"No Strings Attached" –– My Avengers: Age of Ultron review

Remember when you saw the first Avengers movie, and you were just in awe of these larger-than-life, dynamic, and (most importantly) established characters all being epic together onscreen? Remember how great that felt?

Maybe it didn't feel so great for Loki ...

Flash forward two years to Captain America: The Winter Soldier, which showed you how much MORE awesome these already-awesome characters could be. Remember that? Cap in the elevator? Opening up myriad cans of whup-@$$?

Going down?

Avengers: Age Of Ultron is more of that. MUCH more of that. It's a total escalation, in both scale and stakes. And it is very, very good.

YAAAAASSSS.

Let's start with the pacing. The Avengers was a cinematic masterpiece, and I gave it a 5/5 rating when it came out because, let's face it, it was all my childhood dreams come true. And don't get me wrong, I still love it dearly, but some of its flaws are evident after subsequent watchings. First and foremost, the exposition in the first third of the movie was VERY clunky. It tried to get the ball rolling quickly with Loki's arrival and the Avengers being gathered, but the fun doesn't start until everyone's on the Helicarrier. Age of Ultron, on the other hand, doesn't have to set anything up. We know the characters. We know what their powers are. We know what their motivations are. The film starts off with the Avengers storming Baron von Strucker's castle because mad science, and that's all you need. It's great. And it establishes Hulk as the Avengers' "nuclear option," the guy you only bring in when it's absolutely necessary. 

Sometimes a car just needs kicking. 

The tone is definitely darker than that of the first film, but there is plenty of humor to offset it. The most surprising example of this is Ultron himself, who has even more one-liners than Robert Downey, Jr.'s Tony Stark (even beating him to one). But a snarky villain is by no means a non-threatening villain, and it soon becomes clear that Tony's new peacekeeping A.I. is not going to play nicely with others. 

There are also plenty of Easter eggs to be found, some of which are obvious (vibranium, Wakanda, etc.) and some of which are not (when Quicksilver and Scarlet Witch meet Ultron for the first time, WHAT IS HE WEARING? Think about it ...). The movie is definitely a labor of love for longtime fans, and it's breathtaking to behold it all and let all the little details soak in. It certainly merits multiple viewings just for the sake of picking up on things you might have missed.  

Although there are some slow parts, they don't detract from the movie. The party at Tony's place (which has arguably the funniest Stan Lee cameo of them all) showcases the interpersonal developments between the characters, most notably the general sense of easygoing camaraderie amongst the team but also the budding romance between Black Widow and Bruce Banner (yeah, that one came outta left field). 

"I wanna get into those purple pants ..."

Don't let the slow moments fool you, though. There is a LOT going on in this movie, but rather than bog it down or degenerate into a mess like X-Men: The Last Stand, Whedon masterfully balances both plot points and characters, although there are a few rough jumps where it's obvious there was more material that got cut (I sincerely hope we get a director's cut DVD later). No stranger to large ensemble casts, Whedon gives everyone their due. He has a bit of fun at War Machine's expense, but we're laughing with him, not at him. Also, it's a relief to see Rhodey's dropped the Iron Patriot look, since in the comics the original Iron Patriot is THIS guy: 

Not gonna lie, though, I'd love to see him show up post-Civil War ... 

One of the biggest complaints the first movie got was the lack of focus on the two "normal" Avengers, Jeremy Renner's Hawkeye and Scarlett Johansson's Black Widow. The sequel remedies that, giving us a great look into Hawkeye's personal life (let's just say I won't be championing a Hawkeye/Mockingbird romance in the MCU anymore) and showing a Scarlet Witch-induced look into Black Widow's past (which leads to a heartbreaking confession to Banner). Hawkeye finally comes across like the cocky hothead he is in the comics, and gets his share of action scenes despite admitting he's just a guy with a bow and arrow. He also manages to get the drop on Scarlet Witch when she tries to mess with his head.

On the subject of ol' SW, let's talk about "the miracle twins." S.H.I.E.L.D. agent Maria Hill puts it best when she explains their powers to a confused Captain America: "He's fast and she's weird." 

VERY weird. 

Aaron Taylor-Johnson's Pietro Maximoff/Quicksilver definitely looks more like the comic version than Evan Peters' did in X-Men: Days of Future Past, and also has more of the moody, arrogant jerk vibe. Although Peters is the superior version overall in terms of effects and sheer entertainment value, Taylor-Johnson does a commendable job bringing the Avengers' version to life. His rivalry with Hawkeye is particularly amusing, and foreshadows a big moment later in the film. 

He didn't see that one coming. 

Elizabeth Olsen's Wanda Maximoff/Scarlet Witch is a pleasant surprise. I didn't expect to like her. I didn't particularly want to like her (I'm an X-Men fan, and if you've read "House of M" you'll understand my dislike). But she's perfect. She nails the darkness and rage of the character, but also the softer side, and you really feel for her by the end, at which point she is finally a full-fledged Avenger. Her powers are ill-defined, but no worse than her comic counterpart's. And the film very subtly teases her eventual romantic relationship with one of her new teammates.

Ummm ... not this one. 

Hulk has a good showing as well, and it's becoming more and more obvious that despite Banner's insistence to the contrary, Hulk isn't "the other guy," but basically just a 'roid-raging Banner. Most of his problems stem directly from that denial, and it's interesting to see that when Scarlet Witch messes about with everyone's minds and causes them to see their worst fears, Hulk's perspective is the only one we don't get to see. Hmmm ... perhaps his secret isn't just "I'm always angry," but "I'm always Banner." 

Cap, too, is in top form here. He's still wistful about his position as a "man out of time," dealing with the fact that the only people who "get" him are octogenarians, but he finally acknowledges his place is as an Avenger. His straight-laced nature gets some good laughs ("Language!"––the running joke that kept on giving), but it also reveals a telling point about Tony Stark, who says he doesn't trust anyone who doesn't have a dark side. Cap really is THAT good ... THAT honest ... THAT brave, and it kind of freaks Tony out, and causes him to undermine Cap's leadership ... twice. The first time it doesn't go so well (hello, Ultron). The second time, it actually works out for the best. 

Hello, Vision!

At long last, Paul Bettany goes from voicing J.A.R.V.I.S. to playing the full-fledged Vision, and he kicks copious amounts of butt. His phasing ability is downplayed (and not explained at all), but he does utilize it against some Ultron drones. Bettany plays Vision as a kind, innocent character––the stark (pun intended) contrast to both his fathers (Tony and Ultron ... it's complicated but not as controversial as it sounds). But even though he doesn't want to hurt anyone, he's more than willing to throw down if the situation calls for it, and his final confrontation with Ultron is surprisingly poignant. He proves himself as a worthy member of the Avengers (in more ways than one), and definitely leaves the audience wanting more. 

Tony Stark/Iron Man has his usual share of witty one-liners, but this film also sets the stage for his role in Captain America: Civil War. His hubris, coupled with his desperation to save everyone––to fix everything––on top of his guilt/martyr complex, are what lead to Ultron's creation, and also what will inevitably lead him to support the Superhuman Registration Act. Alas, I'm getting ahead of myself there (the act hasn't been brought up yet, but I'm sure Hulk and Tony's little romp in Wakanda will be cited as an example of why it's "necessary"). Bottom line: ever since the battle for New York, Tony has been less and less of a team player, and more and more of a maverick, which was one of his more endearing qualities at first but is now ... less so. Contrast that with Steve's rigid devotion to the team, and things are going to get ugly. 

"Who ya gonna call? HULKBUSTER!!"

Although James Spader's Ultron doesn't top Tom Hiddleston in terms of scene-stealing, mustache-twirling villainy, he's delightfully quirky in he's delightfully quirky in his own way, and I applaud Whedon for not having Spader behave (dare I say it?) robotically. Ultron knows absolutely nothing about humanity save what he's gleaned from the internet, which causes him to surprise, horrify and embarrass himself at times. The scene with Ulysses Klaw (played by the wonderful Andy Serkis, in a non-CGI role for once) is a particularly funny-yet-gruesome example of this (anybody who's familiar with Klaw saw it coming), and Ultron comes across both shocked and apologetic. And yet ... he still fully intends to exterminate all humanity. Like, literally, in the form of a ginormous cataclysm. 

"You make it sound like I'm the bad guy or something ..."

I'm trying my best not to spoil too much, but the rumors are true: not every Avenger makes it home after the final battle with Ultron, and not all that do choose to remain with the team. But this isn't the end for the Avengers (since we all know The Infinity War is nigh), and the film ends on a hopeful note. 

Maybe not shawarma hopeful, but hopeful. 

By the way, Whedon wasn't kidding. Although there IS a mid-credits scene, there is NOT a post-credits scene, so you don't have to sit through ALL the credits. If you want a hint as to what the mid-credits scene is, though ... 

Caption this. 

Final rating: 5/5. It builds on the strengths and learns from the mistakes of its predecessor. Even though it doesn't replicate the excitement of seeing the Avengers onscreen together for the first time, it's chock-full of plenty of "OMG" moments of its own, and it sets up hopefully more greatness to come.

The most dead-on casting in superhero films

Some superhero movies do a great job of bringing comic book characters to the big screen, capturing the essence of what made the original versions special. Good examples of this include, for instance, Henry Cavill in this year's Man of Steel, or Chris Evans in Captain America. Sometimes, though, you get George Clooney as Batman or Halle Berry as Catwoman.  

It's either frigid in the Batcave or he is VERY happy to see you.

Here are a few of my favorites. Bear in mind, of course, that I'm not limiting the list to main characters. Sometimes, as you'll see, the supporting cast can be just as delightful. 

Alan Cumming as Nightcrawler (X2: X-Men United)

-Capturing both the gentleness and the bad@$$ery of Nightcrawler was no easy feat, but Scotsman Alan Cumming did both with ease. His Nightcrawler was sweet and naïve, but an absolute terror in battle. Although some liberties were taken with his look (the intricate scar designs), the key aspects of his appearance remained intact, as did the character’s strong faith and love of peace. Would Cummings’ presence have been enough to save X-Men: The Last Stand? Doubtful, but it sure would have been nice to see him again, regardless. 

THIS DOESN'T COUNT!!!!

Anthony Hopkins as Odin (Thor)

-I could go on a long spiel about how excellent the casting in Thor was—all of it. Chris Hemsworth was excellent as Thor, Tom Hiddleston was absolutely perfect as Loki (although he was even better in The Avengers), and Idris Elba surprised a lot of people when he proved a black actor could effectively play a Norse god. Really, the only weak casting was Natalie Portman as Jane Foster, and the absolute best was Anthony Hopkins—Hannibal himself, as well as Zorro and even Hitchcock—as the Allfather Odin, he of the bristling beard and the manly eye patch. 

Ummm . . . not him, but close.

Sam Elliott as General Thaddeus “Thunderbolt” Ross (Hulk)

-Now, let’s get one thing straight: I like William Hurt a lot. He can play nice (Michael), he can play complicated (The Village), and he can play stone-cold just as easily (Nightmares and Dreamscapes). And if I had only seen The Incredible Hulk (2008), I probably would have liked his version of General Ross a lot more. But I had already seen Hulk (2003), and now, whenever I think of General Ross, I think of Sam Elliott (of Tombstone fame). Hurt’s Ross was a quieter, more calculating Ross; Elliott’s chewed the scenery into a fine paste and spat it back in a rage rivaling that of the Hulk. “If you come within 100 yards of my daughter again, I will lock you away for the rest of your natural life!” Now, that’s intensity! That’s Thunderbolt Ross! That’s a guy who’s just crazy enough to carry on a vendetta against a big, green rage-engine of destruction. 

Or appear in a Nicolas Cage superhero film, for that matter.

Alfred Molina as Doctor Octopus (Spider-Man 2)

-Easily one of the greatest comic book villains to be brought to the big screen, Doctor Octopus required a number of traits. First would be the look. Doc Ock is a big lump of a guy with a round face and a nearly perpetual scowl. Alfred Molina had that and the occasional devious grin, to boot. Second would be the acting chops. Ock’s a sympathetic villain in many ways, and Molina nails that aspect of the character. He also pulls off the “magnificent b@$+@rd” persona, exuding arrogance and ruthlessness (“Butterfingers!”). Plus, Ock’s bat-$#!+ insane. Molina can play crazy, too. Anybody else remember his manic chocolate binge toward the end of Chocolat? 

I can guarantee his stomach still hasn't forgotten. UGH!

Jeffrey Dean Morgan as the Comedian (Watchmen)

-To be fair, Jackie Earle Haley was equally superb as Rorschach, but really, despite the striking physical resemblance, it was the gravelly voice that made it work. Jeffrey Dean Morgan’s Comedian, however, was perfect in every single way. Not only did he look like he stepped straight out of the comic book, he absolutely nailed the attitude and the swagger. When he tells Nite-Owl he’s looking at the American dream, he says it with just the right amount of cynicism and despair. 

He might be a disgusting lout of a human being, but DARN, he's bad@$$!

Ron Perlman as Hellboy (Hellboy)

It’s no surprise that director Guillermo del Toro and Hellboy creator Mike Mignola both wanted Ron Perlman for the role of Hellboy. I mean, look at him. He’s massive, and that craggy face and deep voice go perfectly with the character. But more important than the look is the soul of the performance. Perlman’s Hellboy looked absolutely ridiculous; he was covered in red foam rubber and sported a tail, for crying out loud. But literally within minutes, I forgot I was looking at a special effect, because Perlman made me care about the man underneath the effect. Under his horrifying (and horrifyingly silly) exterior was a gentle, insecure guy who just wanted to kick back, eat some “pamcakes” and have a beer. He was the everyman in the body of a demon, and despite the cheesy prosthetics, he was perfect. And then there's this:

What kind of kid picks meeting Hellboy as his "Make a Wish"? An awesome kind.      

Christopher Reeve as Superman (Superman)

As excellent as Henry Cavill’s performance in Man of Steel was, there is one true Superman, and that’s Christopher Reeve. A full 6’4” with broad shoulders and the misfortune of actually looking believable in sky-blue tights, Reeve was the heroic ideal incarnate, taken directly from a Curt Swan/Murphy Anderson cover. And his Clark Kent—nebbish, nerdy and klutzy—was just as dead-on. Although the movies were pretty campy (and only got campier with each successive film), there was nothing silly about Reeve’s Superman. We believed a man could fly, and, more than that, we believed that man was Superman.  

As if there were any doubt.

J.K. Simmons as J. Jonah Jameson (Superman)

-No contest here—Simmons' JJJ is the best. What’s funny is that Simmons looks absolutely nothing like Jameson when he’s out of makeup. But he has the attitude in spades. Nobody—nobody—could have played the part better than Simmons, and I’m glad to see his legacy carry on in Ultimate Spider-Man, even if Marc Webb ends up not using him in his films. In character, he looks exactly like the Ditko-era Jameson, from the flattop to the stogie, and he spouts off Jameson-isms at the speed of an accomplished typist hammering out an editorial. “Meat! I’ll send you a nice box of Christmas meat!” Simmons’ portrayal of Jameson is simply a cut above everything else, even Reeve’s Superman, and I hold out hope that we’ll get to see him again someday. 

And then there's this . . .

Power vs. Responsibility: A review of "Man of Steel"

WARNING: SOME SPOILERS AHEAD

I went into Man of Steel with only medium expectations; I expected to get my money’s worth, and perhaps even justify the purchase of popcorn and a small soda, but not the greatest superhero film of all time. Although I was correct on the latter point, Man of Steel is nevertheless the best Superman film of all time, and as a die-hard fan of Christopher Reeve’s portrayal of Superman, it feels very strange to say that. 

Sorry, Chris. You're still the best Superman actor, if it makes you feel any better.

One of the biggest flaws of the 2006 bomb Superman Returns was casting. Although Kevin Spacey was perfectly cast as Lex Luthor, capturing both the calculating cruelty of the comic book version and also the impudent charm of the Gene Hackman version, the rest of the cast was pretty poor. Brandon Routh looked like Reeve, certainly, but his Clark Kent came across more effeminate than nebbish. Kate Bosworth was simultaneously too young and too unassuming to portray the strong investigative reporter Lois Lane. Even Frank Langella was woefully miscast as Perry White, his only memorable line being a lackluster uttering of “Great Caesar’s ghost.” 

Behold! The only good thing in that awful, awful movie.

Man of Steel does not repeat that mistake in casting. First off, Henry Cavill, who I had first seen as an awkward teen in The Count of Monte Cristo, was born to play Superman. Reeve will always be my favorite, but Cavill is the first actor in more than 25 years to truly pull off the role. His Superman is regal, gallant and . . . well . . . nice, the way Superman is supposed to be. He’s a genuinely good guy, which is surprising in an era of angst and anti-heroes. And although I did and still do mourn the loss of the red overshorts, Superman is portrayed in such a dynamic fashion that his accessories are the last thing we're focusing on. He's zipping through the sky with giddy abandon when he first learns to fly, and his joy is contagious to the audience. Then, when he's racing to stop a world-threatening menace (that has apparently stolen Doctor Octopus' metal tentacles), he rockets along with purpose and power. This is the Superman that 1978's movie magic couldn't give us in practice but desperately wanted to give us in spirit. This Superman feels super. 

"My hands may be in chains, but my crotch has never felt so free . . ."

Amy Adams, too, surprisingly reinvigorates Lois Lane after years of associating her with the likes of Bosworth and Teri (blech) Hatcher. She has wit, smarts and moxie, but she is also sweet, willing to scrap the biggest story of her career because she sees good in the alien invader she has discovered. Be prepared for product placement, though, as her Nikon camera always seems to find its way into the foreground when she’s on-screen. 

"Now kiss!"

Michael Shannon’s General Zod does not demand that anyone kneel; he assumes that shoving his boot in your face will get the message across. He’s a very different kind of villain from what we’ve seen in recent blockbusters. He isn’t a sneaky plotter like Loki in The Avengers. He isn’t a brutal-yet-hammy bruiser like Bane in The Dark Knight Rises. He’s not even a cold, manipulative killer like Benedict Cumberbatch’s portrayal of Khan in Star Trek into Darkness. Devoid of the charisma that made those three memorable, Zod is just a very angry man who thinks he’s doing what he’s supposed to do to preserve his people, by any means necessary. He does not smile. He does not deliver witty one-liners. He does not relent. And that works very well. I was initially unfamiliar with Shannon's work, and frankly, I was worried when I heard the interview in which he talked about preparing for the role of Zod. He seemed rather bland and disinterested, and I didn't expect him to bring much intensity to the role. Aaaand then I saw this (don't watch if easily offended by profanity). Talk about intensity. Plus, his one-track drive to finish what he started leads Superman to cross a serious line, something no other enemy, not Luthor, Brainiac or even that danged Mr. Mxyzptlk (unless you count "Whatever Happened to the Man of Tomorrow," in my opinion the greatest Superman story of all time), can boast. 

"If you're planning to break my World Engine, DON'T F***ING BOTHER SHOWING UP!"

Something that really stood out in the film is the way both of Superman’s fathers, biological and adoptive, laid down their lives to protect him. Jor-El, played superbly by Russell Crowe, is murdered by Zod after sending little Kal-El to Earth in a rocket. And Jonathan Kent, played by Kevin Costner, dies in a tornado after convincing his son not to save him, so as to protect his identity. This . . . really rubbed me the wrong way, and I’ll tell you why: Superman is supposed to be a selfless figure who uses his powers to help people. He is truly the epitome of Spider-Man’s “With great power comes great responsibility” mantra, and he displays that character many times throughout the film. But who the heck did he learn it from? Certainly not from the man who raised him, that’s for sure. After saving a bus-load of kids from drowning, Pa Kent suggests that maybe Clark should have just let them drown; after all, saving a few human lives isn’t worth blowing his secret. I know he’s just trying to protect his son, but compare that to Uncle Ben telling Peter Parker about power and responsibility; he didn’t even know his nephew had super powers, but he still wanted him to understand that doing right sometimes means putting someone else’s well-being ahead of your own. That seems like the kind of thing Pa Kent would have told Clark, too, but he kind of went the opposite direction there. Throughout the movie's flashbacks, Pa keeps telling Clark he was sent to Earth for some purpose, and he's meant for great things, but at every turn he stifles his potential, telling him the world isn't ready for him. Talk about a lack of faith in his son, which, thankfully, Clark ultimately rises above (and yes, as it turns out, the world is ready). Jor-El, on the other hand, actually has some good fatherly wisdom to impart, encouraging Clark to save people AND to test the limits of his power, which Pa seemed adamantly against, despite his insistence that Clark has a bigger purpose. 

"Well, gee, son, when I said you were sent here for a reason, I meant football scholarships and a million-dollar signing bonus with the Chiefs. I didn't expect you to, y'know, get all altruistic and stuff."

There’s also kind of a good, old-fashioned allegory for communism vs. capitalism in the film. Krypton is portrayed as a heavily bureaucratic society in which everyone’s roles are predestined before they are even birth, and to forge one’s own destiny is . . . well . . . unheard of. That’s what makes Jor-El such a revolutionary, because he wants his son to have a chance to live his own life. Indeed, Zod is portrayed as a slave to his own nature, claiming he was born and bred to be a warrior and must therefore follow a bloody path. Superman is the American archetype, fighting for individuality and personal autonomy. 

Ummm . . .

Ultimately, Man of Steel is not as good as last year’s The Avengers; indeed, it’s not even quite as good as this year’s Star Trek into Darkness. But it’s still a fantastic movie, Costner's two-facedness notwithstanding, and hopefully the start of a great franchise, just as Christopher Nolan’s Batman films were, and Zack Snyder (who also directed the truly epic film adaptation of Watchmen) was the perfect choice to revitalize the character. You will believe a man can fly . . . and carry on an epic battle with another flying dude in the middle of a crumbling city. Or, for that matter, in an IHOP. 

"Welcome to IHOP . . . b!+ch!"

I give Man of Steel a well-deserved 4/5. Go see it in theaters, for sure, but maybe go out to get a popcorn refill after the bus scene.