Captain America: Civil War Review

 Synopsis: Marvel's "Captain America: Civil War" finds Steve Rogers leading the newly formed team of Avengers in their continued efforts to safeguard humanity. But after another incident involving the Avengers results in collateral damage, political pressure mounts to install a system of accountability, headed by a governing body to oversee and direct the team. The new status quo fractures the Avengers, resulting in two camps-one led by Steve Rogers and his desire for the Avengers to remain free to defend humanity without government interference, and the other following Tony Stark's surprising decision to support government oversight and accountability.

 Review: "Captain America: Civil War" is not only the best "Captain America" movie yet, but it may just be at the very top of the Marvel Cinematic Universe, due to it's emotionally satisfying themes. That may seem like extremely high praise, so I will explain why I believe that to be true, as well as why I think this is the most mature Marvel film to date. Loosely following the events of both "Captain America: The Winter Solider" and "Avengers: Age of Ultron," while still harking back to previous films from this universe, this 13th installment in the ever growing Marvel Cinematic Universe, follows the team on different paths as they are once again pulled together.

Opening the film in the past, audiences will be given a look into the life of the Winter Soldier, as his character will later have the biggest impact on the story at hand. Flash forward to the Avengers. The team is realizing that the events from the past have killed many innocent lives in the process and they must decide whether or not they want to sign the "Sokovia Accords" and be restrained by the government, and only released when called upon. This divides the team stronger than ever before, creating friction as to what the right move truly is. Then arrives the Winter Soldier. Still brainwashed, Bucky causes Steve to go after him (a fugitive), thus sparking the war of family and friendship within the team. This is just the basis. There are many levels to this picture, including the addition of Zemo as the side villain.

This character served a very pivotal role in my opinion and definitely does not deserve the flack he is receiving. Daniel Bruhl is terrific in everything he is in and he only justified that more with this character. Without giving anything away, his character is involved with the heart of the story and is the reason for many actions/motivations. This review has been very dour so far and that is due to the fact that the entire first act of this film is extremely sad, but enjoyably so. Unlike certain unnamed films, this has a very light tone which elevates enough of the somber moments, making for a very balanced film throughout.

Speaking of the light tone, the addition of "Ant-Man" and "Spider-Man" was absolutely fantastic and needed for this depressing story. It is hard to watch the character having to fight each other, especially when you have come to love them over the last eight years, so it was necessary to include some fun. Paul Rudd is great once again, "fanboying" out just like audiences, and his action sequences are nothing short of crowd-pleasing. That being said, "Spider-Man" is still the standout here. Tom Holland gets a very solid introduction as to who he is, where he has been, and how he got his spider abilities. The chemistry between Peter and Tony was masterful and I could not get enough of it. "Spider-Man" steals the show with his contribution and I can not wait to see more of him in "Spider-Man: Homecoming" next year.

Within two scenes of meeting "Black Panther," they are able to establish his past, why he is present, and what his motives are, as far as siding with "Iron Man" goes. No, he does not have a clear side, but that is for specifics that can not be discussed here. Chadwick Boseman is great, his action sequences are terrific, and the set-up for his future film definitely makes me want to check it out. It may seem like this review is overly character-driven, but that is exactly what this film is all about. Developing character in characters you thought you had already known from front to back. The excessive amount of layers in this film work in many more ways than one.

Arrow Episode 1: "pilot" review

Synopsis:

After a violent shipwreck, billionaire playboy Oliver Queen was missing and presumed dead for five years before being discovered alive on a remote island in the Pacific. When he returns home to Starling City, his devoted mother Moira, much-beloved sister Thea, and best friend Tommy welcome him home, but they sense Oliver has been changed by his ordeal on the island.

While Oliver hides the truth about the man he's become, he desperately wants to make amends for the actions he took as the boy he was. Most particularly, he seeks reconciliation with his former girlfriend, Laurel Lance. As Oliver reconnects with those closest to him, he secretly creates the persona of Arrow - a vigilante - to right the wrongs of his family, fight the ills of society, and restore Starling City to its former glory.

By day, Oliver plays the role of a wealthy, carefree and careless philanderer he used to be - flanked by his devoted chauffeur/bodyguard, John Diggle - while carefully concealing the secret identity he turns to under cover of darkness. However, Laurel's father, Detective Quentin Lance, is determined to arrest the vigilante operating in his city.

 Review:

 Despite the Batman parallels, including returning home to find that his ex-girlfriend has become a lawyer fighting for the little guy, Arrow actually does have a few significant differences from Gotham’s dark knight (besides being less rights restricted, I mean). For one thing, there’s a reason the Green Arrow of the comics has traditionally worn an outfit reminiscent of Robin Hood, and TV’s Oliver Queen looks like he’ll be taking on similar themes: when a corrupt businessman is robbed at arrow-point, he tells the police, “I’m not some grocer who got taken for his register. I go to the front of the line.”
So far, it looks like CW is setting up Arrow as a fighter for the disenfranchised. I don’t find his motives entirely convincing at this point, given that the man we have seen on screen only has experience as a castaway and a party boy, unless a weak parallel between Oliver’s father closing his steel plant, and the general fall in standards of living counts, but it’s pretty timely to see a super hero working against the corporate fat cats, rather than being one of them. By the end of the pilot we find that Arrow is willing to go to great lengths to share the wealth around.
Altogether, I am pretty optimistic about the show. There’s corporate intrigue and shadowy bad guys, there are corrupt businessmen getting what they deserve, and the show’s lead actor, Stephan Amell, is convincingly menacing to both his enemies and to unduly curious bystanders. The action scenes are dynamic and flashily choreographed, and surprisingly fatal for a superhero show. The stage is set for some growing tensions as the series progresses, with Oliver’s sister, nicknamed Speedy, falling in with a bad crowd, dark hints about the nature of the family business, and a hit list that could be the length of a small black book.
Green Arrow has been a fixture of DC comics for a long time, including successful parts in the popular Justice League, unlimited cartoon, and in the long running series Smallville. If the 4 million people who tuned in for the premiere are any indication, Green Arrow has a good chance of standing on his own.