Fantastic Four First Steps is a visually striking and thematically ambitious take on Marvel’s “First Family.” Having read the early comics, I appreciated how the film evokes the optimistic worldview of a time when humankind stood on the brink of space exploration. Yet while it aims to capture that spirit, it also sanitises the era it tries to portray.
The 1960s weren’t all sleek rockets and moon landings. Assassination, war, and civil unrest—JFK, Vietnam, and the violent targeting of civil rights leaders—shaped the decade. The film glosses over these realities. And while its alternate-universe setting may justify the omissions, the lack of historical weight ultimately weakens the choice to set the story in this time period at all. That’s because the narrative Stan Lee originally crafted contained all those themes, and it’s beautifully explored in the essay “How Did the Original ‘Fantastic Four’ Change Comics?” published on History.com.
Despite a committee-written script and Matt Shakman’s steady direction, the film’s strengths lie more in its aesthetic than its narrative. It’s full of promise—but frequently stumbles.
The Good:
Aesthetically, First Steps is a retro-futuristic treat. I was reminded of The Jetsons and Jonny Quest. The slick 1960s design is gorgeous, and the world-building leans into the optimism of the space race. Even H.E.R.B.I.E. gets a nostalgic role. While this robot doesn’t have a significant role, its inclusion hit a nostalgic nerve. I grew up reading those comics where he contributed to the story more.
The film’s central theme retools Spock’s iconic Wrath of Khan line surprisingly well. For those people who don’t remember it, he said, “The needs of the many outweigh the needs of the few.” When the public demands the sacrifice of Reed and Sue’s unborn child for the greater good, the emotional stakes hit hard. Their refusal becomes a powerful stand—not just as heroes, but as parents.
Unfortunately, the performances don’t always carry the weight of the material. These are just subjective opinions: Pedro Pascal, while competent, never quite sheds his cooler-than-you swagger from Game of Thrones. Joseph Quinn is charismatic as Johnny, but the shadow of Stranger Things’ Eddie Munson looms large. Ebon Moss-Bachrach (Ben Grimm) and Vanessa Kirby (Sue Storm) are fine, but neither leaves a lasting impression.
The Bad:
Where the film falters most is in its treatment of two major characters.
Chief among the disappointments is Galactus, played by Ralph Ineson. He’s no longer the awe-inspiring devourer of worlds but a predator hunting a child whose future powers threaten him. It’s a radical reduction of his cosmic stature. His brief planetary consumption—done via a spaceship whose interior resembles a melting pot—feels visually uninspired. Compared to villains like Unicron (Transformers, brought to life by the great Orsen Welles), or even previous animated portrayals, this Galactus feels neutered. Ineson’s range is not the same as Michael Dorn’s—whose booming vocal chords always make mortals tremble. He was the voice of Lt. Worf in Star Trek, and Kalibak in the Justice League animated series and spinoff material.
In the comics, Galactus is a force of nature. He is an eternal hunger that must be sated. Here, he’s just another villain with a specific goal. A god should be terrifying in his unknowability. Instead, we get a bad babysitter with God powers. Even though I recognized an attempt to connect him with the Greek God Chronos devouring his children like Zeus to prevent a change in the cosmic hierarchy, the detail lacked punch.
Ben Grimm’s subplot is also shortchanged. His new romantic interest, Rachel (a Jewish schoolteacher), is a departure from Alicia Masters—who was blind, and whose love story with Ben added powerful emotional nuance. Rachel shares some traits but gets little screen time. The potential pathos in her acceptance of Ben’s monstrous form is wasted.
One deep-cut detail does offer a spark for comic fans: the child at the centre of this story befriended Kitty Pryde in the comics. That small nod suggests Shadowcat might show up in a future X-Men film, a welcome bit of synergy if followed through.
Final Thoughts About the Fantastic Four
Though marketed as a standalone, this movie’s teasing larger implications sets up the next two movies where the multiverse gets involved. Long time readers of the comics or those who own the Official Handbook to the Marvel Universe will know how important Franklin Richards is to the mythos. If he is indeed the mutant offspring who can reshape reality, the cinematic universe has cracked open a dangerous new chapter.
Fantastic Four: First Steps dares to dream, but dreams require context. By omitting the shadows of its chosen era and reshaping grand mythology into something small and digestible, the film limits itself. There’s visual splendour and flashes of moral complexity—but not quite the cosmic awe or emotional resonance this reboot needed to soar.
3 Stars out of 5
Fantastic Four First Steps Final Trailer
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