This film is way better than the first one.
I am prepared to accept that I am a sap (ha), because: baby Groot is the best thing about this film. And Yondu is a close second. Also Kurt Russell. Fight me.
Baby Groot: yes, I find the dancing adorable. It’s fabulous CG – and mostly the emotion is in the eyes, I guess – and I don’t care how manipulative it is. He’s hilarious. Utterly predicable but the bring-me-my-fin scene is fantastic. The opening credits are some of the best I’ve seen; and the way every other character loves him is adorable.
Yondu: probably one of the most compelling side-characters of the series. He gets a genuinely epic arc in this film and I love it.
Kurt Russell: finally an antagonist who makes GotG worthwhile. And, please note, another actor playing (mostly) against type. Although when you hear that a character’s name is Ego there should be very little surprise when he turns out to be a galactic-sized douche. I love everything about Russell’s performance here. I love that he starts out as the heart throb, and that he morphs into the elder statesman who is still approachable and then turns out to be a magnificent megalomaniac.
This film was a lot of fun to watch the first time – and unlike the first one, still completely holds up. Quill is still an arrogant, self-righteous ass with few redeeming features except for his love of his mother. But Gamora is awesome (again/still), I love Mantis, and Nebula has a much bigger and more interesting role here. The soundtrack isn’t quite as epic – or maybe it just isn’t such an extravagant gesture as it was in the first film – but the use of “Tusk” was magnificent.
Maybe this works better for me because the narrative is more … contained, I think. More personal. In the first one the Guardians all fall into it, and – except for Gamora – none of them really have any skin in the game. They just fight because they basically have to. Here, it’s personal, and I think that makes the characters work better; more believably, perhaps; it makes me care more. (Also, see previous comment about a better antagonist.)
Also, the cameos. Sylvester? Ving? MICHELLE YEOH?! (And Ben Browder, who… actually with this audience maybe people will know him, thanks to both FarScape and Stargate SG:1.) Plus THE HOFF.
This is… a weird film.
Like a lot of other people, when it first came out I really, really liked it. I liked the soundtrack (which must have cost a mint); I liked that it was so different from everything else to date; I liked that it was funny!
Now I feel… a little different. Partly this is an emotional reaction to Peter Quill, which is largely framed by his stupidity in the later Avengers films. And watching this film, it’s completely obvious that that later stupidity is absolutely part of his character from the get-go. Which is fine storytelling but doesn’t make me like him any more. There’s a level of arrogance that matches Tony Stark without being offset by Stark’s intelligence (which is not necessarily a mitigating factor; see previous comments about liking Stark being problematic), or his self-awareness, or – frankly – his flare.
The film itself is a bit odd. It has probably the most traumatic opening of any MCU film – certainly of the films so far – and then all of a sudden, Quill is dancing through the rubble of an alien planet. That’s pretty weird. This is also the film where we properly meet Thanos, and find out about infinity stones, and that’s absolutely key to the overarching narrative – in this oddball, eccentric film! On reflection that seems like a bizarre choice. I guess it speaks to the inherent cohesion of the entire universe – or something.
I think Bradley Cooper was a great choice to voice Rocket, and I definitely continue to enjoy the raccoon. A super weird character (thank goodness there’s no more than 5 seconds of Howard the Duck) who manages to display a whole swag of emotions, largely courtesy of a tree. Because again, let’s be honest: Groot is also a super weird character. Don’t get me wrong: I love Groot, and getting Vin Diesel for this point continue to amuse me no end. The most poignant moment of the whole film is given to a tree! (Djimon Hounsou has probably the funniest line, which is just his “who?” at Peter “I am Starlord” Quill). Zoe Saldana is excellent, and brings a nice ambiguity to Gamora; her “I am going to die surrounded by idiots”? – I FEEL IT. Dave Bautista is… well. Drax. Not much you can say about him.
Unfortunately, the same can be said for Lee Pace’s Ronan. I don’t know Pace’s other work much (except as Thranduil, which hardly counts), but he was just… wooden, here. I suspect that, like Christopher Eccleston as Malekith in the second Thor, this can largely be attributed to the overwhelming makeup. But Ronan was a boring villain, with vague and largely unexplained motivation, and I just didn’t care that much. Which is always a problem when the narrative revolves around omg it’s [insert villain] we must stop him!!
Glenn Close swearing, though, is pretty great.
From here, a lot of these films start to… blur together a bit. Not that they are indistinguishable, as such, but I forget which aspects of the overarching Avengers narrative happens when. Because in some ways this film seems more like an Avengers than a standalone Captain America film.
You can watch the Iron Man films almost independently of the franchise. Yes, the third one has some reliance on the audience knowing what happened in New York… but it does have flashback that give you some sense of what happened. The first two Thor movies don’t require knowledge of the rest of the franchise, really; again, really only in understanding Selvig, I would argue. And you also don’t need to know about Thor or Iron Man to understand the first Avengers film.
But here… without a sense of what SHIELD is, without a sense of the role Fury plays and how disillusioned Steve started to be in the first Avengers… you’re a bit lost. And going forward: without a knowledge of who Bucky is, and the world-shaking events of this film, the rest of the Avengers movies don’t really make sense.
None of which is necessarily a problem. It’s just interesting to note.
Additionally, this feels a bit less of a standalone Captain America and more… well, not quite an ensemble; but certainly Natasha is significant, as is Sam Wilson (YAY SAM). Maybe Rhodey manages this in the third Iron Man, but not before; and there’s no equivalent in the first two Thor flicks.
This is also the film where things start to get grittier. Yes Coulson was sad; yes the first Captain America is a war movie – but while it’s not quite a full-on WW2 movie in the classic style, it’s pretty close. This, though: it’s starting to feel like a grim, gritted teeth, relentless punch-em-up film that I don’t really like. It doesn’t quite get there; there are redeeming features that lighten the atmosphere a bit, and demonstrate alternatives to just straight-up fistfights. But not that many. This film feels too long not because of the narrative but because the fights Just. Go. On. Yes, they’re well choreographed; yes, they signal just how serious all of this is; yes, to see Steve equally or over-matched is distressing. But really. Cut a few minutes from every fight and it would be a tighter film.
Were we spoiled for the Winter Soldier’s identity from the trailers? Probably; I can imagine those who make decisions wanting the presumed emotional drawcard. That moment you first see his face properly, shadowed, in Pierce’s kitchen, is splendidly dramatic. And I do like Sebastian Stan. I also really like Robert Redford – like Ben Mendelsohn, playing against type brilliantly. I remember being deeply shocked when I realised what was going on.
The first Avengers changes the world by making aliens and superheroes something everyone knows about. Winter Soldier changes the world by removing the SHIELD security blanket, and threatening the integrity of that patriotic rock, Steve Rogers. No film in the franchise chronologically after this can ignore that.
Any movie that requires such an extensive prologue to set up the premise of the film is… already heading into dubious territory. It’s barely even framed as “dad telling a story” which would have been better – the first one has Thor and Loki as kids, so why couldn’t this have been a bedtime story for them growing up? This would also have given a little more context to Odin and/or Frigga as parents, which would have been good, too.
Slapping is never ok. Ever. Not even if it’s a wee lady slapping a large gentleman. It’s not funny and it’s not ok.
Darcy, though, does continue to be both funny and ok. Happily, we also get more Rene Russo as Frigga in this one than the first, and she was great! with a sword and all! Christopher Eccleston, however, was utterly wasted. It could have been anyone in that makeup and with the dialogue. What an utterly lacklustre villain.
And speaking of lacklustre: Natalie Portman was fine, but Jane was… well, basically a sexy lampshade. For a film that purports to revolve around her, she has essentially no agency; she is an object, not a subject. The ether infects her; Thor takes her to Asgard; Odin dismisses her; Frigga protects, Sif steals, and Thor and Loki con Malekith into taking it out of her. What does she do? Um… freak out at a lunch date… actually she does do some Science Stuff at the end. But not much else. Which is disappointing.
As with the first Thor, I was interested to see how much more of a fantasy this feels, rather than SF which the other films do. Basically it’s a portal fantasy, with the Bifrost – and then Consequences of the Amazing Convergence – as the portals. For all it’s designed on a more epic scale, the narrative itself somehow… doesn’t feel it. I think I just don’t care that much about the nine worlds, because although we are introduced to them in the film, I have no emotional connection. I barely care about Asgard.
Two final things that are good about this film: it begins a commentary on genocide that is continued in the third Thor, and I had forgotten it was already here. Honestly, you could blink and miss it… but it is there. And certainly Odin isn’t a great and magnanimous ruler, here, which I think the first one tried to convince viewers of.
And then there’s Selvig. Whose running around in the nudes is played for laughs, basically, right up until he points out that he had a god in his head, and maybe it’s not so unreasonable that he’s having trouble adjusting to ordinary society.
… is also pretty good, you know? More problematic in some respects than previous films; possibly including some aspects that just make this a solid no for some viewers (completely fair).
The main problem with this film is the depiction of disability as something that needs to be fixed. Don’t get me wrong – I can get behind someone with an amputated limb having power fantasies of it growing back and being stronger than ever, etc. But this doesn’t come across like that to me (she says as an able-bodied person; please, feel free to disabuse me). But the VP seems to be on Aldridge’s side precisely because he wants to ‘cure’ his granddaughter(?) – because, the implication is, she’s not ok in a wheelchair. And that’s all really problematic.
For me, though, the good includes:
Guy Pearce. Just that. That’s most of what I have to say. The man’s kind of an Australian Gary Oldman: a chameleon. And he’s great.
More Don Cheadle is always good.
Ben Kingsley and what they did with the Mandarin: I was so worried about the name of the character, and had nightmarish visions of what it might be like in a modern film. But what they did! Making it an examination of the manipulation of media (which is only more relevant now) was brilliant.
Actually addressing the issue of PTS. It’s focal but dealing with it isn’t – which is a bit problematic since it seems on one level to suggest that you just ‘work it out’ (literally, as a mechanic); however, the suggestion that The Great Tony Stark would have anxiety attacks after New York is wonderful – and probably a brave choice, given that I feel like American films still make ‘Vietnam War veteran with PTS’ a pitiable and/or criminal figure.
The child. As a rule, I loathe when films insert children into narratives like this, because they are almost universally corny and awful. My touchstone for when it works is Lex and Tim in Jurassic Park: they are actually a part of the narrative, they interact with the narrative but don’t overwhelm it, they are not overwhelmingly cheesy, and the actors are fine. Harley, too, fits this bill – and of course, the film seems to be quite consciously flipping the stereotype I loathe (“but I’m cold…”). What makes me weep is that the actor who plays Harley went on to play the example I use at the other end, for where children are just awful in a film: Jurassic World.
Finally, I loved the end credits, too – they so clearly signal that this is the end of the focus on Iron Man (which actually isn’t true, given later films, but at least puts to rest the possibility of further Iron Man films).
And so, in six movies (chronologically), we get three of my top 5 MCU films. Not a bad hit rate.
Ah, this film. There is definitely a level of nostalgia… which is stupid because 8 years is not enough for nostalgia – you would think – but maybe because, despite all the bad things the team deals with, this feels like such an upbeat film overall? with the snappy dialogue especially. And things just get so gloomy and sad for all of them, later on. Yes, of course Coulson’s death is hard; but I also know that Tahiti is a magical place… and it’s about the whole vibe of the film. It’s such a joy to see this core of the team all together, even knowing where it’s all heading. To see them butting heads (literally and figuratively), but also figuring out how to work together. To see aspects that will be picked up throughout the franchise – Thor’s hammer/ Capt’s shield/ Tony’s power pack, for instance.
I have Issues with Joss Whedon these days, but it must be said that he knows how to write witty repartee. And I really like that aspect!
This is our intro proper to Hawkeye – and I both like him more, in this, than I did initially… and also got angry all over again at the way his turn to Ronin was treated – and our absolute first intro to Mark Ruffalo as Banner/Hulk. Apparently the Edward Norton Hulk should be considered canon? I just cannot. I watched Eric Bana’s turn as Bruce many years ago, and I thought he was good – Bana has a wonderful way of being both heroic and human (why yes, he is Hektor for me now and always, thanks for asking). Norton… just no. Does not work in my head at all. Cannot. Ruffalo, though: inspired. Gentle and science geek, and doesn’t look ridiculous as a green ragemonster.
One thing I really noticed is that this is beginning of Steve Rogers breaking. Yes, he ignored Tommy Lee Jones in the first film, that was knowing that he wouldn’t be putting anyone else in harm’s way, and it was for Bucky, which is always a driving factor. Here, though… he explicitly distrusts a commanding officer, and that distrust is proved appropriate, which is new. And ends up leading to a lot of later consequences. Poor Steve.
The other thing I noticed is just how ill Loki appears at the start of the film. He looks haggard – terrible bruising around his eyes – he looks so tired and worn. And much older. Which speaks to the presumably difficult months he’s had since letting himself fall off the Bifrost. And almost makes me feel sorry for him.
I love this film. It’s not perfect, but gosh it’s good.
This is one of the films that I wasn’t sure of, going back. It’s been a while since I saw it, and I just wondered…
Everything about this film is fine. Hemsworth is pretty good (although gosh a decade is a long time); Portman is great, actually; Hiddleston is fine. Idris Elba is always wonderful, as is Jamie Alexander. And Kat Dennings as Darcy and Stellan Skarsgaard can help me with my research any time. Also the criminally underused Rene Russo.
There’s just something about the film that feels … odd. Or off. Especially coming on the heels of Iron Man.
I think that, compared to those (internally) earlier movies, Thor – and Thor – feel… naive, somehow. Matched against the cynical, world-weary but still philanthropic Stark, Thor feels… young. Arrogant – or proud? – although at least theoretically committed to doing what’s right; and naive, even innocent. And still so much in his father’s shadow (which, actually, is very much a Tony thing too. OMG how much of the MCU is actually about fathers?? Wait, I don’t want to think about that too much or I might get really sad). The film itself is an example of how the MCU films are allowed to have their own aesthetic, matching the different aesthetics of the comics (I assume); and I think this more fantasy-oriented feel does feel jarring, coming after the very-high-tech, very modern, Iron Man – and even Captain Marvel.
The plot is nothing exceptional; it’s fine as an introduction to Thor and his world. I had forgotten what we learn about Loki and his relationship with Thor; it felt simultaneously like a lot and too little. The one thing I did notice and appreciate greatly is that right from the start, it’s unclear whether Loki is being devious for the sake of evil, or because it’s his nature to be a trickster. Does he know that he’s revving Thor up about their father, and is he doing it for nefarious purposes, or… not? There’s so much about Loki that is vital to however many films, and I think some aspects of him remain unknowable. At the same time: it is clear he loved Odin and Frigga, and that his world being shown to be a lie is the catalyst for most of his later actions.
It’s not quite the Platonic Ideal of Captain Marvel, but. Well. It’s definitely in my top 5 MCU films.
And it’s not just because of Sam Rockwell. Not… entirely, anyway.
It is definitely problematic that a narcissistic, arrogant man like Stark is so compelling as a character. I think partly it’s his self-awareness that helps this. Also, what I noticed on this viewing – perhaps more than any other time – is just how much of his behaviour in this film is driven by the knowledge that he is, in fact, dying. I don’t think I had fully appreciated that before. I continue to love watching his genius at work, and the fact that he is perfectly willing to take a sledgehammer to walls in order to build – what? a synchrotron?
I continue to like Pepper. I like that the development of her character makes sense – also driven by a desire for getting things right, at heart – and that she was perfectly capable of cutting off from Tony when it was clear that he was going in a bad direction. And then there’s Rhodes – now played by Don Cheadle, and maybe it’s just because he’s been Rhodes for longer than Howard had the chance but Cheadle really IS Rhodes for me. There’s something that he brings to the character – understated determination and resilience, and humour, that I really love.
Far, far more than Obadiah, the villains really make this film. I do not love Mickey Rourke as an actor, but as Vanko here he is magnificent (“I vant. My boid”.) It’s just such an off-the-wall character – out of proportion, an exaggerated and distorted vision of Stark himself, as shown by Vanko making an arc reactor in his own version of a cave – and all of his actions are outrageous. He’s so much fun to watch. And then there’s Justin Hammer. Truly, any opportunity to watch Sam Rockwell cut a dance move is all right by me. Everything about Hammer’s character is such a spectacular cringe: he wants to be the exaggerated vision of Stark and he just. Never. Will. Be. Calling Stark Anthony! Trying to sleep with a woman who slept with Stark! Copying his weapons! Oh Hammer. You’re terrible.
Another thing that makes this film is the soundtrack. I am not the biggest AC/DC fan, but it works in this context. As with Captain Marvel, all of this comes together with a fact-paced narrative with an appropriate number of explosions, chases and well-choreographed fight scenes to make a really great film.
This makes it sound like I’m mostly here for the characters, but that’s not true: the story is great! Genius-billionaire-playboy-philanthropist goes on self-discovery trip that nearly destroys the people around him and is nearly brought low by psychotic Russian genius-poor-convict-revengenut!
Also, Scarlett Johannsen in some of the most ridiculous outfits a woman has been compelled to wear while pretending to be “from Legal” or while being an assassin. Plus a cold, tired, take-no-shit Fury, who really can’t be having with Stark’s nonsense.
I am so ready for Avengers. I don’t mind watching Thor first, but… I am so ready for Avengers.
I guess it would be foolish to call any movie perfect, but Captain Marvel comes pretty close to the Platonic Ideal for me.
Brie Larson is fantastic: has the comedy timing when required, serious and distressed and determined when required… I read about how she went up with female fighter pilots to get a sense of what it was like being in the cockpit, which is awesome. And I love the character of Vers/Carol: always committed to what’s right but not so fanatical that she can’t accept when her truth is challenged. An excellent friend; balancing compassion and ruthlessness (looking at you, Yonn Rogg); her persistence as a child and young woman make me so happy. Also, THAT COMMENT to Yonn Rogg at the end makes me SO HAPPY every time.
I adore that this film has no romance. Don’t get me wrong: I am totally here for romance in my stories; ask me why I like Empire Strikes Back so much. But so often when the focus of a story is a woman, romance gets shoehorned in as if audiences can’t cope with a woman not having men fall over her, or her over men (and let’s be honest, it’s usually hetero). So it’s refreshing to have a female hero with male and female friends, but no hint of romance.
The friends! Maria Rambeau is awesome – the right mix of courage and guts with appropriate trepidation (going into space in a vehicle not designed for it…) – what a great best friend; just falls back into the friendship after six years of anger and grief. Monica is also cool and I look forward to seeing her as a hero in her own right. And Fury… well. Fury. I adore that we got a younger Fury in this film, to see where he was before the Avengers Project really blew up in his face. And maybe it’s a bit tacky but I love the jokes about his eye throughout the film.
Then there’s Ben Mendelsohn. MENDO. Playing brilliantly on the expectation that he plays a villain – inspired casting! – I think the writers did a really great job with the character of Talos, and Mendo fulfils it wonderfully. Why would I want to turn into a filing cabinet?
AND Annette Bening! Such a delightful cameo; I know it mucks with the comic canon to have her as Mar Vel but ask me how much I care.
The mid-90s setting is hilarious for someone of my age; the Blockbuster always sets me to reminiscing about getting 5 weeklies for $10, and the awesome responsibility of getting an overnight rental. The flannel, the NIN tshirt, the waiting for the modem to connect… and of course, the music. What a soundtrack. I’d forgotten about Elastica and “Connection” before seeing this; back in heavy rotation now. Aside from Guardians, this makes the best use of music of any MCU film.
All of the characters and the setting work together with a really great narrative. The contrast between the high-tech Hala and what looks like a very low-tech Earth is pretty funny; the gradual reveal of Carol’s past and the truth about the Kree is paced beautifully; there are a good number of chases, well-choreographed fight scenes, and explosions. Like I said: Platonic Ideal for me.
Oh, and I forgot Goose. Sorry Goose. Who’s a good pussy cat, eh?
We got Disney+; we decided to rewatch the MCU; we decided (after watching Iron Man) to watch in internal chronological order.
Thus, we went back to Captain America: The First Avenger.
This is… not my favourite MCU. It’s fine. It’s a solid war film. And that’s what this is: a WW2 film. It’s Where Eagles Dare without Richard Burton, but with weird ray-guns and a disfigured villain (because that’s such a novel idea; see: every James Bond film ever).
This is actually one of the positives about the MCU. The Powers That Be haven’t insisted that every film have exactly the same feel; Iron Man and this film are very different. And so they should be! They’re telling different stories, and Rogers and Stark are very different men, and so on.
The film is: little guy doesn’t like bullies, undergoes radical transformation, becomes a ripped Chris Evans… manages to stay the virtuous little guy in a buff bod, and punches villains. Don’t get me wrong, I do think Chris Evans is great in this role; as an Australian I can say that he seems to fill a very particular idea of American masculinity (which, ahem, given the period of this film, is remarkably like the Nazi version of Aryan…).
I love Stanley Tucci in the minimal time he’s given; I would watch Tommy Lee Jones in basically anything (fight me if you don’t like Space Cowboys); Hayley Atwell is excellent, of course. And Sebastian Stan is fun, and it does make me excited about re-watching the Winter Soldier stuff. Hugo Weaving is a marvellous scenery-chewing villain, and Toby Jones is also fantastic.
Having seen the rest of the films, this feels like such a prequel in many ways. It sets up Cap’s personality – his quirks, his doggedness, his reasons for the at times holier-than-thou attitudes that so pisses off Stark; and of course, the dedication to Bucky. Which is integral to all that is to come, and the depths of which I had probably forgotten when I watched Winter Soldier last time.
I didn’t love this film, particularly, but it does make me excited for what’s to come.