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Black Panther movie with Chadwick Boseman – critic

Black Panther movie

While we no longer expect anything from the Marvel juggernaut, which continues to purr even in the supposed novelties of its franchise (the broken promises of the second Guardians of the Galaxy, the laziness of Doctor Strange) Black Panther movie finally sounds like a real proposal.

Black Panther movie critic

We had little to bet on a super hero in a jumpsuit as it happens in the chain, especially if it was to serve us 4×4 chases and slow-motion stunts: 1st surprise, this urban sequence, well put forward in the trailer, will actually be the only one to really play with the MCU’s custom formatting.

In this scene, a character denounces the use of machine guns, calling her opponents primitive: she is black, she is a warrior and uses a spear. In this little provocation lodges all the rather daring bet of the film: to play the identity card to the full. Black Panther movie is an African film, and not African-American, with a close scene, and a character (that of the sister, vector of a modernity and a rather heavy humor). We do not dilute a vague exoticism in the pre-square of the blockbuster, but on the contrary we give it its color: costumes, landscapes, tribal rites, in a sort of Lion King revisited in men: it is cheeky, and often quite tasty.

Because this question of identity also irrigates the intrigue, posing the thorny question of Africa’s status on an international scale: Wakanda, the most powerful country in the world because of its resources, lives in hiding: out of fear lust, but also by lucidity as to the capacity of the great powers to devastate it, as they did before. There is therefore the problem of solidarity with the rest of the continent, and, above all, with exiles relegated to the rank of minority, especially in the USA. Even if morality ends up winning over a consensus, the motivations of the antagonist throw trouble for once by evoking sensitive subjects such as colonization, slavery or the ghettoization of black populations, a subject that could not be more rare in the American blockbuster.

This strong identity also wins over the film’s aesthetic: the production is lively, edgy, and tunes in with the energy deployed. Ryan Coogler has fun, virtuously follows a basketball, and serves up a nice sequence shot during a two-level fight that clearly quotes Kill Bill while giving him a personal touch. Formalism lurks a little (let me explain the interest of this plan which begins in reverse before accession to the throne), and the realization shows some weaknesses when it comes to moving to an epic dimension: the battlefield, if it sees itself joyfully manhandled by the eruptions of fighting rhinos, calls for the great hours of the Return of the King without really being able to compete with it.

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But the use of alternate editing, especially in this game of virtual piloting a ship, allows a fragmented spatial distribution that gives rhythm to the entire last part, and excuses the ease of a fairly marked scenario in its last third.

Africa, women, pride: Black Panther movie certainly does not revolutionize the blockbuster genre, but finds, in its themes, the joint capacity to amaze and delight, virtues extremely rare in Hollywood cinema. There is little chance that it will last, so you might as well enjoy it.


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