The latest MCU movie, ‘Captain America: Brave New World’ hopes to piece together a narrative that explains how a Black individual could dare willing to shoulder the great responsibility of guarding America – a nation that has time and again, failed to protect them. In an earlier TV series ‘The Falcon and the Winter Soldier’, Wilson appears to have a faith in the US government and its institutions. But why does Wilson want to be part of the system? Why does Wilson have to grin and bear it, when he is clearly being disrespected and ill-treated? But can representation as a whole actually appeal to a divided nation? These questions scratch the surface of a problem that the MCU would never be, but rather, be what it aims for which is to encourage meditation for its audience. Not once has the MCU achieved that, which is the reasoning for Wilson being saddled with that burden, making this movie the most out of pace with the story arc.
“Brave New World” was not foreseen to operate outside of the status quo.
However, as far as The Falcon and the Winter Soldier goes, there is at least a cameo reference to the Tuskegee experiments, the commodification of Black bodies, and the prison industrial complex, so one could be optimistic that this film would bring those lines together for a nuanced contemporary tapestry. But, unlike those films, ‘Brave New World’ crudely stitches together far away political ideas with poorly shaped action set pieces for a film where the need to entertain negates any semblance of coherence. These heroes mean nothing and because of that they disintegrate in front of us as they attempt to protect a bland future that is the result of a hidden fascist past. ‘Brave New World’ is one more artifact from the fantasy of a post-racial world that is constructed with self-destructive respectability politics.
Numerous individuals would attempt to argue that they do not consider politics when watching something from the MCU, but creator Julius Onah's piece is one that does not simply welcome that dialogue – it rather demands it. Headlined by Ross (Harrison Ford), “Brave New World” opens with him as the newly elected president inviting Wilson for a reception in the White House. It doesn’t stop there, as Wilson also brings along his assistant known as Joaquin Torres (Danny Ramirez), the brand new Falcon. He even convinces the ‘forgotten Captain’ Isaiah Bradley (Carl Lumbly) to tag along – an individual who still bears immense hatred towards America for decades of torture style experimentation. Ross has two goals for the night: he wishes for Wilson to make a new Avengers team, and tries to negotiate a treaty with Japan concerning the adamantium found on Celestial Island (that's the location of the eternally half-birthed, alien body from “Eternals,” in case you're wondering). Unfortunately, the celebratory night is interrupted when the calm notes of The Fleetwoods' "Mr. Blue" triggers Bradley, who is under mind control, to attempt assassinating Ross. Now that Bradley is behind bars, Wilson has to ensure to rehabilitate his friend's name before he is driven to death both mentally and physically by the system.
It's likely that the unjust incarceration of Bradley would stir some type of contradiction in Wilson relating to his ceaseless allegiance towards an anti-black system.
But it’s quite the opposite. Ross does indeed argue to support a government that stands up for him, explaining how his distanced paternal role to Betty (Liv Tyler) drags an authoritarian politician like HIM towards harmony. The peace he is reaching for is only disturbed by Wilson's son hope for harmony, along with Sterns (Tim Blake Nelson, reprising his “The Incredible Hulk” role”) the scientist who has a personal problem with Ross. Sterns isn't much of a villain. You could replace him with a fern and it wouldn’t mean much; he doesn't have any quality, fierceness lack, or even depth. His character’s complete absence of emotion, coupled with the irritating score, signifies that the already dull movie will be boring scrapping the barrel to an entire new level. No MCU movie has tested my endurance like "Brave New World." The Wilson-And Torres’ part of the story is Ross’ head of security, an Israeli ex-Black Widow Ruth Bat-Seraph (Shira Haas), who like many other characters are disillusioned losers going for an investigation, but oh so quickly drop to the bottom with entertainment.
The one reason to marathon Onah’s film is the infrequent moments of brilliantly choreographed action.
Onah really enjoys observing the embraces of space and time by fluid, muscular bodies. For example, during the opening fight in Mexico, Sidewinder (Giancarlo Esposito), the leader of Serpent, beats Wilson, and the entire episode flourishes through a multitude of eloquent full shots which enable the audience to feel every bruising punch. Unlike the earlier Marvel movies which were poorly shot, in this opening sequence, Onah and his DP, Kramer Morgenthau, begin to actually photograph something and attempt to carve shadows that are evocative enough to cut their actors' faces. A game that Esposito actively benefits from. He is personally the sole individual in this film who possesses the requisite qualities of having the ability to shine on the screen, unfortunately for him, the director backs on that visual language in yet another of the actor’s scenes, a skirmish in a junkyard. That sludgy colorless photography returns with full force here and honestly does neither Esposito nor Mackie any favors.
The last thirty minutes of “Brave New World” is equally slow, zooming in on the internal suffering and hidden fury of Ross. Ford attempts some form of magic (he still can, somewhat, infuse compassion into otherwise stereotypical dark depraved characters) but gets stuck delivering clichéd phrases. When considering Ford’s all-American image, one would assume Onah would reproduce his star’s former works (such as “Patriot Games” or even “Air Force One”) and twist audience’s expectations. Rather, Ford’s addition becomes an unforgivable waste. The one sole clamor of vigor they grant him stems from him shifting into Red Hulk (the VFX is actually pretty great here). His all-out, fiery rampage—which Wilson tries to prevent him from doing—happens to be overflowing with symbolism depicting a shattered White House and a burning nation, as well as a government that is suffering from the role of the “world police.” The metaphors are not subtle, they shout: they make “Brave New World” an exhibition of self-importance rather than one of a hope for an entertaining and fantastical form of life.
It’s pathetic how the entire franchise fails to combine enjoyment and substance which culminates in its awful conclusion. I am not sure I’ve loathed a movie’s ending more than this one recently.
I will refrain from revealing any spoilers for the purpose of this review. What I can say is that the narrative feels as if it were set in an entirely different country or even a different planet. The film promotes this idea that Black excellence has a heavy toll, alongside other things, and yetis willing to tautly forgive without reason. “Magical Negro” is but a single term to describe how this piece turns its protagonist. The mark intended to calm white America’s rage and pain, which in this case is the hero of the narrative, is ask to do so while smiling, ‘figuratively performative dance’ off stage. The overwhelmed feeling begins to settle when the so-called Cody America Black Captain appears. This is our representation of America’s Blackness? This is what we fought for?
When proposing the idea that this picture is compelling, brave or at best innovative, I will strongly contest. This is the worst aspire blockbuster in the past 10 years. Rather than daring to uncover the new world, this picture requires burning down remnants of the old and everything that hovers around it.
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