(Video on Demand, October 2016) By this point in the Marvel Cinematic Universe, we should be used both to mere competency and the dangers of expecting too much. So it is that Captain America: Civil War is both a pretty good piece of pop entertainment, and one that probably won’t change all that much in the series despite its grandiose title. It does have the good sense of taking its dramatic motives in the past movies of the MCU, showcasing the death and destruction of previous instalments as excuse to contain the superheroes of the series. Conflict soon erupts when some of the superheroes rather arbitrarily divined themselves based on who thinks it’s a good idea and who doesn’t. It all leads to a fantastic airport fight, and then a not-so-fantastic fist-fight between Iron Man and Captain America. At least the action sequences are handled crisply by the Russo brothers, while the script is up to the usual Marvel standards—which is to say, competent but a good step short of impressive. Then again, Marvel hasn’t become a powerhouse studio without learning what makes for a decent blockbuster, and Civil War is another example of how the studio can give the illusion of change without necessarily threatening its cash cows. Performances are fine: Chris Evans continues to impress as Steve Rogers, while Robert Downey Jr. is his usual self as Tony Stark. A surprising number of characters, both old and new, turn up in this non-Avengers film, redefining expectations of scale when it comes to MCU mid-phase movies. The blend of comedy, character moments, thrills and visuals is up to the Marvel standard. Even Daniel Bruhl’s villain is a bit better than usual; well motivated, devious and arguably even successful in the end. It all leads to a conclusion that slightly changes the status quo, but leaves enough hints that it can be resolved rather quickly in time for the next instalment. After seeing the nonchalant way Hydra was built up and then destroyed in-between chapters, it’s best to keep expectations low and simply go along for the ride. Parallels with the contemporary Batman vs Superman (which shares quite a few plot points) are strongly in Marvel’s favour. Now let’s hope than it can keep this streak of competence going well into the future.
(On Cable TV, September 2016) I have accumulated some delays in reviewing movies, and now that I sit down to write about You, Me and Dupree, it hasn’t been more than two months since I’ve seen it and already crucial bits are gone from my memory. It’s definitely about a newly-married couple and Dupree, a hugely annoying friend of the groom. There are certainly many scene in which the new bride (Kate Hudson) is annoyed at the interloper (Owen Wilson) and how her husband (Matt Dillon) can’t seem bothered to drive him away. I can at least recall a scene in which the living room catches fire. Michael Douglas shows up as an imposing father-in-law to glower at our protagonist, and that’s bad for him. But then it predictably turns sad as Dupree is underlined as a colossal screw-up who has no friends and no home and ends up on a bench in the rain. But don’t worry! Dupree somehow redeems himself (or maybe it’s pity from the main characters—My memory doesn’t reach in that much detail) and it all chugs along to a happy ending. I don’t recall the film as being particularly bad or good, nor offensive or unpleasant. On the other hand, it’s not registering as particularly memorable either, and that’s its own issue. Perhaps more noteworthy now for being the first feature film for the Russo Brothers (who would then go on to help two well-received Captain America movies), You, Me and Dupree is the kind of wholly unremarkable comedies to emerge from the studio system in the 2000s. They’re not awful … but they can be a challenge to remember even a short while after the ending credits.
(Video on Demand, October 2013) Marvel Studios sure has been on a roll lately; exception made of the dull Thor movies, their last few films haven’t merely played the superhero-blockbuster movie theme as well as it could, but they’ve started playing around with the formula in ways that could be considered risky. So it is that Captain America 2 goes well beyond its predecessor, taking on the style of a contemporary techno-thriller, destroying some of the foundations of the Marvel Cinematic Universe so far and piling up revelations about the entire Marvel series. It’s standard superhero stuff, but it’s so exceptionally well-made, and takes such unnecessary chances that a less confident studio would have avoided, that it can’t help but earn a lot of sympathy. Making fullest use of Chris Evans’ enduring charm, Captain America 2 also gives bigger roles to Scarlett Johansson’s Natasha Romanov and Samuel L. Jackson’s Nick Fury: both prove equal to the greater scrutiny. (And that’s without mentioning the plum role given to Robert Redford, in a nod to his place in 1970s political thrillers, or Anthony Mackie once again making full use of his limited time in a supporting role.) (Oh, and George St-Pierre bring a welcome –if incongruous- French-Canadian accent to the film.) The title character adapts well to the current era, but the dilemmas of the contemporary surveillance/intelligence state aren’t a good match for someone forged in 1940s idealism, and it’s those themes, even cursorily tackled, that give interesting depths to Captain America 2 as more than just an action film. Still, even on a moment-to-moment basis, directors Anthony and Joe Russo show a really good eye for what makes great action sequences: fluid camera work, movement with weight, solid sound design and clever moments all contribute to making Captain America 2 one of the best-directed action movie in recent memory: the extended car chase is particularly good, as is the elevator fight sequence. (In-between the other Phase 2 films, let’s give credit to Marvel Studio for its choices as it picks lesser-known directors for major movies.) Other fascinating bits and pieces pepper the film, from a deliciously mainframe-punk Artificial Intelligence reprising a character from the first film, to the big and small details tying this film to the wider Marvel Cinematic Universe. It’s an impressive piece of work, whether it’s considered on a moment-by-moment basis or as part of a series that now sports seven other entries. At a time where DC can’t manage to complete even one fully satisfying superhero movie, it’s a bit amazing to see Marvel so successfully achieve the insanely ambitious plan they forged years ago, at a time when even planning a trilogy was a bit crazy.