By Robert Milarvie

★★★★☆

The world is changing. Both in the MCU and the real-world alike, Black Panther stands as a ground-breaking mainstream feature – being the first African-American lead in a Marvel film, as well as being a rare Afro-centric blockbuster.

After his father’s death, T’Challa (Chadwick Boseman) returns to his African homeland of Wakanda to be crowned King while continuing to be the titular protector of nation.

Soon after, T’Challa faces an old foe in the Vibranium mercenary, Ulysees Klaue (Andy Serkis) and an anonymous villain (Michael B Jordan), who holds secrets of T’Challa’s heritage. All the while, T’Challa combats the choice of whether to reveal the secret wonder of Wakanda to the rest of the world.

Wakanda to the outside world is perceived as a third-world African nation. But that is all appears to be a front, Klaue names it ‘El Dorado’, as behind the canvas Wakanda is a technologically advanced nation. The country has thrived from the mining the indestructible element ‘Vibranium’ to create a thriving, utopian society.

In an interview with Empire, Black Panther writer and director Ryan Coogler touched upon the weight of significance his debut Marvel feature holds within the sphere of the mainstream. The idea of trying to capture and respect the identity of an entire continent and use that voice to communicate a universal narrative.

Ultimately, Coogler and the rest of the cast and crew have achieved something fascinating and unique within the comic-book boom of the past decade. The film’s tonal balance is one of the masterstrokes of Black Panther.

There is an exquisite blend of the incomprehensible tech and African tribalism. This is captured in no better way than Ludwig Göransson’s score, revisiting his partnership with Ryan Coogler after Creed (2015) and Fruitvale Station (2013), that throughout the film highlighted this tonal intermingling.

Even with the impressive visuals of this phenomenal tech, the sound lures the viewer into the space of Wakanda – either during a ritual challenge to the newly crowned King or simply walking through the dusty streets of the country.

That being said, Black Panther remains grounded. Even with futuristic Mag Lev monorails dashing around Wakanda, the story is focused on the human elements above all else. Everyone’s motivations were brilliantly interwoven throughout the film, with initial set ups and pay offs in a final, and thankfully, contained battle sequence.

The performances are exceptional, with Chadwick Boseman anchoring the piece around his hypnotic gaze. His performance brilliantly captures the internal struggle of T’Challa. You feel that he weight of the world on his shoulders, as he hopes to make a difference for his country but not make the same mistakes his father made.

While being a Chadwick Boseman vehicle, Michael B Jordan shows once again why he is one of my favourite performers at this current moment. Standing toe-to-toe with Boseman, Jordan’s dominant presence and performing as the antithesis to T’Challa, created this colossal clash between the two.

The supporting cast is wonderful also, with strong engaging female performances by Lupito Nyong’o, who plays Nakia (T’Challa’s love interest), Danai Gurira, playing Okoye (right-hand woman to the King), and the delightful Letitia Wright who performs as Shuri (T’Challa’s younger sister and basically the ‘Q’ of Wakanda).

Black Panther packs a Vibranium-loaded punch on its quest to balance the traditional superhero romp and the racial politics that courses through the film’s veins. The film contains a certain swagger and attitude that brought a new and exciting voice to the MCU as well as standing alone as a great piece of African cinema.

All the characters appear to be immensely proud of what they have partaken in and Ryan Coogler and co. should be proud of the vision they have achieved.