So says Captain Carol Danvers, a.k.a Vers, a.k.a Captain Marvel, the protagonist in the latest hotly anticipated release from, uh, Marvel. Of course, she does really, carrying the burden of that vast creative empire so soon after the explosive finale of Avengers: Infinity War, as well as joining Wonder Woman on that lonely stage marked 'female protagonist' at a time when frothing, toxic masculinity is a day-to-day hazard. She has a world of expectation to overcome, and the character struggles valiantly with these preconceptions as she does with the array of villains and the occasionally sluggish plot.
The film begins with a miasma of half-recalled memories that introduce our main character, Vers, and that hazy uncertainty clings to much of the film like stubborn weeds in an overgrown pond. She is a warrior for the proud warrior race - sorry, 'heroes' - the Kree with no explanation coherently provided for why she's a white Caucasian on a planet of blue-skinned comrades. Equally white and handsome is Yon-Rogg, her superior officer as played by the insufferably smug Jude Law who leads her on a mission against the grey goblin-like Skrulls, shape-shifting invaders who threaten all that is great and good amidst the shining spires of Vers and Yon-Rogg's homeworld.
Except all is not as clear-cut in this post-truth world, either in the movies or in reality. So, in the true spirit of escapism Vers is dropped on Earth, circa 1995, straight through the roof of a Blockbuster video shop. Here is where the movie's wry, subtle but superb sense of humour really takes hold. A cardboard cut-out of Arnie advertising 1994's unremarkable action-comedy 'True Lies' takes an energy blast to the face, which I could definitely read as Brie Larson's role-model sticking it to the tired 90s movie tropes and Schwarzenegger's model of masculinity as a whole.
Shortly after the film is truly stolen by baby-faced Agent Nicholas J. Fury, just finding his feet in the superhero security world, years before he becomes the powerful puppet-master of SHIELD and the Avengers. Samuel L Jackson's undeniable skills are put to great use and he slips effortlessly into the role of comic sidekick and foil to Larson's lead - not that she isn't a rounded character with a great line in comedy herself. She's witty, dry, compassionate, proud, outraged and angry and sad throughout the film. Her resolution of her murky origins, her self-appointed role and discovery of a strong moral code all help resolve a film that occasionally suffers from a vague plot, and a rotating carousel of half-identified allies and enemies without a clearly defined threat or goal.
There are regular breakouts though, such as a welcome return / debut from understated rookie agent Coulson (Clark Gregg), or confident and defined pilot Maria Rambeau (Lashana Lynch), or the hilariously expressive Talos (Ben Mendelson) who stand-out from an often cluttered cast and myriad of stories.
The fight sequences seemed to be spread a little thin, but on reflection this gives more room for the characters to converse and develop, and heightens the impact of battles such as a high-speed pursuit on an LA train, or a aerial chase through a canyon that slotted in well to the referential 90s action theme. In the climax, Danvers - fully realized of herself and unrestrained of her power - throws a staggering amount of power at the villains. It solidifies in my mind the understanding that Captain Marvel is definitely one of the most powerful heroes we have seen in the MCU to date, and justifies her stepping in as the salvation - somehow! - for Avengers: Endgame.
I came away amused, entertained and satisfied if not overly challenged or surprised by this film which does the rules of a Marvel movie well, lightly garnishing it with great characterisation, snappy comedy and a superb soundtrack. I went in with no preconceptions about its feminist overtones and did not feel they impacted the plot at all. It wasn't until the credits rolled and I noted the major involvement of Anna Boden - director, screenwriter and storywriter with partner Ryan Fleck - that this movie is very much a product of, and celebration of, women.
The short montage, also seen in trailers, where Larson rises from a setback with a look of fierce determination, was utterly heartening. A hundred leading men have done that sequence before, to the point where it's almost hackneyed. When Brie Larson rises from the dirt she's been put in by men telling her to know her place, when she gets back up after a defeat, stronger than before - when she rises to save the day and cement herself into the male-dominated superhero pantheon, I felt a thrill of excitement at the utterly formidable expression on her face.
I can only hope a legion of female fans look up at the screen, at a triumphant and successful woman in a massively lopsided genre, and feel they can rise above where they've been put by inconsiderate others.
Do stick around for the mid-credits scene which links into the upcoming MCU release with some familiar faces, and the final post-credits scene which comically sums up one of the most remarkable story strands in this film. I must sing the praises of the soundtrack designers, but boggle at the idea of packing the movie with 90s references that are probably lost on the vast part of the audience! Back to the present (or the future?), and bring on the Endgame and more of Captain Marvel - please!
