Ten years after a “Fantastic Four” movie that wasn’t, Marvel Studios and 20th Century Studios have given us “The Fantastic Four: First Steps,” a much better couple of hours.
It takes place in the mid-1960s, albeit a sleekly otherworldly jet age streamlining of that time. Result? Extras in fedoras share crowd scenes with a Manhattan skyline dotted with familiar landmarks like the Chrysler Building, alongside some casually wondrous “Jetsons”-esque skyscrapers and design flourishes. Typically a production designer working in the Marvel movie universe doesn’t stand a chance against the digital compositing and effects work and the general wash of green-screenery. “The Fantastic Four” is different. Production designer Kasra Farahani’s amusing visual swagger complements the film’s dueling interests: A little fun over here, the usual threats of global extinction over there.
In contrast to the current James Gunn “Superman,” worthwhile despite its neurotic mood swings and from-here-to-eternity action beats, director Matt Shakman’s handling of “The Fantastic Four” takes it easier on the audience. Having returned from their space mission with “cosmically compromised DNA,” Reed Richards, Sue Storm, Johnny Storm and Ben Grimm adapt to their Earthbound lives with some new bullet points for their collective resumé. Richards, big-time-stretchy-bendy, goes by Mister Fantastic, able to out-Gumby Gumby. One Storm’s alter ego is Invisible Woman, while the other Storm is the flying Human Torch. Grimm returns to Earth as a mobile rockpile, aka The Thing.
So what’s it all about? It’s about a really hungry tourist just looking for one last meal before he “may finally rest.” So says Galactus, devourer of worlds, for whom noshing involves planets, and whose herald is Silver Surfer. Galactus wants Sue Storm’s soon-to-be-newborn baby in exchange for not devouring Earth. How the Fantastic Four go about dealing with Galactus culminates in an evacuated Manhattan, in the vicinity of Times Square, while the New York throngs hide away in the underground lair of Harvey Elder, the infamous Moleman.
One of the buoying aspects of Shakman’s film is its avoidance of antagonist overexposure. You get just enough of Paul Walter Hauser’s witty embodiment of auxiliary more-misunderstood-than-bad Moleman, for example, to want more. And Galactus, a hulking metallic entity, is such that a little of him is plenty, actually.
The Fantastic Four run the show here. Not everyone will love the generous, relaxed amount of hangout time director Shakman’s film spends setting up and illustrating family dynamics and medium-grade banter. Others will take it as a welcome change from the 10-megaton solemnity of some of the recent Marvels, hits as well as flops.
While Pedro Pascal, aka Mister Ubiquitous, makes for a solid, sensitive ringleader as the ever-murmuring Mister Fantastic, the emotional weight tips slightly toward Vanessa Kirby’s Sue Storm, as she weathers the travails of imminent parenthood, wondering along with her husband whether the child of DNA-scrambled superheroic parents will be OK. I wish Ebon Moss-Bachrach had better material as The Thing, but he’s ingratiating company; same goes for Joseph Quinn’s Johnny Storm, a boyish horndog once he sets his sights on the metallic flip of the screen’s first female Silver Surfer (Julia Garner).
Michael Giacchino’s excellent and subtly rangy musical score is a big plus. The costumes by Alexandra Byrne are less so. This is where indefensible personal taste comes in. There’s no question that Byrne’s designs fit snugly into the overall retro-futurist frame of “The Fantastic Four.” But holy moly, the palette dominating the clothes, and picked up by numerous production design elements, is really, really, really blue. Really blue. The movie works bluer than Buddy Hackett at a ’64 midnight show in Vegas.
Few will share my aversion to the no-doubt carefully varied shades of French blue prevalent here, but what can I do? I can do this: be grateful this film’s just serious enough, tonally, for its family matters and knotty world-saving ethical dilemmas to hold together. It’s not great superhero cinema — the verdict is out on whether that’s even possible in the Marvel Phase 6 stage of our lives — but good is good enough for “The Fantastic Four.”
“The Fantastic 4: First Steps” — 3 stars (out of 4)
MPA rating: PG-13 (for sequences of intense action, and some suggestive content)
Running time: 2:05
How to watch: Premieres in theaters July 24
Michael Phillips is a Tribune critic.
