Despite the Marvel Cinematic Universe’s amazing critical and economic success, several famous directors continue to oppose it. Martin Scorsese, Denis Villeneuve, and Ken Loach have all expressed their contempt for Marvel throughout the years, frequently alienating fanbases as a result. The grounds for this critique frequently centre on perceived faults in the superhero concept. However, something far more complicated is at work behind the avalanche of criticism. Since the late 2000s, superhero movies have dominated the box office. To date, the whole MCU has grossed an astounding $22.93 billion, with the last chapter in the Phase 3 storyline, Avengers: Endgame, being the highest-grossing film ever at the time of release, due to an astounding $2.8 billion in global box office. Aside from box office success, the films have also been critical successes, with viewers applauding the saga’s distinctive combination of humour, action, excellent acting, and breathtaking spectacular effects. In fact, the review aggregate Rotten Tomatoes has scored every single film in the MCU series as “Fresh” or better, underlining Marvel Studios’ consistency.


Despite the MCU’s lengthy and continued success, many of the industry’s greatest figures have made it obvious that they are not fans. Despite the onscreen pyrotechnics and detailed world-building, many critics argue that the films are unoriginal and limit creative freedom – some even going so far as to suggest that they are a cut-and-paste operation from one film to the next. Given the notoriety of some of the MCU’s most vocal opponents, it’s difficult not to take them seriously. However, after careful analysis, it is obvious that not only are many remarks incorrect, but they also indicate something fundamental about the film business as a whole.

Why The Press Baits Scorsese, Villeneuve & Others To Make Anti-MCU Comments:


While there has been no lack of big-name directors who have looked down their noses at Marvel throughout the years, such criticisms are rarely spoken without provocation. Often, juicy remarks from Villeneuve, Ridley Scott, and others come from lengthy conversations with journalists. The reasons why interviewers return to the issue time and time again are very clear. Superhero movies, as the most economically successful and dominating genre in modern film, inherently have a large bullseye on their back. It is unavoidable in every significant artistic movement, whether in music, literature, or cinema, that the most popular style at any one time will be chastised by the rest of the industry. This is almost always due to an understandable dissatisfaction with the fact that other equally valid works do not receive appropriate recognition, as well as a dash of envy. After all, it’s difficult not to be envious of a near-$3 billion picture with a perceived lack of creative integrity. Although the MCU is about much more than repeating the same formula, certain filmmakers may not have the same amount of flexibility that they would on a solo movie. Marvel is well-known for its many timelines and interwoven narrative threads, which means that each film has a responsibility to contribute to the larger storyline. Certain filmmakers, understandably, find this suffocating. For example, Edgar Wright departed Ant-Man because he was frustrated that he couldn’t make the movie he desired. This conflict, along with the public’s knowledge of these multibillion-dollar brands, makes Marvel a never-ending source of drama for the press. Because of the popularity of the genre as well as the MCU’s distinct creative vision, there will always be a tension between more autonomous auteurs and those willing to collaborate in the service of a bigger plot.

The Homogenous MCU Criticism Makes No Sense:


While the popularity of the films and the need for narrative continuity explain why some filmmakers may be angry, these considerations do not sustain assertions of uniformity. In producing a plethora of diverse tales spanning numerous genres inside the same cinematic world, Marvel has been able to produce a plethora of diverse tales spanning a plethora of diverse worlds. The fact that the studio has been able to combine so many distinct genres while retaining a mostly consistent plot over so many films demonstrates just how great a cinematic achievement the MCU truly is. Consider the films “Captain America: The Winter Soldier” and “Guardians of the Galaxy.” The former is a contemporary spy thriller that pays homage to genre classics such as Three Days of the Condor, while the latter is a space-hopping sci-fi adventure that seems more Star Wars than Superman. Each film charts its own course, with a distinct style and plot. The larger MCU plot is both incidental and important in both movies. This demonstrates not just how distinct the films are, but also what a difficult balancing act any Marvel director must achieve. To dismiss this delicate tightrope as a simple “cut-and-paste” task is to underestimate what it takes to create an entire and unified on-screen universe while keeping each entrance feeling fresh and fascinating.

Insulting The MCU Is Insulting Great Directors:


Because of the studios’ continued success, taking on Marvel is low-hanging fruit for the rest of the film business. The suggestion that “real” filmmakers will not touch the MCU, on the other hand, is a disservice to the plethora of great individuals who have contributed to the franchise’s current state. Furthermore, the notion that Marvel directors are somehow unimportant to the final product is not just derogatory, but also patently false. For example, visionaries such as Jon Favreau (director of Iron-Man), Ken Branagh (Thor), and Taika Waititi have helped shape the overall MCU concept throughout the years. Although some plot aspects are unavoidable, it’s obvious that each Marvel filmmaker adds his or her unique mark to a production. For example, Taika Waititi’s Thor: Ragnarok is a funny combination of conventional superhero action with the off-the-wall comedy that distinguished the director’s earlier efforts (such as What We Do In The Shadows), resulting in a totally original film. Waititi himself stated that, while he felt “like a visitor in Marvel’s universe…” while producing the film, he still had “…artistic freedom to do what (he) wanted”. This only goes to demonstrate that a terrific and unquestionably distinctive director can thrive within the boundaries of the MCU. A brilliant filmmaker may work hard to make a fantastic MCU film, but a mediocre director can not produce at the same level. Before everything else, MCU films are still, unavoidably, films. Each film needs the same components of storyline, visual style, and creative choice that decide whether or not a film will be successful in the end. The only real distinction is the link to a larger arc. There’s no question that certain directors may find it difficult to have such a domineering presence dictating what they can and cannot accomplish. However, as the MCU’s history shows, lots of genuinely bright individuals succeed.

There Is No MCU Vs “Real” Films War (And If There Was, The MCU Won):


The MCU’s epic, 20-plus film method to conveying one primary tale distinguishes it as a one-of-a-kind achievement in movie history. Despite this apparent distinction from other films, the foundations that comprise the various components of that primary plot are strikingly identical to nearly every other large-scale filmmaking endeavor. Although there are undeniable thematic parallels, such as good against evil or a fantastic origin story, these are clichés that exist across the whole industry, not just superhero films. As a result, the seeming rivalry between the MCU and other “real” films is entirely fictitious. For example, Dune filmmaker Denis Villeneuve, who recently chastised the MCU for its repetitious and unoriginal aspects, frequently combines themes and ideas that superhero fans would recognize. A picture like Blade Runner 2049, which includes the nearly vigilante-style chase of fugitive replicants across a futuristic other world, may have more in common with many masked crime-fighting movies than Villeneuve would want to admit. The poisonous notion that superhero films are nothing more than a cynical cash grab predicated on commodifying audience devotion to prior artistic content is a central Marvel critique. This proposal, however, entirely overlooks the MCU’s success for what it is. As the DCEU’s troubles demonstrate, simply putting a collection of popular characters in front of a camera and expecting results isn’t enough. To weave together numerous different strands into a meaningful and effective tale, it needs true vision and nearly superhuman organization. The Marvel Cinematic Universe is considerably different from the rest of the film business in many ways. However, as many of its critics should recognize, being distinctive does not imply failure.

So, lads, this is why great directors feel the need to insult MCU moviemakers. We hope you enjoyed this hypothesis, and remember to keep reading Animated Times for in-depth analysis of the entertainment business, future films, and other topics, as well as TV shows, celebrity news, and much more. Until then, we’ll see you in the next article, comic nerds.

Explore from around the WEB