By Alex McPherson

Overstuffed and overlong, yet retaining a strong emotional core, director Ryan Coogler’s “Black Panther: Wakanda Forever” ultimately plays it safe, for better and worse.

“Wakanda Forever” faces the difficult task of paying tribute to the late Chadwick Boseman, while continuing the story of Wakanda and its people (along with, of course, setting up future installments and spinoffs). Indeed, Coogler’s film starts off on a solemn note and maintains a decidedly down-beat tone throughout.

T’Challa’s sister, tech-genius Shuri (Letitia Wright), tries and fails to save him, as he succumbs to an unnamed illness. This infuses her sorrow with a sense of guilt, responsibility, and rage. T’Challa’s sudden death casts a long shadow over Wakanda, catching everyone off-guard and sending their nation into a state of uncertainty. Queen Ramonda (Angela Bassett, in a towering, fiery performance) leads the nation through a period of intense mourning. She navigates her own grief and contends with violent geopolitical pressures to share Wakanda’s precious resource, Vibranium — used to fuel Wakandan technology — with the outside world.

However, Wakanda isn’t the only civilization to possess Vibranium. The CIA and US Navy SEALS utilize a newfangled Vibranium-detector to locate some in the Atlantic Ocean — only to be attacked by a group of blue-skinned Mesoamerican warriors called “the Talokan,” who ride into battle on whales, singing melodies that lure victims to their deaths. They’re led by Namor (a formidable, albeit goofy-looking Tenoch Huerta), bare-chested and with wings on his ankles, who is furious that the surface world encroached on his territory. Wakanda is blamed for the attack, and Namor blames Wakanda for revealing the existence of Vibranium to begin with. He issues Ramonda and Shuri an ultimatum — bring him Riri (an amusing though somewhat one-note Dominique Thorne), the Gen-Z MIT student responsible for creating the Vibranium-detector, or Wakanda will be targeted by the Talokan.

All the while, CIA agent and ally of Wakanda Everett Ross (Martin Freeman) learns that the CIA is planning to seize Vibranium to develop weapons for the US military. 

As these various plot threads collide and intersect, the situation gets out of control — leading to plenty of action set pieces, a heavy sprinkling of exposition dumps, and a welcome dollop of melancholic reflection for good measure. “Wakanda Forever” is busy, to say the least, nailing some targets while missing others. Thankfully, Coogler honors Boseman’s memory and his larger cultural impact — foregrounding concepts of loss, acceptance, and hope that shine through otherwise formulaic beats.

Like 2018’s “Black Panther” before it, “Wakanda Forever” establishes a stylistic identity that separates it from other films in the Marvel Cinematic Universe. Wakanda is a vibrant, Afro-futurist metropolis, filmed with clarity and scale by cinematographer Autumn Durald. Inspired by various African cultures, Hannah Beachler’s astounding set design pops off the screen, as do the costumes by Ruth E. Carter, underscoring the characters’ regality and commanding auras, matching the mood of each scene, be it funereal or explosive.

The Talokan’s underwater kingdom is vividly rendered, although heavy on CGI. Still, the Talokan don’t look as formidable as the Wakandan Dora Milaje, led by a fearsome Okoye (Danai Gurira, thankfully given a more defined character arc this time around), who continue to showcase badass weapons and fight choreography like the first film. Ludwig Göransson’s score pulsates with booms and sharp vocals, beautifully complementing the numerous action scenes and lending further gravitas to the powerful, largely women-led ensemble. 

The film’s rich tapestry of sights and sounds is matched by effective performances that elevate the proceedings to new dramatic heights. Boseman’s loss is felt acutely here, as viewers can sense the sadness of not only the characters, but also the actors portraying them — particularly Bassett and Wright.

Bassett is the standout here, bringing a fierce, tormented energy to Queen Ramonda that emphasizes the character’s bravery and brashness, a leader facing tough decisions pitting her heart against her head. Shuri is coming to terms with T’Challa’s loss, becoming a valiant leader herself, and reckoning with what kind of legacy she wants to leave behind for Wakanda and the larger world — poignantly acted by Wright, who capably shoulders the film’s quieter sequences and the bombastic ones. Winston Duke provides the bulk of the comedic relief as M’Baku, a burly lad with more depth than expected.

Namor, played by Tenoch Huerta

Huerta gives Namor his all, bringing charisma and understated menace to the role. It’s too bad, however, that Namor’s backstory is relegated to rushed exposition. His motivations are understandable — colonial forces wronged him and his Mayan culture long ago, and he will do whatever it takes to protect his people and assert dominance — but don’t hit home with much force. By attempting to make him a sympathetic antihero in such a hurried fashion, “Wakanda Forever” sacrifices nuance, but at least Coogler’s trying to add some complexity to the character.

This issue extends to other elements, too. Even with a gargantuan, 2-hour-and-41-minute runtime, Coogler’s film doesn’t give its numerous plot points enough time to breathe — save for scenes dedicated to honoring and remembering Boseman’s portrayal.

The CIA thread involving Freeman lacks any sort of punch, and the film sidelines the more provocative topic of US imperialism in favor of superhero clichés in the deafening finale. Similarly, the action scenes — except for a thrilling vehicular chase — aren’t especially memorable, overusing weightless CGI and slow-motion to sometimes comical effect. This muddled approach makes “Wakanda Forever” exhausting when it should be thrilling.

But this is an MCU film above all else, and “Wakanda Forever” checks every box that its overcrowded genre dictates. There are glimmers of a truly special, meaningful film that isn’t realized, but Coogler succeeds enough where it counts, and provides a satisfying salute to an impressive world of warriors and a cinema icon lost too soon.

Danai Gurira and Angela Bassett

“Black Panther: Wakanda Forever” is a 2022 fantasy action-sci-fi-adventure directed by Ryan Coogler and starring Angela Bassett, Letitia Wright, Tenoch Huerta, Lupita Nyong’o, Danai Gurira, Dominique Thorne and Winston Duke.  Rated PG-13 for sequences of strong violence, action and some language, it is 2 hours, 41 minutes’ long. It opened in theatres on Nov. 11. Alex’s Grade: B

By Lynn Venhaus
Visually engaging and girl-power savvy, “Black Panther: Wakanda Forever” is at its most heartfelt grieving for its king, and the larger-than-life actor whose absence is deeply felt.

After the untimely death of King T’Challa’s death, Queen Ramonda (Angela Bassett), Shuri (Letitia Wright), M’Baku (Winston Duke), Okoye (Danai Gurira) and the Dora Milaje fight to protect their nation from intervening world powers and a hidden undersea nation. They work on forging a new path for the future of Wakanda.

There is so much goodwill for the cultural phenomenon that is Marvel’s first black superhero and the groundbreaking big, bold spectacle released in 2018 to universal acclaim, that it’s unfortunate the sequel suffers from sensory overload.

Technically, it’s dazzling, and the same elements that were so noteworthy in the first – seamless state-of-the-art visual effects, the cultural rhythms in Ludwig Goransson’s score, breathtaking production design by Hannah Beachler and costume designer Ruth E. Carter’s striking looks retain their grandeur.

New cinematographer Autumn Durald Arkapaw, an Emmy nominee for Marvel’s “Loki,” showcases fictional Wakanda’s natural beauty and makes the panoramic vistas shimmer.

At the 2019 Academy Awards, “Black Panther” won three Oscars – first ever for Marvel Studios — and also made history for Carter becoming the first African American woman to win in costume design, and Beachler, who was the first woman of color to not only win for production design but to be nominated. Goransson won for his score.

Lupita Nyong’o, Letitia Wright

With his keen eye for nature and scientific wonder, director Ryan Coogler is also mindful of presenting Wakanda’s customs and heritage as something very special.

Because the original was a game-changer, it was such a joyous experience along with other awed moviegoers. But now, after Chadwick Boseman’s tragic death from colon cancer in August 2020, the void is overwhelming and casts a large shadow over the film.

Coogler, who co-wrote the screenplay (and original) with Joe Robert Cole, offers a fitting tribute to Chadwick as T’Challa throughout the film, using footage of the actor in all his regal glory. That loss is inescapable – and the sadness is conveyed in the film’s characters, the actors playing the roles, and touching the audience.

It’s as if the film has the weight of the world on its shoulders and can’t transcend the reality that they were faced with in making the follow-up.

Then, there is the mammoth plot Coogler and Cole have crafted, turning the sequel into a very busy geopolitical thriller. To preserve their nation’s currency that is Vibranium, the royal family and warriors go to great lengths to protect their country. They must deal with shady U.S. operatives and a hidden under-the-sea nation not unlike the Aquaman lair.

As the enemies and conflicts become very complicated, it’s a chore to watch massive CGI battles with only perfunctory character interaction and only a smidgen of humor, especially for its 2 hours, 41 minutes runtime.

Tenoch Huerta

Nevertheless, the cast is strong top to bottom, with the spotlight on the extraordinary women. In fact, it might be the greatest advertisement for women to pursue STEM careers ever, showcasing their big brains using technology to solve problems and advance heroism.

In a much larger role, Angela Bassett is superb as smart and strong Queen Ramonda, with fearless Letitia Wright meeting her moment as brilliant scientist Shuri, a very different kind of princess.

Other forces to be reckoned with include fierce Danai Gurira as Okoye, resilient Lupita Nyong’o as Nakia and the new character, Dominique Thorne as Riri Williams, an MIT math whiz and innovative inventor.

Also impressive is Tenoch Huerta as Namor, the underwater kingdom ruler.

It goes without saying that you must stay for the additional scene after the first batch of credits, and yes, there are some surprising twists revealed throughout.

While the sequel seems to be more of everything, including its overstuffed plot that has three separate storylines colliding in messy fashion, it is still riveting.

Being an action-adventure based on a Marvel comic book has formula limitations, but “Black Panther: Wakanda Forever” surmounted the challenges faced by Boseman’s death as best it could. It’s just facing the harsh reality of T’Challa’s demise that brings it crashing down to earth. 

“Black Panther: Wakanda Forever” is a 2022 fantasy action-sci-fi-adventure directed by Ryan Coogler and starring Angela Bassett, Letitia Wright, Tenoch Huerta, Lupita Nyong’o, Danai Gurira, Dominique Thorne and Winston Duke.  Rated PG-13 for sequences of strong violence, action and some language, and 2 hours, 41 minutes’ long. It opens in theatres on Nov. 11. Lynn’s Grade: B


By Alex McPherson

“Mangrove,” the first installment of director Steve McQueen’s “Small Axe” anthology series, is harrowing, inspirational, and relevant to our modern social climate.

McQueen’s film focuses on the events leading up to and including the 1970 trial of the Mangrove Nine in London. Entrepreneur and Trinidaddian immigrant Frank Crichlow (portrayed by Shaun Parkes with emotional nuance) opens a business in Notting Hill called the Mangrove, intent on providing good food and better vibes without attracting unwanted attention. The restaurant soon becomes a popular community hub, especially for West Indian individuals.

Unfortunately, the local Police Constable Pulley (Sam Spruell) harasses both Crichlow and other people of color with malevolent glee — ordering several destructive raids on the Mangrove in the process. Played with blood-boiling effectiveness by Spruell, PC Pulley firmly believes in the subordination of Black people, attacking a location where many find comfort and respite.

 Before long, Altheia Jones-Lecointe (powerfully portrayed by Letitia Wright), a founder of the British Black Panther Movement, as well as activists Barbara Beese (Rochenda Sandall) and Darcus Howe (Malachi Kirby), help persuade Crichlow to protest against police brutality at the Mangrove. Their attempted peaceful demonstration is turned violent by the police. Facing serious charges, the film then becomes an intense, nail-biting courtroom drama, as the Mangrove Nine confront injustice and police brutality in the face of monumental obstacles and risks to their personal safety. 

“Mangrove” is visceral, empathetic, and deeply moving — showcasing the fraught yet essential nature of activism within a systemically oppressive world. The film also remains both empowering and sobering in light of the continued fight for social justice in 2021 and beyond.

Indeed, the film captures a wide emotional spectrum — joy, hatred, anguish, defiance, hope, and perseverance — and depicts a story of determined individuals ever-so-slightly chipping away at the institutional racism that has dominated human society for so long and continues to do so. 

“Mangrove” contains numerous upsetting, sobering moments, but McQueen’s film doesn’t exploit its subjects for dramatic purposes. Rather, McQueen sets the scene perfectly — helping us understand what’s at stake, appreciate the challenges faced by the Mangrove Nine, and understand the comforting essence of the Mangrove itself through immersive filmmaking techniques and lived-in characterizations. 

Cinematographer Shabier Kirchner isn’t afraid to linger on images (a kitchen pan rolling back and forth along the floor after a raid; a silhouette of Altheia giving an impassioned speech with her fist raised) to lend them additional impact. Similarly, the script doesn’t brush over the characters’ contradictions and inner struggles — spotlighting Frank, Aletheia, Barbara, and Darcus for the heroes they are without rendering them one-dimensional.  

Crichlow, for example, is trying to start fresh after previous run-ins with the police at his former establishment. He is weathered and fatigued, extremely reluctant to fill the activist role he’s pressured to adopt. His mindset contrasts with Aletheia’s, who stands firm in her efforts to protest and to not surrender to larger forces. This leads to several fascinating, suspenseful interactions as the film progresses, as Crichlow weighs the benefits of giving in against the symbolic weight of the Trial for British society at large.

When the film reaches the courtroom — represented as a foreboding, larger-than-life presence — “Mangrove” doesn’t feel as manipulative or crowd-pleasing as something like Aaron Sorkin’s “The Trial of the Chicago Seven.” There’s no White Savior here, thank god, only intelligent, brave individuals confronting the very real forces of evil seeking to silence them. 

A couple of defendants — Altheia and Darcus — actually served as their own counsel in the proceedings, subverting the system to make stark condemnations of it and refusing to let others control their fate. Darcus in particular, portrayed with fervor by Kirby, gives a nuanced, impassioned speech that speaks to humanity’s long past of prejudice and the need to overcome it today. 

By its conclusion, McQueen encourages viewers to reflect on how far we’ve come, and how much we haven’t progressed, in terms of social justice. Even though efforts might seem fruitless, “Mangrove” reasserts that the fight must continue.

“Mangrove” is part of director Steve McQueen’s television mini-series, “Small Axe,” on Amazon Prime. Alex’s Rating: A+