Josh Trank | 96 mins | streaming (HD) | 2.35:1 | USA / English | 12 / PG-13
Sometimes you just have to see what all the fuss is about, even if that fuss is overwhelmingly negative. Obviously that’s the case with the most recent attempt to bring Marvel’s popular “first family” to the big screen. The behind-the-scenes stories are already the stuff of movieland legend, so I won’t repeat them here, but what of the film itself? Or the version that ended up available for public consumption, anyway.
Reimagining the group’s origins, the film sees young genius scientist Reed Richards (Miles Teller) recruited to a research institute where he works with Sue Storm (Kate Mara), her adoptive brother Johnny (Michael B. Jordan), and the precocious and rebellious Victor Von Doom (Toby Kebbell) to develop a teleport to another world, Planet Zero. When the device is proven to work, the institute’s supervisor rules astronauts will get to take the maiden voyage. Annoyed, the scientists rope in Reed’s childhood friend Ben (Jamie Bell) to help them use it first. But things go horrendously awry, leaving the gang with new abilities…
That chunk of the story takes most of the first hour. Other than being a little slow getting to the point, considering most viewers know where it’s all going, and perhaps not building the characters’ relationships as thoroughly as it could have, I thought it was shaping up as a pretty decent film. It’s not a mind-blowing masterpiece, and it’s certainly not faithful to the original comic, but as a sci-fi movie? It’s good. Not incredible, but good. Well, aside from one truly terrible reshoot wig.
Then the story suddenly jumps forward a whole year, and things go to pot. From that point the film’s ideas aren’t bad, but it feels like the movie was ripped apart and put back together awkwardly, with parts missing, some out of order, and other bits added to cover gaps 
and serve as new pieces — like a shattered mug that’s been reassembled with lashings of superglue and using a handle from another vessel, which has inexplicably wound up a slightly different size and shape to how it used to be. Considering the studio got cold feet and insisted on massive reshoots, this is quite possibly exactly what happened.
It climaxes with a rushed action sequence on Planet Zero, which was clearly constructed entirely during reshoots (the constant presence of Reshoot Wig gives that away, if nothing else). The speed with which it’s dispatched makes it feel anticlimactic, despite the alleged world-destroying scale, and mainly leaves you wondering how the film originally ended. When it’s done, the heroes return to Earth and triumphant music swells… as they survey a scene of total devastation. It’s clear this hasn’t been thought through. There are still more signs of a rushed production: the CGI used to realise the Thing is pretty good for most of the film, but an unbearably cheesy final scene looks like a poorly-composited unfinished draft. Allowing such a rushed, underfunded, and heavily reshot final act to be released feels amateurish on Fox’s part.
While the studio are obviously keen to blame director Josh Trank for all the film’s problems, and possibly sink his career in the process, I can’t help but think it’s their own fault. It was they who chose to commission a “dark and serious” take on the Four, at odds with their usual depiction, but then wimp out and not follow through on the directorial vision they’d chosen. Despite what some fans would say, it’s this lack of commitment that’s the actual problem. Even in the face of the success of the lighter-toned Marvel Studios movie universe, 
Fox like to keep their superhero movies Serious and Dark — and why not? Before this, it had worked pretty well for them across seven X-Men movies, while their colourful-and-cheery earlier attempts at bringing Marvel’s first family to the big screen met with unwavering derision and diminishing box office. It was not an illogical choice to try something different tonally.
In the end, however, this version crashed and burned even harder than those earlier films, both with fans and at the box office. Meanwhile, the latest X-Men movie was similarly ripped asunder by critics and has only performed acceptably; and concurrently, superhero comedy Deadpool took the world by storm. Perhaps this will create a sea-change in the way Fox approach their superhero properties? Only time will tell — though with Deadpool 2 set to offer more of the same and a Wolverine threequel following in its R-rated footsteps, while another X-Men movie is surely in development but not officially announced and the planned Fantastic Four sequels have been quietly cancelled, perhaps it already is.
Fantastic Four’s real problems are twofold: deviating so heavily from the original comic book, which meant from the outset that an awful lot of fanboys were always going to hate it; and then not having the confidence to see that vision through, titting about with things in post. The latter results in a mess of a second half where the whole thing unravels. It’s not perfect before that, but it’s a decent sci-fi movie. I’d love to see Trank’s original cut — I’m not sure it would be a great film, and I’m damn sure it still wouldn’t properly resemble the Fantastic Four of Marvel’s comics, but I bet it would be a lot more consistent than this, and consequently better.
What could have been a comfortable 3-star movie, maybe even 4 if it followed through well enough, is dragged down to 2 by studio meddling. Will they never learn? Nonetheless, I actually enjoyed enough of Fantastic Four that, while it won’t be going on the long-list of contenders for the best movies I’ve seen this year, I won’t be putting it on the list for the worst either.
Score: 
The latest from Marvel (or Marvel Studios, as they’re now branded, presumably in a bid to differentiate themselves from the properties owned by other studios that have been only too keen to use the Marvel logo and blur the line for the casual moviegoer) opens the door on a new facet of their shared cinematic universe, though does so in a movie whose plot follows the familiar “superhero origin story” rulebook. On the bright side, Doctor Strange has several other qualities to recommend it.
Sometime recently, I said I was making more of an effort to avoid watching movies I know are going to be bad — when there’s so much good stuff to see, why knowingly waste time on bad stuff? But then sometimes something just catches your attention and you have to see for yourself. It sounds as if no one had anything good to say about Cool World when it came out back in 1992, and no one’s had anything good to say about it since either, but after spotting it on Netflix (I’m not sure I’d even heard of it before that) my curiosity was piqued.
and general depraved behaviour. It’s clear it got caught in the crossfire between a creator/director who wanted to make a hard-R adults-only animated/live-action movie, and a star and producer who wanted to make something they could show to sick kiddies in hospital. The end result surely satisfies neither, because it pulls some punches to not get that R, but there’s no way this is kid-friendly.
Favourite Film of the Month
Last Halloween, I reviewed one of the most horrifying movies of all time: 
And they accuse teenage guys of being shallowly obsessed with the opposite sex’s chests. But then Jacob starts acting aggressively, and hanging out with a gang, and there are stories about beasts in the woods killing people, and his tribe leader type guy looks shifty whenever all that’s mentioned, and… wait, could there be a connection between Jacob and his friends and the wolf-like attacks in the woods?! Gasp!
so that even bits that aren’t bad in isolation (the wolves, for instance) are poorly integrated into the live-action. And at one point the characters go to the cinema to see an action movie… called Face Punch. At this point New Moon slips from ineptitude into genius. It’s the best worst fake action movie title ever. The scene where they discuss it is so hilarious, I actually had to pause the movie to finish laughing.
You wouldn’t think the 2008 financial crisis would make good fodder for a comedy-drama — it’s both too complicated and too grim — but 
The narrative is laden with concepts that are so complicated even people within the industry don’t properly understand all of them (however did the market fail?!), but the movie nonetheless attempts to explain them in an accessible way. It’s half successful: you kind of understand them at the time, about enough to follow along, but the chances of remembering them later are next to naught. One of McKay’s tricks to engage us with these explanations is to wheel in random celebrities to deliver analogies. It’s a fun idea, though it’s success is debatable — I mean, I’ve just about heard of Selena Gomez, and I guess the “famous chef” that turns up must have a TV show in America, or something, maybe? Yeah, the ‘names’ he’s chosen are going to date this movie far more than its 2008 setting ever will.
Though the conceptual explanations may fade almost as soon as you’ve heard them, what does stick with you is how it all ends. Essentially, the financial industry that destroyed peoples’ lives in pursuit of never-ending profit not only got away with it, but they actually started doing the same stuff all over again, just with new acronyms. What’s even more sickening is that people are clearly aware it’s going on — I mean, we’ve been told as much in an Oscar-winning movie — but they’re still doing nothing about it.
100Films.co.uk 