JayDee's Movie Musings

Please stop being mean to me! I don't know whether you're kidding or not! The smiling smilie is too ambiguous. All kidding should be accompanied either by the big grin or the sticky-out tongue.

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Well I know that honeykid is desperate for me to move on but we still have a little business to take care of before we can finally leave my superhero season behind.











Yes it's an animated film. Yes it's only 73 minutes long. And yes it may be lacking in big-name talent. But I genuinely believe this to be one of the best adaptations of the Batman character ever to hit the screen. And one of my personal favourites. Though when you take into consideration that the film is a spin-off from the superlative animated series of the 90s it really shouldn't come as any surprise just how good it is. The writing for the film is fantastic across all levels; the story, characterisation and dialogue. And that writing helps to create a stronger romantic storyline for Bruce Wayne than most of its live-action counterparts have managed. Bruce Wayne and Andrea Beaumont have a great 1930s/40s screwball comedy/film noir nature to their interactions and dialogue. The vocal performances across the board are all very strong, from Kevin Conroy as Bruce Wayne/Batman to Mark Hamill's spot-on work as The Joker. I also love the appearance of the film. I love the look of the Gotham presented here; it's got a very gothic, art deco, film-noir aesthetic. And some of the shot compositions are excellent. This also helps in creating some great action set-pieces which are so satisfying and thrilling that they go beyond the film's animated limitations. Rather excellent.
















After being really quite surprised at how much I enjoyed the first Superman film, I struggled to get into this one to quite the same extent for whatever reason. If anything this was more the kind of experience I was expecting going into the first film. In some ways I feel I should have liked it more but it just didn't happen. I think the fact that it was a little bit sillier and camper than the first film didn't help, including some awkward moments of humour. For example after Superman's supposed demise the film immediately delivers some moments of slapstick comedy to completely undermine any possible drama. The whole thing just felt a bit more disjointed and not quite as fluid as the first film, perhaps as a result of the much publicised problems behind the camera that plagued the movie. I also felt there were quite a few problems in the story, such as when Superman gives up his powers for Lois. Of course he does so just at the exact moment he needs them and then is able to get them back like 5 minutes later, undermining the power of the moment. It might seem a strange complaint for a superhero film but I think the fact that there were more superheroics in the film didn't help me like it. It made it seem sillier than the disaster movie approach of the first film and showed up some of the limitations of the effects. It also seemed stupid the amount of powers that Superman all of a sudden had whenever they were required; his ability to create dopplegangers of himself, his 'super kiss' which makes Lois forget everything etc. And what the heck was going on when he threw the big plastic S symbol like saran wrap? That said the villains themselves were quite fun; Terrence Stamp hammed it up in fine style as Zod, Jack O'Halloran was imposing and fun as the mute Non and Sarah Douglas was damn sexy! The film had its moments but came up some way short of the first in my eyes.

Captain America and Blade I really like. I agree that Zod is the best part of Superman II and is overall pretty silly. Ang Lee's Hulk was crap and I really need to rewatch Mask of the Phantasm.

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Fear and Loathing in MoFo... The Gunslinger 45's Top 50 Favorite Films

In the 10 Ring: Gunslinger45's reviews

Thanks GS. Our opinions in general do seem to be pretty similar, especially when it comes to comic book flicks.

No more rep until you join MoFo Big Brother 2.

Eh.....ok? That kind of came out of nowhere! I'll have a look into it tomorrow though

You joined, so, enjoy some rep.

These aren't so much "musings" as in-depth essays. I applaud your effort, JayDee. Excellent thread.

Compared to the novels Jaydee usually writes, these "micro musings" are very brief. However, his idea of a "micro musing" is an average person's idea of a full review.

Still withholding rep until I get a review of a movie that actually interests me, JayDee.

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Up next another couple of absolute favourites that I rewatched for my top 100 list to help sort out the rankings and also help me write a substantial amount about why they're favourites of mine










Plot - In the year 2029, a vicious war is raging between man and machine. A computer system called Skynet gained sentience in 1997 and declared war on all of humanity. With billions already dead, all that stands between Skynet and the complete destruction of the human race are pockets of resistance groups. Despite their seemingly untenable position, mankind actually stands on the brink of victory when Skynet takes one final roll of the dice. It sends a cybernetic killer known as a Terminator (Schwarzenegger) back through time to 1984 with the goal of killing Sarah Connor (Hamilton). She may not know it yet but Sarah Connor is to prove vital to the resistance effort. She is due to give birth to a son named John, a son who will grow up and lead the resistance to victory. The Terminator has been tasked with killing her before she ever gives birth, attempting to turn the tide back in favour of the machines. The resistance follows suit however by sending a warrior of its own back on the Terminator's trail, Kyle Reese (Biehn). It becomes a race against time for Reese to reach Sarah before the Terminator does.

For many years I considered the sequel as the superior film. That was probably due to the sequel being so much bigger and more action-packed than the original, and that greatly appealed to my juvenile tastes. While I still love T2 I now feel this is clearly the best film that the Terminator series has to offer. It's just such a mean, lean film which moves along at a tremendous pace. In a number of ways resembling a noir thriller it's a gripping experience, and Arnie's Terminator remains quite a terrifying presence. You just can't stop him!

While the film has many attributes going for it (which I will get on to), without a doubt the one single element that made this film so iconic and ensured its place in cinema history is the involvement of Arnold Schwarzenegger as The Terminator. There can be few actors out there with careers as productive as Arnie that have less acting ability and nuance than him; no-one is ever going to mistake him for being a classically trained performer! On the other hand however there have been very few actors in the history of cinema who have such a strong screen presence as the Austrian Oak. And for a character that only speaks a total of 18 lines, for a combined total of less than 100 words, you really need someone like that so that the character makes an impression. And oh boy does he make an impression! While it may be a sentiment that is over-used these days by reviewers such as myself, on this occasion it really does bear saying; it is impossible to imagine how anyone else could have inhabited this role. On a purely physical level his imposing frame is a perfect fit, but it's more than just that. It's the stilted voice, the unnatural mannerisms and the dead eyes that create this terrifically mechanical performance. Schwarzenegger really did deliver one of cinema's all time great villains. It's just such a classic nightmare for people, being chased by something that is apparently impossible to escape from. There's also a deeper, metaphorical edge to these machines that I think I had somehow overlooked until now; that of being an allegory for the Nazis. Like the Nazi forces under Hitler's command, the machines are this seemingly unstoppable force intent on wiping out all of humanity. Through the stories of Reese we learn that the machines hold humans captive in work camps, while he also shows Sarah the ID number that he has imprinted on his forearm. How I didn't put this together before is baffling to me.

As much credit as Schwarzenegger deserves for the creation, side-by-side with him in the recognition stakes would have to be Stan Winston. Given the many years that have now passed since the film's release, and the tight budget at its disposal, it really is a great testament to the skill of Winston just how well much of his work still holds up. There are still great little moments such as our opportunity to see under the Terminator's skin when he is repairing his arm, with all the moving gears and gizmos inside; moments which you wouldn't bat an eye at in even a film released today. And the endoskeleton at the end is just an incredible achievement; it's a tremendous piece of design that just enhances the character's menace to an even greater level. There's no doubt that some of the effects may flag up the film's limitations; you can see the seams so to speak. During the scene where he repairs his eye at a motel it's very obvious when we're dealing with the real Schwarzenegger, and when we're dealing with his animatronic replacement. However it's still such a fantastic creation from the Stan Winston studio that you can't help but admire the craftsmanship. And when it comes to the aforementioned endoskeleton at the film's conclusion, the stop motion is admittedly a bit dodgy, with the Terminator's movements taking on a very awkward, jerking nature. Personally I actually think this works to its advantage however. It seems to heighten the inhumanity of this metallic monstrosity, making it even more creepy somehow. In fact just about all of the film's effects are still able to hold up today, whether it be the time travel effects, the make-up used to convey the damage to Schwarzenegger's face or at realising the post-apocalyptic world of 2029. The future world in particular is terrifically impressive. The opening sequence that shows the humans and machines battling on this wasteland, and ending with the tank's tracks crushing the human skulls, is just such a vivid and instantly engrossing start. We are only given another couple of brief glimpses at this world, but they are just so enticing. And it's just a shame that we're still waiting really for that potential to be fully realised in any of the subsequent films.

As strong a showing as Schwarzenegger gives, you could make the argument that his job is easier than that of his co-stars. This is especially true of Michael Biehn who has the unenviable job of trying to ground this fantastic tale by explaining to both Sarah and the audience just what the hell is going on. So throughout he gets saddled with some extremely heavy exposition that he has to deliver, very often right in the middle of a big action sequence. Biehn proves to be more than up to the task however. This is particularly evident during the interrogation scene at the police station while he's talking to Dr. Silberman. He relays the whole preposterous story about the war and the Terminators with such indignant anger and conviction that we completely buy every single word he's saying. He is just this furious ball of energy throughout, fuelled by pure anger. He convinces you fully that he is a character born out of war, that he grew up in a wasteland where he had to scavenge just to survive and that as a kid he didn't play games, but instead he learnt to build bombs. He's also a pretty tough b*stard, as is seen by his ability to just shake off being shot as if it's nothing.

Also very impressive is Linda Hamilton as the iconic heroine Sarah Connor, though in a way it's not until the sequel that you really come to admire just how good she is. In the sequel we see her in full-on warrior mode, making her character at the start of this film seem a world away. There is still good work on show here however as she conveys the extreme, bewildering terror that enters the life of this working class suburbanite who you can imagine spent every day of her teenage years in a mall. And we do get a preview of what she is going to become at the film's conclusion. Finally managing to destroy the Terminator she delivers the line “You're terminated f*cker!”, and does it with such fury in her eyes that you can see she is well on her way to the transformation into the bad-ass we see in Judgment Day. While that trio carry the huge majority of the film all by themselves, on the rare occasion when others are required to step in they prove to be more than up to the task. Paul Winfield and Lance Henrikesen add some real colour and flavour as a couple of cops, just as Earl Boen does in the role of Dr. Silberman.

Every so often a film comes along that has reviewers waxing lyrical about how taut, tightly scripted and economical it is. If you've never been sure exactly what they're talking about, just give this film a watch and you should get the idea. The pace of this film is just incredible. For all of its robots, time travel and high concept story the film is basically a stripped to the bare bones chase movie. In fact the film at large rather mirrors the nature of The Terminator itself, careering along at an almost unrelenting pace. There is no wasted motion whatsoever, everything is aimed at one single goal. And this is true pretty much from its opening seconds. The film really does waste absolutely no time in getting going, handling all of the exposition in a mere few sentences and then dropping Arnie right into proceedings in a brilliant flash of light. And that's us, we're off, and we barely pause for breath for the next 90 minutes. A large factor in creating this incessant pace is the terrific editing by Mark Goldblatt which never allows the character or the audience to rest. Although it's not all about the rapid tempo of the film, there's also some great storytelling to be found in Goldblatt's work. The juxtaposition of The Terminator and Kyle Reese and how they go about acquiring clothing, weaponry and a vehicle is a nice sequence; The Terminator just mowing down anyone in his way and breaking every law imaginable while Reese attempts a much more restrained approach. My favourite example however is the introduction of the Sarah Connor character, allowing us to see just how completely out of her depth she is. Up until this point the film had been predominantly set in a grubby world of urban blight, but it then switches instantly to this sunny, colourful suburb as we find Sarah riding along on a bicycle. The edgy, electronic score also gives way to a much lighter, happy-go-lucky and playful piece of piano music. For Sarah, the biggest problem in her life is being late for work and we see that she can't even handle being a waitress, and yet she's expected to help save the world?

While he may have directed bigger films, including the two most successful films of all time, and even won an Oscar for his work on Titanic, I personally don't think that James Cameron's direction has ever been better than here with The Terminator. As well as keeping the narrative flowing at an unrelenting pace, he frequently shows a great eye for framing and composition to deliver some terrific shots and images; moments such as when the Terminator emerges from the flames sans its skin. I also really enjoy his occasional use of slow motion in the film. He uses it to highlight the horror and tension of scenes such as when The Terminator tracks down Sarah in the club, and not just because it's stylish in the way that a Zack Snyder does. Cameron also seems to have a real sense of fun at times throughout the film; for example I love the little shot that foreshadows what is to come later on as a small toy truck is destroyed under the wheel of the car that Arnie is driving. Later on in the film the Terminator will drive a truck that looks almost identical to this, and which also gets destroyed.

Cameron also brings his A-game to the action sequences, and when combined with Goldblatt's razor-sharp editing and Brad Fiedel's pulsing, electronic score they become tremendously exhilarating. While the action in the sequel may have unfolded on a larger scale thanks to its vastly superior budget and the huge leap forward in special effects, I think that the action here more than makes up for it with its fast and ferocious nature. In fact I'm not sure that the sequel was quite able to capture the sheer intensity and raw urgency of the set-pieces in this film. It doesn't matter whether it's the wild shootout at the night club, the ensuing car chase or the phenomenal assault on the police station, all of the action sequences are just fantastic. For all its ruthless speed and manic chaos however, it is perhaps when the action slows right down that we get the most thrilling sequence. I'm talking about the film's concluding chase between the severely wounded Sarah and the Terminator which is now only a torso but keeps on coming. With both individuals so worse for wear the chase becomes a crawl, and it's just so slow and tense that it is agonising.

The whole story unfolds from the tremendous original concept in the script. And the script at large is actually very impressive. Admittedly some of the romantic dialogue between Kyle and Sarah is a little bit clunky but it works because Hamilton and Biehn sell it so well and with such sincerity. They make lines that could easily be ridiculous ("I came across time for you Sarah. I love you; I always have.") come across as very touching. It also works because we understand the attraction on both sides of the coin. For Reese the romance almost works an example of celebrity worship. He has grown up admiring Sarah as this great hero; so much so that he feels like he has known her his whole life, even if he's never actually met her. While for Sarah we understand the sheer terror she must be feeling and the need for comfort. And I've got to say that their sex scene in the motel is really quite a sexy, erotic sequence.

It's very obvious that the budget for this film was very small, minuscule in fact when compared with its sequel. While Judgment Day was bankrolled by a budget of approximately $100 million, Cameron was able to craft this film out of an astonishingly paltry $6 million! And while that tight budget may be clear to see on the screen I actually think its to the benefit of the film. It gives it a cheap and grubby aesthetic which I think works for the subject matter, really heightening its noirish roots as the action takes place predominantly on these streets cloaked in shadows. The film even acknowledges the direction that Cameron is aiming for in the name of the club that the Terminator tracks Sarah down in - Tech Noir.

Conclusion - One of the great action films. One of the great thrillers. And one of the great sci-fi films. The Terminator is able to not only work but flourish on all of these levels. Not bad for a film made on such a tight budget by an unproven director whose only previous film to this had been the not-quite masterpiece Piranha II: The Spawning, and starring a trio of fairly inexperienced actors. Despite these inauspicious factors however, they were all able to come together to create an absolute classic.

Great review JayDee!


I just rewatched The Terminator like 2 weeks ago after it came up in the 80's countdown. Like you I am slowly coming around to the idea that the film may just be better than T2. Particular highlight is the Police Station assault. It just doesn't happen in movies, breaking the rules in the same way The Joker breaks them in Dark Knight. I'm not sure there has ever been a scene like it where a busy Police station is taken on and defeated by a lone assailant.


I'm not sure that your right about getting to see a full movie of the war between mankind and the machines, I just don't think it will ever work. It should stay where it lies as excellent flashbacks in T1 and T2, Terminator Salvation was dog ****. Unless a really top Director comes along with a top story, but even then we know the humans will win with John Connor leading the way so it's all a bit pointless. As they say in Terminator the real battle takes place in the past, and we've seen it brilliantly done twice.

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Great review JayDee; I think it contains more words than the whole movie, but I agree with every single thing you wrote. I may have liked part 2 a little more as I walked out of the theater, but as time goes by, the first one blows it away more and more. I'm glad to see you talk about Michael Biehn; I think his role in this is underappreciated. He's probably a mediocre actor, but in this and Aliens, I think he plays tremendous movie heroes.

Looking at micro musing I feel Blade and Superman 2 deserve a slightly higher rating. Especially Blade, one of the best comic book movies around.

The Terminator is an awesome flick! Though I may prefer T2, the original is still badass! Especially the Tech Noir scene!

Great review of The Terminator. I'd agree that it is better than T2. Nice work.

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Thanks for all the compliments guys.


Thank you very much Captain. Always nice to get a new fan.

The assault on the police station is indeed awesome.

And I didn't necessarily mean that I wanted a full-on war movie, just that even the glimpses we've seen in the following films and then with Termination Salvation it had not lived up to the intensity and thrills of those sequences in the first film.

Well I do try!

Nothing to see here, move along.

Well after my review for The Terminator we coincidentally move on to....Terminator 2! What are the odds?










Plot - Almost ten years have passed since a cybernetic killer called a Terminator hunted down and attempted to kill Sarah Connor (Hamilton) and her unborn son who is due to lead the human resistance to victory in the future. That attempt failed but now a new Terminator has been sent back in time tasked with eliminating John Connor (Furlong) while he is still a young child. The new Terminator is a more advanced and powerful model than its predecessor, named the T-1000 (Patrick). Sarah and John need to go on the run, but this time they will have help from an unlikely source. The human resistance have managed to send back a Terminator (Schwarzenegger) of their own, tasked with protecting them at all costs.

In a recent interview James Cameron stated that these days he greatly prefers this sequel to the original. And I've got to say that it's not really a surprise. When you look at 1984's The Terminator and compare it to all of his films that followed there have very little in common. Following the lean, economical approach he took to that venture, his subsequent films became increasingly more epic and bloated, both in terms of their scope and budget. In fact in the six subsequent films since The Terminator not a single one has come close to clocking in at under two hours. So when you take the efficient, concise Terminator and the effects-heavy juggernaut Judgment Day, with almost an hour's difference in their running times, it's easy to guess which way Cameron would lean. It's for those same reasons however that I now prefer the first film to this much bigger and shinier sequel. Whereas The Terminator was one of the most direct films I've ever seen this has a tendency to meander; it's nowhere close to being as focused as its predecessor. I particularly find this to be the case in the stretch that leads up to the big conclusion. While Sarah's attempted assassination of Miles Dyson and the subsequent assault on the Skynet lab makes sense for the story, and even includes some terrific moments of action, I feel that it really does have a negative impact on the film's momentum. It really feels like the film becomes distracted, and I think it's a real problem when you completely sideline your main antagonist for a full 45 minutes. For a film that placed great emphasis on its chase element, not having Robert Patrick on screen whatsoever during that time seems like an odd choice.

I also don't think that the script is as strong this time around. In numerous ways it is actually just a straight remake of the first film with only a few slight alterations, namely the target of the hunt (John not Sarah) and the implementation of Arnie (no longer the villain). As a result it doesn't feel anywhere near as fresh or inventive as the original story, and also suffers from some occasionally dodgy dialogue and some irritating plot holes. My problems with the dialogue can most readily be found in the stretch of film centred in the desert where Sarah indulges in some pretentious, flowery and hippy-like voiceover sentiments. As for irritations with the plot there have always been a couple of things that have irked me. Such as why does the returning Dr. Silberman never mention Kyle Reese? The omission of his part in her story seems very strange, both in their sessions together and particularly when he is giving a tour to a group of medical students and talking about how fascinating her case is. Something else that has always confused me is why at the conclusion the T-1000 tries to torture Sarah into calling out to John. Considering that he can mimic both the voice and the form of Sarah this seems completely pointless. One thing I will give the script credit for is that it enhances the central issue of the film about humanity's over-reliance on technology. We see that Miles Dyson, the man responsible for everything, was a decent guy with the best of intentions who just happened to over-reach is grasp.

While Judgment Day retained the same R rating as the first film the tone this time out is certainly a lot lighter with a lot more humour present. We can see this right from the outset with Arnie's terminator being introduced to the cheesy tones of “Bad to the Bone.” Arnie's Terminator just has a much more user friendly interface for the sequel (and I did steal that line from somewhere! ), bonding with young John to create a humorous double act and tossing out one catchphrase after another; the “I need a vacation” line in particular feels so silly. As well as that you've got the surrogate father angle that evolves between the Terminator and John, culminating in the terrifically hokey thumbs up as Arnie enters the molten steel below. Even the look of the film is a lot easier on the eyes. While the first film seemed to take place almost exclusively at night and had an extremely grubby aesthetic, this sequel often takes place in the bright LA sunshine and in general is just a lot shinier and brighter lit. If the first film was a gritty thriller on the fringes of horror, then this is a purely bombastic blockbuster.

So far all I seem to have down is point out flaws in this film and why I prefer the first outing for the characters. Despite this I still find Judgment Day to be a tremendously entertaining slice of action. In massive contrast to the first film's shoestring budget, Terminator 2 boasted a budget just north of $100 million, making it the most expensive film ever made at the time of release. And it's very evident where all that money went because Judgment Day is a masterpiece in special effects; so much so in fact that for the most part they can still stand up to this very day. If a film was released today with this level of CGI then very few eyelids would be batted. Right from the opening seconds the upgrade in special effects is clear to see; the sequence detailing the warfare of the future is a much more up-scaled, high tech version than we saw in the first film. And the absolute pinnacle of the effects can most definitely be found in the liquid metal capabilities of Robert Patrick's T-1000. Whether it's morphing into other people or objects, transforming its hands into vicious weapons or conveying the damage caused by gunshots and the like the effects are fantastic. In fact the T-1000 remains to this day one of my favourite ever CGI creations. Some of the images the effects help to create are just fantastic, particularly to show the damage inflicted upon the T-1000; the gunshots which actually look like pie tins, the large impacts which damn near split the character in two or my personal favourite, the hole in the head that the camera moves around to peer through. I also love the scene where the T-1000 is doused in liquid nitrogen, freezing to the point where his legs begin to snap as he walks. Further great work from the Stan Winston company is to be found in the realisation of Sarah's nightmares, with the film this time relying on good old fashioned effects such as miniature models to bring to life the horrors of the forthcoming nuclear assault. It has been labelled by experts as the most realistic nuclear blast depicted in film and is an exceptionally vivid and horrific scene.

When it came to casting the upgraded Terminator sent back to hunt down the young John Connor, it must have seemed like a near impossible task. How exactly do you find someone who not only has to follow in the intimidating footsteps of Schwarzenegger from the first film, but has to be able to stand up to Arnie and convince as a formidable foe. Well the film pulled an interesting and inspired rabbit out of the hat with the casting of Robert Patrick. He certainly doesn't have the same physical frame as the Austrian bodybuilder, but on the strength of his own attributes he damn near proves a match for Arnie's T-800 in terms of menace; his sharp, chiselled, angular features and icy blue eyes making for an unnerving prospect. Whereas Schwarzenegger's muscles made him a weapon of brute strength, the T-1000 is a more wily and stealthy opponent. Even if he was nearly impossible to stop there was a feeling that you may somehow be able to outrun the T-800, but that's certainly not the case with the T-1000. And it actually makes a kind of sense that the film would switch things up with the Terminator. After all as technology advances it always becomes more compact, so having a smaller, nimbler Terminator is logical.

With Robert Patrick taking over on villain duties it frees Schwarzenegger up to be the hero. While it's an understandable story choice given how iconic and popular his character proved to be in the original film, I preferred him as the terrifying threat rather than the noble hero. That said, his character is still pretty cool. I love the way the character continually spin-cocks his shotgun in between firing. As the mother of the resistance, Linda Hamilton is almost unrecognisable from the first film in the role of Sarah Connor. Where once was a damsel in distress there is now this intense, ripped warrior. She is just bursting with fury and violence, resembling a caged animal during her time in the mental institution. Her sanity has been pushed so far that she's actually rather frightening on occasion. As strong as it is on its own, it's only when you compare the performance to her first outing as Sarah that you see what an incredible transformation she pulled off. She very much inhabits the characteristics of Michael Biehn's Reese from the first film. As her son John, thing don't run quite so smoothly. Edward Furlong is a bit hit and miss, though in the end does a pretty decent job, especially when you take into account that it was his first ever acting gig. What I think also hurts him is that I've never been overly fond of the character that the script sticks him with; he's a little bit of a whiny, emo bitch! There's also a very brief but welcome return for Michael Biehn in the form of a dream-induced cameo. Oh and I also found Joe Morton very engaging as Miles Dyson.

When it comes to the action sequences I don't think they have quite the same intensity and edge as the first film. What they lack in those departments however the sequences most certainly make up for in terms of sheer spectacle and scale. The initial chase is thrilling and features some astonishing stunts, with the moment a huge 18-wheeler truck flies off a bridge into the flood control channel being an incredible highlight. Arnie's explosive one man assault on the entire Los Angeles police department at the Cyberdyne building is another very memorable set-piece. Earlier on I talked about the lull that occurs when the T-1000 is sidelined for 45 minutes. After that lull however the film does rally for a pretty bad-ass finale that centres around the brutal smackdown between the two Terminators and features some incredible special effects.

Conclusion - Back in the day I used to hold this above the first film. While that is no longer the case I still think it's an incredibly entertaining film, still one of the best films of its kind. And to be honest I should perhaps still be giving it 5 stars, it's just that I wanted to show the slight preference I have for the first film. I kind of see it like the first and third Die Hard films. The first Die Hard is undoubtedly the better film, but With a Vengeance comes damn close to it in terms of entertainment. And it's a similar case her I feel. It may not be as creative or as direct in its approach but it's still an astonishing mix of action and special effects that remains great fun on every viewing.

Well as it turns out my superhero season was shelved for exactly two reviews! And now it's back!

I went to see this on its first day of release here in the UK but have held the review back a while until its US release was closer. And yet again it's another big massive rambling fanboy rave review. In fact it's not so much a review as it is a dissertation on the film and the Marvel Cinematic Universe as a whole. The world of comic book and superheroe films is the only area of film where I feel I have as much knowledge, if not more, than just about anyone else on here. So I like to show it off!










Plot - Two years after the events of The Avengers, Steve Rogers (Evans) is living in Washington, DC and in the guise of Captain America he is the top agent of S.H.I.E.L.D., working alongside Natasha Romanoff, aka Black Widow (Johansson) under the leadership of Nick Fury (Jackson). The latest development in the world of SHIELD is Operation Insight, a new set of Hellicarriers linked by spy satellites that allows SHIELD to monitor the world like never before and the ability to eliminate those they deem a threat. The program is the baby of Alexander Pierece (Redford), the head of the agency. As it gets set to go operational however it sets in motion a series of events that put the lives of Captain America and his allies in danger, and leaves Steve not knowing who he can trust. To make matters even worse he finds his movements being stalked by a mysterious figure called The Winter Soldier (Shaw), an individual who seems able to match Cap physically step for step. In a lone bit of good news though he does find a new ally in Sam Wilson, a former soldier who utilised a piece of secret and advanced technology in warfare.

Cinematically, there is little worse than those occasions when your hopes and expectations for a film are sky high, only to have that particular film deliver a crushing blow of disappointment. They frequently make for the worst movie experiences, even if the film itself remains fairly decent. A recent and prime example for me would be Elysium. Now it certainly wasn't the worst film I saw last year (it would perhaps scrape a ) but because I had massive expectations for it (I thought it could be the film of the year) it was the most negative experience I had, worse than inferior films which I didn't have much hope for. As a result I try and do my best these days to keep my anticipation for films in check, not getting too carried away and setting myself up for a fall. When it comes to superhero films however that's a struggle for me. As the rampant fanboy I am, I frequently can't stop myself from getting excited by the appetising deluge of little tidbits, teasers and trailers that lead up to their release. The latest to spark this anticipation was Captain America: The Winter Soldier. So what a relief it is to find that this film is one of those that at least matches, and perhaps even surpasses my expectations. Captain America has a reputation as the dullest of the Avengers. In the comic book world however that has not been the case for a number of years now. During an 8-year stretch under the stewardship of Ed Brubaker the Captain America series and its Winter Soldier spin-off have delved Steve Rogers into darker and more intriguing territory. And that change in tone has been reflected here in The Winter Soldier. To put it simply, The Winter Soldier absolutely rocks!

One of my favourite things about the Marvel Cinematic Universe is how unique it attempts to make each of its individual entities. While they may all be superhero movies they each exist in their own little sub-genre. So far we've had the Iron Man films deliver a slice of sci-fi/action comedy; we've had all-out fantasy adventures in the form of the Thor films; we've had The Avengers bring us a team-up/men on a mission alien invasion flick; the first Captain America was a period adventure in a Indiana Jones, Saturday matinee vibe, while the upcoming Guardians of the Galaxy looks set to be a pulpy piece of sci-fi. As for The Winter Soldier we are very much in the land of the 70s conspiracy thriller, in the world of espionage which means we're dealing in shady dealings and shady characters, conspiracies and cover-ups, cloak-and-dagger machinations and double crosses galore. It makes for Marvel's most complex and intriguing narrative so far, eschewing the usual escalating series of battles between the hero and his nemesis for a more interesting and layered story. As a result, stretches of the film are surprisingly talky and plot-heavy. The only problem though is that the conspiracy thriller is a climate we're so accustomed to that you'll be able to predict many of the twists and turns before they happen.

In a film of this nature to truly challenge a hero it's not enough to just give them an adversary who can challenge them physically, you have to make them question and doubt themselves and why they do what they do. So when it came to Iron Man 3 for example it wasn't just enough to throw the Mandarin at Tony Stark, you had to get in his mind. In the guise of Robert Downey Jr., Tony Stark just oozed self-belief and self-confidence/arrogance. In his third solo outing however Tony was racked by doubt, fear and insecurity following the events of The Avengers, resulting in a series of panic attacks and making him much more vulnerable. Well if you want to make Steve Rogers doubt himself and why he fights, then you go after his reason for fighting in the first place - America. When Captain America was created in the 40s the US really was seen as the world's beacon of hope and honour; it was the land of the free, and Captain America was the symbol of this. Since then however it has largely been a downward spiral in terms of how the world views America. And that really culminated in the 1970s, a decade that was besieged by assassinations, wars, political scandals, civil unrest and riots. And that's why adopting the façade of the 70s thriller is the perfect avenue to make Cap question the country he fights for today. And while the film may hark back to the conspiracy thrillers of the 1970s it is also rooted very much in our current climate thanks to its sharp and insightful script. Right from the film's opening montage of Cap running past several landmarks (Washington monument, Jefferson Memorial, National Mall etc) we instantly know we're in Washington right at the heart of American politics. I find it a rather funny instance that its a film starring Captain America; regarded as the quaint, flag-waving, jingoistic symbol of the United States, that proves to be without a doubt the most subversive superhero movie to date. There's an irony there that I don't think even Alanis Morissette could fail to recognise!

Ever since he was thawed out at the end of The First Avenger the catchphrase for the Captain America character has very much been that he's 'a man out of time.' So it's again pretty ironic that it's a film starring a man out of time that really is the superhero film of our times. The main issues at the heart of the film, and which make Cap question the system which he's fighting for are taken right out of today's headlines. He is extremely disturbed by S.H.I.E.L.D.'s plans for such intense surveillance and spying of the people, arguing about where the line is between making us feel safe and removing our sense of freedom. It's not hard to spot a connection to the NSA surveillance scandal that rocked the US government last year. While another issue that troubles Cap is that S.H.I.E.L.D.'s new defence system, Operation Insight, is able to target and kill people they deem to be a threat. This notion of execution without a trial very much plays into the controversial drone strikes that the American government now engages in. There's perhaps even an extra little touch that plays into the idea that Americans don't know the geography of the world, that they can't pinpoint countries on a map and that they see everyone as the same; this happens when a member of the World Security Council mistakes a French terrorist for an Algerian.

However the fact that the film has story and character is all well and good but that all accounts for nought if it doesn't deliver on the action front. This is a superhero movie after all! The Winter Soldier has no need to worry about that however because in action terms it also emerges as one of the strongest in the genre, perhaps the strongest. What I really loved about the action is how real and tough it comes across. It really sells the idea that Captain America isn't your normal superhero. He's not a mutant who was born with powers. He wasn't created by some science experiment gone wrong. He was created by the government for war; he's a weapon. And we really see that in this sequel. When he's in battle you really feel the power behind his blows. You can really feel his kicks and punches rattling bones and shifting internal organs around to locations they have no business being in. The fist-fights he engages in are brutal and hard-hitting affairs. I also love how he utilises his shield in this film, they've really stepped it up from The First Avenger. There's an awesome little moment that really shows the strength of the character and just put such a smile on my face. It's a scene where Cap is chasing the Winter Soldier through his apartment building. With his enhanced abilities he is racing through the halls at lightning speed. As he attempts to round a tight corner his momentum sends him crashing into the wall, leaving behind a huge, circular dent as a calling card.

It's not just the close combat scenes featuring Cap that impress and carry the load in terms of action. The film employs a whole variety of different styles and scenarios and nails pretty much every single one, delivering a series of thrilling sequences and moments. In addition to Cap's fighting, the hand-to-hand combat featuring Scarlett Johansson's Black Widow is extremely creative and wonderfully choreographed. You could argue that these hand-to-hand sequences actually reach their zenith right at the start of the film in an opening tactical assault they embark upon on a ship. And given the film's roots in the 70s thriller it should come as no surprise to find that a car chase features quite prominently in proceedings, and it really is quite a thrilling, fast-paced and bone-crunching sequence. For all these highlights however perhaps the most striking set-piece; the one that will get people talking, is an intense, large-scale gun battle that rages on the streets of Washington and for me at least evoked memories of the iconic shootout in Michael Mann's Heat. In fact between all the practical fighting and stunts The Winter Soldier made for a very welcome break from the CGI-fests that frequently populate cinemas these days; for the first three-quarters of the film at least. As it approaches its epic-scale conclusion the CGI does come back into play

Now in his 3rd outing behind the iconic shield, Chris Evans really has settled into the role and made it his own. He really has proven to be a strong piece of casting in the role of Steve Rogers. Certainly for me at least he just evokes that all-American personality perfectly. To me he just perfectly fits that archetype of the blond-haired, blue-eyed star quarterback in a small American town. My favourite part of his performance as Steve is that he chooses to play the hero, not the superhero. At heart his performance is still very much that of the puny little weakling we encountered at the start of the first film. Alongside Cap we once again have the sexy presence that is Black Widow, portrayed by the beguiling Scarlett Johansson. I will admit that I'm not 100% sold on the approach they've taken with the character, I'd perhaps prefer her to be a bit more cold-hearted and dangerous. Given the approach they've gone with however I think that Johannson really is doing a great job in the role, with this film certainly giving her the most to do thus far. Her Widow is sexy, funny and a real livewire. And together she and Evans actually share a really nice chemistry. Some people may see it as a potential romance but I get much more of a sibling vibe from their relationship. Joining these two to further grow this little splinter group from the Avengers is the debuting Falcon, played by Anthony Mackie. I've got to say that I feel Falcon is one of the film's few weak points. And I do mean Falcon precisely, because I think that both Sam Wilson (Falcon's alter ego) and Anthony Mackie make for likeable additions. Mackie plays it with a really nice easygoing charm and right from their first meeting he and Evans strike up a nice chemistry that hints at a potentially entertaining buddy relationship in the offing. However The Falcon just didn't really click for me. His design is a little on the uninspired side and in general he just didn't feel 'right' for the film. In a film attempting to ground its story, at least as much as a film like this can, his inclusion just felt out of place. A much more high-concept, fantastical element that didn't fit comfortably with the rest.

I mentioned that The Winter Soldier gives Johansson's Black Widow her greatest exposure to date, and it's the same story for Samuel L. Jackson's Nick Fury. The character has now appeared in seven films in the MCU, frequently in a small capacity. As a result all we've gotten to know about him up until now is that he's tough and that he's cool. So basically all we know about him is that he's Samuel L. Jackson! While he was the man responsible for bringing the Avengers together, here however he is finally relevant to the plot of an individual film. And he seems to revel in finally being given such a chance. The last major draw in the film's cast is the addition of Robert Redford as the head of S.H.I.E.L.D., Alexander Pierce. As a man who has largely shunned blockbusters and mainstream crowdpleasers throughout his career, his involvement is a huge coup for Marvel. His presence brings a substantial weight, gravitas and respectability to proceedings, while his standing as one of the main icons of the 70s thriller genre allows the film to further play into that approach.

While Marvel has had several successes with its heroes; thanks in large part to its smart casting with the likes of Robert Downey Jr., Chris Hemsworth, Mark Ruffalo and Chris Evans, it hasn't fared quite as well with its villains. Tom Hiddleston's wonderful incarnation of Loki has certainly been the exception, with the character garnering a fanbase to almost rival that of the superheroes he does battle with. Many of the other supervillains have struggled to make anything near his level of impact in their respective outings, meaning that Loki is unrivalled as Marvel's no.1 villain in their big-screen rogues gallery. While that certainly doesn't change here, I do think that The Winter Soldier slots very comfortably into second position. He may not say a great deal throughout the entire film but he makes one hell of an impression both visually and as a physical threat to Cap. In fact throw in the character's relentless, seemingly unstoppable nature and you've got something akin to Marvel's version of The Terminator. Throughout the film you find yourself constantly wondering, “just how the hell are they meant to beat this guy?” Always a plus for a villain

One of the reasons Marvel has been on such a hot streak with the Marvel Cinematic Universe has been the studio's bold and often inspired choice of director for its properties, eschewing the obvious choices to frequently go for someone out of left-field. As the film that launched the MCU, Iron Man was a very important prospect for them. Instead of going for a director with extensive experience of the action genre however they plumped for Jon Favreau, up to that point known only for light-hearted family films like Elf and Zathura. That was a huge success. For Thor they went with Kenneth Branagh, a move which initially seemed fairly baffling. His vast experience in the world of Shakespeare however made him a smart choice for the grand, operatic world of Asgard. Then there was Joss Whedon and The Avengers. While his appointment may have been everything that geeks all over the world could have dreamt about (his experience of ensemble TV shows and known love for comic books making him the perfect choice) it was still a bit of a gutsy move on Marvel's part. Despite his Godly standing amongst geeks and all the critical acclaim his work had garnered, he's never exactly been a guarantee of success. “Buffy” and “Angel” may have been successful but after that it's been quite the struggle for Whedon. Despite outpourings of love for both shows, both “Firefly” and “Dollhouse” were cancelled very early on, while the movie that “Firefly” inspired, Serenity, was a complete box-office flop. And Serenity was his only previous movie credit so he had done nothing on this kind of scale before. So it was still a bit of a risk handing him the keys to their $220 million-budgeted baby. Well considering it became the 3rd most popular movie of all time at the box-office I'd say things worked out pretty well.

And now Marvel are at it again, with The Winter Soldier they've managed to pull another rabbit out of the hat with the appointments of Joe and Anthony Russo, perhaps their most risky choice yet. Their only previous film credits were Welcome to Collinwood and You, Me and Dupree; not exactly a CV that would naturally jump to the top of the pile. Their biggest success has arguably been their significant contribution to cult sitcom, “Community.” How exactly they ever entered the minds of those at Marvel is a puzzler, but it certainly paid of. I think they do a fantastic job here, capturing the tone and pace of all the required facets. I've already talked about the superb action scenes and the Russo brothers really do handle them very well. In addition to that however they also capture the suspense and intrigue of the film's thriller element, the little touches of humour as well as a couple of more touching and sombre moments. There's a really poignant moment featuring the return of Hayley Atwell's Peggy Carter that may bring a lump to the throat of many a comic book geek. It may actually be the film's gem as far as scenes go. Before the film had even been released Marvel was so pleased with their efforts that they contracted them for the next Captain America film already. On this evidence that appears to have been a very astute move.

I just love the whole concept of the Marvel Cinematic Universe, it's already one of my favourite ever developments in the history of film. The way that all the films link together to create this much grander picture and world is just such a treat for comic book fans like myself. And yet again here we get a series of little connections to films both of the past and of the future, as well as the odd touch that will only mean something to fellow comic book geeks. I love it! And this film really does seem like it's going to be the most game-changing of them all. The whole world of the MCU is going to be affected and it will never be the same again.

And to finally cap of these fanboy ramblings just a couple of mini touches that I got a kick out of. Quite obviously as a result of the Russo brothers' involvement there is a cameo that should put a smile on the face of any fan of “Community.” There is a brilliant little Pulp Fiction in-joke in relation to Samuel L. Jackson. Oh and for all the great things in the film itself perhaps my absolute favourite thing in the whole movie are its exceptionally cool closing credits, a striking mix of bold colours and silhouettes that plays like a Marvel version of a Saul Bass creation.

Conclusion - Back when the first Captain America film was released in 2011 the prevailing viewpoint seemed to be that the film and the character himself wasn't particularly 'cool.' He was too corny and twee for many people who had become used to the nihilistic world of Christopher Nolan's Batman and the quick-witted arrogance of Robert Downey Jr.'s Tony Stark. Well I think that may all be about to change with the release of this sequel. Its kick-ass action, cloak-and-dagger narrative and subversive streak should ensure that Cap walks away with a brand new level of street cred.

How long does 1 review take you Jaydee.