Writing reviews of these Marvel flicks really ought to be fairly easy at this point, since they can more or less all be summed up with “if you like this sort of thing, then you’ll like this one, too” — and while that’s as true as ever in the case of the just-released CAPTAIN AMERICA: CIVIL WAR, there’s plenty on offer here worth commenting on in a bit more depth, much of which isn’t taking place on the screen at all. So let’s dive into that first, shall we?
Make no mistake — the latest entry into the so-called “MCU” had a big opening weekend, and looks set to make its parent company plenty of money. But a number of box office websites projected it to do considerably more business right out of the gate, and keep in mind that those figures are usually adjusted downwards thanks to pressure from studio executives. As just one example, boxoffice.com was going with a projected figure of $214 million for opening weekend, and you can bet that means their initial, un-publicized projections were more in the neighborhood of $220 million. As receipts started to be tallied up, they revised that figure down to $185 million, then down to $181 million come Sunday evening. Final score once actuals were totaled up? $179 million, good enough for the fifth-best opening weekend of all time, but lower than both AVENGERS and AVENGERS: AGE OF ULTRON. This final figure is certainly nothing to sneeze at, of course, but frankly much more impressive is how the Disney PR machine immediately leapt into action, emphasizing that it was a 90% stronger opening than the previous entry in the series, CAPTAIN AMERICA: WINTER SOLDIER (which opened on a Wednesday in fucking April), rather than comparing it to the opening numbers for the two AVENGERS films, which is what they were saying the first-weekend box office take for this one would be more in line with before it, ya know, actually opened.
So, the good news for Disney/Marvel is that CAPTAIN AMERICA movies (although this is one in name only given that Cap is hardly anything like “THE” central character — he’s more “A” central character) keep on making more money every time — the bad news is that AVENGERS movies (which, they were right, is essentially what this is) keep on doing incrementally worse. To provide some recent context (that also shows the efficacy of Disney’s largely-unpaid internet “spin” legion): the March 25th weekend opening of BATMAN V. SUPERMAN took in only $13 million less than did CAPTAIN AMERICA: CIVIL WAR, and all the talk soon within X-amount of days was on how that “under-performed” compared to expectations — even though its $166 million take was well ahead of the $140 million-ish figure most of the box office sites were projecting. I know that six weeks is ancient history in today’s world, but the simple truth is that BATMAN V. SUPERMAN was considered a rousing success — for all of about a week. It wasn’t until it suffered a 71% decline in its second week thanks to negative word of mouth (some sincere, some orchestrated by Disney brass) that talk of what a “failure” it was began to be taken seriously. For the record, to date BATMAN V. SUPERMAN has made almost $870 million worldwide, and while CIVIL WAR is currently sitting around $700 million after just two weeks of release (it opened in many European and Asian markets before the US/North America — go figure) and will almost certainly pass Zack Snyder’s blustery-but-stylish romp within a week or two given that its week-to-week dropoff will almost certainly be much smaller, chances still seem fairly good that it also may not make it to a billion during its theatrical run (in fact, I’m betting it tops out around $930-$940 million) — and given that BATMAN V. SUPERMAN will probably squeak just past $900 million between the few weeks it’s got left at the first-run theaters and its inevitable follow-up stint at the discount houses, there’s a very real chance that less than $50 million will be all that separates the “amazingly successful” CIVIL WAR from the “disappointing” BATMAN V. SUPERMAN. Considering that both films had budgets reported to be in the $250 million range and that each studio is said to have shelled out somewhere around $200 million on publicity to hype their product, Disney is still going to come out ahead of Warners on their big-budget superhero mash-ups for 2016, but not by a whole lot. Still — it’s funny how the “spin game” works, is it not? Once again, a few free preview passes and a few empty promises about “potential future visits to the set of one of our movies!” aimed in the direction of the right “opinion-shapers” is all it takes to make one studio look like champs and the other look like chumps.
I’ll tell you what, though — I don’t care how they spin it, the $179 million opening weekend for CAPTAIN AMERICA: CIVIL WAR was a good $30-35 million less than the Disney “suits” had been both hoping for and expecting. they’re hedging their bets a bit by claiming that the Mother’s Day holiday put a little bit of a dent in their business, but funny — BATMAN V. SUPERMAN opened the same weekend as a holiday, as well: it’s called Easter. Maybe you’ve heard of it. Not traditionally known for being a big day at the movies.
Of course, CIVIL WAR‘s modestly “soft” opening shouldn’t be taken in any way as a reflection on the film itself. Plenty of great movies have absolutely tanked at the box office while plenty of shit ones have made hundreds of millions. In truth, this one falls somewhere in between. Directors Anthony and Joe Russo seem to have a bit more free reign here, stylistically speaking, than previous MCU directors have been given, and the end result is a flick that doesn’t start to ape the “big-budget TV episode” look of, say, Joss Whedon’s AVENGERS flicks or Jon Favreau’s IRON MAN flicks until — oh, I dunno — about halfway through its two-and-a-half-hour-plus runtime. Frankly — and hard-core Marvel fans are gonna slap me for saying this — given the keen eye they show for shot composition in the early going (and again during some parts of the movie’s purportedly “climactic” final battle), CIVIL WAR often looks more like a Zack Snyder film than it does a Marvel film, and that at least goes some way toward keeping a person’s eyes glued to the screen. The story, sadly, is somewhat less engaging, revolving as it does (in case you didn’t already know) around a bunch of heroes falling in line behind Captain America (played, as ever, with a reasonable amount square-jawed heart by Chris Evans) and another bunch falling in line behind Tony Stark/Iron Man (Robert Downey Jr.) as they take opposite positions on a bill to sanction, approve, and essentially regulate all super-hero work being advanced by the US Secretary of State (portrayed by a gaunt-looking William Hurt). “Team Cap,” which is opposed to the new legislation, consists of The Falcon (Anthony Mackie), The Scarlet Witch (Elizabeth Olsen), Ant-Man (Paul Rudd) and Hawkeye (Jeremy Renner), while “Team Iron Man,” which is in favor of it, has The Vision (Paul Bettany), War Machine (Don Cheadle), Black Widow (the preposterously-un-Russian as ever Scarlett Johansson), and newcomers Black Panther (Chadwick Boseman) and Spider-Man (Tom Holland) in its ranks. The battle lines are drawn, one character will definitely get the worst of it, the MCU will supposedly change forever — you know the drill.
Of those just-mentioned newcomers, Holland’s Spidey is getting all the hype, but it’s Boseman’s Black Panther who is far and away the more impressive. He’s sleek, silent, wise, and even-keeled, and his forthcoming solo movie might just be interesting (as opposed to his newly-relaunched comic series, which is off to a truly risible start). Holland, by contrast, seems a bit too youthful and, frankly, wet behind the ears to be an effective Peter Parker/Spider-Man, and his origin story looks like it’s going to be a rather revisionist, or “retconned,” one, with a lot of Stark Industries influence, and constant references to how “hot” his Aunt May (played by Marisa Tomei — who, I’m sorry to sound like a pig, has certainly looked a lot better in other films than she does here) is. We’ll see how that goes, but his role here essentially boils down to the first bit of comic relief in a film that frankly has none until he shows up just past the halfway point (if you really want some fun, though, add up the number of critics online and in print who have said that BvS was too “dark” and “joyless,” then turned right around and extolled the virtues of CIVIL WAR‘s “serious” and “mature” tone). To Holland’s credit, his character’s comic relief at least works, which is more than you can say for the flat, forced “humor” on offer from Paul Rudd’s Ant-Man, the less said about which the better.
You already know the two sides won’t stay at each other’s throats forever, though, and that they’ll team up to fight a bigger threat (a cliched non-twist that BATMAN V. SUPERMAN was, again, panned for but that CIVIL WAR is, also again, being praised for) before all is said and done — the problem is that said “bigger” threat here is, in the end, just a guy. Daniel Brühl’s Zemo character (who bears precisely no resemblance to the Baron Zemo created by Jack Kirby) is certainly manipulative and all, but on the whole he’s a decidedly un-menacing bad guy. Granted, previous MCU films have set the bar for “villain quality” amazingly low, but this clown is small potatoes even compared to the bog-standard CGI alien invaders of THE AVENGERS or the laughably incompetent Loki from the THOR flicks. In all honesty, Sebastian Stan’s Bucky Barnes/Winter Soldier seems a more pressing danger than Zemo ever is, and we know from the outset that he’s being manipulated/impersonated and doesn’t really mean anyone any harm. I don’t know how an entire fucking commitee of screenwriters couldn’t manage to come up with a better “evil mastermind”-type character than the one we’re served up here — unless they weren’t really trying. The only thing that might be more lame than this is Cap’s wooden “romance” with Sharon Carter (Emily VanCamp) — who just so happens to be the niece of his first love from back in the 1940s. Nothing creepy about that.
If you’re getting the impression that I found CAPTAIN AMERICA: CIVIL WAR to be something of a mixed bag on the whole, hey, you’d be exactly right — the plot has a bit more thematic depth to it than most MCU fare and it’s a more appealing package visually (until it gets all “point-and-shoot” later on), but it suffers from all the usual flaws these things do, as well, the biggest being that it exists more for the purpose of selling audiences on the next two or three films in this “universe” than it does for creating a truly memorable and “game-changing” viewing experience this time around. The Russo Brothers seem to be getting a more effective “hang” on this whole “blockbuster thing,” which is a good sign given that they’ll be heading up the next two films in the AVENGERS series, but if current patterns hold — and at this point there’s no reason to believe that they won’t — even those “tent-pole” releases will continue to promise that the best, biggest, baddest, and coolest thing ever is just around the corner. It would be nice if, for once, it actually arrived — but Disney studio execs (and I’m sure the same will be true for their counterparts at Warners as the so-called “DCEU” progresses) have no real reason to give audiences the “steak” rather than the “sizzle” as long as these two-and-a-half-hour “teaser reels” for future films continue to make money — even if they’re starting to make less money than they used to.
Tags: Ant-Man, Anthony Mackie, Black Panther, Black Widow, captain america, Chadwick Boseman, Chris Evans, Daniel Brühl, Don Cheadle, Elizabeth Olsen, Emily VanCamp, Hawkeye, iron man, Jack Kirby, Jeremy Renner, Marisa Tomei, Marvel Comics, Paul Bettany, Paul Rudd, Robert Downey Jr., Scarlett Johansson, Sebastian Stan, Spider-Man, Stan Lee, Superheroes, The Falcon, The Russo Brothers, The Scarlet Witch, The Vision, Tom Holland, War Machine, William Hurt