It’s becoming increasingly clear that Phase 4 of the Marvel Cinematic Universe has opted for a diversified proposal that seems less concerned with responding to expectations than testing new possibilities. ‘Shang-Chi and the Legend of the Ten Rings’ by Destin Daniel Cretton rescues classic characters from Steve Englehart and Jim Starlin and brings them to a story with a mythological overtone not much different from what we can see today on Chinese billboards.

It’s no surprise that Marvel has chosen an oriental character to make it a unified film, in a move that follows the latest trend of its cinema designed for the Asian giant screen. If last year they tried ‘Mulan’ in their live action version, this has played ‘Stripe and the last dragon’ in its 3D animation faction and finally, now it hits Marvel’s head. The international ticket office opening code is written in Chinese.

Amazing Asian martial arts and fantasy cinema show
Marvel Studios’ formulas over the years have adapted different genres to their own formats. Atomization tends to project its base material onto other archetypes to eventually bring them all to the same target. ‘Shang-Chi’ isn’t that far from the recipe, however, the shot is so far east that we can talk of the company’s film furthest from its farm, showing more like the original model than the regular machine. factory imitation.

The operation is to use the codes of Asian entertainment cinema to incorporate it into the origin story of a new superhero. In this universe, he is considered an engineering star to the point of creating power-giving suits like finding your Chi deep in a cave to end up at the same point. Ended shooting rays. But on this journey we have time to explore urban kung fu cinema, learn the secrets of the soul of Wuxia cinema and finally resurrect mythological creatures from fantasy cinema heir to Tsui Hark.

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Destin director Daniel Cretton embraces the spirit of Chinese blockbusters to carve out a spectacular new take on superheroes rooted in Eastern mysticism, martial arts cinema, and the least-known house comics, so you can find action scenes on the bus worthy of Stephen Chow, –the best of this film, without a doubt– to the scaffolding battles that can appear in Jackie Chan one to the general plot that can be reminiscent of ‘The One’ (The One, 2001).

Awkwafine robaescenas
It’s all crowned with a more solemn and closer-to-cinema Zhang Yimou third act that makes everything seen in ‘Mulan’ pale – only the lively prologue is better than that one – and with a grisly dessert that brings it closer to the eighties. which is fantastic, although it leaves too much in common with ‘Raya’ so it doesn’t all end with the sometimes feeling like variations of the same template “make your American movie with Asian roots in 12 convenient steps and some dragons”.

In the same package emerges the biggest hole of the whole, an overexposure of details from Shang-Chi’s past that are remade each time, not without the odd structure of peeling onions, but definitely overdoing it in the accumulation of shattering flashbacks that are otherwise remarkably solid and unrhythmic. some of it is hard, because besides the seriousness of the family problems there is some house-brand humor that makes this film rise and we forget that there are times when things are taken too seriously.

And the heart of the film lies in some very well written characters, with Awkwafina being brilliant and stealing great views and discoveries from Simu Liu as the protagonist. The two work with on-screen chemistry and make for an unexpected pairing that makes you forget about minor mismatches in rhythm, or other characters that just don’t fit the bill, like Xialing. To compensate, there are a few surprise appearances that demonstrate the script’s formidable ability to embrace the absurd.

Marvel’s formula at its best
And the delirium they achieve with certain characters allows us to clearly see how Marvel knows perfectly how to craft a series of jokes that serve as fuel for the show’s great action and scenes to overlap in the exalted state that the studio has so well for sure. It becomes easier to look at the scaffolding, but the truth is that they never stop working, offering solid entertainment that we can define as normal with any other sauce, but they know how to do the ordinary too good for trouble.

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With some original postage denominations, such as two post-credit sequence , there are a number of burdens weighing on this phase 4, such as indolence to routine special effects use. There’s no shortage of CGI bathrooms that end up giving the impression of an up-to-date collection of small libraries, such as the all too common strings of rays and the “burning coal” FX that leaves a lazy impression in the visuals. after the climax of squirting pregnant and overdose of golden halos in ‘Wandavision’ and ‘Loki’. The urge to create the same style in all films began to be resisted.

But ‘Shang-Chi and the legend of the ten rings’ manages to evade many other public places thanks to its faithful approach to its references, achieving the freshest and most exhilarating Marvel show since ‘Avengers: Endgame’, and making its commitment to the unknown set the tone for certain key risks. to defend the house of cards, recovering some of the magic of pulling the bunny out of an unknown hat that has operations like ‘Iron Man’, and it deserves more attention than the sequel mechanical trailer of one of the worst films of its filmography.