Spirited Away: The Value of Journeys

Way back when I started this blog, I did a post of my favourite Studio Ghibli films, and I mentioned that I hadn't seen Spirited Away. I said that when I did see it, I'd review it. And I finally saw it.... two years ago. Yeah, sorry about that. Since then, I've seen it multiple times, and each time it just gets more striking, more poignant, and more masterful. Watching it again recently has really made me realise what it is that keeps drawing me back to this film. I love Spirited Away because it's one of the most satisfying journeys I've ever seen. Chihiro's arc is at the centre of this film, and watching her essentially come of age during her time in the spirit world is one of the most moving experiences I've had with cinema. So today, I want to finally talk about Spirited Away. I want to look at how this film portrays journeys, and how much they matter, in film, and kind of in general too

Chihiro's journey is almost an incidental one. Like a lot of life changing experiences, it's not something she chooses as much as something that just kind of happens. It all begins when her parents stop to inspect this mysterious arch, which of course leads them into the spirit world, where they're then turned into pigs. I think what makes this film work early on is how quickly our hero finds herself in trouble. Everything happens incredibly quickly, maybe too quick for her to realise exactly what's going on at first. Before she knows it, she's alone, in an unfamiliar world, and potentially a dangerous one. Something that I think is particularly important is that the family is moving house when they find this world, so they're already in a period of transition. Again, we don't choose the things that change our lives, we adjust and make decisions as we go, and this is something that I think is at the heart of Spirited Away. Studio Ghibli excel at putting really human issues at the heart of their films, no matter how far-fetched they might seem. When Chihiro ends up alone in a world of witches, beasts and giant ducks, she's already at a confusing time, but it's this overwhelming oddness that really gets her arc going

Pretty soon, she quite literally has her identity taken away from her, and again, this is what makes her journey work. You can read this film in a lot of ways, but I always see it as a film about growing up and choosing the person you want to be. After she becomes Sen, the person she was is gone, and whether she realises it or not, every decision she makes after that is going to determine who she's going to become. There's something quite sad about the things we leave behind. Sen doesn't just let go of her name, but everything that's attached to that too. Every memory, every experience, everything that she used to be is cleared away to make way for something else, something potentially even greater than what she was before

This is scary, but it's also exciting, and that's a balance that this film really knows how to strike. Sen encounters so many things that are unusual or dangerous, but the more she navigates this world, the more assertive she becomes, until, ultimately, she comes out of her journey a stronger person. I think Sen herself is a fascinating character, because, although she's completely out of her depth, her ability to persevere with such kindness and patience ultimately makes her a hero. The generosity she extends to No-Face is what leads him to eventually join her on her quest, and the fact that she can do so much with simple perseverance and kindness is just so powerful in itself. As I said before, I think this film is really good at emulating a life changing experience, portraying it as something that we often have no say in and have to navigate as we go. I think this helps her journey resonate as much as it does, because we understand that not only is she making sense of this world, she's growing too. She doesn't become strong by magic or through some wish. She learns how the world works, before gradually working her way through it, earning the respect of the people around her and eventually growing up in the process

I think that's why journeys mean so much, in films and in general. Onscreen, watching a character move from point to point, growing all the while is such a satisfying thing, and it resonates more because we've all been through something similar offscreen. I think this movie matters because even though it's crazy, uber specific and intricately detailed, it's also hugely universal. Anyone can watch it and recognise it. Yes it's largely a coming of age film, but like any good cinematic journey, there's real world overlap too, enough for anyone to feel exactly what the character is feeling. For all of its wild visuals and surreal antics, the most powerful scene in the film is where Sen, No-Face and their companions sit on the train in complete silence. I think this scene works because without a single word, Miyazaki conveys exactly how she's feeling. Because we've all been there. It's a quiet moment to reflect in a busy, confusing time, and it's where everything that Sen's feeling is processed, discussed and resolved, and I think it's so powerful because it doesn't have dialogue. It's the moment she meditates on everything that's happened and how it's changed her, and I'd even argue that it's the moment she comes of age, realising what's important and becoming aware that she's on a journey. She doesn't quite know the exact destination, but for the first time maybe ever, she's ready to face whatever comes her way, with little fear. The film suggests that when we're ready for something, we just know. It's not a process, it's all in the moment. Over the course of her journey, she loses a lot, and leaves a lot behind, but in the end, she's gained even more. I think Spirited Away matters so much because it understands why the journeys we take matter, and how they're structured. Miyazaki knows how quickly life changing experiences can happen, and he knows how to strike that perfect balance of fear and wonder. And you know what? That's such a special thing

"A new home and a new school? It's a bit scary"

"I think I can handle it"

My Thoughts on Long Shot and One Cut of the Dead

Seth Rogen is.... well he's kind of.... he's a little bit... uh.... well he's had a strange career. Do I like him? I don't really know? He's had his ups and downs in the past, so going into Long Shot, I knew it could go either way. I mean Charlize Theron is a pretty safe bet, because even when the film's she's in isn't great, she's usually pretty fantastic, so honestly I had no idea what this movie was going to be like. An you know what? It actually really worked. I mean a romantic comedy about the secretary of state and a down on his luck journalist that plays out against the backdrop of the current American political landscape? That's a really unique concept for a movie, one that could have easily gone so wrong. But from Long Shots opening minutes, it's clear that were in safe hands. Rogen grounds his lumpy loveability with genuine heart, one that makes his jaded journo human as well as hilarious. Charlize Theron also gets a chance to flex her comedy muscles, with her struggle to succeed being both (topically) hilarious and taken seriously. Both of these characters are strong on their own, but the chemistry between Theron and Rogen is what makes this film work. They make for both a hilarious comedy duo and a legitimately charming couple, and considering how much this film hinges on their chemistry, the fact that it's both really funny and really sweet is the film's strongest asset

Long Shot is a lot of things, and for the most part, they're pretty good. Take it as a comedy and it's hilarious. Take it as a romance and it's genuine. Take it as a satire and it's razor sharp. True, not everything works, there are a few jokes that fall flat (not sure we needed to see Seth Rogen's alternative approach to beard-care), as well as a sequence involving a drugged up night of chaos that goes on way longer than it probably needs to. But I think what makes Long Shot works is that, above all else, you believe it. When the film hits the inevitable emotional story beats, they feel genuine. No forced emotion here, just a legitimately sweet conclusion to a really smart movie. Long Shot is a crowd pleaser that doesn't pull any punches, and any joke that feels overlong or too crude is forgivable (sometimes just about) in a film that's this charming, funny and relevant.

Rom-coms really are making a comeback, aren't they?

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Speaking of long shots, One Cut of the Dead starts off with a cracking one. I had seen a lot about this movie and its first shot, that insane 37 minute long shot. And so I went into it excited, but expecting that first shot to be treated as some sort of gimmick, especially because I had no idea what came after it. Little did I know that this was gonna be one of the best films about making films I've ever seen

Yeah, that first shot, with the zombies and the gore and all of that stuff is awesome. It's genuinely quite an engaging horror story, but the film becomes so much more after it. Watching everything play out once is great, but then seeing that from another angle and discovering another layer to the story makes everything even better. You're not seeing the film anymore, you're seeing how it's being made, and suddenly it's not about the story, it's about how the story is being told. It's about working around issues and problems, and accidental moments of genius, and that's when this becomes awesome. 

The idea that the show must go on is all over One Cut of the Dead, a film about making the best product you can in spite of limited resources. It's often said that film is an illusion, and I really love movies that show the audience how that illusion is being done. That's something that's even more potent here, because not only are you seeing how they're making this insane one take zombie movie, but they're making it pretty much on the fly in spite of so many problems. Suddenly, what I thought was a zombie movie is actually something much better, a funny, clever tale of doing the best work you can, and never settling for anything but that. In a way, it's a story about why filmmaking matters, because filmmakers are able to utilise so many different things to tell a story. And the eventual triumph of the crew is such a sweet ending. This is why film production is awesome. Because it's literally the creation of dreams. And that's something that this film is all for. It's an awesome love letter to filmmaking, and I just loved it

My Thoughts on Someone Great and Unicorn Store

So I mentioned this in my Annihilation review, but I love Gina Rodriguez. Like a lot. Jane the Virgin is one of my favourite shows of all time, and so I'm always interested in anything she does. And I suppose having that kind of relationship with an actor's work has its ups and downs. Sometimes you get something like Annihilation, and sometimes you get Someone Great. This is an odd movie, because while it's certainly not great, there's actually a lot to like here. The three central performances (Gina, Brittany Snow and DeWanda Wise) are actually really, really good. The film is at its best when it focuses on the friendship between these three, and their chemistry is organic, lived in, and just damn fun. Honestly, they're so good together that I'd even say that it's worth a watch just for that. I mean everything else is fine too. The tone is breezy and light, the supporting cast are fun (you can never go wrong with RuPaul), and the writing is sharp and actually pretty funny

One major problem is the flashbacks. Gina Rodriguez has fantastic chemistry with Lakeith Stanfield, but honestly all of the scenes with their relationship just drag on. This happens a lot, and every time it does, it really messes with the pacing. Is it necessary to the plot? I guess, but the film, much like Rodriguez' character, feels so hung up on this guy, and kind of loses sight of what's important. And yeah, I know that the film is about their breakup, but these flashbacks are so poorly woven into the plot that it feels like we're jumping between two different films, one of which is significantly better than the other

The film also uses so many contemporary references that'll probably age like milk, and overall the whole thing is pretty forgettable. Someone Great definitely had it's charming moments, and would make for a fun night in (I know I had one watching it), but it's probably something you'll forget in the morning. Watch it for an ace story of female friendship, even if there isn't much else going on here

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Brie Larson is having one hell of a 2019. Coming off of the fantastic Captain Marvel, we've got Unicorn Store, one of the strongest directorial debuts I've ever seen. It's honestly so refreshing to have a film like this, one that highlights the value of childlike wonder, and in doing so, actually delivers a pretty important message about never giving up on your dreams. And if that sounds cliché, the sheer joy of the film, along with Larson's wonderfully quirky style, makes it feel like such a breath of fresh air, especially in a world where it's so easy to be cynical. Unicorn Store understands that we live in pretty bleak times, and with so much to be worried about, the film asks us to just stop and dream, and in doing so remember what's important

In anyone else's hands, this probably wouldn't have worked. I mean, the idea of a grown woman trying to fulfill her childhood dream of owning a unicorn is pretty silly, but that's kind of the point. We take it seriously because she does. Like Kit, we have our doubts, but we also hold out hope, because maybe, just maybe things will work out for her. The film does acknowledge that Kit's plan does seem childish and even a little ridiculous, but it does this so we understand why she needs to succeed. It really is the story of a disillusioned person rediscovering their joy, and it's so uncynical and magical that it just works. Kit's ultimate decision is the perfect conclusion, because by the point she's made it, she's already achieved her dream, and now it's time to move on and chase a new one. Will the quirky, modern fairytale style work for everyone? Definitely not, and I understand why some people don't like it, because it all hinges on how willing you are to accept the idea at the centre of the plot. I don't know, man, I'm just so happy that this movie exists, because the fact that it delivers such an important message (hold onto your sense of wonder) while also being an absolute delight makes it a true treasure. It feels like such an important film without ever implying that that's what it's trying to do. This is the kind of modern magic that we really need more of. I suppose it is hit or miss, because if you aren't invested in the plot straight away, then the whole thing will kind of fall through, but if, like me, you love this kind of idealism and want to see a film that revels in it, then Unicorn Store is a must see. God I loved this

My Thoughts on Hellboy and Shazam!,

Polar is an early contender for worst film of the year, but daaammnnn Hellboy runs it close. Neil Marshall's reboot sacrifices the soul of Guillermo del Toro's fantastic duology for mountains of exposition, gallons of blood, and swearing. Lots. And. Lots. Of. Swearing. I mean I wouldn't have been against the idea of a third Hellboy, but this was just not it, man. David Harbour is undoubtedly invested in this film, but his take on the big fisted badass is all wrong, swapping out dogged soul for sarcasm and angst that grates fast. Combine him with Stephen Graham's unfathomably annoying pig-monster, Daniel Dae Kim's blander than bland were-jaguar, Sasha Lane's dull psychic and Ian McShane's.... Ian McShane, and you have the most unremarkable line up imaginable. The only cast member who consistently entertains here is Milla Jovovich, whose Arthurian sorceress is actually a decent villain, albeit one with little more to do than watch Love Island and look menacing. The gore is tasteless and unnecessary, seemingly sharing Polar's more-is-less enthusiasm for bloodshed, but like that film, loses itself in its fascination with excess.

It's funny, too, because despite the fact that things are happening all of the time here, and all of them are ridiculously over the top, this movie is unbelievably boring. The characters are paper thin, never given time to develop under all of the snark and action. The climax favours (horribly CGI'd) excess over investment, and the bizarre fake-out final act that happens an hour before the film actually ends is a mind numbingly awful decision in a film full of them. Brian Gleeson's appearance as Merlin is particularly awful, a random, mismatched head-scratcher of a scene that half-heartedly ties Hellboy into Arthurian legend. The result is bloated tripe, with the only real glee coming from a hilariously strange cameo from Thomas Haden Church as a legendary vigilante. Everything else? Hellish

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The DCEU is often criticised for its obsession with angst. And yeah, the offerings so far have been steeped in cynicism, to the extent that I'm starting to think that it thinks that fun is a bad thing. Because comic books and superheroes and blockbusters are supposed to be fun, and this is something that Shazam! undoubtedly understands. This movie is big-hearted, unashamedly so, and it's this syrup-sweet wholesomeness that makes it far and away DC's best live action offering in the last decade. Okay, maybe the story is small scale and not very universe-y, but honestly, that's not a bad thing, because for the first time.... kind of ever, it feels like this series is doing it's own thing instead of just riffing on a certain other superheroic universe. The tale of Billy Batson was streamlined and focused, telling its own story with a genuine enthusiasm for comic book spectacle that honestly feels so refreshing after all of that jaded cynicism.  It's incredibly funny, but is never annoyingly knowing about it. It pokes fun at superheroes while avoiding sneering irony, and this good natured sense of humour takes this movie far.

And the good naturedness doesn't stop at the comedy. Shazam! has a huge heart, and by the end of it, you genuinely care about all of these characters. Zachary Levi is a delight here, being both a cool hero and a clueless teenage boy, and it's his big hearted hero that gives the film it's joyous edge. Mark Strong also makes for a formidable villain, his Black Adam more than your typical conniving businessman. There's a healthy amount of horror too, which turns out to be an ace callback to the nightmare fuel of family films gone by. I suppose if I had to nitpick, the tone is maybe a little too light in the climax, but the decision to keep the film firmly rooted in its irresistible optimism is definitely a good one, so it's not too big a deal. Turns out superheroes can be fun. Who knew?

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My Thoughts on Avengers: Endgame

Quick heads up: there are spoilers ahead. I really can't talk about this film in-depth without spoiling it, so go watch it before you read this. If you want a quick, spoiler free verdict, then Avengers: Endgame is one of the best movies in the MCU, and you should definitely watch it

With that out of the way, let's talk about Avengers: Endgame, a film so huge that no round up could adequately contain it!

When Infinity War came out, I gave it a mostly positive review, and I stand by that. Over time, I think the issues that I do have with that film have kind of hampered my enjoyment of it a little bit more than when I reviewed it, but I still think that it does a lot well, and is overall a pretty good film. Weirdly enough, even though it's only been a year, it feels like so much time has passed since Infinity War, which passed into the halls of pop culture legend faster than Thanos could snap his fingers. This is pretty fitting, as the passage of time is a pretty big deal in Endgame. Though the film starts shortly after the snap, a time skip takes us five years into the future, where the characters have all changed significantly. I think this is why the film works so well, because, yes it's relying on how much you've invested into these movies, but it's also something that the film itself takes seriously. This is going to be a conclusion of this part of the story, one that starts with the characters at their absolute lowest. The early Thanos death is an effective rug pull, because it sets up the plot in a way that indicates that this film might not quite be what you think it going to be.

Which is another nice piece of storytelling, because the film tells its story almost retrospectively, with the Avengers, or what's left of them, trying to defeat Thanos before he's even got a chance to start fighting. How will they do this? Time travel, baby! Yeah, a back-in-time set up might feel kind of unconditional for a film like this, but they pull it off really well, building the first half of the plot around a really deft, fun, time heist. It works because it's big consequences on a small canvas (literally, given the quantum shenanigans). It keeps you invested with swift pacing and constant reminders of what's at stake. It might not have the scale of a huge battle scene, but it's a really fun way of re-approaching the entire MCU that feels breezy and light, but still packs a fair amount of weight, too. I also love how the method of time travel is so condition dependant, which does give it a little more heft than it might have had otherwise. This portion of the film is jam packed with details that'll make no sense to outsiders, but in the context of this series, they become little individual payoffs that gradually build the anticipation to that climax

And when it does come, holy America's Ass is it strong. Is the Avengers vs. Thanos battle a little bit fanservice-y? Maybe, but if it works, it works, and for the most part, the satisfying moments absolutely kill here. Okay, one or two are a little heavy-handed (one particular shot verges on lazy pandering), but overall, it's as epic a set piece as this series has ever given us. It's a culmination of everything in the MCU, action wise, and it's a really satisfying way to conclude the Thanos-plot. What's even better is the sequence they follow it up with, an extended victory lap that completely confirms their dedication to Tony's sacrifice. It's never cheap, instead being a genuinely emotional moment that brings so many things to an end wonderfully. And like every good ending, it's a great end for some characters, but a new beginning for others (Sam's got the shield! Asgardians of the Galaxy! Valkyrie rules New Asgard!). In many ways, it's a perfect finale, maybe not for the MCU as a whole, but for this specific chapter. This is something that worried me going in, that they'd deliver a conclusion on the middle of an ongoing series, but the film's final act confirms that, although the MCU certainly isn't done, some of its plots have definitively concluded, and for the most part, it's incredibly satisfying. It really makes an impact, and it's here when the film really becomes a knockout

It's definitely not perfect. Captain Marvel feels weirdly absent, especially odd considering how fantastic her solo outing was. She turns up, disappears, and then turns up again. I don't know, for such a great character who had been really built up for the last few months, she feels bizarrely short-changed, which is a really big shame. Another issue is the conclusion of Captain America's arc, which was fine, but distractingly out of character, turning what should have been a weighty character moment into a bafflingly pandering piece of fanservice. The Peggy Carter thing was fine, but definitely outstays it's welcome here, and the scene itself is such a strange and awkward moment that works way to hard to cater to such a small group of fans, bending the story and characters in the process. Guess he wasn't with Bucky until the end of the line after all.

But the fact that that's one of my issues with this film should be an indication of how invested I am in this series. And Endgame does, for the most part, reward me and people like me for sticking with this universe for so long. Any problems feel irrelevant in a movie like this, one that feels genuinely satisfying, epic and impressive. Do I think that the MCU is s groundbreaking cinematic achievement? No. Is it a defining moment of 21st century pop culture? Absolutely, and this movie definitely honours that. For how flawed I think this series occasionally is, Endgame was still really satisfying, and as both a fan of the series and a lover of spectacle, I really couldn't ask for any more. It's structurally sound, emotionally engaging and consistently entertaining despite its length. Overall? It's a titanic achievement of blockbuster filmmaking, and a damn fun ride, one where the missteps are nitpicks and the payoffs (for the most part) absolutely satisfy. I'd say go see it, but given its gargantuan box office takings, you probably already have

My Thoughts on The Kid Who Would Be King and The Lego Movie 2

Attack the Block was a terrific science fiction/horror/comedy that pitted chavs against aliens and absolutely delivered on all fronts, establishing Joe Cornish as a true firebrand. So it's a little disappointing that we had to wait so long for his next film, The Kid Who Would Be King. Did it deliver? For the most part, yeah. It's not as good as Attack the Block, but it takes that films pleasing genre savviness and blends it with both joyous whimsy and a fairly impressive political edge, one that asks the audience what world they're leaving behind for future generations. That it does this so well while also being able to have fun with itself is another testament to Cornish's deft style of filmmaking. The film takes some well worn Arthurian legends and gives them a really fun, fresh, modern update that never cheapens their impact, or makes them feel like a gimmick, instead mirroring these stories with a coming of age tale that's well written, sharp, and acknowledges the mythology in a way that feels natural and clever. The film is one with real heart, and optimism, and feels genuinely impressive in an endless sea of King Arthur stories.

It's definitely not without issues, though. It feels way too long and suffers from poor pacing, with stretches between the plot points where not an awful lot happens. The writing is charming enough to keep the film engaging when this does happen, but the film becomes so jarring when the swiftness of the plot suddenly stops for a few minutes that definitely could have been cut. That long windedness is a shame, too because that time could have been much better spent developing the villain. It's not that Morgana is bad or anything, I actually think that Rebecca Ferguson is really good in this role and provides a pretty menacing presence, but it's just that she never seems to have enough to do, spending most of the film sitting around being nasty. It's here that the film really stumbles, which is a shame, because when it's good, it's really, really good. The Kid Who Would Be King isn't perfect, but you'll forgive it when it does slip up because it's just too fun not to enjoy. It has a real sense of charm that make it's noticeable issues forgivable. It's no Attack the Block, but after eight years, it'll do nicely

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Franchise fatigue can be a serious issue. Sequels are tough enough already, but if you spin off enough, even the best follow up can feel like more of the same. So it's to the credit of The Lego Movie 2 that it actually provides a worthwhile follow up to the original. Which is damn impressive when you consider just how fresh and fun that first movie felt. Even though this is the fourth Lego film we've gotten in almost as many years, it's safe to say that these guys haven't quite run out of steam just yet, delivering a movie that's definitely still awesome. I guess the best thing here is that it's an entirely different beast to the first one, which is mostly down to the fact that it's not just playing out in the head of the boy, but in his sister's head too. The way the story-within-a-story is able to explore the relationship between these two characters so well without ever bogging itself down with over explanation is a true testament to the writing here, and the fact that it's also a story about the power of idealism is even better. The idea that growing up means putting away your optimism is one that this movie is keen on discussing, and discusses it well, with Emmett getting a character arc that's actually really engaging. The way the film approaches the idea of cynicism vs. idealism is deft and clever, yes, but also wholesome, satisfying, and hell, even kind of important. It's intelligent, but it's always good natured, and as a result, feels genuinely special in the way that few family films these days can muster.

Of course, being a film in this series, it's also hilarious, with the knowing meta-comedy that made the others so damn fun on full display here. The pop culture references come quick in The Lego Movie 2, with many of them being absolutely hilarious (that recurring Bruce Willis cameo might just be one of the funniest things I've seen in these movies). That balance of smarts and heart is once again crucial to making this film work, but the writing here is so deft that it manages to be both sweet and funny, and always entertaining. It was never going to be easy to follow the Lego Movie, but this sequel actually does it well, playing out like an odd combination of Toy Story and Community that's gonna be hard to top as animated film of the year. In a word? Awesome.

The Best Scene in the MCU

So, Avengers Endgame is very nearly here, and whether you like the Marvel Cinematic Universe or not, you have to admit that this franchise is one that has seriously impacted pop culture. Personally, I like it a lot, but I definitely have my issues. But that's not something I want to focus on today, because with the biggest installment yet on its way, I want to put all my gripes aside and turn on celebration mode. So, what am I going to do? I mean there's a thousand different ways to celebrate something like this, but there is something in particular I'd like to do. I want to look at and analyse a certain scene in the MCU, one that I think is not just great, but legitimately fantastic, and hopefully highlight what I think this series can be at it's best. Because when the MCU is good, it's really good, and when it's at it's best, it's an unstoppable pillar of modern pop culture that stands tall even when it occasionally stumbles

So, what's the best scene in the MCU? Well, there's actually a lot of contenders here. There is of course Infinity War's snap, a good one to be sure, albeit one that didn't affect me quite as much as everyone else. The one vs. two fight at the end of Civil War is definitely a good shout here, not just an intense action scene but the moment where three character arcs intersect in a genuinely compelling way. If we're thinking unconventional, then it's got to be the Mr. Blue Sky scene from Guardians 2, which subverts expectations wonderfully, and is just a really fun moment in a film full of them. Either of the royal challenges from Black Panther would be great choices here too, as they display how great the MCU, and that film in particular are at using action to tell a story. But the best scene in the MCU, or at least my favourite scene in the MCU is something much quieter from a slightly more obscure place.

Avengers: Age of Ultron is not the best film in this series. Which isn't to say it's bad, it's definitely not, but it's one that maybe suffers from its flaws more than a lot of the installments do. Ultron himself isn't a particularly great villain. He's definitely quite intimidating, but his motives are kind of weak and most of his dialogue is a touch generic. Because of this, the film itself suffers, and as a whole, I think it lands on the better side of alright. But it does do one thing really, really well. It nails the character of Hawkeye. Here's a character who, following The Avengers, was the subject of countless memes and jokes. Hell, even now, there are people who label him the worst Avenger, and this is actually something that Age of Ultron lampshades. I mean, alongside some of earth's mightiest heroes, you've got a guy with a bow and arrow? But in one brilliantly quiet sequence, he goes from meme fodder to honestly one of my favourite characters in this series

When a fight with gets out of control and is broadcast worldwide, and tension within this group is at an all time high (up to this point, anyway), the Avengers need a place to lay low. The safehouse, it turns out, is Hawkeye's house, a secluded cabin that he and his family live in. Again, this is something that the film has been playing with, portraying Hawkeye's personal life with deliberate secrecy, never quite revealing too much about him. So up to this point, you've got a character that a lot of people didn't like, who wasn't as powerful as the people he fought with, and who never actually had much revealed about him. But this sequence in the cabin took all secrecy and preconceptions and used them to fantastic effect, showing you this guy's home life, and in turn, his human side.

Unlike most of the characters in the series, Hawkeye is just a guy doing his job, and seeing the way he interacts with his wife and kids takes his relative normalcy and uses it to define his character. He's not a god, or a super soldier, or a genius playboy billionaire philanthropist. His life isn't as interesting as these other characters, but in a universe like this, that's precisely why he's interesting. A lot happens in the scenes in Hawkeye's cabin. Nick Fury shows up, there's some nice moments between Natasha and Banner, early tension between Cap and Iron Man, and Thor leaves. I guess Chris Hemsworth doesn't like cabins in the woods. But even with all of this going on, moments that are in themselves awesome character moments, the real value of this scene lies is Hawkeye's character. There's a problem now with universe cinema, that everything has to be explained. Everyone needs an origin story, a prequel, a spin-off. Everything needs to be gotten from this franchise, squeezed out of it until there isn't much left, and this scene is an example of how efficient storytelling can be more effective in worldbuilding. Not every character needs an origin story, and while this isn't a Hawkeye movie, the stuff we find out about him in this scene sticks and comes back, not only later in the plot, but across the series as a whole. It's especially effective in the story of this film, because the fact that parent makes him a little more sympathetic towards the Maximoff twins, which comes back in a big way in the climax.

It's a brilliant scene precisely because it's a quiet one. Age of Ultron has no shortage of action scenes, most of which are pretty good, but it's when it steps back, when it lets these characters just lay low and reconsider everything going on that this film reaches its peak, and becomes one of the best sequences that this series has given us. Understated character moments here tell us more than exposition ever could, and this rings true for the whole team, but as I said, I think what makes this scene so special is that, in the space of about fifteen minutes, everything we need to know about Hawkeye is told to us in a moment of ridiculously impressive, less-is-more storytelling, giving us story beats and character beats that every film he's been in since has drawn on. Ironically for a blockbuster franchise that excels at spectacle, the best scene is the one that tells the story quietly, and without much actually happening. Yet it's the atmosphere and environment that really communicate here, using the setting itself to develop Hawkeye's character, which is in turn a fantastic payoff to the restraint they've been using for the whole film. We get to know him not by seeing what he does when he's working, but by seeing where he is when he isn't. It's such a simple method of storytelling, but damn is it effective, especially in a relatively flawed film like this. For all of the thrust and spectacle of the action, it's when the story slows down that it truly thrills. It's an awesome way to develop a character that, up to that point at least, was sorely underloved. The MCU is a series where the scale has gotten bigger and bigger, and that makes it kind of easy for character moments like this to get lost. I mean, when put beside some of the series larger moments, it's easy for quiet scenes like this to go unnoticed or even lose their weight, but the stuff that's evoked here is much more likely to resonate than a large, showy action scene. For all of its issues, when the MCU tries to do smaller, character driven storytelling, it definitely succeeds, because it defies the cheap universe building that this series gives us at its worst. This moment is genuinely fantastic, and proof that this series is more than blockbuster fluff.

"You don't think they need me?"

"Actually I think they do. They're gods, and they need somebody to keep them down to earth"