Movie Review: Captain America - Civil War

Devotion among bros (debrotion?) is tested in Captain America: Civil War, which sees suspicious boy scout Steve Rogers (Chris Evans) battle Tony Stark (Robert Downey Jr.), in defence of his old Brooklyn buddy Bucky Barnes (Sebastian Stan).

The rest of the Avengers watch on as daddy and daddy yell at one another, before choosing sides and punching on (and cracking wise). Even Spider-Man, a Marvel character previously chained to rival studio Sony, is recruited to play along and wring some laughs from the skirmishes. (Batman and Superman, meanwhile, remain trapped in the joy-sucking phantom zone of DC’s Snyderverse, for theirs is a laboured agony from which there will be no relief.)

With most entries in the official Marvel Cinematic Universe – this is the 13th, since 2008’s Iron Man, and eighth released by Disney – each ticket purchase awards you precisely what’s on the box and nothing more, right down to the inevitable post-credits button promoting a sequel, or, that one time, shawarma.

However, Civil War, directed by Joe and Anthony Russo (of predecessor The Winter Soldier and Community), kicks off the MCU’s Phase Three by offering that little bit extra: new, much-needed conflict among its collection of heroic characters; a mostly-cohesive narrative; less muddily-composed action sequences; Paul Rudd.

Plus, with additional focus on female Avengers Natasha Romanoff (Scarlett Johansson) and Wanda Maximoff (Elizabeth Olsen), not to mention the introduction of Chadwick Boseman’s King T’Challa – aka, Black Panther – Civil War ends the worrying trend of Marvel relying solely on white dudes named Chris, offering a diverse variety of voices in the studio's latest tentpole.

The plot – like all modern superhero flicks, suddenly guilt-ridden after years of evoking 9/11 imagery – centers on the consequences of vigilantes causing citywide havoc without any kind of accountability. After yet another mission goes awry in Nigeria, Stark steps in to negotiate an accord with the UN that would limit the Avengers’ reach.

The ever-charismatic Stark convinces old pals Rhodes (Don Cheadle), Vision (Paul Bettany), Romanoff and a pubescent Peter Parker (Tom Holland, making his Spidey-debut) that oversight is necessary for responsible heroism.

Captain Rogers, on the other hand, foresees a future in which politicians and bureaucrats stand in the way of necessary action, or, even worse, order unnecessary action. Considering he spent the last picture unearthing the villainous Hydra’s ties to almost all levels of government, can you blame him? Now as libertarian as Ron Swanson, Rogers recruits Bucky, Falcon (Anthony Mackie), Maximoff and Ant-Man (Rudd) to take a stand and rage against the machine.

Also, Hawkeye is there.

Inevitably, the duelling teams face off, with Stark especially insistent that Rogers hand over sleeper agent Bucky, a terror suspect the Cap insists was set up by the Machiavellian ex-soldier Helmut Zemo (Daniel Bruhl). Christopher Markus and Stephen McFeely’s script tries, and fails, to argue that Bucky ("with the good hair") is really worth fighting over, but Rogers' blind loyalty at least gives the movie a reason for being, so we'll take it.

Still, their screenplay is more streamlined than Avengers: Age of Ultron and carries more emotional weight than its direct predecessor, The Winter Soldier, aided by especially affecting turns from Evans (our best Avenger) and Downey Jr. (who could do this role in cryogenic slumber).

No one will accuse their script of being overly thought-provoking, but it does discuss, intelligently, heady subjects like the responsibility of nations as superpowers, whether ends can justify means, and the value of vengeance as fuel for do-goodery. “You’re wrong; you think you’re right; that makes you dangerous,” Spider-Man succinctly puts it to the Cap. I wouldn’t necessary hand Parker a psychologist’s licence, but he gets to the heart of Civil War’s tension: everyone thinks they’re right, and everyone is a little right, which only means no one is willing to back down. Meaning, Civil War goes all in on its titular promise of a seemingly irreparable super-schism.

The Russo brothers compose exhilarating, kinetic action set pieces, including one extended chase that begins in a stairwell (think, The Raid) and escalates to a multi-craft pursuit through a freeway tunnel. All that hero-on-hero warfare actually tells a story too, and the Rogers v. Stark beating that closes the trailer packs an almighty wallop by the time it arrives in the film proper.

There are issues. One of the primary battles takes place on an empty airport runway, which is as bland (and probably inexpensive) as shooting in a box factory. Henry Jackman’s score is entirely unmemorable, with music remaining the Achilles heel of the MCU. And a teensy bit of real-world drama bleeds in, with Jeremy Renner’s Hawkeye and Johansson’s Black Widow (supposedly, best buds) sharing just 15 seconds of screen time. (“We’re still friends, right?” he asks her, mid-strangulation, and you can only wonder if ScarJo didn’t take kindly to Renner calling Romanoff a “slut” on the Ultron press tour.)

Ultimately though, like all the Marvel movies, Civil War is funny, populated by seasoned pros (right down to one-sceners, like Hope Davis and Alfre Woodard), and professionally made. This one has the added benefit of being unique; you don’t often say that of 13th instalments.

4/5

In cinemas now. Rated M for action violence.