Laying to rest the question of “What if?”, this is less a “director’s cut” and more its filmmaker given free reign on a second go in an unfiltered, overly excessive, punishing four-hour experience bereft of any joy as our morose heroes battle baddie Steppenwolf who, despite more screen time and a gilded look, is as ill-defined here as in the previous half-the-runtime version; undervalued as henchmen to the big bad still to come: an outdated, ugly CGI monstrosity of Darkseid.
April Fool’s Month | Not Quite Hitchcock Month
An electric slow burn of tension as Gregory Peck and his family are harassed by Robert Mitchum’s vengeful Max Cady in a compelling psychological thriller from director J. Lee Thompson, tightly written by James R. Webb from John D. MacDonald’s novel.
The selling point of Naishuller’s latest effort, penned by Derek Holstead of John Wick fame, is seeing Bob Odenkirk as an unlikely action star, and to that the film does the job well if never really having fun with the concept until RZA and Christopher Lloyd’s inclusion in a cathartic, silly close.
If Infinity War was the culmination of ten years’ hard work by Marvel Studios, Endgame is a celebration of Marvel itself; a chance to spend time with old friends in one last hurrah in a film that gives new meaning to the word “epic”. For that, it is a technical masterpiece, making every single frame count and edited to perfection as Feige, Markus, McFeely and the Russos’ vision is fully realised in this capping-off point to twenty-two films’ worth of story as the universe moves on to a bright and unknown future.
There are few instances nowadays where a film can be classed as an event, but Marvel’s Infinity War, even for its strange inclusion of 4 sub-villains with no previous introduction and the film’s importance likely being retconned within a year’s time, is an event; from the “10” in Marvel Studio’s logo, this has been the culmination of the studio’s hard work that pulls no punches with its heroes for the most noteworthy Marvel film in the studio’s short existence of producing their own films.