Film Review: Captain America: The First Avenger (2011)

At last, the summer of superheroes has come to an end and with it the seemingly unending string of origin stories that set up the upcoming The Avengers (2012) movie.  Hollywood has given audiences some of the best comic-book adaptations it can offer this summer, such as X-Men: First Class (2011), and also the worst, like Green Lantern (2011).  Captain America: The First Avenger (2011) falls squarely in between, somewhere alongside Thor (2011) if not slightly better.  It has stronger emotional resonance, largely because of the main character’s everyman status and humility and also because it features one of the more compelling comic-book romances to date.  However, it cannot escape the drawbacks of telling an origin story, in particular an Avengers one.  In other words, when the credits roll (and especially after The Avengers teaser trailer at the end of the credits), you can’t help but feel you just watched half of a movie or simply an extended preview of the upcoming mega-blockbuster; in fact, its ending is comparable to Harry Potter and the Deathly Hallows: Part 1 (2010) and leaves you somewhat unsatisfied.

Nonetheless, Captain America is more fun than you would expect, given several mediocre-to-bad adaptations making audiences apathetic rather than fan-crazy about Hollywood’s next superhero flick.  It has a neat retro/futuristic-vibe, solid action sequences, though admittedly with diminishing return, and engaging performances that help develop a surprising bit of heart layered into the generally hokey nature of the character and film.  Overall, it is above average but nothing exceptional.  Furthermore, while it fails to emulate the greatness of its obvious inspiration from Raiders of the Lost Ark (1981) and Star Wars, it has some great references to the classics and parts feel similarly entertaining.  In sum, it should exceed most viewers’ lowered expectations by providing them with a quality, albeit less-than-unforgettable, summer blockbuster that teeters to stand on its own as a compelling action period piece.

Brooklyn native Steve Rogers, a frequent victim of bullying and losing fights that he chooses not to run away from, has tried a handful of times to enlist in the army to fight in World War II but has been unsuccessful each time due to his 90-lb frame, despite some illegal falsifications.  However, former Nazi-turned U.S. scientist Dr. Abraham Erskine perceives greatness in Rogers, especially because of his fearlessness, humility and sense of sacrifice, and recruits him to be a part of the secretive Strategic Scientific Reserve.  After some typical boot-camp training and several extraordinary tests of valor, Rogers is chosen by Erskine and Colonel Chester Phillips to be the test subject of Erskine’s experimental serum mixed with Howard Stark’s innovative technology to turn ordinary men into super soldiers.  Although Rogers successfully undergoes the procedure and turns into the buff and handsome Captain America, he was not the first person to undergo Erskine’s experiment – Nazi officer/megalomaniac Johann Schmitt/Red Skull also has superhuman powers and seeks to discover otherworldly powers on earth that can be weaponized to aid his quest for world domination.  The only real threat to his plan is Captain America.

As action-packed as the film may be, director Joe Johnston cannot fully overcome one fatal flaw: because we know Captain America cannot die and must triumph so that he can appear in The Avengers, the tension is lessened if not eliminated.  On the other hand, Johnston, a “graduate” of the Steven Spielberg/George Lucas style of filmmaking, brings visual panache to the well-choreographed action sets, especially since he worked on visual effects and/or art designs of a few Star Wars and Indiana Jones films.  For instance, you’ll note a number of references to those classics, from Schmitt’s line about Hitler wasting his time looking for trinkets in the desert (referring to Raiders of the Lost Ark) to the motorcycle pursuit reminiscent of the speeder bike chase in Return of the Jedi.  Such references and fast-paced action will surely make fans happy, but still the underlying problem of a lack of real surprise remains.  Schmitt seems to be thwarted at nearly every turn, never making him into the truly evil villain he is meant to be, despite typical bad-guy Hugo Weaving (The Matrix, The Lord of the Rings) doing his best to make the megalomaniac both fearsome and fun (for the audience at least); though something tells me this may not be the last time we see the Red Skull (with a neat allusion to Thor).  Also, the final showdown between good and evil seems to be anti-climactic.  Overall, while the film’s fight sequences are thrilling while you watch them, but in the end and afterwards they are less-than-memorable (as is the musical score) and without any sense of real risk.

Besides, the way the film is structured, with a present-day prologue and epilogue, Captain America and the audience never get total resolution.  The audience is left to wonder what happened to many of the characters, some of which deserved a conclusion.  One can guess that the filmmakers’ decision to end the film that way was to evoke an emotional response rather than wrap up all loose ends.  Additionally, when the screen turns black for the last time, many viewers will feel cheated and realize they just sat through a two-hour set-up to The Avengers, as that film clearly will begin where this one ends.  That is the problem with most Marvel superhero movies, at least those concerned with The Avengers – instead of making a satisfying, stand-alone comic-book adaptation that possesses real character development and the epic feel that fans crave for, the filmmakers have opted, in a sense, to make pilot episodes that leave a cliffhanger for one mega-blockbuster in The Avengers.  You can debate whether these films drag on or not, but if the studio/filmmakers were serious about making a great, and not just good, superhero movie, and not a teaser/set-up, then they would add another fifteen or so minutes to each one, as Captain America could have benefitted from having, even if that tests the viewer’s bladder control.  Because that hasn’t been the case so far, none of the Avengers “prequels” have been satisfying; they lack a resolution or real conclusion.

On the bright side, Captain America is one of the few comic-book adaptations that features a compelling love story, whether it be a Marvel or DC Comics movie.  Although the romance is definitely in-your-face obvious it does not feel all that forced, and by the end viewers will feel its heartfelt impact (a la Star Trek’s opening scene).  You can tell the filmmakers took their time to layer in the romance and how important it was to the character’s development and story, considering the final scene and line relates to it.  Luckily, the ending resonates since the love story is fairly convincing, but still much is left to be desired.

As far as the performances go, the cast is all-around solid.  Though initially a questionable choice for the lead role, Chris Evans embodies the humility and courage of Steve Rogers pretty well, not to mention his cut physique (the filmmakers superimposed his face onto a smaller body for the earlier scenes).  Hayley Atwell is a bit stale at first, but she warms up and brings elegance and fortitude to the role of Agent Peggy Carter.  Tommy Lee Jones lends his gruff attitude and deadpan comedic genius as Colonel Phillips, also giving him some subtle gentleness beneath the tough, military officer exterior; he surely seemed to enjoy acting in this movie and viewers will delight in his performance.  As Howard Stark, Iron Man Tony Stark’s father, Dominic Cooper has more significance to the story than you may expect and does a decent job at playing the technology mogul.  Stanley Tucci camps it up a bit as Dr. Erskine with his over-the-top “zee Nazis” accent, but nonetheless does fine in the small role.  Toby Jones gives a good performance of the complex Nazi scientist Dr. Arnim Zola, right-hand-man to Schmitt, as he is neither wholly bad nor good but rather an opportunist with at least some morality.  Fans of the comics will feel Rogers’ longtime friend James Buchanan “Bucky” Barnes, admirably played by Sebastian Stan,  gets the short end of the rushed pace and limited character development, but given his character’s comic-book history I am sure he will return in future Captain America sequels.  Veteran supporting actor Neal McDonough shows up to add fun to the movie as Timothy “Dum Dum” Dugan and leads the “Howling Commandos.”  In all, none of the performances are spectacular, but they are suitable for this kind of fun, entertaining summer blockbuster.  Also, don’t forget to spot Stan Lee and his wisecrack line (hint: he is in a scene just before Rogers becomes Captain America as a military or government official).

Captain America: The First Avenger is an enjoyable summer blockbuster with exciting action sequences, a heartfelt love story, and a good deal of lighthearted humor (in contrast to a summer full of crude, R-rated comedies).  While it has a truncated character and plot development, it is comparable to Thor as an entertaining but less-than-spectacular flick; some viewers will enjoy the Norse God a bit more while others will find this movie superior.  Unless you’ve been looking forward to seeing your favorite superhero adapted to the big-screen, you will likely find this better than expected, especially if you have low expectations or feel apathetic about all these kinds of movies.  It is a competently-made, simple and fun movie but nothing extraordinary. In Captain America, audiences are given a glimmer of hope and excitement for what’s to come.  With all the expectations and unresolved developments in recent superhero movies, The Avengers better have a substantial payoff.  Check this one out in theaters as a matinee or at discounted price but not in 3D (it was post-converted and has received bad reviews).

Captain America: The First Avenger – 7/10

 

 

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