Following a string of critical and commercial hits culminating in the epic Avengers: Endgame (2019), the Marvel Cinematic Universe has floundered, lacking a sense of cohesion. And no, that’s not because of the latter-”Phase” plotlines about alternate dimensions and collapsing realities. Rather, it’s a function of recent output of wildly varying quality, ranging from the stellar Loki and WandaVision TV series to the plodding Eternals and execrable Ant-Man and The Wasp: Quantumania.

If you didn’t know that First Steps represents the first entry in a new MCU Phase, you’d hardly be alone: I had to triple-check, but there have been not one but two separate Phases since Endgame, with Phase 4 culminating in the middling (if box office smash) Black Panther: Wakanda Forever (2022), before Phase 5 launched ignobly in 2023 with the aforementioned Quantumania, though that Phase at least ended on a decent note, with this year’s fitfully amusing Thunderbolts*.

The title First Steps is, in other words, no coincidence, Disney/Marvel clearly hoping that the Pedro Pascal-led sci-fi hero film can launch a bold new era for the brand – much as the original Fantastic Four comic did when it inaugurated the Golden Age of superheroes back in 1961.

Appropriately enough, The Fantastic Four: First Steps is the fourth (not counting the rights-squatting Roger Corman Z-Movie of the 1990s) attempt to bring Marvel’s First Family to the big screen. Wisely, however, this film aims for a retro vibe not merely inspired by, but actually set during, the 1960s era during which Stan Lee and Jack Kirby introduced the FF to comic readers.

Standing blissfully isolated from the rest of the MCU on its own parallel Earth (designation-826, a sly easter egg explained only to those paying attention during the end credits), First Steps is an efficient little film. One of the shortest MCU films to date, it wastes little time establishing its cosmically-powered heroes – in a get-up-to-speed montage introduced by Ed Sullivan stand-in Ted Gilbert (Mark Gatiss) – who gain their powers after exposure to cosmic radiation during a space voyage: Mr. Fantastic (the ubiquitous Pascal) can stretch his body; Invisible Woman (Vanessa Kirby) does what you’d guess, Human Torch (Joseph Quinn) can fly and “flame on”, while The Thing (Ebon Moss-Bachrach) is a hulking, orange, rock-bodied monster (albeit a much-loved monster).

The film is also quick to reveal a plot detail already ruthlessly spoiled by the marketing: the fact our heroes are soon to welcome a fifth, adorably tiny member, team co-lead Susan Storm aka Invisible Woman (Kirby) pregnant with the child of Reed Richards aka Mr. Fantastic (Pascal).

Intriguingly, it’s Sue’s pregnancy – and attendant fears over the baby’s cosmic-irradiated parentage – which takes on increasing importance as the film progresses, dovetailing nicely with the grander cosmic threat represented by the enormous, planet-devouring Galactus (voiced by Ralph Ineson) and his herald the Silver Surfer (Julie Garner, here playing the comic’s second surfer after the more famous Norin Radd, who previously showed up in the awful Fantastic Four: Rise of the Silver Surfer (2007)).

On that note, one thing F4 really gets right is casting.

Vanessa Kirby (Invisible Woman) is one of the finest actors of her generation, impressing audiences with intelligent, nuanced performances in films like Pieces of a Woman (2020) and on stage in the reimagined Strindberg Julie and award-winning A Streetcar Named Desire revival at the National Theatre. Pedro Pascal (Mr. Fantastic), meanwhile, has quickly gone from Baby Yoda’s mask-clad babysitter, to his generation’s new It Man, with major roles in The Last of Us, Gladiator II, and, this year alone, in Celine Song’s romcom deconstruction Materialists, Ari Aster’s deranged COVID thriller Eddington, and, here, in the tentpole superhero film for a whole new MCU Phase.

Kirby and Pascal are joined by Ebon Moss-Bachrach (Ben Grimm, aka The Thing), who’s had a similarly compelling career arc, going from memorable supporting roles on TV’s Girls, The Punisher, and Andor (the latter two fellow Disney stablemates), to starring as television’s most beloved Front of House Manager on The Bear. (And yes, F4 finds time for a cooking joke, sadly already spoiled by the trailers.) Rounding out the quartet is Joseph Quinn (Johnny Storm, Human Torch), who’s gone from a brief but memorable turn as Eddie in one of those terrible recent Stranger Things seasons, to supporting roles in Gladiator II and the recent Alex Garland Warfare.

(Let’s also pause here to acknowledge F4’s delightful house-droid H.E.R.B.I.E. (voice actor Matthew Wood), who debuted in the 1970s Fantastic Four cartoon, and looks and functions like a cross between BB-8, the Nintendo R.O.B., and R2-D2, even as he predates them all.)

Perhaps unsurprisingly, it’s Kirby who acquits herself best, bringing a degree of pathos and emotional maturity to her role as über-protective supermom – not only to her MacGuffin newborn, but to the other members of the Fantastic family. As the likes of Hiddleston have shown, it takes a certain kind of actor to sell the inherent absurdity of these comic flicks, and Kirby does an impressive amount of dramatic heavy-lifting to keep this film buoyant.

F4’s obvious affection for its era is reflected not only in the copious deep-cut comic book references – Marvel Zombies will recognise a few images ripped straight from beloved comic book panels – but in its aesthetic, which pays loving homage to sci-fi (good and bad) of the 1960s. While fans hoping for a cameo-laden free-for-fall may be disappointed, F4 does its best with what it’s got going for it, including a formidable villain in the form of the enormous – and wonderfully realised – Galactus, and an amusing sub-subplot involving the Mole Man (a perfectly cast and criminally underused Paul Water Hauser).

Another one of F4’s strengths is its sense of scale. There’s its towering Big Bad, of course, but I was continually impressed by, say, the thrilling way the camera swoops through the skyscrapers of Manhattan alongside a flying Human Torch, or the (surprisingly extensive) outer space sequences which marvellously conjure the vast expanse beyond our planet. I regularly found myself in awe of F4‘s sweeping visuals, marking the rare film that completely deserves to be seen on the IMAX screen (for which it was shot). Any worries that director Matt Shakman – a TV veteran who previously helmed Marvel’s best miniseries WandaVision – wouldn’t handle the transition to the big screen are easily put to rest here.

That said, F4 is still saddled with some of the dubious CGI which has plagued these films for decades now. Most of the movie looks good, but there are moments – particularly when any of the fully computer-generated characters like The Thing, Galactus, or Silver Surfer are speaking – when it starts to come apart at the seams. There’s also some distracting CGI wonkiness surrounding the film’s infant character, who appears to sometimes be a real baby, sometimes a digital creation, and sometimes a hybrid of both.

The Fantastic Four-inspired The Incredibles aside, it’s safe to say this is also the first proper superhero Mom Movie. Not only is Kirby the emotional anchor of the film, the arrival of her and Reed’s child winds up being the centrepiece of the story. Without spoiling too much, let’s just say that a lot of moms – and their kids – may come out of this one teary-eyed.

Following on the heels of the recent Superman, it’s also nice to encounter a film so unabashedly earnest. Our heroes here are archetypal: fighting for good, believing in what’s best in people, ready and willing to sacrifice for a noble cause. The optimism in F4 is even more pronounced than in the Distinguished Competition’s new Superman: when a key plot point in F4 hinges on total global collaboration, nations coming together in a decidedly unironic show of solidarity, you know you’re well-removed from the quippy, sarcastic stylings of Marvel past. (Not that there’s anything wrong with that, it’s just grown rather stale.)

If Marvel takes the right lessons from this, it’s that it’s possible to tell a deeply goofy story – multiple Shakespearean actors all forced to spout technobabble in the general direction of massive green screens – without needing to lampshade yourself all the time. It is, frankly, nice to just watch a film where a bunch of good, not particularly conflicted, people do the right thing and are rewarded for it.

It’s also nice that the film doesn’t waste time on the typical “grunt scrums”, largely avoiding the kind of filler fight scenes that tend to plague these films, saving the big display of the team’s powers for the grand finale. By the time that finale rolls around, it’s likely that you, too, will find yourself inescapably rooting for our heroes, alongside the team’s in-universe legions of fans. (If Marvel takes any other lessons, it’s that it’s time to ramp up production on H.E.R.B.I.E. and Galactus action figures.)

F4 ends, as it must, with a thoroughly predictable (and frankly extraneous) mid-credits scene, followed by a far more charming post-credits scene which once again leans into its retro-comic premise. We’ve been promised the Fantastic Four will next pop up in the ominously-titled Doomsday. Here’s hoping they bring some of that positive First Steps energy with them.

***
Final Score: Four (obviously) out of five reboots.

The Fantastic Four: First Steps opens in cinemas nationwide on July 25, 2025. IMAX showtimes here.

The post The Fantastic Four: First Steps (Film Review): Supermom appeared first on Toronto Guardian.

Toronto dorks seem to agree, judging by the rousing welcome given to original Scream stars Matthew Lillard, Skeet Ulrich, Jamie Kennedy, and Guelph’s own Neve Campbell, during their appearance at last week’s Expo. Joining them in the beloved celebrity category were Vancouver’s Hayden “Anakin” Christensen and key cast members of Marvel’s Daredevil, including Charlie Cox, Vincent “Full Metal Jacket” D’Onofrio, and Jon Bernthal. While the full list of superstars is too long to go through here, shoutouts too to Jason Lee (after most of the rest of Kevin Smith’s View Askewniverse showed up last year), Ralph Macchio, and none other than Sharon and Bram (RIP Lois, who passed away in 2015).

We’re hard-pressed to say which parts of Fan Expo we love more: the amazing vendors, the celebrity encounters, or the opportunity to chat with (and score autographs from) famed comic book artists.

Comic nerds had no shortage of options to choose from this year, including rare appearances from legendary comic creators Frank Miller, Jim Shooter, and Joe Quesada, and, closer to home, returning Canunck favourites including Richard Comely (creator of Captain Canuck), Steve McNiven (artist on Marvel’s Civil War), and perennial ‘con guest and Toronto artist Craig Yeung of Runaways fame. We’ve also established something of a pattern of dropping in on beloved Archie Comics artist/writer Dan Parent, creator of Kevin Keller. Across years of conventions, Parent has proven himself to be a decent, amiable guest, happy to chat with fans for whom his work has meant a great deal, particularly in the queer community.

While there were plenty of fun celebrity guests this year, but it was nice to see local boy Christensen (he attended Unionville High School) welcomed with some of the retrospective admiration he deserves, after too long as a sand-based meme. Christensen was hardly the worst part of the much-maligned prequel trilogy, and his performances elsewhere – Shattered Glass is a standout – reveal an actor of more complexity than George Lucas’s leaden dialogue and direction once suggested. With rumours of an Anakin return to the growing Disney+ Star Warsverse, we are excited to see him back on the big screen soon.

Speaking of… Toronto’s division of the 501st Legion – a Star Wars fan/charitable organization which specializes in screen-accurate costume and replicas – once again drew in awestruck crowds who queued up for photo ops with their incredible renditions of Jabba the Hutt (replete with Salacious Crumb by his tail), R2-D2, and a Return of the Jedi speeder bike. (Read more about the 501st and their charitable endeavours here.)

And then there was all the rest, beginning with the local vendors – toy stores, comic shops, game shops, cosplay guilds – and continuing on through the incredible Artist Alley, where we always wind up spending way more than intended on crochet, beadwork, paintings, t-shirts, dioramas, and a million other geek things we didn’t know we needed until we saw them.

Retrokid alone, the licensed retailer for all sorts of deeply nostalgic wear like Polkaroo t-shirts and Degrassi varsity hoodies, nearly bankrupted us last year.

While we have mixed feelings on the increasing corporatization of geek culture, the presence of some media behemoths like Paramount+ (with their Star Trek and Ninja Turtles-themed booth), Citizen (with their stellar Marvel and Star Wars-brand watches), and Sony/PlayStation (of which we are huge fans) offered welcome opportunity to play around in themed media environments.

Looking ahead, we are counting down the days until next year’s Fan Expo and the inevitable reunion of the all-Canadian cast of the original X-Men cartoon, recently renewed for a seventh season after a small gap of twenty-six years. Talk about legacyquels!

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For all things Fan Expo and the upcoming Toronto Comicon (March 2024), click here.

The post Fan Expo 2023 is a SCREAM appeared first on Toronto Guardian.

A former columnist for Radio-Canada and a TV commercial spokesperson, Sebastien has more than 2000 performances and experience in 15 Gala TV Juste pour Rire Grand Rire and Comedy Clubs, as well as 50 outdoor stages.

He has appeared at numerous Just for Laughs festivals, and even performed at Los Angeles’ famous comedy clubs: the Comedy Store and the Hollywood Improv, as well as Gotham Comedy Club in New York City. He headlined at the Cobbs San Francisco and the Punchline Sacramento.

He’s been active in Vancouver, and now Toronto!

How would you describe your comedy style?

I’m a storyteller

Who are some of your influences?

Jim Carrey and Jerry Seinfeld

Who was your favourite comedian growing up?

Growing up Jim Carrey and John Candy

Who is your favourite comedian now?

My favourite comedian now is me!

What is your pre-show ritual?

I eat a banana

What is your favourite place you have performed? Why?

My favourite place is The Comedy Store for the American dream

What is your favourite bit you have written and why were you proud of it?

Maple syrup because it’s about my roots

What is your favourite medium for listening or finding new comics/comedians?

My favourite place to meet or watch comedians is not podcasts, it is going to open mic

Do you have anything to promote right now?

Yes, I’m new in town so call me! I’m available

Where can we follow you?

You can follow me on my YouTube channel

Who is another local comic/comedian we should know about?

Himansu Patel!

The post Tragedy Plus Time: Toronto-based Comic Sebastien Bourgault appeared first on Toronto Guardian.

How would you describe your comedy style?

I’ve been told my comedy is provocative, edgy, and explicit. But I think I’m pretty damn classy.

Who are some of your influences?

My family watched mostly comedies growing up. Seinfeld and Fresh Prince were always just on. We still quote Austin Powers, The Wedding Singer, Billy Madison, and random SNL episodes (the ‘Soaking Corks’ sketch, anybody?) to this day. It made a mark.

Who was your favourite comedian growing up?

Julia Louis-Dreyfus and Adam Sandler

Who is your favourite comedian now?

Michelle Wolf, John Early, Patti Harrison, Tiffany Haddish, Steph Tolev… to name a few. They’re all so outrageous and distinct in their comedic style.

What is your pre-show ritual?

I try to get as many high kicks out of the way as possible.

What is your favourite place you have performed? Why?

Comedy Bar. Felt kind of holy.

What is your favourite bit you have written and why were you proud of it?

A sketch called ‘40+ Year Age Gap and IN LOVE’ on my YouTube channel. I enjoy playing women of a “vintage era” because if I’m lucky I’ll make it to 90 (and be in a relationship with a much younger man) like in that sketch.

What is your favourite medium for listening or finding new comics/comedians?

I love an Instagram or TikTok clip – a visual is great because physical comedy makes me cackle.

Tell us a joke about your city.

Toronto is a lot like an unstaffed escape room – no one’s here to help, the fun is long over, and I can’t get out. Bonus Joke: “We keep on waitin’, waitin’, waitin’ on the Mayor to changeeeee”

Do you have anything to promote right now?

THE DROP – a new comedy series dropping on Narcity’s YouTube Channel. I co-created the show with my pal Aisha Evelyna. We play two professional line waiters living in Toronto who are hired by the city’s ELITE to wait in line for luxury streetwear and other wild product drops. Every episode is a new line, and every line is a new adventure!

Where can we follow you?

Instagram | YouTube | TikTok

PAY IT FORWARD: Who is another local comic/comedian we should know about?

Stand-up comedian and writer Allie Pearse. I stan her! And Canadian comedic duo Amy Goodmurphy and Ryan Jason Steele. I die laughing when I watch their sketches. Just die.

The post Tragedy Plus Time: Toronto-based Comic Dani Pagliarello appeared first on Toronto Guardian.

How would you describe your comedy style?

I usually write and make dreamy things with socio-political undertones. When I extend these interests to my comedic style, I’m the most excited by satire, specifically Horatian, because I love wild worlds where anything can happen, and grounding these worlds in universal truths.

Who are some of your influences?

I love Broad City, Chewing Gum, and Veep so I’m a huge fan of people like Ilana Glazer, Michaela Coel and our Queen Julia Louis-Dreyfus. But I do think my writing style is also heavily influenced by shows like South Park and films like Idiocracy.

Who was your favourite comedian growing up?

Katt Williams.The perm. The oversized pimp suits.The cussin’. He has a special place in my heart.

Who is your favourite comedian now?

Leslie Jones, Taylor Tomlinson, and Hannah Gadsby. Also, I miss Trevor Noah and The Daily Show. The writing was always spot-on.

What is your favourite bit you have written and why were you proud of it?

I’d have to say it would be a capitalism riot scene that I wrote for the last episode of THE DROP. With use of very little dialogue, physical comedy, and concise filmmaking, we were able to not only make something batsh*t, but I think the scene really speaks to the heart of the show in regards to the lengths humans will go to acquire things. It was also quite an ambitious scene. In the lead-up to the shoot, we were all like, “How are we going to do this without stunts?”, and on the day, we were losing light fast, and it all just came together in 45 minutes, almost like magic. I’m low-key still shocked that it worked.

What is your favourite medium for listening or finding new comics/comedians?

TikTok. I have a TikTok problem. Like, it’s so bad that TikTok pushes this little “Please, for the love of god, get off the screen and rest your thumbs” cartoon at me.

Tell us a joke about your city:

Like many, I have a love-hate for Toronto housing. Like, yes, the little raccoon moans of pleasure outside my window keep me up at night, but I can pee and stir-fry at the same time. So that’s something.

Do you have anything to promote right now?

THE DROP. Go watch it on Narcity’s Youtube Channel.

Where can we follow you?

Instagram

PAY IT FORWARD: Who is another local comic/comedian we should know about?

I’m going to cheat and say my homie Dani Pagliarello. She funny. She fierce. She fine. Go follow.

The post Tragedy Plus Time: Toronto-based Comic Aisha Evelyna appeared first on Toronto Guardian.