Marvel Studios’ “The Fantastic Four: First Steps” is an emotional and visually heartfelt exploration and retelling of Jack Kirby and Stan Lee’s paragons. These characters have been left on the sidelines of the entertainment industry for far too long.
Fans grew tired and turned away from the stories due to the lack of inspiration and creative oversight from the auteurs of the past. As a result, the heroes remained in limbo, frozen in proverbial blocks of ice under the thumb of 20th Century Fox. However, it’s safe to say the third time is the charm, well, fourth if you count the never-released 1994 Roger Corman film.
To some, a fourth attempt may invoke a sense of worry. However, I can confirm that all fear is quickly remedied as you fall into the trance of Giacchino’s Tomorrowland-inspired suite. You bear a sense of imaginative freedom, burgeoning to be set free, as the Jetsons-inspired architecture throughout the city and the Baxter Building acts as the perfect backdrop and canvas for the story being conveyed.
Understanding this, Shakman is never afraid to rekindle the spirit and essence of the original Lee and Kirby books, forever enshrined as countless tributes are noted and felt. Even with the inclusion of the team’s patent rocket being recognized as the “Excelsior,” director Matt Shakman crafts a genuine and satisfying departure from the Marvel Cinematic Universe (MCU), slotted adjacent to the shared continuity on a different earth appropriately named 828 in honor of Kirby, as his actual birthday is August 28.
This weaving a thread of connective tissue as elements of various writers, such as industry titans like Jonathan Hickman, Mark Waid, and Ryan North, who have helped grow the characters into who they are remembered as throughout the years, is felt. All while main staples, such as H.E.R.B.I.E. and the Fantasticar, are practical, giving weight to the authenticity of this world as hues of orange and blue shine through.
This is as a blend of modern and quite almost flawless CGI well until the third act, and Stanley Kubrick-inspired miniature sets work in perfect harmony, honing in on the attention to sculpting the world of the Fantastic Four from the comics to a world that’s so easy to get caught up in without needing to know the realm of the MCU. A small pocket carved and built from the ground up by staying authentic to the era, never compromising the cosmic potential. Once again, Marvel has a hit.
Execution and direction
It’s clear this retelling is going to be different, as Marvel decides to toss the audience into a world already established. We are graciously shown by an ABC era-accurate television package, chronicling the origin of these timeless icons who use their ‘gifts’ as protectors of their planet.
They do this all while never forgetting their humanity to make a better tomorrow, through the POV of found footage cameras. As crazy as it sounds, it works, and I confess I never felt tired or spoon-fed by the origin. Instead, I visualized myself ooohing and ahhhing as part of the live-studio audience on a talk show.
The audience and I watched from afar, staring into the beyond of the unknown as the host set up the next segment before the Fantastic Four manifested from behind the curtain. They wore bright blue onesies, always offering a smile, standing in front of the cameras with a look of hope and stoicism, but fear and claustrophobia could be felt, signaling the flood gates are about to be cracked open.
Then the wave of fame takes shape, and the rest is history as the citizens offer ample praise to the heroes, showering them with odes of “thank yous.” The next video package of the team faces off with their rogue’s gallery, highlighting and showing their powers.
Meanwhile, you gather around the TV store as kids run among the streets, equipped and littering the neighborhood with sprockets of commercialized merchandise from the “Thing” Halloween costumes and masks.
Despite being, in nature, just pieces of colorized plastic to the adult eye with a white string holding everything in place, to the spirit and soul of a child, they are the essence of your icons. The act of putting on the mask or partaking in the product, and buying into the commercialized escape of sitting in front of the TV, as the Fantastic Four cartoon has the nuclear family glued to the screen, waiting to bear witness to what’s to come.
This showcases the genius of human and societal development, while the element of fatigue begins to show for our heroes, setting the pace for the operatic space drama to take shape.
Exploring guilt and humanity in the perfect 2nd Act
Shakman wisely lets the adrenaline slow a bit as we are shown these “gods” longing to shed the glory of being in the public image. This is reflected by having a brief reprieve to stew in their flaws as we remember they are just ordinary people following a daily routine under the roof of the home they paved.
All work in harmony as the film shifts direction, stepping forward not only in the characterization of each of the core characters but also in the level of emotional maturity under the guise of a world-ending cosmic mission.
My favorite part of the film is the middle act; it’s a portion where the visuals are given a step up and the modernization of the filmmaking comes through. Audiences are given tension, space exploration, and impeccable kinetic choreography executed with grace.
With that noted, once again, praise is bestowed upon Shakman. Everyone who had a role in working on the film is deserving of recognition, especially for the presentation of Ineson’s Galactus, who, for a time, isn’t seen but whose presence is felt.
This is particularly true as the film offers small yet impactful breadcrumbs from the pacing and introduction of Julia Garner’s Shalla-Bal, aka the Silver Surfer. It invokes the impending hysteria of Galactus (Ralph Ineson), set to arrive as the doomsday clock begins to inch closer to midnight.
Because it drops the audience into a state where stakes and consequences matter. Not only is the screenplay balancing the allure of the euphoric mirage coming to an end, but a sense of real-life morality—“family is here to help, but boundaries can be pushed”—is symbolized through the greatest fear the team never wished to see.
This fear has arrived as the world that once cheered now looks in shame, as their safety and promise of protection have been tossed aside in honor of internal affairs. From there, Shakman and the screenplay diverge into mini vignettes, allowing us, the audience, to learn more about who these protagonists are not only at their core but also how they each handle adversity.
Bridging the gap to how Marvel nails each of the core four with their cast across the board, everyone feels organic and honest to the character as a whole.
Perfect casting
The performance works and feels believable due to Pedro Pascal, who I never felt was playing the character of Reed Richards, as I only saw Reed. He embodies all the pros and cons as mentioned before.
He’s the world’s smartest man, but he’s guilt-ridden and trying to stop the unknowable, as paranoia encapsulates his existence. It was an astonishing triumph to see the character fleshed out in all aspects, negative and positive, of what makes Reed relatable.
It is a remarkable human performance, one that doesn’t shy from the allegorical commentary of being different doesn’t tarnish your integrity. As Shakman makes it clear, our differences don’t diminish or tarnish us; they give us our own identity.
Now ridiculed and exiled as their public perception tarnished, crowds linger outside the Baxter building as Reed (Pascal) locks himself away in his lab, looking for a solution as the flood of criticism rains down. Instead, he neglects his relationship with his wife, Sue (Vanessa Kirby), who longs to see her husband be a father first and a scientist second, yearning for the return of the man she loves.
Meanwhile, Ben (Ebon Moss-Bachrach), his best friend, holds his son and replies, “You’re supposed to sleep when the baby does.” The only response Reed can offer is, “I don’t dream, I don’t wonder, I invite the worst possible thing into my head to figure out how to hurt them before they hurt anybody else,” and it feels powerful, offering a sense of empathy for this iteration of Reed being neurodivergent and autism-coded just like in the comics, as his brain tries to outdo itself, leaving room for eroded focus to take shape as imposter syndrome lingers.
I can safely confess that Pascal nailed the performance on all levels. Of course, in terms of how his powers are presented, it’s once again a blend of CGI and Shakman magic on display. Reed stretches and conforms back, and Pascal has gone on record previously discussing how Shakman and Marvel used an octopus as a reference; having seen the film, that is an accurate reference. However, I do confess I thought the presentation was a bit tame compared to prior offerings.
Vanessa Kirby delivers a stunning performance from elements such as well-scripted dialogue and her understanding of the impact of what the character means. Her courage and maternal compassion are used not only to drive the narrative forward but also to flesh out the character as she responds to the fear bubbling inside her husband. “And you know what, sometimes… sometimes you being you hurts me.”
This comes after being presented with the knowledge of being a father. During a strong and steady first act, Reed is shown worrying about the baby leading up to the birth and afterward, but he was a solid rock for Sue during labor.
Sue, on the other hand, was a calm, cool, and collected person pretty much all the time except during the birth. We notice the personalities switch, and the love between them keeps each parent grounded and anchored. In addition, the element of old-school filmmaking was incorporated once again to bring a new flavor to the execution of Sue’s powers, which was genius and offered a slice of the MCU from a time long past.
The usage of practical effects is seeing a cherished return, forever enhancing and restoring the splendor of what once drove audiences and potential filmmakers to explore the prism of how to create, reigniting the dormant joy of what makes a film an escape.
Connecting to Joseph Quinn as Johnny was a pure delight and is one of the best interpretations of the Human Torch. The performance is quirky, inviting, and ever-changing. Quinn starts snarky, but as time progresses, he finds his footing and placement among the team. He becomes someone the audience can relate to, and his intelligence is felt on a mass scale as well, leading to a shining spot in a well-paced family drama, as everyone plays a part to be felt in the mystery unfolding.
I can only expect a bright career ahead for Quinn, hopefully not only playing in the MCU sandbox but throughout Hollywood as well. Ebon Moss-Bachrach was the absolute and definitive perfect choice for Ben Grimm.
Not only does his voice radiate a comforting warmth and convey great emotion, paired with phenomenal VFX, but the subtle interactions from each of the relationships he shares with his family enhance the character. The small moments of this character being brought to life perfectly make him feel like an exact Alex Ross print that was put to screen and replicated.
To Grimm, the small moments of him lifting a car to appease the children of the neighborhood, never forgetting his Jewish faith, and still wearing a Brooklyn Dodgers hat are some of the reasons why I enjoyed the complexity of tone.
Most notably, the television shot of the old footage of his former face reflects on who he is now, illustrating that Grimm doesn’t shy away from the life he resides in. He is seen as a childhood icon, similar to Superman and Spider-Man.
His presence is inviting and a paragon for those seeking worth and strength. I do, however, wish there was a bit more screen time, as his chemistry with Natasha Lyonne’s character, a newly created proverbial love interest named Rachel Rozman, was great to witness.
Justice for Jack Kirby
Once again, coming full circle to hearing and seeing reports of Bachrach and Marvel wanting to ensure and solidify that Kirby is never forgotten and bestowed the amount of respect that he’s earned on the same level as Lee for leaving a stamp on the realm of 20th-century fiction as a whole.
It makes sense for both Grimm and Roz (whose name was Kirby’s wife’s) in this case to represent Kirby and his wife meeting each other and offering a point of that connection. Shakman and Feige take it a step further as we are greeted to the iconic “Yancy Street” location where Grimm grew up.
The maturity of showing a tale of perseverance is a moral I hope audiences can resonate with and realize while honoring a legend in Kirby, who often doesn’t get the credit he is rightfully owed. Paul Water Hauser as Harvey Elder, aka Mole-Man, was fun for the short amount of time he was in the film, but I did feel he was one of the cut portions of the film that could have added a bit more life and value to the short runtime.
The costume was a cool modern-day adjustment, and once again, practical effects and the tangibility of seeing the world of fiction and comics come to life from the hands and vision of production designers is even more special to bear witness to. Again, I just wish he had more to do.
Garner and Ineson, I commend both for nailing the mannerisms but also for honoring the source material and bringing a sense of value to each of the cosmic beings. Also, the practical Galactus suit and having Ineson stop around a miniature set in the style of what Christopher Nolan did on his work of Batman Begins is just awesome to confess.
Also, seeing the Silver Surfer ride a blackhole as the team fights for survival or the chrome detailing on the character, seeing the reflection of Johnny as he descends back to earth, was well worth the price of admission alone.
Final verdict
As it’s clear to confess, everyone is cast and plucked from the various and countless pages and frames of Marvel Lore. This runs congruent to how Shakman constantly invokes a sense of maturity and real-life implications, along with organic tension between all of the characters.
I hope all of the actors are given the chance to continue to fill the shoes of these historic characters so that they can leave a lasting impression that will shake the tires of what it means to be in a comic book live-action adaptation.
This also speaks to how Marvel Studios casting director Sarah Halley Finn continues to replicate and pull these timeless fictional icons into live-action with ease and grace. In the end, “The Fantastic Four: First Steps” may indeed be the first film of Phase 6 and the 37th film in a shared continuity, not counting the Disney+ series.
However, I find solace and a feeling of ease as the film could be a perfect dip into the Marvel shallow end. It never feels weighted down by what came before; instead, audiences are treated to a period piece that comes off digestible and encapsulates a moment in time long past, similar in inflection to “Captain America: The First Avenger.” I hope that Marvel doesn’t discard what each project has been providing as a lesson that this formula is working and that this one isn’t.
As the nature of all products is to learn how to adapt or die, I can safely say that Marvel’s first family has been done justice. I hope Feige and company keep the door open for Shakman to return, as his ability as an auteur and connection as a lifelong fan have crafted a beautiful reflection.
This reflection is similar in nature to the visual identity and maturity of cinema pantheons such as Nolan, Zack Snyder, and Kubrick, just to name a few. This variation never lets the spirit of Marvel fizzle away; instead, it floats as we are now on the road leading to Doomsday. Oh, and don’t forget to stay for the credits! One major, and the second is a fun little surprise.
All about ‘The Fantastic Four: First Steps’
The synopsis for the film reads, “Set against the vibrant backdrop of a 1960s-inspired, retro-futuristic world, Marvel Studios’ “The Fantastic Four: First Steps” introduces Marvel’s First Family—Reed Richards/Mister Fantastic (Pedro Pascal), Sue Storm/Invisible Woman (Vanessa Kirby), Johnny Storm/Human Torch (Joseph Quinn), and Ben Grimm/The Thing (Ebon Moss-Bachrach) as they face their most daunting challenge yet.”
Forced to balance their roles as heroes with the strength of their family bond, they must defend Earth from a ravenous space god called Galactus (Ralph Ineson) and his enigmatic Herald, Silver Surfer (Julia Garner). And if Galactus’ plan to devour the entire planet and everyone on it weren’t bad enough, it suddenly gets very personal.
Paul Walter Hauser, Natasha Lyonne, and Sarah Niles have been cast in mysterious roles. Director Matt Shakman worked with both “Avatar: The Way of Water” co-writer Josh Friedman and “WandaVision”’s Cam Squires on “The Fantastic Four: First Steps” screenplay, with Eric Pearson (“Black Widow”) later coming on board for a final polish.
“The Fantastic Four: The First Steps” is currently available in theaters.
