But the Marvel movies aren’t out to win Oscars. They’re not trying to tell a story that’s never been told before. Superheroes are archetypes. They are our mythological figures. Their stories are grand, sweeping epics, and while their abilities are beyond us, they are still us. That is the draw of the superhero: that all of us can, in some way, relate to them.

Over on Tumblr, timodactyl has written a great series of posts that explore Captain America’s history and characterization in comics: Why Steve Rogers is the greatest superhero in comics, Captain America as a patriot, What his country needs, and What he means to the universe (plus a fairly glowing review of the film).

Steve Rogers does everything out of a sense of duty and responsibility but without compromising his morals and usually accurate sense of right and wrong. His uncanny ability to do this while still nearly unwaveringly obeying the will of the people as a whole and putting aside his own personal life (something he used to fret more about but has seemingly made his peace with more recently) is nothing short of heroic in itself, let alone the scale of things he’s asked to do. It’s important to note here that this is not Thor. He is not blessed with the power of a god. He’s not Wolverine and practically unkillable. He’s not Iron Man in a nearly invincible suit of armor. He’s not Spider-Man with unique powers and skills.

He is a man who, thanks to the serum and his own almost relentless training regimen, can perform at peak physical conditions and has learned to throw a shield really well. He can be killed, he can be maimed, he can be shattered, and he largely is fighting out of his weight class in these world power struggles. So much so, in fact, that the old Avengers comics made a point of saying every damn issue that he was the weakest of the bunch, hardly more than an average man. Yet he comes out every day and does everything that’s needed of him to protect and help the people of his country and, as often as he can, of the world at large. He will always put aside his own needs and desires to aid the people he protects, even if he’s only a few steps ahead of them.

As the good Captain, Steve Rogers is neither vain or cocky. And given his resume up to this point, it makes the choice of Chris Evans for this part seem all the more counterintuitive. But Evans packs away all of the swash and swagger that his other roles have called for and delivers an honest and humble performance. While the nuances of the character don’t always come through the screen, overall the film does a commendable job of bringing Steve Rogers from scrawny to brawny and saving the day in the space of just over two hours.

Without this strong lead, and an equally strong supporting cast, this movie would have been all flash and no substance. But much like Kenneth Branagh did with Thor, Joe Johnston crafted a movie that derives it’s weight from the performances rather than blinding the audience with a cacophony of special effects (I’m looking at you, Michael Bay). Stanley Tucci is wonderful, as ever. Haley Atwell carries the torch as yet another woman in a Marvel movie who is more than just beautiful, but also both smart, strong and wonderfully self-assured. The villain is appropriately scary; even scarier with the mask on – bravo, Hugo Weaving. Dominic Cooper as a young Howard Stark channels Howard Hughes and a little bit of Robert Downy Jr, so that it’s not at all difficult to see the family resemblance. Even Tommy Lee Jones manages to breathe a little fresh air into his trademark “gruff old coot” role.

Captain America is an infinitely enjoyable movie. It’s the last installation we’ll get before the good Captain returns to join Iron Man, the Hulk, Thor, Hawkeye, Black Widow and Nick Fury in next year’s The Avengers, and there’s a teaser trailer after the Captain America credits that fans will want to stick around and see. The real appeal of The Avengers is not just that a bunch of superheroes get together to fight evil and stuff, but that a group of people with wildly disparate abilities and personalities have to coordinate themselves into something resembling a unified force. We’ve already gotten to know Tony Stark, smug genius extraordinaire. We’ve met Thor, and we know about Bruce Banner’s very particular brand of split-personality disorder. We’ve even gotten glimpses of Hawkeye, Black Widow and Nick Fury sprinkled throughout the previous films. What Captain America gives us is the last piece of the puzzle: Steve Rogers. The star-spangled man with a plan.

I can’t wait to see him again.

And then I went back to see Thor again, because hello? Tom Hiddleston.

Make no mistake about it: the summer of superheros has begun.

Thor is a an epic: large in scale, bold in vision and very, very shiny. And it really would be all too easy to go over-the-top with this material, which is what had me quite skeptical about Thor in the beginning. The man wears a cape, carries a giant hammer and can fly. But the film manages to incorporate elements of the source material into the film without once looking like a cartoon. The “rainbow bridge” becomes an Einstein-Rosen Bridge, which is significantly less cheesy, with the added benefit of being scientifically awesome. The city of Asgard itself, floating in space under a canopy of nebulas, is absolutely gorgeous. Jotunheim is a dark and chilling realm, and silly name aside, the Frost Giants are still pretty cool looking. There’s even a brief appearance by Sleipnir that manages not to derail the entire scene with “Hey, look! An eight-legged horse.”

Under the guidance of a more action-centric director, this could easily have become another smash-tastic, explosion-filled summer flick, but I must give credit to Kenneth Branagh‘s moderate hand. For while the film manages to convey all of the scale of Asgard and the Nine Realms, it never once loses the characters within this massive universe. Branagh’s Shakespearean background no doubt helped him to understand that it’s both the romance and the simmering family drama that defines this story. Everything else is just the gilding.

The movie is well-cast. Chris Hemsworth plays a Thor that is more than just handsome and physically imposing but sweet, too (and perhaps ever-so-slightly dense). Natalie Portman is adorable, as ever, and Stellan Skarsgård is awesome, as ever, and it’s nice to the role of someone from Norway being played by someone who is actually from Norway. Crazy, right? And while playing a pagan deity can really lend itself to overacting (as Liam Neeson could tell you), Anthony Hopkins brings a healthy amount of restraint to the role, revealing Odin as a father more than just a god. But the real breakthrough here is Tom Hiddleston, who plays Loki with the perfect mix of jealousy, hubris, madness and pathos. He is really quite captivating.

Thor (and Loki) will be returning in The Avengers, and there are a few nods here and there to fellow Avengers Hawkeye, Iron Man, and Bruce Banner. The Avengers won’t be released until next May. I’m counting down already…

X-Men: First Class takes a step back from the grand scale of Thor and gives us a rich historical drama that is the predecessor to every other film in the franchise. Set in the early 1960′s, First Class gives us Charles Xavier and Erik Lehnsherr before they were Professor X and Magneto, archenemies extraordinaire. Back when they were friends trying to help fellow mutants find their way in society, trusting each other implicitly while never quite seeing eye-to-eye on the matter. Compared with Thor, First Class is absolutely not a film for children. It’s darker, edgier, and significantly more violent. But like Thor, the significant mythology of the story never manages to overtake the characters.

This is an origin story, not only of a hero, but of a villain. Since we know how it will ultimately end, we’re not so much interested in where they end up, but how it is they got there. James McAvoy plays an excellent young Xavier, but as Erik, Michael Fassbender steals this film. Every scene he was in was absolutely riveting. In fact, had the film been an hour longer and contained only Charles and Erik, I would still have enjoyed every moment of it. Still, the supporting cast is strong, and the 60′s era sets and costumes are just wonderful. FOX has said they envision this film as the first part of a trilogy, and I am more than okay with that. Until then, I will definitely be seeing this for a second time, and probably a third as well.

Because I can never have too much Marvel in my life.

Did you know? In addition to being films based on characters in the Marvel universe, both Thor and X-Men: First Class were penned by the same writing team.

My parents are annoyed that I didn’t want to watch Run Lola Run. I do want to watch it…just not right now.

On the other hand, I did watch The Green Hornet, and it was quite enjoyable.

I went to see Rango with my brother and sister, partly because it looked interesting, but mostly because it seemed like the best of limited options. Early March is not high season for the movies. But we found ourselves enjoying it. A lot. Much more than we thought we would, and certainly more than the little boy sitting next to us. Rango is made not for kids.

It’s a subtle homage/satire of the Western movie genre, to which is thrown in a bit of adult humor, language and cultural criticism.  The visuals are truly stunning – this is one of the few times I’ve actually appreciated cinematography and art direction in an animated film, and it’s certainly the most beautiful animated film I’ve seen come out of a studio other than Pixar. The music, composed by Hans Zimmer, perfectly compliments the action. And it’s also one of the few times I’ve ever stopped to appreciate sound mixing in a movie. Seriously? Sound mixing? You’ll know it when you hear it. Rather than creating something that would appeal to the lowest-common-denominator, the creators of Rango made a beautiful little film that won’t appeal to everyone…but is wonderful all the same.

A sadly underrated indie flick that gives a fresh face to the “alien invasion” genre. This is more than just excellent science fiction, it’s an exceptional little movie, and more people should see it.

2. The Social Network

If you don’t like Mark Zuckerberg now, you’re probably not going to like him much more after seeing this movie. It may seem a little premature to create a film about a website that’s only a few years old, but Facebook was a game-changer for social media, and The Social Network is a fascinating look at how it came to be.

3. Never Let Me Go

I read, and loved, Kazuo Ishiguro’s novel Never Let Me Go. I was very hesitant to see its screen adaptation, worried that it might be altered beyond recognition. It isn’t. It’s beautiful and devastating and unforgettable. You should read the book…but give this movie a chance, too.

4. Easy A

File this one under ‘very pleasantly surprised‘. It’s a teen movie the way that teen movies should be: sharp, self-aware and stocked with strong characters. It’s only major flaw is that it doesn’t always know how far to take the satire, and it sacrifices subtlety for broad stereotypes. But at its best it’s honest and witty and very, very funny.

5. Scott Pilgrim vs. The World

Studios that want to produce adaptations of graphic novels should look to this movie. Moviegoers who want to see incredible special effects should definitely go see this movie. I’ve never read the graphic novel, but I’ve heard this is a pretty faithful rendering. It certainly looks and feels like something out of a graphic novel, but never once did I think that it would look better animated. Scott Pilgrim vs. The World is a feast for the eyes. My only criticism – and having not read the book, take this with a grain of salt – is that these characters just aren’t likeable.

You look at the other four movies and you’ve got giant alien invasions, Harvard super-nerds, an organ-harvesting future distopia, and high school drama. And in all of those movies, diverse as they were, all of characters were at the very least relatable. I’m trying not to be too harsh; I’m a big fan of Watchmen, I understand the concept of the anti-hero. But Scott Pilgrim is kind of a loser and he wants to date a loser, and so he fights all of her loser ex’s, and we’re supposed to care because…? Well, it’s pretty. I will give it that.

I love street art. I love that I’m moving to a city that values street art. And I kinda love Banksy.

Theirry Guetta loved street art, too, and he set off to film some of the world’s most famous (and elusive) artists. Only his film was kind of crap and Banksy, who really wanted the world to get a glimpse of this unique art movement, took over the film and told Thierry to go home. Make some art.

Which is exactly what he did. Thierry had spent the better part of a decade learning the art of street art, not just the creation and display, but also how to get oneself noticed as an artist. Within months, and almost entirely through self-promotion rather than actual artistic creation, Thierry Guetta (aka, Mr. Brainwash) was the rising star of the street art world. Thousands lined up to see his exhibition debut, and in less than a week collectors would purchase nearly $1 million worth of Mr. Brainwash’ art.

The debate over “What is art?” will be an eternal one. I think “good” art is anything that people can find a connection with, be it emotional, spiritual or intellectual. I think there will always be a great variety of art simply because there will always be great variety in people’s love and interest. Art enthusiasts love the works of Mr. Brainwash. Does it change the art in some way to know that he commissioned other artists to do much of the creating?

Shepard Fairey explains his iconic image OBEY as an “inside joke” without much inherent meaning. “The more stickers that are out there, the more important it seems. The more people want to know what it is, the more they ask each other. And it gains real power from perceived power.” I like that. By the end of the film, the street artists all seem to be a little resentful of Thierry. Street art is subversive, illegal, fleeting, and above all, free for public consumption. Thierry became a part of the street artists’ world to tell their story, and taking what he learned at the feet of the masters, he would mass-produce and commoditize it.

“I don’t know what it means – Thierry’s huge success and arrival in the art world.

I mean, maybe Thierry was a genius all along.

Maybe he got a bit lucky.

Maybe it means art is a bit of a joke.”

- Banksy

Exit Through the Gift Shop on Netflix

Let me tell you what you need to do.

You need to grab a really good bottle of wine, some crackers, maybe some cheese, spread out a blanket on your living room floor, and watch this movie. Bottle Shock is to wine what Julia & Julia is to food: you’ll want to smell, savor and enjoy every last bit of it.

Make no mistake, the real star of this film is the wine. In 1976, a British wine merchant held a blind taste test to determine once and for all that French wines were superior to all others. If you’ve ever seen a film about any underdog EVER then you already know how this story ends: Californian wines ranked highest among both white and red wines. The French were furious, and the world was introduced to the delicious nectar of the Napa Valley.

There is a human element to this story, with some fairly predictable twists and turns, and with all due respect to the real people behind these characters, none of it is particularly compelling. Really, the film is at its most interesting when it’s telling us about the wine: how it’s grown, how it’s crafted. How the dirt and the sun and the hardships make the grapes that will become great wine. And believe me, you’ll want to be there, right there among the rolling hills and green vines.

In lieu of that, though…I recommend a nice glass of Chardonnay.

Bottle Shock on Netflix

That said, if you are in the market for a not-badly made and not-entirely sad movie, we found a little gem this week in The Ramen Girl. Very sweet, great characters, lots of food – we all loved it.

But back to the topic at hand…

This weekend I watched first A Single Man, and then Creation. On the surface these two films don’t have much in common at all, but after watching both of them, I have to say that they are far more similar than you would think. The only striking difference is that one film is far better than the other.

Both of the films deal with grief. In A Single Man, George (Colin Firth) grieves the loss of his partner, and in Creation, Charles Darwin (Paul Bettany) grieves the loss of his daughter. Both films treat time in a slightly non-linear fashion: set in a period sometime after the deaths of their loved ones, we are nonetheless treated to extended flashbacks and scenes which detail the depth of their relationship (and thus, the chasm of their absence).

In each film, the death is the catalyst for some kind of tension. George has been with Jim for over 16 years, and yet after Jim’s death, George is not welcome at the funeral. Just as their relationship was concealed (or outright ignored), so George must also hide his grief. And it gnaws away at him, for every waking moment is a reminder of what he does not have and cannot admit to wanting.

For the Darwins, the death of their oldest daughter drives a wedge between them. Charles no longer finds comfort in the faith to which his wife clings. She sees where his work is going, watches his faith slip away, and fears that they will find themselves separated for all eternity. But for Charles, it’s not so much about the faith as it is about the truth. Just as she cannot understand his persistence, he cannot understand any argument which would deny what he has irrefutably witnessed.

And while they both deal with these hugely controversial issues (homosexuality and evolution), neither film is an activist’s piece. That George and Jim love each other in a society that does not accept their relationship only compounds the sense of loss, but A Single Man really is about loss, first and foremost, and it is a deeply moving film. I imagine it’s first-time director Tom Ford’s experience in the fashion industry that gives him this incredible sense for aesthetics. He may perhaps rely too much on detail shots and long, dreamy sequences, but everything about the set design and costuming is meticulously perfect, and his use of color is inspired. Colin Firth absolutely deserved the Golden Globe, and the Oscar nomination. He is amazing in this movie.

Meanwhile, Creation does such a good job of avoiding controversy that most of the life is sucked right out of the film. The only real moment of discord is when Thomas Huxley declares that Darwin has “killed God” and proceeds to make a rather over-exaggerated speech about science reigning victorious over religion. Darwin, for his part, looks duly horrified. Rarely have I watched a film about a historical figure and thought that a documentary would be more interesting. A commenter on Roger Ebert’s blog characterized the film as “another deathly serious melodrama about the life of a famous person struck by tragedy, and only [glosses] over the controversial issues that are actually relevant and interesting”. What we have here is not so much a film about Charles Darwin’s life or his work, but a film about a man coming to terms with loss.

And if you want to see that, just watch A Single Man.

I think it’s safe to say that I’ve watched a lot of movies.

If Netflix had a frequent-flyer program, I’d be well on my way to a platinum membership, kind of like George Clooney’s character in Up in the Air, only I wouldn’t have that contemplative moment where I discover that my hollow quest has left me lonely and unfulfilled.

See what I do? I talk in ‘movie’.

Anyway, several months ago I promised a friend that I would put together a list of movie recommendations and I’ve been so busy watching movies *cough* having a life, that I just put it off until now. There are too many excellent films to cram into just one post, and I thought it best to divide them up into more manageable chunks.

So, to get us started, here are my Top Five Favorite Films:

1. The Fall (trailer)

I have waxed poetic about this film before. Everytime someone asks about my favorite movies, this is always at the top of the list and it is almost always the one movie that no one has ever heard of. I’ve seen it many times over the past two years, and I still love it. It is beautiful. It is captivating. I can (and have) enjoyed just sitting and watching the trailer repeatedly. Seriously…see this film.

2. Donnie Darko (trailer)

Like a good book, a good movie changes the way you look at the world. Donnie Darko changes the way you look at time. It’s strange, it’s inventive, it’s superbly well-acted. And fun fact: it’s the only film that the Gyllenhaal (yill-en-HOO-le-hay) siblings have starred in together. This movie is like a puzzle that you will want to piece together over and over again.

3. The Wind That Shakes The Barley (trailer)

Set in early 1900′s Ireland during the Irish war for independence, this movie is haunting and heartbreaking. How much can be justified in the fight for sovereignty? In the end is it really true that “all we’re changing is the accents of the powerful and the colors of the flag”? There are no easy answers to be found here. The Wind That Shakes The Barley won the 2006 Palm d’Or at Cannes and it is the highest-grossing Irish-made independent film ever. It’s incredible and it really deserves a wider audience.

4. Ma Vie En Rose (trailer)

This is a film about a little boy who believes he is a little girl, and a lot of the discussion related to the movie centers around gender issues. To me, though, that’s not really the heart of the story. The main character, Ludovic, is 7 years old: maybe he’s transgendered, maybe he’s not. The real tragedy is that strict gender norms might create something sinister out of a child’s guileless play and curiosity. This movie is really about Ludovic’s family, his community, and how one little boy tries to reconcile what he feels with what he’s told. George Du Fresne is an enchanting young actor in a very enchanting little film. I highly recommend it.

5. The Darjeeling Limited (trailer)

I’d put this up there with The Fall as one of those movies you should see just to see it. Filmed entirely in India, each scene is rich with textures and bright colors. You can practically smell the saffron. Wes Anderson’s films are quirky, to be sure, but they also contain an emotional depth to offset the eccentricity, and of all his films I feel like this one found that balance perfectly. It’s very funny, it’s kind of sad, and it has a great soundtrack.

You know, for a neo-noir film set in a modern day high school with teenage actors who talk like they’re in a 1940′s detective movie…this actually works.

Handled with any less earnestness and honesty, the whole thing would simply come across as a spoof. Every detail is here: the dame, the thugs, the hero, the kingpin. Fast-paced dialogue that’s short on exposition yet laden with meaning. A murder. A mystery.

“I was just going to come up with some bit of information, or set up some phony deal. And I think she’d let me walk. Then I was going to go to the vice principal and spill the in the street address of the biggest dope port in the burg.”

Like in a Peanut’s cartoon, the characters inhabit a world that is almost entirely devoid of adults. They exist, of course, but they exist outside the world of the teenager. Much of the movie takes place around their high school, but it serves to function more as a neighborhood than a place of learning. Each subset of high school culture fills in the different hang-outs, and no one seems to actually go to class. The only significant adult presence comes from the vice principle in the role of The Brass.

“No more of these informal chats! If you have a disciplinary issue with me, write me up or suspend me and I’ll see you at the Parent-Teacher conference.”

A lot of teen movies derive their tension and intensity from common experiences that aren’t really such a big deal: dating, popularity, making the football team. Instead of being a movie about things that feel like a matter of life and death, here we have a movie with teens that really is about life and death. Brick ultimately works because it is solid and well written. It has just the right levels of intensity and self-awareness to keep it away from being a gimmick and steer it instead toward being a great film.