{"id":3853,"date":"2025-11-27T08:00:00","date_gmt":"2025-11-27T07:00:00","guid":{"rendered":"https:\/\/www.senses.se\/en\/review-fantastic-four-first-steps\/"},"modified":"2026-03-21T18:16:37","modified_gmt":"2026-03-21T17:16:37","slug":"review-fantastic-four-first-steps","status":"publish","type":"post","link":"https:\/\/www.senses.se\/en\/review-fantastic-four-first-steps\/","title":{"rendered":"Review: Fantastic Four – First Steps"},"content":{"rendered":"

Fantastic Four: First Steps<\/strong> is set in a parallel universe within an alternate 1960s USA. The narrative introduces the four established heroes, whose powers emerged following an incident involving cosmic radiation. Reed Richards (Pedro Pascal)<\/strong> is the brilliant scientist capable of stretching his body almost indefinitely. Accompanying him is Sue Storm (Vanessa Kirby)<\/strong>, whose abilities include invisibility and the generation of energy fields. Ben Grimm (Ebon Moss-Bachrach)<\/strong>, known as the massive “Thing,” is a formidable fighter capable of overwhelming strength. Rounding out the team is Johnny Storm (Joseph Quinn)<\/strong>, Sue’s brother, who possesses pyrokinetic abilities. Together, they confront the colossal threat of Galactus and his enigmatic herald, Silver Surfer (Dominique Thorne)<\/strong>, who intends to obliterate Earth. The Fantastic Four are thus faced with an impossible choice: preserve their family or safeguard humanity, as one outcome may compromise the other.<\/p>\n

History<\/h2>\n

Fantastic Four<\/strong> was created by Stan Lee (1922\u20132018)<\/strong> and Jack Kirby (1917\u20131994)<\/strong> in 1961. These four heroes distinguished themselves from many contemporary superheroes by being a superpowered family, with all the inherent complexities. They are prone to disagreements and are not infallible, a contrast to many other heroic portrayals. The dynamic between The Thing and other powerful Marvel characters, such as the Hulk, has often been a point of fan interest.<\/p>\n

Adaptations of the Fantastic Four for film have yielded inconsistent results over the past three decades. The initial film, produced in 1994, was reportedly created solely for the studio to retain its rights and was not intended for release, a fact unknown to its cast and crew. Eleven years later, in 2005 and 2007, two new films were released which offered an enjoyable, albeit straightforward, interpretation. However, certain scenes contain elements that have not aged favorably, both ethically and in their special effects execution.<\/p>\n

In 2015, another attempt was made. That particular installment proved more compelling in its production history than in its cinematic presentation. The studio reportedly diverged significantly from the director’s vision, altering the film’s conclusion and resulting in a critically panned production that, in retrospect, positions earlier attempts more favorably.<\/p>\n

Fourth Attempt<\/h2>\n

This year marks the latest cinematic endeavor to garner audience appreciation for the Fantastic Four. This time, the filmmakers opted to set the narrative in an alternate 1960s, where Reed Richards’ brilliant mind has developed technology far beyond its era. The film presents a compelling visual aesthetic, featuring retro-futuristic robots, flying cars, and other engaging elements. The choice to place the film in this historical “past” adds a distinct flavor, preventing the setup from feeling repetitive.<\/p>\n

A notable aspect is the decision to forego another origin story for the heroes. They already possess their powers and are established within this world, mirroring the approach taken by James Gunn<\/strong> in Superman<\/a><\/strong>.<\/p>\n

Casting and Effects<\/h2>\n

The casting is consistently strong throughout the production. While CGI character implementation can be inconsistent, The Thing’s portrayal through special effects is notably successful. Furthermore, the filmmakers’ commitment to practical effects wherever feasible is a commendable choice.<\/p>\n

One detail that stands out is the robot H.E.R.B.I.E<\/strong>, a character from the comic books now making its film debut. The robot is practically realized, radio-controlled, and operated by a puppeteer, which imbues it with character and makes it an engaging presence in the film.<\/p>\n

Weaknesses<\/h2>\n

A key limitation of Fantastic Four: First Steps<\/em> is that the film does not genuinely convey the sense of their initial<\/em> tentative steps. The heroes have already undertaken a multitude of adventures, and unfortunately, these preceding narratives often appear more compelling than the current storyline. It takes 35 minutes before the first substantive action sequence occurs, excluding brief glimpses from prior events. This period is largely dedicated to domestic adjustments and strategic deliberation.<\/p>\n

Upon initiating their mission, they are swiftly confronted and captured by the antagonist, Galactus. The film’s initial action sequence is well-executed and entertaining, but this is subsequently followed by a sequence of narrative disappointments and questionable script decisions.<\/p>\n

Spoiler Alert – Do not read this section if you do not want the film spoiled.<\/h2>\n

A significant narrative flaw arises when screenwriters fail to establish and adhere to consistent internal logic within their constructed world. Fantastic Four: First Steps<\/em> exemplifies a so-called “and then” script. The heroes are defeated, and then<\/em> they travel to Earth, and then<\/em> they construct teleportation stations, and then<\/em> these are destroyed, and then<\/em> Galactus arrives on Earth.<\/p>\n

For such a script to function, these events must<\/em> occur in that exact<\/em> order. Even during the initial viewing, the inconsistent timeline was a notable distraction. To illustrate this inconsistency, a detailed analysis, facilitated by Copilot<\/strong> for computational assistance, reveals significant discrepancies.<\/p>\n

Our heroes travel to a distant location via their Hyper Light Speed<\/strong> add-on (superluminal speed), bearing a striking resemblance to the technology depicted for Obi-Wan in the Star Wars<\/em> prequel films. This transports them to a planet being consumed by Galactus. They are forced to flee, during which the HLS add-on malfunctions. Despite this, they manage to attain 0.88 times the speed of light. The return journey to Earth consequently takes a month instead of a few hours, as it would have at superluminal velocities.<\/p>\n

Concurrently, it is mentioned that the Silver Surfer, whom they just managed to trap in a black hole, will be confined there for a month. Consequently, her pursuit of the heroes can only commence once they have returned to Earth.<\/p>\n

On Earth, Reed concludes that the entire planet should be teleported to another location in the universe, thereby evading Galactus. Promptly, a global initiative begins to construct teleportation stations across Earth. The precise number is never specified, but locations such as Chicago<\/strong> and the heroes’ base in New York<\/strong> are mentioned. Based on an approximate calculation, each station would need to cover an area of roughly 575 km\u00b2. This implies that approximately 565 stations would be required to cover the Earth’s entire surface, of which 393<\/em> would have to be built in the middle of the oceans.<\/p>\n

This presents a critical temporal inconsistency. All these teleportation stations begin<\/em> to be built when Galactus passes Jupiter<\/strong>. If he traveled at the speed of light, it would take just over an hour to cover the distance between Jupiter and Earth. This implies he must travel significantly slower for the film’s storyline to unfold.<\/p>\n

The film does not specify the time elapsed from the commencement of station construction until the next indication\u2014that Galactus passes Mars<\/strong>. It is impossible to state precisely how long construction would take, but a plausible estimate, considering their scale and the available technology, would be approximately six months. Given the existence of advanced robotics in this world, completion in two months feels realistic, aligning with the film’s implied timeframe (e.g., Johnny Storm’s acquisition of the Silver Surfer’s language during this period).<\/p>\n

This implies the antagonist requires two months<\/em> to traverse the distance between Jupiter and Mars. With AI assistance, I calculated Galactus’s initial distance from Earth when he began his journey by determining the distance one can travel at 0.88 times the speed of light over a month. I then determined the villain’s implied speed by noting that it took him approximately two months to travel between Jupiter and Mars, equating to 0.00048 times the speed of light. This suggests that if he cannot<\/em> move faster, it would take him 151 years to reach Earth from the heroes’ departure point. Thus, the immediate threat to the heroes is significantly diminished, though future generations would face substantial repercussions.<\/p>\n

This detailed analysis highlights a critical oversight in the screenplay’s temporal logic. It suggests Galactus’s journey to Jupiter occurs at light speed, followed by an abrupt deceleration, allowing him to proceed at an extremely<\/em> slow pace solely to facilitate the heroes’ activities on Earth. While the “ticking clock” trope is a common narrative device, its implementation here disregards realistic temporal constraints. This discrepancy, while perhaps not universally disruptive, significantly impacts the film’s internal consistency for discerning viewers.<\/p>\n

Furthermore, Reed’s portrayal as a brilliant intellect is undermined by his apparent failure to anticipate the immediate destructive capabilities of the superluminal Silver Surfer, a threat that subsequently materializes.<\/p>\n

End of spoiler section – Welcome back.<\/h2>\n

Beyond the temporal inconsistencies, a persistent issue is the film’s frequent resemblance to a sequel for which no preceding installment exists. While foregoing an origin story is a commendable narrative choice, immediately introducing a global threat and their primary antagonist in the initial film prevents adequate character and world-building. The effects are often well-executed, but a poorly rendered CGI infant significantly detracts from the overall effect, almost as conspicuously as in The Flash<\/a><\/strong>.<\/p>\n

The UHD Edition<\/h2>\n

The UHD<\/strong> edition typically presents a high-fidelity visual experience, characterized by exceptional detail, precise black levels, and accurate color reproduction. The film is at times incredibly beautiful, showcasing all the intricate details in its retro-futuristic vision. There is support for both Dolby Vision<\/strong> and HDR10<\/strong>.<\/p>\n

The audio is in Dolby Atmos<\/strong>. Although the film is quite dialogue-heavy at the beginning, there’s ample action and destruction towards the end that effectively leverages the capabilities of a home theater system. The surround effects are good, and Galactus’s voice growls and fills the room. Regrettably, the audio mix, consistent with typical Disney releases, exhibits a lower overall volume, necessitating an increase of approximately 10 dB on the amplifier to achieve a standard listening level. <\/p>\n

Additional features include behind-the-scenes material, deleted scenes, and a blooper reel. A significant bonus feature is the inclusion of a commentary track.<\/p>\n

In summary, Fantastic Four: First Steps<\/em> largely aligns with the variable quality observed in many recent Marvel productions. While it offers glimmers of potential, viewers less concerned with narrative inconsistencies and a simplified script may find the film an engaging and distinct interpretation compared to prior Fantastic Four adaptations.<\/p>\n

It remains to be seen how this iteration integrates into the broader Marvel Cinematic Universe. Their vessel makes an appearance at the conclusion of Thunderbolts\/The New Avengers<\/a><\/strong>, indicating their continued presence in future installments. Perhaps the Russo Brothers can recalibrate the franchise’s direction with next year’s Avengers: Doomsday<\/em><\/strong>.<\/p>\n

This year saw the release of three Marvel films. Among these, Thunderbolts<\/em> emerged as the strongest, followed by *Fantastic Four: First Steps*, with Captain America: Brave New World<\/a><\/strong> in third. Critically, none match the consistent high quality characteristic of Marvel’s output prior to Avengers: Endgame<\/a><\/strong>. Addressing these creative challenges is crucial, as audience engagement and confidence are demonstrably waning.<\/p>\n

Fantastic Four: First Steps<\/em> earned the most revenue of the three, but was still surpassed by Superman<\/em>, which grossed over 100 million dollars more. The upcoming year will see the release of the fourth Spider-Man<\/em> film, which carries significant anticipation. These upcoming releases, *Spider-Man 4* and *Avengers: Doomsday*, could potentially mark a renewed creative direction or, conversely, signal a definitive decline.<\/p>\n

SF Studios<\/a><\/em><\/strong> provided review copies for this test. Material providers exert no editorial influence on our reviews; our evaluations are consistently independent, prioritizing the interests of our readers and consumers.<\/em><\/p>\n

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