Heavy is the head that wears the crown. After participating in the legendary Civil War that pitted Tony Stark and Steve Rogers against each other, Prince T’Challa (Chadwick Boseman) returns home to his technologically advanced and off-the-grid African nation of Wakanda. The Black Panther carries a heavy heart; the death of his father T’Chaka (John Kani) ever lingering within it. Yet, a king is needed, and that responsibility falls unto T’Challa to take the mantle.
As Wakanda prepares to enter a new era, many in the world are hellbent on discovering her secrets. Arms dealer Ulysses Klawe (Andy Serkis) and mysterious nomad Erik Killmonger (Michael B. Jordan) align themselves with each other to achieve what they’re after, respectively. For Klawe, it’s precious vibranium and the riches that come with it, but for Killmonger, it’s a lot more personal. He’s coming for the crown, and the man’s willing to spill as much blood as needed to get it, T’Challa’s included.
Bar none, one of the best feelings is being in a theater and realizing that what is on screen can never be duplicated or replicated. The energy and mood are unforgettable. In less than one calendar year, the world has received two cultural touchstone films in Get Out and, now, Black Panther. Like Jordan Peele’s work, there are some that may only see this as one type of movie only, but the fact is, that’s kind of limiting. Black Panther fits extremely well into the juggernaut that is the Marvel Cinematic Universe, but honestly—like the best superhero films—it’s able to transcend genre and create something long-lasting.
Praise goes all around, but let’s start with the juggernaut. Marvel’s got a formula, which is news to no one. Black Panther, for the most part, stays in the framework of it. However, in their recent catalog the studio has shown a desire to jigger things up and/or play against the superhero genre conventions, be it The Winter Soldier, Guardians of The Galaxy, Thor: Ragnarok, or even Ant-Man. Success can make people and organizations stagnant, but it can also allow for more chances to be taken; no way a movie like this gets made ten years ago.
Perhaps the most surprising thing coming out of Black Panther is just how much control uber-talented writer/director Ryan Coogler (Creed, Fruitvale Station) has over everything. What’s often lost in blockbuster films is a director’s style and vision. But unequivocally, this is Ryan’s vision from the jump, tackling modern issues and topics such as identity, nationalism, and utilitarianism and framing them in the environment that is Wakanda. None of it feels forced or one-sided, either, as valid points are made for each side of the proverbial coin. Providing so much minutiae and plot meat only serves to crystallize the belief that Wakanda is this world that is as culturally reach and detailed as the visuals show. Only the first 10 minutes are arguably a little rough around the edges with a lot of information dumping and a scene that plays out better as we return to it midway through.
Of course, this amount of writing depth carries over to the wide cast of characters in Black Panther, starting with…the Black Panther. Civil War wonderfully introduced the world to T’Challa on a surface level, but his solo film goes into his psyche—sometimes literally—like few superhero movies do with their saviors. Chadwick Boseman is the lead actor this role needs, supremely confident, silently charismatic and in possession of this royal gaze that carries a ton of weight. In short, he’s awesome and an awesomely fresh hero.
But where Black Panther separates itself from its Marvel film brethren is through its villain of one Erik Killmonger, portrayed by Michael B. Jordan in a role that calls for physicality, swagger, and vulnerability. The studio has always had an issue in creating compelling foils for its legendary heroes. Rarely has a baddie been introduced better in his or her opening scene than here. To spoil even the slightest is a sin, but to say it simply, only Loki has a claim as Marvel’s best villain, and so much of the emotion of Black Panther comes from Killmonger’s past and his rational viewpoint that fuel his actions. Seeing T’Challa and Erik wage war over how to best run Wakanda is kind of Civil War-like, where no guy is completely wrong. Only difference are the levels Erik is willing to go to achieve his vision.
Boseman and Jordan are the anchors, but Coogler allows almost everyone to shine. Whether it’s Lupita Nyong’o pushing shoeless on the pedal metal, Andy Serkis going unhinged as a South African gangster, Martin Freeman being the fish-out-of-water, Daniel Kaluuya commanding an entire head of security, Danai Gurira laying waste to a room with a staff spear, or T’Challa’s brilliant sister Shuri (Letitia Wright) cranking out the latest addition to the Black Panther’s repertoire. Some roles like those of Forest Whitaker’s and Angela Bassett’s might be weaker than others, but they all fuse to make Wakanda what it is.
Everything to this point makes Black Panther sound more like a gloomy movie more in line with that other comic book universe, but rest assured, Black Panther is very entertaining even for those who don’t care to digest the emotional beats and geopolitical questions. The writing is mature in both themes and humor. Sight gags do exist, but the strength of the laughs mostly derives from the delivery and timing of the cast. For those who have seen Creed, it should come as no surprise that Coogler can craft long-take scenes of action and spectacle, this time getting really inventive with some of the setpieces backed by a great soundtrack and a magnificent score by Ludwig Göransson. Whether basking in the purple royalty hues of the spiritual skyline or the sparkling waterfalls, Wakanda is an eye-popping marvel whether 3D is utilized or not.
Even the very last shot of Black Panther seems to realize the moment at hand, drawing parallels to the movie that started it all with the MCU way back when in 2008. Whatever goes down in The Avengers’ next chapter, one thing’s for certain: T’Challa’s here to stay. Wakanda Forever.
Photo credits go to digitalspy.com, nairobiwire.com, and hollywoodreporter.com.
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