Where Have All The Good Guys Gone: The MCU Slips Into Apathy, A Retrospective

I haven’t seen the film and this isn’t a review, this is an assessment piece on the current state of the Marvel Cinematic Universe from the perspective of audience engagement. The comments passed in this piece regarding Captain America Brave New World, are based on several key factors firstly the Cinema Score, a low b, which was lower than that of The Marvel’s and also Antman Quantomania, the critical Rotten Tomatoes score currently at 52% at the time of writing, on the broader fan consensus online which suggests that the film is middling not great not terrible. I would also like to address that on Rotten Tomatoes the film has an 82% audience score, though this could be inflated.

All of these things taken together paint a picture of the sorry state of the MCU, especially when you compare this release to the last few, sans Deadpool and Wolverine as it was disconnected and more of a love letter to the Fox X-Men films. The remaining films on the slate for this year also do little to reassure people that things are going to get better in the near term.

So the question is what went wrong and where do things go from here?

I would say the reasons why this film is struggling and why other Marvel films are struggling are numerous but also quite obvious. Firstly, folks don’t like homework, since the advent of Disney + not only has there been more content, perhaps too much, but also new requirements. To understand Brave New World fully folks would need to have watched The Incredible Hulk from almost twenty years ago, Falcon and the Winter Soldier and also The Eternals. That is 5+ hours of commitment just to watch the latest film in the universe and increasingly folks are getting sick of having to make it.

What can be done to fix this? At the current stage nothing, the projects that are already in development will suffer from it. However, for further down the line stuff there can be an importance placed on telling original and disconnected stories, there can also be an effort to cleverly use exposition within the films to bring folks up to speed on what they need to know from these other series, this would hurt Marvel’s numbers on rewatches but would encourage the casuals to return. They could also do a previously on at the start of each project including films, unorthodox but potentially a solution.

Secondly is the problem that these characters just are not a draw. Marvel got high on their own supply and started to believe the mythology surrounding them, thinking that they could turn anyone into a billion dollar grosser, and for a while when everything was seen as required viewing in order to get the Infinity Saga’s broader narrative it worked, however, in the disconnected and seemingly aimless Multiverse Saga this has been proven untrue. The issue here is twofold firstly the Multiverse Saga is objectively a failure, fans are not connecting, due to the glut of content things feel deluded and far to disconnected. Moreover there does not seem to be a clear direction in which it is going, yes to comics fans it is clear we are getting Battleworld the Beyonder and likely God Emperor Doom, however, for casuals it just seems to be without purpose at the moment. Secondly, it is clear that the MCU has tentpole characters that folks need to see often in order to stay invested, this can be Spider-Man, it could be Doctor Strange, it could be Wanda, it could be the founding Avengers, regardless, due to the massive uptick in production we are getting less and less projects with these tentpole characters and more and more ancillary stuff with characters people just don’t care about and that is leading to apathy. The idea that Marvel film are not events anymore sums this up rather well.

What can be done about it?

Well I have said it before and I’ll say it again, they need to do a purge. By that I mean, the Marvel slate no matter if they have announced it or not needs to be studied and second guessed, some of these films and tv shows with provably unpopular characters, I am looking at you Iron Heart with your multiple failed comics runs, should be written off and never released. It does not matter if they are done and ready to go or in production you need to trim back all this fat and get back to the core characters people care about. The Thunderbolts is the antithesis of my point, a group of mostly recent and Disney + era characters that no one cares about. The film will be met with apathy. Furthermore, there needs to be a cleaning house of the higher ups at Marvel that greenlit all these projects, who thought Echo and Agatha needed there own shows, as whoever did should not have a job. I would levy this at Feige himself, if his eye has come off the ball he should be replaced.

Finally, is the idea of escapism. Media should exist to provide audiences with a means of escaping from their lives, yes some cover real world issues, but superhero films should not. Again this is a twofold problem for Marvel, the MCU could use real world politics themes and ideas to influence it’s films, but they don’t have good writers. What I mean by that is that they don’t have writers who can be subtle and who can weave it in in a nuanced way, they have people who need to show scenes of Sam being denied a lone simply because he is black, as the scene tells it, in order to be incredibly heavy handed in its messaging. This is a problem as then audiences feel like they are being preached at and feel like the films are becoming political which is a turn off both for those that don’t agree with the politics but also those who don’t want to engage with politics. Secondly, bringing in heavy handed real world political issues such as presenting, according to reviews, Ross as a stand in for Trump, it stops the world from feeling different and new and instead makes it feel like a reflection of our own which isn’t what people want.

How can this be fixed?

Honestly this is probably the simplest, by hiring better writers, one who can use politics in a subtle way and put themes into films without it being overt and making the film politicised. 

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Friendly Neighbourhood Spider-Man Season Season One Overview: Thank God For Sony

Summary

He has the super power kick, you want him as your neighbour.

The above is paraphrased lyrics from the trailer for this show. It doesn’t understand the character, he doesn’t have super powerful feet, and that it is generic and feels like it is doing stuff to kill time, you want him as your neighbour a superfluous lyric.

Honestly, I don’t know  what is going on at Marvel animation first What If’s final season and now this. I think that there needs to be a culling at Marvel animation as something is clearly rotten. The same people who brought you duck sex have now race swapped most of the classic Spider-Man cast and for what reason? Because Coleman Dingo can’t possibly voice a white character.

Ignoring the race swap they also completely and I mean completely emasculate Harry Osbourn to a point, where you question if they aren’t setting him up to be the female love interest of season two. The character bastardisation feels like if I am being charitable people who have never read a Spider-Man comic before and don’t know these characters, but at worse this feels like a deliberate effort to lessen them.

Occasionally, here and there you get to see characters you actually want to see show up like Daredevil, voiced by Charlie Cox, these moments provide a nice if fleeting moment of respite before the mediocrity of the story and the objectionable nature of the race swaps comes back to drag you back into the gutter. There is a genuine question with this show as to why it is that a large percentage of the villains are white, and a large majority of the friendly characters/perceived as friendly aren’t.

Overall, thank God that Sony still has the rights to Spider-Man and long may that remain the case if this is what Disney would serve us.

1/5

Pros.

Some entertaining cameos

Cons.

It ruins various characters

It is poorly plotted

It tries too hard to be something it isn’t

The humour is grating  

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Wolfman: The Dark Universe Takes Another Blow

 Summary

The domestic abuser shared universe is added to.

It is odd now that in two film based on classic Universal monsters that there has been an undercurrent of domestic abuse, if they make a Frankenstein film where he attacks the Bride then it will be even more deliberate.

The ideas behind this film are so played out and trite that you consider if it was written by AI bringing back other werewolf films, the werewolf does not want to harm his family yet is ultimately a threat to them, cue cringe metaphors about inner conflict.

Julia Garner was okay on Ozarks but she really doesn’t suit the role she is cast in here, the idea of her as a mother is a little silly, she also has next to no on screen chemistry with Chrisopher Abbot. Seeing their happy family scenes at the beginning which presages almost all Blumhouse films comes across as two people who are strangers to each but who are trying to pretend to be in a relationship.

The werewolf form also looks awful, but I won’t spoil it too much for you

Overall, a flop for Blumhouse to start the year off right

1.5/5

Pros.

It is watchable

It is not the worst thing Blumhouse has ever made

Cons.

The transformation and werewolf form

Garner

The writing

The lack of chemistry

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Emily Perez: Drug Cartels Are Selena Gomez’s People

 Summary

Yikes. That sums up the film nicely. Do we really need to say more?

So as many of you know this film has been in the headlines recently for all the wrong reasons, what it should be getting attention for is pushing questionable gender science, having course and vulgar songs that make WAP look like a children’s nursery rhyme and of course softening Mexican drug cartels that kill thousands of people every year.

It is quite funny to see the situation that critics have gotten themselves into on this one, as of course they have to support the film with a trans lead, but now as more and more things about said lead are starting to come out, these left wing critics are starting to have to say things that they may once have said was transphobic.

For me the biggest issues with this film is taste, there are a number of moments and choices in the film that feel in bad taste, simply put. To make a musical about the cartels is simply insensitive and at worst wrong. Worse yet this decision makes the tone of the film feel at times schizophrenic to the subject matter.

Overall, a bad decision all round.

0.5/5

Pros.

It is laughably bad

Cons.

The songs

It pushes bad science

The acting is awful

It has tonal problems

The pace is off

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Rumours: A Fitting Takedown Of Justin Trudeau

Summary

A group of politicians gather together to write a joint statement, things then get out of hand.

I enjoyed the satire of this film, I thought that it tried to do something different and poke fun in a smarter way at politicians and the wider political climate. However, certainly not all the aspects of it came together, I do think that some of the weirder stuff from the third act went a little bit too silly, I could see what they were trying to say but I think that it started to lose the intelligence it had built up in favour of trying to be more out there for the sake of it.

The cast is quite good I would say that this is Cate Blanchett’s film through and through and she does tower above everyone else in it. She is not the main character and the film acts as more of an ensemble yet whenever she does have a scene she steals it.

I wouldn’t say it was a laugh a minute, I would say that they are more few and far between but the film did make me laugh a few times and does have some good jokes in it, if you like the humour of something like VEEP, you will like it.

Overall, an original film if one that doesn’t completely work

3/5

Pros.

It has charm

It is original

Blanchette is good

Cons.

The third act doesn’t work

It has pacing issues

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Kraven The Hunter: One So Bad Not Even The Critics Could Pretend To Like It

 Summary

With a whimper the SSU dies.

I think everyone could tell you that this film was going to bomb before it came out, it had disaster written all over it from its moment of announcement.

Sony needs to answer a very simple question, why do we need villain films without Spider-Man? The answer is we don’t.

This film once again is a villain origin story that tries to make the villain cool and likeable, as it is too afraid to have them be anything other than an anti-hero as who wants a true crime film that shows the rise of one of Spider-Man’s greatest foes and has him always be evil. No they have to be made into the good guy in some way even though that means the idea of them later banding together to form the Sinister Six to fight Spider-Man another good guy makes no sense at all.

The drugs must be in plentiful supply over at Sony for them to make such an unenforced error like this, or maybe they just don’t realise what audiences want. Remember gang Madame Web was a great film it only flopped as the critics hated it.

It also features other Spider-Man adjacent characters and messes with their origins and backgrounds too, as who watching this will care about the comics right.

Overall, a necessary death.

2/5

Pros.

It has some fun moments

The action is good

Cons.

It gets the source material wrong

It feels the need to make Kraven a hero

It is too long

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Creature Commandos Season 1 Overview: James Gunn’s Fragile Ego

 Summary

The DCU is born.

Right from the off something about this series struck a bad chord with me. It’s taken me a while to really think about what’s wrong with it and be able to articulate that, here is my best attempt.

Firstly, this feels like a spin off of the Harley Quinn animated show, and by that I mean the humour is exactly the same, however, where that show allows its characters to have serious moments this shows allergic to that. Whenever there will be a tragic or sad moment the writer will feel the need to undercut with a quippy joke or some sort of absurdist visuals.

Secondly, and relating to the first point, each of the Creature Commandos has tragic back stories, and this is bad for two key reasons. Chiefly, it shows a lack of any genuine villains in the show, which is supposed to be about a team of villains going on missions,  as well as a fear of anti-heroes and not having everyone be sympathetic. Moreover, these back stories are often quite depressing, so the show feels the need to overcompensate by having it side by side with the present timeline in which something absurd or silly will be happening in order to get away from the sadness. This cheapens it.

Thirdly, the humour as I’ve mentioned in my previous two points is really what ruins this show and runs through all of the criticism, It is juvenile, gross out, and often edgy for shock value. I don’t think I laughed once during the entire run of the show.

Fourthly, and perhaps worst of all, is the fact that one of the sub antagonists of the show are the Sons of Themyscira, who are portrayed as incel online nerds. Not only does this feel like screw the audience, but also feels like Gunn personally taking shots at his critics. This is potentially catastrophically bad as it shows that Gunn is a reactionary and shows how even mild criticism of him can find its way into his projects and affect them in a major way, hence he’ll get more of it. It also destroys any kind of confidence one may have in his upcoming Superman film, and you have already seem him coming out to attack haters on that and to respond to criticism. The Sons are of course horribly cringe and die off in humiliating ways in order for Gunn to own his critics.

Overall, it is nice to see a more mature tone and some of the ideas were good, but the humour, the lack of meaningful emotion and Gunn’s fragile attempt to own the haters all result in this being a damaging start for the DCU, and a red flag for this summers Superman. :

2/5

 Pros.

The mature tone

A few good ideas

Cons.

The humour

The backstories

Gunn’s fragile ego

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Skeleton Crew Season 1 Overview: The Duffer Brothers Need To Sue

 Summary

Star Wars steals from Stranger Things.

Honestly, as far as recent Star Wars shows go this wasn’t bad. That’s not to say it was perfect, I would place it in the watchable category.

For the most part this is a fairly self-contained adventure, we don’t really interact with iconography or characters from the Star Wars universe we would expect to see, we see some X-Wings, a lightsaber and a few things are mentioned in passing but that is really all. There is distinct Goonies and Flight Of The Navigator vibes to this, but I would say the biggest influence is Stranger Things. To see Star Wars lift so many themes and ideas from Stranger Things is depressing on a number of levels, to see one of the kings of the science fiction genre have to borrow from the new upstart shows just how bad of a situation Star Wars is in.

The journey itself was interesting there were certainly ups and downs, and some episodes hit harder than others but for the most part it was entertaining. I liked the mystery around Ad Attin and I thought the new droid, voiced by Nick Frost, was a welcome addition to the universe. The child actors were probably the weakest part of the show, I will not rag on the child actors too much as it seems like low hanging fruit, however, it must be stated that their emotions were all over the place and they were badly directed.

My biggest bugbear with the show was the fact it introduced yet another survivor of Order 66, at this point the Empire seems incredibly incompetent. This of course is Jude law’s character who the series teases with the will they won’t they question of is he a Jedi, at times you are lead to believe that it’s just parlour tricks or that maybe he is force sensitive, but no the final episode has him reveal that he is in fact a Jedi or was. Moreover his origins and how he survived order 66 a so incredibly vague you question why it was even brought up at all, clearly it was done to set him up for his own show where it would be explored in more detail.

Overall, not as bad as the Acolyte not as good as Andor.

3/5

Pros.

It is watchable

It has fun moments

It feels very disconnected

Cons.

The child actors aren’t very good

There is yet another survivor of Order 66

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Cinema Issues: State Of The Box Office Address Start Of 2025

Written by Luke Barnes

In this cinema issues article we are discussing the contraction of the entertainment industry. If one was to cast their gaze upon the 2025 release schedule it would be perfectly acceptable for them to ask what happened to make it to 2025? For those of you that don’t know, with the destruction of COVID and the writer’s strikes, there was a mantra in Hollywood to make it to 2025 as this was seemingly the year when things would get back to the 2019 normal. This was pre the wildfires.

As such this mythical 2025 was going to also see the box office recover to 2019 levels, as it’s been steadily below over these past few years, and in order to do that there was going to be a lot more films releasing each month than in previous years. However, to go back to our opening image there is in fact not a lot of films releasing each week in 2025 so far. Whilst yes there will be some films set to come out in 2025 that have not yet been given formal announcements and release dates, it seems the idea of masses of new releases might be a pipe dream, why is this?

Crucially there are two things Hollywood didn’t account for with the 2025 dream, the first being an obvious and sustained change in audience viewing habits, with more people waiting to watch films at home, being more choosy with the films they watch due to higher ticket costs, and of course the audience’s rejection of slop. The second key fact is the death of the movie star. When discussing the death of the movie star it can’t be stressed enough how important the rise of social media has been, influences and youtubers have given the public new role models seemingly more accessible, more down to earth, and more like them. Audiences have begun craving authenticity, as such the very performative and fake world of Hollywood has lost its allure, the actors who still maintain rabid fanbases do so with a keen use of social media or by giving off the persona of being nice people, whether true or not.

The death of the movie star has left Hollywood unable to move forward, it needs radical change to continue to exist, yet if there’s one thing Hollywood executives are frightened of doing it’s doing anything new. As such I expect 2025’s box office to languish behind 2024 which wasn’t good to begin with, we’re miles off from 2019. I believe looking at the calendar now and of course there can always be new announcements and upsets, but I would say that there is one surefire billion grosser film in the fourth coming Jurassic World, and possibly another in Superman if the stars align. That aside the box office looks quite sick this year, there are not a lot of films and the ones that are don’t seem to have the draw that could make the box office healthy.

The worst thing is in its floundering attempt to combat these problems Hollywood won’t take drastic action, the action of course that’s needed is a slashing of film budgets in half or more, in addition, films need to stop pushing divisive messaging and being targeted towards niche and specific minorities rather than the widest possible audience. Hollywood needs to decentralise, it needs to move outside of the LA ecosystem, films need to be made on a budget of $50 million, a raft of new original films costing that amount or below could allow for greater creativity and potentially some new franchises rather than mining the same wells.

As we head towards the end of this piece you can expect to see Hollywood shrink in the coming year and become more reliant on re-releases.

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Conclave: The Oscars Get It Wrong Again

Summary

A gathering of the cardinals is made appropriate for the 21st century, and you better like it you bigot.

So I had forgotten about this on first release but then I saw it later and excitedly remembered  it and thought I’d give it a watch. On the surface this film should have been good, a sort of papal intrigue drama film about deciding who would be the new Pope. Yet whilst there was some of that there was also a lot of modern day filler like a whole plot about one of them being intersex, as it is 2024/2025 and you cannot release a film unless it has some form of representation like that.

Moreover, I found the dialogue to be a little stiff, what I mean by this is that for films that have lots of long drawn out scenes of people talking you need them to be gripping and yet here whilst the performers brought gravitas I found a lot of these scenes ended up feeling overly long. This film was always going to hinge on the quality of its writing, and sadly it got let down.

I don’t really see how this got nominated for an Oscar outside of the fact it has been a slow year, there is interest and a well put together narrative sans one sub-plot, I bet you can guess which, but by and large it doesn’t come together in the way an Oscar nominated film should.

Overall, another odd choice for Oscar nomination.

1.5/5

Pros.

It has some interesting moments

It is not your average slop

Cons.

The intersex storyline and how needless it is

The writing is patchy

There is pacing issues

It was broadly disappointing

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