It is with no small measure of relief that I am able to say Marvel’s THE FANTASTIC 4: FIRST STEPS finally succeeds in bringing one of my childhood favorites to the screen. This iteration centers itself on the lively dynamics of the Richards-Storm-Grimm clan of biological and logical family such that the quartet’s greatest superpower becomes that of family strength and the other cool stuff: insta-flame, invisibility, superstrength, and stretchiness with infinite possibilities becomes almost incidental. Until, of course, the supervillain emerges, and it all coalesces into a fight to save the planet, and the nuclear family
Rather than an origin story, we start with a recap by way of a television special celebrating four years of the Fantastic Four. That the show, on an oft-named television network, is hosted by the incomparable Mark Gatiss as unctuous Ted Gilbert renders this expository trick a highlight rather than a slog. It is here that we learn of their trip through a cosmic storm that conferred their superpowers while on a space mission before a summary of their adventures that include not just brute force and scientific, ahem, marvels, but also diplomatic skills that bring the Mole People to détente with us Sunshiners here on the surface. Yes, it’s an object lesson about brains over brawn, but one that is as sly as the rest of the story, which will be more about community and loyalty than special effects, though those are nifty and in keeping with the mid-century modern futurism during which the story is set. Hence, gelatin molds help celebrate the opening of the Pan Am Building, and Herbie (voiced puckishly by Matthew Wood) the house robot operates via tape banks rather than digital ones.
The villain, Galactus (booming voice of Ralph Ineson), has a metaphorical edge, as the insurmountable enemy of enormous stature and insatiable hunger that will destroy the Earth announces by way of his herald, The Silver Surfer (Julia Garner) that our planet is next on the menu. Reed Richards, Mr. Fantastic (Pedro Pascal), the super brain, discovers that our planet is just another course in the primordial creature’s bill of fare, and reverse engineers a visit to it in order to negotiate our salvation. Alas, the only thing Earth has to bargain with is the new baby that Reed and equally brainy wife Sue Storm, The Invisible Woman (Vanessa Kirby), are expecting. While this is an opportunity for one of the most exciting birth sequences ever committed to film (there’s a black hole involved), it also becomes a turning point for the Four’s relationship with their fans. When the public learns that all it will take to save the Earth is for them to surrender Franklin, the baby, there is an understandable consternation over their decision to say no and find another way.
Of course they will, but will they be able to make it work in time? And what will come of Johnny Storm, The Human Torch (Joseph Quinn) and his attraction to the metallic but comely Silver Surfer clad only in her metal shell? What about that gentle soul Ben Grimm, The Thing (Ebon Moss-Bachrach) and his nascent flirtation with the local schoolteacher (Natasha Lyonne) and the synagogue to which he turns on the eve of the final showdown with Galactus? These are exactly the right tropes for this sort of genre flick, and also ones annotated and amplified by the soulful melancholy Moss-Bachrach brings to Ben being alone because of his transformation, and Quinn’s blithe brashness as a kid with superpowers and a big heart. More than just the adrenalin glands are engaged here. By delving into the superheroes weaknesses, Reed is a genius, but fatherhood leaves him bumbling with anxiety, the emotional connection for us becomes as breathtaking as the way The Human Torch flings himself into certain doom while ordering the others to tell Franklin how much his uncle loves him, The Thing flings machinery with insouciant abandon, or how none of them can install a child-safety seat in the slick Fantastic Four car (that flies, of course). The smartest choice the filmmakers made was casting actors that don’t use the gimmick of their characters as crutches. We can’t stretch our arms across a room, but we can all relate to being taken aback by the responsibility of parenthood, and the need for connection.
Another major charm is the groovy vibes to be enjoyed by setting the action 70 or so years ago. The tech is as adorable as Herbie’s chirps, and there’s something just right, ego- and theme-wise of Johnny keeping a Warhol portrait of himself in his room. There is a sense of fun as well as suspense, but never cynicism or irony. Instead, there is the innocent optimism of that time, when the culture believed that science could make a better future for everyone, and that anything was possible.
THE FANTASTIC 4: FIRST STEPS is a whiz-bang good time that has that rare quality of leaving you wanting more. And, this being the Marvel Universe, we are promised just that during one of two post-credit scenes.
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