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‘Eternals’ Review
Marvel’s latest film Eternals is a result of Great Job thanks to a strong cast and filmmaker Chloé Zhao, who won an Oscar for a Job well done in “Nomadland.”
- Eternals
- Directed by: Chloé Zhao
- Genre: Action, Adventure, Drama, Fantasy, Sci-Fi
- Rating: PG-13
- Duration: 2h 37m
Throughout “Eternals,” Marvel Studios’ newest — but definitely not the last! — film, director Chloé Zhao fights to shrink this industrial-strength extravaganza to human proportions. Her efforts are most visible in the honesty of the performers and the sincere moments that pepper the film, generating pinpricks of warm light. However, it is a titanic battle. And while Zhao continues to lubricate the mechanism with emotion and tears, her efforts appear to parallel the fight that her likeable superheroes are fighting against a power that wants to completely control their fates.
The Eternals, created by comic-book prophet Jack Kirby, originally appeared on the page in 1976 (“When Gods Walk the Earth!”) and have since been revived several times. With the Avengers movie cycle coming to an end (for the time being), it seemed inevitable that Marvel would turn its attention to another set of prospective super-franchisers. To that purpose, Marvel enlisted Zhao (“Nomadland”) to kick off the project, with a cast drawn from all corners of the entertainment industry. Angelina Jolie, Salma Hayek, Don Lee, Kumail Nanjiani, an indispensible Brian Tyree Henry, and two dewy heartthrobs from HBO’s “Game of Thrones” are all present, with sad hair and glamour-puss makeup.
The Eternals are a group of godlike humanoids created by Kirby that are based on Greek mythology but have unusual spellings like Thena, Ikaris, Sersi, and so on. They have a long history and a mission to protect humanity. (They haven’t done a very good job, judging by the sorry state we and the earth are in.) They intervene in human disputes when necessary, as one character in the film explains, a function that resembles that of the United Nations Peacekeepers. However, because mankind is constantly besieged by snarling adversaries known as Deviants, the Eternals continue to intervene, an interventionist practice that greatly resembles that of the United States.
“Eternals,” written by Zhao and a few others, is graphically and narratively in the Marvel house style. It’s frantic, chaotic, and works as a war film, a romance, a family comedy, and a family drama all at once. However, it’s better classified as a film about reuniting a band: A gang of old friends reunites – cautiously, enthusiastically — to compose music or, in this instance, kick cosmic butt. Unfortunately, the film wastes too much of its two-and-a-half-hour runtime repeating the group’s greatest hits, all while the Eternals explain a lot of stuff. The flashbacks stifle whatever momentum Zhao has built, while the yammer just adds to the complication of an already complicated plot.
The movie acts as an extended meet-and-greet as the prospective first part of a new series, thus it’s heavy on introductions (who are they, what do they do?) that describe the powers, sensibilities, histories, and connections of the 10 Eternals. It’s a packed marquee, yet certain lights glow brighter than others, much like the Hollywood star system. When Deviant danger roars into that nasty old town, Sersi (Chan), a kind, but hesitant champion, is living in London and courting Jon Snow, a.k.a. Kit Harington’s Dane Whitman. The enemy assault prompts a reunion, as well as the arrival of Jon Snow’s brother, Robb Stark, a.k.a. Richard Madden, as Ikaris. Sersi and him have a long history together; it’s not complex.
The performers are the film’s greatest strength, providing warmth, if just a smidgeon of heat, and a pulse of life that is never completely suffocated by the multiple tense action moments. Henry, Lee, and Barry Keoghan (the frightening youngster from “The Killing of a Sacred Deer”) are especially important in maintaining your sympathies. Henry’s Phastos is the most vivid, partially because his superhero has a recognizable human side, but mostly because of the actor’s natural empathy and subtle expressivity. Lee provides some much-needed humour and serves as a surprisingly effective counterpoint for Jolie (creating ideas of a Mr. and Mrs. Eternal sequel), while Keoghan adds a touch of prickliness.
Zhao’s previous three films are all small-scale dramas about disadvantaged folks who are often overlooked by the commercial mainstream. She is concerned in problems of identity and core American qualities such as self-reliance, and enjoys engaging ancient forms and new ideas. The principal character of “The Rider” is a Native American cowboy, while “Nomadland” follows a lady in her 60s who wanders the open road in the aftermath of the Great Recession. Her earlier work’s intimacy, scope, and relative calm may have made her seem like a weird candidate for Marvel, but her films avoid overt politics, as do most American indies, making her a good match for a global organization that doesn’t want to alienate anybody.
Zhao, for the most part, has one of the most significant characteristics for her job: she knows how to work with actors. Marvel movies, for all their fantastic effects and constant brawling, are just as much about the characters as any Bond film, and they rely on strong actors and engaging personalities to keep its many readymade moving pieces together. (There’s a reason so many Marvel filmmakers have attended the Sundance Film Festival.) Zhao’s sense of natural landscapes and love of wide open spaces are also beneficial to “Eternals.” When the movie slows down, the Eternals and their worlds collide, and the broader concerns of existence that have been bubbling through this tale — why are we here, who am I? — suddenly resonate louder than the story’s branding.
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