The ending (which includes two post-credits stings) is incredibly disappointing, evoking the exact opposite of its intended effect. Chief among these is the decision to have one of its characters straight-up disappear from the finale for no real reason, only to rear his head again just before the piece comes to a close. It's messy, overly portentous and filled with some pretty baffling choices. As a whole, the thing just feels a bit flat. To me, it feels more distinct than most of the studio's other fare, but it isn't as entertaining. The fact that 'Eternals (2021)' doesn't feel like a Marvel movie isn't an inherently good or bad thing. It's not the worst movie in the Marvel catalogue by any means, but it's a long way from the top tier as well. The combat abilities of the Eternals don't seem very impressive given their cosmic significance. The backstory of the Deviant's plan doesn't make a whole lot of sense. The Deviants were a rather forgettable villains and the intelligent one was a wasted opportunity. There were other disappointments as well. It should have been a miniseries to truly immerse us in the backstories like the romance between Sersi and Ikaris. While it keeps up a deft juggling act between the past and present, the film somehow felt too long and yet not long enough given the material it had to show. However, there was too much to cover in one film. Karun was a great addition to keep things light. Each Eternal had their own unique characterisation and backstory and I definitely felt the family dynamic. The scope of the story was very well established with a cosmic historical timeline. The slow pace, heady themes and naturalistic locations all made the film feel more dramatic and heavy rather than cheesy entertainment like the other Marvel films. I thought it was an interesting stylistic experiment for the MCU and it actually paid off. It looks quite cheap and generally the impression given is a film made without a lot of effort or imagination which is probably a fair summary of it all told.I'm quite surprised by the negative reception of this film. The plot is OK in parts but it generally lacks the fun and energy such a film needs to get by. Overall then a fairly dull caper movie that will do little for fans of the genre or even those looking for entertainment. Culp is so-so, Ray is OK and the fact that Meisner stuck in my mind was probably more to do with the lack of competition as opposed to him being any good himself. Mason is just as poor and turns in a rather dull performance that is far down the list in terms of his career. Savalas just about turns up and, although he is a solid enough presence to almost get away with it, you can't help but feel like he is just taking the money and running. On paper the cast seems to suggest that this is not true but in practice the lacklustre collection of performances just enforces the impression. Problems associated with the period perhaps but the overall impression is that the film generally lacked effort. The horrible use of music is a real downer as well. Parts of it look like it has been shot in an English northern town in the 1970's and to the eye it comes over as rather dull and dead. This isn't helped by the visual style of the whole thing or rather, lack of style. These bits just about provide the caper feel that I was expecting but other times it takes itself too seriously and limits the sheer sense of fun that things like this need to survive. The best bits are the parts where they must execute their plan and often it is so ludicrous that you have no option but to go along with it. However from the faltering first steps with a clumsy flashback setup, the film fails to really ignite and, although parts are enjoyable and to-formula, it has too many bits thrown in that slow it down. The plot summary makes it sound like a great caper movie with elements of Kelly's Heroes thrown in, its tongue in its cheek and a nice twisty plot. Employing the services of Sly Wells, Aldo Ray and Hans Schmidt, Harry comes up with a plan to break Holtz out of the maximum security prison, get the location and recover the gold for themselves. The only man who actually knows where it is hidden is one Reinhard Holtz, who unfortunately is being held in prison for the rest of his life. Former German officer Ernst Furben comes to American wide-boy Harry Morgan with a story of stolen Nazi gold that has been hidden somewhere.
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