‘Thunderbolts’ and ‘The Fantastic Four’ better be good movies . . . If not, the MCU just might be creatively cooked. It’s not that the newest entry, ‘Captain America: Brave New World’ is absolutely horrible (although its screenplay cobbled together by committee certainly is), it just doesn’t have much to offer beyond some interestingly choreographed fight scenes blending Cap’s shield and Falcon’s wings. Perhaps the biggest surprise is that its poorly imagined narrative hinges so much on some of the worst entries in the franchise along with an uninspired Harrison Ford performance.

There’s nothing remotely mysterious about a film that has put everything on display in its marketing, including widely reported stories of massive rewrites and reshoots. While historically, Marvel movies typically require some reshoots to shore things up, by all accounts CA:BNW has entire characters and storylines added and subtracted. It’s truly hard to believe that a movie featuring the uneasy acceptance of the Captain America mantle was always meant to be about the inner and outer turmoil surrounding General-now-President Thaddeus “Thunderbolt” Ross (Ford taking over for the deceased William Hurt). For some reason, Marvel marketing felt the need to show parts of every scene and reveal not only the presence of Red Hulk, but also his identity (one of the more recent comic book mysteries that was kept secret for some time after his initial appearance). This left no doubt for audiences that this movie was going to address the frozen Celestial in the Indian Ocean from 2021’s ‘Eternals’ as well as the ultimate ironic fate for the Hulk Hunter himself as he was first defined in 2008’s ‘The Incredible Hulk.’ It’s impossible to tell if these twists would have had a substantial impact on the enjoyment of the film if not telegraphed by the advertising. Maybe this choice was made because the producers (assuming Kevin Feige among them) thought they had to prepare people for the fact that this movie is so beholden to both of the lackluster tales referenced above.

With the characters of Sam Wilson and Isaiah Bradley, the MCU had an opportunity to make an interesting film that explored race and the superhuman/hero. This film and ‘The Falcon and the Winter Soldier’, the Disney+ show that preceded it, were ideally meant to elevate Wilson into a leadership role and showcase a shameful history with Bradley (Carl Lumbly bristles realistically in every scene but is ultimately wasted). Instead, Anthony Mackie, a fine actor, is relegated to remain in the shadow of his friend Steve Rogers, the constant running partner being passed “on his left” by the Super Soldier. It’s crazy to look back and realize that the simple flip of that line and the passing of the shield at the end of ‘Endgame’ did more to progress this aspect of that dynamic possibility then anything since. What a shame that nothing could be fully realized through multiple hours of content after that triumph of comic book storytelling. Instead, Mackie’s left to spout off poorly written dialogue that explains what’s different about his style as opposed to putting it on display and letting the audience figure it out for themselves.

Flat direction, a dull aesthetic, and a shoddy screenplay contribute to a mostly bland moviegoing experience. It’s sad to see the great Ford trying to bring some ‘Air Force One’ gravitas and just not getting it done. With the MCU is hard to give credit or place blame on any one creator, but there’s not much in the way of witty repertoire, compelling narrative, palpable menace, or interesting visuals beyond the nifty sight of an aerial version of the familiar red, white and blue costume . . .

Directed By: Julius Onah

Written By: Rob Edwards, Malcolm Spellman, Dalan Musson, Julius Onah & Peter Glanz

Rated: PG-13

Running Time: 118 min.

* * 1/2 (out of 4 stars) -OR- C+