In November 1961, Marvel Comics readers witnessed four intrepid explorers be forever changed by mysterious cosmic rays. Marvel’s “First Family” of superheroes were the first of many colourful superheroes for Marvel Comics and are more than deserving of some attention today.

Released: 7 August 2015
Director: Josh Trank
Distributor: 20^th Century Fox
Budget: $120 to 155 million
Stars: Miles Teller, Michael B. Jordan, Kate Mara, Jamie Bell, Toby Kebbell, Reg E. Cathey, and Tim Blake Nelson

The Plot:
Genius scientist Reed Richards’ (Teller) research into teleportation attracts the attention of Professor Franklin Storm (Cathey), who invites him to help complete Victor Von Doom’s (Kebbell) “Quantum Gate”, which he recklessly travels through to a parallel dimension alongside his co-workers. Though they are transformed by their exposure, Doom is stranded and Reed becomes a fugitive, but he is forced to repair his fractured relationships when Doom plots to harness the dimension’s  power for his own nefarious ends.

The Background:
Considering that there is some controversy surrounding the creation of Marvel’s First Family of superheroes, perhaps it’s fitting that Stan Lee and Jack Kirby’s dysfunctional family of intrepid adventurers has had a rocky road towards a big-budget, live-action adaptation. Although German producer Bernd Eichinger’s attempts to get a film off the ground resulted in the production being shut down and the negatives being confiscated to keep it from seeing the light of day, director Tim Story’s efforts at least resulted in actual movies being released. While the films were both modest successes at the box office, they were met with mixed reviews, despite praise for some of their performances, and plans for further movies and spin-offs were cancelled because of this mediocre reception. 20^th Century Fox first announced their intentions to reboot the franchise in 2009; the initial script included another interpretation of Galactus but, when director Josh Trank signed on to the film, he immediately set about reworking the script into something more grounded and realistic. While Trank sought to evoke a specific tone and atmosphere with his new take on the Fantastic Four’s origin, other creators and producers offered contradictory statements regarding the reboot’s connection to Fox’s X-Men franchise (Various, 2000 to 2020), and the film attracted controversy by casting up-and-coming actor Michael B. Jordan in the role of Johnny Storm/The Human Torch, a character traditionally depicted as white (though Trank later revealed that he planned to make the entire Storm family black to create more diversity within the team). Additional problems occurred when 20^th Century Fox ordered a number of reshoots after being dissatisfied with Trank’s efforts, and the film was further cut up and changed from Trank’s original vision in the editing room. The result was one of the most ridiculed superhero films ever made; Fant4stic’s underwhelming $167.9 million gross made it a box office flop and critics universally panned it, with even Trank actively distancing himself from the finished product. Although 20^th Century Fox initially planned to produce a sequel, the film was quietly removed from their production slate; the characters subsequently became the property of Marvel Studios when Disney purchased 20^th Century Fox in 2017 and another reboot was soon announced as part of the Marvel Cinematic Universe.

The Review:
While Tim Story’s Fantastic 4 movies may not have bee the greatest superhero or science-fiction tales ever produced, they were decent enough in their own right and seemed to be heading in the right direction with the second film; a third movie, and a spin-off, seemed likely and I have to say that I was a little let down that we never got to see another entry in that series of films. When I first heard that 20^th Century Fox were producing a reboot, I was sceptical until I saw the first few trailers; the movie seemed to be advertised as a cross between Interstellar (Nolan, 2014) and easily Trank’s most notable film, the excellent Chronicle (Trank, 2012), with its darker, gritter approach and focusing more on the scientific aspects of the team. I was actually okay with this, and some of the casting changes, and barring one exception everything seemed to be shaping up okay…until I started hearing that it really wasn’t very good and saw how poorly it performed. When I first saw it, I remember actually thinking it wasn’t that bad, but it’s true that it’s probably my least-watched of the three commercially released movies.

Fant4stic separates itself from its predecessors by beginning in 2007 to show us Reed’s childhood as a child genius (Owen Judge) who has aspirations of building a teleportation device; although he is mocked by students and even his teacher, Mr. Kenny (Dan Castellaneta), for his claims to already be building the device, he catches the eye of young Ben Grimm (Evan Hannemann). While Reed is unfazed by the mockery he receives, Ben comes from a rough neighbourhood and an even rougher home where he is continuously abused by his brutish older brother, Jimmy (Chat Hanks), and forms a fast friendship with Reed when he sees first-hand that the boy’s prototype (powered by a number of Nintendo 64’s and materials scrounged from Ben’s family junkyard) is able to transport matter to an unknown dimension (though it also causes a massive blackout in the process). Seven years later, the now grown-up friends confidently display their newest prototype at their high school’s science fair (despite clearly being in their mid-thirties rather than around seventeen/eighteen); although Reed’s device is still a little wonky and destructive, it nevertheless works but, oddly, Mr. Kenny continues to be unimpressed (labelling it as a magic trick), and Reed is left dejected at the response to his lifelong project.

His sprits soon turn, however, when Dr. Storm and his daughter, Sue (Mara), approach him, seeing the potential in Reed’s research and impressed by his progress; Storm has been working on a similar project but has been unable to retrieve matter from the source dimension, and immediately offers Reed a full scholarship to the Baxter Foundation so that he can help them finalise an interdimensional transporter. Reed jumps at the chance to move to the city and be appreciated for his intellect for a change and, though it means being separated from his childhood friend, Ben fully supports his academic endeavours. Reed awkwardly tries to strike up a conversation with Sue, an intelligent young woman in her own right who uses music to help her concentrate on her work and specialises in “pattern recognition”. Still, Storm’s project attracts scrutiny from Doctor Harvey Allen (Nelson), who doesn’t subscribe to Storm’s claims of alternative dimensions, or his tendency to recruit children from science fairs or unpredictable wild cards like Victor Von Doom. Reimagined as a reclusive, unappreciated genius, Victor distrusts the military and governmental officials behind the Baxter Foundation but agrees to return to the project out of his affection and trust for Sue. Initially, Victor is so paranoid that he believes that Reed stole his research, but despite being critical of Reed’s childish drawings, is nevertheless impressed with his efforts; although he has little faith in the future of humanity or Storm’s dreams of using the Quantum Gate to repair the environmental damage done to the world, he’s willing to work alongside Sue and Reed on the proviso that they get to be the first ones through the gate to explore this mysterious other dimension.

To complete the project, Storm drafts in his outspoken, hotshot son Johnny (Jordan), a rebellious youngster who’s more interested in street racing than putting his incredible engineering talents to good use alongside his father. Resentful of his father’s work, which has left him feeling undervalued, Johnny is forced to join the project after smashing up his car, but forms a fast friendship with Reed after he actually speaks to and treats him with some respect on a peer-to-peer level. In time, the four complete the Quantum Gate and successfully transport a chimp to this other dimension, dubbed “Planet Zero”, a primordial world of chaos that Storm believes holds the key to understanding human evolution and providing clean, renewable energy sources for the entire planet. However, the team is distraught and angered when Allen refuses to allow the four to be the first to travel to Planet Zero, resulting in them deciding the make the trip against orders after getting half-cut on alcohol. Intoxicated, Reed calls Ben and insists that he join them in making the trip, and in a bizarre turn of events Ben is transported alongside Reed, Johnny, and Victor while Sue…stays behind in the control room and wasn’t even asked to be a part of the experiment. In fact, she only finds out that they’re using the machine when her computer alerts her, meaning that she misses out on visiting the new world, which turns out to be an extremely hostile environment and home to a protoplasmic substance. However, when a series of eruptions force them back into the Quantum Gate, Victor is left stranded and the three are bombarded with the strange energy of the planet, which fundamentally alters their genetic structure to bond them with the four elements of the planet (with Sue being caught by a burst of energy from the returning gate).

Unlike in the 1994 movie and Tim Story’s first film, the four are immediately and horrifically changed by this process; Johnny is left a burning body, Ben is buried under a pile of alien rocks, Sue flickers in and out of sight, and Reed’s limbs are left strewn around the ruined laboratory. Following this, the four are subjected to a series of studies and tests by governmental officials as their powers rage out of control. Interestingly, in this version of the story, neither Ben or Johnny can control their powers; Johnny requires a specially-modified suit to regulate his flames, and even Reed struggles to concentrate on keeping himself in proportion, making the four’s abilities far more monstrous and dangerous as a result. Since she wasn’t at ground zero like the others, Sue’s powers are far more stable and, in time and with training, she’s able to control them, but Ben is left in constant pain and horrified by his rock-like appearance. Terrified and guilt-ridden, Reed flees the facility and goes on the run in a desperate attempt to stabilise his condition and find a cure for Ben’s hideous affliction, however this results in Allen manipulating Ben into becoming a weapon for the government and preparing Johnny for the same fate. After a year in hiding, Reed is finally tracked down by Sue, brought in by the enraged Ben, and agrees to complete a new Quantum Gate in return for the resources to cure his friends, and himself, of their dangerous powers, only to find that Victor also survived and has been irrevocably and dangerously altered by Planet Zero.

The Nitty-Gritty:
I mentioned above that Fant4stic is far more focused on the scientific content of the film, and that’s true; once Reed arrives at the Baxter Foundation, he is awestruck by the scope, resources, and technology offered by the facility and much of the film’s first act is devoted entirely to the fledgling team and Victor’s efforts to finalise the Quantum Gate. This involves a hefty montage of such science stuff involving Reed and Victor scribbling on a whiteboard, Sue creating the team’s protective suits, and the construction of the Quantum Gate itself. This is juxtaposed with the four slowly bonding over time, sharing meals and a real enthusiasm for the work they’re doing, though Ben is noticeably absent from the entire team-building process as Reed never once thinks to bring him in on the project.

Once the team returns from Planet Zero, the film takes a dark and dramatic turn; as a stereotypical governmental sleazeball, Allen is determined to not only take advantage of Ben, Johnny, and Sue to sell them as assets to the military, but to also mine the transformative properties of Planet Zero for similar uses. While Johnny is all for using his powers for something worthwhile, and pushing them (and himself) to the limit, Sue is determined to not be used as some tool for the government like Ben, who has become a despondent and stoic killing machine in Reed’s absence. While I question the casting of Jamie Bell in the role of Ben since he lacks the physicality and stature typically associated with the character, he does a pretty good job at portraying a loyal friend to Reed and the Thing’s torment at the emotional and physical pained caused by his grotesque transformation. Kate Mara is a much better fit for Susan Storm compared to Jessica Alba since she’s not some glamorous supermodel cosplaying as the Invisible Girl; instead, she’s a smart and slightly quirky scientist in her own right and has far better chemistry with Reed and Johnny than Alba’s version of the character. All I ever hear is people banging on about the reshoots and Mara’s wig but I can’t say it really bothered me that much or was even something I noticed; similarly, I really enjoyed Teller’s version of Reed as an awkward but likeable young man who is incredibly smart but still very relatable, and Michael B. Jordan delivered a great performance as the Human Torch thanks to his boundless charisma. The only real criticism I had about the casting was to do with some of the script and narrative choices; leaving Ben out of the team means that we don’t really get to see the same rapport between him and Johnny as in the previous movies and comics (Johnny generally directs his snark towards Victor instead), but otherwise this was a really strong cast.

One area where Fant4stic excels above its predecessors is in the CGI and special effects used to bring the titular heroes to life; while I have to say that I do prefer a practical suit to be used for the Thing, the CGI employed here goes a long way to emphasising just how monstrous and fearsome this version of the character is. A hulking, destructive being of superhuman strength and durability, the tragedy of the Thing is only heightened by his grotesque appearance and his being turned into a weapon by Allen. Similarly, the fire effects used to render the Human Torch are worlds better than in the previous film and probably some of the best fire effects I’ve ever seen, resulting in him being a fittingly blazing inferno. Sue’s invisibility is about the same, though there’s more of a blue tint to her forcefields and such; generally, her powers are used more to protect the others from harm and to allow the Thing to get the drop on Doom in the finale, meaning the vast potential of her abilities is again set aside in favour of trying to highlight each member of the time. Finally, there’s Reed; while he looks a little plasticy when he’s all stretched out following his return to Earth, his elasticity mostly looks much better (while his cobbled together suit isn’t massively comic accurate, it seems more suited to the CGI than the blue used in the last films) and we even get a scene that better showcases his ability to disguise his features.

Rather than being a despicable monarch or a sleazy corporate scumbag, this version of Victor Von Doom is an arrogant, cynical slimeball who believes himself to be the most intelligent person in any room and who is obsessed with Sue (why that has to keep happening in these films is beyond me). Determined that the world will remember his name for his contributions to science, he refuses to be forgotten in favour of some hot-shot astronaut and his obsessions lead to him blundering into Planet Zero’s protoplasmic substance without thought for the consequences, causing the planet to erupt around them, granting the four their powers, and leaving him stranded on Planet Zero, where he is consumed by its strange energies. Infused with his suit and with a mysterious, otherworldly power coursing through his veins, Victor is transformed into a monstrous and vicious being who exhibits deadly telekinetic powers that he uses to explode people’s heads, repel bullets, and lay waste to the facility in order to return to Planet Zero. Driven mad by his powers and time in isolation, Victor takes the name “Doom” and plans to turn the destructive energies of Planet Zero against the Earth in order to forever transform it, reshaping it in his own image in order to avenge himself on those who have wronged him, killing both Allen and Storm in the process and refusing to listen to reason. To put an end to Doom’s plot to destroy the world using a black hole, the four travel to Planet Zero, where they find themselves overwhelmed by Doom’s command of the landscape; when their individual efforts to stop Doom are met with failure, the four set aside their differences in order to work together to defeat him. Following a co-ordinated assault using all of their powers in unison, the four are able to set Doom up so that the Thing can smash him into his own energy beam, disintegrating him and sparing the Earth (though the immediate area is left devastated). In the aftermath, the four are commended by the United States government and enter into an agreement where they are afforded the freedom to operate independently in return for lending their services for the good of the world as a superpowered team.

The Summary:
I’m a bit torn, to be honest; I feel there’s a lot of potential in Fant4stic, especially in the cast and the general direction that the film took. Focusing on the science and being this more gritty, grim retelling of the team’s origin was a good way to separate it from what had come before (which, to be fair, is essential for a good reboot), but I can see why this would have put off long-term or even casual Fantastic Four fans. There are some stumbles in the story that I seriously doubt even a director’s cut could fix; not having Ben be part of the Quantum Gate team until the machine is complete being chief among them, as is Sue not accompanying the team to Planet Zero, both of which were very strange choices to make. I liked that the film tied the team’s origin in with an adaptation of the Negative Zone to help mix things up, and having the Thing be tormented by physical pain and turned into a tool for the military was an interesting wrinkle to add to the story, as was the focus on the government desiring to harness and manipulate the team’s powers and those of Planet Zero. As ever, it’s the depiction of Doom where the film falters; had the script stuck to the original idea of him being a herald for Galactus, this may have helped with this new depiction of the character, but this is still a far cry from the maniacal despot of the comics and I almost feel like it would’ve been better to leave Doom’s fate unresolved and have the team battle a Planet Zero native, someone like Annihilus maybe, and tie up Doom’s loose end in the sequel. But, then again, I doubt even that change would have helped a sequel being produced, and that’s a real shame as I feel like a follow-up could have really improved upon the missed potential of this film and given everyone a bit more time to shine. Overall, I find myself actually enjoying this more than I expected, but it’s maybe a little too far away from the source material and the core of what makes these characters work, though I don’t actually think it deserves as much hate as it often gets.

My Rating:

Could Be Better

What did you think to Fant4stic? Were you a fan of the new cast and their depictions of the characters and what did you think to Johnny Storm being race swapped? Were you disappointed that Ben wasn’t a part of the machine’s construction and that Sue didn’t travel to Planet Zero? What did you think to the depiction of Victor Von Doom this time around? Do you think CGI is a better way to bring the Thing to life or did you prefer the practical suits of the previous films? Would you have liked to see a sequel to this film, or an extended director’s cut release someday? How have you been celebrating the debut of Marvel’s First Family this month? Whatever your thoughts on Fant4stic, leave a comment below.

In November of 1961, readers of Marvel Comics readers witnessed four intrepid explorers be bathed in mysterious cosmic rays and forever changed. On that day, they became known as the Fantastic Four, Marvel’s “First Family” of superheroes, and went on to be the first of many colourful superheroes for Marvel Comics as well as feature in numerous cartoons, videogames, and live-action movies. This year, I’m dedicating every Friday in November to commemorating the debut of Marvel’s most famous dysfunctional family.

Released: 8 July 2005
Director: Tim Story
Distributor: 20^th Century Fox
Budget: $87.5 to 100 million
Stars: Ioan Gruffudd, Jessica Alba, Chris Evans, Michael Chiklis, and Julian McMahon

The Plot:
When Doctor Reed Richards (Gruffudd) is forced to turn to unscrupulous Victor Von Doom (McMahon) to study cosmic energy, a cosmic rays crew transformed into superpowered beings. While Reed works to find a cure, Doom becomes consumed by his powers, forcing the dysfunctional group to set aside their differences and join forces as a superhero team.

The Background:
While I wasn’t really a fan of the Fantastic Four’s debut issue, Stan Lee and Jack Kirby’s the concept of a dysfunctional family of superheroes went on the be a cornerstone of Marvel Comics, and even saw a decent amount of success in cartoon adventures outside of the comics. Their first effort at a live-action movie, however, didn’t exactly go as smoothly; not only was it hampered by a shoestring budget but the film never saw the light of day as Marvel executive Avi Arad shut down the production and confiscated the film’s negatives to avoid the film’s release tarnishing their brand. German producer Bernd Eichinger still held the rights to the characters, however, and the 1994 film’s universal derision and rushed production didn’t preclude him from continuing to push for a big-budget adaptation of Marvel’s First Family. With Arad now onboard as a producer, Chris Columbus was initially signed on to write and direct a new film the following year; however, writers and directors continued to join and drop out of the project over the course of around ten years. Eventually, Tim Story, a fan of the comics, signed on for the job and production began in earnest in April of 2004. Star Michael Chiklis lobbied hard for the role of Ben Grimm/The Thing and to don a practical suit to bring the character to life, though the film underwent significant rewrites after the release of The Incredibles (Bird, 2004), which was arguably the best Fantastic Four movie not titled Fantastic Four. Although the film’s $333.5 million box office meant that Fantastic 4 was a decent box office success, the film was met with mixed to mediocre reviews (although the chemistry between Chiklis and co-star Chris Evans was highly praised). To build anticipation for the upcoming sequel, this Extended Edition of the film was released on home media that restored several deleted scenes (including a longer opening title sequence and a strange cameo by Hugh Jackman) to the film, and that will be the version I look at today.

The Review:
Rather than dwelling on the past of its core characters, Fantastic 4 focuses on the present, which is great for getting things going but leaves a few questions unanswered; at the start of the film, Reed and his best friend, former pilot and astronaut Ben Grimm (Chiklis), are presenting to Victor Von Doom the opportunity to study a vast cosmic cloud that hopes to uncover the secrets of life and cure diseases. However, this isn’t the first time Reed’s made this presentation; having been turned down by the National Aeronautics and Space Administration (NASA), and with time and money running out, the two are forced to turn to the “larger than life” Doom for help as they’re in financial ruin. Reed’s finances are in such dire straights that he is forced to sign over 75% of the proceeds and all of the patents to the research to Doom just to get the project off the ground. Reed is even further dumbstruck to find his former flame, Susan Storm (Jessica Alba), working as Doom’s Director of Genetic Research, but sets aside any grievances he has literally because he has no other choice and is determined to help people with his research.

While Ben and Sue get along amicably enough and embrace each other as old friends, there are clearly some lingering issues between Reed and Sue; here, they were college sweethearts who dated pretty seriously for a time, but the relationship fell apart after Sue proposed them moving in together and Reed couldn’t quite take that next step. Indeed, Reed’s major character arc is balancing his obvious genius with his awkward social skills; his focus is always on the maths, the research, and the science, to the point where he is more interested in the uniforms made from “unstable molecules” than he is in how hot Sue looks in them (or anything for that matter). Sue is frosty towards Reed at the start of the film, but her icy demeanour soon melts as she sees his genius in action; it’s obvious that she’s still attracted to him, but she wants him to be proactive, take charge of his life, and be a little bold rather than always being so timid and clinical. While Doom believes that he has a chance with Sue, and can turn her head with money and wild gestures, she’s not interested in him beyond a professional relationship; something of a scientist herself, Sue is perfectly capable at holding her own when it comes to the science, which allows her to be so much more capable and world’s beyond the blond bimbo she was characterised as in the last film and the early comics. Sadly, though, as attractive as Jessica Alba is, I can’t help but feel like Sue was miscast; there’s a reason why Sue ends up in her underwear, after all, and it’s got nothing to do with how smart she is.

Easily the standout characters in the film are Ben and Sue’s hotshot younger brother, Johnny Storm (Evans); while Ben is as gruff and grim as his namesake, he’s a consummate professional when it comes to his job and a stern military man, which is the perfect foil for Johnny’s brash arrogance. Relishing the opportunity to be his former commanding officer’s superior, Johnny takes every chance to wind Ben up and get under his skin; a show-off and an adrenaline junkie, Johnny cares more about the limelight and the attention than any kind of moral or scientific implications and prefers to flirt and hook up with as many attractive young women as he can rather than stay devoted to one, like Ben. Consequently, Johnny is the first and only one of the four to actually enjoy his newfound powers, which he immediately sets out to showcase and use for personal gain; his showboating only further aggravates Ben, whose monstrous appearance causes him to be shunned and feared by all, including his fiancé, and Sue’s efforts to curb Johnny’s behaviour do little to spare Ben’s pain.

Undeniably, the most altered character from the comic books is Victor Von Doom; rather than being a bombastic, egotistical monarch with a penchant for monologing and dark magic, this version of Doom is my absolute least favourite type of villain: a sleazy corporate slimeball dressed in a suit. Wealthy beyond measure, and chairman of Von Doom Enterprises, Doom has accumulated a vast amount of money and power and established a foothold in a number of scientific endeavours, not the least being his orbiting space station. However, he’s greedy and lustful and always wants more, especially that which he cannot have; despite his lofty stature, he delights in watching Reed squirm when he comes asking to use the space station and in lording himself over Reed’s genius, and he goes to any lengths, including referring to a proposal as a “promotion”, to try and woo Sue away from Reed and into his arms. Since his ties to Latveria are only vaguely hinted at (he doesn’t even have an accent or appear to be of gypsy descent), just about the only personality aspects Doom shares with his comic book counterpart are his hatred of Reed and his egomania. Doom is frustrated at having received a small facial scar from his time on the space station since it blights his perfect façade, but ironically only ruins his appearance further by indulging in his newfound powers, which escalates the organic metal infection to the point where he’s forced to hide behind an iron mask.

Much of the film revolves around the four discovering their awesome new powers and trying to figure out how to first control, and ultimately cure, them; gifted to them by a mysterious cosmic storm, all five gain abilities that link their personality quirks with the elements (Reed’s “always stretching” so becomes fluid, Johnny’s a hot-head, Sue feels invisible around Reed, Ben is rough and rocky, and Victor is vain and cold), but Ben is permanently affected as he was outside of the space station’s protective shields, which is a nice way to address that lingering plot hole. Like in the 1994 film, Ben’s transformation takes some time to take effect, which is used largely for a genuinely hilarious wind-up on Johnny’s part, and Reed is somehow able to recoup finances enough to move them all into the Baxter Building to conduct tests on their newfound powers. Determined to restore Ben to normal, Reed works around the clock to try and recreate the cosmic storm, but Ben allows his frustration and despair to get the better of him and comes to blows with his friend, which also makes him easily manipulated by Doom. Although he tries to hide his transformation, Doom soon comes to enjoy the destructive potential of his powers, and embarks on a vendetta against Reed, whom he blames for costing him his good looks and his company. To that end, Doom takes the Thing out of the equation by curing him, freezes Reed with liquid nitrogen, tries to kill the Human Torch with a heat-seeking missile, and doesn’t hesitate to turn his devastating electrical blasts against the Invisible Girl in order to overpower them individually, and it’s only by putting their differences aside and coming together as a team that the four are able to overcome their foe.  

The Nitty-Gritty:
Released at a time when superhero films were still struggling to break into consistent, mainstream box office success, Fantastic 4 falters a little when it comes to its tone and direction; clearly, it’s straddling a fine line between a fun family adventure and a slightly campy kids’ movie, which is fine as the concept is quite whimsical and the four are known for having very fantastical adventures, but the film also wants to keep things grounded like X-Men (Singer, 2000) and Spider-Man (Raimi, 2002), so it never pushes the concept as far as it could possibly go. After the four’s big debut on the Brooklyn Bridge, they become instant celebrities (despite the Thing causing the accident…) but then withdraw from the public eye so that Reed can run his tests, which is largely where the film flounders; the four don’t really do anything of interest in that time, beyond Johnny’s motorcycle stunt show, which isn’t too great in terms of exciting or engaging the audience.

However, in those moments, the film does do a far better job of developing and highlighting the unique dysfunctional family mechanic of the Fantastic Four. Sue struggles to maintain order as the default matriarch of the team and to keep the “kids”, Johnny and Ben, from arguing and getting under each other’s skin, and to help Reed better balance his time between work and relaxation. Guilt-ridden at the pain and trauma he has caused his friend, Reed works tirelessly to cobble together a suitably Jack Kirby-esque machine that he hopes will revert the Thing to normal, and Reed is so distraught by his friend’s outburst that he tests it on himself and nearly kills himself in the process. Annoyed at the constant criticism and lack of appreciation for their superpowers shown by his new teammates, Johnny revels in showing off his new abilities for the world to see, which only exacerbates the conflict between him and the others, especially Ben. Distraught at his grotesque appearance, Ben is only further dejected when his fiancé walks away from him and to find that his new rocky body is cumbersome, awkward, and hideous to others. While he finds momentary reprieve in using his newfound strength to put right the accident he unwittingly causes on the Brooklyn Bridge, he allows Doom to get in his head and is enraged to find Reed cosying up to Sue rather than making good on his promise to help, despite the fact that Reed has clearly been dedicating his every moment to fixing Ben’s predicament.

Undeniably, the Thing’s practical suit is the film’s most impressive visual effect; due to being augmented by rocky sound effects and subtle CGI, there’s a real weight and physicality to the Thing thanks to the suit, which keeps him from appearing cartoony and out of place like some CGI characters from that time, such as such as Doctor Henry Jekyll/Mister Edward Hyde (Jason Flemyng) from The League of Extraordinary Gentlemen (Norrington, 2003). The Fantastic Four’s suits are also nicely translated to the screen; while they lean a little more towards the sexy onesie look than being realistically practical, the texture and colour look good and they’re a decent bridge between the bright, colourful costumes of the comics and the film’s more grounded direction. Doom eventually takes on an extremely faithful comic accurate look as well; however, it comes very late in the film and I feel his hood and outfit lacks detail in some areas, making him a far cry from the imposing despot who is one of Marvel’s most ruthless and formidable villains. Obviously, the CGI and special effects are going to be of a higher quality than the 1994 film, and for the most part the hold up pretty well (thanks, largely, to the film utilising practical effects, sets, and stunts that are merely augmented by CGI); the Human Torch’s flames look pretty good, though his flaming body effects can still be a little cartoony, and Reed’s elasticity is rendered quite well but again suffers from there being few instances where it can actually be of practical use. Sure, he rescues a man from falling off a bridge, ties Ben up, and helpfully directs a water hydrant in the finale, but Mister Fantastic never seems to get as many chances to shine through his powers as the others; the focus is always more on his genius, which is fine, but it can make for quite a bland character (in many of the promotional materials, for example, he’s just…standing there…). Sue’s powers extend beyond simple invisibility; she’s able to project invisible forcefields, which helps here to contain fire, form protective shields, and blast foes away, making her one of the most versatile in the team.

This Extended Edition of the film also includes a number of new, extended, or alternate scenes; the first of these is seen right at the beginning where the film is proceeded by an animated set of credits showcasing the film’s key characters, followed by a couple of additional quick shots in the foyer of Von Doom Industries that establish what Doom’s company does and that it’s a bit of a snobby place to be. While some alterations are quite minor (such as Reed and Sue having a moment in his supply room, Johnny increasing the temperature in the lift to get women all hot and bothered, and Sue reading fan letters sent to the team), others are more poignant and add some punch to the film (like the Thing having additional interactions with blind artist Alicia Masters (Kerry Washington), Doom blasting a hole through one of his shareholders rather than simply electrocuting him, Victor trying to tempt Johnny away from the team with women and merchandising offers, and him being humbled while showing off). Of course, the most noticeable addition is a brief cameo by Hugh Jackman as Logan/Wolverine, which makes for quite an awkward scene as it’s basically a repetition of one that came right before it and the effect is more of a cheap CGI wash than Reed actually transforming his features. Still, the crux of the film remains unchanged; separately, the four are capable of great things but, together, they form an almost unbeatable team that is the perfect balance of power, intelligence, and charisma, though they struggle to build that rapport throughout the movie. Once Ben sees how vital his abilities as the Thing are to stopping Doom, he willingly subjects himself to the cosmic rays once more to battle Doom and free Reed, bringing the team together for a brief scuffle with Doom on the city streets that involves a lot standing around, exchanging blows and cliché lines from Doom, before Reed and the Thing knock their enemy off balance a bit so that the Invisible Girl and the Human Torch can superheat him and turn him into a living statue. In the aftermath, the four embrace their newfound powers and celebrity status as superheroes, with Reed and Sue rekindling their romance, the Thing accepting his new status quo, and Johnny reveling in their fame as Doom, who still shows signs of life, is shipped back to Latveria…

The Summary:
It’s not that Fantastic 4 is a bad film, it’s just that it’s a bit underwhelming considering the concept; I think it definitely played things a little too safe by leaning into that grounded sci-fi aesthetic of X-Men and could have benefitted from being a little more over the top and adventurous in its scope. As a fun, family movie, it works very well and I’m sure there’s a lot here for kids to enjoy, and there are a lot of positives to the film: the effects and presentation are really good, and Chris Evans and Michael Chiklis are fantastic in their roles. Of all the actors in the film, they perfectly capture their characters; Ben’s anguish is as much a highlight of the film as his rapport with Johnny, which basically saves it complete mediocrity. It’s a shame that they’re not in a better movie, to be honest, as they were perfectly cast and did a great job; Ioan Gruffudd is okay as Reed, if a little bland and wooden, and I like Jessica Alba but she really wasn’t right for this character. Of all the cast, though, Julian McMahon is the biggest misstep; I almost feel like it might have been better to save Dr. Doom for the sequel as he’s so neutered and lacklustre compared to the maniacal despot seen in the comics. Some decent comedy and fun action scenes help keep the film interesting, and it’s a reasonable first attempt at a big-budget adaptation of the team that’s bolstered a little further by the additions seen in this Extended Cut, but you’re not really missing much anything if you skip it, if I’m being brutally honest. I get that it’s a difficult and expensive concept to bring to life, but the Fantastic Four should be this wacky hybrid of science-fiction and fantasy, not a middling affair that plays it safe simply because grounded, semi-fantastical superhero films were the norm.

My Rating:

Could Be Better

Were you a fan of Fantastic 4? Which of the cast and characters was your favourite and what did you think to the relationship between Johnny and Ben? What did you think to the film’s portrayal of Dr. Doom and do you think that the character got shafted a little here? Were you a fan of the direction the film took or do you think it played things a little too safe? How are you celebrating the debut of Marvel’s First Family this month? Whatever you think about Fantastic 4, leave a comment below.

In November of 1961, readers of Marvel Comics readers witnessed four intrepid explorers be forever changed by mysterious cosmic rays. On that day, they became known as the Fantastic Four, Marvel’s “First Family” of superheroes, and went on to be the first of many colourful superheroes for Marvel Comics as well as feature in numerous cartoons, videogames, and live-action movies. This year, I’m dedicating every Friday in November to commemorating the debut of Marvel’s most famous dysfunctional family.

Released: Never (initially scheduled for 19 January 1994)
Director: Oley Sassone
Distributor: New Horizons Pictures
Budget: $1 million
Stars: Alex Hyde-White, Rebecca Staab, Jay Underwood, Michael Bailey Smith/Carl Ciarfalio, and Joseph Culp

The Plot:
While in college, genius scientist Reed Richards (Hyde-White) experiments on a passing comet but a mishap results in the apparent death of his friend, Victor Von Doom (Culp). Years later, Reed recruits Benjamin Grimm (Smith), Susan Storm (Staab), and her hot-shot younger brother Johnny (Underwood) to continue the experiment, only to be bombarded with cosmic rays and gain extraordinary abilities they must then put to the test when Victor returns bent on revenge as the maniacal Doctor Doom.

The Background:
Although the process behind the creation of the Fantastic Four is a little more confusing the most other comic book heroes (they were either the result of Marvel Comics head honcho Martin Goodman tasking Stan Lee to create a team of superheroes to rival DC Comics’ Justice League of America or Jack Kirby came up with the concept himself, basing them on his Challengers of the Unknown), both Stan Lee and Jack Kirby undoubtedly created Marvel’s First Family. Unlike other superhero teams, the Fantastic Four aimed to be more relatable by leaning towards a family dynamic that caused them to bicker with each other as much as their enemies no matter how wacky their adventures got. Although I didn’t care much for their debut issue, the Fantastic Four have been a consistent staple of Marvel Comics ever since their introduction and have featured prominently in cartoons, but it was German producer Bernd Eichinger who first set in motion plans for a live-action adaptation. Although Eichinger was able to acquire the rights for a “not enormous” amount since Marvel’s lawyers practically gave away the license, budget problems hit the production almost immediately. Desperate, he turned to notorious low-budget producer Roger Corman, who arranged a pitiful $1 million for the film. Within less than a month, the film was cast, shot, and completed, resulting in a number of rushed and subpar special effects but also a legitimately impressive practical suit for the Thing. However, as soon as the film was finished, Marvel executive Avi Arad shut the production down, paid back the money spent, and confiscated the film’s negatives to avoid the brand being diluted and cheapened by the film’s release. Although Eichinger would go on to eventually produce live-action versions of the comic book characters that actually saw the light of day, the closest that The Fantastic Four has come to being released is through bootlegs and a documentary detailing the strange events surrounding the film. Those that have seen the film generally report it being pretty terrible, though others enjoy film’s the B-movie appeal and even consider it a surprisingly faithful attempt at an adaptation considering the budget and effects of the time.

The Review:
I’m gonna kick this off with a quick disclaimer that should probably be obvious, but I think it’s worth saying: the video quality of this film sucks, quite frankly. Because it never got an official release, we never even got a VHS release of the film let alone a 8K, HD Blu-ray digital transfer so I don’t exactly have much choice but to pull pictures from very low quality bootleg versions of the film. Secondly, there’s no official way of seeing this; it can be watched online for free on many streaming and video platforms but I’m not going to include any links to that. I honestly would love to see the film be dusted off and officially released some day; I find it just astounding that it’s never happened, especially as we’ve seen official releases of other, equally awful Marvel movies from the nineties but, until that happens, this is the best version that I could find to view so we’re all just gonna have to deal with it.

The film begins with Reed Richards, Ben Grimm, and Victor Von Doom as college students, where they learn of an incoming comet, dubbed “Colossus”, that promises to unlock the mysteries of faster-than-light travel. Reed and Victor have spent the last four years been working on a machine to run experiments on this comet, though Reed is concerned that Victor’s calculations fail to consider velocity variations that could jeopardise the entire project. Although Reed insists on running a simulation to ensure everything goes safely, Victor pushes the experiment forward due to the limited window they have to observe Colossus, and his arrogance and recklessness cause their machine to overload and strike Victor with bolts of electricity that, despite Ben’s best efforts, apparently leave Victor dead. By the time Colossus rolls around ten years later, Reed has finalised the construction of an experimental spacecraft that Ben is all-too eager to pilot. Reed first met Sue (Mercedes McNab) and Johnny (Phillip Van Dyke) when they were children at the boarding house he stayed at in college; even though she was little more than a pre-teen, Sue had a major crush on Reed, which makes it frankly a little disturbing that they develop a mutual attraction when they reunite some ten years later when she’s all grown up. However, the oddities don’t end there as Ben makes the decision to draft the grown-up Sue and Johnny to fill out the crew of Reed’s spacecraft despite the fact that the Storms are not trained, qualified, or in any way suitable to undertake such a mission (Hell, I’d argue that Reed isn’t qualified to go into space based on what we’ve seen so far). Even Reed points out what a daft decision this is but Ben insists on bringing them along simply because of their familiarity with the project, and Reed’s doubts are apparently immediately quashed as soon as he sees how grown-up Sue has become, and the group are subsequently dubbed the Fantastic Four by the Storm’s matriarch, May (Annie Gagen). Reed feels a tremendous amount of guilt over Victor’s death and wishes to see their research come to fruition to honour his friend’s memory, which is all the motivation the others need to sign on to the mission.

However, disaster strikes when the four are on the mission and, though they survive, they are forever changed by strange and powerful cosmic rays; these changes are gradual and reveal themselves shortly after the four inexplicably survive their shuttle crashing back to Earth and are rendered in the most underwhelming and preposterous way imaginable. Johnny discovers his flame power by sneezing, Sue is initially entirely invisible, and Reed find that he can stretch a bit when he saves her from impaling herself on a piece of the space shuttle. For some reason, Ben’s more gruesome and noticeable mutation doesn’t occur until later that evening, and of course sees him transformed into a rock-like creature. While Reed is insistent that he can find a scientific explanation for their predicament, and both Sue and Johnny react in fear and disbelief at their newfound powers, poor Ben is left distraught by his monstrous appearance. The four are taken into military custody and, in scenes that I guess could be best described as “amusing”, quickly learn control over their abilities (in this iteration, Johnny literally activates his flame by saying “Flame on!” rather than this simply being his catchphrase), and quickly realise that they’re being detained by an unknown party posing as the military. Of course, this turns out to be Victor, who it turns out, actually survived his ordeal, albeit with horrific burns. After being spirited to safety back to Latveria by his fellow countrymen and donning ceremonial armour, Dr. Doom spents the next ten years establishing himself as Latveria’s ruling despot and sets his sights on acquiring the diamond that is so crucial to Reed’s experiments, which he plans to use to power a laser cannon capable of destroying New York City. For much of the film, Dr. Doom remains elusive, ominous, and cloaked in shadow, and primarily operates through two Latverian henchmen, and he watches with glee as the four are left to die in space after his inaction sees their mission compromised. Although initially angered to find that they have survived, he arranges for his men to capture the group under the guise of he military in order to learn more about their powers, and theorises that the cosmic energy of Colossus could bestow similar superhuman abilities to himself.

While you’d think that Dr. Doom would be enough of a threat for the Fantastic Four, the film also includes an additional villain, the Jeweler (Ian Trigger), a troll-like man who lives in the sewers and underground tunnels of the city and steals the gem to gift to blind artist Alicia Masters (Kat Green) in a desperate bid to win her over. Ben had (literally) bumped into Alicia before his ill-fated space excursion and became immediately infatuated, and comes across her again after she has been kidnapped by the bizarre, Leprechaun-like creature and Ben has fallen among the Jeweler’s kind after being left despondent by his new rocky disposition. The Jeweler actually proves pivotal to the film’s plot since he steals Reed’s diamond and replaces it with a fake, which is influential in causing the group being bombarded by cosmic rays and gaining their powers, but honestly could have easily been dropped from the film entirely as Dr. Doom could have been the one to swap out the diamond and more time could have then been devoted to building a more natural a poignant romance between Alicia and the Thing rather than them suddenly declaring their love for each other and wasting time on a nonsensical twist where Ben reverts to his human form for absolutely no reason at all.

The Nitty-Gritty:
It’s hard to really tell what The Fantastic Four is going for in terms of its tone; Reed is the straight man, mostly serious and taking the scientific route, which makes perfect sense and is generally conveyed quite well, but the remainder of the film has this odd, camp tone that makes it more cartoony than even the group’s animated endeavours. If I had to make a comparison to another art form, I would say the closest parallel is a pantomime; nowhere is this more evident than in Dr. Doom’s bombastic and over the top line delivery. Joseph Culp massively exaggerates every movement, no matter how small, and seems to be basing his portrayal of the character more on Dark Helmet (Ric Moranis) than Darth Vader (David Prose/James Earl Jones), resulting in a maniacal and overstated performance that would be out of place even on a stage.

Although Reed postulates a link between their powers and their personality quirks (Reed’s always stretching himself too thin, Sue gets shy around him, Johnny (apparently) as a fiery temperament, and Ben’s always favoured brute strength over his mind), and Reed and Ben are generally pretty close approximations of their comic book characters, Sue and Johnny leave a lot to be desired. Sue’s personality seems to be based more on her earlier, less progressive characterisation; she’s infatuated with Reed and a bit bossy towards Johnny, but is far from the capable and independent matriarch of the group that I prefer to see. Similarly, while Johnny is a bit temperamental and impulsive, he’s world’s away from the arrogant little brat of the comic books and has virtually none of the usual banter you’d expect with Ben and the others, coming across more like a shadow of his egotistical and conceited comic book counterpart. However, considering the extremely low budget of the film, it’s impressive that the filmmakers went out of their way to faithfully recreate the blue-and-white spandex costumes from the comics; however, in the context of the film, it really doesn’t make all that much sense for them to even wear the outfits. It’s not like they’re modified versions of their spacesuits or anything; Sue simply designs them their costumes so that they can live up to their “Fantastic Four” moniker and put their powers to use as superheroes.

It’s a shame, then, that the special effects are so hokey; even the bolts of lightning that strike Victor are cartoonish and amateurish, and the film makes heavy use of stock footage and interior shots to mask the shuttle’s launch (and doesn’t even show its return to Earth, to say nothing of the ridiculous and obscure lightshow used to simulate the cosmic storm and the cheap-ass edits employed to save money on filming actual fight scenes). Sue’s invisibility is realised using age-old camera tricks that were pioneered in The Invisible Man (Whale, 1933) and, apparently, the filmmakers were incapable of improving up in the forty-odd-years since that film’s release, Reed’s elasticity is ludicrously rendered using floppy and awkward appendages and poorly-concealed camera trickery, and Johnny’s flame powers are generally brought to life using obvious animation techniques. While this does eventually result in an ambitious fully animated rendition of the Human Torch, it also has the effect of turning the film into a 1930s cartoon for the finale, and it’s astounding to me that the filmmakers were able to do such a great job on the Thing’s suit and yet make such a hack job of the Human Torch. Brought to life through an impressive practical suit and animatronic head, the Thing genuinely looks of the same quality as the efforts of Jim Henson and his studio around the same time and, sure, he might look a little rubbery and awkward at times, but it’s clearly the best and most impressive aspect of this mess of a film. Unfortunately, the same really can’t be said for Dr. Doom; while I can’t fault the accuracy and fidelity of Doom’s armour and overall appearance, he appears more plasticky and clunky than metallic and menacing.

Although Ben sees himself as a grotesque freak of nature, he quickly overcomes his self-loathing after Alicia declares her love for him and he rejoins the team just in time for them to take the hastily-introduced Fantasi-Car back to Dr. Doom’s castle to put a stop to his plot. When Reed found the time to build this vehicle is beyond me, and seeing it struggle to life as an obvious model effect that would make Gerry Anderson blush is almost as absurd as the clumsy fight between the Thing and Dr. Doom in the finale. After the four throw every cheap, Halloween-store effect in the book at Dr. Doom’s disposable forces, and with the Human Torch out matching cartoon blasts with Dr. Doom’s laser in space (because he can totally breathe in space, apparently…), Reed confronts his old friend and goads him into a final confrontation. However, this is far from the epic showdown you might expect; rather than being a technologically gifted sorcerer, Dr. Doom is just an egomaniac in a suit of plastic armour, so he has none of the magical abilities and weaponry that make him such a formidable foe. Plus, Reed easily overpowers him with Dr. Doom’s greatest and most persistent weakness…really obvious, weak-ass stretchy punches to the face. This results in Dr. Doom taking a tumble over the castle wall and, despite Reed’s best efforts, falling to his apparent death, only for his severed gauntlet to inexplicably come to life to hilariously sow the seeds for a sequel! In the aftermath of the team’s victory, the Fantastic Four become celebrities, and Reed and Sue consummate their inappropriate and unsettling romance by hastening into marriage and driving off to a happy ending with Reed’s ludicrous stretchy arm waving goodbye to their guests to finally bring this car crash to an end.

The Summary:
I mean, what can you say about The Fantastic Four? I like to think I’m generally quite positive and forgiving in my reviews and always try to look for something constructive to say, but it’s not that easy with this mess of a film. I guess you could say that it was an ambitious project given how miniscule the budget was; the Fantastic Four is, by its very nature, a difficult property to bring to life in live-action even in modern times and needs a sizeable budget to do it justice, and $1 million was never going to cut it. You know it’s bad when The Punisher (Goldblatt, 1989) had more money behind it than Marvel’s premier superhero team, and it definitely shows in the presentation, direction, and acting displayed here. The whole film feels cheap and hokey, with the filmmakers apparently leaning into the campier aspects of the source material and having everyone act either too subdued or massively over the top, making for quite an inconsistent watch. Obviously, the special effects are a constant source of derision and ridicule, and rightfully so. However, it is impressive that they were able to cobble together such a remarkable Thing suit and produce comic accurate looks for the team and their main adversary….it’s just a shame that the rest of the effects can’t live up to these “standards” (and I use the word very loosely). Honestly, I don’t think that a bigger budget would have really helped this film all that much as the actors and script are incredible lacklustre; Dr. Doom is often a megalomaniacal and over the top villain, of course, and the Thing is probably the best and most accurate interpretation of his comic book counterpart, but everything feels so dumbed down and the line deliveries are so foolish that it’s not hard to see why this film got canned. Having said that, though, I still feel an official release is long overdue as they could make some money off a home media release rather than nothing at all by leaving it to gather dust. But, there again, maybe that’s for the best.

My Rating:

Terrible

Have you ever watched this unreleased film? Would you like to see this film get an official release some day? What did you think to the Thing’s practical suit and the other special effects in the film? Did you also find the Reed/Sue romance a little unsettling in this version of the story? What did you think to Dr. Doom’s portrayal and appearance? What are some of your favourite stories involving the team? How are you celebrating the debut of Marvel’s First Family this month? Whatever you think about the Fantastic Four, leave a comment down below.