MCU Retrospective: Avengers: Endgame

Written by Anna Harrison

In these retrospectives, Anna will be looking back on the Marvel Cinematic Universe, providing context around the films, criticizing them, pointing out their groundwork for the future, and telling everyone her favorite scene, because her opinion is always correct and therefore her favorite scene should be everyone’s favorite scene. If you heard me crying in the theater every time I watched this, no you didn’t.

80/100

Seeing Avengers: Endgame in theaters was akin to a religious experience (or at least I would imagine, having never had a religious experience myself), but with crowds much rowdier than most congregations: there were cheers, there were gasps, there was a hefty dose crying, there was a palpable sense of excitement and tension that pervaded movie theaters across the globe. Every emotional beat landed, every fan service moment hit just the right notes, every music swell struck the right chords. If The Avengers and Avengers: Infinity War were big, they were nothing—nothing—compared to this. 

Upon retrospection, some—but certainly not all—of that midnight opening magic has waned, as we look back now upon what was ultimately a very large speed bump for the MCU, which took only a slight breather before barreling forwards again. But, like Infinity War before it, like The Avengers before that and Iron Man before that, the fact that Endgame succeeds at all is astonishing. How do you properly conclude a 22-movie arc? How do you end a franchise that has reshaped the very fabric of pop culture?

Well, the real answer is, you don’t—you just keep making movies. But even though the MCU has continued on, Endgame still serves as a monumental, well, endgame, wrapping up loose threads, bidding emotional farewells, and finally letting all those years of buildup pay off.

Structurally speaking, Endgame is much neater than Infinity War, helped, of course, by the fact that nearly every character except the original Avengers and a handful of others got turned to dust by Thanos (Josh Brolin). The latter cut between disparate storylines, and even by the end not all of them had collided; Endgame, on the other hand, clearly divides itself into three acts, each with a proper beginning, middle, and end, and despite its lengthy runtime, this tactic helps the movie go by swiftly.

Act one neatly continues the tone from the end of Infinity War. In other words, it’s bleak. Though its opening should ostensibly be cheery, there is a sense of unease as Clint Barton (Jeremy Renner), on house arrest from the events of Captain America: Civil War, teaches his daughter (Ava Russo, daughter of director Joe and niece of other director Anthony) how to shoot a bow and arrow while his wife, Laura (Linda Cardellini), prepares hot dogs and his other sons play catch. It’s a scene of domestic bliss, but as grizzled survivors of Infinity War, we the audience know better than to trust a scene of happiness, and so the tension continues to mount until the inevitable happens: Clint’s entire family gets dusted. That this is predictable makes it no less harrowing, and so that pit in the stomach, so familiar from Infinity War, settles back in for the ride.

Meanwhile, Tony Stark (Robert Downey Jr.) and Nebula (Karen Gillan), the lone survivors from the battle on the planet Titan, become stranded in space, and we get the first inkling of how important Nebula will become to the film. After all, not everyone is important enough to play paper football in space with Iron Man himself, and even within this brief scene we begin to see Nebula thaw as the two try to cope with their losses by flicking wads of paper at each other. (Nebula’s reaction to being told that she won is perfect: shock and disbelief, then pride, as she’s never won a thing in her life, especially not when compared to her recently-deceased sister, Zoe Saldana’s Gamora.) Yet soon the oxygen runs out, and things look even darker as Tony and Nebula stare down imminent death. Even Tony barely has any snark left in him.

Luckily, Carol Danvers (Brie Larson) shows up to save them and take them to Earth, where they reunite with the remnants: Natasha (Scarlett Johansson), Thor (Chris Hemsworth), Bruce (Mark Ruffalo), Pepper (Gwyneth Paltrow), Rhodey (Don Cheadle), Rocket Raccoon (Bradley Cooper), and Steve (Chris Evans), who has shaved his glorious beard in a blow to straight women with taste everywhere. The opening two scenes had little dialogue, instead letting mood take precedence; here, when Steve and Tony come face-to-face for the first time since they nearly killed each other in Captain America: Civil War, that silence swiftly breaks. While at first it seems like the events of the past few days may have rectified the yawning gap between the two, soon Tony, looking absolutely terrible and horribly malnourished, lays into Cap: “What we needed was a suit of armor around the world. Remember that? Whether it impacted our precious freedoms or not, that’s what we needed… I said we’d lose. You said, ‘We’ll do that together too.’ Guess what, Cap? We lost, and you weren’t there. But that’s what we do, right? Our best work after the fact? We’re the Avengers, not the Pre-vengers, right?” Though the Avengers are finally back together, Infinity War has only widened the chinks in their armor. While Steve puts on a brave face, this is the most desperate we’ve ever seen Tony, and it’s most certainly the weakest he’s ever looked; Downey Jr. gives a fine performance of a man well past the end of his rope.

But even with the gulf between the Avengers, they manage to band together to track down Thanos and the Stones in an attempt to reverse the Snap. Yet Thanos, as established in Infinity War, isn’t just psychopathic for the sake of being psychopathic: he truly believes in his mission, and he knows the Infinity Stones could cause temptation for beings lesser than him, so he has destroyed the Stones, thus destroying the Avengers’ chance at bringing everyone back. 

When asked by Stephen Strange (Benedict Cumberbatch) in Infinity War what he will do once he accomplishes his goal, Thanos says, “I finally rest, and watch the sun rise on a grateful universe.” That’s how Infinity War ends, and that’s how we find our villain in Endgame. Driven to a rage fueled by the decimation of his homeworld, the death of his brother, and the culling of his people, Thor goes for the head this time, and with a splatter of blood and a quiet thunk as his head hits the floor, Thanos dies before the title ever flashes on screen. Yet it’s a hollow victory, because our heroes have well and truly lost. If the end of Infinity War was bleak, the beginning of Endgame is worse. 

Cut to five years later, and the Avengers have scattered. Only two remain at the Avengers Compound: Steve leads a therapy group (featuring cameos from Joe Russo and Jim Starlin, the creator of Thanos) and Natasha gathers intelligence from their allies scattered across the universe, including Rocket, Carol, Rhodey, and Okoye (Danai Gurira). Even if things might bear a slight resemblance to normalcy, it’s clear that grief has a stranglehold on everyone. So when Scott Lang (Paul Rudd) shows up when he was presumed snapped, suddenly there is a glimmer of hope. 

Scott, it turns out, wasn’t snapped (as you know if you watched the post-credits scene in Ant-Man and the Wasp), just trapped in the Quantum Realm until a fortuitous rat crawled over the right buttons in his van. Yet while five years passed in the outside world, only five minutes passed in the Quantum Realm, and through the power of some Quantum technobabble, Scott theorizes that time travel could be possible, meaning they could gather the Stones and undo the Snap. The trio brings this theory to Tony, who has retired to a cabin in the woods with Pepper and their new daughter, Morgan (Lexi Rabe), who is quite possibly the cutest, most precocious child to have ever existed. However, Tony has no interest in what they’re selling: he’s failed at saving the universe already, so best to focus on protecting what’s right in front of him. “I got my second chance right here, Cap,” he says.

So instead the team seeks out the next best scientist they know: Bruce Banner, who has come to terms with his Hulk half, becoming what is known as “Professor Hulk” (or “Smart Hulk,” take your pick), which merges Banner’s brain with Hulk’s body. There’s no real explanation for this (though there was a deleted scene about it), though it’s an innocuous enough development that seems to finally end the Banner vs. Hulk war that has been raging since 2008… at least, until Bruce shows up in Shang-Chi and the Legend of the Ten Rings looking one hundred percent human. But in Endgame, at least, there’s no drama surrounding Hulk’s destructive tendencies or the agony Bruce feels about his alter ego, so instead we watch Mark Ruffalo go around in an advanced Shrek cosplay, and luckily Bruce acting like a bit of a stoner and dabbing (no pun intended) with some fans (played by more Russo relations) is a fun enough time.

Unfortunately, Bruce can’t quite crack time travel, resulting in some very fun shenanigans with Scott turning into a teen, an old man, and then a baby. Back in his cabin, though, Tony figures it out, and finds himself torn between the idyllic life he leads and throwing himself back into the fray. “Something tells me that I should put it in a locked box and drop it at the bottom of the lake and go to bed,” he tells Pepper. But Pepper knows him; she knows the weight of that guilt would hang over his head forever, and she knows that he’s really only bringing it up so she can tell him that it’s okay. “But would you be able to rest?” she replies. It’s a brief moment of dialogue, but it perfectly encapsulates why Pepper and Tony work together in a way that precious few MCU couples do: they know each other inside and out, they have from even the first Iron Man, and weren’t simply thrown together because the MCU overlords dictated that the two main hot people of the opposite sex must bone. And so Tony returns to the Avengers Compound and gets to work.

Rhodey, Nebula, and Rocket also arrive to help out, and soon Bruce and Rocket go off to find Thor, who has not been doing so hot; in fact, he’s become a fat, depressed alcoholic who has locked himself in his cabin on New Asgard (aka Tønsberg, a town seen in Captain America: The First Avenger, Thor, and Thor: Ragnarok), the place where the few remaining Asgardians have resettled, to play Fortnite and yell at a teenaged player styling himself “NoobMaster69.” 

In a film series full of some very attractive people, Chris Hemsworth has always stood out—or, at least, he’s had the most shirtless scenes, including this entirely unnecessary, frankly bizarre scene from Thor: The Dark World that exists only to show off Hemsworth’s glistening pectorals. To see him in a fat suit with tangled, unkempt hair and a tangled, unkempt beard is thoroughly shocking. “Fat Thor” tries to strike a balance it cannot always achieve: Thor’s slovenly ways are clearly positioned as funny (and often are), but underneath is a very raw anguish he is attempting to hide through booze and online gaming. Hemsworth, as in Infinity War, proves his dramatic chops here as he lets Thor’s self-hatred at his failings seep through: “Now I know that… guy might scare you,” Bruce begins, talking about Thanos. “Why would I be…? Why would I be scared of that guy? I’m the one who killed that guy, remember?” Thor scoffs, but he’s on the verge of tears as he says it. He dismisses Bruce’s request for help, saying, “Why don’t you ask the Asgardians down there how much my help is worth? The ones that are left, anyway.” Yet this powerful commentary on grief and the strength of Hemsworth’s performance occasionally gets lost underneath the surface-level jokes about Thor’s weight and unhealthy drinking habits (though Tony calling him “Lebowski” is pretty damn funny, to be fair); Thor is at his best in Endgame when we’re allowed to see glimpses of the simmering anger lurking underneath that he’s been trying to drown in beer, but that’s not always the case—he’s played just a little too often for laughs for his depression to be as effective as it could be. Case in point: Thor only agrees to return to the Avengers Compound when Rocket tells him there will be beer there.

Natasha, meanwhile, has gone off to find Clint Barton, who has gone on a killing spree against any sort of ne’er-do-well that survived the Snap, including the Yakuza, in an effort to bring (what he sees as) justice to a world without it. He re-enters the movie through a single take fight scene along the streets of Tokyo, culminating in a standoff against legendary actor Hiroyuki Sanada, who gets nearly nothing to do before Clint slices his throat. It’s a far cry from the family man we got in the first scene: he’s shaved part of his hair, he’s wearing a hood, he’s got a tattoo sleeve now, he’s edgy as all hell. Though no one ever calls him this, Clint’s new style has clearly taken inspiration from his Ronin persona from the comics, and while it’s brutal and a bit weird, it is an interesting path to take an otherwise largely unnoteworthy character from the MCU (at least when compared with his peers). Grief changes people, man.

So now we have now gathered all of our Avengers. Thus act two starts, and here the movie begins to get a little messy, as time travel flicks often do. 

The plan: go back in time and grab each of the Infinity Stones, regroup, and re-Snap. (During the planning sequence, there is an excellent bit of meta humor: when Thor explains the plot of The Dark World and the Reality Stone’s involvement in it, most people start to nod off or look utterly confused. Scott, meanwhile, has no idea what’s happening and is just happy to be involved, bless him.)

The team is split into four: Steve, Scott, Tony, and Bruce go to 2012 New York to nab the Mind Stone (from Loki’s (Tom Hiddleston) scepter), the Space Stone (from the Tesseract in S.H.I.E.LD.’s possession), and and the Time Stone (from the Sorcerer Supreme on Bleecker Street). Rhodey and Nebula go to the planet Morag in 2014 to get the Power Stone and Natasha and Clint go to Vormir to get the Soul Stone, not knowing the sacrifice they will have to make. Thor and Rocket, meanwhile, go to Asgard in 2013 to get the Reality Stone, aka the Aether.

For such a gargantuan movie, Endgame is quiet: the first act saw almost no action, and what action was there did not elicit any fist pumps, the way Marvel action sequences are so often designed to do; act two also sees very little fight scenes, instead bouncing characters off each other in their small groups, focusing less on action and more on problem-solving. While there is good character work here, act two also serves as an excuse to make Marvel’s “Greatest Hits” album and poke good-natured fun at their lesser efforts; it’s almost entirely fanservice, but fanservice that feels well-earned after 11 years of movies, even if it is a little self-congratulatory. To those who have been there since the beginning, your indulgent overlords are here to reward you with easter eggs filled with tasty morsels.

Track number one: The Avengers. As Steve, Scott, Tony, and Bruce arrive in 2012 New York, we get glimpses of Loki, secret Hydra agent Rumlow (Frank Grillo), and Secretary of S.H.I.E.L.D. and Hydra head Alexander Pierce (Robert Redford). Steve, after being objectified by both Tony and Scott, even gets to fight his own 2012, stick-up-the-ass, mischaracterized self so he can grab the Mind Stone, successfully distracting 2012-Steve by telling him that Bucky (Sebastian Stan) lives. (“That is America’s ass,” he proclaims knocking his doppelgänger out.) Bruce goes to find the Time Stone, but instead of running into Stephen Strange, he finds Tilda Swinton’s Ancient One, back for a cameo which forces us once again to question if Swinton is completely human (meant as a compliment). While Bruce gets the Time Stone, a Hulk-sized kerfuffle occurs that ends with Loki escaping with the Tesseract so his mischievous adventures can continue in his own TV show. 

To remedy this, Tony and Steve travel back to Camp Lehigh (where Steve trained as Captain America and where he returned in Captain America: The Winter Soldier) in the 1970s, at a previous point in time where the Tesseract could be easily reached. Tony runs into his father, Howard (John Slattery), and finally comes to terms with his daddy issues, though their interaction leaves Howard a bit confused; we also glimpse a de-aged Michael Douglas as Hank Pym, with peeks at an old-school Ant-Man helmet. Steve stares at Peggy Carter (Hayley Atwell) through a window, but more on that later. They get the Tesseract easy peasy, and their interactions within this block with the people they’ve lost are poignant and affecting; it’s not all time travel jargon and discussion of Infinity Stones.

Track number two: Thor: The Dark World. On Asgard, Thor runs into his mother, Frigga (Rene Russo), and nearly falls apart when talking to her because he knows that she will die on this day. Yet her advice on failure is sage, and it sets Thor on a better path; when he summons 2013-Mjolnir and rejoices, “I’m still worthy!,” it’s a lovely, genuine moment for a character who is too often used as the butt of the joke in Endgame. Rocket, while Thor has this heart-to-heart, steals the Aether from Jane Foster (Natalie Portman); Portman, having disliked the production experience for The Dark World, appears through a deleted scene from The Dark World grafted onto Endgame, with a CGI raccoon added in the background. Voilà. Space Stone, Time Stone, Reality Stone procured.

So on to track number three: Guardians of the Galaxy. Rhodey and Nebula on Morag give us a chance to relive Peter Quill’s (Chris Pratt) “Come and Get Your Love” dance from Guardians of the Galaxy to excellent results. Good, silly fun. (“So he’s an idiot?” Rhodey asks.) While her sister Gamora was the stealth MVP of Infinity War, here the title passes to Karen Gillan’s Nebula. As Gamora’s role in Infinity War was much bigger than expected, and perhaps even bigger than her role had previously been in the Guardians franchise, so too does sister Nebula play a crucial role in Endgame, and Gillan gives far and away her best performance yet. Nebula and Rhodey prove to be an unusual but strong pairing, both bonding over their physical disabilities: “I wasn’t always like this,” Nebula murmurs as she looks at her robotic hand. “Me either,” Rhodey says, reminding us that the only reason he can walk is some fancy Stark Industries tech. “But we work with what we got, right?” It’s a brief scene but no less affecting because of it, proving that Endgame’s strengths lie in its character beats rather than fight sequences, of which we have had nearly none so far, and its plot, which is about to get a lot more confusing with the introduction of 2014-Gamora, 2014-Nebula, and 2014-Thanos as prominent characters.

Because, of course, Rhodey and Nebula aren’t the only ones hunting the Infinity Stones. Time travel in the MCU is not, as Bruce and Tony inform us, like Back to the Future. Each time you travel back in time, you create a branched timeline: when Steve, Tony, and company travel to 2012, for instance, they make an alternate universe where 2012-Loki escapes with the Tesseract and 2012-Steve knows that Bucky is alive. In the 1970s, there is now a branching timeline where Howard ran into a stranger who encouraged him to be a bit more present with his soon-to-be son, resulting in an alternate Tony who might not be saddled with severe daddy issues. Thor creates an alternate timeline where 2013-Thor doesn’t have Mjolnir (since his other self took it) and 2013-Jane gets the Aether sucked out of her more quickly, and so on.

Through some technological wormholes, 2014-Thanos finds out that our main timeline 2023-Nebula is hunting Infinity Stones and that 2019-Thanos bit it. Determined to win, he captures 2023-Nebula and hatches a plan.

Meanwhile, on Vormir (god, there are so many spinning plates in this movie and it’s not even as many as Infinity War), Clint and Natasha realize that the Soul Stone requires a sacrifice—“A soul for a soul.” As neither of them want the other to die, given their long and storied history, they have a brief scuffle over who gets to be the one to hurl themselves off the edge of a cliff. In the end, it’s Natasha.

Like Gamora before her, she dies to procure an Infinity Stone; unlike Gamora, she does so willingly. This, naturally, made some people very angry. However, here’s the thing: Natasha sacrificing herself for the Avengers, for the family that welcomed her even with her bloody past, is a perfect end to her arc. Of course it’s bad optics that the sole female Avenger kicks the bucket (in the same location one of two female Guardians died to boot), and yes, she did sometimes get the short stick in the MCU (especially in Avengers: Age of Ultron, ugh), but neither of those things negate that this was always how Natasha was going to go. Of course she would hurl herself off a cliff for those she loved—she has always been the kindest, most empathetic Avenger underneath her cool front, and to claim that Endgame fridged” her ignores the fact that her ending stays completely in character, and it ignores the fact that she actively chose to do this and that it wasn’t done to further a man’s tragic story but to save the entire universe. 

Yes, of course Marvel should do better by their female characters, and their oft-talked about “girl power” scene later in the movie feels even stranger than it would otherwise given the fact that they killed their most prominent woman just a half an hour earlier. But those are bigger, systemic problems to be addressed; Natasha’s farewell in Endgame isn’t a sign of the MCU’s mistreatment of women (though that certainly exists), it’s a sign that the writers understood her character, and that is far better than keeping her alive for mere tokenism.

And so, at great personal cost, the Stones are procured, and everyone—except Natasha—comes back intact. Well, except for the fact that 2023-Nebula is still on board 2014-Thanos’ ship, and 2014-Nebula has taken her place in 2023 Earth (like I said, it’s messy). So as the Avengers debate who gets to snap their DIY Infinity Gauntlet, 2014-Nebula helps to prepare for her father’s arrival.

Though Thor lays out a strong, sad case—“Let me. Let me do it. Let me do something good, something right,” he pleads—it’s ultimately Bruce who snaps, because not only is he the strongest Avenger, but because the Gauntlet’s radiation is “mostly gamma. It’s like I was made for this.” Sure? I guess? So he snaps, and the birds come back, and Clint gets a call from his wife: for a moment, all is well.

But then, act three: the battle and its aftermath.

2014-Nebula opens up the Quantum Tunnel and 2014-Thanos’ ship bursts out of it, which then promptly obliterates the Avengers Compound. 

It seems all is lost, especially when 2014-Nebula corners Clint, who is clutching the Gauntlet, and levels her gun at him. Luckily, 2023-Nebula convinced 2014-Gamora to join forces, and 2023-Nebula shoots her alternate timeline past self, a sign not only of her loyalty to the Avengers but also her deep self-loathing. But even if the Gauntlet is safe for now, when Tony, Steve, and Thor go out to face 2014-Thanos, he easily bests them. Knowing that they killed his alternate self in the future, the battle has become charged: “In all my years of conquest, violence, slaughter, it was never personal,” he tells our trio. “But I’ll tell you now, what I’m about to do to your stubborn, annoying little planet… I’m gonna enjoy it. Very, very much.”

But, as Thanos begins to well and truly wreck our heroes, suddenly Mjolnir begins to crackle with electricity and zooms not to Thor’s hands, but to Steve’s—the God of Thunder isn’t the only worthy one here. “I knew it!” Thor exclaims as Steve begins to wield the hammer against 2014-Thanos (it’s sick as hell). But yet again he is bested, and when 2014-Thanos reveals the army waiting in the ships above, any hope we gained quickly deflates. But Steve Rogers does not give up so easily. This shot of Cap standing against Thanos and his army is a beautiful, wordless way to convey this comic panel, but it is a hopeless image.

Then, suddenly, a familiar voice in Steve’s ear says, “On your left,” and, impossibly, things begin to look up. Slowly, and then all at once, everyone Thanos snapped away comes streaming in from sorcerer-conjured portals, and then excitement rushes in like a freight train. It builds, and builds, and builds along with Alan Silvestri’s now-iconic theme from The Avengers, and when Cap, Mjolnir and shield in hand, finally, finally, finally says, “Avengers… assemble!,” it is about the coolest fucking thing you have ever seen in a movie theater (just watch any number of the reaction videos on YouTube). It is pure fanservice, it is pure comic boy joy, it is—whether you like it or not—one of the most emotionally resonant moments for cinema audiences ever, and even years later, it still soars. Nothing either within the MCU or without will ever be able to match the utterly insane hype level for those entrances and that line.

Unfortunately, the battle that follows, like that of Infinity War, isn’t that interesting visually except for a few moments where the characters get to show off their powers in tandem with one another, but even those moments are disappointingly dull to look at. The success of screenwriters Christopher Markus and Stephen McFeely and directors the Russo brothers doesn’t lie in their visuals, but rather in their abilities to balance an assortment of different characters and coax out new sides of the MCU by thrusting said characters into new situations. Another battle hardly treads new ground, but it’s requisite for the MCU, and so here we are.

But it’s still got those requisite cool Marvel fight moments: Wanda Maximoff (Elizabeth Olsen) is an especially fascinating combatant, almost obliterating Thanos before he orders his ship to “rain fire,” and the game of hot potato played with the Infinity Gauntlet certainly keeps viewers engaged. 2014-Gamora, having no knowledge of Peter Quill, knees Chris Pratt twice in the crotch. Captain Marvel also arrives and withstands a headbutt from Thanos, which is cool, but it’s still no visual spectacle.

Of course, at long last, our heroes get the upper hand. Thanos gets the Gauntlet and goes to snap, proclaiming self-righteously, “I am inevitable,” but it doesn’t work, and a split-second later we realize why: Tony managed to steal the Infinity Stones from off the Gauntlet, and as we watch his Iron Man nanotech snake up his arm to form an iron glove, we realize with sudden, terrible comprehension what is about to occur (or at least it was terrible for me). With one last “I am Iron Man,” Tony snaps his fingers, and so the guy who started off as an unsavory, narcissistic arms dealer dies sacrificing himself for the rest of the world. 

And so in an inverse of Infinity War, it’s now Thanos and his lackeys that turn to ash which scatters over the smoking battlefield, yet the moment is not entirely triumphant as the cost of the snap quickly catches up to Tony.

“You can rest now,” Pepper tells him. That one line sums up Tony near perfectly: restless, reckless, prone to bouts of self-destruction under the guise of narcissism, ultimately driven by an obsessive desire to protect the ones he cares about. And now he’s protected the entire universe. He can rest now. It’s a powerful scene made all the better because there are no real last words, no drawn-out death whilst cradled in someone’s arms, no sugarcoating: he is broken and bloodied, he can barely even speak, he just waits long enough to see Pepper and then dies. 

Multiple someones were certainly going to die in Endgame—that was clear from the first. That it’s Tony who makes the sacrifice play lines up perfectly with his arc, and of course it’s our very first hero who does the impossible and stops Thanos, even if he loses his life in the process. This scene and the funeral that follows, where Pepper puts that first arc reactor—the one engraved with “Proof that Tony Stark has a heart”—in the water, and Tony has one final pre-recorded message for his daughter, is a fitting and bittersweet sendoff for the hero who kicked off the Marvel Cinematic Universe all those years ago. Love him or hate him, without Tony Stark, the MCU would not have come to be, and so this funeral is not only a farewell for Tony, but a tribute to the character (and actor) who started it all. All our heroes gather around for one last goodbye, and as the camera pans over the crowd, we see the legacy of not only Iron Man the character, but Iron Man the movie, and the enormous universe it spawned. 

Captain America’s sendoff, however, is a bit like an inverted Sour Patch Kid: it starts off sweet, but the more you suck on it and turn it over in your mind, the more it sours.

Tasked with going back in time to return the Infinity Stones to their rightful place on the timeline, Steve Rogers decides to take the long way ’round and stay a while with old flame Peggy Carter (Hayley Atwell); when he comes back, he’s now an old man. Age and time, it seems, finally caught up with Steve, who hands his shield off to Sam to become the next Captain America

Both Sam and Bucky have taken that mantle in the comics, and both would have been good choices here to grapple with the legacy of that shield, each bringing their own unique baggage to the table—Sam as a black man in a world that repeatedly tries to deny him humanity, and Bucky for all the murder and whatnot—but ultimately Sam wins out. It’s a good choice (even if, from a more cynical viewpoint, Marvel only did it to garner brownie points and check off their diversity list), one which will hopefully pay off in the untitled fourth Captain America movie more than it did in Disney+’s The Falcon and the Winter Soldier.

Yet even though Steve and Peggy’s ending tugs at the heartstrings as they finally get their dance, the whole thing sits uneasily. Post-Captain America: The First Avenger, much of Steve’s arc has been devoted to adjusting to the 21st century and all the moral ambiguity he now has to wade through; he mourned and grieved for the loss of his friends and loved ones, but he changed and adapted with the times. Now, suddenly, after we’ve spent so much time watching Steve figure out the modern world, he just ups and leaves?

It would be one thing if the films had shown Steve constantly pining after what he lost when he went into the ice. Of course they do, but only to an extent, and while the pangs of losing everyone he ever knew still hurt occasionally, Steve has moved on. The relationships he has built here, in this timeline, have been given far more weight than the ones he had back in The First Avenger, and to have him completely backtrack on his forward-moving arc to go back in time feels disingenuous and lazy. Christopher Markus himself once said, “He’s the most adaptive man on the planet,” but apparently failed to listen to his own words when writing Endgame.

Three things in particular make Steve’s ending leave a bitter taste in the mouth, with the first being the rules of time travel as established in this movie. As Endgame (and subsequent Marvel properties dealing with time travel) makes clear, travelling back in time creates a branched reality. Once you return to the moment you left in the main timeline, that alternate reality ceases to exist. (By these rules, Steve appearing at the lakeside randomly make any sense: as this is a different timeline from the one he grew old in, he couldn’t have just waited until this precise moment and moseyed on over to the Avengers Compound—he would have had to use the Quantum Tunnel doodad. But I guess it’s too much to ask for consistency, seeing as the writers and directors disagree on that whole alternate timeline thing.) This means that Steve went back in time, reunited with Peggy, presumably had a family, and then promptly erases everyone in that timeline from existence the minute he travels back to the future to give the shield to Sam. That is an incredibly selfish thing to do for someone whose actions, up to this point, have mostly been quite altruistic; even within the branched timeline that Steve creates, questions arise: Does Steve try to avert events like JFK’s assassination, or 9/11? Does he help advance civil rights? Does he rescue Bucky in this timeline before he becomes completely brainwashed? Or does he just sit on the sidelines, content with his own happiness?

Thing number two: Bucky. Whether you’re into “Stucky” or not, you cannot deny that Bucky has been a driving force all throughout Steve’s story. In The First Avenger, it’s the thought of Bucky being tortured in a Hydra prison camp that spurs Steve to truly become Captain America; in Captain America: The Winter Soldier, Steve’s world gets turned upside down by the knowledge that Bucky still lives, and he nearly dies trying to save Bucky from himself; in Captain America: Civil War, Steve goes on the run from the United States government (…again) to keep Bucky safe, and then he breaks the Avengers apart for the same reason. You’re telling me that this guy, this guy who has laid it all on the line multiple times out of love for his best and oldest friend, would leave said friend—who is, by the way, still massively traumatized from losing an arm, being brainwashed, and then turned into an assassin for essentially Nazis—for a woman that he knew back in the 1940s for, at best, a year or two? Even earlier in the film, the only thing that broke 2012-Steve’s concentration was the mention that Bucky lived. The two exchange an astonishingly brief goodbye which echoes their one from The First Avenger: “Don’t do anything stupid until I get back,” but now Steve says that to Bucky instead of the other way around. “How can I? You’re taking all the stupid with you,” Bucky replies, but nostalgia can only get so far. They have a quick hug, and that’s it. For a relationship that was previously given so much thematic weight to be tossed aside with such little care is astonishing.

The third thing is the much-maligned Sharon Carter (Emily VanCamp), who does not appear in this movie, and no, she is not related to Steve, because in the original timeline she is from, Steve never married Peggy. Everyone needs to stop saying that she’s his niece. She’s not. Pay attention. 

Problems with Sharon, unfortunately, have been building since her introduction in Winter Soldier. Though her comic counterpart has a long and storied history both with and without longtime love interest Steve, Sharon in the MCU movies has been shamefully underused. Initially positioned as a love interest yet given little screentime or character, VanCamp and Chris Evans had precious little time to build chemistry; thus, when Steve and Sharon share a kiss in Civil War, it feels hastily tacked on, as if the only reason the two characters are together is because of their history in the comics, so of course movie fans didn’t take kindly to this development, especially fervent “shippers” of the Stucky and Steggy kind. 

Hayley Atwell herself has done little to help matters, saying, “Well, first of all [Peggy would] be turning over in her grave” at the thought of Steve and Sharon getting together. “She’d be like, ‘no.’ And she’d inject herself with the blue serum and become a super villain. She’d break out of her coffin and ground [Sharon]. She’d ground her. Then she’d kick Steve’s ass as well.” Yes, how feminist to pit two women against each other for the attention of a man! Thank you! Fans across Twitter and Tumblr were atrocious and misogynistic towards both Sharon and VanCamp, and it would have been hard for Markus and McFeely et al. not to notice. 

What follows is, admittedly, pure speculation, but it does not take much to imagine that this backlash—one that the MCU brought upon itself for not giving Sharon her proper due and rushing to throw her together with Steve despite having no buildup—caused Markus, McFeely, and the rest to backtrack and quickly reframe Peggy as the ultimate love of Steve’s life in Endgame, having him pull out his picture of her and make goo goo eyes at her through some blinds while no one mentions Sharon. It’s as if she never existed. It’s only Peggy and Steve, it’s always been Peggy and Steve, no one else has ever been as important in his life as she has (never you mind the fact that Steve—and I am repeating myself—broke the Avengers apart for the sake of Bucky!). Faced with a negative fan reaction, instead of fixing what wasn’t landing, Marvel retreated to something they knew worked, and so Steve goes back in time without ever saying goodbye to Sharon. Even if the writers and directors wanted to move on, it feels wildly out of character for consummate good guy Steve Rogers to just kiss and ditch. 

The Falcon and the Winter Soldier will at least attempt to address some of this, but because Marvel wants us to like Steve Rogers and frames his reunion with Peggy as a morally unambiguous win, it’s never allowed enough leeway to truly tackle the abandonment issues that Steve’s actions would have saddled Sharon and most especially traumatized, formerly brainwashed, currently PTSD-ridden Bucky with because Marvel doesn’t want us to get mad at Captain America. The Falcon and the Winter Soldier at least tries to make Sharon a real character, though it feels like a slap in the face more than anything. But I’m getting ahead of myself.

If anything, Steve should have died and Tony should have retired. Logistically and logically this would have been difficult, as it would have been hard to explain why Tony didn’t show up to whatever world-ending events happen next, and if he did show up, there is the small matter of Robert Downey Jr.’s exorbitant payday. However, as cappers to their characters, it works (at least in my esteemed opinion) better for Tony, always so self-destructive and suicidal, to finally find peace rather than make the sacrifice play (besides, we already did that arc in The Avengers), and for Steve, the forever-soldier, displaced out of time, to lay down his life for the cause in heroic, tragic fashion. Even both of them dying would have been better than this logically flimsy, out of character ending which falls to pieces the minute you examine it more closely; besides, having only two Avengers die in Endgame feels a bit weak. No, more main character death does not make a story better, but thematically appropriate endings do, and Steve’s death would have been exactly that. 

This isn’t to say that Steve and Peggy’s reunion isn’t emotional—there’s a reason they stuck in the minds of fans, and there was nary a dry eye (mine were certainly very, very damp) in theaters upon watching them dance. It’s just a shame that none of it holds up to scrutiny. 

Well. Anyway. To round out the “Big Three,” Thor decides to hand the throne to Valkyrie (Tessa Thompson) and go off with the Guardians of the Galaxy. This is fine enough taken alone, and promises plenty of merry mayhem in Thor: Love and Thunder, but when taken in sum with the rest of his films, feels a bit like whiplash. In Thor, he abandons his reckless ways and rises to the task of kingship; in Thor: The Dark World, he abandons said kingship to be with his lady love; in Thor: Ragnarok, he once again takes up the mantle of king and assumes full responsibility for Asgard; in Endgame, he gives it all up again and passes the mantle of monarch to Valkyrie, who, while cool, has not exactly shown how or why she is the right pick to govern an entire race, even one whose population has been decimated. Thor, like Hulk, ping pongs around at the whims of the directors, and him reneging on his kingship feels like a rejection of his entire Ragnarok arc—there is no consistency to his choices, and this lack of consistency doesn’t feel like a purposeful character choice but rather Marvel just shuffling him around wherever they need him to go instead of letting his own arc be the guide. So we beat on, boats against the current… ah, never mind.

And so Endgame concludes: Tony dead, Natasha dead, Steve written off, the other Avengers still continuing to fight the bad guys. Any other film franchise would have called it quits after this: half the original Avengers roster gone, the threat building up for nearly a decade averted, almost all loose ends tied up. That the MCU has continued on afterwards can be viewed as a shallow cash grab that continues to drive out mid-budget films from the theaters, a genuine curiosity to explore as of yet underutilized characters and adapt some more of the rich history of Marvel Comics, or a bit of both. 

One common criticism of the MCU is that there are no proper endings. To some extent, that’s true: each entry acts more as an episode of TV than anything, with its own introduction, rising action, climax, falling action, and resolution, but then a little stinger at the end to ensure we tune in next week, and Endgame is no different. It wraps up the stories for many of its characters even as it tantalizes us with what’s to come—ooh, Thor is going with the Guardians, what a fun team that will be; Sam gets to be Captain America, how intriguing; Loki escapes with the Tesseract, what mischief could he get up to next! Everything is designed to keep people buying tickets, and with the cultural dominance of the MCU firmly solidified by now, in order to understand why everyone keeps saying, “I love you 3,000,” you’re going to have to fork over your money to the Mouse. 

Yet for all the griping I have done about this film, nothing can match the magic of that opening night. Endgame, for all its flaws, largely succeeds—and succeeds well—at what it sets out to achieve, and it has that excellent mix of ensemble humor and individual pathos that the Russo brothers balanced so well in their other MCU films and which other Marvel directors often struggle with. Its place in the cultural pantheon is deserved; even if you despise Marvel for ruining cinema, there’s no denying the influence Endgame has had, and that influence only is as big as it is because Endgame is, ultimately, a pretty solid flick which only drops a few balls out of the several hundred that it juggle

It’s hard to quantify, exactly, what impact Endgame made in pop culture. You could count Twitter hashtags or ticket sales (nearly $3 billion made worldwide), but that wouldn’t capture the conversations between acquaintances, the texts sent, the calls made to buzz about some moment from Endgame. For a brief moment, it seemed as if almost everyone in the world spoke the same language. The Red Wedding was a hill, Endgame Mount Everest. So even if Marvel and Disney are helping to strangle independent cinema, for a brief, shining moment, it felt like they had united the world.

Which, I suppose, is actually quite a frightening thought. But I digress.

There was quite a big hullabaloo several months after Endgame came out when Martin Scorsese equated Marvel movies to theme parks, and a bunch of fragile fans began insulting Scorsese’s body of work while trumpeting the MCU as a paragon of art. The thing is, Scorsese is right: Marvel is notoriously risk-averse and it almost always quashes a director’s individual voice—even when half the world was snapped away in Infinity War, you could rest assured that they would all come back in Endgame (lo and behold, they did), and even singular directors like Taika Waititi and Chloé Zhao can only fight so much against the formula. That popular cinema has increasingly become reboots and sequels, and originals are tossed onto streaming services with severely limited theatrical runs, is not entirely Marvel and Disney’s fault, yet they seem to be doing little to mitigate this, instead barreling on with their tried-and-tested formula; it’s always about expanding the universe, it’s always about branding the franchise, it’s all about making that capital, baby, even if they couch this in different terms.

But the reason Endgame was able to have such a strong hold on the collective consciousness wasn’t merely because consumers have all become slaves to the brand. Scorsese is right, but he makes one misstep: when talking about the films he loved as a child, he writes, “It was about characters—the complexity of people and their contradictory and sometimes paradoxical natures, the way they can hurt one another and love one another and suddenly come face to face with themselves,” as if to say that the MCU lacks characters other than stock ones, when in fact the biggest reason for the MCU’s success isn’t its action sequences or aliens, it’s the people at the heart of everything.

No, obviously the MCU is not filled with character-driven dramas, and even its attempts to do that, like WandaVision, have all ultimately devolved into typical Marvel fisticuffs. Yet if you want to see big action setpieces, there are plenty of places to slake your thirst—but no one is talking much about Transformers: The Last Knight years after its release, whereas Endgame remains an easy cultural touchstone. Yes, it helps that Marvel has continued to churn out films, but even after The Avengers in 2012, with only five prior films under its belt, it was clear that these popcorn flicks stayed in the mind a bit longer than the others at the multiplex, and that is all due to the careful character work laid down in the films. When Tony dies, after 11 years on our screens, after 11 years of watching him alternatingly preen and self-destruct, watching him contradict himself and mess up and triumph, it carries weight because we know him, we love him (or hate him, take your pick; I think it’s pretty clear where I fall). If Marvel had not spent so much time making these characters feel like people, albeit hot and superpowered people, the whole endeavor would have failed. People don’t shell out money to see these just because they want to watch people shoot bad guys, but because they care about the characters populating this universe. So, yes, Scorsese is right, but he misses the key point as to why people keep circling back to the MCU time and time again. I guess he’s still pretty alright.

It’s a bit odd to say that Marvel lacks ambition when its very basis was built on risk. Iron Man was a risk. The Avengers was a bigger risk. Only now, with Marvel firmly seated as top dog, can we begin to pick apart the endeavor, poke holes at the formula, and make fun of those with blind brand loyalty. That it’s morphed into what it is today is entirely unprecedented: a connected cinematic universe spanning galaxies, filled with dozens of main characters, stuffed with overlapping and overarching plots that pay off years down the road. Other franchises have tried to emulate Marvel’s success in creating a shared universe (the DCEU, the failed Dark Universe, even now Star Wars), yet none have succeeded in quite the same way because none took the time—and the associated risk—to build from the ground up. So while some claim Marvel has grown complacent, they only have the luxury to do so because they had such sheer guts in the beginning. 

So here we are. Endgame may not be the best MCU entry, but as a cultural and cinematic event, it remains unparalleled; that it doesn’t buckle under the weight of its plot (and runtime), that it gives each character strong emotional beats, that it succeeds in concluding a story that started with a movie about a nobody superhero directed by that guy from Swingers and starring an ex-convict, is nothing short of a miracle.

Well, maybe that’s a bit of an exaggeration. But it’s still one hell of an achievement.

Captain America vs Thanos Army [3840 x 1608] : r/marvelstudios

Groundwork and stray observations: Marvel has no big master plan; rather, they plant seeds wherever they can in the hopes that some of them might one day germinate. None of these were planned from day one, lest the whole ship sink, but the seeds germinated nonetheless:

  • That iconic “I am Iron Man” line in Endgame came from reshoots.
  • Two more Community alums pop up: Ken Jeong and Yvette Nicole Brown.
  • Okoye mentions an earthquake under the ocean. You know who’s rumored to be the villain of Black Panther 2? Namor the Sub-Mariner of Atlantis.
  • Howard Stark appears as he’s looking for Arnim Zola (Toby Jones), the scientist from The First Avenger who became a Hydra plant within S.H.I.E.L.D.
  • Peter Parker (Tom Holland) not wanting to activate instant kill mode with his suit was a running gag in Spider-Man: Homecoming, but here he actually does activate instant kill mode.
  • James D’Arcy reprising his role as Edwin Jarvis, the Stark family butler (for whom J.A.R.V.I.S. the artificial intelligence was named), from Agent Carter was a completely unexpected cameo that absolutely floored me. Considering that Jeph Loeb’s Marvel Television has been largely ignored by the MCU (though that may change come Hawkeye and Spider-Man: No Way Home…), to have a supporting character from one of the more minor shows cameo, if only for a brief second, felt wonderful. Jarvis rocks.
  • You know, not a whole lot of groundwork for this one, since it’s wrapping up so many things. Well, that’s a lie, it’s just that most of that groundwork hasn’t paid off yet: the Guardians will appear in Thor: Love and Thunder, which will presumably also deal with Valkyrie’s queenship; Guardians of the Galaxy Vol. 3 will deal with the search for 2014 Gamora; there’s going to be Captain America 4 with Sam (Anthony Mackie), etc. etc. We just haven’t seen all that happen.
  • Well, that’s a bit of a fib: Loki stealing the Tesseract did net him his own TV show.
  • The song that Steve and Peggy dance to (“It’s Been a Long, Long Time”) was playing in Steve’s apartment in Winter Soldier when Nick Fury (Samuel L. Jackson) paid him a visit.
  • The Amazon series The Boys did a very excellent parody (or two) of the “he’s got help”/A-Force team-up scene from Endgame, but, honestly, it’s not that bad. I, for one, felt pretty pumped about it in the theater, even if it is a bit ham-fisted. Far, far more egregious things have happened then a bunch of women superheroes teaming up together for lip service. It was clumsy, but there are worse things—like, if you want to take a political issue with Marvel, talk about its weird relationship with the military-industrial complex, or American exceptionalism, or the damage it’s doing to cinema as a whole. This one scene is not the biggest issue at stake here. (Also, is it any worse than Marvel trumpeting the fact that Endgame has the MCU’s first gay character and for that to turn out to be Joe Russo making a cameo?)
  • It was very nice that the MCU remembered Harley Keener (Ty Simpkins) from Iron Man 3. Would be cool to see him again; after all, he’s “connected.” Ironheart or Armor Wars, maybe? The inevitable Young Avengers movie or show? Could be fun.
  • Not to diss Kathryn Newton again (…and again), but Emma Fuhrmann, who has two brief scenes in Endgame as an older Cassie Lang, Scott’s daughter, absolutely kills what little time she has. It’s very unfair she was passed over for someone with more star power.
  • In case anyone was peeved (as I was) at this Daniel Sousa (Enver Gjokaj) from Agent Carter the TV show erasure, never fear: he gets his own happy ending with Daisy Johnson (Chloe Bennet) in the future, in space, presumably working for S.W.O.R.D., except Agents of S.H.I.E.L.D. probably wasn’t legally allowed to say that. But, regardless, at least the ABC show universe doesn’t forget about their loose ends (well, most of the time).

Anna’s Favorite Scene: I mean. Come on. It’s the portal scene. It’s “Avengers, assemble.” Come. On. I have never felt that exhilarated watching a movie in my life. (“It’s a baby.” “It’s Scott!” “As a baby.” “He’ll grow!” never fails to tickle me, however.)

MCU Ranking: 1. Captain America: The Winter Soldier, 2. Avengers: Infinity War, 3. Captain America: Civil War, 4. Guardians of the Galaxy Vol. 2, 5. Thor: Ragnarok, 6. Avengers: Endgame, 7. Guardians of the Galaxy, 8. The Avengers, 9. Spider-Man: Homecoming, 10. Captain America: The First Avenger, 11. Iron Man 3, 12. Iron Man, 13. Black Panther, 14. Ant-Man and the Wasp, 15. Doctor Strange, 16. Ant-Man, 17. Thor, 18. Avengers: Age of Ultron, 19. Captain Marvel, 20. Thor: The Dark World, 21. Iron Man 2, 22. The Incredible Hulk

Avengers: Endgame Trailer

Avengers: Endgame is currently available to rent and purchase on most digital storefronts, and is streaming on Disney+.

You can follow more of Anna’s work on LetterboxdTwitterInstagram, and her website.

MCU Retrospective: Ant-Man and the Wasp

Written by Anna Harrison

In these retrospectives, Anna will be looking back on the Marvel Cinematic Universe, providing context around the films, criticizing them, pointing out their groundwork for the future, and telling everyone her favorite scene, because her opinion is always correct and therefore her favorite scene should be everyone’s favorite scene. Anyone in need of a palate cleanser after the previous movie?

70/100

Avengers: Infinity War was a sprawling, sweeping epic that jumped between characters and planets so swiftly that the audience never got a chance to catch their breath, and it ended with the bleakest moment in the history of the MCU. Ant-Man and the Wasp, however, is as light and zippy as the insects it takes its name from, proving to be a much-needed break in between the gloom and doom of Infinity War and Avengers: Endgame; it’s nothing particularly special, but it doesn’t need to be, since it easily coasts by on the chemistry of its actors and its lighthearted humor. This time, there was no messy firing, and Ant-Man director Peyton Reed came back with no drama; the biggest hubbub during the production of the film surrounded its name, as Ant-Man and the Wasp marked the first time a woman shared titular status in the MCU. (To quote the end credits scene from Ant-Man, “It’s about damn time.”)

The last time we saw Scott Lang (Paul Rudd), he was in a prison cell on the Raft, put there for aiding Captain America (Chris Evans) in Captain America: Civil War. The last time we heard about Scott Lang, we were being told by Natasha Romanoff (Scarlett Johansson) that he and Clint Barton (Jeremy Renner) were on house arrest after taking a plea deal, thus explaining why they didn’t appear in Infinity War. So what has Scott been up to, post-Germany but pre-Thanos (Josh Brolin)?

Well, as we have all learned over Covid quarantine, being stuck in your house for an extended period of time results in some odd hobbies. For Scott, this includes makeshift bowling, reading The Fault in Our Stars, learning the drums, and organizing treasure hunts for his daughter, Cassie (Abby Ryder Forston). Even after the events of Captain America: Civil War, he’s still just a guy, a guy trying to make the most out of a bad situation. 

In addition to taking overlong baths, Scott now also helps his friends Luis (Michael Peña), Kurt (David Dastmalchian), and Dave (T.I.) run a security outfit called—fittingly, given their criminal backgrounds—X-Con Security. Contact with Hank Pym (Michael Douglas) and his daughter, Hope (Evangeline Lilly), has dwindled since they are on the run, trying to keep their technology from being taken by the government after Scott revealed himself in Civil War, but Scott—aside from bawling his eyes out over John Green—seems to be doing okay. He’s got his business, he has a good relationship with ex-wife Maggie (Judy Greer) and her husband, Paxton (Bobby Cannavale), and he has only three days until he’s free, though FBI agent and parole officer Jimmy Woo (Randall Park) keeps a watchful eye. In short, things are looking up, and the supporting performers are as charming and funny as ever, with Peña once again providing some top-tier comedy with his long-winded monologues.

However, when Scott has a vision of Hank’s presumed-dead wife, Janet (Michelle Pfieffer), in the Quantum Realm (the place you go when you shrink super small and keep shrinking, or something—it’s one of those Marvel scientific inventions where you nod during the explanation and try not to think too hard about it), he inevitably crosses paths yet again with Hope and her father. Hank thinks that, during Scott’s trip to the Quantum Realm during Ant-Man, he became entangled with Janet. “Hank, I would never do that. I respect you too much,” Scott says solemnly. 

“Quantum entanglement, Scott,” Hank replies, leaving us to ponder whatever the hell that means. 

Hope, while thrilled at the prospect of reuniting with her mother, was also understandably stung (ha) about Scott’s escapade to Germany during the events of Civil War, and not just because doing so put a target on all her and her father’s backs. Her iciness lies largely in the fact that Scott didn’t even ask her to come with him, despite having trained with him (and “other stuffing” with him): “If I had asked, would you have come?” Scott asks, to which Hope replies, “I guess we’ll never know. But I do know one thing… If I had, you’d never have been caught.”

Though never stated outright, Hope’s resentment feels very rooted in her womanhood. Her father passed her over in Ant-Man, and then her ostensible partner did the same thing in Civil War, and while neither say anything outright about Hope’s gender, and Hope doesn’t either, it’s clear that she feels they overlooked her, unintentionally or not, because she’s a woman. It’s a narrative that has clear resonance outside of the movie, and it’s handled with a subtlety and grace that Marvel often lacks when it comes to acknowledging social issues, so Hope comes off as sympathetic and understandable in her anger rather than simply an ice queen. She is an excellent addition to the male-dominated superhero roster: competent, flawed, and, unlike many (most) of her female counterparts, never sexualized. She’s allowed to have moments of intense vulnerability with her mother, but can be angry and cold in equal measure, giving her depth that was missing in Ant-Man where she exists primarily to be the token woman. Here, Lilly gets a chance to really shine in the role; while good in Ant-Man, when given a meatier role on equal footing with her male co-star, she eats it up, and it makes you wonder (as Hope herself does) why she was left out in the first place. (And, frankly, there’s no good answer to that.)

So, though off to a rocky start, everyone is soon off to build some quantum tunnel (whatever the hell that means) or some such, requiring a testy trade with shady tech mogul Sonny Burch (Walton Goggins, having a great bit of fun), but unfortunately the parts and Hank’s lab (which has been shrunk to the size of a suitcase) gets stolen by an unknown assailant. To get it back, the gang has to go to Bill Foster (Laurence Fishburne), a bitter former coworker of Hank’s known as Goliath in the comics. He helps them track down the lab through some more quantum stuff (“Do you guys just put the word ‘quantum’ in front of everything?” Scott wonders, echoing the audience’s thoughts), but when Scott, Hope, and Hank arrive to take the lab, they find themselves taken out again by that same unknown assailant, who reveals herself to be Ava Starr (Hannah John-Kamen), aka Ghost, and it turns out that Bill Foster is working with her too. Like Ant-Man, this sequel is all about parent-child relationships, even if only related in spirit: Scott and Cassie, Hank and Hope, Janet and Hope, Bill and Ava. Some are good, some are less so, most are messy, but it’s something that connects all of our main players.

Read More of Anna’s Ongoing Marvel Retrospective Series Here

Ava is, like most Marvel villains, a bit undercooked, but she has immense potential, due largely to John-Kamen’s immense charisma. Ava is a casualty of both Hank and S.H.I.E.L.D.: when Hank, the consummate asshole, fired Ava’s father, he continued to experiment on his own; one went awry and killed both him and his wife, leaving Ava alive but with molecular instability (again, whatever the hell that means). As a result, she inadvertently phases in and out of solid objects, so S.H.I.E.L.D. got a hold of her and used that for their own advantage on covert missions, making her their own version of the Winter Soldier (Sebastian Stan), but with a bit less brainwashing. Ava’s condition causes her constant pain and has begun to slowly kill her from the inside, and so father figure Bill wants to help her survive. 

Doing so apparently means getting the lab and using Janet’s quantum energy (…whatever the hell that means) to heal Ava, which may or may not kill Janet. Somehow. It doesn’t exactly make sense, but John-Kamen nonetheless proves compelling; unlike Killmonger (Michael B. Jordan) and Vulture (Michael Keaton) from previous MCU movies, here Ant-Man and the Wasp doesn’t try too hard to paint Ava as a villain. In fact, she purposely chooses not to use Scott’s daughter, ​​Cassie, as bait, though the option is brought up; most other MCU movies would have had the villain go down that route to establish that we shouldn’t sympathize too much with them. Here, we’re encouraged to. She’s only an antagonist because her goal of survival clashes with Hope, Hank, and Scott’s goal of freeing Janet, not because she is inherently evil or is going around beating up kids and killing her significant others. It’s an interesting take, and one with a lot of potential should Marvel ever pick up this thread down the road.

The remaining plot mostly involves four different groups trying to get to the lab: Ava, in an attempt to find a cure for her chronic pain; the bug trio, to try and get back the original Wasp; Burch, determined to sell it for a bunch of money; and the FBI, led by a Jimmy Woo determined to catch Scott breaking his house arrest. It’s not particularly complicated, nor is it particularly compelling in and of itself, but it allows for some killer comedy and sweet character beats amidst the chaos. In this case, less is more: Ant-Man and the Wasp is a better MCU entry because it doesn’t try too hard to connect to the greater universe, nor does it deal with world-ending apocalypses; instead, like its protagonists, it goes small.

It’s also very clever about its heroes’ use of their powers. It’s not only Scott who can shrink and grow, it’s now Hope, and it’s also a scientific lab, some Hot Wheels-looking cars, PEZ dispensers, and more. This makes all the car chase and fight scenes far more visually interesting than they would be otherwise, and provides no small amount of laughs. One great moment in particular involves Scott needing to make a run to his daughter’s school while his suit malfunctions, resulting in some incredible physical comedy when Scott gets stuck at around three feet tall. When you have a concept as absurd and delightful as a man who can shrink to the size of ants and grow to the size of whales, why not have as much fun as possible with it? Ant-Man and the Wasp certainly goes further with its main conceit than its predecessor did, and so even if there’s less plot to go around, it has a much firmer grasp on how best to deploy its characters and their powers. And, this time, we have double the shrinking shenanigans now that the Wasp has finally joined the team.

There is, frankly, not a lot to Ant-Man and the Wasp. But that’s okay—again, there doesn’t need to be. We just had an MCU-shattering event in Infinity War, so let’s take a little break, go back in time a bit, and enjoy watching some excellent actors bounce off each other. There’s some meat in here too, though: S.H.I.E.L.D.’s corruption continues to get exposed, once again showing that even our heroes can find themselves morally compromised; Hank and Janet reunite, and Douglas and Pfieffer, despite limited screentime together, sell the hell out of their relationship; Scott and Hope finally acknowledge each other as true partners and it isn’t some melodramatic, drawn-out saga like so many other MCU relationships are, but rather quiet and respectful. And, seriously, Michael Peña is an absolute gem in this franchise. It’s the perfect palate cleanser after Infinity War, and while it may not be the most memorable Marvel movie, but in terms of sheer enjoyment, it’s up there with the best of the best.

But, lest we get too comfortable, the end credits scenes are here to remind us that Ant-Man and the Wasp is part of a larger universe as Hope, Janet, and Hank all turn to dust from Thanos’ snap in Wakanda while Scott remains trapped in the Quantum Realm. The stinger at the very end, of a giant ant playing drums alone in Scott’s house, is equally absurd and eerie, as the camera pans over the static TV and the deserted streets of San Francisco. And so, even if you just tuned in to this movie for Paul Rudd, you’re gonna have to watch the next movie (technically the one after next) to figure out what happened to him—the Marvel machine keeps running, as always. But it was a nice break while it lasted.

Groundwork and stray observations: Marvel has no big master plan; rather, they plant seeds wherever they can in the hopes that some of them might one day germinate. None of these were planned from day one, lest the whole ship sink, but the seeds germinated nonetheless:

  • Ghost in the comics is a member of the antihero team the Thunderbolts, and with recent events from The Falcon and the Winter Soldier and Black Widow, a Thunderbolts team seems inevitable; hopefully Ghost is a part of that team. (I want a Thunderbolts movie or show so badly, my god.) We already have Yelena (Florence Pugh), Zemo (Daniel Brühl), US Agent (Wyatt Russell), Abomination (Tim Roth), Winter Soldier, and many more, and it seems like Julia Louis-Dreyfus’ role as Val is to serve as the Thunderbolts’ version of Nick Fury (Samuel L. Jackson). “There was an idea…,” except it’s a group of slightly less remarkable people.
  • Cassie makes multiple comments about being Scott’s superhero partner, alluding to her future superhero status (though she will be played as a superhero by Kathryn Newton, whom I greatly dislike, which is very, very unfortunate).
  • Jimmy Woo, who expresses amazement at Scott’s card tricks in the movie, reappears in WandaVision performing the exact same trick he sees in Ant-Man and the Wasp.
  • Kurt appears in What If…? and continues to fear Baba Yaga, eventually getting killed by a zombified Wanda Maximoff (Elizabeth Olsen normally, here a gurgling, animated zombie), but not before getting out one last, “Baba Yagaaaa!”
  • “Berkeley” was filmed at Emory University, specifically in White Hall, which is the ugliest building on campus. White Hall sucks. There was always gum under the chairs and hair tangled in the cushions.
  • On a similar note, Atlanta can passably stand in for many cities. It can’t really stand in for San Francisco, but they tried.

Anna’s Favorite Scene: Scott runs around an elementary school appearing like an oversized toddler. High-brow art. Or, honestly, the post-credits stinger, because it is so unsettling and such a weird vibe after a fun movie like this.

MCU Ranking: 1. Captain America: The Winter Soldier, 2. Avengers: Infinity War, 3. Captain America: Civil War, 4. Guardians of the Galaxy Vol. 2, 5. Thor: Ragnarok, 6. Guardians of the Galaxy, 7. The Avengers, 8. Spider-Man: Homecoming, 9. Captain America: The First Avenger, 10. Iron Man 3, 11. Iron Man, 12. Black Panther, 13. Ant-Man and the Wasp, 14. Doctor Strange, 15. Ant-Man, 16. Thor, 17. Avengers: Age of Ultron, 18. Thor: The Dark World, 19. Iron Man 2, 20. The Incredible Hulk

Ant-Man and the Wasp Trailer

Ant-Man and the Wasp is currently available to rent and purchase on most digital storefronts, and is streaming on Disney+.

You can follow more of Anna’s work on LetterboxdTwitterInstagram, and her website.

MCU Retrospective: Avengers: Infinity War

Written by Anna Harrison

In these retrospectives, Anna will be looking back on the Marvel Cinematic Universe, providing context around the films, criticizing them, pointing out their groundwork for the future, and telling everyone her favorite scene, because her opinion is always correct and therefore her favorite scene should be everyone’s favorite scene. Now, the beginning of an end of an era. But not really an end. Like, half an end.

85/100

“Dread it. Run from it. Destiny arrives all the same. And now, it’s here. Or should I say… I am.”

The unbearable anticipation for Avengers: Infinity War made the hype around Joss Whedon’s The Avengers look like child’s play. Ten years after the arrival of Iron Man, the MCU had built its own complicated mythology, weaving in characters and storylines in a way that no other movie franchise had attempted; its characters had become instantly recognizable, the actors who portrayed them became megastars, and its cultural dominance was absolute. Even if you didn’t watch every Marvel film, there was no way to avoid them: the memes, the inside jokes, the lines, the gestures were everywhere. Suddenly your arms crossed in an “X” over your chest meant something greater, and if you said something as innocuous as, “I understood that reference,” you would—intentionally or not—open the door for endless Marvel, well, references. 

Since The Avengers premiered in 2012, the looming threat of Thanos on the horizon had grown ever larger alongside Marvel’s own growing importance. Damion Poitier appeared as the Mad Titan in The Avengers’ post-credits scene as merely a tease, but two years later, in Guardians of the Galaxy, he was in the body of the movie, this time played by Josh Brolin. In Avengers: Age of Ultron, Thanos would again cameo in a post-credits scene, and so by the time he shows up in Infinity War, the audience has been prepared.

With Thanos come the Infinity Stones. First the Space Stone (within the Tesseract) in Captain America: The First Avenger, the Mind Stone (within Loki’s scepter) and the Space Stone again in The Avengers, the Reality Stone (aka the Aether) in Thor: The Dark World, the Power Stone in Guardians of the Galaxy, the Mind Stone again in Avengers: Age of Ultron, and the Time Stone in Doctor Strange. Always there, always waiting for their big payoff. 

And so, at last, Avengers: Infinity War, originally titled Avengers: Infinity War Part 1 but renamed to avoid misconceptions (and presumably to give Avengers: Endgame a more final-sounding name than simply Infinity War Part 2). Joe and Anthony Russo, directors of Captain America: The Winter Soldier and Captain America: Civil War, reunited with writers Christopher Markus and Stephen McFeely to craft the first part of the end of the Marvel Cinematic Universe (or, at least, the MCU as we knew it to that point). Theories were flying on who was going to die, and how, and when, with people hanging onto Kevin Feige’s every word regarding this movie and breaking down the trailers frame-by-frame. Clips shown at San Diego Comic-Con caused the enormous Hall H crowd to lose its collective mind, and the trailer now has well over 100 million views. It was all your favorite characters—even the disparate ones, like the Guardians of the Galaxy—coming together, it was the beginning of the culmination of 18 previous movies, it was all so unbelievably big

But when Infinity War begins, with no fanfare, no music, no images, just the crackling voice of Sir Kenneth Branagh (director of the first Thor movie) pleading for anyone to come help the Asgardian refugee ship last seen in Thor: Ragnarok, all the anticipation of the past ten years becomes swiftly replaced with foreboding. The opening of Avengers: Infinity War hits you like a bus, a train, an expletive, take your pick (I prefer the lattermost, starting with an “m” and ending in an “er”), and the ending only hits harder. 

That refugee vessel slowly comes into view as it floats listlessly in space, dead in the water; soon, the camera begins to survey the wreckage in one long, harrowing take, lingering on the dead civilians that litter the floor of the ship. Then Thanos (Josh Brolin) appears, dragging a beaten and bloodied Thor (Chris Hemsworth) across the wreckage like he weighs nothing. The fight has already happened, and Thor has lost—the triumph and jubilation from Thor: Ragnarok vanishes in an instant as we see how easily Thanos tosses Thor aside, and the dread only rises when even the Hulk (Mark Ruffalo), one of the most powerful beings in the MCU, gets bested by Thanos with little more than a flick of the wrist. It rises, and rises, and rises: Heimdall (Idris Elba) sends Hulk to Earth and gets killed for his efforts, Thanos adds the Space Stone to his collection, and finally it all culminates in the Thanos lazily snapping the neck of fan-favorite Loki (Tom Hiddleston). 

It’s a one-two-three-four gut punch: what remains of Asgard decimated, Hulk defeated, Heimdall killed, Loki killed, bam, bam, bam, bam. Loki’s death in particular sends a shock to the system: the formidable villain of the first Avengers movie tossed to the ground like a broken ragdoll, the antihero from the Thor franchise who stole so many scenes he brought that same Hall H to its feet all those years ago merely by shushing them, making one last heroic stand that gets thwarted with astonishing ease. Loki has perhaps the most gruesome, drawn-out death in the MCU, thrashing and writhing wildly about like an animal, blood trickling out of his eyes and ears from the force of Thanos’ meaty hand around his neck before the God of Mischief gets his corpse bodily dumped in front of his defeated, crying brother. It is an utterly bleak opening and unlike any other Marvel movie that came before—there are no quips, there is only defeat and despair as we finally behold the true power of the Mad Titan Thanos.

In short, it’s one hell of an opening, and Infinity War hardly lets up on the gas pedal for the rest of its hefty runtime.

The Hulk conveniently lands in the Sanctum Santorum, the abode of Dr. Stephen Strange (Benedict Cumberbatch) and fellow Master of the Mystic Arts Wong (Benedict Wong), and he turns back into Bruce Banner upon landing. (Despite Bruce’s proclamation in Ragnarok that if he turned into the Hulk again he would never turn back, here he is; depending on what the directors need him to be, the relationship between Bruce and the Hulk tends to change at the drop of a hat. Taika Waititi needed Bruce to be Hulked out, but the Russos need Hulk to be beaten down to establish Thanos’ strength and simultaneously leave a powerful player off the battlefield, because otherwise the Avengers might win too easily. Back and forth we go.)

Bruce’s proclamation that “Thanos is coming” spurs Dr. Strange to get the Avenging band back together again. Strange interrupts Tony Stark (Robert Downey Jr.) and Pepper Potts’ (Gwyneth Paltrow) walk through the park and family planning discussion, and Tony almost swallows his pride and calls Steve Rogers (Chris Evans), but they get interrupted by the arrival of Thanos’ lackeys, the Black Order. (A reminder, in case you forgot: the last time Tony and Steve saw each other, Tony was attempting to kill Bucky Barnes (Sebastian Stan), Steve’s childhood friend, for killing his mom, and Steve was doing his best to give Tony a very severe concussion or twenty.)

Trent Opaloch, the cinematographer for the Russo brothers’ MCU films, has crafted a handful of cool shots for Marvel, but by and large his camera has been workmanlike, favoring function over style. Yet here, like in the opening scene, he employs another long take that works beautifully to ramp up the tension: Tony walks out onto the streets of New York, the wind from the Black Order’s ship sending debris flying, and the chaos that unfolds around him gets no time to breathe or ease up via a cut, it only keeps growing. Someone runs into Tony and falls to the ground, a car hits a lamppost right in front of him, signs are precariously buffeted by the wind, and our trepidation only grows as he picks his way through the chaos to find the threat.

The threat turns out to be Cull Obsidian (Terry Notary) and Ebony Maw (Tom Vaughan-Lawlor), the former of whom is forgettable but the latter of whom proves to be very coldly frightening. Seeing the impending threat from aboard his school bus, Peter Parker (Tom Holland) joins the fight, which ends with Dr. Strange, Tony, and Peter all aboard Ebony Maw’s ship, headed to a rendezvous with Thanos on his home planet of Titan.

Read More of Anna’s Ongoing Marvel Retrospective Series Here

And then, with a needle drop of The Spinners’ “The Rubberband Man,” the Guardians of the Galaxy enter Infinity War. (It’s not all gloom and doom, guys!) Zooming through space to answer a distress signal, they soon realize that they’ve arrived too late: the source of the call, the Asgardian ship from the opening, has splintered apart, and its occupants float eerily through the cosmos, all dead save the one-eyed bodybuilder who lands on their windshield. So, finally, our space misfits get to interact with the Avengers, or at least one. The Guardians bring Thor onto their ship, where Drax (Dave Bautista), Gamora (Zoe Saldana), Mantis (Pom Klementieff), and Rocket (Sean Gunn for the motion capture, Bradley Cooper for the voice) ooh and aah over Thor’s significant muscles at the expense of Peter Quill (Chris Pratt). “He is not a dude,” Drax says. “You’re a dude. This… this is a man. A handsome, muscular man.” 

The subsequent interaction between Thor and the Guardians is a moment of immense fun amidst a very heavy movie (at least, heavy for Marvel), and seeing the Guardians finally interact with an MCU character outside of their own franchise sparks great joy. So much of the MCU’s success relies on how well it plays around in its own sandbox: it has established characters you know and love on their own, which is well and good, but when you put them together, it’s double the fun and double the novelty. Plus, the Guardians are such a bizarre bunch that putting them with any character even slightly less weird will pay dividends, and as these characters interact with their hitherto unknown fellows, it can coax out new sides of everyone involved, so not only is it simply fun to watch these worlds collide, it’s good character development, too.

In fact, the combination of Thor and Rocket produces one of the best scenes in Infinity War. The two, along with Groot (Vin Diesel), split off from the Guardians so that Thor can find a weapon strong enough to defeat Thanos, leaving the Guardians to go to the planet Knowhere to speak to the Collector (Benicio del Toro), seen in Thor: The Dark World’s post-credits scene and in Guardians of the Galaxy, who possesses the Reality Stone. Rocket, in a moment of remarkable maturity and empathy for the racoon (Yondu (Michael Rooker) really helped him with his issues in Guardians of the Galaxy Vol. 2), notices Thor is feeling a bit blue, to put it lightly. Where Thor: Ragnarok dealt with its own repercussions a little too glibly, here Markus and McFeely strike a perfect balance between the newfound humor in Thor and the immense trauma he just experienced: there are jokes, but they are laced through with a current of sorrow.

“You know,” Thor tells Rocket, “I’m fifteen-hundred years old. I’ve killed twice as many enemies as that, and every one of them would have rather killed me than not succeeded. I’m only alive because fate wants me alive. Thanos is just the latest in a long line of bastards, and he’ll be the latest to feel my vengeance. Fate wills it so.”

“Mhm. And what if you’re wrong?”

“Well, if I’m wrong, then…” Thor replies, “what more could I lose?”

It’s a standout scene in a standout movie, one elevated by Chris Hemsworth’s standout performance. Thor: Ragnarok leaned overly hard into the comedy, often forgetting Thor’s age and largely ignoring the bigger emotional repercussions from things like his dad dying, his sister getting released from Hel, attempting to kill him, slashing his eye out, and then dying, and his home world getting destroyed; here, you feel the weight of it finally come crashing down.

Elsewhere, yet another thread of the movie gets introduced as we are reacquainted with Wanda Maximoff (Elizabeth Olsen) and the Vision (Paul Bettany), now officially an item. Vision also looks like Paul Bettany for a few minutes, sparing the makeup team several hours of their time and letting everyone know he can change his appearance at will (and probably make it an easier pill to swallow for the audience that Wanda is dating a synthezoid thing). The two had shared moments in Age of Ultron and Civil War hinting at their future as a couple, but they were more snatches of time than anything, so Bettany, Olsen, and the movie have to work overtime to make their relationship believable. Luckily, it largely succeeds; even if Wanda and Vision will not get the limelight they deserve until their titular TV show, Bettany and Olsen’s charm and chemistry help sell their relationship very quickly.

Vision, unfortunately, becomes the target of the other two members of the Black Order, Proxima Midnight (Carrie Coon in a very thankless role, and I would please like Sarah Finn to cast her again as someone bigger, thank you) and Corvus Glaive (Michael Shaw). Vision gets wounded early on, conveniently nerfing (as the kids say) his formidable powers so he and the Mind Stone can’t run around and defeat the Black Order without dropping a sweat (not that Vision would sweat anyway). Luckily for our favorite sitcom couple, Bruce had called Steve, who shows up with Sam Wilson (Anthony Mackie) and Natasha Romanoff (Scarlett Johansson) in appropriately dramatic fashion. They decide to take Vision to Wakanda, where T’Challa (Chadwick Boseman) and Shuri (Letitia Wright) might be able to patch him up. (Steve, having been on the run since the events of Civil War, also sprouts a beard, a thrilling development everywhere for the female gaze.)

And so we finally have all of our plot threads: Tony, Strange, and Peter heading to Titan, having dispatched Ebony Maw; Thor and Rocket heading to the dwarf home world of Nidavellir to get a weapon; the Guardians off to Knowhere; the earthbound Avengers (now with Don Cheadle’s Rhodey in tow) off to Wakanda, where they also pick up recently de-brainwashed Bucky Barnes

Well, almost all. There’s still Thanos to deal with. Before the Guardians get to Knowhere, Gamora takes Peter aside and makes him swear to kill her if Thanos tries to take her; when the Guardians get to Knowhere, they find the planet burning and Thanos waiting for them, Reality Stone in tow. When Thanos takes Gamora, Peter follows through on his promise and shoots her, but the shot turns to harmless bubbles as Thanos harnesses the power of the Reality Stone. It’s a shocking moment—not the bubbles, but the fact that Peter actually tries to kill Gamora. Nearly every time something similar happens in a movie, the shooter can’t follow through. It’s become trite at this point, but Peter bucks tradition and pulls the trigger, which (conversely) speaks to the strength of his relationship with Gamora and the trust they have built between Vol. 2 and now. Like Olsen and Bettany, Pratt and Saldana have to work hard to sell their characters’ relationship, which was last seen as defined as “some unspoken thing” in Vol. 2, but it works. Saldana in particular turns out her best performance as Gamora yet as she confronts the adoptive father who slaughtered half of her planet, proving to be the unexpected MVP of Infinity War.

So now we finally have all of our plot threads: Tony and company on Titan, the Guardians on Knowhere, Thor and Rocket on Nidavellir, Steve and company in Wakanda, and Thanos on a quest to find the Soul Stone.

It is quite a lot of plates to keep in the air. Frankly, it is a marvel (ha) that Infinity War is even slightly coherent, considering that so many of its pieces stay separated throughout the entire movie. It operates, of course, on the assumption that you have seen at least a handful of the previous eighteen movies: it doesn’t have any pretensions about being able to stand on its own two legs without the foundations laid by its predecessors. It’s a movie that trusts its audiences, that trusts that we know the characters, that we know their relationships to each other, that we’ve been paying attention and understand what Thanos and the Infinity Stones mean to the universe. Taken in a vacuum, this would make Infinity War hugely messy, but it was never meant to be taken in a vacuum. You could count that as a valid flaw, and symptomatic of how the MCU is changing our movie landscape into a monolith, but you could also sit back and joyously watch ten years’ worth of solid character work pay off.

Infinity War marks perhaps the most obvious point in the MCU where it becomes nigh impossible to gauge a Marvel movie on its own: the MCU has built such a twisting mythos for itself that to judge Infinity War without judging what came before simply can’t work. The MCU has taken on a life of its own, and if you want to know what’s going on in pop culture, what’s making the rounds on Twitter, you’re going to have to sink quite a lot of money and time into the MCU just to catch up. There is a very cynical way to look at this, to view this money-making, independent-film-driving-away-ing, Disney-domination-cementing machine as nothing more than a hollow and artless cash grab, but the genuine glee that arises from pushing all these characters together in new ways and writing them into impossible corners is apparent from the care and love with which everyone is handled.

None of our main heroes get much development in Infinity War, per se, with a few exceptions here and there: Tony gets to yet again undergo extraterrestrial trauma, Thor processes his grief through vengeance, Gamora (and, later, Karen Gillan as Nebula) come face-to-face with the sins of their father. But most other characters, including even Steve Rogers, rely on their previous characterization to power them through this movie—luckily, a decade’s worth of content gives quite a lot to go off.

It’s not only the dense plot that forces these characters to the side, nor is it the sheer number of cast members to juggle (there were 23 character posters, which is insane), though those certainly played their part. It’s also the fact that Thanos is the true main character of Infinity War. In order for these stakes to be felt, and for this six-year buildup starting with The Avengers to pay off, Thanos has to be front and center. While all the rest of our characters get split up, he doggedly powers through with one goal in mind, going through his own hero’s journey. He makes pivotal decisions, he makes personal sacrifices, he is the one thread connecting everything—all the others are merely accessories.

Thanos’ goal comes from seeing his own planet, Titan, wither and die from a lack of resources; he had proposed an “at random, dispassionate, fair to rich and poor alike” culling of half of Titan’s population in order to stave off this destruction. Titan refused, and so it crumbled. Convinced he was right, Thanos then set out to eliminate half of the universe’s population to preserve the other half. “This universe is finite, its resources finite,” he tells Gamora. “If life is left unchecked, life will cease to exist. It needs correction.” This argument was so convincing that it spawned a lot of “Thanos did nothing wrong” memes, though they were mostly ironic; still, Brolin makes us feel something almost approaching sympathy for the big purple grape. Thanos is calm and logical, but he isn’t dispassionate, and he sees himself as a maligned hero honorably sacrificing everything for the rest of the world. Brolin does an absolutely tremendous job with the motion-capture and vocal performance, and he imbues Thanos with a tremendous amount of gravitas that has extended well outside the MCU and into pop culture; it’s thanks in large part to him that Infinity War works as well as it does and hits its emotional beats.

It turns out that the reason Thanos took Gamora was not entirely out of fatherly love; rather, it was because she knows where the Soul Stone is, and she reveals its location on Vormir after Thanos begins torturing her adopted sister Nebula (a nice parallel to the opening where Loki gives up the Tesseract and the accompanying Space Stone after witnessing Thor’s torture at the hands of Thanos). After Thanos and Gamora go to Vormir, Nebula escapes and alerts the Guardians to join her on Titan, and our threads slowly begin to coalesce. 

Unfortunately, not all of these threads are equally engaging. While Thor and Rocket have some of the best interactions in the movie, their plotline seems like a minor sidequest, one that ignores that whole moment in Thor: Ragnarok that establishes how Thor doesn’t need a weapon to go around and wreck shit. Ragnarok has him grappling with and overcoming the loss of his hammer, Mjolnir, before realizing that he is the God of Thunder, not the God of Hammers, but Infinity War has him turn right back around and decide that he needs a weapon. (It also gives him a replacement eyeball, which is easier for both Hemsworth and the VFX team, but negates another Ragnarok development.) The Nidavellir plotline seems to exist only to take Thor away from the action until the most opportune time while still giving him something to do, and the introduction of the giant dwarf Eitri (Peter Dinklage) feels like an unnecessary addition in an already-crowded movie. Sure, Thor gets a cool axe, and it’s Peter Dinklage, but… why? Is it really necessary? Not really.

Luckily, though, the Guardians are here to save the day. They arrive on Titan and immediately cross paths with the Avengers, resulting in some very funny misunderstandings and a lot of very tired, very exasperated looks from Tony as he deals with their insanity. Placing all these characters in new situations and letting their personalities clash organically results gives rise to some excellent humor. The Russo brothers’ previous forays into the Marvel world, Winter Soldier and Civil War, are among the most serious MCU titles (Winter Soldier especially), and Infinity War continues that trend while also, for my money, having some of the funniest scenes in the entire MCU, yet it’s not as quip-laden as many other Marvel movies. Markus and McFeely excel at naturally coaxing the humor out of character interactions, something they also did in Civil War; rather than tacking on a joke at the end of a beat, the funny moments are (by and large) seamlessly baked into the dialogue, advancing the plot, giving character depth, and keeping the audience entertained all in one fell swoop. Plus, it’s just so damn satisfying to watch all your favorites finally interact with each other—provided, of course, that you’re already invested in them, but again, the entirety of Infinity War is predicated on the fact that its audience already cares. If you don’t, then why are you watching? (Highlights: “Why is Gamora?,” “Kick ass, take names,” which is coincidentally my Instagram bio, “That’s on Earth, dipshit,” “What master do I serve? What do you want me to say, Jesus?,” and “Please don’t put your eggs in me!”) 

Elsewhere in space, Thanos and Gamora arrive on Vormir, where they are greeted by a familiar face: the Red Skull (formerly Hugo Weaving, now voiced by Ross Marquand in an uncanny imitation), last seen in Captain America: The First Avenger getting sucked into space by the Space Stone and now guardian of the Soul Stone. It’s a bit random, but a neat way to tie together a loose thread and a fun reappearance from an old villain. Vormir is a desolately beautiful place, a properly somber setting for what’s about to occur: to get the Soul Stone, you must sacrifice something you love. The resultant scene serves to heighten Thanos’ villainy, of course, but also his humanity: the horror at what he’s doing and the sheer willpower it takes to sacrifice Gamora plays out in vivid detail across Thanos’ face, turning the scene into a veritable Greek tragedy. The work that Infinity War puts in to build up Gamora and Thanos’ relationship pays off here, though it has no right to: Gamora has been a main character in the Guardians series, but not one who necessarily evokes much pathos, so to successfully build her up in this movie while balancing so many other characters and make her death truly mean something is no small feat. Saldana continues to grow more comfortable with Gamora, and here she turns in an incredibly impressive performance; combined with Brolin’s anguish, the pair expertly sell their twisted relationship, even though they get saddled with some clunky expositional dialogue in the middle, making it the unlikeliest heart of Infinity War. (Or maybe I’m just predisposed to care too much about these Marvel people, who knows.)

And so, now with four Infinity Stones, Thanos sets out to retrieve the Time Stone from Strange on Titan, and the remaining Black Order members go to Wakanda to get the Mind Stone from Visions forehead. The pieces inch ever closer.

The reason for how separate all these pieces are can be found in Civil War. When Steve and Tony broke up, they split the Avengers, and so when a threat like Thanos appears, they can’t band together and stop him. Thanos could divide and conquer because the dividing part was already done for him by the Avengers themselves; without a united front, the chinks in their armor become that much more obvious. See, guys, here are some events in the MCU that actually have ramifications down the line! 

As the climax approaches, we now only have three things (only three, imagine that!) to cut between: Thanos duking it out with the crew on Titan, Thor taking the full force of a star to make his axe, and the Black Order hunting Vision in Wakanda. The fight on Titan is the most interesting of the three plots as it allows Dr. Strange to go ham with his powers and Thanos to utilize the full force of four Infinity Stones, leading to some interesting visuals and downright cool moments; the fight on Wakanda doesn’t have nearly as much going for it, and the enjoyment from that scene comes from simply watching all the different characters’ fighting styles as they face down the Black Order and their unimaginative dog-looking alien things. (Why don’t the Avengers just destroy the Mind Stone and possibly Vision along with it, you ask? “We don’t trade lives,” Steve says, before asking a bunch of Wakandans to trade their lives to defend a synthezoid they have never even met. It’s a good sentiment, Steve, but… you might want to work on your logic a bit there, buddy.) When things seem to be looking dire, Thor arrives in the most triumphant fashion possible and does some very, very cool shit. It is very, very awesome, and the payoff almost makes up for the strange nature of his subplot in this movie. Plus, we get this eloquent exchange between Groot and Steve: “I am Groot,” Groot says as he skewers a bunch of bad guys. “I am Steve Rogers,” Steve says, very politely

Elsewhere on Titan, things seem to be almost looking up, and everyone is working together to restrain Thanos and get the Infinity Gauntlet off, but when Peter Quill learns of Gamora’s death, he discards the plan in favor of trying his best to cave Thanos’ skull in. A lot has been said about this moment and a lot of fingers have been pointed towards Peter as the reason the Avengers lost, and yes, it was a bad move on his part. But it was also completely, 100% in character: Peter is still emotionally stunted from his mother’s death and always incredibly reactive, thinking with his heart instead of his head, so of course he’s going to throw the plan out the window when he hears of the death of the woman he loves. The understandable impulses driving Peter’s actions make it that much more tragic when they allow Thanos to regain control of the Infinity Stones; Peter is, after all, only human (or at least 50% human). Reunited with the Infinity Gauntlet, Thanos handily defeats his foes and stabs Tony with a bit of his own nanotech in a very sudden move that provoked many a gasp in the opening night audience, prompting Dr. Strange to give up the Time Stone. (Tony patches up himself right away, but that scene is the closest I have ever come to having an honest-to-god heart attack.)

From there, Thanos arrives in Wakanda, and with five Infinity Stones in tow, proceeds to completely decimate the remaining Avengers. It’s harrowing to watch when we have become so accustomed to success after success for our heroes (barring Civil War, which had no winners); against Thanos, they’re nothing. Annoying gnats buzzing in his ear. The only one who can put up any fight is Wanda.

Faced with annihilation or the death of one man (robot, android, synthezoid, whatever), the Avengers finally choose the one—or, rather, Vision chooses to sacrifice himself. Alas, the only person able to hurt him is his lady love, and so Wanda gets saddled with the task of killing her boyfriend. Fun! As with Gamora’s (unwilling) sacrifice, this shouldn’t really work, given the limited screentime Wanda and Vision have had, but Olsen and Bettany act the hell out of the scene, a feat made even more impressive when you realize that some of it was improvised. It seems as though, through Wanda and Vision’s sacrifice, crisis was averted.

And then Thanos simply turns back time and takes the Mind Stone out of Vision’s head by force.

But wait! Thor is here to save the day, driving his axe into Thanos’ chest as revenge for everything he has suffered. Our heroes have finally won.

And then Thanos says, “You should have gone for the head,” snaps his fingers, and half the world turns to dust. Thanos vanishes, the music stops, the world stops as we slowly watch some of our favorite characters vanish from sight, disappearing in a puff of ash. If you’ve made it this far in the MCU, if you care in the least about any of these people, this moment should floor you. Indeed, it floored pop culture for quite some time, and you couldn’t move five feet on the internet without bumping into a reference about Thanos’ snap. (There was even a whole subreddit that banned half its community in an attempt to emulate Thanos, attracting the attention of Josh Brolin and Anthony Russo.) 

Peter Parker’s cries of “I don’t wanna go” (also improvised) in particular are gut-wrenching, because for all the ass-kicking he’s been doing over the course of the movie, he’s a 16-year-old kid clinging to his father figure in a desperate attempt to stave off the inevitable. It is incredibly heavy fare for Marvel. “It was the only way,” Dr. Strange tells Tony, but it certainly seems like the end times. Even Steve Rogers can’t think of a rallying cry, as he simply collapses next to Vision’s body and says, “Oh, god.” And Thanos, like he promised earlier, gets to “finally rest and watch the sun rise on a grateful universe.” And so the movie ends with the triumph of the villain.

Of course there’s going to be a sequel, and of course everyone who was snapped away will return, but that knowledge does little to lessen the distress evoked from seeing the utter decimation of the Avengers. Infinity War has some of Marvel’s highest highs (the Guardians meeting everyone else, Thor arriving in Wakanda to much fanfare), but its ending packs a wallop that no other MCU movie has even attempted to. It no doubt has its flaws, but at the end of the day, Infinity War is one of the gutsiest tricks Marvel has ever pulled—there is no reason a movie this crowded, this plot- and MacGuffin-heavy should have worked, and yet it did. It still does, even knowing what comes after. 

Avengers: Infinity War is one very agonizing descent into hell for our favorite characters, an inevitable fall made all the more excruciating because possible wins are presented at every corner before slipping through our heroes’ fingertips. They almost get the Gauntlet off on Titan, and then Quill lets his emotions get the best of him; Vision’s sacrifice seems to make Thanos’ goal impossible before Thanos winds back the clock; Thor’s axe strikes true but his desire to make Thanos suffer before death backfires. And so here we are, and the credits start to roll, and there’s no music playing, and you’re left to rot in the despair left behind in Thanos’ destructive wake. Put simply, there was nothing like Avengers: Infinity War: not because it’s the best movie ever made, or because it’s even the best Marvel movie (though it comes damn close), but because it turns the entire MCU on its head. I don’t think there will be anything like it for quite some time. 

Groundwork and stray observations: Marvel has no big master plan; rather, they plant seeds wherever they can in the hopes that some of them might one day germinate. None of these were planned from day one, lest the whole ship sink, but the seeds germinated nonetheless:

  • The post-credits scene shows Nick Fury (Samuel L. Jackson) paging Captain Marvel so we can all get excited about Marvel’s next movie and give them even more money!
  • Loki’s death sets the tone for the movie quite well, but some fans were upset that the consummate trickster’s big plan to best Thanos was… stab him with a knife. It was so straightforward a plan that people thought Loki would still be alive, and there were theories that he simply cast an illusion and hid himself among the wreckage and went off elsewhere; while this didn’t come to pass, and Thanos even says, “No resurrections this time” to preempt any “Loki lives” discussions, Richard E. Grant’s Classic Loki in the Disney+ show Loki did exactly what was theorized, probably as a nod to how flimsy OG Loki’s “plan” was.
  • There’s a far subtler “girl power” moment here than in Endgame with Wanda, Natasha, and Okoye (Danai Gurira) taking down Proxima Midnight. #girlboss
  • On the different side of the #girlboss spectrum, though, is Shuri making a dig at Bruce for not thinking of some science-y technobabble stuff, which isn’t unfunny but shows a lack of imagination: you shouldn’t have to knock others’ intelligence just to make Shuri look smart, she should simply be doing that on her own. (Game of Thrones fell into that trap all. the. time.)
  • I find it very funny that while T’Challa and Steve show off their superhuman strength and speed by sprinting out in front of everyone during the Wakandan battle, Bucky, who has that same strength and speed (as evidenced in Civil War’s car chase scene), is perfectly content to lag behind with the normies. He’s too old for this shit.
  • The Bruce/Natasha eye contact and Sam muttering, “This is awkward” is the perfect way to move past their misfire of a “relationship.”
  • The Russo brothers love to sneak in references to their past work on Community and Arrested Development in their Marvel movies: Community alums cast throughout, the Bluth staircase car in Civil War, and here, a blue man looking suspiciously like the never-nude Tobias Fünke slumped over in one of the Collector’s cases.
  • Ebony Maw burning his hand on Dr. Strange’s medallion is a nod to Raiders of the Lost Ark, which I learned because I, like all cool people do, watched the entire movie with commentary one afternoon.
  • If Eitri has no use of his hands, how does he pee? How does he do anything, as a matter of fact? How is he still alive? I need answers, Kevin!

Anna’s Favorite Scene: Woof. I have to say, the opening is pretty fantastic, even if it causes me great emotional distress, and Peter’s “I don’t wanna go” kills me every time, but I have to give it to Thor: both his “what more could I lose” scene with Rocket and when he arrives in Wakanda with Stormbreaker are very great scenes for very different reasons.

MCU Ranking: 1. Captain America: The Winter Soldier, 2. Avengers: Infinity War, 3. Captain America: Civil War, 4. Guardians of the Galaxy Vol. 2, 5. Thor: Ragnarok, 6. Guardians of the Galaxy, 7. The Avengers, 8. Spider-Man: Homecoming, 9. Captain America: The First Avenger, 10. Iron Man 3, 11. Iron Man, 12. Black Panther, 13. Doctor Strange, 14. Ant-Man, 15. Thor, 16. Avengers: Age of Ultron, 17. Thor: The Dark World, 18. Iron Man 2, 19. The Incredible Hulk

Avengers: Infinity War Trailer

Avengers: Infinity War is currently available to rent and purchase on most digital storefronts, and is streaming on Disney+.

You can follow more of Anna’s work on LetterboxdTwitterInstagram, and her website.

MCU Retrospective: Captain America: Civil War

Written by Anna Harrison

In these retrospectives, Anna will be looking back on the Marvel Cinematic Universe, providing context around the films, criticizing them, pointing out their groundwork for the future, and telling everyone her favorite scene, because her opinion is always correct and therefore her favorite scene should be everyone’s favorite scene. Hey, who took the last donut?

85/100

Thus far, the MCU has done precious little introspection. The arrival of aliens on Earth, the collateral damage our heroes cause, international laws and politics, all of that has been either swept under the rug or acknowledged only with the wave of a hand, but Captain America: Civil War is here to rectify this. Like Captain America: The Winter Soldier before it, Civil War attempts to be a different breed of Marvel film; while the MCU would crumble if it spent too long looking inward and figuring out the mechanics of its world, it can certainly pretend to do so, and pretend well. If you are looking for an erudite, soul-searching movie about the costs of combat, look elsewhere, but for a theme park ride superhero movie, Civil War does a bang-up job of positing some serious problems, even if its answers don’t quite live up to the questions. 

Its title is a bit of a misnomer. Really, it should be Avengers: Civil War, or at the very least Captain America and Iron Man: Civil War, because it’s really a twofer between Chris Evans’ Steve Rogers and Robert Downey Jr.’s Tony Stark. Marketing revolved around “Team Cap” or “Team Iron Man,” and the hype around this movie was perhaps even stronger than for Avengers: Age of Ultron. It was more than just a Captain America movie, it was an event that wouldn’t change just one character, as was the case with most other non-Avengers Marvel efforts, but whose effects would reverberate through the MCU at large.

The Civil War comic only features the barest similarities with its movie counterpart (it relies heavily on the existence of secret identities, which have very little presence in the MCU, and in the aftermath, a brainwashed Sharon Carter kills Captain America and then stabs her own womb to get rid of her unborn child, so there is quite a lot more going on here), but the showdown between Captain America and Iron Man is integral to the plot (this shot from the film is based off this comic cover), and to attempt an adaptation without Iron Man, or to have Iron Man’s presence lessened, would be nigh impossible, yet that was what our favorite interfering overlord Ike Perlmutter sought to do. 

Initially, Tony was going to have a smaller role, but Downey and his team lobbied for a bigger one; this apparently angered the famously frugal Perlmutter so much that he ordered Iron Man to be written out of the script entirely over fears of a ballooning budget. Kevin Feige, hell-bent on making Civil War the spectacle it should be, became so upset that he apparently toyed with quitting, and it was this kerfuffle between Perlmutter and Feige that finally caused Disney CEO Bob Iger to restructure Marvel, shunting Perlmutter to the side and centralizing Feige’s power. This move would ease restrictions on cast and crew, opening the doors for films such as the female-led Captain Marvel and the zany Thor: Ragnarok; since Perlmutter moved and his Creative Committee was disbanded, Marvel has allowed much more creative freedom or has gotten much better at making its talent keep their mouths shut. Either way, it’s hard to view Perlmutter’s departure as anything other than a success—as I have discussed, his outdated and offensive views on gender and race hampered Marvel, and it’s easy to see how (by and large) the MCU has only gotten better since it escaped Perlmutter’s clutches.

Once the dust settled, Robert Downey Jr. emerged with screen time nearly equal to that of Civil War’s titular Captain America, and while this may seem incongruous with the fact that this is supposed to be a Captain America movie, Downey does such tremendous work here, and Tony has such an interesting arc, that it’s hard to be that mad at returning directors Joe and Anthony Russo or Marvel veteran screenwriters Stephen McFeely and Christopher Markus. 

After the catastrophic events of Avengers: Age of Ultron (flying city, hordes of murderbots, etc.), public scrutiny has been turned on the Avengers. It becomes especially critical when what should have been a routine mission in Lagos—aka downtown Atlanta with a yellowish filter slapped over it—goes horribly wrong and winds up killing 23 civilians. This, coupled with a confrontation with a grieving mother (the immensely talented Alfre Woodard, who would go on to play Mariah Dillard in Netflix’s Marvel offering Luke Cage) whose son was killed during the events of Age of Ultron, sends Tony Stark spiraling as his ever-present guilt and self-loathing rear their heads again, and so when Secretary of State Thaddeus Ross (William Hurt, who is the first actor from The Incredible Hulk to reprise his role and prove that Marvel doesn’t want to sweep it entirely under the rug) approaches with the UN-sanctioned Sokovia Accords, which would put the Avengers under the oversight of a UN panel, Tony is the first to sign.

It’s quite a remarkable turnaround from the man in Iron Man 2 who said such things as, “You want my property? You can’t have it!” and “I’ve successfully privatized world peace” at a Senate hearing, yet it fits seamlessly into his arc. The arrival of aliens and the existence of threats such as the Chitauri completely altered Tony’s worldview, saddling him with PTSD and resulting in the creation of Ultron, because Tony believed that no one else would be better equipped to protect the world than himself. When that backfired spectacularly, giving Tony proof that, contrary to what Steve Rogers may believe, the safest hands are not his own, and that he can’t be trusted on his own because everything he touches turns rotten. And, as always with Tony, there’s an intensely personal element to this as well now that Tony has pushed Pepper (Gwyneth Paltrow) away again: “A few years ago I almost lost her so I trashed all my suits. Then we had to mop up Hydra. Then Ultron, my fault. And then, and then, and then. I never stopped. ’Cause the truth is I don’t wanna stop. I don’t wanna lose her. I thought maybe the Accords can split the difference.”

Steve’s ideology, on the other hand, has always been consistent. He is an embodiment of our anxiety over the post-9/11 surveillance state (where Iron Man represents a very different post-9/11 American chutzpah and desire for a swift end for terrorism and safety), and his faith in institutions has understandably grown thin: first he’s a dancing monkey for the United States government, then a pawn for S.H.I.E.L.D., then learns that S.H.I.E.L.D. has secretly been his old enemy Hydra the entire time. Steve has never gone through a true character arc like Tony has, because his strength of moral character is already such that it’s hard for him to improve, and so to make his character dynamic you have to throw him in hot water and place him among those whose moral compasses might be a tad shakier: it was Hydra in Winter Soldier, and here the Accords present the conundrum. Steve refuses to sign, and thus the Avengers’ Civil War begins. To the film’s credit, it really does try to focus on the MCU’s internal politics and lays out decent arguments for both sides of the Accords debate (even though it is ostensibly Captain America’s movie), avoiding condemnation as best it can. 

Read More of Anna’s Ongoing Marvel Retrospective Series Here

The real trouble doesn’t begin until there’s a bombing in Vienna at the signing of the Accords, and everything points to one James Buchanan Barnes (Sebastian Stan) as having been the perpetrator. This prompts a worldwide manhunt: Steve and Sam Wilson (Anthony Mackie) race to get Bucky before the authorities do so Steve can protect his oldest friend, the UN wants to bring him in for questioning, and a certain Prince T’Challa (Chadwick Boseman) of Wakanda wants to kill Bucky as revenge for the explosion that killed his father, T’Chaka (John Kani). There is a very fun chase scene in Romania that involves Steve, Bucky, and T’Challa all handily outstripping the passing cars and Bucky flipping onto a motorcycle in a way that captured the minds of many a teenage girl around the world (myself included), but it ends with the three heroes apprehended by the UN. 

Remarkably, this is the first big action sequence in the film and it doesn’t come until about 45 minutes in, which has got to be a record for Marvel. Civil War is perhaps the least action-heavy MCU entry so far, only having three notable fight scenes (four if you count brainwashed Bucky vs. everyone else), none of which are against more than six people; for being all but an Avengers movie in name, it certainly bucks the trend of fighting innumerable faceless foes, and that’s a welcome change of pace. 

Boseman, of course, nails his introduction as T’Challa. Both he and the character he plays would go on to become revered figures, not only due to the cultural impact of Black Panther finally arriving on the screen, but because T’Challa, through Boseman’s performance, is such a commanding presence from the first: he’s a powerful and regal king, but still a fallible human being battling with grief and a desire for vengeance. His quiet scene with Zemo at the end is a beautiful moment that, despite his little screentime, cements T’Challa as iconic far before the release of his solo movie. “Vengeance has consumed you. It’s consuming them. I’m done letting it consume me.” (And he gets to run fast and beat up fellow superheroes to boot. What’s not to love?)

Back in UN custody, things seem to be going alright—Tony even almost convinces Steve to sign the Accords until he lets slip that he’s keeping Wanda Maximoff (Elizabeth Olsen), the inadvertent creator of the destruction in Lagos, under lock and key with Vision (Paul Bettany) at the Avengers compound—until the psychiatrist assigned to analyze Bucky speaks the trigger words implanted in his brain by Hydra and sics him on the rest of the Avengers after drilling him about a mission report from December 16, 1991. Turns out this psychiatrist is actually Helmut Zemo (Daniel Brühl), a former member of the Sokovian military whose family was killed during Ultron’s attempt to drop a city-meteor on the world in Age of Ultron. Zemo will go on to become a fan favorite in The Falcon and the Winter Soldier, but here he is all cruel and cold calculation setting out to topple the powers that killed his family, and the personal nature of his issues with the Avengers gives his actions more weight than most Marvel villains. He is also the only villain besides Thanos to succeed at his goal. (Of course, the threat of Thanos eventually brings the gang back together again, but Zemo’s villainy certainly has more repercussions than, say, Malekith’s evildoings.)

And topple the Avengers do. Determined to exonerate the last remaining thread connecting him to his old life, Steve goes after Bucky, accompanied by Sam. When Bucky reveals that other genetically enhanced Hydra soldiers exist, Steve assumes that Zemo means to wake them from their cryogenic sleep and use them to destabilize the world’s governments, and so the three set out to stop him. They enlist Wanda, Hawkeye (Jeremy Renner), and Ant-Man (Paul Rudd), but find the path barred by those who supported the Accords: Tony, Rhodey (Don Cheadle), Black Widow (Scarlett Johansson), T’Challa, Vision, and some kid with web shooters called Spider-Man (Tom Holland). 

The ensuing fight in an empty German airport is simply an excuse to show off all the characters’ cool powers and acts as little more than fanservice, though if you’re like me, it’s certainly enjoyable fanservice, though the reasons for its existence are flimsy at best. But Ant-Man becomes Giant-Man, Spider-Man swings around and does backflips, Black Widow and Hawkeye duke it out, et cetera, and it provides a good deal of fun. Marvel has finally gotten their hands back on some of their most valuable IP, dammit, and they’re not going to let it go to waste.

Spider-Man, of course, has a long history on our movie screens, starting with Sam Raimi’s original trilogy in the early 2000s, continuing with two Amazing Spider-Man movies with Andrew Garfield before that endeavor was aborted, and finally winding up here in the MCU proper. Having sold off their rights to Spider-Man before the MCU, Marvel was forced to make do without him at first while Sony continued to try and pump the character for money; with the recency of The Amazing Spider-Man duology (2012 and 2014, respectively), not to mention the Raimi trilogy (Spider-Man 3 was only 2007), it seemed unlikely there would be a third reboot of the character within less than two decades.

That is, until the infamous Sony email hacks from 2014 revealed that… maybe? But then talks broke down and people forgot about it, though some were hopeful that, given Spider-Man’s prevalence in the Civil War comics, he would be a presence in its adaptation. Rumors continued to swirl, though as some rightly pointed out, Civil War the movie could work just fine without Spider-Man. The rumors were tantalizing nonetheless: the MCU had been built off the back of lesser-known heroes, but what would happen when they finally got their hands on Marvel’s most iconic character?

Well, it turns out the speculation didn’t last long, and Sony and Marvel reached a deal to share Spider-Man, with Peter Parker’s first appearance in Captain America: Civil War

The Sony/Marvel relationship has been very contentious, and Sony’s desire to expand into their own Spider-Man universe confuses things immensely. While everything seemed to be going smoothly at first, things broke down in 2019, after Spider-Man: Homecoming and Spider-Man: Far From Home had already come out, and it seemed like Tom Holland’s Spider-Man would be no more, and Peter Parker would be relegated to Sony’s Marvel Universe—not to be confused with the MCU at large—which so far only consists of 2018’s critically panned but financially successful Venom. This caused a brief meltdown among fans (myself included) before another agreement was reached, which pulled Spider-Man back into the MCU, but also allowed him to visit some of Sony’s other offerings. Probably. 

It’s all very vague, but Sony’s upcoming Morbius—which looks just absolutely dreadful—features Michael Keaton’s Vulture, who first appeared in Spider-Man: Homecoming. All in all, it’s a very confusing deal, one which will only continue to muddy the MCU canon upon the release of Morbius and Sony’s upcoming Spidey-related slate. Disney and Marvel’s steady amassing of IP is concerning from an artistic standpoint as they continue their stranglehold on the entertainment industry, subbing recognizable IP for capital-A Art, but, you know… there’s something to be said for simplicity and streamlining. At the very least, some clarity would be appreciated. (Yes, if it must be said, I vote in favor of axing the Sony Spider-Man Universe and folding it all under Marvel and continuing the agonizing death of independent cinema. Yes, a not-insubstantial chunk of this desire is the fact that I do not want certified creep Jared Leto to be in the MCU proper.)

Despite the treacherous road to his MCU debut, Spider-Man shines in Civil War. It helps that Tom Holland actually looks like a high school student, unlike Tobey Maguire or Andrew Garfield, and this Peter Parker radiates a charm that is decidedly boyish in energy. This is just a kid—a very strong and a very smart one, but a kid nonetheless. Even though Spider-Man could have been excised from the Civil War plot with no consequences (he’s really just there because it’s all about increasing that Marvel brand, baby!), his presence gives an infectious jolt of energy to the proceedings and provides a great source of humor in a film that, for Marvel standards, is practically dour. 

But where Spider-Man gets some great moments in Civil War, you know who doesn’t? Sharon Carter (Emily VanCamp). I have previously lamented Sharon’s wasted role in the MCU, and it continues here. Judging from concept art, she was supposed to have been a part of the big airport battle, but in the finished product does exceedingly little. The kiss between her and Steve doesn’t work because Markus and McFeely spent so little time developing Sharon as a person that it reads as a character beat they were forced to hit rather than something that came about organically, so of course fan response would be tepid (at best, and harassment at worst—take a gander through the fandom side of Twitter or Tumblr and you will find some truly vile and downright misogynistic takes about Sharon, though the “stan” corner of the internet is mind-numbing to begin with). And yes, I will continue to pick this bone until it snaps, because it is frankly infuriating. Sharon’s writing in the MCU has been and continues to be lazy, though—as with Winter Soldier—it seems the easiest thing in the world to slot her in on “Team Cap” and give her a more substantial role other than “designated love interest” who gets “strong woman” qualities such as fighting prowess so Marvel can pretend they’ve written a good female character. I will, in fact, stay mad. (If you think this is bad, wait until Avengers: Endgame.)

After the two sides, sans Sharon, fight it out, Steve and Bucky escape to Siberia to catch Zemo and those who didn’t sign the Accords get shipped off to the underwater prison known as The Raft. Rhodey, having been inadvertently injured by Vision, gets over his paraplegia very quickly with the help of fancy Stark technology. The brief disability representation was nice while it lasted, though it never really got started. Tony realizes that Bucky has been framed for the UN bombing, gets Steve and Bucky’s whereabouts from Sam, and goes rogue, ignoring Secretary Ross’s wishes.

Yet when the three of them arrive in Siberia, they discover that Zemo hasn’t let out Bucky’s fellow superhuman assassins. In fact, Zemo has killed them all while they were in cryosleep. He never intended to unleash them on the world, only lure Tony, Steve, and Bucky here so he could end the Avengers that ended his family. “An empire toppled by its enemies can rise again. But one which crumbles from within? That’s dead… forever.” 

But how to topple an empire full of superheroes? You can’t beat them physically, so you appeal to their emotions. Tony has never been entirely emotionally stable even at the best of times, especially when it comes to his latent feelings of guilt and even more so when it concerns his relationship with his parents, and Steve has shown that he’s willing to go to the ends of the earth to protect Bucky, so the revelation that Bucky not only killed Tony’s parents on December 16, 1991, but that Steve purposely withheld this information from Tony, is the perfect storm that throws these unshakeable Avengers into a tailspin. The ultimate showdown isn’t about the Accords themselves, but Tony’s grief over his parents, his guilt over his failure to express his love for them, Steve’s drive to protect the only old friend he has left, and the clash that these conflicting desires cause. 

Civil War is perhaps Marvel’s most personal movie. In the end, it’s just Steve, Bucky, and Tony, duking it out in an abandoned Hydra base in Siberia. That’s about as personal a finale you can get at Marvel, and it anchors the final confrontation in frighteningly understandable human impulse: it’s not the world ending, it’s just yours, and sometimes that can feel even worse. There are no Chitauri or robots, there is no Hydra or Mandarin, just two friends (and a brainwashed assassin) that hurt each other in different ways.

While it certainly makes for an affecting climax, the pivot to an intensely personal battle means that the political nuance that Civil War set itself up for gets left by the wayside: Tony and Steve’s differences on the Accords become forgotten in the wake of the revelation about Tony’s parents, and so any true ethical examination of said Accords gets tabled for another day. Civil War discards that which made it unique in the first place—attempting to address the ramifications of its predecessors—in favor of a more personal approach that, conversely, makes the film more unique than standard MCU fare, so we are at net zero. Both impulses are welcome in the MCU, but perhaps they would have worked better in separate films, rather than one replacing the other. Still, in a somewhat homogenous cinematic universe, you get credit for trying, and Civil War uses its solid performances and character beats to elevate itself to the upper echelons of the MCU.

The effects of Civil War are all but gone after the first act of Avengers: Endgame, and the existence of the Accords has, so far, barely changed a thing about how these heroes operate, but Civil War almost makes the illusion of change real. It certainly affects Avengers: Infinity War, where our heroes’ divisions keep them apart and ensure their loss, but otherwise, while the Accords’ existence makes Civil War one of the more compelling Marvel movies, they remain largely inconsequential. Marvel was never going to seriously examine the political ramifications of its heroes’ existence because the foundations of its universe would collapse, but it was certainly nice to pretend for a while.

Groundwork: Marvel has no big master plan; rather, they plant seeds wherever they can in the hopes that some of them might one day germinate. None of these were planned from day one, lest the whole ship sink, but the seeds germinated nonetheless:

  • This marks the first appearance of The Raft, which will pop in and out of the MCU whenever they need a place to store a villain for a while in case Marvel wants to reuse them.
  • Certain Avengers: Endgame set photos sent everyone into a tizzy about how Tony’s B.A.R.F. (binarily augmented retro-framing) technology would come back into play and help the team find hints about the Infinity Stones or whatnot. This did not happen.
  • Natasha says, “You could at least recognize me” when fighting Bucky, leading some fans to speculate that future MCU movies could expand on their relationship—in the comics, they have a storied romantic history that begins when Natasha was first in the Red Room and Bucky was brainwashed by the KGB—but alas, this never happened, and so Natasha was only referencing The Winter Soldier. If Marvel had gone down this route, though, it would have been easy to elaborate on this.
  • It’s hard to think of specific groundwork/easter eggs when the whole movie is basically setting up what’s to come: it introduces Black Panther and Wakanda, Spider-Man, Everett Ross (Martin Freeman), reintroduces Thunderbolt Ross (no relation to Everett), splits the Avengers for Avengers: Infinity War, sends half of the team on the run, etc. There aren’t that many offhand references to things that will come down the line: they’re all in plain sight.

Anna’s Favorite Scene: “Can you move your seat up?” “No.” That’s not really a whole scene, though, just a couple lines, so my favorite scene might be T’Challa stopping Zemo from killing himself. It wonderfully encapsulates T’Challa’s arc in this movie, and is an affecting and quiet moment before the big Cap vs. Iron Man beatdown.

MCU Ranking: 1. Captain America: The Winter Soldier, 2. Captain America: Civil War, 3. Guardians of the Galaxy, 4. The Avengers, 5. Captain America: The First Avenger, 6. Iron Man 3, 7. Iron Man, 8. Ant-Man, 9. Thor, 10. Avengers: Age of Ultron, 11. Thor: The Dark World, 12. Iron Man 2, 13. The Incredible Hulk

Captain America: Civil War Trailer

Captain America: Civil War is currently available to rent and purchase on most digital storefronts, and is streaming on Disney+.

You can follow more of Anna’s work on LetterboxdTwitterInstagram, and her website.

MCU Retrospective: Captain America: The Winter Soldier

Written by Anna Harrison

In these retrospectives, Anna will be looking back on the Marvel Cinematic Universe, providing context around the films, criticizing them, pointing out their groundwork for the future, and telling everyone her favorite scene, because her opinion is always correct and therefore her favorite scene should be everyone’s favorite scene. Captain America: The Winter Soldier has a lot of favorite scenes, so buckle up.

85/100

Back in 2011, the Community episodes “A Fistful of Paintballs” and “For a Few Paintballs More” aired, both directed by Joe Russo. Joe and his brother, Anthony, both served as executive producers on the show, and directed many of its more iconic episodes, building on their experience with fellow sitcom classic Arrested Development. In this particular doubleheader, the denizens of Greendale Community College get pitted against each other in a paintball war; the episodes expertly mimic Spaghetti Westerns and Star Wars to create a parody so precise it could almost pass off as the real thing, save for Community’s self-aware brand of humor.

Well, as it turned out, Marvel bigwig Kevin Feige greatly enjoyed these episodes of Community, so much so that he reached out to the Russo brothers to ask about directing a Marvel gig. The gig turned out to be Captain America: The Winter Soldier, an entry widely regarded as among the MCU’s best (if not the best) and one whose success ensured that the Russo brothers would be at the helm for much of the Infinity Saga, concluding their tenure at Marvel with Avengers: Endgame. And to think, all of that started with a couple of episodes about a community college dousing each other with paint.

(The Russos will even bring back Community alums Danny Pudi, Jim Rash, and Yvette Nicole Brown to cameo in their Marvel films, as well as the infamous Bluth stair-car from Arrested Development. As it turns out, Community and Rick and Morty creator Dan Harmon has nurtured quite a few future Marvel employees on his shows, most notably Jessica Gao, the She-Hulk showrunner; Jeff Loveness, Ant-Man and the Wasp: Quantumania writer; and Michael Waldron, Loki showrunner and writer, who also wrote the upcoming Doctor Strange in the Multiverse of Madness and whatever Star Wars thing Kevin Feige is doing—Waldron in particular will be a very big deal for the MCU in the upcoming years. On a more unrelated note, Wonder Woman director Patty Jenkins worked on Arrested Development alongside the Russos, and is the director of the infamous “Mayonegg” scene. What humble beginnings all these folks had.)

Feige chose well: the Russo brothers took their action movie parody experience from Community and applied it seriously, crafting not only the best Marvel film to date but a solid spy thriller flick in its own right. The team of the Russo brothers with screenwriters Christopher Markus and Stephen McFeely (writers of Captain America: The First Avenger and, uh, Thor: The Dark World, unfortunately) would go on to shape the biggest moments in the MCU, but it all starts here.

Where I lamented Steve’s characterization in my review of The Avengers, Markus and McFeely smoothly course-correct; the banter and humor doesn’t just come from old man jokes at Steve’s expense, but allows Chris Evans to flex some subtle comedy chops. In The Avengers (and Avengers: Age of Ultron), Steve becomes a bit of a caricature—a hyper-patriotic goody two-shoes with a stick up his ass and his gaze constantly turning to the past—even down to his costuming choices, and it’s a lazy choice to mine for easy comedy. Here, he’s back to his old (no pun intended) self, breaking rules and creating the witty comments himself, rather than being the oblivious subject of them. 

As Markus himself put it: “We also knew what we didn’t want to do, which was the grandpa story of ‘Oh my god, I’m in the future! What are these buttons? What do they do?’ It’s very tempting to go ‘Oh, this rock and roll…’ But he’s the most adaptive man on the planet. His brain’s been juiced, so he’s not going to be baffled for very long by your iPhone, so you have all those ideas first and then you’re like ‘Those are stupid.’”

At one point, Sam Wilson (Anthony Mackie) says, “You must miss the good old days.” 

“Well, things aren’t so bad,” Steve replies. “Food’s a lot better—we used to boil everything. No polio is good. Internet, so helpful. I’ve been reading that a lot trying to catch up.” Steve of The Avengers might have agreed with Sam, but his answer here is much more in character.

This isn’t to say that Steve doesn’t think about his past; in fact, the movie is chock-full of ghosts, living or dead, coming back to haunt Steve. He prowls his own exhibit at the Smithsonian just to get a glimpse of the people he’s lost, most noticeably his best friend Bucky (Sebastian Stan) and lost love Peggy (Hayley Atwell), and one particularly gut-wrenching scene involves Steve visiting a very old Peggy, now bed- and dementia-ridden. He’s adapted easily to the world around him, but he’s done so alone.

Still, he’s managed to carve a life for himself by working for S.H.I.E.L.D. and Nick Fury (Samuel L. Jackson), jumping out of planes without a parachute and demonstrating some exhilarating hand-to-hand combat. He’s assisted by Natasha Romanoff (Scarlett Johansson), her cynical outlook bounces off Steve nicely, as he remains an optimist at heart; her presence also lets the MCU feel more lived-in—it doesn’t always require an Avengers movie to have our heroes cross paths. 

However, Steve begins to grow uneasy with S.H.I.E.L.D. and especially Fury, whose compartmentalization rubs Steve the wrong way; Project Insight, in particular, makes Steve properly angry. The project involves three helicarriers that would patrol the skies and eliminate threats before they occurred, à la Minority Report (but with computers as the Precogs), in order to avoid another Avengers-type cataclysm. While Fury, always the pragmatist, expresses pride in the project, Steve points out, “This isn’t freedom. This is fear.” Steve chafed when the government prohibited him from helping the war effort in the 1940s, and here he chafes again at the terrible oversight the helicarriers would give S.H.I.E.L.D., refusing to compartmentalize and become like Fury. 

There’s no particular political ideology behind Steve’s constant balking at governmental orders (the closest Marvel has gotten to endorsing any particular political leaning is The Falcon and the Winter Soldier, and even that is vague enough to avoid ruffling most feathers); rather, there is simply a refusal to bend before authorities abusing their power, though things are much grayer here than in Cap’s first outing. The First Avenger preyed on sentimentality and nostalgia for the clear-cut morals of World War II, whereas Winter Soldier complicates things a bit by throwing Steve into a world where even the good guys aren’t so good, drawing on the spy thrillers of the 1970s such as The Parallax View and Marathon Man.

Alas, just as Fury begins to feel suspicious about the organization he runs, he gets knocked out of commission by the mysterious Winter Soldier. (Or “Wiener Soldier,” if you’re Sebastian Stan.) Steve and Natasha find themselves on the run from S.H.I.E.L.D., armed only with their wits, Steve’s shield, and a hard drive Fury gave to Steve before he got shot. The hard drive directs them to Camp Lehigh, the training camp Steve attended in The First Avenger, and so the two make their way there, Evans and Johansson’s long-standing friendship lending authenticity to their characters’ hesitant allyship.

Steve and Natasha’s friendship never attempts to be anything more, a refreshing change of pace when Nat has been shunted around seemingly at random between men. Had they been written to be romantic, it would have been believable (certainly more so than the Natasha/Bruce misfire in Avengers: Age of Ultron); their friendship, however, is even better, especially in a universe where any attractive man and woman who glance at each other seemingly must go to bone town.

Speaking of bone town, Winter Soldier provides our first glimpse of Sharon Carter (Emily VanCamp), aka Agent 13. Sharon, the grand-niece of Peggy, is Steve’s main love interest in the comics and a formidable character in her own right, at various points joining different Avengers teams and becoming director of S.H.I.E.L.D. Peggy in the comics stays relegated to the 1940s, an afterthought next to Sharon. However, in the MCU, Sharon is the afterthought—much more on this later, but suffice to say most of this film could be summarized with nary a mention of Sharon Carter, and that is quite a damn shame.

Winter Soldier serves as a decent enough introduction for her, despite her lack of screen time; even with the brief appearances here, had she been given a bigger role in Captain America: Civil War, she might have even let fans forget about Peggy. However, Sharon’s treatment in the MCU leaves a hell of a lot to be desired, and it starts in Winter Soldier, even though easy fixes are staring Markus and McFeely in the face: put Sharon in the Natasha role, as she is another spy whose experience could help Steve on the run; put Sharon in the Maria Hill (Cobie Smulders) role as Nick Fury’s right-hand woman; have her join Steve and Natasha on the run; have her be a part of Fury’s secret cabal who knows he’s in hiding after the attempt on his life. (Kevin Feige, if you’re reading this, please hire me. I can fix your problems with female characters.) Any of the above would have given Sharon a) more screen time with Steve (with whom she shares a grand total of three scenes) and b) more screen time in general. Alas, this is perhaps the best version of Sharon Carter we’ve seen in the MCU, and we barely see her at all.

Read More of Anna’s Ongoing Marvel Retrospective Series Here

But back to the story. At Camp Lehigh, Steve discovers a computer containing the electronic consciousness of Dr. Arnim Zola (Toby Jones), the Red Skull’s (Hugo Weaving) lackey from the first Captain America, who was hired on by S.H.I.E.L.D. as a scientist after the Nazis fell, presumably as a part of Operation Paperclip or the MCU equivalent. Zola secretly grew Hydra, the Nazi rogue science division he and the Red Skull were a part of, within S.H.I.E.L.D. until it spread to the top, including World Security Council secretary Alexander Pierce (Robert Redford). 

Pierce is a memorable villain precisely for how ordinary he is. He’s every high-ranking bureaucrat you’ve ever seen, operating on cool logic and played perfectly by Redford in an inversion of his role in Three Days of the Condor, back when he looked a bit like Steve Rogers. “What if Pakistan marched into Mumbai tomorrow,” he posits to a member of the World Security Council, “and you knew that they were going to drag your daughters into a soccer stadium for execution, and you could just… stop it. With a flick of this switch. Wouldn’t you? Wouldn’t you all?” All the deaths Pierce plans to wreak are smoothed over by good old logic, but at Project Insight as well as Hydra’s heart is fascism.

So Steve sets out to stop Pierce and Hydra, and he and Natasha join up with newcomer Sam Wilson, aka Falcon. Anthony Mackie has an easy charisma onscreen, and provides a bit of levity in one of the most serious Marvel movies out there, proving himself a valuable addition to the MCU (an addition which, of course, will only get bigger and bigger). 

When Sam tells Steve and Natasha his wings are locked behind a fort, they shrug and tell him it’s not a problem, and we cut to Sam having already procured the wings. One of The Winter Soldier’s strengths is its trust in its audience: it has a somewhat unwieldy plot for an MCU entry, but largely avoids huge exposition dumps and overly obvious reminders of the storyline. The audience has well-earned faith in these characters by now, and in turn this movie has faith in its viewers. 

The trio’s plan to use Hydra mole/fake S.H.I.E.L.D. agent Jasper Sitwell (Maximiliano Hernández, reprising his role), however, falls apart when the Winter Soldier and Hydra jump them. The ghosts of Steve’s past come roaring to the forefront as the Winter Soldier is revealed to be none other than his childhood best friend, Bucky Barnes, brainwashed and turned into an assassin by Hydra. While the plot elements from Ed Brubaker’s original comic run featuring the Winter Soldier are completely different, Winter Soldier the movie still contains the thrust of its character beats, including the now-iconic “Who the hell is Bucky?” line

Understandably, this revelation throws Steve into a tailspin. He seemed to have made peace—or at least a tentative treaty—with the modern world and the personal losses brought with it, but here comes a blow that knocks him completely out of orbit, a living ghost perfectly preserved as he was in the 1940s but missing that crucial spark of humanity, that easy smile and charm, replaced instead by the empty shell of a killer.

For a certain corner of the internet circa 2014, a corner largely populated by teenage girls, the Steve/Bucky relationship became an obsession: whether you viewed Steve and Bucky as platonic or romantic, it was everywhere—it was hot guys acting torn up and tortured inside, so what’s not to love? Sebastian Stan’s performance as Bucky in particular—a mostly mute performance, but one brimming with inner turmoil and a deep vulnerability underneath that expressionless assassin mask—sent ripples through the fandom corners of the web. “Stucky,” as it’s called, became a sensation, for better or worse, and lines like “Even when I had nothing, I had Bucky” and “I’m with you till the end of the line” became peppered over the internet. (The “ship” itself, of course, is harmless, and a way for some fans to create some LGBTQ representation for themselves, since the MCU has been severely lacking in that department, but some of its fans are something else entirely—but let’s table that discussion until Civil War, when the Steve/Sharon kiss drew their ire and coaxed out some very virulent misogyny.) 

For a character with only a handful of lines—despite being one of the two titular characters—Bucky makes quite an impression as the Winter Soldier, helped by his cool-looking metal arm and cool-sounding theme by Henry Jackman. The great showdown on the helicarriers as Steve and company bring down Hydra has its grand CGI moments, as Marvel is wont to do, but the final fight between Steve and Bucky feels more visceral and emotional than most MCU finales, full of stabbings and punches but also loss and grief intermingled with hope.

Bringing down Hydra, though, means bringing down S.H.I.E.L.D. as well, tossing away the whole bad egg. Taking down the organization that shaped much of Phase One is certainly a bold move; unfortunately, this will have more of an impact on the television show Agents of S.H.I.E.L.D. than the MCU, seeing as Joss Whedon will resurrect a helicarrier in Avengers: Age of Ultron and have a S.H.I.E.L.D. skeleton crew help with the mess at Sokovia. 

Still, it’s a huge leap for The Winter Soldier to take, and though it’s one largely undercut by the next big team-up movie (thanks, Joss!), at the time it felt like a Big Deal. It was a risk, and showed that Marvel was willing to blow it all up—even if the fallout from this and subsequent blowups is never as steep as we expect. The illusion of change, as I’ve discussed.

Even if the storylines of the MCU only veer so far off the side of the road, The Winter Soldier did permanently change the nature and perception of Marvel films. It lived more easily in its shared universe than Iron Man 3 or Thor: The Dark World, as it wasn’t afraid to bring in preexisting characters even as Captain America remains a focal point; it had big plot points with ramifications outside a teamup movie; most importantly, it showed that superhero movies don’t only have to be superhero movies. Post-Winter Soldier, the diversity of Marvel films flourished. We had the ’70s political thriller of Winter Soldier, and that paved the way for the action comedies of Guardians of the Galaxy or Thor: Ragnarok, for teen coming-of-age flicks like both Spider-Man entries, for Black Panther and Eternals

Yes, obviously there are common threads and tropes running through all of these films—you can only go so far with a monstrous corporation like Marvel had become by this point, especially one owned by Disney and concerned with remaining palatable to the masses—but Winter Soldier feels distinctly unique within the Marvel canon: tight, visceral, light on quips (it’s probably the least funny MCU film) but heavy on thrills, exciting action choreography, and character moments. It deftly balances the introduction of new characters (well, maybe not Sharon) that will shape the future of the MCU while ripping the rug out from underneath the existing ones, and brims with a fresh energy sorely needed after The Dark World. If Phase One was the birth of the MCU, Winter Soldier is where it grows up.

Groundwork: Marvel has no big master plan; rather, they plant seeds wherever they can in the hopes that some of them might one day germinate. None of these were planned from day one, lest the whole ship sink, but the seeds germinated nonetheless:

  • Not groundwork, but an easter egg that’s been pointed out many times before: the Bible passage quoted on Nick Fury’s fake tombstone, Ezekiel 25:17, doesn’t exist, and is a nod to Samuel L. Jackon’s Pulp Fiction character, who quotes this fictitious passage.
  • “Last time I trusted someone, I lost an eye.” This line of Nick Fury’s will be explained in Captain Marvel, which… hm. No comment.
  • The S.H.I.E.L.D. agent who refuses to initiate the Project Insight launch sequence also appears briefly in Avengers: Age of Ultron.
  • Oh, look, a Stephen Strange namedrop from Sitwell.
  • Robert Redford showing up in Avengers: Endgame was one of the most shocking cameos in a movie built on shocking cameos.
  • During computer Zola’s discussion about the Winter Soldier, a newspaper headline appears proclaiming that Howard and Maria Stark have died in a car accident, heavily implying that the Winter Soldier is the one that caused it. This will be an enormous source of conflict in Captain America: Civil War.
  • Batroc the Leaper (Georges St-Pierre), the leader of the pirates on the ship in the opening act, appears again in The Falcon and the Winter Soldier, which is fun. He does more leaping in that.
  • Steve’s notebook also appears in The Falcon and the Winter Soldier. Obviously that show takes a lot of cues and characters from this film, but some of the smaller ones are a bit less noticeable to a more casual viewer.
  • Both in this movie and the original Captain America, Bucky very briefly picks up Steve’s shield, a nod to his time as Captain America in the comics and foreshadowing in case the MCU decided to go down the Bucky-Cap road (which, of course, they did not, ultimately going with Sam Wilson, another shield-wielder in the comics).
  • If you stopped watching Agents of S.H.I.E.L.D. midway through season one because it was mediocre, the episodes set after Winter Soldier, when Hydra is revealed to have been inside S.H.I.E.L.D. all along, skyrocket in quality, and it keeps going up from there (generally). Just saying. They also do some time traveling in season seven and Project Insight plays a part in their travels.

Anna’s Favorite Scene: Where to begin? The hand-to-hand fight on the Lemurian Star, the “who the hell is Bucky?” fight on the highway, Robert Redford slapping around shirtless Sebastian Stan, the elevator fight, Natasha and Steve having a heart to heart which gives Natasha more characterization in two minutes than the entirety of Iron Man 2… the list goes on.

MCU Ranking: 1. Captain America: The Winter Soldier, 2. The Avengers, 3. Captain America: The First Avenger, 4. Iron Man 3, 5. Iron Man, 6. Thor, 7. Thor: The Dark World, 8. Iron Man 2, 9. The Incredible Hulk

Captain America: The Winter Soldier Trailer

Captain America: The Winter Soldier is currently available to rent and purchase on most digital storefronts, and is streaming on Disney+.

You can follow more of Anna’s work on LetterboxdTwitterInstagram, and her website.

MCU Retrospective: Captain America: The First Avenger

Written by Anna Harrison

In these retrospectives, Anna will be looking back on the Marvel Cinematic Universe, providing context around the films, criticizing them, pointing out their groundwork for the future, and telling everyone her favorite scene, because her opinion is always correct and therefore her favorite scene should be everyone’s favorite scene. Time to punch some Nazis!

75/100

Captain America has recently come under fire for a new comic from Ta-Nehisi Coates featuring the star-spangled man with a plan that criticizes the American Dream, with superhero actors Dean Cain and Kevin Sorbo accusing Marvel of politicizing Captain America. (This also comes after the villainous Red Skull was depicted with similarities to Jordan Peterson.) Yet, no matter where you stand on the controversies that have followed the Cap comics, from his conception Captain America has been a political construct: Joe Simon and Jack Kirby created Cap and had him punching Nazis in the face even before America had entered World War II. Pointedly, Cap has always tried to stand for what America should be, not what it is or has been (except for that arc where a Cap imposter was a Nazi, which caused no drama whatsoever). 

In the MCU, the movies have had to refrain from anything other than sweeping statements like, “Nazis bad,” or “government surveillance bad,” as they cater to a larger audience than the comics, but the spirit of Steve Rogers’ comic origins are still visible enough throughout his cinematic tenure, starting with the pleasantly old-fashioned Captain America: The First Avenger. (It’s also a lot easier to avoid issues of overly aggressive American exceptionalism when your bad guys are literal Nazis.) 

Part of its winsome charm comes from the 1940s setting, making The First Avenger Marvel’s first period piece—though don’t conflate it with the high-falutin dramas that usually populate the genre; it’s still first and foremost a superhero movie. Director Joe Johnston had already balanced these genres in The Rocketeer, so he seemed a natural fit for this MCU entry, and proves himself more than up to the job of balancing the time period with superheroics. It’s all very Indiana Jones. (While Johnston would only direct this film, screenwriters Christopher Markus and Stephen McFeely would become mainstays of the MCU.)

America has entered World War II, and Chris Evans’ Steve Rogers is raring to go fight the good fight but is hampered by his small frame (Leander Deeny acted as Evans’ body double for the first part of the movie, and the head grafting usually looks decent) and litany of health issues. His childhood friend Bucky Barnes (Sebastian Stan) has already been drafted, and Steve’s frustration has grown to where he has begun to lie on his enlistment forms in an effort to somehow join up. His determination to help in any way he can attracts the attention of Dr. Erskine (Stanley Tucci), a German scientist helping the Allies’ war effort by providing them with a serum to create a super soldier. 

Steve gets whisked away to Camp Lehigh in New Jersey, where he meets the prickly colonel Chester Phillips (Tommy Lee Jones) and the no-nonsense Agent Peggy Carter (Hayley Atwell). Marvel often casts unknowns in leading roles, or, if not unknowns, at least someone unexpected; in this case, Chris Evans was mostly known for romcoms and non-MCU Marvel’s Fantastic Four duds. To compensate for their lesser-known leads, the MCU will populate the roles around their heroes with big names: Jeff Bridges in Iron Man, Anthony Hopkins and Rene Russo in Thor, and, in The First Avenger, Tommy Lee Jones and Stanely Tucci.

These casting choices generally pay off, giving the audience someone new to fawn over while the veterans keep the performance quality high. Here, Tucci and Jones give some of the most memorable one-off Marvel performances; Erskine in particular, while only appearing in the first third of the movie, has stayed fresh in the minds of audiences: he is, after all, the one who lays down the ethos of Captain America: “Not a perfect soldier, but a good man.”

This isn’t to say that The First Avenger’s leading man falls short—not by any means. Chris Evans, in addition to being ridiculously good looking, is ridiculously charming; it’s hard to imagine anyone else in the role, though he initially turned down the role. Evans’ Steve is someone we all want to root for, representing that ideal American gumption and gusto without any of the country’s baggage. Yet while it could be easy to paint Steve Rogers as a goody two-shoes, as someone with a stick up his ass who probably goes to church each Sunday and buttons up his shirt all the way, the character we are presented in the MCU, and the one we are shown by Evans, is much more interesting than that (though Joss Whedon will fall slightly into caricature in The Avengers, unfortunately): the first thing Steve does in The First Avenger is lie. He lies on an enlistment form to boost his chances of helping the war effort, so the lie isn’t a nefarious one, but Steve still consistently bends or outright breaks the rules to follow his own largely unfailing moral compass; he has never been one to simply follow orders and do things by the book. He’s smart, too, and not just some tail-wagging Golden Retriever. If not quite as complex as Tony Stark or Loki, Steve still—to quote a certain green ogre—has plenty of layers. Good is not dumb, nor is it boring.

While Steve fails to impress physically, he proves himself worthy of the super soldier serum when he jumps on a grenade (unaware that it’s a dummy) to absorb its explosion while everyone else runs away, convincing even Colonel Phillips that he can handle the responsibility of Erskine’s super soldier serum. Howard Stark (Dominic Cooper) arrives to assist, a mirror image of his son: smart, suave, self-important, though with less of the guilt and self-loathing. 

Steve Rogers then gets really, absurdly ripped. If Peggy has already been attracted to his innate goodness, this surely helps that attraction along. 

Unfortunately (though maybe fortunately, so America wouldn’t have a race of blonde-haired, blue-eyed super soldiers…), any chance of recreating this effect is dashed when an agent of Hydra (Richard Armitage, who definitely should get brought back for a bigger MCU role), an offshoot of the Nazis, kills Erskine. Steve, instead of getting to sock Nazis in the jaw on the front lines, is then used as a tool of the government to get more war bonds; his tenure as the government’s dancing monkey gives us a great musical number and a chance to lampoon the government: they stifle the real spirit of America, instead packaging some propagandic patriotic prattle in song and dance and costumes. (Again, this “real spirit of America” is much easier to portray during World War II, with clear-cut bad guys. Later on, it gets a little bit more complicated.)

Only with Peggy’s encouragement does he break out and begin to actually do something with his power. Arnim Zola (Toby Jones) and Johann Schmidt (Hugo Weaving), aka the Red Skull, have been up to no good, capturing Allied forces—including Bucky Barnes—as part of their nefarious work for Hydra, so Steve ditches his role as senator attaché and goes to save his comrades. 

Where Marvel typically tries to tone down some of its comic book origins in order to make the movies more palatable, Red Skull’s design is ripped straight from the comic pages in all its campy, pulpy glory. The preceding MCU movies have all tried to ground themselves even as their subject matter gets more and more outlandish, resulting in something like Thor, which fails to commit fully to its otherworldly premise. The First Avenger marks the first time that Marvel fully embraces its source material: it’s good vs. evil, superhuman vs. superhuman, good old American boy vs. Nazi with a red skull. It throws any pretension away and basks in its absurd comic book glory, a much better movie for it.

To even out the absurdity, we have the very real relationships between the characters. Steve’s close connections with Bucky and the Howling Commandos (Neal McDonough as Dum Dum Dugan, Derek Luke as Gabe Jones, Kenneth Choi as Jim Morita, Bruno Ricci as Jacques Dernier, and JJ Feild as James Falsworth aka the superhero Union Jack, though only a normal guy in the films) give him an anchor; his relationship with Bucky in particular will remain important in the MCU and spark the imaginations of thousands of Tumblr and Twitter users, though it’s not given quite enough heft here.

The real heart of the movie, however, is Steve’s relationship with Peggy. Despite only being developed for one film, this relationship has proved to be one of the strongest in the MCU (perhaps too strong, but more on that with Captain America: The Winter Soldier and Avengers: Endgame), and due to Hayley Atwell’s vibrant portrayal, Peggy received her own spinoff show, Agent Carter, and appears in Winter Soldier, Avengers: Age of Ultron, Ant-Man, Avengers: Endgame, and two episodes of Agents of S.H.I.E.L.D. Peggy and Steve serve as the film’s beating heart, giving the ending a gut punch and real emotional heft that the MCU films have largely lacked so far. It’s a testament to the depth of these characters that they can carry such weight in a movie where the main villain looks like this.

Upon revisiting The First Avenger, it’s remarkable how well the film has aged; while Iron Man deserves props (or boos, depending on your view of the MCU as an entity) for kickstarting the MCU, it feels largely rote when compared against the slew of other films that come after. The First Avenger, on the other hand, has a unique setting, and while it still lays the foundation for future entries, the film is still largely self-contained. Reverberations from its events can be found all over the MCU, but it’s less concerned with setup for the future and more so with payoff for the now, making it a satisfying entry on its own. It can get a little too silly at times, but it’s always fun and upbeat, a reminder of what Captain America can look like without the 21st century cynicism he becomes riddled with in later entries. Looking back after ten years, this may hold up better than Iron Man—this is a spicy and hot take, I know—and certainly helped reset the trajectory of the MCU after some more lackluster entries, setting them on firm ground before they take a big risk with The Avengers.

Groundwork: Marvel has no big master plan; rather, they plant seeds wherever they can in the hopes that some of them might one day germinate. None of these were planned from day one, lest the whole ship sink, but the seeds germinated nonetheless:

  • Hey, it’s the Tesseract with an Infinity Stone inside. Wonder if that will be important later.
  • Hey, the Red Skull used aforementioned Infinity Stone and got sucked up into space. Wonder if he will show up later. (He will, but not as Hugo Weaving, who has been open about the pay disputes with Marvel that led to Ross Marquand appearing as Red Skull in Avengers: Infinity War and Endgame.)
  • Hey, no more super soldier serum exists. Wonder if anyone will make knockoffs and that will be important later.
  • Before the Hydra base is blown up, Zola rescues some blueprints for what looks like a robot, a nod to his comic look; in Winter Soldier, they will adapt this so that Zola lives through a computer program as a head on a screen.
  • Boy, sure hope hiring Zola and other Hydra members to help the United States doesn’t bite anyone in the ass.
  • There’s a common saying that “the only people who stay dead in comics are Bucky, Jason Todd, and Uncle Ben.” That has now been whittled down to only Uncle Ben, as Bucky gets revived as the Winter Soldier by Ed Brubaker, a fate that will befall our filmic Bucky as well (and Jason Todd is also alive now, coming back as the Red Hood in DC comics). No one knew at the time if The First Avenger would get a sequel or if it would even adapt the Winter Soldier arc, so they filmed two versions of Bucky’s fall: one where Sebastian Stan had a green screen sleeve on his arm, and one without. Though they ended up using the latter, Bucky will still appear sans an arm in Captain America: The Winter Soldier.
  • Howard and the Howling Commandos show up in Agent Carter, and some Howling Commandos show up in Agents of S.H.I.E.L.D. with Peggy. Will I be able to bring up S.H.I.E.L.D. in every retrospective? Stay tuned!
  • Kenneth Choi, who played Howling Commando Jim Morita, shows up in Spider-Man: Homecoming as Mortia’s grandson.

Anna’s Favorite Scene: Dr. Erskine and Steve have a chat before the procedure, producing that classic MCU line: “Not a perfect soldier, but a good man.”

MCU Ranking: 1. Captain America: The First Avenger (I welcome your Twitter arguments), 2. Iron Man, 3. Thor, 4. Iron Man 2, 5. The Incredible Hulk

Captain America: The First Avenger Trailer

Captain America: The First Avenger is currently available to rent and purchase on most digital storefronts, and is streamable on Disney+.

You can follow more of Anna’s work on LetterboxdTwitterInstagram, and her website.

Episode 84: VIFF Kickoff / The Devil All the Time / Sibyl / Siberia

“Life is what happens when you’re doing other things, right?”

Abel Ferrara

Links: Apple Podcasts | Castbox | Google Podcasts | LibSyn | Spotify | Stitcher | YouTube

This week on Drink in the Movies Michael & Taylor discuss their First Impressions of: The Trial of the Chicago 7 & Shithouse. Followed by The Devil All the Time, Sibyl, and the VIFF 2020 Official Selection Siberia.

We’d like to thank PODGO for sponsoring us this episode.
You can explore sponsorship opportunities and start monetizing your podcast by signing up here. And when you do let them know we sent you!

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Streaming links for titles this episode

The Devil All the Time on Netflix

Siberia is currently seeking distribution

Sybil is currently available to rent from multiple sources.

The Devil All the Time

Written by Nick McCann

84/100

As far as getting new releases, this year bites. It’s a good thing the streaming platforms all had full banks to deploy. Admittedly I’m still not all that enthused with Netflix originals, but the output has been steadily improving these last few years. This particular release captured my interest with it’s Appalachia aesthetic and emphasis on story.

The story covers a range of characters, places and time periods. I found it reminiscent of when films strove for artistic quality on top of pure entertainment. I was hooked all the way through. It moves along at a slow pace. In each situation we see the fates of these characters come to fruition. Fate is the keyword. As you feel the momentum build up to a crescendo, you also come to realize the title itself bears good meaning. For all the faith a person can have, their inner demons always rear their heads. This is an involving and thematically rich tale full of betrayal, lust and suspense.

There’s a great cast. Each does an excellent job justifying the part they play. Tom Holland leads with his most raw role to date. You feel for him instantly once he comes on screen as a young man shaped by tragedy and trying to get by in gritty surroundings. This is another reliable turn out by Robert Pattinson as a borderline mad preacher. You also get a scuzzy Sebastian Stan, Jason Clarke being creepy, a brief turn from Mia Wasikowska and more. It’s the kind of movie where I loved getting to know the characters and watching them come together.

On the technical side, the production design was convincing at realizing this setting. In a rickety looking past that’s full of character. The cinematography delivers too, lingering on moments of heavy emotion and moving with life when things get lively. The soundtrack and score help sell the immersion of its time period. It’s the kind of movie where I wouldn’t mind seeing a normal day go on in this community.

There’s some fleeting bits of action when the emotions and suspense start to peak. These sequences are well executed, building up to the absolute edge before ending as fast as they start. The one nitpick I have is you can see where they edit a frame out to sell a punch better. Still there are some hard hitting beat downs. Scenes with guns fare much better with an emphasized realism on the violence. The blood and make-up effects are good. Don’t take this as saying its action at every turn. When conflict arises, it feels natural and is appealing in how grounded it is kept.

If this were on physical media, I can see myself picking up a copy. The Devil All the Time is a solid character drama that takes you on a good haul with a flawed and vulnerable ensemble. The world the film paints around them, one of misinterpretation and corruption, is one I found enjoyable to get engaged with.

The Devil All the Time Trailer

Currently available to stream on Netflix

Episode 83: An American Pickle / She Dies Tomorrow / Waiting for the Barbarians

“Losing all the preconceptions that I had about storytelling, about the world, you know, and learning to see the world from a different perspective. It sounds romantic, but it’s not an easy process at all.”

Ciro Guerra

Links: Apple Podcasts | Castbox | Google Podcasts | LibSyn | Spotify | Stitcher | YouTube

This week on Drink in the Movies Michael & Taylor discuss their First Impressions of a duo of Netflix Releases in The Devil All the Time & I’m Thinking of Ending Things. Followed by the Titles: An American Pickle, She Dies Tomorrow, and Waiting for the Barbarians.

We’d like to thank PODGO for sponsoring us this episode.
You can explore sponsorship opportunities and start monetizing your podcast by signing up here. And when you do let them know we sent you!

Visit us on Twitter, Instagram, and Facebook

Streaming links for titles this episode

An American Pickle on HBO Max

She Dies Tomorrow and Waiting for the Barbarians on Hulu