REVIEW: Captain America: Civil War

4 05 2016

Presidential election years lend themselves to multiplex seat philosophy, perhaps another subtle confirmation of the fact that even escapism is neither complete nor absolute. Especially in years without an incumbent in the running, the culture of the present tense takes on the status of relic with stunning immediacy. As we see the contours of how future generations will remember the era, it gets easier to place a movie within its particular historical framework.

So what is the status of the superhero movie towards the end of the Age of Obama? Look no further than “Captain America: Civil War,” a film far more intriguing for its wide-ranging implications than anything on screen. (Ok, maybe those Spider-Man scenes got me interested in the character again.) It serves the same big budget movie of the moment role that 2008’s “The Dark Knight” played for the Bush era, both smashing the box office and setting the conversation.

Nearly four years ago, The New York Times’ critics A.O. Scott and Manohla Darghis described Marvel’s 2012 “The Avengers” as a tale about the triumph of community organizing in their piece “Movies in the Age of Obama.” Now, “Captain America: Civil War” feels like the response to four years of gridlock and bitter internal divides. Along with “Batman v Superman,” the big trend among 2016 tentpole features appears to be fighting the enemies within our gates as opposed to outside our borders.

At least this rupture among the Avengers crew was a plot development they adequately presaged in their recent plot build-up. (Yes, that was shade at DC. No, I am not being paid by Marvel to write good things.) After many a global escapade causing mass mayhem and destruction, the superheroes finally face accountability from an international governmental body. Roughly half the group believes submitting to authority is a worthy idea, while the others wish to retain autonomy even it means being called vigilantes by the public as a whole.

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REVIEW: The Avengers

15 10 2012

There are two kinds of people in this world: those that prefer “The Dark Knight” and Christopher Nolan, and those that “The Avengers” and Joss Whedon. I count myself absolutely and unapologetically in the first camp.

I’m not saying it’s impossible to like both; indeed, I did enjoy “The Avengers.” That point might be lost in this review since I will be attacking the ideology of filmmaking that produces movies like it, but Whedon recaptures the fun spirit that has been lost in Marvel films since Jon Favreau’s original “Iron Man” in 2008.

He doesn’t provide nearly enough justification for the wasting of four hours of my life on “Thor” and “Captain America,” but then again, I’m not the target audience. Just the sight of those figures will undoubtedly bring joy to many fans; I need a little bit more of a reason to care. I need to know why a purely expository story for “The Avengers” with little drama of its own is worth my time and money.

Whedon definitely embraces the inherent childishness of the comic books and places that as the center of the film; Nolan merely uses the familiar characters of renowned series as a facade to explore important social and cultural issues. There’s no discussion of serious issues in “The Avengers,” unless you count how New York would recover from the $160 billion of damage done to the city in the movie’s bloated climax.

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