And so the hour comes round at last. Avengers: Infinity War, the 19th film in the Marvel Cinematic Universe, functions not so much as a movie in its own right as the biggest season finale of all time, bringing together a huge ensemble of characters from across the franchise’s various series to battle the space tyrant Thanos (Josh Brolin) for control of the Infinity Stones that have littered the Marvel films since 2011’s Captain America. Thanos’ goal is to wipe out literally half the intelligent life in the universe, and when all six stones are housed in his gaudy Infinity Gauntlet, he can do it with a snap of his fat, purple fingers.
Now, if none of that made any sense to you, you may want to seek your cinematic pleasures elsewhere. It’s not that the price of admission is particularly high for Infinity War, but you must be At Least This Geeky to Ride; the film assumes a knowledge of and investment in pretty much the whole sweep of the MCU, and has little time to hold the hands of any newbies. There’s simply too much going on, and too many beats to hit.
That also means a fairly frenetic and disjointed pace while all the pieces are put on the game board, and it’s a really good half an hour before Captain America (Chris Evans) shows up, Alan Silvestri’s Avengers theme swells, and things really settle into a sweet groove. In the meantime, we have three plot strands getting set up and eventually woven together in the mandatory massive final act smackdown. After the Asgardian refugee ship is destroyed by Thanos, Thor (Chris Hemsworth) hooks up with the Guardians of the Galaxy (Christ Pratt, Zoe Saldana, et al) and goes off in search of a weapon capable of destroying the Mad Titan. When Thanos’ henchman, Ebony Maw (Tom Vaughan-Lawlor) attacks New York City, Iron Man (Robert Downey Jr), Doctor Strange (Benedict Cumberbatch), and Spider-Man (Tom Holland) hitch a ride on a giant space ship and find themselves on Thanos’ home world. On Earth, Cap and the gang hole up in Wakanda with Black Panther (Chadwick Boseman) and Bucky/The Winter Soldier (Sebastian Stan) in order to protect the android Vision (Paul Bettany), who houses the Mind Stone that Thanos seeks.
As befitting its title, Infinity War has a huge canvas and the way it cuts between vast cosmic panoplies, alien worlds, the majesty of Wakanda, and the decimated landscapes left in Thanos’ wake is dizzying to the point of being overwhelming. This is a film that is absolutely packed to the gills with spectacle and action, to the point where it almost doesn’t have time to breathe. The thing clocks in at a whisker under two and a half hours, and a longer cut on home release would be welcome not to jam in more chaos, but perhaps a touch more character time.
For all that, we do get some nicely observed, generally quickly sketched, character moments, though. Gwyneth Paltrow’s Pepper Potts barely gets a look-in, but her relationship with Tony Stark, which has largely occurred off screen of late, has actually progressed the way human relationships tend to. Bruce Banner (Mark Ruffalo) and Black Widow’s (Scarlett Johansson) relationship has not, given Banner’s two years’ crackin’ skulls in the Space Colosseum, but we get a brief and trenchant moment there. The relationship between Vision and Scarlet Witch (Elizabeth Olsen) is brought to the fore as the android argues that he should sacrifice his life to ruin Thanos’s genocidal plans, saying that his life is worth trading for the untold billions who will perish if Thanos wins (Cap, bless his red, white, and blue socks, will have none of that).
The film also gets decent mileage out of putting disparate characters together and letting them bounce off each other. Thor’s cosmic-level masculinity evinces jealousy in Star-Lord (Drax (Dave Bautista) decides he’s some kind of “pirate angel”), but the Thunder God bonds with Rocket (Bradley Cooper) over their shared sense of loss. Meanwhile, over on Ebony Maw’s ship, alpha dogs Doctor Strange and Iron Man, who for all their specific differences are damn near the same character in the broad strokes, butt heads over the leadership of their little team, which is never not fun to watch.
Yeah, the whole thing is a blast – which sits at odds with the often wrenching deaths of several major characters.
No spoilers here, but the body count in Infinity War is both significant and surprising. The sudden tonal shifts are essentially a genre feature inherited from the pages of the MCU’s source comics, which cheerfully bounce from action to comedy to pathos and back, to varying levels of success. Anyone with an eye on the broader MCU as both an ongoing narrative and a business has been in no doubt that some heroes would be left toes-up in the course of Infinity War, and that’s appropriate; a bloodless war is not a war. In execution, the effect of these deaths is… questionable. Or, at the least, variable. A couple seem arbitrary, cutting off character arcs that didn’t seem finished (then again, that’s what sudden death tends to do, right?). A couple are wholly dramatically appropriate and absolutely crushing. And the rest?
The rest seem temporary.
And now we must drift across the line into the Spoiler Lane just a little bit, because there’s something significant about Infinity War that must be discussed to put it into context as a film and as part of the overarching Marvel Cinematic Universe, which is as bold a filmmaking experiment as any, but has by this stage certain inherent structures and tenets which mean that we the audience should have, by rights, seen this coming. Bale out now if you feel the need.
And as for those temporary deaths alluded to earlier, that’s something the canny viewer picks up metatextually. We’re left at a narrative point where certain events are almost bound to be reversed – it’s just the way these stories work. This too is a hangover from the source comics. Death is very much a temporary condition in the on-paper Marvel Universe, and it’ll be interesting to see how this trope translates to the on-screen Universe and how it affects the emotional stakes thereof – self-sacrifice doesn’t mean much when there’s a spell or a widget or an Infinity Stone that can reverse the cost. And even putting those concerns aside, some of the casualties are just starting out in their own series – there’s just no goddamn way they’re leaving some of the fallen in the dirt for too long.
Which is not to say that Infinity War isn’t emotionally resonant. It packs a wallop, and if you’re invested in these characters and their stories, there are moments that are going to knock you back in your seat. Conversely, if you’re pretty much only here for the spectacle, you’ll get that in spades: the Battle of Wakanda is one for the books, and if you ever wanted to see a god kickstart a dying star, well, here’s your shot. Following in the footsteps of Thor: Ragnarok, Infinity War frequently goes full-on Jack Kirby, and that’s nothing less than a complete delight.
Infinity War also gives us a great, great villain in the form of Brolin’s Thanos, which comes as rather a big surprise. Largely relegated to glowering in the background in previous appearances, Thanos was looking like a bit of a risk, and possibly another addition to Marvel’s roster of weak villains. Instead, Infinity War goes out of its way to define Thanos as a character. Like all great villains, he thinks he’s right – his crusade to wipe out half of the universe is, to his mind, an act of mercy, a necessary evil, and a terrible burden he bears for the greater good. That’s a hell of a change-up; previously the Mad Titan came across as Ming the Merciless in purple warpaint, but now, along with Killmonger and Loki, he’s an upper echelon Marvel bad guy, and thank God for that – the last thing we needed was another Whiplash/Malekith/Ultron/name your poison.
Ultimately, Infinity War is not the stunning apotheosis of all that has come before, and that’s a bit disappointing. It is a hell of a lot of fun, though – an epic romp across the breadth of the Marvel Cinematic Universe with all the action, comedy, pageantry, and sturm und drang you could hope for. It’s so damn close to being an all-timer, though, and what galls is that it falls short of greatness due to the self-imposed demands of serial storytelling. The irony is that the very story model that lets us have a big screen Marvel Universe is what prevents its flagship event movie from being as transcendent as it could be.
Sherlock is over so quickly isn’t it? One week you’re celebrating its return and less than a month later, you’re waving it bon voyage. And after the last two weeks of plotting, it’s no surprise the fervour people had for this – the final episode of Season 4 and, potentially, the last episode of Sherlock for a very long time.
It’s little wonder that creators Steven Moffat and Mark Gatiss, writing together as they did for The Abominable Bride, wanted to give their supporters something to wave their flags to. Think of The Final Problem as the Greatest Hits of Sherlock, with choice cuts of your favourite moments repackaged into a handy 90-minute feast. Sadly, as pleasant as it is to see the two writers clearly having fun in their sandbox, the real problem for the viewer was trying to work out how the two previous episodes could justify such a lukewarm finale.
Having revealed a third Holmes sibling and putting the life of John Watson (Martin Freeman) in danger last week, we were given a rather rushed resolution as to the Doctor’s fate.
Apparently, Eurus (Sian Brooke), Sherlock’s evil sister, had merely stunned Watson and run away. An impossibility according to brother Mycroft (Gatiss) who insisted that she was trapped within a super-prison by the name of Sherrinford which was stuck on an island out to sea. All of which was a massive surprise to Sherlock, who had completely forgotten he’d ever had a sister. If that part sounds like a tough pill to swallow, The Final Problem produced a number of other headscratchers that unfortunately lowered the plausibility of its narrative.
Things started off strong with a small girl waking up on a plane in which all its passengers and crew had passed out. Answering a ringing phone in the hopes of calling for help, she’s greeted by the voice of the late consulting criminal, Moriarty (Andrew Scott). Elsewhere, having escaped the detonation of 221b Baker Street – another one of Eurus’ games – the Brothers Holmes and Watson break into Sherrinford to understand how the meddling sister is able to break out.
Before continuing, it should be noted that Sherlock has dipped its toe in the surreal before. Season 2’s The Hounds of Baskerville, for instance, attributed its hell hound to psychotropic gas. Indeed, the very idea of Sherlock himself is a flight of fancy in the real world. However, The Final Problem was something else.
As well as being superior to her brothers intellectually, Eurus was shown to be able to ‘reprogramme’ those around her and, as such, had unbelievably managed to take over her own asylum, giving her free passage to leave her island prison as and when she felt like it. Spurred on by a meeting with Moriarty several years prior – in a hilarious cameo by Scott – she had decided to take her vengeance out on Sherlock for reasons that never feel satisfactory. Over the last few seasons, a lot has been made of the name Redbeard and its influence on Sherlock’s persona. Previously thought of to be a beloved pet, the final twist turned out to be something much sinister and had led to Eurus’ incarceration. Gatiss and Moffat try to turn what would be a childhood trauma for Sherlock into a reason for his thirst for solving mysteries. But as an attempt to give Sherlock back his humanity, it just didn’t convince.
Neither did the system of Saw-like problems Eurus put her siblings through, with a different room in Sherrinford leading to a new and deadly conundrum. As Eurus pulled her brothers’ strings, the continuing train of thought was ‘How can she afford to do all this? Literally, who is funding this person?’ and ‘Does anybody remember John had a baby daughter?’ When the girl on the plane was revealed to be Eurus in a mind palace of her own waiting for Sherlock’s approval, The Final Problem revealed itself to be trying too hard.
Thank heavens then for the positives that didn’t make this a complete washout. Take for example Molly, played by Louise Brealey. Criminally underused this season, Brealey brought much needed emotion in a scene that saw her bare her soul to Sherlock, whilst being an unwitting pawn in Eurus’s schemes. As we cheer on Sherlock’s sociopathic qualities, we often forget how they can deeply cut others. It was a wonderful moment, only somewhat surpassed by Mrs Hudson thrashing around to Iron Maiden in her slippers.
As the dust settled, Sherlock ended, as perhaps it was always going to, with a massive press of the reset button that allowed Gatiss and Moffat to bring a close to their 6-year story in a deserved self-congratulatory tone, whilst tentatively leaving the tiniest of margins for a possible return. And whilst this wasn’t the ending some of us will have been expecting, the journey to get this far has at least consisted of more highs than lows, with a heavy vein of experimentation throughout. For that reason alone, Sherlock is still, as a whole, a quality British drama.
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