Tag Archives: Captain America: The Winter Soldier

“CAPTAIN AMERICA: CIVIL WAR” Review (✫✫✫✫)

A war of humans, not heroes. 

I’m going to make a bold claim here. Captain America: Civil War is the best MCU movie to be made to date.

I know, I know, I’m probably a little overzealous when I say that. Except that I’m not. I’m fully aware of what its competition is. There are two other Marvel movies that I can compare Captain America: Civil War with. Those two are Iron Man and The Avengers. All three of them are exciting, suspenseful, nail-biting, eye-widening entertainment that are just as fun and memorable as they are emotional and meaningful. They’re not just great superhero dramas. They’re great human dramas.

But Captain America: Civil War is especially unique to even these entries. How? The biggest reason is because it isn’t formulaic. In Iron Man and The Avengers, we had our heroes, our villains, and they went at each other like rock-em sock-em robots. Granted, there’s deeper insight and perspective than just the two-dimensional hero/villain foreplay, but you can’t deny the framework that’s there. There’s a clear cut good guy and bad guy, as there is in most superhero movies.

But that black-and-white sense of morality isn’t well defined in Captain America: Civil War. In fact, there isn’t really an established sense of right and wrong in the picture, just characters whose ideals and values clash violently with each other. You can argue that there is a quote-unquote “villain” in the movie, but he’s more of a viewer than an active participant to the conflict involved. If we have to go by titles in this movie, what we have then is hero against hero, Avenger against Avenger, and friend against friend. The ensuing action is nothing else but thrilling, thought-provoking, mind-blowing, and heartbreaking.

In this sequel to both Captain America: The Winter Soldier and Avengers: Age of Ultron, Steve Rogers, a.k.a. Captain America (Chris Evans) leads a new team of Avengers, consisting of Black Widow (Scarlett Johannson), War Machine (Don Cheadle), Falcon (Anthony Mackie), Vision (Paul Bettany) and Scarlet Witch (Elizabeth Olsen). After an international event involving the Avengers ends in high casualties, General Thaddeus Ross (William Hurt) and Tony Stark, a.k.a. Iron Man (Robert Downey Jr.) step in to introduce the Sokovia Accords, which states that the Avengers would no longer be a private organization, but instead will be employed and assigned missions by a United Nations panel.

There are two perspectives to the Accords. On one hand, the Accords would give a new level of accountability to the Avengers. They would be restricted in where they could go and what they could do, and the public casualties in turn could be lessened. Plus, the Avengers would now get paid for all of their superheroing. On the other hand, this could put a level of control and interference on the Avengers that would prevent them from doing the most good. Plus, being assigned to report to a panel leaves them vulnerable for manipulation, forcing them to do things that they wouldn’t otherwise.

Iron Man leads the side that’s for the Accords: Cap leads the side that’s against it. But regardless of both sides, there’s another player in the field whose looking to manipulate both sides to his advantage. And neither side realizes it until its too late.

The second Marvel movie to be directed by brothers Anthony and Joe Russo and the fourth to be written by Christopher Markus and Stephen McFeely, Captain America: Civil War is a superhero movie ripe with context, a movie that asks uncomfortable questions that we would much rather remain unanswered. Just like how The Winter Soldier related its plot to today’s world of government control, survaillance, and corruption, Civil War also relates to real-world issues that appeals just as much to reality as they do to fantasy.

Take, for instance, the introduction of the Sokovia Accords. These documents, much like the connection between S.H.I.E.L.D. and H.Y.D.R.A. in The Winter Soldier, presents the theme of government interference and how those implications affect our world. Yes, the Accords would impose an element of control and responsibility over the heroes, but at what cost? This is a situation where civil liberties are being traded for security, and the question is raised on whether its a good trade or not. Juxtaposing this idea of control in between our heroes raises very important questions: questions that are startlingly resemblant of our world abundant with government surveillance and manipulation.

But the movie doesn’t suffer under its philosophical weight. This is still one of those fast-paced, funny, exciting Marvel movies that you’ve come to love. It’s just now a fast-paced, funny, exciting action movie that has deeper insight and drama than the previous entries did. The issues involved draw us deeper into the film’s conflict and to each of the outcomes that these characters face.

There are two of these characters that I haven’t mentioned yet. One of them is the rebooted Peter Parker/ Spider-Man, who is played here by Tom Holland as opposed to the recently discontinued Andrew Garfield. Holland’s appearance in the film is brief yet significant, and while he doesn’t serve a role as important as the others, his charisma, immaturity, and innocent charm makes him for a very entertaining and memorable character, one who sticks out in my mind just as much as Captain America and Iron Man. To be rebooted in just two years time is definitely too soon, and part of me wonders how well Garfield would have done if he had been given the same opportunities as Holland was. That doesn’t take away from the fact that Holland still wins us over and sticks out in our minds just as strongly as Garfield and Toby Maguire does. He makes me very excited to see what’s in store for him for his eventual return in Spider-Man: Homecoming.

The other character is T’Challa, a.k.a. the Black Panther (Chadwick Boseman). If there is a neutral side in this conflict, it is in T’Challa, although at one point he does fight on Iron Man’s team. He’s so great because unlike Iron Man or Cap, his perspective is the most human out of the other players. He is the citizen Cap and Iron Man are fighting to protect. He is the one that faces the most casualty out of any of the other players. This natural perspective into the film is so important, because it demonstrates an investment that isn’t coming from another superhero: it’s coming from the victim of both sides of the conflict. That pain and confusion is so important to understand Captain America: Civil War not just as a Marvel movie, but as a complex drama on its own two legs.

The performances, the action, the visual effects, and the direction all accumulate masterfully, and the Russo brothers demonstrate a better understanding of their characters than they did in Captain America: The Winter Soldier. What we have left, then, is an unchallenged masterpiece, a moral dilemma packaged as a superhero blockbuster that excites us just as much as it challenges us. Iron Man and The Avengers both challenged themselves morally and ethically, but not so much to the point where it’s entire plot was founded around it. There was still a right or wrong in those movies. There isn’t in Captain America: Civil War, and that makes it just as compelling as it is entertaining. The one downside to this film’s success: now the Russo brothers have to follow this up with Avengers: Infinity War. I don’t know how they’re going to do it. I would personally guess that they can’t do it. But I’ve been wrong before.

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“CAPTAIN AMERICA: THE WINTER SOLDIER” Review (✫✫✫)


Patriotism replaced with fast-paced spy action and conspiracy.

In his review for the Toronto Sun, writer Jim Slotek says that “Captain America: The Winter Soldier is actually a Jason Bourne film masquerading as a superhero movie.” Right there is your first problem. Captain America is not Jason Bourne. He does not need to be Jason Bourne. Captain America is Captain America. He has his own arc, history, complexions, motivations, and conflicts that make him a fascinating character in his own right. He is as noble as he is heroic, and in just the two appearances he’s had in the MCU so far, he’s already cemented himself as an icon and staple in this expanding universe.

Tonally, there’s a severe shift in between The First Avenger and The Winter Soldier. Captain America: The First Avenger was exciting, old-fashioned, comic-book fun, and had the look, feel, and nostalgia of those 1940’s pulp magazines. The Winter Soldier, in comparison, feels like a dark, gritty espionage thriller, and our hero wears a red, white, and blue costume instead of the atypical black motorcycle jacket and jeans. This time around, Steve Rogers, a.k.a. Captain America (Chris Evans) isn’t fighting Nazi-clad super soldiers or aliens from outer space. This time, Cap is after the Winter Soldier, a expert assassin who has a metal arm and has been operating for decades under the world’s nose. When one of Cap’s closest friends gets caught in the crossfire, Cap goes on the hunt for the Winter Soldier, along with an underlying conspiracy that he’s quickly unraveling.

The script is easily the best thing about Captain America: The Winter Soldier. Screenwriters Marcus Freely and Warren McAllen, who also penned the first Captain America movie as well as Thor: The Dark World, have made an incredibly thoughtful and politically-driven film, a story that, if put into book format, would arguably be more compelling than the movie is. Without giving too much away, Cap gets stuck into a position that pits him both against his own country and against his enemies, making him question himself and the ideals that he’s been fighting for all along. Is America the same country he knew during World War II? Is there any more life, liberty, and the pursuit of happiness in the American dream? Is the American dream even alive any more? All of these questions are what drives the story and its characters forward, and sets up a very hard-hitting, close-to-home conflict with our favorite Captain. This is a movie that has severe repercussions towards the future of the MCU, and the twists are so hard-hitting that they surprised me, even with the ones that I was expecting.

The plot is sound and strong for the purposes of the film. But the problem doesn’t exist in the screenplay, it exists in how it’s handled. Directors Anthony and Joe Russo, whose last film credit before this was 2006’s You, Me and Dupree, didn’t see a superhero story in Captain America: The Winter Soldier. They saw a political thriller, and they decided to live up to that in every way that they could.

Take, for instance, the choreography and the motion of the action in the film. It is straight up Jason Bourne. In Captain America: The First Avenger, the action was unique, creative, and dynamic, with Cap flipping around with his shield and beating up HYDRA soldiers in classic, swashbuckling fashion, making it fun and refreshing escapism from all of the action fanfares we’ve gotten throughout the years. Here, the action feels like a retread. We’ve seen this sort of lightning-quick, fast-paced fighting in virtually every action thriller, from James Bond all the way to Mission Impossible. Why should The Winter Soldier feel any more special?

The thing that makes Captain America unique, especially in The First Avenger, is his patriotic loyalty and his unwavering sense of justice. He looks out for the little guy. He cares about such things as self-respect and manners. He won’t throw a punch unless he has to. At heart, he is this small, skimpy, honest, good-hearted kid from Brooklyn, and this is the kid that Dr. Erskine saw in the first Captain America. Here, he’s in full hero mode as he kicks, punches, tackles, slams, and throws shields at all of the bad guys, and brings everything down all around him, including buildings, bridges, and S.H.I.E.L.D. helicarriers.

Tell me, where is the patriotism? Where is the nobility? Where is the sense of joy and adventure in this movie? In its two hour runtime, we don’t get a strong sense of these things that make Captain America who he is. What we get instead is quickly-edited action, punctuated in between moments of heavy exposition and backstory, which always feels like its building up to something big, but never really pays off.

I say this again: Captain America is not an action hero! He is not Jason Bourne, or Ethan Hunt, or James Bond, or John McClane. He is Steve Rogers, and he builds this identity of Captain America to protect those who can’t protect themselves. But The Winter Soldier does not focus on the theme of protection, unlike The First Avenger. Instead, it chooses to focus on distrust and political paranoia. In doing that, it takes away something very important from Captain America: his sense of character.

As it stands, Captain America: The Winter Soldier is a good movie and not a great one. It’s serviceable in what it needs to do, and not much else. Instead of likening to Cap’s sense of bravery and heroism, we instead look to his aggression and fighting. In doing that, we lose a part of him that we wish we had back. In this day and age, dry, drab, joyless action movies are Hollywood’s currency, and all of the world is buying. The deeper we sink into this culture of entertainment and violence, the more we need our favorite Captain to stand above it. 

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“ANT-MAN” Review (✫✫)

Fear me! I control ants! 

Here’s the perfect example of expectation affecting outcome. Let’s be honest: who was expecting anything out of Ant-Man? I know I wasn’t. I went in expecting a complacent, by-the-books, predictable superhero thriller. I left after getting that exact same thing.

Okay, maybe I’m being a little rough. The movie does have its moments, and it did at times give me slight enjoyment and chuckles. But how can individual moments replace an entire movie? If you compare Ant-Man to its other giant-sized movie counterparts (The Avengers, Iron Man, Captain America: The Winter Soldier), you will always arrive to the same word to describe it: smaller.

Taking place after the events of The Avengers: Age of Ultron, Ant-Man introduces Hank Pym (Michael Douglas), a genius scientist that rivals the intellect of Iron Man’s father Howard Stark (John Slattery). After realizing that the government was seeking his Pym particles, which allows him to turn into Ant-Man, to be weaponized, Pym goes into retirement, hoping to protect his particles from the world so that they would never be used for nefarious purposes.

Enter Daniel Cross (Corey Stoll), Pym’s ex prodigy. In modern day, Cross re-created Pym’s particles in the form of Yellowjacket, a suit similarly designed to Ant-Man and outfitted with the same capabilities. Desperate to get the suit and to further protect his invention, Pym enlists the only individual who can help take up the Ant-Man mantle: Scott Lang (Paul Rudd), a notorious thief who has a knack for getting into places he doesn’t belong, and a daughter he’d do anything to see again after separating from her mother.

It’s true, most probably didn’t think much about a superhero named Ant-man when this project was originally announced. But to be fair, this film does have some merit, despite its low expectations. The best thing I can say about Ant-Man is this: its fun. Meagerly fun, yes, but it still counts.

Honestly though, that doesn’t surprise me much. The film was originally written and was supposed to be directed by Edgar Wright, who is most known for his comedic action films Shaun of the Dead, Hot Fuzz, The World’s End, and Scott Pilgrim vs. the World. If you’ve seen any of those films, you know that he’s a clever and well-versed filmmaker who knows how to balance action and comedy with drama. If I were a studio head, I would have taken one look at his filmography, thrown all of my money at him, and shouted “Take it! Take it all! Take it and make more!”

So what happened? Simply put, Marvel happened. After a few creative disagreements between himself and Marvel, Wright left and Peyton Reed was hired in his place. Reed directed The Break Up and Yes Man before helming Ant-Man. Yeesh.

Luckily, Ant-Man survived it’s lop-sided pre-production into release. Well, maybe “survived” isn’t an appropriate word. Dragged by its insect legs is more accurate.

The biggest complaint about Ant-Man is that it’s inconsistent. Moments of heartfelt drama collide with out-of-place comedy. Comedy is bogged down by moments of forced emotion. The only thing that is consistent in the film is its action, which is surprisingly innovative to its premise.

For instance: in the first scene where Scott shrinks as Ant-Man, he falls into a bathtub. Who would have thought falling in between droplets of water and cracks in the floor would be so exciting and interesting? The details we see when Scott shrinks are extraordinarily eye-popping, immersing us in this whole new world we didn’t see before in regular proportion. Seeing Scott traverse into ant hills that turn big when he shrinks, communicating with insects his size when he’s small, and finding new locations inside smaller ones are among some of the fantasies we see when he’s Ant-Man. Seeing him fight as Ant-Man is the most fun. Who knew that a Thomas the Train set could be so dangerous to two miniature super-beings?

Other than the visuals though, the movie is sub-standard. It’s cookie-cutter in about every sense of the word. The comedy, the drama, and the acting is all forced for effect, and in the process, it has none. For Pete’s sake, even the movie’s villain is so bland. Who cares about some bratty little business executive who steals a powered suit for money, fame, and power? That was Obadiah Stane in 2007’s Iron Man, and he was a much more compelling villain than this standard archetype of an antagonist.

It’s true, this film didn’t have much to go on when originally announced, but the idea doesn’t count as much as the execution. People doubted Guardians of the Galaxy when that came out, and people reversed their opinions and said it was greater than The Avengers after they saw the film. I believe those same people will watch Ant-Man with no reaction as he flies in the air and goes “splat” across their window pane.

Footnote: If you do decide to watch Ant-Man, do not watch it in 3D. It has some of the worst particle effects I’ve ever seen in a 3D conversion, and I had to lift my glasses every five minutes to see how much brighter the film was without the glasses. I didn’t know that Ant-Man was supposed to be such a dark picture.

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