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Captain America: The Winter Soldier is an American superhero movie produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures. The movie is intended to be the sequel to 2011's Captain America: The First Avenger and is the ninth instalment in the Marvel Cinematic Universe. The movie is directed by Anthony and Joe Russo, of TV's Community fame, with a screenplay by Christopher Markus and Stephen McFeely who wrote the previous entry.
Plot
We pick up with Cap 2 years after his last outing with The Avengers, as he is lapping Sam Wilson (played by Anthony Mackie of 8 Mile and The Hurt Locker fame) on a jog throughout Washington DC. Soon, he is whisked away by The Black Widow, Natasha Romanoff (played by Scarlet Johanson of Her fame), to assist in saving a S.H.I.E.L.D. vessel from Algerian pirates. Aboard the ship however, Cap discovers Natasha fulfilling a secret side-mission set by Nick Fury; to extract some mysterious data from the ship's computers; where wackiness ensues!
Review
Kevin Feige, producer of Captain America: The Winter Soldier, stated that Marvel Films hired the directors for The Winter Soldier because they loved the sell of being able to make a 70s political thriller masquerading as a big superhero movie, just like the first film where Joe Johnston, of the Rocketeer fame, went ahead and did what he does best: making a 1940's World War II movie, however here masquerading as a big superhero movie.
The writers wanted to adapt Ed Brubaker's Winter Soldier storyline from the comics, but it took them six months to convince themselves that they could do it. The duo settled on the conspiracy genre for the screenplay and cited 7o's thrillers and Robert Redford headliners Three Days of the Condor, The Parallax View, All the President's Men and Marathon Man as influences. Amongst this political and moral ambiguity of a cold-war thriller, the movie also ads themes of Cap's adjustment to the modern world that were originally to be included, but were ultimately cut from, The Avengers.
Marvel decided to pair Steve Rogers with other characters from The Avengers like Black Widow and Nick Fury because unlike Tony Stark and Thor, who could return to their own supporting casts, the mand out of time and very isolated Cap has nowhere else to go but with what he knows best; Government defence agencies such as S.H.I.E.L.D.
In relation to the cast, Game of Thrones' Emilia Clarke, Jessica Brown Findlay, Adelaide's Teresa Palmer, Imogen Poots, and Alison Brie were all considered for Rogers' love interest in the film.
Captain America's uniform was altered with a more realistic Kevlar-based ballistic component that would protect Cap but at the same time function more like a military uniform as opposed to a flashy comic-book heroes. The Super Soldier outfit from the Steve Rogers: Super Soldier comic-book series was used as a way to thematically represent Steve Rogers’ place in the world of S.H.I.E.L.D. and the difference between working for S.H.I.E.L.D. and being the heroic Captain America.
The filmmakers were interested in adding a tactical design to the Falcon costume as opposed to sticking to his red-spandex comic book origins.
Keeping in line with the 70's cold war feel, the Russo brothers consciously relied on a minimal use of computer-generated imagery, preferring live action, and props where possible. Where CGI was used, the special effects companies involved include George Lucas' Industrial Light & Magic and Scanline VFX.
The movie was shot in Los Angeles, California before moving to Washington, D.C. and Cleveland, Ohio. The seemingly never-out-of-work Henry Jackman of Xmen First Class, Wreck it Ralph, Gi Joe: Retribution, This is the End, Turbo and Kick Ass 2 fame, composed the score.
The first televised advertisement for Captain America: The Winter Soldier aired during Super Bowl XLVIII on February 2, 2014. According to The Hollywood Reporter, Disney paid over $4 million per 30-second spot.
Pre-release tracking suggests that the film could gross over $80 million during its opening weekend in North America, surpassing the $65 million opening of Captain America: The First Avenger. During its first week of release, Captain America: The Winter Soldier earned $75.2 million in 32 overseas markets.
The movie has received very positive reviews, gaining a Rotten Tomatoes rating of 94% with the consensus stating, "Suspenseful and politically astute, Captain America: The Winter Soldier is a superior entry in the Avengers canon and is sure to thrill Marvel diehards."
From the strength of impressive test screenings with Marvel Executives, the production team including the directors, the Russo brothers, Chris Evans as Captain America, Kevin Feige producer and Christopher Markus and Stephen McFeely are to return for the third outing on May 6, 2016.
The first entry of Captain America (Captain America: The First Avenger) was a great trip down memory lane; dripping in nostalgia, but placing an entire time period into the heart of quite a difficult character. The character of Captain America suffers a bit of the Superman dilemma: how can an audience emphasise with a perfect character, a la Jesus? Batman is flawed and tortured, Spiderman is constantly gripped with anxiety, doubt and girlfriend issues, whereas Superman is literally set up on a pedestal looking down at a world that he cannot be a part of.
Captain America is literally a man out of time. It was a wise move to take an entire movie to show us the time period that he was born from. Whereas we only have an introduction of a world that Superman comes from, and the set- up of his character via his father, we had an entire movie dedicated to the creation and evolution of Captain America.
Steve Rogers is nothing but heart. A frail, skinny body, he had the courage to fight for his country with unwavering patriotism and trust. Flash over the Avengers, and we see Cap ill at ease as to what the world has become in his absence, which probably helped set him mentally for an all-out attack from an alien race (as opposed to one Tony Stark).
If the Avengers set Cap working for S.H.I.E.L.D because he had nowhere else to go, Captain America: Winter Soldier has Captain America finally questioning the moral foundation of what he does for a living, working for S.H.I.E.L.D as The Super Soldier.
The entire movie is set in Washington DC, America's Canberra, with monumental columns and architecture all from the same decade. This is the land where laws and policy that are responsible for not only a country, but an entire world, are created. Here then, is the perfect place for a man with the muscles to drive his heart, to go into conflict with the heart of the Western Civilisation.
Scarlet Johanson's Black Widow is much more of a complex creature here. Her playful banter, under a monotone delivery and glassy, detached eyes, causes us to wonder what her character actually is. She is a person who lies for a living, hired by a man who lies for a living.
The action is fast paced and absolutely relentless, gradually unfolding (and escalating) to a visually stunning, money-shot climax like blockbusters of old. The CGI is not missed, but the ferocity and the intensity of the real-world effects are felt! Relentless bullet hits, immersive explosions resonate in such a visceral way that it is refreshing when compared to modern blockbusters that disconnect their audiences with constant, sensory overload that are not organic to the story, and the uncanny valley.
The Winter Soldier himself is a frightening, unstoppable and dogged presence. A dark shade to our captain, the Winter Soldier is the Cold War: dark, mysterious, ambiguous, stealthy and deadly. More than a match for our heroes, the Winter Soldier is obviously a tool for a larger threat, but what and\or who is it?
Rating
A fantastic return to an enjoyable thriller in the dressings of a comic-book, Captain America: The Winter Soldier may be the best Marvel movie yet, placing the character perfectly, whetting our appetites for the next entry!
4.5 out of 5 stars!
Tracks is an Australian drama directed by John Curran, writer of The Killer Inside Me and director of Stone, starring Robert De Niro, Edward Norton and Milla Jovovich. Tracks is an adaptation of Robyn Davidson's memoir of the same name, chronicling the author's nine-month journey on camels across the Australian desert.
We are in 1977, where we meet the young and beautiful Robyn Davidson (played by Mia Wasikowska of Alice in Wonderland fame) as she travels via train from Brisbane to Alice Springs. Robyn goes straight to the local pub to gain employment, stating that she has a plan to cross 2,700 kilometres of Australian deserts to the Indian Ocean with her black dog. Soon, Robyn leaves the employ of the pub to go and gain the necessary four camels for her trip, where wackiness ensues!
Review
In the early 80s and 90s, there were 5 attempts to turn the adaptation of Robyn's memoir into a movie. In 1993, Julia Roberts of Pretty Woman fame was attached to star in a planned Caravan Pictures adaptation, and Nicole Kidman was also involved at one point. Oddly, the development of the movie adaptation began before lead actress Mia Wasikowska was even born!
The movie was shot in South Australia and the Northern Territory on a budget of $12m. The movie was shown at the 2013 Toronto International Film Festival (Special Presentation) and the 70th Venice International Film Festival 2013 where it was nominated for best film. The movie opened the Adelaide Film Festival as the Australian premiere and has gone on to screen at several other film festivals, including London, Vancouver, Telluride , Dubai , Sydney Open-air, Dublin and Glasgow.
We are put right into proceedings from the get go, with very little background as to the ‘why’; why would a beautiful young woman want to travel through the dessert alone with only 4 camels and a dog for company? We are even more baffled by the nature she has to go through to even get to the point of the journey: working for 2 years on a camel farm to be able to be given the required 4 camels to make the journey. Hers is a mysterious, grim determination that causes us, and those around her, bafflement.
In great minimalistic plot progression, we of course, gradually become privy to Robyn’s way of thinking: at the time in the 1970’s, being surrounded by beatnik wannabee political activists, Robyn may just want to have some time to herself to deal with her own demons.
The want to be alone is strong in Robyn, and, thus, the start of her journey is much desired. This desire is shared with us as well: we experience her frustration at the economic hurdles that she must face to independently start her journey, and the barely hidden judgment from family friends and complete strangers once they learn of her intentions. Of course, once Robyn does start her journey into the void, more obstacles arise along her way that interrupt her desired need to be able to explore her self, surrounded by the dessert that she holds such a passion for.
Robyn’s character arch is such a natural progression that one could wonder what exactly happened in the movie. However, in her want for her pure isolation to be able to be afforded inward reflection, Robyn is forced to acknowledge her need of others to successfully complete her travels: finance, assistance and companionship.
The Cinematography of Mandy Walker of Lantana, Shattered Glass and Australia fame is fantastic. The frame captures the Anzac feel of rural town life in their pubs, farms and homesteads. The shots of the Great Australian desert are the highlights of the movie, and what we, as an audience, and Robyn as a character, so desperately want to experience: they are amazing. The camera, like in Beautiful Kate, strongly holds onto Mia at times, restricting our view of a free, roaming plane, imposing on us uncomfortably, symbolic of the crushing limitlessness of the Australian dessert. The camels are beautiful, and makes one wonder how on earth could Robyn, and Mia, ever say goodbye to such beautiful, and loyal, creatures at journey’s end.
Rating
An unlikable, but empathetic character who does complete a redemptive arch of personal discovery while undergoing a visually lush experience that has been captured wonderfully: 4 out of 5 camels.
Noah is an epic biblical movie directed by Darren Aronofsky of Requiem for a Dream and Black Swan fame, written by Aronofsky and Ari Handel. The movie is loosely based on the story of Noah's Ark.
Plot
We meet Noah as a young boy, with his father Lamech. Noah is about to receive a serpent's skin of the original serpent in Eden from his father, as it has been down for generations. Suddenly, a large crowd approaches, led by a young king named Tubal-Cain, who wants to make the hill that Noah and his father a farming into a mine. Tubal-Cain kills Lamech and steals the serpent's skin, while Noah runs away.
We flash forward, where we meet Noah now as a man (played by Russel Crowe, of Man of Steel fame) who is living with his wife Naameh (played by Jennifer Conolley of Requiem for a Dream fame) and his three sons, Shem and Japheth Ham (played by Percy Jackson’s Logan Lerman). Noah is quick to see a small miracle: a drop of water hits the ground, and a flower grows instantly. Soon after, Noah experiences a nightmare (or, a vision); he is submerged by water as far as the eye can see, where hundreds of corpses float around him, where wackiness ensues!
Review
Director Arron Aronofsky had been fascinated with the figure of Noah since he was thirteen years old, explaining that he saw Noah as "a dark, complicated character" who experiences "real survivor's guilt" after the great flood that wipes the slate clean of humanities evil. Aronofsky was working on early drafts of the script for Noah around the time his first ill-attempt to make The Fountain when actor Brad Pitt left the project, leaving hundreds of Australian film workers out of work.
Ari Handel, Aronofsky's collaborator on The Fountain, The Wrestler and Black Swan, assisted Aronofsky with developing the script. Before the duo found financial backing for Noah, they collaborated with Canadian artist Niko Henrichon to adapt the script into a graphic novel, much like what Aronofsky did with The Fountain. The first volume of the graphic novel was released in the French language by Belgian publisher Le Lombard in October 2011 under the title Noé: Pour la cruauté des hommes (Noah: For the Cruelty of Men).
After the creation of the graphic novel, Aronofsky struck a deal with Paramount and New Regency to produce the feature version with a budget of $130 million. Emma Watson (of Harry Potter fame) offered that the director was going for the sense that the movie could be set in any time; a thousand years in the future or a thousand years in the past, and that audiences shouldn't be able to place it too much.
The lead role of Noah had previously been offered to the likes of Christian Bale and Michael Fassbender, who both declined. Christian Bale went on to star as Moses in Ridley Scott's upcoming religious epic film Exodus: Gods and Kings. Dakota Fanning departed the role of Ila due to a scheduling conflict, with Emma Watson talking over the role. Julianne Moore was also considered for the role of Naameh and Liam Neeson, Liev Schreiber and Val Kilmer were all considered for the part of the evil king Tubal-cain played by Ray Winstone. Aronofsky reportedly wanted an actor "with the grit and size to be convincing as he goes head-to-head against Crowe's Noah character".
The movie was shot throughout Southern Iceland, with the set of Noah's ark having been built at the Planting Fields Arboretum in Upper Brookville, New York. Ironically, Production was put on hold while Hurricane Sandy subjected New York to heavy rain and flooding during late October 2012.
Aronofsky stated that the production had to create an entire animal kingdom without using real real animals, but instead going ahead with slightly tweaked versions of real animal creatures. George Lucas' Industrial Light and Magic video effects company stated that their work on the film represented the most complicated rendering in the company's history.
Arronofsky regular, the always excellent Clint Mansell, scored the music again, which was performed by the Kronos Quartet.
The movie deals with themes such as sin, judgment, justice, righteousness, God as Creator and mercy. The movie also, controversially, promotes the concept of evolutionary creation.
The movie was given numerous test screenings, with worrisome feedback given by religious audiences (Christian concerns here for example). The feedback lead to tensions between Aronofsky and Paramount over the control of the final cut, with Aronofsky finally winning out, albeit with a bad taste in his mouth.
The movie received generally positive reviews from critics, gaining a Rotten Tomatoes figure of 75% with the consensus stating,
"With sweeping visuals grounded by strong performances in service of a timeless tale told on a human scale, Darren Aronofsky's Noah brings the Bible epic into the 21st century."
So far, the movie has made a world-wide box office total of $95.1 million off of a budget of $125 million.
Of late we have experienced our superheroes and action stars to be much more grounded in reality, thanks to Mr Christopher Nolan. Christopher Nolan’s Dark Knight Trilogy set the tone of more gritty, flawed, realistic characters in real-world surroundings. This of course kicked off the reboot genre: we had a rebooted James Bond in Casino Royale, who cried and got injured, going so far as literally reciving a right bullocking. We have a super-type of man in Man of Steel, crying, being injured with his usual colourful uniform being bleached down assisted with shaky cam galore, and we have even been given a grounded Robocop, here with his uniform now cloaked in a “tactical” black.
The trailer for Noah suggests a more of an historical look at the myth of Noah, his arc and a devastating flood, with only a hint of the supernatural. Such a hint would then cause all involved to therefore be surprised at a possibility of a higher being; that Noah’s faith in a God Creator of the universe would actually be correct, causing characters to not only ‘believe’ but to ‘know’ of a Creator that is orchestrating a mass genocide to effectively ‘reboot’ the human race and therefore, God’s The Creator’s image on earth.
It is a shock then, to view the movie and realise that it is as fantastical as The Never-ending Story, Labyrinth and The Dark Crystal. We are given a very straight adaptation of the Biblical story of Noah, with miracles being quite commonplace, magic used daily, and the existence of God The Creator as fact: these characters live and breathe a relationship with God The Creator that is extended throughout the earth that He has provided. The care and nurture of the earth is recognised as being symbiotic to our love and care of each other, and therefore, of God The Creator.
With this backdrop, it is extremely simple to recognise then, the devastating affect the dark side of humanity can have not only on each other, but onto the earth itself. Here, the filmic universe is brilliantly set up for us to recognise the characters’ plight and the stakes. It’s just that the fantastical elements push this too far north, due to in a large part, some rock encrusted Angels.
The New Testament is set with the 4 Gospels, basically retelling the same story of Jesus but from different points of view and narrative license. Hence, where some writers write in ‘High Christianity’, pretty much presenting rich tales of the supernatural as fact, other authors choose the flavour of ‘Low Christianity’, reducing the more magical tone of the story in favour of a realistic focus. For example, Jesus is depicted as spending 40 days and 40 nights literately in a desert, where the personified form of the Devil appears to tempt Jesus. Another version of the story has Jesus in the desert for an unspecified period of time, fighting his own conscious.
Noah is high Christianity, or, High Old Testament, and then some. The movie is of course a creative interpretation of the scriptural account that embellishes the moral conflict of Noah as he answers the call of God. Great care and research has been given to tackle some very controversial themes and to be delivered so expertly that one can be shocked by their simplicity; a recounting of the story of Genesis is brilliantly executed, seamlessly delivering the theory of evolutionary creationism. However, the extremely literal vision of the piece may grate, as it may be deemed too simplistic: water running and creating instantaneous forests, animals magically descending onto the arch, glowing magical beans, and……………………………………………………….…………………………………......................................massive rock angels…………………………..
Such things would not be amiss in a children’s movie, especially a Catholic movie, however this movie is aimed at an adult audience with horrendous themes and visuals of violence, murder, infanticide and of course, genocide.
Whereas the character of Noah is very thin in the texts, Crowe’s Noah takes on the arch of God’s character as represented in the story of the arch; finding humanity evil, plans to eradicate it, and learning to show mercy and grace. Crowe’s Noah does go through this journey, made all the more difficult due to the love he holds for both God The Creator, and his family, to the exclusion of the rest of humanity.
A movie with a strong vision that is constant throughout; its either your bag or it is not. Such an instance is a reminder that the trailer’s job not to sell the movie to you; it is to just get you into the movie theatre.
Rating
An adult fantasy adventure; 4 out of 5 rain-drops.
Join Luke McWilliams as he reviews new to cinema releases;
Join Luke McWilliams as he reviews new to cinema releases;
Join Luke McWilliams as he reviews new to cinema releases;
Join Luke McWilliams as he reviews new to cinema releases;
Luke also has a look at the cult-classic, Interview with the Vampire!
Join Luke McWilliams and Tanya Beukes as they review new to cinema releases;
- Non-Stop; and
- 3 Days to Kill!
The duo also wrap-up the 2014 Oscars!
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