MrDHWong
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"Nickel Boys" is a historical drama film based on the 2019 novel "The Nickel Boys" by Colson Whitehead. Directed by RaMell Ross and starring Ethan Herisse and Brandon Wilson, it adopts an interesting perspective of showing audiences a very important era in modern American history.
In 1962 in Florida, 17-year-old African-American boy Elwood Curtis (Ethan Herisse) is accepted into a tuition-free study program at the recommendation of his black teacher Mr. Hill (Jimmie Fails). While attempting to hitch a ride to the college campus, Elwood unknowingly accepts a ride from a man driving a stolen car and upon being pulled over by a white police officer is wrongfully convicted of being an accomplice. Due to him being underage, Elwood is sent to Nickel Academy, a racially segregated reform school for him to serve out his sentence until he is legally an adult. Shortly upon arriving, Elwood befriends Turner (Brandon Wilson), a quiet student whose cynical outlook on society greatly contrasts with Elwood's more optimistic views of the ongoing Civil Rights Movement. Over the course of their stay at Nickel Academy, Elwood and Turner experience frequent bullying from the corrupt staff and students, as well as numerous other horrors that test their mental well-being, all among the backdrop of a racially divided America.
If I had to pinpoint the most historically significant 20th century era for the United States, it would most likely be the 1960s. This is due to the fact that this particular decade contained some of the most crucial moments that defined America's identity as a superpower, such as its involvement in the Vietnam War, the escalating Cold War with the USSR, the space race, and of course the Civil Rights Movement. The latter example naturally unfolded on a domestic front, paving way for the country's African-American population's acceptance among their white counterparts. However, as many should be aware of by now, this was not achieved so easily, as many violent, unnecessary deaths and other problematic factors occurred that left a noted impact on both the American public and pop culture. The 2024 film "Nickel Boys" shows this turbulent age for America from the viewpoint of two young African-American boys in a way that helps viewers understand some of the pain many like them must have endured.
Taking on a first person point-of-view, the film begins by showing us the early life of the protagonist Elwood Curtis in 1960s America. We watch as the young Elwood lies on the grass gazing up at the fruit trees belonging to his loving grandmother Hattie (Aunjanue Ellis-Taylor), embracing the carefreeness of his youth. As well as this, Elwood observes numerous other occurrences happening all around him, including the undignified ways African-Americans are viewed by their Caucasian peers. Later, Elwood passes by a store with television sets in the window broadcasting a live speech of Dr. Martin Luther King Jr., essentially opening his eyes to the prospect that black and white people can happily co-exist with each other one day. Though these scenes may be brief, they do a nice enough job of depicting what it must have been like to be a young African-American boy in this era, growing up around all of these world-changing events occurring at the same time.
Sometime later, we see a teenaged Elwood attempting to make his way to college, where he ignorantly rides along with a driver in a stolen car. After being pulled over by the police, the white cop immediately arrests both of them for theft, despite the fact that Elwood is innocent in this situation, something of which an all-white police force will never believe during this time in history. As punishment, Elwood is send to Nickel Academy reform school, where he meets fellow student Turner. At this point in the film, the story switches from Elwood's point-of-view over to Turner's, who sees the world far differently than his more positive-minded friend. Because of this sudden shift to a new lead character with a different world view, the film's tone becomes decidedly darker, as we are transitioning from an optimist to a pessimist. Over the course of the story, the film sometimes flips back and forth between Elwood and Turner, likely as a way for the audience to understand the differing perspectives that each respective character has adopted as a result of their personal experiences. In most other cases, this would be a bizarre creative choice, but it actually works in the film's favour for the most part.
As mentioned earlier, the film is told from a first person perspective, as though the audience is literally seeing the action take place from the characters' eyes. Director RaMell Ross handles this unorthodox creativity in the best way he can; by balancing out Elwood's and Turner's conflicting personalities throughout the plot. I actually found myself genuinely curious to see how each character was going to handle which situation the story throws at them, whether it's Elwood reading a classic piece of literature or Turner reacting in shock over uncovering a terrible secret that the Nickel Academy has been hiding from the general public. In addition to this, Ross also intersperses the occasional news reel footage of the Civil Rights Movement taking place in Alabama and even scenes from the racially motivated 1958 movie "The Defiant Ones", usually during parts where characters are watching TV. Though this may seem tacky at first, they actually serve a purpose in the long run, as they add a great deal of atmosphere to the immersive nature of watching the action unfold before the two lead characters.
While we don't often see their faces, or even their full bodies for that matter, both Ethan Herisse and Brandon Wilson do a reasonable enough job of playing their characters to leave an impression on the viewer. Herisse manages to bring out a great deal of emotion in Elwood, who despite having his bright future taken away from him, remains hopeful that he may be able to reclaim it once African-Americans like himself are granted their much-demanded Civil Rights. On the other hand, Wilson's performances is far more nuanced, likely suppressing his trauma over all of the terrible things he has witnessed from inside Nickel Academy. These two actors, whether visible on screen or not, are responsible for giving the film some much needed heart among the hostilities on display throughout the rest of the story. You really get the sense you are walking in their shoes at any given time.
Although it may not be as confronting as one might hope, "Nickel Boys" nonetheless works on most every other level thanks to its intriguingly creative execution and watchable lead performances. There aren't many films out there capable of actually inviting the viewer to watch events play out from the exact viewpoint as its main characters, and this one found a way to make it work without feeling too gimmicky. It shows us that while America has come a long way since the 1960s, a decade that defined their status as a superpower for better and for worse, many of the same problems that existed back then still exist today. So long as the same mistakes keep being made, no one will learn a thing.
I rate it 8/10.
In 1962 in Florida, 17-year-old African-American boy Elwood Curtis (Ethan Herisse) is accepted into a tuition-free study program at the recommendation of his black teacher Mr. Hill (Jimmie Fails). While attempting to hitch a ride to the college campus, Elwood unknowingly accepts a ride from a man driving a stolen car and upon being pulled over by a white police officer is wrongfully convicted of being an accomplice. Due to him being underage, Elwood is sent to Nickel Academy, a racially segregated reform school for him to serve out his sentence until he is legally an adult. Shortly upon arriving, Elwood befriends Turner (Brandon Wilson), a quiet student whose cynical outlook on society greatly contrasts with Elwood's more optimistic views of the ongoing Civil Rights Movement. Over the course of their stay at Nickel Academy, Elwood and Turner experience frequent bullying from the corrupt staff and students, as well as numerous other horrors that test their mental well-being, all among the backdrop of a racially divided America.
If I had to pinpoint the most historically significant 20th century era for the United States, it would most likely be the 1960s. This is due to the fact that this particular decade contained some of the most crucial moments that defined America's identity as a superpower, such as its involvement in the Vietnam War, the escalating Cold War with the USSR, the space race, and of course the Civil Rights Movement. The latter example naturally unfolded on a domestic front, paving way for the country's African-American population's acceptance among their white counterparts. However, as many should be aware of by now, this was not achieved so easily, as many violent, unnecessary deaths and other problematic factors occurred that left a noted impact on both the American public and pop culture. The 2024 film "Nickel Boys" shows this turbulent age for America from the viewpoint of two young African-American boys in a way that helps viewers understand some of the pain many like them must have endured.
Taking on a first person point-of-view, the film begins by showing us the early life of the protagonist Elwood Curtis in 1960s America. We watch as the young Elwood lies on the grass gazing up at the fruit trees belonging to his loving grandmother Hattie (Aunjanue Ellis-Taylor), embracing the carefreeness of his youth. As well as this, Elwood observes numerous other occurrences happening all around him, including the undignified ways African-Americans are viewed by their Caucasian peers. Later, Elwood passes by a store with television sets in the window broadcasting a live speech of Dr. Martin Luther King Jr., essentially opening his eyes to the prospect that black and white people can happily co-exist with each other one day. Though these scenes may be brief, they do a nice enough job of depicting what it must have been like to be a young African-American boy in this era, growing up around all of these world-changing events occurring at the same time.
Sometime later, we see a teenaged Elwood attempting to make his way to college, where he ignorantly rides along with a driver in a stolen car. After being pulled over by the police, the white cop immediately arrests both of them for theft, despite the fact that Elwood is innocent in this situation, something of which an all-white police force will never believe during this time in history. As punishment, Elwood is send to Nickel Academy reform school, where he meets fellow student Turner. At this point in the film, the story switches from Elwood's point-of-view over to Turner's, who sees the world far differently than his more positive-minded friend. Because of this sudden shift to a new lead character with a different world view, the film's tone becomes decidedly darker, as we are transitioning from an optimist to a pessimist. Over the course of the story, the film sometimes flips back and forth between Elwood and Turner, likely as a way for the audience to understand the differing perspectives that each respective character has adopted as a result of their personal experiences. In most other cases, this would be a bizarre creative choice, but it actually works in the film's favour for the most part.
As mentioned earlier, the film is told from a first person perspective, as though the audience is literally seeing the action take place from the characters' eyes. Director RaMell Ross handles this unorthodox creativity in the best way he can; by balancing out Elwood's and Turner's conflicting personalities throughout the plot. I actually found myself genuinely curious to see how each character was going to handle which situation the story throws at them, whether it's Elwood reading a classic piece of literature or Turner reacting in shock over uncovering a terrible secret that the Nickel Academy has been hiding from the general public. In addition to this, Ross also intersperses the occasional news reel footage of the Civil Rights Movement taking place in Alabama and even scenes from the racially motivated 1958 movie "The Defiant Ones", usually during parts where characters are watching TV. Though this may seem tacky at first, they actually serve a purpose in the long run, as they add a great deal of atmosphere to the immersive nature of watching the action unfold before the two lead characters.
While we don't often see their faces, or even their full bodies for that matter, both Ethan Herisse and Brandon Wilson do a reasonable enough job of playing their characters to leave an impression on the viewer. Herisse manages to bring out a great deal of emotion in Elwood, who despite having his bright future taken away from him, remains hopeful that he may be able to reclaim it once African-Americans like himself are granted their much-demanded Civil Rights. On the other hand, Wilson's performances is far more nuanced, likely suppressing his trauma over all of the terrible things he has witnessed from inside Nickel Academy. These two actors, whether visible on screen or not, are responsible for giving the film some much needed heart among the hostilities on display throughout the rest of the story. You really get the sense you are walking in their shoes at any given time.
Although it may not be as confronting as one might hope, "Nickel Boys" nonetheless works on most every other level thanks to its intriguingly creative execution and watchable lead performances. There aren't many films out there capable of actually inviting the viewer to watch events play out from the exact viewpoint as its main characters, and this one found a way to make it work without feeling too gimmicky. It shows us that while America has come a long way since the 1960s, a decade that defined their status as a superpower for better and for worse, many of the same problems that existed back then still exist today. So long as the same mistakes keep being made, no one will learn a thing.
I rate it 8/10.
"The Brutalist" is an epic drama film directed and co-written by Brady Corbet ("The Childhood of a Leader", "Vox Lux"). Starring Adrien Brody, Guy Pearce, and Felicity Jones, it paints a fantastically detailed portrait of the American Dream from the perspective of one emotionally damaged immigrant.
In 1947, Hungarian-Jewish Holocaust survivor and architect László Tóth (Adrien Brody) emigrates to the United States after being forcibly separated from his wife Erzsébet (Felicity Jones) and young niece Zsófia (Raffey Cassidy). Living with his cousin Attila (Alessandro Nivola), László helps him out with his furniture business when one day they are given the job of renovating the library inside a mansion belonging to wealthy industrialist Harrison Lee Van Buren (Guy Pearce) at the request of his son Harry (Joe Alwyn). After Harrison arrives home early to discover the surprise renovation, he angrily has László and Attila removed from his property, refusing to pay the cousins their fee. Blaming László for this incident, Attila quickly kicks him out of his home, forcing László to work odd jobs on the streets to pay for housing and his newfound heroin habit. Three years later, Harrison tracks László down to apologise for his harsh behaviour after having discovered the wide extent of László's architectural creations back in Europe, even paying him the money owed to him for the library job. As a tribute to his late mother, Harrison offers László the task of designing and building a large community centre located in the countryside near his mansion. László agrees to the job on one of the conditions of payment being that Harrison's lawyer finds a way to expedite both Erzsébet and Zsófia to the United States. Over time, the project proves so ambitious that it takes its toll on László's mental state, causing him to ponder if the so-called American Dream is really worth it in the end.
Structured much like the epic films of many decades past, the film spares no expense in its depiction of working one's way up the ladder of success in a brand new land. Beginning with a gracious "Overture", we watch as Jewish architect László arrives in New York City in the late 1940s after fleeing the terrible conditions in his home country of Hungary, admiring the Statue of Liberty as his boat enters the harbour. From László's perspective, he sees the statue at an upside down askew angle, likely symbolising how his world has been completely flipped around, requiring him to readjust himself accordingly in a foreign country. Shortly after, we see László moving in with his cousin Attila, whose apparent assimilation into American culture proves jarring to this once proudly Hungarian immigrant. In stark contrast, László is seen continuing most of his old ways, attending synagogues for worship, waiting in line at a soup kitchen for food, and practicing his English in front of a mirror. These scenes are intended to show László's realisation that he must shed his original European self in order to achieve prosperity, working his way up from the very bottom towards his goal of reaching his dreams at the very top.
As the film continues, László experiences various misfortunes that hinder his progress, including his abrupt firing from an architectural job at a wealthy client's mansion and later being forced out onto the streets by Attila. Though he can no longer see himself achieving his American Dream, László nonetheless works different jobs to support himself independently, as well as an unfortunate heroin addiction he picked up along the way. Three years pass when opportunity finally presents itself in the form of Mr. Harrison Lee Van Buren, the aforementioned wealthy industrialist who has since taken a liking to László's work as an architect and wishes to recruit him to design something truly spectacular to cement his estate's legacy. From this point forward in the story, we witness all of László's hardships, as he works tirelessly around the clock to ensure Harrison's ambitious project is up to both his employer's standards and his own. It is here that the film truly embraces its identity as a futile pursuit of the American Dream, focusing around everything László must endure to make it in this unforgiving environment.
In only his third feature film, director Brady Corbet shows his uncanny ability to tell a story with such a grandiose scale in the only practical way possible; as an ode to the classic epic movies of filmmakers like David Lean and Bernardo Bertolucci. Corbet flawlessly paces his film so that it isn't too fast to comprehend nor is it too slow to induce boredom. This is especially important considering the film clocks in at a whopping 215 minutes (3 hours and 35 minutes), a runtime it rightly earns due to the sheer amount of content required to flesh out both its characters and other important storytelling elements. Additionally, to the relief of those with a weak bladder, the film includes a brief intermission at around the halfway mark of the story, something of which I strongly support being reimplemented back into films with a running time longer than three hours. Watching this film truly feels like an affectionate throwback to an era when epic movies actually felt epic, both thematically and in the sheer scope of telling a large scale story to its audience.
Visually, the film also makes excellent use of cinematography to showcase the juxtaposed huge landscapes dwarfing the immense amount of people working to produce a construction project of inferior size. For example, in one scene, we watch as Harrison marches his party guests up a hill to show them the exact spot where he intends to have his community centre built. Here, Brady Corbet uses this opportunity to show his audience the surrounding scenery, somewhere naturalistic yet empty, as though it lacks something of a foundation for bigger prospects. During scenes like this, there were many instances where you could pause the movie and imagine what was on screen as a painting, similar to Stanley Kubrick's masterpiece "Barry Lyndon". Every person and object looked perfectly placed in frame, evoking feelings ranging from determination to uncertainty. Rare creative moments like this are more callbacks to older epic films that aren't really made anymore, something of which I am sure Corbet was taking into account while making this movie.
For what can easily be described as his best performance since 2002's "The Pianist", Adrien Brody does a brilliant job in the lead role as László Tóth, a man so determined to follow the American Dream yet is often held back by his own devices. It would have been easy for László to be written as another generic immigrant character going from rags to riches, but thankfully he is depicted in a far more in-depth light than that. Throughout the film, we watch every triumphant accomplishment, every resounding failure, and every close call in both regards that László experiences during his journey towards making a name for himself. Brody is the perfect actor to convey every one of the emotional states that someone like László is going through, and the pained expressions on his face often say more than words ever could.
Worth mentioning as well is Guy Pearce as Harrison Lee Van Buren, who is basically a personification of the archetypical self-made American man. Unlike László, who must work hard at success in a new country, Harrison has already achieved everything required to be living out the American Dream; he's rich, he has powerful influence over others, and has delusions of grandeur as a result of being on top for so long. I was always interested to watch every conversation Harrison had with those around him, as his tone always changed depending on who he might be addressing. For instance, whenever he interacts with László, he would either be accomodating of his talents as an architect or condescending due to his lower class status, whereas with his own family he is always treating them like they are on his level regardless of what they might have done. Guy Pearce has always been one of those actors who can hold your attention whether he's playing an authority figure or just a regular man, and a character like Harrison fits seamlessly into the former category.
Though her appearance doesn't come until much later into the story, Felicity Jones also leaves a memorable impression as Erzsébet, the forcibly estranged wife of László. Without giving away too much, the romantic scenes with Erzsébet and László gave the film some important emotional grounding, especially during parts where it seemed like László could lose his sanity were it not for her presence. Her character is there to remind László that his dream of success in America is one that is worth pursuing, as she gives him something tangible to latch onto whenever he feels like giving up altogether. It also helps that Brody and Jones have believable chemistry with each other, something that lends itself effectively to certain tragic scenes that play out in the film's favour.
As a superb analysis of the hollow pursuit of the American Dream, "The Brutalist" stands leagues ahead of lesser movies that can only wish they could ever come this close to greatness. Its detailed, often heartbreaking depiction of the range of emotions its lead character goes through is certain to linger in the minds of audiences from all walks of life, even those who have already achieved success in their own respective ways. In the end, this film is another firm reminder that some dreams may be too impractical for some of us to follow, especially given the immeasurably large scale of what that vision entails. To paraphrase comedian George Carlin; "It's called the American Dream because you have to be asleep to believe it".
I rate it a very high 9.5/10.
In 1947, Hungarian-Jewish Holocaust survivor and architect László Tóth (Adrien Brody) emigrates to the United States after being forcibly separated from his wife Erzsébet (Felicity Jones) and young niece Zsófia (Raffey Cassidy). Living with his cousin Attila (Alessandro Nivola), László helps him out with his furniture business when one day they are given the job of renovating the library inside a mansion belonging to wealthy industrialist Harrison Lee Van Buren (Guy Pearce) at the request of his son Harry (Joe Alwyn). After Harrison arrives home early to discover the surprise renovation, he angrily has László and Attila removed from his property, refusing to pay the cousins their fee. Blaming László for this incident, Attila quickly kicks him out of his home, forcing László to work odd jobs on the streets to pay for housing and his newfound heroin habit. Three years later, Harrison tracks László down to apologise for his harsh behaviour after having discovered the wide extent of László's architectural creations back in Europe, even paying him the money owed to him for the library job. As a tribute to his late mother, Harrison offers László the task of designing and building a large community centre located in the countryside near his mansion. László agrees to the job on one of the conditions of payment being that Harrison's lawyer finds a way to expedite both Erzsébet and Zsófia to the United States. Over time, the project proves so ambitious that it takes its toll on László's mental state, causing him to ponder if the so-called American Dream is really worth it in the end.
Structured much like the epic films of many decades past, the film spares no expense in its depiction of working one's way up the ladder of success in a brand new land. Beginning with a gracious "Overture", we watch as Jewish architect László arrives in New York City in the late 1940s after fleeing the terrible conditions in his home country of Hungary, admiring the Statue of Liberty as his boat enters the harbour. From László's perspective, he sees the statue at an upside down askew angle, likely symbolising how his world has been completely flipped around, requiring him to readjust himself accordingly in a foreign country. Shortly after, we see László moving in with his cousin Attila, whose apparent assimilation into American culture proves jarring to this once proudly Hungarian immigrant. In stark contrast, László is seen continuing most of his old ways, attending synagogues for worship, waiting in line at a soup kitchen for food, and practicing his English in front of a mirror. These scenes are intended to show László's realisation that he must shed his original European self in order to achieve prosperity, working his way up from the very bottom towards his goal of reaching his dreams at the very top.
As the film continues, László experiences various misfortunes that hinder his progress, including his abrupt firing from an architectural job at a wealthy client's mansion and later being forced out onto the streets by Attila. Though he can no longer see himself achieving his American Dream, László nonetheless works different jobs to support himself independently, as well as an unfortunate heroin addiction he picked up along the way. Three years pass when opportunity finally presents itself in the form of Mr. Harrison Lee Van Buren, the aforementioned wealthy industrialist who has since taken a liking to László's work as an architect and wishes to recruit him to design something truly spectacular to cement his estate's legacy. From this point forward in the story, we witness all of László's hardships, as he works tirelessly around the clock to ensure Harrison's ambitious project is up to both his employer's standards and his own. It is here that the film truly embraces its identity as a futile pursuit of the American Dream, focusing around everything László must endure to make it in this unforgiving environment.
In only his third feature film, director Brady Corbet shows his uncanny ability to tell a story with such a grandiose scale in the only practical way possible; as an ode to the classic epic movies of filmmakers like David Lean and Bernardo Bertolucci. Corbet flawlessly paces his film so that it isn't too fast to comprehend nor is it too slow to induce boredom. This is especially important considering the film clocks in at a whopping 215 minutes (3 hours and 35 minutes), a runtime it rightly earns due to the sheer amount of content required to flesh out both its characters and other important storytelling elements. Additionally, to the relief of those with a weak bladder, the film includes a brief intermission at around the halfway mark of the story, something of which I strongly support being reimplemented back into films with a running time longer than three hours. Watching this film truly feels like an affectionate throwback to an era when epic movies actually felt epic, both thematically and in the sheer scope of telling a large scale story to its audience.
Visually, the film also makes excellent use of cinematography to showcase the juxtaposed huge landscapes dwarfing the immense amount of people working to produce a construction project of inferior size. For example, in one scene, we watch as Harrison marches his party guests up a hill to show them the exact spot where he intends to have his community centre built. Here, Brady Corbet uses this opportunity to show his audience the surrounding scenery, somewhere naturalistic yet empty, as though it lacks something of a foundation for bigger prospects. During scenes like this, there were many instances where you could pause the movie and imagine what was on screen as a painting, similar to Stanley Kubrick's masterpiece "Barry Lyndon". Every person and object looked perfectly placed in frame, evoking feelings ranging from determination to uncertainty. Rare creative moments like this are more callbacks to older epic films that aren't really made anymore, something of which I am sure Corbet was taking into account while making this movie.
For what can easily be described as his best performance since 2002's "The Pianist", Adrien Brody does a brilliant job in the lead role as László Tóth, a man so determined to follow the American Dream yet is often held back by his own devices. It would have been easy for László to be written as another generic immigrant character going from rags to riches, but thankfully he is depicted in a far more in-depth light than that. Throughout the film, we watch every triumphant accomplishment, every resounding failure, and every close call in both regards that László experiences during his journey towards making a name for himself. Brody is the perfect actor to convey every one of the emotional states that someone like László is going through, and the pained expressions on his face often say more than words ever could.
Worth mentioning as well is Guy Pearce as Harrison Lee Van Buren, who is basically a personification of the archetypical self-made American man. Unlike László, who must work hard at success in a new country, Harrison has already achieved everything required to be living out the American Dream; he's rich, he has powerful influence over others, and has delusions of grandeur as a result of being on top for so long. I was always interested to watch every conversation Harrison had with those around him, as his tone always changed depending on who he might be addressing. For instance, whenever he interacts with László, he would either be accomodating of his talents as an architect or condescending due to his lower class status, whereas with his own family he is always treating them like they are on his level regardless of what they might have done. Guy Pearce has always been one of those actors who can hold your attention whether he's playing an authority figure or just a regular man, and a character like Harrison fits seamlessly into the former category.
Though her appearance doesn't come until much later into the story, Felicity Jones also leaves a memorable impression as Erzsébet, the forcibly estranged wife of László. Without giving away too much, the romantic scenes with Erzsébet and László gave the film some important emotional grounding, especially during parts where it seemed like László could lose his sanity were it not for her presence. Her character is there to remind László that his dream of success in America is one that is worth pursuing, as she gives him something tangible to latch onto whenever he feels like giving up altogether. It also helps that Brody and Jones have believable chemistry with each other, something that lends itself effectively to certain tragic scenes that play out in the film's favour.
As a superb analysis of the hollow pursuit of the American Dream, "The Brutalist" stands leagues ahead of lesser movies that can only wish they could ever come this close to greatness. Its detailed, often heartbreaking depiction of the range of emotions its lead character goes through is certain to linger in the minds of audiences from all walks of life, even those who have already achieved success in their own respective ways. In the end, this film is another firm reminder that some dreams may be too impractical for some of us to follow, especially given the immeasurably large scale of what that vision entails. To paraphrase comedian George Carlin; "It's called the American Dream because you have to be asleep to believe it".
I rate it a very high 9.5/10.
"Captain America: Brave New World" is the fourth film in the "Captain America" series and the 35th film in the Marvel Cinematic Universe (MCU). Directed and co-written by Julius Onah ("The Cloverfield Paradox") and starring Anthony Mackie and Harrison Ford, it represents a wounded MCU trying to rebuild its reputation in the wake of recent setbacks, with mostly mixed results.
Following the events of "The Falcon and the Winter Soldier", Sam Wilson (Anthony Mackie) is still adjusting to his role as Captain America, working alongside the US government to take down any enemies they see fit. After Thaddeus "Thunderbolt" Ross (Harrison Ford) is elected President of the United States, he tasks Sam with rebuilding the Avengers initiative, sending him and his right-hand man Joaquin Torres/Falcon (Danny Ramirez) on a secret mission to uncover a potentially life-threatening conspiracy. As he digs deeper into the political aspects of what is happening, Sam soon learns the shocking truth behind everything, leading him to become involved in a major incident that could affect the entire world. With tensions mounting between both the United States and neighbouring countries, Sam must find ways to prevent a global catastrophe from taking place while also protecting President Ross from anything that could place his life in serious danger.
There's no denying it anymore that the once mighty MCU has certainly seen better days. The golden age when Disney could release a film focusing on the most obscure Marvel hero and have it gross more than a billion dollars is well and truly over, as several poor creative decisions and other issues have alienated audiences to the point where superhero fatigue is becoming more common. If there were any real indicator of the series's decline, it would be their box office results in 2023, when Disney lost over $296.4 million at the box office on two of their three Marvel movies, something that would have been unheard of years earlier. Since then, Disney has been working to regain their disillusioned Marvel fanbase either by delaying numerous projects or scrapping them altogether, with the MCU experiencing some resurgence thanks to the 2024 success of "Deadpool and Wolverine". Continuing Disney's attempts to win back fans, we have "Captain America: Brave New World", a pragmatically safe and acceptable entry in the Marvel Cinematic Universe that is neither too controversial nor too predictable in its execution.
Even from the very start, it is clear that this film is trying hard to ensure that it doesn't feature anything that could potentially drive even more viewers away from the waning MCU fanbase. As the film opens, we see the newly-elected US President Thunderbolt Ross addressing the press regarding certain events that took place in previous MCU movies, some of which feel like a belated way to call back to things fans have wanted answers to for quite a while. This is then followed by a scene of Captain America, who is now the former Falcon Sam Wilson, ambushing an enemy compound on a secret mission to uncover important information that could cause problems for the US government. Each of these scenes feel relatively routine with some minor fan service and decent action sequences that don't detract too much from the usual MCU entertainment value, which is something the series can't afford to do right now considering the array of creative gambles in recent films that didn't pay off. Though I am sure there will be those left upset at the lack of new and exciting things to look forward to, it is realistic for the MCU to play things safe for now during such a volatile time in their history.
Likewise, the political undertones here seemed more nuanced when compared to what was seen in "The Falcon and the Winter Soldier", something of which attracted polarised reactions among many MCU fans. Although Sam's actions as Captain America are inescapably politically motivated, the film never shows it to us in a way that feels like it is taking a particular side in the debate, with Sam simply doing his job as a hero trying to protect the President and his country. Because of this, the film has a more neutral point of view in its story involving a cataclysmic plot to cause harm to world leaders and innocent civilians, with no awkward attempts at social or political commentary to go along with it. What results from this is a by-the-numbers saving the world from destruction plot that we've all seen before, which could either mean that better content is on the horizon or the MCU is still stuck in an indefinite rut.
In terms of action, there are a handful of sequences that elicit some minor excitement, though this is far from anything noteworthy that the MCU has delivered in the past. For instance, as mentioned earlier, I did like the opening scene of Sam infiltrating an enemy base, as it gives him an opportunity to properly demonstrate all of his abilities as Captain America for the first time on the big screen. Here, we watch as Sam flies through the compound in his upgraded Falcon suit while brandishing the signature Captain America shield, combining his abilities as both heroes to bring down any adversaries that stand in his way. Later on during the film's climax, we see how accomplished Sam has become since the beginning, implementing everything he has learned over the course of the story. These are all serviceable moments in the film that prevent it from becoming too stale or boring, but I would be lying if I said they are enough to salvage an already declining MCU.
As veteran fans should already be aware of by now, Anthony Mackie has proven himself capable as Sam Wilson/Falcon for many years and his promotion to the role of Captain America has been a bumpy but worthwhile transition for the most part. Mackie does a solid job holding the audience's attention as the film's leading man, even if some of the material he has to work with is lacking in some places. Throughout this film, we see Sam grapple with his lingering insecurities of not being able to live up to the standards of his friend and predecessor Steve Rogers (Chris Evans), whose legacy still haunts him quite evidently. It's interesting to see how Sam essentially tries to find ways to create his own identity as the new Captain America while also trying to remain true to what the role stands for regardless of what it entails. With that said, I have accepted Sam Wilson taking on the mantle of the iconic hero, though I can't really speak for all MCU fans at this point in time.
Taking over from the late William Hurt, Harrison Ford is a decent replacement for the character of Thunderbolt Ross, although his advanced age seems to be holding him back in some scenes. Similar to his performance in "Indiana Jones and the Dial of Destiny", Ford looks as though he is struggling to keep up with his younger co-stars, notably during parts that require him to be physically alert during action sequences. To his credit though, Ford is still believable as an authority figure, especially someone like the President of the United States, with this being the second time he has played someone in that position of power (the first obviously being in 1997's "Air Force One"). Also, without spoiling too much, I did like watching him turn into Red Hulk for the first time, which is one of the film's more memorable moments.
Given the current state of affairs, "Captain America: Brave New World" may not symbolise the MCU returning to form just yet, but it at least keeps a lid on any major problematic matters by delivering an adequately watchable entry in the long-running superhero franchise. Reportedly, this film was plagued with various issues behind the scenes that necessitated re-shoots and re-editing, so it's safe to assume that what we ended up with could have been a whole lot worse than the original product. Taking that into account, I can only really recommend this film to die-hard MCU fans who are still hoping that the series has the potential to recapture what once made it great, but even then there is not much else worth mentioning about it. There are still more films coming for us to judge the future of the MCU, so all I can do at this stage is wish them the very best of luck.
I rate it 6/10.
Following the events of "The Falcon and the Winter Soldier", Sam Wilson (Anthony Mackie) is still adjusting to his role as Captain America, working alongside the US government to take down any enemies they see fit. After Thaddeus "Thunderbolt" Ross (Harrison Ford) is elected President of the United States, he tasks Sam with rebuilding the Avengers initiative, sending him and his right-hand man Joaquin Torres/Falcon (Danny Ramirez) on a secret mission to uncover a potentially life-threatening conspiracy. As he digs deeper into the political aspects of what is happening, Sam soon learns the shocking truth behind everything, leading him to become involved in a major incident that could affect the entire world. With tensions mounting between both the United States and neighbouring countries, Sam must find ways to prevent a global catastrophe from taking place while also protecting President Ross from anything that could place his life in serious danger.
There's no denying it anymore that the once mighty MCU has certainly seen better days. The golden age when Disney could release a film focusing on the most obscure Marvel hero and have it gross more than a billion dollars is well and truly over, as several poor creative decisions and other issues have alienated audiences to the point where superhero fatigue is becoming more common. If there were any real indicator of the series's decline, it would be their box office results in 2023, when Disney lost over $296.4 million at the box office on two of their three Marvel movies, something that would have been unheard of years earlier. Since then, Disney has been working to regain their disillusioned Marvel fanbase either by delaying numerous projects or scrapping them altogether, with the MCU experiencing some resurgence thanks to the 2024 success of "Deadpool and Wolverine". Continuing Disney's attempts to win back fans, we have "Captain America: Brave New World", a pragmatically safe and acceptable entry in the Marvel Cinematic Universe that is neither too controversial nor too predictable in its execution.
Even from the very start, it is clear that this film is trying hard to ensure that it doesn't feature anything that could potentially drive even more viewers away from the waning MCU fanbase. As the film opens, we see the newly-elected US President Thunderbolt Ross addressing the press regarding certain events that took place in previous MCU movies, some of which feel like a belated way to call back to things fans have wanted answers to for quite a while. This is then followed by a scene of Captain America, who is now the former Falcon Sam Wilson, ambushing an enemy compound on a secret mission to uncover important information that could cause problems for the US government. Each of these scenes feel relatively routine with some minor fan service and decent action sequences that don't detract too much from the usual MCU entertainment value, which is something the series can't afford to do right now considering the array of creative gambles in recent films that didn't pay off. Though I am sure there will be those left upset at the lack of new and exciting things to look forward to, it is realistic for the MCU to play things safe for now during such a volatile time in their history.
Likewise, the political undertones here seemed more nuanced when compared to what was seen in "The Falcon and the Winter Soldier", something of which attracted polarised reactions among many MCU fans. Although Sam's actions as Captain America are inescapably politically motivated, the film never shows it to us in a way that feels like it is taking a particular side in the debate, with Sam simply doing his job as a hero trying to protect the President and his country. Because of this, the film has a more neutral point of view in its story involving a cataclysmic plot to cause harm to world leaders and innocent civilians, with no awkward attempts at social or political commentary to go along with it. What results from this is a by-the-numbers saving the world from destruction plot that we've all seen before, which could either mean that better content is on the horizon or the MCU is still stuck in an indefinite rut.
In terms of action, there are a handful of sequences that elicit some minor excitement, though this is far from anything noteworthy that the MCU has delivered in the past. For instance, as mentioned earlier, I did like the opening scene of Sam infiltrating an enemy base, as it gives him an opportunity to properly demonstrate all of his abilities as Captain America for the first time on the big screen. Here, we watch as Sam flies through the compound in his upgraded Falcon suit while brandishing the signature Captain America shield, combining his abilities as both heroes to bring down any adversaries that stand in his way. Later on during the film's climax, we see how accomplished Sam has become since the beginning, implementing everything he has learned over the course of the story. These are all serviceable moments in the film that prevent it from becoming too stale or boring, but I would be lying if I said they are enough to salvage an already declining MCU.
As veteran fans should already be aware of by now, Anthony Mackie has proven himself capable as Sam Wilson/Falcon for many years and his promotion to the role of Captain America has been a bumpy but worthwhile transition for the most part. Mackie does a solid job holding the audience's attention as the film's leading man, even if some of the material he has to work with is lacking in some places. Throughout this film, we see Sam grapple with his lingering insecurities of not being able to live up to the standards of his friend and predecessor Steve Rogers (Chris Evans), whose legacy still haunts him quite evidently. It's interesting to see how Sam essentially tries to find ways to create his own identity as the new Captain America while also trying to remain true to what the role stands for regardless of what it entails. With that said, I have accepted Sam Wilson taking on the mantle of the iconic hero, though I can't really speak for all MCU fans at this point in time.
Taking over from the late William Hurt, Harrison Ford is a decent replacement for the character of Thunderbolt Ross, although his advanced age seems to be holding him back in some scenes. Similar to his performance in "Indiana Jones and the Dial of Destiny", Ford looks as though he is struggling to keep up with his younger co-stars, notably during parts that require him to be physically alert during action sequences. To his credit though, Ford is still believable as an authority figure, especially someone like the President of the United States, with this being the second time he has played someone in that position of power (the first obviously being in 1997's "Air Force One"). Also, without spoiling too much, I did like watching him turn into Red Hulk for the first time, which is one of the film's more memorable moments.
Given the current state of affairs, "Captain America: Brave New World" may not symbolise the MCU returning to form just yet, but it at least keeps a lid on any major problematic matters by delivering an adequately watchable entry in the long-running superhero franchise. Reportedly, this film was plagued with various issues behind the scenes that necessitated re-shoots and re-editing, so it's safe to assume that what we ended up with could have been a whole lot worse than the original product. Taking that into account, I can only really recommend this film to die-hard MCU fans who are still hoping that the series has the potential to recapture what once made it great, but even then there is not much else worth mentioning about it. There are still more films coming for us to judge the future of the MCU, so all I can do at this stage is wish them the very best of luck.
I rate it 6/10.