The summer movie is in dire straits, Killian Lynch shares his thoughts on those that disappointed and those that surprised this year.
Critics and commentators describe a phenomenon known as ‘superhero fatigue’. This critique arises each time yet another lackluster Marvel movie releases. It is speculated that audiences are simply sick of superheroes in general. More often than not though, it’s less ‘superhero fatigue’ and is more simply bad movie fatigue.
This summer’s The Fantastic Four: The First Steps is the third iteration of the titular team this century. The reliance on the star power of current fan favourite actors like Pedro Pascal and Joseph Quinn to draw audiences has its limits. These actors are given little to work with. Unsure of whether to tell a small, intimate story or one of massive scale with earth-shattering consequences, the script reaches for both. This leads to a disjointed movie with stakes of low consequence.
Expectant parents Reed Richards (Pascal) and Sue Storm (Vanessa Kirby) are presented in fits and starts, with rushed emotional reactions to make way for the main threat of the film. Kirby’s performance stands out, however, as Sue takes centre-stage. A sense of time is a consistent problem, as large chunks of it go by in montage or time skips. Little indication of this is given to the audience through costuming or set changes. At points, key information which is essential to understanding the encroaching threat of the antagonist is muddled.
Unfortunately, this movie continues the decline of the now-wheezing Marvel Cinematic Universe. Executives must be hoping for defibrillation from next year's Avengers Doomsday.
In stark contrast stands Superman, the first movie in director and DC head James Gunn’s new superhero universe. Jumping straight to action from the outset, Superman portrays the character as a fully formed and active hero. The movie opens in the middle of a fight sequence without an origin story or overexplanation of powers. Critics have called this offputting, but Gunn shows no interest in holding the audience’s hand. The script highlights greater trust in the viewers’ critical thinking than most Marvel flicks.
Fast paced and witty, the dialogue is charming and showcases the unique voices of the film’s characters. Gunn avoids veering into the bathos that permeated his previous work. David Corenswet’s lead performance shines amongst a great cast, notwithstanding the underutilised Daily Planet staff. Superman’s boyish optimism succeeds alongside Corenswet’s portayal of frustration at the cynical world around him. This is displayed excellently in the film’s best scene - an interview between Clark Kent and Lois Lane (Rachel Brosnahan). Their electric chemistry is the beating heart of the movie. Superman brings new life to a familiar character.
Coming back to Disney and their reach across film, the influence of their live action remakes in the movie industry was made clear this summer- lazily written yet inexplicably successful. Dreamworks mimicked the House of Mouse with their How to Train Your Dragon remake. This and Disney’s own Lilo & Stitch are beat for beat parrots of their highly regarded animated predecessors, barely worth mentioning. Save your time and money, just watch the originals.
Trailers for the indie horror Clowns in a Cornfield had all the makings of a potential breakout horror comedy: an irreverent title, a silly concept and a spooky yet comedic tone. The movie follows Quinn, a new kid in town, as she rebels against her father and makes friends with the local miscreants. The kills are not unique enough to stick with viewers, nor are the characters. A noticeable exception to this, is a suprisingly heartfelt relationship that emerges. Still, shallow themes of intergenerational conflict and flat teen tropes brings Clowns closer to an episode of Riverdale than any worthwhile horror movies.
Horror is so often derivative; the endless Nightmare on Elm Street and Friday the 13th instalments come to mind. The genre also breeds great innovation and creativity. Sinners by Ryan Coogler is the surprise hit of the year. Although released in April, the film saw massive success that continued well into the summer. Set in the 1930s Mississippi, Sinners infuses the supernatural into a dramatic story of crime and racism.
Michael B. Jordan plays twin gangsters, Smoke and Stack, who set up a bootleg bar for black people in an era of segregation. Jordan’s dual performance sets the twins apart so much so that audiences forget both are played by the same actor. The film’s MVP has to be Miles Caton who infuses Sammie and the film itself with musicality. The underlying themes of race and identity hit hard particularly in key set pieces involving music.
Unlike summers past, 2025 saw no culture defining successes or event cinema spectacles like Barbenheimer, Top Gun: Maverick or Deadpool & Wolverine. Not that we needed more evidence, but it is clear the monoculture is well and truly dead.