BLACK PANTHER (12A)
★★★★

THE character of T’Challa, aka Black Panther (Chadwick Boseman), first struck like a bolt of lightning into the Marvel Cinematic Universe (MCU) during Captain America: Civil War. Hell-bent on getting revenge for the death of his father T’Chaka (John Kani) from whom he inherited the mantle, he introduced a different dynamic to a world already filled with all manner of super-powered heroes.

His solo outing – directed with palpable gusto and invention by one of the most exciting new directors in Hollywood, Ryan Coogler (Fruitvale Station, Creed) – is not only a hugely entertaining feast of a blockbuster, but feels like a definite milestone in representation from the norm of both Marvel and elsewhere.

After his father’s untimely death, T’Challa returns home to his highly secretive and isolated yet technologically advanced homeland to take his rightful place on the throne as King of Wakanda. His newfound responsibility comes complete with an impenetrable suit created by his tech-genius sister Shuri (Letitia Wright) as well as increased strength and agility, both thanks to Vibranium, the material that gives Wakanda its power.

Threats appear two-fold: firstly we have Andy Serkis, tremendous fun as the one-armed South African arms dealer Ulysses Klaue, first introduced in Avengers: Age of Ultron, who has made off with a load of Vibranium to sell to the highest bidder – which turns out to be the US Government, represented by Everett Ross (Martin Freeman).

Secondly there’s Michael B Jordan as the brilliantly named Erik Killmonger, a resourceful man with a claim to Wakanda’s throne and a surprising tie to T’Challa’s past. One of the chief criticisms of the MCU thus far has been, with a few exceptions, its lack of truly memorable villains. Now 18 movies into the franchise we have arguably the strongest antagonist yet; his well-written motivations and weighty backstory combined with the actor’s charismatic menace makes for a compelling baddie.

Boseman is similarly great as the hero, exhibiting a stoic magnetism and inherent strength befitting of the character. It’s also great to see a supporting cast populated by such great black female characters kicking ass onscreen, including Lupita Nyong’o and Danai Gurira as spear-wielding warriors Nakia and Okoye respectively.

Like the first Guardians of the Galaxy, Black Panther impressively expands on what we think is possible of the MCU, both literally in how it reveals a so-called Third World country as more technologically advanced than any other, and figuratively in how it posits that a different kind of hero, one with a strength of heritage, proud culture and a unique viewpoint, can exist in and be valiant in this fantastical world.

Wakanda itself, hidden from the view of the rest of the world behind an invisibility force-field and cover stories of it being nothing but “textiles, shepherds and cool outfits”, is a sight to behold – a beautifully realised afro-futurism land with its mix of tech and natural vistas working in tandem to create a distinct setting that helps the film stand firmly on its own two feet while also feeling like a lived-in part of the MCU world that we’re only now experiencing. This is comfortably one of the best-looking Marvel movies yet.

The film does suffer a little in the third act, when it descends a bit into a more large-scale CGI-fest that is both overstuffed and lacks the visceral impact of the more up-close-and-personal fights before. But the character work is strong enough to carry it through; we care about everyone, good and bad, because it feels like it all matters. For the most part this thrilling Marvel outing packs an intense punch, with style and personality to spare and a real stamp of cultural impact.