Mister Tee wrote:As for that "ending"...in my youth, there was a long-running comic strip called Winnie Winkle. At one point, somewhere around 1960/61, she was said to be dead -- and I remember my father saying "How long till we find out she's still alive?" Same deal here. If you believe Marvel is ready to kill off half of its franchises -- if you for a moment think there won't be a sequel to the billion-ish-grossing Black Panther...well, your childish faith is adorable. So, why would I be moved by something that I know is going to undone or reversed in time for about a dozen more movies?
I haven't seen this movie, so I'm not taking issue with your take on the ending, which seems to be in line with most of the others I've read.
But I have read comic books (not in comic book form...I just wait until they're released in compilation books) so I am familiar with the "kill off the protagonist" thing. In comics, you know the characters won't remain dead forever (the series is going to continue, and even if it's a final issue, you know it'll be rebooted somehow), but the dramatic payoffs tend to come in terms of how they'll bring them back, and what implications their "death" will have on the larger story arc. I don't know why Marvel would try to play it off in terms of some type of suspense or tragic ending when, like you said, everyone knows these characters will be back, and most already have films with release dates lined up.
I've watched several new films lately. Operation Finale
is an interesting story (the operation to capture Eichmann) where you can tell, even at the script level, why actors like Isaac and Kingsley were interested. But Chris Weitz makes a mess of the story, falling into all of the traps you would expect, trying to turn it into a Munich
hybrid (it even has an airport chase). Hot Summer Nights
is one of those Alpha Dog
-esque wayward youth films with Timothy Chalamet as a teenager who gets in over his head. Chalamet is solid, but you've seen this before. Final Portrait
is one of those movies that opens with a time-and-place title card, "Paris, 1964", only for Armie Hammer to inform us (via voice-over) right away that "I was in Paris in 1964". One of the most artless movies about art that I've seen. A Ciambra
is, in my opinion, one of the best films of the year, also, in a way, a film about a kid who gets in over his head. The setting is unique--a Romani community in Calabria--and I think it really evokes the way the African refugees, the Romani community, and the Italians live together in that uneasy tension, the way a group of people who are (and perceive themselves to be) an underclass often resort to crimes as a survival mechanism. Really good movie. If you do Hulu, it's available on there, although I think you can also rent in on Amazon.