Captain America is almost loveably dumb. It’s never good, it doesn’t even have a good performance–at least, any good performances have caveats attached–but it’s so painfully obvious it ought to be lovable. It even has a lovable oaf of a lead–Reb Brown–who just happens to be really smart. Brown’s ability to recite all his dumb expository dialogue is one of the most lovable things about him. He’s trying. You appreciate him trying to hard.
But that trying–and Len Birman’s strangely strong but not performance as his mentor–occasionally gets Captain America the passes it so desperately needs. After some decent (for an action TV show pilot aimed at eight year old boys) character development, it turns into a pedestrian action show. The girls get kidnapped, the boys have to rescue them. There’s no more inventiveness in Don Ingalls’s script. He’s gotten to the action and he’s done.
Oddly, Captain America does have inventive moments before its second half. There’s this weird bit about Steve Forrest’s villain–a California oil man who wants to play Goldfinger–being scared of disappointing his mad scientist (James Ingersoll) who’s making a neutron bomb. Captain America acknowledges itself a bit. Even when director Holcomb goes on and on with the helicopters and motorcycles. It’s an acknowledged excess.
The problem is there’s nothing else. Holcomb has no other tricks up his sleeve. Once Brown suits up as Captain America, it becomes a strange “Wonder Woman” knock-off. Brown’s barely allowed a presence, which is dumb because Captain America letting Brown have such a presence is the only thing to make it engaging. Watching Captain America is about watching Brown stay above water. You root for him. You root for him to pull-off maybe Vietnam vet (definitely ex-Marine), vaguely genius, motocross enthusiast, California square hippie guy thing. With some kind of folksy accent. And he does.
It just isn’t enough. The third act is an incredible letdown. Holcomb’s got no sense of action pacing and the supporting cast wrap-up (setting up for a series order) flops. The cast–Brown, Birman, Forrest–deserved better.
It's not a complicated story–writer Roger Langridge sends Captain America (from World War II) and Thor (from the present day) back to Camelot. They discover Loki has wormed his way into King Arthur's court and there's some trouble.
It’s another all action issue–there’s some talking heads for the planning and the various plot twists, but it’s an action issue. A bunch of slightly different superheroes–the Black Knight has a magical chainsaw and Venom can pilot a spaceship and Ghost Rider’s techy–attack some slightly different other superheroes who are now bad. Human Torch is a burning skeleton, I think.
Apparently, in some realities, Captain America is a dick. Bunn gets how to write Steve’s honesty and morality. It helps here, but doesn’t fit with Bunn’s style otherwise.
You can tell the Black Widows apart by their belts. I hadn’t realized that detail. My bad.
Clearly I haven’t been reading Marvel comics for a while. Since when do they talk about a multiverse like it’s early eighties DC and what’s the deal with the big tripod monsters?
I like Francesco Francavilla. He’s a little awkward with Captain America out on a mission and the superhero stuff, but he makes the talking heads interesting and he’s got a great rendering of Central Park at the open.
