Cinematography:
Trent OpalochComposer:
Alan SilvestriCast:
Robert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, Don Cheadle, Paul Rudd, Benedict Cumberbatch (more)VOD (3)
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The fourth instalment of the Avengers series is the once-in-a-lifetime culmination of 22 interconnected films and the climax of an epic journey. Earth’s heroes will finally understand how fragile our reality is – and the sacrifices that must be made to uphold it – in a story of friendship, teamwork and setting aside differences to overcome an impossible obstacle. (Disney / Buena Vista)
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Reviews (17)
On the one hand, I'm glad the Russos broke the sequel rule of "cram more in than last time" and went a different route. But the truth is that this path is going more towards comic book fans than people who have no idea what Ant-Man's real name is... but they're not going to the cinema anyway, so what? Endgame manages to shock a few times in the first ten minutes, only to evolve in a direction that the trailers practically didn't even hint at. The directing duo conceived the whole thing in a much more intimate fashion this time around, relying heavily on fan service and clearly wanting to give each of the superhero veterans plenty of space. The humour is not absent this time either, but it's nice that the heroes are still aware that they screwed up last time and everyone has to deal with it in their own way. This more intimate mode suits the Avengers and makes things happen that even the most optimistic fans probably didn't hope for. Ironically, though, it's also the biggest problem, because it doesn't really start to get spectacular until the end. In sheer magnificence, Infinity War probably trumps Endgame, but I still felt like the whole thing could have come a little sooner. I enjoyed it a little more last time, but I can't imagine putting Infinity War on in a few years and saying I don't give a shit about Endgame. All in all, it works practically perfectly. And as a farewell to an era of cinema, more than worthy as well.
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Avengers assemble! A crushing beginning, a pile of iconic moments, where whispers of disbelief mixed with deafening silence spread through the cinema, three movies in one, the best performances in eleven years (Robert Downey, Jr., Jeremy Renner), and a phenomenal conclusion that defies even the most daring expectations. In a way, three hours is too little, because those three hours are so full of glory that even a few days after the screening, I am still only retrospectively recalling fascinating scenes that were cautiously concealed under my first impressions. Definitely the movie of the year and, in terms of its pop culture impact, also a well-deserved, undeniable, extremely moving, and – precisely due to the intimacy of individual interactions – the unrivalled event of the decade.
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If I were to look at it as a separate film, then I would have reservations about the lengthiness of the first (dramatic) third. God forbid, I could get bogged down in the time paradoxes of the second third, and God forbid I could be offended by the sentiment of the final third. But The Avengers are in a category for themselves, and blaming them for not being coherent doesn't make much sense. The films combine so many characters, positions and partial motifs that I can't think of a better solution than the similarly conceived 182-minute catharsis. If we start to see Endgame as a season finale, everything suddenly makes perfect sense. The focus on the key characters in order to give their existence absolution, the way in which elements of nostalgia (Endgame is a matrix of memories of previous films) are humorously inserted into the action, and even the epic climax that has the emotional impact of a falling meteorite. There is a feeling that there is a plan behind everything, which is so lacking in DC. The individual pieces fit into a jigsaw puzzle, and if you want one example, use Thor. I don't expect ground-breaking thoughts, formal stimuli or psychological depth from Marvel. I expect satisfaction. If anything comes after Endgame, it's a feeling of pleasant satiety. It may not be a generational Star Wars caliber event, but it's still more than a dignified end to hours of fun and years of honest work. If Nolan's Batman showed us that a super protagonist must be human to the point that he ceases to be super, the Avengers insist that he can be both. It may be naive, but it is uplifting.
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SPOILERS INCLUDED: Every long-running franchise matures with its viewers and incorporates motifs that resonate with their current ages. Just as Harry Potter advanced from children’s adventures to teen angst and turmoil, Marvel advanced through 22 movies. However, it is rather humorous that the longed-for culmination is dad cinema in spandex. Unfortunately, this does not pertain only to the central dirty trick on the female audience in the transformation of the physiognomy of the whole series’ main hunk, but primarily to the central motif of Endgame. It’s nice that a certain percentage of male viewers will proudly admit that they shed tears, but is that actually evidence of their supposed sensitivity or even of the film’s qualities? Do we rather have nothing to do with the fact that the film’s creators captured the pain of the current crisis of masculinity, where men themselves have made the whip in the form of accepting the diktat that they have to provide for their family and, concurrently, that they do not have to abandon their own self-fulfilment? What does it say about our society that if, in bidding the hero farewell, we hear the standard “I love you”, that would be an object of ridicule, but if hear “Don’t worry, we’re taken care of”, young fathers and husbands shed emotional tears? I also said to myself that hiring Alan Silvestri was a fine attempt to add a bit of a melodic background to a series afflicted with the curse of forgettable music. However, I did not expect that the master would steal from himself, resulting in a programmatically intentional copy of Forrest Gump. While you don’t know what you are going to get out of life, everything in this box of chocolates is by the book, including, unfortunately, the development in the style of the oft-ridiculed cliché “I have two days until I retire and I am the only character who has a private life in which something like this could happen”. But it is clear that these are merely the bitter words of someone who is not invested in the series as a true believer. After all, the individual scenes cannot be appreciated because there is no continuity. Seriously? Isn’t this pseudo-argument simply a justification for the time invested, because the mechanically cranked-out scenes of absolute exertion without structure simply cannot in any way enrich any memories? The fact that Iron Man argues with Captain America is no deeper than when your parents argue for the millionth time. Not because you have seen them go through a relationship crisis, but because in both cases only those affected play transparent roles and act in accordance with automatically accepted formulas. Let’s stop kidding ourselves that the MCU is anything more than a brilliant PR victory over viewers and critics because it was able to create the impression of an event and a unique experience of something that is calculated to the smallest detail, not from the bottom up by individual artists, but by seasoned corporate creatives from the top down. And that it was a wild ride and not at all a sure thing from the beginning. Does anyone still remember Hulk today? Not Ang Lee’s version, but the one with Edward Norton. That was a critical moment in the whole Marvel campaign, because for the first and last time, the creatives let go of the reins and lost their control over the result, after which they deleted the film and destroyed Norton’s career. This was followed by a strictly managed one-sided campaign in which the directors were either no-name assemblers of a puzzle pre-designed by the showrunner, or craftily chosen names that, long before the premiere, lent themselves to shaping the viewers’ acceptance of the film as something serious (Branagh), dark and gritty (Black) or refreshingly light-hearted (Waititi), even though all Marvel movies are always built based on the same foundation. Those who resisted were not allowed in at all or were promptly sent packing (Wright). In this there is something unique, a value and place in the history of the cinematography of this mammoth endeavour, regardless of the fact that the emperor not only has no clothes, but struts around for his fans. The icing on the cake is the vanity found in the closing credits, where the stars of the series even condescend to sign autographs for their admirers. While, like every proper manipulator, the true creators and geniuses of the MCU enjoy their position in the shadows.
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For the first time, Marvel has made a solid comic book drama with existential overtones instead of a flat CGI fest about the destruction of the world, and everyone's completely stoked. Easily watchable, character-driven, with a delightfully sentimental finale. The catharsis of Captain America's character outweighs the others, though it's hard to say whether intentionally or not, while the time travel with all its paradoxes – equals an annoying pile of bullshit, as usual.
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