Marvel's "Eternals:" So Much Time, So Little to Say (Crescent)

        “Eternals,” the newest addition to the Marvel Cinematic Universe (MCU), is a      film so full of content that there’s no room for it to succeed. With a dizzying       ensemble of characters new to the screen, much of this movie feels like an           overcrowded party, leaving the viewer trying to catch people’s names and              struggling to remember their stories.

The movie begins auspiciously enough. But the group of characters the viewer is supposed to care about grows, the pace becomes plodding, and the ancient backstory develops concurrently with the present-day action. By the halfway point of this two hour and 37 minute ordeal, I was ready to leave.

There were laughs, but few were more enthusiastic than those sparked by the Diet Coke commercial before the movie began. Moments designed to be shocking were so convoluted and slow that no dramatic realizations hit, instead causing anti-climactic head-scratching as the next scenes began.

By comparison, Infinity War’s 2:29 runtime—and even the full three hours of Endgame—flew by. The tension of dozens of prior films propelled them forward and carried the audience along. But now that the so-called “Infinity Saga” has come to an end, “Eternals” made me feel the true length of two-and-a-half hours.

“Eternals” reaches for higher significance, yet its big questions about the value of humanity are beginning to feel tired, and it fails to even make a compelling argument for saving Earth. In a universe that exists only because of the sacrificial process that births Celestials, why disrupt the process? Rather than truly explore the question, the movie takes the unstated answer a priori and makes the one Eternal who opposes it a villain who destroys himself as penance.

Photo courtesy: Marvel Studios

Review aggregator Rotten Tomatoes ranks “Eternals” incredibly low among the movies comprising the MCU, with a critic rating of 48%. This also makes it the first to receive a “rotten” score of below 50%—the next-worst is the much-hated “Thor: The Dark World” at 66%.

“Eternals” is one of three Marvel films released in 2021 so far, and a fourth (“Spider- Man: No Way Home”) will be released on Dec. 17. This will be the first year to see four MCU movies released, in part due to COVID disruptions. Alongside these films, Marvel has released five new miniseries on Disney+.

Of all this new content, the second lowest Rotten Tomatoes score was for “Black Widow,” which earned a 79%. This seems to indicate that “Eternals” is more a one-off disappointment than a portent of a decline in Marvel’s films.

The box office numbers reflect this, too. “Black Widow” and “Shang-Chi and the Legend of the Ten Rings,” Marvel’s two other features this year, are both in the bottom half of the chart of MCU films. “Eternals,” however, is in a class of its own as the third-worst-performing out of the 26, beating only “Ant-Man” and “The Incredible Hulk.” 

It is hard to compare these numbers to blockbusters that came out before COVID. Variety reports that the US domestic box office was down 81% from 2019 as of July. Nevertheless, “Eternals’” weak performance in comparison to other 2021 entries suggests that the movie’s unpopularity isn’t just among critics.

Nevertheless, fans continue to wonder how Marvel will continue to adapt to a post-Thanos universe. Once half the population of the universe has been wiped out, where is there to go? Saving the planet hardly feels like more than a typical Friday afternoon.

Lapsis: Low-key sci-fi packs a punch

A man walks through the forest, a wheeled cart trailing behind him. Cable spools off of it and onto the mossy ground, overlapping with a tangle already lying there. He sits down, exhausted, but his phone begins to play a blaring alarm sound, flashing red. "Rest denied," it says. "Rest denied." It repeats until he picks himself up and carries on.

You might not have heard of Lapsis, but that doesn't mean it's not worth your time. This movie is an indie standout that's been recognized with awards and raving reviews. Though it has its flaws, it also has a compelling story and a distinct atmosphere.

The film dives into a mysterious new industry: "cabling," where workers lay cable between huge metal cubes in the forest. This service is necessary to drive the new “quantum computing” revolution and the huge strides in the stock market it has borne. On that level, it's a strange, almost absurd idea: hardly one to build a film around. Fortunately, though, that's not the level on which this film operates. Little time is spent explaining the implications of the industry on its customers, and far more on the workers who make it possible. In Lapsis, main character Ray Tincelli (Dean Imperial) is faced with a relatable problem: medical debt for his brother Jamie (Babe Howard.) Lacking a job or insurance to pay the exorbitant prices, he turns to the newest trend in employment, cabling. He gets in touch with some shady connections to get in, and heads out to the woods. The environment he finds is one that is modeled on the rise of independent contracting and which mirrors the “gig economy”-- companies like Uber, Grubhub, and others. The similarities are obvious: Ray must supply his own equipment, does not receive insurance, and is paid for each trip he makes via an app. This makes the movie all the more believable as an alternate conception of the present rather than a leap into the future; if cabling was necessary, there seems no doubt that the rest would be a consequence. However, Ray soon has more immediate problems than corporate exploitation. Fellow cablers seem hostile, and he can't discover why. Automation is being constantly refined to outstrip human cablers and thwarts any attempt to stop it. Tension is growing, and so is the movie's ideological message. In one particularly pithy scene, Ray stumbles out of the forest and onto a golf course, dirty and tired, cabling gear in hand. A pair of clean-cut, undoubtedly wealthy golfers stare at him for a moment. He stares back. And then, without a word, he returns to the forest and the story goes on. From here on, the political themes of the movie are put in the spotlight even more, even as the plot grows less engaging and more confusing. This second part, though it moves the story along at a brisker pace, lacks the subtle and satirical element that makes the first so enjoyable; so much so that it at one point delves into explicit discussion of the problems with the free market. However, viewers will be left with questions about both the movie and their own world. In an interview with Matt Warren on the website Film Independent, Noah Hutton -- who wrote, directed, edited, and scored the film -- commented on its modern take on sci-fi. “I’m pretty much wrapped up in using sci-fi as a kind of way to tease out the dynamics that are already here and now,” Hutton said. “It’s a great way to look at the present, just to kind of sidestep into what we call a ‘parallel present.’ ” Another standout feature of the film is Imperial’s lead performance. Hutton commented on Imperial’s positive reception in another interview, with Stephen Saito of the blog Moveable Fest. “I wrote the film for Dean Imperial to portray Ray, which sounds a little crazy because Dean had never been in a feature film before,” Hutton said. “He had been in one short film ten years ago, so I knew him as a friend and I knew he had leading man energy.” In a way, the cast’s under-the-radar nature carries on the immersion of this film. There are no big stars, and thus viewers likely have no prior impressions of the actors. Our perception of them is filled in entirely by this one performance, so much so that it’s hard to mentally separate the actor from the character. As the protagonist, Imperial exemplifies this. Lapsis is low-budget, low-concept, and low-octane and still manages to be worth the 1:48 runtime. Its best moments soar high above its humble origins, and even the worst parts aren't enough to drag it down. This distinctively down-to-earth approach to sci-fi emphasizes humanity over fantastical technology, and the result is an immersive and thought-provoking piece. -- TL;DR: Lapsis is a critique of modern America from the beginning -- calling attention to the dangers of the gig economy, worker exploitation, healthcare costs, and the class divide. Despite a weaker second half, it remains a compelling and suspenseful story of the worst parts of modern capitalism, and it works as a unique sci-fi flick as well. -- At a glance:

Movie: Lapsis Summary: In a "parallel present" in New York, workers with modern struggles face exploitation by automation and the gig economy. Starring: Dean Imperial, Madeline Wise, Babe Howard Writer/Director/Editor/Composer: Noah Hutton Where to watch: iTunes, Vudu, or Fandango Rating: Not Rated. Some strong language. Not much adult content, but the message and plot will likely go over kids' heads. Star rating: ★★★★☆ Website: www.lapsisfilm.com