I don’t think many people would think twice if you referred to Roland Emmerich’s 1996 disaster epic Independence Day as a “classic.” The film was a box office smash, and left cultural shockwaves that resonated throughout the ’90s. It’s an ideal summer B-movie that blends impressive practical effects with a cast of likable characters, culminating in a gloriously cheesy monologue that left theatergoers cheering in their seats. Independence Day isn’t a great film, but it is a very effective one.
Twenty years later, and Emmerich has finally dipped his pen back into the well for Independence Day: Resurgence, a sequel that looks at the aftermath of the “War of 1996,” as well as the invasion’s second wave. With the very obvious exception of Will Smith, the majority of the original cast has reunited to pass the torch onto a new generation of Earth defenders. Digital effects widen the scope of destruction far beyond individual monuments. In a quest to make audiences feel the same thrills as the original, Resurgence may end up souring them on this franchise altogether.
With the events of the first film in the rear view, the world seems brighter in Emmerich’s 2016. World governments unite after a common threat exposes “petty differences.” Alien technology powers a new generation of human innovation. But most noticeably, military force has become a central point of global pride. All of these are grand concepts, and are rich with potential for commentary on Hollywood, Silicon Valley and Washington D.C. Unfortunately Resurgence seems far more interested in leveling those cities than telling stories about the people within. The alternate present put on screen is too quickly shoved aside, as the alien threat returns to Earth’s territory. The plot accelerates so quickly, we’re barely given an introduction to the new heroes who take the reins of this series. It is very possible this choice was an act of mercy by the film’s editor.
While the original Independence Day was ripe with interesting, and memorable characters, Resurgence seems content to fill the screen with generic, interchangeable 20-somethings of various gender and skin tone. Their interpersonal drama is poorly defined, and seems downright petty compared to the chaotic destruction unfolding before them.
Disaster spectacle has always been Roland Emmerich’s bread and butter, having previously flattened metropolises in The Day After Tomorrow and 2012. But with Resurgence, Emmerich’s sensibility seems oddly muted. In a world where superhero films regularly topple skyscrapers and every other teen drama takes place in a post-apocalyptic environment, there’s nothing left to make the action in Resurgence stand out. A small handful of sequences (including Jeff Goldblum’s character driving a school bus through the most preposterous chase of 2016) come off as legitimately creative, only to be swept back under a blanket of generic computer-generated explosions. The spectacle of blowing a city to bits was enough to pack theater seats in 1996, but Emmerich has failed to keep up with the times.
Even watched with knowledge of every plot hole, cliché and stereotype present in the original Independence Day, I dare you to finish the film without feeling something. Bill Pullman’s iconic speech, and Will Smith’s flawless delivery of countless one-liners offer perfect popcorn fodder. It’s the sort of movie that can lull one into bliss. As for Resurgence, most audience members will be numbed to the point of amnesia. Thinking back on the two hours spent with my 3D glasses and bag of peanut butter cups, I may as well have been staring at a blank wall.
Double Takes is a series in which two Emerald writers compare notes on a recent film, album or television show. In this installment, Emerald writers Chris Berg and Emerson Malone share their thoughts on the new film Finding Dory.
Thirteen years after Finding Nemo, FindingDory returns to a familiar ensemble of aquatic characters: the titular blue tang fish with short-term memory loss, her clownfish friends Marlin and Nemo, and the spotted eagle ray Mr. Ray. But there are also also a few new faces (by which we mean human faces drawn uncannily onto aquatic creatures). There’s Hank the septopus (he’s inexplicably lost an arm; can you say trequel?) voiced by Modern Family‘s Ed O’Neill. Then there’s Bailey, the beluga whale unconfident in his ability to echolocate – and his whale shark tank-mate Destiny, voiced by UO alumni Ty Burrell and Kaitlin Olson.
Check out Chris and Emerson’s takes below.
Chris’s take
For more than a decade, Pixar turned out hits like a chain gun of childlike glee. Few names in cinema can be credited with more iconic characters, moments and stories. This team has a stranglehold on millennial nostalgia, and no film taps that vein quite like Finding Dory.
Set a few months after the events of Finding Nemo, Dory expands upon the titular blue tang character (voiced by Ellen DeGeneres), only a supporting character in the original film. One day, the forgetful fish remembers she has a family and is thrust into a quest to be reunited. The voyage brings her, Nemo and Marlin to an aquatic rehabilitation center (think SeaWorld running at 40 percent evil). Through the facility’s blend of oppressive caregiving and flashy commercialism, Dory finds friends new and old.
Pixar is determined to sell Dory as a character picture, but this leaves an uneven impression. Pixar has done an admirable job of fleshing out her tragic backstory. She feels pain, regret, and genuine sorrow — an accomplishment that speaks to DeGeneres’ commendable vocal performance. Dory’s voyage brings her into contact with new friends, each of whom leave a charming impression comparable to the supporting cast of Nemo.
Yet Dory too often sinks into the familiar. The inclusion of Marlin and Nemo feels unnecessary, as if they’re only present out of studio mandate. Big action beats revolve around the fish sneaking across the park unnoticed, evoking multiple other Pixar films where small creatures covertly operate equipment made for humans. Rather than craft the next legendary story, Finding Dory delivers nothing new. It’s still charming, yet it doesn’t stand among the studio’s catalog of classics.
Dory is probably superior to its antecedent, which came out 13 years ago. Further: Piper, the animated short that preludes the film, is one of the best lead-ins for a Pixar production in years. The stunning animation and subtle storyline about a sandpiper learning to fend for itself (not to mention the absence of singing volcanoes) are a much-needed palate cleanser.
Visually, Dory is prettier than I remember Nemo being. The story employs beautiful color palates as it migrates from the bright blue of coral cave homelands to the antiseptic and gray tanks in the quarantine. Thomas Newman’s score is great. Listen to “Almost Home” – warm strings gush sentimentally as the aquarium life beckons to Dory, then the violins hit an anxious, halted rhythm just as she’s about to be dunked into the tank.
Yet Dory rests comfortably on some of the familiar tropes that Nemo already established — the way young Dory stammers through the word “memory” recalls Nemo’s “anemone” speech impediment, and the barking sea lions’ “Off! Off!” is a direct pastiche of the Australian seagulls honking “Mine! Mine!” in the original.
Pixar doesn’t reach for the profound depths it did during last year’s Inside Out, nor does it meditate on loss the way Toy Story 3 did. Sure, writer-director Andrew Stanton could have easily shoehorned in some dialogue to make a point about living with a mental illness, but Dory’s amnesia doesn’t dovetail into a larger allegory; it really just functions as a plot device more than anything else. In that sense, Finding Dory is more Memento than it is Inside Out.
But the Nemo-versewas never really about making philosophical points about human (or fish) nature, and even without the moral takeaway of other Pixar movies, Dory is a charming adventure film. This may be a cash cow, but it’s one worth milking.
The music industry is absurd. It’s been that way for ages, only intensified by the dawn of social media, autotune and autobiographical documentaries about 21-year old pop stars. Thus, it’s an easy target for parody.
With Popstar: Don’t Stop Never Stopping, The Lonely Island (the comedic trio of Andy Samberg, Akiva Schaffer and Jorma Taccone) have taken a well-trodden path through mockumentary territory, while delivering a consistently enjoyable film dense with their familiar sensibility.
Popstar follows the life of “Connor4Real” (Samberg), an amalgamation of Justin Bieber, Macklemore and all five members of One Direction. A former boy band star gone solo, the film charts his world tour as a struggling sophomore album digs into his wildly inflated ego. Schaffer and Taccone (who also directed the film) play the scorned members of Connor’s former group, the Style Boyz. But as one may expect, the story is little more than an excuse to string together a series of outlandish comedic beats, celebrity cameos, and catchy pop songs (covering topics from gay rights, to fucking a girl “like the US Government fucked Bin Laden”).
The Lonely Island broke into the mainstream on Saturday Night Live, with a series of Digital Shorts that came to define an entire generation of the iconic sketch show. Hits like “I’m On a Boat,” “Jizz In My Pants,” and “Jack Sparrow” brilliantly mixed brash, idiotic humor with genuinely catchy beats for hilarious earworms. The music of Popstar is mostly up to snuff, feeling very musically similar to past Lonely Island releases with a touch of modern pop flare. The film is never afraid to take a moment and let the songs speak for themselves, boasting nearly full-length music videos and concert snippets to get the joke across.
When the comedy is non-musical, the trio falls back on many of the same tricks to keep the laughs coming. The film is a parade of cameos (it’s possible more people in the credits are credited as themselves than as characters), both from the world of music and comedy. It’s overwhelming, yet often works in the film’s favor by rounding out a small cast with ceaseless appearances from bigger stars. Some jokes occasionally rely upon the appearance of celebrities as punchlines, which prove effective in the theater, but may tire out on subsequent viewings. Regardless, the gags come fast and hard and hit on the mark more often than not.
Sometimes recommending a film is as easy as pointing to an artist’s past work, and saying “If you like that, see this.” If you’ve ever cracked a smile at one of The Lonely Island’s many past offerings, Popstar will have something for you to love.
Popstar: Never Stop Never Stopping hits theaters nationwide on June 3.
Memorial Day weekend kicked off with a burst of fresh summer heat courtesy of Saint Motel. The California-based pop-rockers have been hanging around the Pacific Northwest for a few weeks, finishing up their long-awaited second album. Their visit to the Hi-Fi Music Hall last Friday marked their first stop in Eugene, but the crowd welcomed them with open arms and howling cheers.
Saint Motel, an indie pop band from Los Angeles, performs at the Hi-Fi Music Hall. This marks their first concert in Eugene, Oregon. (Carleigh Oeth/Emerald).
The band opened the show with a new track off their upcoming album entitled “Move.” It’s a fresh pop anthem with frenetic horns and a fierce beat. While the band may only have one full-length album and two EPs under their belt, their live presentation is more polished than many bands with twice that experience. Lead singer A.J. Jackson has great stage presence, transitioning from piano to guitar with ease and taking plenty of time to shine for the crowd.
Fully realized intros, interludes, and buildups made Saint Motel’s hour onstage an absolute spectacle. It was impossible to stay still during this show, the jazzy baselines and smooth saxophone solos bringing out a primordial groove. By the time the band burst into their summer smash “My Type,” the hall was resonating with the sort of energy often reserved for stadium icons.
Part of Saint Motel’s unique appeal is in their commitment to a retro-influenced sound that is both referential and contemporary. Jackson’s crooning vocals in “Puzzle Pieces” stir up sunny memories of ’60s surf rock but with distinctly modern lyricism. “Benny Goodman’ samples the titular King of Swing, underscoring a modern drum beat with repurposed clarinet tunes. Only Saint Motel could cover Tom Jones’ “She’s a Lady” without a hint of irony.
An encore performance stripped out the piano for some purer rock tracks from the band’s catalog, finishing with the blissfully unhinged “Stories.” As Jackson took to the left amp to crank out a speedy solo against multicolored strobe backlights, it was easy to see how this act could fill spaces ten times the size of the HiFi. But for now, appreciate them in whatever form is available. Your summer soundtrack will thank me later.
Previously, one might have thought that 2016 would have been defined by “Desiigner” by Panda, but let’s be honest, the track peaked about four days ago.
Below are your candidates 2016’s Song of the Summer. What do you think will reign supreme?
“CAN’T STOP THE FEELING!” – Justin Timberlake
Already a hot contender for the Song You Will Loathe by August, “CAN’T STOP THE FEELING!” has all the signs of a summer smash. A smooth bass line, JT crooning through appropriately hollow lyrics that are probably about love, and an instrumental break that will play host to plenty of bad attempts at breakdancing. It’s shiny, perfectly produced and destined for oversaturation. –Chris Berg
“LA Devotee” – Panic! At The Disco
Most people filed P!atD away as a relic of the mid-2000s, another pop-emo act with too much eyeliner and faux-retro stylings. But they’ve been diligently working away in the meantime, and may have struck gold with “LA Devotee”. Big band trumpets are sprinkled over a danceable drum beat, while Urie swings for the fences on a catchy hook. It’s modern swing, fresh with shameless energy. –Chris Berg
“Needed Me” – Rihanna
“Work” is a delicate and gorgeous gem, but “Needed Me” – Rihanna’s Lake Shasta-est, frat party-est, EDM banger-est single since “We Found Love” – is rapidly emerging as the clear winner of Anti’s single wars. It’s the kind of roiling trap&B jam that just sounds right blasting out of car windows on a hot day, almost as if it’s always been a hit. And who produced it? DJ friggin’ Mustard, who you might remember as the most ubiquitous and ripped-off pop producer of three years ago. He clearly understood that he had to move past his patented “ratchet” sound to survive in 2016, and the fact he could muster up a beat like “Needed Me” proves there’s still plenty in store for the still-young auteur. –Daniel Bromfield
“One Dance” (Ft. Wiz Kid) – Drake
Drake has become an artist you either love, or hate to say you love. With “Hotline Bling,” the all-time banger about being salty over losing a lover, or at least a losing a fling, back in July of last year, Drake has rightfully earned the title of the emotional self-proclaimed savior of strippers and bad girls who cares potentially a little too much. Though going with a change of genre, one of Drake’s newest songs, “OneDance” from his album Views, doesn’t leave his persona behind. “OneDance” features dancehall and afrobeat influences over which Drake pleads, in a pseudo Jamaican accent, for onedance with an attractive lady in a club. The song itself is simple and fairly repetitive, featuring sparsely hit piano chords and choppy beats and samples, yet is undeniably catchy. It’s sure to be one of the most played songs under the hot, Eugene sun this summer. –Meerah Powell
“Formation” – Beyonce
This song will undoubtedly be on the top of the list for songs of summer. When she dropped her new album, the internet blew up in excitement and praise for our Queen Bey. That said, the first song she let loose won’t be disappearing from the scene any time soon. With the combination of strong social commentary and powerful feminist lyrics like “I see it, I want it…I dream it, I work hard, I grind ’til I own it” this song makes a statement that sticks with you. Not to mention there’s a beat that will make you want to shake it and do your best moves you’ve been practicing in case she ever needs another backup dancer. –Jordyn Brown
“This Is What You Came For” by Calvin Harris and Rihanna
It’s hard for this dynamic DJ-and-vocalist duo to be even more successful with a collaboration than they were with 2011’s omnipresent chart-topper “We Found Love,” but their new single “This Is What You Came For” is destined to maintain popularity through September. The Euro-dance house hit mixes romantic lyrics with a head-bopping beat that is simply irresistible no matter what your music taste. Both Rihanna and Calvin Harris are on hot streaks with their music right now, as Rihanna’s most recent album Anti was extremely successful globally, and Harris has collaborations lined up and is expected to release an album within the next year. The pair also toured together in 2011 after “We Found Love” took off. It’s a collaboration made in heaven, and “This Is What You Came For” proves it once again. Here’s to the next song of the summer! –Casey Miller
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Chinese And US Studios Join Forces In Adaptation Of Iconic Russian Pop Art Piece – Or In Other Words, A Tetris Movie Is Coming.
With The Angry Birds Movie hitting domestic cinemas this weekend, the bar for video game adaptations has been simultaneously raised and lowered. Despite lacking any sort of a framing narrative, meaningful characters, or memorable charm in any way, Angry Birds has inspired the first video game based film to earn a non-Rotten (above 60 percent critical approval) rating on Rotten Tomatoes. In other words, the first competent game film in history.
Clearly inspired by this minimalist trend, Threshold Global Studios (a collaboration of various Chinese and American production companies) has announced a film based on Tetris. You know, the classic puzzle game about falling blocks that must be placed in towers of increasing ineptitude, clearing lines and scoring points until the sum amount of your failures declares defeat. The film adaptation will boast a budget of more than $80 million (for reference, the upcoming Warcraft cost around $100 million). USA Today reports that the film will begin shooting in China next year. It will be the first in a trilogy of “sci-fi thrillers.”
A Very Specific Part of Halo 5 Is Coming To PC
In recent months, Microsoft’s commitment to the PC platform as a place for gaming has seen a rejuvenation. With major titles like Quantum Break and Killer Instinct seeing Windows 10 releases after prolonged XBox exclusivity, the possibilities seemed almost endless for PC gamers that loved console-focused games. That almost has largely centered around the Halo franchise, Microsoft’s crown jewel of the XBox experience. No mainline Halo game since Halo 2 has appeared off the XBox ecosystem, leaving fans desperate. Even with Microsoft’s newfound enthusiasm, Halo always seemed to be off the table.
That shifts this week with the announcement of Halo 5: Guardians‘s‘Forge’ Mode for Windows 10. If you’re unfamiliar with “Forge” it’s essentially Halo‘s open creation sandbox. Players can build, destroy and manipulate all sorts of crazy maps in the Halo engine all in active multiplayer. The Windows 10 game (confusingly titled Forge – Halo 5: Guardians Edition) will let players build Halo 5 maps from the comfort of the PC with all the precision of a mouse and keyboard. Maps are even testable on PC, which means Halo 5 will be running natively on said PC systems.
However, if players would like to play traditional multiplayer or Halo 5‘s co-op campaign mode, these are still exclusive to the XBox ONE console.
Forge- Halo 5: Guardians Edition will be available “later this year” on Windows 10.
What makes an action movie work? What is it about a great car chase or fist fight that gets our blood pumping? It’s the meeting of the possible and the impossible. Seeing human beings defy the laws of physics, or survive insurmountable obstacles fills us with inspiration.
Uncharted 4: A Thief’s End goes a step further than any action movie. Believable human characters are put through an unbelievable adventure that could only exist in the digital realm, all while giving the audience direct control. It tops anything possible in cinema – as believable as a Hollywood movie, but free from the damning constraints of real life. You won’t find a better thrill this summer.
Set a few years after our hero Drake declared his retirement from the treasure-hunting life in Uncharted 3: Drake’s Deception, A Thief’s End finds our hero dragged back into the game by his older brother Samuel. He’s fresh out of jail with a debt to a Mexican drug lord and a new clue towards the treasure of infamous pirate Henry Avery. Together the pair hop back on the trail, tossing caution to the wind at the promise of untold riches.
Naughty Dog’s landmark adventure series has always followed a certain formula, stitching platforming, puzzle solving, and gunplay into a living action movie. Platforming along cliffsides is as effortless as ever, and the new rope mechanics add a sense of danger to lengthy leaps. Combat has never been better, now incorporating open environments and functional stealth. Taking down enemies can be done in countless ways, and they’ll all look stunning in motion.
As the first entry of the series on the PlayStation 4, A Thief’s End basks in the format’s newfound power. Every character is rendered and animated in stunning detail. The actors underneath the digital skin give nuanced performances. Environments scan the globe and offer almost non-stop visual bliss. An in-game photo mode even supplies players with a slew of camera controls and filters to capture any moment.
With the same team that developed 2014’s The Last of Us, it’s no surprise that A Thief’s End is tightly plotted from start to finish. Rather than just stitch together these incredible set-piece moments, the story is smartly conceived. It’s a satisfying conclusion to Nathan Drake’s story, firmly closing his book while opening new avenues for the franchise.
In the first podcast edition of the Gaming Week in Review, Daily Emerald A&C writers Matthew Brock and Chris Berg come together to discuss the beta of Blizzard’s new first-person shooter, Overwatch. They also touch on two other upcoming gun fiestas, from opposite ends of history – Call of Duty: Infinite Warfare and Battlefield 1.
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Since 2008, Marvel Studios has been flying in the face of common Hollywood logic. In an industry where every movie must concern itself about hitting the biggest audience possible, leaving a blank slate for new fans with every entry, they’ve made no qualms about telling serial stories. Eight years later, Captain America: Civil War marks a critical turning point.
This is a dense web of narrative that touches damn near every corner of the Marvel universe and a mammoth film that will baffle any newcomers. But for those who have stuck with Marvel’s incredible saga, this may be its greatest achievement. This is a drama that legitimizes their “connected universe” concept. In the process, Civil War loses an individual identity, but establishes the tone for the next generation of superhero films.
Focusing on the aftermaths of both Captain America: The Winter Soldier and Avengers: Age of Ultron, Civil War opens in a world that has come to praise the heroics of the titular team while fearing the destruction that always seems to follow them.
Dense fight scenes that level cities are thrilling in the moment, but leave a trail of carnage that is oft forgotten. It’s a thesis statement that has become increasingly common in the genre (Batman v Superman tackled it in poor form), though Civil War approaches it from a neutral tone. When heroes step up to save us all, are they responsible for the collateral damage? Should those capable of heroics answer to their conscience, or to society? The questions asked here aren’t life-altering, yet add a moral complexity to a genre born of “heroes” and “villains.” Even after the credits roll, there’s no clean-slate ending. The underlying questions have no clear answer, and Civil War respects that.
The brilliance of Civil War rests on the back of nearly a dozen other films, with events from just about every single one having a meaningful contribution to the story. While every Marvel flick has taken place in one “connected universe,” this has rarely manifested in much more than extended cameos. While the Avengers films bring everyone together for a new adventure, the characters would still split up for their own stories after the credits roll. With Civil War, the bar has been raised. Even with Steve Rogers’ conflict taking focus, his story impacts every character in the Marvel universe.
Never before has this group of talent felt as much like an ensemble cast then now, and it pays off majestically. Marvel has spent the past decade acquiring talent for this franchise, and Civil War cashes in. Every player is at the top of their game, with the best script ever put together for an MCU picture.
Civil War has the incredible privilege of never having to introduce its stars nor clarify the rules. It can leisurely stride through the second act of narrative structure, knowing that payoff will come years down the line in a forthcoming sequel. This does mean that as a stand-alone film, Civil War has the potential to feel unsatisfying. It’s a great progression forward, but leaves more ties open than cleanly tied together. With that breathing room, new characters and corners of the world are introduced with extreme efficiency.
With both Spider-Man and Black Panther making their MCU debuts in this film, directors Anthony and Joe Russo had two tremendous tasks at opposite ends of the spectrum: how do you meaningfully introduce a character who is already an icon? And how do you make an icon out of an unbelievable character, whose roots seem incompatible with the modern world? Civil War does both to absolute perfection.
Tom Holland’s take on Spider-Man is easily the best ever committed to film. Rather than another 20-something pretending to be a teen with plenty of quips, Holland is refreshingly youthful. In one flawless scene with Tony Stark, Civil War skips over the need for yet another retelling of his origin story. His immaturity is played up without undermining the raw power of the character.
Meanwhile, Chadwick Boseman brings the relatively unknown Black Panther to the Marvel Cinematic Universe. He’s the prince of Wakanda, a secretive African nation that has avoided contact with the outside world for generations. The premise is a difficult one to make believable in a grounded tone, but it is smartly introduced. We learn about his existence at the same time as our heroes, and he provides a neutral perspective to the central conflict.
Winter Soldier, the Russos‘ most recent Marvel contribution, offered some of the most incredible grounded action in the saga. With so many extra heroes in Civil War, the visceral thrills are traded in for high-flying theatrics. There’s no equivalent to Winter Soldier’s astonishing opening scene on the cruise liner, where our heroes feel genuinely threatened by the mortal world. Some of the humanity has been lost in this comic book epic, which is a shame.
A second-act clash between a dozen costumed heroes is a wonderful spectacle, yet lacks the grit of an earlier sequence that saw many of the same heroes stripped of their flashy attire. Civil War is densely packed with amazing moments, wonderfully choreographed and inspiring awe. It’s a circus of explosions, kicks, flips and lasers that inspire childlike awe, but occasionally lack in emotional resonance.
Without any doubt, Captain America: Civil War is Marvel’s most impressive work to date. It’s a complex and engaging work of blockbuster art, one that makes you believe Marvel had this whole thing planned out from day one.
The Marvel Cinematic Universe is an irresponsibly large collection of films and TV shows all connected in tiny ways, which eventually come together for huge event flicks. The latest of these is Captain America: Civil War, which hit screens this ast weekend. But if you’ve never gotten in before, you face a daunting breadth of films in the Marvel pantheon. What’s worth seeing? What must be skipped? Why have three different actors played Iron Man’s dad? Here are the answers to at least two of those questions.
Iron Man (2008)
The gist: The one that started it all. Jon Favreau’s Iron Man is one of the best superhero films ever made and made the Marvel Cinematic Universe a must-see destination. Robert Downey, Jr.’s performance as Tony Stark is unforgettable, and his debut gives him plenty of play with.
How good is it?9/10. One of the genre’s all-time best.
How vital is it? 8/10. This is the most obvious place for any prospective fan to start and core to understanding the man behind the iron suit.
Should I watch it before Civil War? Yes. Tony Stark’s arc is key to Civil War, and this is his defining story.
The Incredible Hulk (2008)
The gist: The black sheep of the MCU, The Incredible Hulk sits on a precarious place in the series canon. Obviously, star Edward Norton was recast in favor of Mark Ruffalo. But the backstory of Bruce Banner presented in this film is also largely swept under the rug by The Avengers.
How good is it? 3/10. It’s a messy film that can’t find a workable tone. It looks especially shoddy compared to Iron Man, which was released the very same summer.
How vital is it? 2/10. The Avengers ignored it, so feel free to follow suit.
Should I watch it before Civil War? Nope. You’ll get plenty of Hulk in The Avengers, and he isn’t even in Civil War.
Iron Man 2 (2010)
The gist: Unlike its predecessor, Iron Man 2 is far from a classic. It’s a half-baked rivalry story with cringe-worthy CGI and too many villains. Additionally, an entire third of the movie is solely dedicated to setting up The Avengers.
How good is it? 3/10. A shameful entry to the franchise.
How vital is it? 6/10. As bad a film as this is, it’s also the introduction point for several key players to the Marvel universe. You won’t be lost without it, but there’s no doubt that you’re missing the start of something big.
Should I watch it before Civil War? If you want. While there’s a bit of setup for Avengers here, the mild confusion from skipping this is better than watching it.
Thor (2011)
The gist: Far away from Tony Stark’s troubles, the legendary Norse god of thunder struggles to contend with a life of peace in Asgard. After a short-tempered moment, he’s banished to Earth for a stunningly bland adventure of self-discovery.
How good is it? 4/10. While Asgard is directed with appropriate nobility by Kenneth Branagh, the Earth segments make it a chore to sit though.
How vital is it? 2/10. Most of the core Thor characters get a fair enough introduction in The Avengers. You’ll be fine.
Should I watch it before Civil War? No. Thor is notably absent from the proceedings of Civil War.
Captain America: The First Avenger (2011)
The gist: Set at the heart of World War II, Captain America’s first joint follows his turn from scrawny Brooklyn kid to the human personification of America. It’s a charmingly old-school picture, applying Marvel’s simple blockbuster charm to the “greatest generation.”
How good is it? 7/10. The First Avenger is nothing special, but it features some of the most visually distinctive achievements in the MCU.
How vital is it? 8/10. Steve Rogers’s personal trauma in The First Avenger plays into later Marvel films with some real weight. You’ll want to see the full arc.
Should I watch it before Civil War?Sure. Civil War is Cap’s movie after all, so you’ll want a solid primer on the man’s backstory.
The Avengers (2012)
The gist: This is where it all comes together. Iron Man, Thor, Captain America, Black Widow, Thor, and the whole of S.H.I.E.L.D. join forces to fight off an alien invasion in two hours of pure fan service. Joss Whedon directs the ensemble with his trademark sense of humor, resulting in the MCU’s crown gem.
How good is it? 10/10. The best movie of the saga, The Avengers is two hours of payoff after years of setup.
How vital is it? 9/10. As the first meeting between so many of these characters, the Battle of New York is a central moment to the Marvel experience.
Should I watch it before Civil War? Absolutely. No Marvel marathon is complete without it.
Iron Man 3 (2013)
The gist: In the aftermath of the Battle of New York, Tony Stark finds himself tormented by demons both internal and external. Director Shane Black takes up the camera from Favreau for a more tempered and emotional look at Stark.
How good is it? 7/10. Robert Downey, Jr. still shines in his iconic role, and the action beats are great. Still, it’s a tad forgettable.
How vital is it? 4/10. While Iron Man is just as vital to the Civil War arc as Cap, the story in 3 is mostly self-contained.
Should I watch it before Civil War? Sure. It’s not essential, but it applies some welcome emotional context.
Marvel’s Agents of S.H.I.E.L.D. (TV series, 2013–)
The gist: Back from the dead, Agent Phil Coulson has gathered a team to find superhumans too unimportant to concern the real Avengers.
How good is it? Varies wildly. AoS has largely improved with time. The first half of the season is almost unwatchable, but since then it’s evolved into consistently fun pulp sci-fi.
How vital is it? 1/10. AoS has an odd one-way relationship with the Marvel films. The mainline events of each movie have drastic consequences on the series, but nothing from the show has had made much of a difference on the silver screen.
Should I watch it before Civil War? No. AoS is a fun enough time filler, but is about as non-essential as Marvel gets.
Thor: The Dark World (2013)
The gist: Having returned to Asgard with Loki in tow, Thor faces a new threat that extends across all seven realms.
How good is it? 5/10. An improvement over the first film, mainly for leaving Earth at every possible opportunity.
How vital is it? 1/10. Again, Thor is a non-factor in Civil War. There’s some details here about the ongoing story of the Infinity Gems, but you’re free to hold off.
Should I watch it before Civil War? Nope. Aside from a fantastic cameo from Steve Rogers, nothing here is of much interest for those looking to catch up.
Daredevil (TV series, 2015–)
The gist: The inner city is still recovering from the Battle of New York, with the city’s most corrupt eager to take advantage. Blind lawyer/secret ninja Matt Murdock becomes the iconic “Devil of Hell’s Kitchen” to clean up the operation.
How good is it? 8/10. Daredevil boasts some of the most thrilling action in the MCU and some of its best overall villains. Both seasons are worth watching.
How vital is it? 1/10. Like Agents of SHIELD, nothing on the small screen is of much concern to the filmic heroes.
Should I watch it before Civil War? Save it for later. Daredevil is excellent TV.
Captain America:The Winter Soldier (2014)
The gist: Now fully integrated into the 21st century, Captain America struggles to come to terms with representing a country that may have lost track of the moral center. With memories of his past coming back in physical form, the stakes have never been bigger.
How good is it? 9/10. Expertly directed and tense as hell, The Winter Soldier stands toe-to-toe not just with the best of Marvel but the best of the decade.
How vital is it? 10/10. The Winter Soldier’s fate in this film is essentially the entire setup for Civil War, and Cap’s emotional turn a core part of his arc.
Should I watch it before Civil War? Absolutely. If there’s a single film that must be seen to understand the larger stakes at play, it’s Winter Soldier.
Agent Carter (TV series, 2015–)
The gist: Set after the events of The First Avenger, Agent Carter looks at the life of Steve’s lost love after the war. It’s held up by the same excellent retro styling of the original film and some quality writing that plays with the social undertones of the age.
How good is it? 7/10. One of Marvel’s better TV projects, Agent Carter makes for an easy binge watch.
How vital is it? 1/10. While it’s nice to see more of the earliest days of S.H.I.E.L.D., the events of Agent Carter are pretty firmly disconnected from Captain America’s modern adventures.
Should I watch it before Civil War? Nope. It’s a fun accessory piece to the Captain America arc but by no means a core part of it.
Guardians of The Galaxy (2014)
The gist: Deep on the other side of the Marvel universe, the legendary outlaw Star-Lord stumbles upon an artifact of grave importance to the entire galaxy. After a prison break shackles him with a team of misfit convicts, they race to stop the potential destruction of the galaxy as we know it.
How good is it? 8/10. The sharp comedic wit and undeniable star power of Chris Pratt make this an enjoyable watch.
How vital is it? 1/10. Like Thor: The Dark World, this really only serves to push forward the larger story of the “Infinity Gems.” Highly doubtful anything here will come into play.
Should I watch it before Civil War? Save it for later. It’s a hell of a film, but doesn’t mean much for the larger narrative.
The Avengers: Age of Ultron (2015)
The gist: Now a fully operational fighting force, the iconic team is threatened by a beast of its own creation. It’s a fine enough film, and it features some charming moments between the core players, but doesn’t hit the same passionate highs of the original.
How good is it? 6/10. Despite a handful of immediately iconic scenes, it falls short as a whole product.
How vital is it? 8/10. Some of the most recent additions to the Avenger lineup stem from Age of Ultron, though the core story mostly wraps up by the film’s close.
Should I watch it before Civil War? Yes. It’s not Marvel’s strongest film, but the aftermath of the final conflict plays a key role in Civil War.
Jessica Jones, (TV series, 2015–)
The gist: Set in the same dark neighborhood as Daredevil, Jessica Jones tracks the titular superpowered P.I. as she hunts the murderous telekinetic Kilgrave. Following a similar dark path as Daredevil, Jones shines with intelligent writing and bold character work.
How good is it? 7/10. Jones isn’t as atmospherically satisfying as Daredevil but carries another strong villainous performance.
How vital is it? 1/10. Like Daredevil, this is a street-level conflict far away from the apocalyptic consequences the Avengers concern themselves with.
Should I watch it before Civil War? No. Jessica Jones is a good time, but it won’t mean much for Steve & Tony.
Ant-Man (2015)
The gist: When amateur burglar Scott Lang gets hot to a big score, his discovery brings him to a world bigger than he ever thought possible. A heist flick with the classic Marvel trappings, it’s a treat.
How good is it? 7/10. Ant-Man isn’t revolutionary for Marvel, but it still passes the bar.
How vital is it? 6/10. Lang will appear in Civil War, but the full details of his role are unclear. You’ll likely get by without the full origin.
Should I watch it before Civil War? Probably not. If you’ve got time to spare, Ant-Man is a good direct lead-up. But don’t fret if you can’t fit it in.
