Wow, guys. Just…
wow. Normally, I try to come up with a
clever opening paragraph that ties a film into a larger cultural narrative or a
context that gives you some perspective on why I liked or didn’t like a
film. But if you’ve read my previous reviews,
you know I unapologetically love Marvel’s Cinematic Universe, not out of any
fanboy loyalty but because they are well-made films that consistently build
upon one another to achieve with continuity-driven storytelling that no other
franchise has realized in the history of cinema. There have been hiccups in the grand
experiment, but overall the films are pretty great. You already know this. But here’s what I have to tell you: Captain America: Civil War is the
culmination of years of narrative and character development into what is easily
the best film Marvel has made yet.
The film juggles characters and their respective arcs like
no other film I can think of offhand, in a manner that puts Age of Ultron to shame. The story is simultaneously about the
redemption of Bucky Barnes, the relationship between Vision and Scarlet Witch,
newcomer T’Challa/Black Panther’s quest to avenge a fallen loved one, and, of
course, the ideological conflict between Captain America and Iron Man over
whether their powers should be subject to government oversight. It’s astounding that the film manages to take
an immense cast of roughly a dozen characters and give them each something
entertaining to do, all while telling an engaging story that makes the long 150
minute runtime breeze by like nothing.
This is in large part because the film takes its time with
its vital character moments, providing pathos for not only the conflicts
between individual characters but the larger ideological issues at play. Rarely does an action film take such care to
show the collateral damage of its action setpieces, and here Tony Stark’s
desire to achieve guilt-motivated accountability is conveyed as a completely
rational and legitimate argument, even in the face of the film’s obvious bent
toward Steve Rogers’s concern that bureaucratic red tape would make them less
effective saviors. These scenes play
powerfully, with real investment and emotion grounding the performances of
these larger-than-life figures, both in the Tony/Steve relationship and those
of the supporting cast. These aren’t
gods among humans; they’re people just trying to do the right thing, and that
makes the rift in their friendships all the more troubling.
But don’t go in thinking that the film is entirely dramatic
and devoid of action spectacle, because directors Anthony and Joe Russo have
assembled (…heh) some of the greatest superhero fight scenes ever put to
film. Early action beats are frantic and
effective, pitting heroes against each other in fun and creative ways, but the
real kicker is the inevitable big fight where all of the heroes duke it out
against one another in a collective brawl.
I won’t spoil the better moments, but prepare to marvel (…heh, again) at
just the number of ways that heroes can organically team up, butt heads, get
taken down, and re-enter the fray. It’s
simply mind blowing how all this was achieved without making the action too
frenetic or indecipherable, and on a small enough scale that civilian
casualties aren’t ever a concern, keeping the heroic nature of every character
intact.
I could go on about how Tom Holland is the best Spider-man
to ever grace the big screen, how the film manages to retain a sense of wit and
charm even against the bleakest of backdrops, or how the film’s climax is both
striking in its emotional weight and entirely cathartic as the culmination of
the central conflict. However, anything
else I have to say would both do injustice to seeing it firsthand and likely
verge directly into spoiler territory. This
is, in short, an amazing movie, the kind that effectively translates comic book
sensibilities to the big screen without compromise, to the point where I have
an incredibly hard time imagining how Marvel could go anywhere but down from
here. I’m blown away, folks. This movie is just. That.
Good.
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