The Middling Marvels

Let me tell you a story about a franchise everyone wanted to care about. Okay, not everyone, but a lot of people. We gave them our time, our hope, and our fantasy. We wanted to step through the door into a universe that wasn’t our own.

It had to be relatable. Just enough so that we could say yes, they will win. Except, that’s not what we wanted. You see, the problems couldn’t be our own, because they aren’t easily solved. Our problems are mundane compared to the race of aliens bent on revitalizing their world by claiming the resources of other planets — wait.

Photo by cottonbro studio

They are our problems.

Why is it okay to fight intergalactic villains when the solution is to punch them into submission or oblivion? I’d say because the reality of shared resources, even at the universal scale, hits different in a way that is entirely uncomfortable to the viewer who wants to escape their everyday reality.

The premise of The Marvels is good, but its presentation is lackluster, despite the invested effort, time and money. Listen, it doesn’t matter if we get more bang for our buck if no one cares about the conflict. In summary, the effects needed more time in the oven; the story needed to do a better job of introducing its characters and the action needed better staging. I suspect it is a consequence of spending too much time listening to what the critics — little more than social media commenters — have said. Being a fan of women, the presentation of these characters was a letdown.

Photo by Polina Kovaleva

Since none of The Marvels heroes can be threatened physically by their circumstances, it’s logical to focus on the emotional and psychological threats they face. Unfortunately, we didn’t get enough time to connect with their plight. The problem inherent with continuity films is that you need to care about the person whose wellbeing depends on the events on screen, and if you don’t already, the film has to get you up to speed fast. You also have to choose to care, so let’s not lay all the blame on everyone else.

The Marvels was full of interesting ideas and dared to show the consequences of past heroic deeds. To its credit, that is what we’ve been clambering for, or so the critics, commenters, and social media personalities insist. This film exists in an uncomfortable proliferation of video media that has pared audiences down into slivers of fans who can demand everything they want and get it.

Crimney, AI is about to make the personal media channel a reality. That is to say, greedy moguls will try, but as Fury said, “I never threw all my eggs into that basket, because I was working on something more dangerous.” That’s my love of Avengers on my sleeve, when things were simpler and the possibilities were endless. How ironic, now that they could actually be endless, that we’re not excited for them. How that plays out could be an article for another time.

Photo by Afta Putta Gunawan

The beauty of The Marvels is its focus on personal connection. I wouldn’t suggest that the portrayal of the drama is unrealistic. Sometimes relationships are overshadowed by the Big Badda Boom, and you have to make time for the people you love in less than peaceful circumstances. You’ve also got to be prepared to forgive them, though that’s left unsaid and exactly where the bravery of the film dies. It hesitates to use its words, softening its most powerful expressions with awkward silences and uncomfortable dialogue.

People do that, yes, but isn’t this an also an inspiring film? Wasn’t Captain Marvel’s potential last act of self sacrifice also a question? This wasn’t that kind of film, so the hint at tragic loss was were a feint no one was going to believe. Instead, “I’ve never done that before.” Awkward silence. No tension. Oh dear. I don’t know about you, but as much as I saw this film coming, I didn’t see this particular film coming, and…oh dear.