This article contains spoilers forEternals.
After a couple of weeks that saw theEternalsfight off a flurry of critics armed with unforgiving reviews, it seems like theMCUis back to business as moviegoers now get to chime in with what they really think about a movie that definitely stands out from anything else with the Marvel Studios logo on it.
Eternalsis not trying to fool anyone, from its usage of the very first opening crawl in the MCU (à laStar Wars) and the complete absence of that very familiar Marvel opening theme, all the way to each character’s introduction, Chloé Zhao makes sure viewers are aware of this. And yet, somehow, by the time the movie’s and post-credits scenes drop it’s also not hard to feel one just saw a very run-of-the-mill Marvel movie, so how could this be?
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The answer perhaps lies in the words of another veryaccomplished director and vocal Marvel critic, Martin Scorsese. Back in 2019, Scorsese made headlines for his criticism of MCU films and subsequent New York Times op-ed denouncing “the gradual but steady elimination of risk” in times where superhero movies mostly stick to their well-proven formula for success.
Nevertheless, whileEternalsdoes take risks, it does so in a half-mannered way that keeps it from being a hit among those expecting a typical Marvel nor does ittranscend the boundaries of the MCUto become something truly different. That is because, despite Zhao’s efforts, there is always that lingering need to fulfill certain demands for it to exist as a Marvel movie that looms over like Arishem does when watching the Eternals.
Although still relatively early in her career, Zhao has already won an Oscar thanks to a filmmaking style that’s seen at times inEternals, and the movie’s action sequences will only boost her credentials as a multifaceted director. In fact, Zhao’s presence sees many firsts for Marvel, like shooting the MCU’s first sex scene and a kiss from a same-sex couple, both of which are subtly delivered as to not throw off viewers rarely used to seeing their Avengers engage in displays of affection on-screen.
Those elements alone are enough to make the film stand out, butZhao’s use of large sceneryto introduce each Eternal and a more subdued script that favors exposition over more direct dialogue. Make no mistake,Eternals’biggest weakness is still probably the script, however, not even that keeps the movie from establishing clear roles and character traits for its large cast.
Eternalscan feel like it drags on for quite a bit, though it still manages to pack a good amount of action for the ride, and that’s partly because of the big history lesson needed to introduce the heroes. The first parts of that clearly define the fighter and thinker roles assigned to each Eternal in the team while showcasing each one’s unique powers and, considering how many characters the films deals with, it’s enough to give everyone their own identity, one of the movie’s most promoted aspects.
Problems arise whenEternalsengages in more familiar Marvel tropes, whether it’s the need to connect the film to other MCU storylines, addressing the group’s absence during the Infinity Saga, or even the usage of Kingo and Karun as the main source of comic relief. In a typical Marvel movie, Kingo would be the main attraction as his unique sense of humor and desire to blend his two lives together, but inEternalshis role in the third act mirrors the film’s ambivalence.
When the time comes to choose sides, Kingo is unable to fight hisfamily even though he mostly agrees with the movie’s surprise villain, Ikaris. His decision seems quite fitting for a film that also refuses to take sides asEternalsis neither a risk-taking example of the filmd’auteurschool Scorsese loves so much, and it’s also not the three-act superhero movie Marvel fans have grown to love.
How good a film comes out of the blend is up to be determined by each individual viewer, though the prevailing opinion appears to be “sufficient” at best. Kingo, arguably the coolest character throughout the entire movie and possibly the second strongest, is completely absent from a final act that has very little at stake considering it’s a known fact in the MCU that there’s no visible fallout stemming fromEternals.
Disney’s backing of Zhao’s work, in spite ofcensorship in the Middle East and China, is admirable for a studio that has often turned a blind eye to accommodate or edit its movies for the sake of optimized marketability and profits. However, it’s ultimately a shame that this was done in service of a film that’snot nearly as groundbreaking as it was promotedto be.
Eternals’biggest letdown is failing to commit to either one of the two styles that inspire it and that’s why it cannot please the Marvel crowd nor Martin Scorsese. At its best, Marvel Studios is capable of taking certain risks, at least within the boundaries of the MCU, butEternalsis not one of those movies due to its biggest shock moment beingthe Black Knight and Blade’s introduction.
If Scorsese’s main gripe with the MCU is the lack of risk-taking thenEternalswill do little to change that opinion in the eyes of those sharing it. Disney Plus shows have arguably taken more risks than most movies, andShang-Chimay be yet another positive example of this; on the other hand, thelack of commitment towardsEternals’or its charactersis a symptom of its failure to do so, a lesson the studio would do well to learn for the future.
