A dense, beautiful film that feels like a new beginning for the MCU more so than any other entry after, well, Iron Man. It doesn’t break the MCU mold so much as it reshapes what a movie in this series can look like by pressing against the sides. What Black Panther and Shang Chi did for the modern superhero character, Eternals does for the allowed style and substance of these movies. There is absolutely room in these things for Zhao’s practical filmmaking, weighty conversations about immortality, Bollywood numbers, and slight Watchmen-adjacent interrogations of the superhero genre and the pedestals on which we place these characters.
It seems like the movie is divisive because it’s either too much of a Chloe Zhao movie and not enough of an MCU one or vice versa. For me, it’s kind of a perfect mix that takes some critical steps forward in it’s representation of humanity. Either way, change is good. Change is necessary.
My VHS cover pull-quote: “The Eternals are kind of the immortal, dysfunctional Power Rangers and I’m into it.”
A romantic dramedy in the guise of a modern dark antihero/superhero movie. Venom: Let There Be Carnage is what it is, and that’s okay. That’s beautiful, even. They took what worked about the first, namely two Tom Hardy boyz interacting with each other and figuring out their relationship, and just built the entire movie around it. Then they gave Woody Harrelson a silly red wig and slapped some CGI on him to transform him into 90s icon Carnage, and it all just kind of works in a fun, B-movie kind of way.
My mildly spoilery VHS cover pull-quote: “Exciting things are no doubt in store for the Venom character beyond the Sony Spideyverse, but I appreciate this little weird 90-minute corner of the superhero genre and hope it continues to do its own thing. Like Morbius? That’s going to be wild. He’s a living vampire and some filmgoers are going to confuse him with Owen Wilson’s character Mobius from Loki. What an odd treat that will be!”
A bloody, messy blast of a comic book movie that peppers in substantial emotional beats for these cannon fodder oddballs amidst all the carnage, chaos and wit. It feels like it’s pure James Gunn in a way that Guardians of the Galaxy can’t really approach. Both, however, share a common, simple thesis statement: the outcasts, the downtrodden, the misunderstood rats and the weasel things that have killed 27 children all have purpose and worth.
One thing I really appreciated, surprisingly, is the treatment of a character from the original Suicide Squad movie: Rick Flag, y’all!! Harley is always sort of core (and amazing) Harley from one movie to another, but Rick Flag gets to show an evolution of character from the 2016 film to this one. From wooden soldier to big damn hero who seems to have found a place among the outcasts he leads. While I went into the movie not caring about Flag living or dying, that changed substantially through the course of events. Beyond him, we are made to care about most of these these ‘losers’ that make it past the 20 minute mark, from Polka Dot Man to Ratcatcher 2, to even cosmic gumbo Starro the Conqueror.
My spoiler-filled VHS cover pull-quote:
“They killed my mate Captain Boomerang and, like a boomerang, I can only hope he comes back around somehow. I salute his noble severed arm, holding his boomerang high. All names are letters, dickhead!”
Calm down, dude, it’s just a superhero movie. Zack Snyder’s Justice League is far better than the theatrical cut, if only because it gives characters like Cyborg, The Flash, and, yeah, even Steppenwolf room to actually be characters with motivations and prominent roles in the story. Snyder makes the most of the four hours with these characters, and that’s the biggest reason I’m happy this cut exists now (not that I was clamoring for it, exactly).
Cyborg, especially, functions as the heart of the whole thing and the visuals of Barry’s scenes are almost Days of Future Past Quicksilver-level appealing so it’s mind-boggling that all this was left on the cutting room floor in service to a theatrical cut that just highlighted the most popular superheroes in history we already know about (but almost understandable given the rumored hard 2 hour runtime stipulation–you have to cut something, after all).
There are still problems, of course, some of which that were present in the original cut and some born out of the restored scenes. The grimdark path Snyder seems/seemed to be pushing the franchise down is, like, real edgy and dark, bruh, but devoid of much wonder, hope and a color pallette. Superhero cynicism has been all the rage for a while now, but it’s also kind of played out. Still, for better or worse this is a singular director’s vision and I would have been interested, at least, to see it play out over a few more movies.
My VHS cover pull-quote: “Restore the Snyderverse? Nah, bring on the Starroverse. And the multiverse. The Snyderverse is in the multiverse, so there you go.”