"The Whedon Omlette"
A review of Joss Whedon's "AVENGERS: AGE OF ULTRON" (2015)
The film about our team of superheroes battling a brilliant, genocidal A.I./Robot is bigger, louder and more messy than the first movie. But, it also has more personality.
There's over-editing and the direction is choppier than before - a product of insane fan-expectations which according to Whedon, sadly, broke his spirits paving his exit from the MCU. Once again, the action is as generic as it gets and continues to undermine the real strengths of the movie - it's dialogues. Whedon continues to refine and polish the main characters' personalities and set them against each other ; often in complex logistical conversations between five or more people - action scenes of another kind. It is this movie that sets the precedence of Captain America and Ironman as the two opposing voices within the same team, something that wonderfully sets up the base for Captain America: Civil War. Many of the quotes have a sting of political satire. Cap says “every time someone tries to win a war before it starts, people die,” a not-so-subtle smack at post-9/11 American foreign policy. While Ultron himself chides Cap as "God's righteous man, pretending you can live without a war,” a comment that indicts the United States itself, if Cap is a bulked-up Uncle Sam. Ultron himself is quite an interesting villain. Seeing himself as a robot deity and creating other smaller robots. He ponders the relationship between chaos and control. "When the universe starts to settle," Ultron says, "God throws a stone at it." And his rendition of "I've got no Strings" from 'Pinocchio' in his eery deadpan is just plain chilling.
For all it's flaws, it's a rather unorthodox movie. If it's a failure, as most fans claim, it's only because it's more distinctively personal. Something that differs from Marvel's effective but safe formula. 'Ultron' takes risks with it's approach, and for that reason alone it stands out as one of the better MCU films. It's a shame to think that this will be snubbed for its imperfections rather than applauded for *trying* to prove that a seemingly rigid genre can bend into a strange artform.