Respond to these rapid questions in our Avengers Age Of Ultron quiz and we will tell you which Avengers Age Of Ultron character you are. Play it now.
The hammer-wielding superhero Thor, played by Chris Hemsworth, has a conversation with the android villain Ultron, played by James Spader, at one point in “Avengers: Age of Ultron.” Thor tells Ultron that “there’s no need to break anything.” Ultron retorts, “It is abundantly clear that you have never prepared an omelet.” When a movie hands you a metaphor like that, it’s a pleasant surprise. The second installment of “Avengers” is a massive omelet that incorporates everything that writer and director Joss Whedon has in his refrigerator, pantry, and spice rack. In the process of making this omelet, dozens of eggs are shattered. This sequel to a movie about a group of heroes who fight an intelligent and murderous robot is bigger, louder, and more disjointed than the original “Avengers” was a crescendo picture, meant to merge strands from solo superhero movies set within the Marvel Universe. This new installment, like the previous one, is also a crescendo picture. But in addition to that, it has more personality—specifically Whedon’s personality—than any other film in the franchise, which is now seven years old. And in its growing pains, you can see a future in which these corporate movies might indeed be art, or at least unique expressions, rather than monotonous quarterly displays of things crashing into other things, with splashes of personality designed to fool people into thinking they’re not just widgets stamped out in Marvel’s hit factory. This would be a significant improvement over the current state of affairs, in which these movies are merely repetitive displays of things crashing into other things.
You shouldn’t go into it expecting everything to go swimmingly, and you should be aware that there are fundamental ways in which it falls short of expectations. There is an excessive amount of “coverage” that has been over-edited by multiple cameras, as opposed to genuine direction that has intent and style. (It’s possible that the choppy, incoherent, “just get it done” feeling of some early showdowns is due to the fact that Marvel farms out the planning of its action scenes to second unit crews and special effects artists long before the actors arrive on set.) It is not until the last third of the movie that the destructo-ramas begin to develop personalities as distinct as the dialogue scenes in the film. It’s possible that there are too many characters for a movie that’s only two hours and fifteen minutes long, what with Chris Evans as Captain America, Robert Downey Jr. as Iron Man, Scarlett Johansson as Black Widow, Mark Ruffalo as the Hulk, Jeremy Renner as Hawkeye, and Thor as the Asgardian god of thunder. There are also a number of supporting and cameo players, as well as several new leads, such as the twins Quicksil (Whedon’s pre-release cut clocks in at more than three hours; is this possibly one of those rare instances in which a longer version is preferable?) Black Widow is involved in yet another relationship with a male Avenger, and she is burdened with a tragic backstory equating motherhood with womanly fulfillment. Scarlet Witch has some pleasingly Carrie-like rampages, but she isn’t given enough to do. The film will do nothing to quell complaints that the superhero genre is sexist.
In spite of this, it is difficult to imagine that “Age of Ultron” will be able to solve any of these issues in a straightforward manner given the band-of-heroes premise and the mandate to serve as a high point in an ongoing meganarrative. Whedon also manages to refine the personalities of the main players and set them against each other, often in logistically complex conversations involving five or more people; these are action scenes of a different kind. This is similar to what he did in the first “Avengers,” which was also overstuffed.
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The most important characters in this story are Captain America and Tony Stark/Iron Man. They’re always more intriguing when set against each other than when they’re claiming the spotlight in their own movies, but Whedon, who also serves as a consultant and dialogue polisher on other Marvel entries, has taken their conflict a step further by drawing on events in “Iron Man 3” and “Captain America: The Winter Soldier.” They’re always more intriguing when set against each other than when they’re claiming the spotlight in their own movies. Stark is the one who, in response to the trauma he sustained while fighting Thor’s brother Loki and his extraterrestrial allies in the first “Avengers,” is the one who comes up with the idea for the main antagonist and enlists the reluctant assistance of scientist and part-time Hulk Bruce Banner. The purpose of Ultron is to operate much like Skynet, an artificial intelligence network, in that it is designed to identify potential apocalyptic dangers and eliminate them as quickly as possible. In the second installment of “Captain America,” Cap witnessed the horrifying consequences of this way of thinking “in which millions of purported terrorists were killed without due process of law by S.H.I.E.L.D. in an operation that took place simultaneously across the globe. Both the Ultron project itself and the fact that Stark started it in secret because he “didn’t want to hear the’man-is-not-meant-to-meddle medley'” from his fellow Avengers disgust Captain America. Stark started the project in secret because he “didn’t want to hear the’man-is-not-meant-to-meddle medley'” He had every reason to be concerned. The creature, similar to many science fiction robots or Frankenstein’s monster, has a unique perspective on what constitutes a threat (spoiler alert: it’s us).
Avengers Age Of Ultron Quiz
All of this makes “Age of Ultron” a metaphorical working-through of America’s War on Terror, with Captain America representing a principled, transparent military, answering to civilian authority, and Stark as the more paternalistic military-industrial response to 9/11 type threats, treating the masses as disobedient children who aren’t allowed a voice on the grounds that all they’ll do is squabble and point fingers while the enemy-of-the-moment gathers strength. Both parties are making accusations of hypocrisy against the other. Cap warns Tony that “every time someone tries to win a war before it starts, people die,” a not-so-veiled slap at post-9/11 American foreign policy, while Ultron chides Cap as “God’s righteous man, pretending you can live without a war,” a comment that indicts the United States of America itself, if you read Cap as a beefed-up version of Uncle Sam. Some of Whedon’s dialogue has the Ultron, on the other hand, is yet another illustration of blind trust in technological advancement. He imagines himself to be a robot deity and fashions other, smaller robots in his own image (all of which speak in Spader’s voice), but in reality, he is the hedonistic God of “King Lear,” a wanton boy swatting flies for sport.
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In spite of its many flaws, “Age of Ultron” is an impressive film. If it is a failure, as many critics insist, it will be a failure similar to Ang Lee’s “Hulk,” “Superman Returns,” or “The Dark Knight Rises,” which is to say that it will be significantly more distinctively personal than the majority of the superhero movies whose titles are synonymous with success. There are moments in the film that are reminiscent not of other Marvel spectaculars but of television shows created by Joss Whedon, such as “Buffy the Vampire Slayer” and “Angel.” In those shows, the entertainment came from watching heroes and villains who were aware of themselves as heroes and villains work through psychological issues while trading screwball comedy dialogue in addition to body blows. These moments can be found in the movie as well. This film, in its own lumpy-porridge way, makes a better case than any other Marvel picture for the idea that multi-million dollar budgeted, CGI-festooned slabs of multimedia synergy can also be art, provided that they are created by an artist with a vision, and that artist appears to be in control of at least part of the production. (I say “part” because Whedon is on record suggesting that the production of this movie crushed his spirits; that could mean that what we’re seeing onscreen is the best he can do, taking into consideration that the true auteurs of the Marvel films are executive producer Kevin Feige and his marketing department.)
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Moments of pathos, splendor, sentiment, and operatic horror are interspersed among the usual quota of quips, lightning, robots, and explosions. There is dialogue that is worthy of being quoted, delivered with the deadpan camaraderie of Howard Hawks ( “Bringing up Baby,” “Rio Bravo’), and scenes that evoke earlier classics without feeling too obviously like homages to those films. Bringing up Baby; Rio Bravo; and scenes that evoke earlier classics. Black Widow interrupts Bruce Banner’s Hulk-outs by holding up a slender hand with slightly curved fingers, and after a moment of hesitation, the green giant reaches out in kind, like a curious ape touching his reflection in a fun-house mirror. The interaction between Black Widow and her former sweetheart, Bruce Banner, channels King Kong. In a lyrical slow-motion set piece, the Avengers fight waves of Ultron’s android minions in a ruined cathedral. This scene is reminiscent of the Bishop gang defending against Mapache’s army in “The Wild Bunch.”” The circular camera movements are repeated in the film’s credits sequence, which depicts the protagonists and antagonists of the movie as figures in a classical sculpture called Marvel in marble. The design details are excellent. Ultron’s expressive face is made up of thin plates that overlap one another, giving the impression that it was inspired by the work of Jack Kirby more than any other Marvel character.
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Certain lines hint at the connection between the horror genre and the superhero genre. One of the characters concedes, “Perhaps I am a monster.” “I can’t say for certain that if I were one, I would know.” Conversations and monologues explore the dynamic relationship between chaos and control, as well as creation and destruction, which is the engine that drives not only action movies but also life itself. Ultron utters the following phrase: “When the universe starts to settle, God throws a stone at it.” The manner in which Whedon incorporates criticism of the superhero genre’s lack of interest in property destruction and civilian casualties (displayed most callously in “Man of Steel”) into the plot is both the most surprising and the most welcome of all of his choices. The Scarlet Witch scolds Ultron, saying that he cannot differentiate between the two goals of “saving the world” and “destroying it.” “Do you think he gets that from somewhere?”
It is absurd to consider Marvel, Whedon, or their combined fan base to be underdogs in this competition. This entry will make a fortune regardless of what anyone says about it because superhero films are now practically the official culture of the United States, and they were once a genre that was only popular among a small subset of moviegoers. However, even if people buy tickets out of routine, I still have hope that they will recognize that there is, in fact, art taking place on the screen, perhaps for the first time since Marvel began its conquest of the American film industry. “Age of Ultron” demonstrates that a movie with stealth fighter jets, levitating cities, and Hulk fighting robots can still have the same amount of creative freedom as a low-budget independent film. It’s a shame to think that this movie will be criticized for its flaws rather than lauded for attempting to demonstrate that a rigid category can be molded into strange and unexpected forms, but it seems likely that this will happen.
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