Superman

The Fantastic Four: First Steps

24/07/25

Cineworld, Edinburgh

The world of superhero movies has become an unpredictable place. DC’s recent Superman film was dismissed as a sprawling mess by the majority of critics (me included), but proved to be a palpable hit with the public – which makes me somewhat nervous to announce that, for my money, Marvel’s latest offering is the studio’s best effort since Guardians of the Galaxy. Which probably earns it a one way ticket to ignominy.

Stan Lee and Jack Kirby’s first superhero team, The Fantastic Four, have had a pretty rocky ride on the big screen. Previous attempts to capture their antics have been met with howls of derision from Marvel fans and a distinct lack of bums on seats at the box office. First Steps might suggest an origins movie, but this film begins four years after the space flight that dramatically changed the lives of its four crew members. That mission is only alluded to in a brief television interview, introduced by Ted Gilbert (Mark Gatiss). Now, Reed Richards (Pedro Pascal), Sue Storm (Vanessa Kirby), Johnny Storm (Joseph Quinn) and Ben Grimm (Ebon Moss-Bachrach) have been widely accepted as the Earth’s protectors. But, in a shot of realism rarely seen in this genre, married couple Reed and Sue are about to have their first child and are going to have to learn to go about their super-business with a baby on board.

New York City receives an unexpected visit from Shalla-Bal (Julia Garner as the ex-girlfriend of The Silver Surfer, Stan Lee’s oddest hero), who points out that Earth is soon to be… ahem… eaten by Galactus (Ralph Ineson). He’s a suitably gargantuan alien, who has already gobbled up several other luckless planets and has made sure to leave room for pudding. It’s up to the four superheroes to devise a plan to save the world and carry it out, whilst taking care of new arrival, baby Franklin.

So… no pressure.

While the storyline is as batty as we’ve come to expect from Marvel, what really works here is the film’s overall aesthetic, which locates the story in an alternate nineteen-sixties (the era in which the source comics were conceived and created). The ensuing world-building is delightful, with that kooky style applied to every last detail. This results in a futuristic world where, for instance, mobile phones don’t exist. Cinematographer Jess Hall ensures that everything is filmed in vivid, eye-popping hues, while director Matt Shakman keeps the action propulsive enough to ensure that audiences don’t have time to consider how silly the storyline is.

The characterisations of the four leads are nicely handled, particularly by Pascal, who makes his Reed Richards a nerdy number-cruncher, who loves nothing better than scribbling equations on a chalkboard. The dialogue achieves just the right mix of funny and heartfelt, even if it did take seven writers; and for once, there aren’t too many characters to get a handle on. While I generally complain when everything comes down to a climactic punch-up – and this film is no exception to the rule – this one doesn’t overstay its welcome and, in its final furlong, manages to crank up some genuine moments of suspense. Mission accomplished.

So yes, it’s been a while since I enjoyed a Marvel movie to this degree. We’ll see how it fares over the following weeks but, in my humble opinion, First Steps deserves to succeed. Make sure you stay in your seats for the mid-credit sequence announcing… well, you’ll have to go and see for yourselves.

4.2 stars

Philip Caveney

Superman

12/07/25

Cineworld, Edinburgh

Many cinema-goers have fond recollections of Richard Donner’s Superman (1978). Though the film’s special effects were nowhere near as sophisticated as they are now, the story had true heart and vivacity. We really believed a man could fly.

Since then there have been several attempts to relaunch the Man of Steel, all of them underwhelming.

James Gunn, the head honcho of DC (and the man who gave the world Guardians of the Galaxy) now takes on the daunting task of bringing Superman up to date. It would be pointless to retread the origin story, we’ve seen it so many times it now feels like genuine history. So the film begins with some pithy headlines alerting us to the fact that there have been major changes since we last checked in. A fictional country, Boravia, has attempted to invade the neighbouring made-up land of Jarhanpur – and Superman (David Corenswet, last seen by B&B as the young projectionist in Pearl) has stepped in to prevent major loss of life. This is ruled as an illegal action by the American Government. Billionaire entrepreneur, Lex Luthor (Nicholas Hoult), who has been secretly orchestrating the invasion, unleashes the ‘Hammer of Boravia’ (actually Ultraman in disguise) to take on Superman in combat.

Poor old Soops has his arse royally kicked.

Lying in the Antarctic snow, he’s rescued by his faithful dog, Krypto, and dragged to the Fortress of Solitude, where a battalion of sophisticated droids are waiting to nurse him back to health. (Krypto, by the way, is based on the director’s actual dog, which may be taking nepotism a step too far.) In the ensuing struggle to put things right, Soops is assisted by Mister Terrific (Edi Cathegi), a member of The Justice Gang, which also includes Green Lantern (Nathan Fillion) and Hawkgirl (Isabela Merced). This rather obvious homage to The Fantastic Four seems to indicate that Gunn is suggesting that DC and Marvel should work together, rather than being in opposition – or is that just my interpretation?

It’s pointless to say more about the storyline, which is unnecessarily convoluted and features so many characters that the result feels cluttered, almost to the point of incomprehension. Yes, there are scenes here that are nicely done, but frankly not enough of them. I shudder to think about the millions of dollars that must have been poured into this enterprise, but there’s the overriding sense that an essentially simple story – flying guy fights to save humanity – is repeatedly steered into a labyrinth of quirky sub-plots. Gunn also wrote the screenplay. Perhaps he was unwilling to ‘kill his darlings.’ There are several attempts to mirror contemporary real-world incidents that don’t quite come off

Corenswet is decent in the lead role but doesn’t have the charm of Christopher Reeve, while Rachel Brosnahan makes an appealing Lois Lane. Hoult, in his usual winning form, strides around in perfectly-tailored suits as Luthor and handles the requisite villainy with aplomb. In many ways he’s the most interesting character in the film, which is a problem in itself. I can’t help thinking of the way Jack Nicholson’s Joker overshadowed the Caped Crusader in Tim Burton’s Batman. If the character the film is named after isn’t your main takeaway, then something’s not right.

Everything builds to a mighty tussle in Metropolis with Soops whizzing around trying to save human lives – and in one case, a frickin’ squirrel! A sequence where our hero visits his foster parents in Smallville results in some truly syrupy dialogue and I’m afraid to say that Krypto’s exuberant charm soon wears thin.

So, worth checking out? I’ll admit this film doesn’t really work for me and that’s a shame, not because I had such high hopes for it but because the future of DC films may be riding on its box office takings. Whilst applauding Gunn’s brave decision to go for a radical reinvention of the franchise, it just doesn’t tick enough boxes to make this a satisfying two hours in the cinema.

You’ll believe a man can plummet.

2. 8 stars

Philip Caveney

Thunderbolts*

02/05/25

Cineworld, Edinburgh

I’ve been decrying Marvel’s deplorable lack of ambition for so long that, when the studio finally comes up with something that’s genuinely different from what’s gone before, I feel mean when I say that it’s still not quite enough. But more of that later.

Thunderbolts* – and no, that isn’t a typing error, there really is an asterisk in the title, though I honestly haven’t the faintest idea why – is a superhero movie with a difference. The team of players we are presented with are all misfits in one way or another. I guess you could argue that DC’s Suicide Squad offers a similar premise, but it’s more cleverly handled here. Chief among our pound-shop players is Yelena Belova (Florence Pugh), the sister of the now-deceased Black Widow. Once a larger-than-life adrenalin-junkie, Yelena spends all her time miserably doing the bidding of Valentina Allegra de Fontaine (Julia Louis-Dreyfus), a crooked politician with her eye on world-domination. (Hmm. I wonder where they got that idea?)

Yelena has lost touch with her father, Alexei (David Harbour), who now plies a trade as a chauffeur, and she longs for something that will make her feel like she’s actually doing some good. Sent out on yet another thankless mission – to destroy one of de Fontaine’s secret laboratories – Yelena discovers that two others have also been handed the same task. They are shape-shifter Ava Starr (Hannah John-Kaman), and John Walker (Wyatt Russell), a kind of below-parr Captain America knock-off. After a thankless skirmish, the three of them decide to join forces rather than continue to oppose each other and, before leaving, they rescue a seemingly ordinary guy called ‘Bob,’ (Lewis Pullman), who they find wandering about the place looking vaguely confused.

Once back in the real world, the ‘team’ quickly adds congressman Bucky Barnes (Sebastian Stan, last seen by B&B as the odious Donald T in The Apprentice) and, of course, Yelena’s dad, who has been itching for an excuse to ditch the new job and get back into his old Red Guardian outfit. It’s Alexei who comes up with the titular name for the assembly but it isn’t long before they are being pitched by the opportunistic de Fontaine as ‘The New Avengers.’

Thus far, Thunderbolts* feels rather ordinary: too many characters struggling for screen time and going through the same over-familiar tropes – but Bob, it turns out, is the film’s secret weapon in more ways than one, especially once he discovers his own hidden powers. He metamorphoses into a kind of alternate Superman, a dark, brooding figure whose actions are motivated by depression and paranoia and who is much more interested in destroying the world than saving it. He’s also not above rubbing out cute little children who get in his way – a move unthinkable in most superhero films.

While director Jake Schreier takes too long to reveal this trump card, once it’s out there, the proceedings pick up immediately and actually start to feel – dare I say it? – genuinely interesting, which is not a quality I’ve seen in a Marvel film for quite some time. And if nothing else, here’s proof that Florence Pugh is now a major box-office star, always capable of finding new depths in any persona she chooses to take on. Her Yelena is much more than a 2D comic brought to life.

For those who care about such things, there are two post-credit sequences. The first is brief and actually makes me laugh out loud. The second is more complex and offers a glimpse of upcoming Marvel release, The Fantastic Four, but you’ll need to stay in your seats until the bitter end if you want to catch it. It remains to be seen if that seemingly-doomed quartet can be rescued from the doldrums, but for now, Thunderbolts* is way better than expected.

3.6 stars

Philip Caveney