Black Panther is commonly noted as the first mainstream superhero of black or African descent, soon paving the way for the likes of Luke Cage, Blade, and the aforementioned Falcon, but standing above them all with audiences who continue to resonate to his nobility and outsider status. Having laid the groundwork previously in Marvel's Civil War, and with his solo entry brought to life by Creed director Ryan Coogler, all the ingredients were there for another enjoyable Marvel flick. But what if it were more? What if Black Panther were Marvel's best film so far?
Shortly after the events of Civil War, T'Challa (Chadwick Boseman) is now ready to succeed his late father, wear the crown as king of the hidden nation of Wakanda - an advanced society thanks to the rich deposit of vibranium it's built on, and don the armor of the Black Panther, the sworn protector and warrior of the kingdom. While on the trail of notorious arms dealer Ulysses Klaue (Andy Serkis), T'Challa will face numerous moral dilemmas as he comes to grips with the weight of his rule, and what's best for his people. Especially when a rogue American soldier, Erik Stevens - aka. Kilmonger (Michael B. Jordan) aims to take the throne for himself, as clashing ideals of peace and war will decide the fate of the nation, and the world outside.
While many have attempted to launch franchises with black superheroes, the results have led to mixed results such as the campy Blade trilogy, or failures like Catwoman and the Human Torch in Fantastic Four (coincidentally played by Michael B. Jordan). But Black Panther stands out among those likes, with Ryan Coogler leaning heavily into that heritage and racial identity, resulting in a film that feels familiar to the larger Marvel universe, but also very unique and able to stand completely on its own.
Black Panther particularly shines in regard to world building, and the stunning creation of the world of Wakanda. Having existed under a front as an impoverished nation of people in huts, the true heart of it is that of a densely populated and advanced hub, where the vibranium stored in its depths has enabled technology to progress leaps and bounds, but especially for the nation's sense of honor and culture. The world of Wakanda is a place of deeply rooted tradition, strong in a sense of camaraderie and nobility, giving the nation a strong soul, and you can certainly see this carried over to its title character.
Like many, I was instantly on board with Chadwick Boseman's portrayal from his appearance in Civil War, where he managed to be the big scene stealer in a cast that included Spider-Man. Having overcome his sense of vengeance at the hands of his father's death, T'Challa now must prepare himself for the challenges of stepping into the throne. The passing of his father has rocked him to his core, made all the more challenging when eventually uncovering the dark secrets of his past, and continuing to restore trust with his uneasy and impatient people, including his own friend W'Kabi (Get Out's Daniel Kaluuya), that soon sets the stage for Kilmonger's ultimate goals (more on that later). It makes for a powerful and noble, but ultimately conflicted and vulnerable character battling with his hesitation, as Boseman runs through an unenviable range of emotions for one of the most compelling of the MCU's creations.
But what's truly surprising about Black Panther is its additional female perspective. Coming off the heels of Thor: Ragnarok's Valkyrie, Black Panther makes use of a hefty and prominent cast of women, including the all female protectors of Wakanda led by Danai Gurira's Okuye, who often serves as a faithful and objective observer dedicated to the safety of her nation. You've also got Lupita N'Yongo as T'Challa's former love, whose care and compassion for the weak and underprivileged make her a deeply engaging companion. But the real scene stealer is Letitia Wright as T'Challa's younger sister, who essentially serves as his Q in Wakanda's science department, and gets a great share of standout and hilarious moments with such a charismatic turn. Others in the supporting cast may not make the same impact, but are fittingly and superbly played by their performers, including Forret Whitaker, Angela Bassett, and Martin Freeman reprising his performance in Civil War.
But I think where Coogler really excels in is giving the film its unmistakable identity. While the film still feels perfectly accessible and in line with Marvel's larger universe, Coogler has been afforded a great chance to break away from the pack, taking a more deliberately serious approach to the material by cutting down on the MCU's usual snark, and with much more intimacy than you usually expect. Sequences like the ritual combat to determine the new successor to the throne, where current kings are stripped of their superhuman strength and durability for more evenly matched combat, give some much needed gravity and stakes to the film, stakes that are thankfully restricted to a much more personal level. While he still has to make concessions for those Marvel trademarks and customs, Coogler manages to include them while still finding opportunities to upend, or drastically repair the more nagging issues with them, chiefly the notorious weak villains. And does he ever course correct this, because Black Panther has the MCU's best villains yet.
Following up his performances in Fruitvale Station and Creed, it's clear that Michael B. Jordan and Coogler bring out the best in each other, with Jordan's Kilmonger becoming one of the film's best qualities. Racial politics unsurprisingly play a significant role in Black Panther's thematic strands, as early on as the prologue that pre-dates the LA Riots, and comes to serve as a significant motivator for Kilmonger, who operates as the Malcolm X to T'Challa's Dr. King. Despite the fact that the two operate from opposite extremes, they don't feel that different from each other, empowered by what's truly best for the nation and its people, with Kilmonger rallying fiercely against their inaction and refusal to let Wakanda's true nature be known. The film actually becomes a stronger exercise in debate than Civil War, given that the vibranium surrounding Wakanda could go a long way in restoring order to the world, but just as easily as Tony Stark's weaponry was turned against him, so too does Wakanda's armory threaten to do so should such power slip into the wrong hands. And funnily enough, whereas most Marvel movies tend to sideline the villains in favor of the heroes, Coogler makes some conscious choices to push Boseman aside to give equal attention to Jordan, in an effort to let Kilmonger breathe and thrive as his own powerful character, creating a presence that feels both threatening and tragic.
But in addition to Kilmonger, the film also makes great use of Klaue through a rare mo-capless Andy Serkis, who you may remember from his bolted on cameo in Age of Ultron. Perhaps the less engaging of the two evils, but nevertheless Serkis is such a riotous scene-stealer, carrying himself with a campy and unapologetic swagger, even earning himself some hearty laughs in the meantime.
Coogler brings with him a number of his same collaborators from his past films in crafting the technical side of this one, where he continues to craft a unique identity to stand out from the crowd. Creed proved a strong audition tape for what we could expect from this film, right down to extended fight scenes through continuous takes. The action places heavy emphasis on the speed and power of Black Panther, maneuvering through close-quarters battles and epic set-pieces with stunning alacrity, and tailor precise reflexes. The aforementioned intimacy and sense of honor and soul within Wakanda is where these action beats are at their most inspired, even resulting in a climax that deviates from the usual mold of heroes mowing down faceless drones, in favor of more personal battles given weight by those on the battlefield. It's further brought to life by a stunning kinetic visual eye, emphasized by Mudbound's Rachel Morrison extensively relying on purple color schemes, and an already Oscar caliber wardrobe by Ruth Carter.
It's easy enough to commend Black Panther for giving audiences a great role model to resonate with, but the appeal of the film is so much grander. At a time when blockbuster filmmaking can tend to feel safe and same-y, this film is a gem of inventive production and rewarding and compelling storytelling. Regardless of the larger MCU, this film could have stood on its own just as strong, and I stand by my belief that this is the studio's best film to date. And they don't look like they're going to slow down anytime soon, to be followed by the debuts of the Wasp and Captain Marvel to further diversify their roster.
But the bar has been set very high with Black Panther, which will be the last warm-up before all sides converge for the epic Infinity War throwdown. I can only imagine what pressure they're under to do justice to the dozens of characters, and how those widely varied reactions and interplay will unfold, but Marvel has earned the benefit of the doubt in my eyes, and with this as one last lead-in, I couldn't be more eager to see what happens next.
BRING. IT. ON!
****1/2 / *****
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