I keep saying that I’m not going to any more Marvel movies, because what really am I getting from them? I certainly gave up posting reviews of them up here because they mostly just cover the same sort of arc (fun but empty, and was that bit where they destroyed most of [insert city here] really necessary?). I’m pretty sure I said no more after Avengers: Endgame, and I feel certain I’ve said it at other times too, but here I am, back in again (because, obviously, it’s directed by a woman). I’d sort of forgotten the main thing about the Black Widow character from that final film of so-called ‘Stage Three’ of the MCU (avert yr eyes, but if you care you know already: she dies), but this is a prequel and it largely eschews the other big stars of the franchise, so we get a fairly standalone film, which is I think the best thing about it. So yes, let’s get back into it.
At a certain level this is more of the usual Marvel sound and fury. Beforehand, I went to the Wikipedia page intending to spoiler myself just for fun but realised that I genuinely didn’t care about any of the characters at that point, so if the film achieves anything it’s that by the end, I did at least feel like there was something there, something to hold onto at a character level. As someone who was introduced to Scarlett Johansson back in the 90s in films like Manny & Lo and Ghost World, there was a little flicker of what she brought to those films, though she’s had a full career, a roller-coaster ride of decisions, so in 2021 the stand-out performer is of course Florence Pugh. She may perhaps be expected to take on Scarlett’s ‘Widow’ mantle in future and if so, it’s a canny choice, because one of the few reasons I consented to return to the cinema to see yet another MCU film was the presence of Pugh (and the director, Cate Shortland, whose style in her earlier, much lower-budget psychological dramas like Somersault and Lore, at times here manages to penetrate through the studio playbook). Of course, there are also the big explosions, the silly fights (there’s a lot that’s silly, both intentional and not) and the crashing of enormous things into the ground, but you’ve got David Harbour for the comic relief (who is very good at that), and some genuinely quite sweet scenes between Pugh and Johansson as sort-of sisters rediscovering their bond. Also, secretly, maybe the whole film is actually an allegory for #FreeBritney; certainly there is a message there that touches on conservatorship, I think, and about alienating women from choices over their bodies.
Director Cate Shortland; Writers Eric Pearson, Jac Shaffer and Ned Benson; Cinematographer Gabriel Beristáin; Starring Scarlett Johansson, Florence Pugh, Rachel Weisz, David Harbour, Ray Winstone, O-T Fagbenle; Length 134 minutes.
Seen at the Penthouse, Wellington, Saturday 10 July 2021.