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Comic books have taken over the movies. Must they take our indie auteurs, too?

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That tussle — between plucky individual vision and all-powerful house style — is palpable in “Black Widow,” wherein Shortland’s hand is most present in the film’s real world-adjacent scenes: when Natasha and Yelena (Johansson and Pugh) are engaging in sisterly sparring matches, for example, or processing a dysfunctional past with their parents. Funny, human-scale and observant, these sequences are punctuated with clockwork regularity by the fights, chases, fireballs and physics-defying stunts that are required of the genre, and that are usually handled by second-unit directors. (On “Black Widow,” that was Darrin Prescott, best known for his work on such nonstop action pictures as “Baby Driver” and the “John Wick” movies.)

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