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The bad news is that there are approximately ten movies taking place in “Captain America: Civil War,” which is at least seven more than is required by the film. That said, most of them are entertaining, and the film contains enough rousing moments to elevate it to Marvel’s elite group of offerings.
Despite the fact that Thor, the Hulk, and other recurring characters have gone missing this time (with only vague explanations for their absence), “Civil War” isn’t going to be mistaken for a period piece. In the trailers, this installment was billed as a tale of intra-Avengers conflict, triggered by the government’s demand that Captain America (Chris Evans) allow the arrest of his old friend The Winter Soldier, aka Bucky Barnes (Sebastian Stan), an assassin whose moral compass has been scrambled by brainwashing, so that he can be punished for his presumed role in a terrorist attack. In the film, the government demands that Captain America That is exactly what it is. However, this is only true some of the time.
It stars Chadwick Boseman as Black Panther and Tom Holland as Spider-Man, all of whom are running, flying, stomping, and blasting their way through a long, lumpy story inspired by the Civil War graphic novel arc from 2006. There are more than a dozen major characters and another dozen minor ones, including Black Panther (Chadwick Boseman) and Spider-Man (Tom Holland). Potluck is the theme for the evening. Like “Avengers: The Age of Ultron,” “Captain America: The Winter Soldier,” and “Iron Man 3,” “Civil War” deals with a number of issues at the same time, including the ramifications of US intervention in a post-9/11 world; the responsibility of private military contractors (which is essentially what the Avengers are here) to defer to their government and the United Nations; the question of whether civilian casualties undermine the righteousness of a noble mission; the appeal In several episodes, the characters admit that they are acting out of compulsion and then find ways to justify their actions.
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There is a fair amount of “The Dark Knight” logic, or “logic,” to the storytelling in “The Dark Knight Rises.” Characters do things to other characters because they know it will set off a chain reaction that will eventually lead to a very specific moment at the end; fortunately for them, each step goes exactly as planned, because otherwise there would be no movie. And, as in the inferior but thematically similar “Batman v Superman: Dawn of Justice,” the hero-versus-hero slugfest only appears to be the result of genuine and profound philosophical differences between the characters. According to the results of the investigation, the real problem is that these characters don’t communicate with one another when they ought to.
Captain America Civil War Quiz
The film is a satisfying one that takes its characters seriously but not itself, and it intersperses scenes of wonder, visual wit and pathos with scenes of world-building and dramatic housekeeping. “Civil War,” which reunites the Cap creative team of directors Joe and Anthony Russo, screenwriters Christopher Markus and Stephen McFeely, and gets better as it goes along, both as an action film and as a sprawling ensemble drama, is one of the best films of the year. The distribution of screen time has been criticized in some reviews as being unfair to certain characters, but I found it to be just about right. By this point, we’ve learned a great deal about the established characters. As for Peter Parker, the film doesn’t need to say much beyond the fact that he’s an endearing witty spider-teen who lives with his Aunt May (a spry and vivacious Marisa Tomei, who looks more like Aunt February) and has only been slinging web for six months. Neither does this story require much more of Ant-Man (Paul Rudd) than for him to be overawed by Tony, Cap, and the rest of the gang and to try a little too hard. As T’Challa (the titular character of the upcoming Ryan Coogler solo film), the Black Panther is defined by his righteous anger at an injustice that has been perpetrated against his family and nation, and that’s exactly where the character needs to be for this particular film.
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The action is solid, and at times it is even inspired. “Winter Soldier” had a frenzied smallness that was far more exciting than watching helicarriers crash and monuments crumble; it appears to have inspired the better action scenes here—not just a stairwell punch-fest that finds Bucky swinging from a torn-up stretch of railing like Tarzan on a vine, but a bigger, louder, wilder clash between Avengers (including emergency ringers Spider-Man, Iron Man, and Black Widow) in The cliched handheld, whipsaw-crazy action is cliched, but it’s clean and precise, and it makes clever use of the various heroes’ powers. It’s more comedic than vicious (Buster Keaton and Steven Spielberg are clear influences), and there’s no doubt about the characters’ angles and methods of attack, where they’re in relation to one another, and what is at stake.
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It’s impossible to square this film’s vision of Cap as a guy who’s willing to go it alone against government forces (led by William Hurt’s Thaddeus “Thunderbolt” Ross) who want to regulate super-heroic interventions with the Captain America of “The Winter Soldier,” who decided he’d rather go against his own government than allow one of its highest ranking military officials to order extrajudicial assassinations, thanks to the script’s inability to do so. Tony is told by Cap that “we may not be perfect, but the safest hands are still our own,” a sentiment that could just as easily have been heard coming from the mouth of Robert Redford’s character Alexander Pierce in the film “Winter Soldier.” It’s as if Captain America is a hypocrite who believes that vigilantism is acceptable as long as he is the vigilante—which would be a valid point if anyone in this film brought it up at the time.
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It appears to me that Iron Man industrialist Tony Stark (Robert Downey, Jr.), with his cowboy capitalist inclinations, would be a more likely candidate to advocate for the positions that Captain America defends in this film. To be sure, Stark is troubled by the fact that Captain America, the Falcon (Anthony Mackie), Scarlet Witch (Elizabeth Olsen), and Black Widow (Scarlett Johannson) cause innocent Wakandan relief workers to die while attempting to prevent the heist of biological weapons in Lagos, Nigeria, and he is genuinely embarrassed by an encounter with a state department employee (Alfre Woodard) whose son died in “The Avengers: Age of Ul Cap’s philosophical positioning in relation to Tony, on the other hand, comes across as a little “take our word for it.” ) (I’m sure it worked better on the printed page.)
Although there are a few flaws in the film, its deft transitions between slapstick and melodrama, the unexpected outcomes of key storylines, and the strength of the central performances all go a long way toward making up for them. Despite all of the talk about DC Films’ trendy darkening of Superman, the loss of the big blue Boy Scout doesn’t seem to sting nearly as much as it would if we didn’t have Captain America to fill that imaginative void in our lives. Evans possesses a touch of Christopher Reeve’s enchantment. He’s as nice as a screen hero can be without coming across as dreary or boring. It’s official: the directors draw parallels between their films and the 1978 Superman film, which features a helipad accident.) Look at how Captain America solves the problem—it isn’t just about having super-strength, it is also about figuring out what to do with his legs and arms). Having Cap be straightforwardly good in an age where grit is valued for its own sake is refreshing, and his quiet scenes with Bucky have an un-ironic emotional charge that is ultimately more radical than Batman and Superman’s glowering in Zack Snyder’s recent mope-fest, Man of Steel.
“The Avengers: Age of Ultron” had the same kooky, at times cryptically obsessive quality that Joss Whedon brought to “The Avengers,” but this is a smoother, more consistent film with its own oddball moments, such as Paul Bettany’s Vision making paprikash for Scarlet Witch while listening to Chet Baker and Falcon’s startling name-check of racist police officer Mark Furhman. I’m not sure Marvel’s film slate will ever be able to overcome the criticism that the series is less cinematic and more like a giant-screen television series that requires viewers to wait several months between episodes. However, I do not believe that the filmmakers or the fans are concerned with such distinctions. It’s the late capitalist America’s version of the Greek gods: they’re running, jumping, and flying through stories that are as contradictory and self-defeating as the country that gave them birth in the first place. They frequently claim that they are destroying the world in order to save it, but they have no real understanding of why they are doing what they are doing. They’re a mystery even to their own selves. In addition, the more Marvel delves into those mysteries, the more artistic and memorable the Marvel Cinematic Universe will become.
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