Tag Archives: Captain America: Civil War

Are Movies Better Off Without the Internet?

….that which withers in the age of mechanical reproduction is the aura of the work of art

– Walter Benjamin

This question came to me recently as I pondered the relevance of a “news” story I read about the production of the remake of Stephen King’s horror novel, It. The article purported to reveal the new look of the infamous villain, Pennywise. Being slightly interested, I clicked on the article. What followed was a report on a series of Instagram posts by the film’s director, Andy Muschietti, teasing images synonymous with Tommy Lee Wallace’s original television adaptation, as well as the film’s logo on a director’s chair, and then the money shot: a crude pen sketch of a demonic head on the front of a marble notebook.

The article goes on to say that this drawing may have no correlation to the film or the character whatsoever, but, man is it scary looking!

(Editor’s note: since I wrote this the studio has released an promotional image of the character. It looks nothing like the sketch, which is here. You can see the promotional image here)

This got me thinking, did I need to know this information? Don’t get me wrong, I know the article was meant to generate clicks and nothing more (kudos, you got mine!) but I still have to question its mere existence. Film speculation, fan theories, and teasers are firmly entrenched in the digital space of film coverage. These tactics are used by websites to generate traffic, and also by studios to manufacture interest in their properties. In this instance, the website gets the clicks of curious genre fans and the studio gets positive attention cast upon its troubled production (the original director attached, True Detective helmer Cary Fukunaga, left the production after disagreeing with the studio’s vision for the film).

The same could be said of the recent reveal that a Star Trek character, Sulu, will be openly gay in the newest film. Did I need to know this before seeing the film? It generates interest, but at what cost? Think of how much power the revealing moment just lost by informing the audience before they see it. 

No matter the intention of the coverage, this type of article affects the aura of the film, which in turn influences expectations.

This begs me to ask another question: what would my expectations be if this information was never written? I’m aware the all-consuming masses don’t regularly visit film sites that report this news on a daily basis, but with the far-reaching arms of social media wrapping around the whole of the population, most people are bound to find out sooner or later.

Think about the effect Alfred Hitchcock’s Psycho had on the audience when they first saw it. The shower scene was a shocking experience that truly scared audiences. And I have to think part of this is because people had no idea what to expect, aside from another suspenseful film from the master of suspense. The scene had a different kind of teaser, which was revolutionary at the time. The trailer for the film was a 6-minute Bates Motel walk-through with Hitchcock, himself. He took a tour through the motel and the Bates’ house and ratcheted up tension by pointing out the locations of the murders, important places within the two buildings, and areas where revealing clues might be found. The end of the trailer teases the shower scene perfectly without the revealing anything but a moment from the scene.

Here’s the trailer:

Consider that. How many directors could tell the audience exactly what was going to happen in a horror film, but still manage to scare the bajeesus out of everyone who saw it? Filmmakers forget it isn’t the horrifying act, necessarily, that makes things scary, it’s the action plus the way it’s shot, written, scored, lit, and acted.

So, I ask, what would our movie experience be like if we didn’t have the internet to spoil things for us? Modern trailers (most of which appear online before television) show most, if not all, of the story and beats of the film. Genre films tend to show the audience exactly what they are about to see: we know who the villain is and what they look like, the major action set-pieces, the climactic battle, etc.

The worst example of this is the conventions such as the San Diego Comic-Con, and Disney’s D-23 Expo. All of the major studios book presentation Halls to literally give away parts of their most coveted films, most of which gets published on the internet shortly thereafter for all to criticize see.

Imagine if audiences went into Captain America: Civil War not knowing Spider-Man was going to show up, or not knowing which heroes were going to choose to be on Team Cap or Team Iron Man. Every trailer showed some footage from the big fight on the airport runway, as well as the Bucky-Cap vs. Iron Man fight at the end. If they just teased us with the concept that Cap and Tony were going to be on opposite sides of a fight and the rest of the heroes were going to have to choose a side, wouldn’t that be enough? Hell, my girlfriend and I saw that movie wearing matching shirts with the hero line-ups of both Teams. Spoilers are marketable now.

Those action scenes are still gloriously fun to watch, and they get away with it because the action is so well shot, but they lack an element of authenticity and true awe from the audience. There’s a restlessness in the audience who expects to see these familiar moments, as opposed to an excitement from an audience that doesn’t know what to expect. Psycho audiences had the luxury of being in the latter camp.

I understand completely that trailers are a major marketing tool and they’re used to generate excitement, which has been monetized in our digital age. Writers, websites, and studios make a living off of this type of marketing. The earlier they can get the excitement going, the more money can be made. But, this monetizing has stripped film of a different kind of aura: we know what to expect, how to expect it, and when to expect it.

Think about sitting down in a movie theater on September 18th, 2017. The title card pops up: Stephen King’s IT. In our age of mass media consumption, you will have seen countless trailers, read dozens of articles, set reports, behind-the-scenes featurettes, and possibly even seen whole scenes well before the film opens. In Hitchcock’s day, you’d be dying to know the answers to questions like: how terrifying is Pennywise going to look? What crazy shit will he do? How is he going to terrorize these kids? What will he sound like? Who is going to get killed? How will they stop him?

How does this process go in modern times? After you’ve seen all the promotional material the internet has to offer, you’ll sit down knowing the answer to most, if not all, of those questions and you’ll only have one question left: Any chance this lives up to my expectations?

Where’s the fun in that?

Review: Captain America – Civil War (2016)

Cutting to the chase, the MCU’s latest superhero extravaganza is rich in action, circus-act set-pieces, and rife with conflict, both political and emotional. It’s the combination of these elements that make the film a stand-out in the realm of superhero cinema. The film isn’t without flaws but the Russo Brothers deftly manage a smorgasbord of plot, character, and action in a way that few could, and that alone is an achievement.

Warning: there may be spoilers below. Proceed with caution.

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I’ll start with the flaws. The main complaint with the previous MCU films has been its inability to tell a complete story. The stories here are culled from decades of comic books, which as a medium is defined by its serial nature. This week’s issue is a continuation of last week’s while also being the precursor of next week’s. Film has never really been that way, unless there were planned installments (i.e. Harry Potter, Lord of the Rings, Star Trek). The arc created in previous installments is rarely concluded within a single narrative context. In other words, comic book superhero narratives are longer than your typical narrative. They are resolved over the course of several issues, or films, while only black-and-white struggles get resolved. The actuality is, these films prove it is much easier to vanquish a physical enemy than it is to get rid of a metaphysical one (i.e. Steve and Tony’s internal struggles linger long after their enemy has been killed or imprisoned at the end of the movie). So the problem we run into in films such as Captain America: Civil War is one of a structural nature.

What I’m working towards is the reason for the inclusion of characters and moments that don’t necessarily complete the narrative we’re watching, but they add to an existing narrative outside the confines of the current story, or they are planting the seeds for another story to begin.

The most obvious example is the massive shoehorn the Russos employed to wedge the MCU’s returning hero, “Spider-Man”, into Cap’s adventure. When Robert Downey Jr’s Tony Stark goes to Queens to recruit the high schooler with the superhero abilities, it brings the Civil War storyline to a grinding halt. I am aware that “Spider-Man” was present in the comic book version of the Civil War storyline, but he existed within that world long before the big battle takes place. In this film, he is brought in for three reasons: to give Tony Stark a moment of levity in an otherwise emotionally vulnerable story for “Iron Man”, to provide some humor and fun to the heavy-handed proceedings, and to introduce “Spider-Man” into the MCU. Narratively speaking, he serves no purpose. He doesn’t choose a political side or fight for a reason. He fights because his idol asked him to, which is most dubious considering how well and how long the film sets up the emotional and political reasons for all the characters to fight for their side (except maybe Paul Rudd’s “Ant-Man”, who seems to fight for almost the same reason “Spider-Man” does, albeit on Team Cap).

There are conflicting ideologies at work that truly elevate the story in a way that no Batman v Superman ever could. Both films deal with the collateral damage inflicted upon civilization and the consequences thereof. Where Civil War succeeds is in creating grey areas for the characters to exist within. Steve Rogers understands the ramifications of civilian casualties in the process of stopping the bad guys, but he also understands the agendas of those that would force him to or keep him from taking some necessary risks. Have we learned nothing from the scheming Hydra agents from Winter Soldier? Imagine if they had final say in where, when, and under what circumstances the Avengers were sent into action?

But we are also shown the toll that the events of the previous movies has taken on Tony Stark (Robert Downey Jr. is fantastic in this film). The amount of damage resulting from the existence of the Avengers is tremendous and Tony doesn’t want the burden anymore. I’ve seen people writing pieces about the reversed allegiances and the backwards ideologies of the two main characters. This is where that notion of incomplete storylines and serial narratives comes back to bite the MCU. What do we know about Cap? He’s a soldier who fights for truth, justice, and the American way. And we know Iron Man is an arrogant, stubborn loner who revels in the attention of being a superhero and billionaire playboy. So how is it we got to the point where Cap becomes a government outcast and renegade fighter while Iron Man fights for the rights of the government to control the actions of superheroes? You have to read (see) last week’s issue!

The best parts of this film are character moments: interactions between Anthony Mackie’s “Falcon” and Sebastian Stan’s sympathetic, dangerous and conflicted “Winter Soldier”; “Spider-Man” interacting with everyone he meets from the Avengers; Chadwick Boseman’s intense performance as the grieving, vengeful king of Wakanda, T’Challa (A.K.A. the “Black Panther”); Paul Rudd’s what-am-I-doing-here comedic shtick (as well as an amazingly fun action sequence centered around his “Ant-Man” abilities); and one of my favorites, the insecure and frightened performance of Elizabeth Olsen’s “Scarlet Witch”, who carries the burden of causing the catastrophe that sets the story in motion as well as the being the “outcast” of the group because of the intensity of her powers.

The joyous, huge action sequence between the two superhero teams is a much-deserved payoff after we are given ample reasons for each team to fight for their cause. This is why it pays to set-up, set-up, and set-up some more. By the time we have reached the fight, the backstory of political ideologies and emotions have been firmly established. Of the two main fights in the movie, this is the political struggle narratively created into an actual fist-fight, complete with humor and over-the-top action beats. The climactic battle between Cap, Iron Man, and the Winter Soldier is equally rewarding, if not moreso, because this fight embodies the emotional baggage of each character and succeeds in embodying the sheer intensity of an emotional fight. The explosion of emotion that ignites this battle is lit literally from the very first seconds of the film. The fact that we have to wait until the very end to get the payoff makes it even more satisfying.

When we are served a superhero film that combines this many characters with this level of thought and planning, we are all lucky customers. The inherent structure of superhero films begs for the creation of a thousand think-pieces about the nature of story and cinematic narratives, but I’ll leave that to much smarter people and enjoy the ride the Russo’s have given us.

My 5 Predictions for THE AVENGERS: AGE OF ULTRON

I’ve mentioned this on the podcast recently, but for those of you that don’t know I’ll be out of town for the rest of the week, partly due to my girlfriend and I attending the Ultimate Marvel Marathon. This event is composed of every single Phase 1 and 2 Marvel movie played in chronological order, starting with Iron Man and culminating with The Avengers: Age of Ultron.

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That’s right, folks, all the flicks. It will be a grueling 27 hour stretch of back-to-back films and we’re psyched for it. Of course, the ultimate excitement comes from seeing Age of Ultron, which has been building in momentum over the last month or so as the big premier weekend approaches. Considering all the news and rumors popping up around superhero movies these days it’s pretty difficult to keep anything about these films under wraps for very long. I, myself, have avoided all trailers and online featurettes from the film in an attempt to see it without any pre-conceptions.

All I have is my knowledge of the previous films and a smattering of facts about the Phase 3 films and where the MCU arc is headed. So, I figured I’d come up with 5 predictions before Thursday night and see how close I came to seeing any of them happen in the film. Here goes:

1. No major character, aside from Ultron, will die

Most of these actors and their characters are scheduled (re: contracted) to appear in more films, and considering Marvel has already announced a 2-part sequel to this film plus several stand-alone films and cross-over stories I would have to imagine the entire cast would return, though I would say all bets are off for The Avengers: Infinity War.

2. Steve Rogers (Captain America) and Tony Stark (Iron Man) will not see eye-to-eye.

This film will likely see the beginning of the government regulations that lead to Tony and Cap feuding, which serves as the plot to Cap’s next sequel, Captain America: Civil War. They bickered a bit in the first Avengers flick, mostly about Cap’s naivety concerning S.H.I.E.L.D.’s secrecy and Tony’s arrogance/selfishness, but it’s likely that the tables will turn and those ideologies will reverse as the two find an important government matter to disagree upon for their own reasons.

3. Black Widow will be involved in a love triangle.

The first Avengers film hinted at a back-story between Black Widow and Hawkeye and an emotional connection between the two. However, that seemed to be a distant memory a mere 2 movies later considering the presence of sexual and romantic tension in Captain America: The Winter Soldier between Agent Romanoff and Captain Rogers. It seems likely that, with the entire team assembled, there will be some mixed emotions and jealousy between the two men at some point, though I would put my money on Hawkeye being the jealous one.

4. Dr. Banner (Hulk) will go into hiding or be missing at the end.

This film has an Empire Strikes Back vibe going for it as we head towards the opening. It just seems like things are going to go wrong and some characters are going to turn away from the team in the end, unlike the first one. My guess would be Dr. Banner, who was the least inclined to join the team as a fighting member originally, so I think it would be suffice to say that if anything goes horribly wrong (and I’m sure something will) he may turn his back on the whole thing. Or…..he gets physically removed from the team in some way.

5. Ultron will not fulfill his goal of world domination….but he will do enough damage to change it significantly.

Again, things are going to go wrong, but what have we learned from these movies? They’re serials and the most important element isn’t necessarily the actual villain our heroes have to fight, but what kind of damage the villain does to them and the world on an ideological, psychological, and political level going forward. That is what pushes the universe forward. The villain has to die so it doesn’t become too stale, but there has to be an after-effect that sends a ripple through the rest of the cinematic universe and starts another chain of events. My guess is the government becomes more involved in superhero doings as a result of the creation and destruction of Ultron, and there is a fall-out from that.

So, those are my 5 predictions. We’ll see how they play out later in the week. Feel free to comment your own predictions at the bottom!