Marvel Melodrama not for the Uninitiated
May 10, 2016
Captain America: Civil War (2016).
D: Anthony Russo & Joe Russo. DP: Trent Opaloch. W: Christopher Markus & Stephen McFeely. Starring: Chris Evans/Robert Downey Jr./Anthony Mackie/Scarlett Johansson/Sebastian Stan/Don Cheadle/Paul Bettany/Elizabeth Olsen/Chadwick Boseman/Emily VanCamp/Tom Holland/Daniel Bruhl/William Hurt/Martin Freeman/Marisa Tomei.
I know you probably feel like you just sat down to watch a Marvel movie only a month ago because, well, you did. Deadpool can still be heard laughing at the X-Men who incidentally have another theatrical installment of their tale in theaters this weekend. Yet this month we return to the world of Captain America in Chris Evan’s third stand alone film as the flashiest boy scout there ever was.
2011’s Captain America: The First Avenger laid most of the groundwork of who Steve Rogers was before and after the creation of his war-time costumed hero. Moving the timeline forward 2014’s Captain America: The Winter Soldier sees the return of Steve’s friend Bucky (Sebastian Stan) whose ampted assassin status has him become a fugitive from justice. Now in Captain America: Civil War we find Steve and his Avengers friends grappling with consequences of their well meaning interventions in world catastrophes. Given the chance to sign over their duties to the government, Steve’s stance on this becomes more complicated when Bucky resurfaces. Will vigilante behavior ensue?
Is that a lot to follow? Maybe. At this point if you have not seen an Avengers or Captain America film I would not start with this one. However, if you are not into Marvel then you probably will not bother, right? In essence though Civil War is more like Avengers 2.5 and less like a Captain America stand alone film, which actually makes it stronger. Steve’s goody-two-shoe quality is best when balanced with other characters, especially the complexity of Bucky. Addressing the same issues Batman v Superman: Dawn of Justice attempted to discuss, as a group Steve and more Avengers cope with the personal and public fallout of violence. Who can make the call to step in and whose agenda does this powerful group adhere to. Rather than be clunky about it the film splits the group keeping the internal threat to friendship and loyalty the focus of the drama and action.
Bucky’s reappearance luckily means more Stan onscreen. His Winter Soldier is greasy and sullen, the thankful opposite of clean-cut Evans. The distaste he has for Falcon (Anthony Mackie) injects humor into their not so bromance friendship triangle. Mackie takes on a larger role as does Scarlett Johannson as Black Widow. Clearly the Marvel heads heard the shouts about her needing her own film as one of the few female Avengers. Here she has some great fight sequences–twisting the necks of most of the men she fights. Other Avengers do appear, but I have left them out to not spoil the make up of the competing parties. Civil War does its diligence in introducing not one, but two additions to the Avengers world. Tom Holland is a rightfully youthful Peter Parker aka Spider-Man. He brings new energy and has a nice dynamic with Tony Stark (Robert Downey Jr.). But don’t forget that Columbia Pictures owns the rights to Spider-Man, hence why there will be another set of films so they can retain those rights. Chadwick Boseman also appears for the first time as Black Panther. Boseman’s own Black Panther film will not hit theaters until 2018 and has Creed director Ryan Coogler on board.
Civil War is directed and shot by the same team behind Winter Soldier and it clearly shows. Lightness and humor are not lost amidst a plot that grapples with serious ideas. The Avengers team essentially works as an extended family for its characters whose abilities isolate them from the general population. It is the perfect recipe for melodrama and the familial showdown and closer hand-to-hand fights are woven well into the personal conflicts. There are surely weaknesses like Emily VanCamp’s silly appearance or Elizabeth Olsen’s inconsistent accent as Wanda aka Scarlett Witch. Yet, ultimately the film is a solid addition to the Marvel world for those already indoctrinated.
Tis the Season for a Comic Book Crush
July 9, 2012
The Amazing Spider-Man (2012).
D: Marc Webb. DP: John Schwartzmann. W: James Vanderbilt, Alvin Sargent & Steve Kloves (based on the Marvel comic books by Stan Lee & Steve Ditko). Starring: Andrew Garfield/Emma Stone/Rhys Ifans/Denis Leary/Martin Sheen/Sally Field/Chris Zylka/Embeth Davidtz/Campbell Scott.
Over the fourth of July holiday, movie theaters everyone got the booming cash flow they needed as The Amazing Spider-Man hit their screens. Not only has the film raked in money domestically and over-seas, but as a re-launch of a franchise it has surpassed monetary expectations. So the true question is, really…did it match our expectations of quality? (And did we even have any?)
Firstly, much must be said of lead Andrew Garfield. Inheriting the Peter Parker role from Tobey Maguire, Garfield wasn’t an obvious choice though he boasts great credits. Seen in 2010’s The Social Network and Never Let Me Go, British Garfield has proven himself as a young dramatic actor. He even worked alongside Heath Ledger in the actor’s final film, 2009’s The Imaginarium of Dr. Parnassus. Here as Peter Parker, Garfield’s genuine charisma shines through. He carries the body language of a teenager well, boosts an adorable grin, but also manages to pull you into the inner workings of a teen in search of his own identity amidst an already grief-stricken young life. Thankfully this script emphasizes Parker’s intellect and gift for science, which more logically supports his eventual understanding of his transformation into Spider-man and the gadgets he then creates.
Luckily Garfield has an excellent partner in crime in Emma Stone’s Gwen Stacey. Uncharacteristically blonde, Stone is enjoyably pert and just as smart as Garfield’s Peter. Their chemistry is evident and the script is strongest here. Their scenes feel genuine, age-appropriate and lack the gloss and smooth lines some writers give high school characters. Being just as supportive are Sally Field and Martin Sheen as Parker’s aunt and uncle. Their family dynamic roots the film in a real familiar context and thankfully never feels hokey. What can feel a bit silly is Rhys Ifan’s reptilian transformation (not giving anything away as this is clearly the story in the preview.) However, how do you create creatures and monsters without them feeling a bit goofy? Especially when the creature needs to be seen in close up? And be a clear character transformation? Regardless of audiences’ temperament for the big lizard, it is great that Ifan’s character doesn’t lose his memory through this change and the script gives his actions clear purpose, conflict and topical context.
Director Marc Webb was a risky, yet thrilling choice here. His previous work consists mostly of music videos, but he waltzed into people’s radars with his directorial debut in 2009’s 500 Days of Summer. I say risky, because this is not only a high profile big budget studio film, but it is also the re-boot of an already successful franchise. The previous trio of films, all directed by Sam Raimi, were monetarily successful, but lacked a sense of darkness or depth. In a post Christopher Nolan Batman reboot world, it is easy to look back and be very critical of Raimi’s Spider-man interpretation. But we must remember that Batman Begins didn’t premiere until 2006, when Raimi’s final Spider-man was already in production for its eventual release in 2007. This is not mentioned to credit Nolan with being solely responsible with changing the way comic-book heroes and stories are interpreted. But rather it cannot be ignored that Nolan’s success with a more realistically darker approach to Batman has influenced other studio franchises to not be weary of that approach. This being said, Webb handles the Spider-man story well with the film having a consistent look, great scope of character, and far better acting than its predecessors.
Ultimately, where The Amazing Spider-Man needed work was in its story. With three writers contributing, things get a bit clunky and there are a few tangents that create gaping holes in the plot. This by no means ruins the film, but instead disrupts the balance and good components of the script. For example, the script refreshingly focuses on Parker’s identify struggle and his desire to be honest and present with Gwen. Thankfully this allows the action and inevitable final battle sequence to be secondary to the character developments it causes. However, key injuries mysteriously disappear, the 3D is barely noticeable, some point of view shots feel very gimmicky, and as mentioned whole tangents just drop off. Yet The Amazing Spider-Man is an enjoyable ride, and begs a lot of questions of Peter Parker’s identity that audiences will surely want to know more about.