Last weekend I went with a few friends to see the sex comedy Friends with Benefits. I went because Will Gluck earned plenty of favorable points with me from Easy A, as much as it bugs me to admit it, I think Justin Timberlake has an entertaining screen presence, and after Black Swan, I’ll take a chance on pretty much anything Mila Kunis does. All of this thrown in with generally favorable reviews (after much wavering, it is finally certified fresh on Rotten Toamtoes) got me to the theatre that night. There were funny parts, a few good laugh-out-loud moments. But as the plot progressed, and everything went exactly as a romantic comedy is meant to, I realized I was duped. I felt stupid that I had somehow ignored the fact the movie is a formulaic romantic comedy, and I just spent twelve bucks on it. But the worst part is I had genuinely expected something different after a lifetime knowing differently.

I found myself in a similar situation with Joe Johnston’s Captain America: mostly postive reviews, a mediocre, but charming lead, and a few free hours on Friday afternoon. It’s a surprise to no one that superhero films follow a very specific formula. Protagonist starts out weak, has a remarkable encounter, overcomes personal and external obstacles to becomes, well, a hero. Anyone familiar with Bill’s superhero monologue in Kill Bill vol. 2 will recognize that Superman is, of course, the one exception to this recipe. In Captain America, this protagonist is Steve Rogers, a painfully thin, short, asthmatic with a medical problems history sheet longer than a hypochondriac’s. Chris Evans’ face is superimposed on a body double matching this description, until he’s injected with some sort of serum developed by a emigrated European scientist (Stanley Tucci) who has fled Hitler’s efforts for a racially pure Europe. It deserves to be mentioned here that this effect in particular is done remarkable well. Where were these graphic artists during The Curious Case of Benjamin Button?

While Rogers does becomes a superhero, his powers are comparatively moderate. When held up to his peers, Captain America is probably the only one whose abilities could generally be obtained after a few years in the gym and several rounds of testicle-shrinking Dianabol. Nonetheless, it’s his unwavering bravery and patriotism that truly sets him aside.

Captain America carefully builds a pleasing atmosphere. The sepia tones and nostalgia art production, reminding of a time when the American dream was in far better shape, is wonderful. Evans’ satisfying journey from unacceptable, to more than capable is one for which even those outside of the Marvel world can cheer. At some point, however, the film relinquishes it’s slow-boiled realism and spirals into the sorts of epic good versus evil that comic books are made of. Rogers, as Captain America and surrounded by a small, solid group of likable characters, goes up against an evil so horrible (helmed by the capable hands of Hugo Weaving), it eclipses the mass murders of the Third Reich.

For a moment, we’ll put aside the fact Captain America plays as one, long commercial for The Avengers movie coming out next fall (not to mention two more Captain America movies and an additional two Avengers movies in the works). Are there good things in Captain America? Yes. There are even some great moments. Is it better than your average summer fare at theatres? Probably not. But it’s perfectly acceptable. Do we need more of these movies? I don’t think so. Just as I feel like another romantic comedy is just as useless. How many times will I be expected to pay for the same story? The fact these movies are generally enormous moneymaking generators for studios who continue to support the likes of the Transformers movies guarantees I will have plenty more opportunities. But I refuse to be happy about it.

I would have been more angry leaving Friends with Benefits if I hadn’t been so embarrassed. I’m not to that point with superhero movies, but I will get there, I’m sure. Formula movies have a tendency to do that to most people who expect more out of movie watching experiences. What do you think? Am I wrong to be growing so weary of this genre? How many more superhero films will get you to pay full-price admission?

3 out of 4 stars

I think Michael Cera is mostly a chode.  I haven’t seen Arrested Development, but with films like Year One, and Nick and Nora’s Infinite Playlist, I choose to just say now.  Sure, I’ll give him some cred for being in a Drunk History episode, but so was Jack Black.  I’m digressing.  I don’t like Cera, so I wasn’t expecting to like him in Scott Pilgrim, but frankly, he kicked ass.

The trailers explained all about the plot.  Pilgrim meets a wicked hot chick that falls for him.  But as it turns out, he’s required (by rules never really explained) to fight and defeat her seven evil exes (these include a former girlfriend during her bi-curious phase, twins she dated at one time, and a movie star).

As everyone knows, the film is based on the comic books.  Edgar Wright and Michael Bacall adapted them to the big screen.  And Wright of Shaun of the Dead and Hot Fuzz fame, directed.  The majority of the film plays out as a video game.  Pilgrim frequently earn power ups, gets extra lives, and fights evil exes with mystical powers.  The cast is outrageously good.  Pilgrim’s sister is played by Anna Kendrick (sadly, I have to admit the story lines surrounding her character drag more than the rest of the film), Alison Pill plays a band mate, Kieran Culkin plays the gay roommate.  Aubrey Plaza, Chris Evans, Jason Schwartzman, Brandon Routh, the cast just goes on and on, and they’re great.

The references to scores of video games from the eighties and nineties will be greatly appreciated by those in my age bracket.  The effects are nothing to smirk at either.  Wright really knew what he was doing with pacing as well.  My greatest fear was a really slow beginning, and a boring ‘training phase’ where we would have to watch Cera learn all his impressive movies, but no.  The action starts from the beginning, and keeps you at the edge of your seat until the end.  This is fine summer entertainment.  And you should all go see it as soon as possible.  And bring a friend, the movie is bombing at the box office.

3.5 out of 4 stars

As with lots of movies, all the troubles start with the Nazis during World War II.  The discovery of citizens empowered by psychic talents causes the Nazis to use these special people as lab rats–means to a end that results in an unstoppable super-army.  Well, we know what happened to the Nazis, but what you didn’t know, is the US government secretly continues these experiments today through an organization called ‘Division.’  Division is led by Pusher Henry Carver (Djimon Hounsou), who’s following another escaped Pusher Kira (Camilla Belle), who has a mysterious case that could bring down Division all together.  All the other Watchers in Hong Kong (where the film takes place) know about the mysterious case, because, well, they’re Watchers.  Mover Nick (Chris Evans) and Watcher Cassie (Dakota Fanning) team up with some Sniffers, Shifters and Shadows to try once and for all to win civil rights for their kind, and end the hiding, running, and fear.

So, if that doesn’t make sense, don’t worry, it’s not going to be much clearer in the theater.  But you won’t care, I promise.  McGuigan’s camerawork is terrific, playing on the plethora of lights and colors in Hong Kong, to create a mesmerizing experience.  It’s not clear what genre this falls in, as the script by David Bourla plays out sometimes like a con film, sometimes like sci-fi, sometimes like a spaghetti western (why Hong Kong McGuigan?).  The acting is a little unsatisfactory on most counts, except for a pleasing performance by Fanning who seemed extra pleased she finally had a role where she doesn’t get raped and could say ‘shit.’  Evans is bland as the pseudo-superhero that the story is based around, and there are some extremely short and baffling appearances by actors like Cliff Curtis and Ming-Na, as characters with absolutely no development behind them.  Okay.  Push isn’t going to win any awards.  But this is quality escapism that’s rare to find in theaters during the month of February.

2.5 out of 4 stars