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Big Screen Belchers: Fox Sets A Bob’s Burgers Movie for 2020

Fox commissions another hit animated series for the feature film treatment.

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For nearly seven years, Bob’s Burgers has been one of the most consistently funny shows on television. A brilliant blend of madcap humor and sweet, family based stories, Bob’s Burgers has at its peak felt like the heir apparent to The Simpsons (you know, back when that show was great.)

And though Fox has not been kind scheduling-wise to the series (it’s currently airing 6:30 PM on Sundays, as long as football isn’t on at least), the fanbase around the show has been extremely loyal, keeping the ratings constant for years now. And the series just got even more popular in its move to syndication, airing like half a dozen times a day on TBS and Cartoon Network’s Adult Swim.

That kind of exposure had lead to strong popularity for the show (with at least one segment of the population at the very least.) And now Fox is looking to take that popularity and put it where all shows with a large fanbase eventually start looking: the big screen.

And Fox seems to be wasting no time in doing it either. As reported by Deadline, Fox has set July 17, 2020 for the release date of the Bob’s Burgers movie. And in case that statement sends an instant chill down your spine, let me be clear — this is an ANIMATED movie, not a live-action abomination starring, I don’t know, Kevin James as Bob. This is made clear by the involvement of Fox Animation and creator Loren Bouchard, who released the following statement about bringing Bob’s Burgers to the big screen:

“We’re thrilled to be invited to bring Bob’s Burgers to the big screen. We know the movie has to scratch every itch the fans of the show have ever had, but it also has to work for all the good people who’ve never seen the show. We also know it has to fill every inch of the screen with the colors and the sounds and the ever so slightly greasy texture of the world of Bob’s – but most of all it has to take our characters on an epic adventure. In other words, it has to be the best movie ever made. But no pressure, right?!”

On the one hand, it’s incredibly easy to be cynical about something like this. Like all TV show-to-movie transitions, there’s always the feeling in the back of my mind that (as The Simpsons Movie pointed out in its prologue) I’m paying for an experience I get on TV weekly for free, and that there’s really no reason that a TV show needs to have a feature film to begin with.

But Bouchard seems very self aware about that fact in his statement, and knows that in making a Bob’s Burgers movie, it HAS to tell a story worthy of the big screen treatment. And, to be fair, the success rate for these adult animated shows becoming movies has been surprisingly high. The Simpsons Movie is the best thing to happen for that franchise in this millennium, and South Park: Bigger, Longer, and Uncut remains a great movie. Also, at least half of those Futurama movies were pretty great, right? I have faith that Bouchard and his writers can create a story just as cinematic as those, and considering the music baked into the show’s bones from the beginning, I imagine it will end up being a full scale animated musical adventure. Which, hey, sign me up.

As long as H. Jon Benjamin, Kristen Schaal, Eugene Mirman, John Roberts, and Dan Mintz are involved (which I can’t imagine they won’t be), I’m on board for this concept. And it’s not like the show will have to search hard for “big celebrities” to sell the movie either: when you have talent like Kevin Kline, Zack Galifanakis, Bill Hader, Will Forte, Aziz Anzari, Jenny Slate, and seemingly every other comedian on the planet involved in your show on a recurring basis, you aren’t lacking for talent to pull from. With the people involved and the talent behind the scenes, this could actually be something special.

And, even if it’s just the quality of a standard Bob’s Burgers episode, it will still be VERY funny, and experiencing that in a crowded theater will be pretty special in and of itself, right?


Also published on Medium.

Matthew Legarreta is the Editor and Owner of Freshly Popped Culture. A big ol' ball of movie, TV, and video game loving flesh, Matthew has been writing about pop culture for nearly a decade. Matthew also loves writing about himself in the third person, because it makes him feel important (or something.)

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The Avengers: Endgame Trailer Offers More Questions Than It Does Answers But, To Be Fair, What Did You Expect?

Oh, by the way, it’s called “Endgame.” So that’s something, at least,

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Has there ever in the history of time been a trailer more anticipated than the one for the fourth Avengers movie? You could argue the one for Star Wars: The Force Awakens maybe, and The Phantom Menace too. But the former was more a curiosity than anything, and the latter was released before trailers hit the internet so, really, it doesn’t count  (sorry, olds!) But after the jaw dropping conclusion to Avengers: Infinity War, pretty much every person on the planet who saw the film is asking themselves one question: “How the FUCK is Donald Trump still president?” But after that, they are kinda curious how the hell all our MCU heroes are going to get out of this one. 

And now our first peak at the conclusion to this twenty picture ordeal has arrived, as the newly titled Avengers: Endgame trailer is here to dissect and devour. Although, be warned: there’s not a whole lot of new conclusions to glean here. In fact, the whole thing just leads to further questions.

But before we get into that, the most concrete piece of information: dat title tho. By this point it’s already been said just how much the Russo Brothers completely lied to everyone by saying the title was not in the first movie, so I’m not going to dwell on that too much.

Except, no, I AM going to dwell on it too much. Because c’mon, guys: I am so tired of respected journalists (like Mike Ryan, in this case) asking filmmakers questions about their movies, and them just completely lying just to hide a secret. It’s a fucked up thing to do to the journalist and to the fans, and completely unnecessary to boot: just say you don’t want to comment! But brazenly dealing with half-truths like this (you see, Endgame might be in the movie, but Avengers: Endgame isn’t! HA HA, FOOLED YOU ALL) is so incredibly annoying. Stop it, filmmakers.

Outside of that specific bubble, though, I will say this about the title: it’s a title, all right. Not as cool as either Age of Ultron or Infinity War, but it gets the job done. Really, it would have been completely acceptable…if Disney and everyone involved didn’t try to hype up the damn thing so much — it’s not a spoiler, or even that noteworthy. They should have just revealed it a few weeks after the first film came out, rather than jerking us around for seventh months. In the grand scheme of things none of this is at all important, but still: it’s about ethics in film marketing strategies, you guys.

Avengers: Endgame Trailer

Now, the trailer itself? Actually pretty great, if you ask me. Though some might be mad about the lack of real clarity on anything within the trailer, I view that far more as a positive than a negative. What this trailer does well is build atmosphere, from the moment we open on Tony Stark alone on the Milano, all the way until the end. That opening monologue from Stark paints a grim portrait of the fate that our heroes have found themselves in and, although it’s pretty damn obvious this whole thing will be reversed within the course of the film, I still think there are some incredible opportunities to play in this post-apocalyptic sandbox before we’re back to the status quo. This trailer does a good job of presenting those opportunities, and truly setting up how screwed our heroes seem to be. 

Of course, this isn’t Children of Men — this trailer is certainly starting to lay the groundwork for our heroes prevailing, even if the path ahead is a fraught one. Cap’s line about not knowing “what to do” if their plan goes south is a telling one — this is a latch ditch effort for the Avengers, and I hope desperation is a through-line for the entire film. They don’t know if their plan will work, but they have to try anyways, damn it.

Now on the subject of that plan? Who knows what the hell it is! Like I said, this trailer does not paint specifics at all, and though one can venture that Ant-Man is the key to this whole thing (what a wonderful phrase!), it’s anyone’s bet what will happen to solve this crisis (like most, though, I’m betting time travel, Jeremy Bearimy shenangians are involved) 

But, ah, that is only one of many questions this trailer presents! Other’s include:

  • How did Tony Stark end up alone in space, about to lose all oxygen?
  • Who the hell is going to save him? Captain Marvel?
  • How did Scott get out of the Quantum Realm? 
  • Who the hell saved him? Captain Marvel? She can’t save everyone…right? 
  • Where the hell did Nebula go? Did she abandon him? I mean girl, yeah, I get it, but still: cold.
  • Where is Rocket? Did he stick around on Earth with his new pal Thor?
  • Speaking of which…where the hell is Thor at? Is that the Raft? Did he put himself in exile after his failure to do the damn job?
  • And speaking of said job: how long has it been here? Are we talking weeks? Months? Years? The trailer is extremely vague on that.
  • Shuri disappeared? SHURI?! That blows.
  • Hawkeye’s a badass now? I mean, thank god (Team #HawkeyeIsTheBestAvenger), but what caused this? I mean, you can fill in the blanks on that one, but still!

Now, like I said, I’m kind of glad that all those mysteries are still floating around, this being the first trailer and all. And, really, this is enough to satisfy me as a fan until the film comes out…even though, yeah, I know I lack the willpower to go completely cold on future marketing. When the next trailer comes down the pipeline in March or so, I’ll definitely be watching it. 

Also of interest: the newly released poster, which matches well with the set of other Avengers teaser posters. My graphic design OCD is pleased!

But, until then: can we just, like, chill internet? You got a first trailer, you got a trailer, you know the movie exists. Can we all now just wait patiently for the next trailer to arrive, rather than asking endlessly when it will pop up on to the internet? It’s so exhausting. Just move on to the next big nerd event, okay? Which, for me, is the next trailer for “Liam Neeson is Mr. Plow, but Taken.” Then again, that’s the case for everyone, right?

…Right?


Avengers: Endgame arrives in theaters everywhere April 26, 2019. 


Also published on Medium.

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The 6 Segments of The Ballad of Buster Scruggs, Ranked, Because That’s How Film Criticism Works Now (Sorry)

No, really: I’m truly sorry that the only way you’ll read my thoughts on the Coen Brother’s latest is through listicle form, but…nature of the beast, folks.

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Having run a marginally successful movie blog in the past (a razor-thin margin, but still), I learned a few things when it comes to crafting things people will actually read on the internet. One of the things I learned? Reviews, for the most part, are not typically something people click on. Yeah, sometimes a fiery enough subhead might get people’s attention for a moment (this one certainly did the trick for me!), but it is usually a rare thing. A run-of-the-mill, standard film review will only gain traction if it’s A) one of the first reviews to be released for the pop culture in question (hard to do when everyone in the bigger markets gets to see things days if not weeks in advanced) or B) it’s from a notable critic with a major following. I am not that, so I (and hundreds like me) have to turn to another avenue to get eyeballs on these things: the tried-and-true listicle! Does a project of such magnificence and craft like The Ballad of Buster Scruggs deserve to be broken down into its base parts and dissected into a silly, arbitrary “rank” system? No, probably not. Will you and many others probably find yourself reading a list like that, solely in the pursuit of getting angry at the rankings I provide? I dunno, you’re still here, so you tell me.

Here’s the six segments of The Coen Brother’s grand Western anthology (formerly believed to be a television series, until it turned out it wasn’t), ranked for your instant disapproval. The assumption here is that you are reading this AFTER watching the film so, be warned, from here on out, we are in FULL SPOILER TOWN FOR EVERY SEGMENT IN The Ballad of Buster Scruggs. Anyways, enjoy…?


6. “Near Algodones”

This is by far the worst segment in The Ballad of Buster Scruggs, which is to say it’s really good, just not great. It has a lot of things going for it though, namely in the technical category — there are some stunning shots from cinematographer Bruno Delbonnel here, and the production design of the sparse prairie is stunning, even watching it at home. I also have to fully admit to guffawing at the second-to-last line, which is a prime example of gallows humor at its finest.

But, unfortunately, where this segment falls flat is in its simplicity — it felt like the entire thing was just leading up to that one dark joke and that, ultimately, there just wasn’t a lot more for this segment to do or say. It’s just fifteen minutes of a cowboy getting caught, lucking out of his execution…then two minutes later randomly getting caught again, and getting executed for real this time. Yes, there’s definitely humor to be had in that set up and, once again, I did laugh at the misfortune of it all. But I can’t help but feel like this one was too abbreviated for its on good, and that the irony of its conclusion couldn’t have been better felt if it didn’t arrive so suddenly after what had just happened. If the segment had a little bit more room to breath after James Franco’s cowboy was initially rescued by the secret rustler, the tragedy of what had happened would have hit me a whole lot harder. Also, the last line is a bit nonsensical and unnecessary, while also somewhat deflating the fantastic “First time, huh?” gag before it.

But, hey: this segment does have a crazed Stephen Root wearing armor entirely comprised of kitchen cookware, screaming out “PANSHOT!” as he bum rushes a perplexed James Franco. So clearly anything with a scene like that can’t truly be bad, right?


5. “Meal Ticket”

My god, Meal Ticket is so fucked up, and I love it. It’s one of the slowest segments in The Ballad of Buster Scruggs, sure (second only to the my next pick, really), but it’s all worth it for that absolutely haunting conclusion. How the Coen’s so subtly set up what’s about to go down (pretty much wordlessly — the Impresario and the artist never really talk to each other, at least directly) is masterful, and well there’s an angle of dark comedy to the whole proceedings, it’s mostly just a sad and depressing rumination on how artist’s get used and discarded, and that no one will really care about what happens to them once they’ve outstayed their value. It’s basically a little Western-set short version of Inside Llewyn Davis, and since that one is an all-timer amongst the Coen’s oeuvre (for me at least), I was prone to love it. Which I pretty much did.

So why is it my second to last pick for this list? Because I also loved the rest of the segments. Maybe even a smidge more. Or maybe even a smidge less. Who cares, the ranking is unimportant, the fundamental foundation of this very article is a lie, here simply to trap you into my ramblings about my two favorite filmmakers and their new, glorious film.

Let’s press on, shall we?


4. “All Gold Canyon”

“All Gold Canyon” and “Meal Ticket” were basically fighting neck-and-neck for these two spots, and I had a hard time at first deciding which one would outrank the other. But then I realized “Oh, ranking art is pretty much a bankrupt institution, there are no real rules to any of this, and nothing at all about how I decide to organize these segments really, effectively matters.” So that realization certainly moved things along, a bit.

Anyways, “All Gold Canyon”: I love the shit out of this thing. If “Meal Ticket” was the Coen’s playing in their Inside Llewyn Davis mindset, than “All Gold Canyon” is the brother’s back in the saddle of their No Country for Old Men/Blood Simple style. Sparse, procedural, nearly dialogue empty. Just watching one man do his job for like 20 minutes, only breaking away to tell an actual story in its final moments. And well the segment could have easily ended with the bandit killing the old man, rendering everything we saw absolutely pointless (in a cynical, darkly funny matter that is no stranger to the Coens), I love how it chooses to take the more “optimistic” approach, with the old man getting the upper hand, and getting to keep the entirety of Mr. Pocket. Character actor/musician Tom Waits absolutely makes the most of his old prospector character, creating a character you actually root for, in the face of the harshness that comes with life in the West. To give that guy a happy ending is a rare act of mercy for the Coen Brothers, but it left me absolutely beaming as the story concluded. The prospector got the gold he worked so damn hard for, and got to ride off on his little donkey, singing into the sunset. Good for him, I say.

If I have one complaint about “All Gold Canyon” and, hell, The Ballad of Buster Scruggs overall, it’s that it leans a little bit too heavy on the CGI. Frankly, I was surprised how much of that was in this movie, considering the Coen’s usual aversion to it, but there was a good amount here that was, well…rough. I  mean, for the love of god Hollywood: STOP PUTTING CGI DEER IN EVERYTHING. It almost never works, and it takes me out of movies completely when they pop up. I’m sure deer, the little bastards they are, probably suck to get correctly in a film, so it’s far easier to either create it with CGI, or pop the dear into place with god awful green screen afterwards (looking at you, Deer from Three Billboards). Either way…please. Stop doing it. Now.

Anyways, onto #3, the titular…


3.  “The Ballad of Buster Scruggs”

This segment is just god-damn delightful and, really, there’s nothing more to it than that. Tim Blake Nelson is pitch perfect as the fourth wall breaking, surprisingly violent Buster Scruggs, and well there’s little more to this short than watching his antics as he tears apart a small Western town…really, what more could you want? It’s like Deadpool, but with a singing cowboy. And Tim Blake Nelson. What more do you need in life, really? And the fact that it climaxes with an angel version of Buster Scruggs playing a harp as he duets with the man who just gunned him down in battle (a surprisingly beautiful rendition of “When A Cowboy Trades His Spurs For Wings”) is just absurdist icing on the cake.

The fact that the Coen’s decided to open the film with this segment was honestly a ballsy move, as its cartoonish, irreverent tone comes in stark contrast to pretty much every other segment. I could definitely see a subset of people being absolutely turned off by the entire thing, just based on the wackiness of “The Ballad of Buster Scruggs.” But I certainly wasn’t! As a huge fan of the Coen’s comedic sensibility (The Big Lebowski is probably my favorite comedy of all time), it was just the right note to remind me “Hey, you’re about to watch a Coen Brothers film — bask in it, buddy.” And boy did I.


2. “The Mortal Remains”

As I said on Twitter shortly after seeing the film, what I loved about The Ballad of Buster Scruggs is how much it captures everything that makes the Coen Brothers the Coen Brothers. How it manages to take their entire filmography, and shorten it down to a half-dozen segments that perfectly illustrate the kind of movies the pair make. That’s not a simple task, either: these are the guys who made Intolerable Cruelty AND No Country for Old Men. Back to back, even! They strike a wide gamut of genres, that’s for damn sure. But if “The Ballad of Buster Scruggs” was there comedy piece, and “Meal Ticket” was their tragedy, and “All Gold Canyon” there slow-paced thriller, than “The Mortal Remains” is their strange, disconcerting drama. Think Barton Fink, or A Serious Man. The kinds of films that are kind of funny, but also strange, and dark, and even slightly mythical in a unique, Coen Brothers way. It’s not a tone they don’t very often strike (once in like every decade or so, it seems), but it certainly makes an impact.

But what makes “The Mortal Remains” so fantastic is the way that it slowly conveys just what’s happening, keeping its cards close to the chest until almost the very end of the segment (and, in effect, the movie itself.) Watching these characters go on long Coen Brothers speeches about the nature of humanity is in and of itself is a delight to watch, and I was enraptured the whole way through. But when things turn to the (vaguely) supernatural, the entire thing becomes even more delicious. “The Mortal Remains” goes from an expertly crafted piece of character interaction into this weird, ethereal thing that doesn’t take a lot of energy to explain itself…and never, ever even needs to. It’s kind of like a Ray Bradbury short story I would have read in middle school, mixed with the insanely well crafted dialogue that the Coen’s bring to every single one of their projects. The kind that’s so fucking good, it gives me an inferiority complex just listening to it. But, you know…in a good way. 


1. “The Gal Who Got Rattled”

“The Gal Who Got Rattled” is, unequivocally, the best segment in The Ballad of Buster Scruggs. I know it, you know it, everyone knows it. Even the Coen’s themselves seem to know it, as its by far the segment that takes up the most time in the entire film (based purely on my gut feeling and not, you know, actual research or journalistic work.) But every moment spent in “The Gal Who Got Rattled” is time well spent, as the segment perfectly lays out a nice little slice of Western romance and, because it’s the Coen Brothers, absolute heartbreak.

Admittedly I’m a sucker for a well-told romance, especially one with as much heart as this one. It’s also a bit of a sneaky romance, as what “The Gal Who Got Rattled” is actually going for isn’t really revealed into a large way into the segment. But it goes to show how good the Coen’s are at just painting an atmosphere that I was just totally okay watching the exploits of this traveling caravan along the Oregon Trail, and the journey of main character Alice Longabaugh. She really is what anchors the segment, with Zoe Kazan doing a fantastic job of painting this quiet, introverted woman alone on her own for the first time in her life. Equally compelling is her screen partner, Billy Knapp, played with gusto by Bill Heck (who I’ve never really seen as a lead in anything, but makes a hell of an impression here.) They make a fantastic pairing, their awkward chemistry thankfully ending up on the more charming than annoying side of the spectrum. The Coen’s usually don’t do straight romance (well, unless you really want to count Intolerable Cruelty), but they pulled it off with warmth and serenity here. Only a few quick scenes between the pair, and I was instantly routing for the two love birds.

…So of course it all has to end so damn tragically, in a way that is so simple in its irony, but a punch in the gut all the same. The sequence that leads to Alice’s suicide is a Coen’s all-timer, though, a perfectly paced bit of action that recalls The Hurt Locker more than anything else (and, like “All Gold Canyon,” shows off how good the duo are at presenting the performance of procedural activity.) Although, on that note, since I expanded the whole “every segment has a Coen Brothers movie parallel” thing, I’m now obligated to stick to it, so this one is most like…True Grit, probably? Has the same forlorn, mournful tone. And both feature a female protagonist, a surprisingly rare thing for a Coen Brothers film. Either way, this segment is going to stick with me for a long time. Damn you Coens, for making me feel something. I hate that!

But I don’t hate The Ballad of Buster Scruggs, that’s for sure. In fact, when added together, I loved the hell out of this anthology. Which is great, since I was not too hot on the Coen’s last one, also an anthology of sorts (in a way that, IMHO, did not serve Hail Caesar! nearly as well.) But I shouldn’t have doubted my favorite filmmakers. Because, believe it or not, they know how to make good movies. Or, in this case — how to make six of them.


Also published on Medium.

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The Captain Marvel Teaser Trailer Is Here, And…It’s The First Trailer for A New Marvel Movie, All Right

Not that there’s anything wrong with that.

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The release of the Captain Marvel teaser trailer has been pretty hotly anticipated, arguably more so than many of the other Marvel movie trailers that have come before it. The primary reason for the excitement is of course due to the conclusion of Avengers: Infinity War, which I’m going to spoil because come on now, you’re reading this article, I know where your interests lie. Suffice to say, the downer ending of Inifinty War, in which seemingly all of Marvel’s newest characters up and fade away into nothing, has fans buzzing to see what is coming next. And with the trailer for Avengers 4: Titles Are Dumb still many months away, Captain Marvel represents our best shot yet at seeing just what Marvel intends to do with this universe going forward, and how the titular character will ultimately factor into it.

But even removing the snap from the equation, there’s plenty of reason to be eager about Captain Marvel on its own merits. This has been one of those MCU movies that was seemingly announced forever ago, and to paraphrase Marvel’s other big female superhero with her name in the title, it’s about damn time we actually get to see Marvel Studio’s first female-fronted superhero project. It might come as a shock to no one that the trailer shows the answer to that being, well…a Marvel superhero movie. Whether or not that excites you largely depends on your attachment to the brand overall.

Myself? I’m already in the bag for this cinematic universe so, really, this trailer could have been two minutes of Kevin Feige jet-skiing on his bag of money while smoking a very well put together Dollar Bill Blunt™, and I still would have had the movie on my list of most anticipated films of 2019. And with the MCU on a hot streak of, like, ten good-to-great movies in row, I would feel no regrets at all about doing so. As I have written many times in the past, Marvel Studios has earned my trust, in pretty much everything they do.

But to dive into the nitty-gritty of the trailer itself? It’s perfectly fine. It follows the modern blockbuster teaser trailer to a T, with the loud symphonic music playing over a bunch of vague money shots of CGI and action moments, paired with an equally vague but well-delivered monologue about, well, anything really. The fact that said monologue is coming out of the mouth of Samuel L. Jackson’s Nick Fury (as they so often do in the MCU) is extra points, though. Paired on top of that is the fact that said Nick Fury is looking all young and two-eyed, with disturbingly little uncanny effect to speak of in digitally recreating a mid-90’s Samuel L. Jackson. Which I’m aware is ironic, considering that the Uncanny Effect in and of itself speaks to the idea of something being so photo-realistic that the human mind, in turn, perceives it as unnatural. This is so photo-realistic and natural in the moment that, only upon true reflection, do I get really creeped out. Call it the Uncanny Uncanny Valley Effect Effect.

Like he looks real but he shouldn’t look real, you know? Crazy.

Oh right, the Captain Marvel trailer! So yeah, it’s one of those things where the most noteworthy aspect of the trailer lies in how unnoteworthy it is. Really it’s hard for me to gauge what exactly this movie will be, with the two-minute teaser doing little to fill in the tone or mood of the piece outside of “new superhero movie.” There’s some weird stuff going on timeline wise which, in the movie, might be really cool and unique. In the trailer, however, it’s kind of so jumbled up in editing that I’m not entirely sure what’s going down (so Carol Danvers has amnesia, or…?) Even more disappointing is the lack of a real “trailer moment,” something big and memorable ala Thor’s reaction to Hulk’s arrival in the Thor: Ragnarok tease, or Black Panther’s car flip, or even the lie that was the Avengers running together in the Infinity War trailer. The closest this trailer comes to a noteworthy shot is Carol Danvers sucker punching an old lady which, really, is only memorable for the “WTFness?” alone. I did like the brief image of Captain Marvel running up the side of the train, though, and some of the rotation shots at least point to an interesting style that directors Ryan Fleck and Anna Boden could be employing. That’s really the only hint of a unique approach or style in this trailer, though.

Lack of style isn’t exaclty bad, really, but not exactly fodder for overwhelming excitement either. Compared to something like Guardians of the Galaxy’s first trailer (where the “Hooked on a Feeling” scored edit made clear just exactly what kind of film we were dealing with) or Avengers: Age of Ultron’s first trailer (which wowed through pure mood and imagery alone), Captain Marvel falls short. Not bad, just short.

But, seriously, how amazing is it that this scene made it into the trailer? As a Marvel person I get the old lady is probably a Skrull or whatever, but to general audiences, this just represents their newest superhero punching a nice old lady FOR NO GODDAMN REASON. Glorious.

All that being said, it’s not like being merely “good” puts Captain Marvel significantly behind the first looks of other MCU films. In fact, I would say the majority of first trailers for Marvel Studios films have only been good, with only a few really strong ones being truly excellent in my mind. And with all but a handful of those films being great at the end of the day, I have no doubt Captain Marvel has the goods to keep Marvel’s winning streak going. We’ll find out when the film hits theaters March 8, 2019.


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