Captain America: Civil War

'Captain America - Civil War' movie poster

Release: Friday, May 6, 2016

[Theater]

Written by: Christopher Markus; Stephen McFeely

Directed by: Anthony & Joe Russo

Standing in a line of about 200 rabid fans an hour before the screening I was asked by a woman in line — a hot mom actually — if this was the line for the Avengers movie. I really wanted to tell her, “No, this is for Captain America,” but who am I kidding, this is totally an Avengers movie. And so I was like, “Yeah,” and she was like, “Cool,” and then we both just went back to our lives.

That Captain America: Civil War is closer in spirit to one of those ultra-blockbusters is actually good news for me as I’ve never really stood behind Captain America. The Boy Scout/super-soldier kind of ruffles my feathers for some reason, and that’s through no fault of Chris Evans either. Nevertheless there I was, middle of a mob on a Saturday afternoon, the manufactured product of a month-long brainwashing program designed to win my allegiance toward either Team Steve or Team Tony.

Civil War is a film whose emotional upshot takes an eternity to eventuate, but when it does it’s actually well worth the two-and-a-half-hour sit. Steve and his embattled friend Bucky, a.k.a. The Winter Soldier (Sebastian Stan) are at the heart of a complex moral, emotional and psychological battle that divides the Avengers — all but Hulk and Thor, of course, who are off galavanting elsewhere — straight down the middle when they are asked to sign the Sokovia Accords, a peacekeeping effort drawn up by the United Nations in response to the concerns of a growing population that thinks the Avengers are doing more harm than good.

After yet another disaster, this time in Wakanda at the hands of Scarlet Witch (Elizabeth Olsen, who has completely given up on trying to sound Russian at this point), in steps Secretary of State Thaddeus Ross (William Hurt) to give everyone a choice: either agree to the sanctions, to be potentially overruled in any given situation if it is deemed necessary . . . or retire from the superhero biz.

And then everyone seems to get really mad. Needless to say, the stakes are high this time, higher than they were when Loki was trying to divide and conquer from within all those movies ago, if you can believe it . . . (wasn’t it pretty much doomsday then, too?) One side argues for their continued autonomy while the other, surprisingly spearheaded by a guilt-ridden Tony, believes having a watchdog might help prevent future awkward encounters with any living relatives of people he has inadvertently killed.

Thanks to Christopher Markus and Stephen McFeely, two writers keen to redress familiar characters under this new guise of bitterness, distrust and uncertainty, there are equally compelling reasons to join either camp. In fact as Civil War progresses it gets ever more entrenched in the complexities of this ideological conflict. The appearance of a cold German militant named Baron Helmut Zemo (Daniel Brühl), the one behind an earlier attack on the UN that claims the life of Wakanda King T’Chaka, father of T’Challa/Black Panther (Chadwick Boseman), inspires Steve to ignore new-age protocol as he attempts to stop Zemo from unleashing a secret arsenal of other Winter Soldiers being kept in cryogenic stasis at a Hydra facility in Siberia.

Civil War, like Tony and Steve, has a lot on its plate, but it wisely (and creatively) spreads the workload across its many players. Even if Downey Jr. takes this opportunity to effect a more somber version of his character than we’re used to seeing, that famous acerbic wit is never lost with the integration of Scott Lang/Ant Man (Paul Rudd) and Tom Holland’s amazingly acne-free Peter Parker/Spider Man. Black Panther digs his claws in with menacing presence and a lot of righteous anger. Jeremy Renner as Hawkeye returns as do Anthony Mackie’s Falcon and Paul Bettany as the visionary . . . Vision.

Even though giving each their time to shine means taking some away from Evans, extended interactions between less famous figures are more than welcome and give these individuals purpose within the context of the cinematic retelling of their own journeys. Bettany is perhaps the highlight, his loyalty to protecting the lone Maximoff twin from destruction following her actions in Wakanda offering a miniaturized version of the conundrum facing Iron Man and Captain America. And then there’s Black Panther’s determination to take out the one responsible for his father’s death.

For all of the potential devastation that is implied Civil War isn’t a dour affair. It doesn’t dwell in misery, and it really could have. There’s a melancholy vibe here, but the Russo brothers seem comfortable conforming to Marvel’s standard of finding levity amidst dire circumstances, injecting humor into scenes that would otherwise trend DC-dark. (God forbid that ever happen.) A movie with ‘war’ in its title going the comedy route is a risky proposition, and though this isn’t devoid moments of weakness, the continued expansion of a world parallel to ours allows them to pass quickly. There’s so much going on that Civil War all but demands repeat viewings. Eight years into the game, that’s a very good thing for the MCU.

I wonder what the hot mom thought about all of it.

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Recommendation: With the slightly-famous actors as comfortable as ever in their respective roles, Civil War benefits from the intersection of emotionally resonant performance and thoughtful, crafty storytelling. People like me — non-Captain fans — benefit greatly from the distraction of the other people around him fighting for what they believe is right for the future of the Avengers. A solid realization of a very complicated time, and the balance struck herein makes it one of my favorites of the entire MCU canon thus far.

Rated: PG-13

Running Time: 146 mins.

Quoted: “Okay, anybody on our side hiding any shocking, or fantastic abilities they’d like to disclose, I’m open to suggestion.” 

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.touchboyj-hero.deviantart.com; http://www.imdb.com

Marvel’s The Avengers: Age of Ultron

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Release: Friday, May 1, 2015

[RPX Theater]

Written by: Joss Whedon

Directed by: Joss Whedon

In the chaotic and climactic final twenty minutes a wistfulness arose within me, and though I didn’t let it fully disengage me from one of the year’s most ambitious CGI spectacles I was annoyed I let it happen. I knew it was going to, though. That feeling that, after all of this battling against the hype machine, this was it. This was all it could have been.

And of course it was; it makes sense. Marvel’s The Avengers: Age of Ultron may be the much-anticipated follow-up to that most grandiose uniting of superheroes from far-flung corners of the globe but in the end it is still just a movie. At two hours and twenty minutes it’s a lot of movie but even that kind of length ends up shortchanging those who have built this up in their heads as some kind of singular event. I honestly put the blame on Joss Whedon, though. Maybe if he hadn’t made Marvel’s The Avengers such a spectacular escape little old film fans like me wouldn’t have unfairly begun wielding our hopes and expectations like a shield of vibranium against which the man would have little hope of defending himself.

The one thing he won’t have to hope for is a solid box office presence, though. That’s perhaps the only thing that’s guaranteed about his new film.

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AGE OF JAMES SPADER

Age of Ultron arrives at a time when superhero movies have . . . okay, forget that. Instead: yay, summer! Rather than detangling the network of superhero film reel that’s enabled this one to happen, I think it’s best to cut to the chase and talk all things artificially intelligent and Hydra-related. Whedon wastes no time in appealing to our appropriately elevated adrenaline levels by introducing the gang kicking ass and taking names in the remote European nation of Sokovia, the location of a Hydra outpost. Baron Wolfgang von Strucker (Thomas Kretschmann) has gotten a hold of Loki’s scepter and is using it to experiment on humans. His most notable creations become Quicksilver (Aaron Taylor Johnson) and the Scarlet Witch (Elizabeth Olsen), who take pleasure in being the collective thorn in the Avengers’ collective side.

Following their successful stand against some of Hydra’s henchmen, the Avengers return to headquarters and celebrate, but only briefly. Given Stark’s affinity for constantly tinkering with his creations he uses the A.I. he and Banner discover within the scepter to jumpstart his long-dormant and secretive Ultron project, a program he believes will be humanity’s best chance of living in a safer world.

Amidst one of the more memorable scenes — Thor ribbing his companions into trying to lift his hammer knowing full well none of them will succeed, only to be gobsmacked by Steve Rogers’ ability to actually influence it ever so subtly — a worst case scenario rears its ugly head as Ultron’s sentience rapidly exceeds Stark’s ability to control it. Ultron (voiced by James Spader) quickly deduces people are no good; that the only way Earth will be safe is to eradicate them. One thing I was impressed by was how my cynicism was put in perspective in the face of a vengeful, ten-foot tall robot with evil red eyes.

If there’s anything that bundles together Age of Ultron‘s dizzying number of thematic and physical ambitions it’s the notion that not everything created by a billionaire genius can be controlled. Not by him, and not even by Whedon. The arrival of a one-of-a-kind android in Spader, whose own image rather disappointingly supersedes that of his on-screen counterpart, heralds an age in which over-ambition, even born out of purely good intentions, very well might mean the downfall of everything. That’s obviously not going to be the case for the MCU. Still, this bloated sequel is not the joyride its predecessor was.

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SUPERHERO FATIGUE V. SUPERHERO INDIFFERENCE

In propelling the complex mythos and relationships that have endeared millions to this lone property into the future, Whedon has incidentally obligatorily spawned an environment in which everything is expected to get more and more extreme. Unfortunately that’s kind of an issue that can be traced back to the Avengers’ cinematic birth in 2012. How the Infinity War sequels are supposed to top this is anyone’s guess, but there is no doubt Marvel will demand it from the Russo brothers. I suspect we are yet to enter the darkest days facing our fearless heroes, and if this middle film is a barometer of anything, it’s solemnity.

But like Man of Steel and The Amazing Spider-man, just because the story takes a darker turn — these properties are, after all, reflecting a reality that seems to be growing ever more hostile — this doesn’t discount Age of Ultron‘s potential to be an enjoyable summer getaway. Rather, I have found it easy to forget about that potential, and much more challenging to be as enthusiastic as Whedon’s canvas continues spreading to include lesser-known players, heroes who are admittedly cleverly worked into the picture, but who don’t mean as much if you haven’t done your Avengers homework. (And I am referring to the comics.) There’s something about the hatred Ultron directs primarily towards Tony Stark and secondarily to the human population at large that screams ‘classic movie villainy,’ yet the same can’t be said about Quicksilver and Scarlet Witch’s decision to shift loyalties.

Perhaps my detachment from the Maximoff twins, in particular, stems from my failure to be entertained by Elizabeth Olsen trying on a Russian accent. Equally distracting is Aaron Taylor-Johnson’s Beach Boys hairdo. These two needed their own cinematic introduction before showing up in ostensibly pivotal roles here. The Vision means little to me, although his . . . odd genetic make-up is something to behold. If this all sounds like a personal problem, that’s because it likely is. Whereas some are experiencing the inevitable ‘superhero fatigue,’ I find I may have accidentally banished myself to the realm of superhero indifference.

What Age of Ultron ultimately assembles (and stop me when this sounds familiar) is an overstuffed extravaganza that tries, mostly succeeding, to incorporate as much of the popular Marvel legacy as a single film can handle before breaking and before turning off as many of its several hundred million viewers as possible. It’s the epitome of blockbuster in a blockbuster age. It’s a mighty compromise between getting really technical and remaining lowest-common-denominator entertainment. I feel as unique as the Avengers are, they deserve something not quite as mundane.

At the same time, what else could I have expected out of a summer movie? While I don’t feel like my expectations turned on me as drastically as Stark’s program did him, like him I am reluctant to admit it was pretty much my fault. . .

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3-5Recommendation: Featuring Whedon’s trademark comic relief and ability to weave together multiple story lines, Marvel’s The Avengers: Age of Ultron unfortunately might signal what has been coming down the pipe for a long time. It’s a film of excess but also a film that minimizes enjoyment to pack in as much information and spectacle as possible. Diehards will no doubt lap this up. Anything less though, are sure to find things that could have been much better. A recommended watch in the large format, but unlike the first one I can’t say you need to see it twice in such a fashion. There is a mid-credits scene that you should stick around for.

Rated: PG-13

Running Time: 141 mins.

Quoted: “Everyone creates the thing they fear. Men of peace create engines of war. Avengers create invaders. Parents create children, that will supplant them.”

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Photo credits: http://www.moviepilot.com; http://www.imdb.com 

American Hustle

American-Hustle-Poster

Release: Friday, December 20, 2013

[Theater]

Catch Me If You Can‘s little brother decides to show its face in 2013, sporting a cool name, a slick, sexy visage and the necessary wardrobe/make-up department to cover up all the acne pimples and skin blemishes its suffering from as it starts to stumble awkwardly into adolescence.

To that end, little bro has turned out to be quite the attention whore as well (if guys can be whores). My, how the previews have hyped this one up; puffed up its chest to the point where one might think if it were pricked by a pin, the entire thing would explode. But the only thing that would rush out — don’t worry, it wouldn’t be all gory and bloody — would be a substantial amount of air. That would be the sound of an ego slowly deflating as the excessive two-hour runtime plods ever onward.

The story of American Hustle is similar to the story of Frank William Abignale, Jr., at least structurally, in that it purposely meanders, it likes to take its time developing, and (here’s some great news) it makes outstanding use of a cast that is to die for. That last quality applies more to David O. Russell’s follow-up to Silver Linings Playbook, considering it has possibly the best one of the year.

Irving Rosenfeld (Christian Bale) is a con man with a hairline not many would be jealous of. His fashion-oriented, equally cunning partner-in-crime Sydney Prosser (Amy Adams) finds the man to be a little physically out of shape but his confidence and mental tenacity far outweigh his belly. Together they con people out of thousands of dollars, posing as art appreciators or collectors. . .or, whatever they are. Getting hung up on those details is not so important. What is, though, is the fact that their good luck of making money illegally eventually will run out, and indeed they get busted by the loose cannon FBI Agent Richie DiMaso (an incredibly fun Bradley Cooper).

DiMaso strikes a deal with the pair, telling them that if they apply their skills to a sting operation in which he’s targeting some of the nation’s most crooked politicians and power brokers, both Irving and Sydney will be pardoned of their previous crimes. They need four major busts, which will include nabbing Mayor Carmine Polito (Jeremy Renner). They soon embark on a wild journey through some of the most politically corrupt and criminally-linked tiers of society that inhabit the streets of 1970s New York City.

While it features a grab-bag of talent, little bro is pretty reluctant to get out of bed in the morning. The opening act drags us deeply into the slightly questionable relationship between Irving and Sydney. But O. Russell realizes we need to have an anchor point somewhere with a cast this large; he attempts to root our emotions the deepest with this only slightly more empathetic duo. But once we are through the first thirty or so minutes, the real fun and glamour commences.

American Hustle seriously benefits from O. Russell’s direction, as he cleverly infuses a substantial bit of humor with some scenes of solid tension and applies it to the entire colorful cast in nearly equal measure. Jennifer Lawrence plays up Irving’s unstable wife Rosalyn perfectly — it’s nearly impossible to think the actress is a mere 23 years old (two years older than my little brother for crying out loud), as her performances, perhaps capped off by this one, are marks of an incredibly matured, seasoned actress. The director’s hand and the talented cast blend for some truly brilliant scenes that make up for American Hustle‘s otherwise rather bland and frankly disappointing story.

After you strip down the fancy clothes, the over-the-top characterizations and lush, elegant settings, what you have left might be best described as a pissing contest between professional liars and cheaters. Who shall come out on top? Chances are, it won’t be the ones most are expecting from the outset. And chances also are that none of them are quite as adept as Frank William Abagnale, Jr., to invite yet another comparison. Unfortunately such comparisons are hard to avoid when the essence of the story is so similar. This may be a more glamorous cast to stick with, but expectation levels are so high with this film that anything less than perfect feels a little like a con in itself.

True that the art of conning is made more complicated here, since it will involve the government (whereas DiCaprio’s character was constantly outlasting and outsmarting it). Still, there’s a lot left to be desired when this one concludes.

American Hustle is nonetheless a pretty fun time at the movies. Reiterating, there are some sequences and moments that shout Oscar potential and there’s no denying each incredibly talented performer here is having a blast with the material. A lot of that can also be pinned down to what they get to wear, though. Brad Cooper’s hair in curlers is downright chuckle-worthy. The banter back and forth between Cooper and Bale is priceless. The last thing that springs to mind when seeing Lawrence here is Katniss Everdeen. Heck, even Amy Adams is decent.

Throw in a couple of silly cameos and you’ve got a little brother that flaunts his swagger so casually you don’t really mind because you know he’s putting it to good use more than you are.

american-hustle

3-0Recommendation: American Hustle is a raucous comedy that is mostly successful in bringing forth the laughs. It’s story is a little confusing at times and it won’t be until the very end that things become clear (if they do at all), but as long as you go in with an open mind and expectation levels at a reasonable height, this should be the fun you might necessarily expect out of all this excess bullshot. 

Rated: R

Running Time: 129 mins.

Quoted: “I believe that you should treat people the way you want to be treated, didn’t Jesus say that? Also, always take a favor over money. Effin’ Jesus said that as well.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.moviehdwallpapers.com; http://www.imdb.com