Black Panther is the King of Marvel

Rating: 9/10 (18 February 2018)

Ryan Coogler uses the template of Black Panther being this African superhero leading a secret futuristic nation to bring something new, fun and important to not just watch but also listen to. While it is not new that superhero movies like the X-men films, The Dark Knight and more recently with Winter Soldier and Civil War have used the genre to comment on politics, Coogler goes straight into the subject matter of an issue that is more relevant then ever. From the imaginary of Africans being forced onto slave ships in the opening cinematic, Coogler is not sugar-coating the fact that Black Panther is addressing the sour history of white colonialism to the struggle of black communities in third-world nations and America today.
On a visual and technical level it stands out from how many previous MCU films look and feel thanks to Coogler bringing his own cinematographer and composers he has collaborated with. Recently Oscar-nominated cinematography Rachel Morrison of Mudbound shoots very awe-moments that make Wakanda feel alive as a character. The music by Ludwig Gorisssons is also an improvement from the bland, predictable operatic score in past MCU films. The use of African chorus and instruments give Black Panther a lively feel with Gorissons using elements from Coogler's last movie Creed to give a sense of epic triumph. The action ranges from having the raw intensity in the Creed boxing matches to being kinetic and stylish, particular in the Korea scenes, like the Matrix.
With the Vibranium technology Coogler finds a visual aesthetic to show Wakanda not looking too fantastical nor alien but more advanced then Tony Stark's tech while still retaining its African roots. Through that he brings of a vision of afrofuturism (a term I recently learned before this movie came out) to life where we see a culture of Africa that thrives as an advanced utopia without the influence of western whitewashing. But because some of Wakanda's ideals and beliefs may be questionable, it introduces fully fleshed-out characters that each bring a layer to Wakanda's culture. With old-fashioned traditionalist like T'Challa, Okoye, Zuri and M'Baku we see where there dedication to an ancient tradition of isolation and monarchy comes from but there views are clashed with those who think Wakanda could improve itself and the rest of the world from the country's own millennial generation in Shuri, the spy who has seen the outside world's problems in Nakia to the destructive revolutionist in Erik Kilmonger.
Chadwick Boseman brings back his calm, cool charisma from Civil War but with a emotional conflict brewing inside him of how to approach his reign as king when new information is revealed about his heritage. Rather then sidelined as supporting roles, we see actresses like Lupita N'yongo, Danai Guirra and breakout Leticia Wright become co-leads of there own. Wright as T'Challa's sister Shuri brings so much levity to what can be considered a serious political story but never feels like she is just a comic relief as she also acts as a younger but even smarter version of Tony Stark. And Danai Guirra also becomes a standout in showing some intense dramatic moments when her duty as the King's royal bodyguard is questioned. Winston Dukes as M'Baku, the tribal leader and rival of T'Challa is another surprise standout that shows a lot more depth and humour then I was expecting.
And at long last Marvel brings a villain that surpasses Loki on a psychologically layered and threatening level in Erik Kilmonger. Rather then just Kilmonger acting as plot device to force T'Challa on the hero's path like past MCU villains have done, he is presented with an arc that echoes the hero's own journey. The difference however is his own actions become very destructive that are fuelled by a personal tragedy. From the injustice people of African descent have suffered to Wakanda turning its back on those that need it like so many first-world nations have done, Kilmonger makes T'Challa truly ask as both a hero and king what kind of responsibility does someone with great power truly have. Michael B. Jordan's charming personality makes his villain very likeable but also channels a rebellious attitude and rage that puts past villains to shame. Andy Serkis also get some really fun and compelling moments as returning villain Klaw who is shown as an example of why Wakanda fear outsiders they call "colonizers".
The movie does have some problems though. While Martin Freeman gets more to do as Everett Ross then he did in Civil War, it does feel his role felt obligatory yet didn't feel like his character fit into the Wakanda storyline. The third act does fall into some of Marvel's usual final battle tropes with over-reliance on cg and the hero fighting an evil doppelgÃ¤nger. But once the typical big battle ends, you see the hero and villain have a compelling conversation with who each other about their quest to accomplish the same goal.
The best parts of this movie shine when Ryan Coogler as a director and co-writer takes control of the Marvel formula and uses it create an amazing and compelling standalone story that can leave with you with so much to talk about.