For those who believe “there can be only one” in immortals movies (thanks, Highlander!), a new super-heroic quintet has arrived to demonstrate that long-living mercenaries come in multiples. These world-weary soldiers of particular fortune with powers including regenerative healing abilities get spectacular spotlight in Gina Prince-Bythewood’s The Old Guard (B+), a successful new action/fantasy film chronicling an unlikely revenge mission. Charlize Theron is in glorious badass mode with KiKi Layne in fine form as her paramilitary protégé. The sterling ensemble including Mattias Schoenaerts and Chiwetel Ejiofor is all up for the task. The fight choreography is superb in a series of riveting action sequences. Surprising is how moving the quieter scenes are depicting the deep bonds between these destiny-bound misfits including suffering throughout the ages. The film teaches some tough lessons of faith and fortitude. The graphic novel-inspired storyline and contemporary Dustin O’Halloran/Hauschka score are propulsive. Credit Prince-Bythewood for commandeering an energetic globetrotting enterprise with hope for a new action franchise springing eternal.
The DC universe’s fishing expedition for a worthwhile film remains an ongoing upstream journey. James Wan’s foray into surf and turf sci-fi fantasy Aquaman (C+) has all the subtlety of a Super Bowl commercial, with either a tidal wave of action as bait or a dreamboat dilf as its siren call to adult moviegoers over the age of 13. Awash in largely inconsistent or indifferent special effects, the film is basically a palace intrigue barnburner between Jason Mamoa as the quip-happy mer-man hero versus Patrick Wilson as the bland opposing heir to the throne of Atlantis. It’s all underwritten, overlong and underwhelming but not without its occasional charms (although the flowing underwater hair effect is not one of them). Kudos to Nicole Kidman for classing up the joint. Otherwise it’s lots of inconsequential action, some akin to wrestling matches. If the film were a dish at a restaurant, it would ironically need more salt.
There’s a whole new convention for comic book aficionados, and it arrives in the form of a brilliantly conceived and rendered animation style and congregation of fringe superheroes. Bob Persichetti, Peter Ramsey and Rodney Rothman’s Spider-Man: Into the Spider-Verse (B) is a triumph of visuals and tone, capturing comic book aesthetic and tongue in cheek escapism. The story sputters out a bit midway amidst the gorgeously rendered New York set pieces, layered characters with text bursts and eye-popping swirls and swatches of dimensional color. The inclusive film explores a multiverse of Spider-Man personas converging, which gives us a half African-American/half Puerto Rican protagonist, female fighter, film noir hero and anime Spidey in the mix for confrontation with audacious baddies. Shameik Moore, Jake Johnston, Hailee Steinfeld, Mahershala Ali, Nicolas Cage are among the voice talents. It’s fun for both purists and first-timers to the arachni-phile adventurer pantheon with an awesome message true to the late Stan Lee’s vision that everyone can be a hero.
I suppose you can’t make too much of a Marvel-ous mountain out of an ant hill. Peyton Reed’s Ant-Man and the Wasp (C) is an exercise in low-stakes water treading, with a few clever miniaturization sight gags and funny throwaway jokes from Paul Rudd and Michael Peña to punctuate the perfunctory proceedings. Michael Douglas and Evangeline Lilly are a bore as the father-daughter scientist team in what becomes a primary subplot. Reed aims for casual cool with a protagonist who’s not particularly smart or engaged, and the director’s resultant product is a pretty disposable entry into this universe of superheroes. Average effects, villains and action sequences seal the fate of a film that peaks after the fanfare opening with some nifty ways the hero is filling time during house arrest. Any of them would have made more interesting activities than sitting through this ho-hum film.
The novelty is gone but the jokes spring eternal in David Leitch’s sarcastic superhero sequel Deadpool 2 (B-). Ryan Reynolds is again charismatic but keeps company with some pretty average associates in this low-stakes installment. Encounters with some characters in the X-Men and X-Force orbit and stories about time travel, paternal instincts and doing hard time all mutate in a plot both threadbare and overstuffed. It’s vulgar, fun and watchable but a pale follow-up to its 
Disney and Marvel pull off a friendly merger, a team retreat and a shocking spinoff in the perfectly adequate but unremarkable Avengers: Infinity War (C+) directed by Anthony and Joe Russo. The Avengers team of superheroes works with the Guardians of the Galaxy in an attempt to thwart baddie Thanos (a solid Josh Brolin under all those prosthetics) from amassing all the Infinity Stones. There’s fun banter of one-upmanship between Chris Hemsworth’s Thor and Chris Pratt’s Starlord and a solid running joke about Rocket Racoon’s species, but the plot and action sequences are a long uneven slog. Many characters are missing in action. We get far too little Black Panther, for instance. It all feels more like corporate synergy than sensational.
Writer/director Ryan Coogler’s entry into the Marvel franchise, Black Panther (B+), is a regal rouser with a superhero who also presides as monarch of a fictional secret African nation. Chadwick Boseman is dashing as the lead in the globetrotting film set largely in his high-tech palace city, but (like Thor) he’s often upstaged by a moody, Machiavellian villain, played with swagger by Coogler muse Michael B. Jordan. A supporting cast including Lupita Nyong’o, Daniel Kaluuya, Angela Bassett and Forest Whitaker brings pluck to the proceedings, but the best actors in the bunch are Winston Duke as a reluctant warrior and Letitia Wright as the king’s Q-like kid sis. The film takes a while to accelerate into the throne room barn burner it becomes, but once it generates steam, there’s a deliciously delirious set of showdowns in Korean crime dens, atop waterfall cliffs, in battle meadows and aboard Tron-like light rail tunnels. It’s a vibrant adventure and a morally urgent political parable that delivers on a variety of levels.
All the lasers and lassos and Aquaman kin can’t put this comic book franchise together again. Studio strong arming, glimmers of personality from its female characters and slight moments of inspiration from temporary script doctor Joss Whedon are the only redeemable qualities of Zack Snyder’s 2017 Justice League (C), more a series course correction than standalone story of interest. After confusing the motivations of cherished DC Universe icons and draining them of literal color in the previous installment, there’s a bit more shine on this apple, although it’s still kinda rotten. The plot, centering on alien supervillain Steppenwolf who wields three dangerous cosmic cubes that would be the envy of Q*bert and Coily, is superfluous to getting the comic book ensemble together to fight him (great, another origin story with a bass-voiced CGI antagonist!) Jason Momoa is brash but hardly makes a splash, his superhero of the seas largely sidelined in battle. The miscast Ezra Miller’s fast-moving Flash is relegated to awkward comic relief. Ray Fisher as Cyborg is mainly seen fussing around with technology and might as well be mute, since he has so few lines. At least the luminous Gal Gadot as Wonder Woman improves every sequence she is in, and Amy Adams as Lois Lane shows some signs of life in an extended cameo. Ben Affleck sleepwalks through his role as Batman, leaving a hollow core in the protagonist circle. So we are left with watching contemplations of re-animating Henry Cavill’s Superman and witnessing the super troop fight a bento box toting baddie and his army of insects for a very long final act. The best two sequences in the entire film are in the final credits. Ultimately this anemic entry into the DC canon wins just a little simply for stopping the hemorrhaging.