‘Black Panther: Wakanda Forever’ Is Fitting Tribute to Boseman and a So-So MCU Outing

‘Black Panther: Wakanda Forever’ Is Fitting Tribute to Boseman and a So-So MCU Outing

By Alex McPherson

Overstuffed and overlong, yet retaining a strong emotional core, director Ryan Coogler’s “Black Panther: Wakanda Forever” ultimately plays it safe, for better and worse.

“Wakanda Forever” faces the difficult task of paying tribute to the late Chadwick Boseman, while continuing the story of Wakanda and its people (along with, of course, setting up future installments and spinoffs). Indeed, Coogler’s film starts off on a solemn note and maintains a decidedly down-beat tone throughout.

T’Challa’s sister, tech-genius Shuri (Letitia Wright), tries and fails to save him, as he succumbs to an unnamed illness. This infuses her sorrow with a sense of guilt, responsibility, and rage. T’Challa’s sudden death casts a long shadow over Wakanda, catching everyone off-guard and sending their nation into a state of uncertainty. Queen Ramonda (Angela Bassett, in a towering, fiery performance) leads the nation through a period of intense mourning. She navigates her own grief and contends with violent geopolitical pressures to share Wakanda’s precious resource, Vibranium — used to fuel Wakandan technology — with the outside world.

However, Wakanda isn’t the only civilization to possess Vibranium. The CIA and US Navy SEALS utilize a newfangled Vibranium-detector to locate some in the Atlantic Ocean — only to be attacked by a group of blue-skinned Mesoamerican warriors called “the Talokan,” who ride into battle on whales, singing melodies that lure victims to their deaths. They’re led by Namor (a formidable, albeit goofy-looking Tenoch Huerta), bare-chested and with wings on his ankles, who is furious that the surface world encroached on his territory. Wakanda is blamed for the attack, and Namor blames Wakanda for revealing the existence of Vibranium to begin with. He issues Ramonda and Shuri an ultimatum — bring him Riri (an amusing though somewhat one-note Dominique Thorne), the Gen-Z MIT student responsible for creating the Vibranium-detector, or Wakanda will be targeted by the Talokan.

All the while, CIA agent and ally of Wakanda Everett Ross (Martin Freeman) learns that the CIA is planning to seize Vibranium to develop weapons for the US military. 

As these various plot threads collide and intersect, the situation gets out of control — leading to plenty of action set pieces, a heavy sprinkling of exposition dumps, and a welcome dollop of melancholic reflection for good measure. “Wakanda Forever” is busy, to say the least, nailing some targets while missing others. Thankfully, Coogler honors Boseman’s memory and his larger cultural impact — foregrounding concepts of loss, acceptance, and hope that shine through otherwise formulaic beats.

Like 2018’s “Black Panther” before it, “Wakanda Forever” establishes a stylistic identity that separates it from other films in the Marvel Cinematic Universe. Wakanda is a vibrant, Afro-futurist metropolis, filmed with clarity and scale by cinematographer Autumn Durald. Inspired by various African cultures, Hannah Beachler’s astounding set design pops off the screen, as do the costumes by Ruth E. Carter, underscoring the characters’ regality and commanding auras, matching the mood of each scene, be it funereal or explosive.

The Talokan’s underwater kingdom is vividly rendered, although heavy on CGI. Still, the Talokan don’t look as formidable as the Wakandan Dora Milaje, led by a fearsome Okoye (Danai Gurira, thankfully given a more defined character arc this time around), who continue to showcase badass weapons and fight choreography like the first film. Ludwig Göransson’s score pulsates with booms and sharp vocals, beautifully complementing the numerous action scenes and lending further gravitas to the powerful, largely women-led ensemble. 

The film’s rich tapestry of sights and sounds is matched by effective performances that elevate the proceedings to new dramatic heights. Boseman’s loss is felt acutely here, as viewers can sense the sadness of not only the characters, but also the actors portraying them — particularly Bassett and Wright.

Bassett is the standout here, bringing a fierce, tormented energy to Queen Ramonda that emphasizes the character’s bravery and brashness, a leader facing tough decisions pitting her heart against her head. Shuri is coming to terms with T’Challa’s loss, becoming a valiant leader herself, and reckoning with what kind of legacy she wants to leave behind for Wakanda and the larger world — poignantly acted by Wright, who capably shoulders the film’s quieter sequences and the bombastic ones. Winston Duke provides the bulk of the comedic relief as M’Baku, a burly lad with more depth than expected.

Namor, played by Tenoch Huerta

Huerta gives Namor his all, bringing charisma and understated menace to the role. It’s too bad, however, that Namor’s backstory is relegated to rushed exposition. His motivations are understandable — colonial forces wronged him and his Mayan culture long ago, and he will do whatever it takes to protect his people and assert dominance — but don’t hit home with much force. By attempting to make him a sympathetic antihero in such a hurried fashion, “Wakanda Forever” sacrifices nuance, but at least Coogler’s trying to add some complexity to the character.

This issue extends to other elements, too. Even with a gargantuan, 2-hour-and-41-minute runtime, Coogler’s film doesn’t give its numerous plot points enough time to breathe — save for scenes dedicated to honoring and remembering Boseman’s portrayal.

The CIA thread involving Freeman lacks any sort of punch, and the film sidelines the more provocative topic of US imperialism in favor of superhero clichés in the deafening finale. Similarly, the action scenes — except for a thrilling vehicular chase — aren’t especially memorable, overusing weightless CGI and slow-motion to sometimes comical effect. This muddled approach makes “Wakanda Forever” exhausting when it should be thrilling.

But this is an MCU film above all else, and “Wakanda Forever” checks every box that its overcrowded genre dictates. There are glimmers of a truly special, meaningful film that isn’t realized, but Coogler succeeds enough where it counts, and provides a satisfying salute to an impressive world of warriors and a cinema icon lost too soon.

Danai Gurira and Angela Bassett

“Black Panther: Wakanda Forever” is a 2022 fantasy action-sci-fi-adventure directed by Ryan Coogler and starring Angela Bassett, Letitia Wright, Tenoch Huerta, Lupita Nyong’o, Danai Gurira, Dominique Thorne and Winston Duke.  Rated PG-13 for sequences of strong violence, action and some language, it is 2 hours, 41 minutes’ long. It opened in theatres on Nov. 11. Alex’s Grade: B

Dull ‘Eternals’ Doesn’t Offer Anything Fresh in MCU Superhero World

Dull ‘Eternals’ Doesn’t Offer Anything Fresh in MCU Superhero World

By Lynn Venhaus
Trying to save the world shouldn’t be boring, but “Eternals” is one big giant yawn — and easily the worst film in the Marvel Cinematic Universe.

Eternals are immortal beings from the planet Olympia, who came to Earth 7,000 years ago, shaping history and civilizations—but are not to interfere with any conflicts or alter human events — unless it’s their nemesis, the Deviants, so says their creator, Arishem, a Celestial.

After what transpired in “Avengers: Endgame” in 2019, these ancient aliens, who have been living in secret, must come out of the shadows and reunite to battle Deviants, their ancient ferocious winged enemy that they thought was vanquished but has reappeared, more vicious than ever. The lines blur between who is good and who is evil.

A cumbersome, confusing, and unexciting plot sets up a battle for world domination, attempts to explain why this course of action is necessary and tries to assert itself in a superhero world.

Question: if they didn’t help when Thanos wreaked havoc, but name-drop Avengers, then why aren’t any of our beloved ‘other guys” there? As they zip around through time, space and continents, The Eternals explain their places and fix things, as rivalries and romances emerge. However, it’s a lot to absorb, and are we caring by now?

The story is based on comic book characters created by Jack Kirby in 1976, and follows the same trajectory of the familiar debates of destiny and free will, and is living forever a blessing or a curse – or both?

The main problem, besides this overblown spectacle feeling average, is a too-large unnecessarily complicated cast that appears based on Greek gods, with riffs on those names. Sersi not Circe, Ikaris not Icarus, Ajak not Ajax — get it?

These generic characters, in various shades of virtuousness and villainy, are created from a grab bag of qualities and mass produced in a comic book assembly line. To its credit, Marvel has assembled its most diverse cast yet, including a gay character who is in a same-sex marriage.

While the ensemble has some very talented and interesting performers – including the versatile Brian Tyree Henry as Phastos, a genius scientist, and the poorly used Barry Keogan, so creepy in his breakout role in “The Killing of a Sacred Deer,” as a very crabby Druig whose superpower is mind control, several are under-utilized. 

Angelina Jolie seems like a waste of money as window dressing playing Thena, who can wield a sword and a spear very well in intense combat but has memory issues. And I couldn’t figure out Selma Hayak’s Ajak, for she is set up as the leader but mystery ensues about her intentions.

While others took on more than they could handle: Gemma Chan is one-note as omnipotent Sersi, who is desired both by her British professor boyfriend  Dane (Kit Harrington aka Jon Snow in “Game of Thrones,” barely in it) and her former lover Ikaris (Richard Madden, also a “Game of Thrones” alum), who is in full swagger mode.

Nevertheless, a few charmed in their roles, including a buff Kumail Nanjiani humorous as Kingo, a Bollywood superstar and Lia McHugh as the shapeshifter Sprite. Don Lee has fun as the hulking Gilgamesh, who has turned into a skilled chef/homebody taking care of Thena.

Phastos’ son Jack is winningly played by Esai Daniel Cross, and Lauren Ridloff is pleasant as the deaf Makkari.

Despite the gifts of Oscar-winning director Chloe Zhao, known for her visual style and was so distinct in “Nomadland,” this film has an undistinguished look. Sure, there are shots of beautiful landscapes, but we’re globe-trotting so much that it begins to look like stock footage advertisers use to entice us on vacations.

She was part of the screenwriting team too, that included Patrick Burleigh and Ryan Firpo. Complex and unwieldy, the script features lots of exposition inserted in between the customary superhero banter.

The soundtrack has some unusual ‘on-the-nose’ choices, including good use of “Time” by Pink Floyd but really, Skeeter Davis’ “The End of the World”?

The computer-generated graphics are repetitive, the battles are bloated, and two hours and 37 minutes later, I could not wait for it to end (and with a Foreigner song?). But you have to stay for the obligatory revelation scene during the credits.

Filmmakers promise that the Eternals will return. I wouldn’t be so presumptuous about that.

“Eternals” is a 2021 action-adventure-sci-fi-fantasy directed by Chloe Zhao and starring Gemma Chan, Richard Madden, Brian Tyree Henry, Angelina Jolie, Barry Keogan, Kumail Nanjiani, Selma Hayak, Kit Harrington, Lia McHugh, Don Lee and Lauren Ridloff. Rated PG-13 for fantasy violence and action, some language and brief sexuality, its run time is 2 hours, 37 minutes. It opens in theaters on Nov. 5. Lynn’s Grade: D.

Sisters Save the Day in ‘Black Widow’ – But Inspired Cast Can’t Fix Pitfalls

Sisters Save the Day in ‘Black Widow’ – But Inspired Cast Can’t Fix Pitfalls

By Lynn Venhaus
For those craving the Marvel Cinematic Universe on the big screen, “Black Widow” boldly arrives as a much-anticipated summer blockbuster event, checking off the usual boxes.

Black Widow (Scarlett Johansson), aka Natasha Romanoff, is a former Russian spy, now Avenger. In this stand-alone feature from the Marvel Universe, her complicated past and an unusual family dynamic collide in a globe-trotting mission pursuing a powerful KGB mind-controlling villain.

It’s the latest movie since the “Avengers: Endgame” finale in April 2019, although MCU has been busy delivering content on streaming services for the home screen that is far more original.

On the surface, this prequel-origin story has the appeal of women getting the job done instead of the plethora of standard-issue alpha males– they hold their own as intense fighting machines, using their brains along with their brawn.  

Frequently outfitted in a snazzy black leather cat suit, the lithe Scarlett Johansson carries the day as lethal weapon Natasha, trying to vanquish all connections to the nefarious Red Room program. She trusts no one and can’t shake off nightmarish memories that she can only recall in fragments.

The MCU movies have always alluded to Natasha’s tormented years as an assassin who broke free. She thought she exacted revenge, but not so fast. There is an armor-clad “Terminator” figure hot in pursuit.

These overlong conflicts in what seems to be one endless chase scene after another are forgettable. How many cars can crash on narrow city streets? With such a flimsy outline, the story by Jack Schaeffer and Ned Benson, and screenplay by Eric Pearson, evaporates like the cool air when you exit into the summer heat. Pearson gave us “Godzilla vs. Kong” earlier this year.

Coloring within a red-and-black palette, Australian indie director Cate Shortland spotlights females triumphing but is hampered by a convoluted conspiracy plot that forces the women to take on their tormenter.

Using a Big Bad Wolf persona, Winstone, last seen in “Cats,” shows just how evil he can be exerting mind-control over countless young women, training them to be operatives/slaves for Mother Russia. But ta-da, Yelena (Florence Pugh), no slouch in the fierce department, gets her hands on a serum that will stop this madness.

Now it’s time for musical vials! (It really doesn’t get much better, or easier to understand).

Nevertheless, the high-octane opening is fun. The film flashes back to Ohio in 1995, where Natasha and her sister are getting ready for dinner when their father comes home from work and tells his family they must leave.

Turns out the parents, Aleksei (David Harbour) and scientist Melina (Rachel Weisz), are Russian spies posing as an American family, and federal agents are after them. As they race to an air strip, their lives are increasingly in danger. Once in Cuba, the girls are separated and drugged, and thus begins Natasha’s transformation into a brainwashed super-spy.

This lively exchange is a well-choreographed thrill ride that won’t be matched again for the remainder of the film’s 2-hour, 13-minute runtime.

 “Black Widow” concentrates on her family, as tangled as it is, which gives big-energy Pugh another interesting turn as her kid ‘sister’ Yelena and versatile Harbour as the comical oaf ‘father,’ who once upon a time was a superhero named Red Guardian. Here, the girls reunite with dear old dad by breaking him out of a Siberian prison.

Pugh and Johansson project a sibling-like relationship, exchange snappy repartee and bicker like sisters who have long-standing grudges.

Apparently, the family pops up again because of unfinished business. The inspired casting propels this film to be better – although Weisz’s character is undeveloped.

This is Johansson’s eighth time portraying the strong-willed and smart character, who now crusades for justice along with her save-the-world Avenger buddies. Only it’s a bit thorny in that boy’s club during this time frame because the ‘enhanced human’ Avengers are regulated by a government oversight panel (the Sokovia Accords).

This time-out period takes place somewhere between “Captain America: Civil War” (2016) and “Avengers: Infinity War” (2018), which is why Natasha was attempting to hide away from Thaddeus Ross (William Hurt), secretary of state.

Johansson, in between Oscar-nominated roles and prestige films, first showed up as Natalie Rushman in “Iron Man 2” in 2010 and gained favor in storylines until – spoiler alert — her sacrificial demise in “Avengers: Endgame.”

In the comic books, Stan Lee introduced the character in 1964, during the Cold War. While conceived as a femme fatale at first, her look and mission have evolved over the years.

While Natasha continues to be guarded, Johansson helps fill in the blanks because of her talents. Yet, it is such a thin story – she is put through the paces of green-screen acting within a constant stream of explosions that sub for exposition.

She remains a mystery, which is inevitable.

“Black Widow” is a 2020 action-sci-fi film directed by Cate Shortland and starring Scarlett Johansson, Florence Pugh, David Harbour, Rachel Weisz, Ray Winstone and William Hurt. It is rated PG-13 for intense sequences of violence/action, some language and thematic material and runs 2 hours, 13 minutes. Available in theaters and streaming on Disney Plus with Premier Access fee on July 9. Lynn’s grade: C+.