The Marvels, the recent offering from the Marvel Cinematic Universe (MCU), presents an unconventional approach to superhero storytelling that is not without flaws. There’s a sense of disappointment that this much-anticipated film does not quite live up to the high standards set by its MCU predecessors — primarily due to visual and narrative disarray.
Nia DaCosta, known for her work on Candyman, ventures into this male-dominated universe, bringing a fresh perspective to the superhero narrative. But with much to unpack in the script by DaCosta, Megan McDonnell and Elissa Karasik, the film feels rushed and filled with more exposition and action than emotional substance.
Three formidable females — Carol Danvers, Monica Rambeau and Kamala Khan — form the center of The Marvels, bringing together characters that audiences have grown to love from past MCU outings. Samuel L. Jackson, who returns to his ever-popular role as Nick Fury, adds that touch of familiarity we all love. Though the captivating leads and the welcome presence of Jackson make a stirring ensemble, the film ultimately ends up feeling underwhelming.
On one hand, the trio promises to be an exciting trio brimming with potential, fueled by Brie Larson’s spiky coolness, Teyonah Parris’ heartwarming wisdom and Iman Vellani’s contagious zest. On the other, their camaraderie is overshadowed by an overstuffed plot that struggles to balance their individual stories, connections to the broader MCU and the overarching story.
The primary conflict of The Marvels is grounded in Carol Danvers’ past actions during wartime, materialized in the form of the antagonist, Dar-Benn, played by Zawe Ashton. Far from being your run-of-the-mill villain, Dar-Benn is a survivor of the Kree civil war, a tragedy that unfolded after Captain Marvel disrupted the Supreme Intelligence ruling her home planet, Hala. With Hala on the brink of death, Dar-Benn’s actions throughout the film are driven by an unyielding desire to protect her dying planet and save her people. Despite Ashton’s commendable performance, Dar-Benn remains underdeveloped, falling prey to the film’s struggle with fleshing out antagonists.
The visual effects, which are usually a highlight in the MCU, are also noticeably unimpressive. Whether it’s the unrealistic appearance of supposedly massive boulders or the flat lighting smearing most scenes, the film disappoints on this front.
The Marvels also features an inventive, yet perplexing, storyline where our trio switches places when they exercise their superpowers. It starts off as an absorbing plot device but quickly turns confusing, which might leave viewers scratching their heads rather than admiring the heroes in action.
Not everything about the movie misses its mark though. There are delightful quirks and audacious choices that raise eyebrows but also cause genuine amusement. The end credits, for instance, promise to be memorable and are likely to stir passionate conversations among the fans.
Despite the numerous critiques, The Marvels can be appreciated for what it attempts to be — a bold step into a complex narrative with beloved characters tested in unique ways. It stumbles along the path, but it creates room for spirited dialogue about the MCU’s future possibilities and opportunities for improvement.
In a Nutshell
If The Marvels can be described in one word, it would be ‘unorthodox.’ It’s a risky, unconventional, surprising and often confusing journey that sometimes lands and sometimes stumbles. The charisma and appeal of the leading superheroines do their best to hold it together, but a scattered narrative and sub-par visual effects keep it from reaching the heights of its predecessors.
Regardless of its flaws, The Marvels will likely be remembered as a daring experiment — one that might not offer the usual superhero satisfaction, yet secures a place in the MCU for challenging the norm.
