Little did the filmmakers behind Ruben Fleischer’s Venom know that Carnage would become a poisonous burden to Andy Serkis’ sequel, Venom: Let There Be Carnage.
The New Mutants had a long, circuitous journey to the big screen as the final Marvel Comics film produced by 20th Century Fox before its merger with Disney.
Does it make sense for contemporary Superman to stand beside ancient Zeus in comic book films? Filmmaker Zack Snyder and 19th century poet and critic Matthew Arnold think so.
In the Russo Brothers' Captain America: Civil War, friend turns on friend, and no easy resolution is reached. It's rather like the toxic online fan culture that followed the film's release.
Batman V Superman: Dawn of Justice ‘interrogates two primal drives in American culture: fear and its trauma (Batman) and naked power and its ambiguities (Superman).
The first female-centric film in the MCU, Captain Marvel, bakes the female experience into every aspect, making a potentially familiar story fresh and exciting.
Whereas the heroes in Avengers: Endgame stew for five years, our pandemic grief has barely taken us to the after-credit sequence. Someone page Captain Marvel, please.
Ruben Fleischer's toothless antihero film, Venom is like a blockbuster from 15 years earlier: one-dimensional, loose plot, inconsistent tone, and packaged in the least-offensive, most mass appeal way possible. Sigh.
The first half of Deadpool 2, in which Vanessa is murdered and Wade becomes purposeless and suicidal, is a slog. The second half, where Wade commits to defending an angry teenage mutant, positively soars with fantastic action and some of the funniest superhero film moments in years.
The focus on Thanos single-handedly saves Avengers: Infinity War from becoming the overstuffed mess many feared and lends the film a relentless action pace more akin to Mad Max: Fury Road than a superhero blockbuster.