We are creating the language necessary to react to Avengers: Infinity War. This is a film without precedent, ironically because it pays off eighteen preceding superhero stories. In the ten years between 2008’s Iron Man and 2018’s Infinity War, the Marvel Cinematic Universe has expanded by leaps and bounds, but now enters the Titan Thanos (Josh Brolin), whose goal is to contract it. Thanos seeks the six Infinity Stones, which together give him the power to instantaneously blink half the life in the universe out of existence, eliminating scarcity in one genocidal swoop. Opposing him: just about every superhero in the MCU. So this is a crowded movie where the villain’s plan is literally to de-clutter it.
Like a season finale on TV, Infinity War requires a certain buy-in. In that light, the controlled chaos of the movie becomes impressive. It’s not the most perfectly balanced ensemble, but the fact that it’s elegant as it is counts as some minor miracle. (Some serious screenwriting heavy lifting from Christopher Markus and Stephen McFeely.) While certain favorite characters (Chris Evans’ Steve Rogers, Scarlett Johansson’s Natasha Romanoff, Chadwick Boseman’s T’Challa) don’t get a whole lot to do, the writers know it’s their time to be a paragon, and that’s fine. Why not just soak in the applause when these characters merely show up and act? In top-heavy blockbusters, small details matter more, not less, and so it goes for screen time-challenged characters. Observe Steve running ahead of the vanguard of Wakandan warriors to the place of a true selfless soldier, and T’Challa’s warm greeting of M’Baku (Winston Duke), which carries the weight of a whole other movie behind it.
There is one fascinating detail about this ensemble. With the exception of the new children of Thanos (of which only the delightful Ebony Maw is given a personality) and Peter Dinklage’s character, every last speaking role is filled by a character returning from a previous movie. So the solution for accommodating a luxury liner’s worth of cast is to skip the usual authority figures, incidental professionals, and bit parts that populate any other movie. This is a payoff for MCU viewers in itself; for virtually the whole film, you will only be listening to people you already know.
So, much of the joy of Infinity War is in seeing new combinations of characters bouncing off each other, and some of the interactions are perfect. Doctor Strange (Benedict Cumberbatch) bickering with Tony Stark (Robert Downey Jr.) is leavened by Peters Parker (Tom Holland) and Quill (Chris Pratt) talking movies. One of the best scenes of this movie is a quiet one between Thor (Chris Hemsworth) and Rocket Raccoon (Bradley Cooper/Sean Gunn), where Thor tries to put a brave face on his pain.
As rewarding as such moments are, there is no central figure among the heroes; screen time is democratized. The most time goes instead to Thanos. The tragedy and menace of the character are anchored by an exceptional motion capture performance by Brolin, making the six-year build-up to this villain worth the wait. It also helps to no end that existing characters we care about like Gamora (Zoe Saldana) and Nebula (Karen Gillan) already have a personal stake with him, so when all involved are put through the emotional wringer, it all clicks into place. In particular, there’s one pivotal scene of high drama involving the Soul Stone, a big swing that all but crumbles the movie if it misses. *Click* It’s pure storytelling, giving all the quips and extended action beats around it a foundation to stand on.
Last time the directing Russo brothers and writers Markus and McFeely collaborated in the MCU, they were in Captain America mode, in a world of espionage and statecraft. Now, the canvas is the universe, and that scope is taken advantage of. A fight with Thanos on the planet Titan is pure comic book gold. The finale in Wakanda balances brutality with applause moments. The tone turns on a dime from comic to heavy; it feels efficient rather than strained. And with so many beloved characters colliding in the film, there are countless wonderful moments and grace notes. Dave Bautista the funniest he has ever been as Drax; three big heroic moments from Elizabeth Olsen’s Wanda Maximoff; Shuri (Letitia Wright) upstaging Bruce Banner (Mark Ruffalo); Ebony Maw’s (Tom Vaughan-Lawlor) dismissiveness toward Stark and Strange, and so on it goes.
Juggling this many story threads takes a village. One member of that village is composer Alan Silvestri, whose score is at its best when focusing on Thanos’ pathos. As Thanos receives the Space Stone, a violin reminiscent of The Lord of the Rings One Ring theme elevates the moment. Just as the Soul Stone sacrifice is the centerpiece of the film, it’s also the centerpiece of the score, all bombastic pain and purpose. Early in the filmmaking process, the idea of using the whole range of character leitmotifs was vetoed, and I wonder if something was lost there. How cool would it have been to hear Brian Tyler’s Iron Man theme when Tony first activates the suit, Michael Giacchino’s Doctor Strange theme during particularly mystical action beats, or Silvestri’s own Captain America theme when Steve emerges from the shadows of a Scottish train station? At least part of Ludwig Göransson’s Black Panther theme is used to score the first glimpse of Wakanda, and of course, Silvestri’s own Avengers theme gets a few airings, eight notes that even casual fans can get stuck in their head.
Avengers: Infinity War is a roller coaster, funny as hell when clashing familiar personalities, but also showing a constant willingness to put them through the emotional wringer. Just as Thanos runs the gauntlet, reactions to this movie from casual viewers will run the gamut. Maybe the biggest stumbling block here is coming to terms with the new type of movie this is. While given a structure of its own, Infinity War is all third act, all a climax for the MCU at large. This film can’t stand up terribly well on its own, but in no way should it. For defying the odds and delivering thrills, chills, and coherence, the third Avengers movie is a unique accomplishment. 9/10.
P.S.: SPOILERS FOLLOW. No pretty end title design for this film, no curtain calls for the cast. Just plain and dignified white text and the Avengers: Infinity War title crumbling to dust. This is a Serious Film™. At movie’s end, Thanos has succeeded in wiping out half the life in the universe, including many of the Avengers; the heroes have utterly lost. (Unlike Rogue One, where everyone dies but the heroes still “win”.) Steve Rogers is reduced to a defeated “Oh god…”, delivered beautifully by Chris Evans. Ironically, maybe everyone should be more worried about those who are left behind than those who are dust.
P.P.S.: Peter Quill must kill Gamora. Thanos must kill Gamora. Wanda must kill Vision. The way things are going, must Pepper Potts kill Tony?
P.P.P.S.: I’m making my way through the “Infinity Gauntlet” comic miniseries by Jim Starlin, and can confirm that at least one line of dialogue made it in. “My humble personage bows before your grandeur” was Mephisto in the comic, Ebony Maw in the film. Speaking of Ebony: When characterizing Thanos, the writers drew inspiration from Darth Vader, another iconic, tragic villain. Thanos’ line “You killed the Maw… This day extracts a heavy toll” works as an inversion of Vader’s line “This will be a day long remembered… It has seen the end of Kenobi, and will soon see the end of the Rebellion.” Thanos also positions himself as a viewer of the MCU himself, who takes decisive action to curb its growth. He knows of Tony and describes himself as being also “burdened with knowledge”, and upon killing Loki, declares, “No resurrections this time”, as if he saw Thor: The Dark World. This isn’t even a new idea; observe the mid-credits scene of Avengers: Age of Ultron, where Thanos sees Ultron’s failure to destroy the Avengers and says, “Fine – I’ll do it myself”.
P.P.P.P.S.: After Wong gracefully ducked out of the action, did he order a metaphysical ham-on-rye?