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.

VIFF 2021 Review: The Electrical Life of Louis Wain

Written by Anna Harrison

75/100

Will Sharpe’s The Electrical Life of Louis Wain has all the features of a typical biopic: a cast of well-respected British thespians, including Benedict Cumberbatch as the titular Louis Wain, a clear life trajectory for our subject to follow, and some nice period costumes to boot. Yet The Electrical Life of Louis Wain, like its protagonist, has something else, too—a certain spark, an unwillingness to entirely play things by the rules—that elevates it above your standard, stuffy British fare.

Louis Wain would go on to become known for his paintings of cats, both anthropomorphized and not, but starts the film doing illustrations of livestock shows for Illustrated London News’ editor, Sir William Ingram (Toby Jones), trying to stretch what he earns far enough to provide for his mother and five sisters while paying the salary of their new governess, Emily (Claire Foy). Louis, whose mind is rather more preoccupied with his illustrations, pending patents, and opera librettos than with the family finances, finds himself drawn to Emily, and Emily likewise to Louis. Their courtship is bumbling and awkward, sweet and charming, but it causes eldest sister Caroline (Andrea Riseborough) to seethe at the impropriety of it all.

Vancouver International Film Festival 2021

The two nonetheless get married and settle into a blissful married life—so blissful, in fact, that many moments of their life rather resemble paintings, and the line between reality and fantasy blurs. Cinematographer Erik Wilson adds to the whimsy, and so despite Louis’ recurring nightmares and troubled mental state, things are cheery and beautiful; however, when Emily finds herself diagnosed with breast cancer, that whimsy begins to fade. To cheer his wife’s spirits, Louis takes to painting pictures of their adoptive stray cat, Peter, and at Emily’s urging, shows his work to Sir William, who takes an immediate liking to the art. Louis’ art begins to take off, but his financial state and mental health decline. 

Cumberbatch plays to his strengths here, though the frequency with which he plays other tortured geniuses means that some of his good work as Wain threatens to become routine or familiar, only because he’s done it so often before. That doesn’t mean he becomes complacent by any means; in fact, he also serves as executive producer, and the passion for this project is palpable. Foy gives an equally compelling performance as Emily, and the rest of the cast proves up to the task as well; simply sit back and watch the rest of the cast, from Nick Cave to Taika Waititi to Olivia Colman, do their work.

Where other biopics might resort to overwrought melodrama as Louis’ circumstances begin to change for the worst, The Electrical Life of Louis Wain keeps no small amount of charm; Louis begins to imagine his cats talk to him, and Sharpe and co-writer Simon Stephenson add subtitles to voice the cats’ thoughts, which are appropriately cat-like in their humor. The film approaches Louis’ worsening mental state with kindness—a change from many Oscar bait biopics, which wring every ounce of misery possible out of their leads—and, while the interludes in which the audience is transported into Louis’ dreams and nightmares might have varying degrees of success, Sharpe always treats his subject with tenderness. It’s this sincerity that picks the film up when it might otherwise stumble; like its protagonist, while it’s not perfect, The Electrical Life of Louis Wain offers something to the world that’s worth having.

The Electrical Life of Louis Wain Clip

The Electrical Life of Louis Wain was screened as part of the Vancouver International Film Festival 2021.

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.