Captain America: The Winter Soldier

Directed by: Anthony Russo, Joe Russo

Written by: Christopher Markus, Stephen McFeely









Catching-up on a lot of the oft-hyped "Marvel Comics Universe" movies, I'm jumping back into it near the beginning of the films dubbed Phase Two.

Reflecting on Phase One, I feel that Captain America: The First Avenger was the one that kept coming to mind as my favorite. (This may be a direct result of the intentionally nostalgic tone of the movie, but the feeling stands.) The Iron Man movies were impressive the first time through, but I never felt the call to see them again. Thor was a personal favorite as I left the theater, mainly for sentimental reasons, but has become less impressive as the series has moved forward. In the end, Captain America remained at the top of the stack, so I had very high expectations for the second iteration in the series.

I was not disappointed. This movie holds up even though I already knew the big twist about the mysterious villain long before I saw it.

The Winter Soldier has action, suspense, drama, character development. It continues elements which had begun in the other MCU films, but is not bound to them or tied down by them. In fact, with only one or two exceptions (the Agent Carter scene being one of them), the movie stands fairly tall on its own. Any needed exposition is given when required in the script, but without dry cardboard storytelling. A passing familiarity with some of the characters is adequate enough to jump on in to the movie.

As with all of these superhero movies, The Winter Soldier is best when it feels like watching a comic book. A movie like this often falters when it tries to do something more. Where the directors succeeded in making this film is making those "big picture" thematic moments blend well into the comic book vision and tone of the rest of the movie.

The Sting

Directed by: George Roy Hill

Written by: David S. Ward










There was a time when, together or apart, Robert Redford and Paul Newman could carry any film into greatness.  "The Sting" stands as the prototypical example of what they were capable of, without seeming to have to try that hard.  This movie belongs in that special category of films which are simply entertaining and magical, and I'm glad I got to see it at a special classic film screening.

The plot can be boiled down to this: Two lowly, but charming con-men decide to pull a fast one on the high-powered mobster who killed their friend.

Most of the film's charm is carried by Redford and Newman, who radiate attractiveness and allure (though there is a lot of doubt as to how realistic they might be compared to real con-men - but I digress).  Both actors are at the top of their game and bring their characters to life without much effort.  There's a lot that can be said about these two, but I'd rather you just experience it for yourself - it's truly amazing.

Robert Shaw also deserves credit for bringing the villainous card-cheating mob boss Lonnegan to life.  He serves as the perfect foil for the heroes without over-playing the part.  It's impossible for me to imagine this movie without him, perhaps someone else in his place.  He is just nasty and mean enough to earn the viewer's disdain, but not so cruel or awful as to be off-putting.

There are enough twists and turns to keep the story moving forward, and enough moments where a con is revealed to make it worth watching.  There are even a few "cons" pulled on the audience, but I won't spoil those here.  The movie does drag a bit in the middle, as the anti-heroes slowly set up their foil for his comeuppance, but the nature of the set-up necessitates this somewhat lengthy dry period.  When the con is played out, though, it's totally worth the wait.

Of course, no review of "The Sting" would be official without mentioning the background music.  The ragtime piano music helps to really set the film in its time period (not necessarily the most realistic - but still).  In fact, once you've seen the film, it's basically impossible to think of the movie and not get the music stuck in your head again.

"The Sting" is a classic movie, with great performances, great music, and a great story.  It's great, all around.

The Conspirator

Directed by: Robert Redford

Written by: James D. Solomon; James D. Solomon, Gregory Bernstein (story)










Most Americans know, at least vaguely, the story of the assassination of President Lincoln by John Wilkes Booth.  Fewer are familiar with the trial of the conspirators who help hatch the plot.

Frederick Aiken (McAvoy) has been tapped to defend Mary Surratt (Wright), who has been accused of harboring the conspirators in her boarding house.  But Aiken quickly finds out that, in the case of a military tribunal, justice may not be easy.  He is further upset when he finds out the entire trial itself may be an attempt to draw out a Surratt's son from hiding, even if it means that she might be executed.

From the standpoint of story, "The Conspirator" weaves an interesting and emotionally charged tale.  There are some interesting questions of ethnics and justice raised, mixed between plot twists (including a big one right near the end).  The actors are solid, even if it felt that they were limited by the script and story itself.

The biggest issue with "The Conspirator" is that it fails to do anything new or novel.  It tells its story in a generally straight and traditional way.  It makes its point clearly, but does not present any new or challenging ways of thinking about the issues.

For better or for worse, "The Conspirator" felt like what it was: a historical drama.  It's good, but could have done much more.

The Natural

Directed by: Barry Levinson

Written by: Roger Towne, Phil Dusenberry (screenplay); Bernard Malamud (novel)









Some movies have good plots.  Some movies have quotable lines.  And some movies have scenes which transcend film and become iconic.  The climactic sequence of "The Natural" has become one of those scenes.

It's too bad that the rest of the film doesn't live up to that final moment.  "The Natural" isn't bad, but it's not as great as the final scene that punctuates it.

The fact is, most of the movie is slow and dry.  Even some of the more exciting moments - Bump Bailey crashing through the wall - don't feel organic or alive.  Once each step of the plot unfolds, there is only one possible direction to the next step, so there's a sense of inevitability rather than surprise.  Meanwhile, none of the characters are terribly vibrant despite what is a very strong cast, so there is really nothing left to keep the story floating.

As if that were not enough, the film is very heavy handed.  There are two very clear sides: good and evil.  The good side is perfect and pure.  The evil side is totally rotten and twisted.  There is no middle, and it is almost always obvious as to who is on which side.  All of this leads to some very obnoxious symbolism.

Still, all of this absolutely worth sitting through to get to that final scene.  That final sequence - with Roy Hobbs stepping to the plate with so much on the line, his side bleeding (there's that symbolism again) - makes the entire film an instant classic.

That iconic scene expressed the spirit imagination of every little boy who ever dreamed of playing professional baseball.  It's almost embedded in the American subconscious at this point - the swing, the crack, the lights shattering, the silhouette of Hobbs rounding the bases as he's showered in sparks.  The climax evokes the magic that makes movies worth seeing.