Captain America: The First Avenger

Captain America: The First Avenger - Dir. Joe Johnston (2011)

"What makes you so special?"
"Nothing. I'm just a kid from Brooklyn."

If the interpretations of Mayan calendars turn out to be false and the world doesn't end in 2012, fanboys will rejoice as they'll be able to witness the glory of The Avengers, in which Marvel's greatest superheroes join forces for the first time in live-action. Before the premiere comic book team (sorry, Justice League) makes its debut, Marvel Studios must place the pieces into play. They laid the foundation with Iron Man and continued to build upon it with The Incredible Hulk and Iron Man 2. This summer, Marvel Studios had the daunting task of breathing life into two of their more challenging characters. One was a Norse god with a magical hammer. Thor was successfully realized in an epic fantasy with just the right amount of fish-out-of-water humor. Next up was Captain America, a product of World War II jingoism that leapt from the minds of creators Joe Simon and Jack Kirby.

The character made his debut in Captain America Comics #1, published by Marvel (then known as Timely) in March of 1941, a year before Pearl Harbor plunged the United States into WWII . The cover famously depicted Captain America punching Adolf Hitler right in the face. It would be easy to ridicule his unwavering patriotic beliefs, his star-spangled spandex, and a garish code-name. William Klein did just that with the absurdist Mr. Freedom, a biting Cold War satire of American culture. Yet, Captain America: The First Avenger deftly deals with those issues without a hint of cynicism and celebrates the Captain's old fashioned values.

It is 1942 and a 98-pound asthmatic named Steve Rogers (Chris Evans) is rejected from enlisting in the Army for the umpteenth time. His best friend, Sgt. James "Bucky" Barnes (Sebastian Stan), tries to console him, but Rogers simply wants to serve his country. He gets his chance when Dr. Abraham Erskine (Stanley Tucci) chooses him as part of a clandestine super-soldier program. The project's overseer, Col. Phillips (Tommy Lee Jones) has serious doubts about this human toothpick, but Dr. Erskine believes in him and so does British liaison, Peggy Carter (Hayley Atwell). Thanks to Erskine's serum and vita-ray procedure, Rogers is transformed into a buff beefcake with strength, speed, and agility beyond those of normal human beings. Erskine takes the secrets of the process to his grave when a Nazi saboteur (Richard Armitage) murders him immediately following the experiment.

The assassin was sent by Johann Schmidt (Hugo Weaving), the recipient of an early version of the serum, which gave him super-strength, a crimson cranium, and the nickname of The Red Skull. Schmidt has formed his own splinter group called Hydra, which employs high-tech weaponry powered by the Tesseract (or Cosmic Cube to the comic book fans), a mystical object said to be from Odin's treasury. Knowing Rogers is their only super-soldier; the government hones his identity as a symbol of national pride as he performs in propaganda reels and USO shows. Dressed in a wool costume, the Captain pleads for citizens to buy war bonds while leggy dancers belt out a show tune penned by lyricist David Zippel and Alan Menken, the composer of classic Disney movies like The Little Mermaid and Aladdin. In a clever meta-textual gag, the comic book character becomes a comic book character with issues of Captain America being read by children and servicemen alike. The Captain eventually makes his way to the frontlines where he battles Hydra alongside Bucky and the internationally diverse Howling Commandos.

There has been a glut of comic book films this year and Captain America lies somewhere in the middle of the pack. It's leaps and bounds above The Green Hornet and Green Lantern, but it's not as strong as Thor or X-Men: First Class. Much like Thor, the story is rushed with the filmmakers primarily concerned with setting up The Avengers than crafting a stand-alone picture. Just when you think you've reached the midpoint of Captain America, you're actually at the climax. There's a lot stuffed into this origin story that introduces numerous characters and builds subplots for later movies. Minor spoilers: Captain America is bookended with the discovery and revival of the Star-Spangled Avenger after spending decades in deep freeze. That's a lot to handle for a single two-hour film. So much so that the movie employs three montage sequences to pare down the narrative. But, the strengths of Captain America outweigh its weaknesses.

Director Joe Johnston has bounced back from last year's critically derided Wolfman with an exciting, four-color adventure that recalls the most underrated comic book adaptation, The Rocketeer, which he also directed. Captain America has a vintage quality that the captures the tone of Raiders of the Lost Ark and the Republic movie serials that inspired it. Not much of a surprise as Johnston studied under the tutelage of George Lucas and Steven Spielberg as a special effects artist on Raiders and Star Wars. There is even a sly Indiana Jones reference ("The Fuhrer digs for trinkets in the desert…"). Johnston isn't a strong action director, but the battle sequences in Captain America are exciting, despite an anti-climactic finale. There's a Where Eagles Dare-style raid in the Alps and it's a joy to see Cap slinging his shield. The screenplay was written by Christopher Markus and Stephen McFeely (The Chronicles of Narnia) with an uncredited rewrite by Avengers director Joss Whedon. Though it tends to fall on the bloated side, the script has plenty of sharp humor and the kind of wicked one-liners that could have only sprung from the Whedon's mind.

The production design is impeccable. It doesn't attempt to faithfully replicate the period, but replicate an exaggerated Marvel-ized version of the times, which could only be described as Art Deco Retro-Futurism, what people of the past thought the future would look like. The highlight is an early staging of the Stark Expo from Iron Man 2 with a mannequin of the Golden Age Human Torch (one of Marvel's first heroes) on display. This isn't the WWII from Saving Private Ryan or Band of Brothers, but a PG accounting with Hydra foot soldiers vaporizing their enemies with chrome-plated laser cannons.

Chris Evans takes on his toughest and highest-profile role to date as the title character. Evans is already known to comic book fans as the Human Torch in Fantastic Four and the skateboarding Lucas Lee in Scott Pilgrim vs. The World. As Johnny Storm, Evans brought a charismatic flair to the otherwise abysmal Fantastic Four. The same can be said for his role in another comic book adaptation, The Losers. Evans had turned down Captain America multiple times before revealing he was simply afraid of playing the part. It's lucky he changed his mind as Evans is excellent in the role. Not only does he have the All-American good looks to play Captain America, he brings the right amount of gravitas. Using the magic of CGI, Evans begins the film as a scrawny weakling constantly beating up by bullies, but never backing down. He is actually more interesting as Steve Rogers than he is as Cap, partly because the majority of Cap's scenes are action-driven rather than dramatic. The most refreshing trait of the character was the fact that he didn't go through an obligatory character arc. The majority of recent comic book films revolve around an arrogant protagonist who must learn humility and responsibility en route to becoming a bona fide hero. Steve Rogers is honorable and virtuous throughout First Avenger, yet that didn't make him any less compelling. Secondly, Cap doesn't treat his newfound powers as a burden. Thus, he does not go through the clichéd turning point of quitting only to take up the mantle again after ten minutes.

The supporting cast is equally good with even the smallest role performed memorably. Hugo Weaving is villainously over-the-top as Cap's arch-enemy, employing the distinctive inflections of eccentric auteur Werner Herzog to his cartoonish German accent. The make-up is excellent too, making the Red Skull a hideous by-product of Aryan genetic engineering. Toby Jones plays the Red Skull's right-hand man, Arnim Zola. Jones subverts the cliché of the sycophantic henchman by injecting a sense of apprehension in the face of the Skull's overwhelming evil. Tommy Lee Jones essentially does Tommy Lee Jones as the Captain's gruff and grizzled commanding officer. Dominic Cooper also turns in a great performance as Iron Man's father, Howard Stark, a Howard Hughes-esque playboy industrialist.

This isn't Captain America's first film. The character was previously brought to life in a pair of 70's made-for-TV movies with Reb Brown as a motorcycle helmet wearing Captain America. There was also a direct-to-video cheapie with Matt Salinger (son of J.D. Salinger) as rubber-eared Captain America who fought an Italian Red Skull. Captain America: The First Avenger is the version fans have been waiting for.

Rating: *** (*****)

The Wolfman

The Wolfman - Dir. Joe Johnston (2010)


”Terrible things, Lawrence. You’ve done terrible things…”

Werewolves haven’t received as much cinematic attention as their bloodsucking brethren. Right off the top of my head, I can name several great vampire films. Let the Right One In, The Hunger, The Lost Boys, Nosferatu, Innocent Blood, Near Dark, etc. I can come up with maybe two great werewolf movies, the 1941 version of Wolfman with Lon Cheney, Jr. and John Landis’s An American Werewolf in London. Joe Johnston’s remake of the 1941 film will not be counted as one of them.

Set in the 1800’s, Benicio Del Toro is Lawrence Talbot, a traveling stage actor, who returns home upon the murder of his brother after years of absence. Talbot is still haunted by the suicide of his mother and is less than enthusiastic about revisiting Stately Talbot Manor. But, he is welcomed by his eccentric father Sir John (Anthony Hopkins) and his brother’s beautiful fiancée, Gwen Conliffe (Emily Blunt). Investigating his brother’s demise, Lawrence follows the trail to a gypsy encampment just as it is being attacked by an angry and superstitious mob, complete with torches and pitchforks. And just to turn it into an all-out melee, a werewolf tears through anyone in his path, including Lawrence.

Bitten by the creature, Lawrence finds himself transformed into a beast on each night of the full moon. He desperately attempts to send Gwen away for her own safety while deep-rooted secrets about his family and his father come to light. Toss in a dash of Hugo Weaving as an inspector for Scotland Yard’s special muttonchops division.

The Wolfman has been mired with production problems beginning in 2008 with the departure of original director Mark Romanek. Joe Johnston (The Rocketeer, Jumanji) stepped in and filming was completed that spring. The movie was initially set for release November 2008, but that date was continually pushed back before finally hitting theaters this February. The opening months of the year are generally a dumping ground for the studios. The score by Danny Elfman was replaced by another composer’s work before filmmakers decided to go back to Elfman’s. The indecision about the release date and music are indicative of the troubled production. No one seemed to know which direction to take the movie.

To Johnston’s credit, he has crafted a moody and atmospheric picture aided by the fantastic make-up by Rick Baker, the artist who also worked on American Werewolf in London. You marvel at the costumes and the sets until someone gets disemboweled. When the wolf strikes, limbs are ripped off and intestines are strewn about repeatedly. In Wolfman’s best sequence, Del Toro is strapped to a gurney in a sanitarium as his doctor obliviously lectures his colleagues on Talbot’s delusions. Of course, Talbot morphs into the wolfman freaking out the entire room. It’s not long before someone gets impaled and we watch a CGI wolfman tear-assing through London.

The movie switches back and forth from an old-fashioned slower pace to a modern, action-oriented approach. In the end, all of Baker’s wonderful practical effects are for naught as the climax involves two badly rendered CGI furballs ripping into each other. Come for The Wolfman, stay for Van Helsing?

On the surface, The Wolfman appears to be a picture deserving of being a tentpole release. It has an A-list cast. The acting is more than adequate with Hopkins bringing those same hammy sensibilities left over from Bram Stoker’s Dracula. Instead, it’s a forgettable popcorn movie, passable for a rent. Well, at least it’s better than Teen Wolf.

Rating: **