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Chris Evans, Scarlett Johansson, Samuel L. Jackson, Dominic Cooper, Sebastian Stan, Anthony Mackie, Cobie Smulders, Emily VanCamp, Robert Redford (mehr)Streaming (5)
Inhalte(1)
Steve Rogers, einstiger Superheld Captain America des Zweiten Weltkriegs, arbeitet in der Gegenwart als Spezial-Agent von S.H.I.E.L.D. Die Geheimorganisation scheint derzeit jedoch von Leuten der feindlichen 'Hydra' unterwandert zu sein. Als Steves Vorgesetzter Nick Fury einem Anschlag des martialischen Winter Soldier zum Opfer fällt, sieht S.H.I.E.L.D.-Boss Alexander Pierce in Rogers den Verräter. Das Geheimprojekt 'Insight' zum Schutz der Freiheit ist gefährdet. Captain America muss mit Black Widow und Falcon erneut die Welt retten - doch Nicks Vermächtnis ist, niemandem zu trauen! (ORF)
(mehr)Kritiken (16)
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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Der zweite Captain America, der vernünftig in die "Gegenwart“ verlegt wurde, ist ernster und hat mehr physische Action. Die spielt sich überwiegend auf den Straßen ab (Autos und Schießereien) und man freut sich darüber, dass ihr Leader in der besten Szene Samuel L. Jackson ist. Der Konspiration-Plot ist aber nicht überraschend und in der zweiten Hälfte wird er unübersichtlich. Die ursprüngliche Vielfalt des Milieus von Actionszenen verschwindet in der zweiten Hälfte auch. Die Abschlüsse der Actionszenen, deren Wenden aus den Fingern gesaugt wurden (die Rettung in letzter Minute von irgendwo/ irgendwie), helfen ihnen nicht so richtig. Die Neugier des Publikums hinsichtlich der Identität der interessanten Negativgestalt hält bis zum Ende an. Das, mit einer historischen Verbindung zum Captain, rettet aus inhaltlicher Sicht den ganzen Film. Als großartige Comic-Unterhaltung zum Entspannen ist es OK.
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Erstens bedarf es dazu, die erste Hälfte des Captain America 2: The Return of the First Avenger mit dem Prisma des Spionage-Genres zu betrachten, ein relativ hohes Maß an Toleranz gegenüber nicht zu Ende Gedachtem und schlichtweg zu transparenten Wendungen. Zeitgleich verursacht das, wie ich befürchte, zu einer Enttäuschung ca. in der Hälfte des Films, als das Unwiderrufliche sich zu Wort meldet und der Captain daran erinnert, dass er die Avenger-Regeln ja nur schwer durchbrechen kann (gewissernmaßen ist der IM3-Twist viel subversiver, allerdings passt´s dort irgendwie in die humorvolle Stilisierung besser hinein). Mit anderen Worten bewahrt sich dieser Film meines Erachtens ein stabiles Maß an Einfachheit. Als subversiven und sich bereichsüberschneidenden Moment wahrzunehmen, sofern das Symbol der amerikanischen Kriegspropaganda über die Aggressivität oder Skrupellosigkeit der US-Außenpolitik meckert, bedarf schon eines gewisses Maßes an Nachsicht. Die wahren sowie authentischen Werte sind hier nicht besonders in Gefahr, zumal die Hauptfigur diese von Anfang bis Ende repräsentiert. Die Marvel-Streifen stellen die Integrität ihrer Helden in dieser Hinsicht nicht allzu sehr auf den Prüfstand und beugen die Welt gemäß ihrem Image um (es wird mir wohl in der Tat niemand sagen wollen, dass das heutige Amerika bekümmert, wie Bürgern oder "Lecks“ bespitzelt werden, ebenso wie das Problem der inneren Feinde und Entnazifizierung). Doch damit würde ich das kritische Grinsen bereits stoppen. Dies ist wirklich ein Überbau, den man anklingen lassen kann / nicht anklingen lassen muss. Ansonsten ist der Captain ein charakteristischer Repräsentant der Sparte von Marvel-Blockbustern schlechthin. Hier gibt es die am besten regiegeführte Action der gesamten Avenger-Serie überhaupt zu sehen (die hervorragende Kinetik und physischer Kontakt kommen überraschenderweise ohne unübersichtlich zu wirken auch mit 3D-Brillen zurecht), Chris Evans findet in der muskulösen Version von Grampa Simpson immer noch ausreichend Zerbrechlichkeit und Korrektheit, die Nebenrollen haben diesmal einen "verhaltenen Magnetismus" und ihr Geschichtenerzählen leidet nicht unter zu langer Expositionsdauer. Obwohl es mir schwer fällt, mich darauf emotional einzulassen, habe ich kein Problem damit, mich gut zu unterhalten. Auf jeden Fall ist dies einer Avenger. [75%] P.S. Off the record: Ist denn das Marvel Universum mittlerweile nicht bereits etwas zu ausschweifend und unüberschaubar? In der Luft schweben da furchterregende Objekte, und man fragt sich ... wo zum Teufel ist denn Tony Stark?
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Langweilig, langweilig, langweilig. Man hat sich bemüht. Die Marvel-Filmabenteuer, die in der Gegenwart spielen, richten sich jedoch an ein anderes Zielpublikum. Ich ziehe es vor, etwas von dieser sequenziellen Kunst zu lesen, der Kinofilm The Return of the First Avenger diente nur dazu, mich über das Wiedersehen von Steve und Peg zum Weinen zu bringen. Das war wirklich rührend. Ansonsten habe ich nicht einmal mit Robert Redford amüsiert, und das will schon etwas heißen.
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Außer der Figur vom Captain (und seinem Charakter) ist wahrscheinlich alles anders als im ersten Teil… Und dabei genauso toll. Oder vielleicht noch ein bisschen besser. Das süße, nostalgische Retro wurde durch eine digitale "Gegenwart“ ersetzt, in welcher der Held aus den 40er Jahren eine Konspiration aus den 70ern löst. Die Kritik des Films betrifft am häufigsten eine unübersichtliche und chaotische Gestaltung der Actionszenen. Ich bin nicht dieser Meinung – vielleicht deshalb, weil ich die 2D-Version gesehen habe. Alle Szenen kamen mir völlig verständlich und durchgearbeitet vor. Außerdem hat es mir gefallen, wie die Regisseure auf klassische Hits wie French Connection – Brennpunkt Brooklyn (Furys Autos) oder James Bond 007 – Liebesgrüsse aus Moskau / James Bond 007 - Diamantenfieber (Captains tolle Prügelei im Lift hat mich sowohl an Bonds Kampf im Zugabteil in den "Liebesgrüssen“ als auch an seine Prügelei im Lift im "Diamantenfieber“ erinnert) verwiesen haben. Und dann auch auf Der Dialog, Die drei Tage des Condor u. ä. Kurzum, der Film macht unglaublich Spaß. Eine perfekte Kombination von willkommenem Humor und von ernsteren Momenten, ausgezeichnete Figuren. Es stört mich nicht, dass am Ende die Originalität teilweise verloren gegangen ist und dass Captain America 2: The Return of the First Avenger zu einem "einfachen Marvel-Film“ wurde. Überhaupt nicht, weil er immer noch außerordentlich unterhaltsam ist. Es macht wahrscheinlich keinen Sinn, die technische Seite noch mehr zu loben. Die Tricks haben ein sehr hohes Niveau, an das wir bei ILM gewöhnt sind. Zum Beispiel die Helicarriers sehen absolut göttlich aus und man kann sich sehr gut vorstellen, dass es so etwas wirklich gibt. Mein einziger Kritikpunkt betrifft Jackmans Nicht-Musik, weil Captain America 2: The Return of the First Avenger ein ausgezeichnetes Motiv von Alan Silvestri hat. Das hat man hier nur am Anfang genutzt. Dann wurde der Film von Jackmans Pseudo-Zimmer-Füllmaterial begleitet.__PS: Liebe Drehbuchautoren, vielen Dank, dass Sie in die Handlung auch Peggy Carter eingegliedert haben. Ihre Szene ist so schön!__PPS: Über die Erwähnung von Strange habe ich mich schrecklich gefreut. Und da habe ich noch nicht geahnt, was bei dem Abspann kommen wird.
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Seit der Geschichte des ersten Teils sind einige lange Jahrzehnte vergangen, was die Geschichte von Captain America 2 in die Gegenwart verschiebt, aber der Film hat nichts von seinem Old-School-Charme verloren, im Gegenteil, er hat sogar noch gewonnen. Es gibt mehr Avengers, die bereits im Film auftauchen, die Handlung ist vielschichtiger, komplexer und mit den Geschichten und Schicksalen der anderen Helden (und ihrer Filme) verwoben, und es gibt eine unerwartete Rückkehr eines bisher unscheinbaren Charakters aus dem ersten CA-Teil, der das Niveau dort erheblich anhebt. Ich würde den zweiten Teil von CA mit dem ersten Teil von Avengers vergleichen, was die Atmosphäre, die Verarbeitung und ein angemessenes Maß an Action (manchmal sogar Sprüche) angeht. Kurzum, eine Fortsetzung, die ihren Vorgänger übertrifft und die Bühne für weitere filmische Stunts aus dem Marvel-Universum bereitet.
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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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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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What was originally supposed to be a typical super hero movie now becomes a souped-up conspiracy and espionage thriller. Captain America is now a stronger, faster and more refined soldier with better fighting skills. The action is insane, with excellent choreography, perfect cinematography, beautiful CGI, and the clash between the two rivals is the definite highlight of the film. Not only does the film excel in action, it also boasts of a very well written story with decent twists and turns and a dose of intelligence. Finally, it would be a shame not to mention the excellent villain, the Winter Soldier, who has playfully outclassed all villains in the last decade. A truly unpleasant badass who sends shivers down the spine and produces goosebumps when seen on camera, his screen presence is short of horrifying! A pure gem and Captain America is also becoming my favourite Marvel character. I don't regret going to the cinema, I would go again.100%
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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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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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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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I wasn't particularly looking forward to this film, although I still follow comic book adaptations and intend to see them. The second Captain America film didn't surprise me significantly, except that it was good entertainment. It's a fairly straightforward film where you can anticipate all the major twists, but it's also quite a spectacle. And as such, it was a success. There are your favorite characters, there's tension, massive action, and in the end, there are bonuses that fans will especially enjoy. They'll recognize them because they wait until the very end of the credits. Surprisingly, there weren't that many. Captain America: The Winter Soldier is exactly what you want it to be - entertaining, 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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