Shakman and cast finally do Four justice
One of the more vexing things for fans of Marvel Comics is the inability to successfully translate the initial property of the four-color universe to the big screen. Hitting newsstands during the fall of 1961, The Fantastic Four was the first superhero-based comic created by Stan Lee and Jack Kirby. The book would quickly amass a devoted following, the success of which inspired the creative duo to dip their toes deeper into the genre of their chief rival, DC Comics. Setting the template for the Marvel Comics line, the title featured characters more human than super, flawed people who come to realize the strange powers they’d inherited were just as much a curse as a blessing. Without Reed Richards, Ben Grimm and Sue and Johnny Storm, it could be argued that Spider-Man, Iron Man and their brethren would have never seen the light of day.
Because of its place in Marvel’s history, the expectations for a film version of the group’s adventures have always been high and never met. The low-budget 1994 version was so misguided it was never released, while the 2005 and 2007 entries were serviceable but hardly worthy of the FF’s adventures. As for the 2015 attempt, had it also been unreleased it would have been a boon for audiences and critics alike.
So, with the property’s tattered film history and Marvel in dire need of a hit, the pressure is on director Matt Shankman to deliver on this latest attempt to do the characters justice. Thankfully, he understood the assignment, his The Fantastic Four: First Steps proving to be a vibrant jolt of fun, a movie that never takes itself too seriously while treating the property with the reverence it deserves.
Taking place on an alternate world where Captain America and his peers do not exist, what’s striking is the glossy, retro-futuristic 1960s aesthetic Shankman employs. Reminiscent of the original comic, this is a time of transition as this world is entering an era of great hope and exploration. The Fantastic Four represents this conceit and all its possibilities, having become media sensations since debuting during the aftermath of an ill-fated trip to outer space. Upon returning from the cosmos, Reed Richards (Pedro Pascal) is granted to ability to stretch to untold lengths, his wife Sue (Vanessa Kirby) is able to turn herself and other things invisible, her brother Johnny (Joseph Quinn) is bestowed with power to fly and burst into flames, while Ben Grimm (Ebon Moss-Bachrach) is given incredible strength but is radically altered physically as a result.
Rather than lording over the people of Earth, they’ve devoted themselves to helping all they encounter. As a result, the public has embraced them, the group’s sincere benevolence making them universally loved. However, this is put to the test when a herald from space, the Silver Surfer (Julia Garner), arrives to announce the coming of Galactus (Ralph Ineson), a massive alien who consumes whole planets for sustenance. Looking to their saviors for salvation, the people of Earth turn on the group when it is revealed they are unwilling to make a particular sacrifice to save them from the space being’s wrath.
One of the hallmarks of the Fantastic Four comic were the interactions between the titular characters. Though differences would often arise between them, their unity as a family was always seen as genuine and heartfelt. This, as well as the grand cosmic adventures they undertook, separated that series from the rest, making it unique within the medium.
Both elements are present here, executed with a style and artistry that elevates it above the also-ran versions that proceeded it. The banter among Reed, Sue, Johnny and Ben is often heated, yet there’s never a doubt there’s a sense of mutual love and respect behind it. Pascal, Kirby, Quinn and Ebon-Bachrach capture this perfectly, as if it were all second nature, their interactions having a lived-in quality suggesting a long history among them.
Much like the source material, the script by Josh Friedman, Eric Pearson and Jeff Kaplan focuses on the humanity of the characters. The pressure Reed faces in saving the world, Sue’s ferocity in saving her family, Johnny’s yearning to prove himself and Ben’s insecurities are all present, each brought to life by the actors in an intimate fashion that makes their respective dilemmas relatable.
Long-time fans of the comic will appreciate the deep-cut Easter Eggs that pop up throughout, citing not only the group’s earliest exploits but also reverently alluding to the characters’ creators. More than anything, the movie is a great deal of fun. While so many of Marvel’s latest films have felt a bit too heavy or, at times, directionless, Steps provides a hard reset for the entire studio. In setting the story at the dawn of the company’s comics revolution, there’s a sense of renewal, the movie serving as a new starting point for the franchise, one brimming with enthusiasm and excitement.
More than anything, Steps is the perfect anecdote for superhero fatigue. It, along with James Gunn’s Superman, reminding us that these films should be fun as well as hopeful, something each accomplishes with a sincerity likely to please new fans as well as old. In theaters.
Mounting dread makes for creepy Home
Max has something in common with the residents of the Green Meadow Nursing Home – they’re all out of chances. The difference is that while time has caught up with the seniors in this facility, Max has squandered every opportunity that’s come his way. Then again, it stands to reason that the former foster child is still traumatized by his brother Luke’s sudden death years earlier and his repeated run ins with the law are a cry for help. Now, required to complete a four-month stint of community service at the home, he notices residents have been disappearing, while the blood-curdling screams coming from the fourth floor indicate something is terribly wrong here.
James DeMonaco’s The Home is a surprisingly effective shocker that benefits greatly from a clever script, steadily building tension and a solid lead performance. As Max, Pete Davidson’s at-loose-ends persona is a perfect fit for the character, a lost yet morally sound young man who knows he’s a square peg in a round hole society. Emotionally damaged, he still has a sense of empathy which, ironically, leads to trouble. Were he able to keep to himself, he wouldn’t care when some of the elderly residents go missing, His refusal to look away is commendable, yet foolish.
DeMonaco and his co-writer Adam Cantor effectively create a sense of mounting dread, each odd incident Max observes getting stranger than the last. This is punctuated by a series of increasingly disturbing dreams our hero experiences, each containing clues pertaining to the mystery of the missing residents, each becoming more graphic in their depictions of self-mutilation. This film is not for the faint of heart or squeamish.
Complementing the writers’ fine work is Anastas Michos atmospheric cinematography, the film cast in a perpetual autumn gloom, the hallways of the seemingly ever-expanding facility fighting to keep the darkness at bay. Also of note is the music from Nathan Whitehead, the soundtrack becoming more manic as Max’s mind fractures. Unlike most genre efforts, his work never overwhelms the action, complimenting it throughout.
Horror fans will likely be pleased once the big reveal occurs. The answer to where the missing patients go and just what is happening on the fourth floor holds water within the movie’s twisted logic. Equally important, and refreshing, is that Max is an intelligent protagonist, not required to do one stupid thing after another to keep the action moving or put himself in peril to generate suspense. You won’t find yourself asking “Why did he do that?” while Davidson proves to be appealing as he brings a quiet determination to Max that’s relatable
The film doesn’t overstay its welcome and once the blood-soaked climax occurs, DeMonaco and company deliver the kind of cathartic end genre aficionados will revel in. That you’ll likely feel as though you’ll need a long, hot bath afterwards means The Home has done its job. In theaters.
Hi doesn’t know when to quit
Farce is a tricky thing to pull off. It requires a deft touch as well as a keen sense of how far to push the often-outlandish situations its built around. Naturally, the best attempts are often executed by veteran performers and writers, those who have been in this arena before and, most importantly, know how to read an audience as their suspension of disbelief will be pushed to the limit. Knowing when to pull back before it breaks is essential.
With Oh, Hi, writers Sophie Brooks and Molly Gordon are able to walk that line for roughly the first half of this rom-com gone wrong. The film’s timely premise unfolds naturally, and the pacing is spot on, while the two protagonists prove appealing. This makes it all the more regrettable when things jump the tracks. A situation develops that becomes increasingly more ridiculous to the point we leave farce far behind, Brooks, who also directed, embracing full-on lunacy instead.
Isaac and Iris (Logan Lerman and Gordon) are in the early stages of their relationship and have decided to embark on one of the necessary rituals to see if they are compatible, the weekend away. Hitting the backroads of New York State, they settle into a nice routine, bantering back and forth, flirting here and there and belting out a regrettable duet of Islands in the Stream.
Things are going well as a romantic vibe emerges as they utilize a nearby lake, Isaac prepares a meal of scallops and they engage in passionate sex. They even get a bit adventurous in bed when they find some sexual paraphernalia in one of the closets of the Airbnb they’ve rented. Before you know it, Isaac finds himself cuffed to the bed and, inexplicably, tells Iris he’s not ready for an exclusive relationship and has never thought they were in one.
As with most things in life, timing is everything. Why Isaac would make this confession while totally at Iris’ mercy is illogical. Yet, the Misery-like scenario that plays out becomes even more bizarre. Iris regards this as an opportunity rather than a crime. She embarks on a plan to convince her hostage that he really needs her, plying him with his favorite meals in bed while displaying and listing her positive attributes. This is initially amusing yet eventually becomes tedious, while a questionable decision by Isaac — just as he’s about to be freed — makes no sense, coming off as a lazy narrative device to prolong the movie.
A bit of fun returns when the always reliable Geraldine Viswanathan shows up as Iris’ friend, Max and her boyfriend Kenny (John Reynolds) in tow. Seeking their advice regarding the illegality of her actions, the later falls back on his extensive knowledge of Law and Order to guide her. This is all too brief, but effective as are Viswanathan’s priceless reactions to her friend’s obvious psychosis.
Credit must be given to the cast as they soldier forth, game for anything, doing their level best to make this increasingly implausible premise work. Lerman and Gordon are very good together, so much so you wish they were in a better movie. Yet, once the idea that witchcraft be used to remedy Isaac’s hesitance to commit, you know this is beyond salvaging. Brooks and Gordon obviously have a great deal to say regarding the dynamics of modern relationships, and Oh, Hi works when it does so. Had they stuck with their troubled couple engaging in intelligent conversation, their point would have been driven home much more effectively. In theaters.
This article appears in July 24-30, 2025.
