Whilst exploring the multiverse is top of the agenda, Marvel Studios’ Moon Knight represents an opportunity for the 14 year-old franchise to break new ground. Debuting in the pages of Werewolf by Knight #14 in August 1975, the character of Moon Knight opens the doors to discuss mental health as well as the freedom to explore his religious beliefs.
For many, Moon Knight’s comic book origins represent a much darker side of the Marvel Universe. Shrouded in the mythology of the Egyptian god Khonshu, god of the moon. His ties to the supernatural also fit the trajectory of the MCU following the introduction of Dane Whitman (Kit Harrington) aka Black Knight in Eternals and the impending arrival of Blade.
I’ve been able to watch four of the six episodes of Moon Knight, an unprecedented level of early access for a Marvel Studios series. Two of those episodes featured unfinished visual effects but were important in understanding the character’s journey.
We’re introduced to world of Moon Knight through the eyes of Steven Grant (Oscar Isaac). Grant lives in London and works in the gift shop at one of the city’s many museums. With an accent supposedly derived from Isaac’s love of The Office and Stath Lets Flats, Grant fits the mould for an MCU lead. His bumbling, gentle approach adds a light-heartedness which feels safe and familiar to audiences.
It doesn’t take the series long to illustrate there is more than meets the eye with Steven. Moon Knight teases its underlying darkness when Steven seals himself in to his apartment, chaining himself to the bed. Not normal behaviour for a potential Avenger is it? Cleverly, Moon Knight‘s first episode keeps the audience guessing by maintaining focus on Steven. For those not familiar with the character, it brings you along on his journey of discovery.
Perplexing the audience by disjointing its portrayal of dissociative identity disorder works in two ways. One, it throws the audience in to Steven’s bewilderment at losing huge chunks of time. Secondly, it allows the opportunity to sanitise some of the darker sides of the character. Particularly in episode one, the series cuts away from more violent actions. Moon Knight, instead, chooses to focus on the aftermath. Whilst there is more blood than in other MCU projects, it doesn’t equate to the darkness I had anticipated.
It’s clear that Marc’s journey is important to the creative team behind-the-scenes. The series goes to great lengths to push him from his comfort zone. It does so in larger-scale ways to drive the plot forwards. But also illustrates the personal impact in smaller moments like simply trying to go out on a date.
Opposite Oscar Isaac is Ethan Hawke as Arthur Harrow. His religious-zealot-cum-cult-leader feels perfectly born of the MCU. As with many Marvel villains, his views sit in direct opposition with that of Marc’s. This puts the two on a path to conflict from episode one. Hawke infuses his performance with a great ambiguity and nuance, leaving Hawke an enigmatic but derivative villain, all of which we have seen before.
As a six-episode event, Moon Knight has a tightly written story. The four episodes I saw felt suitably global and had a clear trajectory. Head writer Jeremy Slater (The Umbrella Academy) has crafted a fittingly personal story to introduce Moon Knight in to the MCU. It feels suitably different to other MCU projects with its deeper exploration of mythology. But in these four episodes Moon Knight also suffers from the MCU’s typical lack of depth.
Though Steven struggles to grapple with his other identities, his disorder is left mostly nameless. Interactions between Steven and Marc are relegated to moments of indecisiveness in the face of danger. Steven often reluctantly gives up his consciousness to Marc but the impact of those choices is never fully explored in these four episodes. Though there are some interesting interactions between them, Moon Knight fails to go beyond the surface of mental health issues.
As mentioned previously, the latter two episodes featured unfinished visual effects. Episodes one and two feature a number of effects heavy moments which were complete. These felt in line with other Disney+ MCU series. A car chase in episode one seemingly stretches the series budget. But when a fully CGI Moon Knight leaps from rooftops it evokes a much more authentic version of the character.
Egyptian composer Hesham Nazih brings a rich musical soundscape to the series. As the world opens up and Marc travel to Egypt the native sounds begin to creep in more and more, really setting the series apart. In his first major score for an English language project, Nazih has been able to bring in the typical beats of an MCU soundtrack and infuse sounds which enhance the global nature of the story.
Verdict
Oscar Isaac brings his undeniable charms to Marc Spector and Steven Grant. Comic book fans may find Moon Knight somewhat sanitised, but these four episodes mark a solid debut for the character in the MCU.
⭐⭐⭐
In case you missed it, here’s a look at the official trailer for the series:
Moon Knight stars Oscar Isaac as Marc Spector aka Moon Knight, co-starring are Ethan Hawke, Gaspard Ulliel and May Calamawy. The series comes from executive producer Jeremy Slater and premieres on Disney+ on March 30, 2022.
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