Stylistic Void: Duck Duck…Goose…

What’s paramount to fathom in perceiving the plethora of recent cinematic features that Marvel have released in recent years, is their faith in giving niche directors the chance to share their vision through a super-heroic scope. Indeed, whether it’s through James Gunn’s vision in providing an imperative Guardians of the Galaxy story that’s synonymous with the likeable anime of Cowboy Bebop or Taiki Waititi’s ever-hilarious Thor: Ragnarok which changed the persona of The God of Thunder for the better, Marvel’s credence in allowing quirky directors to mantle box-office superhero films has not only been a naturally bold move, but a successful one at that since these specific visions of different film-makers have allowed the MCU and the genre to evolve in ways that are different from the norm. It’s these specific Marvel films which have allowed audiences and critics alike to think differently about the superhero genre and how it doesn’t always have to adopt a contextual formula that’s wholly conventional and predictable. Similar expectations come with Marvel’s recent cinematic outing in Captain Marvel, the first MCU feature centralising its focus on a woman superhero and directed by both Anna Boden and Ryan Fleck; known for Half Nelson and Mississippi Grind. As much as its refreshing for Marvel to finally headline a feature that spotlights a female protagonist, is there enough stylisation and intrigue for this aforesaid film to warrant further repeated viewing in the future?…

In being ruled by an AI named the Supreme Intelligence, Kree are a technologically advanced militaristic race that’s job are to extinguish the planet-ruling race of the Skrulls and in the middle of all of this is Vers; a Starforce member who finds herself remembering moments of another life. Through her involvement in an intergalactic battle between the Kree and the Skrulls, more and more Vers keeps having recurring memories of another life as U.S. Air Force pilot Carol Danvers. Upon reaching Earth from a battle, Vers winds herself meeting Shield Agent Nick Fury who tries to helpfully tries to uncover the secrets of these memories. However, as she learns more about her past, hidden truths are revealed that’ll change foreseeable actions…

Like its predecessor of Guardians of the Galaxy which was a film that, at the time of its release, many general audiences and devotee’s of Marvel comics didn’t know what Gunn’s films was about – forever shrouding that film in natural intrigue which ultimately paid-off – Boden and Fleck’s Captain Marvel similarly upholds a premise whereby little is known of the protagonist and what power she possesses. In a way, it’s because of this inherently ‘unknown’ information of a female Marvel character that somewhat works in the films favour. Whereas you’re more inclined to know a protagonists personality in a feature of similar ilk, like in Spider-Man: Homecoming or anyone one of the Iron-Man films, the simple fact that audiences are unfamiliar with Carol Danvers gives the aforesaid directors film more of an intrigue; since we’re more willing to know and understand the protagonists journey. This certainly worked in Gunn’s favour in Guardians of the Galaxy which stands as one of the more imperative and acclaimed features of the Marvel Cinematic Universe thanks to its differentiation of the superhero genre formula. With Captain Marvel, you’re interested in who the Kree are and how their universe connects with the already-established stories and worlds seen through other features. However, as much as this opening to a new world of the Marvel Cinematic Universe is interesting to a certain degree, much of this intrigue is quickly dissipated thanks to a skittish opening first-act that not only presents its information in a bold manner, but rather brazenly emphasises Danvers’ powers in a weirdly anxious and timid fashion. If it wasn’t for Brie Larson’s charismatic performance, Danvers would rightly feel like a dull and bland character that doesn’t necessarily have any empathetic clout in comparison to other Marvel heroes. Much of this is down to the films odd way in which it needlessly deviates-away from contextual snippets that would have made Larson’s character that more alluring to perceive. Whether it’s little snippets of starlet Mckenna Grace as the younger version of Danvers having a troubling relationship with her dad or the sequences in which we see Larson’s character as a U.S. Air Force pilot and experimenting with different pieces of technology designed by Annette Bening’s character, it’s feasibly noticeable just how thread-bare and jarring certain plot-devices are and it’s these very instances which elude to the arguable directors’s struggle in crafting a specific style for this film. As imperative as it might have been to focus more on Carol’s earlier upbringing with her father and tie-it into the central story, it was equally important for Captain Marvel to uphold a clear and concise style, which it doesn’t. This film in question has a curious habit of of adjusting its premise on the move without properly answering or delving into situations that feel really thin. Whereas the film introduces itself with a story that is significantly sci-fi centric, with the main character recalling memories of a different life and being a part of an alien space force fighting against the planet-invading Skrull’s, it’s not long until Boden and Fleck’s feature switch-up its feel to a buddy-cop film featuring Danvers and Nick Fury and then a superhero film where the said main protagonist does the formulaic thing in saving the day. On reflection, it’s this very aspect that makes the film seem rather ordinary, which is disappointing coming from a Marvel film. A part from the hilarious moments including Goose the cat, Captain Marvel feels very generic and not in the slightest a distinctive piece of film-making that stands with the best of the franchise. It’s as if the directors didn’t know which direction they wanted to go, and instead filled all of their ideas into a single-whole that doesn’t possess any great cohesion.  

The one thing to take-away from all of those problems mentioned above, is Brie Larson’s portrayal of Carol Danvers/Captain Marvel herself since she simply brings forth an appropriate amount of charm to a character can, at times, appear dull. It’s a performance enough for us to keep us absorbed with the said character and how she’ll resolve the issue of finding out the truth of her past life. As much as emphasis on her younger life and training to be an Air Force pilot would have greatly benefited the films attemptive nuance in showcasing a ‘grounded’ Marvel feature, it’s thanks to Larson’s wit and charming way of smirking in the fun moments that provide the necessary levity. It’s further added once Samuel L. Jackson’s beloved-persona as Nick Fury colludes with Larson who both wonderfully play-off each other as though they were Vince and Jules from Pulp Fiction. Likewise to the already-mentioned fact that certain story-aspects felt incredibly thin and wasteful, it would have been equally appetising if the film attentively spotlighted Danvers and Fury’s relationship further since the scenes involving these two characters were the best moments in Captain Marvel. I think one of the things that naturally hinders Boden and Fleck’s feature is the character of Carol Danvers herself. While there those Marvel devotee’s that will be watching the film solely for the character and her origin, it’s fair to say as well that there audiences who are watching this solely to see how Larson’s character intertwines with the rest of the Marvel cinematic universe characters, which is unfortunate considering the timing of the last and next Avengers film. In terms of the rest of the cast, Annette Bening carries herself in playing both the Supreme Intelligence and Dr. Wendy Lawson but is unfortunately their to add nothing of value and Ben Mendolsohn is once again type-casted as the villain of the peace; who again doesn’t do much. the rightful star of the film is Goose the cat who funnily enough has more personality and charm then Jude Law’s Yon-Rogg. 

As an audience might expect to see in viewing a standard Marvel feature, Captain Marvel exhibits a boastful range of action scenes that are certainly there to delight the younger demographic, but regrettably don’t sustain any memorable qualities. Indeed, considering how much money goes into making superhero films such as Captain Marvel, it’s considerably underwhelming to fathom how idle the formalities are; especially with the choreography in this feature. Other than the final moments of the film where Danvers visually showcases her powers, there’s never an instance where audience members will be bewildered by the action they see since the motions, coupled with the frantic editing of the shots, feel generically put together as if it was a necessity and not a pleasure. To put it simply, there’s no amount of creativity to be had and this can be in relation to the film’s overall visual look, which looks broad, and with the Skrull’s and how their power to shape-shift into any person never truly gets exploited to the point where you’re amazed. The example they show in many of the trailers, where Vers appears to be punching an innocent old lady on a train but is actually a Skrull, could and should have been a surprise to see in the cinemas. There are no other instances where scenes like this occur and the directors could have easily elaborated on the Skrull’s morphing ability in an interestingly comical fashion.     

As much as it’s a considerable feat that Marvel have constructed a cinematic universe that audiences of this day-and-age can wholeheartedly adore and carry with them for the rest of their lives – just like what the Star Wars franchise has done – it’s equally as impressive that, in recent years especially, they’ve adopted a film-making model that means more niche and unknown directors are given the chance to showcase their ideas for a superhero premise. While this practise has been successful for the likes of James Gunn and Taika Waititi, much can’t be said of Anna Boden’s and Ryan Fleck’s Captain Marvel since they both adopt a rather safe and formulaic premise that doesn’t reflect well long after watching the film. Indeed, from the films opaque sense finding a generic style whilst absolving compelling story-lines for an ordinary story, there’s not a lot to shout and rave about within this feature which is disappointing. The only saving grace to be had with this feature are the performances of Brie Larson and Samuel L. Jackson since they both provide intersting performances to wearisome premise; both individually and together. What will be interesting going past this film is Marvel’s cinematic future and what other stories they hold for their remaining and possibly new characters. With the likes of Iron-Man and Captain America presumably departing from the MCU, will Captain Marvel herself take the mantle in being Marvel’s cinematic poster girl? I can definitely see it, but it still doesn’t fade my personal feelings that Marvel themselves are pushing themselves into a corner where they’ve announced there future plans after Endgame. How many more compelling stories can they wholeheartedly tell?…

On that note, it’s time for me to end this week’s Film Review. As always everyone, thank you for reading my latest Film Review of Marvel’s Captain Marvel and if anyone happens to have an opinion on my review or on the film itself, you’re more than welcome to share your thoughts down below. For next week, considering that there isn’t much on at the cinemas, I may do a Retro Film Review! With that said, thank you once again for reading my latest Blog entry and I hope you’re all having a nice weekend! Adieu! 😉👌👽🐱💥

★★★☆☆ – Alex Rabbitte