How to make movies the Marvel way

How to make movies the Marvel way (photo)

Posted by on

Last week, I appeared on the BBC’s “Talking Movies” for a review of “Captain America: The First Avenger” with Tom Brook. As our conversation wound down, Brook looked forward to next summer’s “The Avengers,” the superhero movie to end all superhero movies (and if it’s is a flop, it very well could). He voiced an opinion I’m hearing with increasing frequency: that all of Marvel Studios’ recent movies — from “Iron Man 2” to “Thor” and now “Captain America” — feel like “one gigantic promotional trailer, a big tease for that film.”

There are moments in all those movies that make it hard not to think he’s right. “Iron Man 2″‘s story essentially pauses at the end of Act 2 so that Samuel L. Jackson can pop in and deliver the cameo equivalent of a commercial for “The Avengers.” Over what could literally and figuratively be described as a narrative coffee break, Jackson’s Nick Fury and Robert Downey Jr.‘s Tony Stark have a conversation about S.H.I.E.L.D., Stark’s father, The Black Widow (another future Avenger, played by Scarlett Johansson) and assorted other topics that have little to do with matters at hand, and everything to do with a film coming years down the road. As a comic book reader for decades I know that Fury will ultimately unite the Avengers in their own movie. But what does someone who doesn’t know the Howling Commandos from Howlin’ Wolf think of Jackson’s endless series of payoff-less teases? After four movies and counting, I can see why some audiences might be getting frustrated. As a comic book fan, though, I see something else. I see a comic book company making movies the way they make comic books.

From “Iron Man” onward, Marvel has begun to build a shared universe akin to the one its characters populate in the pages of their monthly comics. Though the idea of a shared comics universe was pioneered by Marvel’s rival DC in the 1940s, the Marvel Comics of the 1960s was the place where the concept really took off. That’s when Stan Lee was writing and/or editing basically every book in the company’s line and began weaving this massive tapestry of interconnected four-color adventures. One month the Hulk would rampage through New York City, and the Fantastic Four would be called in to calm him down. In the next, Spider-Man might swing through Hell’s Kitchen and solve a case with Daredevil.

Shared comic book universes have never really taken off in movies, mostly because in the past comic book companies have licensed their individual characters to different movie studios: Spider-Man swings around the Sony lot, while the X-Men hang out at Fox. Even in cases where one studio controlled multiple properties, you don’t see many crossovers. Warner Brothers’ Superman and Batman’s movie universes are totally separate and distinct, and even though she’s known as a Batman villain, there was no mention of the Caped Crusader in the Halle Berry “Catwoman” spinoff movie from 2004 (I’m sure Batman was quite pleased with that arrangement).

Marvel’s gone the opposite route with these “Avengers” movies. Jackson’s recurring presence as Nick Fury (along with Clark Gregg’s equally frequent appearances as S.H.I.E.L.D. Agent Phil Coulson) is just one of the obvious symbols that Iron Man, Thor, and Captain America all exist on the same planet Earth and are destined to meet sooner or later. Amongst the easter eggs littered throughout the films: the prototype of Captain America’s shield was lying on one of Tony Stark’s work benches in “Iron Man,” while Cap fought in WWII alongside Stark’s father Howard, battling for control of an incredibly powerful tesseract that is said to have been stolen from the armory of Thor’s father Odin.

This is how you make movies the Marvel way: with an intricate web of characters battling against an endless series of cliffhangers. Every Marvel Studio movie ends with a clever tease for the next film: “Iron Man 2” gave you a glimpse of Thor’s hammer, “Thor” showed you the tesseract (or the Cosmic Cube) from “Captain America.” I often hear these bits described as fan service, since they offer narratively inessential cookies for hardcore nerds. But they also represent of the cinematic equivalent of “NEXT ISSUE: SOMEONE DIES!” dialogue boxes that pop up on the last pages of comic books. Comics work like addiction: each issue ends with the promise of even more excitement next month. To be fully satisfied, you have to come back for the next hit, but the next hit demands you return for another fix too. These credits teasers work exactly the same way.

I think there’s further to go with this idea. I would argue that the fact that many of these Marvel Studios films have, at least in my eyes, similar flaws, from their so-so action to their and rushed plotting, is indicative of a certain “house style” of moviemaking similar to the way that there was a “house style” at Marvel Comics in the 1960s when books were designed to look and sound similar. As for frustrating teases like Jackson’s, four appearances with no payoff is nothing: comic book readers routinely wait years or decades to find out closely guarded continuity secrets. If you want to see what I mean while getting an intense headache in the process, just read this Wikipedia page about the mystery of the X-Men’s Cyclops’ brother. It’s nuts.

There are probably even more parallels to be drawn between the way Marvel makes comics and movies. But I’ll leave things here for now, just like Marvel would. On a cliffhanger.

Do you like the way Marvel makes movies? Tell us in the comments below or on Facebook and Twitter.

Watch More

Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

Posted by on

She’s been referred to as “the love child of Amy Sedaris and Tracy Ullman,” and he’s a self-described “Italian who knows how to cook a great spaghetti alla carbonara.” They’re Mollie Merkel and Matteo Lane, prolific indie comedians who blended their robust creative juices to bring us the new Comedy Crib series Janice and Jeffrey. Mollie and Matteo took time to answer our probing questions about their series and themselves. Here’s a taste.


IFC: How would you describe Janice and Jeffrey to a fancy network executive you met in an elevator?

Mollie & Matteo: Janice and Jeffrey is about a married couple experiencing intimacy issues but who don’t have a clue it’s because they are gay. Their oblivion makes them even more endearing.  Their total lack of awareness provides for a buffet of comedy.

IFC: What’s your origin story? How did you two people meet and how long have you been working together?

Mollie: We met at a dive bar in Wrigley Field Chicago. It was a show called Entertaining Julie… It was a cool variety scene with lots of talented people. I was doing Janice one night and Matteo was doing an impression of Liza Minnelli. We sort of just fell in love with each other’s… ACT! Matteo made the first move and told me how much he loved Janice and I drove home feeling like I just met someone really special.

IFC: How would Janice describe Jeffrey?

Mollie: “He can paint, cook homemade Bolognese, and sing Opera. Not to mention he has a great body. He makes me feel empowered and free. He doesn’t suffocate me with attention so our love has room to breath.”

IFC: How would Jeffrey describe Janice?

Matteo: “Like a Ford. Built to last.”

IFC: Why do you think the world is ready for this series?

Mollie & Matteo: Our current political world is mirroring and reflecting this belief that homosexuality is wrong. So what better time for satire. Everyone is so pro gay and equal rights, which is of course what we want, too. But no one is looking at middle America and people actually in the closet. No one is saying, hey this is really painful and tragic, and sitting with that. Having compassion but providing the desperate relief of laughter…This seemed like the healthiest, best way to “fight” the gay rights “fight”.

IFC: Hummus is hilarious. Why is it so funny?

Mollie: It just seems like something people take really seriously, which is funny to me. I started to see it in a lot of lesbians’ refrigerators at a time. It’s like observing a lesbian in a comfortable shoe. It’s a language we speak. Pass the Hummus. Turn on the Indigo Girls would ya?

See the whole season of Janice and Jeffrey right now on IFC’s Comedy Crib.

Watch More

Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

Posted by on
Photo Credit: Everett Collection, GIPHY

Yippee ki-yay, everybody! It’s time to celebrate the those most literal of mother-effers: dads!

And just in case the title of this post left anything to the imagination, IFC is giving dads balls-to-the-wall ’80s treatment with a glorious marathon of action trailblazer Die Hard.

There are so many things we could say about Die Hard. We could talk about how it was comedian Bruce Willis’s first foray into action flicks, or Alan Rickman’s big screen debut. But dads don’t give a sh!t about that stuff.

No, dads just want to fantasize that they could be deathproof quip factory John McClane in their own mundane lives. So while you celebrate the fathers in your life, consider how John McClane would respond to these traditional “dad” moments…

Wedding Toasts

Dads always struggle to find the right words of welcome to extend to new family. John McClane, on the other hand, is the master of inclusivity.
Die Hard wedding

Using Public Restrooms

While nine out of ten dads would rather die than use a disgusting public bathroom, McClane isn’t bothered one bit. So long as he can fit a bloody foot in the sink, he’s G2G.
Die Hard restroom

Awkward Dancing

Because every dad needs a signature move.
Die Hard dance

Writing Thank You Notes

It can be hard for dads to express gratitude. Not only can McClane articulate his thanks, he makes it feel personal.
Die Hard thank you

Valentine’s Day

How would John McClane say “I heart you” in a way that ain’t cliche? The image speaks for itself.
Die Hard valentines


The only thing most dads hate more than shopping is fielding eleventh-hour phone calls with additional items for the list. But does McClane throw a typical man-tantrum? Nope. He finds the words to express his feelings like a goddam adult.
Die Hard thank you

Last Minute Errands

John McClane knows when a fight isn’t worth fighting.
Die Hard errands

Sneaking Out Of The Office Early

What is this, high school? Make a real exit, dads.
Die Hard office

Think you or your dad could stand to be more like Bruce? Role model fodder abounds in the Die Hard marathon all Father’s Day long on IFC.

Watch More

Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

Posted by on
Photo Credit: Everett Collection, GIFs via Giphy

That we live in the heyday of nerds is no hot secret. Scientists are celebrities, musicians are robots and late night hosts can recite every word of the Silmarillion. It’s too easy to think that it’s always been this way. But the truth is we owe much to our nerd forebearers who toiled through the jock-filled ’80s so that we might take over the world.


Our humble beginnings are perhaps best captured in iconic ’80s romp Revenge of the Nerds. Like the founding fathers of our Country, the titular nerds rose above their circumstances to culturally pave the way for every Colbert and deGrasse Tyson that we know and love today.

To make sure you’re in the know about our very important cultural roots, here’s a quick download of the vengeful nerds without whom our shameful stereotypes might never have evolved.

Lewis Skolnick

The George Washington of nerds whose unflappable optimism – even in the face of humiliating self-awareness – basically gave birth to the Geek Pride movement.

Gilbert Lowe

OK, this guy is wet blanket, but an important wet blanket. Think Aaron Burr to Lin-Manuel Miranda’s Hamilton. His glass-mostly-empty attitude is a galvanizing force for Lewis. Who knows if Lewis could have kept up his optimism without Lowe’s Debbie-Downer outlook?

Arnold Poindexter

A music nerd who, after a soft start (inside joke, you’ll get it later), came out of his shell and let his passion lead instead of his anxiety. If you played an instrument (specifically, electric violin), and you were a nerd, this was your patron saint.


A sex-loving, blunt-smoking, nose-picking guitar hero. If you don’t think he sounds like a classic nerd, you’re absolutely right. And that’s the whole point. Along with Lamar, he simultaneously expanded the definition of nerd and gave pre-existing nerds a twisted sort of cred by association.

Lamar Latrell

Black, gay, and a crazy good breakdancer. In other words, a total groundbreaker. He proved to the world that nerds don’t have a single mold, but are simply outcasts waiting for their moment.


Exceedingly stupid, this dumbass was monumental because he (in a sequel) leaves the jocks to become a nerd. Totally unheard of back then. Now all jocks are basically nerds.

Well, there they are. Never forget that we stand on their shoulders.

Revenge of the Nerds is on IFC all month long.

Watch More
Powered by ZergNet