In Captain America: Brave New World, Sam Wilson (Anthony Mackie) assumes the mantle of Captain America and faces a complex international crisis involving Thaddeus Ross (Harrison Ford), now the President of the United States. Wilson must collaborate with Ross to thwart a dangerous conspiracy orchestrated by The Leader (Tim Blake Nelson), with support from allies including Joaquin Torres (Danny Ramirez) and Isiah Bradley (Carl Lumbly), the original super-soldier. Wilson confronts unprecedented challenges, compounded by his lack of superpowers.
Since Avengers: Endgame (2019), twelve films have been released. My assessment: four are commendable, two are tolerable, and six are significantly lacking. Prior to Endgame, only four films out of 22 were genuinely disappointing. This suggests a notable shift in Marvel’s output post-Endgame. Deadpool & Wolverine, Marvel’s sole release last year, offered a glimmer of hope. Having now viewed Captain America: Brave New World, a more definitive answer is available.
Unfortunately, Captain America: Brave New World aligns with Marvel’s less successful post-Endgame efforts, representing a significant dip in quality. The film’s potential is squandered, resulting in a disjointed narrative likely due to extensive reshoots and restructuring, particularly evident in its latter stages.
Anthony Mackie’s portrayal of Captain America is not the issue; he possesses the necessary charisma to carry the role. The core problem lies in the filmmakers’ apparent misunderstanding of the character. Introduced in Captain America: The Winter Soldier, he was established as an ordinary human without superpowers, relying on his winged suit. He subsequently played a crucial role in numerous events, ultimately inheriting the shield from the original Captain America in Endgame.
Why emphasize Captain America’s lack of superpowers? Consider the review’s poster image: Captain America deflects Red Hulk’s fist with his shield. While the shield is ostensibly indestructible, Captain America himself is not, and should realistically be flattened by such an impact. The film introduces new, enhanced wings from Wakanda, theoretically capable of withstanding greater forces. However…
Later, Captain America endures a fight with a physically imposing adversary, remarking that he’s broken ribs, yet appears unharmed moments later. While heroic resilience is a common trope, the subsequent scene, where a villain stabs him deeply in the chest, proved particularly frustrating. The complete lack of consequence or visible injury undermines the narrative’s integrity. A character later alludes to kevlar protection, which Captain America vaguely confirms. However, the audience clearly witnesses the blade’s penetration, rendering the kevlar explanation implausible.
Throughout the film, the expectation persisted that Wilson had secretly taken the super-serum, a plot device readily available following its introduction in the lackluster TV series The Falcon and The Winter Soldier. This reveal never materializes. The film feels as though it was originally structured to include such a twist, only to be excised during reshoots, leaving lingering inconsistencies.
Moving beyond this central issue, the plot is both underdeveloped and uninspired. The film appears determined to resolve various unresolved plot threads from previous, often disparate, storylines. Tim Blake Nelson’s character from The Incredible Hulk (2008) is addressed, as is the emergent landmass from Eternals (2021). The film deserves minimal credit for these connections.
Harrison Ford delivers a commendable performance as President Ross, proving a worthy successor to the late William Hurt (1950-2022).
The visual effects are generally poor, with excessive reliance on greenscreen. The action sequences are uninspired, and the film contains several laughable scenes. One such instance involves a character uncovering crucial information, only to be inexplicably ambushed and killed by the villain in broad daylight before making a call. The implication that the villain anticipated the call and was conveniently positioned strains credulity, even considering his supposed intelligence. The film’s fractured and incomplete nature is further evidenced by the late addition of Giancarlo Esposito as Sidewinder, replacing another actor and villain. The treatment of Carl Lumbly as Isaiah Bradley is inadequate, and Shira Haas‘s portrayal of Ruth Bat-Seraph (ostensibly “Exposition”) is equally disappointing.
To further enumerate the film’s shortcomings: the return of digital helmets proves as distracting and visually unappealing as in previous installments. The film compounds this issue by transitioning to a physical helmet when required, contradicting the nanotechnology principles established elsewhere. Furthermore, the nanotechnology helmet audibly cracks upon impact, behaving like a conventional helmet. Captain America’s choice to wear ordinary clothing while carrying his shield during missions further detracts from the film’s credibility.
The forthcoming The Thunderbolts, premiering in May, inspires limited confidence. However, the subsequent release of the new Fantastic Four in July offers a sliver of hope that Marvel can recover from its current trajectory of missed opportunities, negligence, and questionable directorial choices.
Captain America: The Brave New World is now in theaters. Despite its numerous flaws, the film offers a degree of entertainment, provided one suspends disbelief and embraces the experience without critical analysis.
