Black Panther (2018) Review
“Nah, bury me in the ocean with my ancestors that jumped from the ships, because they knew death was better than bondage.”
When Ryan Coogler signed on to direct Black Panther I was ecstatic; here was a man who could deliver a critical darling (Fruitvale Station) and popcorn fare via (Creed) which while he was at it, reinvigorated the Rocky series. Rarely is a filmmaker able to do both with such fervor — Marvel had scored a strong collaborator. That is why I was afraid it could lead to another creative difference dispute, including but not limited to Ant-Man. However, Coogler stayed the course and we have reaped the benefits.
Like many of his other efforts, this is a character-driven story and as such he introduces us to the beautiful culture of Wakanda, that uses Africa as an inspiration for its color, music, and wardrobe. Adding refreshing depth to it all is composer Ludwig Goransson, who played a pivotal role in making more than a backdrop, and helped create a unique experience that together breaks the norm of the superhero formula.
When we saw Chadwick Boseman introduced as king T’Challa in Captain America: Civil War, I had reservations regarding his limited performance. But having spent an entire film with this character it is clear to me that while Boseman may have made a strong splash portraying real-life figures, Jackie Robinson and James Brown, he falls short of a commanding presence to carry his own film as the lead. Or perhaps, he was simply outshined by his scene-stealing counterpart, Erik Killmonger, portrayed compellingly and powerfully by Michael B. Jordan. Yes, like Ledger stole Batman’s film, Jordan steals Black Panther’s. My only gripe is that his personification of the character did not match the tone of the ensemble. Much like Andy Serkis’s, Ulysses Klaue, it is an exaggerated performance. While Serkis’s is outright theatrical to portray lunacy, Jordan embodies a thug persona so passionately, it seems to belong in another film. Perhaps Coogler and Jordan wanted to highlight the contrast in his demeanor with that of a king, and perhaps that was brilliant storytelling all along.
Coogler does well in this sandbox, bringing along with him his signature continuous shot camera movements, most notably used in “Creed.” Although some sequences seem rushed, as the camera movements aren’t as fluid, or perhaps they were not properly staged. Some of my favorite imagery seems to come right out of Disney’s The Lion King, which as the parent company, I suppose is not all that surprising. While Coogler delivers visually, it is hardly his only success. There is a familial chemistry amongst the cast that is strongly conveyed and refreshing to witness. It effortlessly establishes women as warriors, capable of providing protection for their king, their spouses and having the ferocity to stand against them when needed.
The only misstep Coogler makes, is to follow the typical Marvel formula, that consists of a third act showcases one big final showdown. Perhaps no summer blockbuster is free of these mechanics, certainly not within the MCU. However, it felt very mechanical and uninspired, suffering from poorly developed CGI. Moreover, warriors who have trained in combat their entire lives are not equipped with the necessary choreography to properly demonstrate their skill set.
Despite the films blemishes, it is saved by the performances that carried the film forward. My favorite scene comes as the film comes to a wrap. When Killmonger finally witnesses the sundown over its city, a view his father wanted to share together. He unapologetically accepts defeat, in what has to be one of the best lines in the entire film. It was hard to see such an electrifying presence expire on screen, for once there was a compelling villain that could join the ranks of Loki, who in recent years has been lacking in his stirring delivery. As the antagonist, Killmonger proved engaging because of his ferocious commitment to protect his people. A protection sorely lacking in modern society where nations poison their people. A necessary dose of truth that is appeased by the films conclusion, which brings nations together, implying that the only way forward is together.
