Review
Culture
Film & TV
5 min read

Captain America's impossible task

Brave New World struggles despite some acting heroics.
Captain America crouches expectantly beside his shield
Ready for the next review.
Marvel Studios.

Captain America: Brave New World is the thirty-fifth film in the Marvel Cinematic Universe (MCU), and the fourth film focusing on the character of Captain America. It’s also something of a sequel to a passible Marvel TV series. There is so much baggage, so much lore, so much build-up to this film; a production which has the unhappy task of honouring the seventeen years of previous storytelling, setting up plot points that can be explored in future films, and giving us a satisfactory stand-alone cinematic spectacle. I wouldn’t wish such a burden on anyone – an impossible task. 

Brave New World sees Sam Wilson fully inhabiting the role of superhero Captain America, a mantle bestowed on him by his friend and original Captain, super soldier Steve Rogers. Still doubtful of his worthiness and abilities, he seeks to wield the Vibranium Shield with style. He is sent on a mission to retrieve a stolen military secret from a group of mercenaries. He does so – with a few decent action set pieces – and is rewarded with an invitation to the White House.  

The newly elected President, General Thaddeus ‘Thunderbolt’ Ross, is seeking to shed his past reputation as a warmonger by negotiating an international peace treaty. A newly discovered resource has the capability of changing the face of medicine, technological innovation, and especially warfare. Every great power covets it, and Ross wants to foster collaboration for the betterment of the planet. The gala event is ruined when Sam’s friend Isaiah Bradley, a super soldier from the Koren War who was wrongly imprisoned, goes all Manchurian Candidate and shoots at the President. 

The peace treaty is in jeopardy. The President’s inner circle is compromised. There are secrets and lies that will not stay buried. There is a shadowy villain operating behind the scenes, determined to destroy the President’s reputation. Only one man can fight for truth, justice, and the American way: Captain America. 

This is as much as I can say without spoiling the entire film. 

Not that it would matter. The film is a bit of a mess.  

Sam is proposed as an underdog (having not actual superpowers, only a suit of armour), but is shown to be essentially indestructible…he literally disables a missile by flying into it headfirst. There is no sense of tension or risk. This is not helped by lacklustre action and some genuinely appalling CGI. The plot is all over the place – a result of some rather obvious reshoots featuring green screen that even the most amateur filmmaker could’ve improved. Most of the secondary storylines peter out. New characters and introduced and given almost no personality or progression. 

The script compensates for this by giving characters long monologues where they deliver clunky plot exposition and background information. This was inevitable. To understand the plot and characters requires one to have been a careful watcher of the previous films and television shows. I was somewhat impressed how the film managed to give a gentle introduction to the casual viewer, but it is very much at the expense of pacing and character development. 

All of this is a great shame, as the performances are rather good. Anthony Mackie has always been a magnetic screen presence and manages to combine both charisma and pathos is an uncharacteristically restrained performance. Tim Blake Nelson enjoys himself as the puppet-master villain, oozing bile and sympathy in equal measure. Every minor friend and villain delivers their lines with real feeling. Bloody hell…even lovable grump Harrison Ford looks like he’s actually trying as President Ross. 

Unfortunately, no amount of charisma can make up for a film that has no sense of itself. The shambles of a plot is matched by the shambles of a theme; a sadness, as there is so much potential. Sam Wilson is one of only a handful of black superheroes, and his friendship with Isaiah Bradley is partly based on their shared experience of race and discrimination in the face of honour and duty. This was introduced in the TV show and could’ve been explored further. Sam’s lack of superpowers could have been explored, had he been put in positions of genuine peril. His sense of inadequacy and overwhelming responsibility are mentioned, only to be quickly dismissed with a pep-talk from a throwaway cameo character. The concepts of conspiracy and disillusionment with authority are hinted at, but they formed the thematic thread of the previous three Captain America films, and when this film does approach them, it is by echoing the better storytelling of previous films. 

There is one plot thread, one theme running through the story, which goes some way to redeeming the film. President Ross is haunted by his past. A patriot, a soldier, and tireless worker for American security, Ross has a past littered with sins and mistakes. His anger, his bullishness, his obstinacy (physically manifested at the end of the film), has left him all alone. His daughter doesn’t trust him, Sam doesn’t trust him, and his international partners don’t trust him. He is seeking to become a better man, working towards cooperation rather than force and violence. However, his past life and secrets continue haunt him and stall his progress at self-improvement. 

In the end, by being open and honest and taking responsibility for his mistakes, Ross does achieve a certain amount of peace. He is able to be the figure of nobility and unity that he longs to be by sacrificing his power and prestige, and truly atoning for his misdeeds. Despite all the problems with the film, this (admittedly underdeveloped) bit of character study kept me engaged. Perhaps it was Harrison Ford’s performance. Perhaps it was because we’re approaching Lent, when Christians make an extra effort to acknowledge their past mistakes and resolve to do better. Whatever it was, it furnished the film with a truly sympathetic and improving theme. I wouldn’t spend money in the cinema, but wouldn’t mind seeing it in the TV guide in the future. 

2.5 stars. 

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Explainer
Creed
Identity
Leading
6 min read

German election turmoil's nothing new, here’s how Martin Luther responded

Innovative ideas around identity shaped the world around him.

Robert is professor emeritus of Systematic Theology at Concordia Seminary, St. Louis.

A head and shoulder painting of Martin Luther against a red background
Luther, by Cranach the Elder.
Public domain, via Wikimedia Commons.

Tensions build as the German election approaches. Money is flowing, bargaining going on behind the scenes. (We are talking the election of 1519 here). There is the favorite, Karl—they called him Carlos in the Spanish dominions he had  inherited from his maternal grandparents, Ferdinand and Isabella—, grandson of the German emperor, Maximilian of Austria, and there is the challenger, the King of France, Francis I, and there is the wild card, the duke of Saxony, one of the seven electors who would elect the next emperor, Frederick, called the Wise.  Frederick had no imperial ambitions, and he tipped the election to his distant cousin, the then young man we call Charles V.  Two years later, that gave Frederick the leverage to win a hearing for his most prominent professor at the pride of his heart, his new university in Wittenberg, Martin Luther. 

Charles regarded this Augustinian friar, who had been excommunicated at the beginning of 1521 by Pope Leo X, as a dangerous heretic.  He wanted to declare Luther a criminal, open for execution on the open road by whoever might find him and run him through.  Frederick advised the young emperor not to treat a German subject like that, so Charles arranged for Luther to come to the imperial diet in Worms in May 1521 to recant.  Luther explained to the emperor that he really could not recant since his writings contained many truths.  He continued, “I am bound by the Scriptures I have quoted, and my conscience is captive to the Word of God.”  Later reports say that he added the words, “I cannot do anything else. Here I stand. God help me!”  Whether he said “here I stand” or not, that is what Martin Luther did at Worms and continued to do for the next quarter century until his death. 

Upon what was he standing?  As a “doctor in Biblia,” a “teacher of the Scriptures,” Luther had taken up the latest methods of the so-called humanist movement for exploring ancient texts in their original languages.  Jurists turned to Justinian’s Code in sixth century Latin. Physicians were reading Galen’s medical advice in ancient Greek. Theologians immersed themselves in the Bible in Hebrew and Greek.  Luther had put the tools of these methods to use as he lectured in the 1510s on the Hebrew Psalms, and then the apostle Paul’s letters to the Romans and to the Galatians.  There he found a new way of viewing himself, the God whom he found speaking to him in the pages of the Bible, and his fellow human creatures.  He used the world “righteousness” in the way we might use “personal identity” today.  He heard from the biblical writers a different way of identifying who he was at his core by listening to God’s regard for him.

Just as our DNA is a gift, not something we have to work to earn, so Luther’s core identity came from outside himself.

Luther certainly did not deny that human performance helps give each human being a variety of identities as we go about what he saw as callings from God in our exercise of responsibilities in our homes, in our economic life, in our societal networks and political structures.  He believed that in these spheres of life we are active in shaping the way other people view and identify us.  But at his core, Luther found the person behind the masks of his everyday life to be unable to perform everything that would make him the good person he wanted to be, the good person he thought God wanted him to be.  Just as our DNA is a gift, not something we have to work to earn, so Luther’s core identity came from outside himself.  It came as a gift from God, his Creator.  He received it passively, and his trust in the God who gave him this passively bestowed identity set his entire life in order.  Because he trusted God to be his support and to justify who he was, he felt freed to perform his responsibilities toward other human creatures actively. 

Luther believed that on his own he had not been able to trust God, to love him and give him proper respect.  Like the modern psychiatrist and philosopher, Erik Erikson, Luther believed that trust forms the basis of human personhood and personality.  He saw that his trusting some Absolute and Ultimate formed his character and enabled him to function as a human being.  He recognized in the God presented by the Old Testament prophets of Israel and the New Testament evangelists and apostles the ultimate and absolute person, who approached the human creatures who had turned their backs on him by becoming one of them as Jesus of Nazareth.  In the mysterious ways of the Creator, Jesus’s death covered the transgressions and offenses, the mistakes and failures, of all human beings, and in his resurrection God gave new life, a new identity, true righteousness to those who trust in him. 

Luther found that message liberating.  It freed him from being imprisoned in a cycle of always insufficient attempts to be the person he wanted to be to please his Creator.  He rested in the unconditional love of this Creator, who had come face to face with humankind as the rabbi from Nazareth, crucified but back from death itself.  That freed Dr. Luther to be bonded to those within his reach who needed his care and love.  He need not manipulate them by doing them the good he needed to make himself look good in God’s sight and feel satisfied with himself.  He now could do them the good that they truly needed.  That gave his tempestuous spirit a sense of joy and peace. 

He lived out a rather peaceable life under the ban of church and empire, but safely ensconced in the lands of his Saxon electors.  Family life brought him much joy.  His judgment that God had given human beings the gift of sexuality for companionship and support as well as procreation made him uncomfortable with his own vows of celibacy, but not so uncomfortable that he would have married had not a nun named Katharina von Bora, who had left the cloister, laid claim to him.  Together they created a bustling household with their six children being raised in the cloister where Martin had lived as an Augustinian Brother, large enough to house students and guests from places far from Wittenberg.  Katharina served as his counsellor and theological conversation partner as well as the efficient manager of this ever-changing parade of co-inhabitants of their home. 

Music filled their home.  Luther’s firm tenor voice and his lute and his flute led family and visitors in evenings of song, sometimes giving voice to hymns he had written.  His sense of tone and rhythm coupled with sensitivity to the fine points of spoken and written speech made him a scholar of great skill and a translator who “looked into the mouths” of the people in the marketplace and render the Bible in their tongue.  His curiosity stimulated or at least supported colleagues at the university across the disciplines, including a botany instructor who took students the woods to look at leaves and colleagues in mathematics and astronomy who were playing with the new calculation of the heavens by Nikolaus Copernicus. 

Luther’s lively engagement with life and his dramatic search for peace in the pages of the Bible produced a man who enjoyed life despite his struggles with “melancholy,” a widespread disease of his time, and the threats of violence to his person that never disappeared.  His robust wrestling with the biblical texts provides even today stimulating, even provocative reading for anyone, who is looking for the heart of the matter, the matter of self and life. 

Join with us - Behind the Seen

Seen & Unseen is free for everyone and is made possible through the generosity of our amazing community of supporters.

If you’re enjoying Seen & Unseen, would you consider making a gift towards our work?

Alongside other benefits (book discounts etc.), you’ll receive an extra fortnightly email from me sharing what I’m reading and my reflections on the ideas that are shaping our times.

Graham Tomlin

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