Avengers forever!

Rating: 8/10 (19 May 2018)

There is plenty to celebrate. Today, releasing its nineteenth movie, the multibillion-dollar American film production company Marvel Studios not only celebrates a decade of glories since the unsuspected inauguration of cinematic universes with "Iron Man" by Jon Favreau, time in which, of course, it reaps trillions of dollars for The Walt Disney Company; but also celebrates that its heroes, idealizations of human beings, have become effigies for thousands of kids and grown-ups; celebrates film and comic with passion thanks to remarkable artists who have materialized fictions in the eyes of a humankind in the depths of despair; celebrates life through real feelings packed in gorgeous bags; celebrates it's got an imperishable place in the Popular Culture of the 21st century; celebrates emotional beauty and the complexity of emotions in a shattered viewer who watches; celebrates the endless praises and universal acclaim has obtained with each entry, with every mistake, with every success; celebrates the establishment of a brand that seemed dead in the history of modern cinema- yes, the post-credits scene; -celebrates, at the expense of its interconnected stories, another important establishment in mainstream movies: too many easter-eggs; celebrates the influence that its heroes have caused in the minds of many people; celebrates the start of a grand finale, one more phase, which actually means three phases of triumphs and falls; celebrates that they have built the unimaginable: reaping the fruits of an idea that at first all dismissed - especially production studios, - the fruits that, while represent in monetary gain, also represent a deep-rooted pride of reviving the golden age of comic-film adaptations, building multiverses with more pros than cons where fearless charisma, white humor, feelings, passion, PG-13 ratings and audiovisual high-quality were capital rules in the conception and subsequent production of live-action stories printed in paper; but above all, it celebrates something that is honestly unusual currently: to make cinema, good cinema, human, ambitious, inspiring, diverse cinema with disproportionate amounts as a budget, brilliant. Today, we must wear our most elegant clothes because a long way is coming to an end, a painful, exciting and hopeful end; it won't go away for keeps- never mind - but what we know as Marvel is fading away: marvelous talents, marvelous characters, marvelous messages, marvelous enlightened dreams, marvelous cinema.
No one can argue Marvel Studios is its heroic headliners, on this occasion, many flaunt their most peculiar and politically correct personalities. I'm not a fervent comic-factory fanboy, you must win that honor with great effort, I'm simply hypnotized by the magic of cinema, I have followed closely the house of ideas' adaptations for more than three years and, like the fans, I've fallen in love with all its adventures, from the serious-themed ones to the most eccentrically amusing, for that reason, I was afraid of what Christopher Markus and Stephen McFeely, creators of the script, have conceived, holding in their hands so many options to choose from, hands down, these gentlemen have written a drop-dead gorgeous blockbuster. Always leaning heavily on the comics by Jack Kirby and Stan Lee, the most loyal screenwriters of the company get the most out of the mind-bending work weaved by dozens of creative minds over ten years in order to conjure up a praiseworthy ending, made up with the requirements demanded by the buffs but without neglecting the narrative needs of the story, setting up a next-to-last crowd-pleasing thrill-ride of a movie, that reminds a lot of a real Greek tragedy, a hard time. An unspeakable glee emerges when you watch your most loved characters popping up with each new scene, a feeling strengthened by seeing them relating each other, especially those dudes who didn't even know the existence their "friends from work" and those who share similar ways of being, where a funny leadership struggle comes up. It can be said that this titanic adventure is narrated by means of three channels, working simultaneously through three different acting ensembles, in order to synchronize the argumentative axis with the superheroe triplet in the end, each of them executing a very important role; it's unbelievable to break down every detail and realize that even the "least important" character gets his moment of glory -although, surely, certain men will lose a huge portion of his legion of followers with their actions. Obviously, it doesn't forget the characteristic comedy pack of the company, not always so positive, it breathes the well-known 'Marvel Formula', each hero bathes its own narrative purpose, particularly in the first two acts, with the typical quips, there are many push-lines as comical as dramatic, each one has the chance to shine on screen as they open the way to others, a material in which nothing, absolutely nothing is put at random. Amalgamating more than 70 now-famous familiar characters in a coherent, kinetic and empirical mold is already an arduous task, which is much harder if, like Star Wars' one-billion-dollar flicks, planets and dreamscapes, villains and additional ideas are integrated organized by the screenwriters.
The pictures take advantage of the photogenic faces and the nostalgia coming from each character to place them in the middle of dreamy landscapes which can be scenarios of massacres or simple backgrounds to development scenes. The colors are essential in the scenes, the three groups of superheroes are assigned a different tonality according to the timing handled by every hero; the visual settings expel quality setting spectacular artistic feats, either outside or inside the planet Earth. The set-pieces, that onerous, but risky action sequences are embellished to the max by the excellent, in capital letter, score of Alan Silvestri, with only two not-original songs made for the composer (a couple surprises of yesteryear and Wakanda). The emotional scope of the clamorous and poignant melodies composed by Silvestri is impressive, a potential Oscar 2019 contender for Marvel. If you close your eyes and play the work of the "Forrest Gump" composer would emerge the same sensations that if you were contemplating the beautiful pictures, but, what's really beautifully intoxicating is to couple sound and image, making us go through the best, but also through the worst. Trent Opalochy's cinematography and the effort of all creative departments - I'm stunned to see the number of people involved in the production - make it possible that, although the film doesn't become into an instant superhero classic, manages to leave on our minds a good amount of dramatic and action sequences that make history, cinema history, they make your heart beat to the rhythm of the emotion, they make you imagine that you're in the fight, they make you understand why film is life. There's grandiloquence every which way, but here it's not a mere and bombastic accessory, every sequence fits with the script to give verve and impact to every turn the story takes, exhibiting a box of useful angles and camera movements that move away from any superhero-genre clichÃ©, they are exquisitely built thanks to the truly special high-octane special effects - overlooking every other slip-up.- Any perceptible visual flaw must be forgiven due to the complexity this film encloses; at least in the visual and, therefore, artistic field, it's in the top 3 of the best superhero films in film history, just one more record.
"Avengers: Infinity War" by Anthony Russo and Joe Russo won't be an expressly idyllic experience for many viewers, what is more, it seems that the mega-event set up by the spoiled brothers of Marvel has switched the game and instead of filling it with nondescript pyrotechnics and visual gags, they morph the accustomed action superhero film into a drama of unthinkable reaches, standing out by the seriousness, coherence, and severity of a script that knows how to use their strengths through characters brimming with soul, personality, and powerful messages. The film veers when it pleases, and although doesn't do it precisely in the best way sometimes, it hits the spot in almost every aspect, causing a really disarming effect, when the credits rolling down, you're still in your seat, speechless, depressed, shocked; no doubt, no superhero film had achieved it to date. Disney's subsidiary company is not jealous of the dark and pessimistic tone of DC, as it has created its own tone with much more deadly consequences than the Warner Bros company's flicks. The first shared universe in cinema history has been manufactured by artists who after long working hours have relegated time with their families to bring happiness to others through adaptations which are etching in our memories. How many kids scamper with Captain America shields in their heads or Iron Man scarlet armors? Ten years of stories as proof of a work full of sacrifices, ups, and downs, But today, after such a long time, the time has come to say thank you, thank you for having transformed present-day cinema, for better or worse. Just like J.J. Abrams' 2015 space opera "The Force Awakens," a new movie-event takes place this year, "Infinity War," the first part of a grim farewell, shakes our senses, its heartbreaking movements deliver a matchless adventure and its strong impact will affect the spectators for much longer, a must-watch. Watching the final scenes is hard task because your eyes are full of tears, that's a faithful sign of what kind of film it is; A motion picture as entertaining as melancholic that shows Marvel's love for his creations and that serves as a very complex turning point leading up to what will mean the closure of a golden superhero century.