by How to make a superhero restart …
Yes, after Superman restarted over himself to see his face in his new era, the Fantastic Four arrives to take the first steps and is miraculous for the foundation of the future for the future.
It is difficult not only to compare the two films, not only because they are the big summer superhero films of the competing companies, but because they are both commissioned to found a new phase of their respective universe – and because the films are strangely familiar.
While Superman is born for three years, the Fantastic Four is four years after its unfortunate mission in space, where a cosmic incident, Reed Richards (Pedro Pascal), brilliantly led to the fact that he led to the elastic Mr. Fantastic Fantastic, his wife Sue Storm (Vanessa Kirby) to become the invisible woman and also in the swing. Ben Grimm (Ebon Moss-Bachrach vom Bären) to turn into the thing.
As with Superman, they are already praised for using their strength to save people, but in contrast to Superman, the film decides to bring the audience up to date with a brief summary of the history of origin and a triumph through some of their previous triumphs and to defeat supervillains including mole. This is done by satisfying news hits, which highlights a significant quality difference between the two films: The Fantastic Four manages to create a convincing and distinctive world for their actions.
It is not just a weak, bright mash-up that we have in F4, is a satisfactory retro future aesthetics on the earth-828, which is basically a parallel America of the 1960s (the world in which the comics originally met), in which the presence of Schilf accelerated, to the point, and teleport It is possible that the skins and teleportation and teleporting is possible. This immediately gives the film a more literal weight as an unsatisfactory dependence on CGI, where Bernie, the robot is driven with ribbons, is satisfactorily pressed, buttocks are played, vinyl is played and the interior design is elegant in this post-war futurism style.
The emotional weight, which is also rendered here, is even more important. Superman was too busy here to deal with something emotionally – except a glorious insistence that Superman only wants people to get along – but F4 builds its characters and the dynamics between them and what they could lose.
Sturm is pregnant and reeds are under pressure to find a new threat through the room. A silver surfer, Shalla-Bal (Julia Garner), drives to the earth as a herald for a being Galactus, which is a planetary eater. Our planet is next on the menu. Cue an exciting journey into space for the four to speak to this galactus, a huge machine man-god (played by Finchy from the office, Ralph Ineson) with a compulsion to destroy and devour the holy body with his industrial spaceship. When the four are opposite with him, the being feels something special about Storm and Reed’s unborn baby and says he will save the earth when they give him the child. The superheroes hardly escape to earth and have to find out what to do, because Galactus is on the way …
All of this is sold in particular by appearances by Pascal and Kirby as Reed, which are as good as everything that can be seen in the modern superhero genre. Pascal brings fear and intensity to his wit, which feels the stress of having to solve the problems of the planet, and is cursed by the knowledge that the best decision sometimes does justice to his own wishes. Kirby Us Revelation as a mother, who was faced with impossible decisions that a talent has to speak to people and bring it in to see the world in a different light. as well as a determination to protect at all costs.
There are ethical questions in the center of the film that raise it. People on earth rightly ask why they cannot give up a child to save everyone else on earth. The way Sturm is finally solved in a speech is an outstanding moment that is as good as everyone of the fights/flirts with torch/silver surfing. But here, too, the difference to Superman is that the reactions of the citizens feel credible. In Superman, the Metropolis fans remain from their office windows while their city is repeatedly torn apart, and Superman’s judgments are played as a “similar” competition on social media. In Fantastic Four, exposed to an external threat to the planet, people listen, contract and work to protect themselves and support the team.
There are some nostalgia here, because despite the idea of the parallel universe, it is at a time when America is wealthy and largely united after the war, and behave like good healthy people and more self -closed trolls and influencers. But it works effectively to transport us at a different time and another place and tends to smooth the action in a satisfactory way. It has an internal logic that Superman did not do.
It’s not perfect. Quinn makes an effective Johnny Storm, but maybe not the James Dean-Ish-Anti-Autqua-Pin-up that they would hope for. Moss-Bachrach is well under the computer pictures as thing, but there is a lack of research into the character of the character of the character that no one is more. His aspiring relationship with Natasha Lyonne from Russian Doll is cute, but there is no kind of recognition that he is made of brick. Galactus is a decent villain, but it is not Thanos and is treated quite easily.
Fambant and trust in celebrities are not particularly explored – Superman has tried it out – because the F4 is more too trustworthy like steady -peel, large minds. As such, it could be seen as a cop-out to avoid something at the same time.
But look, The Fantastic Four: First Steps works on his own conditions. It is visually a pleasure, has three or four pine, the moments, a few great laughter and convincing performances. It examines great questions of science and the “small” questions of the family and in Phase 6 from Marvel in the satisfactory style with electrical scenes according to the loans.
Job done, fantastic. Now someone helps Superman from the ground …
