She’s beauty, she’s grace, she can kick you into space.
Well, the first Marvel movie of 2019 is here. And, hey, it’s pretty good! Nothing that’s so exciting that it’ll melt your brain out, or anything, but Captain Marvel has finally hit our screens and damned if we aren’t glad to see her. Right? Right?
I don’t want to be down on this one. I really enjoyed myself as I sat in the theater and mindlessly absorbed a little nugget of Marvel product, which loudly and proudly is set in the 90s. Remember the 90s? There was a Democrat in office, the economy was essentially okay, we weren’t at war with anyone for a little while, and when the President got a blowjob and perjured himself about it, we all were in agreement that the office of the PotUS had been so thoroughly tarnished that no future President could ever sink lower (ha). But also, you know: AIDS, Hurricane Andrew (which goes strangely unremarked upon here despite the fact that a significant portion of the film takes place in 1995 Louisiana), Don’t Ask Don’t Tell, etc. Never let your nostalgia get the best of you, is all I’m saying, but it’s no crime to feel a little warm inside when you hear the opening strains of “Come As You Are,” either.
It’s 1995. Vers (Brie Larson) is a member of the Kree Defense Force, a group of interstellar “warrior heroes” who keep the peace in the Kree Empire (the blue [mostly] aliens from the Guardians movies and Agents of S.H.I.E.L.D.) by performing various acts of apparent valor, including rooting out cells of Skrulls, a race of green reptilian shapeshifters. She herself is a woman without a memory, à la Wolverine, only getting glimpses into a past she can’t recall when dreaming of a mysterious woman (Annette Bening). Under the tutelage of Yon-Rogg (Jude Law), Vers attempts to learn more about herself using the AI ruler of the Kree, the Supreme Intelligence (Bening again, as we only see her from Vers’s point of view and it takes different forms for different people), without much success. After being taken captive by Skrulls and fighting her way free, Vers lands on C-53, better known to its inhabitants as Earth, where she immediately runs afoul of S.H.I.E.L.D., before bonding with a young Nick Fury (Samuel L. Jackson) and setting out to discover why the woman in her dreams seems to have had a life on C-53, including involvement with a top secret aerospace defense project. Along the way, she connects, or perhaps reconnects, with Maria Rambeau (Lashana Lynch) and her daughter Monica (Akira Akbar). Opposing her is the Skrull leader Talos (Ben Mendelsohn), but there may be more to his motivations than meets the eye.
A lot of the internet is pretty up in arms about Captain Marvel, and for the most part, it’s just trolling and various degrees of personal toxicity. And the problem with every dudebro out there who’s angry about the injustice of Captain Marvel/Vers (as I’ll refer her to remain spoiler free, if that’s even possible at this juncture) stealing a motorcycle from a man who told her to smile, as if a microaggression warrants grand theft, is that it leaves very little room to be critical of the elements that don’t actually work from a narrative perspective. Look, I’m not MovieSins; I’m not here to ring an annoying little bell just because the final mental showdown between two characters is set to a Nirvana classic from an album that we don’t actually see Vers hearing (although she had plenty of chances offscreen). But I have to admit that even I was a little tired of some of the pablum and the unwillingness to take risks that were on display here. Sure, there was some inventiveness with the subversion of both what we’ve come to expect from films in general and this franchise specifically, especially in regard to the villainous Skrulls and their true motivations, but that doesn’t mean that the storytelling itself is inventive, and that’s the issue here. We’ve seen the fish-out-water story before in Thor, but that doesn’t mean that this is inherently derivative. I remember walking out of that film way back in 2011 and being pleasantly and refreshingly surprised by it, and there’s a part of me that wants every Marvel movie to give me an equivalent rush, but that’s not a realistic expectation to have after ten years and twenty movies. Time makes you bolder, children get older, and I’m getting older, too. It may be that these movies are just as fun as they’ve always been and I’m just too cynical to enjoy them the way that I used to.
Because, hey, this movie is fun. There are a lot of great setpieces: a sequence of dodging questionably aligned federal agents deep in the heart of a research base library, a terrific train fight sequence featuring the best Stan Lee cameo to date (I’m more of a Jack Kirby stan, if we’re being honest, but even I thought it was nice), and others. But the main one, the big finale, was just a big CGI fest that tired me more than it thrilled me. Compared to the relative viscerality of the Independence Day-esque desert dogfight that came earlier in the film’s runtime, not to mention the undetectable de-aging of Jackson to make him the Fury of yesteryear, it lacks any concreteness and feels hollow; I’m glad to hear that other people found this to be exciting, but it just didn’t work for me. Admittedly, that’s always been the case with the MCU, as all of the films peak early, going as far back as Iron Man, where the best sequence wasn’t the toe-to-toe showdown between our “hero” and Iron Monger, but the more stunning and ground-breaking sequence in which Tony finds himself flying alongside two fighter planes. But still, there’s something about this movie that doesn’t quite sit right with me, and it’s not just that they didn’t have an appearance from Peggy, even though she was totally alive at this time and, per Ant-Man, still active in S.H.I.E.L.D. a mere six years prior, although that omission is a crime.
Still, it’s hard to fault a film for having a poor finale after a lot of fun beforehand. Fitting for a movie that is at least on some level about both Girl Power and The 90s, the comparison that kept coming to my mind was Buffy the Vampire Slayer. It may just be that I rewatched the 1992 film within the past six months (and also watched it about 47 times over the course of a single summer once), but the aforementioned scene in which Vers steals a guy’s motorcycle reads just like the scene in that film in which original Kristy Swanson Buffy does the same after a rude biker asks if she “wants some real power between [her] legs.” It’s a sanitization of something, to make it more palatable for you to be able to bring your kids to see the new superhero movie, but it’s almost the same scene, and I genuinely enjoyed that the film evoked that rhetorical space in the era of its birth. Further, the sequence of Vers getting up over and over again, used as a shorthand about her past and her resilience in the face of limitations placed on her by a masculine culture, included one of her as a little girl stepping up to the plate and getting ready to knock one out of the park, which once again evoked the scene from the series finale of Buffy the show, during the title character’s famous “Are you ready to be strong?” speech (believe it or not, this is the best upload I could find of the scene; sorry). I don’t know if there was a subliminal attempt to invoke the memory of disgraced Avengers and Age of Ultron director Joss Whedon by summoning relevant images from both the beginning and end of the Buffy franchise, but if so, that’s a next level of synergy, and I’m impressed by the mad genius of it.
I’m hot and cold on this one. As it’s been out for almost a month now, it’s unlikely you need me to tell you whether or not to check it out, as your decision was probably made months in advance of its original release date. Larson is a terrific actress who’s really not given as much to do characterwise as someone of her talent could, but she’s effortlessly charming and magnetic, and her chemistry with Lynch and Jackson is very good. When it comes to integrating a child as a main character and instigator of plot, it also certainly works a lot better than Iron Man 3, where the character was so blatantly an audience surrogate that it almost derailed a film that is, outside of that plot detour, the best Iron Man movie (don’t @ me). And after quietly making his bones in the mainstream as a one-dimensional villain in a lot of hyped releases the past few years (Rogue One, Ready Player One, and that Robin Hood that no one saw), Mendelson brings a pathos to a scaly monster that you wouldn’t expect to find in a movie that’s as relatively flat as this one is. There are twists and betrayals, but they all seem rather rote at this point. And yet . . . and yet . . . I enjoyed this one. And you probably will, too.