Captain Marvel” is like a political commercial—it packs a worthy message, but it hardly counts as an aesthetic experience. The message of the film is conveyed less through the story than through its casting: women and people of color need to have starring roles in major Hollywood productions …
Brie Larson plays Vers, a warrior from the Kree, a humanoid population from a distant galaxy, centered on the planet Hala, that is in age-old war with the shape-shifting Skrulls.
(A fierce warrior is played by an actress named after a cheese from the country most associated with military defeat?)
The movie sounds perfect for people my age:
The action, it’s soon revealed, is set in 1995, and the videotape-filled store (featuring a standing display for “True Lies,” among other contemporaneous titles) inaugurates a skein of nineties-nostalgia objects that figure in the plot, including a RadioShack, a quaint AltaVista search engine, the foot-tappingly fitful loading of a CD-rom, a pager,
I loved AltaVista!
Carol discovers that the Kree’s longtime battles were based on a false premise. The Skrulls, far from being evildoers (or, as one character calls them, terrorists), have been displaced from their homelands by the Kree; they describe themselves as “refugees” and are merely seeking a home. Carol comes to doubt the presumptive virtue of her own nation and to recognize the legitimate claims of its enemies; she decides to return to battle, not to win but to “end it”—to end “the wars, the lies.” In this thread of themes, the Marvel overlords make the political positioning of the movie clear. The marker is made all the plainer when Lawson tells her that the Kree are fighting to defend their “borders.” “Captain Marvel” wants to make clear that it is a Democratic movie.
If it is anti-Trump, New Yorker should love it! Except that they don’t…
The directors Anna Boden and Ryan Fleck (who are also among the film’s co-writers) display as little style here as they do in their lower-budget and live-action films. The inert direction is amped up by a rapid pace of editing, resulting in a jumpy mosaic … The idea packs great dramatic potential, which makes its facile execution all the more disappointing.
Readers: What do you think? Is the movie as bad as the Official Magazine of Trump Hatred says?