A Cosmic Marvel Of Two Different Worlds

“You are just one victim of the Skrull invasion that has threatened our civilization for centuries. Imposters who silently infiltrate, then take over planets.” ~ Supreme Intelligence

“I know a renegade soldier when I see one.” ~ Nick Fury

“Does announcing your identity with branded clothing help with the covert part of the job?” ~ Carol Danvers

The Marvel Cinematic Universe rolls along without a hitch with a new addition to the fold. Captain Marvel tells a tale set a couple of decades in the past, featuring a mysterious woman, cosmic conflicts, familiar faces, and ties to what lies ahead for the heroes and villains of the Marvel universe. Brie Larson joins the growing cast of heroes as the title character, and the direction is done by a pair of filmmakers whose work is collaborative- Anna Boden and Ryan Fleck. The film that results is a highly satisfying cosmic thriller with strong characterization, grounded in a solid performance by Larson.

The film opens with Vers (Larson), a member of Starforce, an elite team of soldiers for the Kree empire. She’s having recurring nightmares of a woman. She has abilities- flight, superhuman strength, and energy projection. Her mentor Yon-Ragg (Jude Law) is training her, and an organic artificial intelligence called the Supreme Intelligence, which rules over the Kree, urges her to keep her emotions in check. Vers and her team engage the Skrulls, a shape shifting enemy race to the Kree, and Vers is captured by their commander, Talos (Ben Mendelsohn). An escape leads her to Earth, where she encounters two fresh faced S.H.I.E.L.D agents, Nick Fury and Phil Coulson (Samuel L. Jackson and Clark Gregg), and discovers that she is in fact Carol Danvers, a military pilot who was presumed dead and whose biology was altered in an explosion.

The idea for a solo film was already in the works back in 2013 for Carol Danvers, at a time when the character was still using the long-term codename Ms. Marvel in the comics. Five writers are credited with the script (aside from the character’s comic book creators). Two are the directors. Nicole Perlman and Meg LeFauve worked extensively on the film story during development, and Geneva Robertson-Dworet picked up where they left off. Usually that many writers is a sign of trouble, but not in this case.

The story is an origin story, but dispenses with the need to tell how the protagonist gained her powers by starting things off with her already powered. And the story as it unfolds, with its grand, cosmic stakes, nonetheless grounds itself in strong characterization, not only in its leading characters but in those around her, both good and bad. It also makes good use of established characters like Fury and Coulson- here years younger than when we first met them in Iron Man- and of established races in the comics universe like the Kree and the Skrulls. The Kree have been seen before in the MCU- in Guardians Of The Galaxy and on the small screen in Agents Of S.H.I.E.L.D., but this is the first we’ve seen of the Skrulls, a shape shifting race that are so often the villains of a story, and first tied to the Fantastic Four in the comics. The story presents the Skrulls one way and then takes it in a different direction, which I liked.

To this point, production values in Marvel Studio films have been exceptional, so that hasn’t been a worry in terms of world building, special effects, or other aspects of filmmaking. That continues here, as the sequences set both on Earth and amid the stars and distant worlds feel real and integral alike, as opposed to green screen hell as you might expect in a different studio’s film. One of the tricks that’s been used to a smaller degree in some of these films- the de-aging of characters like Robert Downey Jr. as Tony Stark or Michael Douglas as Hank Pym for short set in the past scenes- is used to great effect here. As the bulk of the story is set in 1995, Samuel L. Jackson spends the whole film looking a lot younger than he actually is (while Clark Gregg’s Coulson gets some of the same treatment). The technique looks natural, as if the actor filmed their scenes back in the day as opposed to when the film was actually in production. The look for Captain Marvel feels very much like it is at present in the comic books, which is a welcome thing, as her present costume design is a particularly good one.

Boden and Fleck have worked together as directors and writers on character and indie films like Half Nelson, Sugar, and Mississippi Grind. It says a lot about the MCU that directors who are often not previously involved in blockbuster action thrillers, but character films, do so well with these films. As directors they have a rapport with actors that a blockbuster director might not have (imagine Michael Bay being let loose on a comic book film, and, well… you’d have a Michael Bay film). Instead, the directors can focus on the story, the acting, and the flow of the film and just trust that the production crew knows what it’s doing. Such is the case here. Boden and Fleck’s directing style keeps the film balanced between the scope of the story and the intimate and richly drawn interaction of characters. It’s paced well, never feeling like it lags.

We’ve seen some of the cast before. Lee Pace and Djimon Housou appeared in Guardians Of The Galaxy as Ronan the Accuser and Korath, two ruthless Kree warriors who were among the villains of that film. They reprise their roles here, years before the events of that film, and play the roles differently. Pace’s Ronan is not yet the zealot he will become in the years to come, but still a force to be reckoned with. Hounsou’s Korath is a member of Starforce, second in command of the group and lacking a whole lot in humour. Clark Gregg, who started out in Iron Man as the calm Agent Coulson and has taken that role into other films and into Agents of S.H.I.E.L.D., appears as his character, something of a rookie in the job in how the actor plays him (and de-aged thanks to the CGI).

Annette Bening gets more than one role in the film, voicing the Supreme Intelligence (which in the comics has always been somewhat creepy and certainly plays out that way here). The Intelligence is the sort not to be disobeyed, a brilliant organic program that rules the Kree with authority and a measure of ruthlessness, which Bening invests into her performance. And yet that’s not quite all she does, appearing in a double role as a scientist, Wendy Lawson, whose true form is that of a renegade Kree with a benevolent agenda. In this capacity, in flashback, the character is sympathetic and very much a hero.

When the film was still in production, the expectation among many was that Jude Law would be playing Mar-Vell, the predecessor Captain Marvel to Carol. That isn’t the case in the movie, though he starts out as a mentor to Vers/ Carol. His Yon-Rogg is based on a comic book version, an enemy of Mar-Vell among the Kree. He starts out in one way, as an authoritative and capable commander, but there are hidden secrets beneath the surface, which Law plays to throughout his performance. It’s a character who proves to be quite different by film’s end, and one that I’d like to see again.

Lashana Lynch plays Maria Rambeau, a former Air Force pilot and colleague and friend of Carol Danvers who happens to be a single mother to daughter Monica (who in the comics has quite a history of her own). The character is resilient, likable, and independent, with a lot of strength and just the right kind of attitude that you might expect out of a pilot. She provides some of the emotional grounding that Carol needs to find her way back to herself, and the actress makes her really come to life through her scenes.

Australian actor Ben Mendelsohn has played a whole lot of different roles down through the years, and in recent years was noted for his take as King George VI in Darkest Hour and for the villainous Imperial official Orson Krennic in the Star Wars spinoff Rogue One. Here he plays the Skrull Talos (and since he’s a shapeshifter, other characters) in more than one way. The comic book reader expects the worst out of a Skrull, and so we expect the villain. Instead his Talos starts out deemed the enemy (and given that he seems so relentless in the pursuit, we just accept it), but there’s a different angle on the character that shows up as the film progresses. Mendelsohn gives Talos a somewhat laid back approach in how he plays him. It’s a complicated role, but he handles it well.

Samuel L. Jackson has been a regular force in the Marvel cinematic universe as Nick Fury. Here he gets a lot to do as a younger Fury, before the general state of perpetual crankiness and the eye patch. Fury is essentially in a bureaucrat’s role at this point in his life, more affable and less cynical in his general approach. For the character, this is his first time dealing with a superhuman threat, and it forces him to change his mindset. Jackson plays to that, and his take on the character is that of someone who needs to learn to trust this superpowered being he’s come across. It makes for what ultimately becomes something of a buddy film between Fury and Danvers in terms of their rapport.

Brie Larson gets the main role as Carol Danvers/ Vers/ Captain Marvel and makes the most of it, becoming the bedrock of the film and showing how good she can be. Previously I’ve only seen her in the thriller Kong: Skull Island, so this is the second go around for me with the actress. Her take on Carol Danvers matches the best of the character that we’ve seen in the comics. She’s strong willed, sassy, smart, and has a whole lot of fortitude. Even without power, she’s courageous, ethical, and refuses to quit. Larson gives the character a tremendously sympathetic, compelling take with a lot of depth, making us empathize with her. I’m looking forward to more from her, both in the upcoming Avengers film and in another solo film. While the character’s existence was teased in Infinity War, this is a splendid introduction to her that’s done in the right way by the actress.

Captain Marvel establishes the character in a big way in the Marvel Cinematic Universe, but gives her a chance to shine on her own. The film balances in the right way the cosmic stakes of the larger story with the characterization that is needed to ground such a story. With a cast that is well chosen, either in returning or new character roles, the film has the ideal players in their roles, especially so with its protagonist. Brie Larson firmly establishes a place for Carol Danvers in the wider Marvel universe, and in her performance, the film finds its greatest strength. I look forward to more down the line. And I haven't even mentioned the cat stealing the show.

The Darkest Hours And The Strongest Voice

“He mobilized the English language and sent it into battle.” ~ Lord Halifax

“You cannot reason with a tiger when your head is in his mouth.” ~ Winston Churchill

Director Joe Wright (Pride and Prejudice, Atonement) returns to the big screen with Darkest Hour, a film that hit theatres at the Christmas break and has already gotten critical acclaim for its portrayal of Winston Churchill at one of the most trying times in British history. The prime minister, who has often been depicted in film and television, is the subject of this film that shows him at a low point for his country- and one of his finest hours as a leader: the dark days of the fall of France and his defiance in the face of the German threat.

The film opens in May 1940, with Britain and France as allies against Nazi Germany. There is anger in Parliament, as Neville Chamberlain (Ronald Pickup) is pressured to resign over his weakness and earlier capitulation to the Germans. Chamberlain finds himself in a position where the only replacement in his party the opposition will support is the cantankerous First Lord of the Admiralty, Winston Churchill (Gary Oldman), who has always stood firm that the Germans under Hitler could not be trusted. Supported (and occasionally lectured) by his wife Clementine (Kristin Scott Thomas), Churchill pushes on in the face of political intrigue among his colleagues and the pressures of war to face down the looming German threat.

The script, by Anthony McCarten, has a tight focus in its narrative, concentrating on the early days of the Second World War, starting with May 1940 and moving through to Churchill’s momentous speech of defiance later in the year. The story strongly focuses on the personalities- the Churchills, Chamberlain, the foreign secretary Lord Halifax, King George- and the politics that can be biting and savage even from within a party. It also squarely sets itself right in the era, playing off the historical events of the time as its backbone. The film’s narrative ends up acting as a good counter-balance to this year’s Dunkirk, which mines some of the same material from the point of view of the men on the beach.

Wright is a fine choice as director. He works exceedingly well with actors, something seen in his previous works, but also has a good eye for the finer details, something that we see here. There’s an authenticity to sets, to props, to the little things that make up the world of a film, and Wright and his crew pay attention to that. His style as a director is well suited to character studies, which this film pretty much is. He paces the story well, so much so that while it’s a political procedural, it never seems to lag or wander off. And he presents the political intrigues of a cabinet that’s not quite so united as the story goes along; at one point there was a crisis within the cabinet, and Wright’s story goes into that. Had history gone another way, we’re left to wonder how radically different things might have been.

The cast is brilliantly chosen. Lily James appears as Elizabeth Layton, Churchill’s secretary, who has to learn how to manage her grouchy boss and help him along in preparing for the speech that will change the course of the war. Ben Mendelsohn, who recently turned up as the Star Wars villain in Rogue One, gets a more sympathetic role as King George VI, struggling with his own issues and his duty to his country. Ronald Pickup gets a lot to do as Neville Chamberlain, the prime minister forced out of his job due to his own weaknesses and yet seeking his own ambitions. And Stephen Dillane, a character actor who’s appeared in a lot of film and television work, turns in a fine performance as Lord Halifax, the Foreign Secretary who harbours his own ambitions in the face of war.

Kristin Scott Thomas is sympathetic and strong as Clementine Churchill, wife of the prime minister. Her character has spent her life with the grouchy, fierce, but principled Winston, knows his moods and his heart, and is one of the few people who can call him out of a mood and can sooth the occasional doubt. The actress conveys the quiet strength and fortitude of the character, and has a believable sensibility in how she and Oldman relate in their characters.

Winston Churchill has been portrayed by many an actor in film and television in the decades since his death, in performances that have played on various aspects of his personality. Gary Oldman’s take on the role deserves the Oscar for Best Actor. He brings to life the cantankerous, ferocious, spitting in the face of danger aspect of the man in a tour de force performance that leaves you astonished. Oldman is one of those actors who completely vanishes into the role with effortless skill- this time quite literally, as the actor vanishes beneath padding and prosthetics to look quite unlike himself. And he conveys the conviction and iron will of the man in just the right way.

Darkest Hour is one of the year’s best films, and deserves to be honoured as such. While I still think Dunkirk is the best film of the year, this is a fine companion to it that merits an Oscar for its lead actor, a long overdue Oscar. It captures the tension and intrigue of a part of the Second World War when it seemed hope was lost. And then proceeds to find that hope in the spirit of a ferociously defiant man. This is a film you should see.

Rogue Rebels And The Heavy Breather

“Be careful not to choke on your aspirations, Director.” ~ Darth Vader

“The power that we are dealing with here is immeasurable.” ~ Orson Krennic

“The captain says you’re a friend. I will not kill you.” ~ K-2SO

“Our rebellion is all that remains to push back the Empire. We think you may be able to help us.” ~ Mon Mothma

“They call it the Death Star. There’s no better name. And the day’s coming soon, when it will be unleashed.” ~ Galen Erso

“Take hold of this moment. The Force is strong.” ~ Chirrut Imwe

“I’ve been recruiting for the rebellion for a long time.” ~ Cassian Andor

“The world is coming undone. Imperial flags reign across the galaxy.” ~ Saw Gerrera

 “We have hope. Rebellions are built on hope!” ~ Jyn Erso

When the Disney studios got their hands on Lucasfilm and the Star Wars franchise, the decision was made not only to continue to make more films, hence the release a year ago of The Force Awakens, but also some tie-in self contained stories set in that universe, basically an anthology of tales firmly set in the galaxy of Imperial forces and courageous rebels. Rogue One is the first of those stories, set shortly before the events of the 1977 original film, featuring a small band of rebels racing to retrieve the plans for the Empire’s ultimate weapon.

As a prelude, scientist Galen Erso (Mads Mikkelsen) is taken by force from his family by Orson Krennic (Ben Mendelsohn), an Imperial weapons designer who wants him to return to work on a secret project. His wife is killed during the raid, and their daughter Jyn is taken to safety by a rebel, Saw Gerrera (Forest Whitaker). Years later, Jyn (Felicity Jones) is freed from Imperial captivity by rebels and brought in on a mission after word has been smuggled out from her father on what the Empire has in store. The small band of misfits now find themselves racing to thwart a doomsday weapon most film audiences are quite familiar with: the Death Star.

The concept for this goes back long before the Disney-Lucasfilm deal, this notion of telling self contained stories firmly within the universe as established by George Lucas. John Knoll, a visual effects supervisor for the prequel trilogy, was pitching the idea for some time, and did so again after the deal. The studio decided to go ahead with the idea of these self contained tales, alongside the new trilogy being unfolded at present. Knoll and writer Gary Whitta had a hand in the story process at one point or another, with the screenplay being finished and polished by Tony Gilroy and Chris Weitz. The story is at heart a dark one, a war epic with a very clear line between good and evil. Beyond that, the story mixes in dark humour (particularly from the resident droid), and a sense of impending tragedy- we know things can’t end well for these people. While a good number of the characters are new, some familiar faces appear- Mon Mothma and Bail Organa have both appeared previously in Star Wars lore, and their appearances here are welcome.

Gareth Edwards was brought in as director, which was a good touch. He had recently done the Godzilla reboot in 2014, and his style for an epic, sprawling action tale transfers well over here- with more looks at what we’re seeing, as opposed to the glances and cutaways and darkly lit set pieces of a good part of that film. The production style he employed in filming this rings true to the style of the original Star Wars- the sets, costumes, props, and visual effects don’t seem out of place with that film, given that this movie so closely leads into that one. There are some visual surprises along the way- body doubles mixed with digital effects bring in the late Peter Cushing’s Tarkin as well as a young Carrie Fisher as Leia, and that comes across seamlessly. And in keeping with Star Wars tradition, the visual effects are part of introducing us to strange new worlds, as well as some familiar ones- filming in the Maldives, for example, gave us a watery atoll setting that’s strangely beautiful, before things go terribly wrong, and perhaps evoke thoughts of the Second World War in the Pacific theatre.

Edwards keeps the movie flowing, never slowing down, but steadily driving up tension as he goes along. There’s an underlying sense of dread and urgency as things go along, and the director’s visual style plays to that. He films battle sequences- on planets and in the stars- with a ferocious intensity fitting the genre- this feels like a war film. The movie also marks the first time that a Star Wars film does not have the musical work of John Williams. Michael Giacchino, who’s been doing a whole lot of work in recent years, including the Star Trek films, comes on board as composer, giving a darkly moody score that does incorporate Williams’ themes here and there as needed.

The cast is international in scope, and that plays off well. Ben Mendelsohn is the primary villain of the piece, Orson Krennic, an ambitious, contemptuous, and ruthless Imperial officer and designer of weapons for the Empire. The Australian character actor has been in a lot of roles down through the years- the first time I ever saw him in anything was as a laid back mountain climber in Vertical Limit, but others might remember him as Bane’s corrupt corporate ally Daggett in The Dark Knight Rises. His character is a nasty piece of work, with a malevolent streak and little in the way of sympathy. Darth Vader appears as well, the ultimate villain at his most malicious. James Earl Jones reprises the voice of the Dark Lord, while the physical role is carried out by two actors- Spencer Wilding and Daniel Naprous. This might well be the last we ever see of Vader at his darkest on the big screen, and he’s a cruel, brutal pleasure to watch, chilling at the same time.

Alan Tudyk (Serenity) did the voice and motion capture for K-2SO, a droid that was once an Imperial enforcer, its memory erased. K is a whole lot less polite than C-3P0 ever was, and snarky in his own way, so there are times he steals the scenes. Riz Ahmed gets an interesting role as Bodhi Rook, an Imperial pilot who chooses to defect to the Rebellion, and his place in the team requires the actor to step in two worlds and convey the sense of shifting allegiances. Jiang Wen plays a Rebel soldier and mercenary named Baze Malbus, tough and capable, and a friend to another Rebel. That character being Chirrut Imwe, played by actor Donnie Yen, a character who’s blind and yet in touch with the Force, something of a zen presence to the team.

Mads Mikkelsen is one of those character actors always compelling in whatever he does, and here he’s the father of the lead heroine, torn away from his family and forced into doing the bidding of evil. Mikkelsen brings a sense of regret and loss to his performance as Galen, as well as poignancy. Forest Whitaker is also a character actor who can make a role fascinating to watch, and he gets a lot to do as Saw Gerrera, a veteran of the Clone Wars that were such a strong component of the prequel trilogy. Gerrera is courageous and bold, and clearly a leader. Diego Luna shows up as Cassian Andor, a Rebel intelligence officer given responsibilities over the mission, including one that serves as a troublesome contingency measure. He’s a leader in his own right, brave and stoic as the film unfolds, weighed down by the responsibilities he faces.

Felicity Jones has the lead role as Jyn. She’s hardened by what life has had in store for her, cynical even, and yet not broken. All that she loved was torn away from her, and at the same time she’s come out of it as a survivor. She invests herself in the mission with a personal stake, and we sympathize with her, part because of way Jones carries herself in the role, but also because we’ve been a silent witness to what she’s lost. Jones makes the character compelling to watch, bold, brave, and poignant. It’s a one time role, but it’s a good one, and a worthy heroine for the Star Wars universe.

Rogue One is an entertaining addition to the Star Wars mythos, giving us new characters in a familiar universe of dark threats and the hope of a better day to come. It’s self contained, but ties strongly into what’s come before. It is ferocious and intense at times in its action sequences, and dark in its tone, but it works well, leaving the audience satisfied and wanting more of these self contained stories. Next up? A tale of a young smuggler with a talent for getting himself and his friends into trouble...