Review: In “Avengers: Endgame,” the MCU takes a victory lap and a moment to reflect

For how much the Marvel Cinematic Universe has proven its willingness to be malleable in its storytelling, to allow filmmakers to both shape and expand what we categorize as a superhero movie, finality is something it’s never really concerned itself with.

Post-credits scenes, cameos and cross-pollination have become as much a characteristic of these films as tight spandex and daddy issues. We used to see individual superheroes exclusively on the frontlines of their own big-screen stories – Tobey Maguire never web-slung across the city alongside the Human Torch – but that’s become a relic of yesterdecade with the MCU’s steadily calculated erasure of narrative borders because of, and in service to, an overarching narrative that only began to become clear several films into the MCU’s existence.

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Review: Marvel pokes fun at itself with ‘Thor: Ragnarok,’ and has a blast doing it

It’s about time we got something like “Thor: Ragnarok.”

After nearly a dozen years of spinning an increasingly complex web of Marvel stories and characters, the studio realized a need for giving audiences something new and invigorating; something to keep the spark alive, if you will. And they picked the perfect franchise to do it.

With “Ragnarok,” one of the MCU’s least consequential (and – let’s face it – one of its least interesting) franchises doesn’t just get a facelift; it’s infused with a new energy. With the third solo entry for Thor – “solo” becoming more and more ambiguous the further along the MCU machine churns –  he’s officially the ugly girl you initially passed up on who went on to become a runway model. Continue reading →