As you may have noticed from yesterday’s review, I really rather enjoyed Captain America: Civil War. In fact, I declared it the best MCU movie so far.
Of course, Captain America: Winter Soldier was my favourite before that, which set me thinking. Each Captain America movie has been better than its predecessor, which is almost unheard of in a trilogy. We can all think of a trilogy that has got worse with each new movie (eg The Matrix, Look Who’s Talking), that’s got better for its second outing before producing a disappointing conclusion (eg The Godfather, Star Wars, Star Trek)or that had worse sequel before improving for the final outing (eg Back To The Future, Ocean’s Eleven, Three Colours).
But I couldn’t think of any other trilogy where each new movie was better than the one before it. Can you?
This week’s ‘Containment moment‘ is from (Lord) George Gordon Byron’s ‘When We Two Parted’.
Odd that a CW show should be so concerned about the alleged relationship between Lady Frances Webster and the Duke of Wellington. It’s almost like they simply picked something sophisticated-sounding at random that fit the plot.
When we two parted In silence and tears, Half broken-hearted To sever for years, Pale grew thy cheek and cold, Colder thy kiss; Truly that hour foretold Sorrow to this.
The dew of the morning Sunk chill on my brow — It felt like the warning Of what I feel now. Thy vows are all broken, And light is thy fame: I hear thy name spoken, And share in its shame.
They name thee before me, A knell to mine ear; A shudder comes o’er me — Why wert thou so dear? They know not I knew thee, Who knew thee too well: — Long, long shall I rue thee, Too deeply to tell.
In secret we met — In silence I grieve, That thy heart could forget, Thy spirit deceive. If I should meet thee After long years, How should I greet thee? — With silence and tears.
It’s “What have you been watching?”, my chance to tell you what movies and TV I’ve been watching recently that I haven’t already reviewed and your chance to recommend things to everyone else (and me) in case I’ve missed them.
The usual “TMINE recommends” page features links to reviews of all the shows I’ve ever recommended, and there’s also the Reviews A-Z, for when you want to check more or less anything I’ve reviewed ever.
Quiet, isn’t it? Where has all the new TV gone? Despite a fortnight in between WHYBWs, all I’ve managed to cover are the third episodes of Containment (US: The CW; UK: E4) and Game of Silence (US: NBC). I’m sure there’s something somewhere that I can review, but I just haven’t spotted it.
Okay, so there’s a new series of comedy pilots on Australia’s ABC on Wednesday, but being pilots, there doesn’t seem much point in reviewing them – I did like the sound of Ronnie Chieng: International Student, though. There’s a new Canadian Molly Ringwald/Jason Priestley sitcom, Raising Expectations, that started last night on the Family Channel – I just need to work out a way of watching it.
Amazon Prime’s picked up Hulu’s Casual, too. I didn’t watch that when it first appeared on Hulu since I figured “What’s the chance any UK network is going to pick up something on Hulu, hey?” There’s me duped. I might watch that, too, but I suspect the ship has sailed on that one.
In fact, the only new thing I’ve spotted that I haven’t yet reviewed, and had both the inclination and the ability to review was…
Marseille (Netflix) Following on from last year’s Narcos, which was effectively Netflix’s first Spanish-language original drama, now we have Marseille, the company’s first French-language original. It stars – who else? – Gérard Depardieu as the mayor of Marseille, having to balance the competing demands of a degenerative disease, his family life, a drug habit, his back-stabbing protégé, a project to renovate the city with a new casino, and the mafia.
And it’s nothing special. I did say ‘original’, but for all intents and purposes, it’s Starz’s Boss but in French, with just a hint of Les hommes de l’ombre (Spin). It’s got the usual misogyny of such shows. It’s got the slightly tedious offsetting of power and crime. It’s billed as ‘steamy’ but is surprisingly perfunctory (and again misogynistic) for a French show. None of the characters are especially engaging and Depardieu oddly doesn’t have half the presence that Kelsey Grammer did in Boss. Subtitling loses quite a bit in translation and you’ll often have points where you wonder what people are reacting to as a result of what’s allegedly said (eg there’s a point where two women are laughing when one of them says ‘chick’. It makes a bit more sense if you know she actually said ‘poof’). And oddly for Netflix, the production values are pretty low, with more than a hint of ‘stuck in a cheapo studio with a cheapo video camera’ at times.
More laughable than gritty, it’s hard enough to get through one episode, let alone all eight, so I’m not going to try.
After the jump, it’s the regulars: 12 Monkeys, The Americans, Arrow, Banshee, DC’s Legends of Tomorrow, Game of Silence, Game of Thrones, Lopez, Silicon Valley andThe Tunnel. Most of those are double helpings, since there was no WHYBW last Monday, it being a Bank Holiday everywhere; two of them will be getting crossed off the viewing list, too. I’ll also be looking at the season finales of both Limitless and Lucifer.
But before that, a movie!
Captain America: Civil War (2016) Depending on how you want to look at it, this is probably better titled Captain America: Winter Soldier 2 or The Avengers 2.5, since it sees Cap continuing his mission to find and rehabilitate his brainwashed pal, Bucky “The Winter Soldier” Barnes, with various members of The Avengers either trying to help him or hinder him after Barnes is implicated in an act of terrorism.
Otherwise, the plot is more or less identical to that of Batman v Superman: Dawn of Justice, with its concerns about collateral damage from superheroics and the consequent need for legal limits on superhuman powers. Yet despite the huge cast from the other movies (only Thor and Hulk are absent) and the necessity to launch both Black Panther and Spider-Man off its back, it manages to be a million times better than DC’s drudgefest. Once again directed by Winter Soldier‘s Russo Brothers (who got the gig directing, of all things, the paintball episode of Community), it manages to make all previous superhero movies look plodding and stupid, balancing comic book fun with gritty Euro thriller aesthetics, while serving all its characters well, being by turns tear-jerking, funny, breath-taking and tense.
It’s a little longer than it needs to be, but nevertheless, afterwards we came out so drained by the spectacle, it took about three hours down the pub to recover. It also rendered Age of Ultron unwatchable. Some would argue it already was, but we’d enjoyed it at the time.
