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Film Review

Antonio Campos’s The Devil All The Time

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I can say without doubt or hesitation that The Devil All The Time is the ‘feel bad’ movie of the year, and I mean that in a good way. This isn’t a film that seeks to find the silver lining, heart of gold of light at the end of the tunnel as far as atrocious human behaviour, sickening acts of violence and degradation and overall depravity go, this is a film that displays such things without much in the way of message, theme, agenda or apology. It’s just a film about terrible people doing terrible things, plain as pasta. If you can reconcile that early on in and stomach your way through the rest, there’s a whole lot to appreciate here, namely a spectacularly star studded cast all giving superb work in a gorgeously produced piece of Southern Gothic, nihilistic, psychosexual, blood spattered, sleazed up, unpretentious hayseed pulp fiction that has no patience for the squeamish, the self righteous or those who just tuned in to see Tom Holland and Robert Pattinson and won’t know what hit them. The film is a sprawling backwater canvas that spans decades and sees a whole host of unsavoury denizens interweave devilish deeds, violent acts, religious mania and murder most foul, or in this film’s case, most celebratory. Holland is terrific as Arvin, a tough kid with a nasty past who was taught early on in life by his extremely troubled father (Bill Skarsgard, haunting) about what kind of evil is out there. He’s forced to reckon with quite a few gnarly characters including a married couple serial killer duo (Jason Clarke and Riley Keogh), the county’s most corrupt lawman (Sebastian Stan), a belligerent small town mobster (Douglas Hodge) and a piece of work preacher (Pattinson playing gleefully against type) with a penchant for sexual abuse of underage girls and not a remorseful bone in his body about such acts. Arvin anchors the whole sordid tapestry together but is by no means a hero, and as much as the violence he inflicts is justified when you consider the people he’s up against, he is still a very harsh and cruel force, made so by Skarsgard’s passing of the torch as a young boy. The narrative doesn’t always seem to flow naturally, there’s a few jerks on the pacing chain that I noticed but the film is so beautifully made in terms of production design and performance it just sweeps you up anyway. It’s based on a novel by a fellow called Donald Ray Pollock, and judging by the wistful narration provided here he approves of what the filmmakers have wrought with his work, but I also see on google that he grew up in the actual county this is set in, and god help him if any of this stuff happened in his life because I wouldn’t wish these events on anyone. This is a pessimistic film that doesn’t pretend to be some holy treatise on pain and suffering whereby showing awful things happen we attain some kind of catharsis, by distance, perspective or irony. No, this film just presents to us the absolute shittiest human behaviour it can think of, and let’s us sit with it as we will. Many will abhor it, I appreciated it for what it was, for the craftsmanship, acting, artistry and scriptwriting on display and I suppose if there’s one thing it had to say that I absorbed, it’s that violence begets violence, generationally speaking in this case, and sometimes that’s not such a terrible thing when put to good use. A tough pearl of wisdom, but then again this is the toughest sort of film to be moved by.

-Nate Hill

Film Review

Ridley Scott’s The Martian

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You know those Sci-Fi movies where someone has a near miss, narrow escape or heroic encounter up in space and everyone down in the NASA control room leaps up, cheers and claps in collective catharsis? It’s a well worn narrative beat and can sometimes be an eye roll moment. Ridley Scott’s The Martian has several of these but because the characters and plot are so well drawn they feel earned, appropriate and exciting. That goes for the film itself as well, it’s a two and a half hour space epic that feels as breezy as a ninety minute quickie, an optimistic, human story of one man’s ultimate quest for survival and everyone else’s daring attempts to rescue him.

Scott is no stranger to darker, more austere stuff particularly in his Sci-Fi exploits, but he shines a bright light on the proceedings here, making a super complicated, science based story with many moving parts somehow seem light and carefree while also making a big emotional landing. Matt Damon is Mark Watney, astronaut, botanist, space pirate and celestial castaway, marooned on the red planet following a mission gone wrong and presumed dead by NASA and his crew, until he’s able to communicate. He grows potatoes using… homemade fertilizer, repairs a satellite and awaits rescue while everyone else faces moral and technical quandaries in their struggle to bring him home. NASA’s director (Jeff Daniels, smarmy but never an outright baddie) is reluctant to go all out and send another mission, the crew’s handler (Sean Bean, fantastically low key and against his usual tough guy image) wants to do right by them and inform their commander (Jessica Chastain). The earthbound commotion is nicely interlaced with Damon’s solo outings up there and somehow they edit the thing to both realistically depict the passing of time but also fly through the proceedings breathlessly. Scott casts his film with ridiculous talent including Kate Mara, Donald Glover, Michael Pena, Aksel Hennie, Sebastian Stan, Benedict Wong, Chiwetel Ejiofor, Kristin Wiig and Mackenzie Davis.

Many people wrote this off as a good film but simply fluff, like an enjoyable but kind of inconsequential ride, or at least that’s the vibe I got from some reviews. I couldn’t disagree more. This type of story is exactly the kind of thing we need more of in this day and age. One could remark on the vast amount of effort, overtime hours and expenditure NASA puts in simply to bring one astronaut home, and whether or not it’s worth it (Jeff Daniels certainly has that thought cross his mind), but the truth is that it’s not about just Mark Watney, or just any one person stranded up there, it’s about what the actions and efforts signify, and how important that is, as well as the notable and extreme resilience on his part. This is a film that shows the best in human beings who are put in impossible situations, and how we might make ourselves, and those around us into better people. It’s a rollicking space flick speckled with incredible talent, hilarious comedy, scientific knowledge and has already aged splendidly since it’s release four years ago. Top tier Ridley Scott for me, and one of the best Sci-Fi films in decades.

-Nate Hill

Film Review

Steven Soderbergh’s Logan Lucky

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After a sort of slow opening act, Steven Soderbergh’s Logan Lucky becomes a sweet, funny, raucous, touching and unexpected film, the most enjoyable thing he’s made after a series of dead serious dramas. Kind of like Ocean’s Eleven for the Monster Truck crowd, this is popcorn fare with brains, but it’s not afraid to get loopy and mess around in the sandbox either in terms of comedy and characterization, especially that of Daniel Craig’s Joe Bang, the world’s most aloof safecracker. Joe’s help is needed when brothers Jimmy (Channing Tatum) and Clyde (Adam Driver) Logan take it upon themselves to stage a heist during NASCAR mania when times of financial woe befall them. Jimmy is laid back and affable, Clyde is old school idiosyncratic to the point of hysterics and their dynamic is something hilarious. Throw in Joe with a Bang and the thing takes off, once the gears of the plot start grinding, mind you. Like I said, the opening dilly dallys a tad. Despite being a screwball comedy of sorts, this never goes too far off the rails into, say, Cannonball Run territory and never feels *too* light or inconsequential. Soderbergh is an alchemist in complete control of every element and this thing unfolds deliberately, intricately and always playfully. Surrounding them is a delightfully eclectic supporting cast including Seth McFarlane, Riley Keogh, Katie Holmes, Jack Quaid, Brian Gleeson, Katherine Waterson, Macon Blair, Sebastian Stan and Dwight Yoakam as a breezy Prison Warden. The heist is a blast, full of screw ups, diversions and delirious suspense as these ill prepared, lovably hapless goofs try to do right by their families and each other. Craig must be broken out of jail where he’s “in-car-cer-ated” for the duration of the job and then stealthily returned once the mission is accomplished, and Jimmy has to be done with it all in time for a beauty pageant that his daughter (Farrah Mackenzie, wonderful) is appearing in. It’s fairly random but it just somehow works, from left field character choices to specifically nutty set pieces to third act twists that come out of nowhere. Just when you think you can relax, a federal agent (Hilary Swank in full shark mode) shows up to stir the pot again. The film ends on a narrative cliffhanger and with perhaps one of the best and most enticing zoom-out shots I’ve ever seen that had me both wishing for a sequel and wanting the magic to remain bottled just there at that perfect penultimate moment. Great film.

-Nate Hill

Film Review

Gone

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I’ve never understood the dislike or lacklustre reception for Gone, a moody, propulsive suspense thriller starring Amanda Seyfried. It’s not especially groundbreaking or crazy in any way but it’s a solid genre piece with a lead performance that proves once again what kind of pure star-power she has, enough to carry a film and then some. She plays a girl that allegedly escaped the clutches of a serial kidnapper/killer who tossed her down a hole somewhere way out in the wilderness. The cops never really believed her as there was no actual proof and their searches turned up fuck all, but she won’t be deterred, especially when her older sister (Emily Wickersham) seems to vanish into thin air one night and she’s convinced the guy has returned. Once again the lead detectives on her case (Daniel Sunjata and Ray Donovan’s Katherine Moennig) give her the skeptics eye and she has no choice but to launch her own solo investigation, a dangerous option but the girl has no shortage of bravery. Inherently creepy looking Wes Bentley plays another cop who is decidedly more helpful for his own reasons, but he exists mainly as a red herring and ultimately doesn’t do much of anything useful. This film is about her journey and not so much her destination, as it’s essentially a heightened Nancy Drew yarn fuelled by a constant vibe of suspense and blanketed in the thick atmosphere of the Pacific Northwest region where it was filmed. When her eventual confrontation with the killer does come, it seems a bit after the fact and even rushed, but it was never the point anyways, as the story’s effectiveness lies in her relentless search and resilient, charismatic tactics to discern each clue along the way. The cast here is full of gems, including Dexter’s Jennifer Carpenter as her waitress boss, Joel David Moore, a very young Sebastian ‘Bucky Barnes’ Stan, Nick Searcy, Socratis Otto and legendary tough guy Michael Paré as the Lieutenant of the local precinct who is helpful but stern and concerned about Seyfried’s seemingly drastic actions. Don’t let any negativity spoil a fun evening in with this one, there’s really nothing to hate about it. Tightly wound, nicely acted by everyone, and shot with the benefit of the Northern locale. Admittedly broad and farfetched in terms of plotting, but what thriller isn’t here and there anyways, get over it. Mainly it worked so well for me because Amanda is such a vivid, present actress who can hold a scene like nobody’s business and really commits to her craft. A diamond of a flick in my books.

-Nate Hill

Film Review

CAPTAIN AMERICA: CIVIL WAR – A REVIEW BY J.D. LAFRANCE

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It has been said that 2016 marks the deconstruction phase of the comic book superhero genre what with Deadpool turning it on its ear with a healthy dose of postmodern irreverence. It also saw two movies that addressed the very heroic nature of these larger than life characters, first with Batman v Superman: Dawn of Justice and then Captain America: Civil War. Both movies featured iconic superheroes in conflict with each other while also addressing the effect they have on the world. How does the general populace react to them and, more importantly, how do those in positions of authority react to them? The latter in both movies – not so well. Should superheroes be governed and if so by whom? Should they be held accountable for the massive destruction incurred from their world-saving battles? These two movies address these questions in very different yet intriguing ways.

Civil War takes the basic story from the 2006-2007 Marvel Comics limited series of the same name, written by Mark Millar and penciled by Steve McNiven, and uses it as a springboard to address narrative threads introduced in Captain America: The Winter Soldier (2014) and Avengers: Age of Ultron (2015). Civil War intertwines two primary storylines: Steve Rogers a.k.a. Captain America (Chris Evans) and Falcon (Anthony Mackie) track down elusive assassin the Winter Soldier (Sebastian Stan), and the continuing animosity between Cap and Tony Stark a.k.a. Iron Man (Robert Downey Jr.), which finally reaches a critical mass when they disagree over the creation of an international governing body to watch over and control the Avengers, splintering the team into two camps – those on Cap’s side and those on Iron Man’s. This culminates in an epic battle between both sides.

Civil War starts off with a bang as Cap and his new Avengers team comprised of Scarlet Witch (Elizabeth Olsen), Falcon and Black Widow (Scarlett Johansson) as they track down and stop Brock Rumlow (Frank Grillo), the Hydra agent who has now become supervillain Crossbones, from stealing a biological weapon in Lagos. For Rumlow, it’s a personal vendetta as he blames Cap for almost dying in the collapse of the S.H.I.E.L.D. headquarters in The Winter Soldier. This is a recurring theme throughout the movie: deeply personal motivations for why characters do what they do.

Meanwhile, the individual human cost of battles like the one in Sokovia at that climax of Age of Ultron weighs heavily on Tony as do the people that died during the Crossbones mission on Cap. To make matters worse, United States Secretary of State Thaddeus Ross (William Hurt) meets with the Avengers to inform them that the United Nations is preparing legislation that will sanction their future actions. He considers them all dangerous and is concerned that they continue to operate unchecked, showing them a greatest hits montage of carnage that ensued during their battles. He gives them a choice: come on board with this legislation or retire.

Tony feels guilt over the ramifications of his actions – what with helping to create Ultron and all – and that of the Avengers and backs the sanctions along with Vision (Paul Bettany), War Machine (Don Cheadle), and Black Widow. Cap argues that signing this legislation will take away their right to choose. What if the U.N. sends them somewhere they don’t want to go or shouldn’t go? Where does it all end? Things for Cap only get more complicated when the Winter Soldier, who is actually Cap’s childhood friend Bucky now a brainwashed killer, is responsible for the death of T’Challa a.k.a. Black Panther’s (Chadwick Boseman) father. Meanwhile, the mysterious Helmut Zemo (Daniel Bruhl) is quietly plotting something big and it involves the Winter Soldier.

While this movie seems plot-heavy, it moves along briskly, punctuated with kinetic action sequences, like an exciting chase through the streets of Bucharest as Cap tries to capture Bucky alive while preventing Black Panther from killing him. It starts off as a dynamic foot race and then ramps up to vehicles that rivals the chase early on in The Winter Soldier. Much like with that movie, directors Anthony and Joe Russo have a real knack for orchestrating kinetic action sequences that create an almost palpable sense of danger for our heroes because so much is at stake. It doesn’t hurt that they wisely enlisted the help of Chad Stahelski and David Leitch, directors of the dynamic action revenge thriller John Wick (2014), to choreograph some of this mayhem.

This culminates in the epic airport battle teased in all the movie’s trailers and ads. It is everything they promised and more. This is easily the best action sequence in any of the Marvel movies since The Avengers (2012). It’s epic, visceral and loaded with several mini-battles as hero fights hero. We also get to see the new Spider-Man (Tom Holland) and he’s everything you’d want him to be – full of funny quips, nerdy and more than capable of holding his own with the likes of Cap and co. only he lacks the battle-hardened experience. This is easily the best cinematic incarnation of the webslinger since Spider-Man 2 (2004). On Cap’s side, Ant-Man (Paul Rudd) pops up to lending a helping hand and offer a slew of his own funny one-liners and a cool surprise in the heat of the battle.

There are deeply personal stakes for several of the characters in Civil War, from Black Panther’s desire to get revenge for the death of his father, to Tony’s guilt over the death of a young man in Sokovia, to Cap and his friendship with Bucky. All of these things are powerful motivators for what they do in the movie and supersede accords and sanctions. Initially, there was some concern that the inclusion of all these characters would create an overly stuffed movie but on the contrary the Russo brothers found a way organically integrate newcomers like Black Panther and Spider-Man and use their appearances as a springboard for their upcoming standalone movies.

In a nice contrast to past Marvel villains, Zemo is a more cunning, understated menace whose endgame isn’t readily apparent and only reveals itself towards the end at a crucial moment just before the exciting climax where Cap and Tony have it out one last time. The filmmakers mess around with the formula on this one. Whereas Age of Ultron featured yet another super baddie bent on world domination, Civil War features a villain that wants something that isn’t on an epic scale. He wants revenge and has a very definite agenda that only gradually reveals itself over the course of the movie in a wonderfully understated way that makes quite a gut-punching impact when it is finally unveiled to our heroes.

DC – this is how you do a battle with superheroes. Once again, Civil War demonstrates how far behind DC is from Marvel in terms of superhero movies on every level. Unlike Batman v Superman and even their own Age of Ultron, the filmmakers of Civil War do a great job of juggling this large cast of characters, giving everyone their moment to say something cool/funny and do something cool or significant without forgetting that the movie is ultimately about Cap and the arc of his character so that he goes from being a patriot in The First Avenger (2011) to an insurgent in Civil War. It’s his story and it’s a personal one. It is really a marvel of narrative juggling that succeeds where even the overstuffed Age of Ultron came precariously close to collapsing under its own ambitions. It is quite an accomplishment and screenwriters Christopher Markus and Stephen McFeely should be commended on a good job.

So many movie trilogies tend to end a weak third installment that tries to tie up all the loose narrative threads created in the previous incarnations while going bigger in scale while losing sight of what made them so good in the first place (i.e. Return of the Jedi, Spider-Man 3 and The Dark Knight Rises). At the heart of Civil War is Cap’s friendship with Bucky. It’s a thread that has run through all of the Captain America movies, culminating with this one where it is put to the ultimate test. This relationship is also the most satisfying aspect of this excellent movie because it is also the most compelling thing about it. Civil War manages to be simultaneously epic in scale in terms of how what happens affects so many characters and intimate in the sense of Cap’s journey over these movies. The filmmakers never let us forget that at its heart, the movie is about Cap and Bucky’s lifelong friendship. That gives us something to care about amidst all the carnage.

Film Review

CAPTAIN AMERICA: THE WINTER SOLDIER – A REVIEW BY J.D. LAFRANCE

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When we last saw Steve Rogers a.k.a. Captain America (Chris Evans), he had just helped save New York City from an alien invasion and was still acclimatizing himself to modern life having been frozen in ice since World War II as chronicled in Captain America: The First Avenger (2011). The sequel, The Winter Soldier (2014), takes place two years after the events depicted in The Avengers (2012) and sees Cap working as an agent of S.H.I.E.L.D., a top-secret spy organization that, among other things, deals with the fallout from the adventures of superheroes like Iron Man and Thor. However, as hinted at in The Avengers and the television show Agents of S.H.I.E.L.D., there is something rotten at the core of the spy organization and Cap soon finds himself not only embroiled in a vast conspiracy, but also confronting someone from his past he thought had died in the war. The result is a fantastic fusion of the super hero movie with the conspiracy thriller.

Cap and Black Widow (Scarlett Johansson) are now a team and as the film begins they intercept a covert S.H.I.E.L.D. ship in the Indian Ocean that has been hijacked by Algerian terrorists led by French mercenary Batroc the Leaper (Georges St-Pierre). In a nice touch, the filmmakers manage to transform Batroc, who was a pretty ridiculous villain in the comic books, into a bit of a badass. Afterwards, S.H.I.E.L.D. director Nick Fury (Samuel L. Jackson) lets Cap in behind the scenes, showing him three Helicarriers armed with state-of-the-art jet fighters that are linked to spy satellites created to anticipate global threats in a program known as Project Insight.

Cap is not at all comfortable with Fury’s secret project and the notion of creating a climate of fear that potentially robs people of their basic freedoms. However, when Fury suspects something is wrong with Project Insight he voices concern to senior S.H.I.E.L.D. official Alexander Pierce (Robert Redford). Immediately afterwards, Fury is attacked on the streets of Washington, D.C. by S.H.I.E.L.D. operatives and an enigmatic figure known as the Winter Soldier (Sebastian Stan). Fury barely escapes and finds Cap before being gravely injured. It’s up to Cap and Black Widow, along with the help of Sam Wilson (Anthony Mackie), a war veteran and post-traumatic stress disorder counselor that Cap befriends early on, to uncover the corruption rampant in S.H.I.E.L.D. and stop it.

Chris Evans does an excellent job of reprising his role of Captain America and providing layers to a character that is essentially a super strong boy scout who comes from a simpler time. He is now immersed in a convoluted conspiracy where he doesn’t know who to trust. As a result, he has to do a bit of soul-searching, which Evans handles well. He also has nice chemistry with Scarlett Johansson, especially when Cap and Black Widow go off the grid together and try to find the Winter Soldier. There’s a hint of sexual tension going on as two people with wildly different backgrounds and approaches to life are forced to look out for each other. Johansson finally gets some seriously significant screen-time than she did in Iron Man 2 (2010) and The Avengers and it’s nice to see her character fleshed out a bit more as well as giving her plenty of action sequences to kick ass in.

A film like this, which intentionally raises the stakes in comparison to the first one needs a credible threat that makes us feel like Cap and his allies are in real danger and the Winter Soldier does that. He rarely speaks, but looks cool and is extremely dangerous so that we anticipate the inevitable showdown between him and Cap. He isn’t some anonymous bad guy, but something of a tortured soul and the screenplay by Christopher Markus and Stephen McFeely (who also wrote the first film) offers some tantalizing details of his backstory and how it ties in with Cap’s past.

Markus and McFeely have crafted a solid script that is well-executed by directors Anthony and Joe Russo. They establish just the right rhythm and tone with well-timed lulls between action sequences that are used wisely to move the plot along and offer little moments of character development that keep us invested in the characters and their story. For example, there is a nice scene where Cap goes to an exhibit dedicated to his World War II exploits at the Smithsonian, which succinctly recaps his origin story in a rather poignant way that reminds us of his internal conflict of being stuck in the past while living in the present. One way he deals with this is befriending Sam and they both bond over being war veterans – albeit from very different eras. In addition, the script features several well-timed one-liners and recurring jokes that add moment of much-welcomed levity to an otherwise serious film.

The action sequences are exciting and expertly choreographed with the exception of the opening boat siege, which takes place at night and involves way too much Paul Greengrass/Jason Bourne shaky, hand-held camerawork. Once the filmmakers get that out of their system and Cap takes on Batroc, the camera settles down and is a decent distance from the combatants so that we can see what’s going on. There is also an intense car chase involving an injured Fury in an increasingly bullet-ridden SUV that has the feel of the exciting car chase in William Friedkin’s To Love and Die in L.A. (1985) and a little later Cap takes out an elevator full of S.H.I.E.L.D. agents intent on neutralizing him that evokes an elevator scene in Brian De Palma’s Dressed to Kill (1980). The fights between Cap and the Winter Soldier are fast and frenetic, but never confusing as they convey the frighteningly deadly speed of the latter’s moves, so much so that I really felt like Cap was in some serious danger.

Drawing elements from writer Ed Brubaker and illustrator Steven Epting’s 2005 “Winter Soldier” storyline in the comic book, this film has a decidedly darker tone than The First Avenger as our hero is nearly killed on several occasions and his world is shaken to the very core as he uncovers all sorts of ugly secrets. In this respect, The Winter Soldier is reminiscent of paranoid conspiracy thrillers from the 1970s and this is acknowledged with the casting of Robert Redford who starred in two of the best films from that era – Three Days of the Condor (1975) and All the President’s Men (1976).

It is refreshing to see a sequel that isn’t merely content to rehash the first film. Where The First Avenger was essentially a mash-up of a super hero movie and war movie, The Winter Soldier is super hero movie and a political thriller with events that are a major game changer for the Marvel Cinematic Universe. In the past, S.H.I.E.L.D. had been the connective tissue that linked several of the films together that led up to The Avengers. It should be interesting to see how the events depicted in this film set the stage for Avengers: The Age of Ultron (2015). That being said, The Winter Soldier has its own self-contained story that is engrossing with a lot at stake for our hero and this in turn gets you invested in what is happening to produce a rare super hero movie with heart.

Film Review

CAPTAIN AMERICA: THE FIRST AVENGER – A REVIEW BY J.D. LAFRANCE

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The popular comic book superhero Captain America had his debut in March 1941 courtesy of Joe Simon and Jack Kirby who created him as a patriotic symbol in response to the actions of Nazi Germany in the years leading up to the United States’ involvement in World War II. Like any enduring comic book icon, Cap has undergone all kinds of changes over the years but as had few cinematic incarnations. He first appeared on film in a 1944 serial and then in a 1990 film that was so ill-conceived that it was released direct to home video in North America. One problem with the character is that his costume does not translate well to a live-action film. It didn’t help that at the time of the 1990 version, Marvel Comics, which owned the character, had little interest in cinematic adaptations of its titles until X-Men (2000) proved to be a surprise hit.

Since then, they’ve had a spotty track record with their properties. The Blade and Iron Man series were very successful but both Daredevil (2003) and Ghost Rider (2007) were box office and critical failures respectively. Part of the problem is the talent attached to these films. Getting the right director and cast that understand the characters and the worlds they inhabit is crucial and explains why the first two X-Men films were so good. For Captain America: The First Avenger (2011), the powers that be wisely hired Joe Johnston to direct. Since it was decided that the film be set during World War II who better to recapture that old school action/adventure vibe then the man who helmed The Rocketeer (1991) and Hidalgo (2004)? For the pivotal role of Captain America, Chris Evans was cast. He already had experience with superhero films playing the Human Torch in the awful Fantastic Four films and, as a result, was understandably reluctant to take on another comic book adaptation. The question remained, how would such an earnest, idealistic character translate in our cynical times and would movie-going audiences be able to relate to him? Judging by its opening weekend box office haul, quite well indeed.

Steve Rogers (Chris Evans) is a skinny weakling who just wants to do his part for his country during wartime but he’s wracked with too many health problems to join the army. So, he volunteers for a risky top-secret experimental program known as Project Rebirth run by Colonel Chester Phillips (Tommy Lee Jones at his crusty, ornery best) and Peggy Carter (charmingly played by Hayley Atwell). Rogers may not be physically strong but he’s brave, determined and willing to sacrifice himself for the greater good. Dr. Abraham Erskine (Stanley Tucci) and playboy inventor Howard Stark (Dominic Cooper) conduct the actual procedure that transforms Rogers into the perfect physical specimen, a Super Soldier complete with superior strength and agility.

Instead of putting him on the front lines where he wants to be, Rogers dons a corny costume (that pokes fun at previous cinematic incarnations), dubbed Captain America, and ordered to sell war bonds to the American public in a lame dog and pony show. While entertaining American troops in Italy, he hears that his best friend Bucky Barnes (Sebastian Stan) has been captured by Hydra, a research wing of the Nazis who are so ambitious that they split from the Germans for playing it too safe. With Peggy and Stark’s help, Rogers disobeys orders to rescue his friend and 400 prisoners of war. Meanwhile, Hydra leaders Dr. Arnim Zola (Toby Jones) and Johann Schmidt (Hugo Weaving) have discovered the Tesseract, a cosmic cube endowed with powerful magical energy that they harness so that it can be used to not only win the war but also take over the world. Schmidt was the first recipient of the Super Soldier formula and it transformed him into the Red Skull, a hideous-looking evil genius.

Hugo Weaving brings a suitably creepy menace to the role of the power hungry Red Skull aided in large part by the impressive and appropriately garish makeup job. Hayley Atwell is downright delightful as the brassy dame Peggy Carter who is more than capable of taking care of herself. The chemistry between her character and Rogers is nicely realized with snappy, slyly flirty dialogue reminiscent of a Howard Hawks film. The screenplay, written by Christopher Markus and Stephen McFeely, does a nice job of developing their relationship over time, keeping their romance simmering just under the surface for most of the film until its tragic conclusion that carries a surprising emotional resonance because we’ve become invested in them. After all kinds of supporting roles over the years, Chris Evans finally gets to prove that he has the chops to carry a big budget blockbuster. He brings a no-nonsense charisma to the role and conveys Cap’s idealism without coming across as forced or phony.

Joe Johnston brings the same old school Classic Hollywood vibe he brought to The Rocketeer complete with a refreshing lack of cynicism and irony as he delivers a straightforward action/adventure tale. And like with that previous film, he includes all sorts of nice comic book touches, like the introduction of the Howling Commandos, a ragtag group of soldiers that fought alongside Nick Fury in the comics and fight with Cap in the film. In particular, the actors who play Dum Dum Dugan (Neal McDonough) and Gabe Jones (Derek Luke) bear an uncanny resemblance to their comic book counterparts right down to how they look and act. Unlike Zack Snyder (Watchmen, Sucker Punch), who imposes too much of his personal style, Johnston understands that the film’s style should service the story – anything else is a distraction. He even employs Snyder’s trademark “speed-ramping” technique but in a way that fits seamlessly with the action sequences, which are exciting and expertly choreographed, devoid of schizophrenic editing. You always know who is fighting whom and where. Captain America may not reinvent wheel in terms of the comic book superhero genre but it doesn’t have to. It is a crowd-pleasing popcorn movie with nothing else on its mind but to tell an entertaining story.