Latest news with #InfinitySaga
Geek Girl Authority
19-05-2025
- Entertainment
- Geek Girl Authority
Marvel Studios' Infinity Saga Concert Experience Archives
Monita Roy Mohan Re-live the Avengers' journey with Marvel Studios' Infinity Saga Concert Experience, which juxtaposes iconic Marvel film scenes with music from a live orchestra. Read on for our review.
Geek Girl Authority
19-05-2025
- Entertainment
- Geek Girl Authority
Concert Review: MARVEL STUDIOS' INFINITY SAGA CONCERT EXPERIENCE
On a surprisingly windy summer day in Toronto, Marvel fans came together to experience the Infinity Saga like never before. The Marvel Studios' Infinity Saga Concert Experience combined select scenes from the Marvel Cinematic Universe with live orchestral music from the franchise to produce an immersive experience unlike a regular movie-going one. The concert was brought to the city by Kashamara Productions, a Canadian-based special events company. The concert music was conducted by renowned Japanese-American conductor Sarah Hicks, and brought to life by the Toronto Symphony Orchestra. About the Marvel Studios' Infinity Saga Concert Experience Photo courtesy Monita Roy Mohan The Marvel Studios' Infinity Saga Concert Experience debuted in 2024 and has since slowly been doing the rounds of North America. There were supposed to be two Toronto concerts, but the Friday show was cancelled. The Saturday show, which is the one I attended, therefore, had a packed audience, which was spectacular because the thunderous clapping and hooting reverberated across the expansive Meridian Hall. RELATED: Marvel Studios Announces Expansive Avengers: Doomsday Cast The concert kicked off with Hicks saying 'Avengers Assemble' to thunderous applause. After a short trailer of the MCU, the show began with the Marvel fanfare. But of course. The concert charted the journeys of key characters from the Infinity Saga, with a focus on the big three—Tony Stark/Iron Man (Robert Downey Jr.), Steve Rogers/Captain America (Chris Evans), and Thor (Chris Hemsworth). We got to see a few full scenes of their most heroic moments, all with the live orchestra's music playing alongside. Other hero tributes included nods to Doctor Strange (Benedict Cumberbatch), Scott Lang/Ant-Man (Paul Rudd), surprisingly Hope Van Dyne/Wasp (Evangeline Lilly), as well as Peter Parker/Spider-Man (Tom Holland), and, of course, an emotionally heavy dose of T'Challa/Black Panther, played by the late Chadwick Boseman. There were loud cheers for Thor and Loki (Tom Hiddleston), but also, randomly, Thanos (Josh Brolin). RELATED: Sadie Sink to Star in Spider-Man 4 The pre-intermission section of the Marvel Studios' Infinity Saga Concert Experience was joyful and bright. The inclusion of humorous fight scenes and banter from The Avengers added to the ebullience. Post-intermission was much darker, but it was absolute perfection—the second part almost exclusively covered Avengers: Infinity War and Avengers: Endgame . It was intense and ever-so emotional. The Music of Marvel Photo courtesy Monita Roy Mohan The Marvel Cinematic Universe has plenty of stunning themes and musical interludes, but the franchise doesn't always get the credit it deserves for its music. Marvel Studios' Infinity Saga Concert Experience spotlights the more memorable musical moments of the franchise. I couldn't stop swaying and bobbing to many of my favorite tunes, like the theme from Thor , and the Oscar-winning music of Black Panther . RELATED: Captain America: Brave New World and the Importance of Self-Love A huge cheer went up for the Thor: Ragnarok theme. But the cheers and hoots for The Avengers theme, which played over the scene of the six original Avengers coming together, were deafening. The audience drowned the music out with our applause. While the music was glorious, there were a few missteps. I loved the inclusion of 'The Star-Spangled Man,' but I could not hear the lyrics. Not sure why the voices were completely drowned out by the music. The scene introducing Thor, 'Wakanda,' and Killmonger's theme seemed muted, as if the key percussions were missing. But the music picked up after that. RELATED: Denzel Washington Teases Black Panther 3 Role The Characters Photo courtesy Monita Roy Mohan The Marvel Studios' Infinity Saga Concert Experience emphasized the journey of some of the main characters. So, despite one audience member loudly yelling for Bucky (Sebastian Stan), Bucky Barnes/the Winter Soldier was hardly in the concert. Interestingly, despite the Snap scene being played out almost in full, Bucky's part was cut out. Strange choice. There was far too little of the Carol Danvers/Captain Marvel (Brie Larson) tribute. Only her theme tune and a short montage were played. But she got her due later in the concert. The loud hollers for Captain Marvel's epic entrance in Endgame made my heart sing. For all the hate that the ladies of Marvel, especially Brie Larson as Carol, get from the online community, an experience like Marvel Studios' Infinity Saga Concert Experience is a nice reminder that there are actual fans out there who don't revel in prejudice. RELATED: The Missing Women From the Avengers: Doomsday Cast I found the choices of Steve's scenes spectacular—they truly did showcase his heroism. But they also inadvertently showed off how brave and strategic Peggy Carter (Hayley Atwell) was. My favorite part of the concert was the obvious love for Wanda Maximoff/Scarlet Witch (Elizabeth Olsen). One woman screamed throughout the scene when Wanda staved off Thanos' attack while destroying the Mind Stone, and the love of her life, Vision (Paul Bettany). It was a bit much, but we felt the love. Another audience member stood up and clapped while Wanda fought Thanos in Endgame . The concert also gave us the funeral and farewell for Natasha Romanoff/Black Widow (Scarlett Johansson) that the all-male writing-directing team of Avengers: Endgame didn't bother to give her. Not only that, but the Black Widow tribute was absolutely stellar. As Natasha Romanoff fell to her death in Vormir, the concert cut to a collection of scenes of Black Widow throughout the MCU, including the dream sequences of the Red Room and numerous touching moments between Natasha and her sister, Yelena Belova (Florence Pugh). The tears flowed freely. Literally, the best part of the show. RELATED: Movie Review: Thunderbolts* An Unmissable Experience The Marvel Studios' Infinity Saga Concert Experience ended the way Avengers: Endgame did, concluding decades of nostalgia and investment in these characters with Alan Silvestri's unforgettable musical refrain. Yes, there were more tears. The Concert Experience isn't just a way to re-tread the journeys of the Avengers, it also recontextualizes the meaning they have to us — the audience and fans — and to the new heroes who've joined the MCU since the Infinity Saga ended. RELATED: Why Did Thunderbolts* Even Bother Including Taskmaster? We've all watched Marvel films in theatres far and wide, but the best part of the concert was that it gave us fans the ability to do the things that are not possible in the movie hall — we screamed, we clapped, we hooted. We re-lived the magic of Marvel, one musical theme at a time. Who Is Bob Reynolds, the Newest Hero Introduced in THUNDERBOLTS*? Monita has been championing diversity, inclusivity, and representation in entertainment media through her work for over a decade. She is a contributor at Bam Smack Pow, and her bylines have appeared on 3-time Eisner Award-winning publication Women Write About Comics, Geek Girl Authority, HuffPost, (formerly Soundsphere/Screensphere, FanSided's Show Snob, and Vocal. She was also a TV/Movies features writer at Alongside her twin, Monita co-hosts the pop culture podcast Stereo Geeks.
Express Tribune
01-05-2025
- Entertainment
- Express Tribune
Superheroes and safe bets
With Thunderbolts* only a day away and expectations soaring, it is as good a time as any to press rewind and see how cult love is keeping the Marvel Cinematic Universe alive. Now, at first glance, you might think that I'm being pessimistic. But then, you'd only be partially correct. Let's take a look at the rogues leading the MCU's new lineup film: Yelena Belova AKA the new Black Widow, former Winter Soldier Bucky Barnes, former Captain America candidate John Walker or the US Agent, ex-villain Ava Starr or Ghost, and many more. If some of these names sound familiar to you, it's because you have seen them before. And chances are, they've carved a hole in your heart that only they can fill. Although some of these are much newer than the others, they all have one thing in common - their reputation precedes them, disgraces them even. And to the audience, it makes them individuals worth a thorough exploration and perhaps even redemption. It ultimately makes them memorable enough for the film to show promise. But is that all there is to it? Hard to swallow It is no secret that MCU fans tend to hold a grudge against the novel in a crowd of fan-favourites, sometimes even for a debatable reason. Take the late entry of Captain Marvel as an example. Despite the Infinity Saga being at its grand culmination, Carol Danvers proved to be a disturbance for some, an anomaly who couldn't keep up with the Saga's gut-punching speed despite her spaceship-wrecking abilities. While many had a problem with Captain Marvel's pacing or the fact that Carol didn't smile as frequently as palatable superheroines are expected to do, this was soon remedied in Avengers: Endgame - the Infinity Saga's star-studded farewell. And that's because Carol was flanked by a legion of heroes that fans loved ardently, effectively granting her no more visibility than that of a single piece in a large puzzle. If you were one of the lucky ones who scored tickets to one of the early screenings of Endgame, it's likely you remember it to be your most exhilarating cinematic experience. But don't let those old cheers deceive you, even if they were prompted by your own slackened jaws and balled fists. That adrenaline rush of an experience doesn't oblige you to turn a blind eye towards the blatant fanservice that carried the film whose first hour you'd likely skip on a rewatch. Because let's be honest, we're in it for the spectacular "Avengers Assemble" moment that had been fermenting with teases and abrupt cuts in prior films. So yes, we were seated for hours just to hear that war cry, just to watch the reversal of the Snap, just to scream our lungs out as our favourite heroes marched headfirst into Thanos' forces. It is hardly a sin to admit that, given how little luck new heroes have had in following MCU projects. Need I get into She-Hulk? Playing it safe I'm a woman of my word, so I come bearing some positives. Thunderbolts* is not a bad idea in of itself; it is, in fact, a long-awaited breath of relief. I hold by the belief that oftentimes, anything popular is popular for a reason, and the anticipation that this film has garnered after a dry season for the franchise isn't misplaced. There is of course a narrative advantage to bringing back old characters, specifically ones that have served as side characters for a majority of their screen time. It gives their underdeveloped stories a chance to shine, to develop into something more personal, something that does justice to their strong character traits. It is also less overwhelming for new fans, who are unfamiliar with the original comics and are navigating a multiverse of superheroes and supervillains. As for old fans, it is content that they've been deprived of for far too long. They need this as much as their beloved heroes do. Except, Marvel relies heavily on this nostalgic factor to keep the lights on, seeing as MCU fans can largely only digest characters they are familiar with. Perhaps, even Marvel can't always be blamed for the reception, giving the deep-seated bias that propels fan sentiments. It is still unfathomable to some that Sam Wilson is capable of succeeding as the new Captain America, despite not just proving himself time and again but also safely being an agreeable old character. But why must fans move on? It's not as if Steve Rogers explicitly retired and passed on the torch to Sam himself. It is this reliance on fanservice and reluctance to change that prevents superhero films from being regarded as works of art, at least not in the grandiose, cinephile sense of the word. The MCU's insistent obedience to this formula forbids risk-taking because straying seldom leads to fruitful results, as the recent past proves. Beyond fanservice In the context of now, that couldn't be any more ironic. At this point in time, the MCU is awaiting the release of a film made specifically for strays and those who resonate with them. The very essence of a justice-bearing superhero. Because despite everything, Thunderbolts* shows promise. Aside from diving into the mental health of survivors ridden with guilt, the film focuses on all that maketh a complex superhero: a tragic past, a rebellious cause, an unsung story, and a living martyrdom. For many superhero fans, this is a tale as old as time and is consumed for all the right reasons. It doesn't fashion a one-dimensional sense of justice; it instead promotes inner turmoil, complexity, and most of all, empathy. A superhero may not be anything more than a cape-wearer with supernatural abilities, but a people's superhero is one whose appeal survives the test of time because their values mirror the brighter side of human nature. So when Bucky's metal arm reminds him of the harm he was brainwashed into causing or when Ava looks back on how her desperation was manufactured by pain, they transform into something more than superhuman. They become a reflection of imperfections, of forgiveness, of a chance at a better life. So even aside from the fanservice, their appeal lives on. If the pre-release reviews are any indication, our anti-heroes have critics convinced. But only time and fan sentiments can tell if this wayward group sticks the poster landing or falls straight into a pit of fanservice.
BBC News
29-04-2025
- Entertainment
- BBC News
Thunderbolts* review: 'The greatest Marvel offering in years'
The latest in the superhero franchise "is scrappy, scruffy-looking, down-to-earth fun", with a "charismatic" Florence Pugh at its centre, writes Nicholas Barber. Ever since Avengers: Endgame came out in 2019, the subtitle has felt a lot more appropriate than the studio might have liked. It's not that Marvel hasn't had any hits in the 2020s, but it is no longer releasing an unbroken chain of talked-about blockbusters, nor is it keeping audiences invested in a story that threads through all of them. That particular game has come to an end. The Marvel films that have worked best since Endgame are the ones that have moved furthest away from the pattern set by the so-called "Infinity Saga" – the first 22 instalments in the franchise, which pivoted around a fight against uber-villain Thanos. Last year's R-rated Deadpool & Wolverine used almost no characters from the main Marvel Cinematic Universe (MCU); the postmodern Spider-Man: No Way Home paid tribute to the Spider-Man films which weren't made by Marvel Studios; and the latest Marvel film, Thunderbolts*, has its own distinct identity, too. That's not to suggest that it isn't a part of the MCU. In fact, one of its clever touches is that it specifically addresses how gloomy people feel in a world where Iron Man, Thor and Captain America are no longer around. But the director, Jake Shreier, and the screenwriters, Eric Pearson and Joanna Calo, have come up with an unruly take on the superhero genre which makes it the most refreshing MCU offering in years. The key is that, rather than trying to be as glossy and expansive as the Infinity Saga films, Thunderbolts* is scrappy, scruffy-looking, down-to-earth fun. It isn't the epic tale of indestructible titans saving the Universe, let alone the multiverse; it's a comedy-tinged caper about bungling secret agents who are deemed a liability by the very company that used to employ them. It's not a new scenario: after The Bourne Identity, there were countless action films in which disavowed spies dodged their erstwhile handlers. But Thunderbolts* stands out because it has a whole group of such spies: a ragtag bunch of depressive, dysfunctional loners who must work together and can't stop grumbling about it. What's especially unusual about the film, in Marvel terms, is that its premise would be viable even if the characters weren't super-powered. And, indeed, they aren't all that super-powered compared to the aforementioned Captain America and Thor. Part of their appeal is that they can be killed by bullets and trapped in rooms with locked doors, which makes them a lot easier to relate to than Norse gods. There's a lesson there that the makers of such disappointments as Eternals and The Marvels should have learnt. It's not the characters' powers that count; it's their personalities. In Thunderbolts*, those characters are Yelena (Florence Pugh), a Russian assassin who was the adoptive sister of Scarlett Johansson's Black Widow, and is now deeply miserable about all the mindless violence in her life; her adoptive father, Red Guardian (David Harbour), a washed-up slob who is nostalgic for his days as a national hero; the bionic-armed Winter Soldier (Sebastian Stan), who was Captain America's sidekick in World War Two, and still seems uncomfortable in the 21st Century; John Walker (Wyatt Russell), an embittered super-soldier who was supposed to be the new Captain America, but wasn't up to the job; the confused, conflicted Bob (Lewis Pullman), another flawed attempt to create a Captain America substitute; and Ghost (Hannah John-Kamen), who is a science experiment gone wrong – but who, unlike the other characters, isn't very well defined beyond that. In various ways, they are all connected to one of Marvel's most memorably slippery villains, Valentina Allegra de Fontaine (Julia Louis-Dreyfus), a businesswoman with all the brittle, condescending confidence that you might expect from the reliably excellent star of Seinfeld and Veep. De Fontaine, it seems, has been behind several superhero-related black ops. Now that her political opponents are closing in on her, she decides to destroy all the evidence of her shady undertakings, including the people who carried them out. And so it is that Yelena and the others switch from trying to kill each other to trying to keep each other alive. They become a sort-of team, but they aren't sure whether or not to call themselves the Thunderbolts, so the asterisk in the title signifies that it's just a placeholder name until they can think of something better. One small snag is that most of the characters' back stories are in other films, and in a TV series, The Falcon and the Winter Soldier, rather than in Thunderbolts* itself. Another snag is that the gang's pursuit by De Fontaine's troops accounts for the majority of the film's running time, so there aren't many set pieces that haven't been in the trailers already. On the other hand, superhero films are rarely so tightly focused, and rarely progress so seamlessly from scene to scene, with no pausing for breath, and no sudden jumps to different ends of the Earth. Captain America: Brave New World, which came out in February, was similar to Thunderbolts* in that it revolved around Washington DC politics, and followed on from The Falcon and the Winter Soldier. But that film was a messy sprawl, whereas this one is so neatly plotted that you can get the gist and enjoy the ride whether you're a Marvel nerd or not. More like this:• A combat epic that 'does what film does best'• Disney's Snow White has a major 'identity crisis'• Mickey 17 is a 'disappointment' The underlying issues in Thunderbolts* are just as focused as the narrative. The characters all have to deal with the shame and trauma of their troubled pasts – and this theme is there from the opening scene to the requisite Final Battle, which is slightly rushed, but stylishly surreal enough to recall two mind-bending films written by Charlie Kaufman, Being John Malkovich and Eternal Sunshine of the Spotless Mind. In between, the characters' guilt is explored in some touching and surprisingly brutal sequences, as well as in some sharply-scripted, briskly-edited and skilfully-performed comic scenes. At both ends of the spectrum, Pugh delivers a performance which would win her awards if it weren't in a superhero film. She delivers her punchlines with expert timing, especially when she is bickering and bantering with Red Guardian. But she can also radiate raw emotion – and all while maintaining a decent Russian accent and cartwheeling through her acrobatic fight scenes. When it comes down to it, that's why Thunderbolts* is so much better than most of Marvel's post-Endgame films. It's not just because it's a rough-edged, big-hearted spy thriller about lovably clueless anti-heroes. It's because it has an actor as charismatic as Pugh at its centre. ★★★★☆ -- For more Culture stories from the BBC, follow us on Facebook, X and Instagram.
Yahoo
31-03-2025
- Entertainment
- Yahoo
Why isn't Avengers: Doomsday actually exciting?
There aren't many things I would willingly do for five and a half hours. Certainly, that shortlist of things wouldn't have included watching an IMDb cast list revealed on the back of some chairs. However, that's exactly what the Avengers: Doomsday marketing team banked on people doing last week. Hubris, thy name is Kevin Feige. On the one hand, though, it's all quite understandable. A decade ago, Marvel could have done this and it would have been brilliant. When the Infinity Saga dominated cinema, we all would have been riveted at the concept of seeing the MCU's biggest cast ever receiving a gradual grand unveiling. But a lot has changed since Tony Stark snapped his fingers in the final moments of Avengers: Endgame. The most remarkable thing about the Avengers: Doomsday reveal is that nobody seems to be all that excited about it. For starters, the biggest surprise in this film — Robert Downey Jr's return to the franchise — was already spilled at Comic-Con way back in July 2024. Had this not already been revealed, the cast announcement's big pay-off — Downey Jr sitting in his chair and shushing at the camera — could have really landed. Instead, the feeling is more than a little muted. If anything, the cast announcement just underlined how light on A-list heroes the MCU currently feels. Admittedly, a lot depends on how well 2025's upcoming Marvel outings — Thunderbolts* and The Fantastic Four: First Steps — fare, given the prominence of those characters in the Doomsday cast. If those films turn out to be amazing, Doomsday will suddenly look much more impressive. Read more: The large cast of Avengers: Doomsday has become a meme (For The Win, 1 min read) But there's a more fundamental problem than the names. Marvel appears to have forgotten what powered the Infinity Saga — its destination. From the moment Thanos was revealed as Loki's superior at the end of The Avengers in 2012, we knew the big, purple baddie was looming in the Avengers' future with a glove full of colourful rocks. For the six years and 12 films between the first Avengers movie and Infinity War, the universe had a clear sense of direction and a formidable foe at the end of the road. It has now been six years and 13 films since Avengers: Endgame and, in all of that time, there has not even been a hint of that direction. Part of this is not a creative issue — Jonathan Majors as Kang was being teased as the franchise-wide villain for a while, prior to the assault allegations against him — but, even then, there was no sense that this was a coherent build-up. Marvel's cinematic story tapestry was never just about the act of assembling as many A-listers in one place as possible. It was about putting together a cast of heroes to take on a threat much bigger than any of them had ever faced in their individual movies. With Doomsday, though, we have no idea what's coming — we don't even know much about Downey Jr's take on Doctor Doom. Even Marvel's surprises don't hit particularly hard any more. The Doomsday announcement revealed that several members of the original X-Men cast — including Patrick Stewart and Ian McKellen — will appear in the movie, suggesting some multiversal shenanigans. But these characters have felt like a fait accompli ever since Disney acquired Fox six years ago. It's less of a surprise than Hugh Jackman showing up as Wolverine in an MCU movie last year. Read more: Marvel fans "freaking out" about X-Men returns for Avengers: Doomsday (Digital Spy, 3 min read) Instead of feeling like a culmination, Avengers: Doomsday actually seems as if it's going to serve as a starting point. It's a statement of intent as to who will take centre stage in the MCU going forward, with the old guard giving way to the new. Along with its sequel, Secret Wars, in 2027, Doomsday will essentially wipe the slate clean and usher in a new world order for the MCU. But that creates something of an excitement gap. It's hard to get hyped for a team-up movie when we don't yet know most of the team and we haven't got a clue what will bring them together. Having said that, though, Marvel certainly got eyeballs with the live stream stunt. The marathon video earned 275 million views — though it's unclear how many of them watched for more than a few seconds — and broke every record for a Marvel-themed live stream. Read more: 'Avengers: Doomsday' Stunt Clocks 275M Views, Marvel Livestream All-Time Record (Deadline, 2 min read) But despite the sheer numbers, there's a clear sense that the MCU is not the cultural behemoth it used to be. The Doomsday cast reveal would once have been an internet-breaking statement of intent. But instead, it felt like an endurance test of an administrative exercise. Marvel cannot simply swagger through culture any more; it needs to give us something concrete to cling to. Avengers: Doomsday will be released in UK cinemas on 1 May 2026.
