Saturday, September 22, 2018

THE PREDATOR


The Predator (2018)
Grade: 3/10

Starring: Boyd Holbrook, Jacob Tremblay, Olivia Munn, Sterling K. Brown, Trevante Rhodes, Keegan-Michael Key, Thomas Jane, Augusto Aguilera, Yvonne Stravhoski and Alfie Allen

Rated R for strong gory violence and language

Wow. Even in a time when just about every other movie that comes out is an underwhelming sequel, reboot, or remake that doesn't do its original source material justice, that was bad. The Predator, the fourth film in the loosely-connected series that began with the 1987 Arnold Schwarzenegger classic Predator, is dead-on-arrival, an uninspired, lazy, unconvincing and feeble exercise in plotting, characterization, and direction. After a semi-inspiring opening, the movie falls apart fast; it couldn’t have been more than 20 minutes into this movie that my mouth was hanging open in disbelief. I can’t remember all the worst movies I’ve seen in theaters in recent years—Pixels, Suicide Squad, Warcraft, Independency Day: Resurgence, King Arthur: Legend of the Sword and Jurassic World: Fallen Kingdom come to mind—but this is down there with them.

Co-written and directed by Shane Black, one of the stars of the original (the nerdy, joke-cracking Hawkins, who was the main cast’s first victim in 1987), The Predator begins with a spaceship chase through the cosmos. The larger ship damages the smaller and sends it hurtling toward Earth. The crashing ship’s trajectory interrupts a cartel bust by a couple of super-special-Ops troopers, including sniper Quinn McKenna (Boyd Holbrook of Logan). The beastie inside the ship makes quick work of McKenna’s two cohorts, but he manages to injure it with its own armband cannon, and makes off with the other gear he can find, including its high-tech, infrared-vision helmet. Knowing he’ll be busted soon by suits ready to “disavow” him and lock him away, McKenna mails the salvaged predator suit parts to the home of his estranged son (Jacob Tremblay, of Room) and wife (Yvonne Strahovski of The Handmaid’s Tale) to keep them out of government hands.

The predator’s crashed ship is raided by government/military types, and the alien itself ends up in a lab being gawked over by Traeger, a glory-hound federal agent (Sterling K. Brown), and Dr. Brackett, an alien scientist/enthusiast (Olivia Munn). Meanwhile, after an interrogation, McKenna is put on a bus with some other burn-outs headed for a military prison. But when the predator breaks lose and goes on a rampage, McKenna and his Con Air-style group of ragtag misfits take over their bus, and head for McKenna's home, where his young, on-the-spectrum son has accidentally activated the predator gear that came in the mail. It soon becomes the belief of Traeger, Brackett and McKenna that the predator gear is summoning, or at least providing a tracking signal for, another, more dangerous predator.

Now that doesn’t sound too bad, right? Well, it’s hard to believe this movie came from one of the stars of the beloved original, because none of the above is done with any conviction at all. Scenes are lazily written and developed. The actors are either trying too hard for this lousy material or not giving a crap, and even for an action movie, the central dynamics (McKenna’s care for his son, the alien expert’s interest in the predator, the ragtag misfits) are outrageously unconvincing. While this movie’s throwback to the classic “Get to the choppa” line gave me a little bit of a chuckle, the updated iteration of another iconic line is delivered so blandly it made me think Olivia Munn didn’t want to say it on camera, but was contractually obligated. Even the special effects are underwhelming. Maybe it’s because we didn’t see much of the unmasked predator in the other films (including 2004’s mediocre Alien vs. Predator), but after a couple long looks at the predator who breaks out of the lab, I started wondering if it had always been that unimpressive.

I hope the actors listed in my obligatory “starring” section above got paid a lot for their efforts, because some of them are or have been associated with some pretty decent works in recent years, and they just embarrassed themselves. Holbrook gets the most screen-time and therefore has at least a modicum of personality, but he’s basically playing the hothead he played in Logan, minus the hint of sleazy menace (plus, he and Strahovski combine to play perhaps the least-convincing parents/estranged couple in the history of movies or TV). I’ll give Tremblay a pass, because he’s just a kid, but most of the other actors should take their paychecks and never look back. Munn has a couple moments where she’s trying, but otherwise mostly looks nonplussed by the lameness of the script. Sterling K. Brown (recently in high-bar fare such as The People vs. OJ Simpson, This is Us, and Black Panther) is slumming here, so at least he looks like he’s having a reasonably good time playing the obligatory human baddie. It’s McKenna’s Con Air/Suicide Squad-inspired ragtag crew that are the real problem, though. The great comedian Keegan-Michael Key is grating, but at least he cracks a few Hawkins-worth jokes in his twitchy portrayal of a loony, and Trevante Rhodes parlays his notable charisma into a decent death scene. But the group as a whole are an embarrassment, a disastrously-written attempt to capture the ragtag-crew fun that was prevalent in ‘80s hits (the squad in the original Predator, the crew from Aliens). Thomas Jane and Augusto Aguilera, in particular, veer back and forth between I’m-embarrassed-for-you and what-the-hell-are-you-even-doing levels of badness. I assume money, along with the hope that maybe this known franchise property would take off (spoiler: it hasn’t, and it won’t) got these actors involved, but all of them should fire their agents. 

Yeah, this was close to a complete disaster of a movie. The obligatory third-act action has a couple thrills, but they’re mild and the un-special special effects don’t help (possibly the only moment that jumped out as a “hey, cool!” moment was when an especially large predator crushed another one’s skull). Late attempts to conjure sentiment for those who were killed off and plug a sequel only prolong the viewer’s agony.

Bottom Line
This was bad. I don’t remember being so jaw-droppingly-shocked at a movie’s transparent awfulness—and occasionally laughing aloud at its stupidity—in the theater since Suicide Squad (if a movie is mentioned in the same breath as that movie, that’s not a good thing). Other than the barest action-movie thrills, The Predator offers nothing of value (and even those thrills are muted by the mind-numbing stupidity of what’s come before). If you love the original Predator, go re-watch it (I watched it on HBOGO this week). You’ll be better served. Sitting through this was an ordeal.

The Predator (2018)
Directed by Shane Black
Screenplay by Shane Black and Frank Dekker
Based on Characters Created by Jim Thomas and John Thomas
Rated R
Length: 1 hour, 47 minutes

Saturday, May 26, 2018

SOLO: A STAR WARS STORY


Solo: A Star Wars Story (2018)
Rating: 7.5/10

Starring: Alden Ehrenreich, Woody Harrelson, Emilia Clarke, Donald Glover, Thandie Newton, Paul Bettany, and Erin Kellyman, with Joonas Suotamo as Chewbacca and Featuring the Voices of Phoebe Wallter-Bridge (as L3-37) and Jon Favreau (as Rio Durant)

Rated PG-13 for intense action and destruction

Before I go any further, I want to reassure my readers of two things:
1)      I will reveal only minor plot/character details below. In other words, you will find no spoilers here.  J
2)     My complaints with Solo are mostly with the writing and the plot of this particular film. I know a worry about this particular “Star Wars Story” has been that it could potentially damage the reputation of one of the most iconic and beloved movie characters of all time—the one played by Harrison Ford in the original Star Wars trilogy and the recent reboot/sequel The Force Awakens. I want to put those worries to bed. While 28-year-old California native Alden Ehrenreich (sounds like “All-din Aaron-rike”) is obviously not Harrison Ford, his performance is strong, and his portrayal of a younger version of the cocky, constantly-improvising rogue feels enjoyable and lived-in. I believe it is easy to buy into Ehrenreich’s performance in this movie without thinking much about Ford—and I mean that in the best way possible.
a.       In other words, I believe, even if you are a die-hard Harrison Ford/Han Solo fan, you can see this movie and walk away without feeling any worse about the original Star Wars and Ford’s iconic portrayal.

Solo: A Star Wars Story represents the tenth time (not counting the little-seen animated Clone Wars movie) viewers have beheld the blue letters “A long time ago in a galaxy far, far away” on the big screen. Here, for the first time, those iconic words are followed by more words, these explaining that the story opens on the ship-building planet of Corrella (the first of many Easter eggs in the movie). It’s a grim, trashy, industrial planet, filled with coercion and slave labor. There we meet the apparently-orphaned Han, who is one of many street urchins who report to a creepy alien mistress and her goons. Soon enough, the crafty Han manages to escape and bribe his way onto a transport heading off-planet. In need of money and stability, he enlists in the Imperial Navy, creating the surname Solo as he goes. Quickly disillusioned after beholding the cold-blooded nature of the Empire’s incursions onto other planets, he falls in with a group of mercenaries in disguise, among them the smarmy Tobias Beckett (Woody Harrelson) and his lover Val (Thandie Newton). Han decides to join them and their alien pal Rio Durant (voice of Jon Favreau) on a big smuggling score that could make them all rich. Along the way, Han meets and becomes fast friends with the wookie Chewbacca (Joonas Suotamo, in his second stab at the role after taking over for Peter Mayhew in The Last Jedi), whose astounding physical strength is obviously a helpful asset in a life of crime. As part of the team, Han must soon show his skills at piloting, shooting, gambling (in a mano-a-mano with Donald Glover’s Lando Calrissian) and flirting, which he engages in the with the alluring lieutenant (Emilia Clarke) of a nasty crime lord (Paul Bettany) to whom Beckett is in debt.

That’s all the plot detail I will reveal, though the ensuing story does race around the galaxy a bit, featuring such important entities as the Millennium Falcon, the Kessel Run (“no ship has ever made it in less than 20 parcecs”, we’re told), and L3-37, Lando’s droid gal pal (voiced by Phoebe Wallter-Bridge). Along the way, we get countless more Easter Eggs, including a few famous costumes and trinkets, references to Tatooine, Kashyyk, Scarif, and the Hutts, the Falcon’s famous hologram chess game, and a late cameo by a popular character from the prequels (don’t worry, this is a character we actually liked). But there are lots of new details in this densely-plotted film as well, including a shipment of volatile explosives, a large-scale droid revolt, terrifying intergalactic monsters, the sinister-sounding crime group Crimson Dawn, double-crosses galore, and a few mentions of a “rebellion”.

As stated previously, I’m not going to compare Ehrenreich to Ford. What I will say is that Ehrenreich is instantly likable whether wisecracking, flirting, or scheming, and he’s convincing as this kind of character. He brings the same energy here that John Boyega has brought to the character of Finn, though it is here in service of a better-defined and developed character. No one will forget that Harrison Ford originally played this exact character in four films across 38 years, but, knowing getting Ford for this film was an impossibility, I went into it pretending it was a fan fiction (which it essentially is) and I have next to no complaints about Ehrenreich as Han Solo.

Apart from Han and the always-lovable Chewie, the other major returning character is Lando. In the performance that many were eagerly anticipating, Donald Glover has a ball, charming, cheating, grinning, and wise-cracking, but putting his foot down when the going gets tough.

But Glover’s performance—while a fun reminder of Billy Dee Williams’ work in the originals—is not one that holds the movie together. Apart from Ehrenreich, the majority of the heavy lifting here is done by Woody Harrelson and Emilia Clarke. Harrelson, with his world-weary features and sly, sometimes sinister quips, is perfect for this role as the slippery but determined Beckett—the exact kind of person you’d think a young Han Solo would have learned from. This character may seem par the course for Harrelson at this point (Woody Harrelson as Himself?), but the actor brings his usual charm and gets to have a little fun romancing Thandie Newton and blasting away during hair-raising action sequences. Meanwhile, Clarke, in a role that is not entirely unlike her rags-to-riches queen on Game of Thrones, shows endearing shades of charm, humor, vulnerability, and grit as Qi’ra, who’s basically an indentured servant to the crime lord Vos. Along with Ehrenreich, she’s part of an appealing pair with outstanding chemistry. Finally, memorable contributions are made by Bettany—who has fun with a hissworthy villain after a career mostly spent playing warm, best-friend types—and Wallter-Bridge, who’s off-screen work as the voice of L3-37 fits nicely with the series’ tradition of droids often being the most lively and spunky characters around (a la C-3PO, R2D2, and Rogue One’s K2SO).

There’s a lot to like in this movie, as I’ve stressed. The opening scenes are a terrific tone-setter, the cast is great, and there are some fun and intense action sequences. It’s fun to see how Han met Chewie (hard to think of a less-likely way for two to become best friends), and how Han met and one-upped Lando.  So why’d I only give it a 7?

Well, if the first “Star Wars Story” film, Rogue One, was one half iffy and meandering and one half outstanding, I’d say Solo is two-thirds “pretty good” and one third “um…what?” It sets up nicely, gets to the first action sequence(s) in short order, and engages us right away. But there’s so much going on that I felt like it started to lose me. Honestly, it really lost my full interest somewhere during the all-important Kessel Run sequence. I won’t reveal what happens in that sequence, but I can reveal that, if you asked me, now, to tell you what the Kessel Run is and how the Millennium Falcon made it, in supposedly record time, I would have no idea how (I’m still not even sure whether a “parcec” is a length of time or a unit of space, given its arguably contradictory use in other Star Wars films). I do feel like the movie misses out on showing us a few key moments earlier, such as Han’s first sit-down with Beckett, Val and the gang (they didn’t trust him minutes before, so I’m curious to see how their first real interaction went after they accepted him into their group) and the film shockingly does not show us the first time Han boards the Millennium Falcon (it does show us his first arrival in the cockpit, though, to the strains of the classic score, which is a pretty cool moment). And the third act, where the characters decide to suddenly rebel (a big buzzword in this series) against the crime lord Vos, really lost me. A random patchwork alliance and a couple of eyebrow-raising “big reveal” moments, and, suddenly, the main characters are fighting against the crime lord even though they can pay him off, get their money, and get away Scot-free? A few scenes are filled with twists that felt so manufactured it put me in “okay-just-get-this-over-with" territory as the viewer, never a good thing when you’re trying to bring your big action/spectacle movie to a moving climax.

There’s also a really clear plug for a potential sequel (series) at the end, which is a little wearying. So we’re still doing this, are we?

Where does Solo rank in the Star Wars saga so far? That, you’ll have to decide for yourself. I’d put it somewhere in the middle of pack. It’s better-made, -acted, and –written than the infamous prequels, and its characters resonate more than the short-lived protagonists of Rogue One, but the latter stages feel so fabricated and forced it took a lot of air out of the balloon. Still, it could’ve been worse.

Bottom Line
While Solo: A Star Wars Story is not the best Star Wars movie we’ve had, it’s also not the worst. Its winning cast, intense action and exciting plot make it a largely enjoyable experience. There are lots of Easter eggs for diehard fans, as well as plentiful strains from the beloved score. And Alden Ehrenreich is great stepping into the person of the iconic title character—I don’t think this film harms the reputation of the character Han Solo or the original Star Wars movies at all. But things do get a little complicated and a little forced late in the going, which keeps more from a more enthusiastic recommendation.

Solo: A Star Wars Story (2018)
Directed by Ron Howard
Screenplay by Jonathan Kasdan and Lawrence Kasdan
Based on Characters Created by George Lucas
Rated PG-13
Length: 2 hours and 15 minutes

Sunday, April 29, 2018

AVENGERS: INFINITY WAR


Avengers: Infinity War (2018)
Rating: 8.5/10

STARRING: Dave Bautista, Paul Bettany, Chadwick Boseman, Don Cheadle, Benedict Cumberbatch, Benicio Del Toro, Peter Dinklage, Robert Downey Jr., Winston Duke, Idris Elba, Chris Evans, Karen Gillan, Danai Gurira, Chris Hemsworth, Tom Hiddleston, Tom Holland, William Hurt, Scarlett Johansson, Pom Klementieff, Anthony Mackie, Elizabeth Olsen, Gwyneth Paltrow, Chris Pratt, Mark Ruffalo, Zoe Saldana, Sebastian Stan, Benedict Wong and Letita Wright
Featuring the Voices of Bradley Cooper as Rocket, Vin Diesel as Groot,
and Josh Brolin as Thanos

RATED PG-13 for intense action and violence, language, scenes of destruction, scenes of torture, and emotional content

**SPOILER FREE REVIEW**

If Avengers: Infinity War existed in a vacuum – one where the moviegoing public knew nothing about such things as actors’ contracts, extended universes, or planned sequels – it might go down as one of the most astonishing, audacious blockbuster films ever made. It’d be up there with The Dark Knight as one of the rare “mainstream entertainment” films in which actions had real, harrowing consequences, and no one onscreen was safe.

Well, we don’t live in a vacuum, so, as stunning as parts of Infinity War were, I’ll only truly be satisfied with the movie's quality after we’ve seen the next one (the still-untitled Avengers 4). While there are sequences in Infinity War that have the ability to draw gasps and tears from viewers, and leave whole theaters in silence, I have a feeling some, if not all, of those sequences will be undone, thereby relieving audiences of some of their shock, grief, and rage, and this movie of a great deal of its impact and profundity.

That being said, Infinity War is still a pretty audacious film. Or, rather, the effort and planning that went into its conception were pretty audacious.

I remember when I saw the original Iron Man, which was released in theaters on May 2, 2008. I was more or less dragged to it, thinking it would be some other over-the-top superhero hype piece (remember, this was less than a year after Sam Raimi’s Spiderman trilogy crashed and burned with an over-the-top third installment). I left Iron Man pleasantly surprised by the mix of action, wit, and spectacle, all of which was fronted by a terrific performance from recovering-addict actor Robert Downey Jr. Having never read comics, I knew little about the extended universe and the crossover stories that would bring together heroes and even side characters from two, three, four, five different stories. It was difficult to imagine then. All that to say, while it’s been a highly-publicized ride, it’s still pretty impressive to see Infinity War, the 19th film in the Marvel Cinematic Universe (MCU), which features appearances by characters who all appeared in at least one of 18 other films. And it doesn’t even feel overstuffed. True, not every character gets a meaty dramatic arc, an epic monologue or a character-building flashback, but here’s a movie built off a literal decade of other films (since ‘08, only 2009 had no MCU films) that does some level of justice to each of those other movies, and yet also moves forward with an intriguing, engaging, powerful story of its own.

DISCLAIMER: I feel like I don’t need to say this, but I will: Infinity War includes characters/elements from Iron Man and every MCU film since, including February’s Black Panther. I don’t think you have to have seen all of them, but if you have not seen most of them – particularly recent ones like Panther and November’s Thor: Ragnarok – you will be lost. In fact, Infinity War opens immediately after the climax of Ragnarok, at least as shown in that film’s post-credit scene.

Early in Infinity War, we find the Guardians of the Galaxy traveling through space in response to an interstellar distress call, thinking they might save some people and make some money in the process. The Guardians, as you likely know, are comprised of half-human Peter Quill/Star Lord (Pratt), quasi-love interest/lethal assassin Gamora (Saldana), brooding humanoid Drax (Bautista), wide-eyed Mantis (Klementieff), scientifically enhanced Rocket Raccoon (Cooper) and tree creature Groot (Diesel). The Guardians soon stumble across Thor (Hemsworth), a survivor of the now-wrecked ship that was carrying the survivors of Asgard’s Ragnarok-wrought doom. A distressed Thor promptly tells the Guardians about Thanos (Brolin), a hulking purple Titan with monstrous minions, an intergalactic army, and supernatural strength. Gamora, who was raised and trained by him after being stolen away from her family, knows there’s more to the story. Thanos wears a high-tech gadget known as the Infinity Gauntlet, a metal device that was made to combine the powers of the six all-powerful Infinity Stones. The Stones (five of which have appeared in other MCU movies) are: the purple Power Stone, the green Time Stone, the blue Space Stone, the yellow Mind Stone, the red Reality Stone, and the only one that has yet to be unveiled, the orange Soul Stone. According to Gamora, if Thanos can get a hold of all six and plug them into the Gauntlet, he can destroy half of the existing universe with a literal snap of his fingers. As of the Guardians’ finding Thor, he has nabbed two of them. Worse, two others are on Earth.

One of the earthbound stones is the Time Stone, which is in the possession of the metaphysical wizard Doctor Strange (Cumberbatch). Because one of Strange’s order’s sanctums is in New York City, it’s there that some of Thanos’ minions first touch down, starting a fracas between them, Strange, Strange’s assistant Wong (Wong), and bystander Tony Stark/Iron Man (Downey Jr.). This destruction and fighting also catches the attention of Queens-born teenager Peter Parker (Holland), who is better known as Spiderman.

Another stone, the Mind Stone, was embedded into the head of Vision (Bettany), who is laying low in Europe with his sweetheart, Wanda Maximoff/Scarlet Witch (Olsen). When Thanos’ minions come after them seeking the Mind Stone, this attracts the attention of Steve Rogers/Captain America (Evans), as well as Sam Wilson/Falcon (Mackie), Bucky Barnes/Winter Soldier (Stan) and Natasha Romanoff/Black Widow (Johansson). These multiple instances of chaos soon capture the attention of other earthbound heroes like James Rhodes/War Machine (Cheadle) and Bruce Banner/Hulk (Ruffalo), and lead to all the heroes hiding out in the secretive African nation of Wakanda, which is led by T’Challa/Black Panther (Boseman), his younger sister/tech whiz Shuri (Wright), and his wise, skilled right-hand Gen. Okoye (Gurira).

All these heroes and their powers make for quite a sight and quite a team, but when Thanos shows up, he proves more than a match for them, even without his minions and his army. And the more Stones come into his possession, the more powerful he gets.

As you can see by the cast size and the sheer number of power-imbued heroes on the scene, Infinity War is a massive, sprawling film. And yet, despite its size, its length (149 minutes), and the amount of computer-generated effects onscreen, it holds the viewer’s attention effortlessly. This is partly because the film hits the ground running, opening with an epic mano-a-mano between the big green Hulk and the like-sized Thanos, and rarely slows down after that. But in reality, it’s due to the characters and, more than that, to the heads at Disney/Marvel who’ve been planning this massive crossover for years.

In recent years, audiences and critics have (rightfully) derided Marvel’s main competitor – DC – for rushing into crossover films like Batman v Superman, Suicide Squad, and Justice League in an attempt to catch the public’s interest (and dollars) in the same way the MCU. The failure, on one level or another, of each of those overwrought films feels all the more damning in the face of Infinity War, which is almost always interesting, and flat-out entertaining, through two-and-a-half jam-packed hours. Here, you can jump between one pack of heroes harnessing the power of an exploding star, another group in an epic tag-team fight against Thanos, and another in an apocalyptic showdown against Thanos’ minions and army, and be equally-entertained all the way around. As viewers, we’re invested in all of it, and it’s a treat to be pulled away from one engaging action to another and be reminded oh yeah, this is in the same movie! Marvel has put in the time and money, weathered some more modest hits, occasional middling critics’ reviews and some fan backlash to bring all these pieces together. Now, they can reap the fruits of that labor by putting together a film with a main cast of about 25 characters, and do it almost seamlessly. With a bare minimum of exposition and backstory, audiences are treated to largely-realized characters in a number of dream scenarios: serious-minded Thor joining forces with the quippy, irreverent Guardians; alpha dog Tony Stark having a battle of wits and egos with Doctor Strange; Stark exercising parental instincts in dissuading the ambition of adventure-hungry Peter Parker; star-crossed lovers Vision and Scarlet Witch fighting to keep hope alive; the Guardians battling Stark, Strange, and Parker in a confused, wild scuffle; and our most familiar heroes (Captain America, Thor, Black Widow, Hulk) coming face-to-face with Thanos, their most dangerous adversary yet. Along the way, we get touching flashbacks, alternate-reality shocks, and epic music cues. Infinity War is a massive entrée, and with all the seasoned ingredients present (finally!), it goes off like gangbusters.

In such a huge film, the focus isn’t on the actors so much as the characters, but most of the well-known thesps acquit themselves well. Downey Jr. is in his eighth go-round as the wisecracking, furiously entertaining Stark, and he continues to fit the role like a glove, though Stark is a much more haunted, guilt-ridden, contentious presence than he was when we first met him. Saldana gets a meaty role – what with Gamora reconnecting with her haunted past as an orphan of genocide, then an unwitting assassin trainee – and makes the most of it, up to a devastating moment when she underestimates the depth of Thanos’ cold-hearted ambition. Hemsworth has some nice moments playing off the Guardians and showing how Thor has grown from a pompous heir into a weary, humbled warrior more worthy of his tremendous displays of power. Olsen and Bettany have a sweet, sincere chemistry, though it comes with layers of fear and deep emotion as Vision more than once wonders whether he ought to simply destroy himself rather than allow Thanos to obtain the Mind Stone that gives him his life force.

Thanos himself is a treat, played by a near-perfect mix of CGI and gravel-voiced Josh Brolin. One of the main weaknesses of the various MCU films has been the fairly forgettable villains, but with Thanos being the biggest baddie of them all, the MCU clearly needed to step up their game. They do, and it works. Towering, muscle-bound and coldly decisive, Thanos lives up to his reputation as a monster who would order the massacre of a planet’s population as soon as set foot on its surface. He’s powerful—never out of a fight and equal to nearly all our heroes. But he’s also revealed to be a somewhat weary figure. Thanos acts with the resigned conviction of someone who has had an all-important destiny thrust upon him—one that feels at least partially unwanted (remember that old cliché about power and responsibility?). And yet he plows forward, killing people, approving genocide, and destroying worlds, all in the name of improving the quality of life for select individuals in an overcrowded universe (sound familiar at all? If not, take look at your history books.). And in a turn that may surprise many, he turns out to truly care for Gamora, who has always thought of Thanos as one who stole her away, corrupted her and exploited her.

As mentioned, many of the returning actors in this film give strong, memorable performances. But it’s Brolin/Thanos – in his first significant part after a few tease moments in other MCU films – who really stands out. He’s a worthy entrant in this packed cinematic universe, and one of the X-factors in this engaging monolith of a film.

Infinity War is not perfect. As much as this movie has to cram, not all of the characters get particularly juicy bits to play (the Wakandan entrants, in particular, are short-changed). There’s the aforementioned question of whether any of the drastic things that occur within the film’s runtime will end up being permanent, or whether this movie will end up something of a tease. I know that’s me being cynical, but it is a real question, one that prevents me (and perhaps others) from fully realizing the emotion of this story. How will this movie look in hindsight, after we’ve seen its conclusion? I have another nitpick I will not go into in depth for fear of spoilers—to put it simply: at one point, a character suffers a wound that probably should be fatal, but our attention is diverted and it is never mentioned again.

Plus, there’s my ever-present complaint with the MCU—that they insist on infusing humor into moments/scenes/settings where humor is not needed. It’s not that I’m against these movies being funny. Iron Man makes wisecracks—that, I get. And this movie reminds me what a ball it is to be around the Guardians when they are having a good time. But when Thor is fresh from seeing his friends/countrymen killed, and he’s making jokes? When entire scenes are undone just to do more Drax-is-clueless gags? This reliance on humor shows itself in more than one way—Chris Pratt, for example, has some of his most emotional moments yet as Star Lord, and his transitions from comedy to drama aren’t always convincing. Pratt’s a natural comedian, but a master of teary-eyed drama he is not.

Still, these are little complaints. I’ve sat through the movie twice, and would gladly do so again. Infinity War is immediately among the MCU’s best entries—worth all the time, hype, and money committed to it.

Bottom Line:
Avengers: Infinity War is the 19th film in the MCU, and all 18 that came before have been building toward it (and its forthcoming sequel). I’ll say it’s one of the best (probably not the best, but in the conversation), though my overall opinion of its quality and relevance depends on what happens in the next movie. The writing is strong, pulling together more than 20 established characters without any real stretches in credulity, and it gives them a more than worthy foil in the hulking, conflicted Thanos. The effects are excellent, as usual. This is a hugely impressive achievement, and I’m very interested to see what history will ultimately say about this movie—part one of a pet project Marvel/Disney have been working on for 10 years.


Avengers: Infinity War (2018)
Directed by Anthony and Joe Russo
Screenplay by Christopher Markus and Stephen McFeely
Based on the comics by Stan Lee and Jack Kirby
Rated PG-13
Length: 149 minutes