Tag Archives: brie larson

Movie Review: Captain Marvel

Captain Marvel isn’t here for your sexist bullshit. In fact, the latest addition to the MCU gives absolutely zero f@#ks about your agenda or preconceptions as it just unleashes its first Omega-level hero on an unsuspecting and unprepared world. While the script and directing are a little clunkier than other recent MCU masterpieces, I don’t think Ms. Carol Danvers would want us ranking her or pitting her against her fellow heroes. And any problems with the pacing of the first act are more than made up for with a hugely satisfying, explosive finale.

Here’s the deal, geeks– we’re spoiled rotten with the likes of Black Panther and Thor: Ragnarok . When something doesn’t quite measure up to those levels, it’s easy to dismiss or criticize. While I have a lot of measured criticisms of the film’s pacing and action choices, the best thing we can learn from Captain Marvel is she’s not here for your approval. She’s not here to smile at you. She’s not here to be compared to your other films and heroes. She’s here to kick ass and save the world. And that’s about it.

But as a film critic, critique I must, but making sure we don’t fall prey to easy sexist traps that have largely infected a lot of mainstream publications’ reviews of this. I’m especially looking at both right wing rags like the National Review and a lot of the (fragile)-white-male-dominated online geek press. Let’s get over ourselves and just enjoy this movie, because (shocking, I know!) not everything needs to be made for us.

Our titular hero (Brie Larson) begins the film as a warrior for the Kree Imperium with the codename Vers and a case of terrible amnesia that she can’t remember anything before six years ago. Alongside Yon-Rogg (Jude Law) and a team of Kree elite commandos, they are engaged in a long-term war against the Skrulls, a race of shape-shifting aliens. When she encounters Talos (Ben Mendelsohn), a Skrull leader, she begins to have strange flashbacks leading her to believe she had a life on Earth. where she then finds herself stranded in 1995 Los Angeles. She teams up with a young SHIELD agent named Nick Fury (Samuel L. Jackson) to stop the Skrull infiltration of Earth. Or so it would seem. . . as the shape-shifting abilities of the Skrulls and their conflict with the Kree are much wider than we thought, and this bleeds into major pieces of the broader MCU.

Fans are going to get a lot of service here, which is one of the main problems with any sort of prequel: the need to explain how everything came to be. The movie keeps poking and prodding at the broader universe, including multiple gags where they seem to be joking “Oh, so that’s how Nick Fury lost his eye.” It’s similar to the old episode of Harvey Birdman: Attorney at Law where they explain the origin of Stephen Colbert’s Phil Ken Sebben and his iconic eyepatch injury where for several minutes straight he’s pointing sharp objects at his eye. We get the joke.

But the fanservice that does work is the tie-in to the broader MCU. No spoilers, but the payoff by the end, once we know what is actually happening? It’s like finding that one puzzle piece which reveals what the larger section is all about. It should go without saying, but remember to stick around through the credits for both a mid-credits scene that directly ties into Avengers: Endgame and a post-credits scene that bridges Captain Marvel to the events of The Avengers.

Oh, and Stan Lee. The opening for the film and its iconic Marvel comics image flip has been replaced entirely with Stan’s cameos, and a small dedication of the film to Stan the Man himself. This film also contains one of the most interesting Stan Lee cameos ever. It’s a little mindbending and I’m going to need time to wrap my head around it completely.

But perhaps what’s most surprising is the underlying meaning the film brings. Brie Larson’s cold, dispassionate delivery and demeanor makes it harder to connect with our hero, but that is entirely the point. This is what we tell women to do to succeed in a man’s world: don’t be emotional. Be sexy and available, but not too much or you’re a slut. But especially as a member of the Kree Starforce, she’s told to act without emotion. This is what war does to our soldiers. This is what war does to us.

The saying goes that the first casualty in war is the truth. And so we are challenged by this film to confront some uncomfortable truths about the stories we tell ourselves about war and ourselves as warriors. The overwhelming feeling I’m left with is this: maybe the United States of America are the Kree. Maybe we’re animated by hatred and xenophobia more than we’d like to admit. Maybe we empower genocidal maniacs (like a too-briefly appearing Ronan the Accuser) through our war-mongering.

And what snaps our hero out of it? Learning her human past. Reconnecting with her best friend and flight partner Maria Rambeau (Lashana Lynch), the real secret weapon of this film. Rambeau shows us — and Carol — that she can be maternal and nurturing while also being a badass hero in her own right. It’s the quieter moments in Captain Marvel that work the best, which is maybe why we don’t give it the praise it deserves. Everything we’re criticizing the film for is actually a criticism of what patriarchy and war do to women, do to us. Maybe we should focus less on comparisons to Thor: Ragnarok and focus more on what the deliberate choices the filmmakers made in the first half of the film as a mirror of everything that’s wrong with us.

And then there’s that 90’s soundtrack. As a child of the 80’s and an adolescent of the 90’s (Go Team Xennial!!) there is nothing more precious to me than bands like Garbage, REM, and Nine Inch Nails that put me right back in that time and place. There’s also a surprising amount of pop R&B for a nice counterbalance. Watch for an article about the soundtrack coming soon, but beware– while some of the songs are not spoilers, per se, I think you miss out on the nice reaveals of a couple of them, especially a late scene with the Kree Supreme Intelligence and a climactic battle scene set to a specifically iconic mid 90’s bop that is going to drive the haters absolutely mad.

Speaking of? Haters– die mad about all of it. Take your lame attempts to tank the Rotten Tomatoes score and go die in a fire. Captain Marvel is definitely worth seeing, seeing on a giant screen with an amazing sound system that really lets you feel the groove of Elastica’s “Connection.” So go do it, and don’t let reservations that “Oh, but it’s not as good as Black Panther” worry you. Did that keep people from seeing Aquaman? Stick around for the finale– and maybe let Carol Danvers’ words resonate with you as she emancipates herself from Kree control and directly gives a giant middle finger to toxic masculinity that could’ve come out of the pages of a Riot Grrrl alt-weekly.

I can’t wait for Carol Danvers to show up in Endgame. She’s going to save everyone. ‘Nuff said.

3.75 out of 5 stars

Movie Review: Captain Marvel Takes Off But Doesn’t Quite Soar

Captain Marvel
Captain Marvel (2019) poster CR: Marvel Studios

The first sure to be blockbuster of the year, Marvel‘s Captain Marvel is an entertaining film that never quite reaches its full potential. Based on the comics character, Captain Marvel is a new take on the classic character of Carol Danvers. Here, she’s a Kree warrior, part of their Starforce, doing battle with Skrulls, a race of shapeshifting aliens who infiltrate societies before destroying them.

The film is an interesting one that even as I write this, I’m still trying to digest and process. There’s lots of good. There’s lots of bad. And a whole lot of middle ho-hum. In the growing library of Marvel films, it’s somewhere in the middle as far as quality.

The film acts as a prequel in a way, taking place in the 90s and introducing the character of Carol Danvers who we haven’t seen up to this point in the Marvel Cinematic Universe. The film feels like a piece of the bigger puzzle, never quite standing on its own, and at times stretching for winks and nods to make the fans happy.

Directed by Anna Boden and Ryan Fleck with a “story by” and “screenplay by” Boden and Fleck (Meg LeFauve and Nicole Perlman get “story by” credits and Geneva Robertson-Dworet gets “story by” and “screenplay by” credits) the movie has a lot going for it but also has some misfires as well.

Breaking from the usual narrative structure, the film is one of discovery where the “hero” attempts to figure out their “human side” as opposed the regular schmo discovering they’re a hero. With lots of action sequences, the film is Carol, played by Brie Larson, attempting to discover her past and stop the Skrulls.

Larson has the interesting task of playing a human trained by the Kree, an emotionless warrior race focused on logic. Warrior Vulcans in a way. That results in a character who doesn’t smile and doesn’t have the usual emotional latching on points we’ve seen as part of Marvel’s formula. Instead that role is given to Samuel L. Jackson‘s Nick Fury who becomes Danvers’ partner in crime as she attempts to complete her mission and discovers there’s so much to it and her. In this role reversal, the hero is the “straightman” with the sidekick the joker.

And that’s one of the interesting aspect of the film, it’s focus on Larson’s Danvers being “too emotional.” Part of the undeserved hate against the film is Larson’s lack of smiling in promotional material. She’s not supposed to, she’s Kree, they don’t show emotion. And that aspect brings out the film’s underlying theme of toxic masculinity and how women are treated in society. We see through flashbacks and other scenes Danvers is held back and told to not be emotional. One can just look at the reaction to female politicians to see there’s messed up societal standards when it comes to that.

The film, in many ways, feels like a woman attempting to break free from expectations. She’s also told this growing up. She’s trained to use logic over emotion. Not letting emotion get the better of her. And then eventually, saying screw that to unleash her inner awesome that she’s bottled up. It’s a middle finger to the “traditional norms” that today are being confronted in so many ways.

And that as a viewer had me experience something I haven’t before, trouble connecting with the hero. As a straight, white, man, I’ve never had someone tell me not to be emotional (beyond not crying) or I couldn’t do something due to my gender (I have had that due to my height but then I’d just get angry and go off, so once again, emotional for guys is totally ok apparently) so to see Carol being told over and over to not be angry or she couldn’t do something because she’s a woman, it’s an experience I’ve never had. And it made it hard to connect and enjoy her journey. I have no doubt that many others who will see this film will be able to relate to her experiences and will enjoy the film in a whole other way than me (this is also a good thing, not everything she be geared towards my demographic).

But, that disconnect between myself and the main character, the lack of quips of the hero, made me rely on the action for enjoyment and there the film is all over.

The direction of Boden and Fleck is too choppy at times relying on quick camera cuts making it difficult to follow exactly what’s going on. It’s not until the big CGI finale does the camera slow down, allowing the audiences to take in more of the action and enjoy it. Early fights are difficult to tell exactly what’s happening and it’s hard to tell if this is by choice or due to the difficulty of the setting. It’s most prevelant in a scene taking place on the metro.

The film also lacks the “f@#k yeah” moment until 3/4 of the way in. It’s a long wait for the hero to really come forward and show her inner awesome. It’s also a complete change from previous Marvel films which feel like they’re almost built to show off the character’s abilities in set time frames in a set narrative beat. The lack of that for most of the film is a change which honestly I’m still not completely used to. Compare this to Wonder Woman which gives us the beat on the beach, No Man’s Land, and the end of the film. It’s a different type of narrative that stands out from the at this point rather formulaic Marvel method.

The film being a prequel helps and hurts it. It uses that to get long time Marvel fans interested with the inclusion of Fury (how did he lose the eye!?) and Clark Gregg‘s Coulson. Reveals are a plenty tying the film in nicely to the Marvel Cinematic Universe but at times these reveals feel forced and a bit unnatural. Also, some of those reveals don’t feel like much as far as payoffs.

The supporting cast is other really good or rather wasted. Ben Mendelsohn as Talos steals the show with a fantastic performance (though Skrulls with British accents are weird, don’t know why). Jude Law as Yon-Rogg plays an emotionless Kree well and unintentionally adds a “good” moment when he gets his considering his not great past with women.

While Djimon Hounsou as Korath has much more screen time than he did in Guardians of the Galaxy his inclusion is still a bit head-scratching. Lee Pace as Ronan feels like he’s only included to tie the film into what has come before. Annette Bening‘s role is an interesting one and the less said the better but… I want more Annette Bening.

The rest of Starforce are solid with Gemma Chan as Minn -Erva really standing out. Lashanna Lynch as Maria Rambeau brings a lot of heart to the film and we better see more of Akira Akbar who plays her daughter. That combination had me excited for what could come.

The film is an interesting one and its themes and the topics it touches upon are ones that can be debated for some time. Beyond the toxic masculinity, there’s the obvious look at the war machine and deeper concepts whose discussion would spoil parts of the film.

There’s a lot done right here and in many ways breaks the Marvel mold and formula. It’s a film I have no doubt will have an audience that will celebrate it and enjoy it and even before opening has its haters. I’m somewhere in between. I can appreciate what it does and attempts to do and also see its flaws. I also recognize not all films are for me and this could be one of them.

Overall Rating: 7.0

One:12 Collective Captain Marvel Flies Into Pre-Order

One:12 Collective Captain Marvel

From the upcoming and highly-anticipated Marvel film, Captain Marvel joins the One:12 Collective.

The One:12 Collective Captain Marvel figure features 3 head portraits with the likeness of Brie Larson. One masked head features glow-in-the-dark eyes, highlighting her superpowers. Captain Marvel is accompanied by her space-travel companion and pet cat, Goose.

The cosmic-powered hero is presented in a fitted suit with star insignia and a removable flight bomber jacket. She comes complete with a range of energy projection effects, perfect for defending earth during a galactic war.

After an accident that caused her DNA to be fused with that of a Kree, Carol Danvers, better known as Captain Marvel, gained superhuman strength, energy projection, and flight. The story follows Captain Marvel as she becomes one of the universe’s most powerful heroes as Earth is caught in the middle of a galactic war between two alien races.

THE ONE:12 COLLECTIVE CAPTAIN MARVEL FIGURE FEATURES:

  • One:12 Collective body with over 30 points of articulation
  • Three (3) head portraits
  • Hand painted authentic detailing
  • Approximately 16cm tall
  • Eight (8) interchangeable hands including 
    • One (1) pair of fists (L & R)
    • One (1) pair of posing hands (L & R)
    • One (1) pair of grabbing hands (L & R)
    • One (1) pair of holding hands (L & R)

COSTUME:

  • Fitted suit with star insignia
  • Shoulder armor
  • Wrist gauntlets
  • Waist belt
  • Mid-calf boots

ACCESSORIES:

  • One (1) Goose The Cat
  • One (1) bomber jacket
  • Two (2) Energy ball effects
  • Two (2) Energy wrap effects
  • Two (2) Energy beam effects
  • One (1) One:12 Collective display base with logo
  • One (1) One:12 Collective adjustable display post

Each One:12 Collective Captain Marvel figure is packaged in a collector friendly box, designed with collectors in mind. The figure will ship between November 2019 and January 2020 and can be pre-ordered from Mezco, Entertainment Earth, Things From Another World and more.

One:12 Collective Captain Marvel
One:12 Collective Captain Marvel

Anna Boden and Ryan Fleck tapped to Direct Captain Marvel

As reported by Variety, the directors of Mississippi Grind, Anna Boden and Ryan Fleck have been tapped to helm the Brie Larson starring Captain Marvel.

This ends a long search to find who would take the gig and as reported the length of time was due to getting the script in the “right shape.”

Inside Out scribes Meg LeFauve and Nicole Perlman are currently writing the script.

Captain Marvel in the comics follows Carol Danvers who is infused with Kree DNA and gains powers such as flight and energy blasts.

Around the Tubes

DSKREB_Cv1_dsThe weekend is almost here! How are folks spending it? We’ll be catching up on movies and playing some of our games from Gen Con!

While you count down the hours, here’s some comic news and reviews from around the web in our morning roundup.

Around the Tubes

Time – Why Marvel Will Change Captain Marvel’s Origin Story in the Brie Larson Film – Just don’t make her green with CGI?

 

Around the Tubes Reviews

Talking Comics – Deathstroke: Rebirth #1

IGN – Insexts Vol. 1

Talking Comics – Superwoman #1

SDCC 2016: Marvel Reveals Lots of New Logos and Brie Larson as Captain Marvel

Marvel took the stage at Hall H revealing lots of new logos for their upcoming films and that Brie Larson has been cast as Carol Danvers/Captain Marvel. The Russo brothers have previously confirmed that Captain Marvel will appear in Avengers: Infinity War.

Check out the logos below.