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But I was surprised by how funny it was, and when it needed to be, how purely entertaining. This isn’t to say that Endgame is a dour film - the trailers have certainly sold it that way like an unholy love child between Back to the Future and The Leftovers. Robert Downey Jr as Tony Stark/Iron Man in a still from Avengers: Endgame. The only way to confront radical terrorism, the film asserts - and Thanos is a radical terrorist, make no mistake about that - is through unity and bravery. The Russos are probably operating at their most mature here, examining themes of parenthood and patriarchy, loss and legacy - and of power how it switches forms as it moves from one hand to another (literally). There’s a sense of finality to it that feels wholly unprecedented in the MCU. Steve Rogers and Tony Stark’s differences felt more like a momentary tiff than an ideological confrontation in other words, of course they were going to get back together.Īvengers: Endgame isn’t like that, and that’s what elevates its credibility, and injects unexpected drama to its already weighty themes. It was a similar situation with Captain America: Civil War.
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And after all, they say that no movie death should be believed unless you see a trickle of blood escaping from the corner of the character’s mouth. It was a scene - a very good scene - built entirely on shock value that dissipated almost as swiftly as one of ‘the fallen’. The fatal flaw with Avengers: Infinity War, I feel, was that at no point did the Decimation feel like it would be irreversible. We know what needs to happen, so why dilly-dally? Avengers assemble for their final stand against Thanos in Avengers: Endgame. This makes the ‘getting the band back together’ scenes in Endgame rather tedious.
Over the years, we’ve come to develop certain expectations from our Marvel movies, as well as a patience for their indulgences. Not a single moment feels unnecessary, but there are scenes - especially in the first act - that feel slightly rushed.
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Despite being the longest superhero film in history, and the longest film in the MCU, Avengers: Endgame is paced like Quicksilver on crack cocaine. There are, however, parallels to the scientific methods trailer companies employ and the Russos’ keen understanding of blockbuster storytelling. The marketing campaign that Marvel put together for Endgame is a work of art in itself - I can confirm that most of the footage we’ve seen is pre-opening credits stuff. Robert Downey Jr and Chris Evans in a still from Avengers: Endgame.īut there won’t be any spoilers here, at least not beyond what we’ve seen in the trailers. It’s a delicate balance to strike, but not nearly as difficult as having to write a review without revealing potential spoilers, whose definition, it seems, is as subjective as the idea of Iron Man 3’s Mandarin being a good villain.
It’s an odd feeling that I can’t quite describe a mixture of déjà vu and nostalgia, of melancholy and euphoria. Watching it almost feels like taking a wistful walk down memory lane, flanked on either side by a Russo brother, our hands held firmly in theirs. And there are perhaps no two filmmakers better at working within studio sandboxes than Anthony and Joe Russo - at least not on this unprecedented scale.Īvengers: Endgame is a terrific example of that epic intimacy that Marvel does so well - alternating between glorious action and subtle character moments.
True ambition in the Marvel Cinematic Universe, more often than not, is born out of a strict adherence to rules. There needs to be a discipline in the writing, a crispness to the editing, and a generosity in the performances.
For films like Avengers: Endgame to succeed, piled as they are with unfathomably large expectations, a well-oiled system is required to be in place.
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