#I'm sorry if this feels scathing I mostly focus on that one thing that annoys me. there's a lot to love here

[legionofpotatoes]

Thoughts on black panther 2 under the cut

The movie is an open wound for better and worse. It's a beautiful, raw lament on grief that hits like a brick and operates with deft grace when it comes to that fickle diegesis of what happened IRL vs what the characters struggle with in context of the story. The bookends, especially, work very-very hard to shed the trappings of genre and get to the very heart of grief, of finding a way through it and into a form of catharsis both bitter and liberating. Coogler's direction and choices are incredible in these moments; he's reaching impossibly deep into parts of us that are vulnerable and tender, ready to trigger and unbalance at a moment's notice, frightened at being touched; yet he cradles them gently, guiding us through his pain with grace and comfort, never letting us down with even a single false note or misstep. In these moments, the promise of cinema feels fulfilled.

It becomes clear that Coogler is a master at reinterpreting his own humanity into a filmic experience without losing a single thing in the transition. The type of storyteller entire nations should cherish.

In-between those bookends though, we have the story proper. We see the depths of unprocessed trauma driving people and nations apart. The narrative ping-pongs between some plots that share in this ethos and others that do not, ending up in a wonky edit that still works in the moment despite itself. The story, however, in its attempts to weave grief into a meaningful plot catalyst, ends up in such murky waters that my face heats up remembering it. It's something of a peeve of mine at this point, and I really hoped not to see it here.

But first, some of the good: it undoubtedly tells a story that gets very dark very fast, and editorial rewrites are welcome additions; riri williams and the hydra lady are clear additions to balance out the tone of the primary conflict with some MCU charm, a move that seems regrettable on paper but ends up something of a saving grace for the fucking runtime (there is a version of this story you can competently tell in less than 2:40 hrs, I'd stake my life on it). And they mostly work! Riri is a delight, Okoye gets an incredible range of emotions to play with, M'Baku rules as expected, and the US stuff is negligible. And as difficult as it was to watch miss Anti-Vaxx Supreme wear the black panther suit and talk about science, her acting chops were annoyingly above reproach. And truth told the dramatic weight of the filmmaking overpowered my real-world biases more times than I expected, so that's something I guess.

The presentation is similarly stunning. The DP finds incredibly visceral ways into intimate moments that are impossible to look away from. The music soars, quietly elevating but never taking control of the rhythm, something that's often a death knell for drama but not in Coogler's capable hands. They introduce new sounds and instruments to the palette, creating a trance of leitmotifs that inspire awe and reverence. The set design, the props, the costumes. My god the costumes are a feast to drink in and appreciate. I would selfishly hope for the camera to linger on them just a few seconds more. The audio-visual artistry is firing on all cylinders.

Which is why what irked me the most falls squarely outside of them and smack-dab on the story department.

Namor and Talocan are, once again, triumphs of character and set design, but his story is yet another in a long line of ugly decisions by the MCU to portray anti-colonialist sentiment as almost inherently genocidal. They're just all murderous autocrats, these pesky indigenous folk whose feelings got hurt that one time. And I know this isn't like, super evident in the noise of the film's plotting, but looking back in hindsight it does drive me up the wall. Knowing that they pulled that shit again.

Let me defend myself a bit here. I get the writing instincts, I'm not stupid. It's a baseline flaw in Namor that needs to be foiled and tempered by Shuri so his own unprocessed grief can end the death march he has set his nation on. It's a starting point, of course it is, I'm not about to launch into the semiotics of behavior modeling in media, down that road lies madness. But like, I'm sorry; the optics of heightening the stakes due to his childhood trauma are still weird as hell when seen in all of their loaded context, in the entire breadth of their start and end points. There are ways of ferreting a gentler conflict of character out of that predicament. Why flip him into evil tyrant mode again? Why do that. Who benefits from doing that. Whose feelings are being carefully protected when doing that. The moment they arrived at his ultimatum I visibly winced in my seat. Again. They did this again.

Why go for this centrist parable when you've done it once already? And pulled off a minor miracle in not making it overtly gross? Why tempt fate twice? I'm not gonna spell it out, but it is evident that the true nuance of these narratives remains a real tough sell for the mouse house.

It sucks even worse here because there really are those ample grounds for personal, character-centric conflict to drive the plot, but instead we see hints of it until suddenly we get killmonger 2.0 with even less thematic clarity and direct engagement with the protagonist's flaws. Another progressive ruler *incidentally* obsessed with mass murder, going against a girl refusing to process her grief and meeting his violence halfway. And sure, yeah, their individual traumas are expositioned multiple times, they exchange philosophies, arrive at the root of their conflict, yada-yada... and then they punch about it. Nothing is learned, nothing is gained, one of them eventually strong-arms the other long enough for them to have unmotivated flashbacks, and then some both-sides bullshit argument gets made and everyone kisses and makes up.

Licking the boot of the status quo while wearing the aesthetics of African brilliance and Mesoamerican perseverance. I don't know, man. Maybe I'm out of line but it genuinely sucks. And I understand what the greater, out-of-text meanings of seeing this alliance be forged on screen can be, I don't deny that incredibly valid read. It's just how we get there, and with what. The optics. It's the progressive tyrant, again. Can we fucking not anymore.

We all know what you are saying with this.

(a tiny side complaint irt to this whole issue is an unfortunate failure to show-not-tell Talocan's allegedly unbeatable military might - their water superiority is not in doubt, but betrays unremarkable adaptability to their opponents. killmonger articulated specific plans to smuggle undetectable vibranium tech to saboteur cells around the world before inciting his hostile takeover. No such plan is clearly stated by Namor, no scalable ground-level threat is demonstrated, and it ends up feeling like his crusade is doomed both in ethos and feasibility - further diminishing his image by tacitly portraying him as incompetent and incapable of tactical foresight. this is a nitpick, but can compound the flaw in some cases)

Ultimately what is most regrettable here is that the rest of the movie fucking rules. Truly. The film oozes love and reverence for Boseman and it bleeds into every nook and cranny of camera language and musical cue. It looks and sounds gorgeous. The levity is partitioned out of its essential moments where sadness is present and needed; and Coogler is hurting bad in the driver's seat, it is as palpable as anything happening to the characters, so where he then arrives at the end feels like a true multi-faceted catharsis bringing a smile to anyone with a heart.

It's an open wound. And we all know what it's like to have one of those.

Just wish it showed better craft at placing that wound within the tale of a nation.