Promotional poster for “Avengers: Endgame” (2019)
I know that Captain Marvel (2019) is supposed to be THE next Marvel film to watch for a lot of reasons, but there’s no escaping the sequel to last year’s Avengers: Infinity War which I had meant to review, but apparently neglected. Avengers: Endgame is due to be out in late April and is expected to answer a lot of questions, not the least of which is who stays dead and who comes back to life.
However, there’s been a lot of concern about how specifically, King T’Challa, the Black Panther, and a large number of notable heroes of color and female heroes were exterminated, suspiciously leaving only the core, white male Avengers alive.
African-American screenwriter and author Steven Barnes has discussed at length, the history of black film characters dying for the sake of making white characters more heroic, and the impact of this, not only on his own childhood, but on his teenage son Jason.
Author G. Scott Huggins also weighed in on this last January, specifically about how, while we expect T’Challa, the Wakandans, and other African-American heroes to be revived, the fact that they died in the first place diminishes them as heroes. He said:
Photo credit: Ingrid Endel
If Senegalia were human, she would look like an eleven-year-old girl, but even though she was the youngest in her family, she was over three-hundred-years old.
That’s not as long as it seems, since for the first one-hundred-and-fifty years after emerging from her pupa stage, she fluttered about the nest, and later, the verdant wooded high-canopy with the other overly curious and somewhat clumsy adolescents, a collection of fireflies, each glowing some shade of amber, sapphire, emerald, or ruby, no larger than three-year-old children, cavorting nude, for clothing was a human concern, and existing in a state both being careless and carefree.
For Senegalia, she believed her life was one of eternal play with the other nestlings, gossamer wings fluttering as fast as invisibility, racing around the feusha blooms, dodging errant moonbeams, their overarching background of earth tones and the deep greens of a mythical rain forest, competing to be the fastest, the most acrobatic, and certainly majestically fearless fliers. Of course, the grown-ups were always watching them, secure in the knowledge that they were all safe in the fantasy pocket universe, nestled in a depression of local timespace right next to the larger quantum reality of their greatest enemy, humans.
Promotional image for “Thor: Ragnarok” (2017)
I watched Thor: Ragnarok (2017) last week and loved it. It wasn’t the perfect film, but of the three “Thor” movies, it was clearly the best.
Things I Liked
I really liked the dynamic, both between Thor (Chris Hemsworth) and the Hulk (Mark Ruffalo), and between Thor and Banner (although, in a way, it’s the same thing). I’m glad that Thor not only was able to hold his own against the Hulk, but actually beat him, that is until the Grandmaster (Jeff Goldblum) cheated by triggering Thor’s pain-inducing device.
They ended up being “odd couple” buddies, which brings up another point.
The two previous Thor films and just about any solo movie version of the Hulk have all been pretty blah. These are characters who have successfully carried their own comic book titles for decades. Why don’t they translate well to film?