MCU Retrospective: Spider-Man: Homecoming

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. Are we sure this isn’t a John Hughes movie? (Yes, we are.)

80/100

Spider-Man: Homecoming is the sixth live-action Spider-Man movie to be produced since 2002. A decade after the original Sam Raimi Spider-Man, and only five years since Spider-Man 3, Marc Webb directed The Amazing Spider-Man, closely followed by The Amazing Spider-Man 2, which performed well below expectations and quickly tanked the burgeoning Sony Spider-Man universe. (For a refresher on Spider-Man rights and Sony, click here.) So, finally, we wind up here: Spider-Man: Homecoming, directed by Jon Watts and starring Tom Holland as the titular web-slinger, finally a member of the MCU. It really did feel like a homecoming, and to have Spidey folded into the MCU proper seemed a much better use of his character than Sony’s floundering attempts to make their own universe (though Marvel being forced to rely on their lesser-known characters such as Iron Man to kick things off certainly helped keep them on their toes as they started this endeavor). But how to differentiate this Peter Parker from Tobey Maguire and Andrew Garfield?

The first answer: ditch the origin story. Have Peter’s parents and his uncle Ben be long dead. There’s no “with great power comes great responsibility”—we got our version of that in Civil War, but from Peter himself: “When you can do the things that I can, but you don’t, and then the bad things happen, they happen because of you.” Everyone had been inundated with Spider-Man origin stories for a decade-and-a-half. Everyone knew Peter Parker’s parents died in a plane crash, and that Uncle Ben bit the bullet afterwards. By respecting the intelligence of his audience, Jon Watts trimmed any excess fat so we could jump right in with Peter (of course, Peter’s appearance in Captain America: Civil War helped, making doubly pre-established by both pop culture at large and the MCU). 

Who is our Peter, though? His origin story might be cut, but is he just going to go through the same plot beats as his predecessors? And so we arrive at the second answer: have this Peter actually act like a 15-year-old. Tobey Maguire and Andrew Garfield were 26 and 27, respectively, when they first played their Spider-Man, and by their later entries they were 30 and older. Tom Holland was 19 when he was first cast in Civil War, and his small stature and bit of a baby face let him pass as a high schooler much more easily than Maguire or Garfield. But it’s not just his appearance that makes MCU Peter seem so much younger than his counterparts: it’s him getting excited over a LEGO Death Star, jumping on the bed, awkwardly trying to impress the girl he likes, struggling to look intimidating to criminals, walking down the halls and seeing excruciatingly awkward student news, making a jumprope out of web when he gets bored.

He even starts the film by making a vlog about his time in Germany during Civil War, and if his overeager, fast-talking nature doesn’t immediately win you over, then I don’t know what to tell you. Bright-eyed and bushy-tailed, Peter jumps at the chance to be an Avenger, and even after months of no contact from either Tony Stark (Robert Downey Jr.) or Tony’s head of security, Happy Hogan (Jon Favreau), he still bolts to get into his suit after the last bell rings and leaves long voicemails for Happy detailing the bicycle thefts he stopped that day. The realization that he’s just a kid is almost overwhelming, especially when he’s silhouetted against the enormous backdrop of New York City.

His interactions with Tony and Happy provide the third answer on how the MCU sets their Peter apart: have him immediately connected to the universe at large. This is a solo movie, but it’s one that never lets you forget you’re watching an interconnected world, as Peter spends so much of his time trying to live up to Tony Stark (Robert Downey Jr.). Grappling with the expectations of the adults in his life not only gives Peter a good arc and characters to butt heads with, but also reminds everyone that there is a world outside. (Chris Evans also makes a cameo in his ridiculous, ear-less suit from The Avengers that perhaps eclipses even his Loki impersonation in Thor: The Dark World.)

Read More of Anna’s Ongoing Marvel Retrospective Series Here

Peter has been spending a bit too much time thinking about the world outside, though, to the point where he even quits his last remaining extracurricular, the academic decathlon, much to the chagrin of his friend, Ned (Jacob Batalon), and the team captain, Liz (Laura Harrier), whom Peter has a raging crush on. Luckily, the MCU has never been one for secret identities and the long, drawn-out dramatics they entail, and so Ned finds out very quickly about Peter’s double life, though it’s still hidden from Peter’s aunt May (Marisa Tomei) and the rest of his classmates, including bully Flash Thompson (Tony Revolori) and loner Michelle Jones (Zendaya). 

Despite Tony’s advice to be a “friendly neighborhood Spider-Man,” we can’t watch Peter eat churros on rooftops all day, and so Peter soon stumbles upon a weapons deal between Jackson Brice (Logan Marshall-Green), Herman Schultz (Bokeem Woodbine), and Aaron Davis (Donald Glover); however, these weapons are no ordinary guns. Peter confronts Brice and Schultz after they pull their weapons on Davis, and a merry chase ensues that lovingly rips off Ferris Bueller’s Day Off

Soon, however, a Vulture sweeps down from the sky, and Peter gets introduced to the film’s villain, Adrian Toomes (Michael Keaton, who loves playing his bird-inspired roles). Toomes, as with so many Marvel villains, owes his origin story to Tony Stark: he and his salvage company were hired to clean up New York after the events of The Avengers, but when Tony partnered with the U.S. government to assist the efforts, the Department of Damage Control came in and seized Toomes’ job, leaving him high and dry. Toomes managed to steal some Chitauri technology and create weapons with it, and soon found himself wealthy, with high-powered weapons and a big bone to pick.

Peter only makes it out of this confrontation alive because Tony sends one of his suits to help, but he insists on taking down Toomes himself to prove his worth as an Avenger; after various fun sequences, including a delightful montage of Peter discovering all the high-tech things the suit that Tony gave him can do, he follows Toomes to a weapon deal on the Staten Island Ferry. His overeagerness proves his undoing, however, and in his rush to stop Toomes, he foils an FBI raid (one called by Tony) and fails to stop a weapon from slicing the Staten Island Ferry in half, yet again needing to be saved by Iron Man.

The ensuing verbal beatdown between the two is a fantastic little scene, with Downey making the most of his very limited (and very expensive) screentime. When Tony calls Peter 14 and he weakly protests, “I’m fifteen,” he absolutely feels 15 in a way that no other onscreen Spider-Man has. He feels very, very small. “This is where you zip it, alright? The adult is talking,” Tony snaps. 

Much of Homecoming’s strength lies in its willingness to not only be a superhero film, but a coming-of-age dramedy; Watts does a tremendous job integrating the life-or-death stakes of Spider-Man’s world with the high school drama of Peter’s world (after all, high school certainly feels life-or-death at the time), and the resulting balance is by and large superb. The MCU is at its best and most creative when it stretches the superhero genre and fits it into new shapes, such as Winter Soldier’s political thriller and here, where Homecoming takes a cue from John Hughes. While the other Spider-Man movies were set in high school, they seem only to acknowledge the fact obliquely; here, Watts neatly marries Peter’s coming to terms with his newfound power with his coming-of-age, making them one and the same. They don’t just happen to coincide, they’re entangled with each other, and it makes for a well-structured, more engaging story. (One that even gives Tony some more depth, too: Peter says, “I just wanted to be like you,” and Tony replies, “And I wanted you to be better.” Tony, go to therapy, buddy.)

And so Tony scolds Peter like the child he is and takes away Peter’s suit. Peter, with nothing else to do, begins to pay more attention to his high school life—he even works up the nerve to ask Liz to the homecoming dance, and she accepts. Things seem to be looking up, if not looking as exciting, for our hero. Until, that is, he goes to pick up Liz for the dance and discovers that her father is none other than one Adrian Toomes, a twist that blindsides both the viewers and Peter himself.

The resulting car ride to the dance, as Peter tries to keep his cool and figure out how much Toomes knows, and as Toomes slowly begins to realize that his daughter’s date isn’t just a nervous 15-year-old, is among one of the tensest scenes in the MCU. Keaton is fantastic, and cements himself among the best Marvel villains (the bar is middling, but still): he easily switches from loving father to merciless killer in seconds, and the flicker in his eyes as he realizes Peter’s true identity—and the stoplight changes from red to green—is eerie. He gives Peter one last chance, though, and offers to let him go if he promises to leave Toomes alone. But with great power comes great responsibility, and so Peter ditches the homecoming dance and goes after his date’s father. (We have pretty firmly left John Hughes territory at this point.)

Vulture, like Michael B. Jordan’s Killmonger in Black Panther, is one of those Marvel villains whom the movie has to go out of its way to establish as a murderous bad guy, because otherwise we would sympathize with them too much. When Peter points out that “selling weapons to criminals is wrong,” Toomes retorts, “How do you think your buddy Stark paid for that tower, or any of his little toys? Those people, Pete, the rich and the powerful, they do whatever they want. Guys like us, like you and me… they don’t care about us. We build their roads and we fight their wars and everything… We have to pick up after them. We have to eat their table scraps.”

Everything Vulture says is true. Were he not been attempting to kill a 15-year-old kid, he would be quite reasonable; in fact, he might even be likeable. Yet the validity of his points goes undiscussed—at least in Black Panther, Wakanda found a way to help execute Killmonger’s dream, just in a different way (though the effectiveness of that way—through United Nations bureaucracy—could certainly be questioned, and how exactly they plan to eliminate oppression remains vague and politically formless); here, neither Tony nor Peter acknowledge the root of Toomes’ grievances. They make him a compelling villain, but it would make for a more compelling film if Toomes’ motivations had any effect on Peter. As it happens, they glance off Peter even though they should force him to do some serious self-reflecting on his mentor, especially as Peter himself comes from a lower socioeconomic background, something which typically informs much of his character. But the MCU version of Peter Parker, helped by wealthy benefactors, largely skates around this issue and never disrectly addresses his financial state; in fact, Civil War does a better job at this than Spider-Man’s titular movie, so what could and should cause inner conflict for Peter only serves to make Toomes a more interesting antagonist, doing nothing for his heroic counterpart.

Even if this dynamic gets underexplored (a frustratingly common theme with Marvel films and their villains, but alas), the mano-a-mano beatdown between Spider-Man and Vulture is exhilarating and anxiety-inducing—perhaps even tear-inducing as Peter, having been buried under piles of rubble by Toomes, cries out for help, and we are once again reminded of just how young he is. If Tom Holland was superb at playing the comedy towards the beginning of the movie, he’s even better here: Peter hyping himself up to push away the rubble by yelling, “Come on, Spider-Man!” is not only a reference to this comic scene, it’s a beautiful encapsulation of his character arc in this movie. Even without his fancy suit, even in glorified pajamas and buried under a mountain of concrete with blood caked everywhere, Peter is a superhero. “If you’re nothing without the suit, then you shouldn’t have it,” Tony tells him earlier in this movie. Well, he certainly isn’t nothing, not anymore. (And yes, it’s very interesting that Tony, who relies so heavily on his suit, is pushing his protégé to be more than one. “And I wanted you to be better” indeed…)

Though charged with the unenviable task of reinventing Spider-Man for the third time within 15 years, Spider-Man: Homecoming rises to the occasion with aplomb, bolstered by a damn good performance from Tom Holland—though the franchise and character comes with a hell of a lot of baggage and expectations, Homecoming meets all of them beautifully, smoothly introducing Spider-Man to a new generation of moviegoers while simultaneously setting itself apart enough to appease older fans wary of another rehash. It’s a Marvel movie comfortable enough in its own Marvel-y skin (and free enough of behind-the-scenes drama) to tinker with the formula a bit, and the result is a joyous romp through adolescence with the added bonus of superpowers. What’s not to love?

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 “8 Years Later” title card at the beginning of the movie caused a lot of head-scratching when it first came out. Adrian Toomes was cleaning up after the events of The Avengers, which was in 2012, and so eight years later would mean Homecoming takes place in 2020, which makes zero sense as it’s supposed to pick up right after Civil War, which came out in and was set in 2016. It was only years later that this was rectified (sort of), and even then… why don’t you just retroactively change the title card to “4 Years Later”? Is it that hard? How did this happen when you have so much money? I could have fixed it, if only Kevin Feige would hire me! I am available, Kevin!
  • The principal of Peter’s high school, Principal Morita, is the grandson of Howling Commando Jim Morita from Captain America: The First Avenger, whose picture is on the wall in the principal’s office; both are played by Kenneth Choi.
  • A painting of Howard Stark (the John Slattery version, not Dominic Cooper) is seen in a mural at Peter’s high school, and a picture of Mark Ruffalo’s Bruce Banner hangs in his science classroom.
  • The guy (Zach Cherry) who yells at Spider-Man to “do a flip” appears in Shang-Chi during the bus fight and busies himself with livestreaming the fight around him.
  • Aaron Davis is known as the villain Prowler in the comics and is the uncle of future Spider-Man, Miles Morales. (Donald Glover’s appearance is likely a nod to his campaign to become Spider-Man in The Amazing Spider-Man and his voice role as Morales in the animated Ultimate Spider-Man TV series. Here’s hoping the MCU Spider-Man movies bring him back and don’t let Donald Glover go to waste.)
  • Jennifer Connelly voices Karen, Peter’s “Suit Lady,” and is married to Paul Bettany, who of course got his MCU start by voicing J.A.R.V.I.S., Tony Stark’s “Suit Man.”
  • Martin Starr plays Peter’s teacher Mr. Harrington, who apparently went to Culver University in The Incredible Hulk. (This is definitely just one of those coincidences that the Marvel heads just kind of rolled with and said that Starr’s character in The Incredible Hulk was just a young Mr. Harrington, just like how Marvel said that of course that kid in Iron Man 2 was Peter Parker all along. Sure, why not?)
  • Michael Mando’s Mac Gargan, known as Scorpion in the comics, has a rather sinister (ha ha ha) post-credits scene, but nothing’s come of that (yet).
  • Angourie Rice plays Betty Brant, though I don’t believe Betty’s name is ever said in the movie, but she’s important in the comics.
  • My friend Hannah is clearly visible as an extra in the gym and homecoming scenes. She probably won’t ever read this and will never know I name-dropped her, but I did.

Anna’s Favorite Scene: I’m cheating and saying three: the Tony and Peter confrontation after the Staten Island Ferry incident (“Oh my god, it’s Robert Downey Jr.!”), Vulture driving Peter to Homecoming, and the “Come on, Spider-Man” scene.

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

Spider-Man: Homecoming Trailer

Spider-Man: Homecoming is currently available to rent or purchase on most major VOD platforms.

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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+.

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