THE MARVELS Review

It’s been at least three years since Nia DaCosta (Little Woods, Candyman) was announced as the director of The Marvels and as a writer/director that means she has been thinking about this story for at least that long as well. I say this 1) because I doubt what is portrayed on screen here is all she had in mind (more on that later) and 2) because it’s important to remember the context of the Marvel Cinematic Universe into which films are released is not often the same context in which they were written or shot. DaCosta came on in the immediate aftermath of Endgame - prior to the release of either WandaVision or Ms. Marvel and most importantly - prior to COVID, likely eager to continue the story of this newly minted Avenger and the prospect of the first ever MCU lady league. Taking that into consideration, The Marvels obviously arrives at a very different point in the MCU trajectory than DaCosta likely expected as steam has been lost and arguably a fair amount of quality as well. I hate to be a doomsdayer, but the one-two punch of COVID’s impact on the release schedule and the tragic loss of Chadwick Boseman threw a wrench into the MCU’s plans and as a result the whole operation into recovery mode in more ways than one. Prior to Endgame, The Marvels would have nestled snuggly between Homecoming and Ant-Man in terms of quality and stakes and no one would have batted an eye as it is both a smaller scale team-up movie and a fun comic caper, but when the fate of the MCU is riding on something more equivalent to Ant-Man and the Wasp than Civil War, folks will both be disappointed and continue to declare the end of this once bulletproof franchise.

EDDIE THE EAGLE Review

More than anything Eddie the Eagle, a new inspirational sports dramedy not from Disney, gets away with being as cute as it is largely due to the fact it doesn't come from Disney. Instead, Eddie the Eagle comes to us courtesy of Marv Films, the British production company owned by director Matthew Vaughn (Stardust, Kick-Ass, Kingsman). Vaughn, who surprised no one with the quality of Kingsman last year, but did slightly stun a few with its box office capabilities also discovered Taron Egerton in the process. Egerton cements his rising star status in this somewhat unexpected follow-up for the new collaborators. Fortunately, this direction is an interesting one and the film works as there truly hasn't been much in the way of a credible sports story as of late where we don't inherently expect the sentimentality factor to be over the top. With the mouse house not having its hands on this property though we expect something slightly more mature, something a little closer to reality in the ways of the world and while Eddie the Eagle is certainly cute and even somewhat fantastical in certain aspects it never makes excuses for its titular characters shortcomings. Instead, it simply uses those real world circumstances to push our peculiar protagonist further. And thus, the reason Eddie the Eagle succeeds as well as it does despite being pure formula-it understands its hero and it breaks down the walls that people were afraid to climb over in Eddie's real life introducing us to a fully faceted character and not just a one note joke who can't take a hint from reality. Yes, Eddie the Eagle is formulaic in every way imaginable as you inevitably know all the beats the film will hit from the training montage down to the late second act obstacle that will be greatly overcome in the third, but it is damn entertaining formula and is made with such affection and honest aspiration one can't help but to want to cheer for Eddie just as all those at the 1988 Calgary Winter Olympics did.