Marvel's cinematic crossroads: A critical examination of The Marvels and the question of saturation
The Captain Marvel sequel may be falling behind in the drop box but there are still elements to celebrate
While The Marvels has the second-lowest opening day gross in MCU history, the film makes a relatively engaging watch. (©Disney/Austin Kelly)
In the span of four years, the Marvel Cinematic Universe (MCU) has witnessed a dramatic shift in fortunes, especially evident in the contrasting performances of Captain Marvel in 2019 and its sequel, The Marvels, released on Nov. 10.
The former soared with the seventh-highest domestic opening weekend across MCU entries, raking in an impressive $153 million in North America. Fast forward to the present, and The Marvels struggles to achieve even a third of its predecessor’s debut, securing the second-lowest opening day gross in MCU history.
While The Marvels isn’t an outright failure (I’m not biased because of Brie Larson, I swear!), it marks a notable course correction for the Marvel franchise. Directed by the relatively new Hollywood talent Nia DaCosta, the film tackles the persistent issue of narrative bloat that has plagued the MCU during its 15-year reign.
Despite a commendable start, Marvel might be overstaying its welcome at the cinematic party. The success of The Marvels, albeit with tempered box office expectations, hints a need for the franchise to reassess its storytelling approach.
The story revolves around Captain Marvel, portrayed by Brie Larson, Ms. Marvel performed by Iman Vellani, and Monica Rambeau, played by Teyonah Parris, who find themselves entangled through a quantum physics-adjacent space aberration. This sets them on an intergalactic journey to unravel a mystery and save the world with the unique element of switching powers, providing visually stimulating fight scenes. The chemistry between the characters, particularly the standout performance of Iman Vellani as Ms. Marvel, is highlighted as a strong point.
However, there is a notable imbalance among the leads, with Captain Marvel dominating the narrative, leaving Ms. Marvel’s character with insufficient development and relegating Rambeau to a foil role.
Despite these narrative creases, it’s worth acknowledging Brie Larson’s championing of Carol Danvers’ queer identity, especially since the Captain Marvel days. The inclusion of elements like distinctive costume choices, feline companions, U-Haul references, and the suave cameo of Valkyrie, skillfully portrayed by Tessa Thompson, prompts speculation about Marvel’s strides toward queer representation. However, the film’s rapid pace boasts the shortest runtime in MCU history at one hour and 45 minutes.
While The Marvels efficiently utilizes its tight runtime, it’s hard to ignore the choppiness of the first act. The film finds its stride in the latter part, offering positive elements but ultimately hampered by a lackluster third act.
In conclusion, The Marvels is a film that, despite not reaching ground-breaking heights, manages to secure a place among Marvel’s successes. Despite its shortcomings, the film should be recognized for its strong performances, humour, and a serviceable plot, making it a relatively engaging watch, particularly for a younger audience seeking entertainment in the Marvel universe post-Endgame.
