Here we go again, another iteration of the superhero team yet to receive an onscreen adaptation that lives up to the name. After the unreleased 1994 B-movie, the goofy 2005/2007 version and the 2015 stinkbomb, the foursome find themselves, at last, in the once reliable, now erratic hands of Kevin Feige and Marvel Studios. To quote Deadpool, they’re “joining at a bit of a low point,” although this could be the ideal opportunity; the Marvel Cinematic Universe could really do with some juice to revive its withering reputation.
In this post-Endgame period, the bar has been lowered so much that we can hope for mediocrity, but probably expect soulless slop each time a new instalment takes over the multiplex. When a film manages to exceed that level, it’s a wonderful surprise, as was the case with Thunderbolts*, which exhibited an admirable degree of maturity by Marvel standards in its handling of heavy themes such as depression and loneliness. After that small win, and perhaps simply because we’ve waited a long time, I wasn’t as ready to casually accept mediocrity heading into the triumphant return to the big screen of ‘Marvel’s First Family’.
It’s certainly not just me. I get the sense that everyone wanted to like this, and the feeling has only been stoked by the casting of actors who are all flaming hot right now, especially our new Mister Fantastic, Pedro Pascal. Give it three weeks and you’ll be able to do a Pedro triple bill as he also stars in Eddington and Materialists — it’s a Pedro Pascal summer!
The opening shot informs us that we’re in an alternate world, Earth-828, which has a distinctly different look from our own. The main appeal, and strength, of First Steps is that the creative team has taken the effort to craft a striking, retro-futuristic aesthetic. Visionary technology and whizzy gadgets are commonplace while TV sets, cars and clothing are stuck in the 1960s. It’s a dichotomy embodied by H.E.R.B.I.E., an elegantly designed robot assistant with a classic tape recorder for a face. Stepping inside the new-look Baxter Building — the not-so-humble abode of the Fantastic Four — one can immediately appreciate the bold yet cosy production design. The whole film has an identifiable colour palette, which is startlingly refreshing after having grown accustomed to the Marvel go-to look of grey sludge.
The decision to entrust Matt Shakman with directorial duties has borne fruit. He previously directed WandaVision, a series praiseworthy for its experimentation with classic sitcom styles, with the first few episodes progressing through the decades. The initial promise of that show was a real high point, back when the idea of Marvel branching out into TV seemed exciting and not tedious. Shakman has taken a similarly inventive approach here and is to be commended for trying something different. He’s supported by composer Michael Giacchino, who once again demonstrates his superpower of reliably creating a recognisable score that perfectly fits the film’s style and is also a vibe (he did this especially well on Ratatouille and Coco).
Our introduction to the characters, a tender moment over family dinner during which Sue Storm (Vanessa Kirby) announces a baby is on the way, reveals the film’s priorities: this is a story about a family. We meet Reed Richards, soon-to-be dad, who knows all things science but feels unprepared for fatherhood; Ben Grimm (Ebon Moss-Bachrach), who, with a rock-hard exterior but a soft heart, has cooked dinner in their homey, mid-century modern kitchen; and Johnny Storm (Joseph Quinn), the resident quipster as this is a Marvel movie. From here, we’re thrust into a segment from a late-night show celebrating four years of the Fantastic Four, serving as an engaging and whimsical way to deliver the exposition that fits the 1960s style. It briskly recaps how they got their powers and provides a montage of the super team in action, fighting a colourful band of monsters and miscreants of all shapes and sizes. We also learn of their rapid rise to mega-popular stardom, not just as superheroes; they’re at the forefront of the international media, scientific and political scenes.
Their enviably perfect existence is interrupted when the Silver Surfer (Julia Garner) surfs into Times Square, the centre of the world, apparently, to herald the imminent arrival of the colossal cosmic giant Galactus (Ralph Ineson), devourer of worlds, last seen in 2007 as a cloud. With the Earth chosen as his next meal, panic ensues and the Fantastic Four jet off into space to confront Galactus and hopefully settle all the commotion.
The team is eventually faced with a difficult moral dilemma, and their response brings their sky-high status crashing down. There’s an opportunity here to explore the nuances of public image during turbulent times, but the film treats it in a rigidly binary way. The people either love or hate the Fantastic Four, with no in between. Sue Storm is able to restore their reputation rather cheaply by taking a leaf out of Dominic Toretto’s book and giving a sentimental, albeit more eloquent, speech about family. This serves as the turning point when everyone puts their disagreements aside and comes together. A global threat requires a united, global solution. However, it feels too utopian and so distant from our reality that the well-intentioned message meant to inspire comes off as naïve.
In the current ‘superhero fatigue’-riddled stage of the genre, it’s becoming increasingly difficult to stand out. This film clears the first hurdle with its distinctive aesthetic, but unfortunately stumbles at the next one as it quickly falls back into familiar territory. As the plot plays out, you eventually realise that it hasn’t got much to offer that we’ve not seen in superhero movies before. My main issue with First Steps is that it ultimately doesn’t leave much of an impression. The convincing family dynamic can’t make up for the one-note flatness of the individual characters. Even the action feels light and lacks a punch, despite ample clobberin’. Disappointingly, it doesn’t showcase the team’s powers in creative ways, offering nothing more than generic stretching, torching, punching and force field-ing(?). I would argue passionately that The Incredibles is the gold standard of this, which — coincidentally but curiously — bears many similarities to this movie.
Everything inevitably heads towards a showdown with Galactus. The film commits a fatal error by finding a far too convenient way to evacuate all people from the city (surely breaking some rules in the superhero movie manual, with no civilians to save during the fight), turning this vibrant world into an empty, lifeless stage and making the whole finale feel far too quiet. As our heroes and villain finally clash, the film faces the age-old challenge of coming up with interesting ways for a group of small guys to fight a really big guy. Sadly, it doesn’t crack it.
Is the film a disappointment? I wouldn’t say so. It’s easily the best big-screen Fantastic Four iteration we’ve had and stands out among recent MCU entries, although the standard for both is in the bin. With its carefully crafted, visually satisfying aesthetic, it shows promise and artistic intent. The subtitle may be apt — it’s the first steps in the right direction for Marvel.
CineLiterate 