Black Panther (dir. Ryan Coogler)

And, finally! The marvel cinematic universe - supposedly as diverse and as progressive it boasts to be -has created something new in Ryan Coogler's, ‘Black Panther”: a deliriously entertaining and thrilling blockbuster masquerading as a engrossing social commentary. Chadwick Boseman led superhero film strips itself away from the well-worn shackles of the formulaic superhero flick into something that resonates and challenges you on every level - and it’s not even its greatest achievement.

Adapted from Stan Lee and Jack Kirby’s infamous comic book series, this years first box-office behemoth has the current political climate to thank for its inevitable financial success. While white nationalists march up and down the South and our newly crowned commander-in-chief spouts his overt racism, Disney's "Black Panther" has an underlying message of racial equality and what it means to be black- both stateside and in their native Africa - and is especially prevalent in a time of the Ku-Kluxx-Klan resurgence and the black lives matter movement,

Flipping it's narratives between 1992 Oakland, and present-day Africa, the untimely demise of T'Chakka (John Kani), The King of Wakanda, sees his son T’Challa (Chadwick Boseman) return home to the secretive nation of Wakanda - a rich and densely populated technological haven in the middle of the African continent, and take his rightful place as the countries de-facto leader. Unbeknownst to T’Challa, his ascension to the throne will be met with hostility almost immediately in the face of two adversaries - Ulysses Claue (Andy Serkis), an arms dealer hell bent on mining the countries Vibranium -and Eric Killmonger (Michael B. Jordan), who harbors a mysterious grudge against the newly crowned King.

With an ensemble cast straight from the persons of color "a-list" , lead actors Chadwick Boseman and Michael B. Jordan are accompanied by recent stars Daniel Kaluuya, Lupita N'Yongo, Sterling K Brown, Martin Freeman, to name but a few. But the film's greatest credit is in it's female co-stars: newcomer Letitia Wright, as T'Challa's wise and sassy sister come gadget-guru Shuri is charming and badass in equal measure. Danai Gurai as Okoye is also noteworthy- the Walking Dead-alum went from zombie-slayer to marvel superstar with relative ease. Though many directors have struggled in balancing the difficulty of such a large ensemble (Spider-Man 3 anyone?), where Coogler's film is a cut above the rest is in its ability to share the screen time between its protagonists, supporting actors and antagonists with style and soul in abundance. Even though supporting characters range from the always charismatic Forest Whitaker, as Zuri, and Angela Bassett’s reserved yet engaging portrayal as Queen Ramonda, though they bustle for some screen time, it’s Coogler’s precision with character development and neatly woven arcs that rise the latest Marvel staple to something much more memorable than the usual summer fare.

In the sprawling vistas of Wakanda (which are the most emphatic on the biggest Imax screen at your disposal), cinematographer Rachel Morrison evokes the scene of a third-world country effortlessly, before inexplicably ramming a technologically advance snapshot of afrofuritsm at it's most serene. While the over-the-top car chases and fight sequences are not only enticing to witness - accompanied by a Kendrick Lamar produced melange score of catchy beats and vivacious word play, juxtaposed with Pan-African hymns - but are likely to make the hairs on the back of your neck as horizontal as the blades on our titular heroes suit.

A somewhat simplistic storyline that is closely aligned with a Shakespeare's Hamlet or even King Lear, the script is co-written by the director and Oakland native Coogler and Joe Robert Cole, who bring higher pretensions and edgier subversiveness the prose which are both provocative and rich in nuance. Though third time director Coogler (previous efforts include 2011’s Fruitvale Station and 2015’s Creed) - who is only 31 years old - speaks of a man who has been pioneering stories all his life, his meticulous and prodigious method with his actors reaches new heights here, as Michael B.Jordan’s Kilmonger is a perfectly rounded villain. Deeply engrained in his psyche is a brooding and rage-like disdain for his lineage - and comparison could be surely made with Adam Driver’s Kylo Ren - he seethes contempt and petulance which in turn makes him inherently dangerous and oh so fun to watch.

There’s no doubting Marvel's ability at churning out successful and well-admired blockbusters, as each production is maligned with a specific phase with a clear relation to the other. But though "Black Panther" still adheres to the basic principles of the formulaic superhero film, it’s dramatic flourishes and enigmatic characters are unabashedly innovative - eschewing the propensity for the usual broad comedic asides and clichéd narrative tropes. Masculinity isn't rammed down your throat here either, in the manor of many previous Marvel entries. Instead the gender politics on show boast a intellectual reproach which we can hopefully see in all Hollywood entertainment sooner rather than later, both men and women alike are presented as equals- in all aspects of the drama- and of all the political messages on show, this is perhaps the most subtly provoked.

Where recently, the latest Marvel incarnation has been met with a unsympathetic shrug by this critic, as their safe and episodic narrative style and forgettable action sequences have done little to assuage my contempt for their mediocre existence. But there's light at the end of the tunnel here, finally Disney and Marvel have made a $200m spectacle that looks and feels like a movement bursting onto the film scene: a cultural catalyst that is enriched in modern day politics and characters that you care and root for. Long live films like this. Long live Ryan Coogler's vision. Long live the king.

Rating 4/5