In Cinemas: Captain America – The First Avenger

I’m just a kid from Brooklyn.

I’ve never been a huge fan of Captain America; he’s always seemed too simplistic for my tastes. It’s this simplicity that runs through Captain America – The First Avenger’s veins, making it enjoyable on a visceral action level but fairly conventional in its narrative and utterly straightforward when it comes to its characters.

America has entered World War II and men are enlisting to fight. Steve Rogers (Chris Evans) wants to join but due to various health issues is rejected. He attracts the attention of German defector Dr. Abraham Erskine (Stanley Tucci’s endearing scientist) who drafts him into a super soldier program that will transform the plucky Brooklyn native into World War II hero Captain America. During the conflict he comes up against another man who’s suffered adverse effects of Erskine’s super soldier serum, Johann Schmidt, a.k.a the Red Skull (Hugo Weaving); a Nazi scientist bent on world domination through a powerful energy source called the Cosmic Cube.

What Captain America – The First Avenger really wants to be is a comic book version of Raiders of the Lost Ark and while it achieves the tone and delivers in the action beats, it’s amiss in other areas. Chris Evans is excellent in the central role, radiating a genuine authenticity and nobleness that’s the hallmark of the character but others like Sebastian ‘Bucky’ Barnes barely register. Romances simmer when they should have more of an impact. Hugo Weaving’s Red Skull feels lightweight and one-dimensional, a villain that exists because the story needs one and a foe that lacks a real threat since we know there’s no chance of him succeeding.

Its problems stem from the film’s simplistic approach to the material and the need to tie it into the larger Marvel universe. There’s little in the way of emotional attachment for the characters (Roger’s aside), with a few of them coming across as caricatures however enjoyable they may be (perhaps only Clint Eastwood does likable gruff as well as Tommy Lee Jones). When someone dies it’s inconsequential and part of that is down to the looming presence of The Avengers.

It lacks the necessary dramatic tension and suspense because most, if not all audience members will go in knowing how this story ends (if the ending wasn’t already telegraphed by the film’s modern day bookends). We know Hydra will not succeed in its plans (not even a little), that Rogers won’t get the girl and that he’ll line up alongside Iron Man and Thor next summer. It denies this story a proper ending or  conclusion for its characters. In its place is a bridge to film I’m not entirely convinced by or sure that I care about yet.

The action is easily superior to Thor, X-Men: First Class or Green Lantern because of its physicality. It’s easier to accept a fist fight than a green CG punch to the face. Johnston’s finest work  is in these moments with quick editing and fast choreography cementing Evans’ Rogers as a durable action hero. As I’m fond of saying, when he hits someone they stay hit.  Kudos should also go to Alan Menken for his Star Spangled Man song which is pretty terrific.

There are other problems but Captain America – The First Avenger is decent adaptation of a beloved character, although it could have done without racing through World War II and spending a little more time with its characters. If judged on its action then it’s an enjoyable addition to a summer that’s had some great action. Breezy and enjoyable, even if it sacrifices its own ambition by falling in line with the rest of Marvel’s output.

7/10

Cinema Review: Thor

 “This drink… I like it! Another!”

Cast your mind back, if you can, to when the trailer for Thor was released. Like countless other films with a pre-built audience many were sceptical, certain that the trailer confirmed what they already suspected. Thoughts, some legitimate others negative, were aired; how would this fit in to the Marvel continuity? Could Branagh handle any aspect of the production other than the dialogue? Would this Avengers venture work or would it be crippled before it started? After all Iron Man 2 underwhelmed when faced with building a larger mythology and this film featured Norse Gods, odd looking costumes and cosmic landscapes.

The outcome is better than most expected.

Let’s not jump the gun and say that Thor is great but for a first attempt in a superhero franchise it is a damn good one. While origin films like Spider-Man, Batman Begins and Iron Man were good, there have been slightly weaker attempts (X-Men) and some disappointments (Fantastic Four, Elektra & Daredevil). Comic book films have often struggled in establishing themselves, finding the right audience while retaining its appeal. What’s surprising about Thor is the confidence it has straight out the gate.

There’s no origin story that takes forty minutes to set up, no need to show how Thor got his cape or his Asterix-like helmet. He’s presented fully formed with a brief prologue on the conflict between the Asgardians and Frost Giants and the briefest of glances at Thor and Loki’s childhood before we’re straight in to Thor’s succession ceremony.

What Thor (Chris Hemsworth) lacks is not physical but mental and emotional. He’s brash, arrogant, enjoys the thrills of war and wants to prove himself in the same way as his father Odin (Antony Hopkins) did. When Asgard comes under attack from a small group of Frost giants it sends Thor into war mode and Asgard renews hostilities with the Frost giants against the wishes of Odin. As punishment Thor is stripped of his powers and banished so he can learn some humility among humanity.

It’s on earth where he meets love interest Jane Foster (Natalie Portman, who in comedic fashion runs him over, twice). Foster is an astrophysicist studying electrical storms in the hope of uncovering inter-dimensional portals (yes, really). Along with her cohorts Erik (Stellan Skarsgård) and Darcy (Kat Dennings) they’re sceptical of Thor and their arc of overcoming their disbelief and believing in Thor is one that mirrors the response of the audience towards the film. Thor overcomes its improbable beginnings and becomes something much more tangible and believable despite its wholly fantastical reality.

The acting is generally good with special mention to Hemsworth and Tom Hiddleston as siblings Thor and Loki. Hemsworth imbues Thor with a righteous swagger, an arrogance that’s charming but also reckless. It helps that he’s mountain of muscle (I’m pretty sure you could grate cheese on his abs) and his presence makes for an interesting contrast to his brother. Loki is sinewy, less pumped and certainly more cerebral than Thor. Hiddleston’s talent lies in unearthing Loki’s intelligence and poise, relying on tricks as opposed to Thor’s brawn.

What elevates Thor above other Marvel produced films is the sense of family and kinship. In some ways Spider-Man had it and so did the Fantastic Four but here, thanks in part to the performances from the principle actors, there’s a heft to the family dynamic that along with the spectacle makes for a richer, more rewarding experience.

Nearly everyone in the cast fares well, whether it’s the comedic assistance provided by Thor’s fellow Asgardians (Sif, Hogan, Fandrall and Holstagg played by Jamie Alexander, Tadanobu Asano, Josh Dallas and Ray Stevenson respectively). Heimdall is lent a great presence and voice by Idris Elba. Portman displays charm and manages to imbue Jane Foster with steely determination and drive. Dennings mangles the word “Mljonir” several times in a rather cute way and Skarsgård also brings a touch of comedy to his performance. Perhaps the only member wasted is Rene Russo who has less than a handful of scenes to convey a doting mother and wife.

What surprises most about Thor is the comedy aspect. At times its laugh out loud, Hemsworth steals his scenes with his delivery and general ambivalence about peoples’ attitudes towards him. It doesn’t play the laughs in the manner of Thor being a ‘fish out of water’; he accepts he’s seen as a stranger and goes about his business making people’s reactions all the more humorous.

Cinematographer Haris Zambarloukos and visual effects company BUF give Asgard a colourful, vivid look that’s rich in rainbow colours. Despite the few occasions where the CGI looks rushed (whether it’s the backgrounds or The Destroyer looking a little unreal) for the most part Thor is presented in a beautiful manner (Branagh likes using his Dutch angles a lot). In the theatre I saw it in (Leicester Square Odeon with 7.1 surround sound), the sound mix was absolutely thunderous (pun intended) and Patrick Doyle’s orchestration scores the film with a wonderful melody that heightens the heroic nature of the story.

Disappointingly, and not for the first time, the 3D presentation is lacking. I have a feeling that the film was edited with 2D in mind and not 3D as much of the depth is lost in quick cutting of action making the 3^rd dimension redundant. We still haven’t seen a mainstream film that’s adopted 3D and done something truly unique other than use it for depth.

Thor is a success and bodes well for Marvel’s future projects if they can take this confidence into their productions. If I had to rank it in terms of Marvel’s (independent) productions (The Incredible Hulk, Iron Man & Iron Man 2) I would say it’s at the top with a better resolution than either of the Iron Man films (I enjoyed those films but they’re lacking in the 3^rd act department). The best compliment I could pay to Thor is that I’m very, very interested in seeing this character again.

Review: Iron Man 2 entertains but also disappoints

Critically acclaimed, financially successful Iron Man was the first film to launch under the (then independent) Marvel banner in 2008. Fans and non-fans alike loved it, Marvel set upon producing a sequel and in doing so laying the foundation for its larger universe. Would lightning strike twice? Alas not quite and while Iron Man 2 is a good film, at times a very enjoyable film to watch, it suffers from sequelitis. Simply put, there is far too much happening in the film.