By MCN Editor

No Spoilers: Thinking About AVENGERS: ENDGAME

Marvel Studios' AVENGERS: ENDGAME..Rocket (voiced by Bradley Cooper)..Photo: Film Frame..©Marvel Studios 2019

Marvel Studios’ AVENGERS: ENDGAME..Rocket (voiced by Bradley Cooper)..Photo: Film Frame..©Marvel Studios 2019

The directors and production executives of “Avengers: Endgame” want description held to a minimum on opening weekend. But it’s big. I can tell you that. Lots of stuff rushes past, onward, ever onward, grandiose stuff, whispered stuff, great lashings of grief, some grandiloquent stuff, and veteran viewers in the enraptured opening Thursday audience had much to hoover up and enjoy: proud postures alternate with callbacks and climaxes and sniffly tear-tugs and lots of that wacky, weightless Marvel verbal humor. Plot synopsis would be spoiler-after-spoiler, depriving small, telegraphic jolts of joy for those who can in an eye-blink decipher what’s going on, based on the data input from the ingestion of the prior 2,299 minutes of the “Universe” entire. It’s too complicated to synopsize in a rational amount of time and space: time is relative, even at the climactic episode’s one-minute and three-hour running time.

Twenty-two episodes of pagan pageantry across eleven years with reasonably consistent internal logic, with an opulence of balderdash and culture of earnest tears: that’s a saga, that’s a cycle, that’s a vast accomplishment in its own right. Even with adjustment for inflation, does this make Kevin Feige the most successful feature producer of all time? [Read more.]

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“With any character, the way I think about it is, you have the role on the page, you have the vision of the director and you have your life experience… I thought it was one of the foundations of the role for John Wick. I love his grief. For the character and in life, it’s about the love of the person you’re grieving for, and any time you can keep company with that fire, it is warm. I absolutely relate to that, and I don’t think you ever work through it. Grief and loss, those are things that don’t ever go away. They stay with you.”
~ Keanu Reeves

“I was checking through stuff the other day for technical reasons. I came across The Duellists on Netflix and I was absolutely stunned to see that it was exquisitely graded. So, while I rarely look up my old stuff, I stopped to give it ten minutes. Bugger me, I was there for two hours. I was really fucking pleased with what it was and how the engine still worked within the equation and that engine was the insanity and stupidity of war. War between two men, in that case, who fight on thought they both eventually can’t remember the reason why. It was great, yeah. The great thing about these platforms now is that, one way or another, they’ll seek out and then put out the best possible form and the long form. Frequently, films get cut down because of that curse in which the studio felt or feels that they have to preview. And there’s nothing worse than a preview to diminish the original intent.Oh, yeah, how about every fucking time? And I’ve stewed about films later even more because when you tell the same joke 20 times the joke’s no longer funny. When you tell a bad joke once or twice? It’s fine. But come on, now. Here’s the key on the way I feel when I approach the movie: I try to keep myself as withdrawn from the project as possible once I’ve filmed it. And – this is all key on this – then getting a really excellent editor so I never have to sit in on editing. What happens if you sit in is you become stale and every passage or joke, metaphorically speaking, gets more and more tired. You start cutting it all back because of fatigue. So what you have to do is keep your distance and therefore, in a funny kind of way, you, as the director, should be the preview and that’s it.”
~ Sir Ridley Scott