![]() Are they friends and foes? They are, at least, a captivating tweak to the mythology of Atlantis. 'Wakanda Forever' scores 12 NAACP Image Award nominationsīut, mostly, a series of exchanges draw Wakanda and Talokan closer.'Wakanda Forever' extends reign, 'She Said' struggles.Photos: Kenyans dazzle at the Wakanda Forever screening.Her awesome presence leads “Wakanda Forever” through grief with a staunch defense of Wakanda that rebalances the newly king-less kingdom. After such an anguished beginning, how much care can we summon for the whereabouts of magical ores? And more blue people? “Avatar,” you might think, has already laid claim to them. You can feel “Wakanda Forever” searching for a way forward in these early scenes. But just as they’re celebrating, a mysterious tribe of blue underwater people, led by Namor, a pointy-eared monarch in green short-shorts with wings on his ankles, ruthlessly wipe out the entire expedition. military expedition discovers vibranium at the bottom of the ocean. At the United Nations, the United States and France are pressuring for access to vibranium, the rare metal that Wakanda has built its empire on. “Black Panther” took some of the spy-thriller shape of a Bond movie, and the sequel carries that on in a new geopolitical context. It’s as stunning as anything Coogler has shot.Īfter this prologue, “Wakanda Forever” shifts to a year later. But in a moment, their mother, Queen Ramonda (Angela Bassett), informs her: “Your brother is with the ancestors.” He’s laid to rest in a glorious, celebratory procession, carried through a multi-tiered channel of white-clad, singing-and-dancing Wakandans. Shuri (Letitia Wright), T’Challa’s tech-wiz sister, is frantically trying to craft something in her AI lab to save her brother. “Time is running out,” we hear whispered while the screen is still black. At the same time, Boseman’s death is poignantly filtered into the story from the start, beginning with off-screen death throes. “Wakanda Forever,” which opens in theaters Thursday, expands on that, weaving in a Latin American perspective with a similar degree of cultural specificity in the introduction of the Aztec-inspired antagonist Namor (Tenoch Huerta), king of the ancient underwater world of Talokan. In an invented African nation, Coogler conjured both a fanciful could-have-been history and emotional right-now reality. It fed centuries of colonialism and exploitation into a big-screen spectacle of identity and resistance. Part of the profound appeal of Coogler’s first “Black Panther” resided in its deft channeling of the real world into mythology. ![]() In its admirably muddled way, it succeeds in both. Radically reworked by Coogler and co-writer Joe Robert Cole, “Wakanda Forever” pushed ahead in hopes of honoring both Boseman and the rich Afrocentric world of the landmark original. That “Black Panther,” a cultural phenomenon and a box-office smash, would get a sequel, at all, was momentarily in doubt after Boseman’s unexpected death from colon cancer in 2020. I did cringe a little when the Marvel logo unspooled with images of Boseman within the letters: Eulogy as branding. It’s a fine line, of course, between paying tribute and trading on it. In the fantastical Marvel Cinematic Universe where mortality is almost always a plaything, wrestling with the genuine article, in the death of T’Challa star Chadwick Boseman, makes for an unusually uncertain, soul-searching kind of blockbuster-scale entertainment. Like someone going through the stages of grief, Ryan Coogler’s movie is at turns mournful and rootless, full of rage and blessed with clarity. Made in the wake of tragedy, “Black Panther: Wakanda Forever” reverberates with the agony of loss, piercing the usually less consequential superhero realm. An image released by Marvel Studios shows a scene from "Black Panther: Wakanda Forever." (Marvel Studios via AP)
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