Marvel’s long-awaited reboot of its “First Family” arrives with The Fantastic Four: First Steps, a film drenched in retro-futuristic 1960s aesthetic. Director Matt Shakman leans hard into the period design; sleek labs, cosmic spacecraft, and a score that feels lifted from a Cold War-era adventure. It’s a bold stylistic choice, and for fans of vintage sci-fi, it’s a feast for the eyes.
Yet, for all its visual flair, the film struggles to maintain momentum. Where other Marvel entries thrive on kinetic energy, First Steps often feels plodding and flat, weighed down by exposition and family drama that never quite sparks. The chemistry of the cast – Pedro Pascal as Reed Richards, Vanessa Kirby as Sue Storm, Joseph Quinn as Johnny Storm, and Ebon Moss-Bachrach as Ben Grimm – has been praised elsewhere. But, to me, their interactions sometimes feel more dutiful than dynamic.
There are real strengths here, of course. What First Steps undeniably gets right is its commitment to style. That 1960s aesthetic isn’t just window dressing; it permeates the film’s DNA. From the sleek, chrome-lined laboratories to the bold, space-race-inspired costumes, the production design feels like a love letter to retro-futurism. It’s a world you want to linger in, even when the story itself falters.
The cast, too, brings a certain gravitas. Pedro Pascal’s Reed Richards exudes weary intelligence, while Vanessa Kirby’s Sue Storm anchors the team with quiet strength. Joseph Quinn injects bursts of energy as Johnny Storm, and Ebon Moss-Bachrach’s Ben Grimm carries the necessary pathos. Together, they give the Fantastic Four a sense of lived-in familiarity, even if the script doesn’t always capitalise on their chemistry.
Perhaps most refreshing is the film’s standalone appeal. In an era where Marvel stories often feel like puzzle pieces in a sprawling cinematic mosaic, First Steps resists the temptation to drown in crossover cameos or multiverse entanglements. It’s a self-contained tale, and that restraint allows the film to carve out its own identity, even if the execution doesn’t always match the ambition.
For all that ambition, First Steps stumbles when it comes to rhythm. The film’s pacing is its most glaring flaw. Scenes linger far too long on exposition and family squabbles, draining the urgency from what should be a cosmic adventure. Instead of building momentum, the narrative often stalls, leaving the audience waiting for something that never quite happens.
The villains, too, fail to leave a mark. In a franchise built on larger-than-life adversaries, the antagonists here feel underdeveloped, more placeholders than genuine threats. Without a compelling foil, the Fantastic Four’s struggles lack weight, and the stakes never rise above the perfunctory. The structure of the story doesn’t really help with this, as the villains are largely kept at arm’s length for much of the film. That said, even when he’s standing centre-stage, I find it so hard to care about Galactus. As for the Silver Surfer, her plotline feels rushed, and her redemption arc is unearned.
Tone is another issue. The movie oscillates between domestic drama and superhero spectacle, but the balance is uneasy. The intimate moments don’t land with emotional resonance, and the action sequences, though polished, lack the energy that Marvel fans have come to expect. The result is a film caught between two identities, never fully committing to either.
In the end, The Fantastic Four: First Steps is a film I’m glad I saw. The retro aesthetic gave it a distinctive flavour, and there were moments where the cast and design really shone. On balance, I enjoyed the ride; it felt fresh compared to the usual Marvel formula. But the pacing and tonal missteps kept it from soaring, leaving the overall experience just a little flat. It’s a stylish reboot with promise, even if it never quite catches fire.
Flame on.
No Rerolls 