Fantastic Four: First Steps has a slick 60s look but is missing some heart
For those of us still counting, Fantastic Four: First Steps is the 37th film of the Marvel Cinematic Universe and the beginning of its sixth "phase", though no one seems to know what these arbitrary groupings mean anymore.
What: A team of brilliant super-powered scientists must save the world from a planet-eating threat
Starring: Pedro Pascal, Vanessa Kirby, Joseph Quinn, Ebon Moss-Bachrach
Directed by: Matt Shakman
Where: In cinemas now
Likely to make you feel: Not particularly optimistic
What is clear is that, like this month's reintroduction of Superman, Fantastic Four is keen to wipe the slate clean for a broader mega-franchise that has become encumbered by behind-the-scenes catastrophes and dwindling box-office returns.
To that extent, both films hark back to old-school heroics with a gleaming earnestness and forgo overplayed origin stories to drop audiences into their heroes' early careers as they face their first major setback.
First Steps goes the extra mile by jumping over to a utopia-type dimension running parallel to the ongoing MCU continuity, and winding back the clock to the 1960s.
It is a world that beckons to be explored, and the film's greatest triumph (courtesy of production designer Kasra Farahani): a space-age fantasia of monorails, tube TVs and flying cars sculpted with soft curves and bursting with playful colours.
Here, the Fantastic Four are not just the only superheroes who exist — they are a team of brilliant astronauts who have become the world's primary governing body in the four years since an errant interstellar expedition exposed them to performance-enhancing cosmic rays.
That freak encounter stretched intractable alpha genius Reed Richards (Pedro Pascal, The Last of Us) into a plasticine shape-shifter; his wife, Sue Storm (Vanessa Kirby, Mission: Impossible), was endowed with invisibility and force field projection; her brazen younger brother Johnny (Joseph Quinn, Stranger Things) became, well, a Human Torch; and Ben Grimm (Ebon Moss-Bachrach, The Bear) got the short end of the stick by irreversibly transforming into a sentient rock pile with a soft heart.
In the film's opening scene, a flashing pregnancy test announces the newest member of the team: a super-powered son who has begun to gestate in Sue's womb.
For Reed, already the de facto dad of the team, that joy rapidly dissolves into a deep anxiety over protecting a child in a world where underground mole people, city-levelling kaiju and red apes cause everyday havoc.
He is the kind of man who can crack the code to faster-than-light travel on a blackboard, but would rather offload the emotional strain of crib-building to H.E.R.B.I.E., their accommodating droid assistant.
Dad duties are temporarily put on hold when Julia Garner's (Inventing Anna) naked, chrome-dipped alien, the Silver Surfer (aka Shalla-Bal), rides into town on a wave of impending annihilation. Her planet-devouring master, Galactus (Ralph Ineson, The Witch), has chosen Earth as his next meal and is already on his way.
"Use this time to rejoice and celebrate, for your time is short," she helpfully advises.
The Fantastic Four venture into space to face this cosmic behemoth, only to discover that the apocalypse can indeed be averted — but at the cost of Sue's child.
If I were being uncharitable, I would suggest that there was something vaguely regressive about a superhero film that was concerned with protecting the sanctity of the nuclear family, even if it put the whole world at risk.
Later, it is revealed that Richards has installed a surveillance network across New York to neutralise local crime organisations, a way to "babyproof the world". It is a cute line that is unavoidably at odds with earlier superhero films like The Dark Knight and Avengers: Age of Ultron, which rightfully pointed out the kind of worrying implications embedded in this form of vigilantism.
Like Superman, First Steps's rejection of the cynical, often deconstructionist tendencies of the 2010s's superhero results in an overt hostility towards our own reality. We are asked to relate to adult concerns about parenthood and relationships, but to ignore any awkward real-world parallels that can be inferred.
It is the fundamental problem with turning serials and chintzy Saturday morning cartoons into megabudget events that rely on an adult fanbase: we can only take these films so seriously before the illusion of uncomplicated fun is ruined.
For all its strides towards humanism, our four heroes find themselves left in the dust as the film zips through its disaster movie plot, often letting weeks fly by in hurried montages.
Kirby is the only character who gets to actually emote, if only as a protective mother; the script only skirts by the edges of these characters, with the prickly edges of Pascal's over-protective, galaxy-brained dad feeling smoothed over. (If Pascal really has the makings of a traditional movie star, we are yet to see a film that proves it.)
If only this film were enjoyable enough to warrant turning your brain off. Nice as it is to admire the interior design of a Marvel movie, director Matt Shakman (WandaVision) has few compelling ideas on how to shoot its physical sets and CGI extravaganzas.
Save for a glimpse into Sue's unborn child, the team's powers are deployed without imagination and are subject to ropey digital effects. The arrival of Galactus in the film's finale plays out like a kaiju movie in slow-motion.
The 60s sensibility is also ruined with thoroughly modern dialogue, riddled with the barrage of unfunny, off-brand Whedon banter that has become an unfortunate trademark of these films. Giacchino's whimsical score can only carry the tone so far, though even then, it's nowhere near the kind of jazzy, retrofuturist perfection of his work on The Incredibles (which, for the record, is still the best Fantastic Four film in existence).
The Marvel Cinematic Universe will, one day, come to an end — not because there is a shortage of worthy ideas accessible from its source material, but because Disney's production-line approach to filmmaking gorges on comic book lore while spitting out idiosyncrasies.
Fantastic Four: First Steps defies expectations of what a Marvel film can look and feel like — and in doing so, it proves just how little is really allowed to change.
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The Fantastic Four: First Steps (PG, 115 minutes) 4 stars I'd have thought The Fantastic Four to be a fairly straightforward Marvel Comics to adapt effectively for the screen. It's got an interesting origin story and four solid main characters, each with individual qualities and powers, with which to work. But up to now, the cinematic adaptations have been surprisingly lacklustre, with box office returns ranging from bad to mediocre, and little acclaim or lasting affection for any of them. They had their enjoyable elements but lacked that certain something. Filmmakers kept trying, though, and this version is easily the best so far. And that's not damning with faint praise: it's a lot of fun. The Fantastic Four: First Steps takes on place on Earth-828, a reality in which the title characters seem to be the only known superheroes. The setting combines high tech with a distinctive 1960s look and feel - a nod to the period in which the characters first appeared (1961). Two trivia notes: 828 is the date of original artist Jack Kirby's birthday, and there are cameos by the stars of the first Fantastic Four movie from the 1990s, made on a very low budget and only it's been said, solely so the man who held the movie rights could retain them. It never got an official release so it's nice those actors, who made the movie in good faith, finally get an acknowledgment. The characters' origin story is cleverly and economically retold in a celebratory TV broadcast early in the film. Four astronauts returned from space physically changed by a cosmic ray shower, each in a different way, and become superheroes. Reed Richards (Pedro Pascal) became the stretchy Mister Fantastic (curiously, his power is seen the least), his wife Sue Storm (c) is now the self-explanatory Invisible Woman (who also does powerful things with force fields), and her younger brother Johnny (Joseph Quinn) can transform himself into the fiery Human Torch. Reed's best friend Ben Grimm (Ebon Moss-Bachrach) underwent the most extreme transformation, permanently becoming the superstrong, rock-skinned Thing. Four years later the FF, who live together, are universally renowned as a force for good by a grateful, and seemingly much improved, world. They have as a helper a cutesy robot named HERBIE (Humanoid Experimental Robot B-Type Integrated Electronics, voiced by Matthew Wood) whose burbles began to grate: couldn't they have programmed him to have a proper speaking voice? Everything seems to be going well, professionally and personally. Sue finds out she is pregnant, after she and Reed have spent a long time trying, and so the anxiety and anticipation of impending parenthood is thrown into the usual bantering and bickering in which happy families engage. It can't last, of course. The enigmatic Silver Surfer (Julia Garner) comes to address the world with some bad news. A massive, ravenous space being named Galactus (Ralph Ineson) is on his way. His diet is the life force of planets, and Earth is next on the menu (though his ETA is neither given nor requested, oddly). Naturally, everyone looks to the FF to deal with this threat. But despite their powers, the heroes soon discover that is not going to be easy. Galactus offers a bargain: he will spare Earth in exchange for Sue's unborn child. Reed and Sue are understandably not too keen on the idea, but is the sacrifice necessary for the greater good? Or can they find another way to defeat Galactus before he gobbles everything up? The film is unpretentious and straightforward, some might think a little too much so, but it works. The story keeps moving along and the characters are well played and their interactions feel genuine. They're very much to the fore throughout. The film's bright colours and impressive production design are immersive, creating a world both retro and futuristic. This simplicity might not be enough for some and it's possible to nitpick. There are few side characters and those that are around get little to do. But complaining about that kind of thing is really beside the point given the way the writers and director Matt Shakman (creator of WandaVision) have made the film. Just go with it and enjoy. There's a mid-credits scene and a scene at the very end and the promise that the Fantastic Four will return. I'm looking forward to it. The Fantastic Four: First Steps (PG, 115 minutes) 4 stars I'd have thought The Fantastic Four to be a fairly straightforward Marvel Comics to adapt effectively for the screen. It's got an interesting origin story and four solid main characters, each with individual qualities and powers, with which to work. But up to now, the cinematic adaptations have been surprisingly lacklustre, with box office returns ranging from bad to mediocre, and little acclaim or lasting affection for any of them. They had their enjoyable elements but lacked that certain something. Filmmakers kept trying, though, and this version is easily the best so far. And that's not damning with faint praise: it's a lot of fun. The Fantastic Four: First Steps takes on place on Earth-828, a reality in which the title characters seem to be the only known superheroes. The setting combines high tech with a distinctive 1960s look and feel - a nod to the period in which the characters first appeared (1961). Two trivia notes: 828 is the date of original artist Jack Kirby's birthday, and there are cameos by the stars of the first Fantastic Four movie from the 1990s, made on a very low budget and only it's been said, solely so the man who held the movie rights could retain them. It never got an official release so it's nice those actors, who made the movie in good faith, finally get an acknowledgment. The characters' origin story is cleverly and economically retold in a celebratory TV broadcast early in the film. Four astronauts returned from space physically changed by a cosmic ray shower, each in a different way, and become superheroes. Reed Richards (Pedro Pascal) became the stretchy Mister Fantastic (curiously, his power is seen the least), his wife Sue Storm (c) is now the self-explanatory Invisible Woman (who also does powerful things with force fields), and her younger brother Johnny (Joseph Quinn) can transform himself into the fiery Human Torch. Reed's best friend Ben Grimm (Ebon Moss-Bachrach) underwent the most extreme transformation, permanently becoming the superstrong, rock-skinned Thing. Four years later the FF, who live together, are universally renowned as a force for good by a grateful, and seemingly much improved, world. They have as a helper a cutesy robot named HERBIE (Humanoid Experimental Robot B-Type Integrated Electronics, voiced by Matthew Wood) whose burbles began to grate: couldn't they have programmed him to have a proper speaking voice? Everything seems to be going well, professionally and personally. Sue finds out she is pregnant, after she and Reed have spent a long time trying, and so the anxiety and anticipation of impending parenthood is thrown into the usual bantering and bickering in which happy families engage. It can't last, of course. The enigmatic Silver Surfer (Julia Garner) comes to address the world with some bad news. A massive, ravenous space being named Galactus (Ralph Ineson) is on his way. His diet is the life force of planets, and Earth is next on the menu (though his ETA is neither given nor requested, oddly). Naturally, everyone looks to the FF to deal with this threat. But despite their powers, the heroes soon discover that is not going to be easy. Galactus offers a bargain: he will spare Earth in exchange for Sue's unborn child. Reed and Sue are understandably not too keen on the idea, but is the sacrifice necessary for the greater good? Or can they find another way to defeat Galactus before he gobbles everything up? The film is unpretentious and straightforward, some might think a little too much so, but it works. The story keeps moving along and the characters are well played and their interactions feel genuine. They're very much to the fore throughout. The film's bright colours and impressive production design are immersive, creating a world both retro and futuristic. This simplicity might not be enough for some and it's possible to nitpick. There are few side characters and those that are around get little to do. But complaining about that kind of thing is really beside the point given the way the writers and director Matt Shakman (creator of WandaVision) have made the film. Just go with it and enjoy. There's a mid-credits scene and a scene at the very end and the promise that the Fantastic Four will return. I'm looking forward to it. The Fantastic Four: First Steps (PG, 115 minutes) 4 stars I'd have thought The Fantastic Four to be a fairly straightforward Marvel Comics to adapt effectively for the screen. It's got an interesting origin story and four solid main characters, each with individual qualities and powers, with which to work. But up to now, the cinematic adaptations have been surprisingly lacklustre, with box office returns ranging from bad to mediocre, and little acclaim or lasting affection for any of them. They had their enjoyable elements but lacked that certain something. Filmmakers kept trying, though, and this version is easily the best so far. And that's not damning with faint praise: it's a lot of fun. The Fantastic Four: First Steps takes on place on Earth-828, a reality in which the title characters seem to be the only known superheroes. The setting combines high tech with a distinctive 1960s look and feel - a nod to the period in which the characters first appeared (1961). Two trivia notes: 828 is the date of original artist Jack Kirby's birthday, and there are cameos by the stars of the first Fantastic Four movie from the 1990s, made on a very low budget and only it's been said, solely so the man who held the movie rights could retain them. It never got an official release so it's nice those actors, who made the movie in good faith, finally get an acknowledgment. The characters' origin story is cleverly and economically retold in a celebratory TV broadcast early in the film. Four astronauts returned from space physically changed by a cosmic ray shower, each in a different way, and become superheroes. Reed Richards (Pedro Pascal) became the stretchy Mister Fantastic (curiously, his power is seen the least), his wife Sue Storm (c) is now the self-explanatory Invisible Woman (who also does powerful things with force fields), and her younger brother Johnny (Joseph Quinn) can transform himself into the fiery Human Torch. Reed's best friend Ben Grimm (Ebon Moss-Bachrach) underwent the most extreme transformation, permanently becoming the superstrong, rock-skinned Thing. Four years later the FF, who live together, are universally renowned as a force for good by a grateful, and seemingly much improved, world. They have as a helper a cutesy robot named HERBIE (Humanoid Experimental Robot B-Type Integrated Electronics, voiced by Matthew Wood) whose burbles began to grate: couldn't they have programmed him to have a proper speaking voice? Everything seems to be going well, professionally and personally. Sue finds out she is pregnant, after she and Reed have spent a long time trying, and so the anxiety and anticipation of impending parenthood is thrown into the usual bantering and bickering in which happy families engage. It can't last, of course. The enigmatic Silver Surfer (Julia Garner) comes to address the world with some bad news. A massive, ravenous space being named Galactus (Ralph Ineson) is on his way. His diet is the life force of planets, and Earth is next on the menu (though his ETA is neither given nor requested, oddly). Naturally, everyone looks to the FF to deal with this threat. But despite their powers, the heroes soon discover that is not going to be easy. Galactus offers a bargain: he will spare Earth in exchange for Sue's unborn child. Reed and Sue are understandably not too keen on the idea, but is the sacrifice necessary for the greater good? Or can they find another way to defeat Galactus before he gobbles everything up? The film is unpretentious and straightforward, some might think a little too much so, but it works. The story keeps moving along and the characters are well played and their interactions feel genuine. They're very much to the fore throughout. The film's bright colours and impressive production design are immersive, creating a world both retro and futuristic. This simplicity might not be enough for some and it's possible to nitpick. There are few side characters and those that are around get little to do. But complaining about that kind of thing is really beside the point given the way the writers and director Matt Shakman (creator of WandaVision) have made the film. Just go with it and enjoy. There's a mid-credits scene and a scene at the very end and the promise that the Fantastic Four will return. I'm looking forward to it. The Fantastic Four: First Steps (PG, 115 minutes) 4 stars I'd have thought The Fantastic Four to be a fairly straightforward Marvel Comics to adapt effectively for the screen. It's got an interesting origin story and four solid main characters, each with individual qualities and powers, with which to work. But up to now, the cinematic adaptations have been surprisingly lacklustre, with box office returns ranging from bad to mediocre, and little acclaim or lasting affection for any of them. They had their enjoyable elements but lacked that certain something. Filmmakers kept trying, though, and this version is easily the best so far. And that's not damning with faint praise: it's a lot of fun. The Fantastic Four: First Steps takes on place on Earth-828, a reality in which the title characters seem to be the only known superheroes. The setting combines high tech with a distinctive 1960s look and feel - a nod to the period in which the characters first appeared (1961). Two trivia notes: 828 is the date of original artist Jack Kirby's birthday, and there are cameos by the stars of the first Fantastic Four movie from the 1990s, made on a very low budget and only it's been said, solely so the man who held the movie rights could retain them. It never got an official release so it's nice those actors, who made the movie in good faith, finally get an acknowledgment. The characters' origin story is cleverly and economically retold in a celebratory TV broadcast early in the film. Four astronauts returned from space physically changed by a cosmic ray shower, each in a different way, and become superheroes. Reed Richards (Pedro Pascal) became the stretchy Mister Fantastic (curiously, his power is seen the least), his wife Sue Storm (c) is now the self-explanatory Invisible Woman (who also does powerful things with force fields), and her younger brother Johnny (Joseph Quinn) can transform himself into the fiery Human Torch. Reed's best friend Ben Grimm (Ebon Moss-Bachrach) underwent the most extreme transformation, permanently becoming the superstrong, rock-skinned Thing. Four years later the FF, who live together, are universally renowned as a force for good by a grateful, and seemingly much improved, world. They have as a helper a cutesy robot named HERBIE (Humanoid Experimental Robot B-Type Integrated Electronics, voiced by Matthew Wood) whose burbles began to grate: couldn't they have programmed him to have a proper speaking voice? Everything seems to be going well, professionally and personally. Sue finds out she is pregnant, after she and Reed have spent a long time trying, and so the anxiety and anticipation of impending parenthood is thrown into the usual bantering and bickering in which happy families engage. It can't last, of course. The enigmatic Silver Surfer (Julia Garner) comes to address the world with some bad news. A massive, ravenous space being named Galactus (Ralph Ineson) is on his way. His diet is the life force of planets, and Earth is next on the menu (though his ETA is neither given nor requested, oddly). Naturally, everyone looks to the FF to deal with this threat. But despite their powers, the heroes soon discover that is not going to be easy. Galactus offers a bargain: he will spare Earth in exchange for Sue's unborn child. Reed and Sue are understandably not too keen on the idea, but is the sacrifice necessary for the greater good? Or can they find another way to defeat Galactus before he gobbles everything up? The film is unpretentious and straightforward, some might think a little too much so, but it works. The story keeps moving along and the characters are well played and their interactions feel genuine. They're very much to the fore throughout. The film's bright colours and impressive production design are immersive, creating a world both retro and futuristic. This simplicity might not be enough for some and it's possible to nitpick. There are few side characters and those that are around get little to do. But complaining about that kind of thing is really beside the point given the way the writers and director Matt Shakman (creator of WandaVision) have made the film. Just go with it and enjoy. There's a mid-credits scene and a scene at the very end and the promise that the Fantastic Four will return. I'm looking forward to it.
