Movies

‘The Fantastic Four: First Steps’ is a grown-up glow-up for the superhero genre

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The Fantastic Four: First Steps” fits seamlessly into summer blockbuster season, much like a square peg fitting a round popcorn bucket. Director Matt Shakman (“WandaVision”) isn’t trying to bend himself like Reed Richards to cater to every corner of the multiplex. Instead, his straightforward superhero movie has an old-school sci-fi feel, with characters in sweater vests discussing their solutions to a crisis in a serious manner. Watching it feels as comforting as being cozy in the backseat of my grandparents’ car at the drive-in.

In a different take on the Fantastic Four series, which marks the third revival in twenty years, this installment seems to hark back more to the 1951 film “The Day the Earth Stood Still” rather than the fast-paced, cluttered superhero movies that have become synonymous with contemporary cinema. The story unfolds on Earth-828, an alternate universe reminiscent of our own Atomic Age design, and it feels as though it belongs to a different era, not just in appearance but also in its slow-moving rhythm. The film’s tone and pace are steady, much like the methodical strides of Galactus, as it navigates the alternative Manhattan of this world. Even the compact runtime of less than two hours is a throwback to a bygone era – quite stylish indeed.

Title “First Steps” moves forward several years after four astronauts – Reed (Pedro Pascal), his spouse Sue (Vanessa Kirby), his sibling-in-law Johnny (Joseph Quinn) and friend Ben (Ebon Moss-Bachrach) – experience exposure to cosmic rays, granting them extraordinary abilities. If you’re familiar with the characters, they resemble Marvel Comics’ Mr. Fantastic, the Invisible Woman, the Human Torch, and the Thing respectively. For some lighthearted moments, they interact with a robot named H.E.R.B.I.E., whose voice comes from Matthew Wood.

By omitting the backstory, we maintain a focused narrative that emphasizes these characters as established individuals who possess the abilities to stretch, vanish, ignite, and fight. Some fans might contend they should exhibit more insecurities; screenwriters might criticize the lack of a traditional character development arc. The common people of Earth 828 admire the team for their intelligence and strength – they’re celebrities in an era before paparazzi – but these individuals are not immune to despair when they question whether Pascal’s workaholic father can rescue them.

It’s said that Stan Lee, a married man with children approaching adulthood, was starting to phase out of comic book writing when his partner, Joan, encouraged him to create characters that felt more relatable. The character Reed, who started to gray and seemed a bit dull, was essentially a looser version of himself – the epitome of a devoted husband.

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However, Hollywood has simplified Lee’s “charming group,” as he named them, at its own risk. Trying to make the Fantastic Four trendy (as numerous films have unsuccessfully attempted) only makes them seem painfully outdated. Instead, this time, Shakman and the four-member writing team consisting of Josh Friedman, Eric Pearson, Jeff Kaplan, and Ian Springer celebrate their quirkiness and restore their esteem. Pascal’s Mr. Fantastic is so formally proper that he even tucks his tie into his dress shirt.

The situation involves Sue, who is about to give birth to the Richards’ first child, coinciding with Shalla-Bal, also known as the Silver Surfer, entering Earth’s atmosphere to deliver an invitation from Galactus – her boss. Galactus has confirmed his intention to consume our planet. In a scientifically plausible detail, the animators have included a silver sheen on her chest area: “I don’t think she was bare,” Reed calmly states, “It must have been cosmic material.

Normally, such a threat would lead to a frantic quest for an item (as seen in the initial comic). However, Shakman’s interpretation skips this excessive chase. Instead, it presents a straightforward confrontation between self-restraint and greed, pitting our humble protagonists against a covetous giant. It sits at the intersection of a typical Saturday morning cartoon and a cautionary Greek tale.

The movie showcases clean, sharp aesthetics in its narrative, design, and visuals. The cinematography by Jess Hall is clear and potent: there’s a see-through hand grabbing a uterus, a character plummeting towards the edge of an enormous black abyss, a body elongated like stretched chewing gum, a rocket that won’t take flight until we see everyone fastening their seatbelts. Space in this film doesn’t have overly flashy CGI. On the other hand, Michael Giacchino’s soundtrack oscillates between triumphant blares and endearing barbershop-style melodies, a fusion that can resemble the debut of a car model with tail fins at an automobile show.

In this setting, there’s minimal arguing and fewer sarcastic remarks. No one behaves as if they’re trying to be a comedian on stage. The characters keep their voices low and frequently use their powers for everyday tasks. Kirby’s character, Sue, slips away to dodge uncomfortable chats, while Moss-Bachrach’s Ben, referencing his role as the maître d’ from “The Bear,” uses his powerful fists to crush garlic. Johnny, the most impulsive and fiery of the group, often sets himself on fire instead of finding a flashlight when he’s too lazy. He delivers the sharpest joke in this serious film by telling Reed, “I take back every negative thing I said about you… all the bad things I muttered to myself, privately.

Indeed, my spectators chuckled appropriately at the jiggling Jell-O salads and admired the fashionable conversation pits in the Richards’ living room, which I consider the ultimate luxurious hideout. The color scheme predominantly features retro hues of blue, green, and gold; even the background actors have matched their clothing to the decorations on the Fantasticar. It’s quite charming how Moss-Bachrach’s muscular rock creature casually strides to the deli for black-and-white cookies while donning oversized penny loafers.

If you want to realize how time flies, it’s now the case that those middle schoolers who watched “Iron Man” on its opening day in 2008 are themselves parents. Over the span of thirty-seven films, the Marvel Cinematic Universe has reached a point where it seems self-conscious about its purpose, producing movies for various age groups. The upcoming “Thunderbolts*” is aimed at rebellious teenagers, “Deadpool & Wolverine” resembles the rowdy, divorced uncle at a backyard barbecue, and “First Steps” offers emotional resonance to young families who can relate to Reed’s struggle with childproofing the entire universe.

Rise of the Silver Surfer” in 2007, the director infamously requested her to look more attractive while crying.

In my perspective, this revamp’s most daring leap towards advancement lies in its emphasis on genuine emotional performances. If it weren’t for this focus, I wouldn’t have gathered such a talented cast, which would only appeal to critics and enthusiasts (like myself) who are always on the lookout for up-and-coming artists, eagerly waiting for their big break and yelling, “It’s time to shine!

While it’s not the best performance for anyone involved, this movie still stands out as excellent when compared to other low-budget films of its kind. However, it doesn’t evoke nostalgia for a specific era; instead, it embodies the essence of that time period. In our current age, fast-paced action might be more popular, but I appreciate the bravery of a film that carves its own path rather than following the common belief that audiences prefer two and a half hours of chaos. Marvel’s original family should express their disapproval to studio executives who persist in pushing such ideas, denying them dinner until they reconsider their approach.

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2025-07-24 00:04

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