There’s not necessarily one defining incident, but it largely stemmed from Larson’s political views. Things started to shift in the months leading up to Captain Marvel’s release date. This quite quickly snowballed, as it didn’t just criticise the action from the movie but rather more specific elements, such as the apparent fact that Captain Marvel didn’t smile enough. This only intensified as the marketing campaign went on, which wasn’t helped by the admittedly rather lacklustre trailers. With it being the first female-led solo movie in the MCU, and with Carol Danvers then slated to be the universe’s most powerful hero, there was a pushback against Captain Marvel’s perceived agenda from an extremely vocal minority. The division started long before Captain Marvel released. Or rather, have divided opinion with sections of the Marvel fandom, and at least partially for reasons that don’t pertain to the film itself. While most Marvel films are generally popular with wide audiences, and likewise a select few are more broadly considered the ‘bad’ MCU films ( Thor: The Dark World, The Incredible Hulk), few have split opinion quite like Captain Marvel. These are the puzzle pieces that must be fitted together so she can understand her own captaincy of a mighty superhero destiny.Captain Marvel has the distinction of being the most divisive movie in the Marvel Cinematic Universe. There are glimpses of an unhappy childhood, a cruel father, a Top Gun-style military training in the US air force alongside a loyal friend Maria ( Lashana Lynch) and a mysterious mentorship from an enigmatic woman played by Annette Bening. When she finds herself detached from her unit in time-honoured, war-movie style, all alone on our own planet – which one of her comrades harshly describes as a “shithole” despite the fact that it looks considerably better than any other planet featured here – she is plagued by memory flashes, fragments of what appears to be a lost Earthling identity. And here, incidentally, is another qualification: I wanted more martial arts and kickboxing action from Brie Larson, because these are very good moments. She is a tough and disciplined warrior who has been recruited into the ranks of the Kree, an alien fighting force previously seen in the Guardians of the Galaxy films, engaged in a vicious battle with the Skrulls, a nation of extraterrestrial shapeshifters, led by Talos ( Ben Mendelsohn). The film hinges on a fierce performance from Brie Larson, though I think it could have showcased her in a stronger, clearer starring role and assigned her more of the script’s funny lines. A lovable cat makes an important appearance.ĭigitally regressed … Samuel L Jackson as the youthful Nick Fury. It gives us a playful first glimpse of a number of things, important and otherwise, including how Shield agent Nick Fury acquired a notable part of his badass image – Fury played of course by Samuel L Jackson, his face digitally regressed to the way it looked around the time of Pulp Fiction. There’s an eccentric splurge of tonal registers from boomingly serious to quirkily droll. It’s an unconventional origin-myth story, which makes it initially uncertain what the nature of those origins is, and maybe even whose origins exactly we’re talking about. This is an engaging and sometimes engagingly odd superhero action movie from directors and co-writers Anna Boden and Ryan Fleck, a weirdly nonlinear mashup of past and present, memories and present experience, Earth and non-Earth action. At one important stage, there’s a soundtrack outing for Nirvana: “Come as you are, as you were / As I want you to be / As a friend, as a friend / As a known enemy. We have crash-landed in mid-90s America: a hilariously antediluvian world of Blockbuster video stores, dial-up internet, web searches via AltaVista, and grindingly slow CD-Rom drives. T his latest tale from the Marvel cinematic universe takes us way back in time, many years before the great catastrophe shown in Avengers: Infinity War.
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