Avengers: Endgame

EGDirectors: Anthony Russo and Joe Russo

Screenwriters: Christopher Markus and Stephen McFeely

Cast: Robert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, Don Cheadle, Paul Rudd, Benedict Cumberbatch, Chadwick Boseman, Brie Larson, Tom Holland, Chris Pratt, and Josh Brolin

What is left to say about Avengers: Endgame that has not already been said? The film is already speedily on its way to overtake Avatar as the highest grossing film of all time, and it shows no evidence of slowing down as the summer movie season starts to heat up!

Still of the 21 Marvel Cinematic Universe films that lead up to Endgame, I reviewed 11 of them, and cinematic saturation aside, I will make it an even dozen with this one!

Avengers: Endgame is the sweet story of a young artist looking for love in Northern France. Of course it’s not; it’s the story of a superhuman, a guy in a metal suit, a persuasive lady, a Norse god, a bow and arrow guy, and a monster –  seeking revenge on a purple megalomaniac for obliterating half of the galaxy’s population. As preposterous as it sounds in those terms, this film delivers. The plot is quite simplistic, although it can be argued that it is not as simplistic as it could have been. The spoiler ban has lifted, so I am not speaking out of turn when I say that the heroes you saw “dusted” in Infinity War are perhaps not gone forever. The mechanics that screenwriters Christopher Markus and Stephen McFeely implement to get them back are gleefully “bananas,” making for a tremendously entertaining and nostalgic second act that is as perfect as any segment of a film the Marvel Cinematic Universe has given us.

The film picks up post-snap, and instantly defies expectations. I’ll leave it at that. The first act unfolds as a psychological drama examining how life goes on Leftovers-style after half of the people on Earth just suddenly disappeared. The answer: grief, guilt, desperation, and pessimism. The evolution of Thor (Chris Hemsworth) is particularly noteworthy. This nuanced approach to the film’s opening act is a welcomed and fascinating change of stride from what we’ve come to expect from these films. It grounds the actions, consequences, and motivations in a way that feels earned and appropriate rather than just getting on with the action. The first scene of this film is damn near heartbreaking!

This is not to say the film is flawless. The introduction of Captain Marvel last March provided the MCU with a captivating new hero; however she is also somewhat problematic in terms of her involvement within Endgame. She allows for the laziest plot resolutions punching as many holes in the narrative as she does in the ships of Thanos’s army. On the other hand, this movie attempts to utilize time-travel, which opens it up to so much convolution, it’s best to just go along for the ride anyway.

You should also be warned, this was not marketed as a “part 2” to Infinity War, and in many ways it is not; however, it very much is a part 22 to the MCU, and if you are not up on these films, your enjoyment of this film will be impacted immensely. That being said, thank you Endgame for giving me even more evidence to use in conversations about why Iron Man 3 is the best Iron Man movie and a top five MCU film!

All of that being said, this movie is actually epic, and I use that term without hyperbole. The Russo brothers have assembled a true love letter that spans the entire run of the most successful film franchise in history. A strength of all four Avengers films is that even with such bloated cast of characters, every one of them gets a moment to shine. The heart, the humor, the excitement, and the impact of events is as strong as in any of the MCU films, and for my money this is the best Avengers film of the four with the caveat that it does not stand alone and without the tremendous setup of the previous films, this one would not work.

With the Marvel Cinematic Universe complete at least in the form that it has existed these past 10 years, it will be interesting to see what the future brings. Many questions left unanswered in this film will likely supply plot direction for future films involving these characters, but how they will evolve and progress as a franchise is unclear. All I can say is that this is a fitting end to a joyous cinematic ride. A-

The Avengers: Endgame is rated PG-13 and has a running time of 3 hours and 2 minutes. There is no post-credits sequence, but there is a post-credits sound that is explained here if you are not interested in hanging around.

My Official MCU 22-film Ranking from Best to Worst:

  1. Captain America: The Winter Soldier – A
  2. Thor: Ragnarok – A
  3. Iron Man 3 – A
  4. Avengers: Endgame – A-
  5. Avengers: Infinity War – A-
  6. Marvel’s The Avengers – A-
  7. Captain America: Civil War – A-
  8. Iron Man – A-
  9. Black Panther – A-
  10. Avengers: Age of Ultron – A-
  11. Captain Marvel – A-
  12. Captain America: The First Avenger – B+
  13. Thor – B+
  14. Spider-Man: Homecoming – B+
  15. Ant-Man – B+
  16. Ant Man and the Wasp
  17. Iron Man 2 – B
  18. The Incredible Hulk – B
  19. Thor: The Dark World – B
  20. Guardians of the Galaxy – B-
  21. Guardians of the Galaxy Vol. 2 – C+
  22. Doctor Strange – C+

A Star is Born (2018)

Star.jpgDirector: Bradley Cooper

Screenwriters: Eric Roth, Bradley Cooper, and Will Fetters

Cast: Bradley Cooper, Lady Gaga, Sam Elliott, Andrew Dice Clay, and Dave Chappelle

Let me first get this out of the way for all of you scientists out there. This is not a movie about huge clouds of dust and gas collapsing under their own gravity until the particles are so densely compacted that they fuse into a celestial body and…a star is born. This deceptively titled film is about a popular Americana singer falling in love with young unknown songstress, and her subsequent rise to fame as a pop star.

A Star is Born stars Bradley Cooper as Jackson Maine, a massively popular musical act who is over the peak of his fame. His fans are fervent, but his shows are routine, his hearing is going, and let’s just say he has a bit of a drinking problem. After one of his shows (and a bottle of whiskey), Jackson slinks into an underground bar in search of further libations. To his surprise, it’s a drag bar and the singers there are star-struck by his presence. While the bar caters mostly to drag singers, Ally (Lady Gaga), a former waitress at the bar is permitted to sing there since her voice is so incredible. During a remarkable rendition of “La Vie en Rose,” Jackson is hooked by her talent, look, and style leading him to want to meet her. After a romantic night of stories and songs, Jackson is inspired and he invites her to perform with him, catapulting her from an unknown club songstress to a mainstream sensation.

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A Star is Born is an example of a subsection of film where execution, talent, and polish supersede familiar and uninspired storylines. Films like Avatar, Flight, and Straight Outta Compton come to mind in that you know precisely where every beat is, but the journey through the familiar territory is worth the predictability. The rise and fall of a superstar and the spiral downward is a time-told tale, so time-told in fact that this exact story has hit the big screen three times before, once in 1937 with Janet Gaynor and Fredric March, once in 1954 with Judy Garland and James Mason, and perhaps most famously in 1976 with Barbra Streisand and Kris Kristofferson. This time however, in the capable hands of first-time director Bradley Cooper, the story remains the same, but new life is breathed into it thanks to some vibrant direction and incredible on-screen talent and chemistry. Cooper does attempt a few curve balls in here to try to liven the story up a bit, but to no real effect. Cooper is a true student of film, however, and his first directorial effort being a remake of a classic is an ideal choice. His choices are deliberate, and the film is full of examples of film theory ranging between classic Hollywood and a modern approach. As an actor, Cooper adopts a twangy gravelly grumble reminiscent of Clint Eastwood that I did find a bit distracting. While A Star is Born is an impressive outing full of passion, Cooper has a masterpiece in him, but this is not quite that.

Lady Gaga is also impressive on screen. As I mentioned earlier, her “La Vie en Rose” number is one for the history books full of glamour, charisma, and charm. Her acting is still a little on the green side, but when she’s on the stage, which is often, she’s excellent and many of the songs that come out of this film are quite good including, “Shallow” and “Always Remember Us This Way.” Many of the musical scenes were famously filmed at Coachella and other music festivals where Cooper and Lady Gaga would do a set in character in order to capture the true enchantment of live music, and these scenes do pop. They also contrast so nicely with the inevitable corporate packaging that Ally is later made to suffer. One interesting point to be made is that Lady Gaga is literally the only woman acting is this film, Brandie Carlile is there for a moment (as herself), but there are no other women! Characters’ mothers are all dead, no sisters, no female friends, and in the early bar scene where Jackson discovers Ally, all the women are men (in drag). The film is also directed and written by only men. Not to say that there’s anything necessarily erroneous about this, but I feel some of the “been-there-done-that” of the film’s story may be the result of such a non-diverse cast and crew.

A Star is Born is a good movie with an excellent first-directional effort by Cooper, and an exceptional use of talent. There is a lot to appreciate about the film, and with the added layer of the music, the film rises above traditional fare. B+

A Star is Born is rated R and has a running time of 2 hours and 16 minutes.

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