Review: Marvel's THE FANTASTIC FOUR: FIRST STEPS Is a Visual Spectacle and a Retro Sci-Fi Treat for Marvel Fans — GeekTyrant
What stands out immediately is the movie's style. Director Matt Shakman leans hard into a vibrant, 1960s-inspired retro aesthetic, and I loved it! The visuals awesomely pop with color, and the production design feels like a love letter to classic sci-fi with a modern MCU polish. It gives the film a pulpy fun unique flavor that separates it from the usual Marvel fare.
The action, though limited to two major set pieces, absolutely delivers. The first big sequence happens early on when the Fantastic Four rockets into space to negotiate with Galactus. It ends with a space chase with Silver Surfer, and It's thrilling, fast-paced, and packed with jaw-dropping visuals.
The second epic action set piece is the finale. Galactus arrives on Earth to take something very personal from the team, and what follows is a massive, city-stomping showdown that puts the Fantastic Four to the ultimate test. These sequences are awesome and they make the film worth seeing on the big screen!
As for the story, it's… fine. It's straightforward and serviceable, but it won't blow your mind. The biggest issue is pacing. The opening of the film drags with a long origin setup that fans familiar with the Fantastic Four might find unnecessary. For those of us who already know these characters, the first 15–20 minutes feel like a slow crawl before things really kick in. Once the plot finds its groove, though, it's a wild and entertaining ride.
Performance-wise, the cast does solid work across the board. Vanessa Kirby shines as Sue Storm, easily the emotional core of the movie. She feels like the true lead here, and it works. Pedro Pascal brings charm to Reed Richards, but surprisingly, Mister Fantastic ends up being the least interesting member of the team. He's underutilized, and his powers barely get any showcase.
On the flip side, Joseph Quinn's Johnny Storm and Ebon Moss-Bachrach's Ben Grimm bring personality and heart to the group dynamic, and they're a blast to watch together.
The villains are where this film really flexes. Galactus looks incredible… massive, menacing, and gloriously comic-accurate! Ralph Ineson brings a chilling presence to the role, making the Devourer of Worlds feel like an unstoppable force of nature.
Then there's Silver Surfer, played by Julia Garner, who gets a good amount of screentime and adds a compelling dynamic to the story, and there's a interesting dynamic she has with Johnny Storm. Her inclusion opens the door for future stories, and honestly, a solo Silver Surfer film now feels like a must.
In the end, The Fantastic Four: First Steps doesn't reinvent the MCU wheel, but it does spin it in a fun, visually rich direction. Despite some pacing hiccups and an underdeveloped Reed Richards, the movie succeeds as a exciting cosmic adventure and sets the stage for the monumental events of Avengers: Doomsday and Secret Wars. Marvel fans, this one's worth your ticket.
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Yahoo
an hour ago
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New movies to watch this weekend: See 'The Fantastic Four' in theaters, rent 'Materialists,' stream 'Happy Gilmore 2' on Netflix and more
"The Fantastic Four: First Steps" shows that "Superman" was the start of a new trend. Hello, Yahoo readers! My name is Brett Arnold, film critic and longtime Yahoo editor, and I'm back with another edition of Trust Me, I Watch Everything. This week, there are a handful of movies coming to streaming services you're likely already paying for, including Wes Anderson's latest, an indie gem about baseball and a fun self-aware horror flick. The biggest new release is The Fantastic Four: First Steps, the latest attempt at making the Marvel characters pop onscreen with a buzzy new A-list cast, including Pedro Pascal. If you're looking for more Pascal, make it a double feature: His rom-dram Materialists is available to rent. Read on for more, because there's something here for everyone! 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If you're into low-budget stuff buoyed by great practical FX work and better-than-average performances, check it out. How to watch: Monster Island is now streaming on Shudder. Stream 'Monster Island' 🤔 But that's not all! The latest film from Wes Anderson is a decidedly silly one. Imagine the usual Andersonian look and feel, now with cartoonish violence, and a terrific performance from Benicio Del Toro at its center. I wrote more about it here. Now streaming on Peacock. This quietly profound indie about a baseball team playing their last-ever game functions as a metaphor about life and the eventual bitter end of the things we love. How can you not be romantic about baseball?! I wrote more here. Now streaming on Mubi. This horror flick based on a popular video game leans more Cabin in the Woods send-up than earnest horror, and fans of the genre will enjoy the way it plays with conventions. Now streaming on Netflix. 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Chicago Tribune
an hour ago
- Chicago Tribune
Why Alamo's preshow is one of the last, best reasons to go to a movie theater
The Alamo Drafthouse Cinema, located in the new plastic heart of Wrigleyville, tucked alongside the crush of tourists and bachelorette parties and bars crawls and soulless developments, is not the first place I would I think I would want to arrive early. And yet, I have to, and get annoyed when I don't. Not because of the food they serve (not bad, not cheap). Or lines at the box office (nonexistent, that being a pre-pandemic concern). You must arrive early — 30 minutes before a movie's showtime — just for the Alamo preshow. The preshow is a reminder that 75% of the magic of going to a movie is waiting for the movie. It's a reminder of why you bothered to leave the house to watch a movie. I'm not talking about trailers. They show many, many trailers. But only after this preshow. (Whatever you came to see, as in most theaters, starts 20 or so minutes later than scheduled, preshow and all.) No, I'm talking about the 30 minutes of parodies and oddities, archival PSAs and music videos, dance party footage, old toy ads, history lessons, workout videos, Bollywood numbers, interview clips, film essays and whatever else Alamo cobbles together, usually tied to the theme of the movie you're about to see. If you went to the hilariously sadistic 'Final Destination Bloodlines,' you got Tom and Jerry cartoons and satiric educational training films. 'Barbie' got a Greta Gerwig appreciation and vintage toy commercials and clips of Ryan Gosling dancing as a child performer. Captain America movies get a slow-burn Ken Burns-inspired retelling of the history of Marvel's Captain America films. Recently, I saw the new 'Jurassic Park' and for 30 minutes before trailers, we got bizarro dinosaur films and a history of a Finnish metal band for children, Hevisaurus. Showing up half an hour before a movie begins is a lot to ask of an audience, especially one that would rather be streaming at home. But in my household, when we go to Alamo, arriving too early is ritual, and since I have an 8-year-old who needs to see every unnecessary live-action Disney retrofit, that preshow is often the only highlight. Alamo has been doing preshows since it began 18 years ago in Austin, Texas; as part of an expansion in 2023, it finally came to Chicago, was bought by Sony Pictures and now has a few dozen theaters across the country. It's not the only movie theater in town that knows how to warm-up an audience just sitting there, getting comfortable, fiddling with phones, eating most of the popcorn before the movie starts: A few blocks away, the Music Box Theatre has had a live organist for ages. These bonus flourishes seem minor, but they should be studied by larger chains that go sweaty touting their investments in laser projection and 4DX immersion and Dolby 3D soundscapes. A good preshow is so simple, low-tech and warm as to feel old-fashioned; it's an amuse-bouche that acknowledges, yes, you have a perfectly fine TV at home, maybe even a better sound system, but, as Nicole Kidman says in her famous preshow speech for AMC Theatres, Keeping the audience in an anticipatory spell as long as possible — that's the point. Tom Cruise, Kidman's ex-husband, knows this, too: Before 'Mission: Impossible — The Final Reckoning,' he greets the audience in a short clip, thanking them for doing something so communal. Cruise, on a one-man impossible mission to save the theater experience even if it means hanging off a biplane, delivered a similar preshow before 'Top Gun: Maverick.' That these people go to such lengths in the service of framing another perfectly entertaining though forgettable night at the movies is what makes the preshow, often playing before the forgettable, so touching. I don't remember a lot about 'Final Reckoning,' for example, but I remember Alamo's exhaustive primer of 30 years of 'Mission: Impossible' plots and MacGuffins. Without a disassembly, I would have been as lost as I bet a lot of audiences were. It also got me more invested in the experience than I had expected. Like Cruise, the Alamo preshow knows the last thing we want in the streaming age is to leave home then feel nothing. Preshow entertainment, of course, goes way back. In the first days of cinema, movies themselves were preshow entertainment, a kind of intermission between live vaudeville acts. Once features were the main attraction, there were cartoons, newsreels, shorts. During the Great Depression, to lure people back, theater owners in the Midwest would have giveaway nights, awarding dinnerware and even pets. Disney wildlife shorts preceded Disney films. As drive-ins became popular in the 1950s, theaters focused on concession stands: That iconic 'Let's All Go to the Lobby' spot starring dancing hot dogs and popcorn bags may be the most famous preshow entertainment ever. For decades, the Showcase Cinemas chain was known for sending ushers into theaters, shaking cans and soliciting change for the Dana-Farber Cancer Institute in Boston. But gradually, advertising took over. Trailers were the whole preshow, alongside traditional TV ads, PSAs about theater policies, and in the late 1970s and early 1980s, even lobbying campaigns from theater owners spooked by cable TV, warning of the death of 'free TV.' Laird Jimenez, the director of video content for Alamo, thinks of their preshow as continuing the older tradition, rarely practiced now, fed by the online libraries of archival footage and original video floods that the 21st century has been awash with. (Alamo gets permission, though does not pay, the creators of any material it pulls from YouTube or elsewhere.) But Jimenez also admits, they're leaving money, a lot of money, on the table in the service of a theater experience. '(The preshow) is probably not the economically best decision considering the labor hours it takes to make them and the fact it's screen time we could use — that's money we're losing, not running Chrysler ads.' A recent poll of theater owners, reported by Variety, and conducted by analyst Stephen Follows and the online trade publication Screendollars, found that more than 55% of movie exhibitors believe the movie theater, as an institution, has maybe 20 years left. And still, other than movie trailers, Alamo does not run advertising, as a company policy. Instead, as Rome burns, a team of three young guys in its Austin headquarters, with backgrounds in film school, film preservation, video stores and film festivals, pump out five to 10 30-minute preshows a week. There is some recycling, but almost every new movie that opens — as well as older repertoire films it shows, such as 'Jaws' and 'Mean Girls' — gets a new 30-minute preshow. 'A lot of original pieces we make simply come out of a passion we have for something,' said Ray Loyd, senior content producer. So, instead of car ads, you get a history of Black westerns, relayed by Black film scholars. Or an old TV spot with George Takei, in Sulu regalia, shilling for the Milwaukee County Transit System. Or a study of how 'Dune' influenced '70s progressive rock. Or director Edgar Wright explaining the nuances of car chases. Or an essay on questions left by 'Cats,' including: If cats have fur naturally, why do cats in the film 'Cats' wear fur coats? The recent 'Nosferatu' got an extensive history of the vampire genre. 'My favorite stuff is when we can show the breadth of everything in movies,' said Zane Gordon-Bouzard, an Alamo video producer. 'We have this platform and we can show people there is a rich world of not only cinema, but videos, old TV — all worth preserving and watching.' The result, sitting there waiting for your movie, is like having a friend show you this cool YouTube sketch, and now this insane commercial, and now this weird music video, then stopping to describe how 'Lilo & Stitch' fits into the rich tradition of knockoffs of 'E.T. the Extra-Terrestrial.' Surprisingly, in this instance, with an audience, it's worth the ticket.
