Avengers: Infinity War and the Power of Change
An ensemble cluster of action and color anchored by one of the best villains in the genre. The series’ most essential film.
Superhero
Shazam!
Not only does the movie walk on air, it never loses sight of the people on the ground. Few movies have been less ashamed to be themselves.
The Shadow
A superhero film justly thought of as sloppy, and wrongly ignored for being so spunky and beautiful.
Captain Marvel
The Marvel formula can’t save an unappealing heroine from the greatest power in her universe: herself.
Batman
Burton explores Gotham like a house inspector: he’s all about details, and forgets the emotions you need to make them worth it.
Superman Returns
Superman Returns feels like a lot of charming people were motivated to do the film twenty takes ago; now they’re kind of wistful and waiting for a break. The script has the right beats but the film is filled with sleepwalkers.
Watchmen
Snyder’s baroque maleness shines through and so does his purity. He loves superheroes. You have to decide if that’s enough.
Fantastic Four (2015)
If Fantastic Four is supposed the be the story of a superhero family, the 2015 adaptation makes them seem as unsupportive as you can be before civil action becomes your only option. Not only do they see no beauty or meaning in their heroic endowments, but they are so quick to give up their integrity after the accident that you think, as you never should, that these people don’t deserve their gifts.
The Incredibles
The film blasts an affectionate symphony of action spy movie set pieces, which Bird composes with such a self-believing style that he reminds me less of a director than of a virtuoso performer. And even they become a back-drop to what is essentially a mid-life crisis film, about a man who misses himself so much that he doesn’t even notice he has a family. Bird offers a genre fattened on mythic pretension a trimming alternative of joyous energy and dazzling characters.
The Fight to Be Fathered: False Politics in Black Panther
This is a film made with the intention of proving that black actors should not be typecast as thugs, yet part of its comedic scheme is the counter-marginalization that all white people are colonizers. Black Panther admirably opposes prejudice when it’s directed at certain groups, but I would have preferred it, especially if its goal was “elevation,” to oppose all prejudice equally.
