Sometimes, to make a very simple scene attractive, filmmakers resort to eye-catching shots and camera movements. This is what happens with the initial of the episode “The Tomb” (1×04) of moon knight, the miniseries created by Jeremy Slater (2022) for the Marvel Cinematic Universe, in which Aaron Moorhead and Justin Benson, responsible for “Summon the Suit” (1×02), propose a flip over no trick followed by a detail drawing with traveling retro.
Then, after the marvelous titles, they return to the situation in which Oscar Isaac’s Steven Grant and May Calamawy’s Layla El-Faouly had left off after the beautiful celestial spectacle at the end of “The Friendly Type” (1×03). The danger is immediate, and the resolution is acute. The tangible of the environmenton the other hand, invites us to weigh how different the staging of moon knight if we compare it with the one in the film death on the nile (2022) and its crude CGI.
A violent mystery emerges, which is further explored, and when a dire threat is revealed, it serves to deepen the the different tone of this Disney+ fiction. And, in a moment of intimacy, the leading actor, tanned in Agora (2009), Drive (2011) or the latest films by starwars (2015-2019), demonstrates without any doubt how well he has studied his character with a very unexpected clumsy posture, a trifle that cannot help but enchant us.
The dynamic of terror returns to ‘Moon Knight’
they return the narrative and audiovisual manners of horror cinema a moon knight in “The Tomb”to the point that his creative team is allowed to include details that the Sam Raimi of Infernal possession (1981) or Drag Me to Hell (2009). But not so unpleasant, of course, that this is a series of the Marvel Cinematic Universe. But what we see here of hemoglobin and soft gore is very new in the series superheroic.
The big reveal that occurs midway through the chapter is eye-opening, and one is willing to say that lovers of historiography will love it. If you are not a picky eater, of course, let this twist of moon knight It has not passed through the university faculties. This while Ethan Hawke’s Arthur Harrow exercises manipulative villain expected of him, a trait that brings him closer to Daniel Brühl’s Baron Helmut Zemo.
His words are effective but do not waste eloquence, the usual in the adventures of Marvel; And, in any case, we owe it to Alex Meenehan, assistant to executive producer and screenwriter Eric Ellis Overmyer during the development of The man in the castle (2015-2019) and writer of a couple of installments of Bosch (2014-2021), his work, and Peter Cameron and Sabir Pirzada, who had already signed two scripts for WandaVision (2021) and “The Friendly Type” (1×03).
Two turns to leave us with our mouths open
To the dramatic time bomb that had been planted in the previous episode from moon knight the fuse runs out but, not only does it not cause havoc, but it is used to suggest the origin of the superhero. But there is not much time for consideration on that matter because, to begin with, a tragic fate interrupts our thoughts with a slow motion composition by Aaron Moorehead and Justin Benson very effective and therefore most timely.
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However, the real raison d’être of “The Tomb” is that it leads us to the stupendous sequence shot with a tremendous swerve that blows our heads in its final stretch and that, at first, is dedicated to making us believe that there was a cat trapped here in the style of a good part of the film Twelve Monkeys (nineteen ninety five). But Jeremy Slater not happy with thatbut soon changes our perspective again and leaves us as bewildered as the protagonist.