"Eternals" Review: A Step In A New Direction!?
Eternals is far from the Marvel films we’ve come to expect. There is generally a formula to these films. You have a problem that occurs, heroes who respond, big action set pieces and spoon fulls of comedy sugar along the way. Co-writer/director Chloe Zhao takes this film in a dramatic direction with spoon fulls of action along the way. With a complex story and multiple characters to get to know, this is another step in the staircase of Marvel that feels like a set up to take us somewhere new.
A group of immortal beings have been on Earth since BC time. They came and have helped civilization advance forward, but have remained in the shadows trying not to interfere as much as possible. The Eternals are a rag tag group with special powers. Ajak (Salma Hayek) leads the group as the maternal figure who has the power to heal and give wise advice. Ikaris (Richard Madden), Kingo (Kumail Nanjiani), Gilgamesh (Don Lee), and Thena (Angelina Jolie) are the frontline warriors, each imbued with unique powers to fight. The thinkers of the group are the young illusionist, Sprite (Lia McHugh), speedster Makkari (Lauren Ridloff), master inventor Phastos (Brian Tyree Henry) and telepath Druig (Barry Keoghan). Sersi (Gemma Chan), whom much of the film revolves around, can transmute inanimate matter and finds herself somewhere in between the warriors and thinkers.
The non-linear story jumps through history while grounding itself in present day, not long after the events of Avengers: Endgame. With fifty percent of the planet back, a countdown to an apocalyptic event has started. The Eternals must decide if they will intervene to protect the species they’ve grown to respect and love or continue to stand by.
Zhao’s vision for the film is fully manifested. Much of the movie’s flashbacks are shot at golden hour, giving a soft, warm hue to the cinematography. Her camera frames subjects in an affectionate way. She bottles the feeling you have when you’re falling in love with someone and in a room full of people, it’s just you and that person, and pours it on screen. It’s that tenderness that infuses throughout the film to give MCU fans something that feels wholly different and unique.
As beautiful as the film is, it can drag along at times with its two and a half hour plus running time. The character building and backstory that has to occur in an origin story is hum drum at times with certain characters receiving more love than others. With ten Eternals to introduce to an audience, that can be a task. Overall, the task is achieved but not without the price of a bit of fatigue in getting there.
Then there’s the topic of sexuality. Sexuality in this film feels forced rather than the “firsts” it desires to display. Parents of younger children be warned, two of the Eternals get busy in a mid-shot that shows them naked (while bodies cover private areas) but leaves no question to the thrusting going on. So if you haven’t had the sex talk, you’re going to have to after this. There’s a same sex kiss as well. The reason this all seems forced is because, well (semi-spoiler alert if you haven’t read the comics ahead), the Eternals are humanoids and can’t breed amongst themselves. So logically, reproduction and sexuality doesn’t seem to make sense as the story unfolds in this world.
Special attention needs to be given to the performance of Harish Patel as Karun. In the film, he follows Kingo around as his manager/personal cameraman. Patel provides not only humor throughout the film, but touching moments that would be hard to perform in the hands of a lesser character actor! Even though he is a side character, we should give that man his props and flowers for his performance!
Zhao and company shoot for the stars and land somewhere in Earth’s orbit. This isn’t a bad film. You can get lost in its entertainment. However, it truly feels like a stepping stone to open other parts of the MCU. This film feels like a door to opening more of the Marvel Cinematic Universe (MCU) in two ways. One is that the Eternals unlocks a new characters layer in the MCU as we learn about Eternals, Celestials and deviants. The second is the arthouse influence from Zhao’s direction that will shift the blockbuster feel we’ve experienced in the past to possibly give us more of an independent vibe in these films. We’ve seen the shift in Disney+ shows, but this is certainly different. Overall, if you’re a fan of the MCU you’ll be entertained. If not, you can catch up to this when it streams!
Rating: C+
"The Big Sick" Review
‘The Big Sick’ Review By Ryan Boera
Kumail Nanjiani weaves an exceptionally brilliant story of love and sacrifice in his newest romantic comedy, ‘The Big Sick’.
In an archetypal romantic comedy, the two, leading lovers tend to be young, likable and otherwise destined for each other. Yet, they are kept apart by some complicating circumstance until, surmounting all obstacles, they are finally wedded. In Kumail’s case, this obstacle takes the form of class differences and parental interference. Two themes that undoubtedly heighten the relevance of the film.
Kumail is a Pakistani comic who meets an American graduate student named Emily (Zoe Kazan) at one of his stand-up gigs. As their relationship unfolds, he gloomily anticipates what his traditional Muslim parents will think of her. Parents who will jump at the opportunity to gift upon their son an “arranged” marriage. Suffice to say, they don’t approve of Emily.
‘The Big Sick’ undeniably occupies the romantic comedy genre, however, I would argue it’s gift is that it pushes the categorial envelope. The screenplay is incredibly intelligent, to put it modestly. But more importantly, it handles difficult topics; it’s topics other filmmakers are afraid to even look at, with such grace and deference that it has almost created a new standard for the genre as a whole.
Romantic comedies have become passable films. Two-hour, running clichés, rather. Studios evolving into hamster-like wheels that churn out flick after flick with no integrity. The longer we allow these clichés to consume our films the harder it becomes for us to escape them. At which point you must tip your hat to Kumail and Emily Gordon (an author and Kumail’s life partner) for crafting such an intriguing piece of literature.
The film is exceedingly honest, an open book of sorts, and so ridiculous it must be a true story. Kumail learns from his relationship that honesty is the best policy. A golden-rule that protrudes from the screen with vibrant colors. It is hard-pressed not to laugh at the unbearable circumstances presented throughout the film. Somehow, the tension and the humor live symbiotically together.
Even at the risk of running too long, ‘The Big Sick’ is good for more than just a few laughs. In fact, the anticipation of the succeeding one-liner is so ever-present in the theater, you can feel the audience’s mouths agape with expectancy. Above all else, ‘The Big Sick’ will make you laugh, cry, and think, and that’s a win in anyone’s book.
Rating: A-