Captain America: Civil War



Marvel Studios/Walt Disney Studios

Directed by Anthony Russo & Joe Russo

Produced by Kevin Feige

Screenplay by Christopher Markus/Stephen McFeely

Based on “Captain America” created by Jack Kirby & Joe Simon

If you had asked me a couple of days ago what my favorite Marvel movie is, I’d have said with no hesitation at all; “The Avengers.” But that was before I saw CAPTAIN AMERICA: CIVIL WAR. I am now prepared to not only proclaim that not only is CAPTAIN AMERICA: CIVIL WAR is the best of the Marvel Cinematic Universe movies but also that it just may be the best superhero movie made to date, period.

I might have said this before in my reviews of “Captain America: The First Avenger” and “Captain America: The Winter Soldier” but it bears repeating, I think. One of the strengths of the MCU is that movies featuring characters in their solo movies take their time to explore the worlds in which these characters operate. So Iron Man movies are about technology and ways they can be used or misused for good or evil. Thor movies are full of mythology, fantasy and cosmic adventures. And Captain America movies are about political struggles, the role of government intelligence agencies in modern warfare which is so different from the way Steve Rogers knew war back in World War II. And morals are always at the forefront of a Captain America movie. I don’t think it’s a coincidence that Captain America movies are so popular now because Steve Rogers embodies a way of life and adherence to core beliefs and morals that we as a country and people have gotten away from but desperately long to get back to. But not Cap. He’s The Last Stand-Up Guy and he’s not ashamed of it either.


Captain America/Steve Rogers (Chris Evans) is engaged in a covert mission in Lagos. His job is to keep a biological weapon out of the hands of Crossbones/Brock Rumlow (Frank Grillo.) Cap has brought along as backup The Black Widow/Natasha Romanoff (Scarlett Johansson) The Falcon/Sam Wilson (Anthony Mackie) and The Scarlet Witch/ Wanda Maximoff (Elizabeth Olsen.)

They do manage to secure the biological weapon but during the intense fighting, Wanda accidentally destroys an office building which kills a dozen citizens of the isolationist African country Wakanda. This brings King T’Chaka (John Kani) and his son T’Challa (Chadwick Boseman) to spearhead what comes to be known as The Sokovia Accords. U.S. Secretary of State Thaddeus ‘Thunderbolt’ Ross (William Hurt) presents The Sokovia Accords to The Avengers. If they agree to it and sign it, a United Nations panel will control their activities and supervise The Avengers.

Steve thinks it’s a lousy idea and is surprised that Tony Stark/Iron Man (Robert Downey, Jr.) is all for it. Tony is obviously still dealing with PTSD brought on by not just the Chitauri Invasion of New York but the events of “Avengers: Age of Ultron” as well. Unbeknownst to his friends, Tony’s many chickens have all come home to roost in a big way and that is why he insists that The Avengers sign and abide by The Sokovia Accords.


The situation grows even more hostile and volatile when the representatives of over a hundred countries meet an a conference in Vienna to ratify The Sokovia Accords. The conference is bombed and all the evidence points to James Buchanan Barnes/Bucky/The Winter Soldier (Sebastian Stan) as the bomber. This situation divides The Avengers even more as Steve believes that Bucky shouldn’t be held responsible for crimes he committed while in a brainwashed state as The Winter Solider.


The Black Widow, War Machine/James Rhodes (Don Cheadle ) The Vision (Paul Bettany) and Spider-Man/Peter Parker take Stark’s side while The Falcon, The Scarlet Witch, Hawkeye/Clint Barton (Jeremy Renner) and Ant-Man/Scott Lang (Paul Rudd) side with Captain America. The battle lines are drawn but there two wild cards in the deck; T’Challa has inherited not only the kingship of Wakanda but the heritage of The Black Panther as well. His agenda does not exactly line up with either Captain America’s or Iron Man’s as he is driven by pure vengeance to exact punishment on the murderer of his father.


And in the background, quietly and methodically working on a plan to destroy The Avengers is a man named Zemo…not the one you’re thinking of. But he is no less dangerous. One of the jaw-dropping moments in this movie that is full of them is watching how Zemo manipulates every other character.

I’m not gonna pussyfoot around on this one; CAPTAIN AMERICA: CIVIL WAR is such a finely crafted piece of superhero cinema I honestly am in awe of what the directors, writers and cast have done here. The movie works as both a Captain America solo movie and as an Avengers movie as well, which in itself is no small feat. There’s an exceptionally large cast of characters packed in here but everybody gets a chance to shine. I appreciated how the movie slowed down for such treats as the conversation The Vision and Wanda have while they bond over cooking dinner. I loved the scene where Rhodey and Sam are arguing their points of views about The Sokovia Accords. Remember that these are two black men who have both served in the U.S. military. But they have very different ideas about the role The Avengers should play in the world. And while we’re on the subject, when was the last time you saw a superhero movie that had three black superheroes in prominent roles?


The discussions the characters have about The Sokovia Accords, their responsibility in how they use their powers and their views on how the public sees them now is something that I found fascinating. The world governments are starting to think that maybe superheroes really aren’t all that nice to have around since they seem to attract death and destruction (something that The Vision himself points out in one of the movie’s best scenes.)

CAPTAIN AMERICA: CIVIL WAR manages to give us the superhero action we crave (the Free-For-All Brawl at the airport is now the greatest superhero fight scene EVER.) while giving us plenty of deeper emotional stuff such as The Avengers having to deal with the consequences of their actions. The world has united in their demand that The Avengers simply not level cities and then go home in time for Corn Flakes and watching Captain Kangaroo.


And I have been waiting all my life to see The Black Panther on a movie screen and now I have. Chadwick Boseman (along with Paul Rudd) walks away with the MVP award. And you all know how I feel about Chris Evans. The guy IS Captain America. ‘Nuff Said. And let me just say that I have never been a big Spider-Man fan but after seeing Tom Holland as Peter Parker/Spider-Man and his smokin’ hot Aunt May (Marisa Tomei) I wouldn’t mind going to see the next Spider-Man movie.


Bottom Line: CAPTAIN AMERICA: CIVIL WAR is spectacular entertainment from start to finish. I judge superhero movies by this: do they make me feel the same sense of excitement and wonder that I got from reading the comic books when I was 12 years old? Do they put me in touch with those feelings I got on a Saturday afternoon when I pulled out a stack of of my favorite comics books and read them for hours on end? CAPTAIN AMERICA: CIVIL WAR does indeed make me feel that way. Most movie series decrease in imagination, excitement and pure fun. Not this one. Each succeeding Captain America movie has been better than the one before and CAPTAIN AMERICA: CIVIL WAR is no exception.



Captain America: Civil War Guest Review by Sean E. Ali

I know what you’re thinking…”But..but…Derrick! Where’s your review of CAPTAIN AMERICA: CIVIL WAR?” Well, it’s hard to review a movie I haven’t seen yet. And I won’t be seeing CIVIL WAR until this Tuesday or Wednesday. I very rarely go see movies the day or weekend they open. I’m long past the age where it was exciting to go see a movie with a crowd. I much prefer going during the week and catching a matinee where the theater is a whole lot emptier and quieter.

But thankfully, Sean E. Ali has caught the movie reviewing bug and based on the numbers his previous reviews of “Batman V Superman” and “Keanu” have been racking up, you guys have been enjoying them greatly. So here he is again with his review of CAPTAIN AMERICA: CIVIL WAR. Enjoy!

From the “Life During Wartime” File…

Don’t want CAPTAIN AMERICA: CIVIL WAR spoiled at all?

Then run away, run away now!

After that, I blame Derrick Ferguson for this epic novella that you’ll be reading from this point on…

…he’s got me in the habit of writing one of these whether I want to or not now…

…but feel free to read or ignore until I dig up the next “Moment of Utter Coolness”…

Now, let’s begin…

Here’s why Marvel’s CAPTAIN AMERICA: CIVIL WAR will work out better than Warner Brothers/DC’s “Batman V Superman”…


Sure it was also a superior storyline, better characterization, the right mix of seriousness, light moments and action (in other words all of the things missing from “Batman V Superman”), but it was all because Marvel played a long slow hand over tossing all their chips on the table in the hopes of grabbing a big pot with little effort.

The game, as they have played it to date, has been a successful one. Marvel Studios have released 13 films and for the most part, those films have garnered generally positive reactions from the audience and the critics. And yes, I hear you “Iron Man 3” haters screaming but I’m one of those folks who dug the film despite its shortcomings and it’s possible CAPTAIN AMERICA: CIVIL WAR is the best of their releases since “The Avengers.”


Now of course the film isn’t absolutely perfect…

…okay I’m just saying that for you nit pickers later, I could care less about the flaws; this film blows everything else out the water in its genre.

Except for disguises. Seriously whenever Steve Rogers goes underground, the authorities should just start grabbing athletically built blond guys wearing windbreakers, baseball caps and dark glasses…

C’mon, you know I’m right!

Seriously, throw me a friggin’ bone here, Marvel, hair coloring, wigs, those old school Groucho Marx glasses mustache combos…

Call Tom Cruise and get Ethan Hunt in with the tearaway facemasks already!

Now this is the part where SPOILERS may come up so be ALERT

If you want to go watch it first then debate the points later, feel free to run to the theater, buy a big bag of popcorn (butter in between, please) and enjoy the show.

Don’t worry about me, I’m sure I can occupy my time until you get back…

Just don’t call me a SPOILER because you weren’t ALERT

So go ahead…



Put on my waiting for folks to get back playlist…



Y’know, in the old days on those ancient BBS circuits, you used to have to type out “SPOILER SPACE” when you didn’t want folks to immediately see something that might have been spoiler like in nature…

You’d think we’d have just gone with SPOILER ALERT then, but we didn’t…

…kind of silly how I just sort of drifted onto that train of thought…

I’m sorry, what was the question?



And, you’re back!

The film rocked, right?!

Or did you even go see it before I wasted my time above…?

Well whichever, too late run, because here we go…

The film opens with a flashback in 1991 where we see your Winter Soldier and mine having a bunch of random words read to him from a book while he does the default animal scream bit. These words are apparently some kind of trigger reset (or gibberish he’s just really sick of hearing when he asked for Samuel L. Jackson’s reading of GO THE F*CK TO SLEEP) because he’s about to go on a mission. The job involves running a car off a lonely road and into a tree. In what is possibly a nod to current events on “Agents of SHIELD”, the Soldier removes several packages with blue fluid in them, he looks properly slowly faced and we bring up the title credits…


…in the present day, the Avengers are on a covert tracking mission in Lagos. The team assembled is Cap, Black Widow, the Falcon and Scarlet Witch (I’m guessing War Machine was off doing military stuff and Vision was trying on cardigans… just go see the flick for that part) they are looking for a group of terrorists who have been hitting police stations across the land lead by Crossbones, the guy who fought Falcon and was the second in command of Cap’s commando group in “Captain America: The Winter Soldier”. An anticipated attack happens, our heroes spring into action, a great scene showing the teamwork this new batch of Avengers have picked up since they got together in “Avengers: Age of Ultron”, the Falcon and Black Widow have a pretty decent chase scene and then…

…well let’s just say things kind of blew up in a bad way and leave it there.


In the aftermath of their latest adventure, the public is starting to question whether or not having superheroes roaming the world willy nilly is such a good idea. The Avengers it seems have been doing a fairly decent job of saving the world, but not so good at collateral damage or public relations damage control. As we’ve already seen in “Avengers: Age of Ultron”, the team isn’t looked upon favorably in a few places. Tony Stark alone is associated with weapons of war that he once manufactured that are still in use by military forces and other less legitimate groups across the globe. The fact that they bounce around the world leaving a lot of smoking craters in their wake, answerable to no one has folks on edge. With what happens in Lagos being the latest incident of a bad thing happening while doing a good thing. The governments of the world are no longer able to turn a blind eye to the issue as the latest… mistake kills members of a delegation from Wakanda, a reclusive African nation that has recently made gestures indicating their willingness to participate on a larger world stage.

Meanwhile, after a brief bit of backstory in an interlude on the holodeck (no we didn’t leave this film for a “Star Trek: The Next Generation” flick, but if we did, Tony Stark invented the holodeck and you’re welcome Captain Picard.) Tony Stark, who is going through a personal crisis or two which he pushes away by hiding behind his work and passing out endowments to fund research for pretty much every student at MIT, is confronted by consequences of the Avengers recent battle against Ultron on a very direct, very personal level while waiting on an elevator. The encounter added with Tony’s own guilt over creating Ultron in the first place, along with his own private troubles and the Avengers latest public disaster leaves him in the right frame of mind for…

…the Sokovia Accords, which is a White Pages phonebook sized way for the rest of the world to say: “Please, oh please, Avengers, could you not blow anything up the next time you save the world? Please and thank you, love, the United Nations.” The Accords would put the Avengers under the header of sanctioned international peacekeeping force, which would be called into a situation only if requested. So basically Interpol but with flashy code names and better toys.

Tony’s hot to get everyone on board so they can put this whole thing in the rear view and shift the burden of responsibility from his team to the world’s governments (“Hey sorry we blew up Bolivia, guys, but remember, YOU called US when Porcupine and the Eel held up that Mom and Pop deli instead of a cop…). He believes that this will give the team sanction to operate with a system of accountability that would foster trust and win back the public. Part of that is driven by his own guilt and Tony shows up to Avengers HQ thinking this is going to be a slam dunk once the rest of the team hears it. Tony’s pitch sells War Machine, Vision, and surprisingly Black Widow, while Scarlet Witch is on the fence and Sam’s not sure either. He just didn’t count on one thing…

…Steve Rogers, Captain America himself, is not on board for this. Given the events of the last film he was in, Steve digs in as the opposing voice, to Tony’s slam dunk proposition. Cap’s fearing that their own interests and agendas could corrupt these governments like the World Council that backed S.H.I.E.L.D only to be duped by HYDRA in purpose. Plus the whole superhero thing is all about being able to respond to a world class threat without going through a ton of red tape. Granted the battles of the Avengers both as a group and on their individual capers have occasionally brought their fair share of collateral damage but as Steve tells Tony, he feels the safest hands to determine where they go to prevent even greater loss of life are their own.

Their debate is ended by an unexpected interlude as Steve is called away on a personal duty where he gets a sort of affirmation that his point of view, while unpopular with some of his peers, is the correct course of action. As this scene closes, The Widow shows up and lets Steve know she’s on her way to sign the Accords as the Avengers representative along with Tony. She asks Steve to join them and he turns her down. Sam sticks with his partner and the lines are quietly drawn…

At the signing, we meet up with a few folks, but the biggest deal of the day is the contingent from Wakanda, fronted by King T’Chaka and his son T’Challa. T’Chaka is there in the spirit of good faith with the hope that this will signal a new chapter in peaceful cooperation with the world at large and the Avengers who want to protect that world…


…since this is a Marvel flick, we don’t get that peace. The meeting has barely begun when there is an explosion hat kills several members in attendance. The culprit is identified shortly after the event: the Winter Soldier, or as Captain America knows him, James Buchanan (“Bucky”) Barnes his one time best friend. The Avengers, now led by Iron Man, are tasked with bringing the Soldier in. Cap and the Falcon are also trying to get to the Soldier to determine if he really were responsible. And as the two head towards each other on an inevitable collision course, a third party has joined the hunt, a man dressed in black who is determined to beat them both and kill the Soldier…

…and in the background is another player that most Captain America comic book fans will recognize by his family name…


Which is a good place to end the spoiler stuff.

CAPTAIN AMERICA: CIVIL WAR is a nicely done piece for this genre. It’s a well told and highly enjoyable story. The characters have clear motivations, introduces newcomers to the MCU: The Black Panther and the most amazingly accurate portrayals of Peter Parker and Spider-Man I’ve ever had the pleasure of watching (or ignoring when the too damn fine for words Marisa Tormei was on the screen playing Aunt May like Mary Jane Watson.) And the story was much deeper than the usual “let’s team up and beat the crap out of those guys” Marvel films. The hard core DC fans who said that Marvel is just big dumb fun apparently have missed the last Captain America film and will probably miss this one to avoid being proved wrong.


If you’ve been on this ride for the last eight years you’ve watched these characters grow into the people they are now so the Tony Stark we met way back in “Iron Man” is still with us, but he’s been seasoned by his experiences. Plus Robert Downey Jr. sells the role because, let’s face it, Tony’s path mirrors his own life including the search for redemption part. Chris Evans is pitch perfect, as always, as Captain America who is still a man out a different time who has run out of time as he becomes an outlaw to save his friend. Since it’s a Captain America film, we get his supporting cast more than anyone else’s so Anthony Mackie is there as the Falcon for the bulk of the game and Sebastian Stan mixes in nicely as he plays Bucky getting slowly back to the guy we first met in initial Captain America movie. The rest of the gang does their part well, especially Jeremy Renner has finally become a fully realized character as Clint “Hawkeye” Barton over his other appearances in the role to date.


CAPTAIN AMERICA: CIVIL WAR is “Captain America 3”, “Iron Man 4”, and a prequel to both “Black Panther” and “Spider-Man” without getting bogged down with all the extra heroes. The way the film was directed gives me confidence for this team since they will be doing the next big pair of “Avengers” movies where the character count is expected to be higher. The film also tackles the very thing detractors of the Marvel films say they don’t cover and that “Batman V Superman” didn’t really cover: the consequences of their actions so far.

The CIVIL WAR theme was subtly played out on a few levels, outside of the main conflict. you had Tony Stark wrestling with his conscience, Steve Rogers with his loyalty to his friends old and new and his remaining true to his ideals, sure those are a given just below the battle of authority versus autonomy or the oversimplified version: security versus freedom in a post 9/11 and post-Patriot Act world. Tony wants something he built to not be headed on the road to destruction and ruin and the Avengers are part of his legacy to build a better world. Steve’s need to do what he feels is right to stand up for the little guy against those who would try to dominate and bully them is at the core of his character. But both men are suffering from knee jerk overreactions, which force knee jerk overreaches in their respective philosophies. They’re both right to a degree and they’re both wrong to a degree with an answer somewhere in between. But, as it goes with most overreactions, everyone’s going from the gut with emotions hot where there should be cooler heads. Time out isn’t really an option when you’re dealing with people who could literally level a city faster than a DC movie.


But dig a little deeper because I’m fairly sure that even the writers and the Russos didn’t notice all the other things set into motion that the actors brought out in their parts of the conflict. You had Natasha Romanov’s conflicted nature literally making her a double agent by way of stream of consciousness as she struggled to decide what side she wanted to stand on. Scarlett Johansson’s Black Widow is long overdue for a solo film and, as she shows here, we’d be lucky to get one while she’s still on the clock. Natasha is literally our insider audience watching the same show we are and being equally conflicted about what team to stand on as she sees the extremes her friends go through defending their positions. As I said earlier, Jeremy Renner’s Clint Barton steps up and stands by Cap even if it cost him his family while he fights to keep the government overreach away from that side of his life. While it wasn’t covered until later, Hawkeye’s motivation is simple enough: Stark’s betrayed them and Rogers hasn’t. Spider-Man is introduced as a kid struggling with his power and responsibility suddenly thrust upon him as is T’Challa who is the same position with a radically different scale to deal with. One represents youthful idealism overwhelmed but determined to do his best, the other is youthful pragmatism tempered by a wariness that comes from isolation. Both are pushed into this conflict through tragedy, both are trying to work out exactly what they’re supposed to do now that they’ve lost the the respective role models that shaped their lives. Bucky struggles to become the man he was when he was one of Captain America’s Howling Commandos, but before the film ends is faced with his past as an assassin returning to haunt him and the knowledge that even despite his situation, his redemption may never balance the scales enough in the eyes of those affected by his actions…

Even the characters without a conflict like War Machine, who, in a way, pays the highest price in this affair physically, or Sam Wilson’s Falcon who finds out that the price for loyalty is sometimes tragedy even when it involves superheroes, are on opposite sides because of their respective experiences in their lives. Both men are military, both have seen active combat, both are pilots, both understand the chain of command and its purpose for maintain discipline and order in the ranks, and both think their partners in crimefighting have the correct view. If there is a reason for the separation that I can find, it’s where we meet Sam in his introduction to the MCU as opposed to Rhodey when he came on the scene at the very beginning. Rhodey’s active military, he’s a combat pilot, a high level officer and already at the beck and call of the U.S. Government. If anyone’s a poster boy for a registration program, this is the guy. Sam Wilson, on the other hand, is a former medic, as well as a soldier. When he shows up in “Winter Soldier” he’s mustered out of the service and is a vet helping other vets deal with things like PTSD. He’s part of the family, but no longer interested in going into a forward area because of the political agendas of politicians who will never and, in most cases have never, had to deal with the reality of armed combat and the unique version of hell that truly is. So while they don’t fight with the same passion as the leads, they have in their previous appearances logical reasons for taking specific sides other than being the sidekick.


But if you really squint a little, you can see (or maybe “create” is a better word) real world associations all over the place. When Tony is confronted over the Avengers actions in their fight with Ultron, I felt like that was not only a quiet nod to the upcoming “Luke Cage” series on Netflix, but also a Black Lives Matter moment. The fight in Lagos not only set up the foundation for the film, but it could be quietly interpreted as a statement on US foreign policy with regard to foreign wars. Specifically with how the US deals with African and Middle Eastern conflicts right down to their not giving losses of life and collateral damage there the same priority as the loss of a fictional European nation blown up by a robot…

…and oddly enough was also a sort of Blue Lives Matter moment.

There are other reaches in there, and your mileage may vary based on your creativity and ability to imagine things not actually in evidence, but CAPTAIN AMERICA: CIVIL WAR is a damn sight more subtle and intellectual than you’d like to believe…

…if you convince yourself of that.

You have all these disparate elements flying around and you are able to track them all, and appreciate them all. You’ve been with these guys for the bulk of their runs so all the groundwork has been laid. By the time we get down to the final act there’s a twist takes the whole idea of conflict down to its most basic level. The plot changes the whys and wherefores for Bucky, Iron Man and Captain America which takes everything we’ve already seen to this point and flips it on its head and makes it personal for all three…

…and then there’s still another twist that takes this film from the usual superhero flick is contained in a final serious spoiler that you should ignore if you really don’t want to know…

Ready? Then here we go…

…well maybe I won’t after all, that might be a little too much.

No really, watch the film through to the end and you’ll realize pretty quickly, despite the resolutions of various plot lines it all boils down to a final truth you’ll figure out with Zemo’s last lines in the film.


If you don’t I might have to find you and smack you upside the head before grabbing you by the earlobe and walking you into a seat myself.

If you’re a fan you’re probably already on your way. If you’re a fan of the Distinguished Competition and trying to hold out to make a point that “Batman V Superman” was better…

…just go already, friend, you’re not fooling anyone.

Don’t worry though, DC finally did something bright by bringing in Ben Affleck as an Executive Producer on the “Justice League” movie so you folks should have plenty to cheer about in a year or two…

…until then, why don’t you come on in the theater this weekend and see how it’s done…

…I’m looking over at you Zack Snyder and David Goyer.

CAPTAIN AMERICA: CIVIL WAR is everything “Batman V Superman” should’ve been…

…and it’s everything you expect from Marvel…

…and it changes everything, for real, for the next phase of the MCU because every character that went in does not come out of the film unchanged.

Plus it’s a heck of an adventure.

I think I’ll walk down the street and see it again right now…

I’ll even save you a seat.

Enjoy the show with my compliments.





Paramount Pictures

Directed by Robert Zemeckis

Produced by Laurie MacDonald, Walter F. Parks, Jack Rapke, Steve Starkey

Written by John Gatins

Denzel Washington is such a magnificent actor that’s easy to forget just how good he is because he does it on such a consistent basis. He’s one of the few actors that you actually have to rack your brain to come up with a movie where he turns in a bad performance. And just for the record, my choice for that would be 1990’s “Heart Condition” a truly wretched comedy he did with Bob Hoskins. And he excels at playing just about every kind of character you can think of but it’s really something to see him play William “Whip” Whitaker, an airplane pilot who consumes alcohol and cocaine in such quantities that’s it a wonder he can find the bathroom, much less fly a plane.

But in FLIGHT it’s exactly his drug and alcohol addiction that is at the core of the movie. Of course, Whip had no business getting on the plane while high. But would a sober pilot have taken the chance of flying a commercial airplane with 102 people on board upside down to bring it out of a dive? A dive that certainly would have killed everyone on board. Whip crash-lands the plane in a field. Six people are killed but still it is nothing less than a miracle that anybody at all was able to walk away from the plane. The movie raises the definitely controversial suggestion that it actually was Whip’s breakfast of vodka and cocaine pumping in his system that enabled him to pull off the unconventional maneuver.


Whip is under investigation by the National Transportation Safety Board, who performed a toxicology screen on him while he was unconscious in the hospital after the crash. Whip’s slick union lawyer Hugh Lang (Don Cheadle) is positive he can get the toxicology report buried. If he can’t then Whip will find himself up on manslaughter charges. But there is an excellence chance that the cause of the crash was a malfunction in the plane’s structure itself. Of course it would help if Whip can stay sober until after his hearing so as not to give the press even the slightest suspicion that there’s anything wrong with him.

Good luck with that. Whip’s alcoholism actually gets worse even though his heroin addicted girlfriend Nicole (Kelly Reilly) is getting help recovering from her problem and she soon realizes that staying with Whip isn’t exactly good for her sobriety. Whip’s old friend Charlie Anderson (Bruce Greenwood) finally has to admit that Whip’s illness is far worse than he knew and absolutely beyond his control to deal with.


Not that there isn’t a lot of blame to go around with the crash of SouthJet Flight 227.  The night before Whip and one of his flight attendants (Nadine Velazquez) partied it up with plenty of booze, coke and sex. The senior flight attendant Margaret (Tamara Tunie) knew that the both of them were high when they stepped on the plane and later on, Whip’s co-pilot Ken (Peter Gerety) admits to Whip that he called his wife to tell her that he was worried as he could smell the alcohol on Whip. But neither he nor Margaret said anything which makes them just as responsible if the NTSB finds that Whip was responsible for the plane’s crashing.

Whip Whitaker is the sort of role that an actor takes when they want to show that they can ACT and while Denzel Washington long ago proved that, I do see why he wanted this role. It’s wildly against the type of role we like to see Denzel in and after seeing this movie I understand why so many black women disliked the movie. They didn’t want to see an alcoholic, drug addicted Denzel Washington messin’ around with a heroin addicted white woman. They got enough on their hands dealing with brothers out here already doing that. In addition, Denzel isn’t his usual suave, handsome self. He plays an alcoholic mess and he truly does look the part. Although I wonder if a guy who gets as high as Whip does on a regular basis could hold down his job as long as he did without his problem being detected or affecting his job.

The supporting performances don’t really stand out as this is Denzel’s show all the way but I liked them all. John Goodman breezes in and out as Whip’s drug dealer, bringing dependable comic relief with him. Kelly Reilly is an actress I’m unfamiliar with but she does a capable job. Don Cheadle is a guy who is usually all high energy but not here. He’s calm and relaxed, even when he’s faced with such a train wreck of a client. The always wonderful-to-watch Melissa Leo shows up in a small but pivotal part at the end of the movie. And Bruce Greenwood is always a pleasure to watch.


So should you see FLIGHT? If you’re a Denzel Washington fan you probably already have. It’s a movie I definitely wouldn’t have expected from director Robert Zemeckis as it’s a fearsomely dark movie which is most certainly not light entertainment. It’s an exploration of addiction at its most harrowing and out of control. It’s not a fun movie but it is an exceptionally well-made one and if you have a strong stomach, I recommend it highly.

Rated R

138 Minutes

Brooklyn’s Finest


Overture Films

Directed by Antoine Fuqua

Produced  by Basil Iwanyk, John Langley, John Thompson and Elie Cohn

Written by Michael C. Martin

It struck me even back then as somewhat unusual and even slightly humorous  that the two police/crime movies to hit theaters that year were actually throwbacks.  “Cop Out” is a homage to The 1980’s Buddy Cop Movie.  If you’ve seen “Lethal Weapon” “The Last Boy Scout” “Bulletproof” “Bad Boys” “Money Train” or “Running Scared” then you’ll know what I’m talking about.

BROOKLYN’S FINEST reminded me a lot of an old school cop movie from the 70’s or 80’s.  Amped up with a lot more violence, drug use and sex but still, it’s a throwback to an era when directors, writers and actors weren’t afraid to make their characters unlikable and unsympathetic.  Many of the characters in BROOKLYN’S FINEST do some pretty reprehensible things.  Including the three police officers the movie follows as they walk a moral tightrope that threatens to break under them every day.

Eddie Dugan (Richard Gere) has been a beat cop for twenty-two years and he’s down to his last seven days before retirement.  He has no family, no future and no desire to do anything more than ride out those last seven days as quietly as possible.  The last thing he needs or wants is to be given an ambitious rookie to train.  But his commanding officer appeals to his last crumb of pride; “Don’t you want your last week to mean something?”

Detective Sal Procida (Ethan Hawke) needs money and a lot of it.  He’s got a too small house full of kids and his wife (Lili Taylor) is pregnant with twins.  On top of that, her lungs are clogged with wood mold that aggravates her asthma and jeopardizes the health of their unborn children.  Sal heads up drug raids on crack houses where the bathtubs are full of money and he’s been helping himself here and there.  But it’s not enough.  The bills are piling up and there’s this brand new house he needs a down payment for.

Clarence Butler (Don Cheadle) aka ‘Tango’ is an extremely successful undercover detective.  He’s been working the drug trade in Brownsville and is best friends with Casanova Phillips (Wesley Snipes) one of the most powerful and successful drug lords in Brooklyn.  Tango, despite all his instincts and training has developed a real friendship with Casanova.  A friendship that means nothing to his boss Lt. Hobarts (Will Patton) and an ambitious Federal Agent (Ellen Barkin).  They want Tango to set up Casanova for a federal bust.  It means a way out of the undercover game for Tango.  A game that has already cost Tango his marriage and threatens his sanity, not to mention his life as Casanova has suspicions there’s a snitch in his camp.

Sounds like a hell of a thriller, doesn’t it?  Well, I hate to be the one to tell you this but while it is entertaining enough; BROOKLYN’S FINEST isn’t exactly the home run you would think it would be from the cast and director.  Remember that Antoine Fuqua is the director who gave us “Training Day” which really did put a new spin on the cop movie genre.   But while watching BROOKLYN’S FINEST I got the distinct feeling of ‘been there, done that’.  The influences of movies such as “Deep Cover” “New Jack City” “Cop” and “Report To The Commissioner” run through the movie.  Not that that’s a bad thing.  Not at all.  But it’s just that there’s nothing ambitious about BROOKLYN’S FINEST and no attempt to bring anything new to this familiar story of When Good Cops Go Bad.

One of the major flaws is that I never got the sense I was watching one cohesive story.  The three cops all work in the same precinct but never interact except for one blink-and-you’ll-miss-it exchange between Dugan and Procida.  And there’s a brief scene where Dugan and Tango literally bump into each other and that’s it.  The movie is constantly bouncing between the three stories and quite honestly, the Dugan story sucks the life out of the other two.  Every time we cut to Dugan the pacing and energy of the movie slowly dials down and when we get back to Tango’s story or Sal’s story, director Antoine Fuqua has to work twice as hard to regain that momentum back.

The acting is as good as you would expect from the cast.  Wesley Snipes and Don Cheadle are so good on screen together and their scenes snap, crackle and pop so much that you’ll wish the movie had been more about them.  Cheadle also has some great scenes with Ellen Barkin as Federal Agent Smith.  Barkin goes toe-to-toe with Cheadle in the acting ring and gives just as good as she gets.

Richard Gere is very good playing the soon to be retired Dugan.  We’re told several times during the movie that Dugan’s career was ‘undistinguished’ and ‘unmemorable’ but I think he’s a guy who sees being a cop as just a job and not a Holy Calling.  He’s not out to save the world like his ambitious trainee.  He just wants to go home at the end of the day and drink himself into oblivion.

I did find it funny that the tanned, handsome, obviously well-fed, fit and distinguishably silver-haired Richard Gere is supposed to be the burnt-out alcoholic when it’s Ethan Hawke who really acts like one.  With his greasy hair hanging in his face, pale as milk skin, twitchy mannerisms, chain smoking and looking as if he’s only read or heard about the beneficial personal daily use of soap and water, Ethan Hawke’s character is so wired it’s as if he’s about to run through the screen right at us screaming like a madman at any moment.   It’s also funny that even though we’re constantly told the Gere character is a raging alcoholic we only see him take a drink twice during the movie’s 133 minutes running time.

So should you see BROOKLYN’S FINEST?  I’d say yes but it’s not what I would call a Must See.  Don’t get me wrong; it’s as solidly professional a movie as you could hope for.  The acting and direction are right on point.  But the story (or should I say stories) aren’t anything new and there’s some fancy juggling the writer has to do at the end to finally have the fates of the three cops all play out in the same building in Brownsville’s Van Dyke housing project that I didn’t entirely buy but what the hell.  If you enjoy a down-and-dirty cop movie that isn’t afraid to wallow in its own excess of drugs, sex and violence then by all means check out BROOKLYN’S FINEST.

133 minutes

Rated R:  And it lives up to its rating so don’t say I didn’t warn you.  This movie has extremely vulgar language, brutal and bloody violence as well as graphic sex scenes.

Iron Man 2


Paramount Pictures/Marvel Studios

Directed by Jon Favreau

Produced by Kevin Feige and Susan Downey

Written by Justin Theroux

Based on “Iron Man” created by Stan Lee, Larry Leiber, Don Heck and Jack Kirby and published by Marvel Comics.

I think the success of the first “Iron Man” and IRON MAN 2 has to be given to both Robert Downey, Jr. and Jon Favreau.  Nothing in their past movie work indicated that either of them were capable of producing such a hip, smart and fun superhero movie as the first one and they’ve pulled off the feat of making a sequel that is just as hip, smart and fun.  IRON MAN 2 isn’t better than the first one. But it’s just as good and sometimes when you’re making a superhero movies that is examined with such a critical eye by lifelong fans of such a wildly popular character, ‘just as good’ is as good as you can possibly get.

Tony Stark (Robert Downey, Jr.) seemingly has the world on a golden string.  Thanks to his Iron Man technology he’s made the world a safer place.  He’s hosting a Stark Expo, reviving a tradition started by his late father Howard Stark (John Slattery) where he outlines a plan for world peace.  Tony’s so beloved by the American public that he can tell a Congressional Committee on national TV to go to hell.  The Committee, headed by Senator Stern (Gary Shandling) demands that the Iron Man technology be given over to The Defense Department and Tony being the arrogant narcissistic genius that he is (hey, that’s what it says in his file) refuses, assuring the Committee that the rest of the world is years away from having anything remotely close to his technology.

That’s before Ivan Vanko (Mickey Rourke) shows up, wielding fearsome whip-like weapons powered by a duplicate of the arc reactor that powers Iron Man and keeps Tony Stark alive.  The secret of Vanko’s power source is wrapped up in a mystery involving Vanko’s father as well as Tony’s.  A secret that is shared by the Director of S.H.I.E.L.D. Nick Fury (Samuel L. Jackson) who is aware that Tony is dying from palladium poisoning.  Palladium is a necessary component of the arc reactor and won’t work without it.  There’s only one way to save Tony’s life but that involves the impossible: creating a new element.

But Tony may not have time to accomplish that feat seeing as how his best friend Air Force Lt. Colonel James ‘Rhodey’ Rhodes has given the Defense Department Tony’s Mark II version of the Iron Man armor.  The suit is handed over to Tony’s main business rival Justin Hammer (Sam Rockwell) with instructions to weaponize the suit to the max.  Doing so will turn the wearer of the armor in a veritable War Machine.  Fortunately Tony has plenty of help thanks to his able assistant Pepper Potts (Gwyneth Paltrow) who steps up to the plate and takes over running Tony’s company while he’s dealing with his multiple problems.  And as always, Tony is ably backed up by his bodyguard/chauffeur Happy Hogan (Jon Favreau) And if that isn’t enough, there’s Tony’s new assistant Natalie Rushman ( Scarlett Johansson) who is really S.H.I.E.L.D. agent extraordinaire Natasha Romanoff aka The Black Widow.

Now even in that brief summation of the plot you should get the impression that there’s a lot going on in IRON MAN 2 and you’re absolutely right.  There’s a whole lot going on but the story isn’t anywhere as confusing as I’ve heard folks say it is.  And I appreciate a superhero hero movie that has a lot of pieces in play.  There are a lot of characters in the movie and they’ve all got their own agendas working.  It makes for a story where all the characters have something at stake and aren’t just hanging around.

Robert Downey, Jr. once more does a masterful job of playing Tony Stark/Iron Man.  I don’t know of another actor today who can play such an arrogant jerk and make us love him.  I put it down toDowney’s unpredictability as an actor.  You just don’t know what he’s going to do next but you know it’s going to be amazing.  The rapport he has with Gwyneth Paltrow on screen is nothing short of terrific.  It’s truly fun to watch anytime they’re on screen together.

Don Cheadle replaces Terrence Howard as Tony’s best friend Rhodey and it’s an upgrade as Cheadle is by far the better of the two actors and he and Downey have a much better on-screen rapport.  Gary Shandling is surprisingly good in a small but pivotal role.  Sam Rockwell doesn’t play the Justin Hammer of the comics but his incarnation of the character is just fine by me.  Sam Rockwell is one of the most dependable actors working today as I don’t believe he’s capable of turning in a bad performance.  Mickey Rourke fits in surprisingly well as the main bad guy.  Rourke’s character doesn’t say a whole lot but his actions are what sets everything else in the movie in motion and Hammer as he is in this movie simply isn’t strong enough of an antagonist for Tony Stark/Iron Man but I strongly suspect we’ll be seeing Justin Hammer again and he’ll be a lot meaner next time around.

What else?  The screenplay by Justin Theroux is marvelously smart and witty and contains actual dialog and not stock conversations we’ve heard in a dozen other action/superhero movies.  Everybody has a unique voice and it’s always a pleasure to listen to dialog written by somebody who knows how to write it.  My major gripe with this movie?  You’re not gonna believe it but here goes: would it really have killed them to name Clark Gregg’s character Jasper Sitwell?  Because I don’t care what they call him, that’s who he’s playing.  And I want more Black Widow movies starring Scarlett Johansson.

So should you see IRON MAN 2?  Chances are you already have and at this point are either giving me a nod of agreement or giving me the digitus impudicus.  I thought it was a whole lot of fun and that’s what I want to see in a superhero movie.  I like to see a superhero movie where the superhero is having fun being one.  I like to see superheroes having adventures and overcoming adversity and defeating bad guys and saving the day.  I’m tired of superhero movies where the so-called hero is whining that he can’t catch a break or pay his rent (I’m looking at you, Spider-Man) or wrestling with his inner turmoil and existential angst while bemoaning that he must labor under the curse of having superpowers.  Sometimes you just want to recapture the wonder and excitement you felt when you were twelve years old on a summer Saturday afternoon with nothing to do but read a stack of your favorite comic books.  IRON MAN 2 will make you feel like that if you give it a chance.


124 minutes

After The Sunset


New Line Cinema

Produced by Beau Flynn, Jay Stern and Tripp Vinson

Directed by Brett Ratner

Screenplay by Paul Zybyszewski and Craig Rosenberg

Story by Paul Zybyszewski

I strongly suspect that the main reason why AFTER THE SUNSET was filmed was so that the cast and crew could have one hell of a working vacation in The Bahamas.  The movie was filmed on Nassau and New Providence Island and showcases the gorgeous Atlantis Hotel and Resort.  The movie makes The Bahamas look so beautiful and so much fun that halfway through the movie I wanted to shut it off, wake up The Wife and go book a flight down there right away.   Which is part of the problem with AFTER THE SUNSET.  You’re so busy looking at the gorgeous scenery and the cast enjoying it so much you’re really not paying much attention to the story.  And with a killer cast like Pierce Brosnan, Salma Hayek, Woody Harrelson, Naomie Harris and Don Cheadle you would think you’d be on the edge of your seat savoring the remarkable acting talent on the screen.

You won’t and I’m willing to bet you won’t even care.  AFTER THE SUNSET is such a lightweight movie and it’s obvious that the cast aren’t even going deep into the bag of acting tricks that they’ve all proved in the past they’re more than capable of.  There are no heavy performances in this one and no big scenes.  AFTER THE SUNSET is as amazingly laid-back movie with no more substance than cotton candy and it’s a movie you’ll be hard pressed to remember three days after you’ve seen it.  But while you’re watching it you’re enjoying what you’re seeing.

Max Burdett (Pierce Brosnan) is a Master Thief of the old school.  He’s never been caught and his trademark is that he always has an absolutely unshakeable alibi.  Matter of fact, Max always has concrete evidence that he was somewhere else whenever a heist was pulled.  Max’s latest heist involved stealing the second of three large diamonds once owned by Napoleon.  Max has already stolen the first.  The second diamond is being guarded by ace FBI agent Stan Lloyd (Woody Harrelson) but Max is able to steal the diamond right out from under his nose with almost ridiculous ease that makes Stan the laughingstock of the FBI.

Max and his gorgeous lover/partner Lola (Salma Hayek) head off to The Bahamas for a well-earned retirement.  Stan has been suspended and his career is on the verge of the abyss.  On his own he tracks them down because Stan knows that the third Napoleon diamond is on a cruise ship heading for The Bahamas and he knows that Max knows.  And Max knows that Stan knows that he knows.  And Lola knows that Max knows that Stan knows that Max knows.  You see, Lola doesn’t want any part of the heist.  She honestly wants to retire and give up boosting ice.  But Max has a clever scheme to get both Stan and Lola to help him steal the diamond and the best part of it that the two of them won’t even know it.

It’s driving poor Stan crazy trying to keep one step ahead of the wily Max, even with the help of local police detective Sophie (Naomie Harris) who has her own problems trying to put local crime boss Henri Moore (Don Cheadle) behind bars. But seeing as how Henri and Max enter a partnership because Max is going to need Henri’s island contacts to steal the diamond, she agrees to team up with Stan to get the goods on both of them.

If this sounds to you like a harmless caper/crime/screwball comedy/romantic thriller you’re absolutely right.  AFTER THE SUNSET incorporates all of these elements as well as those of the buddy film since Max and Stan surprisingly develop a real friendship.  Max puts Stan up in the $25,000 a night Bridge Suite in The Atlantis Hotel.  Stan calls up Max and says he can’t be bribed that easy.  Max says it’s no bribe: he just wants Stan to see how Max lives.  There’s a really funny scene late in the movie where Max and Stan have messed up their respective relationships with Lola and Sophie.  Max goes to Sophie to try and talk her into taking Stan back while Stan pleads Max’s case to Lola.  The disbelieving look on the faces of the two women is priceless.  Max and Stan become so buddy-buddy that at one point Stan’s boss asks him seriously: “Are you and this guy dating or something?”

But that’s also a problem with AFTER THE SUNSET: it switches gears so fast that you’re never able to get comfortably into a mood.  The romantic scenes between Pierce Brosnan and Salma Hayek are either full of steamy sexual energy or seem as if the screenwriters are using lines and gags stolen from “I Love Lucy” reruns.   The heist scenes are either full of action and tension as any of Brosnan’s James Bond movies or so incredibly devoid of any common sense and logic you wonder if Max Burdett studied under Wile E. Coyote.  The scenes with Brosnan and Woody Harrelson are either deadly serious as when they’re pointing guns at each other in a John Woo type standoff or completely slapstick as when they’re on a boat fishing and catch a shark.  What happens next wouldn’t be out of place in a Martin & Lewis comedy.

Brett Ratner isn’t exactly one of my favorite directors as I absolute detest the “Rush Hour” movies and well made as it was, “Red Dragon” was a totally unnecessary film.  He’s all over the place here, never settling down for more than a minute as if he figures we would get bored if the movie was an out-and-out heist thriller and threw in as many elements as he could to keep things jumping.

I’ve got no complaints with the acting.  As I’ve said earlier, everybody in the cast looks like they had an absolute blast making this movie and it comes across on the screen.  And it’s worth watching just for the supernaturally beautiful Salma Hayek.  She looks so good in this movie it made my toes tingle.  I know women who have said that they’ve never thought about being a lesbian but Salma Hayek could make them change their mind in a New York minute.  It’s literally impossible to take your eyes off the screen when she’s on it.  And she has a really good rapport with Pierce Brosnan.  I’d really like to see them do something else together, maybe a modern version of “The Thin Man” Brosnan goes through 90% of the movie unshaven and rather scruffy looking but I don’t think the ladies are going to mind one bit. Don Cheadle has fun with his role as a crime boss but he has way too little screen time.  And his last scene is so abrupt and out-of-left field you may feel cheated by its resolution.

So should you see AFTER THE SUNSET?  It’s very difficult for me not to recommend this one.  The main thing in its favor is that it’s thankfully unpretentious.  It is what it is and that’s all it is.  It’s not trying to be a Big Important Film or win any Academy Awards.  It’s light, easy on the brain and the eye.  The guys have Salma Hayek and Naomie Harris to drool over while the ladies can groove on Pierce Brosnan, Don Cheadle and Woody Harrelson.  The locations and scenery are beautifully photographed and you feel like you’re catching a tan just looking at the movie.  It’s an okay Late Friday Night movie to chill with the wife or girlfriend.  AFTER THE SUNSET definitely isn’t going to make either of you feel like you wasted your time.

Rated PG-13

97 minutes