Director Daniel Espinosa’s Morbius
during the early ’70s. This is when the Comics Code Authority’s ban on supernatural creatures first lifted, freeing Marvel up to create characters like a “living vampire.” Like in the comics, Morbius’ treatment and transformation take place on a boat while his colleague Martine Bancroft and a group of hired soldiers watch over him, and everyone save for Martine ends up dead and drained of their blood after Morbius becomes a vampire.
Because Morbius can feel how his bloodlust drives him to kill, he sates his hunger by guzzling heavy hits of the cerulean liquid in scenes that feel cribbed from’s old playbook — making fake blood look like the most delicious thing in the world. In another universe,dig a bit deeper into what might have been an interesting premise: the eccentric founder of a synthetic blood company becomes a pseudo-vampire who also moonlights as a superhero.
Super science in pursuit of curing ailments gone wrong is not unique to Morbius the character. But what does feel distinct toas a movie is the degree to which it’s willing to depict disabled people as frail, weak victims whose entire lives are defined in relation to the able-bodied.
The problem, at least in Morbius’ case, is that it’s entirely too aware of its existence within a cinematic universe of the Schrodinger variety — one that both does and does not exist. In the end, that awareness feels like it might be responsible for howcloses out feeling both distinctly pleased with and ashamed for even daring to utter Spider-Man’s box office-breaking name.
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