You can adjust all of your cookie settings by navigating the tabs on the left hand side.
Strictly Necessary Cookies
Strictly Necessary Cookie should be enabled at all times so that we can save your preferences for cookie settings.
If you disable this cookie, we will not be able to save your preferences. This means that every time you visit this website you will need to enable or disable cookies again.
3rd Party Cookies
This website uses Google Analytics to collect anonymous information such as the number of visitors to the site, and the most popular pages.
Keeping this cookie enabled helps us to improve our website.
With Captain America: Infinity War out this April in UK cinemas, the time has never been better to catch up on all the previous MCU films to understand what’s going on and, more importantly, who on earth all these characters are. In fact, if you start now, there’s just enough time in our Earthly calendar to watch one a day before popping out to your local multiplex for the climax.
Playing Marvel Cinematic Catch-Up from the very beginning? We’re here to help with a handy guide to where you can watch the Marvel movies online in the UK – in chronological order.
Captain America: The First Avenger
With Chris Evans donning the stars and striped-suit to become Marvel’s first Avenger, Captain America leaves you asking two questions: How many Nazis does he kill? And how many times does Chris Evans take his shirt off? The answer to both? Not enough. Director Joe Johnston perfectly captures the laid-back tone of a period Indiana Jones adventure, but without a substantial villain or sense of threat, like Temple of Doom, Captain America can be summed up in three words: Needs. More. Nazis.
God make man. Man discover metal. Man make suit from metal. Man use suit to blow things up. That’s pretty much the plot for Iron Man, and at its most simple, it’s inherently cool. The fact that Robert Downey Jr. is so perfectly cast as Tony Stark elevates the film above its predictable third act to hugely entertaining fun.
Marvel’s muddled sequel is bigger but never better than its first outing. Iron Man 2 could have developed character or boosted its enjoyably trashy explosion count, but it doesn’t quite do either. The foreshadowing for The Avengers is impressive, but intricately woven adverts don’t classic entertainment make. Light-hearted, but leaden.
Edward Norton makes for an excellent Bruce Banner in this reboot of the The Incredible Hulk, but even he can’t entirely rescue Louis Leterrier’s blockbuster, which loses itself in a sea of CGI battles and noisy action without much emotional weight or wit to balance it out. It’s not a disaster, but it’s far from the most super of Marvel’s hero outings, doing just enough to bring Hulk into the MCU canon ahead of his eventual appearance in Avengers, played by Mark Ruffalo.
Well aware of its own preposterous premise, Chris Hemsworth’s debut outing as the God of Thunder has camp levels to rival Flash Gordon but undermines them with some well-placed laughs. A character-driven comedy blockbuster? Thor blimey, it’s good.
“He’s crazy.” “He’s my brother!” “He just killed 83 innocent civilians.” “He’s adopted.” You could easily spend a review of Avengers Assemble just quoting endless lines of dialogue. The secret to the film’s success? Hiring geek king, comic nerd and filmmaker extraordinaire Joss Whedon to make a movie. And holy purple shorts, he assembles the heck out of it.
Marvel’s best film to date proves that superhero blockbusters can still be character-driven dramas – and funny to boot. A witty script, Robert Downey Jr. in full motormouth mode and events taking place at Christmas? It’s no surprise that this is a Shane Black movie.
Marvel’s eighth instalment in its ever-expanding MCU sees Chris Hemsworth’s God of thunder team up with deceitful brother Loki to save the Nine Realms from the Dark Elves. Tom Hiddleston inevitably steals the show. The rest is forgettable.
If Thor showed the world that comic book movies can have a sense of humour, Captain America confirmed it. Joe Johnston’s smart decision to set events during WWII allowed Alan Silvestri to invent a delightfully camp theme tune for the hero, a self-aware pastiche of 1940s propaganda that not only made audiences smile but also set the tone for Cap’s idealistic values – and cheesy costume.
“I can’t stop this feeling…” Chris Pratt jumps from Andy Dwyer to bonafide action hero with this Marvel outing. The bits that seem familiar from other superhero movies are swiftly eclipsed by the infectious humour of the cast, from Bradley Cooper’s violent raccoon to Vin Diesel’s talking tree. Director James Gunn’s soundtrack is the highlight, though, writing unwitting human Peter Quill’s (a.k.a. StarLord) 1970s mixture into the action. The result is a smart, silly, subversive treat.
“So, we’re saving the galaxy, again?” “I guess.” How do you follow up one of the most surprising superhero blockbusters of recent years? With a little less of a surprise. That’s the broad challenge facing Guardians of the Galaxy Vol. 2, which tries very hard to match the original film’s vibrant burst of anarchic humour – and sometimes, lets that effort show. But a more thoughtful, moving sequel, including quality family time for Quill (Chris Pratt) and a guest appearance by Kurt Russell, makes up for a lack of laughs and novelty in what remains a fun space adventure.
Paul Rudd’s comic timing makes up for Ant-Man’s conventional plot, as the movie’s cookie-cutter origins story is consistently trumped by its sense of humour. Director Peyton Reed has a wonderful grasp of the big/small dynamic of his pint-sized hero, delivering a string of inventive action set pieces – while Michael Peña steals the whole show as fast-talking sidekick Luis. If only Evangeline Lilly’s Hope had more to do.
Introducing the world to Tom Holland as the new Spider-Man, and Chadwick Boseman as Black Panther, Civil War could easily have strained under the near-critical mass of cast additions. But this deftly balanced blockbuster embraces the weight of moral consequences with the lightness of popcorn, tearing its ensemble apart on matters of principle but still finding time for an epic punch-up at an airport. The ideal balance between serious and silly, Captain America’s third outing is a perfectly-timed antidote to superhero fatigue.
“I don’t believe in fairy tales about chakras, or energy, or the power of belief.” That’s Doctor Stephen Strange (Cumberbatch) at the start of Marvel’s latest movie. Will his opinion change by the time the end credits roll? There are no points for guessing: it’s right there on the poster. From the off, it’s clear that we’re watching something conventional, as super-surgeon Stephen finds himself gradually transforming from a shallow, selfish, rich guy into an altruistic, super-powered hero. The result is far from groundbreaking in its plot, but the presentation excels in all departments – from the inventive action and the pitch-perfect performances to a witty climax that bears repeating over and over again. And while Strange may not be the most engaging of protagonists, Cumberbatch makes the leap from the small screen and a string of serious feature film roles to blockbuster leading man territory like he’s been firing off zingers, juggling green screens and carrying franchises his whole life.
Don’t you hate it when you wake up on the other side of the universe hanging from the ceiling and your home is about to wiped out by Hela, the ruthless goddess of death? That’s the age-old situation facing Thor in Ragnarok, and if that sounds like a lot of serious drama, you’ve missed the name above the title: director Taika Waititi, fresh from Hunt for the Wilderpeople, brings a hilariously light touch to this delightful romp, which puts Hulk (Mark Ruffalo) and Thor (Chris Hemsworth) together for a macho double-act, then spends the whole film teasing out their insecurities. Add in Jeff Goldblum and Tom Hiddleston’s Loki and you’ve got yourself a rollicking time – and that’s before you even get to Tessa Thompson, who steals the whole show as Marvel’s swaggering, drunk answer to Han Solo.
Tom Holland slings webs like he was born to do it in this hugely entertaining Spidey reboot. Jonathan Goldstein and John Francis Daley’s script (co-written with Watts, Christopher Ford, Chris McKenna and Erik Sommers) is full of such witty flourishes and an unabashed love of John Hughes, which keep the tone light but the adolescent stakes high. Watts’ camera, meanwhile, races after our lead with a grounded, intimate rush that adds a wonderful, immediate quality to every sequence, whether Spider-Man’s jumping between buildings or trying to hold a boat together. The result is a breeze that blows by completely effortlessly. Whether you’re a Spidey fan or not, this is an infectious, primary-coloured reminder that superhero movies can simply be fun. You won’t just be convinced of the worth for a new Spider-Man film: you’ll want another one.
Images on VODzilla.co are authorised and subject to restrictions. Permission is required for any further use beyond viewing on this site. Remote control icon created by Bjoin Andersson from Noun Project.
VODzilla.co is partly funded through affiliate marketing, which means that clicking some links on this page may generate income for the site. However, this is an independent publication: we take care not to let commercial relationships dictate the editorial stance of content or the writing staff.
We are using cookies to give you the best experience on our website.
You can find out more about which cookies we are using or switch them off in settings.