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I could see a throwaway gag in Avengers or maybe Captain America 2 (should it happen) where Cap's getting inundated with endorsement offers, and something from Hostess is prominently displayed among them.
Like Raimi or Singer or Favreau, Johnston just feels in complete control of the tone right from the get-go, and while I can appreciate that not everyone wanted this style of Cap movie, apart from a few tweaks that others have mentioned, it would be hard to imagine this version of Cap being done much better.
I was glad that the PC-ing of the movie wasn't as intrusive as I'd feared (a de-Nazified HYDRA will ultimately be closer to THRUSH or SPECTRE when they show up in present day, and that works fine), and I was surprised at how faithful they were to the Howlers (adding the Japanese-American character is the kind of thing Stan and Jack would have done had they created the team a few years later, when criticism of the internment became more widespread).
Evans was great, Atwell matched him as needed, and much credit to the firm of Jones Jones Tucci and Weaving: I don't know that Johnston's previous work suggests that he understands how to sell a line like "I don't have a procedure" or "I ain't gonna kiss ya" by underplaying it, but these guys all do; their performances are full of grace notes, pauses, and dialog muttered or snarled at exactly the right level to make even throwaway lines connect.
I don't have the eye for FX that many here do, but I rarely found myself taken out of the film when things got dodgy (I saw it in 2-D DLP).
And, of course, it's still amazing that, despite the previous management decisions that allowed so many of Marvel's crown jewels to be locked up at other studios, they've actually created the integrated universe they set out to make, and that there really is going to be an Avengers film with the kind of scope that comes from the characters already being grounded and established in their own franchises. And I love that the integration isn't limited to post-credit sequences: the design of the Stark Expo was previewed in the downloadable wallpapers from the first Iron Man film.
I felt that way about the romance a bit too. When's the last time we've seen so utterly chaste a romance?
This. Their romance is absurdly sexless -- they are literally like children just discovering the opposite sex for the first time. I guess it works with the whole naive, innocent tone they were aiming for, but in Thor for example we certainly got the impression that there was a strong element of youthful lust and desire to the relationship between Portman and Hemsworth. As for Iron Man, Downey and Paltrow are obviously highly aware of the sexual tension between them, but Stark dances around it as part of the flirtation and Pepper avoids it out of deference to professional conduct. But Cap and Peggy Carter? They're pretty much completely oblivious of their own sensuality.
I get that they were trying to make a film steeped in nostalgia and high romance, with a throwback kind of black-and-white morality that wouldn't seem out of place in the 40s, but they hold to that so aggressively that their characters end up seemingly devoid of anything recognizably human. The good guys are too good, and the bad guys are too bad. Motivation and complexity is thrown out the window in favor of blind, childlike idealism and simplicity. I think this works for some people, but for others (such as myself) who are very firmly rooted in a modern cultural landscape, where everybody has a psychological profile and everything can be analyzed, it just doesn't ring true. Beyond the aforementioned atrocious structure, where by the halfway mark the real story is over but somehow the villain isn't dead (necessitating another hour of movie), I think that's the main problem with the film.
And maybe it's a sad thing that "modern" people have trouble seeing anything relatable in a character like Cap. To paint in some broad strokes however, I think it demonstrates the progression of our culture -- people have not grown more complex. Art is just ready to accommodate their complexity in a way it hasn't been in the past, and that shows we are more open to recognizing our flaws and approaching them in a real way than we are to believing in the idealized world that Cap belongs to.
I get that they were trying to make a film steeped in nostalgia and high romance, with a throwback kind of black-and-white morality that wouldn't seem out of place in the 40s, but they hold to that so aggressively that their characters end up seemingly devoid of anything recognizably human. The good guys are too good, and the bad guys are too bad. Motivation and complexity is thrown out the window in favor of blind, childlike idealism and simplicity. I think this works for some people, but for others (such as myself) who are very firmly rooted in a modern cultural landscape, where everybody has a psychological profile and everything can be analyzed, it just doesn't ring true. Beyond the aforementioned atrocious structure, where by the halfway mark the real story is over but somehow the villain isn't dead (necessitating another hour of movie), I think that's the main problem with the film.
And maybe it's a sad thing that "modern" people have trouble seeing anything relatable in a character like Cap. To paint in some broad strokes however, I think it demonstrates the progression of our culture -- people have not grown more complex. Art is just ready to accommodate their complexity in a way it hasn't been in the past, and that shows we are more open to recognizing our flaws and approaching them in a real way than we are to believing in the idealized world that Cap belongs to.
Would you have been happier if Cap and Peggy were banging in the supply closet? C'mon, the tone of the film clearly establishes itself as old fashioned and doesn't allow for that. You don't like it, fine. But that's what the film was going for. It's not a flaw.
Get down on Thor if you want for being sexless; that character and story could have benefited with a little more heat. And the Iron Man films have sex, just not between Tony and Pepper (that we've seen anyway; I always felt it was implied that they had a tryst or two but remained friends and colleagues). Cap just isn't the place for "modern sensibilities".
EDIT: You know what Mulder, you explain your position better than my post gives you credit for. I get what you're saying, I just don't think the movie would have worked any other way.
Remember, the film nearly gives us a banging in a supply closet, with the WAC officer offering to thank Cap on behalf of all American women. If Peggy Carter hadn't stepped around the corner then...
But seriously, Cap lives by a stringent moral code. Old fashioned, perhaps, but not a flaw in the character. He has never had a relationship with a woman. He thinks that is how relationships work. because that is how they work in the novels he reads. Love from afar, she returns those feelings from afar, meet parents, marry, then sex it up. The Pride and Prejudice method.
I didn't get the impression that Peggy was "sexless" or unaware of her own sensuality. Steve yes, Peggy no. I did get the impression of someone that's focused on "the job" due to feeling like she has to prove herself more so than a male counterpart might. Yes, it was displayed as old-fashioned and chaste...but I'm not sure they had much time for anything else.
Ironically, the comics portray a far less star-crossed Peggy and Steve, and give heavy implication that it was -not- sexless at all. Then adds the mild creepy with Steve waking up in the present day and moving on to banging her much younger sister/niece/grand-niece (who may or may not have been portrayed by that fetching SHIELD agent that shows up at the beginning of the "present day" epilogue).
The fact is, everyone goes into a movie with different baggage and different expectations. I saw "Cap" with two friends, both of whom were lukewarm about it (whereas I enjoyed it immensely). I really liked the stuff with pre-Cap Steve at the beginning; I felt they spent just the right amount of time on that before actually giving him the powers and the outfit. One of my friends, on the other hand, was bored to tears during the pre-Cap stuff.
Likewise, a lot of people have complained about the montage and missions later on in the movie, saying there needed to be more of that; my OTHER friend, however, was into the movie up until that point, but felt the actual "war" stuff went on too long.
For what it's worth, I think that Steve does go through an arc of sorts throughout the film; both in terms of confidence, and of how he's perceived by other people. (Basically, he starts out as a shrimp who believes in himself despite the fact that no one else takes him seriously, goes on to become a (relunctantly) showboating USO mascot who really starts to doubt himself for the first time, and eventually becomes a leader and a hero whom everyone - even Tommy Lee, grudgingly - respects). It wasn't the power and beefed up physique that ultimately won him respect (from himself as well as others), but his own heroic actions.
I felt that way about the romance a bit too. When's the last time we've seen so utterly chaste a romance?
Batman Begins, The Dark Knight...to this day I still have no idea if Bruce and Rachel ever went further than a kiss or two. I think in Nolan's celibate cinematic landscape, people get pregnant by holding hands. Also, there's nothing wrong with chastity in the case of the Captain, it fits with the character.
Um, didn't Captain America get Sharon Carter pregnant in the comic?
Well, the original Simon-Kirby Cap was of an era when kissing was the most a comic book hero could expect. So, yes, the post-Avengers #4 Cap has (on occasion) done things that normal human men do. But since he predates most of the rest of the Marvel stable, it's not unreasonable for the film version of the charaxcter to carry some attitudes that seem outdated today.
I think it's pretty clear that Steve and Bucky were fucking.
Seriously though, props to the film for homaging every medium the Captain has appeared in. Not only is the actual Captain America #1 seen, but he shows up in old black & white serials and I swear the scenes of him on a motorcycle are right out of the bad '70s tv movies.
I loved all the throwbacks. The classic costume in the USO shows, the cheesy serials, the original Cap comic book, etc.
I also feel the the "Marvel Movieverse" stuff was very well integrated this time 'round. You knew that the two guys (William Hope was one!) at the beginning were with SHIELD, but they didn't smack you in the face with it. Likewise at the end. The Android Torch cameo was a nice touch, as well as Stark's Expo..................and Stark himself really. The Thor references (Odin, Ygdrassil, the cube itself) fit very well with the film and what happens to Red Skull at the end works twofold: it makes someone who hasn't seen the others think he is gone for good................and the fans know that he has likely just been transported elsewhere.
Hell, this really is the perfect prequel to the current films. I know that when my son is old enough, I can easily show him Captain America as the first film in the series and not have to explain too much............with the following films just enriching the experience (the Stark connections with Iron Man, the obvious Thor connections, the serum connection with Hulk, etc.). Things might be somewhat muddled in Iron Man 2 and Thor with the shared-universe, but on the whole it seems to form a fairly cohesive cinematic experience.
After IM2 and Thor, I was a little worried about The Avengers seeming forced when the finally bring everyone together. Captain America put those fears to rest. If Avengers turns out just as well as (or better) than Captain America, we are in for a real treat when May rolls around.
And the good ones of the above, had some internal conflict. Indy ultimately chooses Marion over the Ark. Die Hard has McClane fighting so hard for his wife and realizing that he should have been a better husband as well. The Searchers.
I enjoyed Captain America, but I'd agree that the second half is weightless. The movie rushes right over all the heavier moments. Even Erskine's death seems to have no lingering effect on anyone beyond the initial scene, although Tucci was good. Bucky's "death" might have had more weight if we had gotten to know Bucky more in the first place. There's one scene of mourning, and then it's back to quipping away. Perhaps that's Joe Johnston or Chris Evans limitations, but every time they have a chance to cut a little deeper and more serious they pull their punches.
I felt that way about the romance a bit too. When's the last time we've seen so utterly chaste a romance?
The movie is charming and fun with tremendous production design, but the second half seems like checking off things to set up The Avengers rather than being an entirely satisfying conclusion to the story set up. It definitely needed more Red Skull and his philosophy and an epic showdown between the two.
I agree with everything you said, save for your criticism of the romance. That relationship works perfectly in regards to who these two people are and what their circumstances are. I liked that it was good old-fashioned courtship in the midst of all of this comic-book wackiness.
Batman Begins, The Dark Knight...to this day I still have no idea if Bruce and Rachel ever went further than a kiss or two. I think in Nolan's celibate cinematic landscape, people get pregnant by holding hands. Also, there's nothing wrong with chastity in the case of the Captain, it fits with the character.
And the romance of Batman Begins didn't really work either, although there's plenty of holes in that history to fit something in if you wanted to. I'm pretty sure Chris Evans' Captain America is a virgin. Considering that Peggy and Steve apparently knew each other for several years, it's hardly what I would call a whirlwind romance.
Even by the movies of the period. There's nothing in the film that holds a candle to Notorious or practically anything with Barbara Stanwyck in it. Heck, compared to Casablanca even. I think people are misrembering the period.
The Thor references (Odin, Ygdrassil, the cube itself) fit very well with the film and what happens to Red Skull at the end works twofold: it makes someone who hasn't seen the others think he is gone for good................and the fans know that he has likely just been transported elsewhere.
At the risk of sounding stupid, but did he get sucked to Asgard at the end? My buddies asked me, and I wasn't really sure. With the numerous Odin/Thor references, and (for whatever reason) that shot of stars with golden clouds.......that just made me think Asgard for some reason. Of course, he could just be trapped in the Cube, I guess.
I'm assuming so. After all, it looked EXACTLY like the same cosmic abyss that Loki fell into at the end of Thor. Also, the shaft of light coming from the cube was firing in a straight line to........somewhere. I suspect he ended up in one of the other realms.
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I'd call a weapon that atomizes its target with one landed shot more than just "slightly more effective" than the standard issue firearms of the day.
Agreed. A bullet from a machine gun can miss its mark and not hit the vital organs, so the soldier can still recover from it. Red Skull's weapons, though, ensure that the victims are destroyed completely. I think it is far more effective than regular guns, not just slightly so.
At the risk of sounding stupid, but did he get sucked to Asgard at the end? My buddies asked me, and I wasn't really sure. With the numerous Odin/Thor references, and (for whatever reason) that shot of stars with golden clouds.......that just made me think Asgard for some reason. Of course, he could just be trapped in the Cube, I guess.
Heh, I'm calling missed opportunity on the lack of a post-credits scene where Red Skull suddenly appears in the Bifrost's main room, looks around for a moment in confused awe, and then is promptly speared in the gut by Idris Elba.
I didn't get the impression that Peggy was "sexless" or unaware of her own sensuality. Steve yes, Peggy no. I did get the impression of someone that's focused on "the job" due to feeling like she has to prove herself more so than a male counterpart might. Yes, it was displayed as old-fashioned and chaste...but I'm not sure they had much time for anything else.
Yes, Peggy tells Pre-Cap Steve that she understands what it's like to have doors closed to you because of who you are. So is she going to risk ending her career by screwing Cap? Also Steve basically tells her he's a virgin and has never spoken at length with a woman until he met her. I'd say she knows Steve is vulnerable emotionally and doesn't want to screw him up...but she clearly does want to screw him!
At the risk of sounding stupid, but did he get sucked to Asgard at the end? My buddies asked me, and I wasn't really sure. With the numerous Odin/Thor references, and (for whatever reason) that shot of stars with golden clouds.......that just made me think Asgard for some reason. Of course, he could just be trapped in the Cube, I guess.
I thought so as well. His hand appears to disintegrate but then he suddenly seems to get yanked up into that cloud.
Doc Phibes, I agree about the end credits!
Captain America was so...All Kinds Of Awesome, I felt, I should have...Saluted, at the end of the film! Cap. is now my...Favorite Superhero film! Cap. has also topped Transformers 3 3D, for my...Best Film Of 2011! Alan Silvestri delivered a...Wonderful Score! Hayley Atwell as Peggy Carter in...That Red Dress, was the most...Special Effect in the film! I cannot understand why people are complaining about the final fight. Cap vs Skull in a Single Wing Bomber, for all the...Marbles, err...Cube, is just Pure...Greatness! The Red Skull is so...EEEEEEvil, that he is refreshing!
So how was the 3D for this?
America!
So how was the 3D for this?
I actually thought the 3D was pretty damned nice. Most of the shots were composed well to take advantage of the fore/mid/background. Though from what I've heard, the movie had to go through the post-conversion ringer a LOT.
I also had the advantage of sitting in on a very well-projected picture. No complaints about the 3D.
Of course, it also wasn't necessary. hahahahaha
The 3D looked great. They obviously took their time with the post-conversion process. That said, don't be expecting "gags" like stuff flying out of the screen all the time. I probably would have seen it in 2D if given the option. While I enjoy the depth that 3D gives films, it really isn't worth the extra $3 per person for me...............especially when my wife and I don't get out that much to the theater anymore. Again though, it did look great.
I'm basically of the mind these days that I don't want to pay to see a movie in 3D unless I know it was actually shot that way...................unless I don't really have an option, like with Captain America.
The 3D was very good... for a post-conversion job. There's really only one "in your face" moment when the shield flies right towards the camera.
Two shots have serious post-con problems: When Schmidt's car drives up at the beginning and its skull-style hood ornament dominates the foreground, the actors in the background appear 'trapped' inside it. And in the Expo sequence there's a shot over Bucky's shoulder where his ear disappears for a couple of frames.
First off, loved the movie. I thought it was great fun.
As for the cosmic cube and Red Skull's fate, I noticed that no one ever touched the cube with their hands during the whole film until Red Skull grabbed it in the end. In the comics, I'm fairly certain that touching the cosmic cube allows you to effectively grant any wish you might have. It might work differently in the movies, but it'll be interesting to see what happened to Schmidt.
And regarding the superiority of the weapons, I'd say having tanks and guns that don't require reloading would, in itself, be a rather large advantage. I know they had automatic weapons in WWII, but still. Less to carry, nothing to jam, and no "oh shit" moments.
I'm not a huge fan of this movie, but I thought the chasteness of the romance was very much a positive for it and a nice change of pace for these movies. In fact, I think the fact that they never hooked up is kind of what makes the scenes between them at the end work.
I also dug the chasteness of the romance. It was 'clean' but I don't think it was 'sexless.' Despite its limited screentime, I thought it worked really well.
HOWEVER... where did Steve get that photo of her!? Heheheh. I loved the 'stolen moment' from the newsreel, but I think it would've been even nicer if we'd known that he had it beforehand.
Seeing a commercial yesterday made me realize how much I loved that *SPRAAANG!* sound effect everytime Cap's shield ricocheted off a wall, tank, body.....it's so deliriously comic book-y, I love it. Makes me think of all the other comic book sound effects I heard in my head as a kid, and now get to see on the big screen. Spider-Man's THWIP, Nightcrawler's BAMF, Iron Man's repulsor rays, and now Cap's shield banging around the environment. So fun.
I also dug the chasteness of the romance. It was 'clean' but I don't think it was 'sexless.' Despite its limited screentime, I thought it worked really well.
HOWEVER... where did Steve get that photo of her!? Heheheh. I loved the 'stolen moment' from the newsreel, but I think it would've been even nicer if we'd known that he had it beforehand.
nooj, the close look at the picture at some point in the film seemed to show that the picture was from a newspaper or something like that. The Carter draw (left unsaid) is Cap must have found it, and cut it out himself to carry with him.
Seeing a commercial yesterday made me realize how much I loved that *SPRAAANG!* sound effect everytime Cap's shield ricocheted off a wall, tank, body.....it's so deliriously comic book-y, I love it. Makes me think of all the other comic book sound effects I heard in my head as a kid, and now get to see on the big screen. Spider-Man's THWIP, Nightcrawler's BAMF, Iron Man's repulsor rays, and now Cap's shield banging around the environment. So fun.
Speaking of Iron Man's repulsor sounds....was it just me, or did Hydra's weapons sound an awful lot like the repulsors from the Iron Man flicks?
I thought it was kind of obvious that the implication is that Howard Stark used the Tesseract to create the semi-functional Arc Light technology that his son eventually perfected. It's the kind of nigh incestuous, six degrees of separation stuff that I generally loathe in comic books.
I thought it was kind of obvious that the implication is that Howard Stark used the Tesseract to create the semi-functional Arc Light technology that his son eventually perfected. It's the kind of nigh incestuous, six degrees of separation stuff that I generally loathe in comic books.
Now that I read that, it is pretty obvious. And this is why I'll never professionally review movies.
Don't beat yourself up over it, as many have noted that while a guy like Roger Ebert is a fine critic, he isn't always the best when it comes to the details (big or small).
nooj, the close look at the picture at some point in the film seemed to show that the picture was from a newspaper or something like that. The Carter draw (left unsaid) is Cap must have found it, and cut it out himself to carry with him.
Hadn't considered that. Sounds sensible.
Yes, I'd say the ability to make broad, tenuous connections amongst superhero franchises based on something as insignificant as a sound effect is not really a reliable indicator of a good critical mindset.
So, uh... what CAN'T the Tesseract do?
Yes, I'd say the ability to make broad, tenuous connections amongst superhero franchises based on something as insignificant as a sound effect is not really a reliable indicator of a good critical mindset.
Several somebodies spent a great deal of time and put a great deal of effort into recording, choosing, cutting, placing and mixing that sound effect. I promise you they thought about it long and hard, and if the director was worth a shit, he was right behind them egging them on or give them the idea. Like animation, you get nothing for free in motion-picture sound.
In the comics the cosmic cube could do anything.
In the movies it's more of an unlimited energy source.
Several somebodies spent a great deal of time and put a great deal of effort into recording, choosing, cutting, placing and mixing that sound effect. I promise you they thought about it long and hard, and if the director was worth a shit, he was right behind them egging them on or give them the idea. Like animation, you get nothing for free in motion-picture sound.
I agree, sound design people are generally skilled and thoughtful and not lazy. It is an important element of any movie and deserves scrutiny. But surely you can't be arguing against the notion that one sound effect, especially one that only holds value when considered in context with other tenuously related films, ranks comparatively quite low amongst the things a critic should concern himself with?
I was disappointed...by Ebert's review of this movie. I hope nobody minds me having more to say about reviews of this than the movie itself. I apologize if some find it too rambling or off-topic, but I have to get this off my chest. At his best as a critic, Ebert would really dig into a movie, whether he liked it or not, commenting on all aspects of it from the look, to the writing (both in terms of narrative storytelling and dialog), the characters, and performances. I feel like he's been really lazy lately, especially with comic book movies, perhaps because he's beginning to tire of them. I thought maybe this was just a result of him being unimpressed with most of them, but even when reviewing one he liked such as "Captain America: The First Avenger", his review was a whole lot of nothing.
He identified the premise, the actors, and the characters, and mentioned the movie's connection to other Marvel movies (all information readily available in countless other sources online). He praised the movie mostly based on the fact that it does things differently than other movies in the genre that he didn't like. He said it's more of a "real movie" than "Thor" or "Green Lantern". He said he liked the 1940s look and setting because those other movies' more modern settings were generic. He said Hayley Atwell's make-up made her look like a genuine 1940s pin-up babe and Hugo Weaving's character was a good villain because Nazis are always good villains. And he said the CGI is good, because it's relatively realistic compared to other movies where it's a distracting mess. That's it. Pretty much all comments on superficial aspects of the movie. It took nine paragraphs (several of which were long) to say that.
What about the performances in the movie? What about the action sequences? What about the dialog? What about the interactions between the characters? That last thing was only briefly addressed in a smartass remark about how chaste the relationship between Rogers and Carter was. This is why I appreciate reviews like Renn's more. It's always kind of a bummer to read a review complaining about things that didn't bother me at all, but it was more fun to read than a positive review like Ebert's, because Renn cared enough about the movie to assess with convention the merits and flaws that he perceived. To be fair, Ebert must have a more intense reviewing schedule than critics on a site like CHUD, but I still feel like he mailed this one in too much.
As for the movie itself, I don't have much to say that hasn't already been said. I got what I wanted out of it. It had a hero who was likable that I felt I got to know pretty well. A plot that was simple and easy to follow without unnecessary convoluted subplots. A love interest whose presence and arc in the movie felt natural rather than shoehorned in. A lot of big 'wow' action moments that made my friend and I laugh or cheer as we watched. An entertainingly menacing villain, and some appealingly colourful supporting characters. The nostalgic, patriotic, innocent look and tone of the movie were just gravy. I prefer this over the more angst-ridden superhero movies that take themselves too seriously.
I read Renn's review and had no arguments with any of his criticisms, but I didn't care about them either. They may be true, but they can't change the fact that movie was completely satisfying entertainment to me. One criticism I can sort of agree with from other critics is that the Avengers stuff at the end was a bit much. As soon as I realized what was going with that room set-up, I groaned a little inside. I think the shot of the kids playing inspired by Captain America would have been a perfect ending. On the other hand, Cap's line about the date was poignant and I appreciate the movie ending on a simultaneously cool/emotional note like that.
Two comments made earlier that I'd like to echo: this really was in some ways the movie "G.I. Joe: The Rise of Cobra" should have been, and it had one of the best, most organic love connections between a hero and his female lead yet. Keeping things chaste and almost a forbidden love between Rogers and Carter was the right way to go. Having them finally get a little mushy (after holding back for the whole movie) just as Steve apparently faced impending doom was a masterstroke.
In the comics the cosmic cube could do anything.
In the movies it's more of an unlimited energy source.
I like to think of it more the way Thanos sees it when he encounters lesser beings using cosmic artifacts: very few could grasp the nature of the power they're wielding and hence could only use them in the most basic means.
This film held up really well on a second viewing. This time I really appreciated more how Hydra's presence and menace are escalated during the film. We first see the Mega-Tank and a squad of soldiers, then every time we see a group of Hydra agents there are more of them, until the shot with Red Skull prepping the Valkyrie pilots shows an entire army of Hydra troops. "Cut of one head and two grow back" indeed!
The Cube ray sound effect is almost like Iron Man's repulsor ray effect but there are a few differences.
I'm guessing that all those Hydra weapons became useless once they used up their charge. But of course Howard Stark found the Cube....
Nerd Note: There are two comparison shots of Cap and the Howling Commandos, one in the "Serial" black and white format with actors and one in color. The placement of the actors is the same and in both shots the camera is aimed at them head on, with Cap in the lead and middle, and the Commandos spreading out on either side. Only differences are the use of B&W vs Color and the camera being lower angled shooting up in the "real" version. Bravo!
This film makes a great double feature with The Incredible Hulk.
Hulk is created by a version of the Super Soldier Serum (say that five times fast!), but because the creator is no longer around (or maybe because of the Gamma Rays being used instead of Vita Rays) there is a far different result. Banner seems like Steve Rogers in being a good guy...but maybe not...maybe Hulk is in fact his violent subconcious coming out. Or maybe we can look at this as a metaphorical comparison of America in the WWII era vs. America today.
I agree, sound design people are generally skilled and thoughtful and not lazy. It is an important element of any movie and deserves scrutiny. But surely you can't be arguing against the notion that one sound effect, especially one that only holds value when considered in context with other tenuously related films, ranks comparatively quite low amongst the things a critic should concern himself with?
If this is in reference to what I said, it appears you may have misunderstood me. My point was that it's a detail that is ultimately not a huge deal, and that it isn't something a critic or most anyone should sweat missing all that much unless they seek to argue a point that could only be supported or dismissed based on such a detail.
I can't remember all of the films we discussed, but a guy I used to converse with regularly had the very worst memory and interpretations of actual, hard details in films, but insisted on arguing his POV; it was fucking exasperating.
I can't remember all of the films we discussed, but a guy I used to converse with regularly had the very worst memory and interpretations of actual, hard details in films, but insisted on arguing his POV; it was fucking exasperating.
I have a friend JUST LIKE THIS. Except I'm not the one who argues with him. It's another friend who gets exasperated trying to convince him that he's wrong. I just sit back and enjoy the show.
Captain America is Awsome !!!!!!!!
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Just saw it. Good but not great though I could have easily sat through 4 hours of it. Despite it's flaws, I'm kinda gagging to see it again. Couldn't say that for Thor.
The screenplay wasn't as smart as it could've been. The "Adventures Of Captain America" origin comic miniseries from the early 90s covered the exact same ground with the same character roles & was 10 times smarter & better constructed. Still, Johnston hit just about everything else out of the park. From the beginning in the arctic, the movie really draws you in &, unlike most other superhero tentpoles, it felt like a real movie rather than a collection set pieces & forced inorganic character interactions.
The action, coupled with the excellently violent sound design worked well & the penny pinching, green-screen "sets" actually worked in the movie's favor, giving it a pulp-y "Marvel come to life!" texture. Everything from the tone to the production design felt like a Jack Kirby fever dream.
I might be the lone voice in the wilderness on this but I think Evans deserves an acting nod here. With every decision & confrontation, we see each thought & carefully considered word play out on Steve Rogers face. It's easy to look past but the movie works because Rogers is a fully realized character & that's all on Evans.
Also, Marvel's universe building really worked well here to raise what could've been a silly/dull "macguffin" to something the audience could understand & connect to via the mythology set up in Thor.
In the end, I think we got Marvel's Batman Begins. While it's solid with some glaring but meager flaws, what they got right, they got really right. And like Batman Begins, it probably has crazy high rewatchability.
If this is in reference to what I said, it appears you may have misunderstood me. My point was that it's a detail that is ultimately not a huge deal, and that it isn't something a critic or most anyone should sweat missing all that much unless they seek to argue a point that could only be supported or dismissed based on such a detail.
Nope, I was talking to Renn there, who saw my earlier dismissal of the sound effect as a slight on sound design as a whole. I agree with you, it is not a big deal at all if someone doesn't make the connection to the Iron Man movies based on that sound. It's just a cool detail.
Did anybody else get the impression Red Skull wasn't killed but was teleported by the cube? Possibly to some alien world? Skrull invasion, anyone?
