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    ‘Daredevil: Born Again’ Review: Can You Fight City Hall?

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    The sort-of-rebooted series from Marvel and Disney+ pits the blind vigilante against a chaos-inducing, revenge-minded office holder.In the new Marvel series “Daredevil: Born Again,” the gangster Wilson Fisk — a felon preoccupied with status, profit and revenge — embarks on a dark-horse, fear-mongering election campaign. It is for mayor of New York, not president of the United States, but the real-life resonance is hard to miss.And as the season, which premieres Tuesday on Disney+, proceeds through its nine episodes, the sense of familiarity only grows. The spuriously-populist Mayor Fisk rules by executive fiat, sidelines anyone who tries to rein him in and cultivates an atmosphere of violent chaos.Yes, Fisk, also known as the Kingpin, first became mayor of New York in the “Daredevil” comic books on which the series is based, and nothing in “Born Again” is at odds with his previous portrayals. But this is not a coincidence of character or timing. Long before the blind crime-fighting vigilante Daredevil intones, “This is our city, not his, and we can take it back,” it is clear that “Born Again” is summoning the specter of Donald Trump — perhaps as a statement of resistance, perhaps as a dramatic convenience, probably both.The problem is that in this case, real life has become stranger than fiction. “Born Again” is a deluxe comic-book adaptation, meticulously produced and filmed, and on that level it will delight a lot of people. But while it tries to get at something meaningful about social tumult, it does not rise above conventional comic-book ideas or emotions. It doesn’t carry the shock of the real.Within the multiverse of Marvel TV series, “Born Again” has a complicated provenance. “Daredevil” was one of the six shows made for Netflix, beginning a decade ago; it ran for three seasons and ended in 2018. After Marvel began making series for Disney+, the stars of the old show — Charlie Cox as Daredevil (real name Matt Murdock), and Vincent D’Onofrio as Fisk — popped up as supporting players in “Hawkeye” and “Echo,” biding their time.Now their new show is here, sort of a reboot and sort of a new season, with story lines that more or less track. If you haven’t checked in since the original “Daredevil” and certain things puzzle you, such as why Fisk is not in jail, then you may want to watch “Hawkeye” and “Echo.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      My Red Carpet Quest: A Two-Year Search for Steve

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      Times Insider explains who we are and what we do and delivers behind-the-scenes insights into how our journalism comes together.Steve Olive was my white whale.I had been trying for two years to write a profile of Mr. Olive, the co-founder of Event Carpet Pros, the California-based company responsible for custom-making the colorful, though not always red, carpets for thousands of movie premieres, the Golden Globes, the Grammy Awards, the Super Bowl and, since 1997, the Academy Awards.I learned about Mr. Olive in 2023, while reporting an article about why the organizers of the Oscars were rolling out a champagne-colored carpet that year. My editor, Katie Van Syckle, and I had found the Event Carpet Pros website and we took turns calling the listed number in an effort to reach someone. Finally, Katie connected with Mr. Olive, and briefly interviewed him.But this mysterious, matter-of-fact, low-key man at the heart of the glitz and glamour of awards season stuck in my mind. I wanted to know more about him. How does one become a rug guy? What had he wanted to be when he grew up? Had he ever attended an award show himself?Last year, when the Oscars returned to a classic red carpet, Katie and I again agreed that I should pursue a story on Mr. Olive, but he was hesitant. But this year, with the encouragement of the Academy of Motion Picture Arts and Sciences, he agreed. It was three weeks before the ceremony.Mission: Steve, as I termed it, had officially begun.I sent a barrage of frantic texts and placed several calls to Brooke Blumberg, a publicist for the academy, trying to nail down when the carpet, which was manufactured at a mill in Dalton, Ga., would arrive at the company’s warehouse in La Mirada, Calif., a city in Los Angeles County.My goal was to be there when the approximately 30 rolls, each weighing 630 pounds, were unloaded in the Event Carpet Pros parking lot, from a truck that had been driven about 35 hours, from Dalton. The scene, I imagined, would be akin to the arrival of the Rockefeller Center Christmas tree in New York City.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Who Makes the Red Carpet? Steve.

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      On a recent weekday morning in La Mirada, a suburb outside Los Angeles, Steve Olive, 58, walked among hundreds of carpet rolls in red, green and lavender in a white, sun-drenched, 36,000-square-foot warehouse.Laid out on the floor was a 150-foot stretch of rug, delivered by truck from Georgia a few days before, in the custom shade of Academy Red that is only available for the Oscars.Mr. Olive himself may not be famous, but celebrities have strolled the plush craftsmanship of his carpet for nearly three decades.His company, Event Carpet Pros, has supplied carpets for the Oscars, Golden Globes, Grammys and Emmys, as well as for Disney, Marvel and Warner Bros. movie premieres and the Super Bowl.And, at a moment when carpets have moved beyond the classic red and become splashier and more intricate, his handiwork has become more prominent. He has crafted custom designs like a shimmering, sunlit pool carpet for the 2023 “Barbie” world premiere and a green-and-black ectoplasm drip carpet for the “Ghostbusters” world premiere in 2016 that took a month to create.“I haven’t come across anything that we couldn’t do,” Mr. Olive, who founded the company with his brother-in-law, Walter Clyne, in 1992, said in an interview.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The New ‘Captain America’ Movie Isn’t Great. But Don’t Call Him a D.E.I. Hire.

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      Anthony Mackie picks up the shield at a potentially awkward time. But there’s one way Disney can do right by him and the next generation of Marvel stars.“Captain America: Brave New World” is a mediocre-at-best movie, a roughly cobbled together film that pales in comparison to the early days of the Marvel Cinematic Universe. It’s still better than the franchise’s most recent run of disasters, and its strong opening weekend at the box office seems to have restored some momentum to the M.C.U. But the most remarkable part of this film is the irony of how it lands in the political moment: “Brave New World” features a Black iteration of the quintessential American superhero a month into an administration that has made eliminating diversity, equity and inclusion one of its first priorities.In a way, Disney’s timing regarding diversity was always going to be off. For most of the run of one of the highest-grossing media franchises of all time, diversity was an afterthought. For the first decade of the M.C.U., over the course of more than a dozen films, the heroes carrying the franchise — the central protagonists — were exclusively white men, until Chadwick Boseman led “Black Panther” in 2018.So, yeah, Disney started out a little behind.But when it came down to the handoff of the star-spangled shield from the blond-haired and blue-eyed Steve Rogers (played by Chris Evans) to Sam Wilson (Anthony Mackie), Disney actually built a steady platform for the M.C.U.’s first Black Captain America to lead his own film.The 2021 Marvel TV series “The Falcon and the Winter Soldier” provided the space for Sam to develop into Captain America in earnest, not just as a kind of M.C.U. diversity hire.Sam’s transformation into the Captain could have easily been the M.C.U.’s version of “The Blind Side,” a tale of a Black man’s triumph under the tutelage of the true, original white hero. He also could have been the Uncle Tom Captain, a servile Black man unquestioningly putting his life on the line.But “The Falcon and the Winter Soldier” explored Sam’s reticence in taking on the mantle of Captain America, given how his Blackness so often marginalized him, made him a target or turned him into a stereotype in the eyes of some of his fellow citizens. The show also introduced a Black super soldier named Isaiah Bradley, who received the super serum like Steve Rogers. But Isaiah never became the lauded hero Steve did; he was made a prisoner and a science project, jailed and experimented on for 30 years. He’s a reminder to Sam of what can happen as a Black man in American, no matter his standing, his strength or his title.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Marvel’s New ‘Captain America’ Is No. 1, Despite a Backlash and Poor Reviews

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      “Captain America: Brave New World” was expected to take in $100 million from Thursday through Monday in North America.At the height of the superhero boom a few years ago, Disney pushed its Marvel assembly lines to run faster and faster. After awhile, quality suffered and ticket sales declined.So Disney slowed the pace. Last year, Marvel released one movie (the megasuccessful “Deadpool & Wolverine”) and two Disney+ series. To compare, in 2021 Marvel churned out four movies (with mixed results) and five Disney+ series.Factory problem fixed?Maybe: Marvel’s “Captain America: Brave New World” was a runaway No. 1 at the global box office over the weekend. The movie, which cost at least $300 million to make and market worldwide, was on pace to sell roughly $100 million in tickets from Thursday through Monday in the United States and Canada, according to Comscore, which compiles box office data. Moviegoers overseas were poised to chip in another $92 million or so.Maybe not: “Brave New World” received the Marvel Cinematic Universe’s lowest-ever grade (B-minus) from ticket buyers in CinemaScore exit polls. Reviews were only 50 percent positive, according to Rotten Tomatoes, which resulted in a “rotten” rating from the site. Just two Marvel movies rank lower on the Rotten Tomatoes meter, and both quickly ran out of box office steam after No. 1 starts that were driven by die-hard fans and marketing bombast.“Brave New World” outperformed analyst expectations amid a racist backlash from some internet users and right-wing pundits, who criticized Marvel’s decision to refresh the “Captain America” franchise by giving the title role to a Black actor. (A “D.E.I. hire,” they maintained in numerous X posts, a reference to diversity, equity and inclusion initiatives.) Anthony Mackie, who took over the character from Chris Evans, also came under attack as “anti-American” for a comment he made while promoting the film overseas.“Captain America represents a lot of different things and I don’t think the term, you know, ‘America’ should be one of those representations,” Mr. Mackie said. “It’s about a man who keeps his word, who has honor, dignity and integrity. Someone who is trustworthy and dependable.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Captain America: Brave New World’ Review: Anthony Mackie’s Turn

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      The latest Marvel movie introduces a new Captain America in the form of a political thriller.Picture this: a suspected killer running from the government; a gruff president staving off enemies on a plane; a brainwashed former soldier embroiled in a conspiracy. It’s not the spiky political thrillers “The Fugitive” or “Air Force One” or “The Manchurian Candidate,” it’s “Captain America: Brave New World.”Then again, the film recruited Harrison Ford into a cinematic universe that single-handedly welded the modern movie wink — why not give us what we expect? In its early goings, “Brave New World” does indeed read partially as a paranoid ’90s genre film trapped in a Marvel movie, struggling to break free from its franchise constraints: too much setup, too many villains, too much thinly scattered lore.After Sam Wilson (Anthony Mackie), a.k.a. the new Captain America, retrieves a valuable substance known as adamantium from the villain Sidewinder (Giancarlo Esposito as a hammy iteration of Gus Fring, his “Breaking Bad” character), he brings it back to a grateful President Ross (Harrison Ford). At a gathering meant to announce a global treaty around adamantium’s usage, the president is nearly assassinated by Isaiah Bradley (Carl Lumbly, a bright spot), a former soldier who goes rogue. Wilson, in turn, goes off to find the mystery villain who is controlling not only Bradley, but also what eventually becomes a hulking-mad Ross.It’s all a lot to process and yet not nearly enough to hold your attention. For all of the movie’s genre ambitions, the only wisps of tangible political intrigue to be found are in the ones unintended, or via allusions to ones already explored (global class politics and the mixed messages about a Black Captain America in the film’s TV precursor, “The Falcon and the Winter Soldier”).What’s left instead is a movie whose idea of tension is mostly to move at light speed with constant explication. The film, directed by Julius Onah, has the frayed tailoring of a movie marked by reshoots and changes: The writing is stiff and the ensemble is mostly charmless, while the visuals are slapdash.As the new Captain America, Mackie was perhaps doomed from the start. And yet, he lacks the megawatt magnetism to elevate, or even just obscure, the poor construction of a tentpole franchise on his own. He is a far better actor elsewhere, but here his stand-alone avenger and the bad blockbuster only show the loose seams.What the film mostly relies on instead is Ford, not only as an actor, but as his alter ego. When the Red Hulk finally does appear, it’s an add-on — a last-ditch effort to instead recapture the kind of fan-service glee of Marvels old. With its cheap action and garish visuals, it’s then that we enter yet another genre altogether: action-figure commercial.Captain America: Brave New WorldRated PG-13 for hulk smashes. Running time: 1 hour 58 minutes. In theaters. More

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      ‘Kraven the Hunter’ Review: A Seriously Silly Movie

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      Aaron Taylor-Johnson’s buff Marvel hero is overshadowed by unabashedly fun villains.Built on brawn, J.C. Chandor’s action sci-fi picture “Kraven the Hunter” is limited by incomprehensible plotting and dodgy one-liners delivered by a cast who seem to be practicing their worst Russian accents. If not for the bevy of anticlimactic fights, “Kraven the Hunter” could be so bad it’s good. Instead, it’s merely another excursion away from the Marvel Cinematic Universe to Sony’s series of defanged comic book villains.Kraven’s baffling origin story finds a jumbled through-line in half brothers Sergei and Dmitri’s tight-knit relationship. Sons of Russian drug dealer Nikolai Kravinoff (Russell Crowe, adopting a low, growling accent), the boys are persistently pushed by their bloodthirsty father to be stronger than Sergei’s mother, who recently died by suicide. To harden them, Nikolai takes them hunting in Ghana. “Shoot to kill. Fun,” Nikolai grumbles. Fun for Sergei is short-lived when a lion mauls him. Only a potion provided by a passerby named Calypso saves Sergei, imbuing him with otherworldly vision, agility and strength.Fast forward 16 years and a hulking Sergei (Aaron Taylor-Johnson) is now a vigilante known as “Kraven the Hunter,” who’s pursuing criminals that remind him of his estranged father. Aleksei Sytsevich (Alessandro Nivola), a Russian mercenary who can morph into a rhino, is not only worried that Kraven will soon pursue him. Aleksei also wants to eliminate his rival Nikolai. Aleksei kidnaps Dmitri and dispatches a time-morphing assassin called the Foreigner (Christopher Abbott) to pursue Kraven. With an adult Calypso (Ariana DeBose) providing aid, Kraven tries to free Dmitri.Thankfully, “Kraven the Hunter” doesn’t take itself too seriously. Like Sony’s “The Venom” franchise and “Madame Web,” the story is incidental to these larger-than-life characters. While Taylor-Johnson does his best Hugh Jackman impression — posing for glamour shots of his ripped body before crawling and flying across the frame — only a couple of actors here know exactly what movie they’re in. Abbott is captivatingly slippery, rolling his slender frame and casting his bewitching eyes on his victims with cool intent. Nivola, on the other hand, is the type of ham you’d find in Joel Schumacher’s Batman films. From his surprising hissing to his stocky build, every choice he makes is spontaneous yet wholly grounded in this troubled character.If the action in “Kraven the Hunter” was as well conceived as its villains, it’d be a riot. Unfortunately, the brawls are physically detached from the environment. The choreography lacks punch and design; the compositions are spatially unaware. Kraven and Aleksei ‘s final tussle, an anticlimactic mud fight in the middle of a field, ends as quickly as it began. The film adds a pound of revenge and an ounce of a surprise to its final moments, but these ingredients, including the entertaining silliness, aren’t enough for “Kraven the Hunter” to catch the biggest game — our admiration.Kraven the HunterRated R for violence, blood and daddy problems. Running time: 2 hours 7 minutes. In theaters. More

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      ‘Deadpool & Wolverine’ Is the Type of of Superhero Movie the Franchise Once Mocked

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      Making fun of schlocky, overwrought superhero movies used to be the Deadpool signature. But with “Deadpool & Wolverine,” and Disney’s push into the Marvel Universe, that thread is lost.Deadpool movies might as well begin with a fun qualifier for audiences: This isn’t a typical superhero movie; in fact, all genres and tropes are ripe for mocking by this foul-mouthed mercenary hero.In the first “Deadpool,” in the midst of a fight that includes decapitation and maiming, Ryan Reynolds’s Deadpool says, “I may be super, but I am no hero. And yeah, technically this is a murder. But some of the best love stories start with a murder. And that’s exactly what this is: a love story.” In the sequel, Deadpool says, “Believe it or not, ‘Deadpool 2’ is a family film. True story,” as he creatively murders a whole warehouse of Russian criminals. Dolly Parton’s “9 to 5” plays in the background.We’ve got a violent superhero movie that’s also a low-key sendup of tender rom-coms, then another violent superhero movie that pokes fun at the loving family film. So what’s “Deadpool & Wolverine”? Nothing as exciting — just another formulaic Marvel Cinematic Universe movie with a saucier rating.This third installment of the Deadpool franchise fails to deliver on that same knowing play with genre. The jokes are mostly about leaning heavily into the rules and standards of the superhero genre as orchestrated by Marvel — a bad omen for the Deadpool brand, formerly of 20th Century Fox before Disney acquired it in 2019.The new movie picks up a thread from the previous one when Deadpool uses a time-travel device to save the love of his life, Vanessa (Morena Baccarin). It’s a blatant deus ex machina, and the film casually undercuts its own emotional arc in order to make meta jokes about whether time travel could have changed the trajectory of Reynolds’s career.“Deadpool & Wolverine” seems to have forgotten its own joke about the earnest use of cheap plot devices like that — it dives headfirst into the commercial wholesomeness, overextended plotlines and shameless fan service that have come to define the majority of the Marvel Cinematic Universe in the last few years. In the latest film, Wolverine’s back from the dead (see the end of “Logan” to catch up), thanks to the multiverse, and he and Deadpool team up to keep Deadpool’s timeline from being decimated by the Time Variance Authority (see “Loki” to catch up).We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Robert Downey Jr. to Return to Marvel as Dr. Doom

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      The actor announced his return to Marvel’s superhero movie franchise five years after ending his long run as Iron Man.Robert Downey Jr. is going from superhero to supervillain.The actor, who entertained audiences as Iron Man for more than a decade in several Hollywood blockbusters, is returning to the Marvel cinematic universe as the villain Victor von Doom in two upcoming movies.“New mask, same task,” Downey announced at a Comic-Con event in San Diego on Saturday, after he unveiled the character’s signature silver mask and green cloak to the roar of a cheering crowd.“What can I tell you?” he said. “I like playing complicated characters.”Downey is set to appear as the character, simply known as Dr. Doom, in “Avengers: Doomsday,” which is expected to be released in May 2026, and “Avengers: Secret Wars” a year later.Downey, 59, has been a prolific actor since the 1980s, portraying characters both serious and comedic.He received Academy Award nominations for his portrayal of the actor Charlie Chaplin in the 1992 film “Chaplin,” and for his role in the 2008 war comedy “Tropic Thunder.”After multiple probation violations stemming from an arrest on drug and weapons charges, he was sentenced to prison in 1999 and overcame a long battle with substance abuse.This year, he won the Academy Award for best supporting actor for his role in “Oppenheimer,” Christopher Nolan’s film about the making of the atomic bomb during World War II. Downey played the titular character’s political rival, Lewis Strauss.But audiences best know him for helping to start an era of blockbuster superhero movies that began in 2008 with the first “Iron Man” movie.He played the charismatic genius-inventor-billionaire-arms dealer Tony Stark, who becomes Iron Man and eventually leads a team of heroes, the Avengers, who protect the world against dark forces.He played the character in sequels and spinoffs including “Iron Man 2,” “Captain America: Civil War” and “Spider-Man: Homecoming.” He last appeared as Iron Man in the 2019 film, “Avengers: Endgame,” in which the character was killed off.And now Downey is going back to the popular superhero realm with Dr. Doom, a megalomaniacal villainous tycoon from the Marvel comic book series “Fantastic Four,” which was created by Stan Lee and Jack Kirby in 1961.In the series, Dr. Doom wore a threatening silver mask to hide his scarred face.The character was previously played by Julian McMahon in the 2005 film “Fantastic Four” and in the 2007 sequel “Fantastic Four: Rise of the Silver Surfer.” A reboot in 2015 featured the actor Toby Kebbell as Dr. Doom.The casting news comes as Marvel Studios, which has been trying to reverse recent box office misses, brought back two of its most popular characters, Deadpool and Wolverine, with the movie “Deadpool & Wolverine.”The movie was expected to sell roughly $205 million in tickets in the United States and Canada over the weekend, box office analysts said on Saturday. More