11 years, 22 movies – Speaking of the cinema world of Marvel (MCU), these mathematically beautiful figures have been called countless times over the past few months, but for good reason. Talking about the film (“Avengers: Endgame”) is pretty pointless and hopeless when you ignore everything that has come before. In the closing post-titled scene of the film “Spider-Man: Homecoming,” Captain America talks about some valuable qualities – patients – that don’t necessarily deliver the expected results. But Marvel Studios itself is very well aware of the value of patience, with considerable care over ten years of building the world and living it with gradually beloved images that have now allowed the climax to be established. “Endgame” has already been called “the movie of movies” in some places, and this term looks like a movie – it is unlikely that even ten years later we will be expected to have an event of this magnitude.

“Endgame” is essentially entirely composed for fans – with all of its consequential consequences. It is worth adding such a little detail here that, with all the work done so far in the previously released 21 films, the coverage of fans in the global cinema crowd is so vast that it would be quite pointless to create a story that would be interesting for those who have not cared about the saga until now. However, if we discard such small hair fission, it is also clear that in order to gain any pleasure or pleasure from “closing”, the knowledge base on what had happened before must be. The more you know, the bigger the film’s return will be.

The references to basically all previous films here are insanely many – even ones that have lost their brilliance and the adoration of viewers over time. It is also interesting that Endgame manages to rehabilitate some of the previous films in a way that corrects the failures that have occurred or gives new meaning to what has happened. In particular, it may be attributed to “Captain America: Civil War”, which at the time, when the film was released, seemed to end on a rather nondescript note (all ripped a little, but what about it?), with Tony and Steve resonating even more vividly here. Unexpectedly, much of the attention is also devoted to perhaps the unloved “Marvel” cinema world film “Thor: The Dark World.”

Even before Endgame came out, it was clear that there was going to be a business of traveling here at a time, which is a rather risky step for any film, and especially for such a franchise. When traveling in time and doing so, in keeping with the traditional “Back to the Future” principle, it is very easy to make everything that has happened so far become pointless when making changes in the past. If the past can be changed, the experience so far is painted upon being erased from existence. It is therefore pleasing that the MCU has not done this bear service on its own, instead of choosing another turn – what has happened has happened and it is impossible to change it, it is only possible to create new realities or grab something from the past to influence events in its future.

As in almost every story involving time travel, it is easy to find places to fill in, where to find holes or uncertainties. Nor does “Endgame” explain everything to the last detail, which leaves very much fertile soil for various fans’ speculation and passionate controversy. But fundamentally, it’s an elegant enough solution that doesn’t leave viewers in the role of a fool about fangling past movies and gives “Endgame” a different dynamic than we’re accustomed to seeing in movies where heroes go on trips in the past.

While “Endgame” is inextricably linked to the events of “Avengers: Infinity War,” it is understandable why, in terms of the names of this film, it was nonetheless separated from each other by renouncing the figures 1 and 2. Compared to “The War of Besgality” and its many mistakes, “The End” is a much more self-reflective, quieter and calmer story. It can be attributed to events in the film itself and to the whole MCU, Joe and Anthony Ruso, who has been in the MCU since the days of “Captain America: The Winter Soldier”, here is the opportunity to look back respectfully and refer to the past accomplishments of the entire Marvel Studios creative team and, at times, give a good-naturedly smile on how time running and everything is changing, looking at some things from today’s perspective, making it seems a little amicable now (for example, Chris Evans has consistently been great in the role of Captain America, while Steve Rogers himself has changed fundamentally over time, especially when we compare the versions of this image to Joss Wineday and the brothers Ruso).

Trips give you the opportunity to go for a walk along the memory trails, and that is what the story does, by allowing heroes to digest not only Tanos, but also by themselves, by correcting emotional errors that have later been bitterly regretted. So Tony Stark gets a chance to really say good-bye to his father, but Thor recovers his “mojo” after talking to his mother. For Steve Rogers, the trip to the 1970 s was once again keenly reminded of the lost opportunities with Peggy Carter. In global development, these moments don’t change anything, because what needs to happen has already happened, and neither Tony nor Thor can save their parents. But in an emotional way, it means an awful lot for our heroes, allowing us to find a heart.

The film also allows Natasha Romanov, the Black Widow. The debate on whether she should have been the one that sacrificed for the acquisition of the Soul Stone, or Clint Barton, is still hitting a high wave, and it must be acknowledged that when she looks at the film in the real world, Marvel’s decision to sacrifice two of the already relatively small female images in two of the Avengers films, in turn, it doesn’t look pretty. But in terms of the story, Natasha’s victim is logical in place of Clint – she has been talking about her past sins since the first film of “The Bails” and that she has tried to redeem these errors with all her work. If Rock had donated her life, Natasha would continue to run in this squirrel wheel, because she is the only one who could tell when the debt was repaid, and she could hardly admit it to herself.