Cinematography:
Trent OpalochCast:
Chris Evans, Scarlett Johansson, Samuel L. Jackson, Dominic Cooper, Sebastian Stan, Anthony Mackie, Cobie Smulders, Emily VanCamp, Robert Redford (more)VOD (4)
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After the cataclysmic events in New York with The Avengers, Marvel's Captain America: The Winter Soldier finds Steve Rogers, aka Captain America, living quietly in Washington, D.C. and trying to adjust to the modern world. But when a S.H.I.E.L.D. colleague comes under attack, Steve becomes embroiled in a web of intrigue that threatens to put the world at risk. Joining forces with the Black Widow, Captain America struggles to expose the ever-widening conspiracy while fighting off professional assassins sent to silence him at every turn. When the full scope of the villainous plot is revealed, Captain America and the Black Widow enlist the help of a new ally, the Falcon. However, they soon find themselves up against an unexpected and formidable enemy—the Winter Soldier. (official distributor synopsis)
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First of all, interpreting the first half of Captain America through the prism of the espionage genre requires a relatively high degree of tolerance for the reckless and simply transparent twists, but which, I’m afraid, also leads to disappointment about halfway through, when inevitability comes to the fore and the Captain reminds us that he can hardly break the Avenger’s rules (in a way, the IM3 twist is much more subversive, but it somehow fits into the humorous style). In other words, for me, this film maintains a stable level of simplicity. To perceive it as a subversive and overlapping moment, when the symbol of American war propaganda plays out on the aggressiveness and unscrupulousness of US foreign policy, requires a certain degree of leniency. The true and authentic values are not particularly endangered, because the main character carries them from beginning to end. In this respect, Marvel films do not test the integrity of their heroes much and they bend the world to their image (no one is going to tell me that not only is contemporary America troubled by the snooping of citizens and "leaks", but also by the problem of internal enemies and denazification). But no more criticism. This is truly a superstructure that one can / does not have to build. Otherwise, the Captain ticks off the Marvel blockbuster box par excellence. The film has the best directed action of the entire Avengers series (great kinetics and physical contact surprisingly survive without opacity and 3D glasses). In his muscular version of Grandpa Simpson, Chris Evans still finds enough fragility and goodness, the supporting characters have their "careful magnetism" and this time the storytelling does not suffer from overlong exposition. Although it makes it difficult for me to get emotionally hooked on it, I still have a good time. Definitely one of the three best Avenger films. [75%] P.S. Out of competition: isn't the Marvel Universe a little too divergent and unmanageable? Terrifying destructive objects levitate in the air, and one wonders ... where the hell is Tony Stark?
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The Captain’s second stop will wipe the grin off the faces of most doubters. A pithy techno-thriller atmosphere starts the opening unbelievably. Well, opening... The first half hour is perfect, crowned by the fight on the freeway which takes your breath away in Heatstyle. The ending then heads into familiar Marvel waters and in a raunchy finale it easily abandons the endeavor to do it slightly differently. Nothing exceptional, but never mind. Evans was born for the role of Steve Rogers, but I hope the Winter Soldier gets his own movie some day, or else they’ll deal with it comic book style (if you read it, you know what I mean ;-) because it... I mean he has the mojo for it. Redford disappointed me a little for not being the man I thought he was, and with the final confrontation. The Russo brothers are on an outrageous roll and maybe it’s thanks to Opaloch’s dynamic camerawork, but the action is a feast for the eyes. The moments where the story diverges from the comic book are interesting, offering many interpretations of things to come. The glance into the Age of Ultron also lured into and hinted at the dark atmosphere I mentioned above. Sock to me, I want more.
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Boring, boring, grey. There was some effort put into it, though. However, cinematic Marvel adventures set in the present are for a different target audience. I prefer to have some of that sequential art, as the film version of The Winter Soldier only served to make me cry over Steve and Peg's reunion. That was really touching. Other than that, I didn’t even enjoy Robert Redford, and that's saying something.
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Marvel is a cult, outwardly accessible to everyone and open to unconventional souls for whom building their universe may be the ultimate peak stint. Yet inwardly, it is bound by the hard doctrine of Kevin Feige's infallibility and unwillingness to let go of the reins of even one brand. Cap steps into it quite uncompromisingly and holds on for a long time. The contact fights are once again cool, the plot is not a stupid rehash of traditional clichés, and the main villain enters with a really unprecedented vigor (excellently supported by Jackman's musical theme). The bad thing is that the grand rules of destruction have to be respected and in the end, everything collapses into a traditional 0 1 mess and the thriller game in the old-world tone becomes bitter in but a few moments (moreover, it stops being clear). I believe the Russo brothers had a very free creative hand on set, but the concrete dramaturgy for years to come must inevitably lead to hell. [I'd be quite interested to see how Shane Black zigzagged in IM3, as he more or less manages it here for almost 100 minutes].
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The second Captain America, reasonably moved to the “present”, is more serious and filled with more physical action. It takes place predominantly in the streets (cars and shootings) and it’s nice that the movie’s best scene is dominated by Samuel L. Jackson. However, the conspiracy plot is unsurprising and becomes chaotic in the second half. The initial diversity of the action-scene settings also disappears in the second half. And the action scenes are not helped much by being finished with contrived twists (anyone can be rescued from anywhere at the last moment). However, the audience will be kept on their toes with respect to the identity of the intriguing villain until the end. And the villain’s shared past with the Captain saves the plot. As a spectacular comic book blockbuster that you can watch with your brain turned off, it’s not bad.
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