Year: 2011
Director: Jason Eisener
Screenplay: John Davies, Jason Eisener
Starring: Rutger Hauer
Synopsis is here (as if the film needs it)
Hobo with a shotgun delivers what it says it delivers. To knock the film technically is almost silly and there will be many out there who have not seen any kind of exploitation feature asking themselves; "what kind of screw loose would even try to enjoy a film like this". To them I will say "hey at least it's short."
I liked Hobo for what it was; extremely OTT nonsense, it's shot with knowledge of those gritty shlock features and yet still has a certain amount of flair in the cinematography that defies some of the films it's paying homage to. It isn't a deconstruction like Deathproof, nor is it following the genre as close to the bone as Planet terror, but there's something about it's cartoony madness that works well enough to be although you may want to wash the nihilism of you.
I think one of the main reasons that I like the film is that it almost plays out like an antithesis to films like Harry Brown, a film which celebrates the idea of vigilantism as completely fine and worthy idea. Hobo, like a florescent Taxi Driver depicts the whole situation as the horrid and vile mess it actually is. Nobody gets away clean no matter what your intentions are. I won't lie however by saying my viewing of this reminded me of the films of one Michael Haneke. And yet despite my love for his essays on the west glorifying violence (something many could say this film does at times) the films lead character, his dreams and the outcome still managed to sway me not only as entertaining (the violence is SO out there one can't take seriously) but strangely affecting due to what happens. I won't lie, I knew where the film was going and yet when it reached it's destination I wasn't as disappointed as i would be with many other more mainstream affair. Mostly because it's outcome comes off more as a trope than lazy writing.
That aside I liked the nuttiness of it all; the silly dialogue, the over the top sleaze used to portray the despicable of it all, the wonderfully garish colour scheme that felt right at home with the material and of course, Rutgar Huaers ability to hold a viewers attention with his presence.
I wlll say however, for a film that healthy acknowledges that it's an exploitation flick and is made now in the 21 century, why is it that Hobo with a shotgun couldn't have made it's female lead a stronger one? I'm not looking for role models but Molly Dunsworth's Abby starts off as a streetwise prostitute before decending very quickly into a screaming damsel in distress who can't seem to function with her Hobo hero. Considering that some of the most well known exploitations have very strong female characters (Day of the woman/I spit on your grave, nearly anything Pam Grier was in in the 70's, slasher movies in general) you get the feeling the film missed a trick.
But then again, has it? It's called Hobo with a shotgun, and has a Hobo with a shotgun. He puts it to great use. This isn't the sort of film that gives you a title with a metaphor or has any alterer motive. It does what it says it does. If your arguing about it, you really should have paid closer attention to the title.
Thursday, 25 August 2011
Saturday, 20 August 2011
Review: Rise of the Planet of the Apes
Year: 2011
Director: Rupert Wyatt
Screenplay: Rick Jaffa, Amanda Silver
Starring: James Franco, Frida Pinto, John Lithgow, Brian Cox, Tom Felton, David Oyelowo
Synopsis is here
Once again this oddball glut of summer films has surprised me. I had no expectations for Rise of the Planet of the apes at all, neither high or low. Coming out nearer the back end of the summer after all the bigger films have had their way, ROTPOTA looked lucky to just be hanging out with the so called big boys. The trailer didn't look like anything special, while a small part of my brain kept reminding me that it's a reboot of a franchise, whose last entry nearly killed it's chances of survival (and may have cause the whole reboot mania to some ) due to it's frustrating ending and mixed critical praise (it was successful at the box office however). I was merely hoping that ROTPOTA didn't go the way of Burton's dry and tasteless re-imaging.
It turns out that Rupert Wyatt and his screenwriters have really looked into what they could do to make sure that there film didn't feel like a cynical cash grab. In fact by the time we reach the films strikingly kinetic Golden gate Bridge climax, I had released that my mouth had dropped more than once. This is a film that brings it's preposterous spectacle to the foreground (some brilliant CGI effects from Weta) but doesn't do so at the sacrifice of story or emotion. Throughout the film I found myself constantly wanted to know what happens next to Caesar (Andy Serkis once again bringing his ape knowledge and skills to much aplomb) and where this story was going to take me. It's very clear from the overlong title alone that the film is looking for sequels, however Wyatt's film tell the tale of nature going awry with a visual sharpness and zeal that i found missing from other summer hits that concentrated on stunts alone.
I loved how Caesar's tale is crafted and how his relationships between humans and other apes slowly shifts and shapes itself. The politics within the film are pretty basic but what the film lacks in hard talk is made up with expression. This film could have easily had Caesar as a flat character with only anger as his only characteristic. The performance from Serkis and the writing avoid this. We not only feel for Caesar and his persecution from his aggressors but we also condone his actions against his ignorant "owner". Despite being underwritten Franco makes sure that his role of Will has enough nativity within it to make the choices made by Caesar believable ones. It is a shame however that despite this, the human characters are so awkwardly shoehorned into the film. Freida Pinto is pushed into a sensible eye candy role spouting typical voice of reason quotes while Brian Cox (the best Hannibal Lecktor) has played better antagonists in his sleep the less said about Tom Felton the better.
The film is all about the apes and to be fair, this isn't too much of a bad thing. As the film slowly places the foundation for a bigger picture in the background (involving space shuttles and viruses no doubt) we get to see the sociological aspects build within the society of the apes and it's already interesting to see the friendships created and where the cracks will show. Not only that, but the film's visuals of the apes may show how heavily the film relies upon CGI, but the wide open spaces and forest surroundings that allow the apes to run rampant is exhilarating. The set pieces are vigorous with their pace and the film may be light on more complex politics, its heavy on delivering an exciting blockbuster about nature going awry. When things kick off, I was never disinterested. This combined with the films decent storytelling has made for me ROTPOTA one of the more compelling blockbusters this year.
Director: Rupert Wyatt
Screenplay: Rick Jaffa, Amanda Silver
Starring: James Franco, Frida Pinto, John Lithgow, Brian Cox, Tom Felton, David Oyelowo
Synopsis is here
Once again this oddball glut of summer films has surprised me. I had no expectations for Rise of the Planet of the apes at all, neither high or low. Coming out nearer the back end of the summer after all the bigger films have had their way, ROTPOTA looked lucky to just be hanging out with the so called big boys. The trailer didn't look like anything special, while a small part of my brain kept reminding me that it's a reboot of a franchise, whose last entry nearly killed it's chances of survival (and may have cause the whole reboot mania to some ) due to it's frustrating ending and mixed critical praise (it was successful at the box office however). I was merely hoping that ROTPOTA didn't go the way of Burton's dry and tasteless re-imaging.
It turns out that Rupert Wyatt and his screenwriters have really looked into what they could do to make sure that there film didn't feel like a cynical cash grab. In fact by the time we reach the films strikingly kinetic Golden gate Bridge climax, I had released that my mouth had dropped more than once. This is a film that brings it's preposterous spectacle to the foreground (some brilliant CGI effects from Weta) but doesn't do so at the sacrifice of story or emotion. Throughout the film I found myself constantly wanted to know what happens next to Caesar (Andy Serkis once again bringing his ape knowledge and skills to much aplomb) and where this story was going to take me. It's very clear from the overlong title alone that the film is looking for sequels, however Wyatt's film tell the tale of nature going awry with a visual sharpness and zeal that i found missing from other summer hits that concentrated on stunts alone.
I loved how Caesar's tale is crafted and how his relationships between humans and other apes slowly shifts and shapes itself. The politics within the film are pretty basic but what the film lacks in hard talk is made up with expression. This film could have easily had Caesar as a flat character with only anger as his only characteristic. The performance from Serkis and the writing avoid this. We not only feel for Caesar and his persecution from his aggressors but we also condone his actions against his ignorant "owner". Despite being underwritten Franco makes sure that his role of Will has enough nativity within it to make the choices made by Caesar believable ones. It is a shame however that despite this, the human characters are so awkwardly shoehorned into the film. Freida Pinto is pushed into a sensible eye candy role spouting typical voice of reason quotes while Brian Cox (the best Hannibal Lecktor) has played better antagonists in his sleep the less said about Tom Felton the better.
The film is all about the apes and to be fair, this isn't too much of a bad thing. As the film slowly places the foundation for a bigger picture in the background (involving space shuttles and viruses no doubt) we get to see the sociological aspects build within the society of the apes and it's already interesting to see the friendships created and where the cracks will show. Not only that, but the film's visuals of the apes may show how heavily the film relies upon CGI, but the wide open spaces and forest surroundings that allow the apes to run rampant is exhilarating. The set pieces are vigorous with their pace and the film may be light on more complex politics, its heavy on delivering an exciting blockbuster about nature going awry. When things kick off, I was never disinterested. This combined with the films decent storytelling has made for me ROTPOTA one of the more compelling blockbusters this year.
Monday, 15 August 2011
Review: Essential Killing
Year: 2010 (UK Release 2011)
Director: Jerzy Skolimowski
Screenplay: Ewa Piaskowska, Jerzy Skolimowski
Starring: Vincent Gallo
The synopsis is here
Writer, Director, Painter, Musican and resident nutjob Vincent Gallo reminds me of Roman Polanski; in that despite some of his more bizarre actions (also includes hexing Roger Ebert and now no longer showing his films to a public audience), his talent is something I cannot ignore. As a writer/director his indie feature Buffalo 66 (1998) is one of the most alluring American independents of recent times. To me Gallo is that worst type of person in which his ego is only matched by his talent....and his ego is pretty huge.
Essential Killing has an extreme person like Gallo running through the wilds of an unnamed European country, trying desperately to escape his captors and survive the harsh terrain ahead of him. It's quite obvious with a little knowledge of the man and the way this film starts; with Gallo's character blowing three U.S soldiers sky high with a rocket launcher mounted on his shoulder, the man is clearly in his element.
Essential Killing is all about Gallos favourite subject, himself. This isn't a bad thing however because his prize winning performance is one of knife edge intensity. Gallo's sharp features and could-be-from-anywhere face only bolster his compelling (yet muted) display. I love watching acting like this as to me it truly becomes about the performance. The setting, the situation, the desperation and the unbridled need to continue on, is played out within the face and not with trite dialogue. It's great to cleanse the palate with a film like Essential Killing; as while the character is not complex in the slightest (the streamlined plot restricts this), the expressions speak volumes. It reminds me how often I'm trying to keep up with "lets do this to do that" strands of dialogue.
Jerzy Skolimowski complements Gallo's performance with crisp cinematography which highlights the unforgiving landscape as the bright blue skies of an unknown area of the middle east gave way to a vast blanketed winterland scenery of white. the only food appears to be bark and berries and almost any interaction with other people alludes to the films title, although the film isn't as gruesome as you would expect. Skolimowski's wisest decision is to keep the film as apolitical as he could. We merely observe an Arab insurgent trying to survive in alien surrounding and the lack of a agenda illustrates the fight or flee nature we are all hardwired into and yet take for granted.
The film does spill over into abstract weirdness at times, and we are given prolonged moose shots, hallucinations of dogs (appearing almost like nightmarish echoes of Guantanamo) and at one point the lead character having to suckle a woman's breast at gunpoint for the milk that she was feeding her child. Despite this, the tale of extreme survival of this foreign "alien" in a no man's land (no real geography places us in the same disorientated state as the lead character) kept me at attention. The films foreshadowing brings forth a feel of doom (maybe) but at no point do we feel this man's tale is truly on tracks.
The films abrupt climax will madden some and attract others but in order to get the most out of it, and the film as a whole, one must remember the old cliché that it may not be about the destination but the journey. While I may revel in such commonplace writings, Essential Killing and Gallo's intense performance remind us that cliché is definitely not what the man's about.
Director: Jerzy Skolimowski
Screenplay: Ewa Piaskowska, Jerzy Skolimowski
Starring: Vincent Gallo
The synopsis is here
Writer, Director, Painter, Musican and resident nutjob Vincent Gallo reminds me of Roman Polanski; in that despite some of his more bizarre actions (also includes hexing Roger Ebert and now no longer showing his films to a public audience), his talent is something I cannot ignore. As a writer/director his indie feature Buffalo 66 (1998) is one of the most alluring American independents of recent times. To me Gallo is that worst type of person in which his ego is only matched by his talent....and his ego is pretty huge.
Essential Killing has an extreme person like Gallo running through the wilds of an unnamed European country, trying desperately to escape his captors and survive the harsh terrain ahead of him. It's quite obvious with a little knowledge of the man and the way this film starts; with Gallo's character blowing three U.S soldiers sky high with a rocket launcher mounted on his shoulder, the man is clearly in his element.
Essential Killing is all about Gallos favourite subject, himself. This isn't a bad thing however because his prize winning performance is one of knife edge intensity. Gallo's sharp features and could-be-from-anywhere face only bolster his compelling (yet muted) display. I love watching acting like this as to me it truly becomes about the performance. The setting, the situation, the desperation and the unbridled need to continue on, is played out within the face and not with trite dialogue. It's great to cleanse the palate with a film like Essential Killing; as while the character is not complex in the slightest (the streamlined plot restricts this), the expressions speak volumes. It reminds me how often I'm trying to keep up with "lets do this to do that" strands of dialogue.
Jerzy Skolimowski complements Gallo's performance with crisp cinematography which highlights the unforgiving landscape as the bright blue skies of an unknown area of the middle east gave way to a vast blanketed winterland scenery of white. the only food appears to be bark and berries and almost any interaction with other people alludes to the films title, although the film isn't as gruesome as you would expect. Skolimowski's wisest decision is to keep the film as apolitical as he could. We merely observe an Arab insurgent trying to survive in alien surrounding and the lack of a agenda illustrates the fight or flee nature we are all hardwired into and yet take for granted.
The film does spill over into abstract weirdness at times, and we are given prolonged moose shots, hallucinations of dogs (appearing almost like nightmarish echoes of Guantanamo) and at one point the lead character having to suckle a woman's breast at gunpoint for the milk that she was feeding her child. Despite this, the tale of extreme survival of this foreign "alien" in a no man's land (no real geography places us in the same disorientated state as the lead character) kept me at attention. The films foreshadowing brings forth a feel of doom (maybe) but at no point do we feel this man's tale is truly on tracks.
The films abrupt climax will madden some and attract others but in order to get the most out of it, and the film as a whole, one must remember the old cliché that it may not be about the destination but the journey. While I may revel in such commonplace writings, Essential Killing and Gallo's intense performance remind us that cliché is definitely not what the man's about.
Wednesday, 10 August 2011
Review: Super 8
Year: 2011
Director: JJ Abrams
Screenplay: JJ Abrams
Starring: Amanda Michalka, Elle Fanning, Gabriel Basso, Joel Courtney, Kyle Chandler, Noah Emmerich, Riley Griffiths, Ron Eldard, Ryan Lee, Zach Mills
Synopsis is here:
Note: A part of my review doesn't reveal any plot points but it does give a slight description of the films creature. Might spoil. Been Warned
Maybe it's the amount of expectation that Super 8 (one of them there original screenplays) brought with it, once people knew of it's conception. Perhaps it's the fact that I'm the kind of Spielberg fan that has no problem with Tom Hanks and his dodgy accent (The Terminal), or the general oddball awkwardness of a grown up Pan (Hook). However something with Super 8 doesn't sit right. The films mixture of JJ Abrams and Spielberg sensibilities don't quite gel completely for me.
I didn't not dislike the film as there's a lot of fun to be had with the films dialogue, the chemistry of the young cast and a bit of the mystery, but Abrams stylistic ticks (think lens flare), a meandering second act (12 minutes shorter than Captain America but strangely feels longer) and the films wish to be a Spielberg movie so much that it almost feels slightly too conscious of the fact, somewhat damage the affair slightly. I am reminded of Paul whose pop culture references to the movie brat are plenty but are utilised in a far more playful matter. Super 8's DNA is almost inherently Spielberg from the Single minded, stubborn, and/or separated father figures to the gang of kids and their Goonie like manner.
And yet something is missing slightly. The family relationships are the same in structure but don't feel as developed in their scenes. The kids (one or two feeling a tad more one-note than even their 80's counterparts) look the part but seem to be missing that little touch that Spielberg films have. I am definitely in the minority here but these guys over Thud Butt, Rufio and rest of the lost boys? Not so sure.
It's definitely not all bad as the cast that's put in place are certainly fun to be with. Abrams introduces us to these guys well enough and they may not be the most remarkable pre-teens in a Spielberg universe but they have the right amount of energy. It also helps that any time love interest Elle Fanning (also brilliant in Somewhere) is on screen, she shines. The cast help set up the films exciting first act a treat, with Abrams giving us a chaotic train crash that doesn't better the destruction of Hogwarts but does well to show the intent.
It's unfortunate that nothing matches this opening gambit. It's a big way to open the film and the material struggles to to maintain the momentum. The second act is patchy in it's pacing and features the kind of cliffhangers that persuaded me to stop wondering about the those Oceanic guys who crashed on that crazy island. Abrams tries hard to keep us on tenderhooks with some decent enough 12a scares and some neat moments but as we make our way towards the finishing point the end of the mystery and the emotional payoff is weak. When I think of the aliens that have appeared in Spielberg movies, I'm always reminded of how memorable that are, through sound (Close encounters) or look (ET, War of the worlds). The revelation we see here feels much like a left over design of a certain other Abrams involved feature.
But this is the hand we are dealt. The Amblin sign crops up cheerfully at the beginning of the movie but nothing comes up as strong. Everything is competent and faithful and that seems to be enough here. Super 8's ending belies my main problem with the film that although everything seems to be in the right place, the heart isn't given the emotional twack that you'd get if the executive producer was the director.
Despite my issues with the film there is an innocence within the film that a miserable blogger like I really cannot knock. When asked what he's doing; the wide eyed lead proclaims as clear as day "I'm trying my best to save your life". When Super 8 falls on those little moments you can feel the 'berg watching over
Director: JJ Abrams
Screenplay: JJ Abrams
Starring: Amanda Michalka, Elle Fanning, Gabriel Basso, Joel Courtney, Kyle Chandler, Noah Emmerich, Riley Griffiths, Ron Eldard, Ryan Lee, Zach Mills
Synopsis is here:
Note: A part of my review doesn't reveal any plot points but it does give a slight description of the films creature. Might spoil. Been Warned
Maybe it's the amount of expectation that Super 8 (one of them there original screenplays) brought with it, once people knew of it's conception. Perhaps it's the fact that I'm the kind of Spielberg fan that has no problem with Tom Hanks and his dodgy accent (The Terminal), or the general oddball awkwardness of a grown up Pan (Hook). However something with Super 8 doesn't sit right. The films mixture of JJ Abrams and Spielberg sensibilities don't quite gel completely for me.
I didn't not dislike the film as there's a lot of fun to be had with the films dialogue, the chemistry of the young cast and a bit of the mystery, but Abrams stylistic ticks (think lens flare), a meandering second act (12 minutes shorter than Captain America but strangely feels longer) and the films wish to be a Spielberg movie so much that it almost feels slightly too conscious of the fact, somewhat damage the affair slightly. I am reminded of Paul whose pop culture references to the movie brat are plenty but are utilised in a far more playful matter. Super 8's DNA is almost inherently Spielberg from the Single minded, stubborn, and/or separated father figures to the gang of kids and their Goonie like manner.
And yet something is missing slightly. The family relationships are the same in structure but don't feel as developed in their scenes. The kids (one or two feeling a tad more one-note than even their 80's counterparts) look the part but seem to be missing that little touch that Spielberg films have. I am definitely in the minority here but these guys over Thud Butt, Rufio and rest of the lost boys? Not so sure.
It's definitely not all bad as the cast that's put in place are certainly fun to be with. Abrams introduces us to these guys well enough and they may not be the most remarkable pre-teens in a Spielberg universe but they have the right amount of energy. It also helps that any time love interest Elle Fanning (also brilliant in Somewhere) is on screen, she shines. The cast help set up the films exciting first act a treat, with Abrams giving us a chaotic train crash that doesn't better the destruction of Hogwarts but does well to show the intent.
It's unfortunate that nothing matches this opening gambit. It's a big way to open the film and the material struggles to to maintain the momentum. The second act is patchy in it's pacing and features the kind of cliffhangers that persuaded me to stop wondering about the those Oceanic guys who crashed on that crazy island. Abrams tries hard to keep us on tenderhooks with some decent enough 12a scares and some neat moments but as we make our way towards the finishing point the end of the mystery and the emotional payoff is weak. When I think of the aliens that have appeared in Spielberg movies, I'm always reminded of how memorable that are, through sound (Close encounters) or look (ET, War of the worlds). The revelation we see here feels much like a left over design of a certain other Abrams involved feature.
But this is the hand we are dealt. The Amblin sign crops up cheerfully at the beginning of the movie but nothing comes up as strong. Everything is competent and faithful and that seems to be enough here. Super 8's ending belies my main problem with the film that although everything seems to be in the right place, the heart isn't given the emotional twack that you'd get if the executive producer was the director.
Despite my issues with the film there is an innocence within the film that a miserable blogger like I really cannot knock. When asked what he's doing; the wide eyed lead proclaims as clear as day "I'm trying my best to save your life". When Super 8 falls on those little moments you can feel the 'berg watching over
Sunday, 7 August 2011
Review: Captain America: The First Avenger
Year: 2011
Director: Joe Johnston
Screenplay: Christopher Markus & Stephen McFeely
Starring: Chris Evans, Hayley Atwell, Tommy Lee Jones, Hugo Weaving, Stanley Tucci
Synopsis is here:
Captain America brought a warming sensation to me after I watched it. Here is a movie that is just as earnest as Tree of Life, but this is no art-house feature. No, this is a comic book movie in which you'd think some audiences are probably getting slightly tired of seeing. There's the origin story here, the fresh faced hero there and everything else that comes pre packaged with these marvel flicks.
The interesting prospect here is that this not only a film that feels more well rounded than some of it's brothers and sisters (although it clearly has an eye on the upcoming avengers movie next year), but the films innocence in it's portrayal of it's character and the telling of his plight is so fresh at a time where we're now seeing all our heroes being "dark" "gritty" and more importantly, cynical. I won't be surprised if the biggest defenders of the Transformers movies sneer at the old fashioned aw shucks nature of the Capts exploits, but there's something joyfully upstanding seeing this heroes pluck over the wise ass antics of Sam Witwicky or even The Dark Knights angst.
The reason the film work for me is that the storytelling, set pieces and cast were as straight forward as the Captain himself. It's a shame that the spectacle aren't as big or memorable as one would have hoped, but that's not really the point. Here we're given a righteous and mature hero who is willing to pull us through his adventure. His guts are what makes the character raise above so many of the reluctant protagonists that have plodded through their tales, generally being told what to do and how to do it. The fact that Captain America places his life in his own hands as much as he does is invigorating. It helps that Chris Evans' honest and hopeful portrayal of the character is one that Henry Cavill and the DC camp may do well with pinching. Evans sells truth, justice and the american way well. He also sells some decent chemistry with the spunky Hayley Atwell whose role of love interest is part of her but doesn't define her (compare her character to poor Blake Lively's in Green Lantern) . Although she and the some of the supporting cast (a criminally wasted Neal McDonough) don't get enough time to truly show themselves off.
It is a shame that despite all the good that the Capt does, with the wonderful sepia toned 1940's setting and Joe Johnston's pulpy execution of it all, that the Captain's villain isn't as villainous as he is virtuous. Due to the Captain's commitments to The Avengers movie we get an evil doer whose more of a figurehead than a fully formed character.The Red Skull has the right look and actor (A delectably scene chewing Weaving) behind him but hardly any anything else. We sense Captain Americas heart and by the films last words I was right behind him However will it comes to the evil he has to face I was severely underwhelmed. I understand that this is the beginnings of a regime that should be more evil than the Nazis, but why don't we see it? They have the power but there's very little demonstration. But then I say this about a film that has two montages of Captain America in action to substitute more intricate set pieces. Why? Because Capt's big film will be The Avengers. With such a cloud looming over the film we see a Captain America film that shoots from the hip but is also streamlined due to other commitments.
It seems that much of what Matt Singer (IFC) says is right. Marvel seem far to bothered about what's next to truly invest on the singular efforts. This is not to say that Captain America isn't good. It's bold, brash, old serial way of film making is refreshing and fun and I can't say I didn't leave with a smile on my face (I even didn't mind it in 3D and that says a lot) The problem is Marvels constant Brand pushing short changes a film which is entertaining on its own right. Unfortunately the movie is held back from truly being the best it can be. Captain America himself, really would expect more.
Director: Joe Johnston
Screenplay: Christopher Markus & Stephen McFeely
Starring: Chris Evans, Hayley Atwell, Tommy Lee Jones, Hugo Weaving, Stanley Tucci
Synopsis is here:
Captain America brought a warming sensation to me after I watched it. Here is a movie that is just as earnest as Tree of Life, but this is no art-house feature. No, this is a comic book movie in which you'd think some audiences are probably getting slightly tired of seeing. There's the origin story here, the fresh faced hero there and everything else that comes pre packaged with these marvel flicks.
The interesting prospect here is that this not only a film that feels more well rounded than some of it's brothers and sisters (although it clearly has an eye on the upcoming avengers movie next year), but the films innocence in it's portrayal of it's character and the telling of his plight is so fresh at a time where we're now seeing all our heroes being "dark" "gritty" and more importantly, cynical. I won't be surprised if the biggest defenders of the Transformers movies sneer at the old fashioned aw shucks nature of the Capts exploits, but there's something joyfully upstanding seeing this heroes pluck over the wise ass antics of Sam Witwicky or even The Dark Knights angst.
The reason the film work for me is that the storytelling, set pieces and cast were as straight forward as the Captain himself. It's a shame that the spectacle aren't as big or memorable as one would have hoped, but that's not really the point. Here we're given a righteous and mature hero who is willing to pull us through his adventure. His guts are what makes the character raise above so many of the reluctant protagonists that have plodded through their tales, generally being told what to do and how to do it. The fact that Captain America places his life in his own hands as much as he does is invigorating. It helps that Chris Evans' honest and hopeful portrayal of the character is one that Henry Cavill and the DC camp may do well with pinching. Evans sells truth, justice and the american way well. He also sells some decent chemistry with the spunky Hayley Atwell whose role of love interest is part of her but doesn't define her (compare her character to poor Blake Lively's in Green Lantern) . Although she and the some of the supporting cast (a criminally wasted Neal McDonough) don't get enough time to truly show themselves off.
It is a shame that despite all the good that the Capt does, with the wonderful sepia toned 1940's setting and Joe Johnston's pulpy execution of it all, that the Captain's villain isn't as villainous as he is virtuous. Due to the Captain's commitments to The Avengers movie we get an evil doer whose more of a figurehead than a fully formed character.The Red Skull has the right look and actor (A delectably scene chewing Weaving) behind him but hardly any anything else. We sense Captain Americas heart and by the films last words I was right behind him However will it comes to the evil he has to face I was severely underwhelmed. I understand that this is the beginnings of a regime that should be more evil than the Nazis, but why don't we see it? They have the power but there's very little demonstration. But then I say this about a film that has two montages of Captain America in action to substitute more intricate set pieces. Why? Because Capt's big film will be The Avengers. With such a cloud looming over the film we see a Captain America film that shoots from the hip but is also streamlined due to other commitments.
It seems that much of what Matt Singer (IFC) says is right. Marvel seem far to bothered about what's next to truly invest on the singular efforts. This is not to say that Captain America isn't good. It's bold, brash, old serial way of film making is refreshing and fun and I can't say I didn't leave with a smile on my face (I even didn't mind it in 3D and that says a lot) The problem is Marvels constant Brand pushing short changes a film which is entertaining on its own right. Unfortunately the movie is held back from truly being the best it can be. Captain America himself, really would expect more.
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