We watched Captain America: Brave New World. Technically perfect, but empty inside

Captain America: Brave New World has been out for a week, but the internet's reaction is surprisingly tepid. However, this was expected. The key innovation of the 38th film in the Marvel Cinematic Universe was the change of the main hero — Sam Wilson took Steve Rogers' place. We went to the screening with zero expectations, but it still managed to surprise us. We share our impressions in this article!

Let's emphasize that the author of this text has no issues with Anthony Mackie replacing Christopher Evans. Like the late Chadwick Boseman, he proved that he can exist organically in the Marvel Cinematic Universe. Both confidently fit into their assigned roles and complemented the superhero mix well. Therefore, we consider the internet debates about "whether Mackie can handle the role of Cap" unhealthy.

However, the plot of the new Captain is built around these doubts. It puts Sam Wilson in conditions as if it's the viewer who doesn't accept him as Captain America. And here the writers try to justify, prove, explain, and otherwise "work through this issue," as if we're in a therapy session. Shoud thay?

It would seem that the authors raise the question of prejudices and stereotypes, hinting that it doesn't matter what you look like, who was in this position before you, and how much you meet someone's expectations. And although it's not stated directly, somewhere between the lines there's a subtext: "Is it because I'm Black?"

In our view — no. It's because the writers were selected by the same criteria that are promoted in the film. Captain America is supposedly a soldier or at least an official under the US President. If he meets the requirements, he will continue to be one. Candidate selection in such structures is based on criteria, and some people a priori won't get in despite all their desires. Everything else is demagoguery.

With respect to modern casting considerations, the film demonstrates a commitment to diverse representation. The cast's composition indicates a meticulous process in casting and makeup.

One would like to say that the film was shot on the principle of "don't hurt anyone's feelings," that every potentially sharp moment is smoothed out, and that we have a maximally calibrated product as a result. But modern Hollywood works under such standards that it's simply impossible to shoot differently.

The creators were so afraid of hurting anyone's feelings that they deprived the film of liveliness and unpredictability. As a result, the plot develops banally: nothing truly important will happen, at most extras and background characters will be at risk. And exclusively at the hands of villains — our heroes, no matter what phantoms of consciousness try to surround them, are incapable of harsh measures.

Sam Wilson is holier than Batman: he doesn't kill anyone, at most he gently knocks them out or breaks a bone or two. Yet even a dozen trained fighters are no match for him — a classic superhero cliché. Yes, heroes get injured, but they always stay alive. Yes, there are conflicts between heroes, but they never reach a boiling point. The protagonists are smart and calculating just enough to move the plot forward.

Even the traditional Marvel humor is practically absent, although during viewing you catch yourself thinking that in this scene there could have been a good gag, here — a situation could have been played out in a more amusing way, and this moment of the film wouldn't have hurt to be diluted with a joke. But the film remains serious and monotonous, noticeably constraining Sam Wilson's character. The creators seem afraid to give him the right to emotions: a smile, an unconventional solution, moments when the hero can relax. Steve Rogers rarely smiled? Then you won't either.

Wilson's self-doubts are at least understandable — he has no superpowers: no serums, mutations, or enhancements, only technology and personal training. And he takes damage for real, not like super-soldier Rogers. Remember Tony Stark's question to Steve? "Big man in a suit of armor. Take that off, what are you?" In this case, the answer is: "Just a person."

And finally, Sam Wilson is elevated to Mary Sue status. He directly approaches US President Thaddeus Ross, played by Harrison Ford, who interrupts meetings or dismisses everyone around. But Ross doesn't pull any punches with his regular staff. Such contrast, instead of emphasizing Wilson's significance as Captain, only highlights his difference from his predecessor.

If a film isn't in the category of 100% hits (and Marvel didn't even consider Deadpool & Wolverine as such), then the studio doesn't take risks. And Captain America: Brave New World drowns the viewer in soft and sweet cotton. For comparison, in Deadpool the jokes were bold but precise, characters didn't mince words but knew boundaries. Blood and dismemberment were present but not for their own sake — directors skillfully played with such scenes, and viewers left the cinema satisfied.

Although technically Marvel maintains its standards. The visuals were excellent, matching the level of Deadpool. Having the opportunity to compare both films under identical IMAX conditions, we note that each is magnificent in its own way visually.

There are plenty of fights in Brave New World, and almost all are hand-to-hand combat. The fight choreography is at a high level, actors convincingly demonstrate their characters' physical power, their hits feel impactful, the camera changes angles to add dynamics. However, there are problems with destructibility in frame — scenes are visually powerful but surprisingly "clean" and "neat."

As expected, the main scope falls on the final act. Here viewers await a large-scale air battle and spectacular confrontation between Captain and Red Hulk. This segment is a true visual feast: bullets fly, missiles maneuver, explosions thunder, water splashes, special effects of Captain's vibranium suit work at full capacity. They didn't skimp on money for the last third of the film.

But let's move away from conceptual questions. Director Julius Onah, previously noted for his work on The Cloverfield Paradox, strengthened his status as a technical director rather than an author with visionary handwriting. However, he initially stated that he wanted to shoot something new but grounded, especially compared to previous parts of The First Avenger. Said and done.

Brave New World is built on the template of The Winter Soldier. Character archetypes are the same: Ruth Bat-Seraph (Shira Haas) as the new Black Widow, young Joaquin Torres (Danny Ramirez) in the role of the beginning Falcon, President Thaddeus Ross instead of Nick Fury. Even the narrative structure is similar: opening action, meeting with leadership, going underground, large-scale final battle.

But with all the similarities, the scope isn't the same. Winter Soldier balanced between spy action and political thriller, confronting heroes with conspiratorial Hydra agents. Here, the main villain is a lone psycho Samuel Sterns (Tim Blake Nelson). He's depicted as a mastermind manipulator whose plans are nested, one inside the other. His revenge is carefully calculated years ahead, considering all possible scenarios.

But the concept is worn out. Writers once again use the theme of mind control — now through audiovisual programming using smartphones. Another Gen Z horror story: "fear your gadgets!"

The plot revolves around the appearance of an adamantium island, which becomes the subject of international conflict. President Ross strives for diplomatic success, but Sterns consistently destroys his plans. Although Sam, Ruth, and Joaquin quickly recognize the manipulation, the confrontation leads to Ross turning into Red Hulk and destroying the White House. In parallel, Sam's personal drama develops, related to accepting the role of Captain America. By design, in the finale, the viewer should accept Anthony Mackie in Cap's image... Yes, the same old tune plays on right till the finale.

If you were counting on an interesting script — forget it. We'd be far more entertained by two straight hours of Red Hulk tearing Washington apart.

And you know what has changed the most? The atmosphere in the theaters. And this leads to thoughts about the future of the superhero genre. It's not about quality here — technically the film is not inferior to the recent hit Deadpool & Wolverine. The film features recognizable actors like Giancarlo Esposito and Harrison Ford, capable of attracting viewers.

Marvel is risk-averse — and therefore has stopped surprising the audience. People are willing to go see either a completely unhinged comic book movie, such as Deadpool & Wolverine, or a truly significant film that will become an event. While Brave New World is a properly shot but faceless film created by the book. There's no challenge, no novelty, no real risk.

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Were you able to watch the film and what do you think about it? We await your opinion in the comments!