By Ryan Wilson
After its record setting opening at the box office, The Avengers has
far exceeded expectations commercially, but what about pleasing the high expectations
of its numerous audiences? The movie can first be compared to the Marvel comic from
which it sprang, possibly upsetting fanboys everywhere because something crucial is
always left out. Next we can compare the film to other superhero movies, a genre of its
own that keeps improving. And finally this is geek-god Joss Whedon’s giant step into the
mainstream, raising questions of whether or not the dialogue and drama are
Whedonesque enough for his own fan-base.
Most critics are praising Whedon for his ability to balance the combined
storylines and personalities of Iron Man, Captain America, Thor, and the Hulk in the
same movie. But this is hardly the first super-team to grace the screen, lest we forget the
X-Men franchise, the first of which Whedon helped co-write back in 2000. The Avengers,
however, is a much bigger challenge because this super-team doesn’t come with the
implicit theme of inequality attached to its action figures. If the X-Men are the emo
outcasts of Marvel’s high school, then the Avengers are the football players who also sit
on the student counsel, the cool kids who know they own the school. The result is that
The Avengers have been the more traditional heroes, making them bland by comparison.
Whedon seems to know this because most of the film involves everyone wanting
to play quarterback and call the plays. The ego of each titan is beautifully exploited in the
rather small space of the S.H.I.E.L.D. hella-carrier, where Captain America’s nobility is
countered with Thor’s superiority, which is countered by Bruce Banner’s intelligence,
which is countered finally by Tony Stark’s arrogance. This would play really dull if
Whedon didn’t write the dialogue, which sings with his usual wit and pop culture
references. For example, when Tony Stark alludes to Thor as “point break” due to his
long hair and stubble, one has to marvel at Whedon’s ability to sneak a dated Patrick
Swayze joke into the script. Robert Downey, Jr., by the way, was born to deliver
Whedon’s lines.
Whedon’s training with large casts in television shows translates to The
Avengers', group dynamic. Whether they’re quipping smart one liners or focusing on the
gravity of their situation, the team reminds us of the self-described “Scoobies” in Buffy
the Vampire Slayer. Whedon knows how to exploit his cast for dramatic and comedic
effect. His heroes play and grow off of each other, rather than merely focusing on the
approaching evil.
If the movie has a flaw, it’s that the evil doesn’t seem quite grand enough until
the climactic battle. Tom Hiddleston is a fine Loki, but Loki isn’t enough of a threat by
himself, especially since we already saw Thor single-handedly defeat him just last year.
While Loki manipulates the team, we get obligatory scenes of Thor fighting Iron Man
and Captain America over initial misunderstandings. These “epic” fight scenes might
satisfy fanboys who crave such match-ups, but they really slow the movement of the
larger story. Also, the exposition and mounting tension of a growing threat should feel a
bit more palpable. We hear a lot about what’s coming, but we don’t really feel the gravity
of the situation until the hordes arrives from another world.
When the alien hordes do arrive, we get exactly what we expect: the Avengers
defending New York City in iconic fashion. While the aliens are rather generic and look
a bit borrowed from some other movie, Whedon conducts the battle with them as if it’s a
symphony, emphasizing the nuances of each character’s strengths and weaknesses. The
archer Hawkeye, who’s misused for most of the movie, particularly shines here, as does
Iron Man. But without a doubt the star of the climax is the Incredible Hulk, who serves as
both a lovable pet and a game changer for the team. Whedon wisely uses the Hulk so
selectively in the film that when he’s finally fully unleashed, the results are magnificently
hilarious.
Magnificently hilarious might be the best designation for the movie. We’re so
used to our comic book adaptations being dour and dark these days (just look at the
upcoming Batman and Spiderman movies this summer). But with The Avengers, Whedon
reminds us of the lighter side of the genre. His movie looks as bright and shiny as the
pages of a newly minted comic. It’s not to be taken too seriously, but to dismiss this sort
of entertainment as just popular summer fun also overlooks the artistry and intelligence
brought to the project. The Avengers may not please everyone, but since that was never
really an option, the movie concentrates on pleasing itself, assembling us all by
extension.
Take 5 on Film is a production of Delta College Quality Public Radio.
© Ryan Wilson, 2012