Considered the pinnacle of power in some ways in the Marvel universe, Captain Marvel’s perception reached a fever pitch after the ending of “Infinity War” because of the intention that Carol Danvers is the savior that will save the wiping off on the universe that Thanos did. After watching the progression but especially in the final minutes per se, one sees how the reversal of fortune could possibly work. The only issue is that, in all fairness, it is very hard to follow up the emotional and textural wallop that was “Infinity War” which worked very much on all levels. Captain Marvel seems at times almost cartoonish comparatively. Granted it is an origin story but throughout much of the film’s first half it feels esoteric in many ways and meandering in others. While the two directors (Anna Boden & Ryan Fleck), who have made many indie films together, seem to handle the action quite well, it again feels at times too cartoonish and melding aspects of one corner of the Marvel Universe with “Guardians” and the other side with “Avengers” without really existing in most. The de-aging of Sam Jackson makes him almost the sidekick here which is interesting playing back to that mid-90s vibe allowing him for some great comic bits.
Brie Larson is trying her best and her workout regiment obviously shows that she is up for the task but the tone related (also because some of the dialogue is quite stilted) makes the staccato of the acting seem monotone in a way. It be seen very primarily in the scenes between her and Annette Bening which even in her brief elements, makes the acting look flawless and effortless. The tonality also of Ben Mendelsohn’s Talos, without giving anything away, has some balance but the focus is a bit off, which again might be directing. Little technical elements of 1990s Los Angeles also don’t fit but is a small detail in the bigger picture (i.e. the light rails as well as an underground tunnel in Union Station). Finally the aspect of Jude Law’s character although key to the story feels empty and again stilted at times compared to the effortlessness of Dumbledore in “Crimes Of Grindewald” just a few months ago. The resolution pushes the story forward of course and the texture of 90s songs both works and doesn’t because unlike the mix tape of “Guardians” it is not integral to the story as far as meaning. “Captain Marvel” bridges the gap but doesn’t necessarily do it fantastically, only adequately.
By Tim Wassberg
The aspect of canon has always been a thistle in a way in the side of the “Discovery”. While striving to make something original, this franchise like Star Wars can be helped and hindered. But in its best it transcends. “If Memory Serves” is the best episode of the series by far because it found that balance. In bringing in old TOS lore, and staying fairly close without breaking it, it necessitates what might be in store. The aspect of Michael and Spock is so dynamic because it shows the incessant humanity while completely lost in logic. When he finally begins speaking, it makes a lot of what we have seen past and present integrated. It also very much speaks to perhaps a bigger structural basis between the Kelvin & Prime Universes which undoubtedly is spacing through the writers’ room. That said, despite any of the mechanics, “If Memory Serves” is a dynamic emotional episodes that contains the best perspective of Star Trek episodes in that they make you think, reflect but also emote. While Michael and Spock carry the basis of the episode, it is the balance and intent of Anson Mount as Christopher Pike and his connection that allows for the bridge between two worlds, as Mount alluded to IR at our interview at TCA, without him giving a thing away. Bravo.
By Tim Wassberg