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.
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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.
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If you grew up on a steady diet of action movies if your bones hardened every time a muscle-bound guy dove away from an explosion in slow motion if you hit puberty the first time you saw the hero of the hour bed his scantily clad damsel in distress then it’s impossible to resist the allure of a movie like The Expendables. It’s the superband version of an action movie. It was created by an action star its cast consists almost exclusively of action stars and the only reason it exists is to put a smile on the face of action fans. And invariably it will do just that.
The question is how wide one’s smile will be. The answer depends on how forgiving one is willing to be of The Expendables' faults and there are many. It’s a little slow-going at first the characters are very thinly defined some of the acting is spotty and on the production front Sylvester Stallone’s knack for action scenes is thrown under the bus by a ton of visual shortcuts (CGI blood being perhaps the most egregious) that belie the film’s obvious low budget. That said Stallone’s knack for gory ultraviolent action is indeed so strong his mind so tuned to the quirks and cliches that make action movies beloved despite their faults that The Expendables kicks more than enough ass by the time credits roll to be worthwhile beyond just the novelty of seeing Stallone Statham Li Lundgren Austin Rourke Couture Crews Willis and Schwarzenegger all under one explosion-filled roof.
That was actually my biggest concern at the offset of the film that the only ace up star/co-writer/director Stallone’s ripped sleeve was his cast but the best thing about The Expendables is that it could have worked with a roster composed entirely of no-name actors. It’s fantastic to see some of these action movie titans go head to head (particularly so in the case of Lundgren) but the headliners surprisingly neither make nor break the movie. The script which involves a gang of mercenaries overthrowing a South American dictator who has become a puppet of a rogue CIA agent isn’t particularly strong but no one goes to an action movie expecting it to be a David Mamet-scripted battle of wits. The story just needs a firm enough framework to allow for enough scenarios for our heroes to punch kick stab shoot and explode an army of bad guys. To that end Expendables could have been given to a cast and crew of newcomers and still stomped in tons of face.
What actually hurts the film the most is that it is filled with veterans and promises of a return to old-school action an era where the only thing bigger than the heroes’ muscles was the body count left in his wake. The only thing wrong with the body count in The Expendables is that it takes too long to begin piling up whereas the rest of the movie feels too small too amateur hour considering its cast of pros. Nu Image the chief studio financing Stallone’s grand endeavor is known primarily for making low-budget straight-to-video movies; sadly The Expendables isn’t going to shake that image any time soon.
There is a disappointing amount of poorly-rendered CGI blood and flames throughout the film which completely goes against the “do it old-school” mindset one expects from all involved. It’s hardly unwatchable but there are times where the look of the film brings to mind the Syfy channel and as any brave soul who has ever wandered into a Syfy Original Movie knows all too well that is rarely ever a good thing.
However even with lackluster production values The Expendables still manages to be a wild throat-slashing elbow-dropping grenade-throwing trigger-pulling and limb-dismembering good time. The last forty-five minutes alone are packed with more carnage than most action movies today can dream of delivering throughout their entire run time. The slow beginning gives way to a glorious orgy of death that generates a body count that would warrant UN intervention were it to have occurred in the real world. And since fictional armies getting absolutely obliterated by a fictional team of the manliest men on the planet is all anyone really requires from The Expendables it’s easy to turn your back on the few obstacles that stand in the way of that holy goal.