Black Panther Wakanda Forever ibomma: Black Panther, released in 2018, for several reasons is considered a real milestone of the Marvel Cinematic Universe. An almost completely African-American cast, Ryan Coogler was directed to try to give a precise identity to the film and the success it had at the Oscars, with the nomination for Best Film and the victory of three statuettes. 

In short, the success of the film was obvious and it was logical to think of a sequel, also because the character of T’Challa, since his debut in Captain America: Civil War, had won the love of the fans and everyone wanted more. The untimely death of Chadwick Boseman then, in addition to being a blow to the fans who had immediately learned to appreciate the man behind the actor, upset the plans of the sequel, which was rethought to cope with this great absence. 

metabolize it and still give the public a film that had something to tell. The road has been long and in some ways extremely tortuous, but Black Panther: Wakanda Forever is finally ready to arrive in the room.

King T’Challa is dead. The whole world tries to get its hands on vibranium and Wakanda must find a way to defend itself without its own ruler and without the Black Panther. The biggest threat, however, will come from Ku’Kul’Kan, the mysterious ruler of the seas and also known by his enemies as Namor (Tenoch Huerta). 

Queen Ramonda (Angela Bassett), along with Princess Shuri (Letitia Wright) and Okoye (Danai Gurira) will have to find a way to defend their nation in the most difficult moment of their entire history.

Black Panther: Wakanda Forever had all the cards on the table to be an unsuccessful film: when you lose your protagonist and you have to reinvent yourself and try to tell a story without your beating heart, it is really difficult to do a good job. Ryan Coogler and Marvel Studios, however, have made a virtue of necessity and have managed to package a film capable, although without being particularly brilliant, to involve the public and able to tell a story as a whole, square and punctual.

Let me be clear, the absence of Chadwick Boseman is felt and is absolutely perceptible, in a positive and negative sense. Positive because the feeling of lack and pain – the feeling of mourning – permeates the whole film. In particular, it can be seen in the acting rehearsals of Angela Bassett and Letitia Wright, who are very good at playing Ramonda and Shuri in a version in which the two women are practically torn apart, with – their – the world is now gone. shattered and must somehow try to put the pieces together for the good of all the people who have entrusted themselves to them.

Black Panther Wakanda Forever In a negative way because Black Panther: Wakanda Forever is a reworked film in the running to cope with this need to go on without its protagonist and ends up not having it anymore, a protagonist. The choice of Marvel Studios was clear and strong from the very beginning: it would have gone on but it would have been done without T’Challa. 

Impossible to recast the character, to honor the work of Chadwick Boseman. Ryan Coogler does his best in the script stage anyway, but he is a maximum son of an emergency and you can feel it. The film has multiple protagonists and none of them are absolute. The result, therefore, is a sort of ensemble film which, however, almost seems to be divided into groups, focusing now on Ramonda, now on Namor, and finally on Shuri.

And to be honest, despite not having a precise direction, this choice to divide into three and tell in more depth these three characters can be said that, at least partially, rewards the choice of the director. If it must be said that Shuri’s narrative arc is somewhat banal and obvious, so much so that it is also the most action-packed one because the film about the character had little to say and what it says was largely predictable – despite the attempts of the cast. on the promotional tour – what the film tells about the Queen and Namor is extremely interesting. For different reasons.

On the one hand, Ramonda is framed not as a queen but as a mother. A widowed mother when the public met her for the first time, now the Queen also has to cope with the loss of a child, she protects with even more strength the only daughter she has left, Shuri. Shuri, like all the girls of her age, instead, wants to take flight and must therefore make her mother understand that she is ready, even if she is so ready then she is not. 

As mentioned, Angela Bassett is very good at putting pathos and gravitas into her acting performance, giving the audience a character who is heartbroken, tired, and afraid of life, but also resolute in continuing to do what she must, for the greater good.

On the other, there is Namor, Ku’Kul’Kan: slightly different in appearance and origins compared to the Sub-Mariner of the comic pages, Ryan Coogler managed to capture the essence of the character and pour it into his cinematographic counterpart. Namor is something of an anti-hero ruler and although he is presented as the villain of the film, in reality, everything he does – let’s be clear, has negative implications on Wakanda – he too does it to protect his people and the kingdom of. he. 

Tenoch Huerta is quite good at presenting himself solemn and almost epic in front of the camera, but also cold and calculating, as a true king should do. For the character and the actor, this Black Panther: Wakanda Forever is a great debut and there is a lot of curiosity about the character’s future.

On the technical side, there is little to say: Ryan Coogler is an excellent director and even in this case the direction is extremely well taken care of, in the quietest and most intimate moments and in the most adrenaline-pumping and action-packed ones. Especially in the first scenes of the film, those relating to the disappearance of T’Challa, the film manages to excite a lot and does so while remaining firm in its identity and style. 

As for the action scenes, however, as with the first Black Panther, we find ourselves in front of moments that are well choreographed, well supported – almost always – by the CGI and that manage to make people understand what is happening, despite the incredible dynamism. Precisely for this reason, a few less slow-motion effects would not have hurt.

The note of merit for the film, however, can only go to the stage costumes. If already with Wakanda the public had experienced the style that the Marvel Cinematic Universe had wanted to give to the nation of the Black Panther, the work was replicated with Namor and his people: halfway between the Atlanteans and the Aztecs, the new characters they wear incredibly detailed costumes and are able, 

by themselves, to tell a story, that of their kingdom and their whole story. The same goes for the costumes of Namor, both the “battle” one and the one already seen in the trailer when he is on the throne: the Kukulkàn, in Mayan mythology, was the feathered serpent god and Namor has all the air of being a god, when appears on stage.

Black Panther: Wakanda Forever is a good movie. Faced with some problems related to a screenplay that, by force of circumstances, has been reworked to find a new identity, the film manages to tell an interesting story that manages to involve the viewer, even without twists and even if it expires in the trivial in some moments. 

At times an ensemble film, film mixes more intimate and profound moments well with adrenaline-pumping and well-shot action scenes, as Ryan Coogler has already shown he can do in the past. Special praise for the costumes, the real strong element of the title. Black Panther: Wakanda Forever manages to bring the Black Panther back to the cinema and, despite all the – sad – difficulties of the case, it does it in the best way.