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"Avengers: Endgame": Movie Review

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Words: 758 |

Published: Aug 6, 2021

Words: 758 | Pages: 2 | 4 min read

Works Cited

• Markus, C., & McFeely, S. (Writers), & Russo, A., & Russo, J. (Directors). (2019). Avengers: Endgame [Film]. Marvel Studios.
• The Avengers (Motion Picture). (2012). Marvel Studios.
• Avengers: Age of Ultron (Motion Picture). (2015). Marvel Studios.
• Guardians of the Galaxy (Motion Picture). (2014). Marvel Studios.
• Captain America: The First Avenger (Motion Picture). (2011). Marvel Studios.
• Smith, M. D. (2014). The Marvel Studios Phenomenon: Inside a Transmedia Universe. Bloomsbury Publishing.
• Gray, J., & Johnson, D. (Eds.). (2020). The Routledge Companion to Media Fandom. Routledge.
• Mathijs, E., & Pomerance, M. (Eds.). (2015). The Routledge Companion to Film and Popular Culture. Routledge.
• Stein, L. C. (2015). Millennial Avengers and the New Hollywood. In M. D. Denson, L. Eckel, & A. Tolkach (Eds.), Avengers Assemble!: Critical Perspectives on the Marvel Cinematic Universe (pp. 49-62). McFarland.
• Dittmer, J. (2013). Captain America and the Nationalist Superhero : Metaphors, Narratives, and Geopolitics. Temple University Press.

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The Marvels First Reviews: Wacky and Energetic, but Not for Everyone

Critics are largely divided on the latest installment of the mcu, which is alternately a "must-watch" or "meh", but everyone loves iman vellani's kamala khan..

TAGGED AS: First Reviews , Marvel , marvel cinematic universe , movies

Here’s what critics are saying about The Marvels :

Is The Marvels another must-see MCU movie?

“ The Marvels is a triumph.” – Amelia Emberwing, IGN Movies

“ The Marvels is exactly what Marvel Studios does best…a must-watch for any casual or diehard Marvel fan, even those who may not have been impressed with the majority of the studio’s recent releases.” – Molly Freeman, Screen Rant

“It’s difficult not to get caught up in its Marvels. Simply put, it’s a Flerken good time.” – Matt Rodriguez, Shakefire

“When The Marvels is cooking, it really cooks.” – Liz Shannon Miller, Consequence

“A delightfully fun, must-watch MCU movie… The Marvels never loses sight of the fun.” – Mereia Mullor, Digital Spy

“You’re not going to be blown away, but you’ll likely be pleasantly surprised by the good time this offers up.” – Joey Magidson, Awards Radar

“ The Marvels is an exemplary example that Marvel’s blockbuster superhero formula is absolutely still worthwhile, if it is injected with this much heart, brevity, and trust in its audience.” – Jenna Anderson, ComicBook.com

(Photo by Laura Radford/©Marvel Studios)

How does it compare to other Marvel movies?

“ The Marvels is a return to form for the MCU, with all the goofy fun and superhero hijinks of Marvel’s best fare.” – Molly Freeman, Screen Rant

“It’s a much more contained and focused story that feels more reminiscent of the early days of the MCU.” – Matt Rodriguez, Shakefire

“This feels like Phase One of the MCU, which is mostly a compliment.” – Joey Magidson, Awards Radar

“This is actually one of the most kid-friendly Marvel movie releases in a long time.” – Christie Cronan, Raising Whasians

“ The Marvels is a ton of fun, and unlike several of the recent MCU offerings, I’m genuinely looking forward to seeing it again.” – Brent Hankins, The Lamplight Review

“What’s most refreshing here is that where Captain Marvel – despite its merits – felt like a living, breathing ad for military recruitment, The Marvels is the antithesis of that.” – Amelia Emberwing, IGN Movies

“If you thought Eternals and Ant-Man and the Wasp: Quantumania were low points for the limping Marvel Cinematic Universe, strap in for the ride to abject misery that is The Marvels .” – Johnny Oleksinski, New York Post

What makes it stand out?

“It’s the dynamic between the three main characters in The Marvels that raises it above simply good Marvel fare to utterly enjoyable.” – Molly Freeman, Screen Rant

“The chemistry between these three actors is off the charts. It is them, working together but still having fun, that makes The Marvels as good as it is.” – Tessa Smith, Mama’s Geeky

“ The Marvels points out that not every decision made by a spandex-clad superhero is the right decision, and that’s something I’d prefer to see more of.” – Brent Hankins, The Lamplight Review

“ The Marvels is a grounding contribution to a gluttonous and increasingly perplexing Marvel Cinematic Universe.” – Lovia Gyarkye, Hollywood Reporter

“One of the greatest things about the movie is how it doesn’t let itself be dragged down by the many MCU settings it’s working with.” – Mereia Mullor, Digital Spy

“At one hour and 45 minutes, it is the shortest MCU movie ever made.” – Johnny Oleksinski, New York Post

How is the script?

“There’s quite a bit of Marvel-specific science/world-building thrown in throughout The Marvels that can be difficult to follow even for MCU scholars, but it doesn’t take away from the overall experience.” – Molly Freeman, Screen Rant

“You can weave the plot together in your head, but you may have a harder time pretending to know why it matters — not within the metastasizing mythos of the MCU, but simply on its own.” – Owen Gleiberman, Variety

“It’s best described as a poorly-knitted sweater — pull one loose end, and it all unravels. There are choices made that never come together, narratives that feel too easily dropped, and an ending that contains some satisfying beats but also some genuinely confusing plot holes.” – Liz Shannon Miller, Consequence

“As with most MCU offerings, the problem is in the plotting. The Marvels takes on more than it can responsibly handle… which means abrupt endings and discarded threads.” – Lovia Gyarkye, Hollywood Reporter

Is it difficult to follow if you’re not caught up with all the shows?

“It is important to watch Ms. Marvel and WandaVision . Both are fantastic series on their own, but they will give you the background you need to truly understand Kamala and Monica, and their intentions, as well as the decisions they make.” – Tessa Smith, Mama’s Geeky

“ The Marvels , even if you’ve never seen those series, is not a tricky movie to follow.” – Owen Gleiberman, Variety

“ The Marvels requires homework for a basic understanding of its plot… and once you do? Meh.” – Johnny Oleksinski, New York Post

(Photo by ©Marvel Studios)

Does it ever get too silly?

“Its wackiness probably won’t click with every viewer, and that’s okay — DaCosta’s playfulness is admirable.” – Mereia Mullor, Digital Spy

“Goofy moments like these… are precisely the kind of thing comic book movies should attempt more often.” – Brent Hankins, The Lamplight Review

“This film delivers one of the MCU’s most demented, unexpected, and hilarious scenes to date — it’s honestly hard to think of something that tops it. It’s bizarre. It’s magnificent. It’s a reason to see this movie at least twice.” – Liz Shannon Miller, Consequence

“There’s a place in the MCU for wackjob silliness. But in The Marvels , the bits of absurd comedy tend to feel strained, because they clash with the movie’s mostly utilitarian tone.” – Owen Gleiberman, Variety

How is the action?

“The fight scenes are a blast… Having them switch places whenever they use their powers at the same times makes for some interesting battle moves. Things happen very quickly and at a fast pace as they flash and change from person to person, but boy does that make it a lot of fun to watch.” – Tessa Smith, Mama’s Geeky

“The film’s power-swapping premise allows for some of the franchise’s most creative fight choreography yet.” – Jenna Anderson, ComicBook.com

“Every time the protagonist trio switches places while using their powers, the fights end up driven by unexpected, phenomenal choreographies offering a different flavour to your usual Marvel action. It feels different and exciting.” – Mereia Mullor, Digital Spy

“This a nifty plot point that allows DaCosta to flaunt her visual style and choreograph entertaining fight sequences… the helmer experiments with perspective: The camera tracks, flips, swerves and swings in often exciting ways.” – Lovia Gyarkye, Hollywood Reporter

“The action sequences are a bit ordinary.” – Joey Magidson, Awards Radar

Are there any standouts?

“Central to what works about this movie is Iman Vellani… Watching her blast her way across the big screen gives this film such welcome joy and energy.” – Liz Shannon Miller, Consequence

“[Iman] Vellani remains one of the studio’s all-time best casting decisions, and it’s a joy whenever she’s onscreen.” – Brent Hankins, The Lamplight Review

“Vellani, especially, is entertaining as Kamala, bringing plenty of humor and heart to the movie.” – Molly Freeman, Screen Rant

“It’s Vellani who really splashes… The actress indeed does a lot with a role that could easily be one-note, stealing nearly every scene in the process.” – Lovia Gyarkye, Hollywood Reporter

Does it have a villain problem?

“The villain isn’t one of Marvel’s most well-developed characters… but she’s fine as an antagonist to the trio of heroes.” – Molly Freeman, Screen Rant

“As good as Zawe Ashton is, Dar-Benn feels like the generic version of Cate Blanchett’s Hela in Thor: Ragnarok .” – Owen Gleiberman, Variety

“This one is on the forgettable side. While her intentions match that of a villain’s, she feels a bit generic at times. She is hard to relate to, even for those who love a bad guy.” – Tessa Smith, Mama’s Geeky

“The villain is bland.” – Brent Hankins, The Lamplight Review

“The villain is probably one of the most cringe Marvel characters of all time.” – Christie Cronan, Raising Whasians

Does it offer hope for the future of the MCU?

“ The Marvels is proof that maybe the MCU is back on track and isn’t in as much trouble as it would seem.” – Matt Rodriguez, Shakefire

“If Marvel delivers more movies like The Marvels , there’s no reason to believe the future of the MCU is anything but bright.” – Molly Freeman, Screen Rant

“Khan proves herself to be the key… She’s undeniably a badass and, if Disney and Marvel are smart, she’s the future of the franchise.” – Lovia Gyarkye, Hollywood Reporter

“As long as Kamala Khan is in it, The Marvels paints a bright future for the MCU.” – Mereia Mullor, Digital Spy

“We are finally excited for the future of the MCU again.” – Tessa Smith, Mama’s Geeky

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Review: What “Avengers: Endgame” Could Have Been

The empty churnings of last year’s “ Avengers: Infinity War ” ended on an impressive, if tentative, note of loss: a batch of beloved characters was reduced to ashes, murdered by Thanos (Josh Brolin), who, enabled by his possession of the six Infinity Stones, also killed half of all other living beings. The sense of grief, though, felt brazenly manipulative; given that the reversibility of time was planted as a plot element in the film, it was a foregone conclusion that these heroes would somehow be coming back in the next “Avengers” installment. As it turns out, the effort to bring them back is the story of “Avengers: Endgame,” the last film in the series.

The new movie (directed by Anthony and Joe Russo, as was its predecessor) prolongs the melancholy mood with which “Infinity War” ended. Despite its surges of superheroics and numbingly vague and grandiose battle scenes, “Endgame” is primarily in the elegiac mode—even if its principal strain of mourning is reserved not for the fate of individual characters but for the Avengers cycle itself. From the start, “Endgame” links to the previous film with a series of deaths and near-deaths, a new mourning and a narrow escape, and finds a group of surviving Avengers, twenty-three days after Thanos’s massacre, preparing a new mission. But Tony Stark (Robert Downey, Jr.), a.k.a., Iron Man, who is still grieving the death of Peter Parker in the previous film, erupts with Homeric wrath at his companions, especially at Steve Rogers (Chris Evans), a.k.a., Captain America. Tony wants no part of the mission—or of the Avengers.

The action then leaps five years ahead, when the survivors of Thanos’s campaign inhabit cities in ruins. But the remaining Avengers have yet another plan, this one suggested by Scott Lang (Paul Rudd), a.k.a. Ant-Man, to send the entire group back in time to recover Thanos’s stones and undo his murders. (It’s inspired by Scott’s time-warping journey, in infinitesimal form, to the so-called quantum realm, in “ Ant-Man and the Wasp .”) The science on hand isn’t good enough, though, and they need the help of the visionary inventor Tony, who at first turns them down again. He’s living in a quiet country house with Pepper Potts (Gwyneth Paltrow) and their young daughter, appreciating what he considers his “second chance.” But Tony’s sense of guilt at the death of Peter Parker spurs him back into action, sparks his reconciliation with his cohorts, and gives rise to the time-travel adventures at the core of the drama.

The combination of superheroic battle, sentimental reunions, and time travel suggests, oddly, the classic genre of metaphysical military romance (“A Guy Named Joe,” for instance, which was remade by Steven Spielberg as “Always”). The pointed emotionalism in this premise—the return to the past, the redemption of failures, the repairing of old bonds and the forging of new ones—suggests that a resonant film might have emerged from “Endgame.” Some scenes have a strong melodramatic authority, and there are a few situations that induce an inspired aura of the uncanny. But these moments get lost in the movie’s stiflingly rigid yet bloated three-hour span. The Russos have peculiarly little sense of visual pleasure, little sense of beauty, little sense of metaphor, little aptitude for texture or composition; their spectacular conceit is purely one of scale, which is why their finest moments are quiet and dramatic ones. (For instance, there’s nothing here to rival the phantasmagoria of “ Ant-Man ” or “ Doctor Strange ,” let alone the thrilling political symbolism of “ Black Panther .”)

“Endgame” pivots on matters of memory. It’s a sequel that does more than depend on preceding films in the series; it invokes them onscreen as part of its time-travel plot. As the remaining Avengers of today are reinserted into scenes from their movies past, “Endgame” delivers momentarily fascinating though utterly undeveloped face-to-face confrontations (and even battles) of these present-day characters with their past selves. Some characters enter a loop involving their own origins and even encounter their own parents in earlier times (even, in some cases, before their own birth). The crux of the final battle is sparked by a next-level diabolical plot by Thanos, who realizes that he’s under siege from the Avengers because they, like the other survivors of his half-world extermination, remember how things were before. As a result, he hatches yet another scheme, which involves the obliteration, fabrication, and control of memory.

In “Endgame,” memory plays more than a dramatic role; it plays a moral one. Memory is represented as a fundamental freedom and as a crucial element of power. If only that freedom were an element of the movie itself. What’s missing from “Endgame” is the free play of imagination, the liberation of speculation, the meandering paths and loose ends that start in logic and lead to wonder. The climactic battle scenes are seemingly interminable; other episodes in imaginary realms are rigid, lumbering, and perfunctory. And I’d happily sacrifice an hour of that churning and plotting for a scene in which Scott Lang, returning to his home in San Francisco after a five-year absence during which he was counted as dead, walks in the door and has a discussion with his wife and daughter about what the hell happened.

The absence of such scenes is all the more regrettable given the one realm in which a glimmer of imaginative freedom shines through—in the strength of “Endgame” ’s performances. Above all, Downey carries the film with his wry and sulfuric acting, his grand, impulsive, thrillingly inflected delivery of the film’s cut-down, index-card dialogue. The movie is proof of how much a great actor can do with how little. Several of Rudd’s whimsical moments have an inspired sense of spontaneity. Also, Brie Larson makes much of her brief but prominent reprise of the role of Carol Danvers, a.k.a. Captain Marvel —she ramps the character’s confidence up to bravado and then to a near-camp intensity.

The cast of actors is diverse, though the Russos do little with that diversity. “Endgame” is a movie of men, of cishet men, and, in particular, of fathers—and their approaches to paternity suggest the movie’s crucial moral divide. Women are featured prominently throughout the film and act heroically in private and in battle, yet they do so with their personalities and mental lives nearly erased, reduced to the instantaneous import of the onscreen action. Characters of color are similarly prominent, and similarly effaced. There’s a particularly obtuse moment in which massed Wakandan troops—the only troops who are allied with the Avengers at large—enter battle. It’s an awful vision of black rank-and-file soldiers as heroic volunteers and cannon fodder, and the movie ignores the sufferings of these soldiers in battle. The movie’s lack of imaginative freedom reduces personal identity to pictorial identity; the grandiose and maudlin melodrama to which the movie rises feels as manipulative as did the dénouement of “Infinity War.”

This narrow dramatic determinism is the principal reason that the Marvelization of movies ultimately feels deadening, despite the occasional spectacular delight or dramatic twist. It’s not because of the ubiquity of the advertising or the number of screens on which the movies play. It’s because their hermetically sealed aesthetic narrows the inner lives of the characters depicted to a terrifying homogeneity, grooming audiences to welcome precisely such movies and to imagine themselves in their terms.

Film Review: ‘Avengers: Endgame’

After the must-see showdown that was 'Infinity War,' the Russo brothers deliver a more fan-facing three-hour follow-up, rewarding loyalty to Marvel Cinematic Universe.

By Peter Debruge

Peter Debruge

Chief Film Critic

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SPOILER A LERT: The following review contains mild spoilers for “ Avengers: Endgame .”

The culmination of 10 years and more than twice as many movies in the Marvel Cinematic Universe, “Avengers: Endgame” promises closure where its predecessor, “Avengers: Infinity War,” sowed chaos. That film — which revealed that the cookie-cutter uniformity of all those MCU movies had been part of an unprecedented master plan — infamously wrapped with a snap: a gesture that, when performed by a supervillain armed with the six Infinity Stones, was capable of wiping out half of all life in the universe.

Audiences have had a year to mourn the loss of Spider-Man, Star-Lord, and Black Panther (whom they’d only just met two months earlier), and to nurture theories as to where directing siblings Anthony and Joe Russo might steer things from here. Maybe all those characters weren’t really dead. Maybe the remaining Avengers just needed to travel inside the Soul Stone to get them back. Or maybe “Avengers: Endgame” would have to resort to that most desperate of narrative cheats — time travel — to undo the damage caused by Thanos (the purple-skinned, multi-chinned baddie so compellingly performed by Josh Brolin).

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The element of surprise and the thrill of discovery are everything in these movies, so every attempt has been made to minimize spoilers. Yes, “Avengers: Endgame” is the most expansive film yet, and yes, it strives to provide emotional catharsis for several of fans’ favorite characters. It’s even safe to say that “Endgame” shifts the focus from extravagant, effects-driven displays of universe-saving — manifold though they remain — to the more human cost of heroism, which comes at great personal sacrifice.

That said, readers should also be warned that “Avengers: Endgame” hinges on the most frustrating of narrative tricks, and that no meaningful analysis of the film can take place without delving into some of the choices made by the Russo brothers and screenwriters Christopher Markus and Stephen McFeely. If “Infinity War” was billed as a must-see event for all moviegoers, whether or not they’d attended a single Marvel movie prior, then “Endgame” is the ultimate fan-service follow-up, so densely packed with pay-offs to relationships established in the previous films that it all but demands that audiences put in the homework of watching (or rewatching) a dozen earlier movies to appreciate the sense of closure it offers the series’ most popular characters.

To the extent that it has all been leading up to this, no franchise in Hollywood history can rival what the Disney-Marvel alliance has wrought, although “Avengers” would not be what it is without the three-films-over-three-years scope of Peter Jackson’s “The Lord of the Rings” trilogy, the coming-of-age continuity of Warner Bros.’ eight-part Harry Potter saga, or the 21st-century shift of serialized television to expansive, ensemble-driven narrative. Each of those experiments in cumulative, multi-part storytelling served to test just how far audiences would go to follow characters they love over time. But nothing — not the horror of Han Solo frozen in carbonite, nor the shock of James Bond’s wife murdered at the end of “On Her Majesty’s Secret Service” — could prepare fans for the Snap, and the pain of watching half the heroes they’d gotten to know turned to dust at the end of “Avengers: Infinity War.”

The opening scene of “Endgame” revisits that unbearable moment from the point of view of Clint Barton, aka Hawkeye (Jeremy Renner), who sat out the previous battle to spend time with his wife and kids, such that the agony he feels in watching them vaporized by the Snap will come to stand for what all living things must experience as they witness their friends and family disappear.

Meanwhile, Tony Stark ( Robert Downey Jr. , looking frail) and Thanos’ daughter Nebula (Karen Gillan), now begrudgingly “good,” are drifting somewhere out in space when they encounter Captain Marvel (Brie Larson) hovering outside their cockpit. That’s not quite how a “Captain Marvel” end-credits vignette teased her joining the Avengers — which involved a pager signal sent by her human ally, Nick Fury (Samuel L. Jackson) — but “Endgame” has so much ground to cover in the span of three hours that it breezes past introductions and treats her arrival as a fait accompli, racing to its first confrontation with Thanos, who has banished himself to a remote garden planet with his gauntlet.

That showdown doesn’t go at all as audiences might expect, but establishes that whoever holds those six all-powerful Infinity Stones can achieve pretty much whatever they want simply by snapping their fingers — with one major problem: Thanos has destroyed the stones. That means the universe is stuck like this unless someone invents time travel.

Spoiler alert: Someone invents time travel — which feels like a skill so far beyond the reach of modern science that maybe it should’ve qualified as a superpower and, if memory serves, might even have been among Doctor Strange’s abilities, except that the super-wizard (played by Benedict Cumberbatch) was one of the casualties of “Infinity War.” Before surrendering his Infinity Stone, Doctor Strange projected himself forward in time to view all possible outcomes of the Avengers’ uphill battle, reporting back that of those 14,000,605 alternate futures, only one resulted in victory over Thanos.

“Infinity War” may have gone badly for the Avengers, but the odds are pretty good that “Endgame” will yield that one possible happy ending, even if it means permanently having to say goodbye to certain characters — or at least, to certain actors in those roles, as we have already seen creative reboots of Spider-Man, Hulk, and the X-Men at other studios. And now that Ant-Man (Paul Rudd) has demonstrated the potential for time travel at the quantum realm — a solution teased over the end credits of his last outing — the Avengers are free to buddy up and jump through time to collect the Infinity Stones before Thanos can get to them, at which point they can make their own gauntlet and snap things in and out of existence.

The Russo brothers dedicate an inordinate amount of time to convincing the heroes that the mission is worth trying, which may have worked in “The Magnificent Seven” but asks us to accept that, after shoving two or three of these Marvel movies down our throats a year, somehow everyone has sat idle for half a decade, crushed by depression and defeat. Still, the five-year flash-forward — a trick borrowed from the “Battlestar Galactica” playbook — allows for significant, and in some cases amusing, changes to Iron Man, Hulk ( Mark Ruffalo , who’d had trouble transforming when last we saw him), and Thor ( Chris Hemsworth , still plenty sarcastic but looking the most different).

But here’s the thing about using time travel to solve their problems: As soon as screenwriters open the door to that device, then any sequel can undo whatever came before. Here, War Machine (Don Cheadle) makes the suggestion that they go back and strangle Thanos in the crib, which the film treats as a joke, and yet, it sounds like a better idea than the “time heist” they have in store. Alternately, they could wait for Thanos to hijack all six Infinity Stones and then jump in and prevent him from using them.

Frankly, there are 14 million better ideas out there, but this one is designed to yield the maximum number of surprising twists, amusing confrontations, and bromance-y bonding moments between mismatched partners (like Thor and the Bradley Cooper-voiced space raccoon Rocket). The plan also allows the surviving Avengers to revisit scenes from the earlier films, watching their younger versions — as well as fallen comrades — from another angle, and in two very different cases, facing off against his or her past self.

To the film’s credit, it’s not the casualties, but the chances these heroes have to go back and say things to those they’ve lost that resonate as the most emotional scenes in “Endgame”: Iron Man, Thor, and Captain America ( Chris Evans ) each get such opportunities, any one of which would’ve been worth the price of admission. Still, all that time travel creates a host of paradoxes that will keep the geek debates raging for years: What happens if your “former future” kills an earlier, alternate version of yourself? If every change creates a “branch reality,” what kind of outcomes are in store for the universe in all those new paths? And why, if one has all six Infinity Stones in his possession, is snapping even required to set one’s wishes in motion?

By this point in the franchise, audiences have come to expect a top-of-the-line experience: iconic costumes and sets, stunning visual effects (including convincing computer-generated characters, like Thanos and Hulk), cinematography that alternates smoothly between epic clashes and nuanced character moments, and rousing music that underscores both the peril and the sheer importance of it all. Like “Infinity War” before it, “Endgame” delivers these elements at a higher level than Marvel’s less expensive — and considerably less expansive — lone-hero installments. But there’s something considerably less elegant to the storytelling this time around.

If “Infinity War” built inexorably to an “inevitable” conclusion (as Thanos arrogantly describes his victory), that was made possible by the filmmakers’ daring choice of positioning their villain as a deeply unconventional protagonist: It was Thanos who undertook the “hero’s journey” of that film, wildly outnumbered by the Avengers in his quest to amass the Infinity Stones. Here, the equation is reversed, with a surfeit of heroes now splitting up to repeat more or less the same mission, with only one adversary to oppose them (even with the Avengers’ ranks reduced by half, there are still too many to keep straight, while the prospect of reviving any of the fallen only makes it more unmanageable).

It works because the creative team has taken note of what audiences want (Black Panther! Captain Marvel!) and what the culture at large is asking for (more diverse representation all around), crafting brief but impactful moments along the way. If these Avengers movies are like massive symphonies, then the conductors have taken care to give nearly everyone a standout solo, however short — or, in the minute that played best at the film’s premiere, a group shot that gathers all the female Avengers, and proves that had Thanos’ snap wiped out just the dudes, the remaining women would’ve been awfully formidable on their own. However satisfying — and necessary — these vignettes may be, is it still art when a movie seems so transparently reverse-engineered according to audiences’ appetites, or does that make “Endgame” the ultimate pop-culture confection?

After nearly two and a half hours of hardcore comic-book entertainment — alternating earnest storytelling with self-deprecating zingers designed to show that Marvel doesn’t take itself too seriously — “Endgame” wraps all that logic-bending nonsense with a series of powerful emotional scenes. Whereas all the casualties suffered at the end of “Infinity War” felt suspiciously like a gimmick that would be undone in this film, these meaty character moments illustrate the spirit of personal sacrifice certain individuals consciously make on behalf of the team, and the universe at large.

Time and again, “Endgame” makes the point that family matters, whether that means biological ties — as Iron Man, Hawkeye, Ant Man, and Thor have experienced — or those forged by duty. The final takeaway from this decade-long journey is that heroism isn’t defined by bravery or super-abilities, but by what one gives up for the greater good. Among the many frustrations of the Snap was that it robbed so many great characters — and gazillions of anonymous creatures throughout the galaxy — of proactively making that choice. “Endgame” isn’t exactly a do-over, but it builds to an infinitely more satisfying conclusion.

Reviewed at Los Angeles Convention Center, Los Angeles, April 22, 2019. MPAA Rating: PG-13. Running time: 181 MIN.

• Production: A Walt Disney Studios Motion Pictures release of a Marvel Studios presentation. Producer: Kevin Feige. Executive producers: Louis D’Esposito, Victoria Alonso, Michael Grillo, Trinh Tran, Jon Favreau, James Gunn, Stan Lee.
• Crew: Directors: Joe Russo, Anthony Russo. Camera (color, widescreen): Trent Opaloch. Editors: Jeffrey Ford, Matthew Schmidt. Music: Alan Silvestri.
• With: Robert Downey Jr., Chris Hemsworth, Chris Evans, Mark Ruffalo , Dave Bautista, Chadwick Boseman, Josh Brolin, Don Cheadle, Benedict Cumberbatch, Winston Duke, Karen Gillan, Dana Gurira, Tom Holland, Scarlett Johansson, Brie Larson, Gwyneth Paltrow, Michelle Pfeiffer, Robert Redford, Jeremy Renner, Paul Rudd, Rene Russo, Tilda Swinton, Tessa Thompson, Benedict Wong, Laetitia Wright.

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Marvel’s the Avengers Film Analysis

How it works

So far Marvel’s greatest movie brings all big superheros together. Was it worth it? Avengers: Infinity War was released in April 2018 by Marvel Studios. Avengers: Infinity War is the third Avengers-movie from Marvel. So far The Avengers has been the highest-crossing movie from Marvel but Infinity War beated it and rised to be fourth movie which has ever made over 2 billion dollars worldwide. From Marvel only Black Panther made more money in domestic, according to Box Office.

Avengers: Infinity War is from director brothers Anthony and Joe Russo.

Movie was made in USA but some other countries (like Scotland) for smaller clips were used. Infinity War is based on Marvel Comics but events in movie aren’t clearly readable from comics.

Plot was creative and surprisingly good. Sadly there were some plot holes but great acting fixed it and hopefully plot of Infinity War will be filled by the next untitled Avengers movie which will be released in 2019. Marvel built the plot for a long time and teased audience by The Avengers and Avengers: Age of Ultron post-credit scenes where they showed ultimate villain Thanos (Josh Brolin). In the second one (Avengers: Age of Ultron) Thanos showed up, put the golden Infinity Gauntlet on and stated “I’ll do it myself.” But regardless of this he waited seven whole movies including two that took place in space.

Movie starts in Asgardian spaceship which is lead by Thor (Chris Hemsworth) and his brother Loki (Tom Hiddleston). Thanos and his Black Order shows up and does its purpose and kills half of the Asgardians. Next shot is from New York where Tony Stark (Robert Downey jr.) lives his best life with his soon-to-be-wife, Pepper Potts (Gwyneth Paltrow) when sorcerer supreme Dr. Strange (Benedict Cumberbatch) shows up and asks for help along with Dr. Banner (Mark Ruffalo). Tony hears about the Infinity Stones which were haunted by Thanos. Suddenly Ebony Maw (Tom Vaughan-Lawlor) and Cull Obsidian (Terry Notary) appears and demand to have the Time stone which is possessed by Dr. Strange. When fight starts Spider-man (Tom Holland) jumps along and get captured with Dr. Strange and Iron Man leaves Earth to save them. So on Bruce Banner calls Steve Rogers (Chris Evans) and asks for help to find Vision (Paul Bettany) who possess one of the Stones: the Mind Stone. This android is using his time with Wanda Maximoff (Elizabeth Olsen)in Scotland. But their moment gets interrupt by Proxima Midnight (Carrie Coon) and Corvus Glaive (Michael Shaw) and Wanda and Vision are saved later by Steve Rogers, Natasha Romanoff (Scarlett Johansson) and Sam Wilson (Anthony Mackie). After saving Vision and Wanda, all five heads to see James Rhodes (Don Cheadle) and go so on to the Wakanda after meeting Dr. Banner. In Wakanda Black Panther, T’Challa, (Chadwick Boseman) and Okoye (Danai Gurira) are meeting Bucky Barnes (Sebastian Stan) in a farm and gives him new super arm which is made out of vibranium. And so story goes on Gamora, daughter of Thanos (Zoe Saldana) as its emotional center.

Movie was one of the greatest ever made. Also GCI character, Thanos, was the best villain. He clearly had destination and he was ready to sacrifice everything for it – which makes him great villain for a Marvel movie. Josh Brolin’s acting was also successful and he really brought out Thanos’ softer side. But Avengers: Infinity War included multiple other amazing performances like Chris Hemsworth as Thor who has lost everything, Robert Downey Jr. as Tony Stark alias Iron Man who became serious and left behind his “genius, billionaire, playboy, philanthropist” -slogan and of course Tom Holland as Peter Parker alias Spider-Man, a boy-who-has-no-clue-what’s-going-on who left from a field trip to save his neighbourhood – from space (what a plan).

Summary: so if you used your 10-13 euros to see Avengers: Infinity War, it was worth it. For a 2018 movie Infinity War was great success and worth to watch. With an amazing cast you make an amazing movie. 

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