Let's be honest, TV shows have a potential to grip us in a way that movies simply do not. With a longer season structure offering a greater potential to develop both characters and plot lines, and that in turn potentially giving actors more chance to show their range, it's no wonder that we can often become more engaged in the events of a TV series that we can in movies, albeit in a slightly different way. Not to mention to relief you know during the series running that the wait to see the continuation of the events is usually only another week up until the season finale. That said, it can also be a crowded market and, just like movies, the YA/tween market is a veritable gold mine. Every year we see new shows entering the fray in addition to the existing swarm of renewed shows, and it seems like we've seen it all. It's trend that hasn't stopped and isn't likely to stop, with studios unlikely to let even finished shows go away any time soon (spin-offs are the name of the game folks, get used to it). The CW's Riverdale then (with international distribution rights picked up by Netflix for over here) exploded onto the scene last year, boasting a relatively unknown cast and a promise to reinvent the Archie comics with a somewhat more realistic and darker tone. Well, it worked so well for DC after all, what could go wrong? Surprisingly, not too much in terms of reviews, with a lot of critics praising the self-aware tone of the first season and some relatively fun moments. I certainly agree with that to an extent, although felt that the mystery often got lost in some bland character moments. It was enough to warrant an extended 22-episode second season order which finally finished on Netflix on Thursday morning. So, did the second season manage to improve on the first? That's a difficult question to answer to be totally honest, given that the show often has as many strengths as it does weaknesses. Certainly the visual flair the show boasts is it's strongest draw. The banner above has some eye-popping colours and style to it, and this thankfully carries over into the show itself. The lighting and set design of the show makes sure that at the very least you are going to be looking at something visually striking. It's particularly clear in the show's Halloween and musical episodes (seriously, but it's a real credit to the show that they manage to ensure these episodes don't feel like gimmicks and actually fit organically into the format of the show). The musical episode is particularly of note, given that it leads me on to the music of the show, which is equally excellent. This is made up of both Blake Neely's score, as well as some musical performances by the cast, whether covers or original songs. These might seem like a strange addition but given the importance of music to the lives of various characters, these are points that soon become an intrinsic part of the make-up of the show. It helps that the vocal performances are also great for the most part, especially in the aforementioned musical episode. Quite simply, in terms of production value, the show is a success on virtually all fronts.
The structure of Riverdale's second season is divided into two main parts, with 9 episodes having been released before Christmas, and the other 13 from January to now with a few breaks in between. The first part of the season I considered to be the more engaging mystery, concerning a vigilante known as the Black Hood who sets out to punish the alleged sinners of Riverdale, setting his sights in the process on the main characters and some people close to them. A murder mystery plot always carries with it some intrigue and Riverdale executes this well, with the hunt to find the Black Hood having some interesting and genuinely surprising twists and turns, while the relationship between Betty (Lili Reinhardt) and the Black Hood offers plenty of suspenseful moments. The atmosphere of death and a vigilante is used well in the first portion of the season to explore the affect of fear on the psychology of the characters, with some being driven to commit some actions out of desperation. This story notably offers the most opportunities for Archie (KJ Apa) to feel less like a damp squib, and the story does build up to an intense confrontation which seems to suggest the potential for the story to continue (which it thankfully does considering the initial reveal would not have been a particularly satisfying pay off). The usual character dynamics remain from season 1 and feel more natural in this portion of the season, while the subplots are few and far between. The Black Hood is the main focus, but Jughead's (Cole Sprouse) initiation into the Southside Serpents and Betty's subsequent attempts to become more involved in his life, as well as Veronica's (Camila Mendes) family dynamics with the return of her father, feel naturally drawn out and not so rushed. The second portion does not feel so well paced in this regard. There are considerably more subplots and attempts at forcing shocking moments (as opposed to those that come naturally with plot development), but these feel strangely rushed and underdeveloped. Take for example the plot of Cheryl being revealed to be a lesbian and her mother in turn submitting her to a gay conversion clinic. This is hinted at through a few episodes of the season, and this feels at the time as if it is going to be the big pay off over a few episodes to allow Cheryl's character to be explored in greater depth, while furthering her relationships with other characters in the weak after. Instead, this comprises one episode, feels barely developed, and even her mother who checked her in barely bats an eyebrow in the weeks that follow. There are various subplots like this which are rushed and underdeveloped to the point that you wonder why the writers bothered for some of these. The main plot of most of the second season revolves around the investigation into Veronica's father Hiram (Mark Consuelos) and his shenanigans in Riverdale, as the characters either become deeper entangled in his web or try to expose his machinations. The problem with this plot is the length it draws itself out over and you ultimately become bored with how long it takes, especially considering that the reveal itself is not particularly satisfying a few episodes from the end (although admittedly the speculation on this was perhaps the most fun of the season). Thankfully, the second portion is revived by the return of the Black Hood a few episodes from the finale, signalling a return of the intense atmosphere of the first portion and an engaging mystery once again. The problem that this change in quality is so noticeable, and therefore in turn highlights the bloated 22-epsidoe series length. It feels as if the Black Hood saga is the story that the writers had been wanting to tell from the start of the season, with the peaks (for what they're worth) coming during this period. The other plots and filler of the second half feel network mandated, as the success of the show led to a longer series order which in turn hurt the plot of the show considerably. Had they stuck to a shorter series length, keeping an engaging mystery throughout, and saving the hijinks of Hiram for season 3, it might have marked an improvement, however slight.
The characters might be likeable but the back and forth in relationships might come to tire you
Let's talk now about the characters of the show, based on the Archie comics as I already said. Although the content of this show is darker than the original comics, the characters retain their likability for the most part...there are some exceptions, mainly relating to a few minor characters as well as one main character who I'll talk about in more depth below. The characters themselves are genuinely endearing - you want them to succeed in whatever they are doing no matter how they are written. You may notice that I noted there "no matter how they are written" and come to deduce that that has some negative connotations. You are right. The dialogue between the characters is more often than not stilted and unbelievable. If this is how all of the writers of this season believe people speak then I think they need to get out more. I think that in the case of some characters - mainly Veronica and Cheryl - the writers got slightly confused. Understandably, they felt the need to imbue the characters with some distinctive personalities given the fairly large cast. Unfortunately, the writing they in turn gave them to attempt to match these traits turns them into stereotypes and clichés at which point they become immediately more aggravating to watch on screen. Character conflicts are also an area of frustration, especially in this season when you see these repeat over and over and OVER again. These are only made more frustrating given how quickly, just like certain plot threads, they are raised and resolved, only to be brought up again over the exact same problem the next episode. This is not a difficult problem to fix either, as this easily could have been done by letting the differences and dynamics between the characters simmer for a few episodes, and the let the relationships develop properly rather than having them be resolved so nonchalantly. For example, there is an episode in the first half of the season involving a particular "snake dance" at the end of which the two main couples of the show break-up, and there seems to be a suggestion that there could be a significant shake-up in the dynamics which could have major consequences for the group and the show as a whole. The characters even spend most of the episode after that talking about how difficult it is for them and how it's going to "take some time" to get back to where they were. If only all of this wasn't in vain, as the writers decide to both couples be back together by the next two weeks, if not in the first episode after it where there were at the very least major hints. These feel like missed opportunities for development and in turn to allow the actors to show a different side to the characters' personalities. The same can be said for character motivations which can change back and forth between episodes at the drop of the hat. It's fairly difficult to keep track of where exactly Veronica's motivations lie throughout the season, while Jughead infuriatingly struggles to decide whether his main motivation is to the Serpents, Betty, his family, his friends, the town as a whole, or otherwise. The motivation for the actions of the characters changes between episodes, and it is again something that you'll notice much more in most of the second half of the season without a clear overarching plot to tie all of the actions of the characters together. Without a central arc, it becomes easy to lose track of exactly what everyone is fighting for and, in turn, easy to lose your investment in their respective journeys.
Characters and production values aim to help this show stand out from the crowd
Performance wise the show ranges from fantastic to absolutely terrible. The ability of the actor or actress to perform naturally hinges on the amount of screen time, and the show therefore struggles with some of its minority characters with regards the performances, just as it does with its writing. We'll start at the bottom end of the spectrum. The main two performances worth highlighting are unfortunately KJ Apa and Cole Sprouse, two of the main leads. Sprouse (of Suite Life of Zack and Cody fame but don't ask me which one) plays Jughead Jones (yes seriously, but his sister is called Jellybean so it could be worse). Jughead acts as the narrator of the show, but his more important role this season is his antics working to expose the antics of newcomer Hiram Lodge all while working his way up the pecking order of local gang the Southside Serpents. This is a character any actor would struggle to elevate if we're being perfectly honest, but the aggressive nature that the actor chooses to imbue the character with, as he seeks confrontations with practically every character (major and minor) over the course of the show, unfortunately stops you from being able to relate to him on any deeper level. The failings of the character come down to both writing and performance, but credit to Sprouse for at least attempting to give the character a personality. On that note we come on to KJ Apa's Archie, an unforgivably bland protagonist. The writing doesn't help here either, but Apa fails to give Archie any real character, personality, quirks, or traits to make him a truly memorable presence in any way. He's not unlikeable, he's not memorable, he's just...there. The same can be said for a lot of the supporting cast, take for example Ashleigh Murray's Josie or Madelaine Petsch's Cheryl (although not a constant issue in the latter's case), also suffer. It's unclear whether they were given poor direction on how to handle the characters at some points, or whether they are simply not good, but regardless the characters suffer as a result. The middle of the spectrum are the performances who are sometimes decent. This largely relates to the parents of the show. Just like I hinted previously, Mark Consuelos' Hiram is an interesting spectre and Consuelos tries to make the character work, but sometimes the character is written so poorly ("I've just had a wicked idea", cue moustache twirl) that no actor could delver it with a straight face the first time. His dynamic with on-screen wife Marisol Nichols' Hermione is interesting and has chemistry though. Luke Perry's Fred Andrews and Skeet Ulrich's FP Jones both also have the potential to be great performers but it is again the writing that consistently lets them down, whether it is once again in shifting personalities or simple neglect by the plot. Camille Mendes' Veronica is another strange case. She is sometimes great and sometimes terrible, often hinging on her dynamics with the other characters. There are two consistently great performances in the show, however, and quite coincidentally both come from the same family on screen: the Coopers. First up is Mädchen Amick as Alice Cooper. The Chic storyline of this season is a dire addition, but the positive to take from it is that it gave Amick plenty to do throughout the season. The emotion she portrays feels genuine and real, and you are certainly able to connect much more with the plight of the character than many others on the show. However, the best performance in the show is Lili Reinhardt, who should well and truly take a bow for her turn as Betty Cooper this season. The character sometimes does things that don't make a great deal of logical sense (see the "darkness" scenes) but, and I don't know how, Reinhardt makes this material work. This is a character you believe fully, and you in turn become totally invested in the journey that the character goes on throughout the season. Even in the show's weaker moments, the performance shines through. Thank the writers for realising this and wisely focusing on her throughout the season.
The conflict with Hiram (Mark Consuelos) might be fun but it fails to recapture the intensity of earlier mysteries
In recent weeks, I've often described Riverdale as a conundrum. Since the earliest days of season 1, there has always been something bizarre about it to me. It's true that the script of the show is in season 2 and has always been its downfall, presenting an audience was a barrage of plots which are often dropped as quickly as they are introduced, and dialogue that will help even the most socially anxious people sleep better at night if this is how the writers think people actually talk. The acting is more of a mixed bag, with some of the weaker members of the cast often being redeemed by some stronger and noticeably more devoted performances (see Lili Reinhardt), which may or may not be due to the script, however weak, giving them more to do. That said, there is still a lot of production value to be found here, with the style and musical identity of the show helping it to stand on its own in a crowded tween market, while some consistently endearing characters and an engaging mystery (for half of the season at least...) help season 2 to remain at the very least watchable even for the most cynical of viewers. However, as in films and other shows, a bad script should be the downfall of any production...so why does that not stop Riverdale from being so enjoyable? The reason this show confuses me is because, in terms of quality, it commits a number of sins for which I and other critics would usually attack a film or other show. And yet it manages to be so intoxicating and indeed addicting. There is undoubtedly enjoyment to be found watching Riverdale, and no matter what score I give it, to deny that to you would be a lie. With its insane and absurd events and plot twists, with its mysteries to keep you going, with some performances to keep you emotionally engaged, and a unique style to its name, I find myself recommending that you give Riverdale a watch, or at the very least a shot. Fun is the name of the game when it comes to this show and if you can find some friends to watch it with at the same time, it's truly a blast to swap theories, rant or rave about any number of insane moments. It's not fine art by any stretch of the imagination, but do you know what, that's absolutely fine.
Pros
Stylishly shot and edited
For the most part the characters are endearing
An engaging and intense central mystery (when they choose to focus on it)
Some good performances
It's complete nonsense and that's okay
Cons
Equally some performances leave a lot to be desired
Underdeveloped and rushed plot lines (despite a bloated series length)
Inconsistent motivations
Often poor dialogue
Rating: 6/10
All episodes of Riverdale are now streaming on Netflix
Starring KJ Apa, Lili Reinhardt, Cole Sprouse, Camila Mendes, Madelaine Petsch, Casey Cott, Ashleigh Murray, Marisol Nichols, Luke Perry, Mädchen Amick, Skeet Ulrich, and Mark Consuelos
It seems almost implausible that the original Iron Man came out 10 years ago now in 2008. I don't think even at that point that the head honchos of Marvel, even executive producer and mastermind Kevin Fiege, could have foreseen the success that this franchise has had. From the moment Nick Fury appeared in Tony Stark's house to talk to him about the Avengers Initiative, it has always felt like there was a bigger game afoot. It was this that effectively saw the introduction to the medium of cinema of the cinematic universe. What was once recognised as a gamble more than unlikely to succeed is now considered to be one of the biggest money-making tools available to studios. It feels like every year we see another studio try their hand at replicating the success of this formula. Ultimately, it has always been Marvel's commitment to the characters and bringing them to life on screen over time that has set them apart from the crowd. The original and still best execution of this format works because it made us fall in love with these characters. We have seen them grow, seen them evolve, seen them climb to great heights and then fall so much further. And yet at the end of the day the story was always going to have its ending, however bitter sweet it may be, with the path clearly set from the moment Thanos reared his purple chin in the post-credits scene of 2012's Avengers Assemble. It seems like that story is finally coming to its end now, with the first part of the story now released in Avengers: Infinity War, as the Avengers, the Guardians of the Galaxy, the forces of Wakanda, and the sorcerers of Earth finally unite in a desperate bid to prevent the aforementioned Mad Titan from gathering all six of the mystical Infinity Stones and using their seemingly limitless power to wipe out half of all life in the universe. The stakes don't get much higher than this, both for the movie and the expectations built over 10 years. Thankfully, directors the Russo Brothers have more than delivered with this epic, sprawling story. As I just said, the stakes have never been higher and the mood of the film feels appropriate to that. There is an air of true threat - something Marvel movies have often been criticised for lacking - throughout, a feel that finally nobody is safe. Thanos, played wonderfully by Josh Brolin, brings that atmosphere even when he is not on screen. Remarkably, however, the film for the most part manages to balance this, and the naturally incredibly emotional moments scattered throughout that you'll expect from a finale, and the trademark Marvel humour, inserted tactfully into the film and tending not to draw too much attention or undercut serious moments. This isn't always case, particularly at the beginning of the film when the Guardians are introduced into the fray to the jazz of the Swingers "Rubberband Man". There is a clear disconnect between the New York sequences of the Avengers and Doctor Strange (Benedict Cumberbatch), which carry a dour tone but still fun moments; and the unfortunately naturally goofy tone of the Guardians movies - even the location card that pops up to herald their arrival feels somewhat out of place. Thankfully, this is a short term issue rectified immediately by the threat of Thanos. The Guardians still have their fun, particularly once they unite with the rest of the Avengers, but it is once the fear arrives that you feel like you are watching one film, rather than two spliced together. This should not, however, take away from the skill involved in making sure the movie retain the characters and their feels from their individual flicks; this was a natural issue that was never going to be easy to handle, but the Russos certainly handled this as well as possibly could have been done.
The bread and butter of all Marvel movies have always been the character dynamics on show, especially in the team-up movies such as this. Of course, this is still the case here, and there is a real delight in seeing all of these characters (over 30 in fact) unite and bounce off of each other. Whether it is seeing their individual abilities and powers work together in the midst of the action sequences (which we'll come onto shorty, don't worry) or simply see their personalities clash. Linked quite closely to the point of solo movie tones discussed already, it really is remarkable how writers Christopher Markus and Stephen McFreely, despite having not written the original movies and characters' personalities, have managed to make the array of superheroes feel exactly as they did in their previous flicks and, in turn, make the interactions between them feel incredibly natural. There's a great deal of satisfaction to be found for fans, and regardless a great deal of fun to be had for people who are relatively new to this franchise (which I can confirm having seen the movie the first time with someone who had not seen all of these movies and had not seen a lot of the individual movies but enjoyed it all the same). These are backed up by great performances throughout the movie. There is some truly great comic timing - notable mentions of course go to the ever reliable Robert Downey Jr. as Tony Stark/Iron Man as well as Chris Pratt's Peter Quill/Star-Lord - but also some excellent dramatic moments. Downey Jr. deserves a special mention here as well, as he perfectly sells the desperation of Stark, finally facing the threat that he and his team have known was coming since the Battle of New York. The Guardians all have their usual fun and goofy moments, but Pratt also gets some impactful moments in the second half to work with. Benedict Cumberbatch's Doctor Strange is a somewhat stoic presence, working well as a straight man to Stark, Spider-Man (played brilliantly by Tom Holland once again), and the Guardians. The two main performances I want to mention with regards the heroes are Zoe Saldana and Chris Hemsworth. The latter carries on with the development that his character went through in last years Ragnarok, and here becomes a more tragic presence, with Hemsworth giving the part his all. Saldana's Gamora receives significantly more development here than she did in the other Guardians' movies and she certainly makes the most of it, making sure to wring every drop of emotion out of her scenes. Other characters get less to do than one might expect. For example, Chris Evans' Captain America feels somewhat sidelined, while Scarlett Johansson and Chadwick Boseman also feel slightly underused. Don't be mistaken, however, there's only so much you can fit into a 2 and a half hour movie and this should not detract from the success of the movie. To have so many performances and characters, and to balance it all as well as it does, with every main character having a strong individual moment and a good performance behind it is something quite remarkable.
The Magic Science Bros unite at last
That said, even with its frankly jaw-dropping array of superheroes on display, the best character in the movie by quite some distance is the villain himself: Thanos. Perhaps the biggest challenge the movie faced was ensuring that a villain who had been built up for 6 years and had to this point done little but sit in a chair and command underlings to do his dirty work for him could now be shown to be the most feared intergalactic tyrant/warlord in the cosmos, and they succeeded in spades. Owed in equal parts to Josh Brolin's committed and intense motion capture performance and to the fantastic script. It's almost baffling to be able to type that Marvel's most human villain and one of the most sympathetic characters throughout their entire catalogue of movies is a giant purple alien wielding a golden gauntlet designed to hold six mythical stones, and yet here we are. Thanos is brilliantly developed throughout the film to ensure that we understand his point of view. We are given glimpses into his backstory, and when he explains his reasoning, it doesn't feel like exposition or plot explanations, it feels like we as an audience are being given an insight into the psyche of this character - it allows us in turn to comprehend his reasoning. We might not agree with it in any shape or form (at least I sincerely hope that someone out there doesn't agree with wiping out half of all life in the universe), but we completely understand why he believes he is right. It is on that basis that Thanos in turn becomes not only the best Marvel villain, but one of the best on-screen villain in recent memory. His conviction and determination to carry out what is ultimately a heinous and villainous act is driven by a fundamental belief that he is truly doing the right thing. You'll be disgusted at the amount of times you accidentally catch yourself understanding him, especially as he commits to his actions in truly tragic manners. But it is that the villain feels the tragedy and you feel it through them that drives the success of these moments. Yes, I can't emphasise it enough how strong a character Thanos becomes and he more than meets the galactic hopes and expectations fans around the world had for this character. Noteworthy also are his Black Order, described as his "children" but effectively his generals who appear throughout the film. These characters are also interesting in their own rights, and some at times even felt capable of carrying their own films. The most memorable presences are the warrior Proxima Midnight, played by TV's Carrie Coon (although perhaps memorable by virtue of screen time and a strong vocal performance as opposed to development), and Ebony Maw, the most successful member of the group due to the fantastically creepy vocal performance of Tom Vaughan-Lawlor. The other two members of the group, Cull Obsidian (Terry Notary) and Corvus Glaive (Michael James Shaw) work for their purposes but don't always stand out as much as the other two members. However, that said, they all of course still play second fiddle to Thanos, who has certainly for the most part been regarded quite correctly as the movie's main event and its great triumph. As a movie acting as a crossover event 10 years in the making, that's really saying something.
Nothing to worry about, just a villain throwing a MOON
I might have talked about character dynamics and the emotion beats earlier, but at the end of the day this is a superhero movie and that means one thing: action sequences. Lots and lots of action sequences. Like the rest of the movie, these are executed fantastically. There is a constant excitement throughout the movie, with the scenes feeling perfectly paced out so that they never feel too brief or underwhelming, but not so long to the point that the sequence becomes boring. Of course, the character dynamics also work their work into these sequences, and it is because of this that the movie is prevented from becoming essentially an animation, just a barrage of colourful flashing images on screen. The characters are what bring the humanity to these scenes, which may sound obvious but it is still a crucial point to make. The Russos also execute what is quite possibly the most stunning blend of action to act as the finale to the movie, perfectly merging not one, not two, but three action beats. Cutting back and forth between the three locations, you become completely immersed in the perfect visuals of the movie and wholly engaged in the epic set piece on show, as the fates of your favourite characters hang in the balance. On that note, the special effects of the movie are also particularly noteworthy. The budget of the movie is astronomical, there is no doubt in that, but we've seen quite a few movies in recent years with large budgets that have failed to convincingly render even a fire. That is why then it still is worth mentioning how well done the effects work is, especially on Thanos, who Josh Brolin also performed the motion capture for. For a villain completely rendered in CGI, it is an incredible feat that you will completely forget that Thanos is not really there throughout. The same can be said for the locations - this is all a key part in ensuring the movie is as immersive as it is. The cinematography in the movie is also excellent, as is Alan Silvestri's sweeping score. Having also composed the original Avengers score, Silvestri is often the key counter argument to the debate about whether Marvel movies have memorable music. While I don't agree that this is always the case, the theme is certainly the most, for want of a better word, "hummable" of the universe. Silvestri here adopts that theme, as well as those of the solo flicks, and twists them to match the darker tone of the movie. While there is still some uplifting hopeful motifs throughout, these are mixed throughout with a haunting piano riff, with this going a long way to building the tense atmosphere.
The Guardians bring some much needed levity to the proceedings, but don't undercut the drama
What is there left to say really about Avengers: Infinity War? You've heard it all since the release of the movie a few weeks ago, and it's likely that I haven't said anything new here...but that is quite simply because there is nothing left to say. The movie truly is as fantastic as you've heard and I cannot recommend it highly enough. It's not perfect, but no superhero movie really is at the end of the day. The issue of tone does noticeably stand out near the start of the movie. It is a testament to the Russo Brothers that they managed to capture the feel of each of the characters' and teams' individual movies and franchises and it's a natural problem which virtually no director is going to be able to get past. It's all but rectified by the blend achieved later by the Russos between the usual humour you've come to expect from Marvel movies, with the emotional beats that you'll likely be expecting, given that this is the endgame we've been building to for 10 years. It may seem like I'm contradicting myself, but the fact is when the characters are united by the threat of Thanos, rather doing separate things, because at that point it feels like one movie...and thankfully that's not too long a wait. Everything else in the film is carried out to a masterful standard. The character dynamics are exactly what you'll be hoping for, the action impeccable, the visuals beautiful, the score equal parts intense and emotional, and the story one that is able to be engaging for fans and non-fans alike. Most impressively though is the execution of its villain Thanos. It seemed virtually impossible (like this entire movie is we're being completely honest) that a villain with over 6 years of build-up could hope to be not only as frightening and intimidating as he is, but also that he would somewhat ironically become Marvel's most sympathetic and humanised antagonist to date. The movie is a remarkable feat, and I'll be honest that my score for this movie was originally one point lower. I am such a big fan of these movies that I tried to be harsh with this one. That said, it was when I saw this movie with different people on two different occasions, and the reactions everyone had at what we had watched, that made me realise that, even without bias, the movie really was as good as I thought it was. Marvel is now at the top of their game, and it seems impossible that they can keep building movie upon movie. Building a whole universe of great performances and a story unlike any we've ever seen on film before, Avengers: Infinity War is an incredible first part to the conclusion of this story, and one which all but guarantees enjoyment for all audiences. You won't want to blink.
Pros
Thanos
A satisfying beginning to the end of this 10-year story
Great performances
Fun character dynamics
For the most part balances humour and emotional beats very well
Incredible action sequences
Stunning visuals
Alan Silvestri's sweeping score
Cons
A few tonal issues near the start of the movie (but even these aren't persistent)
Rating: 10/10
Original Release Date: 26th of April, 2018
Starring Robert Downey Jr., Chris Hemsworth, Mark Ruffalo, Chris Evans, Scarlett Johansson, Benedict Cumberbatch, Tom Holland, Chadwick Boseman, Paul Bettany, Elizabeth Olsen, Don Cheadle, Anthony Mackie, Sebastian Stan, Danai Gurira, Letitia Wright, Chris Pratt, Zoe Saldana, Dave Bautista, Vin Diesel, Bradley Cooper, Pom Klementieff, Karen Gillan, Benedict Wong, Gwyneth Paltrow, Benicio Del Toro, and Josh Brolin
