There’s really no doubt that the Marvel Cinematic Universe (MCU) has been a wild success, and will be considered a cinematic and comic book (and, well, pop culture) triumph for the rest of time.

With this past weekend’s release of Avengers: Endgame, however, it seems as though an incredibly central component of the MCU has come to an end, and today we’ll be talking about it. So, here’s WARNING that if you haven’t seen Endgame or the preceding Avengers films that there will be numerous spoilers ahead.

Oh snap (get it?), Endgame was a fantastic movie — there are certain plot points that I may not agree with, but nothing that made me love the film any less. That said, there is something that I haven’t seen anyone talk about that I thinks is an absolute love letter to filmmakers, fans, and Avengers followers, and that is the snap Easter egg.

As we know it, who(m)ever holds the six Infinity Stones essentially has the power of God in their hands, barring that they can survive the amount of power that flows through them. We see the Infinity Gauntlet’s ‘snap’ power a total of four times through the course of MCU, and interestingly enough, each snap has a hidden meaning symbolizing real life with it.

To start, let’s settle on who the snaps affect, and which film can we relate it to. Each of the snaps represents each of the Avengers films, and the audience’ reaction towards each one. We know this as we only see Thanos in the first Avengers film, and because the stakes were the fate of the universe, with all the stones involved in the later Avengers films. Secondly, each snap represents the audience’ reaction towards the MCU and the Avengers movies themselves.

Now, let me explain what I mean about how each snap represents each Avengers film, along with the audio message toward the end of film. The first snap happened at the climax of Infinity War, where Thanos finally obtains all six Infinity Stones fulfills his destiny. Here, most of our heroes ‘vanish’ or die, with only our original characters (along with a few more from newer films) survive. This definitely marks the end of the Marvel Universe for a while, and we see it in shambles in the beginning of Endgame.

This snap is super important, and the key factor is that it was the only snap in Infinity War. I think that it all ties in with the Box Office and fan’s reaction towards the first Avengers — after the snap, most of the original cast survives (the original six, just like the number of stones). The snap impacting half of the universe represents how Avengers impacted half of us geeks and and the general population, but it (we) simply hadn’t yet realized its full potential yet. The snap was an impactful event that started a domino effect in cinema, and the concept of a cinematic universe from there on.

Then (and here’s where we really get into Endgame spoilers) there’s the second snap. The second snap by Thanos in the garden (biblical reference of genesis) is used to destroy the Infinity Stones, just like how after Avengers: Age of Ultron the Avengers disassembled. The important part here, were the critical reviews and box office performance compared to the first film. Avengers: Age of Ultron took in 200 million dollars less than the original Avengers. This, plus the just okay reviews from fans and critics slightly alienated the audience from the the MCU. That’s why in this scenario the snap is only mentioned, rather than seen.

After resurrecting the MCU with oodles of fantastic movies, (it also benefited the genre as some of DC’s more successful films had Marvel and DC fans at each other’s throats) the third snap, representing Infinity War brought fans new and old, slightly outdrawing the first Avengers film at the Box Office. This is why this third snap is the climax of the film, and is why this third snap brings back all of the fallen heroes for that epic battle, just how in Infinity War it brought back old an new fans just for the wait.

Lastly, because of the short amount from climax (third snap) to end (fourth snap) compared to the time spent between each other snap; the last snap symbolize the end game, an end to the cycle, an end to the Infinity saga, and a rest for us audiences from any upcoming big team up movies. This is why after Tony’s snap, Pepper says to him (while also saying to us, the audience) “It’s okay, you can rest now,” (which also foreshadows the lack of a post-credits sequence this time around), ending this culmination of 22 movies and the Infinity saga… for now.

Comedy director Peyton Reed, who was once best known for overseeing films like Bring It OnYes Man and The Break-Up, found himself gifted a golden ticket when he entered into Marvel’s family as the visionary behind the 2015 origin story of Ant-Man. The film soared to massive heights, grossing over $500 million globally and winning over both critics and audiences alike. But a lot can change in just three short years, as Scott Lang and his Ant-Man persona have quietly devolved into one of the Marvel Cinematic Universe’s (MCU) weakest and most underused characters. And with hopes that their latest sequel, Ant-Man and the Wasp, will rejuvenate excitement for this forgotten superhero, the return of Scott Lang doesn’t quite measure up to size

Set between the events of Civil War and Infinity War, Scott Lang (Paul Rudd) finds himself bored and imprisoned on house arrest after violating his parole by traveling to Germany to help out Captain America. With mere days to go before Scott’s return to freedom, Hank Pym (Michael Douglas) and his daughter Hope (Evangeline Lilly) enlist the help of Lang to venture back into the Quantum Realm and retrieve Hank’s wife, Janet (Michelle Pfeiffer), who’s been lost there for nearly three decades. In a race against time to get Scott back home before the police realize he’s gone, as well as trying to fend off suitors of this groundbreaking technology, it will take a group effort to save Janet from this atomic abyss and return Lang to his residence before it’s too late.

Having recently placed Ant-Man in my Top Ten MCU films, my adoration for this sequel’s predecessor can’t be overstated. Therefore, sifting through the humdrum of Ant-Man and The Wasp became more tedious than it was enjoyable. As expected from a comedic staple such as Peyton Reed, there are jokes aplenty to help ease you throughout this tenuous ride, but some prove more effective than others as the laughs fail to overshadow a long list of unappealing new characters that enter the story. And not only does the film overextend itself with an ungodly number of fresh faces, Ant-Man and the Wasp makes a desperate attempt at ramping up the drama. However, divvying up the screen-time counterbalances this desired end-game, leaving dramatic storylines fully devoid of emotion. Poor performances from Michael Douglas and Michelle Pfeiffer bring disaster to Janet’s entire plotline, while the inclusion of Laurence Fishborne and Hannah John-Kamen’s characters falls terribly flat as a meaningful subplot. And to top it off, Ant-Man and the Wasp delivers an all-too narrow scope that only manages to tie into the rest of the MCU when its end-credits scenes finally appear. There’s a lot of fluff packaged into this essentially villain-less title from the MCU, and the stakes never feel high enough and the comedy isn’t quite good enough to mask its many flaws.

GRADE: 3/5

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The majority of independent films have long struggled to amass gaudy box office results. Consequently, the major film studios have avoided putting such films into production and have instead turned their attention to more mindless, CGI-filled blockbusters and superhero movies. Therefore, Leigh Wannell’s SXSW indie selection, Upgrade, felt like an underdog as it debuted this weekend against other mammoth in-theater options such as Deadpool 2Solo and Infinity War. And while Upgrade failed to beat out any of the aforementioned competition in box office revenue, the indie sci-fi’s strong showing reminds us all that strong content will always prevail.

In the not-so-distant future where a greater dependence on technology continues to mount a stranglehold on society, Grey Trace (Logan Marshall-Green) is an old soul who prefers working with his hands and fixing up old cars. But when a brutal mugging results in the death of his wife, Asha (Melanie Vallejo), and leaves him paralyzed, Grey is offered a second chance at life by a wealthy tech mogul (Harrison Gilbertson) with a groundbreaking, untested new form of Artificial Intelligence called STEM. Grey agrees to the operation and has STEM implanted, only to gain unbelievable strength and agility as he seeks out the men who murdered his wife.

Director Leigh Wannell has an imprint in the both the Saw and Insidious franchises, but he transitions to the sci-fi genre with his latest revenge-thriller. Upgrade circumvents obvious budget restraints by relying on a cerebral story and compelling lead character. And although the cast is full of unfamiliar faces, something that can be a difficult sell to audiences, the film appeals to the viewer in countless other ways. Logan Marshall-Green dominates the screen time and crushes every opportunity with an edgy and slick performance. Grey’s ironic quandary as a tech-resistant man who becomes reliant on a new invention is both beautifully scripted and wonderfully translated to the big screen. And on Grey’s quest of retribution for his wife’s murder, he discovers a dastardly primary foe that’s brought to life masterfully by Benedict Hardie. Along with its gripping story, a strong cast is essential to Upgrade’s success as a modestly-budgeted indie, and the film finds a plethora of significant unknown talent that deliver exceptional performances from top to bottom. In fact, the only glaring downside to this up-tempo sci-fi endeavor is how it makes up the rules as it goes along, mostly to justify an unpredictable and explosive finale. There’s plenty to enjoy with Leigh Wannell’s innovative and heady feature, making Upgrade a worthy choice among an otherwise crowded field of heavy-hitting summer blockbuster contenders.

GRADE: 4/5

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