Tag Archives: Marvel

“THOR: RAGNAROK” Review (✫✫✫✫)

SOURCE: Walt Disney Studios Motion Pictures

We will, we will Ragnarok you.

Just when you thought Marvel had used all the tricks up their sleeve, they release Thor: Ragnarok, a movie that has absolutely no business being this good or memorable. Here is a picture which, by every metric, should have failed. It’s a Thor movie first of all, and it features the one Avenger so dull that a cardboard mannequin with a blonde wig is more interesting than him. His co-star is the Hulk, and that meshing of fantasy and sci-fi genres makes about as much sense as putting Harry Potter in a Batman movie. It’s the third part of a trilogy, which usually ends up being the worst in the series (See Spider-Man 3, X-Men: Apocalypse). On top of that, this film is a retro-comedy aiming for the style akin to Guardians of the Galaxy. How on Asgard could Marvel have pulled this off? Spectacularly, that’s how.

A sequel to both Thor: The Dark World and Avengers: Age of Ultron, Thor: Ragnarok follows our golden-haired hero Thor (Chris Hemsworth) propelled through the universe as he tries to prevent Ragnarok, the prophesized destruction of Asgard. He goes to Muspelheim to capture the fire demon Sultur (Clancy Brown), Midgard to find his father Odin (Anthony Hopkins), the Sanctum Sanctorum to meet Doctor Strange (Benedict Cumberbatch), Sakaar to fight the Hulk (Mark Ruffalo), and Asgard to face Hela, the Goddess of Death (Cate Blanchett). I’m telling you, this guy gets around. If he traveled anymore in the movie, he’d have to throw away his hammer and resort to montages for faster travel.

Here is a movie that, for the life of me, I don’t understand how it works. This film packs five different genres into one narrative, and that usually spells doom for any movie that tries to do that. Not here. Thor: Ragnarok is a funny comedy, a thrilling action movie, an exciting adventure, a heartfelt drama, and a groundbreaking superhero epic that hits every single note that it needs to. A movie this busy should not feel this simple, yet it flows and moves effortlessly, like how one stretches and plays with silly putty.

Where do I even start? The film’s director Taika Waititi executes his film chaotically yet masterfully, filling his characters with vibrant personalities and throwing them through action scenes resemblant of a little kid playing with his action figures. My main complaint with superhero movies (and really most action blockbusters in general) is that studios focus so much on the action and visual effects that they forget that character and personality is the driving force behind the successes of most major film franchises. For example, would the visual feats in Superman and Star Wars have felt as incredible if Clark Kent or Luke Skywalker weren’t as likeable of heroes to begin with?

Thor: Ragnarok takes cues from both of those movies as it emboldens its characters with electric personalities, playing off of their charisma and creating witty, comedic dialogue between each other. Chris Hemsworth continues to play the fratty, oblivious oaf in Thor as he always has, but here he does it with a self-awareness that makes him funny enough to pass it off as likeable. Ruffalo steals the spotlight in a mostly Hulk-dominated performance, yet rounds him out with a subtle arc that possesses its own somberness and tragedy within it. And Blanchett surprisingly offers up a menacing and diabolical performance in a franchise that is usually lacking in the villain presence, even though her motivations for fighting Thor are kind of weak in the film.

Everything else from the film is unorthodox perfection. Seriously. I haven’t seen anything like it. The comedy hits exactly the right notes with the right lines. The drama, while at times a little too brisk, strikes with the emotional chord that it needs to. The action scenes are thrilling. The visual effects, mesmerizing. The music, synthesized and catchy. Even the Easter Eggs are infectious in their appeal, with one cameo involving Tom Hiddleston’s Loki making me laugh so hard that my surrounding audience members started to look worried for me.

If I had any weakness to offer, it would be that the film’s tone is jarring compared to previous entries, with the series doing a complete 180 in genre from a Norse fantasy epic to an action-comedy so in-cheek that the “Who’s Line Is It Anyway?” troupe would wonder where their invite was. But to that I say screw consistency, this is a fantastic movie; one that flips one of Marvel’s most boring characters and somehow makes him the most interesting. Maybe I would be irritated by the change in aesthetic if they did this with Iron Man or Captain America, but that’s only because those characters already have an interesting arc and personality to them. Thor is more of a blank slate, and in realizing this, Waititi pulls out his paint cans and floods the screen with as much color and life as he can.

I haven’t had this much fun in a superhero movie since The Avengers in 2012. Yes, I’m comparing Thor: Ragnarok to The Avengers. Don’t knock it until you try it. While it doesn’t confront real-world issues and moral dilemmas like Iron Man, Captain America: The Winter Soldier or Civil War does, Thor: Ragnarok more than makes up for it with its stylish action, colorful visuals, brilliant self-awareness, and gut-busting humor so hilarious that it’s difficult not to pee your pants from laughing so much. This is a movie where Deadpool could appear in randomly halfway through the picture and it would still make complete sense.

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“THOR: THE DARK WORLD” Review (✫✫✫)

SOURCE: Walt Disney Studios Motion Pictures

Et tu, Loki?

Thor: The Dark World is another Thor movie, and how much you’re going to like it depends just on how you react to hearing that. I quite liked the first Thor, although the town scenes meandered a bit too much for my liking. Beyond that, it was a fun, standard superhero fanfare that watched and clapped its hands whenever Thor whacked something with his hammer. Thor: The Dark World has all of the elements that made the first Thor successful, just more of it.

After Loki’s (Tom Hiddleston) embarrassing defeat at the hands of the world’s mightiest heroes in The Avengers, Thor (Chris Hemsworth) brings him back to Asgard to stand trial against his father Odin (Anthony Hopkins). While this is going on, the ancient dark elf Malekith (Christopher Eccleston), who has spent centuries trapped in suspended animation, is suddenly set free and assembles his army to reclaim the Aether, a powerful artifact that can eat away and disintegrate entire worlds. Now with the fate of the nine realms in the balance, Thor needs to team up with Sif (Jaimie Alexander), the Warriors Three, and even Loki to defeat Malekith and free the universe from his madness.

Let’s get the obvious out of the way first: Malekith is a terrible villain. Don’t get me wrong, Eccleston is a fantastic actor, and he brings a sense of conviction and ruthlessness to his role unlike anything we’ve seen from him when he played the ninth doctor in BBC’s “Doctor Who” series. But the villain himself is completely flat and uninteresting. He has no personal stake in Thor or anybody else’s story. He’s just a giant, ugly-looking grey Yoda ripoff that has the typical “I WILL DESTROY THE UNIVERSE” shtick. He doesn’t have Obadiah Stane’s deceitful snide, the Red Skull’s malicious presence, or even Loki’s sickly narcissistic charm. No, he’s just your typical big baddie with zero personality or interest, and he inhabits the film like Marvel needed to fit the bill just so they could green light the production. In an age where supervillains have the potential to be the best or most memorable element in a superhero film, Malekith is just flimsy and forgettable. He offers nothing significant to set him apart from the rest of the Marvel crew.

Thankfully, Hiddleston offers more than enough personality and interest as Loki to make up for Malekith’s lackluster inclusion. One of the things about Hiddleston that constantly impresses me is how well he inhabits the cunning and madness of Loki whenever he’s in character. He has a jesting, flamboyant flair to him, yet a sinister undertone that’s always seething beneath like a snake’s venom through his teeth. Unlike Malekith, Loki has a grounded investment in the story, has personal ties and a history with the film’s hero, and plenty of deep layers that reveal themselves the more you pull back on them. There’s an incredibly interesting arc to his character, an almost Shakespearean tragedy that tells of a man infatuated with himself and his riches, but only inflicts himself the further he draws away from his family and friends. The dynamic that he shares with Hemsworth as his brother easily takes precedence as the most memorable moments from the movie. He could have a film entirely dedicated to himself and not lose one bit of interest or investment in it. He’s that good.

The rest of the film is your typical Asgardian action-adventure. Characters fly and fight each other in incredible visual spectacle, the costumes on both the Asgardians and the elves have an edge and detail to them that evokes the feel of ancient Roman garb and armor, and the set design of Asgard and its surrounding worlds continues to shine in spectacularly vivid detail, as if it’s an image ripped straight from our dreams as opposed to the frames on celluloid. The film’s director Alan Taylor demonstrates a keen eye on the design and visual appearance of Asgard and the nine realms, and so he should. He’s directed seven episodes from the highly-praised “Game of Thrones” television series, another show that had highly-stylistic violence and an acute sense of detail to its scenery and costumes. Thor: The Dark World is a fitting follow-up for him. Asgard continues to astound and amaze, the action is just as exciting and gripping, and Taylor continues to expand upon this infinite universe that Thor is constantly exploring.

So which film is better? Thor, or The Dark World? I can’t really say for certain. They both play to their strengths, yet also demonstrate ignorance to the flaws perpetrated by their plots. I guess for me, it depends on how much you want to see Thor’s character arc fleshed out versus watching Thor bash bad guy’s brains in with a magical metal hammer. I vote hammer. Thor: The Dark World is ambitious, gladiatorial-style fun that pits our super-powered fantasy heroes against each other and watches what chaos ensues. I halfway expect Thor to turn around and yell “Are you not entertained?!” to the audience after playing whack-an-elf with Malekith. I’d pay a ticket price just to see that on its own.

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“THOR” Review (✫✫✫)

SOURCE: Paramount Pictures

If he be worthy…

This is it. This is the make-it or break-it for the Marvel Cinematic Universe: the deal-breaker. Up until now, Marvel has had strong material to work with for its cinematic universe, with the combined powers of Robert Downey Jr.’s Iron Man and Edward Norton’s Hulk filling the comic-book shoes well so far. But now we’re going into uncharted territory with Norse mythology. How are you supposed to make Norse Gods and legends work well with science-fiction, technology, and secret spy organizations without making it feel silly or on-the-nose?

The answer is you don’t: you amalgamate it and integrate it into their shared science-fiction universe to make it feel fluid and believable. Whatever silly experience you’re expecting to get out of a movie called Thor, you’re safe to throw your doubts out of the window now. Thor is exciting, fun, and fast-paced, whizzing with energy and incredible action and effects. And most impressively, it is epic, much like the Norse legends themselves are. I was not expecting a movie about the Norse God of Thunder to throw me off my feet this much. But then again, I didn’t know what to expect with a movie called Thor to begin with. Perhaps that helped me further appreciate it in the long run.

In this adaptation of both the Marvel comic and the Norse legend, Thor tells the story of the brash and arrogant God of Thunder, played here by Chris Hemsworth, who made his debut as James Kirk’s father in 2009’s Star Trek reboot. In this iteration, Thor is not a superhero like your regular Marvel folk, but instead the prince of Asgard, a fantastical world far removed from time and space. His father Odin (Anthony Hopkins) is the king of Asgard, while the God of Mischief Loki (Tom Hiddleston) supports Thor as his brother.

One day, the Frost Giants of Jotunheim sneak their way into Asgard and kill a few soldiers in an act of aggression against the kingdom. After they are swiftly wiped out by Asgard’s security forces, Thor ventures into Jotunheim to declare war with the Frost Giants against his father’s wishes. After narrowly escaping Jotunheim with their lives intact, Odin strips Thor of his powers, takes away his hammer Mjolnir, and banishes him from Asgard as his punishment. Now trapped on Earth (or “Midgard” as he refers to it) without any way of getting back home, Thor has to find a way to regain his powers and once again become the God of Thunder that he was born to be.

My biggest concern going into this movie was how they were going to fit Norse mythology into a universe filled with Iron Men and Gamma-radiated monsters and make it feel believable. Out of all of Stan Lee’s notable creations, Thor is hands down the most plagiarized and the most preposterous. Nothing about him is interesting. A Norse God has superpowers and family issues? Please. Iron Man, the Hulk, and Spider-Man all have the same things, yet are infinitely more interesting because of the very personal problems they experience. Tony Stark and his ego and alcoholism. Bruce Banner and his anger issues. Peter Parker and his sense of guilt and responsibility. Many superheroes are popularized not just because of the powers they have or the costumes they wear, but because they have complex drama and personalities coupled with their action-filled comic book panels. Thor has always felt the least interesting or compelling, and that’s partially because of the wildly fantastical setting that he inhabits.

And yet, Thor works surprisingly well, mostly because of the convictions held by its writers and director. Screenwriters Ashley Miller and Zack Stenz, who also penned X-Men: First Class earlier this summer, demonstrates a clear understanding of Thor’s mythology and how it ties in to the nuance and appeal of the rest of the Marvel Cinematic Universe. Yes it’s technically a fantasy film, but it doesn’t feel that way. It feels like another superhero action romp where characters zip, zoom, and fly into each other as the screen explodes into an exciting, color-filled visual effects spectacle. Part of that is because the film smartly blurs the lines between fantasy and science-fiction, blending both of the genre’s characteristics to make the film flow into one believable narrative. As one character observes in the film, “Magic is just science we don’t understand yet.” That quote comes from author Arthur C. Clarke.

Yet the film works on a dramatic level as well, with Hemsworth and Hiddleston’s chemistry feeling like actors interacting in a stage play, not as two superheroes flying into their own battles. There’s a very distinctive reason why: it’s because they’re being directed by actor Kenneth Branagh, who has made a career for himself as the “Shakespeare guy” in Hollywood (seriously, look at his filmography. He’s helmed adaptations of Shakespeare’s Henry V, Much Ado About Nothing, and Hamlet, and that doesn’t even include his stage credits). Approaching Thor like he would with any Shakespearean drama, Branagh lets the actors loose and allows them to have fun with their roles, with them being equally over-the-top, boisterous, dramatic, accentuated, and theatrical all at once. Oh, these characters definitely would not be believable as human beings. But as Norse Gods of ancient legend? They’re impeccable.

Hemsworth and Hiddleston serve their roles enthusiastically, and they work so well together that they could be just as entertaining by themselves without the help of added effects. The action and the visuals are dazzling and spectacular, making you feel like you really are in Asgard, Jotunheim, or Midgard watching Thor whack every enemy marching towards him. And the music by Patrick Doyle is beautiful and uplifting, evoking a sense of grandeur and adventure that feels appropriate for an epic like this.

If there is any weakness to the film it is its second act, which takes the momentum the first act builds up to and brings it to a screeching halt. In the second act, Thor loses his powers and is navigating Earth like a clueless goof that acts like he suddenly forgot how to behave and interact like a normal human. My problem with these scenes is that at the beginning and end of the film, we’re experiencing the action in Asgard, and it overwhelms you with incredible visual scope and spectacle. Then we’re transported to Earth with Thor and suddenly everything becomes so… dull. The visuals take an obvious step back and it looks and feels more like a SyFy channel television movie than it does as a Marvel production. Thor is thrusted through comedic slapstick moments, making him look pretty stupid in the wake of all of the lightning-fueled action he was performing earlier. These scenes feel disjointed, jarring, and removed from the rest of the picture, almost as if it’s another movie we’re watching entirely. I have no problem with taking away Thor’s powers for the sake of added drama or conflict. I do mind the stylistic changes that do not blend well with the rest of the picture.

Still, Thor is loads of fun, and I’d be lying if I said I didn’t enjoy it. Marvel is starting to develop a knack for making their underappreciated heroes shine in the spotlight. Remember years ago when we thought Robert Downey Jr. was going to be a bust in Iron Man? Now we have Chris Hemsworth stepping into the shoes of Thor, and he’ll be joining up with the rest of the Avengers next year with a metal man, a giant green ogre, and a red-white-and-blue boy scout. Thor is the God of Thunder. He’ll fit right in.

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“THE INCREDIBLE HULK” Review (✫✫✫)

SOURCE: Universal Studios

Hulk smash puny critic! 

Bruce Banner is not a hero. One would be wrong for mistaking him as one. He is not proud or triumphant, he doesn’t wear a cape, and he doesn’t “save the day” as someone like Superman or Batman would. No, Bruce is a timid, shallow, and fearful young fellow, one that grips with a double-persona in him that’s angry, destructive, and vengeful all at once. His story is not one of happiness or hopefulness. It is in essence a tragedy, not unlike that of Dr. Jekyl and Mr. Hyde, except in this case Mr. Hyde is a giant, green raging monster that says “Hulk smash!” every time he punches something.

In this second go-around at adapting one of comic book’s most recognizable characters, The Incredible Hulk retells Banner’s transformation into Marvel’s not-so-jolly green giant, with Fight Club actor Edward Norton taking the part over from Erica Bana this time around. In this iteration of the Hulk, Bruce is on the run from General Thaddeus “Thunderbolt” Ross (William Hurt) and the U.S. military, who wants to take Banner’s gamma-radiated blood and weaponize it for their own uses. Desperate for a cure for his angry, green, muscle-infused transformation, Banner enlists in the help of his lover Betty (Liv Tyler) and Dr. Samuel Sterns (Tim Blake Nelson) to search for a cure, finally freeing himself from the monster within that is the incredible Hulk.

Since this is the second live-action adaptation of the Hulk in less than five years, it’s only fair to assume the comparison’s viewers are going to make from this version to Ang Lee’s Hulk released in 2003. As this is the case, you should know that I wasn’t a fan of that version. I did like a lot of things about it: the nuanced, quietly disturbed performances of Eric Bana and Nick Nolte, the creative comic book panel-esque transitions between shots, and the exploration of disturbed psychology developed from childhood trauma. There were a lot of creative elements in that film, and Lee deserves credit for at least branching out and trying new things in the superhero genre.

The key issue with that film was the pacing. The run time dragged out grudgingly, many shots didn’t pertain to what was going on in its scenes, and the movie just simply wasn’t fun. It was interesting for sure, but it lacked the suspense and excitement needed for a movie like Hulk to work. Observe, for instance, if Spider-Man or X-Men dragged out at the exasperating pace as Hulk did. Those movies would get boring pretty quickly, wouldn’t they?

I start my review by reliving the previous’ strengths and failures because The Incredible Hulk embodies the exact opposite of those. Hulk was an insightful, if meandering drama that had moments of superhero action in it. The Incredible Hulk is a full-blooded gamma-radiated monster-thriller that enthusiastically smashes through as much property damage as it can cause. It isn’t dramatic, insightful, or even significantly moving, and neither is it required to be. Part of a movie’s success is by playing to its strengths and weaknesses, and The Incredible Hulk demonstrates a sound understanding of both.

The crucial element to this is director Louis Leterrier, who helmed the first two Transporter movies before The Incredible Hulk. Framing it as an homage to the Bill Bixby 1978 television series, Leterrier plays the film’s elements to his advantage, pulling out thrills and excitement in the slightest of methods. Take, for instance, an early chase scene involving Banner, Ross, and a squad of military soldiers. Despite how it’s essentially another generic movie chase, the sequence was surprisingly thrilling, and that’s because of all of the elements in play here. The editing from Apocalypto’s John Wright was quick-paced and attentive, cutting briskly between each character’s perspective while at the same time not losing focus on the action. The music by Craig Armstrong is suspenseful and riveting, building up to a thematic opera that evokes the same sensation of those classic 1980’s monster movies. And the cinematography by Peter Menzies Jr. perfectly captures Bruce’s paranoia in this scene, with his biggest concern being not evading the soldiers or getting out unscathed, but rather not becoming so tense to the point where he transforms and causes harm to the people around him.

Leterrier uses these elements to turn seemingly simple moments into extraordinary ones, heightening tension and escalating excitement. Imagine what happens when Bruce breaks out into anger and goes Hulk destructive on everything in his path? While the smaller moments work surprisingly well, the film’s real value comes in its visual spectacle, where Hulk rams into soldiers, lifts and crushes cars, leaps and climbs tall structures, roars like a wild animal, and angrily smashes into as many objects as he can. In most action movies, the protagonist is usually in the more vulnerable position and has to face impossible odds stacked against him. I find it interesting that in this context the role is reversed and that Hulk’s enemies are the ones at a disadvantage against this giant, ruthless behemoth. It develops an interesting catharsis for the character, or at least, as much as it can possess in the midst of mindless superhero monster action violence.

The performances, while serviceable, are nothing spectacular enough to be memorable. The story is uninspired and feels stock compared to other action thrillers (seriously, read the script and tell me how much it reminds you of Jason Bourne). And while the final fight in the movie is climactic and exciting, the movie’s villain is just a mirror match to the Hulk and has no personal investment beyond that.

Still, how much you end up liking The Incredible Hulk depends on what you’re looking for in a Hulk movie to begin with. For me, I’m looking for action, and lots of it. The Incredible Hulk has that in spades. While not narratively impressive, The Incredible Hulk has enough dynamic action, awe-inspiring spectacle, and reckless destruction that makes you root for the big, angry green giant regardless. At the very least, let’s agree that this version of the Hulk is better than Ang Lee’s variation. I reiterate: the catchphrase is “Hulk Smash,” not “Hulk Talk You To Death.”

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“SPIDER-MAN: HOMECOMING” Review (✫✫1/2)

The spectacular Spider-millennial.

In the day and age of the modern superhero, Spider-Man has always been for fans of many ages. The Tobey Maguire movies were for the adults, while the Andrew Garfield movies were for teenagers. The third actor to reboot the franchise for the second time in less than 10 years, Tom Holland now swings into theaters with Spider-Man: Homecoming, a version that’s sillier, more lighthearted, and definitely aimed at the kiddos. You’re welcome to read that as either a compliment or a criticism. 

After tussling with Captain America and crew in Captain America: Civil War, Peter Parker (Tom Holland) is sent back to Queens by Tony Stark (Robert Downey Jr.), who says he’ll call him when he’s ready for his next mission. Two months later, Parker is still sifting through boring high school life as he continues to go to class, get picked on by bullies, blush around cute girls, and wait eagerly for the school day to end. When the bell finally does ring and he’s out of school, he rushes towards the closest street alley he can find, suits up in his nifty new suit designed by Stark, and swings into action as your friendly neighborhood Spider-Man.

The first thing I want to point out here is that I like Tom Holland a lot. Perhaps more than any actor before him, Holland embodies the characteristics of both Peter Parker and Spider-Man to a “T.” Peter’s social awkwardness and nerdiness, his integrity and good intentions, his black-and-white sense of morality and how he wants to make the world a safer place. When he’s out of the suit, Holland is required to portray the adolescent teenager, whose biggest challenges are passing your classes and talking to your high school crush. Holland is down-to-earth and believable in the role and very much feels like the most grounded Peter Parker to date. In the company of Maguire and Garfield, that is no small feat to accomplish.

Of course, Holland is also expected to play Spider-Man as well, and he exercises surprising finesse when he puts on the mask. There was one scene in the movie where a bystander spots Spidey on a rooftop, and he asks him to do a backflip, to which Spidey complies. Knowing that his acrobatics is what helped Holland land the role in the first place, I knew that it was very possible that he performed the stunt on his own, and he didn’t need wire support to do it. Embodying that kind of physicality for the role is what makes him fitting for Spider-Man, and seeing him physically take on the same challenges as the web-slinger puts the audience in Holland’s shoes, making the action feel more immediate and immersive.

Holland was great as Spider-Man in Captain America: Civil War, and he’s just as great as him here. There’s one problem though: Holland is only half of the equation. The other part comes with the director in how he thinks the character should be portrayed. This is where things start getting sticky, because I don’t think director Jon Watts knew exactly how to handle Spider-Man’s second reboot and make him different from previous counterparts. It’s understandable, I suppose. The Maguire and Garfield movies both had their serious and lighthearted moments, and to make Holland stand apart from them might have been challenging without seeming like he was copying other filmmaker’s ideas.

Still, you have to stay true to the character, and there are some changes to Spider-Man here that just plain doesn’t make sense. In one chase scene, Spider-Man is after a getaway van with a pair of weapons dealers in it, and the action feels so clumsy that it comes off as slapstick. Spidey is being dragged along the floor, banging against garbage cans and mailboxes, web-slinging over buildings, crash-landing into pools, and at one point even playing fetch with a dog. The scene felt so removed from the acrobatic action that I’m used to that for a second I felt like I was watching a Looney Tunes cartoon rather than a Spider-Man movie.

Also, I hate that Iron Man is in this movie. Hate, hate, hate it. He’s not in the movie much, unlike the trailers will have you believe, but in the scenes that he is in he immediately takes control and switches focus away from Holland’s Spider-Man. In every moment that Spider-Man is in trouble, Iron Man swoops in to save the day. He falls into a lake, Iron Man saves him. A ship is splitting apart, Iron Man saves him. Imagine if another hero just swept in when Maguire was stopping the train in Spider-Man 2, or when Garfield dived to save falling bystanders off of a bridge in Amazing Spider-Man. Heroes have to answer for their choices and consequences in their stories, and Peter isn’t allowed to experience either in Homecoming. Tony didn’t have a “get out of jail free card” when he was stuck in a terrorist hellhole in Iron Man. Spidey doesn’t deserve a crutch just because he’s 15 years old.

Everything from the movie is functional, and little else. The writing is uninspired and demonstrates why having a large writing team doesn’t always equal better content (Homecoming had six writers, including Watts). The score by Michael Giacchino is fun and upbeat, but lacks the dramatic overtones that is prevalent in his previous compositions. And the visual effects are… inconsistent. Some parts look amazing, like when Spidey and the super villain Vulture (Michael Keaton) are fighting on top of the Staten Island Ferry. Other times they can’t close a door without looking like it’s from a video game. I remind you that Marvel just made one billion dollars from Captain America: Civil War last year, and this is their follow-up.

In the end, Spider-Man: Homecoming is fun but forgettable. It isn’t unique when it comes to its MCU peers, which is a shame because Spider-Man has many unique elements regarding his story. His immature, reckless use of his powers, the ironic tragedy surrounding his choices, his loyalty to the loved ones he cares about, the idea that even small people can become big heroes. All of that is shoved to the side in the place of cartoonish action where our young hero zips, zooms, and trips over himself when he doesn’t have a responsible adult to chaperone him. This was supposed to be a triumphant return to form for the character: his homecoming. Ha. More like the player’s bench.

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“GUARDIANS OF THE GALAXY VOL. 2” Review (✫✫1/2)

SOURCE: Walt Disney Studios Motion Pictures

With a little “g”.

Guardians of the Galaxy is irrevocably stupid. Whether you’re a fan or not, this is generally considered consensus among viewers. This is a superhero movie filled with wise-cracking bounty hunters, green-skinned assassins, talking trees, raccoons, and even ducks. If you had told me about a movie like this 10 years ago, I would have laughed you off and said “Leave me alone, I’m trying to watch Spider-Man 3”.

And yet, Guardians of the Galaxy became an instant classic: a surprise hit nobody was expecting. That’s because writer-director James Gunn found an impeccable balance between action, humor, wit, drama, and in-cheek satire only the most passionate Marvel fans could catch. Guardians wasn’t just a great superhero movie: it was a great movie period. It’s energy, originality, and irresistible sense of style breathed life into its absurd premise, playing well on its strengths while downplaying its potential weaknesses.

Guardians of the Galaxy Vol. 2 has all of the elements of the first movie, just more haphazardly assembled. The action is still great, the cast remains phenomenal in their roles, and Gunn is equally skilled in throwing in some entertaining Easter Eggs every once in a while. But the tone is off. The jokes don’t land as much. The emotions don’t hit as hard. And no matter how you slice it, Vol. 2 is just a lesser version of Vol. 1. Disappointing, but not surprising.

In this sequel to the star-studded sci-fi blockbuster, Peter Quill, a.k.a. Star-Lord (Chris Pratt) discovers the identity of his father: a celestial that has lived for ages called Ego (Kurt Russel), an appropriate name considering his high-strung personality. After saving the guardians from an attack by the Sovereign, a gold-plated alien species that would make Ebenezer Scrooge drool in his seat, Ego reveals himself to Peter and invites him to his planet so that they could bond as father and son. Joined by Gamora (Zoe Saldana), Drax (Dave Bautista), Rocket (Bradley Cooper), Groot (Vin Diesel) and newcomers Yondu (Michael Rooker), Nebula (Karen Gillan) and Mantis (Pom Klementieff), the Guardians of the Galaxy set out to discover Peter’s true heritage and to see where his destiny may lie.

When Vol. 2 opens up on its first scene, I was immediately reminded of the fun, unorthodox energy sprouted from the first film. Pratt’s charismatic swagger, the catchy and toe-tapping 70’s music, the obnoxious and absurd action, even a miniature Groot was dancing to the tune of “Mr. Blue Sky” while the rest of the Guardians were busy fighting a giant space monster in the background. If this first scene was anything to go by, it was that Gunn still had his sense of style intact and he was ready to follow through with it to the end of Vol. 2.

He does in a way, but it isn’t without its inconsistencies. There is a lot to like here in Vol. 2, mostly having to do with the cast. Pratt and Cooper remain to be the best performers out of the other Guardians, and their spontaneous and quick-witted lines made me laugh and chuckle at their on-screen antics. Kurt Russel has a charismatic intensity that vibes very well with Pratt, and at comparing the two side-by-side, it’s easy to see how their characters are related. Gillan also gets more screen time as Nebula, and Gunn fleshes her out as a more well-rounded character complete with her own fears, apprehension, and regrets. Gunn has previously stated that Nebula is a strong enough character to warrant her own movie. After watching Vol. 2, I can totally see that happening and would be curious to see where exactly Gunn could take her.

These performances alongside the others make for a very strong ensemble, the likes of which hasn’t been seen since last year’s Captain America: Civil War. Yet the characters and their motivations struggle to mesh and at times lack sense altogether. Yondu, for instance, is painted here as an almost-fatherly figure to Peter, juxtaposed right alongside Ego in their differences for how they raised Peter. Yet in the first Guardians, Yondu is the complete antithesis of Peter, a ruthless criminal that was fully intent on killing Quill for betraying his ravagers. How does it make sense that Yondu was dead-set on killing Peter in the first movie, whereas here he’s flipped to being more protective and even concerned? One could argue it as a change of heart, but that doesn’t make any sense. Where did that change come from? What was the inciting incident? Why now after Peter betrayed Yondu not once, but twice?

There are other things that don’t work as well in the picture. The Sovereign are not very interesting villains and serve little purpose except to look shiny on the big screen. There’s a running gag with Rocket where he keeps winking out of the wrong eye while speaking sarcastically. I’m left wondering how a cybernetically enhanced raccoon could not know the difference between his left and right eye. And some of the dialogue was just too stupid to forgive. In the climax of the film, Peter yells to the movie’s villain “YOU SHOULDN’T HAVE KILLED __ AND CRUSHED MY WALKMAN!” I’m thinking the person or the Walkman, pick one and stick with it.

Overall, Guardians Vol. 2 is a decent addition to the Marvel universe, but not an outstanding one. It’s just sort of there to hold us by until we can get to Spider-Man: Homecoming later in the summer. Yet I remain sympathetic towards Gunn because he was betting against expectation for this installment. Nobody was expecting Vol. 1 to be as great as it was: it just came out and subverted the entire superhero genre in a fun and stylish way. Following up from the surprise that was, how can you fairly expect Vol. 2 to have the same impact? You can tell Gunn invested a lot of heart and humor into this story: he just invested it in some of the wrong areas. What can I say? Even the classics can let us down sometimes.

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“DOCTOR STRANGE” Review (✫✫✫✫)

The Marvel universe, but stranger.

It’s so hard to be unique in the day and age of the modern superhero epic. We’re relatively familiar with the formula by now. Guy X gets superpowers, Guy X goes through training to learn how to use powers, Guy X meets Guy Y who becomes his arch nemesis, both Guys have epic fight where Guy X wins and ultimately accepts his superhero destiny. In just one sentence, I’ve more or less named the outline of multiple superhero movies, from Superman all the way to The Avengers. And make no mistake: this is the exact same outline for Doctor Strange as well.

This much is how Doctor Strange is similar to its superheroic peers. Where it’s different is in its execution, in how it handles its title character not as a larger-than-life action hero, but as a man, fatally egotistical, selfish, eccentric, ignorant, and most of all, flawed. This is not a guy who wraps a cape around himself and fights for truth, justice, and the American way. This is the guy who looks at the cape and scoffs, asking why he should put it on if it looks so ridiculous on him.

Perhaps his flaws are exactly why we relate to Stephen Strange as much as we do in the film. In Iron Man, Tony Stark was a war profiteer and shameless opportunist who repented of his ways once he realized the repercussions of his actions. In Batman Begins, Bruce Wayne was a broken and resentful young man bent on revenge before realizing that it would only sink him into a deeper, darker place. For Doctor Strange, Benedict Cumberbatch plays the brilliant surgeon who is as thick-headed and self-centered as he is skilled and talented. Great doctor. Awful person.

This is all before Strange gets into a devastating car crash that crushes his hands and permanently damages the nerves in them, removing his ability to be a doctor. He spends all of his time and money to repair his hands, only to come up short in every direction he turns. His last ditch effort is to visit a monk called The Ancient One (Tilda Swinton) in Nepal, who has helped individuals with impossible recoveries from all around the world. What Strange doesn’t realize is that he’s about the be flung into a world full of sorcery and supernatural forces, and he’s somehow at the heart of it all.

First things first: the visual effects. I know they’re usually my first positive point of mention in most superhero movies, even in bad ones like Batman V. Superman. But Doctor Strange is on a visual caliber on a whole another level. In an early action sequence, sorcerers are shifting buildings, roads, architectures all around them, all while whipping out weapons and kung-fu fighting each other on constantly shifting walls, pillars, windows, ledges, and walkways. In a later scene, Strange is thrown through the multiverse, a constantly-shifting panorama of space that looks like you’re looking through the lens of a kaleidoscope. In most superhero movies, the visual appeal comes from the action scenes and how explosively people can punch or throw each other. But in Doctor Strange, the appeal is in the scenery surrounding Strange, how the sorcerers interact with environments, and how they affect the upside-down, wayward fights that are so mindbogglingly perplexing. Not since Avatar or Inception have the visuals been so sensory that they felt more like an out-of-body experience rather than a cinematic one.

But the visual effects are not the only impressive thing with this film: its also in how they are used. Director Scott Derrickson, who before this has made the equally atmospheric Sinister, smartly uses the visuals not for blockbuster spectacle, but as advancement for the story. In most action movies, the film usually builds up to some action-packed, destructive, prolonged fight that ends with a lot of property damage and civilian casualties. That is what most gripes were with 2013’s Man of Steel, at least. But here, the climax doesn’t involve destroying a city block, but rather trying to save one, as well as the many lives that are on it. I’m not going to reveal any spoilers, but in an entertainment industry that celebrates violence and killing, it’s nice to see a movie that is the antithesis of that, and looks for a smarter, more thoughtful conclusion rather than the more adrenaline-fueled one.

The cast is on par with the rest of the film’s spectacle. Swinton is fierce yet serene as the Ancient One, a mentor figure that isn’t as innocent and angelic as she may appear. Chiwetel Ejiofor is a companion of Strange’s named Mordo, and while most movie sidekicks are passionate loyalists who could never betray their beloved hero, Mordo here has his own motivations and reasonings that make him a complex, fascinating character in his own right. And Mads Mikkelsen portrays the movie’s villain, and while he is slightly typecast, he at least plays the role with passion and intimidation, making him one of the more memorable recent villains in the Marvel universe.

But the most impressive performance is easily Benedict Cumberbatch’s. The more movies you watch him in, the more you see his range as an actor and how he can do different roles so well. Seeing him portray real-life figures in The Fifth Estate and The Imitation Game, then watching him embrace villainous roles in Star Trek: Into Darkness and The Hobbit movies, you wondered how exactly he was going to approach Doctor Strange as something he’s never been before: a superhero. He brings exactly to Doctor Strange what he brings with his other roles: charisma and authenticity. His American accent makes him almost unrecognizable as the good doctor, and the earnest, yet self-centered way he carries himself makes him all the more believable, making Stephen Strange feel more human rather than hero.

Rumors have been swirling around that Doctor Strange might take over for Iron Man as the new face of the MCU. After seeing this movie, I wouldn’t mind that one bit. Cumberbatch plays him as a charismatic, narcissistic, almost Shakespearean character that is regretful of his old self that looks to start anew. Cumberbatch’s performance in conjunction with the film’s writing makes Doctor Strange a very fun, relatable, and likeable character, if not a great superhero already.

Does Doctor Strange break barriers for the superhero genre? Well no, not if you’re comparing it to the likes of Captain America: Civil War, which challenges the heroes morally as it does physically. But for what Doctor Strange does do, it does well, and it stands firmly alongside its Marvel family, including the likes of Iron Man and Spider-Man. This is one doctor you won’t regret calling.

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“X-MEN: APOCALYPSE” Review (✫✫1/2)

En Sabah No.

The biggest problem X-Men: Apocalypse faces is one it isn’t even responsible for. X-Men: Days of Future Past was and will always be one of the most definitive superhero experiences at the movies. Asking for follow-up to that is unreasonable, let alone damn near impossible, and to its credit, X-Men Apocalypse tries. It tries too hard, but at least it tries.

Taking place ten years after the events of Days of Future Past, Apocalypse shows an ancient threat that reawakens deep within the pyramids of Egypt. The first known mutant to ever historically exist, En Sabah Nur (Oscar Isaac) awakens to a world ran amuck in chaos and disorder. Political corruption. Poverty. War. Violence. En Sabah Nur sees all that’s wrong with the world and decides that, in order to save it, it must be destroyed and rebuilt.

Back in Westchester, at Xavier’s School for Gifted Youngsters, Jean Grey (Sophie Turner) awakens from a horrible nightmare. Witnessing horrible visions of the end of the world, Jean is convinced that these visions are real and that they will come to pass. Her professor Charles Xavier (James McAvoy) thinks these are just dreams. Yet, as one thing happens after another, he begins to think there is something devestating going on that even the X-Men might not be able to stop.

The third movie for the newly rebooted X-Men universe, X-Men: Apocalypse boasts a lot of the strengths that its predecessors have. For one thing, the performances are superb, and the actors exemplify their characters down to the molecule. McAvoy is earnest and well-intentioned as Xavier, while Jennifer Lawrence is motivated and sharp-shooting as Mystique. The actor I noticed most, however, was Michael Fassbender, once again adopting the role of Magneto. Every time I watch him, I am reminded of this character’s tragic history and how other people’s cruelty has driven him towards violence and extremism. Without giving too much away, there is one moment where Magneto sustain a crippling loss that comes to define his character the most throughout the picture. These moments remind us that Magneto is not a villain, but rather a tragic hero who fell through grace, and Fassbender is brilliant in capturing both the character’s regret, penance, and guilt throughout the movie.

The action is also incredibly polished, especially for an X-Men film. En Sabah Nur himself is the most omnipotent, wiping enemies away with a dash of his hand or the white glow of his eyes. Havok (Lucas Till) reappears alongside his brother Cyclops (Tye Sheridan) for the first time, and their red energies run amuck obliterating anything in their path. The most fun X-Man to make a return, however, is Evan Peters as the speedster mutant Peter Maximoff. You remember his signature scene at the Pentagon in X-Men: Days of Future Past. His scene in this movie blows that one out of the water. I won’t give much away, but saving over 30 people at superspeed is much more impressive than taking out six security guards in a kitchen. This sequence was funny, exciting, and most importantly, entertaining. His scenes were easily my favorite from the film.

The action and the characters culminate together fluidly, similar to the other X-Men films. The differences lie in its story, or more specifically, in its lack of focus. There are about five different stories packed into one in X-Men: Apocalypse, and most of them are unnecessary. You have so many unraveled narratives trying to weave together into one that quickly falls apart once the plot starts picking up speed. 

Take, for instance, the plight of Magneto. His story is pure tragedy. His hearbreak, his pain, his loss, it echoes of Magneto’s earlier history and builds into a climactic moment between himself and his transgressors. The scene should have been a moment of suspense and satisfaction, but then all of a sudden, En Sabah Nur appears on the scene and completely disjoints the narrative.

The whole film is like that, building up to big moments and then suddenly switching to other ones. There’s Xavier’s arc, then there’s Mystique’s, then Magneto’s, then Jean’s, and then Cyclops’. The most dissapointing to me is Peter. His story has to deal with his true parentage, but it never even leads anywhere. Screenwriter Simon Kinberg and director Bryan Singer build all of this effort up for nothing. No conclusion. No resolution. No payoff. That’s because they don’t have a focus, and the picture ends up losing our interest, despite all of its spectacular action.

X2 and X-Men: Days of Future Past remain to be the best entries of the franchise, while X-Men Origins: Wolverine is the unoquivocal worst. This movie falls in the middle ground. Like its predecessors, X-Men: Apocalypse has great action pieces and performances, but it collapses under the weight of its narrative while simultaneously lacking in depth and development. As Jean Grey observes after seeing Return of the Jedi, “At least we can all agree that the third one is always the worst.” You read my mind, sister.

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“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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