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Rating: A comparison with the recent Batman V Superman is easy, too easy, and merciless; but it is almost inevitable to explain the virtues of a film like this. The work of the Russo brothers indeed marks a qualitative peak in the Marvel Cinematic Universe: a film that, in its premises, was very difficult, given the quantity of characters and the not simple central issue, but it is approached with rare balance and much care in connecting all parts of an abundant narrative weave. There is no attempt to radically change the tone of the superhero genre (as Zack Snyder poorly did), but nonetheless, a clear shift towards more serious and political tones is made. It is the gradualness of the process that guarantees its effectiveness: when needed, the humor returns to avert excessive heaviness, but this does not affect the final result. Making a serious film about superheroes doesn’t mean having to set it all at night or overemphasize dark photography; the dialogue fabric, the settings, the presence of various political characters, the demeanor of the heroes, each element plays its part in the overall process, without exaggerations.
The heroes have never been so human, so little two-dimensional: by now the viewer knows the outward aspects of the protagonists, allowing focus on character nuances, doubts, friendships, and disagreements. It is no coincidence that almost everyone calls each other by name, the superhuman component does not invade the spaces where human traits must prevail. Even the new heroes, Spider-Man and Black Panther, are introduced very well, emphasizing the human side more than the heroic one. But all the protagonists have their own space, more or less large. Even Black Widow, whom we have known for a long time, shows new nuances. An extremely balanced interweaving of relationships is paired with an equally measured management of the diegetic construct. The emergence of a conflict within the Avengers is maximally gradual and therefore believable; it is no coincidence that the villain of the moment is scarcely present and essentially works to fuel internal discord among the champions. An overly cumbersome enemy would have taken space from the true central issue, that of the factions of heroes in conflict.
After a very ponderous first half, perhaps too much so, the more pyrotechnic moments arrive. The fights, in the first part, recall the style of The Winter Soldier: urban settings, shootouts, very dynamic brawls, vehicle chases, and gymnastic stunts. The quality of the sequences is decidedly high, although perhaps an excessive push in terms of dynamism emerges: sometimes the brawls and flips are a bit too strong and fast. In other cases, the heroes seem to have wheels under their feet, for how fast they run. Not a big deal, anyway.
When the civil war truly erupts, one can finally enjoy a sparkling battle between the two factions; the individual characteristics and special weapons are properly utilized to create something that feels like choreography for how harmonious and enjoyable it is in every instant. The directorial style may remind one of Whedon's, with an organic development of the shots, without too many jumps. However, compared to Avengers something is missing, and that is an interesting setting. The issue of collateral damage is prominent in the film and therefore it would have been contradictory if Stark had agreed to fight in the city. The clash takes place at the Leipzig airport, but it is unclear why it is completely deserted; a few seconds to show people fleeing would have sufficed. Moreover, without collateral damage, the violence loses a lot of impact on the audience’s empathy level. They really seem like two gangs of hooligans playing tricks on each other in a suburban field. Also, because one has the impression that if everyone used their powers to the fullest, the battle would last only a few seconds. This is obviously justified by the will not to hurt each other, but if Scarlet has that enormous power, why does she use it sporadically? All in all, it’s good, but the effect of an inoffensive choreography is indeed just around the corner. Much more convincing, albeit less aesthetic, is the final clash, where real harm is indeed done.
7/10
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