When it comes to the Marvel Cinematic Universe, I am an unabashed fangirl. The only films in the loosely connected series that I have not seen are Iron Man 3 (which I have heard is wonderful, but I’m too burned by how bad Iron Man 2 was to attempt to watch it) and Spider-Man: Homecoming (how many more Spidey movies do we need? Tobey 4-ever). Some are much better than others, it is true – Thor: The Dark World stands out in my mind alongside Iron Man 2 as one of the most disappointing, mostly because it doesn’t stand out in my mind at all – but overall, the MCU has deservedly earned its reputation as comprising some of the best popcorn movies around.
However, just like popcorn, one can often feel hungry for more even as the second or third post-credits sequence rolls. Too often, the MCU sidelines women and people of color in favor of the same generic white male leads. Too often, the villains are forgettable ciphers more memorable for the antics of the Academy Award-caliber actors recruited to embody them (hi, Cate Blanchett) than any particular evil plot. Too often, the films are shot in the same bland, CGI-heavy style and accompanied with the same generic, bombastic orchestral scores. The films are still entertaining, or we wouldn’t be lining up to help them set new box office records every time one is released. But one can love the MCU while still acknowledging its systemic flaws.
That’s why Black Panther is such a game-changer. It’s the first MCU film to star a hero of color, accompanied by a supporting cast primarily comprised of badass women of color, with a villainous character who is not cartoonishly evil, but actually shockingly and charmingly persuasive in his efforts to recruit the film’s heroes to his side. Directed by Ryan Coogler, the incredibly talented director behind Fruitvale Station and Creed, with a script by Coogler and Joe Robert Cole, Black Panther slots right into the MCU while simultaneously feeling unlike any other superhero movie ever made.
Return to Wakanda
Prince T’Challa of Wakanda (Chadwick Boseman) was introduced to the MCU in 2016’s Captain America: Civil War. In that film, T’Challa’s father, King T’Chaka, was murdered in a bomb attack in Vienna, with his son vowing vengeance. Now, T’Challa must return home and claim the throne of Wakanda for his own. Wakanda was built atop a large supply of vibranium, the most valuable metal in the world, and has spent centuries developing advanced technology with it. Yet Wakanda masquerades as a developing nation to the outside world, isolating itself as protection from invaders who would exploit its people for their vibranium.
Only one outsider has managed to get into Wakanda and steal some vibranium: the weapons dealer Ulysses Klaue (Andy Serkis, taking advantage of being out of his motion-capture suit to camp it up extravagantly). T’Challa teams up with ex-girlfriend Nakia (a luminous Lupita Nyong’o), an idealistic Wakandan spy who wants her country to participate in world affairs on behalf of the less fortunate, and Okoye (Danai Gurira), the fierce leader of Wakanda’s all-female special forces, the Dora Milaje, to track down Klaue in South Korea and get the vibranium back. They’re assisted remotely by Shuri (a star-making turn from Letitia Wright), T’Challa’s spunky teenage sister and a technological genius to rival, if not surpass, Tony Stark.
Not only does the mission go awry, but on their return to Wakanda, they are confronted by an outsider known as Erik Killmonger (Michael B. Jordan). It would be too much of a spoiler to divulge much about Killmonger; suffice to say, he wants to use Wakanda’s wealth and technology to wreak havoc on the members of the outside world who have suppressed black people for so long. Whereas Nakia wants Wakanda to abandon isolation in order to aid peace efforts and protect those in need, Killmonger wants to wage war by arming those in need instead. Needless to say, his arguments are persuasive, even if his methods are questionable; that Killmonger is played by the charismatic Jordan only adds to this somewhat uncomfortable feeling.
Wakanda Forever
The fact that Killmonger’s quest has some legitimacy behind it is part of what makes Black Panther so powerful. Unlike so many other Marvel movies, its heroes and villains are more complex than merely “good” and “evil.” T’Challa’s insistence that Wakanda remains isolated is just as frustrating as Killmonger’s insistence that violence is the only answer to the world’s problems. Both men are wrong, but whereas T’Challa is still hopeful enough about the world to be capable of persuasion and compromise, Killmonger has been devoured by anger and bitterness and is only capable of hatred. Despite being centered on a fictional nation, the battle between T’Challa and Killmonger feels utterly grounded in the current reality of our world and the heated debates over border walls, refugees, and international aid.
The ensemble cast is a who’s who of the uber-talented black actors in Hollywood, including Boseman’s regal turn as T’Challa, Daniel Kaluuya, and Forest Whitaker. But the real stars are the women. I haven’t done the math, but I am pretty confident that Black Panther has more dialogue spoken by women than any other Marvel movie by a long shot. All of T’Challa’s closest confidants are women: his mother, Ramonda (Angela Bassett), Nakia, Okoye, and Shuri. So much more than mere tokens or love interests, they are all smart, courageous, and strong, standing up for what they believe in no matter what others – including T’Challa – have to say about it. Watching Shuri giddily tease her older brother and king is an absolute delight; watching Okoye lead the beautiful, bald-headed Dora Milaje into battle will make you stand up and cheer.
In addition to being incredibly well-acted, Black Panther is by far the most visually stunning Marvel movie, thanks to its bold and colorful Afrofuturist aesthetic and gorgeous cinematography by Academy-Award nominee Rachel Morrison (Mudbound; she previously worked with Coogler on Fruitvale Station). Unlike so many other cinematographers working today, Morrison has a true understanding of how to light people of color; she does so exceptionally well, delicately painting all of the actors’ already stunning faces with light and shadow and thus rendering every frame a work of art. The film’s richly detailed production design by frequent Coogler collaborator Hannah Beachler also deserves major plaudits, as do the awesome Afrofuturist costumes created by Ruth Carter. From the Dora Milaje’s red armor and vibranium neck rings to the boldly patterned ensembles sported by Nakia to Shuri’s hip streetwear, every single costume in Black Panther helps audiences understand the unique culture of Wakanda.
The music of Black Panther also stands out. Similar to how the Eighties electronica-influenced score that Mark Mothersbaugh provided for Thor: Ragnarok helped to set the tone for that film – one that was also wildly different from previous Marvel movies, albeit for different reasons – so do the original score from Ludwig Göransson (another previous Coogler collaborator) and songs by Kendrick Lamar accentuate the fierce, electric energy of Black Panther. The fact that so many members of the crew were brought on board by Coogler after working with him previously provides proof of the value inherent in recruiting filmmakers who are allowed to bring their own unique visions to the MCU instead of just delivering a paint-by-numbers blockbuster.
Black Panther: Conclusion
Go ahead and believe the hype – Black Panther is a landmark superhero film that should set the trend for others to follow. Just as the success of Wonder Woman showed that audiences were hungry for female heroes, Black Panther’s already record-breaking box office provides concrete proof that people of color have been starved to see themselves portrayed as superheroes on the big screen and will reward films that do with their money.
Despite what a few trolls on the Internet might want you to think, the majority of moviegoers want to see films led by strong, intelligent characters that are more diverse than just heterosexual white men, especially when they are as thoughtfully and beautifully made as this one. It is impossible not to feel empowered – and entertained – by Black Panther.
What do you think? Where would you rank Black Panther among the movies of the MCU? Share your thoughts in the comments.
Black Panther was released in the U.K. on February 13, 2018 and in the U.S. on February 16, 2018. You can find more international release dates here.
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