Captain America: Civil War (2016, Anthony Russo and Joe Russo)

I wasn’t aware it was possible, but go-to Marvel superhero movie composer Henry Jackman is actually getting worse as he does more of these movies. His score for Captain America: Civil War is laughable, which is too bad, because if the film hit the thematic beats Jackman failed to achieve? Well, it wouldn’t fix the script, but it would definitely make the film flow a bit better.

The film is two and a half hours of action scenes every ten minutes or so. Unless the action scene goes on for longer than ten minutes, in which case it screws up the rhythm of subsequent scenes. But directors Russo keep it on schedule. Their job is getting this train ride to its conclusion and they do it. Their action direction is a bunch of sped-up fight scenes and they’re usually pretty boring. The opening one, with its strong performances from the way too big cast, could’ve been amazing with better direction. And the big superhero showdown is awesome for the most part, only… it doesn’t make much narrative sense as far as keeping the players in motion.

But there’s a lot quite good about Civil War. They blow the chance to give Robert Downey Jr. an actual character to play here, but they get pretty close on occasion. His scenes opposite Tom Holland are fantastic and Christopher Markus and Stephen McFeely’s script does give Downey the opportunity for character development. The film just rejects it.

The real standout is Sebastian Stan, who never quite gets enough to do because there’s always another action scene for the Russo Brothers to get through–they have a really lame chase sequence, more is usually just more–but Stan is hypnotic. He also has great chemistry with ostensible lead Chris Evans (and Evans’s replacement sidekick, Anthony Mackie). Less action, more character; would’ve helped Civil War a lot. Especially since that way too big cast is often pretty good together.

Elizabeth Olsen is good, she and Paul Bettany are great together. Bettany’s got a bit of a crap part. So does Jeremy Renner, but Renner does get better material. Markus and McFeely–or maybe it was the Russo Brothers–seem to acknowledge they need to hit emotional beats and then they skip them. Paul Rudd’s fun, though his character’s pretty thinly written. William Hurt is embarrassing himself. Emily VanCamp gets the worst part in the movie. Seemingly intentionally.

As for the newcomers to the brand? Well, Holland’s great. He’s playing the Marvel Studios (sorry, Walt Disney) version of Spider-Man. Can’t wait for his movie. Chadwick Boseman’s fine as the Black Panther. It really ought to be his movie, but there’s so much pretending it’s Evan’s. Instead, Boseman’s basically Boba Fett. Sort of literally. Villain Daniel Brühl gets a terrible part (though still better than VanCamp) and not much opportunity to act.

Rather weak cinematography from Trent Opaloch, but otherwise Civil War is a completely competent outing.

There’s a lot of potential to this film and the filmmakers didn’t go for any of it. Instead, they went for a bunch of mediocre action scenes, one heck of a superhero battle (proving having ten superheroes fight on the big screen is an accomplishment in itself) and a really weak ending.

Evans and Downey both look exhausted throughout the film. Evans doesn’t get the material he (and the film) deserves, while Downey rejects the material. But until the denouement, it’s perfectly fine stuff.

And Sebastian Stan is truly phenomenal.

Captain America: The Winter Soldier (2014, Anthony Russo and Joe Russo)

Captain America: The Winter Soldier has a bunch of great, thoughtful scenes and many excellent–and some just better than normal–performances but it doesn’t add up to much. Those fine scenes don’t have enough separation from the very hurried plot to resonate on their own. What should be subplots turn out to be nothing but texture scenes or, more cynically, ones to tie into later big plot developments.

Directors Anthony Russo and Joe Russo do an adequate job with the film. Some of the action, particularly in the first half, is good. The big finale goes from way too hurried for the scenes with sidekicks Scarlett Johansson and Anthony Mackie to way too protracted with Chris Evans’s second big fight opposite Sebastian Stan. These scenes take place amid the film’s only enormous CGI sequence, which the directors don’t really know what to do with.

The acting is all good; even the weaker performances like Johansson’s are mostly all right. Evans and Mackie are fantastic. Screenwriters Christopher Markus and Stephen McFeely don’t have an honest relationship between any of the characters–Evans and Johansson, Evans and Mackie, Samuel L. Jackson and Robert Redford–but the actors make it all work.

Though Redford does look a little lost. He doesn’t chew the scenery as much as the role requires.

Nice supporting work from Frank Grillo too.

The Winter Soldier stays engaging throughout–even during the bloated third act. The film’s already got the viewers invested in the characters.

It’s too bad though, it should’ve been better.

Captain America: The First Avenger (2011, Joe Johnston)

I’m not sure where to start with Captain America. There are two obvious places. First is Chris Evans. His earnest performance is unlike any other superhero movie of the last few decades (because the character is fundamentally different). Second is Joe Johnston.

I think I’ll start with Johnston.

Captain America is very well-directed. Johnston manages a wide Panavision frame, lots of huge sets (maybe most obvious homage to the films of the thirties and forties) and a bunch of actors. But because he’s utilizing so much CG, either as backdrops or special effects… it lacks distinction. If I were unfamiliar with him as a director, this film would give me no insight other than him being able.

Back to Evans. Captain America’s a tough character because Evans has to sell being a good guy all the time, even before he’s Captain America (the frail CG version of Evans is the film’s most impressive visual effect, but his performance sells it), even when he’s out of costume. Evans is able to sell him wearing the outfit. Nothing else does.

The film’s the best of the Marvel Studios releases, but still has its problems. Hugo Weaving’s villain, while well-acted, isn’t interesting enough for all the screen time he gets. The Alan Silvestri score is mediocre at best.

Oddly, I think it’ll probably get better on repeat viewings, when one can appreciate it without anticipating it.

That statement made, it’s quite good even on the first viewing. And Stanley Tucci’s phenomenal.

Captain America (1990, Albert Pyun), the director’s cut

Captain America actually has a few interesting ideas. First is how Carla Cassola’s scientist (she creates the villain, Scott Paulin’s Red Skull, and Captain America—played by Matt Salinger) almost serves as a surrogate mother to the two boys. Well, they’re supposed to be boys when they change. Cassola probably gives the film’s best performance; she manages to imply depth rather well.

Second is how Captain America is a failure. The script touches on it and Salinger tries, but there’s just not enough character development to show it. Instead of focusing on the titular character, Captain America often focuses on the supporting cast.

The film reunites Christmas Story stars Darren McGavin (who’s awful) and Melinda Dillon (who’s just bad). Of course, they don’t have a scene together. Neither do Deliverance alumni Ronny Cox and Ned Beatty. Beatty’s bad, but Cox has his moments. One wonders if he wanted to be an action star, as he gets to beat up a bunch of eurotrash.

Oh, that element’s another amusing one. All of Paulin’s gang are eurotrash. It’s sort of funny.

Salinger’s not always terrible, but he’s too physically awkward to be believable. Not to mention the costume being a disaster. His love interest, played by Kim Gillingham, is bad. Except in her old age makeup.

Michael Nouri manages not to embarrass himself too much.

Pyun’s direction is mostly weak, often obviously due to the minuscule budget; he’ll occasionally have a profound shot.

It’s fairly awful, but at least it’s interestingly awful.