Carol Danvers becomes one of the universe’s most powerful heroes when Earth is caught in the middle of a galactic war between two alien races.
Hiring indie directors to infuse blockbusters with their auteur sensibility has become the norm in Hollywood. Rian Johnson stepped behind the reigns of the beast that is “Star Wars: Episode VIII – The Last Jedi.” Gareth Edwards helmed the “Godzilla” reboot (as well as “Rogue One: A Star Wars Story”). David Lowery wrote and directed “Pete’s Dragon.” Marvel may have started the trend, hiring the likes of James Gunn, Joss Whedon, and Ryan Coogler to shake up their steadily stagnating output.
The choice to process a colossal, universe-spanning franchise through an indie prism has paid off, for the most part. While the plot structure remains the same, no matter how valiantly those directors attempt to stray away from the gimmicks and clichés, those films at least now possess more ambition, wit and even some genuinely artistic touches. Some fair better than others: as much as I loved the creativity and hallucinatory vibes Taika Waititi brought to “Thor” Ragnarok,” don’t get me started on how much I hated Colin Trevorrow’s stink-fest “Jurassic World.”
Now Anna Boden and Ryan Fleck – the duo behind “Half Nelson” – join the Marvel team, their “Captain Marvel” falling right in the middle of the spectrum. What it has going for it is its 1990s setting, a terrific lead performance by a fearless Brie Larson, plenty of chuckle-inducing bits and some offbeat visual sequences that seem to have sprung straight out of the filmmakers’ ayahuasca trip. Where it fails is bringing something new to the table, by telling a highly-predictable story, wherein evil aliens plot and scheme and end up fighting heroic super-humans.
Larson plays Carol Danvers (aka Mar-velle), a human whose memory has been erased and who now believes she’s part of an alien race called the Kree. The determined and cheeky heroine is trained by Yon-Rogg (Jude Law), mostly to reign in her impulses, which involve her arms emitting highly-destructive bursts of plasma. Soon enough, Carol gets transported back to Earth and has to locate her Earthbound partner, also personified by the all-ruling Supreme Intelligence (Annette Bening).
Along for the ride is a young Nick Fury (a digitally de-aged Sam Jackson) and Talos (Ben Mendelsohn), whose shape-shifting race of aliens uncannily resemble the goblins from the Will Smith vehicle “Bright.” After a slew of action sequences, intermittently punctuated by still moments of solemn, “do the right thing” patriotism, it all ends in a rousing stand-off – and, of course, a post-credit scene that ties it all neatly to the events in “Avengers: Infinity Wars.”
If there were any doubts that Larson, who absolutely dominated “Room” and “The Spectacular Now,” could hold the weight of a $200+ million franchise, they’re gone the minute she sends her first fierce look with just a hint of tongue-in-cheek self-awareness. The actress’ poise and humor go a long way in making the goofy events of “Captain Marvel” cohere, as well as making us forget her underwritten character in “Kong: Skull Island.” Jackson is Jackson, having a blast with his role – we’ve never seen the feline-loving Nick Fury quite so animated before. The bits with the cat (watch out for that cat!) are some of the best in the film. Mendelsohn gets extra credit for perfect timing, buried underneath layers of make-up.
Filled with high-octane fight sequences, inter-galactic politics and so much shape-shifting it puts the entire “Mission: Impossible” series to shame, “Captain Marvel” allows its indie directors to apply a touch of poignancy here, an artistic brush-stroke there – but mostly it’s a by-the-numbers affair. That being said, it will most likely elate Marvel fans, and certainly welcome a sardonic, strong and Marvel-lous female character to the superhero sausage fest.
In theaters Friday, March 8th
