Justice League

JUSTICE LEAGUE (Zack Snyder, 2017)

Superman (Henry Cavill) is dead, and a villain too strong for any other superhero to stop threatens to destroy the planet in JUSTICE LEAGUE. Thousands of years ago a coalition of gods, superheroes, and humans defeated Steppenwolf (Ciarán Hinds). Different parts of the alliance were responsible for hiding and protecting three cubes, but the Mother Boxes are no longer dormant. Their awakening draws Steppenwolf’s return to Earth so he can find and unify the Mother Boxes in his quest for immense power.

Batman (Ben Affleck) and Wonder Woman (Gal Gadot) know that they need assistance in stopping the pending apocalypse. Bruce Wayne’s search for other superheroes to join the team leads him to Barry Allen (Ezra Miller), a university student known as The Flash for his superhuman speed, and Arthur Curry (Jason Momoa), whose Atlantean heritage and abilities pertaining to water cause him to go by Aquaman. Diana Prince works on bringing into the fold Victor Stone (Ray Fisher), a former athletic star referred to as Cyborg because of his post-accident cybernetic reconstruction.

JUSTICE LEAGUE is the DC Extended Universe’s equivalent of the Marvel Cinematic Universe’s THE AVENGERS. While online fandoms engage in heated battles regarding which is superior, such distinctions seem increasingly silly when the two AVENGERS films and JUSTICE LEAGUE share Joss Whedon as a creative force behind both. As viewers it’s impossible to know how much influence Whedon wielded on the final theatrical version of JUSTICE LEAGUE, as he was brought in for reshoots and post-production while director Zack Snyder took time off to deal with family tragedy. Nevertheless, the comedic sensibility and overall lighter feel, especially in comparison to the brooding verging on nihilistic DC films, seem attributable to Whedon, who gets a co-screenwriter credit with Chris Terrio. It’s a solid comic book-like joke when The Flash pushes a few people in a truck to safety and then looks to see that Superman has relocated an entire building.

Although JUSTICE LEAGUE isn’t as oppressive in tone or visual palette--this film looks notably brighter and more colorful than BATMAN V SUPERMAN: DAWN OF JUSTICE--it has the personality of an instruction manual. This is a schematic assembly more than a story, and the lengthy build-up culminates in a third act battle that, like many of its superhero film predecessors, can seem interminable and less consequential because it’s simply a stepping stone to the next three years of sequels. JUSTICE LEAGUE can stand as a self-contained film, but it plays as an enormously expensive TV episode.

Gadot remains the best thing about the current DC films. While her character is an immortal, she brings the humanity lacking amid the noise and darkness. Miller’s Flash provides winning comic relief. Still, with so many superheroes to devote time to, not to mention their primary task, JUSTICE LEAGUE doesn’t accrue a lot of valuable character moments so much as it teases what you can get when each returns to their individual showcases.

Grade: C

Spider-Man: Homecoming

SPIDER-MAN: HOMECOMING (Jon Watts, 2017)

Although Peter Parker (Tom Holland) tries to balance life as a high school student and a superhero in SPIDER-MAN: HOMECOMING, naturally he’s drawn more to fighting crime and being a beloved part of the community. To his frustration, Tony Stark (Robert Downey Jr.) cautions him about getting too involved in such extracurricular activities, although he does provide him with an improved suit. After a night patrolling the neighborhood, Peter’s best friend Ned (Jacob Batalon) learns that he is Spider-Man, a fact that delights him to no end.

Peter stumbles upon the shady dealings of Adrian Toomes (Michael Keaton), a former salvager now using and dealing alien technology to enrich himself and his associates. While Tony doesn’t want Peter to pursue the matter, he can’t help but investigate, which puts him and and his classmates at risk.

SPIDER-MAN: HOMECOMING brings more of the traditional comic book sensibility back to the superhero universe. Director Jon Watts, one of six credited screenwriters, constructs the film like a teen movie with some regular people possessing extraordinary powers than something rooted in the realm of fantasy. Doing so grounds SPIDER-MAN: HOMECOMING and gives it a touch of wonder at the incredible feats the heroes and villains perform. Watts also suffuses this SPIDER-MAN with a breezier tone that gooses the humor, particularly in the scenes with Peter’s high school peers, and makes the protagonist and his struggles more down to earth.

Holland exudes a lot of charm in his first time playing the ordinary teenager turned webslinger. He imparts Peter with infectious enthusiasm, which he tempers with the insecurity and desire to push limits that are a hallmark of adolescence. He is confident scrambling up the Washington Monument but less sure of himself when it comes to asking his academic decathlon teammate Liz (Laura Harrier) to the dance. Holland lends a dancer’s grace to the physicality with which he plays Peter and Spider-Man, which reinforces the joy that buzzes through the film.

SPIDER-MAN: HOMECOMING surrounds Peter with a splendid supporting cast. Batalon is funny and endearing as the pal who is excited for Peter and at the prospect that he might be able to be his assistant, the proverbial guy in the room in action movies. As wisecracking classmate Michelle, Zendaya often gets some of the biggest laughs from the withering way she expresses herself. Harrier adds depth to the potentially thankless love interest role as she evokes the complexities in the romance Liz and Peter hesitantly begin.

Keaton fleshes out the antagonist so that his perspective is understandable even if it isn’t justifiable. Adrian’s bruised sense of fairness and need to provide for his family guides him down a darker path that gradually eases him down the moral slippery slope. Keaton lets the character cook in his righteous outrage, like a frog not realizing it’s being boiled as the temperature in the pot slowly increases. For Adrian the outcome is similar as his corruption he gives in to slowly grows.

It doesn’t seem like there are a zillion different things happening in SPIDER-MAN: HOMECOMING or that it absolutely has to fit within a larger framework of the Marvel films. The less convoluted story allows the film to feel fleeter and dig into the character elements. After a string of unsatisfactory SPIDER-MAN movies, it’s a pleasure to encounter one notable for its zippy sense of fun, humor, and thrills.

Grade: B+

X-Men: Days of Future Past

X-MEN: DAYS OF FUTURE PAST (Bryan Singer, 2014)

It looks like the mutants’ time is up in X-MEN: DAYS OF FUTURE PAST. A sentinel program with a genetic guidance system targets the biologically aberrant heroes and is on the verge of wiping them out if something isn’t done soon. Their only hope is to send Wolverine (Hugh Jackman) back to 1973 to keep Mystique (Jennifer Lawrence) from killing Dr. Bolivar Trask (Peter Dinklage), who experimented on mutants to develop the weapons.

Things aren’t looking so great for mutants decades earlier, though. Wolverine finds the Institute for Gifted Youngsters closed and Charles Xavier (James McAvoy) depressed and reliant on a serum that returns function to his legs but suppresses his telepathic abilities. Erik Lehnsherr, otherwise known as Magneto (Michael Fassbender), is imprisoned deep below the Pentagon. After breaking Charles out of his funk and Magneto out of his cell, the team of X-Men, which also includes Beast (Nicholas Hoult), head to the Paris Peace Accords to stop Raven from completing her mission and dooming their future.

The X-MEN films have the biggest cast of characters among comic book adaptations, yet DAYS OF FUTURE PAST never gets bogged down trying to devote sufficient time to each of them. The follow-up to X-MEN: FIRST CLASS is mainly Wolverine, Charles Xavier, and Magneto’s show. Jackman is the anchor, bringing the gruff humor and brute force he’s lent to the role six other times. McAvoy and Fassbender harness the tension between Charles’ idealism and Erik’s cynicism. Still, DAYS OF FUTURE PAST finds showcase moments for other mutants too. Quicksilver (Evan Peters) receives an amusing introduction to the franchise in a funny, slow-motion confrontation that stands as the film’s most memorable scene. Blink (Fan Bingbing) uses portals to enliven the future’s actions sequences, particularly the opening one.

Despite two concurrent time periods and various locations to manage, director Bryan Singer and writer Simon Kinberg keep events clear-cut. The path may be a little complicated to follow, but it’s all conveyed in a straightforward manner that doesn’t require audiences to have brushed up on the events of previous films to understand the importance of what’s happening now. The threat and actions needed to overcome it are more firmly defined than the world-at-risk scenario that has become the default blockbuster setting. While DAYS OF FUTURE PAST doesn’t lack for spectacle, such as Magneto ripping RFK Stadium from the ground and dropping it on the front lawn of the White House, it has the good taste not to use anonymous mass casualties as a cheap way of raising the stakes.

DAYS OF FUTURE PAST isn’t lacking seriousness or long-form episodic storytelling that fuels these superhero series, but Singer never loses sight that this should be fun too. Like FIRST CLASS, the ‘70s setting gives a unique look to this one over other X-MEN and comic book entries. DAYS OF FUTURE PAST takes pleasure in showing off the variety of powers its characters’ possess and retains a sense of humor about X-MEN history and the inherent silliness in these adventures.

Grade: B

Kick-Ass 2

KICK-ASS 2 (Jeff Wadlow, 2013)

In KICK-ASS 2 a member of the supervillain’s posse slaughters a bunch of New York City policemen with increasingly violent methods for comedic effect.  Granted, the perpetrator is on the side of all that is bad, but the scene is undoubtedly meant to be funny.  Clearly we’re well past the time of post-9/11 sensitivity when The Strokes pulled a song from their debut album because of a third-person observation in the chorus about the NYC cops not being very smart.  That’s not to say that the men and women in blue get a lifetime pass for how they’re presented in art, but in this particular context, the glee with which they’re murdered and the positive audience identification with the killer is troublesome, to say the least.

KICK-ASS 2 doesn’t put forth mixed messages so much as it extols vigilanteism and revenge and then, after the climactic battle, tries to paper over the ugly sentiments with lip service about proper conduct.  Lest there be any uncertainty about where the film stands in its conflicting statements, the pretense of responsibility is ripped away in the final scene.  KICK-ASS 2 warns to do as it says, not as it does.  Then it distributes firearms, body armor, and a costume with an encouraging slap on the back.  

The sequel picks up with high school senior Dave Lizewski (Aaron Taylor-Johnson) having hung up his superhero uniform, but he can’t resist playing the hero again when he sees ordinary citizens following in the trail he blazed as Kick-Ass.  He begins getting back into crime-fighting shape under the rigorous training of freshman Mindy Macready (Chloë Grace Moretz), otherwise known as Hit-Girl, with the intention of them becoming a dynamic duo.  Plans for their alliance come to an end when her guardian, Detective Marcus Williams (Morris Chestnut), insists that she devote her after school activities to traditional socializing rather than meting out street justice.

While Mindy struggles to fit into the in crowd, Dave finds a group of like-minded civilians who want to join forces to clean up the Big Apple.  Colonel Stars and Stripes (Jim Carrey), a former mob enforcer turned born-again Christian with little tolerance for foul language, leads their so-called community service efforts.  Chris D’Amico (Christopher Mintz-Plasse) still seethes over Kick-Ass blasting his criminal father with a bazooka, so when he notices that Kick-Ass has resurfaced, he dons his mother’s fetish gear and dubs himself with an Oedipal, family publication-unfriendly name to refashion himself as the first supervillain with an accompanying crew of brutes.

Like its deluded, self-professed champions of public safety, KICK-ASS 2 fancies itself as something more admirable than it is.  How unsurprising for a film that stages a rape scene that uses framing and editing to empathize with the attacker even though the moment is ultimately played for laughs at his expense.  Rather than initiating a subversive conversation on superheroes and those who wish they could become them, KICK-ASS 2 indulges the worst power fantasies while also getting off on sociopathic behavior.

Grade: D+

Captain America: The First Avenger

CAPTAIN AMERICA: THE FIRST AVENGER (Joe Johnston, 2011)

In CAPTAIN AMERICA: THE FIRST AVENGER scrawny Steve Rogers (Chris Evans) doggedly attempts to sign up for military service during World War II. His puny stature gets him declared 4-F time and again, but each rejection just makes him try harder on his next recruiting office visit.

Dr. Abraham Erskine (Stanley Tucci) notices Steve’s selflessness and nobility and offers the gung-ho New Yorker a special opportunity to serve his country. The expatriate German scientist has developed a treatment that can transform Steve into a super soldier. Being dosed with the serum and vita-rays will greatly enhance his physical appearance and moral fortitude. Although the procedure is not risk-free, Steve accepts without hesitation.

Despite reaching his full potential through technology, military superiors limit Steve to playing the role of Captain America to promote war bond sales. While on tour to perform for the men fighting on the Italian front, Steve finally gets the chance to prove himself in battle. British officer Peggy Carter (Hayley Atwell) and genius inventor Howard Stark (Dominic Cooper) help him slip away for a daring one-man rescue mission of captured troops.

It’s here that Steve encounters Johann Schmidt (Hugo Weaving), otherwise known as Red Skull. The onetime Nazi commander underwent an earlier and flawed version of Dr. Erskine’s treatment, which has magnified his capacity for evil. Schmidt has designs on taking over the world himself and has split from Hitler to lead HYDRA. Schmidt possesses a powerful cube of the gods called the tesseract and is harnessing its energy to create unbeatable weapons. If Steve is to protect his countrymen and the world as a whole, he must defeat Schmidt.

CAPTAIN AMERICA: THE FIRST AVENGER director Joe Johnston also helmed the retro comic book adventure THE ROCKETEER. Once again he shows a knack for conveying old-fashioned awe and wonder in patriotic service without shifting into jingoism or recruitment ad. Both films feature heroes who are quite square, but the period settings play to the advantage of the characters’ sincerity. By golly, Steve Rogers is going to perform his civic duty however he can. In the era of the tortured superhero in movies, it’s refreshing to come across one with enthusiasm and a pure spirit.

By virtue of his unsullied goodness, Captain America himself is a one-note character, but help is on the way from a strong supporting cast. As Red Skull, Weaving makes an exceptional villain to be feared. The latex mask he wears in the bad guy’s disfigured condition looks exponentially better than the CGI’d GREEN LANTERN character he resembles. Cooper gives the perfect amount of swagger and smarts to the character who will be Iron Man’s dad.

Atwell’s Peggy Carter is more than a romantic prop for the hero. She’s as tough and driven as the boys fighting the good fight, yet she also let down her guard when admiring Steve and being disappointed by him. For as misguided as CAPTAIN AMERICA’s conclusion is, Peggy and Steve’s radio conversation, which echoes Powell and Pressburger’s A MATTER OF LIFE AND DEATH, identifies the human cost that pays for valor.

CAPTAIN AMERICA is the last cinematic piece of the puzzle that will make way for next summer’s superhero extravaganza THE AVENGERS. At times it feels as though CAPTAIN AMERICA suffers because it is a prelude to the blockbuster-to-be. The opening scene not only ruins the potential emotional impact of the climax, but it also gives it away within the first ten minutes. On top of that, the final scene suggests that everything preceding it was merely a long teaser for the admission to be bought next May. Johnston’s fleetly assembled superhero film deserves better, but the botched finish doesn’t undo all the goodwill that CAPTAIN AMERICA earns.

Grade: B-