Watch Captain Marvel (2019), Story, Stars, Reviews & All You Want To Know About A Great Movie
Captain Marvel (2019)
Carol Danvers becomes one of the universe’s most powerful heroes when Earth is caught in the middle of a galactic war between two alien races.
Captain Marvel is a 2019 American superhero film based on Marvel Comics featuring the character Carol Danvers / Captain Marvel. Produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures, it is the 21st film in the Marvel Cinematic Universe (MCU). The film was written and directed by Anna Boden and Ryan Fleck, with Geneva Robertson-Dworet also contributing to the screenplay.
Brie Larson stars as Carol Danvers, alongside Samuel L. Jackson, Ben Mendelsohn, Djimon Hounsou, Lee Pace, Lashana Lynch, Gemma Chan, Annette Bening, Clark Gregg, and Jude Law. Set in 1995, the story follows Danvers as she becomes Captain Marvel after Earth is caught in the center of a galactic conflict between two alien civilizations.
Development of the film began by May 2013. It was officially announced in October 2014 as Marvel Studios’ first female-led superhero film. Nicole Perlman and Meg LeFauve were hired to write the film the following April after submitting separate takes on the character, and borrowed elements from Roy Thomas’ 1971 “Kree–Skrull War” comic book storyline. Larson was announced as Danvers at the 2016 San Diego Comic-Con, with Boden and Fleck hired to direct in April 2017.
Robertson-Dworet was soon hired to re-write the script, with the rest of the cast added by the start of filming. Location shooting began in January 2018, with principal photography starting that March in California and concluding in Louisiana in July 2018. Several actors reprise their roles from previous MCU films in Captain Marvel, including Jackson and Gregg who were digitally de-aged in post-production to reflect the film’s 1990s setting.
Captain Marvel premiered in London on February 27, 2019, and was theatrically released in the United States on March 8, as part of Phase Three of the MCU. The film grossed over $1.1 billion worldwide, making it the first female-led superhero film to pass the billion-dollar mark. It became the fifth-highest-grossing film of 2019 and was the 23rd-highest-grossing film of all time during its theatrical run. The film received generally positive reviews from critics with praise for the performances of the cast, particularly that of Larson. A sequel, The Marvels, is scheduled for release on July 28, 2023.
Captain Marvel (2019) Trailer
Captain Marvel (2019) Reviews
They—and the girls and women everywhere looking to “Captain Marvel” with wide eyes and high hopes for seeing themselves on screen—deserved a game-changer along the lines of “Black Panther” or even “Guardians of the Galaxy” or “Doctor Strange.”
You’d rightly expect that their depiction of the title character—real name Carol Danvers—would be complex, compelling and abidingly human, despite her otherworldly superpowers.
But while Larson is tough, plucky and skilled with a well-timed quip, her chief character trait seems to be rebelliousness. That’s a little limiting. (Boden and Fleck co-wrote the script with Geneva Robertson-Dworet, and all three share story-by credit with Nicole Perlman and Meg LeFauve.) Additionally, she has forgotten who she really is, so her interior life is as much of a blank to her as it is to us.
Despite her fighting spirit, Carol often finds herself as a pawn trapped between various worlds where she feels as if she doesn’t belong. At the film’s start, she’s living and training as a warrior on the Kree planet of Hala. Her mentor, Jude Law’s Yon-Rogg, is constantly reminding her not to let her emotions get the best of her—a pointed commentary on the sexist notion that women are too emotional to handle tough jobs.
And “Captain Marvel” is full of such less-than-subtle messaging. But after the shapeshifting enemy Skrulls, led by the swaggering Talos (Ben Mendelsohn), take her prisoner during a battle, she escapes and lands on a different planet: our own. Specifically, she finds herself a fish out of water within the urban sprawl of Los Angeles.
It’s here that “Captain Marvel” leans hard on the humorous kitsch of its decade-specific detail: Blockbuster Video! Two-way pagers! Dial-up Internet! We were so lame. It’s the cinema of empty recognition—a ‘90s version of the way “Ready Player One” relies heavily on ‘80s pop culture to provoke a warm, knowing response. “Hey, Captain Marvel ties her plaid flannel button-down around her waist the way I used to in college! Cool.” These moments and images are good for a chuckle and not much more.
But as Carol begins to piece together her history as an Air Force test pilot, “Captain Marvel” begins to feel like a female version of “Top Gun.” This actually is a compliment; the sections on Earth in which Carol grasps at her memories of the past and discovers her strength and bravery in the present (and in the cockpit) are the film’s highlights.
The always formidable Annette Bening is a tantalizingly fleeting presence as a mysterious mentor figure in Carol’s previous life. And Lashana Lynch helps flesh out Carol’s personality as her best friend: a fellow pilot who similarly never got the shot she deserved because she was a woman and a young mother.
But her camaraderie with Jackson—and later with a quick-witted Mendelsohn and a fantastically scene-stealing orange kitty named Goose—ultimately serves as a reminder of just how little there is to Larson’s character.
Not unlike Captain America’s role within the Avengers, Captain Marvel functions here as the straight woman, the steady anchor in a sea of big, swirling personalities. Sure, she eventually comes into her powers in full and is literally the kind of girl on fire that Alicia Keys sings about. But if we’re not invested in who she is at her core, how are we supposed to care about what she’s burning down?
Speaking of music, the folks behind “Captain Marvel” spared no expense on the film’s soundtrack, including songs from such female-driven ’90s acts as TLC, Garbage, Elastica, Salt-n-Pepa and a painfully on-the-nose use of No Doubt’s “Just a Girl” during a particularly elaborate fight scene. The girl power (and grrl power) ring out loud and clear, if a bit hollow.
- Christy Lemire – Roger Ebert
- Christy Lemire is a longtime film critic who has written for RogerEbert.com since 2013. Before that, she was the film critic for The Associated Press for nearly 15 years and co-hosted the public television series “Ebert Presents At the Movies” opposite Ignatiy Vishnevetsky, with Roger Ebert serving as managing editor.
With the introduction of Captain Marvel into an already crowded field, the MCU has become unbalanced. Ordinary villains might as well give up and conventional heroes can retire. For decades, Warner Brothers/DC has had trouble figuring out how to create absorbing stories with the company’s most iconic figure, Superman.
The problem is obvious: nothing is more boring than a character so overpowered that plot contrivances like Kryptonite are needed to create vulnerability and allow conflict. One of the great benefits of the MCU is that, at least to this point, the filmmakers haven’t been trapped by a god-like superhero – until now. Meet Captain Marvel.
Captain Marvel, coming only a year after the fantastic Black Panther, is a disappointment. The acting and special effects are solid but the writing, by co-directors Anna Boden & Ryan Fleck (elevated from the indie productions where they made their mark) with an assist from Geneva Robertson-Dworet, is lazy. This plays like the kind of generic comic book movie that was in vogue 15 years ago.
It’s high on stale, low-tension action, giving us lots of obligatory fights and chases while never providing the “stakes” necessary to make the characters and their story compelling. It’s the action movie equivalent of “busy work.” Unlike Wonder Woman (the most obvious point of comparison), which offered a rich, well-thought out backstory and an interesting mythology, Captain Marvel relies on confusing exposition and a scattershot method of universe building that’s not adequate to the task at hand.
Carol Danvers, the title character, works almost entirely because of the charisma and presence of Brie Larson. Carol is badly underwritten and becomes less interesting once she recovers her memories (which have fallen victim to a convenient case of amnesia when the movie begins). She’s more intriguing as an enigma during the period when her seemingly limitless powers are constrained.
Her few attachments include a lost mentor (Annette Bening) who hovers around the periphery of her past; Yon-Rogg (Jude Law), Obi-Wan to her Anakin; Maria Rambeau (Lashana Lynch), her one-time best friend; and the irrepressible Nick Fury (a computer de-aged Samuel L. Jackson), who’s on hand more often than not for comedic purposes and to provide a tangible tie-in to The (Future) Avengers. (The movie takes place in 1995 and so functions as a prequel.)
Captain Marvel opens in outer space, where we’re given a quick primer on the Kree/Skrull war, a conflict between the peace-loving, heroic Kree and the villainous, shape-shifting Skrulls. The title character, although not Kree by birth, is fighting on the Kree side along with Yon-Rogg and his team. Her fists can launch explosive bursts of energy but she has been taught to use their power only in extreme circumstances.
She has no memory prior to her arrival on the Kree homeworld six years ago but dreams offer her glimpses of her past. After escaping a Skrull trap, Carol comes to Earth, where she meets Nick Fury, rediscovers things about the person she was, learns clues about her destiny, and uncovers hidden truths about the war in which she has been embroiled. In the process, she finds an ally in one she called an enemy (Ben Mendelsohn) and a possible enemy in one she called an ally.
Movies like Wonder Woman and Black Panther work because, in addition to remaining true to the tropes and demands of the genre, they expand the canvas to create something new and artistically satisfying. Although Captain Marvel strives for this, the creative impulses underlying the film aren’t sufficiently anchored to realize the ambition. The film is being touted as the first MCU entry to feature a lead female character but that overdue groundbreaking effort isn’t enough in and of itself to elevate Captain Marvel to the upper echelon of superhero films.
The Kree/Skrull war is one of the classic Marvel comics storylines; its introduction here is haphazard and less effectively realized than one might expect from something so deeply embedded in Marvel lore.
Although the movie might have benefitted from a more detailed exploration of the conflict, time constraints allow for no more than a quick overview. Captain Marvel always seems to be rushing from one set piece to the next, trying to cram too much story into two hours. Characters suffer as a result – Yon-Rogg is one-dimensional, the members of his team have little definition beyond their physical characteristics, and Maria’s introduction is perfunctory.
Marvel’s biggest problem with Captain Marvel, however, is addressing The Superman Issue. If the question is how to make an all-powerful hero interesting, it isn’t answered in Captain Marvel. It’s not an overriding dilemma here because the movie is in part about her discovering her capabilities and there’s a momentary thrill to be had when they finally blossom.
Going forward, however, it will create a problem when she’s required to work with others. (It also opens of a Pandora’s Box of plot holes for those who choose to look back at the entire MCU canon through the lens of this new character’s existence.)
The best parts of Captain Marvel are the bookends – a touching tribute to Stan Lee to start things off and an Avengers: Endgame prologue midway through the end credits. In between, viewers will find a standard-order superhero film that checks all the boxes.
Wonder Woman had heart and easily forged an emotional connection with audiences; neither is the case here, where the focus is on technical bravura, rat-a-tat-tat pacing, humorous quips, and big “moments.” There’s plenty of visual pizzazz and action but the movie is geared more for those interested in getting their MCU fix than being fully immersed in a unique superhero experience.
- by James Berardinelli
https://en.lb-lb.com/watch-miracles-from-heaven-2016/
Captain Marvel (2019) Credits
Captain Marvel (2019)
128 minutes
Cast
Brie Larson as Carol Danvers / Captain Marvel
Samuel L. Jackson as Nick Fury
Ben Mendelsohn as Talos
Jude Law as Yon-Rogg
Annette Bening as Supreme Intelligence
Gemma Chan as Minn-Erva
Lee Pace as Ronan
Mckenna Grace as Young Carol Danvers
Djimon Hounsou as Korath
Clark Gregg as Agent Phil Coulson
Director
- Ryan Fleck
- Anna Boden
Writer (story by)
- Nicole Perlman
- Meg LeFauve
- Anna Boden
- Ryan Fleck
- Geneva Robertson-Dworet
Writer
- Anna Boden
- Ryan Fleck
- Geneva Robertson-Dworet
Cinematographer
- Ben Davis
Editor
- Elliot Graham
- Debbie Berman
Composer
- Pinar Toprak
Captain Marvel (United States, 2019)
Cast: Brie Larson, Lee Pace, Gemma Chan, Clark Gregg, Lashana Lynch, Annette Bening, Jude Law, Ben Mendelsohn, Samuel L. Jackson, Djimon Hounsou
Home Release Date: 2019-06-11
Screenplay: Anna Boden & Ryan Fleck & Geneva Robertson-Dworet
Cinematography: Ben Davis
Music: Pinar Toprak
U.S. Distributor: Marvel Studios
U.S. Release Date: 2019-03-08
MPAA Rating: “PG-13” (Violence, Profanity)
Genre: Action/Adventure
Subtitles: none
Theatrical Aspect Ratio: 2.35:1
Captain Marvel (2019) Plot
In 1995, on the Kree Empire’s capital planet of Hala, Starforce member Vers suffers from amnesia and recurring nightmares involving an older woman. Yon-Rogg, her mentor and commander, trains Vers to control her abilities, while the Supreme Intelligence, the artificial intelligence that rules the Kree, urges her to keep her emotions in check.
During a mission to rescue an undercover operative infiltrating a group of Skrulls, alien shapeshifters with whom the Kree are at war, Vers is captured by Skrull commander Talos. A probe of Vers’ memories leads them to Earth. Vers escapes and crash-lands in Los Angeles. Her presence attracts S.H.I.E.L.D. agents Nick Fury and Phil Coulson, whose investigation is interrupted by a Skrull attack. Vers recovers a crystal containing her extracted memories in the ensuing chase while Fury kills a Skrull impersonating Coulson.
Talos, disguised as Fury’s boss Keller, orders Fury to work with Vers and keep tabs on her. Using her extracted memories, Vers and Fury go to the Project Pegasus installation at a U.S. Air Force base. They discover that Vers was a pilot presumed to have died in 1989 while testing an experimental light-speed engine designed by Dr. Wendy Lawson, whom Vers recognizes as the woman from her nightmares. Fury informs S.H.I.E.L.D. of their location and a team arrives. Fury realizes that Keller is Talos and helps Vers escape in a jet with Lawson’s stowaway cat, Goose.
They fly to Louisiana to meet former pilot Maria Rambeau, the last person to see Vers and Lawson alive. Rambeau and her daughter Monica reveal that Vers is Carol Danvers, who was once like family to them. Talos, arriving unarmed, explains that the Skrulls are refugees searching for a new home and that Lawson was Mar-Vell, a renegade Kree scientist helping them.
Talos plays a recovered blackbox recording from Lawson’s jet, prompting Danvers to remember the crash: Yon-Rogg killed Mar-Vell to prevent her from destroying the engine before the Kree could recover it. Destroying the engine herself, Danvers absorbed the energy from the ensuing explosion, gaining powers but losing her memory.
Danvers, Talos, Fury, and Rambeau locate Lawson’s cloaked laboratory orbiting Earth, where Lawson hid several Skrulls, including Talos’ family, and the Tesseract, the power source of Lawson’s engine. There, Danvers is captured by Starforce and interfaces with the Supreme Intelligence.
Danvers removes the Kree implant that suppressed her powers during their encounter, allowing her to reach her full potential. In the subsequent battle, Fury retrieves Goose, who is revealed to be an alien Flerken. Goose swallows the Tesseract and scratches Fury, blinding his left eye. Danvers destroys a Kree bomber, forcing Kree officer Ronan the Accuser and his squadron to retreat.
Danvers overpowers Yon-Rogg and sends him to Hala with a warning for the Supreme Intelligence. She then departs to help the Skrulls find a new homeworld, leaving Fury a modified pager to contact her in an emergency. Fury drafts an initiative to locate heroes like Danvers, naming it after her Air Force call sign, “Avenger”. In a mid-credits scene, set in 2018, the activated pager[N 1] is being monitored by the Avengers when Danvers appears looking for Fury.[N 2] In a post-credits scene, Goose climbs onto Fury’s desk and regurgitates the Tesseract.
https://en.lb-lb.com/watch-the-haunting-1999/
Captain Marvel (2019) Box office
Captain Marvel grossed $426.8 million in the United States and Canada, and $701.6 million in other territories, for a worldwide total of $1.128 billion. It had a worldwide opening of $456.7 million, the sixth-biggest of all time, and biggest opening for a female-led film. Deadline Hollywood estimated that the film had a total production and advertising cost of $300 million.[2] It is the fifth-highest-grossing film of 2019.
On April 2, 2019, the film crossed the $1 billion mark worldwide, becoming the first female-led superhero movie to do so, as well as the seventh Marvel title, the 19th Disney film, and 38th film overall. Deadline Hollywood calculated the film’s net profit as $414 million, accounting for production budgets, marketing, talent participations, and other costs; box office grosses and home media revenues placed it fifth on their list of 2019’s “Most Valuable Blockbusters”.
The film’s first 24 hours of advance ticket sales, which began on January 7, 2019, ranked third on Fandango for an MCU film, behind Avengers: Infinity War and Black Panther, and second on Atom Tickets, behind Infinity War.[185] According to Fandango, Captain Marvel had the third-largest advanced ticket sales of any MCU film, behind Infinity War and Black Panther, and surpassed Wonder Woman and Aquaman (2018) during the same time period.
The film made $61.4 million on its first day, including $20.7 million from Thursday night previews, which was the fifth-highest total for a Marvel film and second-highest for a March release behind Batman v Superman: Dawn of Justice (2016). It made $153.4 million over its opening weekend, the third-best March opening and seventh-highest of the MCU.[2] The film remained in first place during its second weekend, with $69.3 million, the second-highest sophomore weekend in March behind Beauty and the Beast (2017).
The film grossed $35.2 million in its third weekend, dropping to second, behind Us. In the following weeks it dropped to third, fifth, sixth, and fourth, before rising to second again in its eighth weekend with the release of Avengers: Endgame.[189]
On its first day of international release, the film made $5.9 million in South Korea and $1.7 million in France, as well as $2.51 million from Thursday night previews in China, the fourth-best for an MCU film in the country. Through its first two days of release in foreign territories the film made $44 million, including $9.1 million in South Korea, $3 million in Brazil, $2.9 million in France and $2.5 million in Australia. It also grossed $34 million on its first day in China, the third-best superhero opening day ever in the country.
The film went on to have a foreign opening weekend of $302.4 million, the fifth-best of all time. Its largest markets were China ($89.3 million), South Korea ($24.1 million), the UK ($16.8 million), Brazil ($13.4 million, the second-best opening of any film in the country’s history) and Mexico ($12.8 million, fifth-best ever).
Through its first 12 days of release, the film’s highest-grossing foreign countries were China ($135.7 million), South Korea ($37.5 million), the United Kingdom ($32.9 million), Brazil ($26.1 million) and Mexico ($25.7 million). By April 2, the film’s largest foreign markets were China ($152.3 million), South Korea ($43.7 million), the UK ($43.3 million), Brazil ($34.5 million) and Mexico ($31.8 million).
Captain Marvel (2019) Critical Response
The review aggregator Rotten Tomatoes reported an approval rating of 79%, with an average score of 6.8/10, based on 546 reviews. The website’s critical consensus reads, “Packed with action, humor, and visual thrills, Captain Marvel introduces the MCU’s latest hero with an origin story that makes effective use of the franchise’s signature formula.” Metacritic, which uses a weighted average, assigned the film a score of 64 out of 100 based on 56 critics, indicating “generally favorable reviews”.
According to The New York Times, the film’s overall reception was “fairly positive”, but it wasn’t as well-received as other films in the MCU. The Hindustan Times, collating multiple reviews of the film, noted praise for Brie Larson’s performance but also criticism for the film’s “convoluted plot and lack of originality”.
Kenneth Turan, writing for the Los Angeles Times, lauded Larson’s performance and the direction of Boden and Fleck, saying, “Marvel has come to recognize, as this film proves, that even effects-heavy behemoths can benefit from a directing touch that is human, not programmatic, that understands character and nuance and can create scenes with an emotional heft we might not expect.
” A.O. Scott of The New York Times said the film was “not too long, not too self-important, and benefits from the craft and talent of a cast that includes Annette Bening, Jude Law, and Ben Mendelsohn”. Writing for Variety, Owen Gleiberman also praised the film’s direction. He said that Boden and Fleck had not been able to retain their signature style of “low-key American neorealis[m]”, but was still positive about how they were able to create a film with “enough tricks and moods and sleight-of-hand layers to keep us honestly absorbed” within the house style of the MCU.
Richard Roeper of the Chicago Sun-Times gave the film 3.5 out of 4 stars, and said it was a “real treat” to follow the origin stories of both Carol Danvers and Nick Fury. Rolling Stone‘s Peter Travers gave it four stars and praised Larson’s performance for bringing “layers of feeling to a role that a lesser actress might have let slide by on pyrotechnics.
You see how she lays the foundation for a character who defies male objectification and becomes akin to what Joni Mitchell called ‘a woman of heart and mind.'” Anthony Lane of The New Yorker stated, “Superhero cinema has lectured us, ad infinitum, on the responsibility that is conferred by extraordinary gifts. Praise be to Larson, for reminding us that they can be bringers of fun.”
Todd McCarthy of The Hollywood Reporter described the film as “mundane, marked by unimaginative plotting, cut-rate villains, a bland visual style and a lack of elan in every department”. David Ehrlich at IndieWire gave the film a ‘C−’ grade and called it “neither a blast from the past, nor an inspiring glimpse into the future … it’s just another Marvel movie. And not a particularly good one”. Ehrlich praised Mendelsohn, saying he gave the best performance in the film.
Joe Morgenstern of The Wall Street Journal said Danvers “is a candidate for genuine heroism” but found a “fundamental dissonance between the depth of her plight and the shallow disorganization of the script”.
The A.V. Club‘s Ignatiy Vishnevetsky was disappointed by the film, finding it to be “everything you might expect a sci-fi superhero movie to be, if you hadn’t seen one in a long time”. Richard Brody of The New Yorker compared the film to a political commercial that “packs a worthy message [but] hardly counts as an aesthetic experience. The message of the film is conveyed less through the story than through its casting.”
Captain Marvel (2019) Accolades
| Award | Date of ceremony | Category | Recipient(s) | Result | |
|---|---|---|---|---|---|
| AACTA Awards | December 4, 2019 | Best Visual Effects or Animation | Chris Townsend, Damien Carr, Paul Butterworth, Greg Jowle | Nominated | |
| ASCAP Award | June 23, 2020 | Top Box Office Films | Pinar Toprak | Won | |
| Costume Designers Guild Awards | January 28, 2020 | Excellence in Fantasy Film | Sanja M. Hays | Nominated | |
| Golden Trailer Awards | May 29, 2019 | Best Fantasy Adventure | “Unstoppable” (MOCEAN) | Nominated | |
| Best Fantasy Adventure TV Spot (for a Feature Film) | “Ready” (MOCEAN) | Nominated | |||
| Best Sound Editing in a TV Spot (for a Feature Film) | “Buckle Up for Safe” :90 (AV Squad) | Nominated | |||
| Best Fantasy Adventure Poster | “Dolby Poster” (LA) | Won | |||
| Hollywood Critics Association Awards | January 9, 2020 | Best Action / War Film | Captain Marvel | Nominated | |
| Best Blockbuster | Nominated | ||||
| Best Stunt Work | Nominated | ||||
| Hugo Award | August 1, 2020 | Best Dramatic Presentation – Long Form | Captain Marvel | Nominated | |
| Make-Up Artists & Hair Stylists Guild Awards | January 11, 2020 | Feature-Length Motion Picture: Best Special Make-Up Effects | Brian Sipe, Alexei Dmitriew, Sabrina Wilson | Nominated | |
| MTV Movie & TV Awards | June 17, 2019 | Best Hero | Brie Larson | Nominated | |
| Best Fight | Brie Larson vs. Gemma Chan | Won | |||
| National Film & TV Awards | December 3, 2019 | Best Actress | Brie Larson | Nominated | |
| Gemma Chan | Nominated | ||||
| Best Action Movie | Captain Marvel | Nominated | |||
| Nebula Award | May 31, 2020 | Ray Bradbury Award for Outstanding Dramatic Presentation | Anna Boden & Ryan Fleck & Geneva Robertson-Dworet | Nominated | |
| Nickelodeon Kids’ Choice Awards | May 2, 2020 | Favorite Movie | Captain Marvel | Nominated | |
| Favorite Movie Actress | Brie Larson (also for Avengers: Endgame) | Nominated | |||
| Favorite Superhero | Nominated | ||||
| People’s Choice Awards | November 10, 2019 | Movie of 2019 | Captain Marvel | Nominated | |
| Action Movie of 2019 | Nominated | ||||
| Male Movie Star of 2019 | Samuel L. Jackson | Nominated | |||
| Female Movie Star of 2019 | Brie Larson | Nominated | |||
| Action Movie Star of 2019 | Nominated | ||||
| Saturn Awards | September 13, 2019 | Best Comic-to-Film Picture | Captain Marvel | Nominated | |
| Best Actress | Brie Larson | Nominated | |||
| Best Director | Anna Boden and Ryan Fleck | Nominated | |||
| Teen Choice Awards | August 11, 2019 | Choice Action Movie | Captain Marvel | Nominated | |
| Choice Action Movie Actress | Brie Larson | Nominated | |||
| Choice Action Movie Actor | Samuel L. Jackson | Nominated | |||
| Choice Movie Villain | Jude Law | Nominated | |||
| Visual Effects Society Awards | January 29, 2020 | Outstanding Compositing in a Photoreal Feature | Trent Claus, David Moreno Hernandez, Jeremiah Sweeney, Yuki Uehara (for “Young Nick Fury”) | Nominated |
The film was recognized with The ReFrame Stamp for hiring people of underrepresented gender identities, and of color.
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