Ever since Captain America: Winter Soldier and And Man (and also Logan), I've been eagerly awaiting Marvel Studios to be able to make a Fantastic Four movie. Winter Soldier and Ant Man were both genre pieces (a spy thriller and heist film, respectively). And, of course, Logan (not made by Marvel) is a western. The success of those movies as both comic book films and also genre films had me excited for the potential of a Fantastic Four movie that would be a science fiction genre film.

After all, the Fantastic Four differ from most other comic book heroes in that they don't just save the city or the world from bad guys, but they are also scientists and exploders. Many of their comic book adventures involve them flying their rocket ship into space to explore new planets and phenomena, and interacting with cosmic and celestial beings.

It took a long time for Marvel to re-acquire the rights to Fantastic Four (by its parent company, Disney, outright buying the previous rights-holder, Fox). In the meantime, Black Panther kind of beat Fantastic Four to the punch as Marvel's "sci-fi" genre piece. But that didn't lessen my anticipation.

This is the first Marvel movie in a long while that doesn't feel like it requires homework. It stands alone, and is a welcome breath of fresh air. It also feels much more in line with the good movies from phases 1 and 2, in terms of both its quality, and also in its lack of baggage. It's easily the best Fantastic Four movie (and I'm someone who thought the first 2 from the early 2000's were just fine), and it's probably the best Marvel movie since Infinity War.

Silver Age Sci-Fi

But is First Steps a "science fiction" movie?

It certainly has a lot of the trappings of a science fiction film. First and foremost is its wonderful 1960 retro-future aesthetic that feels like it's pulled straight from a 60's-era silver age comic or science fiction pulp. Much in-line with science fiction, the central problem of the movie (and, in fact, many smaller problems as well) is treated more like a scientific or engineering problem that the four have to solve. This is in contrast to most other super hero movie that simply requires the hero to play "detective" to figure out where the bad guy is going to be, and what their weakness is. And of course, there's a healthy dose of outer space adventure in the middle of the movie.

Unfortunately, the space-faring adventure is just that: adventure. There's little in the way of exploration or discovery.

Image ©: Walt Disney, Marvel

There is a stand-out space-faring chase scene.

The outer space scenes do make for a pretty spectacular set piece though. I particularly loved the way that the heroes use the gravitational time-dilation of a neutron star to help them resolve a problem, and then have to calculate a sling-shot maneuver to seal their own escape. It's the sort of thing that you would see in a sci-fi pulp story, or even in an episode of Star Trek (though this movie involves a lot more visual spectacle).

There's a new Spider-Man cartoon on Disney Plus, and sadly, it is not a reboot or continuation of Spectacular Spider-Man, which, as far as I know, is still stuck in a frustrating legal limbo in which neither Disney nor Sony completely own its rights. Instead, what we have is a cartoon that couldn't decide whether it wanted to be a prequel to Spider-Man: Homecoming, or a completely new adaptation of the comics. It would be very easy for such a project to lack a strong sense of identity, and to have an incoherent plot that feels like parts of 2 different plots haphazardly stitched together. Thankfully, that isn't the case, and Your Friendly Neighborhood Spider-Man actually comes out to be a pretty good Spider-Man cartoon.

It definitely still retains many aesthetic and narrative elements from its original conception as an MCU prequel. Aunt May is clearly based on Marissa Tomai's version of the character from the MCU. The Sokovia Accords and Superhero Registration Act are important parts of the show's backstory. And cameos by Doctor Strange, Iron Man, and others definitely feel like the MCU versions of those characters.

But this definitely isn't a prequel to the MCU's Spider-Man. First and foremost, the Sokovia Accords have already been put into place without Spider-Man being involved in the events of this story's version of Civil War, which is referenced several times. It also features a completely different cast of characters. There are no traces of characters like Ned Leeds, MJ, or Liz Allen. And it does feature characters like Norman and Harry Osborn, neither of whom have appeared (properly) in the MCU movies.

So this is a show that will definitely be familiar to people who have watched the MCU, but its lack of continuity with the MCU might turn die-hard MCU fans away.

Thankfully, I don't care if the show follows strict MCU continuity. All I care about is whether it's a good adaptation of Spider-Man. And it mostly is.

©: Walt Disney Co.

The connections to the live-action MCU are nebulous.

I admit, I only kind of half pay attention to the new Star Wars and Marvel shows on Disney Plus. Both have so thoroughly over-saturated the market that there's just no excitement about either franchise anymore. A lot of the stories in Star Wars in particular feel like they're scraping the bottom of the barrel for any idea that some bean-counter feels is worth filming. Marvel at least has the advantage of progressing a continuous narrative forward, even if it's currently moving at a glacial pace. Star Wars is widely regarded as having shat the bed with the sequel trilogy (I still haven't bothered to watch Rise of Skywalker), so now it's completely fixated on just back-filling the details adjacent to the parts of the franchise that were actually good, while insisting that the same handful of characters have their hands in everything important that has ever happened in this universe. Anyway, sorry for the Star Wars tangent; I'm supposed to be talking about a Marvel show right now. I wonder how long it will be before Disney gets so desperate that they start crossing-over Marvel and Star Wars?

Anyway, the point is that I've been kind of "meh" about almost everything that Marvel has put out since Infinity War. So "meh" that I couldn't even be bothered to write reviews or impressions of most of it. So much of the content just feels like it's running in place from a narrative standpoint, or that it's just an elaborate setup and tease for bigger, more important future content. Just get to the Fantastic 4 and X-Men and Kang the Conqueror or Dr. Doom or whoever the next big bad Thanos-wannabe is going to be already!

Loki Episode 6, © Disney, Marvel.

WandaVision Episode 9, © Disney, Marvel.

Marvel's shows feel largely like teases for the good stuff that's still just over the horizon.

I went into She-Hulk expecting more of the same: a show that serves only to bridge the gap between Endgame and whatever is next, instead of really being a story in its own right. But after a couple episodes of only half watching, I found myself putting my laptop away and actually paying attention as we got further and further into the season. The reason is that She-Hulk doesn't feel like filler content; it feels like an actual TV show that exists for its own sake and is content to tell its own story.

Yeah, sure, it's still tied into what's going on in the broader Marvel universe. OG Hulk gets kid-napped by aliens and disappears for most of the series, which is definitely a tease for some bigger things happening out in the periphery. But while shows like Loki seemed to exist only to build some interest and intrigue about what's going to happen next, She-Hulk is just a show about Jennifer Walters coming to terms with her new, public identity as She-Hulk.

This leads to a more personal, intimate super hero story than I'm used to seeing from the never-ending parade of comic book movies that always have to have apocalyptic stakes. Yeah, sure, Spider-Man deals heavily with Peter Parker balancing his personal and social life with his hero duties, but the focus on teenage and high school drama isn't something that I relate to as much anymore. And yeah, both WandaVision and Loki get very personal, but neither of those allow us to see the heroes living their lives in real life. They both take place in highly exaggerated or outright fictional realities. So She-Hulk feels different. It's largely about Jennifer Walters' life now that she is a super hero. Not her life as a super hero; her normal, everyday life since becoming a super hero.

I've been sitting out of a lot of movies this past few years due to the COVID pandemic. Even though I'm vaccinated and boosted, I'm just still not comfortable sitting in a crowded theater with a bunch of randos. And if I did go to a movie in a theater, I would wear a mask, and that can get uncomfortable for a whole 2 or 3 hour movie. I could maybe be convinced to go to a theater for a small movie with a mostly-empty theater, but for a big summer blockbuster, I'm just not there yet. So despite being a big Spider-Man fan, and generally having liked the MCU's Spider-Man movies so far, and despite the movie's universal acclaim and praise, I passed on seeing No Way Home in theaters when it released last year. I waited until it finally showed up on streaming, and just now finally got around to watching it this past weekend.

Perhaps the biggest failing of the MCU's Spider-Man movies so far is that none of them have been terribly surprising. Both Homecoming and Far From Home had pretty predictable plots, with the only real surprise being Mysterio's deathbed public reveal of Spider-Man's true identity. No Way Home does not deviate far in terms of predictability. The multiverse aspect and return of villains from the previous movie continuities was in the trailers, and the fact that Tobey Maguire and Andrew Garfield would reprise their roles was one of the worst-kept secrets of any movie ever.

In fact, the only real surprise for me was that this movie did not do the one thing that I really thought that it would do. It doesn't have any new villains -- not even in a bit part. I thought for sure that some new minor villains would show up early in the movie, knowing Spider-Man's identity, and threatening him, May, MJ, and/or Ned, and that would be the impetus for Peter going to Doctor Strange to reset the timeline.

Specifically, I was expecting to see the Scorpion. The end-credits stinger from Homecoming introduced Mac Gargan, who very much wanted to learn Spider-Man's identity from the Vulture. I thought for sure that with Spidey's identity being public, that the opening act of the movie would have J. Jonah Jameson hiring Mac Gargan to become the Scorpion to hunt down Peter Parker and capture or kill him. Peter would defeat Scorpion, but not before Gargan goes too far in threatening Peter's friends and family, leaving Peter with no choice but to go to Strange to help protect the people he loves.

© Sony Pictures, Disney

I was surprised that the Scorpion did not show up early in this movie to raise the stakes.

This never happens. The impetus for going to Strange is that Peter and his friends aren't accepted into college because the colleges are afraid of the controversy of admitting a known vigilante. It feels like a flimsy excuse for wanting to change the timeline or mind-wipe the entire planet, especially considering that the MCU's Peter has strong connections to Stark Industries, Nick Fury, and the Avengers, and shouldn't have any problem finding ways for him and his friends to have professional lives together.

So I thought the lack of Scorpion was a huge missed opportunity. It would have raised the stakes, provided some act 1 action, and allowed for the inclusion of a new character. It also would have served as a red herring for the movie's trailers by letting Disney show some action scenes with a villain, while trying to keep the rest of the villain roster a secret for as long as possible. Maybe this was part of the original plan, but Marvel axed it after a version of Scorpion showed up in Into the Spider-Verse. Maybe they didn't want to look too similar to Spider-Verse?

If Infinity War was the Empire Strikes Back of the Marvel Cinematic Universe, then Endgame was poised to be the MCU's Return of the Jedi. RotJ was a "good enough" capstone on a legendary film series, and that's pretty much where my expectations for Endgame sat. Endgame exceeded my expectations. It's far more than just a "good enough" sequel, though it's still not as good as Infinity War.

Endgame could very easily have just been a movie about all the heroes picking themselves back up after being knocked down in Infinity War, coming together, going after Thanos, and beating him up for two hours. Then they get the Infinity Gauntlet and snap all the dead heroes and people back into existence. No harm done, happy ending for everyone.

Not the case.

Several of my friends suspected that Thanos would remain the point-of-view character, and that he, himself, would be overcome with grief and regret over having killed Gamora. That Thanos would actually be the one to undo everything, redeeming himself in a way similar to Darth Vader. That didn't happen either. The point of view has shifted completely back to our heroes -- what's left of them.

Thanos' grief is not the subject of the movie, nor does he spend the movie gloating. Grief is, however, the overarching theme of Endgame, which handles the subject with maturity and nuance -- at least, up until its morally muddled ending (more on that later). The Marvel movies have always included themes of family, and the lengths one would go for family. Endgame explores how we deal with the loss of family, the grief and depression that comes with tragedy, the trauma and guilt of failing to protect those you care about. It's powerful stuff, and it pulls no punches.

And I totally cried when the movie went full-blown Star Trek VI with its end credits. It's too bad they didn't include the Stan Lee marvel logo that was included in Captain Marvel. This being the capstone MCU movie that everyone is going to see, I feel that tribute would have served this movie well. Or maybe put that tribute at the end of the movie, along with the other credits. Ah well.

It's hard to talk any more about this movie without going into spoiler territory. So I'm going to start with minor spoilers and work my way up to the more major ones. If you haven't seen the movie yet, then you can close this page now and know that I give it my fullest recommendation. Otherwise, feel free to read on, but know that things are going to get increasingly spoiler-y as I go on. Feel free to stop if you feel like you're about to read something you don't want to hear.

The remaining heroes must deal with the grief and guilt of having failed to stop Thanos.