At some point during the seemingly interminable carousel of trailers prior to “Avengers: Infinity War,” a thought occurred to me: I should probably do a quick Google to see if there’s any information I need to know before the movie starts. I’d done the legwork of seeing the previous installments (“Thor: The Dark World” excepted because everyone tells me I didn’t miss much), but they linger in my system like a flat, lukewarm draft beer in a plastic cup. As Marvel click-chasing as the Internet is these days, there was plenty of service journalism on page one to fill me in.
The more I read, the more I saw information about infinity stones. What they were, who had them, what happened the last time we saw one. I’m not such a passive viewer that I had no concept of these whatsoever, but, to be honest, I had stopped giving them much thought a few years back. Infinity stones were like excess information from a high school history lecture – you have some vague sense that these tidbits might show up on the final but not enough to scare you into paying full attention.
Imagine showing up for the final and having it be only those bits of knowledge you considered superfluous. That’s “Avengers: Infinity War.”
The analogy actually doesn’t fully compute because it puts far too much responsibility on me, the audience member, for keeping up. Over the past five years, after correctly sensing the audience could sense Marvel’s formula, head honcho Kevin Feige implemented a new strategy to avoid brand complacency. He brought in accomplished directors with a real sense of style and personality – no offense to Favreau, Johnston and others who can clearly helm a solid studio action flick. A handful of rising talents got the chance to play with a massive toolbox to make largely personal films on nine-figure budgets. Better yet, they essentially got to treat these infinity stones like MacGuffins, items whose actual substance matters little since they serve to move the plot and provide a goal for the hero.
Think about these films from late phase two and early phase three, as the canonically-minded Marvel fans would say. James Gunn’s “Guardians of the Galaxy” films aren’t memorable because of their quest for Power Stone; they’ve endured because of the joyous rush of a stilted man-child who gets to live out his Han Solo fantasies to the tunes of his banging ’80s mix-tape. Ryan Coogler’s “Black Panther” has far more interesting things to say about black identity, heritage and responsibility than it does about the Marvel Cinematic Universe. Taika Waititi was still playing into the future of the studio’s master plan, yet he got to toss out much of what had been done with the God of Thunder in “Thor: Ragnarok” and cast him like the offbeat protagonists of his Kiwi comedies to find humor and heart where there had previously been little.
“Avengers: Infinity War” is a feature length “Well, actually…” from Marvel. The Russo Brothers are here to deliver the bad news that those infinity stones were actually the only thing that mattered the whole time. Silly you for thinking the studio cared about things like artistry and personality!
Earlier this year, I had the distinct pleasure to attend the Student Symposium at the 
There are many people who romanticize the European model of making films, and Tyldum is not one of them. He admitted to favoring the honesty of Hollywood filmmaking over the pretentiousness of the Scandinavian system. Tyldum also lamented the way it was suspicious to make a commercially successful film in his home country, so no wonder he wanted to get out – “Headhunters” is the 
And critics of “The Imitation Game” have been quick to take the filmmakers to task for whitewashing or downplaying Turing’s sexuality. Seemingly in response to these criticisms, Tyldum highlighted the richness of the story and just how many distinct angles and interpretations that different filmmakers could extrapolate from it. While some might see it as an opportunity for a LGBTQ message or a lesson on science and math, Tyldum stated that he saw the movie as “about how important it is to listen to people who are different.”
I’m a firm believer that there are some source texts that are absolutely impossible to botch, provided they keep the main narrative intact. Tracy Letts’ play “August: Osage County” belongs in such a category.
Marshall and the Movies 
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