Cast: Brie Larson, Samuel L. Jackson, Jude Law, Ben Mendelsohn, Annette Bening, Djimon Hounsou, Clark Gregg, Lee Pace
Director: Anna Boden, Ryan Fleck
Running time: 2 hours 4 minutes
by Jericho Cerrona
Within the ever-expanding, box office-bursting, decade-plus journey of the Marvel cinematic universe, do we really need yet another origin story? Well, the truth of the matter is Captain Marvel exists mostly to prime salivating fanboys for the forthcoming Avengers: Endgame, in which Carol Danvers (aka Vers/Captain Marvel) will presumably go head to head with finger-snapping supervillain Thanos. However, for all the cynicism laced into these corporate products, there’s something pleasurable about directors Anna Boden and Ryan Fleck’s 1990s-set romp; right down to cheesy needle drop music cues and obvious jokes about dial up Internet and Radio Shack. There’s some convoluted cosmic business involving Vers training with her Kree mentor Yon-Rogg (Jude Law) in order to do battle with an alien race known as the Skrulls, but that more or less comprises the film’s opening 20 minutes.
Once Vers crash lands on earth through the roof of a Blockbuster Video circa 1995, she casually glances at a VHS copy of The Right Stuff before teaming up with Samuel L. Jackson’s government agent Nick Fury (aided by uncanny de-aging tech) in order to stop the imminent Skrull invasion. Boden and Fleck’s screenplay, co-written by Geneva Robertson-Dworet, uses its feminist-leaning messaging bluntly; which may offend those wanting more scenes of Vers smiling while kicking ass. To wit, there’s even a nifty scene where a scuzzy dude on a motorcycle asks her for a smile, and she responds by stealing his bike and peeling off; set to the blaring sounds of 90s alt-rock band Hole. All of this brings us to Brie Larsen; who takes a rather impossible role and delivers a performance full of wit, humor, earnestness, and (yes) emotion. Another critical aspect of Carol Danvers’s backstory; leaked out gradually through flashbacks and memory spurts, is that her emotional velocity often overcame her ability to think rationally. She’s spent a lifetime getting knocked down and ridiculed (as a child by her father, in the military, at bars teeming with sexists), and the early moments with Law’s overseer are key in terms of implementing this gendered messaging. The arc of her character, therefore, is simple yet empowering; that she must befriend and accept her emotions as her greatest strength in order to become the powerful hero humanity deserves.
In terms of plotting and execution, Captain Marvel is decidedly middle of the road (as is the case, sadly, with the majority of these movies). There’s a chase scene set on a train involving a shape-shifting Skrull (and one limber old lady) that’s kinetic and well paced, and the buddy cop banter between Larson and Jackson works well enough. Ben Mendolhlsen also shows up as a Skrull named Talos, and what at first appears to be yet another rote villain role for the talented actor becomes something more nuanced, humorous, and surprising. However, the intergalactic space battles and third act where Danvers (now fully transformed into Captain Marvel) flies through ships like a human photon blast, are par for the course; the kind of rubbery pre-visualized CGI action beats which may give audiences what they expect, but diminish the film’s stronger attributes.
Speaking of which, the film’s best section involves Danvers making a pit stop to visit her former Air Force friend Maria (Lashana Lynch), and their quiet scenes together, mostly involving the bond they once shared, is truly something we haven’t seen in a Marvel film before. It’s a bold move; since most audiences will probably want Danvers to snap out of her amnesia-ridden state and just start exercising her powers, but the fact that Boden and Fleck actually invest time in this female friendship is noteworthy.
As Captain Marvel moves towards its inevitable climatic showdown (and setup for Avengers: Endgame), we get a cute cat, more jokes about slow CD-rom drives, and even a fight scene scored to No Doubt’s “Just a Girl.” Even if the film ultimately adopts the studio house style and only adds a few new (or in this case, retro) wrinkles to an existing template, Larsen’s intelligent determination, emotional pathos, and photon-blasting hands are more than enough to maintain balance in the MCU. Just don’t ask her to smile more.