CAPTAIN AMERICA: WINTER SOLDIER (2014) – “THE ELEVATOR SCENE”
Directed by: Anthony Russo, Joe Russo
Produced by: Kevin Feige
Screenplay by: Christopher Markus, Stephen McFeely
Based on: Captain America: by Joe Simon , Jack Kirby
Starring: Chris Evans, Scarlett Johansson, Sebastian Stan, Anthony Mackie
Cinematography: Trent Opaloch
Edited by: Jeffrey Ford, Matthew Schmidt
In my original review of Captain America: Winter Soldier (2014) – which can be found here – I described the film as: “. . . neat socio-political commentary – full of the rip-roaring action.” In fact I think it is still my favourite Marvel film of the lot due to the fantastic conspiracy driven plot allied with some incredible stunts and action. Moreover, Steve Rogers’ relationship with Bucky Barnes is also further developed and thoroughly tested in an emotionally effective fraternal friendship breakdown.
The film has many standout scenes but one is more memorable than others in my view. It’s the scene in the elevator where Rogers finds himself being turned on by those he believed he could trust at Shield. It doesn’t intrinsically, until the culmination of the set-piece, involve massive explosions and CGI-driven action. Indeed, the “elevator/lift scene” is a wonderfully executed fight scene which makes use of its limited space to place our protagonist in an almighty bind.
Rogers enters the lift and immediately begins to feel something could be afoot. As more and more – what we eventually learn to be – Hydra henchmen enter the lift the editing builds fantastic suspense. Various shots build anticipation: looks from Rogers; a bead of sweat running down a man-in-black’s back; plus hushed conversation from an “office worker” in the lift. Then just before the fight ensues Rogers utters a great one-liner to set it all up: “Before we get started – does anyone want to get out!”
It’s already a classic scene before the brutal hand-to-hand combat kicks off and encapsulates the mix of paranoia and adrenalized action present within the whole movie. Watch it here:
SCREENWASH – SEPTEMBER 2015 – FILM AND TV REVIEW ROUND-UP
Bit late with this one but I have been doing some work for charity; although I prefer not to talk about it. Anyway, I saw shedloads of big and small screen product in September! So, here’s a quick review of some of things I witnessed with marks out of 11.
**HELL YEAH – THERE’S SPOILERS!**
’71 (2014) – AMAZON PRIME
Chase-thriller ’71 centres itself on a British soldier portrayed by Jack O’Connell who on the run in enemy territory finds himself pursued by nefarious parties from both Irish and British sides. It’s a kinetic and suspenseful film, directed with verve and urgency and contains some heart-stopping moments, as well as a fine cast including Sean Harris and Richard Dormer. (Mark: 7.5 out of 11)
BADLAND: A ROAD TO FURY (2014) – BLU-RAY
Called Young Ones in the States this is a real genre oddity as it combines Western and Science-Fiction tropes within a dystopic narrative set in a god-forsaken hellish dustbowl. Michael Shannon is the father and farmer who tries his best to keep his family together in an unforgiving future. This is a very strange film which probably deserves another viewing to make real sense of what’s occurring; good cast though. (6 out of 11)
BLEEDER (1999) – DVD
No one does brutal studies of lowlife like Nicolas Winding Refn. His early Danish films, Bleeder included, are grim character pieces that burst into nihilistic violence. This features four friends who watch films together but whose lives are coming apart at the seams. It’s bloody, depressing but somehow remains compelling and watchable; much like a car crash on the M4. (7 out of 11)
EVEREST (2015) – CINEMA
This is suspenseful mountain disaster film which shows both the folly and bravery of men and women at high altitude. Some of the moments will leave you biting your nails and gasping for breath as the mountaineering team scale the Himalayas. The most impressive aspect is the cast including: Jake Gyllenhaal, Jason Clarke, Michael Kelly, Emily Watson, Josh Brolin, John Hawkes and more. (7 out of 11)
THE DROP (2014) – NOW TV
Tom Hardy offers another brilliant piece of character work as a Boston barman who works in a mob-owned pub. He finds himself threatened by local scumbag Matthias Schoenaerts over the disputed ownership of a dog. The puppy is very well cast but Hardy and James Gandolfini own the show with a sterling study of masculinity and controlled rage. (8 out of 11)
THE GAMBLER (2014) – BLU RAY
Great dialogue, direction and cast couldn’t stop me from hating the nihilistic lead character played by a miscast and too-nice Mark Wahlberg. He was such a miserable-death-wish cunt that I wanted the gangsters who were chasing him to kill him and save me from having to watch anymore of his irredeemable and depressing loser. (4 out of 11)
GOING CLEAR (2014) – NOW TV
This is an astounding documentary revealing the history, psychology and inner-workings of the Scientology “religion”. It’s an amazing expose with interviews from former members of the cult who having disconnected, found themselves stalked and discredited by the extremely paranoid Scientologists. It is compelling viewing for anyone interested in religion or alleged cults and the financial dealings of the group makes them akin to organised crime syndicate, such is their wealth and violent ways of dealing with “members”. (9 out of 11)
GOMORRAH (2014) – NOW TV
Gomorrah is one of the best TV dramas I’ve seen all year. It is a brutal and violent Italian gangster drama set in Naples and like modern day Roman times but with more plots, blood and murder. It follows the Savastano family and the enemies they face both on the right and wrong side of the law. No one is safe as the series reaches a deathly climax. Gripping stuff and highly recommended! (10 out of 11)
GRAVE ENCOUNTERS (2011) – AMAZON PRIME
If I had the choice of removing my genitals with a cheese grater or watching this film again I would choose the grater as this was just laughable. Neither scary or suspenseful it has loud shouting actors who should be shot with high-powered rifles rather than a camera. Basically only for people who like terrible found footage horror films or the mentally ill. (1 out of 11)
LEGEND (2015) – CINEMA
Tom Hardy is phenomenal as the Kray twins. Set in 60s London’s underworld this begins like a smack-bang gangster film before delving deeper into the psychology of mental illness of Ronnie Kray’s wife and his crazed brother, Ronnie. Tonally it gets caught between cartoon humour, glamourizing violence and serious crime drama but recommended for the lead performance. Indeed, Tom Hardy, as in Bronson (2008), humanizes monstrous criminals who probably don’t deserve it. (7.5 out of 11)
THE NECESSARY DEATH OF CHARLIE COUNTRYMEN – BLU RAY
A diabolically pretentious and awful Euro-drama which didn’t know if it was a comedy or gangster or rites of passage or study of grief type movie! Ultimately it tried them all and failed in every aspect! Avoid! (2 out of 11)
PADDINGTON (2014) – BLU RAY
I loved Paddington as a kid and the dulcet tones of Michael Hordern narrated the 2-D animated tales with warmth and charm. The funky film version is an even bigger delight with Ben Whishaw, Sally Hawkins and Hugh Bonneville collaborating beautifully with Paul King’s terrific script and lovely direction. The animation is a joy and the gag-rate incredibly high in a wonderful feel-good family film. (8 out of 11)
RIFIFI (1955) – NETFLIX (RE-WATCH)
This is a classic French crime drama from which involves the robbery of a jewellery store by a gang of ex-cons. It’s memorable for the long-near-silent robbery sequence in the middle act which is full of suspense and hold-your-breath moments. I loved that they humanized the criminals and the characters at the start and the robbery scene is often imitated but never bettered. (8 out of 11)
RUBBER (2011) – AMAZON PRIME
Bizarre horror-comedy which cannot under any circumstances be recommended unless you like fourth-wall-breaking-art-films-about-murderous-tyres-who-explode-birds-and-humans-with-telekinetic-powers. Actually, it’s also a satire on the nature of Hollywood filmmaking and an audience starved of originality; I think!(8 out of 11)
RUN ALL NIGHT (2015) – DVD
Liam Neeson is a drunken, washed-up mob enforcer who faces a race against time to save his estranged son (Joel Kinnaman) and his young family. It’s pretty generic fayre in which a grizzled Neeson can do in his sleep but it has some crunching action, car-chases and shoot-outs which fizz along impressively at a breakneck pace.(7 out of 11)
SALVATION (2014) – SKY MOVIES
Mads Mikkelsen could not save The Necessary Death of Charlie Countrymen but his quiet power is very much to the fore in this colourful revenge Western. He portrays a Danish former soldier whose wife and son are butchered by Jeffery Dean Morgan’s dastardly men, precipitating a path of bloody retribution. (7 out of 11)
THE WOLFPACK (2014) – CINEMA
A very interesting documentary about a huge family of boys and one girl who were kept as virtual prisoners in their own New York high-rise apartment by an alcoholic, bullying and eccentric father. The boys retained their sanity just about as they sought movies as a means to connect with society. The parodies they act out such as Pulp Fiction and Dark Knight were hilarious. But there is much pathos as both the children and Mother are tragic figures too having been “lost” and imprisoned by, quite frankly, a pathetic excuse for a father. (7.5 out of 11)
WHITECHAPEL (2009 – 2012 – Seasons 1-3) – NETFLIX
Started watching this during the quiet times at work and got pretty gripped by the East End murder cases investigated by Rupert Penry-Jones, Phil Davis and Steve Pemberton. It’s a well-made addition to the over-loaded detective genre which by Season 3 had some excellent suspense and drama. I was especially drawn in by Davis and Penry-Jones water-oil relationship and the latter’s OCD. (7 out of 11)
WYRMWOOD: ROAD OF THE DEAD (2015) – AMAZON PRIME
This is a really fun zombie-road-movie-gore-fest which is clearly inspired by Mad Max, Evil Dead, Braindead and George Romero’s oeuvre. Some lovely blood-gushing gore and imaginative machinery on show makes this low budget horror-comedy well worth a rental. (7 out of 11)
I have a confession to make. I am a love cheat. I love the cinema but, of late, I have been cheating on it with Television. I couldn’t help myself. TV used to be cinema’s bastard child but now it’s all grown up and wow, has it matured! Gone are the past memories of four channels with some programmes of high quality yet limited choice. Now we have four thousand channels to choose from and while much of it is light bum-fluffery there has been some great product, notably dramas such as: Game of Thrones, The Walking Dead, 24, The Sopranos, Hannibal, Boardwalk Empire, Breaking Bad, The Fall, Daredevil, Peaky Blinders, Doctor Who, True Detective, Band of Brothers and many more I have forgotten or just haven’t had time to watch. But never fear cinema I still love you.
The moment I purchase a cinema ticket, in fact even before I leave the front door knowing I am about to leave for the cinema I get the charge, the buzz and the anticipation of getting a movie fix. Because for me going to the cinema does what television cannot: it takes me out of my home. It takes me off the street. It takes me out of THIS world. It takes me to a dark secluded spot sat staring at a gigantic silver screen waiting for the moment the projectionist feeds celluloid through light, well digital files though a computer and then a lens or something; anyway, you get the picture. Then the movie starts and for the next few hours I’m transported to another world featuring: places, times, characters, sounds, images, events etc. that are beyond my imagination. And when the movie ends there’s a rush of excitement, a reaction to the cinematic assault on the senses. But, alas, the fix cannot last. Reality is soon knocking on my door.
Cinema offers a wide-screen visual delight. Indeed, when television first came into people’s homes film producers were frightened that this new-fangled ‘radio with pictures’ would steal away audiences so Hollywood made bigger, though not necessarily better, movies; epics such as: The Robe (1953), The TenCommandments (1956), Ben Hur (1959) and Cleopatra (1963). Obviously, the epics just keep coming notably in the raft of summer blockbusters which infest the screen. This year has been no different with films such as: Ant-Man (2015), Avengers: Age of Ultron (2015), Jurassic World (2015), Fast and Furious 7 (2015), Mission Impossible: Rogue Nation etc. delivering with spectacular monsters, crashes and stunts.
While such blockbusters may lack depth of character than many TV dramas it’s the spectacle I crave at the cinema. That moment where you go giddy because you haven’t breathed for a minute until all the air rushes from your mouth as one simultaneously pushes your jaw back shut. Good old TV cannot do this though. The television set traditionally occupies a foremost place in the ‘living room’; it’s small compared to the cinema screen and has kind of replaced the hearth that used to provide heat and light. The TV glows and is reminiscent of the old-fashioned campsite fire where families or scouts swap ghost stories while capturing the heat from the flames.
Cinema offer a short, sharp hit compared to TV. Often, a longer running drama series on TV will require a six, ten, thirteen or even longer week commitment. Of course, the introduction of streaming or binge-watching has hacked this idea down to size but movies are still economical and quicker-paced, affording little in the way of fat to the storytelling. Cinema characteristically adopts a tight narrative organised around a particular problem or disruption that is resolved at the denouement where some TV shows, while resolving some plots, will hook us in with shocks to keep us watching and sometimes this can be frustrating as the two-hour or so closure and resolution that cinema offers is very satisfying to me. One of my favourite films Jaws (1975) is a great case in point. Here a shark terrorizes a local community in the United States and the cause-effect narrative takes us through a series of conflicts involving: shark attacks, pursuit of the shark and ultimately the killing of the shark. Thus, film is able to offer a satisfying conclusion to a thrilling story. Ultimately, film offers catharsis and the endings of films such as: Fight Club (1999), Chinatown (1974), The Godfather (1970) and Planet of the Apes (1968) all build to unforgettable climaxes.
Yet, the major concern I have with committing to a new TV drama is the length of time required to get in AND out of the story. I think long and hard about such a commitment but with film one knows it’s not going to be as such. Indeed, one of the reasons I have not watched Mad Men yet is the amount of seasons ahead of me. I’ve been married and I know how much hard work it is. I just don’t feel ready to commit just yet to Don Draper and his “crew”. Plus, with TV shows designed with advertisers in mind adverts can get on the nerves when in the midst of the narrative although the set-top box and Netflix revolution has put that issue aside as has the DVD box-set. Despite this though Cinema is still the preferred mode of voyeuristic, narcissistic and vicarious pleasure though as you sit in a comfy seat eating over-priced confectionery and have a non-stop viewing experience with all adverts before the main presentation. Of course, most films do have multiple examples of product placement, especially Tom “Dorian Gray” Cruise’s M:I franchise but that’s subliminally secreted within the narrative and action and thus not an issue for me. Overall, TV’s episodic form lends itself perfectly to advertisers yet once the movie has started it remains a satisfying whole and is never interrupted with a word from the sponsor.
While I admit that TV stories are gaining more and more complexity notably in regard to depth of characterisation and emotional power they are intrinsically “talking heads” and dialogue lead. TV is still anchored by a lack of screen-size and scope. Rarely does the action on a TV show reach the heights of the cinema although in recent times 24 and Daredevil have featured some spectacular set-pieces and fight scenes. Moreover, Hannibal has to be the most exquisitely edited TV show I have ever seen. But is it better than the cinema? Boardwalk Empire showed flashes of narrative genius with its parallel storytelling from past and present but does it reach the stunning narrative expertise of say Memento (2000);the story of Leonard Shelby (Guy Pearce) – a man with no short-term memory – which presents the complex plot BACKWARDS! Moreover cinema, unlike TV, is also able to breach huge temporal and spatial differences through editing. Perhaps the most famous single cut in cinema history appears in Stanley Kubrick’s 2001: A Space Odyssey (1968). Opening with the “Dawn of man”, apelike hominids learn how to use tools. As the ape/man smashes down the bone he then launches it into the air. One cut later and the audience are thrown thousands of years into the future and thousands of miles into space. Such vision demonstrates the power of cinema and takes the breath away.
The arch edict screenwriters should follow when writing for the screen is one should: “Show don’t tell.” Dialogue is also a vital tool in the screenwriter’s box as filmmaker’s such as Quentin Tarantino and The Coen Brothers have demonstrated in movies such as: Reservoir Dogs (1991), Pulp Fiction (1994), The Big Lebowski (1997) and Fargo (1996). Nonetheless they have married quirky, stylish dialogue with strong visual flair. Indeed, the screenwriter must be aware that cinema represents a marriage of sound and vision. While TV traditionally favours dialogue to further the story and action, cinema uses a whole host of devices to tell the story including: cuts, dissolves, wipes, flash-cuts, voice-over, overlapping dialogue, close-ups, point-of-view shots, shot-reverse-shot, Steadicam shots, crane shots, moving shots, dolly shots, wide-screen panoramic views, black-and-white film, colour film, and use of diegetic and non-diegetic music. Indeed, for me there is nothing more cinematic than great music being placed over fantastic images. Filmmakers such as Tarantino, the Coens, and Martin Scorcese are all aware of this. Tarantino uses non-diegetic music expertly in the infamous ear-slicing scene in Reservoir Dogs (1991).
And so I conclude with a mild apology to cinema. I have been seeing a lot of Television these days I DO STILL LOVE YOU! I love your form, style and content and the way they combine to move me emotionally and physically in a way television cannot. Movies will always reach the parts Television cannot. Something magical occurs when watching a film. A whole new world develops before my very eyes; heroes and heroines are thrown into adventure and conflict with events changing their lives forever. Be it falling in love, falling out of love, fighting for their lives or the lives of the ones they love, struggling against the odds to achieve their greatest desires or, tragically failing at the last obstacle. That for me is cinema. It’s an escape from reality the moment one leaves the house. Saying goodbye to the box, not only knowing it will be there when one comes back home but also knowing that it will rarely change my life. While its heat may keep the living room warm at night it cannot compete with film. I have seen the light. Je t’aime cinema!
In no particular order here are FIFTEEN moments, actors, scenes, characters, set-pieces, dialogue etc. which stuck in my noggin during the year of 2014.
SET-PIECE OF 2014 – QUIKSILVER SCENE IN FORT KNOX DAYS OF FUTURE PAST (2014)
VISION – JONATHAN GLAZER – UNDER THE SKIN (2013)
Glazer showed that with a low budget, vision and powerful concept you could genuinely move, surprise, creep and capture the imagination of an audience. Sparse and enigmatic this film was my best of the year while scene on the beach was one of the most harrowing I ever seen. I hope this filmmaker doesn’t leave such a gap following the under-rated Birth (2004) ten years prior.
VILLAIN – MARTON CSOKAS – THE EQUALIZER (2014)
This okay-Denzil Washington-violent-80s-remake was lifted above the parapet by a stunning turn by Marton Csokas as the main evil Russian stereotype. I had a lot of fun with his actoring as he scoffed not just the furniture but the upholstery as well.
KICKING ASS – EMILY BLUNT – EDGE OF TOMORROW (2014)
Doug Liman’s very entertaining sci-fi movie turned the gender tables with Blunt playing the action hero. Of course, the universe could not sustain such a polarity and in the final act Cruise’s initial anti-heroism was blown away. But it was good while it lasted!
FUNNIEST USE OF AIR BAGS – BAD NEIGHBOURS (2014)
BEST FIGHT SCENE IN A LIFT – CAPTAIN AMERICA: TWS (2014)
WORST BEST MAN’S SPEECH EVER – TRUE DETECTIVE (2014)
Take it away Nic Pizzolatto and McConaughey in the best monologue of the year.
HAIR – AMERICAN HUSTLE (2013)
A funny and suspenseful character-led con story found Bale, Lawrence, Cooper and Adams chewing up the scenery. However, their scenes were quite often stolen by their hairstyles and toupees.
STYLE – INSIDE LLEWYN DAVIS (2013)
Not much happened in this story of a failed folk musician grieving for a lost friend. But the whole design, look, colour, cinematography, music, period setting and cast made it an utter joy from start to end.
AWE-INSPIRING VISUALS – INTERSTELLAR (2014)
I have only seen this film once but had very big problems with the script but there is no taking away the incredible visuals on show. It was the storytelling and what the humans were saying I took issue with.
DEPICTION OF ADDICTION – THORIN OAKENSHIELD THE HOBBIT: BATTLE OF THE 5 ARMIES (2014)
Peter Jackson dug into his box of magic tricks to pull off ANOTHER Tolkien-inspired series of battles. But it was Thorin’s battle with his addiction to gold which I connected with most.
BEST WAR – DAWN OF THE PLANET OF THE APES (2014)
Arguably one of the most enduring images of the year was Koba riding into battle with fire burning behind him capturing the passion and anger of the character and intensity of battle raging at the time.
ONE TAKE – TRUE DETECTIVE (2014)
MOST COMPELLING CHARACTER LOU BLOOM/JAKE GYLLENTHAL – NIGHTCRAWLER (2014)
In 2014 I set myself a project which was to write a review for every film I saw at the cinema and post on my blog. I viewed TWENTY-EIGHT films at the cinema in 2014 and pretty much achieved my writing goal aside from one anomaly which is in hand.
Why EIGHT you may ask? Well, I wanted to put a bit of pressure on myself to really nail these choices and TOP TEN’S are a bit obvious too. Of course there are loads of films I DID NOT see plus many, many more films I did see on DVD, Netflix and Sky but you can only judge a films’ true qualities by watching it on the big screen.
So, these are my TOP EIGHT FAVOURITEST CINEMA FILMS OF 2014. They are maybe not necessarily the most-awards-friendly-critically- acclaimed films hence but they are the ones which completely blew me away when I saw them. They are ALL films I saw at the cinema BUT for one which is a TV movie. If you’ve seen it you’ll know why it’s on the list.
For the record the list will include: the film title; link to original review; quote from post; and a clip.
“UNIQUE filmmaking comes along every so often into the Multiplexes. This is cinematic Art of the highest quality, a sheer visual treat and an unnerving and very memorable experience…
..like all great art it stayed with me and I could not get it out of my mind. And I still can’t. It’s not a super-hero film. It’s not a date movie. It’s not a 3-D CGI sick-fest. It’s pure, pulsing, hypnotic cinema of the highest quality…”
**Yes I know this wasn’t on the cinema but it should’ve been!**
“Writer Nic Pizzolatto delivers a corrupt vision of humanity,
Amidst the Cajun swamps we’re in David Fincher territory,
Standard cop stuff like the Chief screaming “you’re off the case!”,
Is deftly masked by Cary Fukunaga’s directorial style and pace,
McConaughey’s Rust Cohle is post-modern Sherlock, He will never cease until the mystery is unlocked, Allied with Harrelson’s Watson the two just won’t stop, Title may say True Detective but it should be Existential Cop!”
“Bloom was a ghost; a shell of a man with little in the way of backstory and yet through his actions we absorb the horror of his character. I was drawn in so much by Gyllenthaal’s magnetic performance as well as a fine supporting cast… Through Bloom the parasitic press and public are shown to both be vampires draining the life out of humanity. WE ARE ALL MONSTERS AT HEART!”
“Captain America: TWS delivers in a way The Avengers did. Although it’s a darker, grounded and more complex film as the screenplay transplants the story of conspiracy thriller Three Days of the Condor (1975) into the Marvel Universe… links well the past and present; soldiers attempting to come to terms with post-war issues; Roger’s regret over historical events and a touching Benjamin Buttonesque scene with a character from the first movie. Moreover, there’s also some neat socio-political commentary in their too with references to shadowy NSA operations and Government kill lists. Of course none of this gets in the way of the rip-roaring action.”
“Martin Scorcese is one of the greatest living filmmakers still working today and The Wolf of Wall Street feels like a greatest hits package combining all of the finer ingredients from his other films. You’ve got the classic swooning camera moves; the direct address to camera; cat-and-dog couples fighting as seen in Casino and Goodfellas; the boat-in-peril sequence as seen in Cape Fear; the multi-character voiceovers; the dumb criminals putting themselves in the shit; characters turning on each other and ratting each other out as seen most recently in The Departed; plus many more.”
“I loved this film for so many reasons. It’s a nostalgic rush and push of music, action, fantastical creatures, space operatics, zinging one-liners, knowing humour, spectacular effects and in Chris Pratt — a new cinema star (lord) for the millennium is born. Let’s be honest there isn’t an original bone in its body but the fleshy pastiche and meaty cultural references Guardians of the Galaxy wears proudly on its sleeves take the audience on one hell of a journey”
“… the original book and 1968 film and gave us some serious action and brain-food encompassing themes and historical events such as: Darwinism; dystopic future visions; civil and social unrest; slavery; man’s inhumanity to animals; medical experimentation; the Vietnam and Cold war; civilisation versus savagery; anthropology; Frankenstein myth; space and time travel; and many other socio-political and science fictional motifs. Overall, the Apes series is a conceptual and cultural phenomenon and Dawn of the Planet is a wonderful addition to the series.”
“There is so much heartache in the character of Turing. The flashbacks to Turing’s school years when he was bullied and suffered personal loss garners further pathos. Moreover, the “peas and carrots” scene alludes to the possibility of Turing having Asperger’s or similar high-functioning autism. And in Benedict Cumberbatch we have an actor who imbues Turing with a grandiose pain which I found genuinely moving. Here’s is an actor — who while cornering the market on misfit geniuses — once again shows terrific range and surely he will be nominated come Awards ceremony time.”
CAPTAIN AMERICA: WINTER SOLDIER (2014) – FILM REVIEW
**Contains clips and spoilers**
Literary and filmic characters are aspirational figures; icons to live one’s life vicariously through in order to escape the often mundane drudge of everyday existence. Essentially, I mostly go to the cinema to witness characters doing incredible things which I either cannot do or will never get the opportunity to do. Some characters I aspire to be more like than others. I’m not a fan of Wolverine or neither am I mad about Superman but can understand why people are. I like Batman and I loved the Avengers film and perhaps surprisingly my favourite character — along with the Hulk and Iron Man — is good old Captain America AKA – Steve Rogers. The reason I like him is thus:
1) He doesn’t like bullies.
2) His character never knew when he was beaten.
3) He’s very by the book and organised and likes order. I imagine he would be very good at managing an office.
4) Having said that he will break the rules if the need arises and question authority if the authority needs to be questioned.
5) His shield is made from Vibranium – a seemingly made-up element which sounds really really cool.
6) He’s an anachronism and character tension comes from not fitting into the present. As I get older I feel the same.
7) Anyone who beats the crap out of movie Nazis is fine by me!
8) Chris Evans is a decent actor as he demonstrated in films like: Puncture, The Iceman and Captain America: The First Avenger.
9) Captain America’s origins are of working class stock. A little guy come good. He’s not a god or scientist or billionaire or spy. He’s a believable figure to aspire to.
10) He’s living proof drug experimentation can work.
So, divorcing my mind from the overly jingoistic American theme of the costume and political associations with US foreign policy I really looked forward to Captain America: The Winter Soldier.
I loved Iron Man,The Avengers, and Thor and compared to some opinions I read I thought the first Captain America worked well as an origins film. Iron Man 2 and Thor 2 were lacking a bit while Iron Man 3 had some great moments and a witty script. Moreover, Avengers Assemble was an amazing bit of entertainment and Joss Whedon did a great job bringing the team together. Likewise, Captain America: TWS delivers in a way The Avengers did. Although it’s a darker, grounded and more complex film as the screenplay transplants the story of conspiracy thriller Three Days of the Condor (1975) into the Marvel Universe. Also, the CGI is played in a somewhat lower key as the action sequences have a raw, immediate feel to them with proper stunts and hand-to-hand combat rather than feeling green-screened to hell. It felt like the production team had been watching Michael Mann’s Heat and the Bourne trilogy for homework. And boy did that work!
After a prologue where we meet Steve Roger’s soon-to-be-ally Falcon (Anthony Mackie) the Captain is thrown into a mission to rescue a hijacked SHIELD ship in foreign waters. So far-so-Bond but what happens after gets pretty complicated as we’re thrown into a plot involving dirty cops and agents as SHIELD’s Nick Fury (Samuel L. Jackson) is attacked in one of many great set-piece action chases within the movie. The filmmakers don’t rest there though as Captain America himself becomes under suspicion and goes on the run from SHIELD with the Black Widow (Scarlett Johansson) helping him on the road. They got the script pretty decent too when compared to the awful Man of Steel. Definitely worth the price of a cinema ticket and then some.
The classic Hollywood movie model is to standardize and differentiate production and Marvel comic-book films follow the same formula. We know what we’re going to get as standards: one-liners, action, chases, explosions, hand-to-hand combat, big noises and crashes interspersed with some quieter moments where exposition and some character is revealed before the next big on-screen bang. Having said that Captain America: Winter Soldier differentiates itself in terms of characterisation, action and plot twists and it is also pretty strong thematically. It links well the past and present; soldiers attempting to come to terms with post-war issues; Roger’s regret over historical events and a touching Benjamin Buttonesque scene with a character from the first movie. Moreover, there’s also some neat socio-political commentary in their too with references to shadowy NSA operations and Government kill lists. Of course none of this gets in the way of the rip-roaring action.
The action is unrelenting and explosive as he is aided by the gorgeous but deadly Black Widow and war veteran the Falcon. You can see the twists coming (even from the trailer to be honest) and you can’t escape some silly dialogue. Robert Redford adds some class and I really look forward to more in the franchise. You’re going to get a few workmanlike efforts like Iron Man 2 and Thor 2 but this was a blinder. Chris Evans carries the role off perfectly too offering enough grit, humour, muscle and film-star good looks to carry the film brilliantly. And after her amazing performance in weird but wonderful Under The Skin it was good to see Scarlett Johansson kicking butt again. The chemistry between Evans and Johansson adds a fun dimension to the action too.
This isn’t just a great comic-book film it is also a very, very well-crafted big-budget slice of cinema. Directed with verve by the creative duo of the Russo Brothers and the massive production team, Steve Rogers AKA Captain America finds himself post-Avengers pitted against an impressive foe in the Winter Soldier and a legion of other enemies – some very close to home. Of course it wouldn’t be a Marvel film if they didn’t make you wait until the end to see what’s coming next and all I can say is if quality shown in Captain America: Winter Soldier and Avengers: Assemble are anything to go by then Age of Ultron promises to something very special entertainment wise indeed.