in the regular line-up as I feel his presence has been sorely missed in the films. They could also have another go with Rogue, again making her a regular X-Man from the start, bring in Jubilee, and Cyclops doesn’t just have to be the boring guy going out with Jean Grey.

So there we have it what the MCU rebooted films of X-Men and Fantastic should avoid and what they should do. Getting these films right is trickier than it might appear and it can be a fine line between an enjoyable superhero film and a ridiculous folly that cost $300,000,000.

Also Read: Martin Scorsese and Denis Villeneuve Vs The “Marvel Movie” Formula

The post The Newest Additions To The MCU: X-Men & Fantastic Four 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.