On May 2, 2008, Marvel Studios released Iron Man. It received rave reviews from critics, who praised its exhilarating action sequences, sharp dialogue, and Robert Downey, Jr.'s comeback performance as the titular hero.

It felt isolated at the time, a superhero shocker no one expected to be good but became arguably the best film of its kind. We rushed to the theaters in droves, making it the 8th-highest-grossing movie of the year, third among standalone (at the time) films.

We had no way of knowing what Hollywood had unlocked and all that would ensue over the next 15 years, but 32 films later, we have the highest-grossing, most culturally prolific movie franchise in history: the Marvel Cinematic Universe.

Of course, despite the epic box office returns, rabid fanbase, and seemingly endless parade of content shoved down our collective throats, not every MCU flick has been a winner. We’ve seen incredible highs, cratering lows, and the most uninspired in-betweens fathomable, hence the routine use of "quip" and "diminishing returns" in this reflection on the MCU.

So, here we are: short and sweet, nice and simple, pointed and direct. Without further adieu, every MCU movie, ranked (correctly).

‍

33. Eternals, 2021

‍

Loathing Sirsi, Eternal’s female protagonist, is the way of the MCU’s fanbase, which is majority white, male, heterosexual, misogynistic, and insecure.

‍

Unfortunately, that isn’t why she’s such a lame hero; it’s because she sucks. We finally get a protagonist that doesn’t quip their way through a movie (or isn’t Captain America), and she’s bland as paper.

‍

Director Chloe Zhao wanted a new type of hero: someone overwhelmed by their circumstances, fearful of the unknown, and unsure of their abilities. Sirsi is all those things, but that doesn’t make her compelling. It’s Eternals in a nutshell: it tries many things but fails; the one thing it MUST get right, it doesn’t attempt. No, not making Sprite tolerable (at which it also fails), but making its all-powerful beings seem imposing. The most fearsome of the lot is Ikaris (who dies by literally flying into the sun), who shoots eye-beams. Meh.

‍

32. Avengers: Age of Ultron, 2015

‍

Age of Ultron made $1.403 billion at the worldwide box office; if we crunched the numbers, we’d doubtless conclude that someone who saw it actually liked it.

‍

Alas, that leaves everyone who feigns enjoying it to impose their “superiority.” It’s the contrarian Avengers movie to love, the reasons for which are endless. We can discuss the MCU’s self-serious kick-off, but it’s better to explain everything through the worst part of any MCU film: Banner and Black Widow.

‍

Oh, how I cringe at thee; let me count the ways:

‍

“Fella done me wrong.”

“Hey, big guy… sun’s gettin’ real low.”

“Nothing yet, but never say never.”

The pair randomly discussing their reproductive deficiencies.

"I adore you."

“Now go be a hero.”

‍

It’s also worth noting the other cringe: Scarlet Witch’s slow walk out of the Sokovian house and ripping out Ultron’s “heart;” everything about Quicksilver; “hide the zucchini,” and every interaction at the party scene. Just... everything.

‍

31. Thor: Love and Thunder, 2022

‍

Taika Waititi’s style seemed (kind of) refreshing in Ragnarok, but a repeat showing offers diminishing returns: Love and Thunder is so desperate to be bonkers that it feels contrived.

‍

Why? Thor is a bad character: he has no personality beyond desperate arrogance. The excess wants to distract from this, but it’s compensation. You can shoehorn a “classic” rock song and pander to audiences by having children use their precious bunnies to battle evil, but nothing can overcome a lack of narrative firepower.

‍

It tries to legitimize its villain by introducing his tragic backstory, then robs him of agency by pawning off the extent of his lunacy on a sword. It wants to explore Thor’s feelings about love and loss but settles for allowing everyone else to define them for him. Tack on Jane Foster's return and trying to legitimize the MCU’s least-convincing romance, and you have an unmitigated disaster.

‍

30. Ant-Man and the Wasp, 2018

‍

If nothing else, Ant-Man will always have San Francisco; no city was ever made for films quite like the City by the Bay. Unfortunately, Ant-Man and the Wasp has nothing else.

‍

Even if well-done, sequels in a cinematic universe always suffer from diminishing returns. The trick is knowing where your bread is buttered and leaning into it instead of relying on formula.

‍

Scott Lang’s chemistry with Hope van Dyne is non-existent, and Luis' comic relief can only offer a brief respite, especially with a lame villain with an uncompelling backstory. The film’s best scene is between Lang and his young daughter, Cassie, where she tells him she wants to be his partner. He laughs, hurting her feelings; she tells him not to mock her because she’d make a good partner.

‍

A father’s reassurance is a powerful remedy, but Ant-Man and the Wasp cares more about rehashing the tech than its heart. We don’t need two hours of father-daughter dynamics, but a smidge more soul wouldn’t have hurt.

‍

29. Thor: The Dark World, 2013

‍

It’s upsetting rewatching The DarkWorld because it oozes with potential. Sure, Thor is never going to be a compelling character, especially with Hemsworth wielding Mjolnir. The romance with Jane will never feel legitimate and Loki will always remain the MCU’s most overrated (and poorly-acted) villain. Still, we get a flick that clocks in well under two hours, dials back on the Dennings, and has Christopher Eccleston playing the big bad.

‍

So, what went wrong? Everything, but good luck remembering precisely what, considering The Dark World lacks charisma, spark, or even a single memorable sequence. It’s not the worst, but it gets damn close.

‍

28. Guardians of the Galaxy Vol. 3, 2023

‍

Vol. 3 picks up where Endgame left our ragtag heroes: mourning Gamora, being sassy, and repeating the same three words over and over. Sadly, it’s emblematic of the MCU’s downward spiral into self-seriousness. The aesthetics are gloomy, and it takes its characters more seriously than deserved. Nebula is a poor replacement for Gamora, and the Drax-Mantis dynamic suffers from diminishing returns.

‍

We can appreciate the look into Rocket’s past but cannot abide by how disjointedly the film presents it. Tack on its overlong runtime and overstuffed narrative, and Vol. 3 is an unworthy send-off for the one reliable set of characters the MCU ever developed.

‍

27. Captain America: Civil War, 2016

‍

Finally, a superhero film acknowledged the trillions in property damage and massive loss of civilian life incurred by their exploits. Unfortunately, the ethical implications of governmental oversight are too nuanced for a movie. The premise needs time, and Civil War doesn’t have it.

‍

The argument gets reduced to broad ideas of morality, trust, and control vs. self-determination; the resulting team fractures thus depend on whether you believe saving the world makes people friends (it doesn’t).

‍

Movies can say things, but that doesn’t mean they earn the right to our belief. It has some thrilling action sequences, but Civil War is predominantly a monument to wasted potential.

‍

26. Avengers: Endgame, 2019

‍

In movie series, the final film earns the biggest raves and box office receipts: Harry Potter only crossed the billion-dollar mark on its last movie, the worst of the eight but the most critically well-received.

‍

Endgame briefly held the title of highest-grossing film ever and is the highest-rated MCU film on Rotten Tomatoes, but only because it concludes the Infinity Saga. The narrative (and 11 years of anticipation) justify the runtime, but Endgame is a slog.

‍

Every note in its favor gets countered by one against it; Tony Stark’s sacrifice is moving, but there’s little fanfare considering the Thanos he’s defeating has no history with the Avengers.

‍

Our favorite characters unite for the final battle… which is underwhelming when stacked against most MCU finales. Its narrative depends on how seriously you take the franchise: if you see it as popcorn entertainment, it falls flat; if you’re a diehard who thinks it high art, it succeeds.

‍

Also, this nonsense:

‍

‍

‍

25. Spider-Man: No Way Home, 2021

‍

Nostalgia is not quality. Films can use nostalgia to accent quality, but they cannot use nostalgia to create it. No Way Home throws the kitchen sink of millennial childhoods at its audience and expects it will help it soar. In a sense, it was correct. It stands as the sixth-highest-grossing film ever released, with 1.922 billion dollars grossed worldwide.

‍

In a broader sense, it was wrong. Sometimes, all the effects and charm cannot rescue a wretched story, and No Way Home suffers because, in the end, Peter’s wrong. Life happens and plays out as it may; the movies that reflect this simple truth, regardless of genre, leave a lasting impression. It’s why many of the characters he tries to save were better off in their own movie, where their stories began and ended in ways true to what developed. By the time Tobey Maguire and Andrew Garfield show up, it feels like a cheap ploy at saving a bad movie that doesn’t quite know what to do with itself.

‍

24. Black Panther, 2018

‍

It’s not racist to decry the overwhelming praise Black Panther received; quite the opposite. White critics were foaming at the mouth to pat themselves on the back for adoring the first blockbuster film featuring a predominantly Black cast. It felt disingenuous and exploitative at the time, and even more so five years later.

‍

The good? Nothing that directly affects how we feel about the movie, but some we can observe and respect, namely the costume design. The music tries a bit too hard but has more going for it than many MCU installments.

‍

The bad? Literally everything else. The fact that Marvel used Civil War to neuter T’Challa before giving him his own movie is an insult to every Black character that refused to pander to bigoted white audiences. Boseman’s performance is wooden, the CGI is atrocious, and can we please discuss Kilmonger, one of the franchise’s worst villains? The motivation is refreshing, but the guy talks like a 12-year-old white kid trying to front like he’s from the hood, which is rough, because both he, and co-writer Ryan Coogler, are from Oakland.

‍

It was a big moment for the Black community and no one can ever take that away; that doesn’t make it a good movie.

‍

23. Thor: Ragnarok, 2017

‍

Much like its director, Taika Waititi, Ragnarok spends its life trying as hard as possible, coming off as smug and disingenuous, and leaving us unsatisfied with how little energy it musters. Thankfully, it makes us aware of the impending disappointment from the off, throwing down “The Immigrant Song” and thinking that because Robert Plant sings the word “Valhalla” you can conjoin it with the movie.

‍

‍Ragnarok at least tries to make Thor a viable soloist, but he gets outshone by everyone around him. The side characters are the movie’s heartbeat, and we spend two hours wishing Thor and Loki would take a backseat to Valkyrie. Cate Blanchett’s Hela breathes life into an otherwise paint-by-numbers villain, and the destruction of Asgard remains a thrilling sequence, but all in all, Ragnarok forces the issue too much to be what it thinks it is.

‍

22. The Incredible Hulk, 2008

‍

The forgotten MCU movie, The Incredible Hulk is the most average movie one could make. Its story is unoriginal, the performances plain, the villain lifeless, and the vision impaired. Still, if you appreciate Edward Norton and decent action sequences, The Incredible Hulk has enough juice to power its way through.

‍

‍21. The Marvels, 2023

‍

‍Yes, yes, it's sacrilege to place the film's lowest-grossing movie (and one of the Hollywood's all-time box office bombs) so high, especially above  more enduring entries. Contrary to what its fanboys would tell you, the MCU is popcorn entertainment with just enough thematic ambition to distinguish it from the campy 90s superhero flicks that nearly sank the genre. Thus, its primary goal is to be watchable. The Marvels isn't a classic, but if the choice was watching it or two hours of Kilmonger cringe or Taika Waititi's signature "style," we'll take this every time.

‍

20. The Avengers, 2012

‍

The MCU has churned out so many mega-hits that it’s hard to recall Avengers hype. The idea was intriguing conceptually but not as much in execution. Iron Man had come out four years prior, The Incredible Hulk made no impression, and the first Captain America and Thor movies got released two months apart and only one year before. It felt too rushed to match our anticipation.

‍

It reins in the quipping, maximizing wit by spacing it out (and using it to lay a foundation for the Cap-Tony dynamic), but The Avengers, while entertaining and well-paced, lacks a punch. We can blame this on the series’ most overhyped villain taking center stage or a bland finale (compared to Wakanda), but it’s mostly down to the franchise banking on unearned arrival.

‍

19. Thor, 2011

‍

Thor is the Diet Coke of the MCU; it’ll do if it’s the only soft drink grandma stocks in the fridge, but it’s not the ideal option under ordinary circumstances. It lacks the buzz and body of regular Coke and the pop and pizzazz of Pepsi (sorry, it’s true. We have to accept this).

‍

The product is a movie that’s perfectly fine, inoffensive, devoid of character or individuality, but fun at the right moments. Chris Hemsworth is an atrocious actor, and watching him try to eke out a solid showing is painful, but though it’s quiet and occasionally subliminal, there’s enough charm amongst the cast to help overlook the lack of excitement or story.

‍

Also, helpful hint from a resident: unless absolutely necessary, never film a movie in New Mexico.

‍

18. Black Widow, 2021

‍

It’s hard to get invested in a purposeless movie. Chronologically, Black Widow’s solo flick occurs after Civil War, but that doesn't undermine that her Endgame death renders her movie moot. It gives Black Widow an air of pointlessness, even with a compelling new character in Florence Pugh’s Yelena.

‍

We get some thrilling action sequences, and the overarching narrative of saving the world’s Widows with a nerve-altering gas is one of the MCU’s fresher concepts, but we also suffer the quirky companion and forced, undeserved redemption. Split the difference.

‍

17. Black Panther: Wakanda Forever, 2022

‍

Piping hot take: Shuri makes for a better lead than T’Challa. Marvel was so terrified of having their first Black lead be genuinely human that they neutered him, rendering him a lifeless, uninteresting protagonist. The plot is fairly thin, and nothing about the film is particularly memorable, but it leaves an emotional impression that, while difficult to pinpoint the reasons for, is tangible enough to make it a worthy entry into the MCU.

‍

P.S. Marvel’s insistence on overstuffing itself with paper-thin teenage girls is pandering at its worst.

‍

16. Iron Man 2, 2010

‍

Ya know, for as much crap as people heap upon Iron Man 2, it’s not that bad. Sure, compared to its predecessor, it’s a tough hang, but it has a lot working in its favor. Mickey Rourke’s Ivan Vanko was a waste of time, but at least we got a snippy Sam Rockwell. Yeah, Terrence Howard makes for a better sidekick to Tony than Don Cheadle, but you can’t go wrong with Don Cheadle. It’s lesser in virtually every way, but it’s a superhero movie after all; it’s most important trait is watchability, and while it may not be anyone’s first choice in the MCU, it’s far from the worst option.

‍

15. Shang Chi and the Legend of the Ten Rings, 2021

‍

Representation is important; no one can rightfully deny that. However, if you’re gonna do it, do it right. Awkwafina is at her least irritating here, but that’s a low bar, and Simu Liu, whose primary role anchors the film, couldn’t carry a dandelion with his acting “chops.”

‍

The CGI is a mess and the humor forced, including the unnecessary return of Ben Kingsley’s fake Mandarin from Iron Man 3. So, what does it offer? Good pacing, a new breed of action sequences, and a dynamic duo that, while not acted to perfection, feel more organic than many forced MCU friendships.

‍

14. Spider-Man: Far From Home, 2019

‍

The bloom was falling off the Tom Holland rose by the end of Homecoming, so prospects, while not dim, were not particularly exciting entering Far From Home. The development of the Peter-MJ dynamic and the play on high school relationships with Ned and Betty add needed heart and humor, and Jake Gyllenhaal does much with an implausible villain, but Far From Home, while generally entertaining, doesn’t offer enough to be more than a passable popcorn flick.

‍

13. Ant-Man and the Wasp: Quantumania, 2023

‍

Quantumania sits as the lowest-rated MCU movie on Rotten Tomatoes, a damning fact for two reasons.

‍

1. Eternals

2. It’s good.

‍

It lacks the light touch of the first two Ant-Man movies, and whoever decided Kathryn Newton needs to be a thing should reevaluate their life choices, but sometimes we just need a movie to be compulsively watchable. Quantumania introduces a forceful Jonathan Majors (whose recent legal troubles will likely remove him from the franchise) as the MCU’s next big villain, and while the Quantum Realm could use more color and pop, it’s all still a fun, breezy ride.

‍

12. Doctor Strange in the Multiverse of Madness, 2022

‍

The franchise needed Sam Raimi, who balanced the camp of comic book lunacy with cerebral storytelling to the tune of Spider-Man 2, often cited as the best superhero movie ever made. The next phase of the MCU feels aimless; wherever this train's destination, we only know that the conductor doesn’t know.

‍

We needed a jolt. It’s a testament to Raimi that Stephen Strange, far from the most classically “fun” character, and Scarlet Witch, known for terrorizing people with dark visions and kidnapping entire towns, produce such a thrilling ride. The nature of Strange's powers allows for that maligned (but weirdly awesome) classical music battle, but Raimi never relies on it. Multiverse of Madness plays like a horror movie, tragic romance, comedy, and science fiction fantasy flick. It doesn't always blend them seamlessly, but it mostly strikes the balance.

‍

11. Ant-Man, 2015

‍

Enjoying Ant-Man depends primarily on your Paul Rudd tolerance. He’s always the same character; a one-trick pony’s shtick gets tiring. Rudd’s MCU introduction doesn’t exhaust our stores - he’s too charming - but it tests them as Scott Lang dashes his microscopic way through a strained narrative.

‍

Darren Cross is evil to the point of being uncomfortable viewing, and the film’s attempt to write off his mania as a technological consequence rings false, but the action offers something new for the franchise, and the contrast between the miniature fights and how they appear to normal-sized folk packs a humorous punch. It’s enough to carry a movie that likely wouldn’t succeed without its leading man and his storytelling sidekick but most certainly would without Hope Van Dyne's awful haircut.

‍

10. Iron Man 3, 2013

‍

Iron Man 3 doesn’t feel necessary, mostly because it’s clear they wanted to capitalize on Stark’s heroic (and more importantly, traumatic) conclusion in The Avengers without understanding how to do so, but who cares? We got a kick-ass movie.

‍

Aldrich Killian is one of the limper MCU villains, disappointing for wasting Guy Pearce and a banger concept, but mediocre baddie aside, Iron Man 3 pairs Tony with his best companion: a small-town kid who seeks his acknowledgement while refusing to indulge his nonsense. The dynamic is compelling enough, but Iron Man 3 also serves up some of the MCU’s most thrilling sequences, namely the destruction of Tony’s mansion and the rescue of 13 government employees who’ve gotten blasted out of Air Force One.

‍

9. Guardians of the Galaxy Vol. 2, 2017

‍

Vol. 2 tries many things, to mixed results. It does not sell us on the redemption of an abusive child trafficker and insults us by framing his trespasses as “not getting it right,” like a father that forced his kid to play baseball when he wanted to dance.

‍

It does not sell us on the contrived exchange between Yondu and Rocket that lays out Rocket's true nature in massive neon letters. It doesn’t land every joke it milks, like the name of a metaphor-loving mutineer. The writers lacked the skill to use the literal nature of Drax’s people with wit, so they made him a guffawing buffoon.

‍

But it has enough charm to sell us on other things. We adore Baby Groot, even if he’s nothing more than a merchandising ploy. We root for Peter and Gamora more than any pair in the MCU. We chuckle at Mantis’ childlike nature, even if her torment at the hands of Drax’s brutal honesty is difficult to stomach. Despite the typicality of Ego's plan, Kurt Russell’s performance makes us feel like we’re observing a different breed of MCU villain.

‍

It’s not perfect, but despite its flaws, it has enough charm and color to remind us why the Guardians are the MCU's best: they’re brash, individualized, and, for better or worse, a bizarre spin on friendship.

‍

8. Captain America: The First Avenger, 2011

‍

The First Avenger is a charming look at the MCU's former glory: earnest attempts to create worthy products. Cap’s first outing has many B-movie qualities, like overpolished cinematography and rudimentary weapons, but those make it charming.

‍

It has a light, easy quality that lets you latch onto things you’d otherwise wish got more developed: the “finally a girl likes me” pseudo-romance with Peggy, the “let’s drop expository memories into the dialogue” friendship with Bucky, and the notion that Rogers should get rewarded for going rogue or feel superior for killing German soldiers without acknowledging the implications of being a soldier in a war begun by those who never see the battlefield.

‍

It’s okay that everything is just an idea because that’s the purpose of Captain America. After all, whether he’s encouraging bond sales or rescuing imprisoned units, he’s the Star-Spangled man with a plan. The First Avenger isn’t the best MCU offering, but the franchise should learn from a fun, light entry that's under 2 hours.

‍

7. Doctor Strange, 2016

‍

Many reality show contestants or movie characters get termed “loveable” for exhibiting the most mundane, socially acceptable traits. If someone bounces off the walls with quirkiness and jubilance, the fanbase adores them, often ignoring how insufferable that personality would be if forced to live with it.

‍

Such individuals always wear thin the longer the schtick draws on, so the fans turn on them as they become repetitive. The people who most earn our attachment challenge our perspective. Stephen Strange is pompous, self-interested, and emotionally neglectful, going so far as to make deep personal attacks against the only person who cares for him.

‍

Fortunately, Benedict Cumberbatch knows how to make his insecurities plain. Despite the air he puts on, he is fearful: he is selective in his choice of patient to protect his perfect surgical record and prevents ex-lover Christine from getting too close. Being tortured while laced with quick-witted bravado makes Strange the MCU’s most likable protagonist. Even though his movie fails to establish the how of its magical ride, we get a lot of supernatural parlor tricks thanks to the franchise’s best hero.

‍

6. Avengers: Infinity War, 2018

‍

Infinity War is funny, and thank God for that. It’s true what they say: familiarity breeds contempt, and the MCU was wearing a tad thin.

Upon seeing the 149-minute runtime, it was natural to brace ourselves for a bloated prologue reliant on dragging every hero into the equation and bashing us over the head with their endless stream of eccentricities. Amazingly, that’s what happened, but it turned out to be… fantastic?

At long last, Gamora gets material worthy of her actress’ talent, and Infinity War, while a tad overlong, feels weighty because of it. Sure, it’s cool to see so many of our favorite characters play off one another (particularly the childlike nostalgia of Quill and Peter and the Douchebag Olympics between Tony and Doctor Strange), but Infinity War’s value is seamlessly blending epic action, emotional heft, natural humor, and the feeling of genuine dread that overcomes us as our heroes turn to dust.

‍

5. Captain Marvel, 2019

‍

Let’s be clear: the MCU’s majority white, male fanbase disliked Captain Marvel at conception because they didn’t want a female lead, especially one whose powers surpass the male heroes that dominate the franchise.

‍

Incel elsewhere, please.

‍

Brie Larson takes a while to find her footing, and the movie's never entirely sure who Carol Danvers truly is, but she packs enough charm and likeability to feel like a new kind of hero, one whose rare brooding feels earned instead of suffocating. Yeah, she’s essentially invincible by the end, but there’s something fun about watching a hero get imbued with such immense power. Sometimes, we need someone who just goes out there and kicks some ass, and watching Danvers come into her own is a thrilling ride, thanks largely to her dynamic with a younger Nick Fury.

‍

4. Iron Man, 2008

‍

Iron Man kicked-off the most oversaturated media franchise in the world and received two-follow ups for its title character, along with several additional appearances. It’s a shame: the MCU's trademarks (quippy dialogue, brisk pacing, and explosive action) began here and have never gotten topped.

‍

It also does what MCU diehards falsely believe the franchise delivers consistently: intricate world-building, resonant character development, and topical themes. Who can forget the conclusion of the Bush presidency and all the retrospective condemnation that skewered his defense policies? How about the inklings of the man who ultimately sacrifices himself for the universe? Even as he revels in the life of a billionaire lothario, his affection for Rhodey, Pepper, and Happy shine through, as does the sting of his betrayal at the hands of lifelong father figure Obadiah Stane. The MCU has rarely capitalized on its Iron Man foundation, but that’s not the movie’s fault.

‍

3. Captain America: The Winter Soldier, 2014

‍

Cap is humorless, contrary to what Age of Ultron would say, and The Winter Soldier is proof that characters shouldn't change on the whims of a writer. It’s odd for such a serious movie to feel like a breath of fresh air, but with Rogers at the helm, the quipping concedes to action and story.

‍

In fairness, that story is hair-brained: 95% of S.H.I.E.L.D. is secretly getting run by Hydra, which undoes the previous films. Regardless, without gods of thunder or snippy, iron-suited billionaires, hand-to-hand combat rules.

‍

Sure, we get explosions, but Cap, Black Widow, and Falcon maximize movement to create spectacle instead of endless CGI; when the big finale kicks in, it’s a marvel instead of feeling like rehashing old ground.

‍

2. Spider-Man: Homecoming, 2017

‍

Marvel's announcement of a Spider-Man reboot felt cheap. Since Age of Ultron, the MCU had churned out adaptations of culturally insignificant heroes like Ant-Man and Doctor Strange. Injecting Spidey into the equation felt like a means to reimagine a beloved superhero and make him the franchise's heir apparent. It was and was cheap, but it works. Holland’s spin wears thin, but his youthful charm adds life to the universe.

‍

He’s impulsive, makes poor choices, and wants to be more than he can manage, all of which makes the humor natural instead of an endless parade of forced quips. Squaring off against him is genre icon and bonafide basass Michael Keaton, whose menacing allows Vulture to rise above an arc pancaked by convention.

‍

The franchise needed a jolt in the arm, especially after 2016's Civil War-Doctor Strange 1-2 punch of gloom and doom took things in a humorless direction. Thankfully, Homecoming swung in to save the day; between the adolescent meta and brisk pacing, it's a breezy, engaging entry into the MCU.

‍

1. Guardians of the Galaxy, 2014

‍

Guardians of the Galaxy has many things working in its favor: Chris Pratt’s usually irritating persona finds a fitting vessel in Peter Quill, the “orphaned” Earth-dweller who eventually becomes the somewhat, sort of, maybe a little renowned “outlaw” Star-Lord.

‍

Zoë Saldaña delivers a badass warrior; the literal interpretations of Drax’s people and the subtle emotional notes of Groot’s “vocabulistics” work wonders. Ronan the Accuser, while thinly-imagined, chews enough scenery to be a compelling foe. Alas, its greatest strength is doing what the MCU tries to do so often (and fails).

‍

One of the more irritating MCU practices is to push the ludicrous idea that every group is a family, a cheap means of development. Alas, people hear “family” and cry, so here we are, four Avengers, three Guardians of the Galaxy, and, for good measure, ten Fast and Furious movies later.

‍

But Guardians of the Galaxy chooses something worthy of bonding people: loss. Quill’s speech to his band of “losers” rings true because nothing inspires our need for acceptance and understanding like losing what we care for most: a mother, a sense of self, a wife and child, or countless loved ones and friends. Guardians of the Galaxy makes its titular characters wildly different while feeling unified in all the ways that count. Accompanied by sci-fi fun and a Killer Motown soundtrack, it does the trick and more. It isn’t profound, but it doesn’t need to be; the MCU’s acceptance of that feels refreshing and makes Guardians of the Galaxy the best of the MCU.

‍

As always, the hot takes got served fresh out of the oven, but hey, you know what they say about opinions; they're like assholes: yours reek of poo, and mine shits gold.

‍

‍