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The center of “Black Panther: Wakanda Forever”—the sequel to the hugely popular “ Black Panther ,” and a tribute to the late Chadwick Boseman —is sincere, even if the overall film feels manufactured. It begins with a funeral for the recently deceased King T'Challa. Shuri ( Letitia Wright ) and Queen Ramonda ( Angela Bassett ) are dressed in white, following the black coffin, whose top features a silver emblem of the Black Panther mask and the crossed arms of the Wakanda salute. Their mournful procession, winding through the kingdom, is contrasted with slow-motion tracking shots of dancers jubilantly dancing in memory of their fallen king. After the coffin arrives at a clearing, where it ceremoniously rises to the sky, we cut to an earnest, emotional montage of Boseman as T'Challa. The solemn, aching continuum of images soon forms the “Marvel Studios” logo, announcing that this is still a Marvel movie. And “Wakanda Forever” is all the worse for it. 

What was the secret ingredient for the success of “Black Panther”? Similar to the resplendent, secluded African nation of Wakanda, “Black Panther” existed just outside of the Marvel Cinematic Universe. It mostly stood on its own without the crushing requirements felt by every other film: The humor existed between the characters, not as random references to another property; the characters (with Andy Serkis as Ulysses Klaue as an exception) were particular to the story; the concerns rarely drifted toward franchise building aspirations.

But writer/director Ryan Coogler and his co-writer Joe Robert Cole don't possess the same kind of freedom with this melancholy sequel. Some limitations aren't within their control, such as the tragic death of Boseman. Others feel like a capitulation to assimilate into a movie-making machine. 

The hulking script is chock-full of ideas and themes. Rather than fighting their common enemy (white colonists), two kingdoms helmed by people of color are pitted against each other (an idea that never thematically lands), and the film must delve into the cultural pain that still exists from the historical annihilation of Central and South America’s Indigenous kingdoms. It must also contend with a bevy of other requirements: setting up the Marvel TV series “Ironheart” (in which Dominique Thorne will star), acknowledging The Snap, grieving Boseman’s death, and finding a new Black Panther. These competing interests are no less smoothed out by MCU’s blockbuster demands (that this must be a mainstream hit and usher in the next phase of the cinematic universe) and the weight of satiating Black folks who feel seen by the fantastical confirmation of Black regalism. It’s too much for one movie. And you get the sense that this should’ve been two.     

At nearly every turn, "Wakanda Forever" fails, starting with its setup. Colonist countries, now afraid of an African superpower, are scouring the world, from sea to sea, searching for vibranium (the metallic ore that powers the African kingdom). A young scientist named Riri (Thorne, treated as a plucky afterthought) plays a role in a search that leads mercenaries deep underwater where they encounter Namor/Kukulkan (a menacing and bold Tenoch Huerta ), the king of Talokan, and his people, who are none too happy with the surface world. They want to destroy it. The godly Namor, his ears pointed to the sky, his winged feet fluttering, later surfaces in Wakanda. With water still dripping from his jade earrings and glimmering, vibranium-pearl-gold necklace, he approaches a still mournful Ramonda and a bitter Shuri with a threat masquerading as an alliance. His appearance causes Wakanda to turn to Everett Ross ( Martin Freeman ), which leads to other cameos and subplots that weigh down the entire film with franchise expectations. 

What’s imperative to “Black Panther: Wakanda Forever” is the way Coogler centers righteous rage. Ramonda’s first big scene is her admonishing the United Nations for expecting her to share vibranium with the world, even as they try to steal the resource from her nation. Bassett, with a capital-A, acts in a sequence where her voice booms, her gaze is fixed and unforgiving, and the venom is felt. And yet, Shuri, who has buried herself in her lab, developing dangerous weapons, feels worse. She wants to see the world burn. Their shared anger forces a spew of short-sighted decisions that lead to further escalations with Namor—who desperately angles to avenge his mother and his ancestors. The film attempts to position the trio as different stages of grief, but in trying to get viewers up to speed on the atrocities experienced by Namor, it becomes slow and overblown. 

Maybe somewhere a way existed to connect these arcs. But that would require better visual storytelling than the movie offers. Far too often, the dialogue stays on the surface, either by providing reams of exposition, externalizing exactly what’s on the character’s mind or by trying to meld together the real-life loss felt by the actors with that of the characters. The latter certainly offers these performers a necessary chance to process their hurt on screen, but when did filmmakers forget how to show without telling? Why are contemporary blockbusters so enamored with holding the audience’s hand by providing every minute detail? At one point, after Namor explains his entire backstory, Shuri responds with, “Why are you telling me all of this?” It feels like a note Coogler gave to himself.  

The shortcomings in dialogue and story, and how often “Black Panther: Wakanda Forever” bows to IP-driven needs, would be easier to stomach if the visual components weren’t so creaky. The jittery fight sequences are too difficult to follow: inelegant compositions blur into an incomprehensible sludge with every cut by editors Michael P. Shawver , Kelley Dixon , and Jennifer Lame . Admittedly, there were projection issues with my screening of the film, so I will refrain from totally dismissing the all-too-dark lighting, but the actual framing by cinematographer Autumn Durald Arkapaw, working with the film’s copious visual effects, lacks a sense of space anyways. Scenes of everyday life in Wakanda—Black folks shopping, communities laughing and enjoying each other’s company—that once filled the viewer with joy feel artificial here. The vast landscapes of the nation, which once were filled with splendor, are now murky backgrounds. Some of that awe is recaptured when we see Talokan and its immense Mayan architecture and decorative wall paintings. But you wish, much like “Black Panther,” that Namor was first given his movie where these scenes could breathe, and we could become as integrated into this kingdom as we became in Wakanda. 

Ultimately, this film attempts to set up the future through Shuri. Wright is a talented actress with the ability to emotionally shoulder a movie when given good material. But she is constantly working against the script here. She fights past a cringe cameo; she fights past clunky jokes; she fights past an ending that feels all too neat. An assured and charismatic Winston Duke as M’Baku is there to help, and a misused Lupita Nyong'o as Nakia is there for assistance. Okoye, played by Danai Gurira , provides resilience. And new addition Michaela Coel (“I May Destroy You”) as Aneka, a quirky character who tonally doesn’t work in this somber ensemble, is there for comic relief ... I guess? In any case, the collective front of these performers isn't enough to stem the tide of a movie that relies on shouting matches and broad visual and political metaphors that have been boiled down to their uncomplicated essence rather than their complex truths (which isn’t unlike Rihanna’s turgid soundtrack offering “Lift Me Up”). 

A major sea battle ensues, new, ropey gadgets are employed, and loose ends are inarticulately tied. Another montage dedicated to Boseman occurs, and while the film is messy, you’re relieved that it begins and ends on the right foot. That is, until the saccharine post-credit scene. I’m not sure what Coogler was thinking. He had more weight on him for this movie than any filmmaker deserves. But when this scene occurred, I audibly groaned at what amounts to a weepy, treacly moment that’s wholly unnecessary, emotionally manipulative, and partially unearned. It’s one of the many instances where “Black Panther: Wakanda Forever” might have its heart in the right place but is in the wrong mindset and the worst space—at the center of a contrived cinematic universe—to mourn on its own terms.  

Available in theaters on November 11th.

Robert Daniels

Robert Daniels is an Associate Editor at RogerEbert.com. Based in Chicago, he is a member of the Chicago Film Critics Association (CFCA) and Critics Choice Association (CCA) and regularly contributes to the  New York Times ,  IndieWire , and  Screen Daily . He has covered film festivals ranging from Cannes to Sundance to Toronto. He has also written for the Criterion Collection, the  Los Angeles Times , and  Rolling Stone  about Black American pop culture and issues of representation.

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Film Credits

Black Panther: Wakanda Forever (2022)

Rated PG-13 for sequences of strong violence, action and some language.

161 minutes

Letitia Wright as Shuri / Black Panther

Lupita Nyong'o as Nakia

Angela Bassett as Ramonda

Danai Gurira as Okoye

Winston Duke as M'Baku

Dominique Thorne as Riri Williams / Ironheart

Tenoch Huerta as Namor

Florence Kasumba as Ayo

Michaela Coel as Aneka

Martin Freeman as Everett K. Ross

Mabel Cadena as Namora

Alex Livinalli as Attuma

Danny Sapani as M'Kathu

Isaach de Bankolé as River Tribe Elder

Gigi Bermingham as French Secretary of State

• Ryan Coogler

Writer (story by)

• Joe Robert Cole

Cinematogapher

• Autumn Durald Arkapaw
• Jennifer Lame
• Michael P. Shawver
• Kelley Dixon
• Ludwig Göransson

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‘Black Panther: Wakanda Forever’ Review: Women on the Home Front

Shadowed by Chadwick Boseman’s death, this sequel focuses on King T’Challa’s mother and the women helping her to contend with a slippery new villain.

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By A.O. Scott

The first “Black Panther” movie opened in February 2018. A lot has changed since then, both in the Marvel Cinematic Universe and in the one that most of us non-superheroes are compelled to inhabit.

The most tragic and consequential change was surely the death, in 2020, of Chadwick Boseman , whose performance as King T’Challa had seemed to signal the arrival of a franchise-defining new star. Even before that, the Marvel/Disney corporate strategy was shifting into a post- “Avengers” phase, as the familiar heroes were dispersed into a multiplatform multiverse of stories, sometimes joined by alternative versions of themselves. And of course, here in the real world…

Let’s not even go there. The political situation in the fictional African nation of Wakanda is complicated enough. In “Black Panther: Wakanda Forever,” the director Ryan Coogler feeds his own and the public’s grief into the story, infusing the movie with somber notes of family loss and collective mourning. There is also a sense of the disorder that follows in the wake of a charismatic, unifying leader.

T’Challa’s mother, Queen Ramonda (Angela Bassett), has assumed the throne, at least for the moment. His younger sister, the scientific prodigy Shuri (Letitia Wright), scrambles to honor her brother’s memory and fill his shoes. The center is holding, but the kingdom nonetheless seems vulnerable, as the outside world conspires to gain access to Wakanda’s reserves of vibranium, a rare mineral with daunting military and industrial uses. The benevolent global order that T’Challa led his nation into has given way to one based on deceit, subversion and exploitation.

Thanks to Ramonda’s regal diplomatic skills and the fighting prowess of the Jabari, led by M’Baku (Winston Duke), and the Dora Milaje, led by the mighty Okoye (Danai Gurira), Wakanda can hold its own against the United States and France. The real threat comes from under the sea, where the long-isolated aquatic nation of Talokan controls the planet’s only other source of vibranium.

The king of Talokan, who goes by Namor (Tenoch Huerta Mejía) is a demigod with pointy ears and wings on his ankles. Comic-book fans will recognize him as the Sub-Mariner, a complicated hero whose pedigree stretches all the way back into late-1930s Marvel prehistory. For the purposes of “Wakanda Forever,” he is a villain, albeit one with a legitimate grudge and a coherent political argument.

His subjects are descendants of a Meso-American tribe who took to the water to escape Spanish colonizers in the 16th century. His mistrust of “the surface” is based on a history of enslavement, infection and persecution, and he proposes a mutually protective anti-imperialist alliance with Wakanda. Which sounds nice, except that the alternative Namor offers is war, and also the murder of Riri Williams (Dominique Thorne), a precocious M.I.T. student who has invented a vibranium-detecting machine.

If this sounds like too much plot summary, that’s because “Wakanda Forever,” like many Marvel movies, has too much plot. There are a lot of characters to keep track of. Shuri has acquired a sidekick in the person of Riri, while Okoye has one in Aneka (Michaela Coel). The Wakanda-sympathizing C.I.A. man Everett Ross (Martin Freeman) is back, and spends some time squabbling with his boss (Julia Louis-Dreyfus), who is also his ex-wife. Since this is, above all, a special-effects-heavy action movie, there are fistfights, vehicle chases, underwater and midair battles, high-tech suits and seat-rattling explosions.

A Marvel movie, for sure. But a pretty interesting one, partly because it’s also a Ryan Coogler film, with the director’s signature interplay of genre touchstones, vivid emotions (emphasized by Ludwig Goransson’s occasionally tooth-rattling score) and allegorical implications. Because the Avengers have, for the moment, disassembled, it’s no longer necessary to slot Wakanda and its heroes into a larger cosmic ensemble, which gives the busy narrative a welcome degree of focus and specificity. As in “Black Panther,” the questions of Wakandan identity — who will lead it, and what kind of a country will it be — are brought into relief by an apparent bad guy with a good or at least plausible answer.

Namor has in common with T’Challa’s nemesis Killmonger (Michael B. Jordan) — and also with Magneto from the X-Men films and Koba from the first chapters of “Planet of the Apes” — a grievance-based radicalism that the movie struggles to refute. Huerta’s performance is weighted more with sorrow than anger, and his people, with their blue skins and gill-like masks, are beautiful and mysterious. Talokan, a kind of Mayan Atlantis, adds a new aesthetic element to the Marvel palette, extending the Afro-futurist visions of Hannah Beachler’s production design and Ruth Carter’s costumes into something wondrously cosmic and cosmopolitan.

In T’Challa’s absence, Wakanda has become, at least for the moment, a matriarchy, and “Wakanda Forever” displays a matter-of-fact superhero feminism grounded in the personalities of the performers and their characters. Bassett, Wright, Gurira, Williams and Coel — rejoined by Lupita Nyong’o as Nakia, who shows up a bit late in the action — form the kind of fractious, formidable ensemble that should be a franchise in its own right. And quite possibly will be. It’s called “Wakanda Forever,” and in the Marvel Universe that sounds less like a slogan than a terms of service guarantee.

Black Panther: Wakanda Forever Rated PG-13. The usual bloodless comic-book slaughter. Running time: 2 hours 41 minutes. In theaters.

An earlier version of this review misspelled an actress’s given name. She is Dominique Thorne, not Dominque.

How we handle corrections

A.O. Scott is a co-chief film critic. He joined The Times in 2000 and has written for the Book Review and The New York Times Magazine. He is also the author of “Better Living Through Criticism.” More about A.O. Scott

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‘Black Panther’ Review: Marvel’s History-Making Superhero Movie’s a Masterpiece

By Peter Travers

Peter Travers

It’s finally here – and it couldn’t have come at a better time. Black Panther is an epic that doesn’t walk, talk or kick ass like any other Marvel movie – an exhilarating triumph on every level from writing, directing, acting, production design, costumes, music, special effects to you name it. For children (and adults) of color who have longed forever to see a superhero who looks like them, Marvel’s first black-superhero film is an answered prayer, a landmark adventure and a new film classic.

But wait a minute: Hasn’t Black Panther been around since the 1960s, when Stan Lee and Jack Kirby created him for the comics? So why did it take half a century for Marvel to get him up on screen? Chadwick Boseman already played this superhero in 2016’s Captain America: Civil War,  a supporting role in a Marvel Comic Universe best categorized as #AvengersSoWhite. That’s all in the past. There’s no sidekick or second-banana status here. The spotlight is all his – and his stand-alone, solo outing is history in the making. 

Thrillingly and thoughtfully directed and written (with Joe Robert Cole) by Ryan Coogler , the film lights up the screen with a full-throttle blast of action and fun. That’s to be expected. But what sneaks up and floors you is the film’s racial conscience and profound, astonishing beauty. Not just a correction for years of diversity neglect, it’s a big0budget blockbuster that digs into the roots of blackness itself. Coogler, 31, has proved his skills behind the camera with Fruitvale Station and Creed, but in Black Panther he journeys into the heart of Africa to bring a new world to the screen. The result feels revolutionary.

Boseman is just tremendous in the role of T’Challa, the king of Wakanda – a fictional African country where he presents one image as a ruler and another as a crimefighting superhero disguised as a panther. His costume is threaded with vibranium, a mineral with magical properties and a national resource that T’Challa keeps hidden, along with his cloistered country’s other huge scientific discoveries. The man’s intellect is his own, but his superpowers derive from a heart-shaped herb found only in his native land. Boseman, a stunningly versatile actor who played Jackie Robinson in 42, James Brown in Get On Up and Thurgood Marshall in Marshall, digs so deep into T’Challa that you can feel his nerve endings.

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Perhaps Coogler’s most inspiring decision is to treat Wakanda as a character itself, a place that resonates with its own social structure and rules of government, including choosing its king through physical challenge. Shot by Rachel Morrison ( Mudbound ), the first woman to be Oscar-nominated for cinematography in the Academy’s shameful 90-year history, Black Panther is alive with visual miracles. And Coogler has populated it with superb actors who play it like they mean it.

Besides the brilliant Boseman, you can bring out the superlatives for Michael B. Jordan , blazingly good as Erik Killmonger, the movie’s villain and a figure from T’Challa’s past. Yet the young actor plays this warrior (he scars his body with notches to represent his kills) with such tormented morality and emotional intensity that Erik’s humanity is never in doubt. Daniel Kaluuya, an Oscar nominee for Get Out, is also aces as W’Kabi, T’Challa’s friend and head of security. And screen giant Forest Whitaker brings soulful dignity to Zuri, the King’s spiritual mentor.

If you’re thinking you’re in for another macho power trip, forget it. The women are more than a match for the men in this game, from the iconic Angela Bassett as Ramonda, T’Challa’s widowed mother, to the ready-to-rumble Lupita Nyong’o as Nakia, T’Challa’s ex love and a spy for Wakanda in the outside world. And wait until you see the dynamite Danai Gurira – Michonne on The Walking Dead – fire on all cylinders as Okoye, head of Wakanda’s all-female Special Forces known as the Dora Milaje. Her head shaved, her eyes beaming likes lasers and her weapons at the ready, she is the living definition of fierce. 

And there’s no beating the smarts and sass of the wonderous Letitia Wright, who brings scene-stealing to the level of grand larceny as Princess Shuri, T’Challa’s kid sister. “Did you freeze again ?” Shuri asks her big brother, teasing his surprisingly slow reflexes in the heat of battle once he catches sight of true love. A scientist and tech-tinkerer, she’s always the brainiest person in the room, giving Q from the James Bond series a run for his money by inventing the coolest gadgets. Wright is a star in the making, who makes damn sure that Shuri will be a role model to young girls for years to come.

Black Superheroes Matter: Why a 'Black Panther' Movie Is Revolutionary

What happens when the going gets bloody? The suits at Marvel and Disney have cautioned critics about spoilers to allow audiences “to discover any surprises and plot twists” for themselves. Fair enough … so we’ll shut up about the role the terrific Sterling K. Brown plays in the opening flashback. But it’s fair to mention Ludwig Goransson’s rousing score with hip-hop song contributions from the likes of Kendrick Lamar, Sam Dew, Vince Staples and Childish Gambino. And Ruth E. Carter’s costumes, alive with rich color and texture, are already on the march to screen legend. Coogler also rewrites the book on stunts, especially when T’Challa fights Killmonger over a waterfall or Andy Serkis’s South African arms dealer Ulysses Klaue battles our heroes in a South Korean casino. (Check out how the car-chase set piece that follows that melee bends the usual clichés into unexpectedly hilarious chaos.) Even CIA agent Everett K. Ross, played by a most excellent Martin Freeman, springs surprises to stop the use of vibranium in stand-off that could lead to global annihilation.

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The end-of-days scenario isn’t new in the MCU, but what the movie’s director does with it most definitely is. Black Panther is a fantasy film rooted in the here and now. Unlike other Marvel superheroes, T’Challa is a king, a real-life royal with a burden of responsibility. Does he keep Wakanda safe by hiding its technological advances or share them with volatile intruders, who are eager to weaponize resources meant to strengthen and heal? In Get Out, Jordan Peele satirized white appropriation of black culture. Here, Coogler makes black identity invincible, but avoids simplification by turning Wakanda into a society of different tribes, each with its own customs, goals and political agendas that reflect a conflicted world very much like our own.

There aren’t many superhero films that blow you away with thunderous effects and also tackle ethnic and gender issues, crush racial stereotypes, celebrate women and condemn Trump-era notions of exclusionism. It’s easier and way more commercial to be oblivious. But that’s not Coogler’s style. Written and directed by African Americans who make up most of the cast, the film has taken flak from critics who believe that Marvel is hijacking African traditions to sell tickets, bemoaning the fact that the film was mostly shot in Atlanta instead of Africa. But the accusations ring hollow and ignore the mint-fresh inventiveness and passionate commitment to the black experience that’s instilled in every frame. It’s impossible not to cheer Boseman as T’Challa emerges as Marvel’s once and future king. Say this about Black Panther, which raises movie escapism very near the level of art: You’ve never seen anything like it in your life. Wakanda forever!

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Black Panther: Wakanda Forever review – grief shadows superhero sequel

Shaped around the loss of its original hero Chadwick Boseman, this take pays tribute to the late actor with fiery performances and great spectacle

T he fictional African state of Wakanda becomes a matriarchy in a fervent, yet understandably subdued new Black Panther movie whose exuberant and mournful impulses are at odds with each other. We can also see, almost in real time, a franchise coming to terms with loss at the same as its fictional characters. Chadwick Boseman, who in the previous adventure had played T’Challa, king of Wakanda, died of cancer two years ago at just 43 years old . Now this new film pays a heartfelt and decent tribute to his memory in a drama shaped around this sudden blow, making an honest attempt to shape a superhero film around the subject of grief.

T’Challa’s sister Shuri now has to step up to a quasi-regency role alongside her grief-stricken mother Ramonda, who now becomes queen because T’Challa has suddenly died; here are two typically elegant and charismatic performances from Letitia Wright and Angela Bassett, with Wright’s Shuri now stricken not just with sadness but a new kind of bleak self-knowledge. Despite her renown as a scientist, she could do nothing to prevent or even understand T’Challa’s fatal illness.

Wakanda’s intelligence agent and valued counsellor Nakia (Lupita Nyong’o) has gone into self-imposed exile in Haiti. On the home front, Ramonda and Wakandan warriors Okoye (Danai Gurira) and Aneka (Michaela Coel) have to deal with a truculent Jabari tribesman M’Baku (a formidable presence from Winston Duke) and also what they see as opportunist and predatory attacks from western powers including France and the US at the UN who, sensing weakness, now want to seize the Wakandans’ precious mineral reserve of vibranium.

And there is another sensational development: the CIA, in the form of careworn station chief Everett Ross (Martin Freeman) has employed brilliant young MIT student Riri Williams (Dominique Thorne) to design a new vibranium detector, which discloses a new source of this precious substance under the sea – but this turns out to be the property of another unknown people from a secret undersea city called Talokan, led by Namor (Tenoch Huerta) with Mesoamerican connections. The US incursion into their property rights triggers a terrible conflict in which Namor’s people, instead of making common cause with the Wakandans, wages war on them and the overground “colonisers” alike. As for Shuri, her destiny and birthright still lie ahead of her – a new female power in the land – and she has to decide whether she will be inspired in her time of trial by the memory of wise T’Challa, or less salubrious figures.

As with the last film, there are bold extravagant gestures of spectacle, while Wright, Coel, Bassett, Gurira and Thorne all supply fierce performances; each of them ups the onscreen voltage simply by appearing. And first among equals here is Wright. Shuri finds that that Wakandans’ great burden or even their tragedy is that they are fighting people who should be their allies – and this movie, like the previous one, can claim to be working with the themes of empire, oppression and even energy security. But I felt that there was a constraint at work, an understandable constraint given that the film is to some degree about grief and loss, but one which Wakanda Forever had not quite found a way of developing and absorbing. At all events, this is another star performance from Wright.

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Film Review: ‘Black Panther’

Now on its 18th film, Marvel Studios greenlights a movie that feels quite unlike the other Avengers one-offs, featuring a superhero with purpose.

By Peter Debruge

Peter Debruge

Chief Film Critic

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SPOILER ALERT: The following review contains mild spoilers for “ Black Panther .”

Until now, whether they hail from the DC or Marvel cinematic universes, big-screen superheroes have traditionally been white dudes put on this earth (e.g. Superman and Thor, who each came from other planets) or fashioned by the U.S. military (à la Captain America and War Machine) to defend America from its enemies. Co-written and directed by Ryan Coogler , “Black Panther” is a radically different kind of comic-book movie, one with a proud Afrocentric twist, featuring a nearly all-black cast, that largely ignores the United States and focuses instead on the fictional nation of Wakanda — and guess what: Virtually everything that distinguishes “Black Panther” from past Marvel pics works to this standalone entry’s advantage.

Before we get carried away, let’s be clear: “Black Panther” is still a superhero movie, which means that it’s effectively conceived for 10-year-olds and all those who wish a film like this had existed when they were 10. Except that the latter category is potentially bigger than ever this time around (for a Marvel movie, at least), since there has never in the history of cinema been a film that allows an ensemble of black characters to take charge on a global scale quite like this — and many have waited their entire lives to witness just such a feat (the way that “Wonder Woman” was a hugely empowering game changer for women).

That alone would be reason to get excited, and Coogler makes good on the landmark project’s potential by featuring a predominantly black ensemble, casting some of the best young actors around — from Chadwick Boseman (who proved his dramatic chops playing James Brown, Jackie Robinson, and Thurgood Marshall in recent years) to Michael B. Jordan (even more buff, and twice as charismatic, than he appeared in the director’s two previous features, “Fruitvale Station” and “Creed”) — as well as such legends as Forest Whitaker and Angela Bassett. But historical significance aside, what superhero fans want to know is how “Black Panther” compares with other Marvel movies. Simply put, it not only holds its own, but improves on the formula in several key respects, from a politically engaged villain to an emotionally grounded final showdown.

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Opening in the mythical kingdom of Wakanda , “Black Panther” effectively anticipates President Trump’s alleged comments about “shithole countries” whose refugees prefer the American way of life “to their huts.” Without disparaging the rest of Africa, Coogler and his crew suggest what the continent might have become had it never been stripped of its resources — and had those resources included highly advanced alien technology and ultra-efficient energy sources. Hidden from the world, Wakanda is home to the world’s most technologically advanced city, protected by a ruler with special powers (never fully defined, all-too-easily revoked) and a fearsome black panther costume.

Of course, Wakanda doesn’t really exist, but then, Europeans so exploited the continent that we’ll never truly know the full extent of what Africa could have taught the world. (No wonder Wakandans pejoratively refer to white people as “colonizers,” a not-unreasonable epithet that’s virtually certain to enter the national vocabulary from here.) As Prince T’Challa, Boseman plays the latest Wakandan leader to don the catsuit, a matte-black onesie that receives a nice upgrade courtesy of his tech-savvy sister, Shuri (scene-stealer Letitia Wright, whose irreverent delivery makes a welcome counterbalance to Boseman’s dead-serious attitude).

Truth be told, T’Challa is kind of a bore, even if the movie that surrounds him seldom fails to thrill: He’s prince of a utopian city with little interest in the fate of the world beyond his borders — until his father, King T’Chaka (John Kani), is assassinated during a bombing at the Vienna International Centre (a flashback to “Captain America: Civil War”). Though the Black Panther who made his impressive, hyper-acrobatic debut in that film is one and the same as the character seen here, Coogler humanizes him to such a degree that T’Challa doesn’t feel like a superhero so much as a deeply conflicted world leader — albeit one who must defend his title via brutal hand-to-hand bloodmatches (in a ritual that suggests a considerably more primordial, and decidedly anti-democratic, form of governance).

Wakanda owes its utopian status to a precious extraterrestrial resource called Vibranium that the rest of the world covets (it presumably sits somewhere between Kryptonite and Unobtanium on the periodic table of elements, and far out-values the diamonds and uranium for which Africa has been plundered over the past century). Halfway around the world, an MIT-educated former black-ops soldier named Erik Killmonger (Jordan, sporting a modified Basquiat haircut) waltzes into a museum and steals a misidentified Wakandan relic. (When a curator objects to the theft, he quips, “How do you think your ancestors got these?”)

Because Black Panther’s skills seem to rely more on gadgets than fantastical powers, his standalone Marvel outing actually feels more like a James Bond adventure than a conventional superhero movie at times — as in the subsequent set piece, which was clearly inspired by the Macau casino scene in “Skyfall.” Accompanied by two spear-wielding warriors (Danai Gurira and Lupita Nyong’o play members of the Dora Milaje, Wakanda’s elite female fighting force), a tuxedo-clad T’Challa attempts to go incognito while South African gunrunner Ulysses Klaue (a suitably thuggish Andy Serkis, ever the chameleon) makes ready to pass the pilfered treasure to a CIA agent (Martin Freeman, who may as well be playing 007 ally Felix Leiter).

An elaborate shootout ensues, conspicuously choreographed as a single-take “oner.” Unlike “Atomic Blonde” (the best use yet of that approach), the device calls a bit too much attention to itself here, cartoonishly inflating the action, rather than making it more realistic and relatable. Still, if it’s the cool factor Coogler is going for, the scene delivers, segueing into a stunning car chase across Busan, South Korea.

“Black Panther” may not have the most impressive action sequences or visual effects of any Marvel movie, but it boasts the best villains. As an arms dealer whose arm doubles as a Vibranium super-cannon, Klaue makes for a nasty henchman, while Killmonger keeps his cards up his sleeve until relatively late in the film but emerges as the most satisfying comic-book adversary since Heath Ledger’s Joker. Both characters have a ruthless anarchic streak, although Killmonger has more than just wreaking chaos in mind. He’s motivated by a feeling of deep political injustice, plus a “This time it’s personal” sense of vengeance, and he’s convinced that raiding the Wakanda’s stockpile of Vibranium could put genuine firepower in a worldwide black uprising.

It’s a compelling idea (enough to sway a key ally played by Daniel Kaluuya), and a reminder that throughout the African diaspora, the black-white power balance remains as it is courtesy of Jim Crow practices designed to keep minorities in check: persistent segregation, broken drug laws, racially targeted policing, disproportionately high incarceration rates — all of which are identified and indicted by Coogler’s truth-to-power script. Arm the oppressed, Killmonger passionately argues, and it won’t take a century for the system that produced “The Birth of a Nation” to grant a black artist the right to tell this kind of story — not that Coogler endorses the character’s lunatic ideas.

But he’s not about to waste the opportunity either. Rather than simply concocting another generic plan to save the world from annihilation, Coogler revives the age-old debate between Martin Luther King Jr. and Malcolm X — between passive resistance and the call for militant black activism. Think of it as “Black Panther vs. the Black Panthers,” except you can’t have a nonviolent action hero, which puts T’Challa in a strange position. It’s not quite clear what he stands for, whereas his independent-minded ex-girlfriend Nakia (Nyong’o’s character) has ambitious ideas about how Wakanda could help the world — which means it’s up to her to spark his engagement with the outside world.

While far more mainstream — and by extension, kid-friendly — than such blaxploitation classics as “Foxy Brown” and “Cleopatra Jones,” “Black Panther” upholds the same tradition of celebrating strong, assertive black women. At the end of a big rhinoceros battle, a male character submits to Gurira in the film’s single most iconic shot, while an earlier scene in which she tosses aside a bad wig ranks as the most gay-friendly Marvel moment to date.

In their print form, comic books have led the way in terms of representation and inclusivity, long empowering non-white, non-male characters in their pages. Although previous big-screen examples certainly exist — among them Wesley Snipes’ “Blade” and Will Smith’s “Hancock” — “Black Panther” celebrates its hero’s heritage while delivering one of Marvel’s most all-around appealing standalone installments to date. Going forward, Black Panther will join the ranks of the Avengers, further diversifying their ranks. In the meantime, it’s awesome to see Black Power celebrated in such a mainstream fashion .

Reviewed at Dolby Theatre, Los Angeles, Jan. 29, 2018. MPAA Rating: PG-13. Running time: 134 MIN.

• Production: A Walt Disney Studios Motion Pictures release of a Marvel Studios presentation. Producer: Kevin Feige. Executive producers: Louis D’Esposito, Victoria Alonso, Nate Moore, Jeffrey Chernov, Stan Lee.
• Crew: Director: Ryan Coogler. Screenplay: Ryan Coogler, Joe Robert Cole, based on the Marvel comics by Stan Lee, Jack Kirby. Camera (color, widescreen): Rachel Morrison. Editors: Debbie Berman, Michael P. Shawver. Music: Ludwig Göransson.
• With: Chadwick Boseman, Michael B. Jordan, Lupita Nyong’o, Danai Gurira, Martin Freeman, Daniel Kaluuya, Letitia Wright, Winston Duke, with Angela Bassett, with Forest Whitaker, Andy Serkis. (English, Korean, Wakandan dialogue)

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Review: Black Panther Is Truly a Movie for Everyone

M arvel superhero movies are no longer just a single entertainment option among many; they’re a manmade force of nature. Many comic-book fans love them, while others merely “love” them: For some, responding positively to these elaborate, costly pictures has become a grudging duty. In fact, the only thing wrong with Ryan Coogler’s stirring, imaginative Black Panther is that in some ways, at least, it’s required to fit snugly into the Marvel superhero-movie mold. What would this film have been like if its action scenes had been cut cleanly and clearly, instead of chopped into the usual wasteful, visually confusing slice-and-dice mashup? The whole thing moves a little too fast: There are so many gorgeous details—from Ruth E. Carter’s Afro-futuristic costumes to Hannah Beachler’s Emerald City-a-go-go production design—that you might find yourself wishing you could linger on certain images just a bit longer.

But Black Panther is still a cut above—perhaps many cuts above—any other recent superhero movie, and some not-so-recent ones too. Coogler’s picture—starring Chadwick Boseman as T’Challa, the ruler of the isolationist African country Wakanda, as well as, when kitted out in his sleek black superhero outfit, the principled and authoritative Black Panther—has a social conscience, speaking out plainly about the moral obligations of powerful countries, from sheltering refugees to sharing technology and science to dividing wealth equitably. Those ideas are the movie’s supple backbone, not just stuff that’s been added to make the whole venture seem important. (The script is by Coogler and Joe Robert Cole, based on characters by Stan Lee and Jack Kirby.) And, most blessedly, this is that rare superhero movie in which absolutely zero cities are destroyed, or are even in danger of being destroyed. At a certain point, a villain threatening to destroy a city becomes a ho-hum threat, and Black Panther knows it. The movie is smart, lavish and fun without being assaultive.

The plot is relatively straightforward, and worked out with more care than most: T’challa returns from America to his home kingdom of Wakanda to assume leadership after his father, the king, is killed by a terrorist’s bomb (an event dramatized in Captain America: Civil War ). Even amid the grieving, it’s a happy homecoming: T’challa is greeted by his regal mother, Ramonda (the ever-fabulous Angela Bassett), and his riot-grrrl science-nerd sister Shuri (played by the marvelous newcomer Letitia Wright). He reconnects with his closest friend, W’Kabi (Daniel Kaluuya), and readies himself to meet the challenges of leading this small, rich country. (It sits on a veritable gold mine, a store of an extremely precious and potent metal known as vibranium, but those riches are kept secret from the rest of the world.) And he reunites, platonically, with the woman whom he still loves, Nakia (Lupita N’yongo), a fighter-activist who’s more interest in justice than romance. For now, at least.

There’s going to be trouble, of course, and it arrives in the form of Michael B. Jordan’s villainously complex Erik Killmonger, who storms into Wakanda for revenge and something more. The action in Black Panther includes lots of hand-to-hand combat, much of it taking place in a sacred pool—the editing of these scenes could be cleaner, they give the movie a nice jolt of organic energy even so. All the performances are terrific (Martin Freeman appears as one of the token white guys), though the women in the cast give the best of them. Danai Gurira (of The Walking Dead ) plays Okoye, a member of an elite group of valets and bodyguards known as the Dora Milaje: When she comes out swinging and ready for battle—her head shaved clean, her face a mask of don’t-mess-with-me attitude—only a moron would risk looking away.

But then, all of Black Panther, shot by Rachel Morrison—who was the cinematographer on Coogler’s 2013 debut Fruitvale Station, and who has just been nominated for an Academy Award for Mudbound —is simply splendid to look at, a marvel of jewel tones and shimmery grays with lots of natural greenery thrown in. And the Black Panther costume gets my vote for the most elegant superhero outfit ever, a lithe, supple stretch of black ink that allows its wearer to leap and strike at any moment. The mask, with its narrow eye slits, facilitates some great staredowns.

One of Black Panther’s attributes as a project, clear from the start, is that it meant roles for many actors of color. From the early to mid part of the 20th century, there was a small but important American industry of films made especially for black audiences, featuring black stars like Cab Calloway and Lena Horne. These weren’t extravagant pictures, but they offered both escapism and a view of life that wasn’t strictly, exclusively white: They reassured black Americans—and it’s a tragedy by itself that such reassurance would be necessary—that they, too, were America.

Black Panther is a modern expansion of that idea, a picture for everyone that stresses the necessary meaning of the word everyone . It’s pure pleasure to look at the screen and see the faces of both established actors we don’t get to see often enough (like Bassett, as well as Forest Whitaker as Zuri, a spiritual-warrior figure) and newcomers who leave us hankering for more (like the vibrant Letitia Wright). Black Panther is set largely in Wakanda, with a detour to South Korea. Still, there’s no shaking the feeling that this is what America looks like when it’s allowed to be its truest, freest self. That’s a superhero challenge if ever there was one.

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Black Panther Is Unusually Gripping and Grounded for a Superhero Film

Black Panther , starring Chadwick Boseman as T’Challa, the African king who fights evildoers in the guise of a wildcat, is unusually grounded for a Marvel superhero epic, and unusually gripping. It’s primarily set in Wakanda, described in onscreen news accounts as Africa’s poorest country. (Trump would have choice words about Wakandan immigration.) But the poverty turns out to be surface deep, literally. Under a lush cover of trees is a city both ancient and futuristic, where sonic-powered railways snake among great stone towers, the works fueled by the metal Vibranium — best known (until now) as the substance of Captain America’s shield. For thousands of years, we learn, the Wakandans have cherished and protected their isolation, along with their Vibranium mother lode. But their worldview is about to be brutally tested. T’Challa’s do-gooder on-and-off girlfriend, Nakia (Lupita Nyong’o), is bent on crossing the border to help other imperiled African countries. Far more dangerous, though, is the aptly named militant Erik Killmonger (Michael B. Jordan), who looks to Vibranium to power a full-scale international race war.

Not to minimize the alien death funnels of the Avengers films, but the conflicts threatened here hit frighteningly close to home. You’d expect no less from director Ryan Coogler, who opens the film in 1992 in Oakland, a few stops down the BART line from the site of the tragic climax of his debut feature, Fruitvale Station . Outside the projects, children play ball and try to make the best of their bad deal, while inside two black men survey their high-powered weaponry. Interrupted by “two Grace Jones–lookin’ chicks” and a king in a Vibranium suit, they make a series of bad decisions that reach all the way to present-day Wakanda and beyond.

That Black Panther has a richer palette than its Marvel precursors is no surprise, since its roots are equally in pop culture and African folklore. All right, it’s probably faux folklore, but it doesn’t feel faux in the hands of Coogler, co-screenwriter Joe Robert Cole, production designer Hannah Beachler, and the Oscar-nominated cinematographer Rachel Morrison. The image of Wakandans on stone cliffs above a great waterfall, watching T’Challa fend off challengers to his throne, has mythic resonance — helped, I’d argue (maybe perversely) by the obvious green-screen FX, which suggest a Natural History Museum diorama. Moreover, the panther isn’t some random super–alter ego. He’s T’Challa’s spirit animal. During the rite of succession, T’Challa drinks a sacred potion that lights up his veins, whereupon he drifts off, astrally speaking, to meet his father, T’Chaka (assassinated in Captain America: Civil War ), on “the ancestral plane.” That meeting is uneasy, though. T’Chaka has secrets that are going to come back and bite Black Panther on the ass.

Many fans think Black Panther was overdue for a stand-alone feature — but then, it took a long time for him to get his stand-alone comic. Created by Stan Lee and Jack Kirby in 1966, following the most momentous civil-rights battles, Black Panther made his debut in an issue of Fantastic Four , moved on to The Avengers , and occupied a lot of real estate in the — *wince* — Jungle Action series, the title of which carried overtones of Tarzan, before appearing in many of his own comics under the title Black Panther . Maybe it was worth the wait to get the character right onscreen. For one thing, Coogler hasn’t explicitly connected him to the tiring Marvel superhero stable. (Yes, Agent Everett K. Ross is in the film, but it doesn’t refer to other Marvel figures. And of course there’s a tie-in after all the credits have rolled, but this is a long movie, multiplex sodas are huge, and you should go ahead and use the restroom and not think you’re missing anything super important.)

Better, the filmmakers have surrounded Black Panther with women who are not just worthy of him but frequently leave him in the dust. Nyong’o’s flame-haired Nakia is one, but your gaze will be drawn (or commanded) by Danai Gurira’s General Okoye, another “Grace Jones–lookin’ chick” (tall, bald) with open contempt for guns and a samurai’s dexterity with a long spear. Men quail before her. Black Panther gives her a wide berth. Everything in her affect says “uncontainable.” T’Challa’s giddy kid sister, Shuri (Letitia Wright), is an even more fun inversion of male superhero protocol, playing Q to Black Panther’s Bond with an array of Vibranium-powered suits and gizmos. The mix of Afrocentrism, feminism, and high-tech gadgetry is irresistible. Black Panther’s team is so wonderful that I hate to think of it being dulled by the mostly white-bread Avengers.

Not that I mean to sound like Erik Killmonger, though I imagine some viewers will find him more compelling than the noble, conscientious T’Challa — much as Malcolm X is a compelling counterweight to Martin Luther King. First seen as an ally of the exuberantly sadistic Ulysses Klaue (Andy Serkis), Erik humiliates (and then some) a patronizing white female museum director and bristles (and then some) when Klaue describes the Wakandans as savages. Michael B. Jordan is sensationally good, a flamboyant Hotspur to Boseman’s Prince Hal, their final battle ending on a note that made me think of Hal’s “for worms, Harry.” Doubtless in the coming weeks many will muse on the impact of a blockbuster primarily focusing on struggles within the black community instead of racial injustice, but even in the superb recent series by Ta-Nehisi Coates and the artist Brian Stelfreeze, the Panther’s principal concern was the welfare of Wakanda. Militancy that ushers in chaos is no solution.

Plus, you don’t put a race war at the center of a potentially billion-dollar property. Even a disguised race war, as in the brave but overly weighty War for the Planet of the Apes (which remade Apocalypse Now with apes standing in for the Vietnamese) couldn’t find a big enough audience.

Coogler has assembled a terrific supporting cast, with Angela Bassett, Sterling K. Brown, and Forest Whitaker (in a too-subservient role — but I don’t begrudge him those fat Marvel or Star Wars paychecks). Winston Duke is wonderfully imperious as M’Baku, as the leader of a rival tribe. I’d have liked even more of Daniel Kaluuya as T’Challa’s unsteady ally, but his last moment onscreen is a delight. Martin Freeman as the CIA’s Everett K. Ross is literally dwarfed by the rest of the cast, a disparity he uses to his advantage: He can bellow and bluster and play the part absolutely straight but still be — in context — funny and endearing. As for Boseman, he is simply magnetic. He gives this busy enterprise its grave, thoughtful center.

Black Panther ’s fight scenes are better than in other Marvel films, but they’re still a disappointment from the maker of Creed . Where other directors of gargantuan effects movies will hold a shot for, say, one or two seconds, Coogler will up it to three, maybe four when Gurira’s Okoye brings out her sticks. That makes a difference, but it’s a far cry from the fluid long takes that would take the action to another level. Even in this, the most original Marvel movie, there’s a sameness to the rhythm of the storytelling and the nature of the CGI, which is just money thrown at creative challenges. The good news is that Coogler has proven he can play in the big boys’ house, and there’s no excuse for studios to pass on more personal projects he has in the pipeline. How much better can a guy be?

Black Panther was nominated for seven Oscars in 2019 , including Best Picture, Best Costume Design, Best Original Score, Best Sound Editing, Best Sound Mixing, Best Original Song, and Best Production Design.

• movie review
• black panther
• ryan coogler
• chadwick boseman
• lupita nyong'o
• michael b. jordan
• superhero movies
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Black panther, common sense media reviewers.

Masterful Marvel film has depth, diversity -- and violence.

A Lot or a Little?

What you will—and won't—find in this movie.

Promotes teamwork, communication, loyalty, integri

T'Challa is a born leader who's thoughtful, patien

Positive representation of Marvel's first Black su

More close-up fights than in previous Marvel films

A couple of kisses and some flirting. One couple c

Infrequent use of "s--t," "ass," and "hell"; one c

On camera: Toyota Land Cruiser, a top-of-the-line

Adult extras drink in the background of a casino s

Parents need to know that Black Panther is the first film in the Marvel cinematic universe to center on a superhero of color: African prince-turned-king T'Challa (Chadwick Boseman), aka the Black Panther. As in all superhero movies, there's plenty of violence -- in this case, mostly brutal hand-to-hand combat…

Positive Messages

Promotes teamwork, communication, loyalty, integrity, courage, and friendship. Highlights the abilities of women and people of color in leading roles. Explores the necessity of global compassion and outreach and the idea that, as human beings, more unites us than separates us. Duty, ritual, justice, and tradition are very important to the Wakandans. An important theme of the movie is learning that those who may seem perfect usually aren't; we all have flaws and secrets. But we also aren't responsible for the choices of those who came before us.

Positive Role Models

T'Challa is a born leader who's thoughtful, patient, and compassionate. Okoye, Nakia, and Shuri are strong, smart, capable, and brave, and Shuri is an inventive tech genius. Even the main villain is complicated and thought-provoking. A highly respected character is revealed to have made some pretty big mistakes in the past.

Diverse Representations

Positive representation of Marvel's first Black superhero; ensemble cast is largely Black. Women have agency and are shown to be strong, smart, capable, and courageous.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

More close-up fights than in previous Marvel films, with more explosive, widespread violence. One-on-one ritual battles are intense (with bloody wounds, stabbings, etc.), full of moments when it seems like a character is going to die. A couple of deaths (both real and presumed) are particularly emotional. Weapons used in full-scale battle scenes include spears, curved knives, armored war animals. Super-powered guns/cannons that have the power to obliterate vehicles in one shot. Bad guys shoot bystanders and enemies, sometimes in cold blood. A long, explosive car chase causing lots of destruction. Dead bodies shown. Flashback to T'Challa's father's death. Brief footage from 1992 LA riots on TV. Black Panther rescues women from armed Nigerian soldiers.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

A couple of kisses and some flirting. One couple calls each other "my love" in a flirtatious/charged manner. Klaue smuggles a sensitive package in the crotch area of his pants.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Infrequent use of "s--t," "ass," and "hell"; one character makes a middle-finger gesture. A couple of Wakandan characters use the historically accurate word "colonizer" as a derisive/dismissive way of referring to white people/those in power. On the flip side, characters use the word "savage" a couple of times as an insult to the Wakandans.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

On camera: Toyota Land Cruiser, a top-of-the-line Lexus (which has been heavily featured in commercials), BBC News. Off camera: Marvel-branded merchandise is everywhere, including video games, apparel, action figures, and other products associated with all the characters in the Marvel Cinematic Universe.

Drinking, Drugs & Smoking

Adult extras drink in the background of a casino scene; a more central character orders a whiskey. A fictional heart-shaped herb is used for medicinal, mystical purposes in a sacred ritual.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Black Panther is the first film in the Marvel cinematic universe to center on a superhero of color: African prince-turned-king T'Challa ( Chadwick Boseman ), aka the Black Panther. As in all superhero movies, there's plenty of violence -- in this case, mostly brutal hand-to-hand combat that gets quite intense, with bloody injuries and even deaths. Although there are a few shoot-outs with super-powered guns/cannons (as well as some cold-blooded killings), the majority of the action features spear and blade fighting. That said, some confrontations do include larger, explosive battles and very destructive car chases. Language and sexual content are pretty minimal: a few uses of "s--t" and "hell" and a couple of quick kisses. Set mostly in the fictional African nation of Wakanda, the movie features not only the first mostly Black ensemble cast in superhero-film history ( Michael B. Jordan , Lupita Nyong'o , Angela Bassett , Forest Whitaker , Danai Gurira , and Daniel Kaluuya co-star), but also an all-female royal guard and a brilliant female inventor/engineer. Families who see Black Panther will have plenty to talk about afterward, from its portrayal of race and gender to the overall importance of having Black superheroes as main characters, rather than sidekicks. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Based on 156 parent reviews

black super hero

An innocent enough comic book movie that still manages to be empowering, what's the story.

After a folktale-like prologue that recounts the history of the fictional African nation of Wakanda, BLACK PANTHER opens with a flashback to 1992, when a younger T'Chaka (Atandwa Kani) makes a surprise visit to Oakland, California, to confront a rogue Wakandan spy. Back in the present, T'Challa ( Chadwick Boseman ) is preparing for his coronation day, which includes a potential challenge -- through ritual combat -- from any of Wakanda's five tribes, as well as a sacred ceremony in which he officially becomes the nation's Black Panther. After T'Challa takes the throne, intelligence surfaces that notorious arms dealer Ulysses Klaue ( Andy Serkis ) has stolen a vibranium artifact from the British Museum. T'Challa takes his top warrior -- head of the royal guard General Okoye ( Danai Gurira ) -- and his former love, Nakia ( Lupita Nyong'o ), a Wakandan spy, to attempt to capture Klaue (one of the few outsiders who knows the truth about how much vibranium -- the most valuable metal on Earth -- is available in Wakanda). But CIA operative Everett Ross ( Martin Freeman ) and Klaue's mysterious young ally ( Michael B. Jordan ) complicate the mission. It turns out that the mystery man is a former SEAL who has a very personal score to settle with T'Challa and the Wakandans.

Is It Any Good?

Ryan Coogler 's masterful superhero drama is unlike any other, featuring outstanding acting, breathtaking art direction, fascinating royal intrigue, memorable action sequences, and surprising depth. It's that depth -- of character, of storyline, of relevancy -- that makes Black Panther shine, as Boseman's T'Challa takes the mantle of king with enormous uncertainty about whether to share Wakanda's resources with the world. With the exception of his second-in-command W'Kabi (Kaluuya), T'Challa surrounds himself with an inner circle of influential women: Okoye, Nakia, his mother (Bassett), and his genius younger sister, scientist/tech inventor Shuri (Letitia Wright). Each of them contributes much to the story, with Gurira's spear-wielding Okoye the movie's clear scene-stealer, Wright the clever comic relief, and Nyong'o offering a wee bit of romance. Even the central villain, as played by frequent Coogler collaborator Jordan, is well-rounded and humanized, with the actor doing great work opposite the equally nuanced Boseman.

There's so much to appreciate in Black Panther , from its pulsing score, which features a soundtrack overseen by award-winning rapper Kendrick Lamar, to the mesmerizing cinematography courtesy of DP Rachel Morrison, gorgeous tribal costumes, and vibrant production design. There's not as much laugh-aloud banter as viewers may have come to expect from Marvel movies, but the beats of humor that are here, usually thanks to plucky Shuri or mountain-tribe leader M'Baku (Winston Duke), are extra funny. Ultimately the film's success comes down to the thoughtful, compelling storytelling from director Coogler and writer Joe Robert Cole, as interpreted by a terrific cast of actors. This isn't just another highly entertaining but formulaic superhero story; it's also poignant and powerful and earns its place toward the top of Marvel's films. (Be sure to watch all the way through the credits for a couple of extra tidbits!)

Talk to Your Kids About ...

Families can talk about the role models in Black Panther . Who are they, and what character strengths do they exhibit? How does T'Challa demonstrate courage , integrity , and even teamwork ?

Why is it important for superheroes to be diverse? How is Black Panther an example of both racial and gender diversity compared to other superhero films?

How does the movie explore issues related to race? Why is Erik's perspective on the world so different from T'Challa's? Is one right and the other wrong? Why or why not? Why does representation matter in movies, TV, and books?

How are the Dora Milaje (T'Challa's all-female combat fighting force) unique in the Marvel Universe? What did you think of the way the movie portrays women in usually "male" roles -- e.g., tech expert, warrior general, spy? What message does that convey to viewers?

What is the movie's message about global responsibility? Do you agree with the view that the Black Panther should keep Wakanda safe at all costs, or with the idea that Wakanda should help less-stable, less-advanced nations and communities by sharing resources?

Movie Details

• In theaters : February 16, 2018
• On DVD or streaming : May 15, 2018
• Cast : Chadwick Boseman , Michael B. Jordan , Lupita Nyong'o
• Director : Ryan Coogler
• Inclusion Information : Black directors, Black actors, Female actors, Latino actors
• Studio : Walt Disney Studios Motion Pictures
• Genre : Action/Adventure
• Topics : Magic and Fantasy , Superheroes , Brothers and Sisters
• Character Strengths : Courage , Integrity , Teamwork
• Run time : 134 minutes
• MPAA rating : PG-13
• MPAA explanation : prolonged sequences of action violence, and a brief rude gesture
• Awards : Academy Award , Common Sense Media Award , Common Sense Selection
• Last updated : February 18, 2023

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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Black Panther: Wakanda Forever

2022, Action/Adventure, 2h 41m

What to know

Critics Consensus

A poignant tribute that satisfyingly moves the franchise forward, Black Panther: Wakanda Forever marks an ambitious and emotionally rewarding triumph for the MCU. Read critic reviews

Audience Says

Black Panther: Wakanda Forever says a solemn goodbye to one of the MCU's most beloved stars without skimping on the action. Read audience reviews

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Black panther: wakanda forever videos, black panther: wakanda forever   photos.

In Marvel Studios' "Black Panther: Wakanda Forever," Queen Ramonda (Angela Bassett), Shuri (Letitia Wright), M'Baku (Winston Duke), Okoye (Danai Gurira) and the Dora Milaje (including Florence Kasumba) fight to protect their nation from intervening world powers in the wake of King T'Challa's death. As the Wakandans strive to embrace their next chapter, the heroes must band together with the help of War Dog Nakia (Lupita Nyong'o) and Everett Ross (Martin Freeman) and forge a new path for the kingdom of Wakanda.

Rating: PG-13 (Sequences of Strong Violence|Action|Some Language)

Genre: Action, Adventure, Fantasy

Original Language: English

Director: Ryan Coogler

Producer: Kevin Feige , Nate Moore

Writer: Ryan Coogler , Joe Robert Cole

Release Date (Theaters): Nov 11, 2022  wide

Release Date (Streaming): Feb 1, 2023

Box Office (Gross USA): $453.8M

Runtime: 2h 41m

Distributor: Walt Disney Pictures

Production Co: Marvel Studios, Walt Disney Pictures

Sound Mix: Dolby Atmos, Dolby Digital, DTS

Aspect Ratio: Scope (2.35:1)

View the collection: Marvel Cinematic Universe

Cast & Crew

Letitia Wright

Angela Bassett

Lupita Nyong'o

Tenoch Huerta

Danai Gurira

Winston Duke

Florence Kasumba

Michaela Coel

Julia Louis-Dreyfus

Valentina Allegra de Fontaine

Dominique Thorne

Martin Freeman

Everett Ross

Mabel Cadena

Alex Livinalli

Ryan Coogler

Screenwriter

Joe Robert Cole

Kevin Feige

Victoria Alonso

Executive Producer

Louis D'Esposito

Barry H. Waldman

Autumn Durald

Cinematographer

Kelley Dixon

Film Editing

Jennifer Lame

Michael P. Shawver

Ludwig Göransson

Original Music

Hannah Beachler

Production Design

Marlie Arnold

Art Director

Cameron Beasley

Lisa K. Sessions

Set Decoration

Ruth E. Carter

Costume Design

Sarah Halley Finn

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Black Panther: Wakanda Forever Review

A loving tribute, a choppy sea change..

Black Panther: Wakanda Forever will hit theaters on Nov. 11. Below is a spoiler-free review.

In a cinematic universe where half of all living beings have already died and come back to life, Black Panther: Wakanda Forever reminds us that losing one person can feel just as devastating. The death of T’Challa - and actor Chadwick Boseman - weighs heavy on Wakanda Forever, with the fictional nation struggling to replace both their monarch and their champion, and Marvel Studios deciding how to honor a man it was clearly ready to work with for years and years to come. Wakanda Forever is an effective, emotional farewell to T’Challa - a meditation on forging one’s own future out of a painful past - but with a plot that has to introduce an entirely new nation and pave the way for a new wave of Marvel stories, it does struggle under the weight of all that expectation.

Black Panther: Wakanda Forever wastes no time addressing Boseman’s passing, with a chaotic and tense opening scene leaving Shuri (Letitia Wright) feeling responsible for her brother’s death. The funeral procession that follows speaks to the incredibly fine line Wakanda Forever has to walk: even in their mourning, there’s joyous dancing and celebration of what T’Challa brought to the nation, but Shuri’s solemnity as she moves through holding T’Challa’s Panther helmet is a strong reminder of the conflicting emotions she and the movie at large have to balance.

Wright has mostly been used as comic relief up to this point, and Shuri’s character arc necessitates refocusing that energy into how she processes her pain. Everyone in Shuri’s life is urging her to let T’Challa go, and her tendency to lash out in those cases goes a long way towards grounding Wakanda Forever during its frequent flights of fancy. It’s a sharp about-face, but Wright’s emotional availability and intensity carry Shuri through that fraught grieving process. Director Ryan Coogler builds Shuri’s slide into despair up to one of Wakanda Forever’s most jaw-dropping scenes: an unbearably tense moment of self-reflection that serves as reminder that a well-deployed exchange between two characters can be just as breathtaking as a grand battle for the fate of two nations.

It doesn’t take long for the power vacuum left by T’Challa’s death to incite a challenge to Wakanda from the outside world. With Killmonger having destroyed the Heart-Shaped Herb that granted T’Challa superhuman abilities, there’s no new Black Panther to rally behind – and even though T’Challa’s outreach program from the end of the first film remains in full effect, there’s immense political pressure for Wakanda to submit to regulations the country’s leadership fears will endanger the world. That ire is directed at Ramonda (Angela Bassett), who’s acting as steward to the throne until T’Challa’s replacement is named, and doing so in magnificent fashion. At once heartbroken and hopeful, Bassett delivers a commanding performance and, as King T’Chaka did for T’Challa, provides Shuri with a connection to her culture’s past. But though the United Nations’ ultimatum for Wakanda to relinquish control of its resources sets up Wakanda Forever’s themes of colonialism well, this storyline is largely abandoned after the conflict draws Namor (Tenoch Huerta Mejía) and his underwater kingdom of Talokan into the fray.

Who do you think will be the new Black Panther?

As that society’s figurehead, Namor is an engaging antagonist - whipping a helicopter around like a shotput in midair 30 seconds into your introduction means the audience will at least wanna see what kind of havoc this guy wreaks on the battlefield. But while he’s a force to be reckoned with, Tenoch Huerta Mejía’s performance is at its best in Namor’s intense dialogue scenes with Shuri, as the two share much in common as important members of their monarchies’ royal families.

Coogler and co-writer Joe Robert Cole infuse Talokan’s culture with Mesoamerican history, which gives Namor’s resolve to go to any lengths to protect his people’s home and resources a real richness. Talokan is an interesting society for the MCU to explore in the future, but Wakanda Forever doesn’t establish it quite as gracefully as Black Panther did Wakanda. Outside of a few establishing shots early during our introduction to Talokan, much of our understanding of it comes from narration during a rushed flashback of its origins, and some important details during that scene feel brushed over. Coogler and team took pains last time to dive into both the political and societal structures of Wakanda, and while Talokan’s past is interesting, what it’s like in the present remains a bit murky throughout, especially because there are only two other named Talokanil given any significant screen time.

Of course, an opposing force of a nation of undersea warriors provides Wakanda Forever ample opportunity for maritime mayhem, and gives the MCU a new palette for action. Wakanda Forever does, however, push its luck too far going into the climactic third act battle with a poorly conceived and logically baffling tactical choice. Still, credit where it’s due when it comes to the more personal side of that encounter: Coogler definitely seems to have taken the note on the first film’s digital effects-heavy final duel and Wakanda Forever’s corresponding final confrontation is much more grounded and effective.

Befitting Wakanda Forever’s outsized emphasis on community, T’Challa’s peers are called on to step into older sibling roles for Shuri, and the supporting cast rise to meet the moment. Danai Gurira’s Okoye is willing to put her career at risk to aid Shuri’s grieving process - and gets more dimension for herself, though Okoye’s standout scene is an emotional exchange with Ramonda.

Winston Duke’s M’Baku is a scene-stealer from the moment he saunters in whilst chomping on a vegetable. T’Challa’s positive influence is at its most visible in how the Jabari leader’s edges have softened, as M’Baku provides Shuri with surprisingly sensitive counsel in one of her darkest moments. As T’Challa’s love, Nakia (Lupita Nyong’o) ends up supporting Shuri through the most personal parts of her journey, and while she enters the story too late to make too much of an impact, she does facilitate some memorable moments in the movie’s latter half. Collectively, T’Challa’s friends are there to remind Shuri that life goes on, even if Shuri isn’t ready to accept that at first.

The other new additions to Wakanda Forever’s roster represent a tendency of Wakanda Forever’s to overindulge in the other ongoing plotlines the MCU is building out, with Dominique Thorne’s fiery, industrious Riri Williams as the best example. Riri’s personality is infectious, and her appearance certainly sets an intriguing stage for Disney+’s Ironheart series , but Wakanda Forever bends over backwards and burns valuable time on keeping her involved in the action far past the point of believability. The saving grace there is that Riri gives Shuri someone to act as an older sibling (or a Tony Stark) for as a means of celebrating T’Challa, something that Coogler takes maybe too light a touch in highlighting.

Marvel's Namor Explained: Who Is the Sub-Mariner?

Riri’s embedded with the main players, so she at least feels relevant, but Wakanda Forever’s aimless political subplot shows its hand as being almost pure MCU housekeeping as Everett Ross (Martin Freeman) is paired with an MCU up-and-comer with plenty on their plate. That character is a huge personality and though they bring a fun energy to scenes with Ross as he attempts to aid the Wakandans, they become more distracting and less essential as Wakanda Forever goes on. It may be the nature of making movies in this universe these days, but there’s a significant disconnect between scenes in Wakanda Forever that feel vital in how they develop characters and the ones that just feel more like homework for next time.

Black Panther: Wakanda Forever had to be a sequel to a cultural juggernaut, a tease of upcoming MCU adventures, and of course, a loving farewell. There are stretches where the struggle to balance those mandates scatters the focus of the story, but nuanced and committed performances from the returning cast keep it grounded when it counts. Tenoch Huerta Mejía’s Namor is a strong foil to Shuri, challenging both her ideology and her grieving process, and his nation of Talokan gets a thoughtful (if rushed) history to complement the film’s themes of colonialism. Director/co-writer Ryan Coogler’s efforts are at their most powerful when Wakanda Forever is in conversation with the loss of T’Challa – of Chadwick Boseman. The specifics of Wakanda Forever’s long-winded plot will likely leave little impact, but that doesn’t stop the new Black Panther from standing tall.

In This Article

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Screen Rant

Black panther review: hail to the wakandan king, black panther is a great mcu superhero adventure that smoothly blends rich narrative substance with sheer popcorn entertainment..

The 18th film in the Marvel Cinematic Universe and the final step on the winding journey to Avengers: Infinity War ,  Black Panther  gives Chadwick Boseman's titular superhero a chance to shine in his own solo movie, following his MCU debut in Captain America: Civil War . Working behind the camera as cowriter and director here is Ryan Coogler, who successfully instills the established MCU superhero movie template with a personal touch and directorial sensibility on Black Panther , much like he did on the Rocky  spinoff/revival Creed three years ago. Combined with a cast and setting that break ground for representation in the world of blockbuster filmmaking, Coogler and his crew's efforts result in one of the strongest additions to the MCU to date.  Black Panther is a great MCU superhero adventure that smoothly blends rich narrative substance with sheer popcorn entertainment.

Black Panther picks up right after the events of Civil War , as T'Challa (Boseman) prepares to ascend to the throne of Wakanda, following the death of his father King T'Chaka (John Kani). However, no sooner is T'Challa named King than the country's old enemy, Ulysses Klaue (Andy Serkis), emerges from the shadows, breaks into a British museum, and steals a rare Wakandan artifact made of Vibranium: the strongest metal on earth and the precious mineral that holds the key to Wakanda's many secrets - from the country's advanced technology to Black Panther's impenetrable armor and the rare herb that provides him with his superhuman abilities.

T'Challa thus teams up with Okoye (Danai Guirra), the head of the Dora Milaje aka. the Black Panther's personal bodyguards, and his former lover turned Wakandan secret agent Nakia (Lupita Nyong'o), in order to track down Klaue and stop the black market arms dealer once and for all. However, it turns out that Klaue is little more than the mask worn by a far more dangerous enemy - one Eric "Killmonger" Stevens (Michael B. Jordan), a determined man with a mysterious past who has big plans that not only threaten T'Challa's reign as king, but the very future of Wakanda itself.

Written by Coogler and Joe Robert Cole (a veteran of Marvel Studios' bygone in-house writers program), Black Panther combines many of the best elements of MCU films past, including: the Shakespearean royal family drama of the Thor movies, the political thriller elements of Civil War and Captain America: The Winter Soldier , and even the sci-fi tech aspects of the Iron Man films. Coupled with rich world-building that brings the long hidden land of Wakanda to striking life on the big screen, this allows Black Panther to breathe fresh life into familiar MCU plot and character tropes, without skimping on the shiny spectacle and playful humor that Marvel Studios movies are known for. Black Panther similarly builds on Thor: Ragnarok 's subtextual exploration of colonialism by examining how Western colonization and enslavement of Africa continue to have rippling effects today, through the lens of the earth-based MCU.

T'Challa's character arc in Black Panther is further informed by concerns about global isolationism and how the loss of cultural heritage impacts people, as are raised here with respect to Wakanda and its place in the larger MCU. While Boseman delivers another good performance in the role of the conflicted and newly crowned Wakandan king/superhero, this is the rare occasion where a MCU movie antagonist outshines the protagonist. Jordan's Eric "Killmonger" Stevens is easily the most compelling and sympathetic Marvel Studios film baddie since Loki (and, arguably, the best MCU antihero yet), thanks to a combination of smart writing and an engaging performance by Jordan. After their work together on Fruitvale Station and Creed , Black Panther is further testament to Jordan and Coogler's status as a powerhouse actor/director team, in this sense.

Among the other standouts in Black Panther are the women in T'Challa's life, especially the characters of Okoye and Nakia, along with T'Challa's tech genius younger sister Shuri (Letitia Wright). All three players are well-developed, fueled by their respective ideologies and goals, and armed with distinct personalities that shine through all the more thanks to the performances behind them (Wright's Shuri, in particular, seems destined to become a fan-favorite). There are too many other supporting players in Black Panther for them to all shine equally bright, but the film's ensemble is rock solid across the board - from key players in the story such as Get Out 's Daniel Kaluuya as W'Kabi (T'Challa's confidant and ally) and Winston Duke as M'Baku (the powerful leader of Wakanda's mountain tribe, the Jabari), to the Wakandan elders like Angela Basset's Ramonda (T'Challa's mother) and Forest Whitaker's Zuri (keeper of the Heart-Shaped Herb). Former Hobbit trilogy costars Serkis and Martin Freeman likewise deliver here, reprising their roles as Klaue and Everett Ross from previous MCU films.

Black Panther  further delivers the goods when it comes to craftsmanship, from the beautifully multicolored outfits by costume designer Ruth E. Carter ( Selma ) to the gorgeous Afrofuturism atheistic of the overarching film, as captured through Rachel Morrison's often captivating cinematography. The action sequences and fight scenes in the first two acts of the movie are equally impressive in their staging, taking visual cues from sources that include Coogler's own grounded boxing scenes in Creed , as well as many a James Bond film during a nightclub sequence right out of something like Skyfall . Black Panther 's third act is less impressive by comparison, as the movie's action gets bogged down in CGI overload and its plot beats lack the emotional resonance of earlier moments, either because they are rushed or a bit too conventional (re: predictable). Fortunately, the film recovers during its poignant final moments and brings its various narrative and thematic threads to a satisfying conclusion.

All things considered, Black Panther  is both one of the best MCU movies yet and a watershed moment for big-budget tentpoles, when it comes to onscreen racial and cultural representation. While the film doesn't fully break the Marvel Studios mold and has some of the same smaller issues as MCU installments past (e.g. some dubious color grading, humor that undercuts the drama), Black Panther is top-notch blockbuster filmmaking that combines slick spectacle with narrative substance. Casual moviegoers and hardcore MCU fans alike will be able to appreciate what Coogler and his collaborators have delivered here, thanks to the movie's relatively standalone place in the greater franchise. That said, purely as a prelude to Infinity War , Black Panther should leave audiences excited to see what happens when Thanos comes to earth... and Wakanda.

Black Panther  is now playing in U.S. theaters nationwide. It is 134 minutes long and is rated PG-13 for prolonged sequences of action violence, and a brief rude gesture.

Want to talk about Black Panther  without spoiling the Marvel Cinematic Universe movie for others? Head on over to our Black Panther spoilers discussion !

Key Release Dates

Black panther, avengers: infinity war, captain marvel, the avengers 4, spider-man homecoming 2.

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‘black panther: wakanda forever’ review: ryan coogler’s rousing sequel doubles as a soulful chadwick boseman tribute.

Letitia Wright, Angela Bassett, Lupita Nyong’o and Danai Gurira return to defend their grieving nation from a new threat in the hotly anticipated follow-up.

By David Rooney

David Rooney

Chief Film Critic

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Lupita nyong'o recalls crush on leonardo dicaprio, crying inconsolably during 'titanic' on first date, hailee steinfeld joins michael b. jordan in ryan coogler's untitled supernatural thriller (exclusive), black panther: wakanda forever.

More than any other entry in the MCU canon, Black Panther became a genuine cultural phenomenon in terms of proud representation — a futuristic action-adventure that embraced history and tradition. It was an implicitly political depiction of a staunchly independent African nation resisting the grasp of colonizers hungry for its natural resources, a boldly imaginative response to generations of real-world trauma. Wrapping all that up in some cool superhero shit was a considerable achievement.

Coogler and returning co-screenwriter Joe Robert Cole maintain and arguably even fortify that vein here. They introduce another ancient civilization of Indigenous people who have escaped a brutal history of enslavement and genocide, living in fantastical seclusion and ready to unleash all their considerable might against any global plunderer angling to tap their most precious natural resource. That, of course, is vibranium, the same meteorite-derived metal element from which Wakanda draws its power.

Coogler resists the tireless cross-pollination impulse of so many MCU movies by concluding with two clear separate indications of ongoing conflict, as well as a mid-credits sequence both moving and jaw-dropping, which induced gasps at the press screening I caught. Black Panther characters might continue to lend a hand in those other Marvel exploits populated by characters who talk like quippy teenagers, but every seed planted here is of a more somber saga predominantly contained within its own complex universe.

If the storytelling occasionally gets messy with its endless location switches, the battles sometimes sacrifice visceral action for CG magnitude, and the running time (an expansive 2 hours 41 minutes) is definitely felt, particularly in the ambling midsection, this eagerly anticipated sequel is every bit as thrilling as it needs to be.

The presence of two principal characters, Letitia Wright ’s royal tech geek Shuri and her mother, Queen Ramonda ( Angela Bassett ), has been amped up in affecting ways to which both actors respond with bracing authority. That comes as a direct result of the death of King T’Challa and consequent loss of the Black Panther, protector of Wakanda, a devastating blow depicted in the opening scene.

MCU films have generally not been distinguished by their emotional weight, but there may be no more shattering moment in the canon than a stricken Ramonda telling Shuri: “Your brother is with the ancestors.”

It’s gratifying, however, that Coogler and Cole don’t simply barrel onward. Instead, they linger poignantly over the elaborate funeral ceremony, a balance of solemnity and kinetically charged dancing to drums and percussion, with the coffin borne by Okoye and the Dora Milaje. This breathtaking sequence also provides an early opportunity to be awed by the incredible beauty and detail of Ruth Carter’s costumes, arguably even outdoing her Oscar-winning work on the previous film with garments combining elegant future-world sophistication with African symbology.

Comics history aficionados who have been waiting impatiently for the appearance of Namor — first introduced as the proto-mutant Sub-Mariner in 1939 — will not be disappointed by Mexican actor Huerta’s glowering demeanor and burly physicality in the role. The winged feet might be a bit much, but the regal attire is spectacular, his hard-bodied naked torso adorned with shells and beads and gold and robes of kelp.

Namor and his Talokanil warriors first emerge as a hostile response to a CIA-operated American ship in the mid-Atlantic in an action sequence that has the hard-charging energy of a Bond opener. It demonstrates the Talokanil’s strength and strategic coordination but also their siren-like ability to hypnotize adversaries, luring them to plunge into the ocean depths.

The Queen has already expressed her displeasure with foreign territories attempting to get their hands on it in an electrifying moment that sees Bassett at her don’t-fuck-with-me grandest, dressing down the U.N. Security Council with a promise that she won’t go easy next time. But neither Ramonda nor her daughter is inspired to trust Namor.

With Okoye as their principal facilitator, much to M’Baku’s eternal chagrin, they contact longtime CIA ally Everett Ross (Martin Freeman) and War Dog Nakia (Lupita Nyong’o), the master spy in self-exile running a school in Haiti. Sparking another explosive faceoff among different factions trying to abduct the inventor of the vibranium tracker, they also recruit 19-year-old MIT science whizz Riri Williams (Dominique Thorne).

Riri is a terrific new addition and Thorne ( Judas and the Black Messiah ) brings sparky humor to the mix, though in a movie pushing three hours, they might have found a few minutes for a quick training montage to make her transition into a kickass fighter more believable. Still, Riri’s technological ingenuity gives her an instant sisterly kinship with fellow genius Shuri, which lessens the latter’s isolation, particularly after another tragedy strikes Wakanda.

Of course, any halfway attentive Marvel fan will know that a new Black Panther must emerge as the stakes are heightened and the threat intensifies, and despite Disney urging early audiences to avoid spoilers, the identity of that new protector swiftly leaked out. Not that it was so hard to guess. But the process of discovery — which happens via a visit to the ancestral plane, complete with superstar cameo — remains suspenseful and exhilarating, especially once the new, improved Panther suit gets put into action.

While the majority of the film’s battles take place on the surface world, it’s the ability of the Talokanil to harness the power of water — I mean, these folks can ride whales — that gives rise to the most sensational set-piece, in which Coogler deftly orchestrates the destruction to mirror the real-world catastrophes of floods and tsunamis. A major clash at sea, on a massive Wakandan ship and in the skies above, is another high point. But Coogler balances action with character-driven human drama throughout, keeping the stakes personal as well as global.

Much has been written lately about too many cinematographers not knowing how to light actors of color. But new DP Autumn Durald Arkapaw picks up where Rachel Morrison left off in Black Panther by giving us strikingly beautiful and physically powerful Black and Latino actors as resplendent Movie Stars. Production designer Hannah Beachler’s impressive world-building extends from the dazzling Afrofuturism of Wakanda to the majestic undersea halls of Talokan, meaning not one but two advanced civilizations resistant to white encroachers.

Even if the length feels overextended, Coogler and his editors deserve credit for allowing breathing space between the action scenes for character and relationship development, with Ludwig Göransson’s African-inflected score enhancing both those quieter moments and the big smackdowns. It’s impossible for Wakanda Forever to match the breakthrough impact of its predecessor, but in terms of continuing the saga while paving the way for future installments, it’s amply satisfying.

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Disney Board Hopeful Criticizes Marvel About Inclusion, Takes Aim At Black Panther And More

T he Marvel Cinematic Universe features countless characters and, in more recent years, the superhero franchise has opted to freshen up its roster of major players. Younger and more diverse MCU heroes have particularly been entering the fray amongst the Multiverse Saga. A number of these characters have seemingly started to strike a chord with audiences since their respective introductions. Now, an investor – who’s hoping to become a board member of Marvel Studios’ parent company, Disney – is sharing his critiques of the creatives’ efforts to be inclusive. And he specifically took aim at Black Panther and other titles while discussing them. 

Nelson Peltz is the individual who’s apparently not too a big fan of the diversity that’s become present within the MCU in recent years. The 81-year-old investor made his thoughts known while chatting with the Financial Times about his efforts to join Disney’s board of directors. During the interview, Peltz questioned the need for a Marvel movie that only features African American stars or a film that only highlights women:

Why do I have to have a Marvel [movie] that’s all women? Not that I have anything against women, but why do I have to do that? Why can’t I have Marvels that are both? Why do I need an all-Black cast?

To be clear, Marvel Studios has not produced a film that falls under any of those categories. 2018’s Black Panther and its 2022 sequel, Wakanda Forever , both feature predominantly (and not solely) Black casts. Likewise, the 2019 film Captain Marvel nor its 2023 follow-up, The Marvels , has a cast that’s solely made up of female performers. In short, the films do highlight characters of color and put women at the forefront, but they don’t exclude talent that falls outside of those particular demographics.

It’s honestly a bit interesting that Nelson Peltz would choose to chastise these titles specifically, especially considering some are amongst the highest grossing MCU offerings. Black Panther consistently shattered box office records years ago and finished its theatrical run with an impressive $1.3 billion worldwide cume. Wakanda Forever didn’t hit those financial heights but still managed to rake in $856 million globally. Captain Marvel ’s haul at the BO was also strong , as it earned $1.1 billion. The Marvels brought in only $206 million last year, though one could argue that external factors like the ongoing Hollywood strikes and lack of promotion played into that. 

Some trolls have called out Marvel Studios for its diversity efforts, which coincide with a period of time that many have viewed as a creative slump for the company. It doesn’t seem that the superhero entertainment  house is planning to pull back on that front, though. Shang-Chi, Kamala Khan (Ms. Marvel) and Maya Lopez (Echo) are just a few of the characters who’ve played large roles in the MCU as of late. And even more diverse characters seem to be on the way under the guidance of studio president Kevin Feige. As for whether Feige should be removed from his post, Nelson Peltz also said:

I’m not ready to say that, but I question his record.

That professional “record” would include birthing a massive multimedia franchise that now spans both movies and TV shows. And cumulatively, the MCU’s 33 films have grossed $29.8 billion globally. With that in mind, it would be quite surprising if Disney cut ties with Kevin Feige, who’s also the CCO of Marvel Entertainment. On top of that, I’d be even more shocked if the successful exec and his colleagues steer away from their efforts to diversify their franchise. 

You can stream Black Panther, Captain Marvel and the rest of the Marvel movies in order using a Disney+ subscription .

• Cast & crew
• User reviews

Black Panther: Wakanda Forever

The people of Wakanda fight to protect their home from intervening world powers as they mourn the death of King T'Challa. The people of Wakanda fight to protect their home from intervening world powers as they mourn the death of King T'Challa. The people of Wakanda fight to protect their home from intervening world powers as they mourn the death of King T'Challa.

• Ryan Coogler
• Joe Robert Cole
• Letitia Wright
• Lupita Nyong'o
• Danai Gurira
• 1.5K User reviews
• 362 Critic reviews
• 67 Metascore
• 50 wins & 172 nominations total

• M'Baku

• (as Tenoch Huerta Mejía)

• Everett Ross

• Valentina Allegra de Fontaine

• River Tribe Elder

• Border Tribe Elder
• (as Daniel Sapani)
• Merchant Tribe Elder

• Mining Tribe Elder
• All cast & crew
• Production, box office & more at IMDbPro

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Did you know

• Trivia Tenoch Huerta , who plays the ruler of an underwater kingdom, didn't know how to swim. When Ryan Coogler offered him the role and asked about his swimming skills, Huerta simply replied, "I've never drowned before." He took swimming lessons afterwards in preparation for the role.
• Goofs (at around 12 mins) Near the beginning of the movie when people are diving down in submersible diving suits, there is a reading called out of "Negative One PSI". Negative pressures do not exist, and pressures less than that at sea level (between zero and one PSI) would only happen if they were going up into higher atmospheres.

Ramonda : I am Queen of the most powerful nation in the world! And my entire family is gone! Have I not given everything?

• Crazy credits The Marvel Studios logo animation features quotes/images/clips of T'Challa ( Chadwick Boseman ) and is shaded purple, the royal color of Wakanda. The animation also has the music muted.
• Connections Edited into Voices Rising: The Music of Wakanda Forever: Nigeria: Past is Present (2023)
• Soundtracks Funeral Written by Baaba Maal , Massamba Diop , and Ludwig Göransson Produced by Ludwig Göransson Performed by Baaba Maal

User reviews 1.5K

• HabibieHakim123
• Nov 9, 2022

'Wakanda Forever' Stars Through the Years

• How long is Black Panther: Wakanda Forever? Powered by Alexa
• Co-producer Nate Moore has teased the existence of a potential director's cut of the movie. If it does exist, when can it be expected to be released?
• With a little over $800 million gross, is this movie considered a box office disappointment compared to the almost $1.4 billion gross of the original?
• November 11, 2022 (United States)
• United States
• Official site
• Black Panther 2
• Cambridge, Massachusetts, USA (Massachusetts Institute of Technology)
• Marvel Studios
• Walt Disney Pictures
• See more company credits at IMDbPro
• $250,000,000 (estimated)
• $453,829,060
• $181,339,761
• Nov 13, 2022
• $859,208,836

Technical specs

• Runtime 2 hours 41 minutes
• IMAX 6-Track
• Dolby Digital
• Dolby Atmos

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