Eternals is the newest Marvel movie and a swell way for the studio (in conjunction with Disney) to conclude its 2021 (streaming and theatrical) spectacles, with only Spider-man: No Way Home now dangling. For the record, Eternals is based on the popular, '70s title created by comic-book icon, Jack Kirby.
The Eternals are a group of protectors, who fly forth to assist Earth against alien invaders, the Deviants, after End Game's events, though with a celestial, emerging (hint, hint) twist. (Too bad the Eternals weren't around to assist the Avengers in their war against Thanos, but at least their blaring absence is explained via Trek's handy, prime directive). Leave no hole unplugged, eh?)
The group's members consist of the matter-manipulating Sersi (Gemma Chan); Kal-El-esque Ikaris (Richard Madden); power-punching Giglamesh (Don Lee); finger-zapping (Bollywood icon) Kingo (Kumail Nanjiani); Tinkerbell-like magician Sprite (Lia McHugh); queen-ruler Ajak (Salma Hayek); substance-swording (and sometimes erratic) Thena (Angelina Jolie); sensitive, genius-inventor Phastos (Brian Tyree Henry); Flash/Quicksilver-ish Makkari (Lauren Ridloff); and mind-numbing and off-the-cuff cool Druig (Barry Keoghan), with various supporting players interacting among them, such as Karan (Harish Patel), Kingo's amusing valet, and Dane Whitman (Kit Harrington), a Sersi-smitten proctor at London's Natural History Museum.
The linking landscapes are exotic in the proper, ancient-world manner, reminding one of such bewitching flicks as Fellini Satyricon. Ben Davis' photography helps to instill the Italiano epic's uncanny chi, forging an ambiance that's otherworldly, but strewn with elements of legendary Rome, Greece and Egypt. (The movie's historical-hybrid splendor is also on a par with the recent Gods of Egypt, and those who take offense to that comparison are welcome to stick it in their "woke" ears.)
To make the chi jive, Chole (The Rider) Zhao's direction bounces with commendable know-how: fast when zinging melees are required and reflective when apocalyptic allusions must be essayed. Ramin {Iron Man} Djawadi's score complements her intuitive pacing to a tingling tee.
The structure is benefited by Zhao's balanced (and quite often contemplative) script, co-written with Patrick Burleigh, Ryan and Kaz Firpo. Throughout their adaptation, the emphasis falls on the strained heroes (who in the tradition of such things, dress on occasion as contemporary earthlings to make them appear, well, more down to earth). On the other end of the melodramatic stick, the filmmakers' script keeps the sinewy Deviants dark and abstract, but that doesn't mean they lack the required ferocity to boost the conflict. When push come to shove, they're nasty and formidable, as any villainous vanguard ought to be.
Like Shang-Chi, Eternals operates as an in-between/lead-in for MCU's Phase IV. The movie could, however, stand on own, if stripped of its apparent association. (Oddly enough, it drives home DC references almost as much as the obligatory Marvel ones.)
Despite being an irrefutable bridge, Eternals hints that the best is yet to come for the Marvel-ous (and expanding) entourage. Given time, these cinematic gods should more than live up to their long-term reputation, with this chapter spurring a grand, fulfilling start. Hands down, one of this year's finest.
On a side note: There's a poignant scene regarding Hiroshima. It would have been reasonable to have done a similar one on Pearl Harbor to balance the dynamic. It would have only taken a few minutes at most to depict and would have given a better view of historical cause and effect.
ReplyDeleteIn all woeful honesty, a scene showing the horrors of the Holocaust would have said it all regarding man's inhumanity toward man.
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