Superhero flick a feast for the eyes … and hints at a sequel

2011-08-08 00:00

HIS outfit does not lend him credibility, he cannot fly or shoot laser beams out of his eyes, but as far as superheroes go, he is pretty hardcore.

A scrawny young man with a big heart desperate to serve his country against the evil Nazis, Steve Rogers (Chris Evans of Fantastic Four) tries and fails numerous times to enlist with Uncle Sam. Finally, after much perseverance, Rogers impresses the military superiors with his tenacity and morality and joins the super sector of the United States army.

Wrapped inside a hi-tech-looking capsule, pumped with injections and surrounded by some generic blue lights symbolising far-out science and potentially dire consequences, Rogers morphs into Captain America.

The hero is genetically enhanced to become a muscle-bound hunk in seconds and his tight-fitting T-shirts and impressive acrobatic fighting scenes keep a varied audience sufficiently captivated. Of course the bullets, explosions and general debris flying around in 3D are a lot of fun.

As is the bent of audience of these action films much laughter was had at the cheesy one-liners. The real humour was seeing everyone in their geeky 3D glasses.

The gripping effect of 3D and a fast story line meant there was no time to get bored or question the film too much.

A rather inconsequential love interest with a British soldier ran in the peripheries, but was a cute thread nevertheless.

Military head-honcho Tommy Lee Jones offered his predictable and reliable no-nonsense tough man persona with a quip for any situation and a fundamentally soft core.

The pick of the film was the evil Nazi Johann Schmidt (Hugo Weaving of The Matrix) who was too extreme even for Hitler. Hard to imagine, isn’t it? It seemed he wasn’t even anti-Semitic but rather a complete genocidal misanthropist. His accent was not bad at all. It did sound a bit like Arnold Schwarzenegger, but after finishing-school.

Captain America is a likeable character who represents moral righteousness, which is easy to accept if one does not engage deeply with hegemonic representations of neo-imperialism.

And the end hints at an exciting sequel. ***

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