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Jackson’s skin looks almost inhumanly youthful, and there is an irresistible tendency to stare at him at the expense of anything else going on in his scenes and to ponder the following issues, among others: Do you buy this? Is this the kind of performance Jackson would have given in his 40s? Is it possible this man doesn’t have a single blemish? Has Jackson ever played a character this earnest? Is this the future of movies? The overall effect is cool in a way, but also eerily disconcerting and not, in the end, as engaging as the de-aging of Michael Douglas in the Ant-Man films.Three weeks before the release of Captain Marvel, the film’s Rotten Tomatoes page was carpet-bombed with negative user reviews that drove down the movie’s score on the premier website for deciding which movies are worth seeing. It’s simultaneously fascinating and distracting.

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Given the time frame, 24 years had to be shaved off Fury’s age and appearance, resulting in by far the strangest and most prominent special effect in the movie, that of Jackson playing a guy in his 40s, with a full head of hair and, in this role, two eyes - no eye-patch yet.

Jackson as Nick Fury, a veteran of six previous Marvel films, three times importantly and thrice in uncredited cameos. On the other hand, what does emerge as a genuine curiosity is the appearance of Samuel L. Public confidence in the brand and goodwill toward this new franchise, in particular, will probably grant the pic a pass from most fans, but the storytelling is perfunctory at best: The characters are not dramatically introduced with any sense of interest or intrigue, the writing, dialogue and direction are pedestrian, and the visuals are sometimes, albeit not always, muddy.Ĭaptain Marvel seems specifically pitched toward millennials, as the action is pointedly set in the 1990s attention is called to assorted technology of the time, nearly all of which now looks not only antiquated, but downright tacky, hardly worthy of any nostalgia.

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Nonetheless, the seeds of a potentially interesting story are here and Marvel for more than a decade now has shown that it well knows how to launch a new spinoff. Under the direction of heretofore indie filmmakers Anna Boden and Ryan Fleck ( Sugar, It’s Kind of a Funny Story, Mississippi Grind), nothing is prepared or built up to, with scenes just slapped on the screen with no less or more weight given to one over another it’s the cinematic equivalent of elementary brick-and-mortar construction. Revealing as this may or may not be of her addiction to speed and risk, her place in the grand scheme of things remains vague just as she shuttles between the cosmic and Earthbound, the film itself bounces about without any sense of logic or progression, to the point of appearing nearly chaotic. Perhaps we’re meant to excuse this because Danvers herself is uncertain about her past, although we do see, via a flashback, that as a girl she was very keen on go-cart racing. If this much is clear, one should be grateful for small favors, as matters presently become more than murky.

As things kick off somewhere in the universe, the leathered-up young woman ( Brie Larson) is being tutored by her mentor, the melodiously named Yon-Rogg (Jude Law), top dog of the intergalactic military force of the Kree, the good-guy archrivals of the Skrulls. Danvers’ day job is with the Air Force, but much more to the point here is her gig as the eponymous warrior on behalf of Starforce, an intergalactic fighting squad committed to battling the fiendish, shape-shifting Skrulls, those of the avocado-green faces and devilish pointy ears.