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➀ β–ΊπŸŒπŸ“ΊπŸ“±πŸ‘‰ https://bsky.app/profile/fullhdonline.bsky.social/post/3luhyixpcj22p

➀ β–ΊπŸŒπŸ“ΊπŸ“±πŸ‘‰ https://bsky.app/profile/fullhdonline.bsky.social/post/3luhyixpcj22p

The Fantastic Four: First Steps is a curious hybrid: part Jetsons fever dream, part nuclear family therapy session, part cosmic horror birthing video. It ditches Marvel’s usual franchise flat-pack assembly for something weirder, warmer and vastly more self-contained: a superhero movie that unfolds like a retro sci-fi bedtime story, then ends with a glowing new mum hurling an invasive space god into a binbag full of stars.

This is a Fantastic Four movie that finally figures out why the team works – not because they’re the strongest or the smartest, but because they’re messy, human and weirdly functional in the face of total annihilation. Yes, the fate of this gloriously future-retro version of Earth (828) is at stake. Yes, someone gives birth to a child that (at least in the comics) is basically a deity. But the thing you’ll remember is the squabbling, the love, and the actual screen chemistry.

It’s not flawless – the midsection wanders like it’s looking for a post-credits tease that never arrives – but for long stretches it plays like the best origins movie Marvel has made in years: a superhero film with heart, smarts, and bonkers space Dada. Here’s what makes it tick.

Finally, a Marvel movie that doesn’t feel like homework

One of the greatest things about First Steps is how refreshingly normal it feels to watch a Marvel film with a beginning, middle and end. No portals to Phase Seven, no Hulk cameo to remind you that everything’s connected, and that the entire movie might well end up as just emotional scaffolding for a Disney+ series about Ant-Man’s aunt. Just four people, one suspiciously powered infant and retro-futurist weirdness.

Would you agree that Marvel’s decision to set the film in an alternate universe where extraterrestrial space travel and flying car technology has somehow been achieved by the 1960s has paid off in spades? It certainly adds Apollo-era colour and chrome-plated optimism to an episode that could easily have been just another murky slab of multiversal franchise soup.

Most importantly though, director Matt Shakman delivers a Fantastic Four who actually – finally – deserve the moniker of Marvel’s first family. Reed Richards is a man so pathologically rational he sees parenthood as a physics problem; Johnny Storm is a flame-powered himbo who somehow still nails the movie’s major emotional beats; Sue Storm is the stabilising force of the group; and Benjamin Grimm is a sad slab of sentient gravel who delivers the film’s most moving lines through a mouthful of misery and granite-hard Brooklyn stoicism. All basic stuff, you might think but something that no one has even got close to achieving before with this particular superhero team.

Sue Storm finally gets a character arc

Previous attempts to bring Marvel’s first family to the big screen always seemed to give us an Invisible Woman who spent most of the movie reacting to male genius or bickering with her brother. By contrast, Vanessa Kirby’s version announces herself as a major force: a superhero capable of taking on Galactus, tempering Reed’s more unhinged techno-saviour spirals, and holding the emotional centre of the team. She’s not sidelined or fridged while the boys save the world. She’s proactive, pragmatic and crucial to the team’s survival. It’s Storm’s force-fielded stand against the oncoming god-storm that ultimately tips the balance – not Reed’s madcap equations or Ben’s giant rocky fists. For once, the Invisible Woman doesn’t disappear.

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