Cast: Robert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, Don Cheadle, Paul Rudd, Brie Larson, Karen Gillan, Danai Gurira, Benedict Wong, Jon Favreau, Bradley Cooper, Gwyneth Paltrow, Josh Brolin, Evangeline Lilly, Tessa Thompson, Frank Grillo, Winston Duke
Director: Anthony Russo, Joe Russo
Running time: 3 hours 2 minutes
by Jericho Cerrona
Warning! This review contains finger-snapping fan service spoilers!
There’s no longer any reason to launch a passionate rebuttal to the multi-billion dollar franchise that is the MCU because these movies are essentially critic-proof. Some are entertaining (Captain America: The First Avenger, Captain Marvel), nicely diverse (Black Panther), or even delightfully goofy (Thor Ragnarok), but over the course of 22 films, one thing has remained unchanged; these are assembly line products made for the fans. Now, with Avengers: Endgame, we have the most unwieldy fan-film ever made; a 3-hour behemoth in which nearly every character who has appeared in one of these movies shows up (either in cameo form or with more built-in stakes) while our remaining superheroes deliver the death blow to purple space goblin Thanos (Josh Brolin), keeper of the six Infinity Stones.
If one recalls, Thanos snapped his fingers at the climax of Avengers: Infinity War and eradicated half of the world’s population, including many of the MCU’s most beloved heroes such as Black Panther, Spider-man, Doctor Strange, and nearly all of the Guardians of the Galaxy. The early moments of Endgame sees the remaining Avengers—including Captain America (Chris Evans), Iron Man (Robert Downey Jr.), Thor (Chris Hemsworth), Black Widow (Scarlett Johansson), and Hulk (Mark Ruffalo) dealing with the cosmic fallout. Somewhere within this gargantuan series of video game cutscenes is an intimate movie about grief, but naturally, Endgame merely nods at deeper themes. There’s also probably an actual movie in here too, but at this juncture, that’s an irrelevant observation. Narrative, character, and pacing are out the window; replaced by a series of big moments, wacky one-liners, and epic brand management. The performers are game, and obviously no expense was spared in terms of budget, but perhaps the spoiler-adverse culture can rest easy because Avengers: Endgame is not really something that can be spoiled. Sadly, there are few genuine surprises here. Just a lot of stuff happening. Constantly. For a very, very, long time.
Sure, a few key characters die off, many are brought back to life via some Back to the Future meets 1978’s Superman time travel shenanigans, and there’s the inevitable massive duel with Thanos and hordes of CGI creatures, but in the end, Disney has succeeded in swallowing its own tail. Working from a script by Christopher Markus and Stephen McFeely, co-directors Anthony and Joe Russo have fun with the quantum realm elements (powered by Paul Rudd’s Ant Man), turning the middle portion into a time travel heist where the Avengers must go back into the timelines of previous MCU movies and retrieve the Infinity Stones before Thanos does. Even as this section features clever reshuffling of events allowing our heroes to interact with their past selves, it plays more as a testament to corporate synergy than inspired storytelling. Some will view it as rewarding fans who have spent over a decade of their lives inside this universe, while the rest of us will see it clearly for what it is; just another way for Disney to monopolize its own product, repackage it, and sell it back to us.
For all of Infinity War’s flaws (and they were many), it was a film which actually dared to bum out its audience. Of course, the cynics already knew that the disintegrating core characters still had contractual obligations for more films, and yet there was still something thrilling about ending on such a downer note. Endgame course-corrects, but goes too far in the other direction, attempting to pump up the somber stakes and sentimental nonsense to the point where the effect becomes numbing rather than rousing. With the MCU’s most interesting characters lost to the finger-snapping void, we are left with sweeping arcs for bores like Captain America and Iron Man, both of which already have had multiple stand-alone movies. Why, for example, is Captain Marvel (Brie Larsen) reduced to a glorified cameo here? The film has an explanation, but it’s a lazy one; something about saving other planets in peril and whatnot. Since we know she’s the only one more powerful than Thanos, the writers must concoct a reason for her absence from such universe-altering events, and it isn’t the least bit convincing. Meanwhile, Thor is reduced to a one-joke punchline as a slacker/online troll who has “let himself go” chugging beer while showing off his drooping gut, but the gag feels like a fanboy construct for a new TV sitcom.
After all this time setting up a shared universe over the course of 11 years, Endgame ultimately comes down to white guy saviors with Messiah complexes. It’s no mistake that even though the final CGI-vomit battle features nearly every MCU character getting a chance to fight against Thanos, the film centers its emotional axis on the self-sacrifice of Tony Stark and Cap’s decision to travel back in time and give mortality a shot with his lost love. Just what we need more of in our popular culture; white men of a certain age proving they aren’t self-involved assholes when in actuality that’s exactly what they are. That’s probably why Iron Man’s final tearful goodbye to Pepper Pots (Gwyneth Paltrow, remember her?) rings so hollow. It’s just another sad rich dad playing his redemption card. Sorry, Mr. Stark. You’re still a colossal douche bag and no amount of finger-snapping will change that fact.
Avengers: Endgame lacks the spark of imagination which draws us to superhero stories. Instead, it exists as an impressively mounted advertising campaign; a cultural monolith feeding off our collective desire to drink the Disney Kool-Aid. While all of this may sound incredibly cynical, just think for a moment of this corporation’s own cynicism in repurposing their various products over and over simply to cannibalize the market. By appealing to the masses through decades of comic books, toys, and superhero iconography, Marvel has essentially made something for no one; a hulking ad continuing the homogenized “house style” which seems to run on an expensive algorithm. In the face of such things, film criticism is irrelevant. Dissenting voices will always lose. Capitalism; which is exemplified by long-running serialized storytelling and extended universes, will always win.