August 16, 2015 1 Comment
Having developed a prototype matter transportation device throughout high school with the help of fellow student Ben Grimm (Jamie Bell), Reed Richards (Miles Teller) is approached at a science fair by the director of the esteemed Baxter Foundation, Professor Franklin Storm (Reg E. Cathey), and his daughter, Sue (Kate Mara). Now based in New York, Reed works alongside Sue, her brother Johnny (Michael B Jordan) and Franklin’s previous protege Victor (Toby Kebbell) to perfect the technology. But when the facility’s supervisor, Dr. Allen (Tim Blake Nelson), announces plans to hand the device over to NASA for the first human trials, Reed reaches out to Ben and goes behind Franklin’s back to insure that it’ll be their names that go down in history as the first human explorers to visit an alternate dimension. While using the Quantum Gate, however, Victor becomes stranded on Planet Zero and Reed, Sue, Johnny and Ben begin to exhibit strange new abilities.
It should have been so simple. Like most superhero origin stories, the Fantastic Four’s can be easily pared down to its basic premise: a ‘family’ of scientists become celebrity superheroes after they are exposed to cosmic rays. Unfortunately, this iteration of the comic book plot was used previously in Tim Story’s 2005 film, a shortlived series that never quite found favour with fans due to its family-friendly tone and confused casting decisions. In a misguided attempt to learn from their mistakes, 20th Century Fox thus decided to tweak the formula to facilitate a darker edge, drawing on elements from alternate versions of the characters, much in the way that Sony had done previously (and, with hindsight, disastrously) with The Amazing Spider-man. Inevitably, 2015’s Fantastic Four suffers from many of the same weaknesses as Sony’s film: in purposefully and pointedly sidestepping many of the property’s most iconic touchstones the film not only feels derivative, but needlessly convoluted. Far from being appeased, the fans are freshly outraged.
For Fantastic Four, however, the problems go deeper than that. The original films may not be as beloved as Sam Raimi’s Spider-man trilogy, but they at least stood out from the crowd. Since X-Men (or Blade, if you’re being fastidious), the superhero genre has exploded to the point that super-powered protagonists have infiltrated every other genre, too. This has made it much harder for new characters and budding franchises to distinguish themselves, but with the recent trend towards grit and realism that has seen Batman rebranded a vigilante and Marvel’s shared universe introduced through the relatively credible prism of Iron Man, Story’s unabashedly primary coloured take on Fantastic Four was surprisingly refreshing. The hiring of Josh Trank, director of 2012 stand-out Chronicle, should have enabled the series to re-imagine itself without compromising that novelty value, but a combination of studio interference, directorial irreverence and a vocal fanbase have rendered the film woefully unremarkable and profoundly compromised. The last act in particular could easily be confused with Zach Snyder’s Man of Steel, so muted is the colour palette and meaningless the special effects. Like Snyder’s film, Trank’s appears almost embarrassed by its subject matter, doggedly refusing to kowtow to the comic books before conceding in a red-faced whisper near the end. Hearing “Fantastic Four” for the first time isn’t exciting, it’s excruciating.
The impressive thing about Trank’s previous film, his directorial debut, was that even though it was a science-fiction movie it felt authentic and believable. Considering how convincing the teenage characters were in Chronicle, and how rooted their actions seemed in insecurity and emotion, it is genuinely astonishing just how laughable Fantastic Four‘s attempts at characterisation actually are. Miles Teller (28) and Jamie Bell (29) are woefully miscast as high schoolers (and they are undeniably high schoolers when we first meet them), and if anything the incongruity only increases as the film goes on. Much has been made of Jessica Alba’s casting as Sue Storm in Story’s films, and Mara undoubtedly does a better job here of portraying the celebrated scientist, but every other of Trank’s casting choices is inferior to their predecessors — particularly Bell, who doesn’t seem anywhere near as exuberant as Michael Chiklis at being cast in the role of Ben Grimm, and who promptly vanishes the moment the character goes CGI. Even the effects seem subordinate: both The Thing and Doctor Doom look like pale imitations of their former selves, the former lacking any real weight or personality while the latter is almost unrecognisable as a revisionist Doom, albeit one who plucks a cape out of nowhere just in time for the final showdown — a senseless demo-reel for the video game tie-in that only serves to further confuse exactly what the villain’s powers and motivations might actually be.
Nothing about Trank’s Fantastic Four works: it’s boring, incoherent and preposterous — a terrible mess that wastes not just the talents of everyone involved but the efforts of those who have gone before. Whatever Story’s films might have been, at least they were entertaining.