Captain America: The Winter Soldier (Anthony Russo, Joe Russo)

The cracks in S.H.I.E.L.D.

Every time a Marvel film is released, an altogether new reason arises for DC people to tremble in their complacent seats, and "Captain America: The Winter Soldier" is just the kind of Marvel project to make them all apprehensive (and more) while they try and cram almost everything under the sun in that upcoming "Batman/Superman" film. If DC, as of now, is an image of inconspicuous pressure because they're still quite unsure about what to do with their product, Marvel, in comparison, is kind of like the scout leader who's as organized and assured as all hell. 

In all honesty, "Captain America: The Winter Soldier", in terms of its storyline, does not really feel like a superhero movie but more like a stoic political thriller. And though it's being considered by many as the best solo Marvel film to date (some even consider it highly superior to "The Avengers" itself), some may also argue that the reason it became such a quality movie was because it really didn't try to be a superhero film in the classical sense. Its conflict, for instance, doesn't materialize from a formidable villain who wants to proverbially take over the world but from within the ranks of the titular hero himself. So, basically, what makes "Captain America: The Winter Soldier" so great is that it highly contradicts the notion raised by Joss Whedon's "The Avengers" that everything is well and good within the conspiracy-crushing, Chitauri-manhandling organization that is S.H.I.E.L.D. If "The Avengers" is the seminal sing and dance for Cap and company, "Captain America: The Winter Soldier" is the part where the music suddenly stops. And if the said ensemble superhero film is the colorful celebrity magazine, "Captain America: The Winter Soldier" is freakin' WikiLeaks. The S.H.I.E.L.D., as expected, is really not what it seems to be, and Captain America, the symbolic super-soldier representing pride, honor, and all the other positive adjectives you can possibly think of, is predictably dead set in getting to the bottom of it, and the result's explosive in every sense of the word. 

Chris Evans, who we formerly knew as the 'Human Torch' guy who just happened to nab the Steve Rogers role (many were skeptic about him back then), has firmly grown in the role, with him getting better at it with every film. In "Captain America: The First Avenger", he was believable as the likable misfit who suddenly becomes a dependable (not to mention indestructible) super-soldier whose orders American soldiers eagerly anticipate. 

In "The Avengers", he has shown that a pretty boy like him can confidently bark orders at the likes of Robert Downey, Jr. and hold his own ground against Samuel L. Jackson in an on-screen argument. Here in "Captain America: The Winter Soldier", Evans has delivered his most multifaceted performance to date as the patriotic, U.S. flag-clad superhero by emphasizing the fact that Steve Rogers is as wary of the present as he is haunted by his past. And that despite his seemingly all too perfect track record as an unreal specimen of a foot soldier who gets things done, he is all too puny compared to the entire conspiracy that's slowly poisoning the S.H.I.E.L.D. from the inside. 

Evans, who's now relatively edgier in the role, was able to makes us believe in this film, in all his facial expressions and displays of physical struggle, that this may just be the first time an Avenger will be vanquished. Even Nick Fury, who we all consider as this eye-patched badass who does nothing more than eagerly watch the Avengers' every move behind closed doors and on computer screens, was fleshed out in a way that makes one think that this entire Marvel Cinematic Universe, if stripped down to the characters' bare essences, is basically a series of films starring a bunch of head cases with a death wish who all just happen to want to save the world. And just like "X-Men: First Class", "Captain America: The Winter Soldier" effortlessly adopts an additional layer of complexity due to its dose of political intrigue. 

Essentially, the film's dominant priority is to be a potent spy feature, and as a movie fan, it's just valid to label this film as an intense yet patient espionage thriller despite it starring one of the most unsubtle superheroes of all time. And just as we thought that the film's layered plot line is compelling enough, here then cometh the titular villain, played by a genuinely intimidating Sebastian Stan. 

For comic book fans, it's common knowledge that the so-called 'winter soldier' is Bucky Barnes: Steve Rogers' best friend from years past. And for casual film fans, it's given that this is a great opportunity for the film to give proper focus on emotional exposition, which it just did in a fashion similar to "Star Wars", specifically the chemistry between Luke Skywalker and Darth Vader. Added bonus is the magnetic performance by Robert Redford, whose involvement in the Tony Scott-directed "Spy Game" legitimizes this 'superhero' film as an equally game spy picture that's very much at home in wrecking big-ass Helicarriers as it is confident in staging quiet, clandestine conversations within soundproof rooms. 

In short, "Captain America: The Winter Soldier" is infinitely more than just an escapist fare because it has a little bit of everything (even Falcon's here!). With its non-campy seriousness and a serviceable lack of implausible humor (unlike the swords and punchlines epic that is "Thor: The Dark World"), this film officially makes it known that Marvel is indeed capable in producing not just great superhero films, but also great, well-written films, period. And if superhero films typically cram everything they can within the limitations of the climax, this film is seemingly unstoppable, as it unleashes one awesome setpiece after another while still fully preserving the integrity of its sophisticated narrative. Also, this teaches revisionist Hollywood of today that superhero films can appeal to modern audience without so much as darkening a single inch of the narrative or brooding up the main character's back story. Now, I wouldn't end this review with a tired "Your move, DC!" catchphrase because, as of this moment, there really is no rivalry. Marvel is at the top of the heap by a wide margin, and it will take more than the combined appeal of Batman and Superman to dethrone it. Marvel's bigger than U.S. Steel.

FINAL RATING

Skyfall (Sam Mendes)

Bond's back.

After the dud that was "The Bourne Legacy", we finally got the espionage film of the year that we all deserve in the form of "Skyfall", the 23rd entry in the Bond film franchise which also serves as an apt commemoration of 007's 50 years of cinematic existence. 

     

Compared to the masterful "Casino Royale" and the mediocre "Quantum of Solace", "Skyfall" is far less complicated in its narrative but heavier in terms of what is at stake. Our beloved 'M' (played by the great Dame Judi Dench), Bond's stern superior who has always been one step behind our equally beloved master spy, is at her most involved in this film, not to mention the fact that she's also the one who's gravely in peril this time. On the other hand, there's also Gareth Mallory (Ralph Fiennes), a man whose firm principles often clash with his bureaucratic job.  

     

If one would notice, "Skyfall" is a bit less in its action compared to Daniel Craig's first two Bond outings. With the film's biggest action set piece audaciously positioned even before the lush opening credits (with that beautiful song by Adele), director Sam Mendes has taken the ultimate gamble. If the film's best action sequence was immediately presented at the beginning, what, then, is left for "Skyfall"? Well, quite plentiful, really. 

     

Aside from the film's simplistic yet infinitely more compelling plot, the film is also rich in great performances, specifically by Judi Dench and Javier Bardem, whose portrayal of the villain Raoul Silva is as vengefully realistic as it is larger-than-life. Though he is not, in any way, a random anarchist like the Joker, Silva still mirrors the 'Clown Prince of Crime' especially in how he is concerned with flamboyant theatrics and metaphorical speeches. 

     

But then despite of Bardem's potentially scene-stealing role, I believe no one can easily overshadow Daniel Craig's power and screen presence as James Bond himself. If "Quantum of Solace" has served as a fairly muddled, speed bump-like transition film for him as 007, then I think "Skyfall" is the testament of how much he has really grown in the role. Right now, I can't help but think that he is indeed the most ideal Bond of all time, with apologies to Sean Connery and company of course. 

     

By possessing a more-than-convincing physique apt for a chick magnet, the physical abilities perfect for a globe-trotting, train roof-jumping secret agent and also the subtle wit that finely contrasts his intimidating exterior, Craig has all the elements of the quintessential Bond. No offense to both Sean Connery and Roger Moore, but can you really imagine either of them instigating a convincing fisticuff with anyone whom Daniel Craig has encountered all throughout his three Bond films? I doubt it. Granted, Sean did have that masterfully intense and claustrophobic train compartment fight with Robert Shaw in "From Russia with Love", but aside from that, there's next to nothing. What "Skyfall" has revived in the Bond tradition, at least in my view, is pure action grit. Never has Bond been more hard-hitting and convincing in action since Timothy Dalton and his brief 007 tenure. 

     

By relying less on the typical Bond ingredients (the girls, the gadgets and the usual dose of megalomaniacs) and more on how to put the words 'grit', 'emotion' and the name 'Bond' in the same sentence, "Skyfall" was able to elevate itself into something more than an action-packed spy feature the same way, eherm, here it goes, "The Dark Knight" trilogy has transcended the superhero genre (But then, I found out that "Skyfall" was indeed influenced by Nolan's powerful interpretation of the Batman legend). 

     

In a way, "Skyfall" is a film that's both ambitious in scope yet steadily humble in execution. It has the needed sense of modern-day sophistication and geographic vastness yet it also has this kick of old school flair, especially when that classic James Bond theme finally seeps in at almost exactly the same time the Aston Martin DB5 makes its on-screen return. Oh, and there's also the reinvention of both Q (Ben Whishaw) and Moneypenny (Naomie Harris); a bold move on Sam Mendes and company's part that has helped the film attain a fresh, more contemporary look while also maintaining a running sense of nostalgia. 

     

In the end, "Skyfall" may not be the most action-packed Bond film of all time, but it surely is the most emotionally demanding since, say, "On Her Majesty's Secret Service". Although "Casino Royale" certainly had its fair share of adequate dramatics that were seemingly amiss from previous Bond features (especially the Roger Moore vehicles), "Skyfall" still marks the franchise's highest emotional point. Why? Well, it's for me and all the other film fans that have enjoyed "Skyfall" to know and for you to find out. This is a roller coaster ride of a film, and that's not just pertaining to the action. Bond, amid the jumping, the fighting and lots of running, just proved in this film that he can also carry some serious dramatic weight. I think we're officially in for a new Bond Renaissance.

FINAL RATING

Tinker Tailor Soldier Spy (Tomas Alfredson)

Smile, Smiley.

In "Tinker Tailor Soldier Spy", the reality of Cold War espionage has never been as coldly depicted. It's a film that's really intended to be emotionally distant from its viewers so that it can properly highlight the alienating undertakings that Cold War master spies have undergone themselves for a great 30 years or so for the sake of information supremacy. 

One of them is George Smiley, played by the ever-chameleon-like Gary Oldman in one of his most uncanny performances in a non-villain role, a master spy who is forced out of retirement to seek out a mole buried deep within the Circus' (the jargon for British Intelligence) ranks. What follows is a tensely complex story of half-baked allegiances, harsh inner rank politics and, looking at the bigger historical picture, the futility of it all. 

Oldman, a great actor known for his nerve-racking energy on-screen, is successfully sublime and grounded with his portrayal of Smiley. Despite of the lack of human warmth in the whole film, Oldman is able enough to capture the essence of Smiley's anxious humanity without being either too brooding or self-reflective. Here is a character and a man who is motivated not by his family and forced to act not by the pressures of those around him in the service but by a seemingly obsolete code of samurai-like proportions. He is compelled to do so because he believes there's still an enormously unfinished chess puzzle of fates between him and Karla, the mysterious Soviet spymaster that is both deceptive and brutal. In a tense world whose morality and loyalty is turning ever grayer by the minute, Smiley still believes in a black and white.

But then, finding the mole is a very tricky mission. He needs to go through a lot of red tape to arrive at something. Among the ones that Smiley must monitor (as potential leakers) are Alleline (the underrated Toby Jones), the Circus chief, and Haydon (Colin Firth), a superior intelligence officer that's having an illicit affair with Smiley's wife. 

With such great actors effortlessly horsing around with their respective characters, one can easily see the success of this film as a great acting ensemble. Add up talented young actors Mark Strong and Tom Hardy in the mix as the Circus' globe-trotting pawns and we've got ourselves a hell of a film. Oh, and did I mention that John Hurt is also in it? 

But then again, with the film capitalizing on natural overall silence as if to truly simulate the quiet intrigue of genuine espionage, "Tinker Tailor Solider Spy" gets its sustaining power not just from the actors but from the very material itself. Adapted from John le Carre's novel, which I'm more than tempted in buying from our local bookstore so that I can read it first before watching this (but never did), the film has captured the nervous essence, with its pale-colored cinematography that heightens the disillusioning effect, of the reality of spying without much glitter but full of quiet power.

To be exact, I have never witnessed such an intriguing 'backstage pass' of a film ever since, well, maybe Scorsese's "Casino". "Tinker Tailor Soldier Spy" is a rare film that does not indulge on cheap thrills just so it can maintain some sort of energetic flair in its narrative. Instead, it is a film with a great fly on the wall perspective that is as compelling and as frightening as the characters that populate it and the locations that make it whole. Director Tomas Alfredson is very commendable for not going overboard on some of the characters or faltering in the story department. 

Now, if some may want to argue that "Tinker Tailor Soldier Spy" is as cold as a walk-in freezer and that it will make you want to leave the second you enter it, then the film has succeeded. Its goal is not to sensationalize or commodify the reality of Cold War espionage for the general public but to render it as a cinematic mood, and it's your choice to either accept it as it is or not. But judging from its box-office returns, it's quite obvious that the film has compelled rather than disgust, and for that, the film is utterly effective and, in some ways, vindicated. 

"Tinker Tailor Soldier Spy" may just be fiction, but in the end, it's a story worthy of being told. It makes me want to grab that gargantuan "Smiley Versus Karla" compilation in our nearby bookstore, and fast. James Bond's great antithesis has finally arrived.

FINAL RATING