There's an uncharacteristic pain in Kamala Khan's (Iman Vellani) eyes when she reluctantly learns her first major lesson alongside Carol Danvers (Brie Larson) and Monica Rambeau (Teyonah Parris) in "The Marvels." As she watches the unique Skrull refuge structures crumble, the rocky formations adorning it give way, and a desperate crowd is left behind, the teenager grasps something that experienced Scott Lang (Paul Rudd) has yet to comprehend: heroism entails sacrifices, and sometimes, not only can you not save everyone, but you're forced to live with the weight of your choices.
It's a harsh reality check, but an important one for the endearing Ms. Marvel, a clear step towards her maturity within the MCU. However, this scene symbolizes more than just the arc of this or any of the three protagonists. Here is where the House of Ideas hints at "The Marvels" rekindling with what made its shared universe such a successful endeavor back in the day. Without sacrificing the hype for what lies ahead, the film finds its purpose in existing by exploring the flaws, insecurities, and hence, the humanity of its characters.
This has always been Marvel's trump card, and it's surprising that it took someone like director Nia DaCosta so long to remind everyone of the obvious. Especially in the face of the inconsistency of this Multiverse Saga's principle, rescuing the classic is less clever but more necessary. After all, the studio's decline goes beyond saturation. It's a true identity crisis, as without a hint of style or much individuality to justify the idea of a coherent universe, all that remains is the "release schedule pyramid." But that's precisely where the filmmaker excels: because "The Marvels" is anything but generic. In fact, the film resurrects the spirit of the distant Phase 1 and 2 with its unique charm, something few MCU productions have dared to do.
Taking cues from a "Freaky Friday" dynamic, the film intertwines the lives of the three heroines and sets them against another authoritarian leader of the Kree—this time, seeking natural resources to revive the ailing Hala. Villain Dar-Benn (Zawe Ashton) may not be particularly captivating, but she efficiently serves her narrative role, providing a good reason to propel Carol, Monica, and Kamala on a colorful galactic journey. While the subtext of the journey is serious, with interesting real-world parallels, such as debates on imperialism and environmental preservation, the film turns this excursion into a charismatic adventure, taking time to introduce and differentiate each planet.
Architecture, attire, and customs are specific and unique to each place, and the campiness, a relevant trait even for more serious superhero stories, is embraced without much embarrassment. In this context, CGI becomes a welcomed tool, especially for allowing the viewer to truly immerse in this universe, experiencing the cultural clashes of the heroines in the light rather than deciphering them in the darkness. The resulting humor doesn't diminish the strength and impact of the story but adds layers of interest.
In essence, this is a well-constructed universe. From this foundation, it's easy to forgive the inconsistencies "The Marvels" introduces into the MCU—the weight, the wife, and the crisis created by Nick Fury (Samuel L. Jackson) in "Secret Invasion," for example, are completely ignored in this production that, in theory, would be a continuation of the series. In fact, although connected to three other titles—Captain Marvel, WandaVision, and Ms. Marvel—the film manages to stand on its own, providing the basic context to understand the dilemmas of its trio of heroines. It's an adventure with a beginning, middle, and end, with few loose ends, delivering what it promised in just over an hour and a half of runtime. Do you realize how much of an outlier this is for Marvel in recent years?
I mean, "The Marvels" doesn't reinvent the wheel, per se—and the reference to the first Avengers' assembly at the end of the film underscores that. But, even with its imperfections, like slightly abrupt transitions between scenes, it creates conditions for fans to re-engage and care about the characters. With well-choreographed action sequences that make every blow count, Nia DaCosta embraces the heroines and lets their essence overflow beyond the idealistic hero discourse. Because, let's be honest, nobility is just one facet for these characters to be loved. In reality, it's in Carol's stubbornness and regrets, in Monica's resistance to grief, and in Kamala's naive enthusiasm—or is it captivating naivety that Iman Vellani delivers so well?—where their true charm lies. A return to the essentials could be, in this, the shortest film in the MCU, a fresh start.
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