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Iron Man (1968) #14
#ooh we got Johnny Craig as a guest penciler this issue and I really liked his work#anyway the nature of these ongoing superhero comics is that bad things have to continually happen to the main character#and to the people in their life#I’ve found Betty Ross’ position in the Hulk comics I’ve read so far to be really interesting#I would say her life is inherently worse than the lives of the supporting characters of these Iron Man comics I’m reading#due to the fact that the Hulk is a particularly tragic character#but also that because the Hulk has such a poor memory and wanders from place to place in what are oftentimes unconnected stories#the feeling of progression of an overarching plot comes from what’s going on with the side characters#typically meaning that once one crisis ends in Betty’s life then another one has to begin immediately#and then there’s that as a female character she’s limited in the kind of important actions she can take#so it’s largely just her being negatively impacted and having to react to what’s going on with the men in her life#which she’s questioned before if she’s somehow the problem that’s making everything a disaster all the time#this page here distills how Tony Stark as a character has interpreted all this#the idea that the main character is to blame for things being bad for the side characters isn’t really unique#what is unique I feel is how Tony reacts to it#he takes pushing people away to such an extreme that he wants to reject his own humanity#and of course the unique danger element of him not just doing dangerous work but having a weak heart throughout it all#which of course Tony takes to mean that he doesn’t deserve close relationships#because he’s got to approach everything with whatever’s worse for himself lol#marvel#tony stark#janice cord#happy hogan#pepper potts#my posts#comic panels
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Psycho Analysis: Liev Schreiber Birthday Special - Sabretooth, Kingpin, and The Storm King
(WARNING! This analysis contains SPOILERS!)
Liev Schreiber is quite an actor, one that I think it is sadly easy to overlook despite his talent at portraying villains or other morally dubious characters. From his integral role in the Scream movies to his later numerous villainous roles, he manages to show himself as a rather skilled and versatile actor, particularly in regards to the latter; Schreiber is easily able to slip into playing a villain and deliver a fantastic performance… most of the time anyway.
The date I’m posting this on (October 4, 2019) is his birthday, so we’re going to take a look at three of his biggest villain roles to date:
Sabretooth from X-Men Origins
The Storm King from My Little Pony: The Movie
Kingpin from Into the Spider-Verse
The first is a great villain trapped in an awful movie; the second is an awful villain inside a fun and enjoyable movie; and the third is a great villain in an outstanding movie.
Motivation/Goals: Sabretooth is, in short, a psychopath. The guy lives for the thrill of battle, and is never satisfied unless he has someone to kill. He’s a predator, using the numerous wars he and his half-brother Logan fought in throughout history to sate his appetite, but it was never enough. Vietnam is when he really lost it, and soon after that his relationship with Logan became tarnished, leading to their numerous conflicts throughout the film. It’s rather simple, yet it’s effective. This is what we want from Sabretooth after all, a bloodthirsty, murderous psychopath who crosses every line imaginable and who just really wants to make Logan as miserable as possible.
The Storm King is kind of approaching dominating Equestria as if it were a business venture, complete with merchandise. Beyond that, he’s a bit of a one-note evil overlord, with none of the complex motivations and characterizations of the other antagonist of the film, Tempest Shadow. He’s just here for some quick laughs and to be the final boss in the third act.
Kingpin has my favorite motivation out of the entire lot: once when he was battling with Spider-Man, his wife and child walked in, and in fear and horror they fled, driving off only to be struck by a truck and killed. Kingpin then shoveled as much money as he could and hired the likes of Doc Ock and Green Goblin to help create a giant dimensional portal all so he could be reunited with his family. It’s such a tragic motive that adds layers of depth to Kingpin, and ultimately makes him an interesting foil for Miles, who decides to continue fighting so he can live up to those he loses (Peter and his uncle) while Kingpin cannot accept his loss or his responsibility and so decides to damn everyone else in his desperate struggle to undo the damage he himself caused.
Personality: Sabretooth is easily the most simple of the villains, in that he is just a completely unrepentant monster who revels in the fact he is a vicious, remorseless killer. Normally a villain like that would be boring and generic… but this is Sabretooth. This is what we want out of him. Add in his brotherly banter with Wolverine and his single-minded desire to ruin Logan’s life at every turn, and he just ends up being a really fun and engaging take on the character, with Schreiber injecting just the right amount of soft-spoken sadism and menace to make Victor Creed pants-crappingly terrifying.
Kingpin is a sleazy, scummy mob boss. He’s another seemingly simple character, but his design really helps show what kind of guy he is without telling us. This iteration of Wilson Fisk really plays up him being a mountain of a man, with him being a hulking behemoth with a very bulky design. Despite being a normal human, he looks like the kind of guy who could kill a superhuman with his bare hands. Despite all this, he does have sympathetic (but, and this can’t be stressed enough, not redeeming) qualities, such as his love for his family and his single-minded desire to be reunited with them. Of course, this desire is what leads to most of the troubles in the film, so he does show the dangers of that sort of careless and reckless pursuit of a goal is a bad thing, no matter how noble it seems.
Final Fate: The Storm King is the only character out of these three with a clear-cut fate, and it goes a long way to redeeming how bland the character is due to how out-of-place and dark it seems in the world of Friendship is Magic. In short, he is turned to stone, and his statue is allowed to drop to the ground, where he shatters into pieces. By all accounts, he is dead, a fate that seems to befall all terrible Friendship is Magic villains (cough Sombra cough).
Kingpin is the most open-ended, as after Miles stops him and in true Spider-Man fashion strings him up for the police. This does open up the door for Kingpin to appear again, which is a plus. The final showdown beforehand is a lot more interesting. The beatdown he gets from Miles, where Miles gets up from the pummeling that killed Peter and delivering a confident “Hey” like his uncle taught him right on Kingpin’s shoulder, sending him flying back to shut down his dimensional portal really is an awesome moment for the film and Miles in general.
Sabretooth… it really is impossible to say. He apparently makes it out of this film alive, but Schreiber’s Sabretooth is so disconnected from the one who appears later in the timeline (mostly on the token that Schreiber’s take is actually good and memorable) that it’s impossible what to say happened to him. Further muddying the waters is the numerous canon retcons to the timeline as shown in films like Days of Future Past, which altered the timeline in baffling ways such as causing people to be born earlier than they would have been, and then there’s the deleted idea for his cameo in Logan… Really, there’s no telling what exactly Happened to Victor Creed, as the X-Men series is such an utter mess.
Best Scene: Sabretooth has a few, such as the awesome opening montage where he and his brother fight through multiple wars, but perhaps the best part is when he and Wolverine team up to kill that awful thing pretending to be Deadpool. The real Deadpool would beat them to the punch much later in Deadpool 2, but hey, at least he knew what had to be done when he had the chance.
Kingpin’s is almost definitely the scene where he kills Peter, which shows him going through a shocking amount of emotion, but there’s also the flashback to his family’s demise or even that moment on the train where he becomes a lifetime achiever in the Pontoffel Pock Awards by screwing up in every conceivable reality imaginable and disturbing an entire multiverse worth of his family in his quest to murder Miles. Few people screw up on that epic of a scale.
The Storm King… I don’t know. He’s kinda scary in his final battle? Maybe when he plays with the sun and the moon? Nothing really stands out for him super well, because quite frankly he is massively overshadowed by Tempest Shadow, who has the honor of getting the villain song of the movie. And let me be completely frank: if you are a villain in a musical, and you don’t get a song, you suck. Period.
Best Quote: For Sabretooth, it has to be this quote that really sums up who he is: “I'm not your friend. I'm an animal, who dreamed he was a man. But the dream is over. And the beast is awake. And I will come for you without mercy, because it's my nature.”
Kingpin is a little trickier, because Wilson Fisk is a man of actions, rather than words; I feel like he doesn’t have too many great quips, but he has a plethora of awesome actions. However, I DO enjoy his intro, where Schreiber just kills it with the delivery and establishes Fisk right off the bat as one hell of a crime boss: “Doo-be do. Doo-be do. Yub-yub, doo-bee do, doo-bee-do. Watch out! Here comes the Spider-Man! You like my new toy? Cost me a fortune, but hey, can't take it with you, right? You came all this way. Watch the test. It's a hell of a frickin' light show, you're gonna love this.”
For Storm King… well, this is kind of a funny line: “Here's the deal. I'm in the middle of a big rebrand here. "The Storm King" is tracking, well, as "intensely intimidating", but you know what? I need to back it up. You know what I need to back it up with? A STORM! THAT WOULD BE GREAT! You promised me magic that could control the elements, and right now, I'm holding a what? A branch. A twig. Bleh!” Kind of a reach, but I think he does have some decent comedic moments here and there, and his initial, er, phone call with Tempest is charming enough.
Final Thoughts & Score: These guys are really all over the place, but I think they really showcase Schreiber’s talents very well, as well as how to use him effectively.
Sabretooth is easily the best villain out of this bunch. While X-Men Origins: Wolverine is a terrible, bloated mess of a film, Sabretooth is one of the few redeeming factors, with Schreiber turning in a wonderfully terrifying performance as Logan’s arch-enemy. It’s frankly insulting they never had him come back to the franchise, because he was certainly far more deserving of a comeback than someone like Jennifer Lawrence. At least with Schreiber it was clear he cared about the character, which is more than can be said for whoever played the original Sabretooth (a character who is not even worth a Psycho Analysis; there’s just nothing to talk about there).
Really, the only major issues with Sabretooth are the fact that he’s in the bottom of the barrel when it comes to the X-Men franchise and the writing doesn’t do him many favors, but Schreiber is just acting his butt off to the point where it doesn’t matter, he’s selling it, he’s giving us the Sabretooth even the “better” first X-Men movie couldn’t deliver, and he seriously earns that 9/10. It should come as no shock that his take on Victor Creed is the one thing besides Ryan Reynolds fans truly love about the film.
Contrast the Storm King, who is just a depressing waste of potential. The prequel comics set him up to be something far more fascinating than what we get in the movie; he goes from a silly yet cunning overlord to a comical goober who barely gets any screentime, accomplishes half of his evil actions offscreen, and just leaves very little impression on the audience. Not helping is that he is by and large one of the biggest idiots ever seen in the Friendship is Magic franchise, backstabbing his own loyal followers for no good reason and basically playing with his hand revealed. It’s pretty telling that his henchwoman Tempest Shadow is the one who gets the villain song of the film (which, as I’ve pointed out, is a sign that he really, really sucks as a villain) and who is far more memorable, enjoyable, and interesting.
All that being said, I do appreciate the sentiment of the character, and I do like that Schreiber did it so his kids could watch something with him in it that wouldn’t make them scared out of their minds, and I don’t necessarily think Storm King is one of the most horrible villains ever or anything – he’s just boring and a waste of potential. I’d say he just barely makes it to a 3/10, and that’s mostly because he does have some amusing moments and how bad he is is offset by Tempest Shadow being such a fantastic antagonist; if she wasn’t in the movie, he’d easily be a low 2 and a lot less forgivable. That does seem kind of weird, but I think with a villain like Storm King where he’s just a simple goofball being played by a talented actor isn’t so bad as long as there’s an actual, serious antagonist. It doesn’t exactly make him any better but it keeps him from sinking to the rating of soomeone like Jared Leto’s Joker.
Kingpin is, quite simply, fantastic. I love his design, I love his motivation, I love how he just commands the scene when he walks into the room. This guy is just peak villain design, story-wise and design-wise. Some have taken umbrage with the fact that Kingpin is the one who got to kill Peter rather than a more personal foe like Norman Osborn, but frankly I like that they took a unique approach and decided to utilize a more unexpected foe of Spidey’s.
I think what’s best about Kingpin is just how they manage to make him a rather tragic and pitiable figure despite all the evil he does. Normally it would be a tall order to make the man who murders Peter Parker a tragic figure, but somehow the film manages, showing him to be a bitter, broken man desperately clinging to the tiny hope he could ever see his family again by destroying the dimensional barriers, no matter the cost. And if someone tries to tell him otherwise? Kill ‘em. Obviously this doesn’t excuse his actions, and the movie thankfully never pretends to, but I like that they made this Kingpin such a rich character in his own right, continuing the trend of Kingpin always being given a fantastic performance. Much like Sabretooth, Schreiber really earns the 9/10 with this fantastic vocal performance and just how impactful and even proactive Kingpin is in the story. He gets two major deaths to his name after all.
Liev Schreiber is such a fascinating actor, one who I think is so often overlooked and ignored. While he certainly is typecast as villains fairly often, I think it’s safe to say he excels at those kinds of roles, and he always manages to inject something unique into his roles. You wouldn’t confuse any of these three villains for each other after all.
#Psycho Analysis#Liev Schreiber#Sabretooth#X-Men#X-Men Origins: Wolverine#My Little Pony#Friendship is Magic#The Storm King#Spider-Man: Into the Spider-Verse#Kingpin
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My Hero Academia’s hero and villain are not very good
My Hero Academia, Kohei Horikoshi’s shounen manga take on Western super hero comics, has been running nearly three years now. I am something of a binge-reader when it comes to media; I don’t care for the drawn-out schedule that comes from following serialized releases. But My Hero Academia (alongside One Piece, Berserk, and One Punch Man) is one of the few that I actively follow. Lately though, I’ve been wondering why.
It’s not that the comic has taken a particularly egregious downturn in quality or pacing – it’s been fairly consistent all in all. The current arc about the class becoming intern sidekicks has been interesting, and it’s been moving at a rather brisk pace. The issue I’m struggling with is more fundamental. It’s a problem My Hero Academia has had since the beginning, and it’s done little to ameliorate over time.
The main protagonist and antagonist of My Hero Academia are just not very good.
The lead of My Hero Academia, Izuku Midoriya, isn’t a bad character per se. The angle of an ordinary kid born into a society of supermen finding himself entrusted with power by his world’s urhero is a pretty good one. It’s an underdog story with tons of good karma built in as Midoriya is forced to struggle to surpass those who had mocked his lack of abilities. It’s also good for hitting those power-fantasy notes that are so crucial to making the shounen genre work. He’s earnest and likeable. It’s easy to root for Midoriya and put yourself in his shoes as he is manages to pull himself to the front of the pack by sheer heart and willpower alone. These are all good attributes for a protagonist in a heroic work!
But as time has gone on and as his powers have developed, he has ceased to be the underdog. Where he was once only keeping up with his classmates’ inborn genius by hard work and determination, now he’s not only the most driven but also the most talented. Midoriya’s climbed what should have been the first foothill on his journey to the top, and we’ve found that there is actually nothing else on the horizon— the foothill was the mountain. Midoriya’s journey of growth being essentially complete is dire, because it’s all Midoriya actually has: It turns out he’s REALLY boring.
Midoriya’s character revolves entirely around his desire to become a hero and imitate the super hero paragon, All Might. That’s it. This is literally all there is to him. He has no other interests. No particular ambitions beyond the dream to be The Best Hero. The only real struggles remaining for him are narrative happenstance and the gradual power-ups that are practically prescribed at this point. There’s nothing else to his story.
Here’s an example: In order to convince All Might’s former side kick to give him an internship, Midoriya has to make him laugh. This isn’t going to be easy; the sidekick is a straight-laced nerd, AND he has the ability to see the future. This concept has a lot of good goof-potential. You could conceive Midoriya in all his earnestness constructing an elaborate comedic scenario that, while perhaps falling on its face, would at least show off his good qualities. Maybe he’d screw up and it’d result in the kind of unplanned comedic pratfall that would be easy for the sidekick to laugh at.
Instead, what does Midoriya actually do? He does a bad impression of All Might of course, because “I want to be like All Might!” is his entire character! It pisses off the sidekick so much that the whole laughing angle is completely abandoned, and instead a scenario is contrived where Midoriya has to steal the approval stamp from the future-seeing sidekicks hand. Ultimately? He gets the internship because he didn’t damage any of the All Might memorabilia in the room. Midoriya’s All Might-mania would be a funny gag if it wasn’t the crux of who he is.
The only other aspects to Midoriya’s character beyond his hero-crush is his very typical shounen budding romance with Ochako Uraraka (that has not and will not ever be developed until the very end of the story, as is the staid shounen manga way), his willingness to occasionally break the rules in order to save lives (and then let McGruff the Crime Dog unironically say that he should have let his friend be murdered in front of him), and a mostly one-sided rivalry with his childhood bully Katsuki Bakugo. Only the rivalry actually feels that impactful to the story, and that has more to do with Katsuki’s personal arc than Midoriya’s.
The issue isn’t that Midoriya doesn’t have any major flaws necessarily – though that certainly doesn’t help – it’s more that there’s not much else to his personal story at this point beyond the narrative events unfolding before him. He fundamentally lacks agency and meaningful personal struggles. Things happen, and he reacts to them; his arc is essentially complete. It’s a foregone conclusion. His single-mindedness makes the story flat in a way that it really need not be.
Narratives revolving around villains doing nefarious things tend to lead to reactionary heroes, but the best heroes are ones who are more than just the mask—they’re also people. Peter Parker has a day job, has to deal with people trying to constantly hunt him down and kill him, and has to fight to balance his romantic dalliances with the responsibilities of being Spider-Man. Bruce Banner may fight the occasional radiation monster, but the Hulk’s story is more about his struggle with his own inner demons than him punching real ones. Hell even Superman, the poster Generic Nice Boy, tries to have a personal life beyond the cape and liven up his Fortress of Solitude.
There’s more to good stories than Good Man Beats Up Bad Guy. While personal struggles can be completely ancillary to the action at hand, they can also be far more challenging for the hero to surmount and far more engaging. Even if the are trivial, that doesn’t make them unimportant. Diversions may not matter much to the ongoing “plot” always, but they give the characters character. Something as inconsequential as the heroes going out to get Italian food can be huge as far as characterization goes; it speaks volumes to the interests of the characters, it humanizes them, and makes their situation more relatable.
The tragic thing is that there are major characters in My Hero Academia who would make for far better protagonist material than the actual lead if the story had been built differently. The frog-girl Tsuyu Asui is a good example. She’s been raising her siblings on her own while going to hero school due to her parents being constantly away at work. Her powers seemingly have low potential (she does whatever a frog can do), but she rises to the top by being smart with them. She wants to become a hero to help people— but seemingly doesn’t have too much of an interest in getting into the bad-guy fighting side of things. Throughout the story, she’s also wrestled with the whole legality / morality of saving people without a license, which frankly the most under explored aspect of the narrative by far given how weird and complicated the subject matter is. These are all interesting angles that easily have been built out to create a different, more engaging My Hero Academia.
Not having an engaging protagonist for your narrative puts a greater onus of the villain being interesting. For My Hero Academia, this is a BIG problem. If the hero Izuku Midoriya is uninteresting, the main villain Tomura Shigaraki is outright lame.
As is the super hero convention, Shigaraki is dark mirror of Midoriya— where Midoriya is a child who looks up to heroes and wants to grow up to be like All Might, Shigaraki is a man child who never grew up, doesn’t like heroes, and wants to murder All Might. And just like Midoriya that’s literally all there is to him. He has some kind of tragic past due to heroes not saving him when his parents died, but even that’s paper thin. Ultimately, he’s just a petulant kid who never grew up; he occasionally sends mutants his spooky adopted dad made for him to punch trucks. Because that’ll show ‘em.
The narrative openly acknowledges the fact that he doesn’t have any particular beliefs beyond disliking heroes. Other villains with actual raisons d’etre confront him about it, and he no joke throws a tantrum over the fact that they have views. Like Midoriya, the single-note nature of the character comes across as borderline comical. (Also: his character design looks stupid.)
Villains, like protagonists, need motivations to be compelling. That motivation can be as small as being a crazy mofo or just plain greedy, but it should at least be understandable. Shigaraki isn’t a revolutionary— he’s a child with a gun. An inordinate amount of power has been thrust into his hands for no particular reason. That doesn’t actually make him feel like that great of a threat to society as a whole; it just makes him a deadly nuisance if anything. Earthquakes are unpredictable and can hurt a lot of people but that doesn’t make them particularly compelling villains.
Villains need to be likeable. Not necessarily as a people— far from it in most cases, really. But they need to have some trait that is inherently admirable to make them work as the foil for the protagonist. In X-Men, Magneto is a fantastic villain because he’s ultimately a flawed idealist; his charisma and the fact that his views sometimes seem attractive is what makes him so compelling. He’s complex. Single-mindedness too can be admirable if it’s portrayed well. Kira Yoshikage, despite being an outright serial killer still has admirable traits in just how ruthlessly efficient he is at maintaining his “ordinary life”. That doesn’t make him less reprehensible— if anything those traits are what makes him so potent a threat, far more than his murderous tendencies.
Totally uncharismatic antagonists can work as small-bit villains – but there’s a limited lifetime for which their existence is tolerable. Past that point, their continued position as a central part of the narrative just becomes annoying, if not totally implausible. How are we the audience supposed to believe that Shigaraki can amass followers and inspire loyalty in them when we cannot muster the slightest bit of admiration for him ourselves? He’s not even shitty enough for it to be played up for comical effect!
This situation is all the more crazy when you remember that My Hero Academia serializes alongside One Piece. One Piece’s Oda Eiichiro has writing good bad guys down to a science. His bad guys range across the whole spectrum, from the immeasurably bad at their job to the point where you’re actively rooting for them (who the hell doesn’t like Buggy the Clown?) to the dark-mirror of the lead that you just love to hate (Blackbeard you monstrous son of a bitch), to a whole heap of over-zealous enforcers of law and order (go to hell Akainu). Oda’s a master at manipulating the audience’s feelings and creating characters that work in both short and large doses. Characters with short-lived appeal are dealt with appropriately, while those more sweeping interest and unexplored complexities are kept around for years. Oda will occasionally even turn past arc’s main-villains into bit-players in ongoing ones. Knowing when and how to subvert expectations like this speaks a lot to Oda’s abilities at constructing characters and narratives.
The sad thing is that I just can’t see Kohei pivoting with My Hero Academia. The trajectory My Hero Academia is on looks to be the one it’ll stick to for the future. The foregone conclusion of Midoriya’s journey is in plain sight; while I’m sure the ongoing story will take some amount of twists and turns, there’s not a lot of mystery left in how Midoriya fits into it. Shigaraki taking his place as the main villain is outright uninteresting and unappealing at this point. While the actual writing of characters and the flow of the chapters is good, the broader sweep of the work viewed from a weekly-perspective now leaves something to be desired.
I suppose there’s nothing left for me to do at this point than to let it fall to the wayside and just read at my own pace when more of the material is built up. Actively following a work as it releases requires considerably more personal investment, and I’m not sure I can muster that for this story anymore.
Oh well!
#think piece#nonfiction#writing#my hero academia#midoriya izuku#shigaraki tomura#super heroes#manga#anime#media
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Observations from ‘92 WWF Episodes of Superstars
After years of demand, the WWE Network has finally uploaded episodes of WWF Superstars, although not without a catch. They can’t yet upload any episodes before April 18, 1992, which is when the show’s named was shortened from Superstars of Wrestling to simply Superstars due to some legal wrangling over the “Of Wrestling” part. This date also happens to be just a couple of weeks after I was born, so please begin your conspiracy theories on how these two events are somehow related.
Regardless of the controversy, these episodes are a blast. Each hour is packed with the perfect amount of nostalgia and leaves you wanting more. Wrestling on Saturday mornings as a concept may seem like a such strange one to audiences in 2019, but there’s so much to these episodes that three-hour Monday Night Raws can certainly learn from. It’s also a nice glimpse into what the WWF was like in 1992, which was just as much a transitional year on-screen as it were a tumultuous one off of it. Allegations of steroids and sex abuse had damaged the WWF’s public image, familiar faces who’d been on the roster for the past several years were beginning to disappear seemingly by the week, and the wrestling business in general had entered a recession. Perhaps the biggest game-changer was the absence of Hulk Hogan, which caused Vince McMahon to start shifting focus to the likes of Bret Hart and Shawn Michaels.
I’ve been breezing on through these episodes as of late. They’re a sweet treat that goes down easy, like a tube of mini M&M’s. I’m up to July 1992 in my binge watch, and here’s the most notable stuff from them so far:
The WBF and Grade-A Beef
The first few months of episodes on the Network are stuffed with Vince hyping his failed venture into bodybuilding, the World Bodybuilding Federation. He can’t stop talking about the weekly show WBF Bodystars, the WBF magazine, and the upcoming the WBF pay-per-view special (which turned out to be a commercial dud and ultimately spelt the end for the organization). Worst of all, he refers to both his wrestlers and bodybuilders as “100% Grade-A Beef” which makes me vomit just thinking about it. Note to anyone: referring to any appendage on your body as any sort of meat is disgusting. Seriously, I get grossed out when dudes on Grindr refer to their piece as “beef.” It’s just not a good look. Interestingly enough, a few of the articles in the WBF magazine talk about the dangers of steroids, which feels like Vince desperately trying to deflect attention of himself. This also marks the beginning of the ICOPRO era and to be honest, all these years later, I still don’t know what the fuck Vince was thinking if he believed the kids in the audience would’ve cared about creatine.
Unscripted Promos
Each episode features cuts to the Event Center hosted by Sean Mooney, where the superstars give promos on their feuds, grudges, house show programs, plans to challenge Bush Sr. and Clinton in the presidential election, etc. The magic of these promos, outside of the excellent characterized green-screen backgrounds, is how unscripted and ad-libbed they are. In a time where superstars are now force fed lines from TV writers, there’s something about this approach that feels so refreshing in contrast. Truthfully, a lot of what comes out of these guys’ mouths is nonsense but, in a way, that’s precisely why it comes off more realistic. If a reporter held a mic to Tom Brady right after his umpteenth Super Bowl win, chances are that he’s not gonna give this five-star, ultra-rehearsed promo. He’ll probably ramble on a bit, give a vaguely satisfying answer, and move on. The characters and storylines are still campy as hell, but still feels like something within the realm of real-time sports. That’s exactly how this era works best.
The Fan Reaction Shots Are Everything
These episodes also unintentionally serve as audiovisual evidence of what human beings in 1992 looked like, in case you didn’t know. As with anything in the early ‘90s, there’s a lot in terms of fashion that still makes everything look like the ‘80s. The hair is still pretty big and teased out, the neon is bright and unrelenting, and you’re bound to find a few dads in the crowd with some pretty thick mustaches (and if there’s isn’t a mustache, you can except some thick-rimmed glasses instead). Crowd reaction shots are an underrated aspect of getting an angle or character to over to the audience. A more modern example would be that shocked, hapless Edvar Munch painting of a man when the Undertaker lost at WrestleMania 30. Here is no exception. I particularly love the shots of terrified children when Papa Shango walks down the aisle, most notably an adorable little red-headed child who looks like he just saw a ghost.
Cartoon Violence! Cartoon Violence Everywhere!
At some point during the early ‘90s, the WWF had successfully captured the feel of a darkly humorous comic book, and these episodes boast plenty of it. The Berzerker tries to stab The Undertaker with a viking sword! Rick Martel stealing Tatanka’s feathers and blinding him with cologne! The Repo Man hanging the British Bulldog! The Mountie shocking Sgt. Slaughter with a jumbo-sized shock stick! What makes these angles so fun is that they’re completely ridiculous yet manage to stay true to the characters. Of course The Repo Man wouldn’t just use a steel chair or any other ringside weapon on the Bulldog. Of course The Model would try to maim Tatanka while also promoting his signature fragrance. Sure, Lou Thesz wouldn’t have liked it, but you can’t deny it sells the characters to the audience pretty well.
The Papa Shango/The Ultimate Warrior Saga
And speaking of a darkly humorous comic book, the Papa Shango/Ultimate Warrior feud is perhaps the most infamous of this particular era in Looney Tunes hijinks. As you may know, this involved Shango putting a curse on the Warrior, which later caused the Warrior to spew green vomit Exorcist-style and have black goo drip out of his head. A visual feast, indeed. The craziest part is that none of this resulted in a huge blowoff on TV, which would be considered a cardinal sin in today’s climate. It was instead used to promote house matches between the two. Maybe they thought people in Fort Wayne, Indiana or wherever the fuck would attend their shows hoping Warrior would puke all over them? I don’t know, but I can’t help but the feel all of this was supposed to be some sort of artistic statement. Was this commentary on our collective ennui? A hard look at the appropriation of Haitian voodoo in pop culture? An obscure nod to the then-recent fall of the Soviet Union? Send me your thesis papers, grad students!
The Big Bossman Deserved to Get His Ass Kicked
The Bossman/Nailz feud has aged poorly. It was easier for viewers to gobble up the narrative the WWF were trying to sell back in 1992 but we, in 2019, know better due to the shift in rhetoric surrounding law enforcement and the abuse of power that system can often breed. If you’re not familiar, promos began to air in the spring of ’92 where a mysterious voice accused the Big Bossman of abusing him when he was in prison. The man later turned out to be Nailz, who then attacked the Bossman on an episode of Superstars and gave him an absolutely brutal thrashing.
And the Bossman deserved it. You see, for as much as Vince McMahon tried selling the Bossman’s innocence, there’s plenty of evidence supporting Nailz’ allegations. From day 1 of his WWF tenure, the Bossman loved to beat poor, defenseless jobbers with his nightstick and handcuff them to the ropes, even when he turned into a happy, smiley babyface. In fact, right before Nailz beats him up, he can be seen taking his anger out on a barely conscious jobber. It’s not that much of a stretch to believe he did the same to several of his inmates in Cobb County. And don’t even get me started on the Confederate flag on the Bossman’s sleeve, or else this post will take a seriously dark turn on the extent of his brutality and prejudice. When you consider all of that, is there any surprise this is the same man who killed Al Snow’s dog and crashed the funeral for Big Show’s dad later in the Attitude Era?
The Tornado’s Last Spin
I hate to discuss an even darker topic, but I was so stricken by how these episodes are essentially some of the last recorded moments of Kerry Von Erich’s career and, ultimately, his life. It’s often forgotten that he lingered on in the WWF until August of ’92. He was arrested for forging painkiller prescriptions in February, which led to his suspension from the company. He made his return to the ring two months later and would toil around on the undercard for the next four months before leaving/getting released altogether. It’s next-level tragic to watch him cut promos on repurposing his life toward God and his family, knowing he’s making allusions to all the trouble he’s found himself in. It’s even sadder knowing how much more trouble he’d find himself in before his untimely death, including a possible prison sentence that, had he served fully, wouldn’t have seen him released just a few years ago.
The Jobbers Are Ugly
This is going to sound mean, but the jobbers on these shows are not attractive men. I mean, seriously, some of these dudes look like they just got off their shift at the local liquor store before they hit the arena for their scheduled thrashing. I do wonder how much of this was a deliberate choice by the bookers themselves. You need guys who are going to make Nailz and Sgt. Slaughter look appealing by comparison because that only enhances their star power. The lone exception to this rule is Ron Cumberledge, who would be classified as a hunk in any decade. A true renaissance journey man.
Squash Matches Galore
Even if you’re only slightly familiar with the WWF’s old syndicated weekend shows, you’d know most of the matches were these quick squashes where a superstar would easily trounce one of the jobbers I discussed previously. Matches between name superstars would only happen occasionally on TV, as it this was still an era where those were kept to draw buys to pay-per-views and house shows. While it would be highly unrealistic for the WWE to just revert back to them 100%, and they still do them on the main roster occasionally, it’s definitely something they’d benefit using more. And don’t just give your top talent squares either. In these episodes, Virgil gets squash matches. The Bushwhackers get squash matches. Repo Man gets squash matches. Obviously none of these guys were key players or anything, but it still gave them TV time and wins under their belt. Imagine if they did that today for, like, No Way Jose or Dana Brooke. It doesn’t seem like much, but it goes a long way in building credibility to your roster.
So that’s that. Or at least for now, anyway. I’ve still got plenty more episodes to watch for 1992, and who knows? Maybe in the future the Network will upload episodes from 1993, 1994, and so on. In the meantime, I’ll go back to chilling out, binge-watching, and daydreaming about Ron Cumberledge.
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Why the resistance to "fan girl" Ms. Marvel?
highlights of the discussion
Popesize1 day ago (edited)
For me, i guess it was the overexposure, and you must like her-attitude, that made me say no. Same with Captain Marvel as the new flagship. Her origin and faith never really mattered to me. I remember finding Dust in one of the young x-team (was it Hellions?) interesting. The obsessive nerd and fan-girling was a bit annoying, i can agree on that. Mostly because the fans i have come to know, never really behaved like that. But it might be more common with girls. What do i know? -But never the big tick-off
Dakina Demino1 day ago
I don't think its the character itself, but rather the relentless media worship of her as some kind of new age comic book Jesus that really took off five years ago. If you said anything that the pros and the media took as negative, you'd get called the usual things like nazi, racist and so on. You'd also get bot blocked on twitter and smeared in a closed community chat room. This has the side effect of reflecting back on Kamala who gets the reputation of being a progressive garbage character. A second point is that less than a year ago, the pros and media were still running smear campaigns against their own consumer bases, painting them as some vast army of zombie nazi kkk Trump voting hate mob made up of Russian cyber bots that wants to gun down immigrants. Kamala is polarizing in that game as she represents two things a lot of Marvel fans hate. One they got attacked by people claiming they are evil, anti minority, gate keeping old white fans and two, the character represents the catalyst of Marvel telling its own consumer base to f**k off in more of less that precise wording. As for me, I'm not angry at Kamala. I'm pissed off that an awesome cyperpunk game series like Dues Ex got axed so the studio could make a game that seems designed from the ground up to start shit and trigger outrage.
Nioh Arcadia1 day ago
As the Target Audience for Kamala I want to like her but (as of right now) I really fucking hate her 😡 She feels like the living embodiment of a subreddit and after G Willow she's Only written as a hyper Melenial 😒. Also like you said she feels like "hey you can see yourself can't you nerd?" It's pretty insulting and lazy. Also her being a mage fan of other Superheros makes her character less interesting because she lacks her own Agency. Now-a-days she's pretty boring and I or anyone else really couldn't give a shit
Raheil Rahman1 day ago
As a Muslim, the comic was groundbreaking. Grant Morrison's "Vinamarama" was the first book that spoke to my experience in my lifetime, but this was a pop extension of that. Her family life, her need to hide her identity from her conservative family, was a great update on Peter Parker. She was a nerdy fangirl, which was fun, and she was a very bubbly and enthusiastic character, which I found entertaining. For a time.
I was turned off by the comic due to the very decompressed pace (obviously to pad a story and sell more issues) and the constant reboots. I haven't read the issues later when she was pushed into Avengers, but that's because all Marvel and DC comics are wearing thin with me. It's all reboots and re-mixes of familiar characters to push some marketing that has nothing to do with comics. I agree with [Comics, by Perch] on this.
Kamala Khan was forced down the fans throats, but there were many fans of her that have nothing to do with her comics (which is the future of all IPs in this business, I think). The market isn't for comics, which I get is your focus, but she was made to be bigger than comics, like or not.
But I don't care, because Kamala Khan has allowed all of us to know and discuss things and issues that we have never done before. Particularly, the arc where they discuss Partition, the division of India into Pakistan and Bangledesh, a tragic event that my father experienced personally, was worth all the over-exposure of this character alone. This was a huge historical event that almost no one has heard of, and this book put a focus on it even among older people of the sub-continent who had never read a comic in their lives, the pages were being shared by email and on Facebook by people my father and mother's age.
Did it sell the comic? Hell no.
But it was a good thing for the comic world, for the Pakistani world, for the American fans, on a whole.
And to be honest Perch, I love your channel, but this very rant plays into the idea OG fans will reject this new character based on her background. Many people say her powers are boring, her character is mediocre, and they're all right, but they, and you, miss the point. I get she's been pushed down our throats and I agree that she isn't the best, but the fact that you relate to the kid who acts like a jerk, saying he represents the average comic fan (I don't relate to him, I relate to her, which might be the point of what I'm saying), while that scene is an over-exaggeration, like all superhero melodrama is, I have experienced exactly that kind of situation, being talked down to, and I've seen this happen a lot when it is a young girl and especially if it is a person of color. The fact this irks you is acceptable, but I see a lot of truth in it, even if it is over the top soap opera dialogue.
I know you are going to say that you were only discussing how the industry, the fans of comics themselves reacted to it and her forcibly increased profile in the universe of comics, and as a fan of comics for almost 30 years, I see all your points. But I think you're reaction is an over-reaction, Kamala Khan is a small part of the Marvel universe, and if she is being artificially being pushed to the top, I personally, have no problem with that. I don't buy the comics, and no one else has to either. And if her inclusion in comics causes people to stop buying the comic, well, I have no problem with that either. Honestly, a lot of those books were never going to be bought no matter which version of Captain Marvel or Spider-Man you put into the book.
you know nothing jon snowden1 day ago (edited)
It is somewhat insulting the bullying of her as some sort of crucial element of her origin. “What’s her pathos?” “Oppression from comicbook nerds.”
Eric D.1 day ago
Two of the best marvel titles - Daredevil and Immortal Hulk - have one very important thing in common. Consistent creative teams that are telling good stories within a larger story arc that is being told simultaneously. The issue with Kamala Khan is the same issue that Marvel has with a lot of their characters - creative teams on a revolving door and overuse of cross over events. In that shuffle, the core of a character gets lost and we end up with flat, uninteresting characters exactly like the version of Ms. Marvel that's presented in the new Avengers game. A lot of the "problems" in comics could be corrected if the industry returned to a consistent creative team model instead of this six-issue-expiration-date on creative teams and constant title cancelations and reboots that we see now.
KelpieTales1 day ago
Pretty much what others have said before: Kamala has/had potential, her concept is solid and has been done elsewhere so it can work, her early series wasn't bad but come Civil War II things started going downhill for her sadly especially with politics becoming all the more obvious of a driving force.
What didn't also help was overexposure and the "You must love her or else!" Mentality behind her marketing and some fans as well being directly tied into two other franchises with the same problem: Carol Danvers as Captain Marvel and the Inhumans being made into knock-off X-Men. Since Disney got the rights to X-Men and shelves the Inhumans after the damage done to them I can see why they're quiet on Kamala being one. You also got a point on her surface traits being over exaggerated by other writers most specifically her being a Muslim and a Fangirl, with the rest kind of varying. One example is Waid's version of her is known for being so upset with how the Avengers wouldn't personally rebuild buildings destroyed in battle she left to form the Champions. First issue of her new series by Ahmed had her accidentally destroy a store and came off bratty to the justifiably angry owner. Some will see it as writers not doing their research which sadly happens quite a bit or worst case the character seen as a hypocrite to some especially if they're a fairly new characters with other factors going against them. One thing that personally bothers me about her is how Marvel and certain media praise her as their "best thing since Spider-Man" when she hasn't really done much to earn that title in terms of personal accomplishments. She's made from a similar mold as Peter and there's nothing wrong with doing that kind of "ordinary kid becomes a superhero" with a different cultural twist to it but it felt like they handled Kamala (and other modern hyped, young characters) with kid gloves compared to their predecessors. I don't think she should see all her loved ones murdered in front of her but maybe at least building a rogues gallery that challenges her more other than simply "fascism" and "Islamaphobia" or something. Then again, this could be because her writers are afraid of getting called "bigots" if something bad happens to her even if it's something white guys routinely deal with I.e. recent Star Wars comic had Boba Fett kill a black woman, just like he killed so many others before, and suddenly SWHatesWomen is a trending tag. Kamala's books also seem more geared to a YA for nerd girls and maybe younger like other books out there like Squirrel Girl so I can see that as a rift between her series and the usual comic fanbase that tends to be teen boys and men.
Also, no qualms about the costume but I get how stretchy powers can be a little weird for some to get over or have a character be fun and creative with it.
Also, that scene with the "real fans" bullies was eye roll worthy. I'm not denying fan elitism exists and I've seen it first hand from people of all walks of life. However, here it feels like it plays into the narrative of "fanboys are bigots who hate sharing their hobbies with girls/PoC/LGBT+" and of course, if you don't like characters like Kamala for any reason you're just like them. There's also how a lot of comic fans tend to just be super awkward, or even autistic, and just get carried away talking about their hobby while unintentionally coming off rude. I'll admit I've been there trying to talk to someone who acted like an authority on the comics when they didn't seem to ever read them and seemed to just watch the shows (while ironically talking down about others who watch superhero shows and don't read the books). Not to mention, the concern of hobbies being re-tooled to be more "inclusive" for people who never cared about them before while alienating the older fanbase.
Gabriel Hernandez1 day ago
Here's an anecdote that somewhat backs up your theory. Disney XD came out with Black Panther's Quest just after the release of the film. I remember hearing about it and thought it would be some light, fun entertainment. When the first episode came out (you can legit watch it here: https://youtu.be/0B9JOAX99pc), Ms. Marvel had as much dialog as Black Panther, certainly more than any other Avenger, and she was at the front of the team during the big fight scene in the first 5 minutes. I remember thinking "Why is this person here? Why is she getting so much attention in a Black Panther cartoon? Where's the Hulk? Why is Ms Marvel doing so much of the talking and in the same timeframe you have nothing from either Capt. America or Black Widow? What is this?" In other words, Ms Marvel was being shoved to the front and treated as a co-leader of the Avengers when - and here's the key - her canon and her powers weren't established enough to earn that spot. That's the difference. She didn't earn her place at the table, and it just comes off as forced and fake. Just my opinion.
Cole1 day ago
When I was in Washington DC last summer we visited American History Smithsonian and they unexpectedly had an exhibit on superheroes where they had some comics in a case and there was a Kamala khan Ms Marvel #1 next to a bunch of classic issues and first appearances. It puts things into perspective beyond a small internet troll bubble. That clip was kinda lame lol but the character has a large audience.
Ibena8271 day ago (edited)
I do disagree on the idea that people weren't ranting about her character when she first debut because they're were literal blogs and videos dedicated to bashing her character and her faith, and even those people who claim her comic was failing always forget to mention that while single issues weren't selling alot, her first volume actually sold remarkably well, making it the best selling series in that year. Although her character came from the all new and all different line-up there is a reason why unlike others like Riri Williams, America Chavez or even Nova she was able to go into other media so easily and it's simply because her character was able to appeal to new readers of comics with a young protagonist who held a more optimistic outlook on the Marvel universe as it was going into so much change at the time, it also helped that her story focus less on action and more on her daily life and how it involves into her heroic life. I could understand if people just don't like Ms. Marvel because she's just not their favorite type of hero but it would be weird to criticize the character for being comparable to her multiple relaunches "mentor" or with her being responsible for the decline of Marvel comics
Comics, by Perch1 day ago
I didn't say there were none... but if you look at the volume it was easily 1/20th of the volume of what occurred later in her run. For a period of time there were more articles condemning the insults than the insults themselves. Of course, that did change.
Horizon Brave1 day ago (edited)
I despise...DESPISE the fandom at times... This shouldn't even be a thing... I can guarantee you...promise you.... if Captain Marvel was not a teen girl, this conversation, this "agenda" that everyone spouts, this constant push back of anything about this character would not exist. Find it funny that all of the characters that create controversy and and bring out the cliche descriptors like SJW and MarySue are all women. I have yet to hear anyone whine and bitch about male characters 'ruining' the story or pushing politics etc
inotaishu11 day ago
Ms. Marvel wasn't even the first muslim girl in the Marvel Universe. DUST came years before her. I think the problem with the character is that she was so long connected to something that looks like an agenda instead of having the character stand on her own.
Me
Once upon a time there was a online conflict called gamergate
it was an outgrowth of the increased mainstreamification with it greater demographic Alteration of fandom. Where they were a vehicle for major studios putting things out as well as trying to chase different demographics and markets.
alongside this is in fact a long-term attempt to make fandom much more female friendly. with, yes, pre-existing issues of sexism. With the sudden influx of this social capital some factions happily hook their train up either for validation, advancement, but especially social power. This all comes to a head through three major actions.
you probably heard names like Zoe Quinn or Anita Sarkeesian. needless to say fandom isn't just one thing.
Stuff that happens in the game sphere creates an attitude because there are members who share multiple hobbies but especially with comics people wanted to act like they were social activists and one way they did that was by creating the bunch of traits that they knew what piss people off and then attack a group that they knew had less social capital.
so in order to combat what was perceived as negative feelings for Muslims and girls with interest in geeky hobbies and or science fiction they created the polemic fangirl. Especially to the counter the nasty statements against then popular brown hair girls such as Bella Swan and Katniss Everdeen.
This was addressing a very real issue, much as was pointed out in the book Lovecraft Country
We had genre fiction that had, on its basis, racist assumptions ideas and so on whether that was Tarzan, John Carter of Mars, and yes Lovecraft. but much like the creation of Miles Morales and several other characters you couldn't help but feel, much as you noted with this latest version, that the point of the character wasn't to be a character to celebrate and build a relationship with audience and this genre, but to brow beat the audience.
This is especially with fangirl interests being lionized as a social good even when in many ways just as venal Petty and low-key messed up. Something that nobody would own up to until it was socially advantaged to do so.
As an example people constantly pointing out how mean male nerds are to female or anything that's associated with female or progressive or gay fashions. Until suddenly they want to beat on those people then suddenly they can acknowledge the exact same traits those accused bigots with people were mad about as existing let alone allowing to be judged as flawed It's hilarious because I can point to things like people flipping out about the last Jedi and how people jump the gun on a character like admiral holdo. But then turn around and prosecute the in their name reylo fandom because they're all fighting against patriarchy. In short it's very clear when someone makes a character and they're meant to be a learning lesson for the audience
. And very deliberately from conception that was the point of Miles Morales and Kamala Khan. The only positive thing you could say at least with KK is that she was deliberately meant to be empathetic to that kind of girl. the problem is much like [Perch] said when they start saying she was the future it very much came with an implicit “you guys are the past and you guys sucked until we came here”
It's with this attitude along with that, even though I don't have a problem reading the first three or so of her trade, she's associated with the push of the inhumans which was very much more mandated by the fox marvel Disney pissing match; To the fact that she has Loki guest star along with agents of shield thus meaning that she was very much part of the then media tie in and fangirl gasm of pushing Loki which also fed into the idea of Loki as the best queer boyfriend; and they made it clear that this was going to be the future. basically they were going to be as Petty as they always were just aiming towards fangirl. as opposed to males’ preference
and then they were going to tell us how we were monsters for not going along with it.
And again those first three trades pretty well written and okay ish. They're all about character. which makes them kind of interesting but that doesn't change the fact that you can easily see what they're trying to do with having the literal villain called the inventor who's also Thomas Edison who's all about demoralizing and exploiting the younger generation, who all turn out to be super geniuses anyway, All this and a wolverine cameo.
Added in like [Perch] noted that people who were not about comics couldn't shut up about praising her as the future of comics as if everything was crap until she showed up and it just hurt a lot. especially as you noted it was all this other mess going on but she was part of the initiative of streamlining marvel towards the media Disney push. and very deliberately made in order to push out everybody who would come before even down to the likes of the audience to push for a different audience who they said was a more moral audience
So whether she was a hit outside of the morass of Marvel determined whether she’d be the new centralizing focus for it.
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Marvel Cinematic Universe review
The Marvel Cinematic Universe is one of the biggest and most ambitious franchises ever made. While not the first franchise ever to attempt a shared universe, it is definitely the one that codified how to pull them off in the modern day, and it has proven to be an incredible, unbelievable success. I mean, as good as Iron Man was, no one ever truly expected the little Nick Fury cameo at the end to ever be anything more than a neat little mythology gag. And yet, here we are, nearly a decade later, with it being the highest grossing franchise in cinematic history and with it containing some of the very best superhero films ever made.
Of course, there being fifteen movies so far, and with more on the way, it would be an enormous task to review them all individually… so, to celebrate the impending release of Spider-Man: Homecoming, I will be doing a similar thing as I did to the View Askiewniverse and touching upon each of the Marvel films thus far released. However, for the Guardians of the Galaxy films, Civil War, and Doctor Strange, I will keep things brief, as my reviews of them are still new enough to accurately reflect my opinions (Age of Ultron is not so lucky here).
There is no better place to start than the start, so let’s lok at the film that began it all: Iron Man. It is the tale of egotistical millionaire Tony Stark and how, after a brush with death that had him kidnapped by terrorists and crippled, he decided to change for the better and don a robot suit so he could protect the world from devastation. One of his big goals is to clean up the mess his company has made in the world, which not everyone likes, particularly Obadiah Stane.
This movie is probably most well known for resurrecting the career of Robert Downey, Jr. after he struggled for years with addiction and had a downward spiral. This is a truly triumphant return, and his negative experiences definitely helped him out with this role of a self-destructive playboy who realizes he should dedicate himself to a better cause. RDJ truly captures what his character is and what he should be, and thanks to his performance, he not only saved his career, he saved the character as well, who had not exactly been popular due to the recent Civil War event in the comics and his unnecessarily extreme actions therein. It’s a twofold saving, and boy is it a blast!
One part of the film that is not often talked about is the villain, Obadiah Stane, who is played by Jeff “The Dude” Bridges. As the very first Marvel supervillain, he does leave a bit of an impression with his exclamation of how Tony built his first Iron Man suit IN A CAVE! WITH A BOX OF SCRAPS! He eventually suits up in a gigantic mech suit, and becomes the typical “Evil version of the hero” that we’ve all come to know and love… but, to be fair to him, he was the first one. As far as “Evil version of the hero”-type villains go, Obadiah Stane is enjoyable and memorable. He was originally planned to have a “never found the body” situation going on at the end of the film, hinting he could eventually return, but as it’s not in the final cut, we kinda have to assume that this was part of the annoying “kill the cool villain” trend the movies would follow for years.
This movie has a reputation as being one of the greatest superhero movies ever made, and it really isn’t undeserved. This film has kickass action, great characters, intriguing foreshadowing that actually payed off, and yet it still works easily as a standalone. This right here is how superhero films should be made, but the fact that so many later superhero films, including later MCU films and the DCEU films prior to Wonder Woman, decided to focus on cramming in so much crap that requires you to watch previous and later films to understand them, it seems not many got the memo. Franchise building isn’t always bad guys, but take notes; work on being good on your own first.
The Incredible Hulk is next up on the list, and this is one of the most obscure films in the MCU. NOBODY talks about this movie. I’d understand if people thought Mark Ruffalo was the first Hulk in the MCU; this movie is hardly ever referenced even in later films, all its plot threads seem to have been dropped, and it took until Civil War for one of its characters to reappear. For the life of me, I’ll never understand why; this movie is a fantastic example of worldbuilding while still remaining a solid standalone film. The plot is relatively simple: Bruce Banner wants to be left alone so he can cure himself, but after accidentally poisoning a man with his blood after it got into some soda (you read that right), General Ross and Emil Blonsky are on his trail; for those not in the know, Blonsky becomes one of Hulk’s most famous foes, Abomination.
Edward Norton is Bruce Banner here, and you can tell he really is a fan of the comics, because he does an excellent job; he apparently did a lot of uncredited rewriting and even directed some of his own scenes. William Hurt as Ross is also perfect, which of course is helped by the fact that Hurt is a big fan of Hulk. Then of course there’s Liv Tyler as Betty Ross, and she’s actually one of the better love interests in the MCU, to the point where it’s honestly offensive she hasn’t reappeared and instead has been replaced with Black Widow of all people as Bruce’s love interest.
The movie has solid action and a solid final fight, with Abomination being a pretty good “Evil version of the hero” villain. He’s not spectacular or anything, but he’s definitely threatening and pretty cool. So how then did this become such an obscure film in one of the biggest franchises? I imagine part of the problem is being screwed over by Universal, who owns the distribution rights for Hulk solo films. This movie just couldn’t be followed up, and so Hulk is relegated to ensemble casts. This leaves a lot of the characters in limbo, which includes Abomination and Leader (who had his origin shown in the film). And this is a real shame, because like I said, there’s some great worldbuilding here; the super-soldier serum is mentioned, there’s Stark weaponry, and in an alternate opening with the Hulk running through the arctic we get a glimpse of the frozen Captain America. Honestly, I think aside from the issue with the film rights, the fact that this movie can mostly be described as “Solid” is the reason why it has faded from the public consciousness; it lacks the OOMPH so many of the later films and even Iron Man before it had, and nowadays aside from looking for all the foreshadowing it’s hard to watch and care about these characters who will never show up again. It’s a damn good movie in my eyes, but I can see why it is relegated to a footnote in the MCU.
Next up is Iron Man 2. Fuck this movie. I fucking hate this movie with every fiber of my being. It is an awful, bloated, unfocused, cluttered, and disrespectful mess of the film. This film is a fucking travesty in every single regard, except perhaps casting Don Cheadle as James Rhodes. The plot deals with the fallout of Tony outing himself in the last movie, with industrialist Justin Hammer breathing down his neck as congressional hearings try and force him to share his tech. There’s also a pissed off Russian named Ivan Vanko who wants to get vengeance on him, oh yeah and Black Widow is also unceremoniously stuffed into the film alongside Nick Fury so this can basically act as a trailer for the upcoming movie about the Avengers. This was due to executive meddling, to the point where jon Favreau didn’t direct the third Iron Man. Marvel had bad problems with executive meddling in their early days.
This movie fucking offends me. First off, they waste Mickey Rourke as the villain Whiplash; Mickey Rourke was pissed with the execs making his character into a cartoonish villain when he was trying to play him as a human, an anti-villain… and so he proceeded to spew vitriol at everyone involved, meaning even if Whiplash survived it’s unlikely he’ll be back. So we wasted the one interesting villain, and who are we left with? Justin fucking Hammer, one of the most unfunny, annoying cunts in comic book movie history. He is easily one of the worst superhero movie villains ever made; he’s annoying, he’s cloying, and he sucks away screentime that could have been devoted to Whiplash. He’s an absolute waste of a villain.
Then we have Tony’s “Demon in a Bottle” arc, the arc where his rampant alcoholism threatens to ruin his life. This is a tragic part of the character, and the film was going to delve deeper into it. And hey, this would have been great! RDJ could add a lot to such an emotional arc due to his own experiences! Guess what they do instead?
They play Tony’s alcoholism for laughs. Have I mentioned I fucking hate this movie?
This movie sucks ass. It’s fucking awful and feels like a shitty trailer for better movies, which is exacerbated by how shoehorned in Black Widow and Fury are. The movie is a bloated, disgusting mess, crushed by bad decisions and executive meddling. It is easily the worst movie in the entire MCU, but believe me it has some competition… which I’ll get to soon enough.
After that travesty, we have Thor. Thor I can best describe as being a precursor to Wonder Woman in a lot of ways, which is reflected in the story to an extent: it’s about a god – er, or an ALIEN – who is banished by his father after being a disobedient shit. He gets sent on down to Earth, while his half-brother Loki plots and schemes back on Asgard. Okay, so it’s not entirely like Wonder Woman, but still, there are similarities.
The biggest similarity is probably Chris Hemsworth as Thor, who exudes a childlike, boyish charm as Thor when he is down on Earth among the mortals. It’s not the same charm Diana has in Wonder Woman, but it’s not wholly dissimilar. Their origins too, as mighty gods who go to live among mortals and fight alongside them, is likewise similar. Of course, there are big differences too: the biggest one is while Wonder Woman surrounds herself with a cool human supporting cast, Thor surrounds himself with one of the worst fucking supporting casts I’ve ever seen. Special mention must go to the cliically unfunny Kat Dennings, who sucks the joy out of every scene she’s in with her relentlessly awful attempts at humor. Natalie Portman is a bland, flat love interest who has almost no chemistry with Thor, a nd the old scientist guy is so generic I forgot his name. This is a damn shame, because his supporting cast on Asgard was fantastic, with Heimdall getting special mention for being an utter badass guardian played by Idris Elba. I’d much rather watch the cosmic adventures of Thor and his Asgardian buddies than him pal around with boring humans, but ah well.
Still, at least we have a cool villain this time around. Loki is pretty interesting, and Tom Hiddleston does an excellent job with him. He would only get better and more entertaining in later films, but this was solid groundwork to establish him. Hilariously, Roger Ebert hated this film and had this to say in his review: “The standards for comic book superhero movies have been established by Superman, The Dark Knight, Spider-Man 2 and Iron Man. In that company Thor is pitiful. Consider even the comparable villains (Lex Luthor, the Joker, Doc Ock and Obadiah Stane). Memories of all four come instantly to mind. Will you be thinking of Loki six minutes after this movie is over?" This is just one of the most hilariously ironic reviews I’ve ever seen, as Loki has come to be one of the best and most memorable Marvel villains (mostly due to the fact he doesn’t die).
Overall, I feel like this movie suffers from the same thing The Incredible Hulk did; it’s a darn good movie with a lot of value that also works as a standalone film, but it’s easy to see it as exceedingly average due to its faults. At least this movie got followed up… though… eh. We’ll get there soon enough. As it stands, Thor is a good if not great film that establishes Thor well enough.
Next up is one of my personal favorites, Captain America: The First Avenger. I love me some pulpy 1940s style two-fisted tales, and this delivers that fun in spades. Sometimes you just wanna see a handsome blonde man punch Nazis in the face, and boy does this film deliver. The story tells the tale of how wimpy but strong-hearted Steve Rogers goes from a scrawny little man into the gorgeous beefcake American hero that is Captain America, and how he fought against Red Skull and HYDRA.
This movie has a lot of silly Golden Age elements to it that would not work in any other context other than the most patriotic superhero’s first big movie. The biggest, of course, being Cap himself. He’s a character that is really hard to pull off… and yet, Chris Evans did it, and perfectly so. I’ll let this excerpt from TVTropes’s YMMV page for the movie speak for itself:
“It's always an issue to adapt Captain America to any medium, because a character who is actually living up to his own principles of righteousness can far too easily come off as straight-out Narm, and by all rights that's exactly what this film should be. But somehow it comes out as a genuine, heartwarming, awesome, tear-jerking, triumphal ode to true patriotism and human goodness instead, a feat that should have been impossible outside the Golden Age of Hollywood. The writers, director, and Chris Evans deserve a lot of credit for striking the right tone with Cap: The Herois a trope that's almost never played straight anymore, without veering into self-parody or coming off as self-righteous.”
I really could not have summed it up better myself.
Now, let us talk about the villain, Red Skull, who is played by a deliciously hammy Hugo Weaving. Hugo Weaving is an actor I love in nearly everything, because he always brings exactly what is needed, and boy does he do that here. He’s sick, depraved, truly evil, and just oh so delightfully hammy. The man is basically if M. Bison as played by Raul Julia was in a Marvel film, and that I think is the highest compliment you can give a hammy villain. The best part: While he is defeated in the end, his use of the Cosmic Cube seems to imply he could survive, leaving him open to return. The bad news: he hasn’t appeared since, and for years after, Hugo Weaving took a very negative attitude to the role, implying he only did it for money… until a 2016 interview showed he had softened considerably, and thought the role was awesome. Please Marvel. Bring this man back. We need more of his evil Nazi hamminess, especially since you fucking wasted Baron Strucker (we’ll get to that soon enough).
If I’m gonna criticize anything here, it’s gonna be the Howling Commandos. As a point of comparison, let us bring up Wonder Woman again; she too assembled a multi-national ragtag group of misfits, and all of them had plenty of character and development, and to top it off, it’s pretty obvious they were meant to be a substitute for the Commandos. But despite they, they’re actually BETTER, as the Howling Commandos barely have any presence at all in this film. I couldn’t tell you a single thing they did. They’re dull wastes of character space, and it’s a shame.
Still, overall, the movie is fantastic pulpy fun, and it ends on the biggest tearjerker of Phase 1. It’s a pretty simple film, and at times it can seem corny and silly, but like I said in Wonder Woman, it’s all part of the charm of these optimistic superhero films that harken back to the Golden Age. And hey, I find it hard to give a movie that subtly implies Indiana Jones is canon in the Marvel universe anything but two thumbs up.
Finally, after all the buildup, we come to the big conclusion of Phase 1: The Avengers. And after all the buildup, all the development, was it worth the wait? HELL FUCKING YES IT WAS WORTH THE WAIT! This movie kicks a whole lot of ass, and is one of the biggest, best, and flashiest superhero films ever made. This is the film where Thor, Cap, Iron Man, Hulk, Hawkeye, and Black Widow all unite to take down Loki and his alien army before they destroy the world; how much cooler does it get?
The movie’s greatest strength is just the sheer spectacle of it all; this kind of film was unheard of. Who would have thought a movie like this would exist when Iron Man first came out? Seeing all these huge actors as heroes onscreen together, fighting against Loki… it’s just amazing. The writing and humor here is actually really on point, which can be jarring after seeing the much denser and wackier dialogue of Age of Ultron; it makes one wonder if the execs forced Joss Whedon to add more humor to that film. All these pieces are in place, and it is just a joy to see them come together.
Even better, it’s not totally required to watch every movie before to understand all of the characters; the film does a pretty good job of establishing everyone. Sure, it HELPS, but you can get a feel for each one of the heroes just from this film. It especially helps with Bruce, since it’s Mark Ruffalo now in the role and no one really remembered Hulk’s one MCU solo outing anyway. Speaking of which, Mark Ruffalo is a highlight of the film; he’s the best Bruce Banner yet by far, and his Hulk is the best yet scene in film.
If there are any criticisms to go around, it’s that Cap doesn’t get to do as much, and a lot of the badass normal heroes kind of get shafted. Sure Cap, Widow, and Hawkeye do some cool shit, but it’s Hulk, Thor, and Iron Man who pull of the big, flashy, exciting moments in the big final fight. I get that you gotta make Hulk cool considering his lackluster past films, but do ya gotta steal Cap’s thunder to do it?
Overall though, The Avengers still holds up as a great, exciting superhero extravaganza and one of the best crossover films ever made, and it’s definitely one of the best MCU offerings. It has its flaws, but the sheer excitement and comic book joy of the film shine through, making it a must-see experience.
Phase 1 ended on such a high note… how do we kick off Phase 3? With another shitty Iron Man sequel, of course! To be totally fair, this movie is a hell of a lot better than Iron Man 2… but a lot of things are better than that, so it isn’t saying much. This time Tony Stark has the bright idea of antagonizing a terrorist organization known as the Ten Rings and their leader, the Mandarin. This backfires, and soon Tony is uncovering evil plots and shit.
This movie fucks up badly, especially in the villain department. Most of the enemy mooks are people injected with Extremis, a drug that gives them powers… the problem is, most of these mooks are disabled military vets who are now willingly and gleefully acting out terrorist attacks on their fellow Americans, up to and including a plot to assassinate the president. Look, I get sometimes it’s dumb to read into things in movies too much, but there’s really no way I can read this that isn’t pretty fucked.
As if that isn’t bad enough, we come to the issue with the Mandarin… and shockingly, it’s not about race or the “Yellow peril” origins of the character. For most of the movie, we are led to believe the Mandarin is played by Ben Kingsley, and he does an absolutely excellent job at making the Mandarin menacing, chilling, hammy, and intimidating all at once. He’s the perfect modern update of the villain… and sadly, he is not actually the Mandarin. He is an actor named Trevor Slattery. Slattery still manages to be one of the bright spots of the movie… something that does not extend to the true villain Killian, played by Guy Pearce. He’s an extremely boring, generic, and forgettable foe, and his claims that he is in fact the real Mandarin opened so many plotholes it’s no wonder they had in development a short where the real Mandarin sends out pissed off enforcers to call bullshit on his and Trevor’s schemes.
There’s just not much to recommend here. The movie is just a dull slog with a few bright spots here and there, and even the ending is bullshit with Tony seeming like he’s giving up superheroics for good… and then by his next appearance he’s back to being a hero with a new set of armor even though all his suits were destroyed in this movie. This one just sucks, though not as bad as the second one; there’s at least a bit more to like here.
And now we go from bad to worse, for we land on Thor: The Dark World, which is an incredibly awful movie. The plot involves evil elves invading Asgard looking for a magic MacGuffin to do things and… look, the only reason anyone bothered with this fucking movie is because Loki is in it, and by god, the forty minutes he’s in it are just fantastic and funny. His interactions with Thor are nothing short of hilarious, and the fact he actually comes out on top in this movie is intriguing. Props to the film for that at least.
Too bad the film sucks in nearly every other conceivable way. The major focus on the human characters is the worst of all; Natalie Portman is given a disproportionately large amount of screentime and hogs the plot, and Kat Dennings is back and as relentlessly unfunny as ever. She is like a cancerous tumor on an already foul film. And as if the humans aren’t bad and obnoxious enough, we have the villain, Malekith the Accursed, a dark elf who has some of the most generic and boring motives ever despite looking absolutely cool. He is one of the worst comic book movie villains ever, hands down, and it’s such a shame because he’s played by the usually amazing Christopher Eccleston. To say that he was wasted here is a crass understatement.
There’s not much else to say here; this is an awful, shitty movie. The saving graces are Loki’s screentime and maybe the final battle, but even that is interjected with some unfunny humor, and the lack of a solid villain really drags the film down. This film is utter crap, but at least there’s a bit to recommend here, which is more than I can say for Iron Man 2.
Well we’ve got two strikes down, so this is Marvel’s last swing… can they save their asses? I mean, this is a sequel, to Captain America: The First Avenger of all things, this couldn’t possibly be that good, right?
WRONG.
Captain America: The Winter Soldier is not only one of the very best films in the entire MCU, it is one of the greatest superhero movies ever made, and probably the greatest adaptation of Metal Gear Solid we’ll ever get. I’m not kidding, everything’s there: a genetically modified super soldier fighting against a shadowy conspiracy that wants to use a giant war machine to attack the world’s population, all the while fighting a crazy cyborg version of their best friend. Also there’s a fight in an elevator and an evil AI that has been manipulating the world from behind the scenes. If you can’t already tell, I fucking love this movie.
A big plus is that this is less straight-up superhero action for the most part, and more an action thriller. This lets Steve use his badass super soldier skills to their fullest extent against armies of armed mooks. Even more amazingly, this movie does a good job at making Black Widow likable and interesting, and she has very good chemistry with Steve. Best of all, though, is the introduction of Anthony Mackie as Falcon, Cap’s new best buddy and a badass hero in his own right who helps solve this big HYDRA conspiracy. And despite his limited screentime, Sebastian Stan makes an impression as the incredible, unstoppable, hardcore titular Winter Soldier, AKA Bucky Barnes, Cap’s long-lost friend.
This movie is the one all Marvel sequels would be judged by afterwards. Well, for a while at least; this movie’s own sequel managed to top it somehow. But yes, this movie is absolutely fucking fantastic, a modern classic of the superhero genre, and one of the best Marvel sequels ever made. Not bad, especially since unlike Iron Man or Thor the original movie is not the biggest or most critically acclaimed Marvel film (Though t still got a mostly positive reception). The fact it managed to produce a sequel superior to the first while Thor and Iron Man’s sequels ended up being shit is nothing short of impressive.
After this movie came Guardians of the Galaxy, which I reviewed recently on Michael After Midnight. Needless to say, it’s an amazing film, akin to a modern-day Star Wars, and I truly love it… though at this point, I fully admit its sequel is far superior. If you want a general idea of my thoughts on the film, just click the link there.
So how do you follow up two incredibly epic game-changing movies? With an Avengers sequel! Joss Whedon is back, the cast is all here, what could possibly go wrong?
A whole fucking lot.
This movie had tons of executive meddling, so much it drove Whedon nuts. But executive meddling can’t take all the blame for the shoddy script and the piss-poor mishandling of characters. One of my biggest regrets is saying this was one of the better MCU films in my review; it most definitely is not. But on the other hand, unlike the Iron Man sequels or Thor: The Dark World, there really is a lot of genuinely good stuff in this movie. Look at the plot: Tony, desperate to keep the world safe, creates an AI that ends up going rogue… that AI being Ultron. Now they gotta stop this AI before it wipes out humanity. There’s a lot of good potential in this story! But sadly, this potential is not fully realized.
Let me talk about the good stuff first. The big draw is the action setpieces, which are a bit more spectacular than before… or they would be the big draw, but since the story is so messy, it’s hard to care too much. At least there’s more action scenes. The REAL draw here is this stretch of time where the Avengers are at Hawkeye’s cabin; this lets all of the characters interact with each other in a close space, and see how everyone plays off each other. It’s absolutely fantastic, and it’s a shame the whole movie isn’t as tightly written as these scenes. Hell, they manage to make Black Widow, who tends to be a dull and uninteresting character, more human with a bit of tragic backstory.
The new characters here are fascinating as well; Quicksilver, Scarlet Witch, Ulysses Klaue, Vision… all of these characters are pretty interesting and cool. In concept, at least. While Scarlet Witch and Quicksilver get a solid amount of screentime since they’re working for Ultron for most of the film before switching sides, by the film’s end Quicksilver is killed. Vision only appears immediately before the final fight, Klaue is just a cameo (albeit a really good one) to set up Black Panther… none of these characters really feel organically added, they feel crammed in to set up future films, leading to Age of Ultron feeling like a trailer for better movies to come.
Look at the original Avengers movie; you could jump into that from just about anywhere in your Marvel viewing experience and get it, and they don’t throw too much new at you. Here, they’re flinging all sorts of new shit at you that you pretty much NEED to watch the other movies to really get this one. Hell, and even that doesn’t help too much, since there are still things like Thor’s weird, nonsensical vision and Bruce and Natasha’s out of nowhere romance.
Of course, the absolute worst part of this film is the absolutely horrendous script. It’s not entirely bad, but there are lines like “She’s weird and he runs fast” (describing Scarlet Witch and Quicksilver, respectively) and Black Widow going “Beep beep” while she rides through a crowd and Tony’s infamous “prima noctis” joke… the movie is just so dense with garbage writing like this that it’s impossible to take seriously and it deflates the tension when it constantly happens in battles. Now, there are still some good and genuinely funny moments, like when Vision lifts the hammer or Klaue’s entire scene, but there’s plenty of cringe inducing stuff that proves when it comes to Whedon’s writing, lightning DOES strike twice… do you want to know what happens when Whedon’s writing is hit by lightning? The same thing that happens to everything else.
Now, finally, let’s talk about the villains… oh, sorry, VILLAIN, they decide to anticlimactically kill Baron Strucker offscreen after the opening, so no point in discussing him! Ultron is the biggest saving grace of the film… as well as yet another example of Marvel getting rid of their most interesting villains. Ultron has solid motives, an interesting plan, and with more fleshing out could have served as an incredible reoccuring antagonist… so of course he is blown up by the end of the film, because his name isn’t Loki. HOWEVER, everything is ambiguous enough that he could realistically return; guy had to hide a backup somewhere, yeah? James Spader did such a good job at making Ultron both creepy and charismatic it would be a crime to not use his talents again, though since Marvel isn’t exactly begging Hugo Weaving to be Red Skull again at the moment, I won’t hold my breath. What makes this a bit more bitter is that, overall, Ultron was the best villain in all of Phase 2.
Age of Ultron is a film that can only be described as messy. Honestly? I’d say it’s a bit worse than Iron Man 3. That film may not be very good, but at least it was a bit more focused and the humor didn’t clog every single action scene and they didn’t try and cram fifty new characters to act as teasers for better movies into the plot. This film actually has a lot in common with Batman v Superman; the story is cluttered and unfocused and choked by the tone of the rest of the film, there are superfluous cameos and character insertions that are advertising better films to come, and obviously both are lukewarm superhero crossover films. Age of Ultron has a better villain, however, while Batman v Superman has much better fight scenes, and also Batman doesn’t make an awkward and forced rape joke so that’s good. In all honesty, I’d rather watch Batman v Superman over this; that movie may be dark and dour, but I can handle grim and gritty more than I can handle horribly painful and unfunny jokes ruining most every action scene. Age of Ultron is a seriously mediocre movie, and it’s just so depressing after how good the original Avengers film was… what a note to end Phase 2 on…
...Ha! Psyche! There’s still another movie, bitches! Here comes motherfucking Ant-Man to save the day! Whoever could have thought that Ant-Man of all characters would redeem Phase 2 by delivering a quirky, genuinely funny action-crime thriller? This story has Scott Lang, a former robber who is trying to go straight for the sake of his daughter, get roped in to becoming Ant-Man after breaking and entering into Hank Pym’s house. Ant-Man has to steal research from Pym’s former company before the new, corrupt owner Darren Cross abuses the research.
So this film has great setup, and it’s a refreshing change of pace for the most part. The film is mainly about the training to become Ant-Man and the heist itself, leading to a bit of a different tone from the usual superhero film. Yes, of course there’s a big fight with a supervillain at the end, but it’s so quirky and hilarious that it still fits the tone of the rest of the film. That’s another great quality this film has; it’s quirky and humorous while not being obnoxiously so like the last film. A great addition is one of Scott Lang’s sidekicks, Luis, an incredibly enthusiastic criminal with quite bit of hidden depths and an impressive skill for telling stories.
But even more impressive than the quirkiness and the interesting change of pace from other superhero films is just how this movie takes things and makes you like them, things no one would ever expect to like. Hank Pym for example; Pym has long been a subject of ridicule among comic fans, mostly due to an infamous moment where he hit his wife Janet. After this movie and Michael Douglas’s powerful and moving performance in scenes such as when he talks about how his wife died… well, those “Wifebeater Hank Pym” jokes can go the way of most of the MCU’s villains. Douglas did an excellent job at making Hank a character with flaws who is still sympathetic. And if that’s not enough at how this movie makes you love things you’d never expect to, well, this film just may make you cry over the death of an ant. No, I’m not kidding.
Now, if there’s one thing I can really criticize here, it’s the villain. Darren Cross/Yellowjacket is not bad by any means, but like a lot of MCU villains he falls into the trap of having the same superpowers as the hero, which is frankly an overplayed concept. Look at the great villains of the MCU like Loki, Ultron, or Ego; all of them had powers that gave them an edge or were noticeably different from the heroes they fought. Cross shrinks just like Ant-Man does, just like Obadiah Stane had a giant robot suit, Abomination was a big roaring monster, and Kaecilius was a powerful wizard. None of these villains are really bad per se, but still. At least that final fight is incredible, with the concept of two men with shrinking powers played for all it c an be played for and so many great comedic moments coming from it.
Ant-Man totally makes up for how lackluster and unfunny Age of Ultron was. It’s genuinely funny without clogging every scene with jokes, the action is utilized excellently, the protagonists are all likable and enjoyable, and the film feels a lot more fun and fresh than anyone would expect. This is definitely one of the most shocking success stories of the MCU, but that success is nothing less than well-deserved.
And now we enter into Phase 3, and as I have reviewed all the films, I will link to their reviews.
First up is Civil War, the third Captain America film, and the movie that Age of Ultron should have been. It still does bring in some new blood, but they feel far less forced and more organically woven into the plot. The jokes and the action are all great, and the villain is actually interesting. Click here to see what I thought of it, and also what I thought of Batman v Superman (I may have to re-review that movie as well…).
Next up is Doctor Strange, which holds the distinction of perhaps being the most visually impressive superhero film ever made. The trippy visuals really help to make the film, and Benedict Cumberbatch puts in an excellent performance, as does Mads Mikkelson, who redeems what would otherwise be a flat villain. Click here for the full review of the movie.
Then we have the most recent of the bunch, my favorite film of all time, Guardians of the Galaxy Vol. 2. I won’t say anything here, just click the link for the full review.
The Marvel Cinematic Universe is constantly growing and expanding, creating new and fascinating stories that their characters can inhabit. These films are some of the only modern superhero films that truly embrace their comic book roots and play them for all they’re worth. Coming up soon are films such as Thor: Ragnarok, Black Panther, Avengers: Infinity War, Ant-Man & The Wasp, Captain Marvel, and untitled Avengers, Doctor Strange, and Spider-Man sequels as well as volume three of the Guardians of the Galaxy story. We can only hope that, upon their release, I have wonderful things to say about them. But considering the high quality of most of the movies here, especially as time went on… I don’t think there’s any reason to be afraid. Marvel’s the king of superhero cinema right now, and I see no signs they’ll be giving up that crown any time soon.
#Review#movie review#Marvel#Marvel Cinematic Universe#MCU#Iron Man#The Hulk#The Incredible Hulk#Captain America#Civil War#Black Widow#Hawkeye#Age of Ultron#Guardians of the Galaxy#Ant-Man#Thor#Doctor Strange
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