Michael Curley is a full-time high school teacher and part-time film aficionado based in Ottawa, Ontario, Canada. Although he is a fan of films of all kinds, he has a particular soft spot for major Hollywood blockbusters done well. Michael's film essays are currently exclusive to PopMatters.com. He can be reached @MCurleyfries on Twitter.
X-Men: Dark Phoenix, a weak, disappointing film, ends two decades of the groundbreaking X-Men series with a barely audible whimper.
Avengers: Endgame features all the expected trappings of a superhero blockbuster alongside surprisingly rich character resolutions to become the most crowd-pleasing finalés to a long-running pop culture series ever made.
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.
Animated Spider-Man: Into the Spider-Verse uses unique, groundbreaking animation techniques and engages with the most 'out-there' comic book concepts to tell a hilarious, relatable, timely coming-of-age story
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.
Ryan Coogler's Black Panther engages with deep and timely social, cultural, and psychological concepts, and completely taps into America's zeitgeist.
Taika Waititi's Thor: Ragnarok takes a refreshingly iconoclastic approach to Thor, throwing out the old, bringing in the new, and packaging the story in a colourful, gorgeously trashy aesthetic that perfectly captures the spirit of the comics.
The teen-focused, John Hughes-inspired approach not only makes Spider-Man: Homecoming feel fresh in the realm of Spider-Man films, but in superhero films in general.
In Mangold's Logan, an elderly, sick surrogate father and a young, estranged, emotionally-scarred "daughter" come to rely entirely on the aged Wolverine who is now but a haunted, battered, suicidal husk. It's nothing like superhero films that came before.
The filmmakers' attempt to mask X-Men: Apocalypse's lack of purpose and thematic unity with a stunning density of characters, plot lines, and fan service. But we see behind the mask.
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.
A temperamental director and meddling suits at the studio squandered the long-running Fantastic Four comics series' first foray into film. It could, however, be done again -- and done right.
There are strong emotional stakes and likeable characters in Peyton Reed's Ant-Man, but they are all rooted in a, well, less than epic scale. This makes Ant-Man refreshing, an MCU palate cleanser.
Joss Whedon defied expectations with his ambitiously muted, psychological approach to Avengers: Age of Ultron but despite his best intentions and genuinely interesting vision, this would be his only effort with Marvel Studios. It was a good effort.
With Guardians of the Galaxy, set to the soundtrack of an Awesome Mix Vol. 1 cassette tape, Marvel Studios adapted a little-known comic book property -- with a raccoon superhero -- into a hugely successful film and launched the next wave of comic book films.
More than any previous X-Men film, Days of Future Past engages in deeply geeky, comic book-inspired elements resulting in the best cinematic representation of X-Men comics to-date.