Cap believes that becoming a free agent for the United Nations means fighting other people's wars.īut at its core - without giving too much away, because the plot is incredibly intricate and riddled with spoilers - Captain America: Civil War is about friendship. Iron Man (Robert Downey Jr.) sees regulation as a necessity, the only thing that separates superheroes from supervillains. What happens when the only reason these people have for living is taken away? It's an incredibly difficult decision to make, since Captain America and his friends are professional fighters it's not like Scarlet Witch ( Elizabeth Olsen) can just start selling yoga pants at Lululemon or Falcon ( Anthony Mackie) will be just as happy teaching diners how to construct lettuce wraps at P.F. Civil War says it's about politics, but it's really about friendshipĬivil War is loosely wrapped around a political skeleton: After cities like New York, Washington, DC, and Lagos, Nigeria, are caught in the crossfire between good and evil, Captain America and his fellow Avengers are given a choice: Either sign away their autonomy to the United Nations, or retire.
This is one of the best movies Marvel has created. Let me lie back and dream of the English countryside as Chris Evans bicep-curls me into oblivion. If loving Captain America: Civil War is to love a soulless beast, then just leave me here. A man bicep-curl ed a helicopter, and it touched my soul. There is a moment in the new film where Chris Evans's Captain America bicep-curls a helicopter.
They have the unique ability to bring us sweet joy, to make us question our own morality, and to leave us in sheer awe. And we're all too busy grading on a curve to notice.Īfter seeing Captain America: Civil War, which is perhaps the most quintessentially Marvel movie about the most perfect and soulless superhero in the company's war chest, I say: Fuck that noise.ĭirected by brothers Joseph and Anthony Russo (who also directed Marvel's second Captain America film, 2014's The Winter Soldier), Civil War is a crackling bundle of celluloid that reminds us of just how dazzling superheroes can be. The most common criticism of this approach is that the company's blockbuster behemoths come away from this formula feeling clinical, that they're soulless, corporate exercises obscured by flash and gloss.
From Iron Man to Guardians of the Galaxy to Thor, the company has honed a rhythm and a pattern that encourage consistency the result is that none of the studio's films, regardless of who's in the director's chair, will ever stray too far from the crisp, almost bookish Marvel formula (good guys don't know they're good guys good guys squabble jokes are made bad guys acquire devastating weapon more jokes are made good guys come together to defeat the Big Bad, etc.).
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