A new Captain America for a ‘Brave New World’
It feels like it’s been a minute, hasn’t it? It’s been a while since a Marvel movie dominated not just the box office but also the cultural conversation, primed “events” that tent-poled the summer blockbuster calendar.
The recent Hollywood strikes proved to be a wrinkle in that roll-out machine, as well as the problems with hinging future Avengers movies on Jonathan Majors’ villain Kang, before his legal troubles surfaced and they had to scrap those plans.
After what feels like a long break, along comes “Captain America: Brave New World,” a serviceable bit of course correction after the disappointing “Ant-Man and the Wasp in Quantumania” and the “nothingburger” that was “Deadpool & Wolverine,” which was more of 20th Century cleaning house in light of their sale to Disney than any Marvel mandate.
“Brave New World” showcases Anthony Mackie’s Sam Wilson finally fully stepping into the role of Captain America, left to him by Steve Rogers at the end of “Endgame.” It also features elements of lore and continuity that trace back to one of the earliest MCU projects, in a bid to also point the way forward with the introduction of a new element familiar to comics fans that may change things in the MCU for years to come.
Restarting the Avengers
In this “Brave New World,” Gen. Thaddeus “Thunderbolt” Ross (Harrison Ford, taking over from the late William Hurt) has become president of the United States, and tasks Wilson with considering restarting the Avengers for a new age with new threats.
One of Ross’ most urgent initiatives is dealing with Celestial Island, the body of the Celestial that emerged from the Indian Ocean at the end of “Eternals.” The US wants to work with other nations in securing its precious celestial resource, ensuring that there won’t be tensions in the area. But at a function where this idea is introduced, an assassination attempt seemingly occurs, with none other than the forgotten Cap, Isaiah Bradley (an excellent Carl Lumbly), as one of the triggermen. Confusion and suspicion abound and the conspiracy thriller begins.
Taking its cue from the paranoiac conspiracy thrillers of the Cold War era (particularly “The Manchurian Candidate”) that were so effective with the prior two Captain America films, “Brave New World” has a propulsive plot that doesn’t bank on twists and big reveals (largely because its biggest reveal is all over the marketing; hint: it’s huge and red). In that regard it keeps its characters on their toes, bouncing from one crisis to the next, including a decently thrilling dogfight over the Indian Ocean. Joaquin Torres (Danny Ramirez), as the potential new Falcon, takes over the banter-bouncing duties from Sebastian Stan’s Bucky, continuing a tradition that thankfully keeps things from being too dour.
Julius Onah directs (and is one of the credited screenwriters), and knows enough to also thread some emotional arcs—Wilson’s trepidation with his new role and Ross’ drive to present himself as a changed man so he can repair his relationship with his daughter Betty. The two men, who used to be at cross purposes, have to resolve their issues before too much damage is done and an international crisis erupts.
While not scratching the heights of Marvel at its peak, “Brave New World” is a more confident step in a new direction compared to Marvel’s recent offerings, and with “Thunderbolts” and “Fantastic Four: First Steps” coming out in the next few months, time will tell if the MCU has been able to shake off its woes.
