The Marvel Cinematic Universe (MCU) is facing a pivotal moment in its storied existence, grappling with the high volume of content required to satisfy both its cinematic schedule and the demands of its streaming service, Disney Plus. This tension is palpable in the latest installment, “The Marvels,” directed by Nia DaCosta. While Disney’s Marvel Studios has been a juggernaut of profitability and reliability, the stretch marks are beginning to show, and “The Marvels” emerges as a poignant case study of the current strain.
February 2023’s “Ant-Man and the Wasp: Quantumania” served as a canary in the coal mine, hinting at the systemic issues within the MCU’s production processes. Despite its enjoyable moments, the film revealed glaring imperfections that neither critics nor audiences could ignore, especially in the visual effects department.
This heralded concern was further compounded by the lukewarm reception of the Nick Fury-centric series “Secret Invasion,” which, despite being highly anticipated, received a tepid response, becoming the lowest-rated MCU offering on Disney Plus to date. It was “Guardians of the Galaxy Vol. 3,” with James Gunn’s distinctive touch, that briefly rekindled the franchise’s earlier vitality. Concurrently, the second season of “Loki” offered a glimmer of hope, suggesting that the Marvel magic might yet be salvageable.
“The Marvels,” however, stands as a testament to the perils of overextension. DaCosta, known for her compelling direction in the “Candyman” sequel, seems to have her signature style diluted amidst the myriad of creative inputs. The film, while punctuated by fleeting moments of inspired action, lacks a cohesive audiovisual identity and suffers from jarring editing reminiscent of past superhero cinematic misfires.
At the narrative heart of “The Marvels” is the trio of Carol Danvers (Brie Larson), Kamala Khan (Iman Vellani), and Monica Rambeau (Teyonah Parris), whose on-screen alliance should have been groundbreaking. Instead, their dynamic, while featuring sparkling chemistry, is mired in a plot that feels as though it’s treading water. The villain, a Kree named Dar-Benn, is a relic of bygone narratives, lacking the complexity or depth to elevate her beyond a plot device.
The film’s handling of the Skrulls and their interstellar politics, which could have provided a rich backdrop for the story, is relegated to the periphery, reducing potentially significant plot points to mere footnotes. The character development of Captain Marvel, particularly her reckoning with her past and the Kree, is similarly underexplored.
In contrast, the portrayal of Kamala Khan by Iman Vellani stands out, her character’s sincerity and growth providing a highlight in an otherwise convoluted narrative. This emphasis on character over spectacle is where “The Marvels” finds its strength, particularly in the interplay among the lead trio.
The mid-credits scene opens up exciting possibilities, teasing the integration of the X-Men into the MCU, with hints of what’s to come in “Deadpool 3.” Despite these narrative seeds, the film struggles to find a solid footing amidst its chaotic tone and erratic pacing.
“The Marvels” encapsulates the current challenges of the MCU — balancing the high expectations of its audience with the demands of an ever-expanding universe. While the film delivers moments of enjoyment, particularly in its character interactions, it also underscores a need for Marvel Studios to recalibrate its approach, ensuring that future installments resonate with the coherence and impact that fans have come to expect.
