---
title: "Black Panther"
year: 2018
kind: "film"
canonical: "https://film.one/film/black-panther"
fi1m_score: 80
critics_score: 82
critics_reviews: 22
published: "2026-09-19T12:11:12.837033+00:00"
updated: "2026-09-19T12:11:32.910550+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Black Panther (2018)

Directed by Ryan Coogler · 2h 15m · MPA PG-13 · Action, Adventure, Science Fiction

**Fi1m score: 80** · Critics 82 from 22 reviews

*In a sentence:* Marvel finally builds a country worth defending, then spends the last twenty minutes defending it in a computer

> Ryan Coogler builds a kingdom Marvel has not had before, Hannah Beachler and Ruth E. Carter dress it, and Michael B. Jordan gives it a villain with a case. The final battle is the weakest thing in it.

## Synopsis

Oakland, California, 1992: a Wakandan prince, N’Jobu (Sterling K. Brown), is confronted in his flat by his brother, the king. A generation later T’Challa (Chadwick Boseman) flies home to Wakanda, a hidden African nation grown rich on the metal vibranium, to be crowned after his father’s death. His general Okoye (Danai Gurira) and the spy Nakia (Lupita Nyong’o) travel with him; his sister Shuri (Letitia Wright) runs the laboratory. At the coronation the mountain chief M’Baku (Winston Duke) challenges him for the throne. In London, the arms dealer Ulysses Klaue (Andy Serkis) and a soldier called Erik Killmonger (Michael B. Jordan) steal a vibranium axe from a museum, and T’Challa follows Klaue to a casino in Busan, where a CIA man, Everett K. Ross (Martin Freeman), is already waiting.

## Review

Marvel films tend to happen in cities that have been emptied so they can be knocked down. *Black Panther* happens in a country, and it wants you to care about it. Wakanda is an African nation that has hidden its wealth and its technology from the world for centuries, and Ryan Coogler’s film is about what a new king owes to the people outside its borders. That is a more serious question than these films usually carry, and for most of its 135 minutes Coogler carries it. We recommend it warmly, with one large caveat about the last twenty minutes.

Hannah Beachler’s Wakanda is the first Marvel setting we could draw from memory. The capital is towers of red earth and glass with thatch on top, trains running between them and market stalls at the bottom. When T’Challa’s ship comes through the hologram of a forest and the city is simply there, we felt a lift we had not expected from a film with a producer credit for Kevin Feige. Ruth E. Carter dresses each tribe so you can tell them apart at a glance: the Dora Milaje in red, the Border Tribe in blue blankets, the Jabari in fur. Rachel Morrison lights the throne room in purple and gold like a cathedral, and her Busan casino is neon and fish tanks, with a long tracking shot up a staircase that is the best-staged fight in the film.

Ludwig Göransson’s score does the rest of the work of making the place real. Drums and a wooden flute go with the Wakandan scenes, a chant swells whenever the king walks into a room, and a low, itchy bass follows Killmonger, so you know from the sound alone which man is on screen. Kendrick Lamar’s songs arrive over the Oakland scenes and the casino, and for once the pop on a Marvel soundtrack sounds as if it belongs to the film rather than to a marketing plan.

Chadwick Boseman plays T’Challa as a man who is not sure he wants the job and is too well brought up to say so. It is a quiet performance in a loud film, and the film needs a still centre. Around him the women get the better lines: Danai Gurira’s Okoye, a general who throws away a wig mid-fight because it is slowing her down; Letitia Wright’s Shuri, the kid sister who runs the laboratory and teases the king in front of his guards; Lupita Nyong’o’s Nakia, who wants Wakanda to open its doors and argues the case before the villain does. Winston Duke’s M’Baku has about six minutes and keeps most of them.

Michael B. Jordan’s Erik Killmonger is the reason the film holds up. Coogler has directed Jordan twice before, in *Fruitvale Station* and [*Creed*](https://film.one/film/creed), and he knows to let him stand still. Killmonger’s first scene, in a London museum, has him asking a curator how her employers came by an African axe and what they paid for it, and it made us sit up, because we cannot remember a Marvel villain saying something we agreed with. He is angry about the right things and wrong about what to do with the anger, and the script, by Coogler and Joe Robert Cole, does not pretend otherwise. Andy Serkis cackles through the first hour as the arms dealer Klaue and is good fun. Martin Freeman’s Everett K. Ross exists so someone can have Wakanda explained to him, and Freeman does bafflement well.

The last act is where the studio takes back the wheel. There is a battle on a plain, with tribes charging each other and armoured rhinos, and beneath it two men in near-identical suits fight in a rendered tunnel while a train goes past. The effects have not caught up with what Coogler asked for. The suits look rubbery, the rhinos look pasted in, and Michael P. Shawver and Debbie Berman cut it so fast that you cannot tell which panther is which. After two hours in a place we believed in, it is a shame to finish in a place that plainly does not exist.

Against the studio’s own standards this sits near the top, alongside the first [*Iron Man*](https://film.one/film/iron-man) and above nearly everything else. Against Coogler’s, it is less controlled than *Creed*, which had one fight to stage and staged it properly. Most critics have put it a little higher than we have, and we understand why; the country is the achievement, and it is a real one. Watch it for the throne room, the casino and every scene Jordan is in. When the rhinos arrive, put the kettle on.

*Fi1m score 80, published 19 September 2026.*

## What the critics say

Most critics like it a great deal, and they agree on why. The praise gathers around Wakanda itself: the production and costume design, and an African nation imagined in enough detail to feel like a place rather than a set. Several reviews call it a departure from the usual Marvel pattern, more political and more personal than the studio’s other origin stories. Michael B. Jordan’s Killmonger is repeatedly named as a villain with a real argument; Chadwick Boseman and the women of the ensemble come up nearly as often.

The reservations are small and familiar. Where critics complain, it is about the climactic battle, which some find as muddled as any other Marvel finale, and a resolution that does not follow its ideas through. The spread is narrow. The one dissenter is Slant Magazine, which grants Coogler’s artistry but finds the story lopsided and reads the acclaim as a sign of how little is expected of superhero films.

### Reviews we read (22)

- **Little White Lies**, Hannah Strong (4/5/4): Ryan Coogler delivers Marvel’s best origin story since Iron Man, a daring and insightful superhero movie unshackled from typical MCU constraints. The critic praises the vibrant Afrofuturist world of Wakanda and its roster of strong female characters while noting some underwritten elements in the villain roles. [Read](https://lwlies.com/reviews/black-panther)
- **Empire**, Jimi Famurewa (90/100, inferred): The critic hails it as a giddily enjoyable, convention-bucking epic that blends comic-book blockbuster, espionage thriller and Afro-futurist family saga. He singles out the bottomless invention, big-hearted verve, and how it makes viewers forget its barrier-breaking significance through its ambition and talent. [Read](https://www.empireonline.com/movies/reviews/black-panther-review-2/)
- **Evening Standard**, Matthew Norman (90/100, inferred): The critic calls the film overdue, impressive, and one of the most political superhero movies ever made. He praises its gorgeous visuals, fun tone, deep engagement with themes of racial oppression and African wealth without becoming didactic, and strong performances especially from Boseman and Jordan. [Read](https://www.standard.co.uk/culture/music/black-panther-review-all-hail-king-tchalla-a3762306.html)
- **Los Angeles Times**, Kenneth Turan (90/100, inferred): The critic calls it a royally imaginative standout in the MCU, an against-the-grain epic that is intensely personal with characters of integrity and dramatic heft. He singles out the vivid Afrocentric influences and the specificity of the mythical Wakanda for praise. [Read](https://www.latimes.com/entertainment/movies/la-ca-mn-black-panther-review-20180206-story.html)
- **The Guardian**, Peter Bradshaw (90/100, inferred): The critic hails the film as a subversive and uproarious action-adventure that upends African stereotypes and rewrites history through its afrofuturist vision of Wakanda. It singles out the sheer enjoyment and distinctive power of its futuristic elements for praise. [Read](https://www.theguardian.com/film/2018/feb/06/black-panther-review-marvel-wakanda-chadwick-boseman)
- **Total Film** (90/100, inferred): The critic praises the confident, assured and athletic filmmaking that keeps multiple ambitious elements in the air. They single out the dignified, dynamic performance from Boseman and the film's handling of scale and spectacle alongside its diverse cast and themes. [Read](https://www.gamesradar.com/black-panther-review/)
- **Sight and Sound**, Kelli Weston (85/100, inferred): Ryan Coogler's film is a dynamic, electrifying ride with balanced measures of comedy, action and heart, becoming an unusually poignant, political entry in the Marvel franchise. The critic singles out the reverence for ancestors and the deft handling of generational hauntings and Wakanda’s responsibility to the outside world. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/black-panther-review-electrifying-afrofuturist-superhero-movie)
- **Variety**, Peter Debruge (85/100, inferred): It is a radically different comic-book movie with a proud Afrocentric twist and nearly all-black cast focused on Wakanda that improves on the Marvel formula. The critic singles out the politically engaged villain and Michael B. Jordan’s charismatic performance as Killmonger. [Read](https://variety.com/2018/film/reviews/black-panther-review-1202682942/)
- **Radio Times** (★★★★): Black Panther is a franchise film with a distinct individual identity that wants to mean something to those who watch it. The critic singles out the thoughtful handling of isolationism versus responsibility in the context of real history and the lavish love for African culture. [Read](https://www.radiotimes.com/movies/black-panther-review-a-franchise-film-with-a-distinct-individual-identity/)
- **Screen Daily** (80/100, inferred): Black Panther delivers rousing action and riveting heroism but stands out for its willingness to go its own way with tonal and thematic flourishes that break MCU conventions. The critic praises the earnest variation on typical fare rooted in a desire to speak meaningfully about racism, global culture clashes and responsibility. [Read](https://www.screendaily.com/reviews/black-panther-review/5126078.article)
- **The Telegraph** (4/5): The review praises the film as a superhero movie with serious muscle and style that offers a fresh perspective on the genre. It highlights the magisterial imagination of Wakanda's production and costume design for particular acclaim. [Read](https://www.telegraph.co.uk/films/0/black-panther-review-serious-muscle-style-marvels-creative-risk/)
- **Time Out**, Joshua Rothkopf (4/5): A huge step in the right direction, 'Black Panther' is a provocative and satisfying reversal of racial paradigms in blockbusters, from top to bottom a conscious reversal. The critic praises the culturally dense production design and deeper subtexts of honor, compassion and destiny, though notes it stumbles on typical Marvel battlefield action. [Read](https://www.timeout.com/movies/black-panther)
- **The New Yorker**, Anthony Lane (75/100, inferred): It is a blockbuster that succeeds in balancing the rough textures of non-heroic experience with Marvel’s gadget-packed demands, set in an unplundered utopian Wakanda. The critic singles out Michael B. Jordan’s swaggering, charming turn as the nemesis Killmonger for particular praise while noting qualms about its popcorn format. [Read](https://www.newyorker.com/magazine/2018/02/26/black-panther-and-early-man)
- **The Hollywood Reporter**, Todd McCarthy (70/100, inferred): The critic praises the film's fresh take on the Marvel universe with its hidden African world of advanced technology and royal traditions, noting strong performances especially from supporting cast and inventive action sequences. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/black-panther-review-1080811/)
- **Slant Magazine**, Keith Uhlich (30/100, inferred): The critic acknowledges Coogler's artistry in blending spectacle with themes of race, legacy and community but notes narrative lopsidedness that undercuts the villain's arc and sees the film as an apex of lowered expectations despite its visual and performative delights. [Read](https://www.slantmagazine.com/film/black-panther/)
- **Collider**, Haleigh Foutch (A-): The critic calls it Marvel's boldest and one of its best films, a vital moment in cinema history and heartfelt exploration of colonialism's scars and healing through an insular, richly detailed Wakanda. She singles out the strong ensemble especially the warrior women and the worthy, empathetic villain Killmonger for praise while noting minor flaws from the Marvel formula. [Read](https://collider.com/black-panther-review-chadwick-boseman/)
- **Deadline**, Pete Hammond (90/100, inferred): The critic calls it Marvel's greatest superhero movie yet and a dazzling film with real social value. He singles out Chadwick Boseman's performance as T'Challa along with the strong ensemble cast and diverse production team. [Read](https://deadline.com/2018/02/black-panther-review-marvel-chadwick-boseman-michael-b-jordan-disney-1202279233/)
- **NME**, Olly Richards (90/100, inferred): The review calls it the best Marvel movie yet, a smart and energetic standalone story with bold cultural commentary, stunning design, and joyful Afrocentricity from director Coogler. It highlights the film's importance as a statement on representation in blockbusters and its rewatchable entertainment value. [Read](https://www.nme.com/reviews/black-panther-film-review-2239011)
- **The Ringer**, K. Austin Collins (90/100, inferred): The critic hails it as Marvel’s first genuine masterpiece, richer and more complex than expected with a fantastical world that raises real questions about history, isolationism, and Wakanda's meaning to black people everywhere. He praises Coogler's direction, the powerful performances, and the symbolic beauty of the world-building. [Read](https://www.theringer.com/2018/02/14/movies/black-panther-film-review-marvel-ryan-coogler-michael-b-jordan-chadwick-boseman)
- **The Wrap** (90/100, inferred): The review finds the film mostly rousing and thrillingly alive, praising its introduction of fascinating supporting characters. It singles out the strong female roles and the vivid costumes and music for particular praise. [Read](https://www.thewrap.com/black-panther-film-review-mcu/)
- **The Playlist**, Kevin Jagernauth (B+): The critic praises the film's rich political and moral texture around identity, legacy, and isolationism, along with strong performances especially from Michael B. Jordan as Killmonger and a compelling hero-villain dynamic. They note some issues with messy action sequences, over-reliance on futuristic tech, and a somewhat simplistic resolution that doesn't fully explore its ideas. [Read](https://theplaylist.net/black-panther-review-20180206/)
- **Den of Geek**, Don Kaye (4 out of 5): The review praises the film as an excellent, culturally significant MCU entry with strong direction from Coogler, a superb ensemble cast (especially the women), and a complex, empathetic villain in Killmonger. It notes some pacing issues in the first half and uneven visual effects but concludes it expands the franchise meaningfully. [Read](https://www.denofgeek.com/movies/black-panther-review/)

## Details

- **Director:** Ryan Coogler
- **Director:** Ryan Coogler
- **Writer:** Ryan Coogler, Joe Robert Cole
- **Cinematography:** Rachel Morrison
- **Editor:** Debbie Berman, Michael P. Shawver
- **Music:** Kendrick Lamar, Ludwig Göransson
- **Production design:** Hannah Beachler
- **Costume design:** Ruth E. Carter
- **Producer:** Kevin Feige
- **Cast:** Chadwick Boseman as T'Challa / Black Panther; Michael B. Jordan as Erik Killmonger; Lupita Nyong'o as Nakia; Danai Gurira as Okoye; Martin Freeman as Everett K. Ross; Daniel Kaluuya as W'Kabi; Letitia Wright as Shuri; Winston Duke as M'Baku
- **Runtime:** 2h 15m
- **Certificate (MPA):** PG-13
- **Release (the US):** 16 February 2018
- **Genres:** Action, Adventure, Science Fiction
- **Budget:** $200 million
- **Box office:** $1.35 billion
- **Trailer:** https://www.youtube.com/watch?v=xjDjIWPwcPU

## Where to watch in the US

- Hulu: streaming, hd, leaving 2026-10-01
- Disney+: streaming, uhd
- Apple TV: rent $3.99, hd
- Amazon Prime Video: rent $3.99, uhd
- Apple TV: buy $9.99, hd
- Amazon Prime Video: buy $9.99, uhd

*Checked 2026-09-19.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, IE, IL, IS, IT, JP, KR, LT, MX, NL, NO, NZ, PA, PE, PL, PT, RO, RS, SE, SG, SI, TR, UA, US, ZA. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 2019: Best Picture (nominated)
- Kids' Choice Award for Favorite Movie 2019: Kids' Choice Award for Favorite Movie (nominated)
- MTV Movie Award for Best Villain 2018: MTV Movie Award for Best Villain (won)
- Saturn Awards 2018: Best Comic-to-Film Motion Picture (won); Best Supporting Actress (won)

## If you liked this

- *Creed* (2015), Fi1m 85: Coogler and Jordan’s first fight film, with one bout it stages start to finish. — [Fi1m page](https://film.one/film/creed.md)
- *Yeelen* (1987): Souleymane Cissé’s Malian myth of a son, a father and inherited power, no effects needed.
- *Space Is the Place* (1974): Sun Ra’s homemade Afrofuturism; the same ideas as Wakanda on a budget of loose change.
- *Spider-Man: Into the Spider-Verse* (2018), Fi1m 87: The other superhero film of that year with a design idea it actually follows. — [Fi1m page](https://film.one/film/spider-man-into-the-spider-verse.md)
- *Coming to America* (1988), Fi1m 76: An African prince abroad, played for laughs; Wakanda’s sillier cousin, and warmer. — [Fi1m page](https://film.one/film/coming-to-america.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/black-panther