How Did the Tesseract End Up With [Redacted] in ‘Captain Marvel’?

Read on: TheWrapTheWrap.

(Major spoilers ahead for “Captain Marvel”)

“Captain Marvel” may not have provided much in the way of backstory setup for “Avengers: Endgame,” but its plot still made major waves in its own right for how it subverted expectations with its big twist — at least if you’re acquainted with the Mar-Vell character from the comics.

And no, I’m not talking about the choice to have Mar-Vell be played by a woman (Annette Bening) instead of a man, though that’s obviously a pretty cool change. I’m talking about the big twist, that the Kree are actually the bad guys and Carol Danvers’ (Brie Larson) Skrull foes are actually just refugees. And that Mar-Vell was working with them and against her Kree masters.

Mar-Vell, who may or may not have carried the Captain Marvel mantle before she was killed by Yon-Rogg (Jude Law) in 1989, was on Earth because that’s where the Tesseract was at that time — she was trying to develop what various characters refer to as a “lightspeed engine” though would, likely among other things, help the Skrull refugees led by Talos (Ben Mendolsohn) escape from the gaze of the Kree.

Also Read: It’s Super Weird That ‘Captain Marvel’ Doesn’t Have Anything to Do With ‘Avengers: Endgame’

That work would eventually result in Carol herself obtaining her powers — which, since said abilities are fueled by Tesseract energy, could be measures greater even than the ones she has in the comics. The Tesseract, of course, is the casing for the Infinity Stone known as the Space Stone.

But there’s a fascinating detail in “Captain Marvel” that could throw you for a loop: when we first see the Tesseract in the movie, it’s secreted away aboard a cloacked spaceship that Mar-Vell had been using as a laboratory. The film doesn’t explicitly explain why it was up there rather than at the human base where Mar-Vell worked while in disguise, but we can infer based on other movies in the Marvel Cinematic Universe and clues that “Captain Marvel” itself dropped.

It’s been a while, but you may recall how in the first “Captain America” movie the Tesseract was found by Hydra leader Red Skull (Hugo Weaving), and he used it to create a whole bunch of dastardly new weapons, including bombs that he was going to drop on every major world capital. But Captain America (Chris Evans) foiled that plan, and the Tesseract was briefly lost in the Atlantic Ocean, where Howard Stark found it.

Also Read: ‘Captain Marvel’: What It Could Mean for ‘Avengers: Endgame’ That Carol Has Tesseract Powers

The next time we saw the Tesseract was in the first “Avengers” movie. At the beginning of that film the Tesseract was in the possession of SHIELD and the United States government at a base that housed Project Pegasus, which existed to study the Tesseract and attempt to harness its energy for various projects. Then Loki stole it and went on his rampage across the planet which culminated in the Battle of New York at the end of the movie.

An important detail in “Captain Marvel” that would be easy to miss is that the base that Mar-Vell worked at in 1989, and which Carol Danvers and Nick Fury (Samuel L. Jackson) infiltrated in 1995, is none other than that same Project Pegasus base that we saw in “Avengers.”

So what we can infer, then, is that Mar-Vell, in disguise as Wendy Lawson, was able to simply take the Tesseract up to her space laboratory because she was in charge of Project Pegasus. It was probably a big deal that the Tesseract went missing for six years before being returned at the end of “Captain Marvel,” but it’s likely that project officials simply thought it had been destroyed in the crash that resulted in Mar-Vell’s death.

Also Read: ‘Captain Marvel’: So Where Did Carol Go for 25 Years Before ‘Avengers: Endgame’?

At the end of the movie, in the post-credits stinger, Goose the Flerken puked up the Tesseract onto Nick Fury’s desk and Project Pegasus continued on until the events of “The Avengers.”

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‘Captain Marvel’: What It Could Mean for ‘Avengers: Endgame’ That Carol Has Tesseract Powers

‘Mortal Engines’ Film Review: Dazzling Sci-Fi Fantasy Takes Big Risks and Succeeds

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‘Avengers: Infinity War’ — Yes, The Keeper of the Soul Stone Was Who You Thought It Was

Read on: TheWrapTheWrap.

(MAJOR SPOILERS AHEAD for a big reveal/easter egg in “Avengers: Infinity War.” So if you don’t know about it and don’t want to know, leave now.)

In “Avengers: Infinity War,” super-powerful bad guy Thanos’ quest to gather the six all-powerful Infinity Stones takes him all over the galaxy, meeting a host of different people and mostly murdering them. Over the course of the movie, he visits no fewer than three different planets, plus the strange space outpost of Knowhere from “Guardians of the Galaxy” as well.

One of those planets, Vormir, is home to some pretty interesting things: First and foremost, it’s where Gamora (Zoe Saldana) takes Thanos (Josh Brolin) to find the Soul Stone. Second, there’s a familiar face present to guide people to the stone and explain it.

Also Read: ‘Avengers: Infinity War’ — Here’s What Happened Next in the Comic Book Version of the Story

That character is the Red Skull, one of the chief villains of the Marvel Comics universe. In the Marvel Cinematic Universe, though, we haven’t seen the Red Skull since way back in “Captain America: The First Avenger.”

The Red Skull, also known as Johann Schmidt, is a HYDRA member and former Nazi whose face was deformed when he took an early version of the super-soldier serum that would eventually turn Steve Rogers (Chris Evans) into Captain America. The serum made Schmidt powerful, though, and in “Captain America: The First Avenger,” he used that power and his position in HYDRA to inflict some serious damage on the world.

Schmidt and his chief scientist, Arnim Zola, created powerful weapons for HYDRA using the power of the Tesseract. That’s the blue cube that Loki used in “The Avengers” to open up a portal to space to let Thanos’ army of aliens attack New York — and it’s the cube that Thanos destroys at the start of “Avengers: Infinity War” to reveal the Space Stone.

Also Read: How Will ‘Captain Marvel’ Play Into That Wild ‘Avengers: Infinity War’ Ending?

During the climax of “Captain America: The First Avenger,” Cap and Red Skull fought aboard Red Skull’s huge, Tesseract-powered bomber. During the fight, Red Skull fell backward into the device drawing power out of the Tesseract, knocking it loose. The villain picked up the cube and it opened a portal into space above him, much like it does when Thanos uses the Space Stone. Blasted by a beam of energy, Red Skull disappeared through the portal, never to be seen again. Until now, anyway.

Now we know that the Space Stone transported him to Vormir, and has done some weird things to him besides. When Thanos and Gamora find him on Vormir, he’s floating in a black cloak, looking a whole lot like the Grim Reaper. What’s more, he seems to know exactly who the pair are from sight, almost as if he’s getting the information from sort of supernatural place — he says part of his role there is to know everything about everyone who visits.

The Red Skull explains that his quest to control an Infinity Stone led it to reject him, sending him to Vormir. He’s tied to the Soul Stone as its representative, it seems, and he can never possess it himself.

Also Read: ‘Avengers: Infinity War’ — That Crazy Ending Was Part of Doctor Strange’s Plan

That idea that the Space Stone “rejected” him is really fascinating. Though you could draw parallels to characters blowing up when they held the Power Stone in “Guardians of the Galaxy,” that was always portrayed simply as those characters not having the strength to handle it. Now, we know from Marvel Comics lore that the Infinity Stones are not just powerful cosmic rocks — they are sentient and have wills. The Red Skull’s line there is the first time in the MCU that that idea has really been articulated, however.

Likewise, the way Red Skull talks about the Soul Stone is similar — it’s the stone itself imposing the sacrificial test on Thanos moments later, when Thanos had to murder Gamora before being allowed to take possession. The big question, then, is what exactly that means for “Infinity War” and “Avengers 4.” Do the Infinity Stones themselves have an idea for how they want this all to play out?

We’ll find out a year from now, when “Avengers 4” takes the world by storm and concludes this opening 11-year chapter in the Marvel shared universe experiment.

Also Read: How Will ‘Ant-Man and the Wasp’ Factor Into That Insane ‘Avengers: Infinity War’ Cliffhanger?

Side note: if you were wondering if that was Hugo Weaving returning to don that crazy red facial prosthetic again, it’s not. This time, Ross Marquand played the role of Red Skull. That probably is a big part of why Marvel was able to keep the Red Skull’s surprise appearance under wraps.

Speaking of which, we have some big ideas about what’s in store for the next year of the MCU, including how “Captain Marvel” and “Ant-Man and the Wasp” fit in after that insane “Infinity War” cliffhanger. 

Click here for our deeper look into how “Captain Marvel” might impact that distressing “Infinity War” plot twist. Click here for our look at what “Ant-Man and the Wasp” might have to do with all thisClick here for a closer examination of Doctor Strange’s actions in “Infinity War,” and how losing this fight might end up being the key to winning it later. Click here for our discussion of the whole Vision situation and whether he’s really dead. And, finally, here’s our run-down on how the comic book version of these events played out.

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How Will ‘Ant-Man and the Wasp’ Factor Into That Insane ‘Avengers: Infinity War’ Cliffhanger?

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How Will ‘Captain Marvel’ Play Into That Wild ‘Avengers: Infinity War’ Ending?

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Berlin Film Review: ‘Black 47’

Read on: Variety.

“Maybe people would place more value on beauty if they could eat it,” says Conneely (Stephen Rea) during an atypically warm-toned fireside scene in Lance Daly’s powerful period revenge fable “Black 47.” His bland affability is such that you could almost miss the splinter of loathing in his eyes. The year is 1847, Ireland’s Great […]

Altitude Strikes German Deal for Berlin-Bound ‘Black 47’

Read on: Variety.

Ascot Elite has picked up Irish period drama “Black 47” in German-speaking markets ahead of its world premiere at the Berlin International Film Festival. The Hugo Weaving (“Hacksaw Ridge”) and Jim Broadbent (“Iris”) picture was announced Monday as part of the Berlinale’s official selection. Altitude is handling international sales and will have “Black 47” at […]

Ben Affleck Is Batman and Daredevil: 27 More Stars in Both Marvel and DC Movies (Photos)

Read on: TheWrapTheWrap.

Despite the seemingly eternal rival between the two largest comic book brands, some big actors have been in films from both Marvel and DC.

The animosity between Marvel and DC goes back decades in the comics world, but it’s still burgeoning in Hollywood. And it turns out a bunch of actors have switched sides in that corporate war over the years — and some are making that move even now.

Ben Affleck
Marvel: “Daredevil” (2003)

DC: “Batman v Superman,” future DC Extended Universe movies


Ryan Reynolds
Marvel: “X-Men: The Last Stand,” “Deadpool,” “Blade: Trinity”

DC: “Green Lantern”


Chris Evans
Marvel: Human Torch in “Fantastic Four” (2004) and its sequel, “Rise of the Silver Surfer”; Captain America in Marvel Cinematic Universe

DC: “The Losers”

Willem Defoe

Marvel: “Spider-Man”

DC: Just signed on for upcoming “Justice League” film

Michael Keaton
Marvel: In talks for the villain role in “Spider-Man: Homecoming”

Also Read: Michael Keaton in Talks to Play Villain in ‘Spider-Man: Homecoming’

DC: “Batman” (1989)

Idris Elba
Marvel: “Thor,” “Thor: The Dark World”
“Ghost Rider: Spirit of Vengeance”

DC: “The Losers”


Laurence Fishburne
Marvel: “Fantastic Four: Rise of the Silver Surfer”

DC: “Man of Steel,” “Batman v Superman”

Adewale Akinnuoye-Agbaje
Marvel: “Thor: The Dark World”

DC: “Suicide Squad”

Hugo Weaving

Marvel: “Captain America: The First Avenger”

DC: “V for Vendetta”

Zoe Saldana
Marvel: “Guardians of the Galaxy,” “Guardians of the Galaxy Vol. 2”

DC: “The Losers”

‘David Stratton: A Cinematic Life’ : Film Review | Cannes 2017

Read on: Hollywood Reporter - All Reviews.

Nicole Kidman, Russell Crowe, Geoffrey Rush and more appear in Sally Aitken’s documentary love letter to a venerable champion of Australian more

‘Hacksaw Ridge’ Review: Mel Gibson Says War Is Hell — Except When It’s Awesome

Read on: TheWrapTheWrap.

Ever the showman, director Cecil B. DeMille would eat his cake and have it too whenever he made a Bible picture. Amidst the uplift and morality, DeMille would put in lots of sex, although it was always ostensibly in the service of a spiritual message. “Enjoy all this wicked sinfulness, viewers,” the films seemed to say, “because the Lord will smite these hedonistic orgiasts in the final reel.”

No less a canny manipulator of audiences, Mel Gibson opts for violence instead of sex, creating the only brutal R-rated movies that get recommended from the pulpit of Evangelical churches, first with his global mega-hit “The Passion of the Christ,” which bathed the Savior in more viscera than all previous screen Jesuses combined, and now with “Hacksaw Ridge,” a movie that extols pacifism with one hand while making war brutally exciting with the other.

See Video: ‘Hacksaw Ridge’: Watch Trailer for Mel Gibson’s First Directorial Effort in 10 Years

Gibson used to torture himself in films like “Braveheart” and “Lethal Weapon 2,” but now he does it to his surrogates, this time Andrew Garfield as Desmond Doss, the first conscientious objector to be awarded the Medal of Honor. From the moment that Desmond volunteers to serve in World War II as a medic — but refuses even to touch a rifle because of his Seventh-Day Adventists beliefs — he is subjected to beatings and imprisonment before facing real bloodshed on the battlefields of Okinawa.

But while the film starts with flaming corpses pirouetting through the air in balletic slo-mo, the story begins 16 years earlier in the Blue Ridge Mountains of Virginia, when young Desmond (Darcy Bryce, “Jack Irish”) renounces violence after nearly killing his younger brother with a brick during a scrap in the front yard. He’s also seen the effect that WWI combat has had on his drunken father Tom (Hugo Weaving, chewing through the regional accent like it was made of stale toffee), who regularly beats his sons and his wife Bertha (Rachel Griffiths).

Also Read: Natalie Dormer to Star With Sean Penn, Mel Gibson in ‘Professor and the Madman’

Even though he’s just fallen in love with nurse Dorothy (Teresa Palmer, “Lights Out”) and could get a deferment through his job at a defense plant, Desmond insists on enlisting. The first portion of the film — written by Andrew Knight (“The Water Diviner”) and Robert Schenkkan (“All the Way”) — never met a WWII movie cliché it didn’t love, from Desmond and Dorothy’s cornball courtship to the one-from-every-column makeup of Desmond’s platoon (the Jersey guy, the Polish guy, the twitchy guy, the ladies man, et. al.) to Vince Vaughn‘s barking drill sergeant.

Desmond’s refusal to bear arms gets him in trouble with his captain (Sam Worthington) and nearly gets him court-martialed. That trial doesn’t really read dramatically, since it’s established in the film that Congress had already ruled that conscientious objectors couldn’t be forced to handle weapons, but Desmond eventually shows them all what he’s made of in the titular battle, in which he manages to save wounded soldier after wounded soldier even after the army ordered a retreat.

One can imagine a version of this film being made in the ’40s or ’50s (complete with a tag line like “The Soldier They Called ‘Coward’…Was the Bravest of Them All!”), but then we’d be deprived of the crazily over-the-top ultra-gore and ultra-violence of Gibson’s vision. To its credit, the battle sequences in “Hacksaw Ridge” are breathlessly kinetic, with soldiers getting randomly mowed down from all sides at completely unexpected moments. For all of the thrills and brilliantly-paced carnage, the bloodshed is sometimes so exhilaratingly overdone that it’s like watching a particularly sanguine Monty Python sketch.

Still, working with editor John Gilbert (“The Bank Job”) and cinematographer Simon Duggan (“Warcraft”), Gibson has created some of the most breathtakingly exciting wartime footage in recent memory. They craft a real architecture to this hellish landscape; no matter how chaotic the proceedings, we always know where everyone is in relation to everyone else, and pauses get inserted into the action lest it all become too much to take. (But remember folks, this is a movie about pacifism.)

Also Read: Mel Gibson’s Ex Loses $500,000 in Settlement Money Over Howard Stern Interview

There are moments, however, when Gibson might have done well to rein in composer Rupert Gregson-Williams (“The Legend of Tarzan”), who’s constantly putting too fine a point on Doss’s heroism in the field. The visuals are telling us what we need to know without the orchestra working overtime to do the same thing.

One also wonders what Japanese audiences will make of the portrayal of their army as being willing to raise the white flag as a bluff, in clear violation of the rules of warfare. Beyond that, they’re certainly shown as a formidable, if faceless, enemy.

The performances mostly get lost in the mayhem, although Garfield certainly commits himself to the character (even though there’s something unmistakably 21st century about his general look), and he has some sweet moments with Palmer before everything starts blowing up. Vaughn delivers wit under fire (literally), and Luke Bracey (the “Point Break” remake) registers as a fellow soldier who goes from disdaining Doss’s cowardice to admiring his valor.

Also Read: ‘Frantz’ Venice Review: François Ozon’s Post-War Tragedy Lacks Subtlety

The Christian-victimization narrative, which propelled two “God’s Not Dead” movies to box-office profitability, will certainly draw the faith-based audience to the movie, while the savage brutality will bring in another quadrant entirely. And while “Hacksaw Ridge” is undeniably made with great care and skill, for all of its good intentions it can never refute that famous Truffaut observation that making an anti-war film is essentially impossible, since to portray something is to ennoble it. In celebrating this legendary pacifist, Gibson and company ennoble the hell out of violence.

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