The simple answer to my question--No! Not for this particular movie. That is of course the height of my opinion on this particular movie. However, I don't think it has anything to do with the characters or their comic stories. As this is the 4th failed attempt at brining these characters to life. Fantastic Four and Doctor Doom have been mainstays of the Marvel Comic Universe for more than 50 years. Obviously there have to be improvements on this film? Right? Yes and No. It would require a return to the beginning to the script and the cast.
I work on Indie film projects and I produce pilots for television. But I also get to work with NBC, and lately Fox, at the local level--producing news and other media. If I was going to work on this project here are all of the changes I would make to this script and to its executive summary before greenlighting it for production. Perhaps some of you will agree and likely many of you won't. However, I expect to hear what you think and how you'd change it if you were given the chance.
The Cast
If I were handed a script and I see what the options are for this film, the ethnic backgrounds and the major changes to the origins, after researching the source material (assuming I wasn't a collector of the comics). I'd pull out my big red pen and I'd go to town on the script. After which I'd then work on the executive summary. I'd skip all the way to the cast options and I'd circle Kate Mara and Miles Teller. I think they make sense for these characters. I would then submit a request to the casting director and request either Jonah Hill or Josh Gad; likely Josh Gad for the part of Ben Grimm, and I'd specifically want Grant Gustin to play the role of johnny Storm. I'd even cast Reese Hartwig, Munch from Earth to Echo, as the younger version of Ben Grimm.
I would keep the junk yard for Ben Grimm but I'd make him more of a tinkerer than Reed in terms of being an engineering prodigy. I would than have those early scenes for Reed to be more of a theorist and intellect--almost a dreamer. Allowing for Grimm to be his friend who can get parts and build things that Reed dreams up. I'd also give the impression that Grimm is more of Reeds protector in the earliest scenes with other kids picking on him. Because Grimm would be more of a butch-built kid--but not a nitwit.
Remove the science fair concept altogether. Get rid of the whole idea to teleport matter. Just give them something ridiculous and outrageous to build in those first 5-10 minutes of their background. Something like a Rocket or a particle accelerator and have it blow up the garage and kill the power everywhere. Then move on from that moment, zoom out of their home and pan away from earth. Possibly even show a momentary scene of a being doing something near the sun. I would not reference this childhood scene throughout the film. I would allow for this cute and whimsical moment of child-like-wonder to occur on its own without adding anymore material, and allow the audence to let it sink in--they'd automatically get that one of them is a genius thinker and the other a prodigous engineer. This scene would easily be endearing and connects you to their past viscerally. It would also be less dramatic and have them emerge from this "explosion" covered in soot and their eyebrows burned off. After the zoom out scene and the pan revealing something else going on near the sun, jump forward by using a credits roll with a montage of images of Richards and Grimm growing up together and possibly showcasing other gadgets they are working on or building. Leading to their adult selves
Jump 20+ years into the future to connect them to the time period desired and showcase them either in a university project at MIT or possibly already working for NASA. I prefer the NASA route but giving options in a screensplay summary is a good idea. Enter Sue Storm and Victor Von Doom who are dating, or were dating, and are attached to a new program that needs something Reed and Grimm put together--connecting them further. These moments do not have to be their first. The dialogue can be altered to allow for the understanding they've already been working together and possibly Reed has had an interest in Sue but was out of his reach because of her relationship with Doom. Allowing for a more immediate connection to this aspect of the story. Reed is more fixated on his work and it would be very easy to see that sort of conflict. Within the realm of this project we'd understand that they are prepping for a trip into space. To the sun more specifically.
I would remove any concept stating that the project is to allow travel to a new dimension. Space travel, on a massive scale, is epic enough. Now enter Johnny Storm, Sue’s brother, a hot head, who immediately is at odds with Grimm. The jock archetype who drives intellectuals like Grimm crazy. I'd make Johnny the pilot that will be flying the craft for the project they are working on. I'd have Sue as the mission commander, Ben Grimm the engineer working on various systems, and Reed and Doom, the scientists working on the study of some strange anomalies being observed near the sun.
They’re all, at this point, interconnected and putting together this project to fly to the sun and study this phenomena. We don't need a childhood reference to align with this aspect, short of what the audience knows. They're simply scientists, engineers, and people all connected because of their work. The length of time they've been together is also not necessary to build on in the movie. Minute glimpses of this could have also been injected into the opening credits montage to aid in building a lengthy history in seconds. What is accomplished very early on is the relationship between all of the main characters in the story. We remove Franklin Storm altogether because that is wasted screentime to build up a character, only to end up killing him, to showcase a deep routed need for vengeance. That aspect in the script is pointless and a betrayal to the general morals inherent in these characters. We don't need to turn them into vengeance killers. We want to see their connection to each other. We want to see them building a team and comradery. We want to see the seeds sown that turn them into a family. That is the biggest weakness in the Fantastic Four script as it is right now. You never truly feel they can become a real family. There is too much darkness and pain. I wouldn't want to build up their characters in this way. Of course, the montages doing this from the very beginning would be done in a comic book style.
The Purpose
Make the whole mission about studying the sun and the various gamma ray anomalies present, which seemingly can only be described as Cosmic Rays. Until it is later realized what those anomalies are.
Within the first 30 minutes of the movie all of this can be resolved. It would be tight but if done right and not over-indulging all of this time to the children, in the beginning of their story, it can effectively showcase their origins and how they connect to each other in a more edifying manner. Make part of the concept about a new form of travel that is sub-light and create an accident with this new drive as they approach the sun. Create a cosmically-irradiated reaction that forces a massive electromagnetic flare from the sun to knock into their ship—flooding them with various cosmic rays effectively mutating them into what we know as the Fantastic Four. Cause the accident to hurtle them back toward Earth, causing a crash landing. They're already being monitored by NASA during their mission. It would be very simple for the military to intercede when they crash land after the accident.
Don't place this story in a bubble. Interject their issues and conditions with possible cameo’s from others in the 20th Century Fox Comic Timeline. This story does not need to be in in the now in 2015. It could easily be within the 80’s and fall in-line with their X-Men timeline and have James McAvoy appear in a cameo as Professor Xavier being consulted on the mutations emerging from the crew. Where the X-Gene gets explained to be present in each of them and alludes to the variances in their abilities. If not the reasoning for their abilities and why it may not be possible for anyone without the X-Gene (the X-Factor) to cause others to be mutated.
The military would still play a large role, whether nefarious or to utilize them as a force for good. Remove Reed's escape. That was ridiculous and shows very poor judgement by whoever approved that alteration or addition into the script. Keep them together trainining, trying to find a solution together. This is an easy way to finalize the breakpoint between Sue and Doom and solidify Richards connection to Sue while all of them deal with their new powers. Trying to understand the cause of the anomalies around the sun. Which is the overall meta-story, however subtle.
Make the threat of other mutants real. Don't define any direct protaganists right away. Have montages of the team aiding the government in dealing with some of these rogue mutants, there are numerous from the comics to choose from, while neutralizing threats without killing or permanently hurting them. With a couple of solid montages coupled with appropriately composed music you could showcase newsfeeds calling them the Fantastic Four; while they're working with the government to stop rampant mutant violence. It would even be useful in a pre-marketing campaign for the film as various leaks and glimpses of villains and other characters become revealed. Driving fandom frenzies through the roof. Especially because none of them would be the main villain, they'd simply be part of montages to build background to progress the training aspect of the story, but would definitely build a great aspect of the Fantastic Four Comic Book Past in minutes. If not just a massive marketing tool. A great way for Easter Eggs to be used and for homages to be paid to the source.
By this point in the film they've been connected very nicely, they've trained together, they've been learning their powers together; by helping capture other rogue mutants, we've built comradery and some wedges as it is very easy to showcase Doom working with them and becoming more and more unstable or cruel in the use of his abilities. All culminating to the solar anomalies that are now building in more frequency. I'd allow the films characters to resolve that something intelligent caused gravity to shift and be altered near the sun. Something that theoretically would be impossible for anything other than another star to do so. Leading to the discovery of a Herald of Galactus (mostly by the audience and eventually by the team). All of which would (eventually) lead to a proper Silver Surfer sequel. With some creative license--the story could be written with a different Herald of Galactus marking the sun and earth, not the Surfer.
As the above plot unfolds, the subplot can be that the cosmic rays that triggered all of their X-genes to activate have slowly caused Doom to lose his mind and his jealousy toward Reed over Sue Storm caused a bigger rift between himself, Reed, and the rest. Eventually leading to Doom losing control and trying to kill them all. After a lengthy battle with Doom, which needs to be epic…not a simple lucky punch that destroys him. Doom shouldn’t end up killed. He should be able to recover or survive and retreat to his home country, latveria, to brood over his loss.
The anomaly now becomes the main plot point at the very end of the film. Not just the reasoning behind the trigger to their powers. Before the film runs its course the Herald would make himself known. Feeling other beings that have been affected by the same cosmic forces used to affect gravity around the sun. This Herald of Galactus would explain that the earth is going to be consumed.
Continue with a clash between this Herald and the Fantastic Four during the credits with a montage of ridiculous and fantastical moments—add more in the mid credits as the music continues to play.
Put in a post-credit teaser about their battle with this herald. And showcase how something else is coming. Possibly have the Silver Surfer show up and inform the team that Galactus is coming. Or perhaps have the defeated herald kneeling before Galactus informing him of the planet he was trying to prepare for his master. How his former Herald appeared and aided the mortals. Show a shot of Galactus' face looming over the kneeling herald and possibly have him lean closer. showcasing his massive size in comparison to that of his herald. and simply have him say "Take me to this blue planet, For I hunger" (I'd cast James Earl Jones just for this voice).
This would have made for a more epic film that would have been more universally accepted. Respectful of the origins of the comics, focused on a grander overall picture. Not fixated on too lengthy a childhood background story that becomes somewhat meaningless throughout the film and not derivative of what should happen in the real world versus what the comics created for these characters. Intelligent use of flashbacks and montages can tell years worth of story in moments with subcontext and expository moments with proper setting of visuals. You don't sacrifice character development and you don't sacrifice half of your films run-time in origin story.
This allows the films main protaganist to be Doom, even if the bigger threat is a Herald of Galactus that is preparing our solar system for his master to travel to. A piece of preparation that started when the Fantastic Four were much younger and is coming intro fruition at the end of the film. It allows for numerous villains to be showcased without harming the films setting. This also allows for two heralds of Galactus to be present. One his new procurer of planets, the other his former slave. With a short entrance and assistance by the Silver Surfer an ending battle montage would be a wonderful cliffhanger for the film leading right to the action in a sequel.
The Crew
Once I completed ripping apart the script and smacking the people that thought they understood this comic, after reading said script, I'd reconsider the director. Josh Trank is a great director but he brings a lot of personal baggage and outside influence to his work. This film is not about Akira. It is not a Japanese anime. Inserting that kind of material into these characters effectively ruins the plot. While the scenes with Doom, literally killing everyone in his path, were indeed interesting. Anyone who has ever watched Akira (like I said in my review) will immediately connect the scene. But that's not the problem. That was essentially ok. What that scene does is what is referred to as expository exploration. It immediately showcases how powerful Doom can be. While the audience might generally think that the Fantastic Four are also powered by the same forces allowing them to withstand Dooms abilities. That is not really the case. Based on how immediately he dispatched others we'd expect the same for our heroes. But instead it was an awkwardly setup fight that ended abruptly, in the most ridiculous way, to rectify something specific.
I'd prefer Louis Letterier who directed The Incredible Hulk and Now You See Me. I think he'd have a stronger understanding of these characters and a need to utilize very effective easter eggs while building a much larger filmscape. I'd have preferred his style of filming over Trank because as was pointed out to me, which I then researched, Trank brings his own personal influences outside of the comics to alter his creative license. I don't think that is always helpful. It worked beautifully for Chronicle, because that effectively was his Akira project by another name. But not for this film.
Jeremy Slater is another principle on the film who is directly effected by an Anime influence. He's writing the Death Note screenplay. I'd keep Simon Kinberg. He worked on Days of Future Past and is likely the direct connection to the other 20th Century Fox projects as I stated in my review of the film. Because of the specific changes to the timeline in those films this movie took numerous liberties in their timeline and origin because effectively this is not the normal timeline. This script is an elseworld concept. I think the bulk of what makes this film good is present through Kindberg, I'd want Ashley Miller along with myself to re-write this script into a workable screenplay based on the points I outlined above. She wrote Thor, X-Men: First Class; she's writing the new Power Ranger movie and the remake of Big Trouble In Little China. I would keep everything else, including the producers that made this film. They took big risks and would easily do the same for a version of the script that is more inline with the fans and the mainstream, more stable in terms of marketing, if not more explosive with appropriate leaks. I'm pretty sure when something becomes more commercially viable it becomes infinitely easier to fund and greenlight.
This is more of an E
ditorial than it is a feature piece and it is intended for entertainment purposes. We're going to talk about this film, at the moment, because it was very poorly done and put together.
Like I said in my review of the film--I was never that invested in the characters, despite my massive collection that includes the
Fantastic Four. But that doesn't mean the film could not have been a great piece of comic book cinema. I know that Four
Fantastic Four films have been made poorly. Much like there have been three poorly made
Punisher films where the producers, writers, and directors have yet to fully understand these characters. Because they don't understand them, they re-imagine them in their own mind how they'd like to see them. But the truth is it would be better to simply stick to the stories that were successful in the comic. Make slight variations, alter some of the course, but don't completely alter the story in a way that the characters, their adventure, the plot, the meta is completely unrecognizable. This is my view on how the
Fantastic Four could have been made into a much better comic book movie. How would you have made it better? Would you have changed the cast? What villain would you have used? How would you rectify their origins?
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