Whatever It Takes

Such is the norm in this contemporary age where Superhero theatrical features seamlessly dominate the box-office space and last years Avengers: Infinity War is the prime precedent of this. In now taking the fourth spot in the highest-grossing films of all time, surmising profit of over $2 billion dollars worldwide, it’s no surprise really that Infinity War went onto break box-office records since it upheld a compelling and shocking narrative that saw a mass amount of characters taking centre stage; similar to that of Empire Strikes Back. Indeed, it’s now seen as a Marvel Cinematic Universe entry which see’s recognised heroes doing something grandiose and spectacular which coherently masks the action genre to a tea. Many audiences will naturally anticipate to see similar shocking and monumental moments of superhero belligerence in Joe & Anthony Russo’s follow-up to Infinity War, in Avengers: Endgame. However, what sets in motion instead is a stranger and necessarily surprising affair which pleasantly subverts our expectations to the point where you’re instantaneously hooked to what may follow during the lengthy run time. Nonetheless, with this being seen as the said franchises conclusion to over-arching story-line which has gracefully stood since Iron Man in 2008, does Endgame put the cherry on the cake in terms of successfully concluding a story-line that audiences and critics alike will remember for a long, long time?…

Following the trauma and loss of their friends, our remaining Avengers now face what seems to be a near impossible task – to find the mad titan Thanos, collect the infinity stones and bring back those who were simply phased away through a simple snap of the fingers. However, what journey lays ahead for Earth’s Mightiest Heroes is an escapade which see’s the original Avengers not only coming to terms with their past journeys and one others problems of inner guilt and depression of events that have weighed heavily on certain individuals, but also going down an unexpected path that corrects past ventures. Can the likes of a broken-willed Iron Man, a grieved Captain America and an alcoholic Thor resolve the galactic crisis they’re in and somehow bring back those who vanished?…

Likewise to how the preceding feature of Infinity War fittingly compiled all of the Marvel Cinematic Universe’s films into a singular whole that coherently divided its time between known and adhered heroes, Endgame relatively follows the same trend in being a culmination that begets grandiose moments, character interactions and impactful action sequences which correlates to the heightened and emotional tensions of which the remaining Avengers are faced with. However, what’s pleasantly satisfying upon reflection, is the aforesaid films manner in subduing its cinema-goers in not only centralising its premise, from its inception, by displaying its likeable characters in coping and dealing with grief and loss, but in also subverting audiences pre-determined expectations of events. For certain, as much as there’s the expected norm of heroes and villains alike clashing with one another in favour of their respective goals and ideals, whether it’s the entirety of the remaining Avengers desperately trying to resolve what was done or Thanos carrying out this ideology to cull trillions of lifeforms for the betterment of existence, the way in which the Russo’s majorly misconstrue audiences assumptions of events in beginning with an opening that is appropriately sombre and downtrodden – in similar fashion to James Mangold’s Logan – and surprising from the events that happen in the first twenty minutes, is pleasantly satisfying; especially coming from a big franchise. Whereas there’s an argument to be made that continuation filmic stories need to be made ‘bigger and better’, with far more bombastic action and introductions to new characters, sequels don’t always have to resort to contextual and formatic methods that result in a monumental outlook that see’s action perceived in an imposing way. It’s clear to fathom from seeing Endgame that the Russo’s understand that an epilogue can be a development in a story-line which subtly places characters in a state that is far removed from the norms of heroes naturally saving the day. Like how Avengers: Age of Ultron opened its story in bringing back its heroes in a buoyant mood that was carried over from the ending of Avengers Assemble, Endgame uses the same thematic technique in a disparaging effect; in occupying the disastrous mood of Infinity War and turning this into struggle and loss in this latest venture. What proceeds is an inherent struggle – even those lives and families who were ostensibly left untouched. Whereas the likes of Steve Rogers and Tony return to the same side, both united in failure, there’s still that remaining animosity between the two from Civil War and even with Steve’s attempts to hold up everyone’s morale like to leader he is, it’s nothing but a facade to hide his own vast despair. While Rocket and Thor may say something funny here and there about their situation, they’re barely functional without the support they once had in preceding features. There’s alcoholism, depression, drastic lifestyle changes and simple avoidance of things too painful to face that the Russo’s appropriately exemplify. What proceeds after is a journey where the characters have to overcome this and end-up winding into a narrative format which is similar in ilk to the likes of Back to the Futureand Bill & Ted; which provided that necessary levity and fun tone.

Equally relevant and satisfying is the manner in which the Russo’s integrate their concluding premise around those Avengers that have been around the scene since the beginning of the MCU (excluding the likes of Ant-Man, Captain Marvel, Rocket and Nebula). Whereas Infinity War can be arguably seen as a film dedicated to the character of Thanos, since there wasn’t any preceding film that delved into his background and sinister motives before, Endgame makes itself known from the beginning to the start of the second act that it’s a feature which is dedicated in finishing the emotional points of views between the characters, which is politely poetic. Since Civil War, there hasn’t been a Marvel-centric film which really delved into the internal and personal struggles of these likeable characters and to see the Russo’s, who’ve been involved with the MCU since Captain America: The Winter Soldier, rightly explore each one of the characters’ own personal arcs throughout the many feature that been and gone, is boundlessly foolproof. It’s hard to disregard what come about during Endgame since the Russo’s themselves have been a part of this franchise since the said saga’s midway point and for each character to have their resolutions was equally as important as the overarching plot-point of them fixing the crisis they’re in. With this is being the structure of the context, with each of the original six Avengers going off on their own story-lines and resolving their inner struggles that have weighed them down throughout the entirety of the MCU, what results from this is a blend of emotion and comedy that coincided with another in a manner which was flawless. What’s important for any film to uphold is the ability to metaphorically move you emotionally; whether that’s to make you laugh, cry, scared and reminisce on your own experience and thoughts on certain standards. If a film can create this emotional connection, particularly in the midst of so much other stuff happening in the background and within the main context, then it’s triumph. The Russo’s coherently display this through their classic three-act structure of all the characters being divided and ‘resolving’ not only their central crisis, but also their own internal problems of loss. In a manner of speaking, it’s this very balance of tragedy and comedy that is not only pivotal to everything that is going on within the film, but imperative in how this specific blend is synonymous with the aforesaid franchise. You like the characters because they’re funny and quirky with every situation they’re placed in, but you also like them because you can take them seriously enough to invest in them and Endgame is the best feature to showcase this in tangent with preceding features.     

As understandable as it is to have some apprehension going into Endgame knowing that has a rather lengthy run-time of three hours, half-and-hour more than the preceding Infinity War, there’s never any real moment or sequence where you may feel as though time is dragging. While the opening of the film carries on from where the last film left off in the remaining Avengers mourning over their fallen comrades and feeling despaired in not defeating Thanos, it’s a necessary and natural introduction that lays the ground work for the rather fast-paced sequences that come forth in the second-act. Even the moments where certain characters talk to each other about themselves or the specific mission that they have to achieve, which is a considerable amount, feel engaging and not awkwardly long to the point where you’re waiting for the next sequence of events to start. There’s never truly a moment where your interest is waned and that is proudly cemented by the compelling characters and the enthusiastic actors that are enacting them. They’re a select-filled fever dream of actors for any director and the fact that each one of the characters/performers has their own moment of emotional resolution and comical strife emphasises the reason as to why Endgame never once feels like you’re watching a lengthy piece of film-making. While some characters are inevitably undeserved, with the likes of Captain Marvel, Okoye possessing a scene or two in comparison to other players, it’s hard to see what else could have been cut considering the importance of establishing the rest of the characters particular arcs. Each of the likes of Iron Man, Cap, Thor and even Hawkeye all occupy the heart of this film in their own big way; whether it’s Jeremy Renner’s character going down a dark path due to wonderfully haunting opening scene of the film, and Iron Man who’s nightmare from Age of Ultron has come to leave him be a broken shadow of his former buoyant persona. There are many instances within Endgame which will make you feel sad, and help realise why the characterisation exemplifies why the comical and tragedy aspects of the film make the said feature feel comfortably watchable. However, if there’s one character that had me hooked, thanks to his rather Lebowski-esque physical appearance, it’s Chris Hemsworth’s enactment of a completely broken and anxiety-filled  Thor who has had a rather rough ride since Ragnarok. From the manner in which he comically explains to the Avengers at one point about the origin of the reality stone to a scene where he’s face-to-face with a familiar face that has the said character drenched in remorse, there’s no way around that Hemsworth has credible emotional range and should be adhered alongside Robert Downey Jr.’s portrayal as Iron Man. With the way in which Thor upholds a different physique than his normal ripped-self cultivates such a good message for the younger demographic whereby, you don’t always have to look like the strongest person in the world to be a hero. A hero can be anyone and with the way in which Thor dons a bear-belly whilst saving the day, there’s a lovely message to take away from that character. It’s this very bold character choice, and others that are clearly seen through the likes of Hawkeye and Hulk, that also pay-off and, again, subvert expectations of these characters being their traditional selves and generically doing what’s right. 

Then there’s the expected action which promisingly doesn’t necessarily stagnate the total run-time. While there are a few skirmishes which neatly hoodwink the expected template that audiences are used to seeing, it’s the formulaic big brawl near towards the end which not only completes the story on an expected high, but will stand the test of time in being one of the more recognised contemporary finale’s. As much as the action does move a little too fast to the point where you’re contemplating what you’re really perceiving, there’s so much to be enthused by that it seems unfair to be cynical and complain. It’s these moments, and scenes of referential nods to previous films, which was delightfully punctuated by pure, giddy fun which ironically put Thor’s thunderous arrival in Wakanda in Infinity War in the shade. Although it’s very much seen as a fan-service archetype, it’s a mode of means which is exceptionally deployed considering how fans of the franchise have been waiting a long time to see these characters reach a positive outcome. There’s never any Michael Bay Transformers vibe when the action just keeps on going and going. There are perfectly executed choreographed skirmishes which do their job in satisfying the cinema-goer and never wavers to a particular point of view for too long. Much of this is enchanted by the musical composition provided by Alan Silvestri who provides a wondrous score which exceeds the more impactful moments; especially when the specific piece of music named ‘The Real Hero’ starts to play near towards the end of the feature.

What’s noteworthy to have seen in all of the films that comprise the Marvel Cinematic Universe to this date is how nearly all of them uphold an end credits scene which sneakily hints to future films to be enthused by. Yet, in the case of Joe & Anthony Russo’s Avengers: Endgame, such a thing doesn’t exist which blissfully reminds of the beauty of finality; a conclusiveness which doesn’t try to pull the wool over fans eyes by subtly stating that what you have seen is indeed the…endgame…As someone who’s always been interested and touched by the words and actions that have been brought about by these characters ever since the inception of Iron Man in 2008, it’s a weird feeling not knowing where Marvel will go next in their cinematic future. The Russo’s have comprised an intensely satisfying piece of blockbuster film-making which emotionally celebrates everything great about the aforesaid saga. By focusing on the original Avengers, we’re given a combination of heartfelt and comical outbursts that never feel awkwardly out of place and rather pleases its die-hard crowd with sequences and moments that will remain to be unforgettable. As much as Spider-Man: Far From Home stands waiting in the near future, what will become of the MCU? Will there be a new set of characters comprising the Avengers? Will the likes of the the X-Men and Fantastic Four join the fray now that Disney own the property rights? Will we see an interpretation of Marvel’s Secret Wars down the line? I guess we’ll just have to wait and see…

On that note, it’s time for me to end this week’s Film Review. As always everyone, thank you reading my latest Film Review of Joe & Anthony Russo’s Avengers: Endgame and if anyone happens to have an opinion on my review or the film itself, you’re more than welcome to share your thoughts down below. For next week, i’ll be continuing on with my Star Wars Film Review series by discussing Attack of the Clones…Possibly my least favourite in the franchise! 😐 With that said, thank you once again for reading my latest Blog entry and I hope you’re all having a nice bank holiday weekend! Adieu! 😃👊💥👽👾

★★★★★ – Alex Rabbitte