By Dwight Brown
NNPA Film Critic
(**1/2) “I will not sacrifice this child for the world. I will not sacrifice this world for my child.” Hard to understand what could drive anyone to say that. Hard to understand what could put anyone in that position.
That’s the core of this film’s very thoughtful screenplay, as created by Josh Friedman, Eric Pearson, Jeff Kaplan and Ian Springer. Through their perceptive and creative efforts, this film’s emotionally compelling script turns superheroes into approachable people with issues. Which turns this Marvel entry into something more than just another money grab. This one feels like a superhero think tank merged ideas and created a story with heart.
A fated trip into space turned four folks into a fantastic foursome with superpowers. Reed Richards/Mister Fantastic (Pedro Pascal) is a brilliant scientist who can stretch his body beyond recognition. Sue Storm/Invisible Woman (Vanessa Kirby) is his strong-willed wife. Johnny Storm/Human Torch (Joseph Quinn) is her rambunctious younger brother. And Ben Grimm/The Thing (Ebon Moss-Bachrach), a strong man with a rocky-looking physique, rounds out the quartet. Somewhere, sometime during the mid-century, the four are ensconced in their city’s culture, providing protection and justly being hailed as local heroes.
And so, when a metallic looking emissary named Shalla-Bal/Silver Surfer (Julia Garner as) flies into their community, it’s no wonder that the squad jumps into action. She warns them: “Your planet is now marked for death.” As the messenger for Galactus (Ralph Ineson), an evil, power-hungry space god who intends to destroy earth, she knows what she’s talking about. But there’s a hitch. That ominous being wants more than just the world. It wants something far more precious, and closer to the heart of the Fantastic Four. Now, they’re in the fight of their lives for humankind and a vulnerable soul who’s barely been born.
The general premise is older than the galaxies. Heroes fighting for earth’s future is formulaic to the point of being cliché. The difference in this Marvel chapter is that a lot of time is spent on developing and nurturing the relationship of this extended and non-traditional family. That personal angle overrides some of the film’s imperfections. It’s a choice too few superhero movies make these days. The exception being the new Superman movie.
Hard to think of a sci-fi, superhero, action, adventure film that includes pregnant characters. Harder still to fathom a superhero giving birth in space. Yet Sue is having contractions aboard a spaceship that’s under attack and the audience is watching like they’re in a gallery surrounding a hospital’s birthing room. It’s like the movie is giving a free Obstetrics 101 intro course. This innovative scene is almost worth the price of admission. Credit the writers for dreaming this stunt up. Wish there were more scenes that were this unique. Also, having different countries across the world unite for a common cause is such a needed message. It’s a theme that’s so relevant these days at a time when selfish alienation has become the norm.
Equal praise should be heaped on the cast for humanizing four oddballs who are trying to save the world, protecting a baby and balancing work and home life, just like everyone else. Pascal is the actor of the moment. His ability to bring humanity and vulnerability to Reed is uncanny. Kirby seems stoic as the mom who is making the toughest decisions. The two actors behave like a couple feeling their way through life. Figuring out their relationship and trying to make things right. Sue to Reed: “Sometimes you being you hurts me.” The rest of the cast, including Sarah Niles as Lynne Nichols a press secretary, are sufficient to good with their roles.
Script, characters and acting are the strong points. The weak points add up too. The direction by Matt Shakman, whose base is TV, cable and streaming series (WandaVision), isn’t innovative or stylish. Feature films are not in his wheelhouse, and it shows. What’s on view feels like a series of strung-together vignettes and generic action scenes. With obvious sets (Kasra Farahani), cartoony costumes (Alexandra Byrne), a conventional score (Michael Giacchino) and special visuals effects (Scott Stokdyk) that aren’t memorable. Fortunately, the editors (Nona Khodai and Tim Roche) nip scenes at the right moment. But who cares if the scenes are long or short if what you’re watching isn’t all the eye-catching? And when Galactus finally makes his appearance, he’s not that scary looking. Big and foreboding, but not astonishingly so. It’s a missed opportunity. His image should have scared the daylights out of everyone.
Knowing that these four are part of a much larger family is not a prerequisite for enjoying parts of this film. If you stumbled into a theater playing The Fantastic Four: First Steps, and knew nothing about Marvel, you’d still enjoy the storyline, even without knowing its background. That’s because this film feels like a self-contained unit. It has a beginning, middle and end and will be quite watchable on cable and streaming services for viewers who like the genre.
Getting back to the hearts of characters may let the MCU live to fight another day. If they could just get the directing, production elements and stunts to fly as high as the script and acting, maybe there’s still life in this saga about four heroes.
But audiences shouldn’t have to sacrifice eye-catching stunts and imagery for great writing and acting. Nor sacrifice great writing and acting for eye-catching stunts and imagery. They should have it all. Should but won’t in this case.
Visit Film Critic Dwight Brown at DwightBrownInk.com.
