Disney hopes that audiences will love Captain America: Brave New World enough to give it a commanding start during the long weekend beginning with Valentine’s Day and concluding on Presidents’ Day. The 35th feature in the Marvel Cinematic Universe has Anthony Mackie, once the Falcon, donning the shield as the title character and replacing Chris Evans. Julius Onah directs with a supporting cast including Danny Ramirez, Shira Haas, Carl Lumbly, Xosha Roquemore, Jóhannes Haukur Jóhannesson, Giancarlo Esposito, Tim Blake Nelson, and Harrison Ford. That last cast member takes over the role of Thaddeus Ross (now the President of the United States) played in earlier MCU entries by the late William Hurt.
The fifth feature in Phase Five of this massive franchise, World finds the MCU in a unique place. Last year’s Deadpool & Wolverine was a massive blockbuster that took in $1.3 billion worldwide. On the flip side, there’s been recent under performers such as Eternals, Ant-Man and the Wasp: Quantumania, and The Marvels.
Earlier Captain America sagas with Evans were critically appreciated and made significant bucks. 2016’s Captain America: Civil War, the previous flick with the C.A. moniker, topped a billion globally. It didn’t hurt that it was essentially another Avengers tale. It made nearly $180 million on its opening weekend domestically.
Expectations are not as high nearly a decade later. The four-day tally should hover around $90 million. That’s where estimates are at and I don’t really see this significantly outdoing the anticipated range. In fact, falling slightly under wouldn’t shock me.
Captain America: Brave New World opening weekend prediction: $78.9 million (Friday to Sunday); $90.7 million (Friday to Monday)
We are 37 films deep into the Marvel Cinematic Universe with The Fantastic Four: First Steps as the latest entry. This is my space to give you my personal listing of the MCU sagas that began in 2008 with Iron Man.
This list will be updated as new comic book based adventures come our way.
37. The Marvels (2023)
36. Ant-Man and the Wasp: Quantumania (2023)
35. Thor: Love and Thunder (2022)
34. Captain America: Brave New World (2025)
33. Eternals (2022)
32. Black Panther: Wakanda Forever (2022)
31. Iron Man 2 (2010)
30. Doctor Strange in the Multiverse of Madness (2022)
29. Thor: The Dark World (2013)
28. Ant-Man (2015)
27. Thor (2011)
26. Captain Marvel (2019)
25. The Incredible Hulk (2008)
24. Ant-Man and the Wasp (2018)
23. Black Widow (2021)
22. Captain America: First Avenger (2011)
21. Avengers: Age of Ultron (2015)
20. Spider-Man: Far from Home (2019)
19. Shang-Chi and the Legend of the Ten Rings (2021)
There’s plenty of belly laughs amidst the bullets in Deadpool & Wolverine and some fleeting emotional moments as well. That’s no shocker as this sub-franchise from Ryan Reynolds has mixed with the bawdy with the blubbery since 2016. Dropping Wolverine into the equation is an example of corporate synergy thanks to Disney’s acquisition of Fox five years ago. You’ll recall that Hugh Jackman’s signature clawed character met a bloody yet dignified end in 2017’s Logan. For those who believe his chapter closed appropriately (and it did), the multiverse machinations of the MCU may seem cash grab inappropriate. I didn’t mind so much because it’s Jackman’s chemistry with Reynolds that provide the high points.
Deadpool’s life is kinda dead in the water in 2024. He’s living full-time as Wade Wilson having retired the mask after being rejected during a job interview for The Avengers. He wants to make a difference on a Tony Stark/Captain America sized scale, but the universe seems to feel otherwise. Broken up with Vanessa (Morena Baccarin) and rooming with Blind Al (Leslie Uggams), his mundane existence in the used car biz is jolted by the Time Variance Authority (TVA).
As exposited by one of their agents Mr. Paradox (a game Matthew MacFadyen), Wade’s “Sacred Timeline” is at risk of crumbling. That’s due to Logan’s aforementioned fate from years earlier since he served as the Timeline’s stalwart anchor. The TVA offers Mr. Pool a way out while his small group of loved ones will perish. His solution is to find another Logan across the multiverses to save the world as he knows it. Naturally he ends up with a boozy, guilt ridden, and reluctant hero version of the once proud X-Man.
The duo end up in the Void which houses outcast varieties of familiar and more unfamiliar superheroes. This wasteland is ruled by Cassandra Nova (Emma Corrin), as X-Men adjacent telepathic with designs on dominating all the dimensions. The Void concept allows for plenty of cameos from the preeminent genre of the 21st century. I wouldn’t dare spoil them, but I’d recommend seeing this quick before X gives it to you. The appearances of these known quantities is good for a few chuckles. Yet I would argue that the dependence on them (especially during the middle section) dulls the sharp humor for a stretch.
D & W could have used more of the two leads just marinating in their beloved personas. With Shawn Levy handling the direction after teaming with Reynolds on Free Guy and The Adam Project, the pic occasionally seems too busy and eager to please. One quibble is that when Pool and Wolvie fight each other, the screenplay (from five writers including Reynolds and Levy) tells us just how awesome it’s about to be!! The truth is that the action sequences are your typical Marvel level mayhem, no more or less. Speaking of eager to please, I do have to shoutout the hideous and simultaneously adorable Mary Puppins aka Dogpool character.
Due to the demerits listed above, I’d rank this third among the three Deadpool movies. I cannot deny that it still manages to the tickle the funny bone with some precision targets uproariously skewered. That includes Disney’s recent misfortunes in its not always marvelous franchise. This won’t be looked at as one of them courtesy of the headliners.
In what has become a tradition on the blog, it is time to revisit the cinematic season that transpired ten years ago. In 2014, that meant the warmer months were ruled by a ragtag group of relatively unknown Marvel superheroes (at least compared to your Spideys, Batmen, and Supermen, etc…).
Audiences might have been hooked on the feelings these MCU characters gave them, but they were also transfixed by apes, giant lizards, and pizza chomping turtles.
Let’s take a trip down a decade old memory lane with the top 10 domestic earners of summer ’14 as well as other noteworthy pics and significant flops.
10. How to Train Your Dragon 2
Domestic Gross: $177 million
While the DreamWorks Animation sequel couldn’t match or exceed the gross of its 2010 predecessor at $217 million, the fantasy tale won the Golden Globe for its genre and was Oscar nominated for Animated Feature. A sequel would follow five years later.
9. Teenage Mutant Ninja Turtles
Domestic Gross: $191 million
With Michael Bay producing and Megan Fox starring, the transformation of this franchise from the 1990s to the 21st century was a financial if not critical success. A sequel which made less cash came two summers later.
8. 22 Jump Street
Domestic Gross: $191 million
Channing Tatum and Jonah Hill’s second go-round as hapless cops (this time graduating to going undercover at college instead of high school) outpaced the 2012 original financially. A third Street never arrived (there was a rumored crossover with the Men in Black series), but Tatum has recently spoken of his desire to get the ball rolling.
7. Godzilla
Domestic Gross: $200 million
It might be the 30th overall feature in the Godzilla franchise, but this monster mash from Gareth Edwards achieved some of the series’ best reviews and kicked off the MonsterVerse that is still wreaking havoc at multiplexes. It also assisted in washing away dirty memories of Roland Emmerich’s 1998 summertime treatment with Matthew Broderick
6. The Amazing Spider-Man 2
Domestic Gross: $202 million
While it made over $200 million domestic, Andrew Garfield’s return to the Spidey suit was seen as underwhelming with critics and audiences. Planned sequels didn’t materialize though Garfield and head villain Jamie Foxx would reprise their roles in 2021’s Spider-Man: No Way Home.
5. Dawn of the Planet of the Apes
Domestic Gross: $208 million
The follow-up to 2011’s Rise of the Planet of the Apes, Matt Reeves took over directorial duties. The result was critical acclaim as Dawn became the long running franchise’s largest grosser. Two sequels (including Kingdom of the Planet of the Apes in May) have followed.
4. X-Men: Days of Future Past
Domestic Gross: $233 million
This sequel combined cast members from the 2000-06 trilogy including Hugh Jackman’s Wolverine, Ian McKellen’s Magneto, Patrick Stewart’s Professor X, and Halle Berry’s Storm with some of their younger counterparts from 2011’s X-Men: First Class like Michael Fassbender’s Magneto and James McAvoy’s Professor X (as well as Jennifer Lawrence’s Mystique). The result is the highest earning pic with X-Men in the title. With the exception of the Deadpool success that followed two years later, direct sequels Apocalypse and Dark Phoenix failed to replicate the success here.
3. Maleficent
Domestic Gross: $241 million
After the massively profitable live-action remake of their animated Alice in Wonderland four years earlier, Disney continued the trend with Maleficent. Angelina Jolie starred as the Sleeping Beauty villainess and a 2019 sequel earned less than half of the total of this domestically.
2. Transformers: Age of Extinction
Domestic Gross: $245 million
Shia LaBeouf exited Michael Bay’s robotic mayhem and Mark Wahlberg entered this fourth entry. A billion in receipts worldwide resulted in making this 2014’s best worldwide grosser. Sequels are still coming and the latest Transformers: Rise of the Beasts hit a lower $157 million last year.
1. Guardians of the Galaxy
Domestic Gross: $233 million
This was the 10th feature in the MCU and it seemed like the first that could be a financial question mark. The heroes weren’t as familiar to audiences, but James Gunn’s tale of eccentric comic characters took by the box office by storm. Two sequels have followed in addition to Guardians appearances in other MCU sagas.
And now let’s cover some other flicks from ’14 that had crowds and critics chatting.
Neighbors
Domestic Gross: $150 million
The comedic teaming of Seth Rogen and Zac Efron caused this fraternal experience to be the season’s most fruitful original comedy. A less regarded sequel came two years later.
Lucy
Domestic Gross: $126 million
Two summers after The Avengers set records, Scarlett Johansson had a solid sci-fi action grosser with Luc Besson’s concoction.
The Fault in Our Stars
Domestic Gross: $124 million
John Green’s phenomenon of a YA romance bestseller became a blockbuster with decent reviews highlighting the chemistry of leads Shailene Woodley and Ansel Elgort.
Edge of Tomorrow
Domestic Gross: $100 million
Doug Liman’s sci-fi actioner with elements of Groundhog Day was not a sizable hit upon release. However, the Tom Cruise and Emily Blunt led title’s reputation has grown since with occasional rumors of another Tomorrow.
Let’s Be Cops
Domestic Gross: $82 million
This buddy cop pic was an out of nowhere late season surprise with over $100 million globally against a meager $17 million budget. Unlike nearly all other movies I’ve spoken of above, a sequel (somehow) did not happen.
Chef
Domestic Gross: $31 million
After helming two ginormous Iron Man chapters and a disappointment with Cowboys and Aliens, Jon Favreau cooked up critical cred and impressive midsize numbers with this road dramedy.
Boyhood
Domestic Gross: $25 million
Shot over a span of a decade, Richard Linklater’s unique coming-of-age drama remains the best reviewed picture of the 21st century according to Metacritic. Six Oscar nods, including a Supporting Actress victory for Patricia Arquette, were among its many plaudits.
Snowpiercer
Domestic Gross: $4 million
Bong Joon-Ho, who would make the BP winning Parasite five years later, garnered acclaim for this post-apocalyptic pic that would eventually spawn a TV series.
OK, so not all 2014 summer sagas were prosperous and here’s some that were considered commercial and/or critical disappointments.
Hercules
Domestic Gross: $72 million
Brett Ratner’s version of the Greek god wreaking havoc on his enemies cast Dwayne Johnson in the lead. The grosses were actually fairly decent, but I’m sure the studio were hoping for nine figures stateside… and does anyone even mention this movie anymore?
Jersey Boys
Domestic Gross: $47 million
The original play earned Tonys but audiences mostly tuned out Clint Eastwood’s take on the decades spanning musical drama.
Blended
Domestic Gross: $46 million
The Wedding Singer and 50 First Dates were each lucrative rom coms with Adam Sandler and Drew Barrymore. The third time was not the charm with moviegoers or reviewers.
A Million Ways to Die in the West
Domestic Gross: $43 million
Family Guy creator Seth MacFarlane ruled the comedic box office in summer 2012 with Ted. This follow-up starring him and Charlize Theron didn’t hit the bullseye.
The Expendables 3
Predicted Gross: $39 million
The previous two action headliners with Stallone, Schwarzenegger, Statham, and Snipes and others did well. For inexplicable reasons, a PG-13 rating was slapped on this third one and audiences turned their nose up for what they wanted to be R-rated violence. A fourth (and also unsuccessful) pic came out last year.
Sex Tape
Predicted Gross: $38 million
Jason Segel and Cameron Diaz couldn’t cause people to cue up this raunchy comedy which played to mostly empty establishments.
Sin City: A Dame to Kill For
Domestic Gross: $13 million
The first Sin City in 2005 made nearly $30 million in its first weekend while this sequel grossed less than half that figure total. The comic book adaptation co-directed by Robert Rodriguez and Frank Miller might stand as the biggest flop of the season.
And that’s your recap, folks! Hope you enjoyed this walk down memory lane and I’ll have a post about summer 2015 up in the summer of 2025!
As we do every year on this here blog, Oscar nominations lead to my Case Of series. What are they? Glad you asked. These are 35 posts covering the nominees for Picture, Director, and the four acting contests. For each one, I give you the case for the movie/director/actor winning and the case against it with a verdict tidying it up. It’s like a trial, but no one goes to prison.
It began with the ten BP contenders and now it alternates alphabetically between the hopefuls in the five other big races. Today we arrive at our fifth performer in Best Supporting Actor and that’s Mark Ruffalo in Poor Things . Let’s get to it!
Previous Oscar Acting Nominations:
The Kids Are All Right (Supporting Actor, 2010); Foxcatcher (Supporting Actor, 2014); Spotlight (Supporting Actor, 2015)
The Case for Mark Ruffalo:
For his role as a true louse in Yorgos Lanthimos’s Poor Things, Ruffalo notched his fourth bid in Supporting Actor and perhaps voters will feel he’s overdue. He doesn’t have to worry about splitting votes with Willem Dafoe (his costar who was omitted) and he received noms at the Globes and Critics Choice.
The Case Against Mark Ruffalo:
He did not receive mentions at key precursors SAG and BAFTA. His leading lady Emma Stone is receiving the only potential winner buzz. Most importantly, Ruffalo’s fellow Avenger Robert Downey Jr. (Oppenheimer) has taken all the trophies at preceding ceremonies.
The Verdict:
It’s Iron Man and not Hulk happening here.
My Case Of posts will conclude (!) with Justine Triet’s direction for Anatomy of a Fall…
As we do every year on this here blog, Oscar nominations lead to my Case Of series. What are they? Glad you asked. These are 35 posts covering the nominees for Picture, Director, and the four acting contests. For each one, I give you the case for the movie/director/actor winning and the case against it with a verdict tidying it up. It’s like a trial, but no one goes to prison.
It began with the ten BP contenders and now it alternates alphabetically between the hopefuls in the other five big races. Today we arrive at our third performer in Best Supporting Actor and that’s Robert Downey Jr. in Oppenheimer. Let’s get to it!
It could be considered the capper for one of the most remarkable comeback stories in Hollywood history. In the mid 90s, Downey Jr.’s career appeared over due to drug abuse and legal woes. By 2008, he was starting run as star of the biggest franchise of all time with the MCU and multiple appearances as Tony Stark in the Iron Man and Avengers series. His role as the scheming AEC Chairman Lewis Strauss in Christopher Nolan’s epic biopic has swept the season thus far at the Globes, Critics Choice, and BAFTA. SAG is likely to follow suit next weekend. This could be seen as a career achievement prize and his peers are probably eager to give it to him (similar to Jamie Lee Curtis last year in Everything Everywhere All at Once).
The Case Against Robert Downey Jr.:
Frankly, it’s difficult to come up with one. Maybe the voters will look at Supporting Actor as a place to honor Barbie and give it to Ryan Gosling. The same logic could apply to Mark Ruffalo in Poor Things or Robert De Niro in Killers of the Flower Moon.
The Verdict:
At this point, anything other than a Downey Jr. victory would be a significant upset.
My Case Of posts will continue with the direction of Christopher Nolan in Oppenheimer…
Blogger’s Update (11/08): I am lowering my The Marvels prediction from $62.3 million to $46.3 million and that gives it the lowest MCU premiere ever.
After a series of delays dating back to summer 2022, the MCU’s 33rd adventure arrives November 10th with The Marvels. Nia DaCosta, best known for her 2021 Candyman remake, directs. Captain Marvel Brie Larson leads a cast that includes Teyonah Parris, Iman Vellani, Zawe Ashton, Park Seo-joon, and Samuel L. Jackson.
Beginning with Spider-Man: No Way Home, we’ve seen a run of six MCU pics that opened to $100 million or over. It certainly helped that each one of them was a sequel in a well-established sub franchise including Guardians of the Galaxy, Thor, and Black Panther.
The nine digit premiere streak should end here and the debut may look more like a trilogy of titles from 2021. Black Widow started with $80 million in the summer of that year and Shang-Chi and the Legend of the Ten Rings did $75 million over the Friday to Sunday portion of its Labor Day weekend bow. Finally, Eternals managed $71 million in November.
Two years later, I’m not confident The Marvels even matches those grosses. Other than Captain Marvel and Jackson’s Nick Fury, the other characters are relatively unknown compared to various Avengers counterparts. There’s always the risk of superhero overload and we’ve seen our share of letdowns in the genre in 2023 (The Flash, Blue Beetle, Shazam! Fury of the Gods). Yes, those were all DCU, but the subpar earnings could apply here.
I’m projecting The Marvels will have the lowest MCU beginning since Ant-Man ($57 million) back in 2015. That would be a rather significant letdown for Marvel in their third feature from Phase Five and the third smallest opening overall of the 33 picture series.
The Marvels opening weekend prediction: $46.3 million
For my Journey to Bethlehem prediction, click here:
This little blog of mine is over 10 years old now and a summer tradition has been to highlight the cinematic seasons of 30, 20, and 10 years ago. We saw recaps of 1992, 2002, and 2012 around this time in 2022. Now this site is aged enough that I shall only look back at a decade ago. Therefore let’s shine a light on 2013 and the offerings between May and August.
Here’s how it works. I’ll recount the top 10 grossers domestically as well as other notable features and noteworthy flops. It was the summer after The Avengers dominated and Tony Stark still managed to rule in his own franchise.
Let the countdown begin!
10. The Great Gatsby
Domestic Gross: $144 million
Baz Luhrmann’s second collaboration with Leonardo DiCaprio may have drawn mixed critical reaction, but audiences turned up and it won both Oscars it was nominated for (Production Design and Costume Design). It is still the stylish filmmaker’s largest worldwide earner even with last year’s success of Elvis.
9. We’re the Millers
Domestic Gross: $150 million
Jennifer Aniston and Jason Sudeikis headlined this raunchy comedy from Dodgeball maker Rawson Marshall Thurber. Like Gatsby, critics weren’t overly kind but crowds liked what they saw.
8. The Heat
Domestic Gross: $159 million
Sandra Bullock and Melissa McCarthy (hot off Bridesmaids) teamed up for this buddy cop laugher from Paul Feig and it became the summer’s hottest live-action movie in its genre. Bullock would have a massive earner and Oscar nod in the fall with Gravity.
7. World War Z
Domestic Gross: $202 million
Some had it pegged as a potential financial disappointment, but this would turn out to be the biggest grossing zombie flick ever. Despite Brad Pitt’s presence and plenty of development rumors, a planned sequel has yet to materialize.
6. Star Trek Into Darkness
Domestic Gross: $228 million
JJ Abrams helmed this sequel two and a half years before taking on Star Wars: The Force Awakens. It holds the title of best global earning movie of the franchise.
5. Fast & Furious 6
Domestic Gross: $238 million
Vin Diesel and Paul Walker revved the series to unforeseen moneymaking heights at the time though part 7 would outdo it two years later. Six months after 6‘s release, Walker perished tragically in auto accident.
4. Monsters University
Domestic Gross: $268 million
The long gestating sequel to 2001’s Monsters University was a profitable venture for Pixar. It failed to nab an Animated Feature nod from the Academy (rare for the studio), but Disney likely wept into their cash.
3. Man of Steel
Domestic Gross: $291 million
The first picture in the DCEU came with gargantuan expectations with Zack Snyder directing and Henry Cavill donning the S. Reaction from critics and audiences was all over the map. Compared to this summer with the epic failure of The Flash, these were kinda the good ole days for DC.
2. Despicable Me 2
Domestic Gross: $368 million
Illumination dwarfed Pixar in the animated race with this sequel that became parent studio Universal’s most profitable film of all time. It’s also responsible for the season’s ubiquitous ditty “Happy” from Pharrell Williams.
1. Iron Man 3
Domestic Gross: $409 million
Tony Stark’s third solo adventure was generally considered an improvement on #2 as Shane Black handled the behind the camera work. It ended up as the year’s second best grosser behind November’s The Hunger Games: Catching Fire.
Now for some others worthy of discussion:
The Conjuring
Domestic Gross: $137 million
It might be just outside the top ten in 11th, but James Wan’s horror classic spawned a decade’s worth of sequels (two thus far) and spin-offs (Annabelle, The Nun) with no end in sight.
Now You See Me
Domestic Gross: $117 million
The heist pic from Louis Leterrier (who just directed Fast X) was a sleeper smash with a $350 million worldwide haul. A less regarded sequel came in 2016.
The Butler
Lee Daniels helmed this decades spanning tale of Forest Whitaker’s White House employee with Oprah Winfrey as his troubled wife. The studio was likely hoping for more awards attention than it ended up with, but the earnings were impressive.
Pacific Rim
Domestic Gross: $101 million
Guillermo del Toro’s monster mashup didn’t wow with a significant domestic take, but the overseas dollars were enough to spawn a panned 2018 sequel. The international haul makes it the Oscar winner’s personal best.
This Is the End
Domestic Gross: $101 million
This end of the world saga from Seth Rogen and Evan Goldberg was a star studded (from Michael Cera to Rihanna) dark comedy with critics on its side.
The Purge
Domestic Gross: $64 million
This dystopian horror pic launched another money minting series and was an early sleeper success for Blumhouse.
Blue Jasmine
Predicted Gross: $33 million
That number marks an impressive one for Woody Allen in the 21st century and this nabbed Cate Blanchett a Best Actress Academy Award.
Fruitvale Station
Domestic Gross: $16 million
Marking the first collaboration between Ryan Coogler and Michael B. Jordan, this indie drama was a critical darling. The pair would achieve colossal success in the years to follow with Creed and Black Panther.
There were lots of hits a decade ago. Yet there’s always the projects that don’t match expectations.
The Hangover Part III
Domestic Gross: $112 million
Audiences were growing weary of The Wolf Pack in the lambasted third entry. It came in well below the previous two.
Elysium
Domestic Gross: $93 million
Neill Blomkamp’s District 9 in 2009 was nominated for Best Picture. This sci-fi follow up with Matt Damon was considered a letdown by not joining the century club.
The Lone Ranger
Domestic Gross: $89 million
I’m gonna go ahead and say you couldn’t green light this $250 million adventure starring Johnny Depp and Armie Hammer today. It turns out Disney shouldn’t have 10 years ago as this came in far under expectations. The box office magic that director Gore Verbinski and Depp created with Pirates of the Caribbean was gone.
White House Down
Predicted Gross: $73 million
Roland Emmerich’s latest with Channing Tatum as a secret service agent and Jamie Foxx as POTUS had its thunder stolen in the spring by the similarly themed and better regarded Olympus Has Fallen (which spawned two sequels).
After Earth
Predicted Gross: $60 million
Moviegoers slapped down M. Night Shyamalan’s sci-fi epic starring the father son duo of Will and Jaden Smith. Reviews were harsh with a 12% Rotten Tomatoes rating.
The Internship
Domestic Gross: $44 million
Vince Vaughn and Owen Wilson’s 2005 romp Wedding Crashers was a $209 million earning smash. Eight years later, very few signed up for this forgettable reunion.
R.I.P.D.
Predicted Gross: $33 million
It might have been going for the Men in Black crowd, but audiences shunned this sci-fi comedy with Jeff Bridges and Ryan Reynolds. Somehow a direct to DVVD prequel was commissioned and released last year.
And there you have it! A look back at 2013 in the multiplex. I’ll have a 2014 recap conjured up next summer…
There’s a grounded Unbreakable vibe that permeates parts of Gina Prince-Bythewood’s The Old Guard. In a cinematic universe where comic book adaptations are hurled at us every couple of months, this R-rated Netflix pic manages to frequently feel fresh and captivating. There’s a less is more spirit as the screenplay (from Greg Rucka based on his own graphic novel) sets the table for inevitable sequels. That’s not to say there aren’t a fair share of shoot-em-up video game style battles. There are and they’re a cut above some others.
Andy (Charlize Theron) leads a group of fighters as we open on their assignment to rescue abducted young girls in Sudan. Her teams consists of Booker (Matthias Schoenaerts) and Joe (Marwan Kenzari) and Nicky (Luca Marinelli), who are also a couple. Their assigner is CIA contact Copley (Chiwetel Ejiofor). If Danny Glover’s Roger Murtaugh complained about being too old for his job (he put it another way), he should’ve met this squad. The quartet is immortal. Andy can’t even remember her age (we’re talking thousands of years) while the others mark their existence in centuries. They’re not famous like The Avengers and the modern world makes it trickier for them to stay inconspicuous. The group can be riddled with machine gun fire and bounce back within a few seconds. That makes them, of course, lethal weapons.
Their latest gig turns out to be a double cross involving pharmaceutical company CEO Steven Merrick (Harry Melling). We know he’s bad because his company logo is often ominously panned to before he lays out his plans. They involve capturing the immortals to study their priceless DNA. Merrick only has profit on his mind even if that means locking up his subjects with his private army guarding them. His associate Copley’s reasonings are a bit more noble.
The eternal foursome becomes a quintet with American soldier Nile (KiKi Layne). After her tour of duty ends violently, she miraculously recovers and confounds her coworkers. Andy and team come to the rescue as they must explain her new undying circumstances (she’s the first new member of the exclusive club in over 200 years). With Merrick attempting to prescribe their captures, the well-choreographed action sequences commence.
Rucka’s script weaves in occasional flashbacks of Andy’s past that reveal other associates. It turns out nothing may last forever even though our main warrior probably fought alongside Alexander the Great and Genghis Khan and partied with Keith Richards. These callbacks to history succeed in elevating anticipation for future installments.
If there’s as flaw in The Old Guard, it’s the most common of its sort. Melling’s villain isn’t exactly fleshed out. We’ve become used to the antagonists being a weak link. The preachy tone about the industry he works for can sometimes come across as clumsy and there’s the lingering knowledge that these heroes have likely fought far more interesting foes.
Yet I welcomed the approach of letting the vast backstory of the main characters have gradual reveals that are surely still formulating. Some origin stories play like the duller forward to more enticing chapters. That’s not the case here and with the talented Theron leading the charge, The Old Guard could turn out to be an enduring title in the 21st century’s preeminent genre.
The 29th time is not the charm for the MCU with Thor: Love and Thunder, a franchise entry meant to be bursting with joy. It somehow feels middling the majority of the time and it’s a significant downgrade from Taika Waititi’s predecessor Thor: Ragnarok from 2017.
Our Asgardian God of a title character (Chris Hemsworth) has been through a lot in the last half of a cinematic decade. He’s lost his family (including Loki more than once) in earlier Thor and Avengers tales. That even caused him to turn to the bottle and humorously pack on the pounds during Avengers: Endgame.
He found a new lease on life with the Guardians of the Galaxy during those previous Avengers epics. That’s where we find him at the outset, but it doesn’t last long. The Guardians are off on a new adventure while old acquaintances pop up for Thor. Jane Foster (Natalie Portman), who hasn’t been seen since 2013’s The Dark World, reappears in a cancer stricken state. She discovers that her ex’s hammer Mjolnir gives her super strengths. Her old beau needs all the help he can get with a new nemesis. Gorr the God Butcher (Christian Bale) is on a mission to off all the Gods (hence the name) after his own leader causes his young daughter to perish. That killing spree will eventually include Thor and the newish King of Asgard Valkyrie (Tessa Thompson).
In what has become a common theme in Marvel’s stories, the main villain sorta has a point with his murderous schemes. We see that most of the Gods, including Russell Crowe’s Zeus, have turned into lazy do-nothings. However, when Gorr snatches a bunch of Asgardian kids, the fight is on.
Ragnarok was able to find a measured balance between dramatic elements and Waititi’s comedic sensibilities. Thunder feels downright goofy most of the time with its screaming goats and Guns n Roses greatest hits soundtrack playing over the battles. Just a little patience from the director might’ve made it more tolerable. More often than not, it falls into self parody territory. Maybe it’s on purpose. That doesn’t make it worthwhile.
What’s clear is that Waititi was given plenty of freedom to paint his canvass with this fourth official pic in the Thor series. I wish that translated to a more fruitful experience. Thor and Jane’s romance in the first two movies was never exactly a highlight so their reunion left me ambivalent. To be honest, Portman almost seems a bit bored during her transformation to the Mighty Thor. Bale doesn’t seem disinterested but his bad guy is of the one note and forgettable variety.
Thor: Love and Thunder does have a few jokes that land (I chuckled at a character mispronouncing Jane’s full name). Yet I couldn’t escape this thought when the credits rolled the first and second and final time… I’d rank this 29th MCU saga 29th.
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