Marvel has no shortage of colorful characters to choose from when constructing a new film, but as far as the most popular leading men are concerned, we may soon be hitting a drought. Obviously, the company can (and most likely will) keep firing out sequels, prequels, and remakes featuring Spider-Man, Hulk, Thor, Iron Man, Wolverine and the X-Men, but comic fans, loyal though they may be, often want something new. Fortunately, one of the last "big" Marvel heroes to get his own movie has arrived, and his vehicle, entitled Captain America: The First Avenger, is a rewarding installment that is smart, clever, confident and, best of all, different.
Most recent origin stories in superhero cinema are similar. Even Thor, who hailed from another dimension, is still dealing with guilt, immaturity, and daddy issues found in almost every Marvel adaptation. Captain America differs not only in the fact that it is an early-'40s period piece, but also in its plausible and palpable originality. The freshness, combined with a strong ensemble and an intelligent script delivers one of the finest superhero adaptations of the year.
Fine as both a noble runt and a gentlemanly superhero, Chris Evans delivers a character worth caring about. Smaller assets pop up at every turn: Stanley Tucci, Tommy Lee Jones, Neal McDonough, Dominic Cooper, Sebastian Stan and the gorgeous Hayley Atwell as Cap's eclectic batch of allies; and, best of all, a meaty but entirely logical editorial approach that encapsulates all of Rogers' early adventures in one tight and refined two-hour frame.
And, sincerely, a certain "propaganda montage" is something special. The action, the chuckles, the surprisingly interesting character development ... they're what make Captain America a very solid action flick. But it's that one special montage that elevates the film into something a little bit cooler than the typical Marvel fare. Captain America also proves once again that great movie making is about much more than special effects – its about acting, directing, scripting, and most of all, it's about passion – something that has been eclipsed by a few clicks.
Most recent origin stories in superhero cinema are similar. Even Thor, who hailed from another dimension, is still dealing with guilt, immaturity, and daddy issues found in almost every Marvel adaptation. Captain America differs not only in the fact that it is an early-'40s period piece, but also in its plausible and palpable originality. The freshness, combined with a strong ensemble and an intelligent script delivers one of the finest superhero adaptations of the year.
Fine as both a noble runt and a gentlemanly superhero, Chris Evans delivers a character worth caring about. Smaller assets pop up at every turn: Stanley Tucci, Tommy Lee Jones, Neal McDonough, Dominic Cooper, Sebastian Stan and the gorgeous Hayley Atwell as Cap's eclectic batch of allies; and, best of all, a meaty but entirely logical editorial approach that encapsulates all of Rogers' early adventures in one tight and refined two-hour frame.
And, sincerely, a certain "propaganda montage" is something special. The action, the chuckles, the surprisingly interesting character development ... they're what make Captain America a very solid action flick. But it's that one special montage that elevates the film into something a little bit cooler than the typical Marvel fare. Captain America also proves once again that great movie making is about much more than special effects – its about acting, directing, scripting, and most of all, it's about passion – something that has been eclipsed by a few clicks.