Black Widow

*SPOILERS: Black Widow, Avengers: Endgame*

*CW: Abuse*

The discussions around, and ramifications of, Black Widow are more interesting than the film itself. The titular character was first introduced in 2010’s Iron Man 2 and appears in 7 films before her solo adventure in 2021. With each appearance, she existed to further the development of a main character, and served as eye candy for the audience. Tony Stark, Clint Barton, Bruce Banner, and Steve Rogers all progressed as individuals while Natasha Romanoff remained the badass good girl. Her backstory is kept deliberately mysterious but is hinted at in 2016’s Avengers: Age of Ultron, where it is used to torment her before subsequently being forgotten about until Black Widow. Her journey comes to a definitive close in 2019’s Avengers: Endgame where, after a decade of wasted potential, she sacrifices herself to save Clint. It was a divisive move but considering Clint is a more entertaining and likable character with a future in training the new Hawkeye, ultimately this was the right decision.

With a whole decade of appearances behind her, Natasha’s solo film was announced in 2018 with a release date of May 2020. When the global pandemic struck several months before this, the film was delayed until November 6th 2020, which had been the release date for The Eternals. When it became clear that the pandemic wasn’t going to end by then, the film was pushed back to May 7th 2021, and, finally, to July 9th 2021. Black Widow was released on the streaming service Disney+ the same day it hit cinemas, although it cost £20 on top of the £7.99 monthly subscription to view it. This version of the “Premier Access” model, with a simultaneous cinema and streaming release, existed for several months, affecting large films like Cruella and Jungle Cruise. However, this version of the film’s release had not been stipulated in Scarlett Johanssen’s contract and she sued the Walt Disney Company for breaching said contract, and for reportedly costing her $50million. At the time of writing, the case is ongoing.

The largest ramification was the knockback effect of delaying the film. Despite being completed by the time they were supposed to be (early 2021) both Shang Chi and the Ten Rings and The Eternals were delayed by over half a year to accommodate Black Widow. This doesn’t seem to have been because the film was so important it had to come out first, but that Disney wanted that cinema money. The film is a prequel with no world-shattering ramifications so it doesn’t really matter when it was released, yet it was delayed by a year which obliterated the original Phase 4 schedule. This is on top of the delays faced by the MCU Shows, which were attempting to finish filming during the pandemic. It isn’t helped by Black Widow’s placement in the MCU timeline. Despite coming out in 2021 and the current MCU being set in 2023, the film takes place in 2016. This means that the post credits scene is setting up events in universe 7 years in the future and 10 films away.

The context for all of this is currently being lived through, but for anybody in the future and watching the MCU for the very first time in chronological order, this is going to be an odd experience. Post credits scenes in the MCU usually feel like they’re attached to the wrong film, but this is by far the worst offence. This isn’t a small story beat leading into a larger story, it’s the reveal of Natasha’s death and Hawkeye’s supposed involvment. This is a major deal, unveiled too early, at a point where it doesn’t make sense.

Black Widow itself is an average MCU installment. On the run from SHIELD following the events of Civil War, Nat reconnects with her younger sister-figure Yelena who has remained a part of Russia’s Black Widow program. Togehter they break their father-figure Alexi out of prison and reunite with their mother-figure Melina to take down The Red Room where Widows are trained. The four of them had been undercover as an average American family in the early 1990s but had been out of contact since it ended, with each of them pretending like they didn’t become emotionally attached to each other. This is except for Yelena who was 3 when the mission started and has therefore never known any other family. Florence Pugh’s performance really carries the weight of that emotion and she shines in every scene she’s in. This is also true for David Harbour as Alexi – Russia’s answer to Captain America – who dreams to return to his glory days as The Red Guardian. The chemistry between these two actors is beautiful and provides one of the most heartwarming scenes in the entire MCU. Having finally reunited as a family, an argument breaks out with Nat saying that their mission together never really meant anything, which causes Yelena to storm off distraught, Alexi going to comfort her poorly before giving a rendition of her favourite childhood song, Don Mcleans American Pie. It is definitely off key but is filled with an abundance of regret for what he’s done and hope that things will be better.

It wouldn’t be a superhero film without a supervillain, and this time it’s the turn of Taskmaster. A popular character from the comics and hot off the heels of an appearance in PS4’s Spider-Man, he is able to mimic the fighting style of anyone he sees. The fight sequences in this film are intense and the ones with him are the most visually interesting, but he is not the true villain. He’s not even male. She is Antonia Dreykov, daughter of General Dreykov – head of The Red Room. Having nearly been killed by an explosion as a child, the General implanted a chip in her neck that saved her life, and… gave him total control over her. She is a victim of her father who is the most merciless and vile person in the MCU. His control over all Widows is safeguarded by his own personal pheremonal lock, which alters their brain chemistry meaning they can’t attack him even if they want to.

The theme of control runs deep through the film alongside mental abuse, emotional manipulation, bodily violation and human trafficking. It all works out in the end, but this is just a story. More needs to be done in the real world to combat all of these issues. Black Widow has several flaws like pacing, inconsistent accents, and occasssionally obvious green screens, but its biggest flaw is that it doesn’t spark enough of a conversation. The film’s opening plays out like a psychological horror, but never follows through on the genuine horrors it brings up. Abuse, in any shape, is more than just an aesthetic and deserves to carry more weight.

Seek help where you can and provide it where there isn’t any.

Signed: Your friendly neighbourhood queer

Captain America: Civil War

This feels like a franchise installment. That is to say that this feels like what franchise installments seem to have become: focussed on the future instead of the present. Civil War is nowhere near as much of a cluttered mess as Batman Vs Superman because the story and characters are compelling. However, the universe becomes heavy-handed in a way that it never has before within the MCU. This isn’t a case of there being too many characters—Avengers: Infinity War proves that there’s no such thing—but rather that there are too many introductions. New characters, new locations, returning characters, and returning plot threads all collide through an otherwise good, character-driven story.

On another mission to a foreign country, Wanda Maximoff accidentally destroys a portion of a building containing innocent civilians. As the latest in a long line of damage left behind by The Avengers, the US Government decides to step in, asking that they sign a document compiled by the United Nations. The Sokovia Accords (named after the city that The Avengers dropped from the sky in Avengers: Age of Ultron) would switch control of the team from themselves to the UN and, primarily, the US. This prompts a moral battle between Earth’s Mightiest Heroes which culminates in a straight-up fight, when Steve Rogers/Captain America commits an unsanctioned act. As this is happening, Sokovian Helmut Zemo is framing Bucky Barnes/The Winter Soldier for the murder of Wakanda’s King T’Chaka and unveiling a dark secret to destroy The Avengers’ friendship.

This is a lot to pack into two and a half hours, but it works because the characters are previously established and grounded in this universe. It is the members of The Avengers and the emotional conflict between them that is at the heart of this story. At the time, the advertising was very similar to Twilight, dividing people into “Team Cap” or “Team Iron Man”. How righteous are The Accords, and should they be signed? The film never gives an explicit answer, treating both sides as equally valid opinions. Cap’s argument is that the Government would use The Avengers for their own means and not in the best interest of the American people. He has lived experience in the area of ‘organisations doing what they think is best’ and has seen how poorly it can end. Meanwhile, Tony’s argument is that The Avengers have inadvertently killed too many people during their battles and that they should be held to account. His decision is fueled by pure guilt, and ignores that civilians would still be hurt if the team was under Government control. The film sits on the fence, trusting the audience to make up their own minds, but there is a correct answer… and it’s not signing The Accords.

This confrontation between Cap and Tony almost reaches an amenable end before Zemo strikes the final blow. Having lured them and Bucky to a secret base in the mountains where Winter Soldiers were trained, he reveals that Bucky murdered Tony’s parents. Their deaths had been unveiled as suspicious to the audience in Captain America: The Winter Soldier but now it is finally revealed to the characters along with the tragic truth. It’s a brilliant plan on Zemo’s part. He is, to date, the only person to defeat The Avengers, who will continue feeling ramifications until Avengers: Infinity War. He knew that emotional scars often cut as deep, if not deeper, than physical ones because he too has suffered. His family was killed when Sokovia fell and it drove him to revenge. When this mission is complete and he is at peace, he feels like his story can come to an end. Peace like this won’t be seen again until the ending moments of Infinity War, but this resonates more emotionally.

Whilst Civil War is telling its story, it is also setting up several others. The fictional African country of Wakanda has been mentioned before, but this is the first time that its people are present with the introduction of Prince T’Challa – The Black Panther. He’s cool and calculating but is overcome with vengeance when Bucky is framed for his father’s murder. This is an interesting element that deserves more time, but there simply isn’t enough to give to it. On top of this is the introduction of Peter Parker/Spider-Man and Aunt May to the MCU. This is the third iteration of these characters in 20 years, so the film assumes that the audience is familiar enough with them to drop them in here. While it’s true that Spider-Man is a popular character, nobody is familiar with this iteration. Audience awareness does not a character make.

This isn’t to say nothing of returning characters who are crossing over for the first time. Scott Lang/Ant-Man has been fleshed out by his own origin movie, but this is his first time with big players like Captain America. It’s clear that he is excited, but there’s barely any time spent on this. Then there is General Everett Ross, whose return here is a significant moment. Until this point, the MCU has felt like it is ignoring the existence of The Incredible Hulk, but including Ross puts that to an end. He is the first character from that film to make his way into the wider MCU, discounting The Hulk himself because he was re-cast. Finally, there is the return of Sharon Carter/Agent 13 from The Winter Soldier who is here to act as a love interest for Cap. She also provides information from SHIELD but her primary existence is as a love interest, which is gross considering she is the niece of Peggy Carter… who was Cap’s last love interest.

Captain America: Civil War is an enjoyable action-adventure with impactful character moments but it is prevented from being great by setting up too many future stories. It’s an acceptable aspect when done generically and in smaller doses, but there is a limit to how much can be crammed into 2 and a half hours. It leaves this Captain America story feeling more like an Avengers one.

Excelsior!

Ant-Man

Discussions of an Ant-Man film date back to the late 1980s, when Stan Lee first attempted to get the project off of the ground. None of the major studios showed any interest in it, and all plans were shelved until the early 2000s. Writer/director Edgar Wright wrote a treatment with his conspirator Joe Cornish, which they pitched to Marvel Studios in 2003 – despite claims that he never intended to pitch the film to anyone. Over the next several years, the script was adapted so that it included original Ant-Man Hank Pym as well as the current iteration Scott Lang. Over the next decade, the script was revised between Wright’s work on The Cornetto Trilogy (Shaun of the Dead, Hot Fuzz, The World’s End) and in late 2014 it finally entered production. However, in the months leading up to this—despite all the crew members being hired and ready to go—Wright left the project, citing creative differences. It was at this point that director Peyton Reed and writer Adam Mackay were brought in to finish the project. We may never know how Wright’s Ant-Man would have looked, but the film we got is, in my opinion, still one of the most entertaining movies in the MCU.

The plot follows cat-burglar Scott Lang as he pulls one last heist in the hopes of finding enough money to pay child support for his daughter Cassie, who he is not allowed to see otherwise. Instead, he finds himself in possession of the Ant-Man suit, and at the beck and call of its creator Hank Pym, as well as his daughter Hope. Hank’s former protégé, and Hope’s, current boss is Darren Cross, who has created his own weaponised shrinking suit, which he intends to sell to the highest bidder. Which happens to be Hydra. It’s up to our new trio, as well as a few crooks that Scott knows, to pull off a heist in order to stop him. As somebody with a soft spot for heist movies like the Ocean’s trilogy, I really appreciate that the heist isn’t the sole focus. The majority of the plot is spent preparing for it, but it’s here to serve to different purposes. The first of these is training Scott to use the suit, since he’s going to continue using it, and the second is kickstarting the plot and allowing our characters the opportunity to bond. The heist is more of a catalyst than the focus of the narrative, what really drives the plot forward is the relationship between the characters, although there are still several Marvel Moments to remind you that this is a blockbuster.

Scott Lang is an extremely likable and sympathetic character. He’s a father, down on his luck, who can’t get a regular job due to his status as an ex-convict. His crime? Taking money from a company who was underpaying their employees, so that the CEOs could get bigger payslips, and returning that money to the employees. He’s a modern day Robin Hood… but the legal system doesn’t see him that way. After serving his time he lies about being an ex-con to procure a job at Baskin Robbins, but is fired once they find out. This isn’t an MCU or film issue, this is a real thing that happens to real people. The American Justice System functions on behalf of prison companies who make the most money when their cells are full. Coupled with companies refusing to hire ex-cons, it’s no wonder that so many return to a life of crime. The primary goal of the justice system should be reformation, not punishment, and Scott Lang is an embodiment of that. He also happens to be a caring father, and is portrayed with all of the charismatic charm of Paul Rudd.

The other father in this story is Hank Pym, who retired from SHIELD after they attempted to replicate his shrinking formula, The Pym Particle. His wife Janet sacrifices herself on a top secret mission but hides this information from Hope, who grows to resent him for keeping this from her and telling her that Janet died in a plane crash. In attempting to shield her from the pain, he has denied her the chance to grieve properly. Their journey is one of reconciliation, as Hank realises that he was over-protective, and Hope understands why. To me, it’s one of the most beautiful relationships in the entire MCU.

I believe that these relationships, as well as a healthy amount of comedic action, were what Wright’s Ant-Man would have focussed on. Of course, we may never know for sure, but I have my suspicions about where Marvel may have stepped in. The first is anything connected to The Avengers, and the second is the villain. During Scott’s first mission, he must retrieve a gadget from one of Hank’s old warehouses, however things quickly go awry when he discovers that this warehouse is now home to The Avengers. This leads to a fight between Scott and Sam Wilson, who I suspect may have been the only hero available at the time. Meanwhile, Darren Cross is a decent villain with solid motivation, but at the beginning of the third act he becomes straight up evil. He’s selling his tech to Hydra, shooting Hank and holding Cassie hostage. This is supposedly due to his variation of the Pym Particle being unstable and altering his brain waves, but I wonder if the more likely reason might be a corporate one. I feel like these two scenarios lessen the impact of the film slightly by pulling you out of a character driven story and into an action blockbuster, which would be decent enough reason to leave a project.

For me, there are two factors that help Ant-Man stand out from most other MCU instalments. Firstly, this film is funny. Other films in the MCU have humour, but they would still be classed as action-adventure, whilst this is definitely a comedy. There are some particularly effective visual gags which make brilliant used of Pym’s shrinking and enlarging tech, specifically one featuring beloved children’s character Thomas the Tank Engine. The second is the wonderful score composed by Christophe Beck. The comparisons to James Bond are plentiful, so I will instead compare it to the work of Murray Gold whose music was instrumental in shaping the revived run of Doctor Who. He filled his music with the amount of energy and heart that was a core component of the show, and Beck’s score fills me with a similar sense of excitement, especially the Ant-Man theme itself which has all the whimsy of Rob Grainer’s original Doctor Who theme.

Ant-Man was released mere months after the tonally dark Avengers: Age of Ultron, and was exactly the kind of palette cleanser the fandom required. There were no long-lasting or even short-lasting ramifications aside from an Avengers connection and the introduction of the Quantum Realm, so it very nearly stands on its own. This isn’t the last origin story we’ll be seeing in the MCU, but I think it is the last one that feels like it doesn’t have any commitments, set-up or connections to the bigger picture. My opinion of it only continues to grow.

Exclesior!

Avengers: Age of Ultron

The consensus in the MCU fandom seems to be that Age of Ultron is bad, and that it’s the weakest of all 4 current Avengers films. I disagree with this, but I have very mixed feelings about this particular installment which, I feel, is of a higher production quality than its predecessor. I disliked the television feel and rapid camera cuts in Avengers Assemble, and I am pleased to report that neither of these issues are present in Age of Ultron. Of the several issues in this film, cinematography isn’t one of them.

The plot follows The Avengers as they face off against Ultron – a synthezoid created by Tony Stark that has gone rogue and is attempting to end humanity. This sounds relatively simple but it’s primarily the glue that holds a hundred other plot threads together. Age of Ultron is all about setting up the future of the MCU, and introduces us to a variety of new characters. The Maximoff twins, Vision, Ulysses Klaw, and Hawkeye’s family all make their first appearances here, and they are all given a decent amount of set up. Since this is the majority of the plot, the easiest way for me to discuss Age of Ultron is to discuss all these elements: starting with Pietro and Wanda Maximoff.

The Maximoff twins are technically the first mutants in the MCU, but you won’t hear them called that because the rights to use that term were with 20th Century Fox at the time. This meant that a work around had to be found, and I think it’s fairly clever. The twins received their powers after Hydra used the Infinity Stone in Loki’s sceptre to experiment on them, which led to them becoming known as “enhanced”. This experimentation comes after they survived the collapse of their house where they spent several days staring down an unexploded Stark missile. This gives them a solid reason to stand with Ultron, but because they are acting out of revenge instead of pure malice, they are still willing to side with the Avengers once they learn Ultron’s full plan. My biggest issue with Pietro has nothing to do with the character, and everything to do with how he is used. He is killed by a hailstorm of bullets whilst pushing Hawkeye and a child out of the line of fire, which is particularly ridiculous given he is the fastest man alive. It feels as if this only happens to provide Wanda with further trauma. Wanda herself is a very likable character, but much like Black Widow, she is unnecessarily put into tight costumes. Actress Elizabeth Olsen has been very open about how against this decision she was, especially considering the director told her she wouldn’t have to wear anything like that. There’s no denying that the oversexualistion of women is at its worst in the first two Avengers films, and the more I hear about it, the more I’m filled with rage. As we go through the MCU, Wanda is going to get—in my opinion—one of the best characterisations in this franchise, and she deserves it. Much of this will come to a head in Wandavision, details of which we will take into account when we get there.

The introduction of Vision is handled very well. The lead up to his creation/birth is filled with tension, because it has only been a few days since Tony attempted something similar and ended up with Ultron. Despite being born in the middle of a massive disagreement between Avengers and an oncoming battle with Ulton, Vision is extraordinarily calm. He knows that he might not be trusted, but the moment he picks up Mjolnir he unknowingly proves to everybody that he is one of the most trustworthy beings there is. It’s a simple act, which means nothing to him but everything to those around him. He also happens to be one of the most powerful beings on the planet, having been created with Vibranium and with an Infinity Stone embedded in his forehead. It also helps that his birth was kickstarted by the lightning of Thor himself, who has a barely-present subplot about the possible incoming destruction of Asgard.

Ulysses Klaw gets a similar understated demonstration of power. We know that he’s an arms dealer with a dangerous history, because even Tony Stark at the height of his capitalistic nature wasn’t willing to trade with him. When we meet Klaw, he is afraid of nothing (except cuttlefish) and intimidates the Maximoff twins who have been sent to threaten him. He isn’t even set back when Ultron rips one of his arms off, which shows his unflinching determination.

Now we come to Mrs. Barton and her two children. Their introduction got a lot of backlash from some people who felt it completely undermined the romantic relationship that Avengers Assemble set up between Clint and Natasha. I am of the same opinion, however I feel like this isn’t a bad thing, and I’d like to explain why. Firstly, it gives The Avengers a much needed safehouse, and shows how desperate they are for safety because Clint would not allow his two worlds to collide unless it was a last resort. It also shows how much he cares about the Avengers, because it would have been easy for him to run and hide. In terms of negating the romantic relationship between Clint and Nat, I think that their characters work better with a platonic relationship. It shows how truly close they are, and how much they trust each other, whilst demonstrating that mixed gender relationships don’t need to be romantic.

This doesn’t mean that Nat has no love interest, because heaven forbid she be allowed to exist for herself. Age of Ultron features a relationship between her and Bruce Banner, which I find difficult to sit through. I’m aware that the comics did it once, but Nat has had a relationship with pretty much everyone in the comics and putting any of these in an MCU film doesn’t make it inherently good. To me it reads like Nat is sleeping her way through the team, but worse than that, she uses her relationship with Banner to calm him down as the Hulk, which is ridiculously manipulative. However the worst part of their relationship comes with how the film compares these two characters, making them seem equally monstrous. Natasha was trained as an assassin in the Red Room, which removes the ability to have children as part of the graduation ceremony, and this is equated to The Hulk who is an uncontrollable, dangerous monster. Good to know that not being able to give birth makes you a monster. Good to know that the trauma Natasha faced makes her a terrible person incapable of redemption. Coupled with Tony’s earlier line about reinstating Prima Nocta on Asgard if he can lift Mjolnir, it paints a very clear picture of how the director feels about women.

Age of Ultron definitely has some of the worst moments in the MCU, in particular its treatment of women, but I still find the plot to be impressive. There’s no denying that the pacing is off, but considering the amount of plot threads and set-up present, it’s almost a miracle that the film is as comprehensible as it is. I think that comes down to Ultron, who leads The Avengers from scenario to scenario and whose portrayal by James Spader is highly entertaining to watch. This isn’t a sequel or a continuation, it’s a beginning. A heavily padded beginning, with plenty of action and character conflict to remain entertaining.

Excelsior!

Captain America: The Winter Soldier

At the time of its release in 2014, The Winter Soldier was the most devastating thing to happen in the lore of the MCU. The events within the plot would shape the cinematic universe going forward and add an extra layer to the films that came before it. Whilst this is a Captain America film, it is intrinsically tied to the larger story of the MCU, as all 3 Captain America films are. He was the very first Avenger and many heroes/villains have come from governments/organisations attempting to replicate the serum that courses through his blood. Aside from being one of the most important stories in this franchise, The Winter Soldier was also one of the most profitable, making around $700million on a budget of about $170million. By the time this film arrived, it was almost a given that any film in the MCU would make bank, and this continued to solidify that statement as fact.

The plot follows Steve Rogers (Captain America) and Natasha Romanoff (Black Widow) as they find themselves on the run from SHIELD and a mysterious assassin known as The Winter Soldier. Along the way, they meet Sam Wilson (Falcon) and must face some harsh truths about the organisation they once thought to be safe. SHIELD has secretly been host to HYDRA agents and, in an attempt to expose the truth, both organisations must fall. The film wastes no time in establishing the stakes by killing SHIELD Director Nick Fury and having a STRIKE team attempt to kill Cap. Of course Fury survives (after all, no death is permanent except Uncle Ben) but for a solid chunk of the runtime none of the characters are aware of this. When his survival is finally revealed it doesn’t change the mission because there is too much at stake. It provides an excellent shift in dynamics between Fury and Cap, with Fury finally giving Cap his full trust and Cap finally feeling like he’s being trusted.

All of the relationships in The Winter Soldier are handled well, especially the friendship between Steve and Natasha, which is a core element of the plot and (thankfully) is never played as romantic. It’s clear that Nat has been shaken to her core by the revelations about SHIELD and is terrified that she is no longer the hero she thought she was. The faith that Steve places in her is clearly something that she experiences very rarely, and with her reciprocation, you get one of the best friendships in the MCU. Meanwhile, Sam is an excellent person to round out the trio. His military service and loss of a close friend gives him an instant connection with Steve, and he trusts Nat because Steve does. Sam is willing to take orders, but it’s clear that he won’t do so if it conflicts with his moral compass and, to top it off, he’s a super fun character.

The small spanner in the works, and one of many plot twists spoiled in the advertising, is the reveal that The Winter Soldier is Cap’s best friend Bucky Barnes, who supposedly died in 1945 after falling over a cliff from a moving train. It transpires that he fell into a river, which broke his fall, but he was picked up by Soviet Scientists and had his mind erased before being given a metal arm and getting cryogenically frozen between top secret missions. This is a traumatic experience for him once his memory begins to return, and the film never shies away from that. We are shown his mind being wiped and the rage of confusion as it grows inside him until he can’t bear it anymore. There are several tragic and sympathetic figures in the MCU, but I think that James Buchanan Barnes may be at the top of that list.

The large spanner in the works, and a selling point for the film, is that HYDRA has embedded itself inside SHIELD. A couple of key players are shown to have been HYDRA all along such as Agent Casper Sitwell (from Thor) and Senator Stern (from Iron Man 2). The infiltration really does go all the way to the top, and there’s no knowing who can be trusted. To truly solve the problem, both organisations need to collapse, which will have a lasting impact going forward. Without SHIELD to protect them, The Avengers will finally be held accountable by the government, and will see their popularity start to falter. This is where the age of liability begins.

There’s so much happening in terms of the larger MCU continuity that I’d consider The Winter Soldier essential viewing in an MCU marathon. It marks a drastic change in circumstance and introduces characters, as well as destroying an organisation that has been ever present thus far. For once, in an Earth-based installment, there are no Infinity Stones, and they really aren’t needed because the stakes are big enough on their own. We won’t see ramifications this massive until Captain America: Civil War, and we won’t see a main Avenger in a non-ensemble film until Thor: Ragnarok. The main question that this film raises is where the other Avengers are, considering how devastating this event is, and you can keep wondering because it’s never explained. I suppose none of the other Avengers actually work for SHIELD, so they don’t need to step in, and they do eventually team up again to deal with the aftermath in Age of Ultron, but it might have been polite to check in. If this is my biggest issue with the film, I think that’s a pretty good sign.

This may be an MCU film, but it’s an espionage film through and through. It keeps the conflict focused on our main characters despite the conflict itself being massive. Each of our longtime characters get to progress their arc, and that includes Black Widow who gets to demonstrate that she’s a brutal spy with deep insecurities. I’m a little nostalgic for this era of the MCU, if I’m honest. It felt like there was more agreement back then.

Excelsior!

Iron Man 3

*Dedicated to the underappreciated and underpaid Mental Health services around the world. You deserve better* TW: Panic Attacks *

From what I can recall, there are a vast number of people who don’t like Iron Man 3. However, as I researched opinions for this piece, I found that many of those who disliked it at the time had softened to it over the years. Personally, I’ve always thought that Iron Man 3 was good, and have defended it to friends who disagreed, although I’ve never had to put as much effort into defending this as I have Iron Man 2. I think the threequel is the best in the trilogy, and it would appear that this opinion has gained some traction within the fanbase lately. When it comes to “bad” MCU films, I think this is the one that people have come around on the most.

The plot follows Tony Stark as he struggles with PTSD and panic attacks after coming close to death during the Battle of New York whilst attempting to foil a terrorist leader known as The Mandarin, without the aide of his mechanical suits. The film focuses on the elements of Iron Man within Tony Stark , much like the Dark Knight trilogy focuses on the Batman within Bruce Wayne. I’ve seen this levied as a criticism of the film because “you can’t have an Iron Man movie without Iron Man” but that is literally the central theme. Captain America once asked what Stark would be if stripped of his toys and, as this film shows, he would still be a genius capable of holding his own in a fight, and whose sole aim is to protect people. The suits are simply an extension of him, and that only becomes more true the further into the timeline we get with his nano-suits.

I also feel like this film does an excellent job of handling his PTSD and panic attacks. Mental Health is something that the MCU has attempted to handle on several occasions, with mixed results, but I think that Iron Man 3 gets it right. As somebody with a history of panic attacks, I can assure you that they are terrifying to experience. You can attempt to find various triggers, but even then there is no guarantee that you’ll be able to avoid them. In my experience, there is no knowing how long they will last, and the best you can really hope for is that you don’t breathe too quickly and pass out. It’s no joke, and this film never plays it like one, which is greatly appreciated. They also do a decent job of demonstrating that children might not fully comprehend what is happening, and that they may inadvertently trigger an attack without knowing how. Let me reiterate that panic attacks suck, and if it’s happening to someone you know, the best thing you can do is provide whatever they need. They may want space, reassurance, fresh air, or silence, and it’s important that you give them that.

The second complaint I’ve seen is the one that the most people seemed to get hung up on. If, as a fan of Marvel, you were angry with Iron Man 3, then there is a good chance that it was their depiction of The Mandarin. Throughout the course of the film he has been committing terrorist attacks and hijacking the television airwaves to lecture President Ellis of the United States about the lessons he can learn from these attacks. As we enter the third act, it is revealed that The Mandarin is being portrayed by an actor named Trevor Slattery with the “real” Mandarin being Aldrich Killian-CEO of Advanced Idea Mechanics. It’s a hell of a plot twist that I don’t think many people saw coming, and I think that some felt like they had been lied to. I can understand the frustration, especially given Sir Ben Kingsley’s stellar performance, but it feels like a sign that the plot twist did what it was designed to. I also saw some saying it was disrespectful to the original comic book character and I can understand that too. Whitewashing is a very real issue in Hollywood and Marvel has played it’s part in that, but it seems to be something that they were aware of. Neither Slattery or Killian are really The Mandarin, it is simply a title that they stole. The co-writer for Iron Man 3-Drew Pearce- also wrote a Marvel One-Shot titled All Hail The King.

The short film takes place shortly after the events of Iron Man 3, with Slattery in prison for his crimes. Here he is interviewed by an amateur documentarian who is secretly a member of The 10 Rings, sent to break him out on behalf of the real Mandarin. It is often presumed that this short was created as a response to the backlash faced by Marvel for botching The Mandarin, but this isn’t really the case. Plans for this short were already being discussed during production of Iron Man 3, and only a few lines were altered due to backlash… though I have no idea which ones. It left open the door for The Mandarin to one day make his first appearance, and he will finally get that chance, 8 years later, in Shang Chi and the Legend of the Ten Rings. It’s genuinely exciting to me and I wouldn’t be upset or surprised if Trevor Slattery gets name dropped.

In terms of continuity, there’s more closure than there is set-up. Obviously, there is the return of The 10 Rings who made their first appearance 8 films ago in Iron Man. It’s worth noting that they aren’t really The 10 Rings, and are only appropriating their existence, but this group is a decent threat nonetheless. War Machine returns in a supporting role with a brand new paint job for his armour, and a new less-impressive name: the Iron Patriot. Neither of these remain going forward. There’s only one character cameo in this film, bar the end credits, which is Yensen from the original Iron Man in a flashback, and it’s genuinely lovely to see him again. Probably the biggest continuity introduction is the removal of the bomb shrapnel from Stark’s chest, which was a divisive decision as some felt like this should have happened sooner. Personally, I never had an issue with it because it marks a brand new chapter in his life and provides him with emotional closure. He may be present in practically every MCU film, but his trilogy is where most of the character progression takes place so it’s nice to put a little bow on it.

Iron Man 3 is all about closure. It’s the final instalment in the Iron Man trilogy, and the last time that we’ll see Tony Stark take on a threat without a team surrounding him. After this it’s mostly team-up ensemble movies and, whilst that isn’t inherently a bad thing, there’s something special about solo adventures. As solo adventures go, this may have the most heroic score which has been masterfully composed by Brian Taylor. Much like the theme from The Pirates of the Caribbean, I feel hyped listening to it, and I think that this hype is something Iron Man 3 provides. I’d list this as one of the most underrated films in the entire MCU alongside The Incredible Hulk and I’m glad that people are finally feeling the same.

Excelsior!

Guardians of the Galaxy

2012’s Avengers Assemble was a success. It was a massive risk for Marvel Studios, but they had proved that a ‘cinematic universe’ could make millions of dollars at the Box Office, and that superhero movies could do the same. Of course, the shift in opinion towards superhero films wasn’t just thanks to Marvel, as DC had recently gained massive popularity with Christopher Nolan’s Dark Knight trilogy and even in the early 2000s films like X-Men and Spider-Man were laying the groundwork. There have certainly always been fans for this kind of film but from 2008 onwards there was a real shift into mainstream pop culture so that, by 2014, they were really hitting their stride. All this is to say that with the release of Guardians of the Galaxy, Marvel were taking yet another risk on a group that was not a household name and was, arguably, weirder than The Avengers.

Our core group of characters are a half human/half eternal being (Peter Quill), the cybernetically enhanced daughter of a madman (Gamora), a buff grey alien who takes everything literally (Drax), a cybernetically enhanced talking racoon (Rocket) and a talking tree (Groot). As bizarre as The Avengers were, at least they were all human(oid). Enter writer/director James Gunn- who you may remember as the man behind the legendary live-action Scooby Doo movies. He took each of The Guardians and boiled them down to their most human components, providing a heartfelt story in the process which is also soaked in action and humour. At the beginning of the film’s 3rd act, Quill notes that each of The Guardians have ‘lost stuff’ and the plot never shies away from that. At this point in the timeline, it might actually be the darkest that the MCU has gotten, with genocide and experimentation on living beings. The film opens with Quill’s mother dying of cancer, which in any other film might set the tone, yet Guardians of the Galaxy manages to be one of the most entertaining instalments in this entire franchise. The plot is juggling a mass of themes, characters, and moods but it never falters as a story. If I seem shocked, it’s because I am. Releasing a film like this at the time and having it be successful was only slightly shocking at the time, but in retrospect it seems like a miracle. Over the past decade, several movie studios have attempted to launch their own cinematic universes via team-up movies and, when compared to the MCU, it is very clear that none of them have any idea what they are doing. They all attempted to replicate Avengers Assemble, but realistically they should have been looking at Guardians of the Galaxy. The first was the culmination of several films of build up, but the latter built an entire team from the ground up in one film, which is part of what these other studios are trying and failing to accomplish.

The plot follows an adult Peter Quill, taken from Earth as a child by a group called The Ravagers, as he meets with his fellow Guardians and unwittingly ends up attempting to save the planet Xander from Ronan the Accuser. Quill’s love interest, Gamora, is the daughter of Thanos who is attempting to free herself from his clutches as well as the judgement of her murderous sister Nebula. I’m really not a fan of their romance, because Quill pesters her into it after she initially shows zero interest. It sends the message that if you ask somebody enough, they will give in to your demands, and I think that is really harmful especially in a film aimed at young teens. As relationships go, I much prefer the friendship of Rocket and Groot. Due to Groot’s limited vocabulary (I, am, and Groot), Rocket does all of the talking, which gives us a similar dynamic to Han Solo and Chewbacca or Shaggy and Scooby Doo, although its much more the former. Despite being motion captured/CGI characters, they have a very believable chemistry which leads to one of the saddest sacrifices in the MCU. I know it’s become a bit of a meme, but many of us really did cry when he said “WE are Groot” and despite living on as Baby Groot, the sacrifice is still meaningful. It’s a little like regeneration in Doctor Who in that it’s the same character but it also sort of isn’t. Then we have Drax, whose wife and daughter were murdered by Ronan, along with the rest of his village, and has sworn vengeance. He’s got a really simple arc but it’s built on the foundation of pure agony and I love him. Finally, there’s Yondu, leader of The Ravagers, who serves as Quill’s father figure and clearly loves him despite feeling that he can’t show it. Their relationship gets a solid introduction here, before being developed in the sequel, leading to yet another upsetting sacrifice.

In terms of continuity, there is a surprising amount for a film set lightyears away from Earth, and The Avengers. We get the return of Ronan the Accuser, having last seen him during the finale of Captain Marvel, 8 films ago. It would appear that his loss to Carol Danvers was the start of a destructive path that ended in genocide. We also get a proper introduction to The Collector (Taneleer Tivan if you want to use his actual name) having previously met him at the end of Thor: The Dark World. There’s something almost funny to me about him already having one Infinity Stone safely in storage but this one blows up his house. Probably the most important is the introduction of the mad Titan Thanos, who we previously glimpsed at the end of Avengers Assemble. He’s had a noticeable redesign since then, and even gets a few lines of dialogue. His aide also returns although he is swiftly killed by Ronan, which is oddly cathartic, and Thanos’ lack of reaction is a perfect demonstration of his strong, determined will. We also see how ruthless he can be through the cybernetic experimentation on his adopted daughters Gamora and Nebula, as well as his affinity for sitting down and letting other people do all the legwork for him. These points will all become relevant in time.

I couldn’t discuss Guardians of the Galaxy without mentioning the excellent soundtrack. A mixtape of music that Quill’s mother used to listen to, it has a narrative purpose but it’s also fun to listen to on its own. It’s so good that it was the first vinyl record I ever bought. It mixes brilliantly with the original score composed by Tyler Bates, which is itself filled with heart, soul and whimsy.

I want to round off this review by talking about legacy. By 2014, it was becoming clear that the MCU was here to stay, and that its films were going to range from okay to great. It’s a far cry from the Marvel Studios of 1986 who nearly toppled their house with Howard the Duck. Flash forward to the Guardians of the Galaxy post-credits scene 28 years later, and there sits the duck himself sipping a martini in the ruins of The Collectors home. Fully CGI, voiced by Seth Green, and the spitting image of his original comic book self. It was a shock to say the least, but I really think it exemplifies how far Marvel Studios has come and how aware of that progress they are. 1986 Howard isn’t their legacy anymore, this is, and that brings me a small sense of pride on their behalf. Guardians of the Galaxy is pure MCU. It’s bizarre, humorous and filled with darker themes but it’s also a shift from those early films into the MCU that followed. This isn’t just Kevin Fiege’s test project anymore, it’s his legacy.

Excelsior!

Thor: The Dark World

Once again, we find ourselves at the “worst” film in the MCU. Much like Iron Man 2, this is the second film of what will later become a trilogy and much like The Incredible Hulk it has a very modest score on IMDB (6.9 to be precise). However some might say that unlike these films, Thor: The Dark World is kind of important to the mainline story of the MCU. Iron Man 2 focuses more on Tony Stark as a character and The Incredible Hulk is a film that some fans just flat out ignore. Not this film though. It’s the first time that we are introduced to an Infinity Stone that isn’t the Tesseract and it marks the second time that Loki has died as well as giving further backstory to the relationship between Asgard and the rest of the nine realms. It also holds Loki accountable for his previous actions but we’ll get to that.

Thor: The Dark World picks up shortly after Avengers Assemble, with Loki in Asgardian prison and Thor poised to be crowned king. However, after an attack by an ancient race called Dark Elves nearly brings them to their knees, Thor embarks on a mission with Loki to bring a ceasefire which reunites them with Jane Foster, Darcy Lewis and Erik Selvig. Our McGuffin for these proceedings, and the weapon that leader of the Dark Elves- Malekieth is after, is The Aether. Capable of plunging all 9 realms into eternal darkness, The Aether is the second of our 6 Infinity Stones. This is a term that we’re familiar with now but this is the first time we are hearing it in the MCU as well as the first time we get an explanation for what they are. Whilst the Tesseract has been present for many of the previous instalments in this franchise, this is the first time that we learn what it truly is and just how much power any of the 6 stones hold. Why exactly The Aether choses to kidnap Jane Foster and use her body as a vessel, I can’t tell. It would seem that contrived plot elements are present even in the world’s largest film franchise. (Watch them explain it away in Thor 4 as fate or something.)

Whilst this carries the plot forward, the true core of the story is the relationship between Thor and Loki. It’s clear that despite Loki’s drastic flaws, Thor still loves his brother even if he can’t trust him. Actors Chris Hemsworth and Tom Hiddleston (Thor and Loki respectively) bounce off each other with such ease that you never doubt the relationship of their characters. Both Thor and Loki are at their most emotionally distraught here having lost their mother, their father becoming ill, facing the potential destruction of their home and facing a possible exile upon their return. Absolutely everything is at stake here and this is only amplified for Thor once Loki dies (again). I seem to recall his eventual survival being a point of contention for some fans at the time and I’m fully aware that his death count has become a running gag at this point but there is a saying for times like this. Unless you see a character die, don’t be sure it happened. It’s why the series 4 finale of Sherlock was so upsetting to me and it’s why, when Loki meets his demise at the hands of Thanos, I would be inclined to believe it. Once again Thor is fighting for the people he cares about but now he is also fighting to honour those he has lost.

While we’re talking about people that Thor has lost, I want to talk about his mother Friga. This is a woman who refuses to give up on her adopted son – the murderer – and is willing to die for her other son’s girlfriend who she had only just met. Her character is one of the kindest and most humble in the entire MCU and her death is given all the respect it deserves. The way that all the sound mutes, allowing Thor’s screams of anguish to pierce through is one of the MCU’s most heartbreaking moments. It is followed by her funeral which is beautifully shot and stunningly scored. There’s no dialogue. just the looks of paint that you would expect during a time like this. I know that many consider Thor: The Dark World to be one of the worst films in the MCU but these 10 minutes are definitely some of the best that the franchise has to offer.

This brings us to what many consider to be the film’s weakest aspect-Malakieth. I really want to like him as a villain and to find him threatening but he feels like such a standard villain. Christopher Ecclestone is clearly giving his all in the role and I know how talented he is as a performer but there’s just so little for him to work with here. It often feels like the film’s real threat is The Aether and as villains go Malakieth pales in comparison to others that Thor has fought. The Sentinal from Thor was several stories tall, The Chitauri from Avengers Assemble had an army of thousands and even at the start of Thor: The Dark World we see him take down a stone giant with ease. Malekieth meanwhile is at his most powerful after he has been consumed by The Aether which results in a tornado. We later learn that this particular Infinity Stone can alter reality so this makes Malakieth seem even weaker in retrospect. It’s a fun final battle and makes great use of the portals between realms but Malakieth is set up as a much larger threat than he ends up being. For those of you keeping score by the way, this is the 4th time that the villain of the piece has died, which means there’s also sadly no way to expand the character.

The other issue that I’ve seen some people raise is that Darcy Lewis is annoying and, whilst this criticism is entirely subjective, I’m going to disagree. I personally find her to be absolutely delightful and the kind of person that I could become friends with but she also provides moments of levity in an otherwise dark story. To me, there seems to be a noticeable divide between those who like her and those who don’t. It seems to come down to age, gender and how much we are willing to just enjoy things. This general divide is present throughout the fanbase but it seems to be more prevalent when it comes to discussing the “lesser” films in the MCU. It’s something that I really feel should be discussed, although I won’t go in depth with it here. I feel like it is still worth bringing up as just a caveat in moments like this, even if only to possibly start the larger discussion.

I’ve said it before and I’ll say it a thousand times: every film is worth something. For Thor: The Dark World it’s the characters and the way that they interact as well as the sheer amount of lore it adds to the MCU. It’s where we first meet The Collector before he plays a slightly larger role in Guardians of the Galaxy and it gives us The Aether as well as the concept of Infinity Stones. If my theories are correct, it will also provide someimportant backstory for Jane Foster in Thor 4. I still don’t believe Thor: The Dark World is bad because even a “bad” MCU film is mediocre at worst. After this, there is one more of these “bad” instalments to get through and, I won’t lie, I’ll be glad to get it over with. I pour as much of myself and my love for cinema into these reviews as I can but when I have to write about a “bad” film like Iron Man 2 or Thor: The Dark World, I find it just a little more emotionally draining than usual. I just find negativity so exhausting, but these reviews are worth the effort. I could be the only person defending a film and I’d be ok with that.

Excelsior!

Thor

Every director in Hollywood has their own distinctive creative flair and artistic vision. For example, you may not recognise the name Wes Anderson, but all of his work has similar dialogue and his shots fill the frame in a unique way, so if I was to tell you he produced both The Grand Budapest Hotel and Fantastic Mr Fox you’d think “oh that was him”. I find myself compelled by his work, as well as the work of others like Edgar Wright (Shaun of the Dead) and Christopher Nolan (Tenet), but there is a lesser recognised filmography that I also admire, and that is the work of Sir Kenneth Brannagh. From acting on stage, to acting on screen, to stepping behind the camera, he’s a man of many, many talents though he’s most widely known these days for his 4 hour long film adaptation of William Shakespeare’s Hamlet, in which he was writer, producer and titular actor. As an aside, if you want to experience Hamlet but it isn’t currently playing in a theatre near you, this is the next best thing. It’s probably the closest adaptation we have ever and will ever see on screen and Brannagh brings such a scale of grandeur that you’ll never mistake Prince Hamlet for anything other than royalty. So it is perhaps no surprise that he was hired as the producer for the MCU’s most splendid and theatrical Avenger – The Mighty Thor.

It’s the simple tale of an arrogant God, banished from his homeworld by his father, who meets a girl and learns to be humble. Meanwhile, his unknowingly adopted brother attempts to prove himself to their father by slaughtering their greatest enemies. There are two distinct plotlines in Thor, one about the God himself on Earth and one of Loki back on their homeworld of Asgard, and both of them are given an appropriate amount of attention. The story of Thor being so arrogant that he starts a war with the Frost Giants, meaning his father has no choice but to banish him is fraught with emotion. It’s clear that Odin trusts his son to redeem himself, otherwise he would not have put the hammer Mjölnir within his reach. The friendships that Thor forms with Dr Erik Selvig, Jane Foster, and Darcy Lewis are integral to him acknowledging and dealing with his feelings, which is a very human trait (explaining why he is so fond of this dumb little planet and the people on it). He laughs, cries, falls in love, and ultimately realises that battles are only worth fighting if it is to protect the people you care about. In the end, he believes this so strongly that he is willing to sacrifice himself twice – once physically to The Sentinel and once emotionally when he destroys the Bifrost.

Then there is our second main character, Thor’s younger brother and the God of Mischief, Loki. He really started a trend of sympathetic villains and re-watching this film again, I kind of get it. Loki isn’t as much of a villainous character as he is a tragic victim of circumstance. He has lived his entire life in the shadow of his brother, is attempting to put a stop to war that Thor started, and he’s just discovered that not only is he adopted, but he was a Frost Giant baby stolen (saved?) from his birth home by Odin. The Joker once so eloquently said that “all it takes is one bad day” and Loki is having one of those for sure. His attempted destruction of Jötunheimr, planet of the Frost Giants, is a clear act of desperation for validation and his final brawl with Thor is riddled with anguish. I won’t sit here and tell you that what he did was right, or that it completely negates his actions, but I will tell you that I understand why he did it. We are going to see Loki go through a decade long redemption arc moving forward but, arguably, a redemption arc is only as good as the person and actions you are redeeming and the character of Loki (and the acting of Tom Hiddleston) nailed it from day one.

The 4th MCU film to be released and the 6th chronologically, Thor is an interesting one. Until Guardians of the Galaxy 4 years later, his was the only instalment to take place in space, but even after that it held the title of the first MCU film in the timeline to be set there. Now that title goes to Captain Marvel, although it only really uses space for the first and last 20 minutes, whilst Thor is practically drenched in it. Even on Earth, there are descriptions of the Tree of Yggdrasil (first mentioned in The First Avenger) and explanations for how the Bifrost works which make it all sound so simple. The story is fantastical, but still feels grounded to the parameters of the universe set out by the MCU. The continuity from the previous films is present in the form of Agent Phil Coulson who, at this point, is essentially the lynchpin of the MCU. Sure, there’s Nick Fury, but he’s still more of a shadowy figure whilst Coulson is physically present in 4 of these films. He isn’t present for The First Avenger, because he is a child at the time it takes place, and he isn’t present in The Incredible Hulk because he’s dealing with the events of Iron Man 2 and Thor at the time. He has been Nick Fury’s right hand man for quite some time now, and he is so freaking likable that it’s no wonder he became a fan favourite. My fiancé has often asked why Phil is as liked as he is, and I can’t say for sure… but his general attitude, the way he plays the straight man to the absurdity around him and his tragic (unnecessary) conclusion certainly all play a part.

There’s also a small amount of set-up going on in Thor. We are introduced to Clint Barton/Hawkeye and it’s clear through his very brief interactions with Coulson that the two have a professional history. This now means that we have been introduced to all 6 members of the original Avengers line-up, in time for the team up itself. Thor also sets up his own appearance in the following film through his final conversation with Coulson, in which he determines his status as an ally and that, should he be required again, he will return. Meanwhile, the post-credits scene is a direct set-up for Avengers Assemble as it shows Selvig meeting with Fury to discuss working on The Tesseract, and shows that Loki survived his (first) supposed death. This also reintroduces our favourite Cosmic Cube, which hasn’t been seen since the end of Captain Marvel, 3 films ago. The biggest setup however is that Thor shows us exactly why Loki would want to go after Earth in particular. Not only is it home to people that Thor cares about, but it also contains the greatest source of power in the known universe. It’s a war for revenge and self-gain.

To me, the only issues with the film are purely subjective. First is the romance between Thor and Jane Foster which is going to bug you if you aren’t a fan of romance in your superhero movies. Personally, I don’t mind it because I think it’s one of the better MCU love stories, although that isn’t really a high bar. The second is unavoidable and one of those “fun facts” that people love to bring up – Thor’s eyebrows. Actor Chris Hemsworth wore a blond wig for this film, and to make sure his naturally dark eyebrows match, they were dyed blond. It’s especially odd here because that decision is never made again and, personally, I think he looks better without them dyed. However it is worth noting that naturally blond people can and do have naturally blond eyebrows, and much of the filmic medium gives people blond hair without changing their eyebrows. So Kenneth Brannagh’s decision here is the most accurate, we’re just not used to seeing it. Apart from these two things, Thor is brilliantly paced, well written, beautifully scored and visually stunning. It’s a perfect prelude to Avengers Assemble and proof once again that the sole purpose of origin stories does not need to be launching a cinematic universe. In fact, it shouldn’t be.

Excelsior!

The Incredible Hulk

The time has finally arrived to discuss the only solo Hulk film in the entire MCU, and why I think it is severely underrated.

The circumstances surrounding this film’s conception are absolutely fascinating to me, and I think are worth remembering. Having released the infamous Howard the Duck in 1986, Marvel Studios sold the rights to their arguably most prolific characters to stay afloat, including Spider-Man, and The X-Men. Our primary focus today is on Bruce Banner/The Hulk, who was purchased by Universal Studios for a seemingly undisclosed amount. Their plan was to launch into a solo Hulk venture as soon as possible, but the project promptly entered Development Hell, where it remained for a solid decade. In all that time the script went through various re-writes and producers, before it finally came to director Ang Lee in 2001.

2003’s Hulk featured Eric Banna as the titular character and details his origin story, along with the negative relationship he has with his father. The film also stars Jennifer Connelly as Betty Ross and Sam Elliot as her father General Thaddeus Ross, with Nick Nolte portraying Bruce’s father David, who eventually becomes The Absorbing Man. Hulk was criticised for not providing enough action in its 140 minute runtime, and for the exceptionally flat CGI of The Hulk himself. This film ends with the Ross’ relationship frayed and Bruce on the run, but it’s where we go from here that interests me. Hulk isn’t essential viewing. In fact, I can’t remember the last time I watched it. But it is still semi-relevant to the MCU’s Incredible Hulk. This film acts as a pseudo-sequel to its predecessor, but without any of the same crew, or indeed any canonicity to the MCU. The Incredible Hulk follows General Ross as he continues to hunt down Bruce whilst remaining mildly estranged from his daughter which seems to follow on directly from Hulk. The opening credits montage even details some of the events of Hulk, although the method through which Bruce is exposed to Gamma Radiation is different. His father is never mentioned, the CGI is noticeably better, and the film doesn’t hold any of Ang Lee’s unique visual stylings, so you could easily not notice how sequel-y The Incredible Hulk is.

If you want a more complex introduction to these characters then Hulk is probably worth a watch, but Incredible Hulk manages to condense all that story down into the aforementioned opening credits montage and through the context within the film. Kevin Feige made it very clear that he wasn’t interested in telling the origin story of a character that the majority of people already knew, and I think he made the right call. It allows for more focus on the characters, including the villains. As events unfold, General Ross hires Royal Marine Emil Blonsky and injects him with a failed recreation of the Super Soldier Serum given to Steve Rogers during World War 2, which leads to him becoming a Hulk-like creature called The Abomination. The contrast between Blonsky and Bruce Banner is central to the plot, with Blonsky obsessed with holding an amount of power that Banner wishes he’d never been given (technically stolen). The film has been criticised for being slow in places, but I think that if any hero deserves a little time to have their psyche explored, it’s The Hulk.

Bruce Banner is a man with a terrific amount of intellect, who could be winning Nobel Prizes but is instead unable to be a part of society because he could become a genuine threat at any moment. Chronologically, this is the 5th film in the MCU, and so far we have had two superpowered individuals, and one billionaire, who can easily settle into normal lives should they choose to. They have control over their abilities, and weapons in the case of Stark, but Bruce Banner doesn’t. He doesn’t have a superpower, he has a curse, and the film does a brilliant job of displaying that. Occasionally the film verges on psychological thriller, although it remains an action film at its core. To me, The Hulk has always been one of the most interesting characters because of this. He isn’t just a green rage monster that smashes things, he is a man desperately trying to prevent himself from becoming so much of a threat that he has to be taken out.

The biggest complaint I’ve seen levied at The Incredible Hulk is that it isn’t relevant or important enough to be included in your MCU marathon because nothing really carries over. To be honest with you, it’s a narrative that I am sick of seeing. Just because it doesn’t have major ramifications in the wider universe doesn’t make it not-worthwhile. Stating that it isn’t worth watching because it doesn’t matter is reductive, and kills any genuine conversation that could be had about the film. Also, the claim that it doesn’t matter in the MCU is becoming less true by the day. General Thaddeus Ross would go on to reappear 8 years later in Captain America: Civil War as well as several subsequent appearances. If it turns out that Marvel is working towards a “Thunderbolts” movie like many have theorised, then he will suddenly become one of the franchise’s key players. Betty Ross doesn’t reappear, although she is mentioned, and the super-habit of going on the run and hiding in a cabin in the woods makes its debut here. Perhaps the most unavoidable, and most exciting, is that The Abomination is set to return in the upcoming She-Hulk television series which is a direct part of the MCU. However, we are still to see Dr Samuel Sterns again, who in the comics went on to become The Red Leader which is set up here.

I also want to talk about the appearance of Tony Stark during the climax of this film, because that is super important. Iron Man stands on its own as the very first film in the MCU, but it is not solely responsible for building that world. The first time this world is built upon is right here, during the final scene of The Incredible Hulk where Stark approaches Ross at a bar to inform him that SHIELD is putting a team together. If you want to create a movement, then that first person is important, but so is the first person who follows their lead. It gives a thing validity, and I refuse to just let The Incredible Hulk‘s place in history be forgotten about because it “isn’t that important to the larger story”. Once you’ve finished watching this film, then the Marvel One Shot The Consultant is a must watch. It provides a really important piece of context to that final scene, as well as giving us an answer to where exactly The Abomination ended up.

As you can probably tell, I have a massive soft spot for The Incredible Hulk, and I kind of struggle to understand why it has received the level of hate within this fanbase that it has. It wasn’t received poorly upon its release, has a 7.7 rating on IMDB, and is sitting with an audience score of 80% on Rotten Tomatoes, so clearly the film is at least average. I suspect that there is this real belief with some fans that any MCU film that is less than perfect is bad, although that is something I have noticed about fanbases in general, and I will just never subscribe to that way of thinking. I really hope that people revisit it in light of the She-Hulk series and that we can begin end this frankly toxic view that seems to be prevalent in some corners of film criticism. In my humble opinion, The Incredible Hulk has always been one of the finest pieces of underappreciated media and I look forward to re-visiting it soon.

Excelsior!