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Movie Review

Black Panther an early contender for best movie of 2018

Alex Bentley
Feb 15, 2018 | 1:53 pm
Black Panther an early contender for best movie of 2018
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Movies in the Marvel Cinematic Universe have been enormously successful, if not universally beloved, because they tend to follow a certain formula. Introduce a particular hero, add in a certain level of snark, pair him with one or more other heroes, challenge him with the villain of the month, and repeat.

The problem with this style is that it's repetitive and there's very little at stake. While most of the previous 17 MCU films are fun, few of them have anything remotely comparable to real emotion. They merely contain cartoon figures whose job is to entertain us, and nothing more.

Black Panther changes all that. No longer does a hero have to be a loner who joins up with others only when necessary. Instead, T'Challa/Black Panther (Chadwick Boseman) relies on a whole host of people from his home country of Wakanda to be the leader and hero he is.

Notably, that group is composed mostly of women, including his stoic mother, Ramonda (Angela Bassett); spy and ex-girlfriend, Nakia (Lupita Nyong'o); tech wizard and little sister, Shuri (Letitia Wright); and leader of the Dora Milaje, an all-female warrior group, Okoye (Danai Gurira).

The plot of the film is also very personal. Following the death of his father in Captain America: Civil War, T'Challa is on the hunt for Ulysses Klaue (Andy Serkis). Klaue has a long history of running afoul of Wakanda, constantly trying to steal the ultra-valuable vibranium from them. Klaue is now being helped by the mysterious Erik Killmonger (Michael B. Jordan), whose link to Wakanda has him on a unique mission.

Writer/director Ryan Coogler (Fruitvale Station, Creed) and co-writer Joe Robert Cole have crafted about as perfect a superhero movie as one could imagine. They refuse to cut any corners, fleshing out the story of every significant character so that it's clear this is not a one-man show for Black Panther. The action scenes are not just an excuse for random mayhem; they serve a clear narrative purpose each and every time.

The filmmakers also don't shy away in the slightest from making this a truly African film. From the costumes to the hairstyles to the tribal customs, every detail is designed to immerse the audience in the world of Wakanda, and to pay homage to African people in general.

Most importantly, the film actually has something to say about the real, non-movie world. Yes, it's a work of fiction, but it's very much grounded in the realities of the world we live in. The plight of Africans, African-Americans, and people of color around the world is at the heart of the plot. To not only acknowledge racial inequities but to make them the driving force sets Black Panther apart from other superhero films in an astonishing way.

Despite having played a trio of real-life African-American heroes, T'Challa might be Boseman's best role to date. There's no legacy to uphold, so he's free to play the character however he wants, and he makes it one of Marvel's most relatable heroes to date.

He's helped immensely by the main quartet of women, especially Nyong'o, Wright, and Gurira. Nyong'o and Gurira demonstrate just as much strength and skill as Boseman despite their characters not being artificially enhanced. And Wright steals the movie every time she's on screen with her effervescent spirit.

Black Panther feels altogether different from anything Marvel has ever made, and that's a great thing. It's deserving not only of high praise, but of being put into early consideration for best movie of the year.

Chadwick Boseman in Black Panther.

Chadwick Boseman in Black Panther
Photo courtesy of Marvel Studios
Chadwick Boseman in Black Panther.
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Movie Review

Andrew Garfield leads peasant rebellion in medieval film The Uprising

Alex Bentley
Sep 10, 2026 | 12:15 pm
Andrew Garfield in The Uprising
Photo by Betina La Plante/Focus Features
Andrew Garfield in The Uprising.

Writer/director Paul Greengrass made his name with a cinéma vérité style of filmmaking that brought immediacy and depth to three Jason Bourne films, United 93, Captain Phillips, and more. In The Uprising, he uses those skills to tell the story of the so-called Peasants’ Revolt in 14th century England.

Greengrass wastes no time starting the main plot as Ploughman (Andrew Garfield) and his fellow villagers object to onerous taxes put on them by the country’s nobility, led by the young King Richard II (Woody Norman), to fund an ongoing war. Ploughman initiates a violent response over the tone-deaf — and unseemly — way the king’s guard go about their business, and the rebellion soon starts to spread across the countryside, with the citizens looking for a degree of autonomy.

The ever-expanding group makes their way toward London to try to make their case to the king himself. Meanwhile, the king’s top advisors, including Archbishop Sudbury (Stephen Dillane) and Treasurer Hales (Tom Hollander), try to usurp power from the inexperienced monarch even as the king’s mother (Katherine Waterston) tries to get him to be more assertive.

The history of the English monarchy is long and lurid, as Shakespeare detailed in multiple plays, including Richard II. Though the events in the film took place almost 650 years ago, it’s easy to see parallels between what the peasants were fighting for and modern-day politics. Greengrass’ storytelling intent is solid, and the righteous anger the citizens feel is initially relatable and palpable.

But the populism theme of the story soon gets bogged down in drudgery and minutiae that is difficult to understand, especially when the details are lost in the thick regional English accents. The leaders of the rebels — including John Ball (Jamie Bell), Wat Tyler (Cosmo Jarvis), and Alyce (Thomasin McKenzie) — are shown doing a lot of planning, but the strong feelings they have about their quest don’t come across well, leaving the audience as passive observers.

When there is action, Greengrass and his team employ a frenetic style that is not great for comprehension. While the gist of what is happening and what side is winning is legible, individual moments go by so quickly so as to be nearly meaningless. Save for Ploughman, any connection that has been made with various characters proves futile, as Greengrass doesn’t seem to have any time for emotion. Scenes that should feel thrilling or heartbreaking instead come off as empty.

Garfield is a two-time Oscar nominee who has done great work across multiple genres. He’s fine in this role, but whether it’s the story, the filmmaking, or something else, he’s not as captivating as usual. The same goes for other strong actors like Bell, McKenzie, Dillane, Hollander, and Waterston, who each seem to be giving their all to their performances but are somehow muted in the process.

Done right, The Uprising could have been a rip-roaring account of people standing up against their oppressors. What Greengrass has made, though, is a film that can’t translate its medieval story for a modern audience and concentrates too much on unexciting elements and too little on thrilling ones.

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The Uprising is now playing in theaters.

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