Skip to main content

A Review of 'Endgame' - The Russo Brothers Do Not Disappoint

In all my years of movie-watching, I had only seen one Marvel film and it was because I was writing a story about one of the cast members. But that changed when last year, I was a recipient of a grant from the Russo Brothers Italian American Film Forum to finish my documentary film, Return to Lucania. When I realized how much Joe and Anthony Russo give back to the Italian American community, I thought the least I could do is support their films. I went out right away and saw The Avengers and was blown away by the combination of a beautiful, dramatic story and mind-blowing CGI. So when Endgame was released, I waited until the weekend had passed and caught a weekday matinee. Having just read an insightful review that my friend Curt Markham posted on Facebook, I was very eager to see the film. After seeing it, I can say that I agree with just about everything he wrote in his review and as I have been encouraging him to get his work published beyond Facebook, I thought I'd take the liberty and do it right here. I would just like to add that the last scene and song, as the Russo brothers and I are the same age, gave me the chills and felt like a nostalgic tribute to our grandparents' generation. It was the perfect sentimental ending to a strong powerful film.

So with this review of Endgame, I am officially designating Curt Markham our guest blogger.

As someone who's only been a casual (and sometimes skeptical) follower of the Marvel films, I have to say - if there is not serious Oscar buzz over this one next year then there ain't no justice.

Let's start with the acting. For a crowd-pleasing special effects action epic, this film's early scenes are a very restrained depiction of a CHILDREN OF MEN-like world of people struggling to cope with grief and loss. This is actually one of the most adult films I've seen in a good long while. All of the main actors would be guaranteed Academy Award (or at least Independent Spirit) nominations if they gave these exact performances in a more realistic drama.

But of course the gloom eventually starts to lift, as the heroes who survived the infamous climax of the previous film hatch a daring plan. That's when the film switches to the STAR TREK IV "We'll divide into teams" multiple-storyline structure that I'm an absolute sucker for.

And of course it goes without saying that there is an epic battle at the end. People who appreciate tastefully acted explorations of loss and mortality may not also be the audience for mind-bogglingly vast fight sequences featuring 22 films' worth of heroes and villains. But if you *are* in both camps, then boy has your ship come in.

Obviously this film has been in theaters for a little while, and I saw it at a neighborhood theater with a not particularly large audience. But that modest crowd went 1970s-Times-Square-grindhouse / seeing-Yoda-draw-a-lightsaber-for-the-first-time berserk once the climactic battle went into full gear. And I'm pretty sure I heard real crying at the end too.

I hope to God this film finally drives a stake through the heart of "I hate CGI" attitudes. Not only is there image after image that would have been impossible (or prohibitively expensive) without it, but Thanos and the Hulk are the two most soulful performances I've ever seen from computer-generated characters.

After a certain point I thought "Who the f*** directed this? Because this is some next-level artistry." It turns out the maestros behind this are Joe and Anthony Russo, aka the Russo Brothers, whose previous credits include some of the previous Marvel films as well as a lot of TV including ARRESTED DEVELOPMENT and COMMUNITY. Whenever there is a flashback sequence to one of the previous Marvel films, the contrast makes immediately clear how far the Russos have raised the bar.

It's also impressive just how very many big-name actors have parts both large and small in this movie. It's a tribute to the affection and loyalty that this film series has inspired in its cast, that so many of them have stayed in the fold after all this time.

I'm actually somewhat shell-shocked at what a great movie this was. The other Marvel films that stood apart from the pack for me were the outrageously wacky comedic ones: THOR RAGNAROK and the two ANT-MANs. By contrast, this one blew me away with its dramatic seriousness, while still delivering epic spectacle and the occasional good joke.

The irony is that this is the superhero film to show to people who don't believe the genre can be art, and yet they wouldn't understand a word of it because they wouldn't have seen any of the setup in the previous films. But maybe they don't need to - there were some references that I didn't completely get, to previous films that I have already somewhat forgotten, and I still thought this was one hell of a movie.

Check out the 5-minute extended trailer....



Comments

Popular posts from this blog

A Conversation with Actor Mirko Frezza of David di Donatello Winner "Il più grande sogno"

The 2017 David di Donatello award show, which took place on Monday, was an exciting event that celebrated many great contemporary talents of Italian cinema.  I was fortunate to have seen most of the nominees.  Among my personal favorites  is Michele Vannucci's  Il più grande sogno  simply because it is based on one of the most inspiring, beautiful stories I've ever  heard, and the person behind that story is as authentic and down-to-earth as they come. The film won the 3 Future Award, which is determined by the public. With Director Michele Vannucci and Actor Mirko Frezza I first saw  Il più grande sogno last September when it premiered at the Venice Film Festival. I didn't make it to Venice, but thanks to a great online platform called Festival Scope , which offers a handful of premieres to be screened on the web, I felt like I was there. The film itself blew me away, and then when I realized it was based on a true story, I knew t...

The Timeless Talent of Stefania Sandrelli

On screen since the tender age of 14, she has captivated audiences for more than 50 years with a compelling combination of strength and vulnerability. She achieved stardom at just 14 years old playing the angelic cousin of a love-struck Marcello Mastroianni in Pietro Germi’s “Divorce Italian Style.” More than half a century later, she is still going strong and remains one of Italy’s most esteemed actors. Stefania Sandrelli was born on June 5, 1946, in Viareggio in the province of Lucca in northern Italy. As a child, she studied music and dance. Then in 1960, she won a beauty pageant and was featured on the cover of Le Ore magazine. Her purity captivated the country and shortly thereafter, movie offers began pouring in. Just one year later, she made her cinema debut in three feature films: Mario Sequi’s Gioventù di notte , Luciano Salce’s The Fascist, and Pietro Germi’s Divorce Italian Style . She instantly became a star and before long was a key figure in Italy’s legend...

Film at Lincoln Center honors Monica Vitti with retrospective featuring restored classics

Photo Courtesy of Archivio Luce-Cinecitt à A retrospective dedicated to the films of Italian cinema icon Monica Vitti will be held from June 6 to June 19 at Lincoln Center in New York City.  The 14-film series, titled "Monica Vitti: La Modernista," is presented by Film at Lincoln Center and Cinecittà and marks the first North American retrospective celebrating Vitti's 35-year career. "We are pleased to partner with Cinecittà to celebrate one of Italy's most revered actresses," said Film at Lincoln Center Vice President of Programming Florence Almozini. "It is a privilege to present decades' worth of films from Monica Vitti's illustrious and prolific career, especially with many restored versions of her legendary works." Monica Vitti, a key figure in film history, began her career in the mid-1950s and quickly became a captivating presence on screen. Her collaboration with director Michelangelo Antonioni produced memorable films in the 196...

The Sweetness and Genius of Giulietta Masina

Fellini and Masina on the set of "La Strada" As open-hearted and sunny as Federico Fellini was dark and complex, they were perfect counterpoints during a half-century of marriage and professional collaboration.  Nicknamed a  “female Chaplin” and described by Chaplin himself as  the actress who moved him most,  Giulietta Masina confronted the tragedy of her characters with an eternal innocence and enthusiasm that gave Italians hope in the most challenging of times.  Born in 1921 in San Giorgio di Piano, a commune north of Bologna, Masina was the oldest of four children born to a father who was a music professor and violinist and a mother who was a grade-school teacher. Her parents sent her as a child to live in Rome with her widowed aunt while she attended school there. As Masina took an early interest in gymnastics, her aunt saw in her a passion for performing and encouraged her to pursue acting. So after high school, Masina attended Rome’s La...

The Anthology Film Archives Presents: The Italian Connection: Poliziotteschi and Other Italo-Crime Films of the 1960s and '70's

June 19 – June 29 Influenced both by 1960s political cinema and Italian crime novels, as well as by French noir and American cop movies like "Dirty Harry" and "The French Connection," many Italian filmmakers in the late-60s and early-70s gradually moved away from the spaghetti western genre, trading lone cowboys for ‘bad’ cops and the rough frontier of the American west for the mean streets of modern Italy. Just as they had with their westerns, they reinvented the borrowed genre with their inimitable eye for style and filled their stories with the kidnappings, heists, vigilante justice, and brutal violence that suffused this turbulent moment in post-boom 1970s Italy. The undercurrent of fatalism and cynicism in these uncompromising movies is eerily reminiscent of the state of discontent in Italy today. ‘The Italian Connection’ showcases the diversity and innovation found in the genre, from the gangster noir of Fernando Di Leo’s "Caliber 9" ...