I hold the first Avengers film in an unusually high regard. In my eyes, it’s not just the best of Marvel’s films — it was the best film of 2012. As the crown gem to their “Cinematic Universe” gamble, it knows how to please an audience in the most primal ways.
My expectations for Age of Ultron were thus mixed. How could it possibly deliver the same sense of childlike excitement over bringing together old friends, and laying the foundation for new adventures?

As an advantage of being a part of Marvel’s mammoth body of work, Age of Ultron doesn’t need to waste a moment on establishing its team.
The opening is a phenomenal raid sequence — with a one-shot that perfectly encapsulates the frenetic teamwork and smooth action that define the film. These characters don’t need to introduce themselves, or even explain their presence. Marvel has reached a level of confidence nearly unseen in blockbuster film — they know this isn’t your first rodeo, because they’ve got the box office receipts to prove you saw the last movie.
No matter who you are, if you’re in that theater, you’ve got enough of a primer to the dynamics of Tony Stark & associates. That confidence defines Age of Ultron — it knows what you want, and it will happily deliver.
The action is a series of firework shows, propelled by adrenaline. Marvel’s strength has always come from embracing its comic book roots, and establishing action sequences that blend realistic settings with impossible elements.
An African city becomes a theme park of destruction for Iron Man and Hulk as they attempt to pummel each other into the pavement, going beyond the same CGI spectacle that has defined this genre. A strong vision for choreographing and shooting these fights makes them both fun and stimulating to watch. Even in its last sequence, with the team of heroes smashing hordes of generic metal men, the stakes are established in a fresh method.
Just as critical to an Avengers film is the dynamic between the team. Whedon’s script is saturated with charm, peaking in a party scene that would feel indulgent with any other collection of characters. Yet with a cast that has imbued these personas for so many stories, there’s an honesty in it all.
As a fan who has followed every piece of MCU content, I could feel every character arc reflected in their interactions. It’s deeply satisfying, feeling these narrative puzzle pieces fall together without resistance.
Surprisingly, the one character given the most development is the eternal Luigi of the gang Hawkeye. Much like Agent Phil Coulson in the first Avengers, Whedon puts Clint Barton under his wing for Ultron. We’re given a closer glimpse into a guy who’s role in the world feels increasingly irrelevant in a world of metal geniuses and literal gods. His arc is self-aware and loaded with tiny moments that will be quoted for months to come.
Scarlet Witch (Elizabeth Olsen) and Quicksilver (Aaron-Taylor Johnson) are the newcomers to the festivities, taken under the wing of the titular Ultron (voiced by James Spader). As villains go, the trio make for an interesting dynamic. While Ultron’s appearance projects a stereotypical harbinger of doom, Spader gives the robot a true personality — arrogant in his ways, yet knowingly flawed. Scarlet also makes a memorable entrance with her telekinetic powers visualized like a horror film. Quicksilver is the weakest link, made worse by the natural comparisons’ to the scene-stealing version of the same character seen in X-Men: Days of Future Past. Together they form a morbid adopted family, united through tragedy and desire to prove themselves.
Like most of Ultron, it’s hardly new — but told in a compelling manner.
Summer Blockbusters rarely get more satisfying than Avengers 2: Age of Ultron. It’s a stacked film, dense with development of characters both old and new. Every second is designed to charm, wow, or mystify with potential for what comes next. Concentrated superhero film bliss.
Follow Chris Berg on Twitter @Mushroomer25.