Note: There was dissent in the house of FilmWonk about this film! Be sure to check out our spoiler-edition podcast on The Avengers after you see the film.
As Tony Stark (Robert Downey, Jr.) addresses his fellow Avengers in the last act of this film, he makes the rather staggering leap in logic that their nemesis Loki (Tom Hiddleston) will surely go to New York City to fire the opening salvo of his war on mankind. Stark’s only evidence? NYC is where self-important people go to show off. While the non-New-Yorker in me couldn’t help but chuckle, this sloppy bit of plotting (and my instant acceptance thereof) did raise an interesting question. How much of my desire to follow these characters into whatever adventure and peril awaits them can be properly attributed to this film? This is the potential problem with any sequel – a dilemma that is compounded in a franchise like The Avengers, in which some of the characters were introduced in films that were at best mediocre, and in one case, starred a completely different actor. But while “The Avengers” might not have entirely succeeded as a franchise, Joss Whedon’s rousing and epic take on the final film* has completely validated Marvel’s endeavor.
The gang’s all here, and both Whedon and his actors know exactly who they want them to be. There’s Thor (Chris Hemsworth), verbose and bombastic demigod who feels the weight of every moment – with a soft spot for humanity and for his villainous adoptive brother Loki. There’s Steve Rogers/Captain America (Chris Evans), steadfast and reliable soldier – first out the door into a fight, and a natural leader. There’s Nick Fury (Samuel L. Jackson), boss of the Avengers – chaotic, manipulative bastard beyond reproach, working at all times for the greater good.
And then there’s the other guy. Mark Ruffalo joins the Avengers as Bruce Banner, better known as the Incredible Hulk. If there’s one thing the last two Hulk films taught me, it’s that there’s a lot of potential goofiness involved with a character that explodes into a huge green uncontrollable rage-monster. And yet, everyone in The Avengers treats Banner with deadly seriousness, most of all Ruffalo himself. Even with his limited screentime, Ruffalo manages to deftly convey just what a self-hating, tortured soul this man is. Because the movie never treats the Hulk as anything less than an imminent, mortal threat, there is a palpable sense of danger surrounding him at all times. All of the fantastic tension in the early scenes between Banner and the Avengers is character-based – they fear the unpredictable man who stands between them and the beast. And surprisingly, it is between Banner and Stark that the film first starts to draw some fascinating parallels. Both Banner’s Hulk and Stark’s Iron Man are grappling with potentially lethal forces that threaten to tear them apart from the inside out. While Stark is far more ready to crack a joke about his situation, they feel credibly like the only two people in the world who can truly understand each other’s lot.
Stark has the most screen time – this is surely because both Iron Man and Robert Downey, Jr. are collectively the biggest star in the bunch, but it also marks a wise decision on Whedon’s part to use Stark as the film’s no-bullshit sounding board. Stark is a brilliant, abrasive, narcissistic billionaire, and seems exceptionally well-suited to the job of bringing subtext to the surface in a short period of time. In each of their scenes with Stark, more of each Avenger is revealed, and Downey’s performance here is as strong as it has ever been.
And what to make of the villainous Loki? He is the same whiny, entitled, beggar-king that be became in Thor, ranting constantly about his birthright and nobility and dispatching his enemies with unrelenting viciousness. Loki is less of a master of chaos than he pretends to be, but Hiddleston’s performance brought just about the right level of malevolence and false bravado to the role. Full-on villainy seems like a natural extension of his antiheroic beginnings in Thor – a film which I suspect, despite my cheap shot above, might actually be slightly better when viewed through the lens of what’s to come**.
And what’s to come is pretty obvious… All hell breaks loose in the Big Apple, per usual, but for once the city’s defenders seem immediately equal to the task at hand. This is partially because of just how powerful the Avengers are collectively, but it’s also because the invading “Chitauri” never quite feel like a world-ending threat. The army – a collection of District 9 rejects, Uruk-hai, and giant flying tortoises – wasn’t half as interesting as the heroes fighting it. But the scale, cinematography, and big, colorful superhero badassery of it all brought a huge grin to my face nonetheless. If there’s one thing I remember from Joss Whedon’s last film Serenity, it’s that the man can direct the hell out of an full-tilt battle sequence, balancing intimacy, scale, and devastation with near-perfection. A series of tracking shots take us on a breathtaking tour of the battlescape, as we see each of the Avengers brawling with their own impressive signatures. Despite the rather rote setup of the battle and its resolution, the stakes were undeniable, both for the heroes personally and for the city they protect***.
The Avengers is an unrelenting delight with a smart script and a rousing musical score (by Captain America composer Alan Silvestri). But the highest praise I can give this film is that even the most groan-worthy bits of fan-service were well-placed and served the plot in some concrete fashion. Did Thor really need to bang his hammer into Captain America’s shield? Of course not. But I’m glad I got to see it.
FilmWonk rating: 8 out of 10
* I say “final film” more in the sense of a climax, not out of any naive belief that Marvel won’t milk this franchise until it dies. After a $207 million opening weekend, there’s little doubt that there will be an Avengers 2.
** All things considered, Jane Foster is still a useless character, and I was pleased to only see Natalie Portman’s face in this film as a means of assuring us that she would not make another wasted appearance.
*** SPOILERY OBSERVATION (highlight to view):
While the nuke felt a little perfunctory, Stark’s sudden rush to self-sacrifice was profoundly affecting. Downey, Jr completely sold his transformation over the course of this film (particularly after Coulson’s death), and the film actually managed to make me forget, for a few seconds, that there’s no way that Marvel would let Joss Whedon exercise his penchant for character-slaughter on their biggest star. It was a lovely moment nonetheless, and one that this film completely earned.
END OF SPOILER