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Review: Nia DaCosta’s ‘The Marvels’ is a Solid Mid-Tier MCU Movie | FirstShowing.net

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Review: Nia DaCosta’s ‘The Marvels’ is a Solid Mid-Tier MCU Movie

by Manuel São Bento
November 9, 2023

As someone who enjoyed 2019’s Captain Marvel more upon rewatch than during the initial premiere, I approached The Marvels with a mixture of tempered anticipation and curiosity. As everyone is aware, the MCU (Marvel Cinematic Universe) has expanded to include not only films but also television shows, some of which are crucial to fully getting behind the main characters. WandaVision remains my personal favorite for its extraordinary storytelling, and Ms. Marvel was a delightful watch due to its blend of cultural richness with a unique visual style. Consequently, I was intrigued to see how filmmaker Nia DaCosta (Candyman) would seamlessly merge three different characters: Carol Danvers / Captain Marvel (Brie Larson), Monica Rambeau / Photon (Teyonah Parris), & Kamala Khan / Ms. Marvel (Iman Vellani), into a single movie.

Since the monumental success of Avengers: Endgame, the MCU has found itself in a special position where both intense hype and harsh criticism have become the norm. Hardcore Marvel fans, eager for the next big thing, often expect each release to surpass its predecessors, which is an unattainable standard. On the flip side, some individuals have grown exceptionally weary of the MCU’s dominance and are quick to scrutinize every installment, citing formulaic storytelling or superhero fatigue. The sheer popularity of the MCU has made it a prime target for said scrutiny, with even minor flaws or deviations from expectations receiving disproportionate attention. In reality, the MCU’s varied offerings actually do have something for everyone, and the key lies in appreciating the diversity within the monumental franchise. While not every film or show may appeal to every viewer, both the exaggerated hype and hate should be taken with a grain of salt.

With that said, The Marvels’ premise revolves around the three superheroes mentioned before. Danvers is a familiar face, while Rambeau and Khan come from the TV realm. WandaVision originally introduced the former, a S.W.O.R.D. agent investigating the mysterious events in Westview. Rambeau is further developed as she grapples with her own personal loss and grows into her superpowered identity. Khan is introduced in her own series Ms. Marvel as a young, relatable fan of superheroes who discovers her body-morphing abilities and begins her journey to becoming a hero in her own way.

The first standout aspect of The Marvels is precisely the chemistry among the cast. The trio of actresses share a delightful on-screen dynamic throughout. Vellani shines as a character who remains true to her fun, light-hearted self during the movie – Vellani herself looks like she’s having the best time of her life filming. Parris and Larson, on the other hand, bring a more emotional, complex dimension to their characters, even though the short runtime (105 minutes) limits the exploration of their intricate relationship, which was left hanging after Larson’s prolonged absence from Earth.

Another of the film’s strengths lies in its inventive, eclectic action set pieces. The Marvels is able to blend real stunts and impeccable choreography with the teleportation skills that the trio forcibly shares, providing some creative variety to the battles, which are also shot beautifully by the film’s cinematographer Sean Bobbitt, some even utilizing extended takes. The way the superheroes switch places with one another every time they simultaneously use their powers adds an unpredictable element to the fights, making them visually engaging and thrilling to watch.

On a rather surprising note, The Marvels also boasts some of the finest visual effects work seen in the MCU in a long, long time. The quality & especially consistency of the VFX throughout are quite impressive, adding a layer of grandeur to the superhero spectacle, namely during a stunning set piece in a fictional city near the ocean. This is what happens when the studio gives enough time for the artists to work and deliver their absolute best. The movie’s gorgeous costumes and smaller constructed sets contribute to its visual appeal, creating vibrant, captivating worlds for the characters to inhabit.

The Marvels Review

Yet another commendable, efficient aspect of The Marvels can be found in its humor. The film successfully integrates jokes, banter, and amusing moments without falling into the common Marvel trap of overusing this overall lightness, thereby maintaining thematic depth. Much of the humor is provided by Vellani’s character, who, and I can’t state this enough, is the star of the whole show. Most of the comedic scenes are well-timed and fit seamlessly into the narrative, without really damaging the emotional weight of the story… which would be harder to avoid if there actually was a palpable emotional layer throughout.

The Marvels is far from perfect, as it grapples with some screenplay and editing issues. DaCosta, who also co-wrote with Megan McDonnell (WandaVision) & Elissa Karasik (Loki), attempts to balance too many different storylines, at times making the movie feel bloated and lacking the necessary depth for each of the main narratives. It often feels like multiple films condensed into one, resulting in a rushed, occasionally disjointed narrative that definitely needed more time to tackle all of the complex themes it tries to portray.

The editing by Catrin Hedström & Evan Schiff is a mixed bag. It’s outstanding during the action set pieces, accompanying the movements and choreography smoothly and comprehensibly. However, outside of these scenes, inconsistency overtakes the movie, as it struggles with transitions between different locations and scenes. From easy-to-miss nitpicks right after cuts, such as characters not being in the same spot, having different facial expressions, or changes in costumes and makeup, to more impactful narrative shifts, the film’s overall cohesion is certainly impacted. A couple more passes could have elevated The Marvels to a higher standard within the MCU.

Finally, after so many other compelling villains in the past few years in the MCU, The Marvels disappoints in this regard. British actress Zawe Ashton does the best she can as Dar-Benn, a Kree warrior who seeks revenge on Carol Danvers and her allies, but ultimately she feels like another forgettable Phase One “bad guy”. While the motivations are present, the character remains one-dimensional and formulaic, making it difficult for viewers to really care about her goals. Despite a pretty good third-act battle, the emotions of the conflict are largely absent due to a lack of screen time given to the villain and her connection with Danvers.

In the end, it is tough to truly understand what went wrong with The Marvels. It’s still a good time at the theater, but the production issues clearly impacted the final version of the movie, so one can only imagine its true potential. I feel bad for Larson, who I find to be an incredible actress targeted incessantly by a vocal minority that does not know how to interpret statements within specific contexts. Larson is wonderful as Danvers, and I would love to see her again as one of the strongest heroes in the current MCU roster.

There’s one *very* exciting mid-credits scene. It will leave the most hardcore fans absolutely gobsmacked…

Final Thoughts

The Marvels showcases some of the well-known strengths and also the weaknesses of the MCU. It struggles with script & editing issues that hinder its narrative cohesion and character depth, besides an unnecessarily short runtime that doesn’t help its villain. Fortunately, it excels with its ensemble cast and their chemistry, creative action set pieces, some impressive visual effects, stunning costumes, and well-timed humor, which all together push the movie into safe harbor. Nia DaCosta offers a light, entertaining superhero blockbuster that may fall short of greatness, but leaves room for improvement in future installments of the franchise.

Manuel’s Rating: B
Follow Manuel on Twitter – @msbreviews / Or Letterboxd – @msbreviews

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Guardians of the Galaxy Vol. 3 to Fast X: 2023’s Biggest Movies on Streaming, VOD

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We’re halfway into 2023, but it’s already been a great year at the movies. Film historians would be delighted to look back at some surprise box office hits like The Super Mario Bros. Movie, an adaptation of the seminal Nintendo video game franchise, which earned $1.344 billion (about Rs. 11,063 crore) — a massive feat, considering how annoyed fans were when they learnt Chris Pratt was going to be voicing the titular plumber. Boosting the animation slate, however, was Spider-Man: Across the Spider-Verse, which threw Miles Morales onto a multiversal adventure, while Keanu Reeves got dressed in black once again in John Wick: Chapter 4, heading on a revenge path against the ones who left him to die. Revenge was another major theme in the latest Fast & Furious movie, which brought in a brand new villain.

The superhero movie fatigue is finally hitting — about damn time — causing them to severely underperform in theatres, regardless of some being creative in their presentation. A lot of the big money-makers have already headed over to VOD and streaming services, but I wouldn’t call them award contenders. Nevertheless, here’s a list of 2023’s major film releases that you can watch from the comfort of your home.

Ahead of Mission: Impossible – Dead Reckoning Part One, Here Are Our Favourite Tom Cruise Movies

Major releases of 2023 available on streaming and VOD right now

The Super Mario Bros. Movie

Aside from the casting drama, The Super Mario Bros. Movie had some narrative flaws, aimed at bombarding its audience with as many easter eggs as possible, as a means to feed off nostalgia. Regardless, it was a joyful experience for kids, who got to experience a movie that did justice to the Mario games’ playful themes, by incorporating a fresh origin story. In it, siblings Mario (Pratt) and Luigi (Charlie Day) are immigrant plumbers working in Brooklyn, New York City, who get warped down a mysterious underground pipe onto a magical world. Unfortunately, they get separated in the process, with Mario landing in the vibrant Mushroom Kingdom, while Luigi is plopped onto the Dark Lands, ruled by the evil king Bowser (Jack Black).

Teaming up with Princess Peach (Anya Taylor-Joy) and Toad (Keegan-Michael Key), Mario not only has to free his imprisoned brother, but is also dragged into a world-saving mission, as the evil turtle threatens to destroy it all. As mentioned before, fan service is in full force here, as our heroes race along the sparkling Rainbow Road, get slapped around by the goofy Donkey Kong on Monkey Island, and we even get to see the shapeshifting Tanooki outfit. Oh, and there’s also a beautiful musical piece from Bowser — a piano ballad — which he dedicates to Peach, as an expression of love. You can tell the voice actor Black was having way too much fun with the overly playful yodelling and all.

The Super Mario Bros. Movie is available to rent on Prime Video. Alternatively, you can opt for Google Play Movies, YouTube Movies, and Apple TV, which also come with options to buy the film. When the film receives a streaming date, it should arrive on JioCinema, seeing as Viacom18 recently signed a deal with NBCUniversal.

John Wick: Chapter 4

In hiding with the Bowery King (Laurence Fishburne), John Wick (Reeves) has been training for the day he gets to exact his revenge on the High Table, the cultish organisation of hitmen, who previously betrayed him and left him severely injured. The end goal, however, runs a bit deeper than that, with Wick wanting to be relieved from the murderous lifestyle, which is hard to attain, thanks to a new formidable enemy Marquis de Gramont (Bill Skarsgård), who puts a bounty on his head. While the pair agree to single combat, where only one of them can survive, Wick’s path to the destination is nothing but an elaborate trap laid with waves of armoured assassins, who wouldn’t stop at anything.

John Wick: Chapter 4 adds a new assassin dog in the equation, themes of bitter friendship by way of the blind hitman Caine (Donnie Yen), and plentiful ‘car-fu’ action. Chad Stahelski is the returning director for the film, albeit the creator Derek Kolstand bids adieu to the franchise. The film also stars Ian McShane as the crime lord Winston, Lance Reddick as the Continental Hotel concierge Charon, Hiroyuki Sanada (Bullet Train) as the katana-wielding old ally of Wick, Shimazu, and Rina Sawayama as the feisty assassin Akira. It’s also worth noting that John Wick 5 is in early development at Lionsgate, alongside a AAA video game.

John Wick 4 is up for streaming on Amazon Prime Video and Apple TV, via a paid add-on subscription to the Lionsgate channel. You can also rent or purchase it on Google Play Movies, YouTube Movies, and Apple TV.

Guardians of the Galaxy Vol. 3

Peter Quill (Pratt) and the remaining Guardians, still reeling from the death of Gamora (Zoe Saldaña), have now set their base on planet Knowhere, which immediately gets attacked by the gold-tinted Adam Warlock (Will Poulter). With their headquarters in shambles and a critically wounded Rocket Raccoon (Bradley Cooper), the crew embark on an interstellar journey to Orgocorp’s headquarters, in order to override a chip from the loudmouthed furball’s body. Of course, with such a tragic accident, it was only time we learnt of Rocket’s past, as he reminisces of the time he spent at the experimental facility, where the High Evolutionary (Chukwudi Iwuji) ran tests on him and his friends Wal Rus and Lylla.

The notion of romance in Quill’s life is also rekindled when he encounters the alternate version of Gamora — introduced in Avengers: Endgame — leading to some funny exchanges between the two. Guardians of the Galaxy Vol. 3 marks the end of the trilogy and director James Gunn’s goodbye to Marvel for the foreseeable future, as he turns his focus to charting a new course for the rival DC Universe. The film grossed a worldwide total of $841.6 million (about Rs. 6,925 crore), which despite seeming small for an MCU flick, isn’t as big of a commercial failure as the next name on this list.

Guardians of the Galaxy Vol. 3 is out now to rent and purchase VOD, across Google Play Movies, YouTube Movies, and Apple TV. It should eventually make it to streaming on Disney+ and Disney+ Hotstar.

Ant-Man and the Wasp: Quantumania

In the days since the Avengers’ successful battle against Thanos, Scott Lang/ Ant-Man (Paul Rudd) has been living a pretty normal life, often struggling with his daughter Cassandra’s (Kathryn Newton) teenage angst, as with every other parent. Unbeknownst to the Pym family, the little genius had been working on a device that can help establish contact with the Quantum Realm, inadvertently getting themselves sucked into a world flush with exotic wildlife and a hugely populated megacity, ruled by the multiversal overlord Kang the Conqueror (Jonathan Majors).

As they try to find a way to escape the kingdom, Ant-Man, who was always treated as an afterthought, receives a warm welcome from the emperor and accepts an undisclosed task, in the hopes that he receives some time back — the five years lost during the Blip event. As the deal falls through, the two are put at odds against each other, revealing the mutated M.O.D.O.K. (Corey Stoll) and Janet Van Dyne’s (Michelle Pfeiffer) long-kept secrets. The film also brings back Evangeline Lilly, who returns as Hope/ Wasp and Michael Douglas as Hank Pym. Fair warning though: the CGI is horrendous in certain places, with the backgrounds appearing cheaply crafted and super distracting from the vibrant tone Ant-Man and the Wasp: Quantumania is trying to exhibit. VFX artists who worked on the film blamed Marvel Studios for diverting its major resources and crew members towards Black Panther: Wakanda Forever, causing theirs to suffer.

Ant-Man and the Wasp: Quantumania is up for streaming on Disney+ Hotstar. You can also buy or rent it on Google Play Movies, YouTube Movies, and Apple TV.

Fast X

In less than two weeks since its theatrical release, Fast X became the first Hollywood movie of the year to break the 100-crore mark in India, highlighting the need for goofy, over-the-top action movies in the summer. While certainly not as outrageous as heading to space — as seen in F9 — Fast X upped the ante with explosions, be it blowing up the Vatican, an entire dam, and even John Cena riding around in cars armed with cannons. Dominic Toretto (Vin Diesel) has a new formidable enemy in town, Dante Reyes (Jason Momoa), who’s been planning his revenge for the past 12 years, having witnessed his druglord father Hernan Reyes’ murder back in 2011’s Fast Five.

Reunited with Letty (Michelle Rodriguez), Deckard Shaw (Jason Statham), Roman Pearce (Tyrese Gibson), and Tej Parker (Ludacris), former street racer Dom must rise to the occasion and prevent his family from being harmed, by whatever means possible. Serving as the first of a two-part finale — maybe three — the film brings new additions by way of Brie Larson (Captain Marvel), Daniela Melchior (The Suicide Squad), and Rita Moreno.

Fast X is now available to rent on Amazon Prime Video and Zee5, with further options to buy on Apple TV.

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Review: Sony’s ‘Across the Spider-Verse’ Reinvents Visual Storytelling | FirstShowing.net

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Review: Sony’s ‘Across the Spider-Verse’ Reinvents Visual Storytelling

by Alex Billington
June 7, 2023

“Everyone keeps telling me how my story is supposed to go. Nah. I’m-a do my own thing.” Yes, Miles, you tell them. This line is the key to Miles entire story – be you, stay true to you, don’t let anyone tell you how to be, break the rules, define your own life your way. So let’s get into this… In all honesty, what more can I say about Spider-Man: Across the Spider-Verse that hasn’t already been said in 1000s of other glowing reviews of this animated masterpiece? (Read this one by our writer.) I only wish to chime in and state, for the record, that yes indeed I also think it’s a brilliant, spectacular, mind-blowing film. Is it better than the first Into the Spider-Verse – which I also consider a masterpiece? I’m not sure I can say that yet, it’s hard to compare them at this moment, much like it’s hard to compare the original Star Wars trilogy. I love all three of those movies, and some days I’m in A New Hope mood, other days I’m in an Empire mood, sometimes I’m in an Ewok mood, etc. For now, I’ll say they’re on par with each other and I don’t even mind calling both of them masterpieces. And the trilogy ain’t even finished yet – there’s still Beyond the Spider-Verse up next.

Spoilers from here on out! It’s also hard to write about something a story that is only half finished. I tried to start putting together my thoughts on Across the Spider-Verse, then waited to see it a second time on opening weekend before really thinking about what I want to say. Much like Dune, I can rave about how incredible the movie is, but I’m still anxiously awaiting the grand finale. And how it all comes together will likely affect my feelings about the first movie, because it is one giant, over-arching story spread across two epic movies. The same goes for Across the Spider-Verse, which ends on a cliffhanger and lots of unanswered questions. Yes, the characters in this movie do get an arc anyway, progressing through a good chunk of story, but they’re also pushed right to the brink of making a massive decision. Gwen has to decide who she is loyal to, Miles abandons Miguel and his mission and heads home, Miguel decides to go after him anyway, Peter B. Parker looks like he is also about to jump ship and join Miles. All the while, the story with Miles’ new nemesis The Spot is also unresolved, including the huge space / time rift still devouring Mumbattan. This is common with superhero movies (Avengers: Infinity War / Endgame) but we’re still in the middle.

One thing I can rave about now is how Across the Spider-Verse, thanks to the remarkably talented teams of animators / artists at Sony Pictures Imageworks and Sony Pictures Animation that made these movies, completely reinvents visual storytelling. It’s the epitome of cinema as a visual medium, an eye-popping blend of comic book fundamentals, animation (all styles / techniques / formats), and modern storytelling concepts. As always with cinema, story is key – and the filmmakers know this and care deeply. They’ve also outdone themselves in creating one of the most mesmerizing and psychedelic works of art in cinema. Sure, it can be overwhelming to behold at times, and there are scenes where so much is changing and so many colors are flashing by that it will make some people go catatonic. It really is a hallucinogenic experience, but these artists at Sony know exactly what they are doing. Every single frame is perfect because the look and style connects directly to the characters, the themes, and where the story is at in that moment. There are beautiful, conventional shots like the wind lightly flapping the sheets above Alchemax. And on the flip side, there’s the psychedelic colors splashing across Miles’ worried face just as he’s about to be sent to Earth-42.

What I’m waiting for them to do next is to integrate a live-action character into the animated world, as part of the multiverse concept. It’s the inevitable next step to pushing the multiverse concept and animation even further. My guess is this is what Donald Glover’s Prowler is setup for – he might even get involved in some fight in Beyond the Spider-Verse. Or not, who knows. Only time will tell. Interestingly, James Cameron’s Avatar 2: The Way of Water already pulled this off perfectly integrating Jack Champion’s human Spider character into the fully CGI scenes with all the Na’vi on Pandora. Perhaps they’ll bring back one of the other Spider-Men, as they did in No Way Home, to get involved in helping Miles. Both Into the Spider-Verse and Across the Spider-Verse are both groundbreaking animated movies. The first one already evolved animation forever (see this video) and this one should also inspire animators around the world to rethink how they tell their stories and what’s possible with animation. There’s artistry in every aspect, from the color choices to the backgrounds to the character designs to the framing and composition, and everything else on screen. I keep wanting to go back & watch it again just to get lost in and immersed by all this mind-blowing footage.

Spider-Man: Across the Spider-Verse Review

By the time the opening logos come up in Across the Spider-Verse, the movie expects that everyone knows everything about Spider-Man already. His/her origin story, how the character works, the important parts of his/her life (family member dies, love interest, etc), the goofiness, the web shooters, the way “Spider-Sense” works. This movie doesn’t need to introduce or explain any of that, it’s entirely about “this is who and what Spider-Man is, folks.” The plot is actually what breaks away from this familiar concept, with Miles making rebellious choices to go against what is expected and what he “should” be doing as Spider-Man. This is what causes all the multiverse chaos and rifts and problems that catch up with all of them. This is his lesson to learn, of course, but I also think it’s extremely bold of this movie to say – hey you know what, yes it causes problems, but it’s not the end of the world (hopefully) that you break the rules every once in a while. I love that they continue to break from what is expected in animation (and visual storytelling) by using the story to show what is possible. It’s brilliant because both movies are a metaphors for the animation / entertainment industry, beyond only superheroes, saying that we should be unique, we should strive to be one-of-a-kind.

The thesis for this sequel seems to be – what if we break the rules, what will really happen? What if we break from Canon, can someone pull it off? It deals with the superhero identity theme it a clever way, using the multiverse concept to explore the accepted idea that all Spider-Men/Women are pretty much the same, and must follow the same paths to be who they are – heroes in their own universe. Ultimately, it’s commenting on how it’s possible to break from the superhero mold, from the animation mold, and from the Hollywood structures in place to make something radical and distinct again. It’s also another big learning experience film, once again similar to Avatar 2, perfectly allowing characters to grow and figure out what the right way forward is. And oh yes I need to mention Hobie! Spider-Punk is such an important character, and he kicks ass, becoming the real teacher for Miles in this one. Crash the system, rock out and take on everyone. Be punk. Don’t fall in line because the authority tells you to, you’ve gotta stay true to who you are and always go forward with the right open-mind. Yes, he says some funny stuff and contradicts himself (even Miles quips about this) but at the same time it seems his punk attitude has a major impact on Miles’ decision-making.

I also can’t talk about Across the Spider-Verse without mentioning that in addition to being another perfect Miles Morales movie, it’s a perfect Spider-Gwen movie, too. The voice performances by both Shameik Moore (as Miles) and Hailee Steinfeld (as Gwen) are stupendous. But it’s more about her story and how her character deals with her dilemma. It’s incredibly realistic and authentic, with Gwen’s responses to all these situations being accurate to the experiences of many people in the real world… It’s also a powerfully emotional look at the turmoil that can develop between family members. It’s riveting and refreshing to see the movie open with her storyline, spending the first ~30 minutes on Gwen. I can still feel the heaviness of her sadness trying to be open and admit the truth about her identity to her father, while he can’t accept it (at first) and she screams at him “are you really that afraid of me?!” This is a line that most other movies would be afraid to put in, but it is vitally important in Across the Spider-Verse. It’s a potent expression of anger and frustration, cutting right to the core of the fact that it’s this fear of someone else not being who you want them to be that often causes a rift between people. This is what happens between Miles and Miguel later on.

Where will it go next? How will they wrap up all these storylines they’ve only started to explore? What will they do with all these different Spidey characters? The first movie is all about: anyone can wear the mask, anyone can be a hero. This second movie is all about: who are you really, if you are just the same as every other hero? What defines you, what makes your story different? And most importantly – can you try to do what you believe is right even if everyone else says it won’t work? Strangely enough, Across the Spider-Verse doesn’t answer this question before the cliffhanger ending. How will they stop The Spot? Will they get the multiverse rifts under control, and how? Will Miguel eventually let Miles get away with breaking the Canon of Spider-Man and will it actually destroy the whole multiverse like he claims? I had chills watching this like I remember with the two Matrix sequels (yes, regardless of opinions on each of these not being as good as they could’ve been) – that excitement of waiting for what comes next after the curious ending of Reloaded is exactly how I feel now. I cannot wait for Beyond to land in theaters. I cannot wait to see how the the team of filmmakers / animators / artists pushes themselves again for the finale. I hope they break even more rules.

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Review: ‘Spider-Man: Across the Spider-Verse’ is an Animated Work of Art | FirstShowing.net

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Review: ‘Spider-Man: Across the Spider-Verse’ is an Animated Work of Art

by Manuel São Bento
June 5, 2023

Regardless of the reasons, whenever I miss a new release, I still try to look at the situation from a positive perspective anyway. In 2018, I couldn’t catch Sony Animation’s Spider-Man: Into the Spider-Verse on its opening weekend. With the incessant amount of new movies that year, as well as the “hurry” to comment that the world of film criticism insists on, I ended up postponing it until it would be time for the inevitable sequel. Well, the day has finally arrived – now playing in theaters is Spider-Man: Across the Spider-Verse, the first of two parts that will complete the epic journey of Brookyln’s Spider-Man, Miles Morales. Both movies got a tremendously positive reception, with many ranking them as the best film adaptations of the Webslinger’s story. Usually, out-of-the-theater reactions are to be taken with a grain of salt – we’ve all had that heightened enthusiasm only to later, after taking time to process it, offer a more accurate opinion of what we really think & feel – but the truth is that the Spider-Verse saga deserves this hyperbolic praise.

I will never refute anyone who names any of these animated flicks as their favorite Spider-Man movie, just as I will never stop defending Raimi’s first two films or Watts’ No Way Home – that’s what happens when there are so many great adaptations to choose from. I have practically the same compliments and very few criticisms for both new movies. That said, it’s impossible not to address the incomparably intricate, utterly dazzling, genuinely impressive quality of the animation itself. Hundreds of visual artists and animators worked together to create authentic works of art. It’s hard to escape hyperbole, but every *second* of Into the Spider-Verse and Across the Spider-Verse can be individually framed and placed in an unique museum of jaw-dropping digital paintings. I’m talking about tens of thousands of gorgeous illustrations, with lots of different, thematically rich styles. The amount of visual information in each frame is such that multiple viewings are needed to notice all the elaborate details in the four corners of the screen.

Honestly, it’s quite overwhelming, which for some viewers could be the equivalent of too much chaos. If Into the Spider-Verse already asks for very sharp eyes, Across the Spider-Verse pretty much requires that you bring company with you to divide the work needed for visual and narrative understanding. In the latter flick, the complexity of these two storytelling components increases immensely, with even more characters, more secondary storylines essential to the main plot, more universes, more animation styles, and so on…

Somewhat miraculously, writers Phil Lord & Chris Miller (also from The LEGO Movie, “The Afterparty”, “Clone High”), and David Callaham manage to structure the screenplay in an incredibly efficient manner, saving moments of true surprise in character developments and shocking revelations, despite the mix between the energetic pace and the epic duration of the sequel not being as balanced as in the original – the second act takes its time. Visually, there are also a couple of moments that are difficult to follow, but these are mere nitpicks that, in the end, don’t impact my overall enjoyment of the film.

Another equally miraculous execution in this sequel is the screenwriters’ genius ability to take plot points from the original and brilliantly expand on them without generating narrative inconsistencies or raising problematic issues regarding certain characters. Across the Spider-Verse dives deep into the multiverse, featuring literally hundreds of Spider-Man cameos, something that will leave the most knowledgeable comic book fans in complete awe. In terms of entertainment and fan-service, this sequel strikes the perfect balance between maintaining an interesting thematic focus on Miles & Gwen simultaneously with adrenaline-charged action sequences and amusing references to the source material.

Spider-Man: Across the Spider-Verse Review

The number of narrative layers and deep character arcs is what separates the two movies within the saga, with Across the Spider-Verse being much more complex than the first film. Still, the themes remain the same, as Miles’ (voiced by Shameik Moore) journey of self-discovery as a young Spider-Man continues to take the reins of the overarching story. Topics like parenting and destiny fulfillment are addressed, but it’s the study of what it means to be a hero or villain that really grabbed my attention in this sequel filled with emotionally powerful storylines.

Directors Joaquim Dos Santos (Into the Spider-Verse), Kemp Powers (Pixar’s Soul), and Justin K. Thompson (his directorial debut) play with the ease with which viewers attach labels to the characters as soon as they appear on screen, mixing characteristics normally associated with a specific archetype with the opposite. From a certain point onwards, it becomes a great challenge to differentiate each role. Across the Spider-Verse contains a range of understandable, relatable motivations for a vast group of important characters, creating a strong connection with the audience that feels captivated by every scene throughout the whole film since they actually care about everyone in this story.

Personally, Gwen Stacy’s (voiced by Hailee Steinfeld) arc fascinated me the most, being the character with the most significant link to all of the movie’s themes. Truth be told, the fact that they’re all Spider-Man / Spider-Woman makes the core, character-defining events common among them – something that is actually a crucial plot point – but both Gwen’s universe and her emotional conflicts stand out. Miles remains an equally intriguing protagonist, with a rather predictable coming-of-age story that confronts the ideologies behind the concept of a superhero.

There are many new & old characters, but it would be difficult to talk about them without resorting to minor spoilers. However, I can mention that Oscar Isaac (Miguel O’Hara), Jake Johnson (Peter B. Parker), Issa Rae (Jessica Drew), and Daniel Kaluuya (Hobie) stand out, though the film’s entire cast delivers extraordinary voice-over performances – some through more comedic moments, and others through eye-popping action set pieces. I challenge viewers to find an animation flick with more vivid colors than this one – but all with very serious, dramatic dialogue, too. It’s the first of two parts – prior public knowledge, but the sequel makes that clear – so we’ll have to wait for Beyond the Spider-Verse to draw any final conclusions.

As mentioned at the start, I don’t have any major issues with Across the Spider-Verse. In addition to those mentioned throughout so far, the only thing left is one of those aspects that are technically wonderful and award-worthy, but also raise a different problem… In this case, the issue is seen the most in Gwen’s universe, although it happens occasionally throughout the film. The animation style of Spider-Woman’s world is visually arresting, but it literally changes everything on the screen with every new frame. From backgrounds to colors, both around and on the characters, the constant change becomes a highly distracting element that diverts attention from what is really important.

Final praise for Daniel Pemberton’s fantastic score. If there’s one aspect that absolutely no one can criticize, it’s the composer’s phenomenal symphony. From the song choices to the background music itself, there aren’t any sequences across the 140 minute runtime that aren’t somehow elevated by the memorably epic soundtrack. The in-crescendo moments transform build-ups into crazy rollercoasters of emotion, especially given the nature of the third act and the end of the movie.

Final Thoughts

Sony Animation’s Spider-Man: Across the Spider-Verse is the epitome of incredibly detailed, gorgeously unique, undeniably epic animation within its medium. Separately from enjoying this movie or not, any or all cinephiles should bow to the ridiculously talented artists and animators behind this pure work of art. That said, the attributes and issues are more or less the same as the original. The various animation styles are overwhelmingly stunning, but also to the point of creating confusing moments. Gwen Stacy stands out from the rest of the pack – both the character and Hailee Steinfeld’s voice performance – but everyone on screen is impressively captivating. The voice cast is superb all-around. An unfinished story – remember, this is the first of two parts – about what it really means to be a hero. The 140-minute runtime isn’t exactly heavy, but the necessity to resort to exposition scenes is more frequent than in the previous flick, even though the narrative complexity ends up justifying this. A must-see movie in the cinema! Go support animation.

Manuel’s Rating: A-
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Review: ‘Guardians of the Galaxy Vol. 3’ is a Satisfying Conclusion to Gunn’s Trilogy | FirstShowing.net

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Review: ‘Guardians of the Galaxy Vol. 3’ is a Satisfying Conclusion to Gunn’s Trilogy

by Manuel São Bento
May 9, 2023

We have arrived at the 32nd MCU movie and the end of a trilogy started in 2014 by the filmmaker James Gunn, called Guardians of the Galaxy, based on the comic book series created by Dan Abnett & Andy Lanning. The Marvel franchise has generated several debates about quantity vs. quality in the last few years, but the truth is that the vast majority of its projects continue to be well-received by general audiences and critics alike. That said, Guardians of the Galaxy Vol. 3 is one of the most anticipated movies of this new saga and might actually revitalize the enthusiasm of most fans who have been disappointed with the latest MCU installments. For me personally, it has further strengthened my passion for this cinematic universe.

Most moviegoers don’t read that many comics, so when the first Guardians of the Galaxy came out, no one expected anything due to their total lack of knowledge of the respective heroes. Gunn brought what’s clearly a personal project to the MCU, and the truth is that 15 years after it started, the original Guardians movie remains a personal favorite of many fans of the franchise, including myself. The 2017 sequel, on the other hand, overdoes the humor that worked perfectly in the predecessor, losing some of the near-perfect balance, despite being a highly satisfying, entertaining flick.

Therefore, Guardians of the Galaxy Vol. 3 carried a heavy load on its shoulders. On one hand, Gunn has begun his next journey at DC, so this will be the last movie written and directed by the filmmaker featuring his Guardians, so it’s necessary to wrap up numerous character arcs. On the other hand, even though I’m on the positive side regarding the offerings in Phase Four, I admit that the MCU needs that “banger” to please all types of audiences, so Gunn has to deliver a truly impactful movie that leaves most viewers delighted.

Answering short and to the point, Guardians of the Galaxy Vol. 3 could hardly be a better conclusion to this trilogy that now becomes one of the most complete, efficiently told stories in the MCU, despite some minor issues. I often state that the two pillars of cinema are story and characters. The highest praise I have to give Gunn and his team is precisely related to these two movie-making elements. It’s genuinely remarkable how all the Guardians get such detailed, thoughtful attention in this movie, to the point where each feels like the main protagonist at certain stages of the runtime.

Guardians of the Galaxy Vol. 3 explores the motivations, desires, dependencies, traumas, and regrets of the main heroes, with the heart and soul of the narrative belonging to Rocket Raccoon’s (Bradley Cooper) painful, heartbreaking, tragic past. Through flashbacks, viewers follow the origins of the raccoon that Gunn always considered the main character of the trilogy anyway. After this film, many of the filmmaker’s past statements make much more sense. Cooper once again lends his incredible voice to Rocket – the actor is completely unrecognizable – but it’s the visuals surrounding the character that left me speechless.

With the big budgets that Marvel movies tend to have, a certain quality within the realm of visual effects is to be expected, but Guardians of the Galaxy Vol. 3 is a fantastic example of how mixing practical effects with polished CGI can produce outstanding results. Especially in these Rocket flashback scenes, practically everything on the big screen is created digitally, but the realism is such that the moments of animal torture become truly disturbing and will easily shock animal lovers – the PG-13 is barely acceptable. Exceptional effort by the VFX artists who deserve all the credit and acclaim.

Returning to the character arcs, Peter Quill / Star-Lord (Chris Pratt) continues to deal with the loss of “his” Gamora (Zoe Saldana), but contrary to appearances in other movies, the approach to this storyline is more serious and somber, something that demonstrates how much Gunn cares for his Guardians. The balance between comedy and drama goes back to the level of the original film, making the smaller number of jokes even more effective, with some provoking very audible laughter with the audience I watched this movie with. Quill and Gamora share an arc related to the challenges of facing a “new world”…

On Quill’s side, life will never be the same without his great love… On Gamora’s side, she must adapt to a literally different universe from a distinct timeline. Star-Lord goes through the known stages of grief, while Gamora takes refuge in what she was taught to believe, refusing changes that imply a new interpretation of life and those around her. Guardians of the Galaxy Vol. 3 manages to develop these themes without giving in to cliche resolutions that would, without a doubt, ruin much of what had been built in the last few movies.

Guardians of the Galaxy Vol. 3 Review

Nebula (Karen Gillan), Mantis (Pom Klementieff), Drax (Dave Bautista), Groot (Vin Diesel) may not have as much screen time as others, but Gunn is able to swing the main spotlight onto each character, allowing them all to shine at some point. Nebula feels closer and closer to the Guardians, forming family bonds that fill the character with new, positive emotions. Mantis preserves her cheerful friendship with Drax, as the duo continues to share many memorable moments together. And Groot… keeps growing.

Still, Guardians of the Galaxy Vol. 3 makes it clear that pretty much everyone wants something… new. Some desire to settle down and build a community they can protect and care for, while others would love to further explore the vast universe full of even more adventures. Some have individual ambitions, while others feel like they belong in a group. Without spoilers, I can only convey that Gunn subverts the most predictable expectations in the most compelling, powerful manner possible. It avoids basic solutions while putting the characters on an uncertain yet interesting course.

Family and friendship are broad themes, but these are clearly the topics that encompass the film. Guardians of the Galaxy Vol. 3 capitalizes on the enormous chemistry of the cast, making every interaction feel endearing, entertaining, and inevitably emotional. Don’t let my words mislead you, the movie contains more than enough action sequences, including a spectacular blend of CGI, stunt work, and stitch cuts that create a phenomenal “one-take” set piece. John Murphy’s excellent score and the unforgettable song choices of this saga are standout technical components once again.

However, not everything is perfect in this sequel. The overhyped build-up to the introduction of Adam Warlock (Will Poulter) makes the character one of the biggest disappointments of the entire film. I’m not familiar with his comic book arc, but even within the MCU, his addition to the cast of characters was eagerly anticipated by fans. The truth is that in Guardians of the Galaxy Vol. 3, Warlock is nothing more than a new device to progress the plot, occasionally appearing and disappearing to initiate chaos. The character is extremely underdeveloped, but it’s worth noting that Poulter isn’t to blame.

On the evil side, the High Evolutionary (Chukwudi Iwuji) also lacks originality and creativity. In the end, he’s kind of like Thanos and Ego, holding the same ambition to create the perfect world, but in addition to his cruel, vicious animal treatment, he’s a much less intriguing, intimidating villain than those mentioned. Iwuji delivers a purposefully over-the-top performance that doesn’t always sit well. Regarding the rest of the characters, Guardians of the Galaxy Vol. 3 also left me thinking about how Gunn didn’t really do anything with the information revealed in the Christmas special about Quill and Mantis being siblings, as well as Quill’s drinking problem that quickly becomes a throwaway issue.

Finally, flashbacks to Rocket’s past occupy a good chunk of the movie’s two-and-a-half hours. Most come when Rocket seems to be remembering his past, but others are inserted at questionable moments, breaking the “rule” constructed at the beginning of the flick. Guardians of the Galaxy Vol. 3 doesn’t suffer much from this, but from a certain point onwards, the flashbacks are used exclusively as a narrative device rather than justified by some event or action. Fortunately, all these are minor problems without much impact on the enjoyment of the movie. Gunn bids farewell to the MCU with Vol. 3, which I believe will bring back that global longing for the next film in this cinematic universe. Whether Kevin Feige can ride this positive wave left by Gunn or not remains to be seen. For now, a huge thank you to Gunn for three memorable movies that will, for sure, forever mark the careers of everyone involved.

Final Thoughts

Guardians of the Galaxy Vol. 3 is an emotionally powerful, tear-inducing “farewell” to James Gunn and his Guardians characters. Rocket’s bittersweet storyline is the soul, heart, and engine running the best MCU film since Spider-Man: No Way Home. It’s visually stunning with exceptional VFX work. The score and soundtrack couldn’t be more perfectly matched. Superb performances from of the compelling protagonists and even the fun cameos. A better comedy-drama balance than its predecessor, while still offering tons of entertaining sequences. A few minor issues hold it back from standing out as “one of the greats”, but it was hard to deliver a more satisfying conclusion to this much-beloved trilogy. And also – a final warning to all animal lovers who may find the cruelty displayed on the screen too much for them to enjoy the movie.

Manuel’s Rating: A-
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Review: ‘Ant-Man and the Wasp: Quantumania’ is a Disappointing Start to Phase Five | FirstShowing.net

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Review: ‘Ant-Man: Quantumania’ is a Disappointing Start to Phase Five

by Manuel São Bento
February 17, 2023

Despite much discussion about MCU’s Phase Four – from its structure to the ever-complicated quantity vs. quality debate – the truth is that it was generally well received. Personally, I prefer this last “Phase” to the other(s), but either way, the adventures of Ant-Man (Paul Rudd) never really impressed me. If the original is a generic yet decent origin flick, the sequel is one of the few movies in the MCU that didn’t get a positive review from me. Considering this and the fact that the “big bad” of The Multiverse Saga is introduced – on the big screen – in Ant-Man and the Wasp: Quantumania, expectations weren’t exactly easy to define.

One detail that jumps out right away is the script credit. Jeff Loveness is solely responsible for writing Phase Five of the MCU’s first movie… a questionable decision given his lack of experience – Quantumania is his feature film debut credit as a screenwriter. In addition to this, the other two Ant-Man movies brought together several people to write each of the stories, which makes this detail even stranger. Putting someone like this in control of one of the most important films in this entire new saga is, to say the least, perplexing.

Unfortunately, it’s precisely in Loveness’ screenplay that the biggest problems with this lie. Quantumania has its favorable attributes, but I will save them all for last, so I can end on a more pleasant note. That said, the amount of unnecessary, repetitive, and irrelevant exposition is, without a doubt, the most bothersome, detrimental narrative trait. The exposition-driven plot depends heavily on many prolonged conversations to pass on information viewers would easily discover by themselves while also occasionally interrupting with flashbacks that break the pacing of a movie with a tough first half to get through.

The build-up to Kang’s first real appearance – Quantumania is, at heart, a villain’s origin story – starts as something quite tense and interesting, but when the character finally arrives to seize the spotlight, there’s already a certain accumulated fatigue due to the narrative structure being extremely reliant on such explicit information waiting around every corner. A surprise appearance by Bill Murray, for example, is wasted in a single scene that barely adds anything to any character or the main storyline, repeating the fact that Janet (Michelle Pfeiffer) is hiding something, which is addressed countless times before this moment.

Another of my biggest personal issues with Quantumania is a common problem across all many MCU films: tonal balance. When there’s complete control over the transitions between the more dramatic moments and Marvel’s trademark light humor, we are provided with one of the best movies in the franchise. However, when the comedy revolves around the same childish, dated topic – sex jokes – and, at the same time, there’s one of the most fearsome, menacing villains we’ve ever encountered, the transitions can’t possibly work out.

The vast majority of comedic attempts in Quantumania fall flat, with Rudd’s charisma being the ultimate savior, managing to pull off some pretty cringey jokes that would not work with any other actor. Even so, Peyton Reed – the director returns to finish his MCU superhero trilogy – significantly reduces the amount of humor usually present in MCU movies, lessening the negative impact of the inconsistent tonal mix. The final minutes are the perfect example of how much the movie suffers from this particular problem.

Ant-Man and the Wasp: Quantumania Review

I must address the lack of serious consequences and performances that fit the supposedly dramatic stakes. In a film where the next Thanos-level villain is initially presented, I cannot be satisfied with a formulaic story where there’s no shock value or emotionally powerful moments. I lost count of the number of scenes in which the heroes are being escorted by guards and always manage to free themselves in the exact same way. Furthermore, Kang deserved a much heavier, more substantial impact on the conclusion of the movie.

Kathryn Newton plays Scott’s daughter, Cassie, in an overly expressive manner, smiling way too much in dramatic scenes, as if nothing that surrounds the character is dangerous or devastating in any way. The actress has amazing talent, so the real issue lies in the lack of direction. Michael Douglas and Pfeiffer don’t suffer so much from this problem due to their experience, dealing better with the tonal shifts, but they don’t come out unscathed either. Rudd and Evangeline Lilly as Wasp definitely stand out, demonstrating excellent chemistry, but I’ll take this opportunity to move on to the positive aspects.

Quantumania’s real MVP is actor Jonathan Majors, and his absolutely phenomenal performance as Kang. I miss the right vocabulary to describe how incredibly powerful the mere presence of this actor is on the big screen. As many issues as I might have with the first half of the film, when Kang originally appears, my mind doesn’t focus on anything or anyone else. Majors draws attention to himself with truly terrifying charisma, elevating every single scene he’s a part of impressively.

If Thanos needed to kill dozens of Asgardians, Loki, and brutally beat Hulk in combat to be taken seriously, Kang earns the same level of respect simply for his threatening stance and frightening speech. Reed may have struggled with the aforementioned issues, but the atmosphere created around Kang is everything it needed to be: mysterious and charged with suspense and uncertainty of what may happen the next minute. Too bad this tense environment is gradually lost as Quantumania unfolds…

Visuals were my biggest concern, even more than Loveness’ unimpressive script overall. The MCU has been receiving criticism – quite fairly – about its visual effects inconsistency, largely due to the overwhelming workload of visual effects artists always at work on what’s coming next. Quantumania inherently places all of the characters in a fictional Quantum Realm, which means that virtually the entire movie is surrounded by green & blue walls. Surprisingly, the visuals hold up and make for a remarkably immersive environment, which I didn’t expect at all.

Add to it the costumes, make-up, sound, and production design, and the similarities to the various worlds seen in Star Wars stories are evident. Quantumania manages to set itself apart with imaginative creature designs and “villages” built in unexpected ways. MODOK (played by Corey Stoll) is possibly the only CGI element that might not work for various viewers – the character’s wacky concept itself is impossible to make realistic – but personally, I appreciate the “silliness” surrounding his design, and the character turns out to have one of the best-developed arcs.

And of course, a superhero flick couldn’t do without its action. Once again, the numerous CGI backgrounds worried me, but the truth is that Reed delivers several memorable action sequences. Quantumania even has uninterrupted long takes featuring excellent stunts that sadly may go unnoticed amid so much (good) chaos that fills the screen in set pieces with a much greater scale than I ever anticipated. For fans of the genre who go to the theater exclusively in pursuit of the entertainment value, they will hardly leave dissatisfied.

Final Thoughts

Ant-Man and the Wasp: Quantumania warrants the divisive response. With immersive visuals, more than satisfying action, and absolutely exceptional performances – except from Newton due to lack of proper direction. However, the excessive, repetitive, unnecessary dialogue driven by exposition, along with a lack of stronger tonal balance – fewer jokes by Marvel standard, but the cringe affects transitions to/from all of the more serious moments – and an underdeveloped narrative devoid of true stakes, character arcs are almost non-existent, make this an overall very inconsistent watch. Still, JONATHAN MAJORS AS KANG! Wow!

Manuel’s Rating: C
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Review: ‘Ant-Man: Quantumania’ Dives Deep into the Quantum Realm | FirstShowing.net

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Review: ‘Ant-Man: Quantumania’ Dives Deep into the Quantum Realm

by Alex Billington
February 16, 2023

Down, down, down to the Quantum Realm ye’ go. Marvel Studios is back with their latest, the 31st MCU movie to date so far (with more on the way later this year), yet another sequel – Ant-Man and the Wasp: Quantumania. While it technically is a sequel to Ant-Man and the Wasp (2018) continuing the storyline following Paul Rudd as Scott Lang as the superhero known as Ant-Man, it really is more of an introduction to “Phase Five” of the MCU. It’s a huge step forward, or a giant step down into the tiniest of realms. As the title indicates, this is all about “Quantumania” – taking us down to the Quantum Realm, and exploring the inhabitants of this entirely different, strange and unusual world while following the Pym Family and their attempts to escape and return to, well, the “regular-sized” Earth realm. This truly is the MCU’s Star Wars, featuring some spectacularly trippy visuals, turning this sequel into the movie I really wanted to see with the disappointing Doctor Strange in the Multiverse of Madness. Although the script still is the weakest link.

With this many movies in the MCU so far, we all know what to expect with the Marvel formula. The biggest difference this time is that director Peyton Reed, who directed the first two Ant-Man movies, went on to work on directing episodes of Disney+’s Star Wars series “The Mandalorian” inbetween Wasp (2018) and this movie. That experience working in The Volume has certainly paid off, giving him a different edge this time around, allowing him to expand on the visuals and the epic world-creation in Quantumania. This is a place we have never been before. I just wish the script was as good as everything else. Credited to writer Jeff Loveness, the Quantumania script is generic and mostly stale in its pre-packaged story of the Pym Family. Filled with all the usual platitudes about his daughter and his family, whether it’s “all about her” and saving her, or bringing the family back together. It’s a visually spectacular world with a mesmerizing villain, strung along with generic, uninspired plodding for the main Pym Family characters. Yes, we get it, Scott really loves his daughter Cassie and does everything for her. Does he ever think about anything else…? I guess not.

There are a few aspects of Loveness’ script that do work well, however, mainly involving the villain Kang The Conqueror, played by the extraordinary Jonathan Majors. As we all know, the villain in superhero movies has to be as complex and as intelligent as every other main character, or it’s all for nothing, the rest of the movie falls apart. They’ve certainly figured this out already, especially with the “bad guys” from the Black Panther movies. Playing off the original introduction of “He Who Remains” from the end of the First Season of the Loki series on Disney+, Majors returns to play an alternate version of the character (a variant!) – a being known as the formidable “Kang The Conqueror”. His story, how it connects to the Pym Family, and how it plays out over the course of this movie, is the most compelling part of the screenplay. Loveness, who also worked on “Rick and Morty” as a writer, brings in some of that “Rick and Morty” space spice to crank this up a few notches with some wildly imaginative only-in-the-Quantum-Realm twists & turns. This is what I wanted to see more of, mainly with the rest of the Pyms, but Marvel really can’t shake things up too much.

Jonathan Majors in Ant-Man and the Wasp: Quantumania

Nonetheless, it’s pretty much an objective truth that Jonathan Majors is a God amongst men – and a key reason why Ant-Man and the Wasp: Quantumania is worth watching. He’s just so damn good, bringing his intensely charismatic, complex emotions to this trippy story of Realms and Multiverses and Variants. We’re deep into Multiverse territory now, which has a whole other set of implications that this movie does not explore, but nonetheless it does make the stakes for this particular -Verse interesting. Majors has a, ahem, major role to play in the MCU after being introduced in “Loki” and this is an extension of that role, though more of a re-introduction, establishing some rules and concepts that future MCU movies might play with. I just love that they found and cast Majors in this role, as it’s not an easy role to handle, with so much going on, and I think he’s so damn alluring and so damn devious yet so damn charming that it’s near impossible not to like him. Even though he’s the villain, that appeal is exactly what makes him so wicked. Watch out for this guy. If you’re bored of all the MCU movies, you won’t be bored by Jonathan Majors, I’ll say that much.

Everyone else in Quantumania is pretty much the same MCU character we’ve seen already, with serviceable performances, except for Michelle Pfeiffer as the other stand out. Pfeiffer’s Janet Van Dyne was sucked into and trapped in the Quantum Realm during the events of Ant-Man and the Wasp until she was rescued. But what happened there was a big mystery until it’s revealed in this movie. While it’s all a bit obvious, it is ultimately an important part of the plot, as she was an important part of the QR before departing. Most people don’t seem to miss her down there, which is a bit strange, but this is the Star Wars-esque epicness of this whole other universe. It’s full of tons of characters, factions, entire armies and legions, with a revolution brewing much like in the early Star Wars movies, and time moves at a different speed. Marvel found a safe space to tell this kind of story because the QR exists separately from Earth-616 and everything else that has happened in the other 30 MCU movies. Though with Kang, there is a connection that will expand beyond the QR back into other realms and worlds and this is the big “what’s coming next” tease with Quantumania.

As a fan of psychedelic imagery already, this movie delivers in spades the kind of psychedelic imagery that is necessary when diving into an indescribable place like the “Quantum Realm.” What is it, exactly; how does it work, what are the physics, why do things look this way? None of these questions are answered, but they don’t need to be either, because this is a “you’ve gotta jive with it” kind of place, not a “try to explain it” place. As someone who is growing increasingly tired of the Marvel Studios formula, with all the same beats and story structure over & over, I found some solace in escaping into the QR this time. There’s so much to enjoy in the way of unexplainable visuals, wacky characters aplenty, and fun “let’s just do something crazy” concepts because why not. This is Scott’s attitude anyway! It is VFX galore, sure, but much like Avatar: The Way of Water, it’s enjoyable to spend time in this CGI world, exploring a new Realm. When Kang shows up, that’s when it gets really good, as he is there to add some psychedelic thoughts to our minds, and make us mull over the Multiverse questions he’s going on about. I don’t think this will be the last we will see of him…

Alex’s Rating: 7.5 out of 10
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