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Avengers: Endgame ★★★★



How does one critically appraise a film like Avengers: Endgame? A film that is not merely a sequel, but a sequel to twenty-one other films; a sequel that acts as the culmination of an unprecedented eleven years’ worth of storytelling. A film which, by the admittance of its directors Joe and Anthony Russo, has a marketing campaign formed from only its first fifteen minutes (a sneakily-told fib that isn’t, strictly-speaking, true). How does one approach reviewing something utterly and profoundly unheard of in the entirety of cinema; the grand finale of the biggest movie franchise in history? 

Picking up after the soul-crushing end of last year’s Infinity War, half of all life has been reduced to dust, and grape-flavoured megalomaniac Thanos (Josh Brolin) has retired to the quaintest little farm in the universe. Meanwhile, on Earth, what’s left of The Avengers must band together for one last-ditch effort in an attempt to restore their lost loved-ones – no matter the cost. 

Avengers: Endgame isn’t a flat-out amazing film. But, then, somewhat paradoxically, it’s not trying to be. It’s not as focused, nor as thoughtful as any of the Russos’ other MCU efforts (be they the latter two Captain America movies, or the aforementioned Infinity War). What it is, instead, is the blow-out, all-hands on-deck, barnstorming final episode of the most expensive TV show on Earth. It’s a feature not simply dripping in fanservice, but practically constructed from it – a walking, talking love letter to the millions of fans who have stuck with these characters for over a decade. 

For some, that won’t be enough. But Endgame gleefully, joyously, simply doesn’t care. If you weren’t onboard with the MCU before, the Russos have absolutely no interest in trying to get you on now; they’re not preaching to the choir here, they’re conducting them a damn symphony. 

One of the smartest moves Infinity War made in deciding who was still alive as the credits rolled was in keeping the original, core six Avengers from Joss Whedon’s 2012 modern-day magnum opus in play. For all the colourful, wonderful characters that have been added to this universe in the interim – who all get their moment to shine – this is still, without question, the Avengers’ movie. 

Jeremy Renner, so often sidelined as the bow-wielding Hawkeye in previous outings, is arguably given some of the richest material to work with. Having suffered more than most from the effects of Thanos’ decimating snap, he’s been reduced to the role of a shadowy, vengeance-seeking assassin known as Ronin. As a result, Renner’s never felt as emotionally layered, nor as much of a crucial member of the team, as he does here. Scarlett Johansson, meanwhile, is as dependable as ever, deftly lowering her stoic assassin Black Widow’s walls in a way that never feels unearned or hollow, and getting some of the film’s best emotional beats in the process. 

For Chris Evans and Robert Downey Jr., Endgame features, inarguably, some of the duo’s best work as both Captain America and Iron Man, respectively. Both get the best lines, the biggest crowd-pleasing moments, and for long-time followers the two get some tear-jerking sequences for all of the best possible reasons. 

Mark Ruffalo, unfortunately, fares less well as the Hulk. There’s a fun new element added to the character, but it all feels noticeably weaker in its handling than similar humorous notes in Taika Waititi’s Thor: Ragnarok

And as for Thor, well… given that Endgame will act as the final hurrah for this line-up of the team, it’s undeniably disappointing that such a beloved member of the Avengers is handled so poorly. There’s a tragic undertone to the character’s story that is realised in frankly bizarre terms; a good visual gag that is unceremoniously dragged out for almost the entirety of the film’s runtime. You’ll spend the whole movie waiting for it to be undone, and it distractingly never is.

Regardless, Joe and Anthony Russo’s knack for well-choreographed action is again on full display in Endgame, as the two show-off their talent for tight, close-knit, brutal fight sequences, and take a veritable victory lap towards the last half-hour in terms of sheer, unbridled spectacle. Their usual gift for structure suffers from the film’s scattershot pacing – screenwriters Stephen McFeely and Christopher Markus’ narrative splits in three in the second act and never truly recovers. But on an individual, moment-to-moment basis, what works does so with such aplomb that the initiated won’t even notice. On the score front, Alan Silvestri predictably knocks it out of the park, not simply relying on his barnstorming group theme this time around, but also weaving in some beautiful nods to the other films in the franchise via nostalgic, heart-wrenching leitmotifs. 

So how does one critically appraise a film like Avengers: Endgame? The answer is you don’t. You can’t. Because Avengers: Endgame isn’t a film. It’s an event. If you’re already a fan of the franchise, then there isn’t a force in existence that could stop you from watching this movie opening weekend; you’ll laugh, cheer, and sob in equal measure, as wholly intended. Indeed, Avengers: Endgame will deliver almost everything you could want, and considers what most films would deem ‘excessive’ to be a good starting point. It’s a deliriously entertaining blockbuster extravaganza. It simply forgets sometimes that it’s also meant to be a cohesive motion picture.