October 20, 2020

Captain Marvel: Completing the tesect | Culture

Captain Marvel: Completing the tesect | Culture

The tesect, a figure formed by eight three-dimensional cubes within a four-dimensional space, has been the great macguffin marveliano until this movie has revealed that it could be something else: the architectural aspiration of a saga that has reflected the tentacular universe of the powerful empire of comic-book superheroic, while transferring something of the spirit of the old film serials to the age of the elephantinean blockbuster. An ambitious aspiration that, in the end, does not fit reality: perhaps this cathedral fictional tesect succeeds in fitting harmoniously all its sides, but some of the surfaces of this geometric paradox are certainly less polished than others and Captain Marvel it is not the delivery that comes out better off the balance.


Address: Anna Boden and Ryan Fleck.

Interpreters: Brie Larson, Samuel L. Jackson, Annette Benning, Jude Law.

Gender: adventure. United States, 2018.

Duration: 124 minutes

Denostada before being seen by the legions of fans more rabidly related to the subculture incel (involuntary celibate), the film by Anna Boden and Ryan Fleck – cinemas who are probably more comfortable in the small-format drama than in the blockbuster of great fuss-it is not the feminist soflama that they feared. In fact, it is quite short when it comes to reformulating the superheroic discourse under a feminine gaze. At the climax of the film, the rhetoric of a villain is abruptly interrupted by a blow from the superheroine: it is inevitable to think that this dry cut to the supposedly epic chatter would have been the guiding principle of the film and not the occurrence of last time that actually seems.

Between space-opera of extraterrestrial sensibility and the annoying story of origin, Captain Marvel advances dosing inducements that give a certain personality to the reiterative: for example, here is played an unusual nostalgia for the nineties, which, among other things, serves to turn the last "ingenious" into cinematographic gag. cameo by Stan Lee. The digital rejuvenation of a Samuel L. Jackson with a lot of presence on screen is not forced, nor orthopedic, but, beyond the effort of Brie Larson to provide consistency to his character, it is the digital trickery that provides the image for the memory of the superheroine with flamingo mohawk. In the end, what matters most is that the pieces – the patch of Nick Fury, the tesect – fit: that is, massage the fan, whether or not incel. Perhaps it is indicative of the predictability of everything simple that seems to anticipate what is revealed in the post-credit surprise sequences.


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