The Marvels (2023)
Director: Nia DaCosta
Screenwriters: Nia DaCosta, Megan McDonnell, Elissa Karasik
Starring: Brie Larson, Teyonah Parris, Iman Vellani, Zawe Ashton, Gary Lewis, Park Seo-joon, Zenobia Shroff, Mohan Kapur, Saagar Shaikh, Samuel L. Jackson
Previously in the MCU: Carol Danvers became one of the universe’s most powerful beings after absorbing the energy of an exploding alien reactor. Monica Rambeau gained the ability to interact with the electromagnetic spectrum after passing through a barrier of chaos magic, and Kamala Khan—an enthusiastic teenage fan of superheroes—discovered latent, extra-dimensional powers activated by a family heirloom. These established abilities form the foundation for The Marvels, which brings the three characters together when their powers begin to entangle them across space.
When Carol Danvers (Brie Larson), Monica Rambeau (Teyonah Parris) and Kamala Khan (Iman Vellani) suddenly start switching places unpredictably across the galaxy, they are forced into an uneasy alliance. The trio must discover why their powers are linked and stop the fanatical Kree warlord Dar-Benn (Zawe Ashton) before she causes catastrophic damage in pursuit of her own desperate goals.
Casting a relatively young, buzzed-about director into the blockbuster machinery is always a gamble. Some filmmakers have retained a distinct voice after stepping into superhero franchises, while others have had their sensibilities diluted. Nia DaCosta, who previously directed the horror reboot Candyman, lands somewhere in the middle: she injects personality and darker undertones into the film, though the studio demands for spectacle and pacing sometimes blunt those instincts.
What keeps the movie enjoyable is the chemistry among the three leads. The central dynamic—an absentee aunt who carries guilt and authority, a grieving daughter with a complicated history, and an excitable young woman desperate to belong—creates a convincing surrogate family. Their interactions are warm, often funny, and emotionally grounded, and they give the film its heart. Watching these characters learn to trust and support one another provides the strongest moments in an otherwise uneven narrative.
The film sometimes squanders its premise by skirting deeper moral questions. Carol Danvers’ arc in the MCU has raised intriguing ethical issues about power and accountability, but here those themes are largely hinted at in brief flashbacks or noted near the film’s end rather than being fully explored. Instead of grappling with the consequences of godlike choices in a meaningful way, the plot spends a lot of time propelling the characters from one space set piece to another in search of plot devices. The result is entertaining but less thematically satisfying than it could be.
Visually, the movie delivers some striking science-fiction tableaux: glittering futuristic cities, awe-inspiring cosmic vistas, and large-scale planetary collapse sequences. However, a number of action beats fall back on repetitive, CGI-heavy fight choreography that can feel generic and stagey. When the directors and editors lean into more inventive staging and rhythm, the film is at its best.
A standout sequence comes early in the film: a bold, kinetic fight that gains momentum from crisp editing and sharp sense of timing. Editors Catrin Hedström and Evan Schiff orchestrate a sequence in which the three heroines are constantly shifted in and out of combat across different locations in the galaxy whenever they use their powers. That conceit not only raises the stakes—by placing Kamala’s family and their Jersey City neighborhood in harm’s way—but it also keeps the trio separated long enough to build tension and force them to adapt.
The film has lighter, playful moments that help counterbalance its heavier elements. It embraces the absurd at times—most notably with multiple Flerkens, bizarre alien creatures that look like cats and can consume almost anything—and it includes two musical-inspired interludes that break up the action. One of those sequences is particularly self-aware and likely to become a social media highlight due to its cheeky reference to an infamous pop-culture moment.
Much of the humor lands because of the actors rather than the script. Iman Vellani’s boundless enthusiasm fuels many of the movie’s funniest beats, and the familial chemistry with Kamala’s parents—played by Zenobia Shroff and Mohan Kapur—remains one of the film’s most genuine pleasures. The script could have benefited from tighter revisions and some sharper, more memorable dialogue, but the performers do enough to keep audiences engaged.
The film’s primary antagonist, Dar-Benn, is underwritten and lacks the nuance needed to elevate her beyond a typical cosmic threat. Zawe Ashton plays the role with seriousness and intensity, but the character’s motivations—often boiled down to saving a dying world by unleashing mass destruction—are treated in broad strokes rather than given the moral complexity that might have made her compelling. As a result, she functions mainly as a plot engine rather than a fully realized foil for the protagonists.
You can sense that parts of the movie may have been trimmed or reshaped in editing. There are hints that Nia DaCosta might have wanted to probe Carol’s past decisions and the moral fallout of immense power more deeply, but the final cut favors a lively, fast-moving space adventure driven by strong performances. Even so, the film does not quite cohere into a fully satisfying whole: it’s enjoyable and often delightful in moments, but it sometimes feels like a collection of high points rather than a unified statement.
Still, fans will find plenty to enjoy: the chemistry between the leads, several inventive set pieces, and a few surprises tucked into the end credits. For viewers looking for a fun, female-led cosmic romp with heart and humor, The Marvels delivers. For those who wanted a deeper meditation on responsibility and power, the film only occasionally touches on those themes.
Score: 16/24
Rating: 3 out of 5 stars.
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