“Captain America: The Winter Soldier”
Starring: Chris Evans, Samuel L. Jackson, Scarlett Johansson, Robert Redford, Anthony Mackie, Sebastian Stan, Cobie Smulders, Maximiliano Hernández, Emily VanCamp, Hayley Atwell, Toby Jones, Jenny Agutter
Rating: PG-13, for intense action violence
By Derrick Bang
Enterprise film critic
This one’s a lot more thought-provoking than I was expecting.
It’s safe to acknowledge, after so many rip-snorting predecessors involving so many characters — whether individually, or in groups — that Marvel Studios has the formula down to a science. Captain America’s second solo outing once more offers a welcome blend of familiar faces, superbly choreographed action scenes and just enough witty banter to prevent things from getting too grim.
Rest assured: No sophomore slump here.
Scripters Christopher Markus and Stephen McFeely make this film much more than a popcorn flick, thanks to a deeply unsettling plot that’s ripped from today’s paranoia-laden headlines. It’s a very clever touch, because Cap — Steve Rogers — is precisely the right character to confront this crisis.
It’s not easy, in our increasingly cynical times, to work with a character whose moral compass feels too good to be true. Chris Evans gives Steve Rogers the requisite integrity, with just the right balance between old-fashioned ethics and resourceful savvy. We must recall that he’s a man out of time: a World War II hero who — in his previous film — sacrificed himself for what he believed would be certain death, but instead wound up in suspended animation, revived decades later in our modern era.
Fish-out-of-water stories, when done correctly, can’t help being entertaining. Markus, McFeely and co-directors Anthony and Joe Russo do it correctly.
The film kicks off with an extended prologue, which gives Cap an opportunity to strut his athletic stuff. A French terrorist dubbed Batroc (Georges St.-Pierre) and his minions have captured an ocean-going SHIELD vessel and its crew, and agency chief Nick Fury (Samuel L. Jackson) sends Cap and the Black Widow (Scarlett Johansson) to handle the situation.
It’s a marvelous action sequence, with Cap engaging in the same sort of parkour and free-running gymnastics that made James Bond’s initial foot chase in “Casino Royale” so breathtaking. We also get a dazzling display of Cap’s shield, wielded both as an offensive and defensive weapon. Longtime fans can’t help being impressed; this film’s sfx wizards get that shield to handle every stunt it ever pulled in the comics, and the result is impressively realistic.
Batroc proves to be an insubstantial threat, but it turns out that the Widow has a sidebar mission of her own: something involving the retrieval of a data drive. Cap isn’t pleased by this; he loathes need-to-know secrets, even when Fury points out the wisdom of compartmentalized information.
But Fury soon has reason to doubt this methodology, when it appears that SHIELD’s innermost security system fails to recognize his own voice … even though he supposedly programmed its instructions. The situation quickly turns catastrophic; within hours, both Cap and the Widow — branded traitors — are on the run from their own former colleagues.
Somehow, this crisis has something to do with an ancient, oft-whispered enemy known as the “winter soldier.” Then, too, the timing is suspicious: coming just as SHIELD’s huge new helicarriers are about to be deployed on their mission to protect the country from safe vantage points, high in the sky.
This is the logical response, given the havoc wreaked by the alien chitauri in “The Avengers”; dire threats require ever-more-sophisticated defense measures. Fury understands this; so does his longtime friend Alexander Pierce (Robert Redford), head of SHIELD’s World Security Council.
Cap isn’t so sure; he questions the wisdom of trading personal freedoms for the increasingly intrusive “security” offered by clandestine surveillance. And if any of this sounds familiar, that’s intentional; Markus and McFeely are going for the edgy, real-world tone of classic 1970s political thrillers such as “Three Days of the Condor.”
It gets worse. A few unpleasantly familiar figures from Cap’s first big-screen adventure pop up again, uncorking obvious questions about their own unexpected longevity. One individual, in classic evil scientist mode, chortles over how infiltrating the United States has become even easier in this era of ubiquitous camera and cyber-surveillance, because one need only hack such systems in order to identify and target the most likely threats to a fifth-columnist invasion.
I dunno about you, but I find that quite chilling. Because it doesn’t sound unreasonable.
Cap and the Widow are perfect for such a storyline, because — unlike most Marvel comics superheroes — they don’t have secret identities. They’re well known as Steve Rogers and Natasha Romanoff, often seen in street clothes; they therefore function as the more-or-less “ordinary folks” caught up in an increasingly awful conspiracy. (Granted, both are extraordinary in many respects … but they’re not Norse thunder gods or hulked-out scientists, and they don’t have the protection of fancy flying suits of armor.)
These two characters are well-matched by virtue of their opposing viewpoints: Steve Rogers, the true-blue American patriot who believes in mankind’s nobler instincts; Natasha Romanoff, the former Russian agent turned SHIELD operative, whose black-ops instincts prompt her to assume the worst of every collaborator.
Rogers wants to trust his friends; Natasha doesn’t believe true friends even exist.
Steve and Natasha begin this adventure as wary colleagues; after all, they did battle side-by-side to stop Loki and the chitauri in “The Avengers.” This script’s sidebar charm comes from anticipating the necessary thaw, as they’re forced to rely on each other. Evans and Johansson share a natural, flirty chemistry: He grows exasperated by her refusal to be candid; she tries not to mock him too much as an overgrown Boy Scout.
They’re not the only folks on our minds; this massive storyline is laden with supporting characters. Jackson is feisty, commanding and easily annoyed as always, his Nick Fury somehow much more imposing than the super-powered colleagues he keeps trying to draft into SHIELD.
Anthony Mackie makes a strong impression as Sam Wilson, a war vet and compassionate VA staffer who helps soldiers recover from the psychological damage of their combat tours. When Cap decides that the halls of power have become hopelessly corrupted, he logically turns to a civilian far removed from such halls: a former soldier with a similar streak of patriotism. Mackie sells the part with easygoing charm.
Cobie Smulders returns as intrepid SHIELD agent Maria Hill, further expanding a character who has become an integral part of the Marvel movie tapestry; Maximiliano Hernández similarly pops up again as condescending SHIELD agent Jasper Sitwell.
And, of course, Marvel Comics’ 91-year-old paterfamilias, Stan Lee, makes his usual cameo, this time as a Smithsonian Museum guard.
You’ll want to remain in your seats, as usual, because this film includes an important post-credits scene — directed by Joss Whedon — that anticipates next year’s sequel to “The Avengers.”
Meanwhile, “Captain America: The Winter Soldier” is a stylish, exciting and deftly constructed blend of comic book lore and real-world political paranoia. That’s a tall order on anybody’s menu, but the folks at Marvel Studios have succeeded again.
As Stan Lee himself would have said, back in the day, Excelsior!
— Read more of Derrick Bang’s film criticism at http://derrickbang.blogspot.com. Comment on this review at www.davisenterprise.com.