eddie_baggins
Joined Dec 2005
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eddie_baggins's rating
A key moment in the Marvel cinematic universe, one that has gone through a tumultuous period since The Avengers: Endgame came and went with much fanfare in 2019, The Fantastic Four: First Steps sees director Matt Shakman herald in the beginning of "Phase 6" for the media giant that's looking to strike gold with the currently filming Avengers: Doomsday that is proposed to arrive at the end of 2026.
A seemingly cursed cinematic property thanks to the early 2000's double bill of films and the diabolical 2015 entry that many would regard as one of the worst comic book adaptations of all time, Shakman and the wider Marvel creative team certainly had their work cut out for them in ensuring past mistakes weren't repeated here while at the same time convincing audiences that have been burnt by this series in the past that this time was the time where the stars aligned.
Pleasingly for long-suffering fans, Marvel acolytes and those just wanting to watch a fun and fast-paced summer blockbuster, First Steps is a (pardon the pun) step in the right direction for the future of "Phase 6" and while it absolutely doesn't do anything extraordinary, this back to basics like offering that is well-casted, shot and produced is a breezy and enjoyable experience that puts in place a solid foundation for what is too come.
Steering clear of attempting to do another fully fledged origin story, Shakman gets stuck straight into things as we are transported to a retro-futuristic New York in 1961 and the awesome foursome that is Reed Richards ( Pedro Pascal), Sue Storm (Vanessa Kirby), Ben Grimm (Ebon Moss-Bachrach) and Johnny Storm (Joseph Quinn) are tasked with their greatest challenge yet trying to protect the world from the threat that is Galactus (Ralph Ineson) and his loyal offsider Silver Surfer (Julia Garner).
While this stereotypical world destroying threat and battle plays a key part in First Steps, what's impressive about this enjoyably baggage free offering is the fact Shakman is just as keen to allow the family element of this group play out, even more so than CGI spectacle or carnage, an angle that allows his talented cast to take centre stage and First Steps to become more than just another excuse for Marvel/Disney to waste their significant budgets on eye-candy and cameo loaded sugar rushes.
It's refreshing to see a more stripped back Marvel offering, one that has the brands most striking visual palette in some years thanks to the old-school Jetson's like atmosphere and in particular one that isn't obsessed with one liners every other minute and wink wink jokes with the performers natural charms all generating natural emotions both of a frivolous nature and far more serious when the time calls for it.
All doing well with their debuts in the Marvel universe, all casting choices here work well with Kirby and Quinn standing out amongst the Four while Ineson and Garner do a lot with limited screentime, making their respective marks as some of the most interesting Marvel villains to grace the big-screen over the last decade.
Clocking in at under two hours, moving along at a constantly moving pace and even featuring a notable score (very unlike Marvel) courtesy of the legend that is Michael Giacchino, First Steps may not be ground-breaking but this is an enjoyable and polished experience that sets the scene for what is all of a sudden an appealing next era of the Marvel universe.
Final Say -
With an on-song cast, a fun and visually memorable retro-futuristic setting and some impressive villains, The Fantastic Four: First Steps is an easy to like summer event film that continues the Marvel momentum after Thunderbolts.
3 1/2 rock beards out of 5.
A seemingly cursed cinematic property thanks to the early 2000's double bill of films and the diabolical 2015 entry that many would regard as one of the worst comic book adaptations of all time, Shakman and the wider Marvel creative team certainly had their work cut out for them in ensuring past mistakes weren't repeated here while at the same time convincing audiences that have been burnt by this series in the past that this time was the time where the stars aligned.
Pleasingly for long-suffering fans, Marvel acolytes and those just wanting to watch a fun and fast-paced summer blockbuster, First Steps is a (pardon the pun) step in the right direction for the future of "Phase 6" and while it absolutely doesn't do anything extraordinary, this back to basics like offering that is well-casted, shot and produced is a breezy and enjoyable experience that puts in place a solid foundation for what is too come.
Steering clear of attempting to do another fully fledged origin story, Shakman gets stuck straight into things as we are transported to a retro-futuristic New York in 1961 and the awesome foursome that is Reed Richards ( Pedro Pascal), Sue Storm (Vanessa Kirby), Ben Grimm (Ebon Moss-Bachrach) and Johnny Storm (Joseph Quinn) are tasked with their greatest challenge yet trying to protect the world from the threat that is Galactus (Ralph Ineson) and his loyal offsider Silver Surfer (Julia Garner).
While this stereotypical world destroying threat and battle plays a key part in First Steps, what's impressive about this enjoyably baggage free offering is the fact Shakman is just as keen to allow the family element of this group play out, even more so than CGI spectacle or carnage, an angle that allows his talented cast to take centre stage and First Steps to become more than just another excuse for Marvel/Disney to waste their significant budgets on eye-candy and cameo loaded sugar rushes.
It's refreshing to see a more stripped back Marvel offering, one that has the brands most striking visual palette in some years thanks to the old-school Jetson's like atmosphere and in particular one that isn't obsessed with one liners every other minute and wink wink jokes with the performers natural charms all generating natural emotions both of a frivolous nature and far more serious when the time calls for it.
All doing well with their debuts in the Marvel universe, all casting choices here work well with Kirby and Quinn standing out amongst the Four while Ineson and Garner do a lot with limited screentime, making their respective marks as some of the most interesting Marvel villains to grace the big-screen over the last decade.
Clocking in at under two hours, moving along at a constantly moving pace and even featuring a notable score (very unlike Marvel) courtesy of the legend that is Michael Giacchino, First Steps may not be ground-breaking but this is an enjoyable and polished experience that sets the scene for what is all of a sudden an appealing next era of the Marvel universe.
Final Say -
With an on-song cast, a fun and visually memorable retro-futuristic setting and some impressive villains, The Fantastic Four: First Steps is an easy to like summer event film that continues the Marvel momentum after Thunderbolts.
3 1/2 rock beards out of 5.
Close to 40 years on from its initial release, it's safe to say The Naked Gun needs no introduction.
The brainchild of comedic superpowers David and Jerry Zucker and Jim Abrahams, the trio responsible for fellow genre classics Airplane and Top Secret!, this Police Squad spin-off that follows Leslie Nielsen's bumbling police detective Frank Drebin on a journey through L. A to stop a potential assassination of a visiting Queen Elizabeth II is a laugh a minute exercise that embraces its silliness to achieve memorable results.
Soon to be re-imagined by Lonely Island member Akiva Schaffer with a Liam Neeson starring outing that is starting to appear more and more likely like a surprise winner, this original Gun sets the tone from its opening minutes as Drebin takes it to a room full of plotting world leaders in Beirut before the films opening credits begin to roll over the adventures of a very adventurous police siren, giving its audience an ample taste of what's to be expected from a film that is intent on coming at you thick and fast at every given opportunity.
With every minute of its sub-90 minute running time loaded with a joke (or two), there's no denying that not every joke, punchline or piece of slapstick jammed into David Zucker's film works but the hit ratio found here is one that's far above average and the amount of classic one-liners and situational hilarities on offer makes one wonder little as too why Gun has remained such a timeless comedic classic across all these years, a film enjoyed by repeat viewers and those discovering it for the first time.
Front and centre throughout this unashamedly goofy venture is the game and iconic Nielsen who has an absolute blast inhabiting Drebin on his mission that includes safe practices with Priscilla Presley's Jane Spencer, event filled baseball matches, up close and personal statue interactions and some questionable parking moves.
Once known as a more straight up dramatic performer, it's hard to imagine anyone else in the shoes of Drebin with Nielsen's timing, facial expressions and general presence a major reason as to why Gun ended up spawning a further two follow ups and a raft of imitators all looking to capture the same lightning in a bottle that was found here.
Upcoming reboot star Liam Neeson has his work cut out for him as he takes on the role of Frank's son, here's hoping he can do his legacy proud and prove to us all that there's life still yet in the spoof film that has mostly gone to ground in today's new movie-making climate.
Final Say -
Still holding up with the best of them all these years on from its launch, The Naked Gun may not be for all tastes but for anyone willing to embrace its zaniness and go along for the ride, there's not many better ways to find a boatload of laughs.
4 steamrollers out of 5.
The brainchild of comedic superpowers David and Jerry Zucker and Jim Abrahams, the trio responsible for fellow genre classics Airplane and Top Secret!, this Police Squad spin-off that follows Leslie Nielsen's bumbling police detective Frank Drebin on a journey through L. A to stop a potential assassination of a visiting Queen Elizabeth II is a laugh a minute exercise that embraces its silliness to achieve memorable results.
Soon to be re-imagined by Lonely Island member Akiva Schaffer with a Liam Neeson starring outing that is starting to appear more and more likely like a surprise winner, this original Gun sets the tone from its opening minutes as Drebin takes it to a room full of plotting world leaders in Beirut before the films opening credits begin to roll over the adventures of a very adventurous police siren, giving its audience an ample taste of what's to be expected from a film that is intent on coming at you thick and fast at every given opportunity.
With every minute of its sub-90 minute running time loaded with a joke (or two), there's no denying that not every joke, punchline or piece of slapstick jammed into David Zucker's film works but the hit ratio found here is one that's far above average and the amount of classic one-liners and situational hilarities on offer makes one wonder little as too why Gun has remained such a timeless comedic classic across all these years, a film enjoyed by repeat viewers and those discovering it for the first time.
Front and centre throughout this unashamedly goofy venture is the game and iconic Nielsen who has an absolute blast inhabiting Drebin on his mission that includes safe practices with Priscilla Presley's Jane Spencer, event filled baseball matches, up close and personal statue interactions and some questionable parking moves.
Once known as a more straight up dramatic performer, it's hard to imagine anyone else in the shoes of Drebin with Nielsen's timing, facial expressions and general presence a major reason as to why Gun ended up spawning a further two follow ups and a raft of imitators all looking to capture the same lightning in a bottle that was found here.
Upcoming reboot star Liam Neeson has his work cut out for him as he takes on the role of Frank's son, here's hoping he can do his legacy proud and prove to us all that there's life still yet in the spoof film that has mostly gone to ground in today's new movie-making climate.
Final Say -
Still holding up with the best of them all these years on from its launch, The Naked Gun may not be for all tastes but for anyone willing to embrace its zaniness and go along for the ride, there's not many better ways to find a boatload of laughs.
4 steamrollers out of 5.
One of 2025's most infamous box office duds that put Warner Brothers CEO David Zaslav's head firmly on the chopping block until Minecraft and Sinners arrived to save the day after Barry Levinson's mob drama followed in the footsteps of the Joker sequel and Mickey 17, The Alto Knights is a film that may've made an impact in another era but in the current climate feels stale and without voice.
Another forgettable addition to the growing collection of sad and sorry Levinson feature films that use to be Rain Man and Good Morning Vietnam and now are Envy and Rock the Kasbah, Knights based on a true story of Mafia players Frank Costello and Vito Genovese could've been a grand new addition to the mobster sub-genre and with star Robert De Niro pulling lead duties and a script by Goodfellas and Casino scribe Nicholas Pileggi, the stars were there to align but unfortunately for all, Knights is a DOA experience.
Produced for an estimated $50 million, Knights had some money behind it as well as talent to make it work but after multiple decades in various stages of development hell and starts and stops, Levinson's eventual version of the life and times of Costello and Genovese is such a generic and lifeless offering you wonder why anyone thought this was a good idea, even more so with De Niro bizarrely playing both main protagonists for no apparent reason other than because he could.
Not related in anyway, shape or form, Knights makes no attempts to justify why it decided to get De Niro in the make-up chair to bring both these figures to life and while De Niro gives it as much of a shot as an 80 year old actor can give the dual casting of the esteemed screen legend is more of a distraction than a service to the film around him that seemingly takes place around a bunch of still photographs and talking head interviews that all go hand in hand to make this feature one that feels disjointed and disengaged.
There are some brief moments where Levinson's film comes to life, an integral senate enquiry and some brief segments where De Niro goes toe to toe with himself in shared scenes bring some interest to the viewer but for such a layered true life tale there's so much within Knights that never comes into full bloom and despite the prestige attached to it, including cinematography work from the Oscar nominated Dante Spinotti, nothing ever feels fully formed or functioning within an end product that lacks a heart and soul.
Formulaic and lacking a spark, Knights is a missed opportunity to gift De Niro with one final mob-centric hurrah and for director Levinson to finally get back on track after years of missed opportunities and half-baked concoctions.
Final Say -
There's good reason why The Alto Knights came and went from cinemas in record pace as this talk-heavy mobster tale fails to find its place in a mismanaged examination of two life long friends bought to conflict by their life in the mob scene.
2 pleadings of the 5th amendment out of 5.
Another forgettable addition to the growing collection of sad and sorry Levinson feature films that use to be Rain Man and Good Morning Vietnam and now are Envy and Rock the Kasbah, Knights based on a true story of Mafia players Frank Costello and Vito Genovese could've been a grand new addition to the mobster sub-genre and with star Robert De Niro pulling lead duties and a script by Goodfellas and Casino scribe Nicholas Pileggi, the stars were there to align but unfortunately for all, Knights is a DOA experience.
Produced for an estimated $50 million, Knights had some money behind it as well as talent to make it work but after multiple decades in various stages of development hell and starts and stops, Levinson's eventual version of the life and times of Costello and Genovese is such a generic and lifeless offering you wonder why anyone thought this was a good idea, even more so with De Niro bizarrely playing both main protagonists for no apparent reason other than because he could.
Not related in anyway, shape or form, Knights makes no attempts to justify why it decided to get De Niro in the make-up chair to bring both these figures to life and while De Niro gives it as much of a shot as an 80 year old actor can give the dual casting of the esteemed screen legend is more of a distraction than a service to the film around him that seemingly takes place around a bunch of still photographs and talking head interviews that all go hand in hand to make this feature one that feels disjointed and disengaged.
There are some brief moments where Levinson's film comes to life, an integral senate enquiry and some brief segments where De Niro goes toe to toe with himself in shared scenes bring some interest to the viewer but for such a layered true life tale there's so much within Knights that never comes into full bloom and despite the prestige attached to it, including cinematography work from the Oscar nominated Dante Spinotti, nothing ever feels fully formed or functioning within an end product that lacks a heart and soul.
Formulaic and lacking a spark, Knights is a missed opportunity to gift De Niro with one final mob-centric hurrah and for director Levinson to finally get back on track after years of missed opportunities and half-baked concoctions.
Final Say -
There's good reason why The Alto Knights came and went from cinemas in record pace as this talk-heavy mobster tale fails to find its place in a mismanaged examination of two life long friends bought to conflict by their life in the mob scene.
2 pleadings of the 5th amendment out of 5.
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