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Title : Die Hard Die Hard genre : Action, Thriller Die Hard crew : John McTiernan, Joel Silver, Lawrence Gordon, Jackie Burch, John F. Link, Steven E. de Souza, Jeb Stuart, Lloyd Levin, Ferne Cassel, Jan de Bont Die Hard release date : 26 February 19 8 5 Die Hard runtime : 131 Minutes Die Hard Crew : John McTiernan, Joel Silver, Lawrence Gordon, Jackie Burch, John F. Link, Steven E. de Souza, Jeb Stuart, Lloyd Levin, Ferne Cassel, Jan de Bont Die Hard cast : Bruce Willis, Bonnie Bedelia, Reginald VelJohnson, Paul Gleason, De'voreaux White, William Atherton, Hart Bochner, James Shigeta, Alan Rickman, Alexander Godunov ========================ஜ۩۞۩ஜ==========================
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NYPD cop John McClane's plan to reconcile with his estranged wife is thrown for a serious loop when, minutes after he arrives at her office, the entire building is overtaken by a group of terrorists. With little help from the LAPD, wisecracking McClane sets out to single-handedly rescue the hostages and bring the bad guys down. Die Hard 1988 review : **This is one of the definitive 80s Action Films.**
There is no nonsense whatsoever, the plot moves along with such a pace that the viewer is not disturbed by implausabilities.
Bruce Willis plays the likeable "regular guy", who is forced bare-foot into unleashing mayhem and destruction, to perfection.
His brilliant opposite is Alan Rickman, playing the German villain Hans Gruber in such a way that you almost root for him to get away with his heist. Also, he thankfully dispatches the office sleazeball, Ellis, in a wonderful scene.
The bad guys in Die Hard are more likeable than their counterparts in other movies. They are allowed to be funny and charming, which is good because we as viewers spend a lot of time with them, so it's good that they are not complete douchebags.
John McLane gets to do what many adolescent boys wanted to try: to drop something off the ledge of a skyscraper or down an elevator shaft, and see what happens. But he uses an office chair armed with a PC monitor and a block of C4 and watches as it drops, then explodes, wiping out an entire floor!
Everything here is bigger and louder than other Action movies from it's time. McLane drops bad guys and one-liners left and right, things and people explode, culminating in a grand finale that is as well paced and executed as any action sequence that came after it.
This film started it's own sub-genre, after it came not only it's own sequels, but a load of films that were described as "Die hard on a..." or "Die Hard in a..." Most prominent examples were perhaps "**Speed**" and "**Under Siege**".
This is entertaining as hell, it's a must-watch! Just watched this inexplicably for the first time, after having seen and adoring its first two sequels. As a teenager when this hit theatres, I never really felt the urge or inclination to see this at the time. Action films weren't big for me back then. Now as a father of a teenager myself, it's interesting seeing what's now considered 'a classic' for the first time.
This easily deserves its lofty status as one of the finest action movies ever made, especially of the 80's. Alan Rickman, now deceased, played with distinction one of the finest cinematic villains ever. This film--closely followed by 'Pulp Fiction'--is the most important work Bruce Willis ever made.
I enthusiastically hope that should someday Willis either leave this plain or decide not to make any more DH films that they simply put the franchise to rest. He was born to play this character. Anyone else in his shoes could never fit the iconic bill. What can I even say about _Die Hard_? This is one of the most highly praised action movies of all time, and it has **actually earned that praise**.
_Final rating:★★★★ - Very strong appeal. A personal favourite._ ***Big, dumb, fun action flick with Bruce Willis and a skyscraper***
RELEASED IN 1988 and directed by John McTiernan, "Die Hard" is the first of (currently) five installments in the Die Hard series. In this one New York cop John McClane (Bruce Willis) flies to Los Angeles to spend Christmas with his wife & kids. When McClane visits Holly (Bonnie Bedelia) at her company’s Christmas party a group of radical criminals take control of the skyscraper. Alan Rickman plays the nefarious mastermind of the operation while Reginald VelJohnson plays a cop on the ground that befriends McClane via walkie talkie. Meanwhile Paul Gleason is on hand as an exasperating police chief.
This franchise fills the bill if you're in the mood for big, dumb, fun action thrills. Don't get me wrong because a lot of work goes into making these kinds of films and it takes talent & genius to pull them off. I mean "dumb" in the sense that the focus is on unbelievable action rather than deeper themes beyond "genuinely good people may be flawed, cocky and somewhat profane, but they're courageous and never give up in the face of evil."
The Die Hard flicks are the natural progeny of over-the-top films like 1977's "The Gauntlet" where the action scenes are so overdone they're cartoony, but entertaining. There's a thin line that filmmakers must tread with these kinds of blockbusters because they can easily fall into overKILL, like 2001's "The Mummy Returns." Thankfully, "Die Hard" evades that ditch because it’s not too over-the-top and it offers entertaining protagonists & antagonists, amusing one-liners, worthy bits of character development and a compelling comic booky story.
While all five Die Hard movies are of the same action expertise, I prefer the sequels because this one takes place almost entirely in and around a skyscraper. I favor the wider location scope of the others.
THE MOVIE RUNS 2 hours, 12 minutes and was shot entirely in Los Angeles.
GRADE: B/B+ One seized tower block, one sweaty vest and one big set of action cojones.
Based on ex cop Roderick Thorpe's 1979 novel Nothing Lasts Forever, Die Hard, directed by John McTiernan, changed the face of the action movie. Starring Bruce Willis, Alan Rickman, Bonnie Bedelia, Reginald Veljohnson, Alexander Godunov, William Atherton & Paul Gleason, McTiernan's movie went on to make over $100 million in profit at the box office alone. Spawning three equally successful sequels (at the time of writing), it began a franchise that showed that if done well, the action movie could be a dominant force in the world of cinema.
The set up is relatively simple, Willis plays New York cop John McLane who during the Christmas holidays is in L.A. to visit his estranged wife Holly (Bedelia). She works for the Japanese Corporation of Nakatomi, and currently she's attending the company Christmas party up on the 30th floor of the humongous Nakatomi Plaza tower block. Bad day at the office because a group of apparent German terrorists, led by the charismatic Hans Gruber (Rickman), take the whole building hostage: with one exception; McLane, who evades capture and launches a one man war against the terrorists.
What follows is just over two hours of high octane action, smart dialogue and technical smarts. McTiernan had already endeared himself to the action movie fan with the ball busting beef stew that was Predator in 87, a fact not lost on Die Hard's co producer Joel Silver, who clearly knew that McTiernan could smoothly shift the action from the Val Verde jungle to the urban jungle of L.A. And he did. Next was to get the right man for McLane. Richard Gere was first choice but passed, so the makers took a gamble on Willis, whose career was at a standstill after his leap from TV show Moonlighting on to the big screen with the likes of Blind Date & Sunset barely making a ripple in Hollywood. The rest for Willis, as they say, is history. McLane is an everyman hero, streetwise, even slobbish, but identifiable to many with his work ethics, desperate heroics and emotional vulnerability. Willis attacks the role with a hunger rarely seen from the big male earners in filmdom. During the two hours and ten minute running time of Die Hard, Willis as McLane changed the face of the action hero for ever; even making a dirty white vest iconic in the process; the latter of which couples nicely with the hero being bare footed throughout for a nifty bit of writing.
Across the board the casting is flawless, Bedelia is spunky and driven, a woman worth fighting for. Veljohnson as beat copper Al Powell-McLane's walkie-talkie buddy and only link to the outside world-is memorable because it feels real, he has his own issue gnawing away at him, but his exchanges with Willis keeps the humanity grounded as the carnage unfolds. Gleason & Atherton are wonderfully anal as Deputy Police Chief and TV Reporter respectively, while Hart Bochner as Ellis dishes out one of the best weasel turns to have ever graced a movie featuring corporate suit types. But as Die Hard resembles the great Westerns of yesteryear, much like the great Oaters, Die Hard could only be as good as its chief villain. As Willis' McLane ushered in a new action hero to copy, Rickman's uber intelligent villain set a new benchmark.
Snappily dressed, well versed and as charming as they come, Gruber in Rickman's hands is a villain you could quite easily root for! That's further testament to Willis' turn that Rickman doesn't walk away with the movie, both men are from different sides of the fence, good and evil, yet both are characters you can hang your hat on. Quite a trick from McTiernan that. Rickman is ably supported by the scary Godunov as right hand man Karl and Clarence Gilyard Jr. as the cold hearted Theo. Elsewhere the impact of Robert Davi & Grand L. Bush as the two cocksure FBI agents Johnson & Johnson (no relation) should not be underestimated. All the actors, of course, are indebted to the sizzling script by Steven E. de Souza & Jeb Stuart. So to is praise due to photographer Jan de Bont, who in collaboration with McTiernan, produces a camera work lesson for action movies, as the camera swoops in and around the tower, down elevator shafts and up tilt to roofs; with the fight scenes afforded a spatial sheen not expected in the confines of a tower block setting (the film was actually shot at 20th Century Fox's own 2121 Fox Plaza). Even the scoring from Michael Kamen and the sound tracking are of a high standard; check out the various "mood" uses of Beethoven's Ode to Joy from Symphony No.9 and Bach's Brandenburg Concerto No. 3 In G Major: Brilliant.
The 80s was well served by action movies with the likes of Lethal Weapon and Beverly Hills Cop proving massively popular. But just as Raiders Of The Lost Ark changed the game for action/adventure, so too did Die Hard. It's now the benchmark movie for action, a film that unlike Hills Cop & Lethal Weapon remarkably shows no signs of ageing either. It's no monkey in the wrench or a fly in the ointment, it's the daddy, and the one that all other action movies have to answer to. 10/10
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American expat Mickey Pearson has built a highly profitable marijuana empire in London. When word gets out that he’s looking to cash out of the business forever it triggers plots, schemes, bribery and blackmail in an attempt to steal his domain out from under him. The Gentlemen 2019 review : While ‘The Gentlemen’ is a big step forward from Ritchie’s latest films, it’s not the return to form fans may be hoping for. That said, there is still fun to be had here, and it may work better at home than a cinematic experience. - Chris dos Santos
Read Chris' full article... https://www.maketheswitch.com.au/article/review-the-gentlemen-underwhelming-but-fun-return-to-form-for-guy-ritchie **_Nothing too unexpected here, but it's funny and hugely entertaining_**
>_You don't crucify people! Not on Good Friday!_
- Harold Shand; _The Long Good Friday_ (1980)
The Gentlemen is a return to the London gangster milieu where writer/director Guy Ritchie first made his name with films such as _Lock, Stock and Two Smoking Barrels_ (1998) and _snatch._ (2000). His first foray into this territory since the disappointing _RocknRolla_ (2008), _The Gentlemen_ comes at the end of over a decade making big-budget studio-backed crimes against cinema such as _Sherlock Holmes_ (2009), _Sherlo__ck Holmes: A Game of Shadows_ (2011), _The Man from U.N.C.L.E_. (2015), _King Arthur: Legend of the Sword_ (2017), and _Aladdin_ (2019). Granted, the film seems stuck in the last decade in more ways than one, it's highly questionable that the only gay character is a slimy man-whore into S&M, its token female character barely even manages to rise to the level of tokenism, and Ritchie does absolutely nothing new here – if you've seen _Lock, Stock_ or _snatch._, you'll know pretty much exactly what to expect – but _The Gentlemen_ is still hugely entertaining. Most of the jokes land, the dialogue is as sharp and expletive-laden as ever, the cast are having a ball, and the self-reflexivity, although a little forced in places, works well for the most part. And yes, the plot is as derivative as it gets, but there's no denying Ritchie has injected real verve into what looks on paper like an inconsequential C-movie. _The Gentlemen_ definitely won't change your life, but it will make you laugh.
The film begins as sleazy private eye Fletcher (Hugh Grant) arrives unannounced at the home of Ray (Charlie Hunnam), right-hand man to Mickey Pearson (Matthew McConaughey), a suave Oxford-educated American ex-pat who controls a huge marijuana empire in London, valued at around £400 million. Several months prior, Fletcher was hired by tabloid editor Big Dave (the great Eddie Marsen) to dig up dirt on Pearson with the aim to ruin him – Dave's revenge for Pearson blanking him at a gala. Fletcher has written a screenplay based on his investigation (titled _Bush_) and tells Ray that unless Pearson pays him £20 million, he will hand over everything he has to Dave. Meanwhile, Pearson has decided to sell his whole operation, but when word gets out, all hell breaks loose, as the various interested parties vie for advantage. Most of the subsequent film takes the form of Fletcher narrating his exploits to Ray, explaining how he learned so much about Pearson and what he does. Along the way, we meet characters such as Rosalind (Michelle Dockery), Pearson's ruthless and unflappable "_cockney Cleopatra_" wife, who runs a garage with an all-female staff; Berger (Jeremy Strong), Pearson's preferred buyer; Dry Eye (Henry Golding), the ambitious but brutal scion of a Chinese syndicate, who hopes to undermine Berger; Coach (a scene-stealing Colin Farrell), who runs a boxing gym for troubled youths and who inadvertently finds himself in the middle of everything; a plethora of property-rich-but-cash-poor landed gentry who are essential to Pearson's empire; a Russian oligarch; and a street gang called The Toddlers.
Aesthetically, _The Gentlemen_ is very much in the mould of Ritchie's previous gangster movies. Because Fletcher frames his narration as a screenplay, it allows Ritchie to employ a multitude of self-reflexive devices – a smash cut coinciding with Fletcher asking Ray to visualise a smash cut; voiceover transitioning into spoken dialogue; on-screen captions telling us who's who; animated maps; YouTube fight porn (don't ask); freeze-frames; rewinds; a shot of film running through a projector etc. At one point, Fletcher is discussing the merits of anamorphic (2.39:1) over 1.78:1, and the film's aspect ratio changes accordingly. At another, he's arguing for the merits of 35mm celluloid over digital, saying he likes the grain of celluloid photography, and the film duly switches formats. Such playfulness means that it never for a second takes itself too seriously, with probably the most self-reflexive moment coming towards the end, when we visit Miramax's offices in London (Miramax produced the movie), and we see a poster for Ritchie's _The Man From U.N.C.L.E._. All of this is immensely fun, with the more you know about the mechanics of assembling a film, the more humorously self-reflexive the film becomes – Fletcher even acknowledges his own role as an unreliable narrator, and a discussion of the importance of sound leads to his dismissal of Francis Ford Coppola's _The Conversation_ (1974) as "_a bit boring._"
In terms of themes, the most obvious is something Ritchie has examined before – the idea that the economic divide between gangsters and aristocrats masks their practical similarities. Pearson straddles this divide; he's a gangster, but so too is he an aristocrat (in all but name), and the smooth running of his business depends on both classes – the aristocrats who he needs to grow his product (for reasons that constitute a bit of a spoiler, so I'm not going to get into it) and the gangsters who distribute that product. The clash between the pompous insularity of the English upper class and the perceived uncouthness of the lower class has been done to death in both literature (Emily Brontë's _Wuthering Heights_ (1847) springs to mind) and film (Nicolas Roeg and Donald Cammell's _Performance_ (1970), for example), and although Ritchie doesn't say anything even remotely new about it, it still forms an interesting textural background – gentrification is ever present; there are ironic references to the posh areas of Croydon; Ray, a working-class Newcastle native, is a cleanliness freak who eats wagyu steak and lives in a mansion, and when he's dispatched on a mission to an uncivilised working-class area, he explains he "_just hates them junkies_," seeing them as very much his social inferiors.
One of the most central scenes sees a group of obnoxious privileged teens holed up in a council flat, whilst on the street below, a gang of machete-wielding delinquents terrorise the neighbourhood. As Ray and his men clash with the gang, there's a real sense of old vs. new – traditional gangsters fighting it out with internet-savvy hoodlums who don't give a damn about tradition or respect. There are a lot of laughs to be had with these issues, such as Ray and Coach having problems pronouncing the name Phuc, or Coach debating with one of his boxers whether it's racist to call someone "_a black c**t_", even though they are black and they are a c**t. And again, none of this is presented as even remotely serious.
The biggest problems with the film are probably its lack of depth, and the familiarity of the presentation, characters, and _milieu_ – there's nothing here you haven't seen in previous Ritchie films. And as you would expect, there isn't much in the way of emotional maturity or narrative complexity. It's all very surface-level, and it makes no apologies for such.
Nevertheless, I thoroughly enjoyed _The Gentlemen_. It's a funny as hell caper and the actors are clearly having terrific fun. It might be formulaic and overly familiar, but it's also immensely enjoyable. If you enjoy reading my Spoiler-Free reviews, please follow my blog @ https://www.msbreviews.com
I've always been a fan of Guy Ritchie's style. While I do admit that he tends to overuse his own techniques (like he does in this movie), he always manages to bring something unique to his projects. He delivered a pretty good live-action remake of Aladdin while offering his own take (Jasmine has more compelling motivations). I surprisingly enjoyed King Arthur: Legend Of The Sword, but the ending is disappointing. The Man from U.N.C.L.E. and the Sherlock Holmes films are entertaining and fun, to say the least. So, yes, I was sort of excited to watch The Gentlemen.
With such a stellar cast, how can someone not be interested in an old-fashioned crime-thriller? First of all, I want to get this out right away: it's a movie that anyone can enjoy, sure, but for people who know how films usually work, Ritchie applies a storytelling method that's going to make every "filmmaking nerd" lose their minds. Hugh Grant (Fletcher) is mostly the narrator of the entire story, and he's basically interpreting a "version" of Guy Ritchie telling the story of his own "flick".
This means Fletcher goes on and on about film specs like aspect ratios and film gauges but also helping the audience understand what's happening, by announcing if the story is near its climax or if "the plot thickens". It's a captivating and funny way of using exposition without it being lazy or forced. Grant also makes sure to ask the questions the audience should be asking. This way, even people who don't like to think when they go to the cinema (yes, they exist) will be able to follow the mystery unraveling.
Obviously, the unbelievable cast makes this movie so much fun. Matthew McConaughey is a masterful actor when it comes to carrying long dialogues. Everything he says is always engaging, either by the way he says it, his expressions, or the physical intensity he puts into his own words. Charlie Hunnam (Ray) probably delivers his most amusing performance to date. Ray is definitely going to be a fan-favorite character, and his interactions with Fletcher (with who he spends most of the runtime) are hilarious.
Henry Golding (Dry Eye), Michelle Dockery (Rosalind Pearson), and Jeremy Strong (Matthew) all give excellent performances, but Colin Farrell is the best of this group of characters as Coach. His scenes are some of the funniest sequences of the entire year so far. From his accent to the action he eventually gets into, he's one of those characters who will leave everyone wanting more. As for the story, it's undoubtedly one of the most complex screenplays I've seen in a while. Comparing with Knives Out, the narrative structure ends up being a bit similar.
Both possess tons of twists and turns that will make everyone scratch their heads for quite some time. Both show different events of the story, featuring a specific character at a particular time in a distinct manner (flashback, flashforward, simple exposition). However, The Gentlemen abuses from its own trick a bit too much, especially during the first half. Something entertaining can quickly turn into something pretty annoying if the storytelling isn't well-balanced. Can't have too much of anything, right?
This is my overall issue with the film. Guy Ritchie brings something cool and fresh to escape heavy exposition, but it's still a lot of information to transmit, and it doesn't always work smoothly. Some subplots didn't need to go so deep, which takes time away from more emotionally investing storylines. Nevertheless, in the end, Ritchie stitches every story together seamlessly to create a very well-written flick. With so many intricate layers, it's extremely difficult to bring it all together to make a cohesive finale, but Ritchie does it superbly.
All in all, The Gentlemen is another hit for Guy Ritchie, and it might even be his best movie yet. With one of the most complex screenplays in a while, the phenomenal cast elevates this crime-thriller into one of the best films of 2020, so far. Matthew McConaughey, Charlie Hunnam, Hugh Grant, and Colin Farrell stand out, but every actor delivers excellent performances. Extremely funny and captivating storytelling through Grant's narration, which ironic or not, it's both the best and worst component of the movie. When used in excess, it can be a bit bothersome and lengthy, but for most of the runtime, this alternative to substantial exposition works brilliantly. Interesting characters, intriguing mystery, and hilarious bits of comedy make this feature very entertaining. Technically, great editing keeps a well-paced flow, but it's Ritchie's layered narrative that steals the show.
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Life for former United Nations investigator Gerry Lane and his family seems content. Suddenly, the world is plagued by a mysterious infection turning whole human populations into rampaging mindless zombies. After barely escaping the chaos, Lane is persuaded to go on a mission to investigate this disease. What follows is a perilous trek around the world where Lane must brave horrific dangers and long odds to find answers before human civilization falls. World War Z 2013 review : **Put's the Zzz in Zombie**
First time I saw it 3 odd years ago I was not impressed.
Decided to give it another go though today, which I wish I hadn't cause it was even worse and more dull than I remember.
Now when I say dull I don't necessarily mean that it lacks action (it has a bunch of scenes with action, and being that these zombies run superfast unlike the typical zombies in film and series perhaps even a bit more than the average) but lack of interesting characters or good actors and any sort of originality in script makes it a tired ride.
Brad Pitt is not necessarily a great actor but he seriously did his most barebones performance here, you were just on the run from zombies with cars flying over and all kinds of stuff but you barely show any sort of emotion? Borderline Steven Segal territory ocassionally, or at the very least Jean Claude Van Damme... But without the fighting skills.
So yeah not an impressive film. As with most zombie movies the plot is rather contrived and unbelievable (even if you accept the existence of zombies) but if you want to watch zombie movies in the first place that is something that you are supposed to be immune to.
This is another variant of zombies being created by some virus and rapidly taking over most of the planet. As I said, the entire story is somewhat unbelievable. When I first read about zombies as a kid there was always some supernatural/magic stuff involved. I think I liked that “explanation” much better than the virus nonsense which just have too many holes in it. For example there is no way a virus could make human bodies roam around aimlessly inside a sterile laboratory for days without nutrition. Well, as I said, it is a zombie movie so one just have to get over these little issues.
As an action movie with zombies as the main adversary it is a fairly good movie. The action is solid, the special effects okay and the entire movie continues at a reasonably brisk pace. Pitt is also doing a decent job of his role. There are few of the other actors that are very memorable though. The scenes where the zombies pile onto each other to scale walls and even reach choppers are rather cool. The movie is not very gory for being a zombie movie. Whether that is a good thing or not depends on the viewer I guess. Personally I do not mind some gory stuff in zombie movies.
There are a few annoying parts which Hollywood always seem to have to throw in. For example, the world is on the brink of the apocalypse and Lane and his wife just doesn’t want to get involved. What the f…? Also why do people always let their kids wander away in situations where they really should keep track of them? Not to mention how clumsy people always get when they have to sneak around and be silent. These things are just annoying.
Anyway, this movie fulfils its purpose as two hours of action-filled but not too intelligent entertainment quite well.
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Following the events of Age of Ultron, the collective governments of the world pass an act designed to regulate all superhuman activity. This polarizes opinion amongst the Avengers, causing two factions to side with Iron Man or Captain America, which causes an epic battle between former allies. Captain America: Civil War 2016 review : Well another super-sized Marvel Comics superhero saga hits the big screen with the selected savior Captain America taking the top billing on the marquee. Thus, the pulsating popcorn pleaser **Captain America: Civil War** arrives on the scene to giddy audiences that have been loyal and fixated on the successful spring of mighty Marvel heroes that have been paraded to viewers throughout the last few years. Thankfully, **Captain America: Civil War** carries on the tradition of spry superhero-studded spectacles that have been glorious and adventurous from the stable of Marvel-based movies guaranteed to win over the enthusiastic hearts of avid comic book fanboys everywhere. Joyously overstuffed and convincingly extensive with a super team armed with crime-fighting excess, **Civil War** seizes the moment to introduce a noteworthy twist: two factions of rescuing superpowers engaging in some explosive in-house fighting led by two of Marvel Comics main standouts in Chris Evans’s Captain America and Robert Downey Jr.’s Iron Man.
Co-directors Anthony Russo and Rene Russo were instinctively crafty to link the overly successful Iron Man film franchise to the **Captain America: Civil War** inner circle to ensure an even more treasured toxic atmosphere. Superhero fans will get a thrill of witnessing the extra add-ons concerning other dynamic titans to join the action-packed festivities involving Team Captain America versus Team Iron Man. True, **Civil War** has its share of flaws but that does not take away from this heroes-in-crisis flick demonstrating its ambitious overtones.
So what has caused the bad blood among the great and grand good guys known for protecting the world from evil dominance and destruction? Essentially the theme of collateral damage, the involvement regarding civilian-related deaths and injuries plus the world-wide backlash has created a controversy pitted against The Avengers. Specifically, Captain America (a.k.a. Steve Rogers) and Scarlet Witch/Wanda Maximoff (Elizabeth Olsen) are responsible for the boisterous battle that caused such negative sensation resulting in political turmoil. Avengers head honcho Iron Man (a.k.a. Tony Stark) is dealing with his own personal regrets in the ill-advised creation of the unpredictable Ultron. The political authority want to hold Iron Man, second-in-command Captain America and the rest of the Avengers accountable for the global devastation that have taking its toll when trying to oversee the potential harm wreaking havoc on humanity.
Leading the charge in putting a watchful eye on the labeled reckless Avengers is Secretary of State Thaddeus Ross (William Hurt) that suggests the super group be monitored by the United Nations. Naturally friction develops between the superheroes that either agree with Ross’s UN restriction policies or disagree with being placed under a microscope that threatens to handcuff their free-wheeling heroic duties. All these contrasting beliefs eventually turn into epic back-and-forth confrontations where the raging Avengers are at odds with each other.
For Stark/Iron Man’s stance, he is willing to toe the line and ultimately agree that his crew needs to tone down their tenacious tactics as crime-stoppers. Iron Man’s consciousness, particularly in the case of a disillusioned mother (Alfre Woodward) making him feel guilt-ridden over her son’s death during an intense Battle of Sokovia, is probably the main factor behind his decision to have his team reigned in a bit from the political watchdogs. Siding with Iron Man’s viewpoint are the likes of Black Widow (Scarlett Johansson), Vision (Paul Bettany) and War Machine (Don Cheadle). As for Rogers/Captain America, he is not too thrilled being put in check by the intrusive governmental pencil-pushers that want to scrutinize the team’s every move. Standing with Captain America firmly are Falcon (Anthony Mackie) and the aforementioned Scarlet Witch.
On top of Captain America’s current Avengers-oriented strife in his contentious mingling with Iron Man and his ardent backers, he now finds himself trying to defend his old buddy-turned-wanted man Winter Soldier (Sebastian Stan) who is accused of killing civilians. Iron Man believes in Winter Soldier’s innocence and goes so far as to help him escape. Yes…Winter Soldier does come with more baggage attached to him–mainly in the form of the menacing Zemo (Daniel Bruhl).
The Russos and screenwriters Christopher Marckus and Stephen McFeely (all attached to the previous “Captain America: Winter Soldier”) provide the eyeful visual effects that predictably stimulate and effectively add to the overload of frenzied frolicking in this boisterous blockbuster. Certainly the deepened angst among this bombastic bunch works far more solidly than what was displayed in the stiffened and problematic Batman v. Superman. The notion that the entire globe and its leaders are weary of all the collective chaos at the hands of the Avengers trying to save their hides is a bit ridiculous. Besides, why are not the foes of the Avengers put on the hot coals for the societal ruination? It seems rather counterproductive to chastise the noble superpowers offering the safety of mankind yet the detractors not being grateful for the services that the Avengers bring to the table. It is somewhat convoluted to think that the global community are sour on our heralded heroes or that the heat generated within the walls will completely destroy the Avengers and their colorful, capable colleagues.
The movie’s aptly entitled **Civil War** does invite more punch to the proceedings especially when a who’s who of superhero showstoppers join the feisty fray at hand. The noted inclusion of defiant do-gooders are packed with the likes of Spider-Man (Tom Holland), the retired returnee Hawkeye (Jeremy Renner), Ant-Man (Paul Rudd), and nifty newcomer Black Panther (Chadwick Boseman). No doubt Captain America: Civil War is the impish and energizing launch pad for upcoming Marvel-induced movies waiting to make their future distinctive arrival on the big screen. Although Evans’s steady and charismatic Captain America more than holds his own as the solo act billed in the film’s title one cannot overlook Downey’s compelling Iron Man as the reliable source that lifts the profile of Evans’s Masked Wonder. This is indeed a collaborative big score for the glorified costumed cast but special kudos are reserved for Stan’s killing culprit as well as Boseman’s African president assuming the slick and resourceful Black Panther.
Yeah, **Captain America: Civil War** is true to its frenetic form as revved up entertainment preparing moviegoers for the upcoming summertime sizzle at the box office. After all, the on-screen Marvel Comics gravy train keeps moving merrily along so stay tuned.
**Captain America: Civil War (2016)**
Walt Disney Pictures
2 hrs 26 mins.
Starring: Chris Evans, Robert Downey, Jr., Scarlett Johansson, Sebastian Stan, Anthony Mackie, Don Cheadle, Jeremy Renner, Chadwick Boseman, Paul Bettany, Elizabeth Olsen, Paul Rudd, Daniel Bruhl, Alfre Woodward, William Hurt
Directed by: Anthony Russo and Joe Russo
MPAA Rating: PG-13
Genre: Superheroes Saga/Action and Adventure/Science Fiction/Fantasy
Critic’s Rating: *** stars (out of 4 stars)
**(c) Frank Ochieng** The Russo Brother's and Marvel did it again! Read my full review here!
http://www.hweird1reviews.com/allreviews/captain-america-civil-war-review **The heroes're divided and so the fans!**
Before watching this I thought what the Avengers are doing here. I believed they got the title wrong. Once I watched it, I'm still the same. Because it did not look like the Captain America's film, he never was dominated, so calling it as his film totally inappropriate. Technically, it is a third Avengers film and well done. I liked it, it was entertaining. But the Civil War means it's nothing a nation's war within, just these super-guys fight for themselves against what kind of administration they want to come under.
I think they have heard that people's complaint about blowing up the buildings during reviewing other films by bringing up this one. So they finger pointed those events in this narration and that is one of the reasons for the Civil War to take place. Particularly disturbing the public and loss of many lives when these powerful men fighting the bad guys. The fun part is they are off the street and had a most important confrontation of the film in a deserted airfield. So does it make people who were whining about that be happy?
I don't know, but as an entertaining film, it did everything it can give the best for the viewers. Like the title and posters reveal, the heroes are divided here and probably you're going to take a side. Like usual, I'm with the Stark. So if you're like me, then you would feel the annoyance with the opposite team, particularly like Antman and obviously Captain America's rebellious decision. It was like the world versus United States, because only Americans are behind Captain America. Anyway, I did not like dividing the fans and what this film has been a serious damage. I hope the fans won't take it seriously.
_8/10_ Recently I have quite liked the Marvel movies that I have watched. Sadly I did not like this movie at all. The only reason that it does not get a zero or one star rating is cool special effects and a few laughs.
I want my heroes to be just that, heroes. Unfortunately this movie gets off on the wrong foot right away by not only “incriminating” the Avengers in the eyes of dimwit politicians and putting them on surveillance of a political body but to make matters worse it is the useless black hole of taxpayers money, the United Nations, that are supposed to surveil them. That pretty much ruined the movie right away for me.
When I though that it could not get any worse it actually does. In true Hollywood fashion the Avengers start to bicker and fight among themselves.
The few redeeming qualities of this movie is great special effects and a few fun comments that made me laugh from time to time. Even the ending is pretty crappy with the Avengers remaining divided and the main bad guy feeling that he achieved what he wanted.
Technically there is not really anything wrong with the movie. The actors are good, the filming is good and, as I wrote, the special effects are great. The story however is not my cup of tea to put it mildly. I cannot express how much I despised the story in this movie. Good movie, love Captain American. A long form review originally posted in 2016
It’s commonplace for me to need more than one viewing to really nail down my feelings on a movie, that’s particularly true of MCU, and even more so of this particular film. That all said, here is my initial reaction to _Captain America: Civil War_.
As is often the case, it’s hard to write down too comprehensive a post about a film this early on while remaining totally spoiler-free, so for starters, I’ll just go ahead and ask the thing that was on my mind from about five minutes in to _Civil War_: I want to know how it is that two guys who have a filmography so firmly rooted in sitcoms of all things, manage to direct action this spectacularly? Honestly. It’s insane.
_Winter Soldier_ is one of the strongest MCU films in my opinion, and just like that felt mostly like a follow up to both the prior _Captain America_ film and the prior _Avengers_ film, _Civil War_ feels the same, but for the sequels to said films (_Winter Soldier_ and _Age of Ultron_). That said, it might lean a little too far on to the side of _Avengers_-sequel, and a little too light on the _Cap_-sequel. If you had to pick a lead here, it would be Steve Rogers, no mistake, but this does feel like a film painted with a very broad brush of characterisation to be solely a “_Captain America_” movie.
Considering the sheer scope of the piece, it’s amazing that the Russo brothers managed to get the ball rolling on _Civil War_ as well as they did. Even so, there are a couple of roles I felt could have been cut altogether without really impacting the story, and that time could perhaps have been used to serve some underrepresented puzzle pieces. Perhaps both the inclusion in places and lack of inclusion in others is because of plans for future MCU films (though certainly not all instances can use that excuse) but either way, if I’m hunting for flaws, that to some degree is one.
I will say, that for all of _Civil War’s_ ups and downs (mostly ups), it is both a worthy entrant into Marvel’s franchise, and perhaps even more importantly, it actually even addresses some of the problems left in _Age of Ultron_. Of course the acting is all above board, the primary action set-piece is just dumbfoundingly fun, and the evolution of the mythology meshes with the universe at large.
_Civil War_ may not be my favourite superhero movie, or even my favourite MCU movie (I mean it also might be, I think I need to give it at least another two watches to be sure) but it might just be the best comic book adaptation movie. By that, I don’t mean it accurately portrayed the events of the Marvel “Civil War” event from back 2006, because that’s not even close to true. What I mean is, there are so many instances that manage capture the spirit of what the comics are. And you almost feel like you are watching one unfold before you on the screen. A glorious, squillion dollar, two and a half hour comic book.
Oh yeah. And the new superheroes introduced in _Civil War_? They’ve got me pretty bloody excited.
79%
-_Gimly_ The Captain America movies have managed to ground the MCU by exploring the political and social climate created by the Avengers' existence. Actions have consequences and consequences influence more action.
Civil War isn't as focused as The Winter Soldier. It's also overstuffed with characters and fan service. However, the movie works by always being intriguing. Both sides of the conflict are portrayed as equally valid. The exploration of superhero accountability isn't anything new (explored in Watchmen and The Dark Knight), but it's nice to see it incorporated into a grand cinematic universe. Also, Captain Zemo is a better than average villain because while underdeveloped, his motive is interesting and not just "destroy the world."
Also, SPIDER-MAN IS FINALLY IN THE MCU!!!! 😁😁😁 Captain America vs Iron Man. Setting 2 of Marvel's greatest heroes against each other was truly the fight of the century. Now that is an action-packed superhero movie! I'm on Team Iron Man on this one. Capt America's reason for me was a bit childish at least. Impressive fights, and with this one, the superheroes were forced to make choices and choose which team would they fight for. A truly spectacular movie! 10/10 Story, paired with great acting from the cast, alongside the introduction of new superheroes, made the experience worthwhile. I am so excited about what the next phase of the upcoming MCU films has to offer. I was loving every second of it! Fascinating action scenes, and it all came down to the point where all the Marvels heroes must fight to prove a point. All I can say is that I enjoyed the movie, and will definitely watch it again. Marvel did it again! Captain America: Civil War is a thrilling, action-packed Marvel movie that will surely entertain you through and through. The MCU became more tense because of the plot of the movie, and loyalty and friendship were put into jeopardy, and this one fractured the team to 2 sides. Kudos to the Russo brothers for making a great Marvel movie again. Amazing choreography, fight scenes, chase scenes, and great stunt work. At the end of the day, Captain America: Civil War is a movie about friendship and vengeance, and how these two things split the Avengers into 2 groups, and forced all the superheroes to make a choice on whom to fight for. Both the mental and internal conflicts for this movie were so great! After the events of Age of Ultron, this pushed for the amendment of the law which was the catalyst for the splitting of the Avengers into two. Simply amazing! I might give this movie an A+ rating. It is a great film, and I thoroughly enjoyed it. Thumbs up! That's it? It is not terrible but I think it can go even further. Too confusing, not funny, Captain America's reason is childish, and I think it is just a showcase of special moves. FRIENDSHIP? OR THE WORLD? Capt. America proves that being a friend means that even if the entire world is against you, he will be there with you till the end. Civil War is just like the prequel for the Infinity War, where a lot of Marvel's heroes are showcased. More hyped to see what will happen after the Avengers were disbanded. Spiderman and Black Panther's introduction to this movie made it a whole lot better. And we can expect that that is a foreshadow for their upcoming movies, too.
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