REVIEW: The Fantastic Four focuses less on the multiverse and is stronger for it
Macclesfield film critic James Burgess shares his review of The Fantastic Four: First Steps, which is being shown at Cinemac now.
If there's one superhero property that's proved the most difficult to realise cinematically, it's this titular quartet.
I really enjoyed Tim Story's 2005 hyperactive, day-glow saturated inauguration, when 3D was still just enough of a novelty; and star casting foregrounded.
Chris Evans, proving the most charismatic as Johnny Storm, would later exchange hot-shot heartthrob for intentionally stolid idealist, as Captain America. Critically though, it was judged as simultaneously infantile and anticlimactic – unfairly, in my view.
All of that skilled cast (including Ioan Gruffudd & dearly departed Julian McMahon), knew exactly what movie was being made – it was just a decade too late.
Similarly, Josh Trank's sombre 2015 version, was beset by those awful 'creative differences' coupled with a bizarre mixture of Kypton-esque crystals and Portishead.
Marvel too, has struggled in its post-Endgame phase, despite Eternals and the recent Captain America: Brave New World, being two that standalone brilliantly – although that's a minority opinion, somewhat.
Now, WandaVision's Matt Shakman (sadly without the same satirical bite), helms this take, somewhat as a reset. The foursome have wisely already acquired their abilities (stretchy, invisible, firefly, Crunchy-Nut Cluster), and refreshingly have some family matters to attend to, due to an impending addition. Will they also have superpowers?
What's incredibly strong, is the specificity of its visual aesthetic. Similarly to Joe Johnston's The Rocketeer and Brad Bird's Tomorrowland (both huge fun and criminally underrated) self-sufficient aspiration is never far away.
They've become merchandised within the film itself – on tv commercials, talk shows and cereal-boxed toys. It's an alternate sixties, where the cars are chrome-edged (their one flies) and the hysteria of the space-race disrupted homespun domesticity. Herbie the robot speed-dicing carrots, is a terrific visual joke, in a screenplay often lacking the customary humour.
The cast is somewhat inconsistent. Pedro Pascal (currently in every other film, having a real moment), is this film's strongest character; particularly as straight-arrow scientist Reed Richards. His scenes of weighted vulnerability are the most memorable – as impressive as his ultra-flexibility is!
An intergalactic threat (when is there ever not one, exactly?) threatens to tear this little family apart. The villain in question is rather sprawling – a colossal presence most akin to Lee Pace's Ronan The Accuser from the first Guardians – although not nearly as effective, but that was never the aim.
There's a sleekly rendered Julia Garner playing The Silver Surfer – one of the best sequences involves riding a crest of lava and dodging asteroids – similarly to James Franco's hoverboard as Goblin Jr. in Spider-Man 3.
Regarding this instalment's positioning within Marvel's canon, what's more noticeable is its far more streamlined interpretation. Less of the multiverse, more focus on the nuclear family dynamics – and it's all the simpler and stronger for it. I just wish it had been as elaborate in its screenplay as its Avengers counterparts. Diverting as it is to extrapolate the familial, the global peril needs more time at metropolitan level, and their initial introductions feel rushed through. But of course, this being the MCU, Kevin Feige will have the actors contracted for at least two more Avengers ensembles, I just hope clubbing them together doesn't dilute their individuality.
When baby Franklin finally arrives amidst a tense space-birth (Vanessa Kirby really strong, but I long for the day where a heroes strength doesn't have to be signposted with a signature heroic act). As he develops, its impossible to escape the somewhat Ready-Brek-glow of CGI around the brilliant little actor, leading us to sometimes question: 'is that baby really in the scene?'. The film gets away with this illusion for the most part simply because Franklin is so heartbreakingly cute.
Complementing all this, is the prolific Micheal Giacchino's terrific score.
He wonderfully enhances the satirical milieu where the dialogue can't.
The scene where the team are hit with the preparation and emotional responsibility of putting theory into practice, has a desperate, yearning bravery too it, as father and son register each other's eyes with a faith and loyalty which Giacchino's ascendingly melodic orchestration capture perfectly.
Stay for the credits to be tantalised!
Rating: * * *
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Macclesfield resident James Burgess is an actor and film critic with a master's degree in Film Studies.
Follow him on X - @Jamesfilmcritic
Tickets for Superman at Cinemac are available from www.cinemac.org.uk.
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