Captain America: World Police

As the Marvel superhero with the richest history, and linch-pin of The Avengers, Captain America was perhaps the most eagerly-awaited of the comic book behemoth's properties to come to the big screen. The First Avenger resoundingly delivered on Cap's pathos, even pulling off the re-branding Chris Evans from hothead Johnny Storm to the steel-nerved Steve Rogers, chief among an across-the-board casting masterclass, from the spunky Hayley Atwell, thru square-jawed Sebastian Stan; gravel-toned Tommy Lee Jones; specky Toby Jones; via fatherly Stanley Tucci; and dashing Dominic Cooper to Hugo Weaving's devilishly evil Red Skull. Joe Johnston's film nicely evoked a never-say-die attitude and drab wartime aesthetic to the benefit of it's jarring final scenes. So how to follow TFA's success? The challenge

Push The Other One

'Push' is clunky from the get-go, weighed down by expositional dialog that sounds distinctly Matrix-y (in a bad way) in its tangential obscurity. The subject matter is hardly new, or even handled in a particularly innovative way, and although some of the effects are nicely done, it is not enough to redeem the whole. The plot is pedestrian to the point of boredom, disappointingly linear for a film that tries to be edgy and cutting edge. Everything happens the way it needs to in pursuit of the story, and the few character conflicts beyond the tired pursuit trope are unconvincing. The film suffers badly from the absence of real jeopardy, and none of the opposition carries any kind of real menace. Sure, there is plenty of chatter about the fact that they’re ‘all going to die’, but there is nothing to suggest any prospect of it actually coming close, and the constant references to this supposed danger render it meaningless.

This is yet another example of the current trend for style over substance. Witness the closing of a bathroom door when two people are inside even though there is no-one else in the apartment, it can be for no other reason than an attempt at stylish flourish, but the effect is to shut out the viewer, breaking the 4th wall and bringing the audience out of the moment. And yet where there are opportunities to make an impact (for example a fleeting touch on the subject of underage drinking), the film shies away from these, eschewing any real edge, no doubt in pursuit of its ‘12A’ certificate. Chris Evans and Dakota Fanning have both done much better work, and there a sense of lack of belief in the material, and not just in front of the lens. No-one seems to be breaking sweat here.

The sparseness of the soundtrack is effective in places, but horribly shattered by the clumsy introduction of ‘mood music’ in a music video style, instructing the viewer how to feel, just another example of the employment of these crude techniques to reel in the younger audience, which has been pummelled with such ham-fisted lifestyle marketing from before it exited the womb.

For me the only significant credit here goes to the location scout. China appears as a bright and colourful place, the locations unfamiliar and exciting, and it is really only when these exotic urban exteriors are in frame that there is any sense of dynamism. Moral? Rent a DVD from the China National Tourist Office instead.

Captain Courageous

Whoa there, hang on a minute, Chris Evans is Johnny Storm a.k.a. The Human Torch, what the heck is going on here?! Initial concerns are quickly swept aside however since Mr. Evans was clearly born to play the iconic Captain America, whether in initial pint-sized and weedy form, or once transformed as if he’s been chiseled out of Mount Rushmore.

Chris & Haley

Great turns from an excellent cast, especially the hard-bitten Tommy Lee Jones; the deliciously frosty Haley Atwell; a gloriously malevolent Hugo Weaving, and the myopically intellectual Toby Jones – and not forgetting excellent work by Dominic Cooper as ‘old man’ Stark. The film is chock full of glorious rock ‘em, sock ‘em comic book action, and ‘Cap’ hits all the nails square on the head, from the frustration of his employment as a War Bond figurehead, to his fearless forays into the heart of enemy territory with his own band of brothers, all present and correct.



Dominic Cooper

It’s actually quite refreshing to meet a hero who is not flawed, as seems to have become the norm over the decades. Steve Rogers isn’t dark, he isn’t conflicted, nor is he guilt ridden (yet), he’s just out to punch old Adolf in the eye – although as it turns out he has bigger problems to face. The emotional centre of the film is nicely handled, not overplayed, there’s a war on after all and duty comes first, but there is still time for some brief, tender moments that add a romantic strand which is nicely played by Atwell and Evans.

General TLJ

The toning down of Cap’s costume is a wise move and allows the use of a more muted pallet of tones that helps to root the film firmly in the forties, and the production portrays the period beautifully. All this helps to set the film apart from the Marvel fare that we have been served up to date, and adds all the more to the enjoyment of it. One of the greatest pleasures however, as with ‘Thor’, is the anticipation of something greater, and there is a jarring closing sequence which is very well handled, another promise of things to come. Good, solid, square-jawed fun.



One cube to rule them all... Hugo Weaving