Brilliantly weaving political and social issue subtexts throughout its blockbuster package, Black Panther delivers on its promise as a superhero movie of action, thought and influence.
Often said here is that genre films – particularly superhero movies – often contain more than “boom-pow-bang” action scenes and vibrant costumes. There is a reason why comic-books have and continue to thrive for decades now: its characters and their stories. With the right directors on board, comic-book adaptations can tap into what makes its source material work so well. Jon Favreau did it with Iron Man. The Russo Brothers did it with Captain America: Winter Soldier. And Ryan Coogler (Creed) does it with Black Panther.
Created in 1966 by Stan Lee and Jack Kirby, Black Panther had long been a fan-favourite to the initiated yet didn’t reach the stratospheric heights of Hulk or Spider-Man. Black Panther the movie is due to change all of that. Although the character first made his on-screen appearance in Captain America: Civil War, this time Black Panther makes his solo debut during a time where the undercurrent of racial tension in America is (once again) bubbling over. For some Black Panther represents the chance to watch a kick-ass superhero movie. For others, it presents the chance of representation amongst a genre of films where those of blue and green skin outnumber those who are black. Again, Black Panther is set to change all of that.
The film beings with T’Challa (Chadwick Boseman) set to officially take the mantle as the King of Wakanda (fictional African notion) and by proxy the role of its protector, the Black Panther. While to the outside world Wakanda look like a third-world nation, underneath its front the country is in fact a hub of advanced technology and weaponry, that holds the world most precious and indestructible resource: vibranium. Yet Wakanda’s veneer is set to be exposed by the arrival of Erik Killmonger (Michael B. Jordan) a warrior with an explosive secret set to rock Wakanda’s foundations to the core.
Coogler does a terrific job establishing the motivations behind his adversarial characters: T’Challa, the young man who bears the responsibility of a people and a country shut off from the world, with Wakanda a superpower onto itself with no interest in sharing its resources or a hint of its existence; then there is Killmonger, on the outside looking in as those of his colour suffer the inequities of an unjust world. The clash of ideologies between both men is both startling and powerful, as Coogler brings the debates of advocacy and activism with the Africa America community to a superhero movie veneer.
Performances are terrific all around. Boseman (who had previously proved his acting chop in biopics 42 and Get On Up), reconfirms his leading man credentials in his role as a superhero whose responsibility to his people is not only dutiful, but part of his very being. It consumes him, drives him, and connects him from this world to the next. Perhaps outside of Captain America, the character of Black Panther is a symbol to a nation.
Yet every great hero needs a great villain, and Michael B. Jordan’s Killmonger is as devastatingly brilliant as they come. Seething with rage, pointed in his goal and backed by a physicality that’s as impressive as any seen within these bicep pumping superhero films, Jordan’s Killmonger brings the stakes needed in any great action adventure. He is a villain to be feared, which is the exact element needed to be one of the best.
There is much to enjoy and admire with Black Panther. As a form of entertainment, it is amongst the best of its kind. More importantly, as a film of immense influence, especially in its ability to speak on issues relevant and critical, Black Panther is a superhero of a film that elevates its genre.
