Preamble

As I sit here and write these words, I realise that this is one of those few times when I have writer’s block. So, dear reader, the following blog post is as much of a white knuckle ride for you as it will be for me. It’s likely because First Steps was my most anticipated movie of the year, or I don’t have much to say. Time will be the judge and jury on that score. With that said, have you seen Fantastic Four: First Steps? Let me know in the comments below.

Review

From a bonkers, unofficial Roger Corman-produced effort to the body horror-inspired 2015 reboot, Fantastic Four has had the worst luck when it comes to gaining silver screen prestige. This has been compounded by The Incredibles, which took the premise of a familial superhero team and delivered a jolting movie about middle-aged malaise, fanboy culture and exceptionalism. In fitting fashion, the 4th time is indeed the charm. The MCU’s debut of Marvel’s First Family is an engrossing effort that delivers in its family dynamics and imaginative cosmic scale.

The 2025 movie depicts the superpowered team 3 years into their careers as protectors of the Earth. However, life becomes harder for the team when, on the domestic front, Sue Storm (Venessa Kirby) and Reed Richards (Pedro Pascal) are expecting their first child. This happens amid an alien visitor – Silver Surfer (Julia Garner), heralding the arrival of a cosmic being, Galactus (Ralph Ineson), who intends to devour the Earth.

Much like WandaVision used a specific era of Americana to explore potent issues such as grief and power, First Steps uses the trappings of a retro-futuristic ’60s to fuel its drama and themes. In this case, the positive and pristine picture of America is akin to The Original Series of Star Trek, whereby humanity is inherently optimistic that it can resolve any difference, war, or problem that plagues the planet. At the same time, this TOS quality extends to the central drama of the movie, which is whether or not Sue and Reed sacrifice their child for Galactus to overlook their planet and, in turn, spare humanity.

On the one hand, this central moral conundrum matches the format of a TOS episode where there would be an ethical conflict or philosophical quandary that would be solved by Kirk, Spock and Bones, who represent different aspects of the human mind, etc. In First Steps, this exploration leads to a community’s broad definition of family in which the Fantastic Four feel responsible for everyone on Planet Earth as extensions of their own family. In this sense, there are also parallels to Star Trek, insofar as the team represents Earth, much like the original crew in TOS, in terms of their Five-Year mission, etc. This is illustrated in a plot point where Reed and his team leave the Earth to find and negotiate with Galactus and the Surfer.

The conflict also leads to drama about the notion of raising a superpowered being whose future is particularly uncertain. There’s great emotional truth in sequences, particularly a scene where Reed decides to stop studying baby Franklin because he believes it’s better to see how he turns out as opposed to analysing and predicting his powers. At the heart of Reed’s arc is his declaration that “Nothing will change” regarding Franklin. As a starting point for a metaphor about parenting, it’s solid. However, it could have been finessed to affect the entire team as opposed to just Reed and Sue.

And this ties into my central criticism of First Steps. Whilst I appreciate that it’s in its own bubble compared to the rest of the MCU, it could have been bolder in some of its storytelling because it’s so insular. The film exists on a strange line between breathless (in its world-building) and sometimes belaboured in other aspects. The result is that the stakes feel personal but not global because we don’t see enough of the world.

This is a shame, as First Steps feels like the most lived-in comic book movie since Watchmen. The set design is elaborate and detailed, with areas such as Ben Grimm’s school having a realistic texture. This is complemented by the use of scale, which makes the cosmic threat feel tangible. From Galactus’s Kaiju-esque towering presence to the Surfer’s balletic movements, First Steps does not skimp out on its galactic entities. In this regard, the movie feels like a loving tribute to Jack Kirby’s artwork that often shone with an enchanting power. Matt Shakman (primary director of WandaVision) also commendably depicts this scale in the filmmaking, whether it’s long shots of the Surfer’s movements or medium shots where Galactus’ body parts take up the entire frame. Also, like WandaVision, Shakman plays with aspect ratios and film format to immerse the viewer in the retro world (such as an early montage in grainy 16mm).

Despite having some initial rough scenes, Pedro Pascal won me over as Reed because of the quiet intensity he brought to the role. He’s often the person who comes up with the least popular answer to a moral problem, and Pascal’s reluctance to articulate that felt unique and human. Pascal is matched by Vanessa Kirby, who brings a grounded poise to Sue Storm and arguably is the soul of the quartet. Ben Grimm gets the least on the page, but Ebon Moss-Bachrach has a salt-of-the-earth charm that gives a lot of his scenes a genuine weight and pathos. But Julia Garner steals the show as the newly interpreted Silver Surfer, whether reflecting on her almost sensual movements or forthright vocals that have a semblance of tragic resignation. It does not hurt that the silver-coloured being has a haunting theme by Michael Giacchino, whose use of choral elements provides the film with its optimistic and imaginative punch.