Captain America: The Winter Soldier is filled — and I mean jam-packed — with genre-bending, action-heavy, sportily tense and relentlessly sinuous, sky-high-concept and maniacally bonkers stuff. Polygonal mayhem that aims, and impressively so, to top the Marvel lot in ideas, deconstructing every thriller staple from government corruption to talking computers to odd couple agents gone rogue. But oddly enough, the moment in the Cap sequel that I find most arresting several weeks after seeing the film is our peaceful reunion with Steve Rogers, trotting merrily around the Washington Monument as the sun rises on our nation's capital.
The scene is shot from far overhead, a low pulse/high spirits Chris Evans reduced to a shapeless blur as he repeatedly (but politely!) laps fellow jogger and veteran Sam Wilson (Anthony Mackie)... and yet it might be the closest we feel to Cap throughout the movie.
The Winter Soldier has a lot to worry about in the delivery of its content. Managing a plot as ambitious and multifaceted as its own, with themes as grand as the scope of the American mentality — as represented by Steve Rogers, raised in the good old days of gee-golly-jingoism — it doesn't always have the faculties to devote to humanizing its central troupe. Cap isn't left hollow, but his battles with the dark cloud of contemporary skepticism play more like an intriguing Socratic discussion than an emotional arc. Scarlett Johansson's Black Widow, a character who ran circles around her Avengers co-players in flavor, feels a bit shortchanged in that department here (in her closest thing to a starring role yet, no less).
Mackie's Falcon, a regular joe who is roped into the calamity thanks largely to his willingness to chat with a fellow runner — a rare skill, honestly — is less of a problem. He doesn't have much to do, but he does it all well enough. Dynamic though he may be, Mackie keeps things bridled as Cap's ad-hoc sidekick, playing up the along-for-the-ride shtick rather than going full (or even half) superhero. We might want more from him, knowing just how fun he can be, but it's a sating dose. The real hunger is for more in the way of Black Widow, Cap, and — perhaps most of all — the titular villain.
Still, these palpable holes pierce through a film that gets plenty right. As elegantly as Joe Johnston did the Spielberg thing back in 2011, Joe and Anthony Russo take on the ballots of post-innocence. They aren't afraid to get wild and weird, taking The Winter Soldier through valleys that feel unprecedented in superhero cinema. We're grateful for the invention here — for Robert Redford's buttoned-up Tom Clancy villain, for the directors' aggressive tunneling through a wide underworld of subterranean corruption, and especially for one scene in an army bunker that amounts to the most charmingly bats**t crazy reveal in any Marvel movie yet. We might be most grateful, though, for a new take on Nick Fury; here, the franchise gives Samuel L. Jackson his best material by a mile.
The best player in the World for movie trailers, Hollywood interviews and movie clips.
But in the absence of definitive work done in our heroing couple, a pair rich in fibers but relegated to broad strokes and easy quips in this turn, most of it amounts to a fairly good spy thriller, not an ace-in-the-whole neo-superhero masterpiece... which, justly or otherwise, is what we've come to expect and demand from these things.
Follow @Michael Arbeiter
| Follow @Hollywood_com
Robert Zemeckis is a blockbuster director at heart. Action has never been an issue for the man behind Back to the Future. When he puts aside the high concept adventures for emotional human stories — think Forrest Gump or Cast Away — he still goes big. His latest Flight continues the trend revolving the story of one man's fight with alcoholism around a terrifying plane crash. Zemeckis expertly crafts his roaring centerpiece and while he finds an agile performer in Denzel Washington the hour-and-a-half of Flight after the shocking moment can't sustain the power. The "big" works. The intimate drowns.
Washington stars as Whip Whitaker a reckless airline pilot who balances his days flying jumbo jets with picking up women snorting lines of cocaine and drinking himself to sleep. Although drunk for the flight that will change his life forever that's not the reason the plane goes down — in fact it may be the reason he thinks up his savvy landing solution in the first place. Writer John Gatins follows Whitaker into the aftermath madness: an investigation of what really happened during the flight Whitaker's battle to cap his addictions and budding relationships that if nurtured could save his life.
Zemeckis tops his own plane crash in Cast Away with the heart-pounding tailspin sequence (if you've ever been scared of flying before Flight will push into phobia territory). In the few scenes after the literal destruction Washington is able to convey an equal amount of power in the moments of mental destruction. Whitaker is obviously crushed by the events the bottle silently calling for him in every down moment. Flight strives for that level of introspection throughout eventually pairing Washington with equally distraught junkie Nicole (Kelly Reilly). Their relationship is barely fleshed out with the script time and time again resorting to obvious over-the-top depictions of substance abuse (a la Nic Cage's Leaving Las Vegas) and the bickering that follows. Washington's Whitaker hits is lowest point early sitting there until the climax of the film.
Sharing screentime with the intimate tale is the surprisingly comical attempt by the pilot's airline union buddy (Bruce Greenwood) and the company lawyer (Don Cheadle) to get Whitaker into shape. Prepping him for inquisitions looking into evidence from the wreckage and calling upon Whitaker's dealer Harling (John Goodman) to jump start their "hero" when the time is right the two men do everything they can to keep any blame being placed upon Whitaker by the National Transportation Safety Board investigators. The thread doesn't feel relevant to Whitaker's plight and in turn feels like unnecessary baggage that pads the runtime.
Everything in Fight shoots for the skies — and on purpose. The music is constantly swelling the photography glossy and unnatural and rarely do we breach Washington's wild exterior for a sense of what Whitaker's really grappling with. For Zemeckis Flight is still a spectacle film with Washington's ability to emote as the magical special effect. Instead of using it sparingly he once again goes big. Too big.
While recent animated blockbusters have aimed to viewers of all ages starting with fantastical concepts and breathtaking visuals but tackling complex emotional issues along the way Ice Age: Continental Drift is crafted especially for the wee ones — and it works. Venturing back to prehistoric times once again the fourth Ice Age film paints broad strokes on the theme of familial relationships throwing in plenty of physical comedy along the way. The movie isn't that far off from one of the many Land Before Time direct-to-video sequels: not particularly innovative or necessary but harmless thrilling fun for anyone with a sense of humor. Unless they have a particular distaste for wooly mammoths the kids will love it.
Ice Age: Continental Drift continues to snowball its cartoon roster bringing back the original film's trio (Ray Romano as Manny the Mammoth Denis Leary as Diego the Sabertooth Tiger and John Leguizamo as Sid the Sloth) new faces acquired over the course of the franchise (Queen Latifah as Manny's wife Ellie) and a handful of new characters to spice things up everyone from Nicki Minaj as Manny's daughter Steffie to Wanda Sykes as Sid's wily grandma. The whole gang is living a pleasant existence as a herd with Manny's biggest problem being playing overbearing dad to the rebellious daughter. Teen mammoths they always want to go out and play by the waterfall! Whippersnappers.
The main thrust of the film comes when Scratch the Rat (whose silent comedy routines in the vein of Tex Avery/WB cartoons continue to be the series highlight) accidentally cracks the singular continent Pangea into the world we know today. Manny Diego and Sid find themselves stranded on an iceberg once again forced on a road trip journey of survival. The rest of the herd embarks to meet them giving Steffie time to realize the true meaning of friendship with help from her mole pal Louis (Josh Gad).
The ham-handed lessons may drag for those who've passed Kindergarten but Ice Age: Continental Drift is a lot of fun when the main gang crosses paths with a group of villainous pirates. (Back then monkeys rabbits and seals were hitting the high seas together pillaging via boat-shaped icebergs. Obviously.) Quickly Ice Age becomes an old school pirate adventure complete with maritime navigation buried treasure and sword fights. Gut (Peter Dinklage) an evil ape with a deadly... fingernail leads the evil-doers who pose an entertaining threat for the familiar bunch. Jennifer Lopez pops by as Gut's second-in-command Shira the White Tiger and the film's two cats have a chase scene that should rouse even the most apathetic adults. Hearing Dinklage (of Game of Thrones fame) belt out a pirate shanty may be worth the price of admission alone.
With solid action (that doesn't need the 3D addition) cartoony animation and gags out the wazoo Ice Age: Continental Drift is entertainment to enjoy with the whole family. Revelatory? Not quite. Until we get a feature length silent film of Scratch's acorn pursuit we may never see a "classic" Ice Age film but Continental Drift keeps it together long enough to tell a simple story with delightful flare that should hold attention spans of any length. Massive amounts of sugar not even required.
[Photo Credit: 20th Century Fox]