CAPTAIN AMERICA: Cap-turing Character

In the weeks leading up to Marvel's next blockbuster juggernaut, Captain America: Civil War, we will be looking at every cinematic iteration of those two warring rapscallions, Captain America and Iron Man.

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Director: Albert Pyun
Writers: Stephen Tolkin, Lawrence Block
Cast: Matt Salinger, Kim Gillingham, Ronny Cox, Ned Beatty, Scott Paulin
Runtime: 97 mins.
1990

The 1990 American-Yugoslavian direct-to-video action film Captain America is the first cinematic adaptation of the character with some semblance of attention paid to the actual character. The first act plays out like a truncated version of Captain America: The First Avenger, with Cap being selected for the Super Soldier Serum, then squaring off against the Red Skull. Cap gets strapped to a rocket that he steers away from the White House and into, if I'm not mistaken, Alaska. After being frozen for about fifty years, Steve Rogers (Matt Salinger) breaks free from the ice and traipses from Alaska down through northern Canada in an attempt to find his way home. At first he does not accept that he is fifty years in the future, but this is a thematic and plot thread that predictably goes nowhere. Instead of exploring his man-outside-of-time psychology, Rogers teams up with his old girlfriend's daughter (a bit gross) and goes after the Red Skull, who is still alive and has recently kidnapped the President (Ronny Cox) because he doesn't like the President's environmental bill. Also, the Red Skull has had face reconstruction surgery since the forties so he no longer has a red skull, just an ugly face.

Captain America may engage with the iconography on the surface level, but as you can probably tell by that recap, the film isn't terribly interested in exploring why the character resonates. It probably would have been better served as a cheesy period piece, but the narrative break between WWII and present day is jarring and disappointing, especially since most of the rest of the movie involves Captain America trekking across the Canadian wilderness in his goofy suit, or sitting around in suburbia acting awfully calm for somebody who has just time traveled fifty years into the future.

The fact that the Red Skull is still around fifty years later, but has waited until now for his most dastardly plot, is also distressing from a storytelling perspective. Plus, taking away his iconic look feels like a cop out at best.

CAPTAIN AMERICA II: DEATH TOO SOON - Camp Cap

In the weeks leading up to Marvel's next blockbuster juggernaut, Captain America: Civil War, we will be looking at every cinematic iteration of those two warring rapscallions, Captain America and Iron Man.

Other Reviews in this Series.

Director: Ivan Nagy
Writers: Wilton Schiller, Patricia Payne
Cast: Reb Brown, Connie Sellecca, Len Birman, Christopher Lee
Runtime: 83 mins.
1979

Captain America II: Death Too Soon is the 1979 sequel to the 1979 TV movie Captain America, and it is several orders of magnitude better than its predecessor. If you're in the market to watch one of these movies for camp purposes, it should undoubtedly be this one. It's not like you'll be missing anything important from the original's pointless wheel-spinning narrative.

In fact, the plot is a fair bit clearer and more straightforward. A mysterious terrorist who goes by the name General Miguel (Christopher Lee) plans to hold the entire town of Portland hostage by dropping an aging serum on their heads. Miguel is in hiding, pretending to be a prison warden at a local penitentiary. Steve Rogers (Reb Brown) must investigate a small town where something suspicious is going on, so that he might ultimately discover Miguel's location and let Captain America take care of business. Meanwhile, in an irrelevant B-plot, our favorite scientists Dr. Simon Mills (Len Birman) and Dr. Wendy Day (conspicuously replaced by Connie Sellecca--didn't this character used to be blonde??) are working on a cure for the virus. They deliver exposition ably, but fail at everything else.

The film still takes a little too long to reveal what is going on in the town, but the plot is for the most part less obtuse. This is very much to the film's advantage, because the last thing this movie should want is for us to start using our brains to figure out what is happening. Everything about the story is ridiculous, of course, but it's well within the reasonable bounds of schlock sci-fi. Steve Rogers taking time to woo a single mother and hang out at her farm with her kid is a less forgivable narrative misstep.

That being said, you can shrug that stuff off with a laugh because, unlike Captain America, Captain America II doesn't spend an ungodly amount of time on every single sequence. It sets up what it needs to, knocks it down, and awkwardly edits into the next scene. Parts of it still drag, but at least we're not watching a doofus go off motorcycle jumps for five to ten minutes at a time.

CAPTAIN AMERICA: Cap-ital Punishment

In the weeks leading up to Marvel's next blockbuster juggernaut, Captain America: Civil War, we will be looking at every cinematic iteration of those two warring rapscallions, Captain America and Iron Man.

Other Reviews in this Series.

Director: Rod Holcomb
Writers: Don Ingalls, Chester Krumholz
Cast: Reb Brown, Len Birman, Heather Menzies-Urich, Robin Mattson, Joseph Ruskin
Runtime: 97 mins.
1979

The 1979 TV Movie Captain America has a simple premise: What if Captain America's son were a selfish, imbecilic slacker? And what if we made a movie about him?

Of course, the film doesn't seem altogether aware of its own premise, as we are apparently supposed to find this man impressive and heroic. He is not. Let me lay it out for you.

Steve Rogers (Reb Brown) is a hunky behemoth who has just returned from active military service. Now that he's out, his goal in life is to drive around in his van and be lazy for the foreseeable future. He also draws. These are his sole character traits.

THE INCREDIBLES: The "I" in Team

Twenty years ago Pixar Animation Studios revolutionized cinema with the first full length completely computer-generated film. Two decades later and Pixar is still one of the most consistently groundbreaking studios in the business. Leading up to the release of their new film The Good Dinosaur, I will be going through Pixar's entire filmography at the rate of two movies a week. The Incredibles is one of my favorite superhero movies, and makes a case for being the most entertaining of all Pixar's output.

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Director: Brad Bird
Writer: Brad Bird
Cast: Craig T. Nelson, Holly Hunter, Sarah Vowell, Spencer Fox, Jason Lee, Samuel L. Jackson, Brad Bird
Runtime: 115 mins.
2004

Only just now am I realizing that The Incredibles is the only Pixar movie with a single credited writer/director. Typically these movies have at least one co-director and a laundry list of story and screenplay contributors. Bird taking the reins unsupported on the entire creative process is unheard of for such a collaborative organization, but I suppose it's thematically in keeping with the message of the film.

The Incredibles, after all, is a story of Supers. Following in the medium-shattering footsteps of Alan Moore, Brad Bird takes time to set up a world in which superheroes are popular, potent, and praised by police and populace--only to shatter that world with a government edict that makes superheroism illegal, told in slick newsboy-style spinning newspapers and black and white clips. Thereafter we jump ahead to today, and find that our hero Mr. Incredible has become regular old Bob, wage slave at an insurance company and lackluster family man at home. His wife Helen (Holly Hunter), the former Elastigirl, is desperately trying to keep their marriage alive by putting the past firmly in the past. This includes heavy restrictions on their children Violet (Sarah Vowell) and Dash (Spencer Fox); they are never to use their powers in public. Life is dull for Bob, but this all changes when his secret latenight heroism sessions with old friend Frozone (Samuel L. Jackson) transition into something more involved when he receives a secret message about a secret mission from a secret source.

FANTASTIC FOUR: Journey to Turdworld

Director: Josh Trank

Writers: Jeremy Slater, Simon Kinberg, Josh Trank
Cast: Miles Teller, Kate Mara, Michael B. Jordan, Jamie Bell, Toby Kebbell, Reg E. Cathey
Runtime: 100 mins.
2015

Nobody wants to hang around in Turdworld. A jaunt to Turdworld might be acceptable. Even a journey through it. But when your entire film is a journey, and the sole destination is Turdworld, the audience has a right to feel both robbed and insulted.

Turdworld is both a metaphor and my personal name for the other-dimensional planet which is the setting for the significant setpieces of Fantastic Four. Ever since his boy genius youth, Reed Richards (Miles Teller) has been pursuing experiments involving the transmission of matter to and from somewhere else. He's had the help of his blue collar buddy Ben Grimm (Jamie Bell), but it isn't until an older scientist (Reg E. Cathey) and his daughter (Kate Mara) stumble upon Richards' work that he receives the funding and support he needs to fully bring his dream to reality. The daughter, Sue Storm, helps out, as do her slacker brother, Johnny Storm (Michael B. Jordan), and the defunct former-boy-genius-attached-to-the-project, Victor Von Doom (Toby Kebbell). Some of them use the machine to transmit themselves to Turdworld, and as a result they are horribly mutated. Then they try to fix their mutation? I don't know, the movie functionally stops happening at that point.

AVENGERS: AGE OF ULTRON - Growing Pains

Director: Joss Whedon
Writer: Joss Whedon
Cast: Robert Downey, Jr., Chris Evans, Chris Hemsworth, Mark Ruffalo, Scarlett Johansson, Jeremy Renner, James Spader, Elizabeth Olsen, Aaron Taylor-Johnson, Paul Bettany, Samuel L. Jackson, Don Cheadle, Cobie Smulders, Anthony Mackie, Andy Serkis
Runtime: 141 mins.
2015

The Avengers: Age of Ultron is immediately different than its predecessor: it opens with a bang and a crackle. Scene 1 has the Avengers careening through a snowy wood, laying the ever-loving beatdown on a host of HYDRA thugs. Far more engaging than the dank exploding bunker opening of The Avengers, Age of Ultron shows the group at the height of camaraderie and teamwork. We see definitively that the Avengers are back. For now.

So begins the first of many comparisons between this game-changing series' first and second installments. The comparisons are unavoidable, occasionally unflattering, and often enlightening. Age of Ultron is a movie about growing pains. It's droopier, gloopier, stuffier, and a great deal more complex than the original. So if you're looking for more of the same thrills of discovery and wonder, you might be disappointed. Rightly so. Not everything can be a beginning, and the honeymoon phase has to end sometime. Joss Whedon seems to know this better than anyone, and gives us an Age of Ultron that has a handful of flaws, numerous successes, and never stops challenging the viewer.

Which is better? Everyone will benefit if we put that question to bed right now. Age of Ultron is a step forward in development, which means change has to happen, and change can be hard. But that doesn't mean fresh newborns are inherently better than awkward adolescents.

GUARDIANS OF THE GALAXY: Hooked on a Feeling

Director: James Gunn
Writers: James Gunn, Nicole Perlman
Cast: Chris Pratt, Zoe Saldana, Bradley Cooper, Vin Diesel, Dave Bautista, Lee Pace, Michael Rooker, John C. Reilly, Glenn Close, Benicio Del Toro, Karen Gillan, Djimon Hounsou, Sean Gunn
Runtime: 121 mins.
2014

First the numbers.

Guardians of the Galaxy grossed $94 million in its opening weekend. The only 2014 movies to have bigger opening weekends were Transformers: Age of Extinction at $100 million and Captain America: The Winter Soldier at $95 million. More notable is the fact that Guardians managed to accomplish these numbers in August; compared to the triad of May-June-July, August box office numbers are usually slight. In fact, Guardians shattered the previous August opening weekend record, which belonged to The Bourne Ultimatum at $69.3 million. That's a solid $25 million margin.

Perhaps most notable of all, Guardians managed to achieve these astronomical numbers despite not being a sequel or a well-known property. Ticket buyers generally flock to the familiar. Take a look at all the other movies mentioned in the previous paragraph: The Winter Soldier, Ultimatum, and Age of Extinction are the second, third, and fourth movies of their respective franchises. Not only that, but two of them feature well-known protagonists who have achieved widespread cultural penetration over the course of decades, and the third features the protagonist of a series of very popular Ludlum novels. My point is that this cume represents an unprecedented level of financial success for a movie starring characters that almost nobody (including myself) had heard of a year ago. Even The Amazing Spider-Man 2 made less opening weekend cash despite featuring one of the most recognizable characters in pop culture. Part of that is the Marvel Cinematic Universe brand, and part of it is Disney's (impressive) marketing campaign. But I have to believe that a lot of this bottled magic has to do with the movie itself. Guardians of the Galaxy has energy, and it has soul; these qualities bleed through the advertisements, critical acclaim, and word-of-mouth.

So now that we are finished parsing the soulless numbers, let's talk about soul.

SUPER: A Superhero ExtravaGunnza!

Director: James Gunn
Writer: James Gunn
Cast: Rainn Wilson, Ellen Page, Liv Tyler, Kevin Bacon, Michael Rooker, Nathan Fillion
Runtime: 96 mins.
2010

Super was dead in the water.

The action-drama-comedy was released concurrently with the Mark Millar adaptation Kick-Ass, a movie with a suspiciously similar premise. Super's critical reception was decidedly mixed, with many critics dismantling its erratic tone, meandering plot, and a whopper of a weird performance by Ellen Page. The film only made a few hundred thousand, trailing in the wake of the $48 million gross of Kick-Ass. Many viewers expressed confusion, discomfort, or dismissal towards the film. Scratch that--only a few viewers expressed those things. This film didn't have many viewers in the first place.

Yet here we are four years later, and director James Gunn is about to release Guardians of the Galaxy, sure to be one of the biggest films of the year. How does a director transition from directing a flop of a superhero film that couldn't crack half a million to directing a Marvel movie that is sure to make hundreds of millions of dollars to widespread critical acclaim?

Maybe the secret is in Super. Let's find it.

CAPTAIN AMERICA: THE WINTER SOLDIER - The Man, the Movie, the Mythos

Directors: Joe and Anthony Russo
Writers: Christopher Markus and Stephen McFeely
Cast: Chris Evans, Scarlett Johansson, Samuel L. Jackson, Robert Redford, Sebastian Stan, Anthony Mackie
Runtime: 136 mins.
2014

Part 1: THE MAN

Captain America is a wiener.  This character trait is an established fact, as undeniable as the claim that Spider-Man is a smart-ass, or that Superman is a wiener.

Think of it this way.  Of all the people you know, how many of them would say that Captain America is their favorite superhero?  I have an inkling that the number is zero, but if not... how many of those people would have said Captain America was their favorite hero before, say, the release of The Avengers?  I feel like we've narrowed the sample size to one dude living in Colorado.

How is it, then, that Captain America: The Winter Soldier has achieved such popular and critical success, to the point that some are heralding it as the best Marvel Cinematic Universe movie to date?  And, despite this near-universal acclaim, why do people still feel the need to preface their thoughts on the movie with some variation of the phrase, "I was never a big Captain America fan, but..."?

It has to do with the history of what Captain America means.