‘The Fantastic Four: First Steps’ feels fresh, but takes too big a first step toward the MCU

The Fantastic Four: First Steps appears to be the film that the Marvel Cinematic Universe needs right now. It doesn’t depend on other movies to establish its world and story. Watching the dozens of other MCU films and TV shows isn’t required to follow what happens.

So it effectively serves as a necessary reset for a superhero movie universe that has felt tired and unfulfilling over the past few years. Especially when the guy with the red cape flying over Metropolis just brought a jolt of freshness to movie theaters and pop culture.

Yet The Fantastic Four feels new and exciting as well because it’s not set in the very same MCU as the familiar one occupied by the Avengers. The best decision made by Marvel and director Matt Shakman is putting these characters in a retro-future 1960s that looks unlike anything seen in an MCU film before.

There’s no cynicism here. It’s a culture full of wonder, which has also built trust between the world and these superhuman heroes who protect it. Reed Richards, Susan Storm, Ben Grimm and Johnny Storm are media sensations, rock stars and monoculture icons, which wouldn’t happen in a modern setting. The movie probably could have had more fun with that. But Shakman has cut a tight film and the story has to move along — which is also part of the problem.

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Watched ‘em, read ‘em: May 2025

These posts are inspired by Steven Soderbergh’s annual “Seen/Read” list. At the beginning of every year, Soderbergh shares his chronicle of all the media he consumed during the prior 365 days.

Yet my choices of movies, TV shows and books likely aren’t interesting enough to keep people scrolling through a long list. So I’m doing it month by month, which keeps it fresh for me as a writer and is easier to track.

Most notably, I finally got back to a movie theater. Thanks, Marvel! And thanks to spoiler culture for getting me to watch The Last of Us every Sunday, even though Season 2 was rather unsatisfying. (I know; I should write about that.)

05/01 – Andor; Season 2, Episodes 5 & 6: “I Have Friends Everywhere,” “What a Festive Evening”

05/02 – Your Friends & Neighbors; S1, Ep. 5: “This Tourist Has Balls”

05/04 – Thunderbolts* (2025), Jake Schreier

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Watched ‘em, read ‘em: April 2025

If this is your first time seeing one of these posts on the blog, they’re inspired by Steven Soderbergh’s annual “Seen/Read” list.

Every January, Soderbergh posts his chronicle of all the media he consumed during the previous year. I don’t expect my choices of movies, TV shows and books to be nearly as compelling for a year-long list. So I’m doing it month by month, which is more engaging to write and easier to track.

April was a really good month for TV. The Pitt and Daredevil: Born Again were both nearing the end of their seasons, while Andor and The Last of Us were beginning their second turns. Your Friends & Neighbors was also intriguing, but I might not have been interested if not for Jonathan Tropper running the show. He’ll always get my attention because of Banshee and Warrior.

Then there’s Andor, which isn’t reinventing TV but may be reinventing Star Wars. Tony Gilroy is telling adult stories that may take place in another galaxy, but aren’t space fantasy. No Jedi, no Force. And maybe the best definition of “rebellion” that ever could have been created in this universe.

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‘Black Panther: Wakanda Forever’ successfully pays tribute, moves mythology forward

Director Ryan Coogler had a thin line to walk for his sequel to Black Panther.

Following up 2018’s mega-hit that was unlike any Marvel superhero we’d seen before, reaching out to audiences and cultures that previously felt underserved by blockbuster entertainment, would have been difficult enough. Coogler had an opportunity to direct a sequel to 2015’s Creed, but passed on it to jump into the Marvel sandbox and bring comic books’ first Black superhero to the big screen.

Topping himself and continuing the story of Wakanda’s King T’Challa was going to be much more difficult — logistically and emotionally — after the death of star Chadwick Boseman two years ago. How could Marvel and Coogler, along with the amazing cast and crew that brought the fictional African nation to vivid life, keep the story going without the Black Panther himself?

Out of respect to Boseman, Marvel decided that T’Challa wouldn’t be recast. That was probably the correct decision, especially so soon after the actor’s death. Asking fans — and those who worked with Boseman — to accept a new face in the role would have been difficult. (Though during the past two years, sentiment — online, anyway — has turned toward recasting and advancing a character that was so iconic, so important to audiences.)

So Coogler and writer Joe Robert Cole (who collaborated on the first film’s screenplay) embraced the real world’s intrusion on Marvel mythology and acknowledged Boseman’s death in the story by giving T’Challa much the same traffic fate. As a result, Wakanda Forever serves as a tribute to the actor, allowing fans and colleagues to mourn and perhaps find closure with the loss.

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‘Thor: Love and Thunder’ major disappointment, despite fun characters and grand spectacle

“Your ancestors called it magic, but you call it science,” Thor said to Jane Foster in Marvel’s first Thor movie (2011). “I come from a land where they are one and the same.”

Whatever it’s called, the magic is gone. At least for the God of Thunder’s run under director Taika Waititi.

Thor: Love and Thunder has some beautiful visuals, creative set pieces, and compelling character arcs, especially for Natalie Portman’s Foster. But the story trying to hold them all together is too weak to build a satisfying film that ranks among the best in the Marvel Cinematic Universe.

What makes this so disappointing is that Waititi’s previous Thor film, 2017’s Thor: Ragnarok, was such a refreshing change of direction from the other Marvel movies with its fast pace, outlandish color palette, and bold designs influenced by legendary artists like Jack Kirby, Alejandro Jodorowsky, and Moebius. (The new wave soundtrack by Devo’s Mark Mothersbaugh added to the alien atmosphere.)

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