Heck with
it, let’s make this.
The
Comprehensive Rankings of the Marvel Cinematic Universe As We Know It*
*does not
include non-movie entries. If I’d seen
all the shows I’d probably do each season of a TV show as its own entry, but
since I could only discuss Agents of SHIELD season 1 from personal experience
it’s cleaner to just do the movies.
I must
stress at the outset that this is a list of personal rankings, not any attempt
on my part to quantify the merits of the films.
While the sheer size of the list honestly minimizes the degree to which
my personal biases influence things, how I react emotionally to certain aspects
of a film does have a big impact and that’s just always going to be personal
despite “provoking emotional response in an intentional way” also being a big
part of “objective” quality in a film.
And as I poke at this I think I’m seeing enough of a trend to break them
down into tiers. Nothing earth
shattering really, but a useful tool to organize my own thoughts and also put
some distance between some entries and others.
And for the
sake of clarity, as always, if I start talking about a thing I assume you have
seen the thing. While normally on a big
list stretching a big span of time like this there’s an element of “if you
haven’t seen this by now do you REALLY care?”, I decided specifically to hold
off on putting this out until Phase 3 proper was done, meaning I’m gonna be
talking about a movie released this week.
Spider-Man!
Actual
Mediocrities- These movies are just not very good. There’s merit to them, good scenes or good
performances or things that advance the overarching plots for the characters
involved, because if we’re honest no MCU entry is actively bad. But they also just don’t quite come together
and feel like they were made from obligation rather than anyone having a
genuine creative spark behind them.
23. Iron Man 2- IM2 is the biggest
example of being made from obligation.
Despite being all of the third entry in the franchise there’s a clear
air of “welp we gotta make something to keep everyone invested and get in
groundwork for all the later entries” to a lot of it. The use of SHIELD and Nick Fury seems
simultaneously like the skeleton the movie was meant to house but also
completely unrelated to the main conflict of the movie. One suspects they got word Johansson was
interested in more action-oriented roles and quickly wrote in a Black Widow
sequence so they could get her in a contract before anyone else. Now despite that I like the subtle tweaks to
Tony’s character for this film, as he has to grapple with responsibility not
just for his own actions but for placing himself at the center of a rapidly
changing world that’s suddenly realizing en masse that… well, they’re in a
Marvel universe. It’s not a majority of the film, and indeed a film more
directly about that would have been much stronger and not require that much
retooling, but it’s there and it gives you something to hang your hat on
instead of dismissing the entire thing as an exercise in pure franchise
maintenance.
22. Thor: The Dark World- Speaking of
franchise maintenance.
The causes
seem a bit different here of course.
Thor as a franchise character has a problem: people like THOR, and his
primary antagonist Loki is one of the most recurring and important in all
Marvel. However… nobody knows anything
else about Thor or his major storylines.
When Dark World was made nobody actually knew what to do with Cosmic
Marvel, and while Thor doesn’t fit cleanly into that mold either it’s closer to
what he is than Captain America to say the least. But they had introduced the idea of Thanos,
and the plan was already clearly going to be building up to Infinity
Gauntlet. So… welp, why not just knock
out one of the Infinity Stones and have Thor deal with the silly thing. Sure, why not.
So yeah,
this exists to advance the metaplot and for no other reason. Not an adaptation of any major Thor plotline,
nothing especially interesting for Thor to do, Loki is still here and he’s just
that damn good, it’s why I’m putting this above IM2, but… yeah.
21. The Incredible Hulk- In some ways
there’s less interesting things in this film compared to the other two, but it
also has a much clearer sense of purpose.
In the grand scheme it just never quite comes together more than
anything: Norton doesn’t quite work as Bruce Banner, the connection between him
and Betsy doesn’t quite gel, and the two tiered villain setup with General Ross
and Abomination doesn’t quite work. Now,
I think in part this is actually from a seemingly good decision they made: Ang
Lee’s Hulk is not generally considered as part of the MCU, but The Incredible
Hulk seems crafted to plausibly include it.
So they wanted to avoid touching too much on the origin or Banner’s
pre-Hulk work, to avoid stepping on what that movie said about those things,
but also didn’t want to beholden themselves to it considering how much they’d
changed. So the entire movie is just
kinda a vague collection of random Hulk-like events rather than anything really
impactful, so there’s not any huge story elements to push it above the cast
dynamic not quite working out.
But for
myself lacking that Franchise Maintenance sense does a lot to let it eek out
above the other two. Woo.
They’re…
Fine. Y’know, Fine- These films are
less “not especially good” and more “have really clear good and bad
points”. Overall they’re in order of how
good the good parts are, excepting one.
20. Doctor Strange- So people joke
about how similar all the Marvel Origin Story movies are. “The hero has a clear personal flaw and gains
power, and must learn how to use their abilities while also facing down a dark
mirror of themselves with similar, usually stolen, powers and a magnification
of their own flaws”. And that’s not
unfair, albeit an oversimplification for the sake of analysis… except for
Doctor Strange. And it’s so much more
OBVIOUS here because Stephen Strange is characterized so similarly to Tony
Stark that it sticks out like a sore thumb, and I feel like they have a similar
way of writing the character in the script such that the dialogue is meant to
be embellished and infused with personality by the actor, but as much as
Cumberbatch is fantasy fan casting for Dr. Strange he doesn’t bring quite as
much to the role as RDJ brought to Tony Stark… because of course he
doesn’t! But it does make the script and
overall story feel a lot more recycled than it otherwise should.
In spite of
all that the design on the big action scenes is really that good, and god DAMN
that final sequence is something else.
It tempts me to put it higher but… there really is just not enough
beyond spectacle to elevate it higher to me.
19. Captain America: The Winter Soldier-
Mostly interesting for the novelty of “spy thriller except super heroes”. The dynamic between Widow and Cap is pretty
good, although like a lot of Natasha’s character beats its influence isn’t felt
so strongly as it could be in later films, but I guess it’s not totally
forgotten either. The early parts of the
movie with Sam and how Steve interacts with him is also really good, but…
eh. The Hydra reveal is a good idea that
doesn’t entirely come together because honestly having so much of SHIELD be
actual, ideologically committed Nazis and Fury never picking up on this strains
credulity. I remember saying at the time
it’d have been a lot more relevant and compelling if the Zola AI had played it
as more that sure, the original Hydra was destroyed, but their might makes
right philosophy and subtle influence on the world at large had clearly
supplanted the world Cap fought to create.
Like, just have Pierce be Hydra, and everyone else just has bought into
his preemptive strike because that’s how badly the world’s been corrupted by
just a handful of committed members.
… this feels
like a tangent but yeah, there’s solid core ideas but lacks spark as it exists.
18. Spider-Man: Homecoming- At the
opposite end of that spectrum, Homecoming is one of the most basic Spider-Man stories
we’ve ever had: it’s high school, there’s one villain who’s more or less a
local crimes guy but with some extra tech, and it deals with daddy issues a
bit. But damn they work that cast and
work it good. As much as I think there’s
ONE specific moment in the movie where they put in Tony Stark where it REALLY
shoulda been Uncle Ben (seriously, when he’s trapped under that building, WHY
is the voice over ANYTHING but “with great power must also come great
responsibility”? The heck!), god damn if
they don’t do a great job selling his mentor/parent role throughout the film,
and Vulture is one of the small handful of MCU villains that feels like a
rounded and complete character. So it’s
a really good time in the theater but the longer I sat on it… yeah everything
else about this film just faded away entirely.
17. Iron Man 3- I really dunno how I’d
feel about a version of Iron Man 3 where it was exactly the same except Killian
isn’t a boring wanker. The actual twist
with the Mandarin/Slattery is just utterly brilliant: of COURSE the terrorist
is actually a custom made super-terrorist designed by some rich white asshole
in order to inspire maximum fear amongst his American marks.
But… I
dunno, the rest is just… fine. Nothing
in this one jumps out as especially groan-worthy, but I guess the sense of let
down after how brilliant Kingsley had been that the rest was just Generic
Marvel Villain #5 is palpable.
16. Ant-Man and the Wasp- I think I had
the most trouble placing this one. A lot
of it works for me! Phase 3 villains in
the main are a bit step up for the franchise, and they manage some real pathos
for Ghost, doubly so since Lawrence Fishburn brings a lot as her mentor as
well. And they do bring back a lot of
the energy from the first. But the more
I sit on it… yeah, it does feel like a rehash, and it does feel kinda
pandering. I honestly can’t articulate
it any better than that, the number of callbacks to the first Ant-Man just
feels incredibly high without quite matching any of them for imagination of impact. The skeleton of the movie honestly feels
stronger overall thanks to the increased attention to Scott and Hope’s dynamic
and the stronger villain, but all the other bits being too similar just
diminish the overall experience a bit.
15. Avengers: Infinity War- Infinity
War is the exception in this tier, held back by its sins rather than elevated
by its successes. The best of Infinity
War stands among some of the best scenes put to film in the entire MCU; exactly
twice has this series pulled off a triumphant moment on par with Thor and
Rocket entering the battle in Wakanda, the battle on Titan is flatly the best
fight scene ever choreographed/animated in the franchise and does a better job
of really highlighting how Thanos’ control of the Gauntlet is evolving and what
it allows him to do, and the banter between Thor and the Guardians is a thing
of beauty.
Unfortunately
it does not get along with or play well with the broader franchise in a way
that reflects badly on most of its more bold decisions. Genociding the Asgardians after Thor’s
previous movie was all about their moving on from their imperialist past as a
people starts the entire movie on a sour note (yes, technically half the ship
got away… which if you weren’t looking for it during that scene I assure you
was not especially noticeable. Oh and
then half of THEM were snapped.) It very
much feels like the filmmakers going “oh were you a big Thor fan? Well fuck you, we don’t know what to do with
him and his supporting cast except kill them.”
The movie is pretty alright in the middle, all that good stuff happens
in there. And then we get to the big
climax, the Snap, and immediately… oh, wait, you’ve dusted Black Panther and Spider-Man? Did you even WANT to maintain dramatic
tension that ANYONE killed in this movie was going to stay dead? Was your only goal to make small children
cry? Mission accomplished if so, but
probably you should have tweaked those scenes so the adult audience at least
got out of the theater before going “oh, none of this matters, literally
nothing matters.”
We’re going
to come back to some of this, but ultimately Infinity War just does not hold
together as a film by itself without Endgame already existing, and this is my
best attempt to balance that uneven quality.
14. Spider-Man: Far From Home- Hi! This just came out! I may have put a warning in the start about
that! SPOILERS ARE MY BLOOD.
So it’s hard
for me not to compare this to Homecoming, the tone is just that similar. And if
I’m honest within the teen comedy (but with action beats) genre Homecoming is
probably better? And I think the Stark
Dad moments work better with a real Tony Stark around rather than Peter chasing
his shadow, because it makes it a lot more glaring that they never mention
Uncle Ben (except just enough that you know there WAS an Uncle Ben). Not that the “I’m just not ready for this”
moments lose any punch because of that, but we know for a fact that Peter’s
lost fathers before and it’s weird not to see that sense of compounding loss at
all.
But there’s
a whole other movie contained in one sequence, a completely different vision of
Mysterio who’s not just trying to do crimes, but who could be Spider-Man’s one
true archnemesis. And the idea of “Mysterio
plucks your deepest fears from everything he’s ever known about you and makes
them real” is not completely new, it’s never really been done in any of the
adaptations before, so seeing it up on screen was a huge “well hello what’s
THIS movie” moment.
I’d known
going in they were going to pull the trigger on a major Fandom Rejoiced moment,
but not which one. I guessed wrong. It was great.
13. Avengers: Age of Ultron- Age of
Ultron somewhat uniquely suffers from being too busy. It’s the origin story for Ultron himself,
Pietro and Wanda, and Vision. It
introduces a couple MORE supporting characters that require their own
establishing scenes in Klaue, von Strucker, and Dr. Cho. Oh and Hawkeye’s family. And honestly all of those elements fit in the
movie and some of them stand out as pretty good, but after a point the fact that
the overall plot is a pretty cliché one glued together mostly by trying to
throw as much as possible at you and hoping Spader’s charisma as Ultron smooths
everything over does start to stick out. Honestly it gets away with it to a
degree, certainly I was quite pleased with the film walking out of it, but
finding the right headspace to appreciate it outside a theater environment is
tricky and the seams stand out a lot more.
Also:
Eckshelshiooooorr
Actual
Good Movies- The sort of movies you’ll always sit down and watch if you
happen to see them on. Wholly
entertaining, whilst never managing those extra sparks of thematic or personal
emotional resonance to stand a particular chance of becoming anyone’s Favorite
Movie.
12. Captain America: The First Avenger-
Cap’s first movie feels like two movies to me.
The film leading up to his first stare down with Red Skull while
rescuing Bucky is this amazingly complete experience that completely sells the
sense of “this man is everything America could be” that is absolutely core to
who Captain America is. It’s an utterly
perfect origin. And the infiltration of
the Hydra base highlights how a super hero functions in a broader conflict,
mixing the stealth inherent in a one-man operation with the fighting power of a
much larger group able to accomplish both espionage and rescue ops together. It’s great.
The big “taking out Hydra” montage and the climax… are there. Perfectly serviceable action fluff with a
kiss of both war movie and Indiana Jones, but it does feel like a bit of a
letdown just by comparison.
11. Thor- Thor is probably the best
chance to talk about the overall trends in my rankings here. Or rather, how the MCU ‘works’ and how that’s
reflected in the way it’s progressed.
This entire tier ended up being origin movies, and they’re more or less
ranked in order of how successful they are within the framework that makes
Marvel’s movies work. It’s often said
that the secret to the MCU is caring about characters then making plots and
villains that allow them to show off (hence, among other things, the
proliferation of “one dimensional dark mirror of the hero” villains). One consequence of this is the characters
have a fairly complete arc in the first film, and nobody quite knows what to do
with them in their next films aside from throwing everyone in a blender to
bounce off each other rather than having meaningful character beats.
In some
respects Thor himself, while buoyed tremendously by Chris Hemsworth’s charisma,
is the weakest solo main character in this respect. Except Thor is as much about Loki as him, and
honestly is the only entry in the franchise to show a compelling villain origin. Thanos gets to tell us about his backstory
but enters his spotlight movie fully formed, and Ultron has a complete origin
story in his titular film but doesn’t have an arc so much as an “AI is like…
really hard” scene. Loki gets to go
through the complete story from good intentions to all the tiny justifications
you make to yourself that grease the slide into villainy. And honestly the only reason this isn’t
higher is that a lot of the surrounding framework is not terribly solid, a
series of vignettes with either Thor being self-owned or Loki doing eviler and
eviler things and just… not much supporting it, so it doesn’t really come
across as a coherent work unto itself while still being thoroughly enjoyable.
10. Ant-Man- It’s said that the MCU’s
willingness to let super heroes be a vehicle for other genres of movies is a
large part of its continued success, and Ant-Man is probably the most obvious
example of this. It is structurally
little different from a film like Ocean’s 11, except that the big set pieces to
show off each member’s skills are instead scenes that show off all the things
the hero’s unique power set lets him do.
Couple that with the way size changing can bring an inherent humor to
otherwise fairly typical Marvel-style action set pieces and it’s one of the
more joyous films in the franchise.
It’s worth
mentioning that Ant-Man focuses less on the individual characters and more on
the relationships between them, which is somewhat unusual for Marvel. Scott, Hank, and Hope aren’t nearly as
fleshed out or well-rounded as Tony Stark or Steve Rogers, but the dynamic
between them, Scott’s bond with Cassie, and their sense of coming together as a
team and (in the sequel) as a family also sets it apart, although this is not
something unique to this film overall, just within its larger franchise.
9. Iron Man- The Marvel Cinematic
Universe would not exist without Robert Downey Jr. knocking Tony Stark out of
the park within 20 minutes. While he has
a fairly complete arc in this movie, it also does a great job of setting up good
places for him to go later… albeit his remaining solo movies don’t really
figure out how to make it work. And
while I don’t want to award bonus points for being an originator, I do think
Iron Man’s status as the first MCU film is part of its strength; it feels like
a bridge between reality as we knew it in 2008 and a Marvel universe, and how
with just a little extra nudge, a bigger world behind the curtain of normality,
our world might start down the path to become a place with wizards and heroes
and Norse gods. The pattern of dark
mirror villains starts here as well of course, but Stane’s execution works a
lot better for me since the hero’s flaws are not just more pronounced but more
explicitly part of the narrative. Stane
isn’t just who Tony might have been in a different life, it’s who he was at the start of the movie and who
he’s trying to no longer be; a man who sticks to doing what’s safe and
willfully ignores the external costs of his own fortune and reckless
development.
8. Captain Marvel- Weirdly the overt
things Captain Marvel does to set itself apart from other origin movies don’t
quite land. The montage of Carol getting
up is… there, for example, so it has this vibe of trying to go for this iconic
feminist imagery like Wonder Woman’s scene in No Man’s Land and not getting
there.
The good
bits on that front are all in the subtextual or allegorical stories which come
through much stronger in Captain Marvel to me than most MCU movies. Carol’s gifted with basically unimaginable
power and her big task in the movie is… breaking free from the expansionist
imperial force she previously served, driving off their extermination fleet,
and helping a group of refugees find a new home. Her backstory is revealed when she finds her
home… with another woman, a child she had some hand in raising, and whom had
her personal effects despite it being stated in dialog she had living blood
relatives.
Carol
Danvers, blonde white woman and lesbian antifa super soldier.
But that’s
background stuff that helps it stick in the memory over the Marvel
baseline. Incorporating Nick Fury so
thoroughly gives it a hook that a lot of the other origin-type movies
lack. The tension between the edict her
Kree handlers give her to, essentially, act like a man and her own natural wit and
warmth is achingly visible (I love in particular how Carol just lights up around kids without the film
feeling the need to draw attention to it).
And I’d be lying if I didn’t admit the sheer 90s nostalgia bomb the
movie delivers wasn’t a hell of a drug.
Really
Very Good Movies- I will guarantee you every single one of these has a
great many people who cite it as My Favorite Movie. Each would have some larger impact on the
cultural consciousness even in the before times when other companies besides
Disney made movies
7. Thor Ragnarok- If it wasn’t clear I
am fairly attached to Thor as a film and his supporting cast, so having so many
of them summarily killed off here doesn’t sit well with me. And being an American, the underlying message
that lasting reform of an imperialist culture is impossible and the only thing
you can do is blow the entire thing up and make a new homeland entirely is…
well I hope not, but fuck if I can find a compelling counterargument.
Which is
pretty much why it’s the bottom of the top tier because everything that
actually happens here is amazing. Campy
supervillain Cate Blanchet is a thing of beauty, Hemsworth gets to show off his
natural comedy chops in his most famous role for the first time, and his chemistry
with both Thompson and Ruffalo is stunning.
Valkyrie unto herself is Very Yes.
And just… Jeff Goldblum. And
despite how I opened up this entry, the journey Thor goes on here and how he
evolves his understanding of himself and his duty to Asgard makes perfect sense
while still being a very distinct ending place from the original Thor.
6. Captain America: Civil War- In a way
I have trouble justifying this quite so high, because while the dour ending
note is bold, the last battle between Tony, Steve, and Bucky is one of the most
visceral in the entire franchise, and of course The Airport, like most Avengers
movies it is a bit busy and only occasionally do its big moments fully land.
But… I
dunno, I actually at the time wrote a lot about the Sokovia Accords and the way
the movie presents the conflict is interesting to me. It manages to actually tie in Cap’s overall
tension between what humanity can be and all the ways it can go wrong into the
basic ground-level conflict between who he and Tony are. And the way the Accords play out speak a lot
to the underlying way Tony Stark as a hero goes wrong; the desire to micromanage
the world in order to protect it is a natural one, but all it takes is one
thing going wrong, one bad actor, to derail the whole thing and get innocent
people killed. I mean, the fact that
Bucky Barnes is victim of complete brainwashing not in control of his own
violent acts is public knowledge
thanks to Winter Solider’s ending, but they insist on shoot to kill? Yeah, this is why Cap’s still the hero.
5. Guardians of the Galaxy- GotG1 feels
like the most self-evidently good entry on the list? The sheer joy of the movie, the expert use of
needle drops, the effortlessness with which they establish an entire team of
heroes… yeah you can complain about Ronan but eeeehhhhhhh. The big speech even turns the overall theme into text: what do we see? A bunch of losers, people who’ve lost things,
coming together to give a shit and make the world better.
4. Guardians of the Galaxy vol. 2- Dad’s
Suck: the Movie. Good, good.
Okay technically
Infinity War is that even more so but damned if they don’t name it here and that makes a big difference.
But
yeah. Parental love can be flawed when
they don’t know how to be honest with themselves or what they feel. Or parents can just love you because they see
only an extension of themselves. Or
maybe they don’t care and use the knowledge the children crave their love to
pit them against one another and trap them in a cycle of self-destruction.
And I think
part of the film is everyone realizing that when they acknowledge how badly
their parents failed them, they can also start healing in another way:
realizing that even if their parents were worthless shits who never cared, they
are worth loving, and it’s okay to love themselves and be better. And by extension, for other people to care
about them (which, as this cast does, is made text between Rocket and Yondu.)
Oh and y’know
it’s more or less just as good as the first one in terms of “oh my god space
opera!!!”
3. Avengers: Endgame-
TIME
HEIST
The
temptation exists to just leave it at that, but that’d be unfair. One of the reasons I normally talk about
cartoons or video games is I find those are better at big emotional punches and
teaching tear bending that these sorts of movies. Endgame is the biggest exception to this in
the MCU, and it’s actually in some unexpected places. The entire scene after Scott gets back from
the quantum realm, building to his reunion with Cassie. Steve’s long stare at Peggy through her
office window. Nebula for huge chunks of
the movie is basically the main character and damn it’s cool to see the Russos
do someone besides Cap justice.
But I don’t
want to detract from the fact this movie is an invincible collection of memes
and just fucking COOL scenes. Ancient
One “vs” Hulk. Paying off that hammer
wiggle in Age of Ultron. 2012 Loki. America’s ass. “Heil Hydra” is the first time I can think of
Marvel Studios has directly called out Marvel Comics on their shit.
Honestly the
only thing wrong with the movie isn’t even something that’s wrong with the
movie, it’s a holdover flaw from Infinity War.
Killing off Natasha by mirroring the Gamora scene in that movie just
does not sit nicely, despite being a better scene in every respect. And even this I’m a lot more willing to be
lenient on because 2014 Thanos is here to put lie to all the half-positive
implications of Thanos and his actions in Infinity War. He’s the personification of abusive fathers,
the self-assured toxicity of Patriarchy knowing best, and in this movie, when
he sees “oh maybe I was wrong and my plan could never work”? He decides fuck it, just kill everyone. Because
men like that will turn out that way every single time, and that final bit of
context to the character shows us they really did understand what they wrote and had a plan for it.
2. Black Panther- Killmonger is like if
you took Magneto and stripped away the allegory. And it’s a stunning character study because
you see both the humanity, the pain, but also the damage, the ways growing up
in an imperialist culture that hates you for who you are can breed becoming
that same imperialist yourself while also enabling the delusion you have some
higher, nobler goal. And the emotional
core of the movie being essentially “He never had to become this, and only did
because YOU, my forebearers, abdicated your responsibility to the world to
protect your own power and comfort” is some potent stuff. I mean everything else about Wakanda is
appropriately grand in a “they’ve NEVER made movies like this” kinda way, and
fuck if I don’t just adore most of the supporting cast (M’Baku and Shuri in
particular), but core conflict, and the seamless way it weaves text and
subtext, action and emotion, tension and release, is something else. It’s probably no exaggeration to call this
the best crafted movie in the franchise just on these grounds really… buuuuut I’d
be lying if I didn’t admit there’s one more that’s my actual favorite.
1. The Avengers- So… yeah. The biggest thing the original Avengers has
going for it is the inescapable sense that… this is real, it’s actually a real
movie that exists. We really took all
these characters from these completely unrelated genres, actually introduced
them to one another in a way that made sense, took on faith that you knew at
least some of them were from other movies, and just made a giant adventure
largely about the fact that they shouldn’t work at all but kinda do. While the elements of this that bring it all
together have become cliché to the point later films actually move away from
it, the way Avengers establishes how different genre mechanics interact with one
another (Cap is a soldier and has the plan, Tony is a tech guy and makes sure
everyone can stay in the fight, Thor is an outside context ally with better
insight into the outside context threat, Widow is an assassin and thus is the
one who goes straight for the weak points), how the different elements of the
heroes can gel in an action scene, and how to balance humor, character, and raw
snark to let everyone get a moment without highlighting too badly how
differently they all speak in their own environments is something that was an
absolute magic trick. The MCU would not
exist without RDJ’s instant grasp of Iron Man, but it didn’t switch from a
series to a franchise until that one
moment, the 360 camera pan matched to the climax of Assemble. And in spite of everything no other movie in
the MCU has been quite so compulsively watchable as Avengers, so reliably got
me sucked in from almost any point in the movie, and so reliably dictated that
my mood match the one they wanted me to have.
A few movies are probably strictly better, but none of them really stick
to the memory and retain their power like The Avengers.
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