‘Fantastic Four: First Steps’ — A retro space epic

From the first frame, “Fantastic Four: First Steps” announces itself as a visual feast — one that grabs you by the collar and throws you into a vivid, gorgeously designed retro-futuristic world.

Matt Shakman (pulling from his “WandaVision” toolbox) brings that blend of stylized high-concept aesthetics and emotional intimacy, making this feel not just like a Marvel movie, but also like you’re flipping through an oversized, classic comic book while sipping a glass of wine in an arthouse cinema. Somehow, it just works.

Set in the early 1960s, this isn’t an origin story. The Four are already icons — loved, celebrated, and distinctly old-school famous. We open on an “Ed Sullivan”-style TV show celebrating their fourth anniversary of hero-ing. Instantly, the tone is set: comic-book camp meets Mad Men era grandeur. The production design is sublime — everything from the soaring Baxter Building to Johnny’s flame trails and Sue’s vibrant blue suit screams period-authentic and lovingly pulpy.

The story kicks off with Reed Richards (Pedro Pascal) and Sue Storm (Vanessa Kirby) discovering they’re expecting a child — Franklin Richards. What follows is part domestic sci-fi drama, part global crisis control. And here’s where the magic lies: the film balances the personal and the cosmic beautifully. It’s not about saving the world in the traditional Marvel way; it’s about protecting family, which, in turn, might just mean saving the world too.

Let’s talk moments because this film is packed with them, and thanks to the marvellous cinematography followed by an amazing score and soundtrack, the moments feel grander than ever. The shot of Sue Storm floating inside the spacecraft with the wormhole glowing just beyond the window is pure cinematic gold and resembles a painting. The baby delivery sequence is super intense and emotionally grounded. It takes quite a bit of runtime, and I was hooked the entire time! The smaller beats hit just as hard — Ben Grimm lifting a car in a scene that looks like it was ripped right off a Jack Kirby splash page. Johnny’s flying sequences are glorious too, full of visual flair and energy.

And then there’s Galactus. Not some loud, screaming space threat. Instead, he’s quiet, almost elegant — until he isn’t. Towering, looming, ominous. A real presence. You feel early on that the Four won’t defeat him. They’re not supposed to. That’s not their level. And yet, watching them strategize around him — building teleportation devices around the globe to teleport Earth to a newer solar system that would’ve been a million years off his reach was genius-level storytelling. Smart, measured, and tension-filled. Reed doesn’t punch his way through this one. He thinks it through, and it works (mostly).

The film is smart enough not to try and make this a “kill the big bad” movie. Galactus stretches Reed apart (yes, literally) and is smart enough to not fall for the traps. The way Galactus is dealt with is kinda the only time I feel on board with not killing off a villain. He is an Avengers-level threat, so Fantastic Four killing him would’ve been a little off-putting. But they manage to stop him, and that’s how the movie wins.

Shakman takes the prequel to “Avengers: Doomsday” task seriously and respects scale and storytelling.

Now let’s talk performances. Pedro Pascal gives Reed just the right mix of hyper-intelligence and weary optimism.

Vanessa Kirby steals scenes as Sue, especially in her motherly arc. Her powers are Crazy cool and visually mind-blowing. She owns the third act.

Joseph Quinn is a total scene-stealer as Johnny. While his dialogue isn’t always great (some eye-rollers in there), he elevates every line. He’s not just comic relief but smart as well. The moment he figures out Shalla Bal’s language is genius.

Ebon Moss-Bachrach plays Ben with heart. He’s more than just the “Thing.” There’s softness and strength there. Plus, his “car-lifting” scene is one of the best non-action emotional beats.

Julia Garner’s Shalla Bal is one of the coolest side characters we’ve had in a while.

Speaking of her, Shalla Bal a.k.a. Silver Surfer is one of the best characters in the film. The way she spoils the entire plan by destroying all the teleportation devices and her switch of allegiance right when everything was falling apart adds a satisfying twist. She has a presence. It’s very calm and commanding. Love to see it!

On the other hand, the film isn’t without flaws. The script spoonfeeds a bit too much, and some of the bigger moments don’t quite hit with the emotional punch they’re building toward. Dialogue, especially for Johnny and Reed, could’ve used another polish pass. And at under two hours, the pacing feels a bit too brisk. The world-building is rich, but never given time to stretch its legs fully.

Also, action-wise, it’s lighter than most superhero films. This isn’t a brawl-heavy flick, which may turn some fans off. But the tradeoff is high-concept storytelling and rich character work.

Visuals are Stunning. Color grading is smart and stylish. The CGI is Top-tier. Galactus, the wormholes, force fields, even Johnny’s flames — everything looks clean and massive. Shakman and his team deliver the visual language with confidence. The costumes and set design are award-worthy. The “4” logo being used as an actual brand is Genius Touch.

There’s a scene where Sue Storm steps out with her baby to face the world. The entire shot has a monochromatic, metallic tone — yet she’s dressed in bright blues, making her stand out. Despite everything happening in the frame, our eyes remain locked on her.

Score and Sound Design are excellent — the score lifts the emotional weight, and the sound sells every sequence. Shout-out to the voice actors as well. Ralph Ineson as Galactus sounds otherworldly.

The post-credit scene suggesting Robert Downey Jr. as Victor Von Doom is perfect. No extra showcasing, just the right amount of tease! The second post-credit scene doesn’t talk about the next film but is rather an animated bit of the Fantastic Four cartoon. It’s a pretty great inclusion, and if Marvel capitalises such animated bits and makes them into a series, it could work since we haven’t had any Fantastic Four content for a long time. This simply could add another layer to the Marvel Cinematic Universe.

“Fantastic Four: First Steps” isn’t a punch-a-minute superhero movie. It’s smarter than that. It leans into character, style, and emotional tension. And it respects the audience enough not to deliver a “kill the villain” ending. The stakes are personal, the vibe is distinct, and visually, it’s one of the most stunning Marvel entries yet. Despite a few hiccups in dialogue and pacing, it’s a wildly entertaining, refreshing take on Marvel’s First Family — and one that sticks its landing.