It’s as if she’s modeling Right Stuff costumes for Young Adult fans to sport for Halloween. Boden and Fleck reduce it to flashes of Danvers rocking out with a female aviator pal or exuding take-charge attitude in flight suits and aviator glasses. Larson’s version of fighter-jock grit, though, doesn’t carry any emotional weight. It’s an amusing reference, like a later one to Pancho Barnes’s bar, the clubhouse favored by Tom Wolfe’s test pilots. The need to explicate fresh pieces of Marvel mythology slows down the movie.Īfter crashing through the top of a Blockbuster video store, Vers feels drawn to a VHS box of The Right Stuff. The high adventure obscures rather than illuminates Vers’s psychological odyssey. Unfortunately, the plot plays out in unexceptional pursuits through top-secret Air Force installations and a confidential orbiting laboratory. Connected to the cataclysm that nearly killed Danvers a half-dozen years before, this engine could shift the balance to the Skrulls in the war they’re waging with the Kree. The narrative engine kicks in when reptilian, supposedly vicious shape-changers, the Skrulls, follow Vers to Earth in pursuit of “lightspeed engine” technology. Any self-respecting strip mall in the Mayor Riordan era would contain a Radio Shack: Vers patronizes one for equipment to make payphones capable of intergalactic calls. where commuters are getting used to light rail. And it’s a kick to see Vers navigate an L.A.
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It’s quaintly hilarious to see Marvel characters insert a floppy disc into a computer that marks time left for a download with an animated sand-glass. It’s fun to see Vers blast Arnold Schwarzenegger in a True Lies stand-up display. The moviemakers fill images with period artifacts. And we learn that the film takes place in the mid-1990s, years before the overarching MCU saga that began with Iron Man (2008) and will finish with Avengers: Endgame.Įxecutive producer Jonathan Schwartz told Entertainment Weekly that this choice enables Danvers to “carve out” a place where she isn’t one superhero “out of many.” The immediate benefit for us is that sections of the film unfold like Trivial Pursuit, ’90s Edition. Jogged by familiar sights when she plummets from the heavens and makes an unplanned mission to planet Earth, which the Kree identify as C-53 and dub “a real shithole planet” (earning a big laugh), she learns that she had been a more conventional flyer in an earlier life as USAF ace Carol Danvers.
A skin-tight mask crawls over her face and pushes her hair into a mohawk as soon as she leaps into the void.
When she comes into her own as Captain Marvel, she masters ultra-speedy space flight-without a vehicle. She also boasts the unique ability to launch leveling “photon blasts” from each hand. As a human-Kree hybrid, she possesses the Krees’ mighty strength and resilience and blue blood from a Kree transfusion. Six years before the movie’s start, Vers regained consciousness as an amnesiac on Hala, the home planet of the Kree, a handsome super-humanoid race of self-styled noble warriors. Lacking a unifying vision and a charismatic star performance, this film is less a big-screen comic than a patchwork quilt. She play-acts feistiness with a thin voice, tight smiles, and coy sidelong glances. As Vers/Carol Danvers/Captain Marvel, Brie Larson could use a lot more brio.
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Mixing jagged flashbacks and murky memories with the requisite pyrotechnics, they fumble the story of a half-human, half-alien space soldier named “Vers” who discovers that she was once a United States fighter pilot named “Carol Danvers,” then unleashes the full intuitive power that will turn her into Captain Marvel. That’s too much luggage to carry for independent filmmakers who’ve never shown kinetic flair or talents for fantasy. In the first MCU film to headline a solo female superhero, writer-directors Anna Boden and Ryan Fleck ( Half Nelson, Sugar) try too hard to mix empowerment with action poetry while depicting an alien incursion in Los Angeles and an intergalactic war and preparing for Avengers: Endgame. When it comes to Marvel movies that aim for family audiences and contain a female superhero in the title, I vastly prefer the nimble, playful Ant-Man and The Wasp to the confusing, labored Captain Marvel.
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