Capitán América y el Soldado del Invierno
Captain America: The Winter Soldier
Captain America: The Winter Soldier
Cámara:
Trent OpalochReparto:
Chris Evans, Scarlett Johansson, Samuel L. Jackson, Dominic Cooper, Sebastian Stan, Anthony Mackie, Cobie Smulders, Emily VanCamp, Robert Redford (más)Sinopsis(1)
Tras los devastadores acontecimientos acaecidos en Nueva York con Los Vengadores, 'Capitán América. El Soldado de Invierno' de Marvel nos cuenta cómo Steve Rogers, alias el Capitán América, vive tranquilamente en Washington, D.C. intentando adaptarse al mundo moderno. Pero cuando atacan a un colega de S.H.I.E.L.D., Steve se ve envuelto en una trama de intrigas que amenaza con poner en peligro al mundo. El Capitán América une fuerzas con la Viuda Negra y lucha por sacar a la luz una conspiración cada vez mayor mientras hace frente a asesinos profesionales enviados para silenciarle. Cuando por fin se revela la magnitud de la malvada trama, el Capitán América y la Viuda Negra van a contar con la ayuda de un nuevo aliado, el Halcón. Pero deberán enfrentarse a un enemigo inesperado y extraordinario: el Soldado de Invierno. (Buena Vista International Spain)
(más)Reseñas (16)
El segundo Capitán América, sensiblemente trasladado al «presente», es más serio y lleno de acción más física. Se desarrolla principalmente en las calles (coches y tiroteos) y complace ver a Samuel L. Jackson liderando en la mejor escena. Pero la trama conspirativa no sorprende y en la segunda mitad se vuelve confusa. Además, en la segunda mitad también desaparecerá la diversidad inicial del entorno de las escenas de acción. Y tampoco ayudan mucho a las escenas de acción sus giros finales inventados de la nada (rescates de última hora desde cualquier lugar y de cualquier forma). Pero la curiosidad del espectador sobre la identidad de un villano interesante durará hasta el final. Él, con una conexión histórica con el Capitán, salva todo el contenido. Está bien como una gran diversión de cómic para desconectar la cabeza.
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Just as Three Days of the Condor and The Parallax View were responses to Watergate, the second Captain America can be seen as a Hollywood interpretation of the events surrounding WikiLeaks and the NSA. What Steve Rogers has in common with the protagonists of those films by Pollack and Pakula is that he doesn’t know what’s going on around him or who he can trust, thanks to which the filmmakers can further develop the “fish out of water” motif without copying The Avengers (where the new age was the main source of Rogers’s confusion). Besides the inwardly focused disillusionment of those 1970s thrillers, recalled through the iconography of Washington, the casting of Redford and the music, this new Marvel flick contains a bit of the Cold War conservatism of movies – such Rambo (especially the first and third instalments) and Rocky (which The Winter Soldier recalls at least with the filming of the opening run) – that championed direct physical action over data analysis. Again, just as in the first, intentionally old-fashioned Captain America, the traditionalist protagonist takes on references to films with a different value base than that on which contemporary society stands. However, those values are not so clear. Only the final third of the film is unambiguous. With regard to the protagonist’s application of straightforward military logic, the restoration of calm does not involve diplomatic negotiation, but large-scale action that becomes less clear the more the characters go at each other (raw firefights in the streets in the style of Heat thus replace fights in which the action is created solely by editing, music and sound rather than by movement). The spy games with a touch of paranoia after the originator of the “contagion” has been revealed – with the use of black-and-white framing similar to that used today by the Russian media to justify the annexation of Crimea – can come across as hypocrisy in a film that outwardly express unease about a cynical system while actually defending its ideology. However, this reading is at least partially called into doubt by the closing repudiation of some of the old structures. At the stylistic level, I enjoyed the smooth (perhaps even too smooth) transition from brisk political thriller to conservative superhero adventure and I take it as evidence of the effort to not rely solely on the guaranteed teenage target group, but to also appeal to new viewers. And the film appeals to female viewers more imaginatively than other comic-book adaptations. Not even one of the three female characters has an identity derived from a male character (though there is a romantic subplot, there is no time to develop it), there is no sexualisation of the female body and all of the heroines are as comparably independent and courageous as their male counterparts. In summary, I don’t think that The Winter Soldier (whose titular character, incidentally, wouldn’t even have to be in the film and doesn’t have much of an impact on the plot) was such a safe bet as it may have seemed and or could have afforded to be. 85%
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For Marvel, good. I’m usually not a fan of this colourful conglomerate of comic book superheroes, but The Winter Soldier is (unlike its predecessor) a solid action blockbuster that entertained me a lot. The theme is relatively interesting and stimulating, though Marvel’s habit of “not going too deep” can make it frustrating at times with how superficially and simply the political, philosophical and technical aspects of the of the script are presented. But, as a summer blockbuster for the masses, it works fine. So, as I say, for Marvel, good. Next, on the umpteenth episode of your favourite series…
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Marvel is a cult, outwardly accessible to everyone and open to unconventional souls for whom building their universe may be the ultimate peak stint. Yet inwardly, it is bound by the hard doctrine of Kevin Feige's infallibility and unwillingness to let go of the reins of even one brand. Cap steps into it quite uncompromisingly and holds on for a long time. The contact fights are once again cool, the plot is not a stupid rehash of traditional clichés, and the main villain enters with a really unprecedented vigor (excellently supported by Jackman's musical theme). The bad thing is that the grand rules of destruction have to be respected and in the end, everything collapses into a traditional 0 1 mess and the thriller game in the old-world tone becomes bitter in but a few moments (moreover, it stops being clear). I believe the Russo brothers had a very free creative hand on set, but the concrete dramaturgy for years to come must inevitably lead to hell. [I'd be quite interested to see how Shane Black zigzagged in IM3, as he more or less manages it here for almost 100 minutes].
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First of all, interpreting the first half of Captain America through the prism of the espionage genre requires a relatively high degree of tolerance for the reckless and simply transparent twists, but which, I’m afraid, also leads to disappointment about halfway through, when inevitability comes to the fore and the Captain reminds us that he can hardly break the Avenger’s rules (in a way, the IM3 twist is much more subversive, but it somehow fits into the humorous style). In other words, for me, this film maintains a stable level of simplicity. To perceive it as a subversive and overlapping moment, when the symbol of American war propaganda plays out on the aggressiveness and unscrupulousness of US foreign policy, requires a certain degree of leniency. The true and authentic values are not particularly endangered, because the main character carries them from beginning to end. In this respect, Marvel films do not test the integrity of their heroes much and they bend the world to their image (no one is going to tell me that not only is contemporary America troubled by the snooping of citizens and "leaks", but also by the problem of internal enemies and denazification). But no more criticism. This is truly a superstructure that one can / does not have to build. Otherwise, the Captain ticks off the Marvel blockbuster box par excellence. The film has the best directed action of the entire Avengers series (great kinetics and physical contact surprisingly survive without opacity and 3D glasses). In his muscular version of Grandpa Simpson, Chris Evans still finds enough fragility and goodness, the supporting characters have their "careful magnetism" and this time the storytelling does not suffer from overlong exposition. Although it makes it difficult for me to get emotionally hooked on it, I still have a good time. Definitely one of the three best Avenger films. [75%] P.S. Out of competition: isn't the Marvel Universe a little too divergent and unmanageable? Terrifying destructive objects levitate in the air, and one wonders ... where the hell is Tony Stark?
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A movie with two different halves. In the first, Marvel departs from its usual, inoffensive colorful safe family content into as yet unexplored waters of the more seriously-inclined comic book movies like those from DC. And believe it or not, this does the Captain unexpected good; the hand-to-hand, nineties style action is exactly what Marvel movies so badly needed. Unfortunately, everything falls apart after the bunker in New Jersey when the movie suddenly turns into a parade of one dumb deus ex machiny after another. Which wouldn’t necessarily have to matter in a standard, painted “ha, ha, ha" Marvel cartoon, but it seems really out of place here. When you add the unnecessarily disproportionate length, the unused potential of certain characters and with regard to all preceding contact action in the form of utterly unsuitable, commonplace CGI, editing-party finale, then... This way, this is certainly a good Marvel movie (and one of the three best so far), but nothing more. And the pleasant first half promised “more" in a style that I have been waiting for from Marvel since the first Iron Man.
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The environment and era are changing, forgetting any idealism in terms of genre, moving from a number of surprising twists – and yet it's still number one. In the lead role remains a dedicated heartthrob, who you can't help but root for, and if I had to jump into any war, let it be the one where this guy is standing by my side. He is capable of clarifying the shadows of the past, lighting up the thickening future, and, in collaboration with the amazing Black Widow and the lovable Falcon, delivering lines in one continuous sequence against the backdrop of perfect action. Many may find plenty of mistakes in this comic book world, but I will not join them. A sixth five-star Marvel film in a row is no coincidence.
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The Captain’s second stop will wipe the grin off the faces of most doubters. A pithy techno-thriller atmosphere starts the opening unbelievably. Well, opening... The first half hour is perfect, crowned by the fight on the freeway which takes your breath away in Heatstyle. The ending then heads into familiar Marvel waters and in a raunchy finale it easily abandons the endeavor to do it slightly differently. Nothing exceptional, but never mind. Evans was born for the role of Steve Rogers, but I hope the Winter Soldier gets his own movie some day, or else they’ll deal with it comic book style (if you read it, you know what I mean ;-) because it... I mean he has the mojo for it. Redford disappointed me a little for not being the man I thought he was, and with the final confrontation. The Russo brothers are on an outrageous roll and maybe it’s thanks to Opaloch’s dynamic camerawork, but the action is a feast for the eyes. The moments where the story diverges from the comic book are interesting, offering many interpretations of things to come. The glance into the Age of Ultron also lured into and hinted at the dark atmosphere I mentioned above. Sock to me, I want more.
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Boring, boring, grey. There was some effort put into it, though. However, cinematic Marvel adventures set in the present are for a different target audience. I prefer to have some of that sequential art, as the film version of The Winter Soldier only served to make me cry over Steve and Peg's reunion. That was really touching. Other than that, I didn’t even enjoy Robert Redford, and that's saying something.
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The first one introduced us to the subject and allowed us to get to know the main character in a relatively interesting and unconventional retro-futuristic affair, but it adhered a bit too much to the shallowness and straightforwardness typical of comics. The sequel is more complex and works much better as a standalone film. In fact, it's an upgrade of 100 percent. It has plenty of references to war and espionage, excellent antagonists, great timing in shots and surprisingly even in action scenes. The action itself is phenomenal, with beautifully coordinated visuals, editing, and sound that formally present depict the protagonist's supernatural abilities. And they achieve all that even without a ton of slow-motion shots and various other auxiliary tricks. The only drawback is the pathos towards the end and the piano, which had no business being there. An outstanding episode and a great taste of what's to come with the coming Avengers, etc.
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Except for the captain's character (and nature), it's completely different from the first film... And just as great. Or maybe even a little better. The cute nostalgic retro is replaced by a digital "present", in which a hero from the 1940s solves a conspiracy from the 1970s. The most frequent criticism of the cluttered and chaotically edited action doesn't apply to me - maybe it's because I've seen it in 2D, but all the scenes seemed perfectly clear and elaborate to me. I also liked how the directors referenced classic flicks like The French Connection (Fury's car parade), From Russia with Love / Diamonds Are Forever (the Captain's amazing elevator fight reminded me of both Bond's train compartment fight from the film From Russia with Love and his elevator fight from Diamonds), as well as the references to Interviews, Three Days of the Condor and the like... It’s fun, fun, fun. Grateful humor perfectly mixed with more serious moments, excellent characters. And it doesn't bother me at all that the originality was slightly lost towards the end and the second Captain became a 'regular Marvel movie'. Not at all, because it was still extremely fun. The technical side is probably not worth praising any more than it has been - the special effects are exactly the kind of discharge we are used to from ILM, and the helicarriers look absolutely divine and it is hard to imagine that such a thing really exists. My only complaint is Jackman's non-music, because Captain America has an excellent Alan Silvestri theme, and it was only used here at the beginning and never again. Just Jackman's pseudo Zimmerian filler.__P.S. Thanks to the writers for including Peggy Carter in the plot at the end, it's such a beautiful scene!__P.P.S. The mention of Strange made me so happy, and I had no idea what was coming during the credits.
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The second Captain America was a surprise. I was surprised that, with the exception of the last ultra-loud twenty minutes, the expected action was quite neglected and the popular total destruction somehow failed to appear. But what surprised me even more was how they managed to patch up all the quiet dialogue interludes with a nicely constructed and interesting story. This is further proof that Americans are huge fans of conspiracies and secret political machinations, and moreover, I was personally very pleased that the director and writers chose the best available means of inspiration. And as a result, Captain America: The Winter Soldier is far more than an ordinary, dollar-crunching adaptation of the coolest comic book, it also quite ingeniously sends an arrow into a target full of classic spy thrillers, whose protagonists are left to themselves in burning ignorance of whom to trust and whom stay away from (let the presence of Mr. Redford speak for itself). But other than that, content aside, it's a very decent comic book ride marked by beautiful effects, dynamic camerawork, a damn cool soundtrack and beautiful over-the-top action scenes that, filmed in reality, would result in the death of the entire crew within the first two hours of shooting – but that's par for the course. Of course, it's hurt a lot by cloying jingoism, one-dimensional characters and a tidal wave of final patheticism, but just for having the courage to make a serious, politically tinged blockbuster, I'll ignore those minor flaws and give it a nice and happy 4*. And we carry on.
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Several long decades have passed since the events of the first episode, which shifts the story of the second Captain America to the present day, but the film has not lost any of its old-school charm, on the contrary, it has gained. There are more Avengers already appearing in the film, the plot is more layered, complex and interwoven with the stories and fates of the other heroes (and their films), while there is an unexpected return of a hitherto bland character from the first Captain America that significantly stirs the levels there. I'd compare this sequel to The Avengers in terms of quality, atmosphere, craftsmanship, and a proper level of action (and occasionally, humour). In short, a sequel that surpasses its predecessor, setting the stage for more cinematic hits from the Marvel Universe.
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Mis presentimientos y las recomendaciones de mis amigos no me decepcionaron. La segunda parte fue más exitosa que la primera. Acción, suspense, impactante y Captain America junto a Black Widow encajan perfectamente. Sus enemigos también se presentan de manera impresionante, por lo que podemos disfrutar de una trama sencilla pero fascinante. Estoy emocionado/a por la tercera parte.
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First and foremost, I would like to thank FilmBooster for allowing free screenings for fans in České Budějovice. I wasn't particularly excited about this film, even though I still follow comic book adaptations and intend to see them. The second film with Captain America, which by the way has a terrible Czech title - why not keep "The Winter Soldier" when the comic was also released in Czech? - didn't surprise me in any significant way, only that it was good entertainment. It is a fairly straightforward film where you can guess all the major twists, but it's simply a spectacle. And as such, it succeeded. Your favorite characters are here, there is tension, massive action, and ultimately even bonuses that mainly fans will enjoy. They will recognize each other because they wait until the end of the credits. Surprisingly, there weren't so many of them. Well, a free film attracts anyone. "Captain America: The First Avenger's Return" is exactly what you want - fun, mostly not boring, and epic.
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In most aspects, the second Captain is two levels above its predecessor. First of all, his character is more believable here, he comes across as realistic, and Steve's often simple(ton) naive idealism is great (especially since he himself genuinely believes in it and isn't afraid to fight for it). The time-shift from the first installment paces well, as the current modern/digital/post-truth (to each their own) times bring new risks (asymmetric engagement) and confronting Marvel superheroes with these very topical issues (while Iron Man was purely about guns for a change) is believable and a decent reflection of the reality of the contemporary world. Thus, the return of The First Avenger is one of the best crafted comic book adaptations (in terms of quality, I would venture to rank it behind Snyder's brilliant Watchmen and Nolan's The Dark Knight), which continues to straddle the line remarkably between entertainingly colorful comic book action romp and existential thriller (it should be noted that the final impression of the second Captain is not as oppressive as that of the aforementioned Watchmen and The Dark Knight). I also can’t forget that The Winter Soldier is one of the best Marvel movie villains ever.
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