All the problems with “Captain America: Brave New World” are summarized in its title.
It isn’t “brave,” nor is it “new.” It’s one of the least inspired Marvel Cinematic Universe, or MCU, entries to date. It’s hard to bring fresh ideas to the table after 35 films, but Anthony Mackie’s first solo outing in the stars and stripes doesn’t feel like it’s trying to be something different. And as the MCU’s Multiverse Saga nears its end, the lack of originality is alarming.
Set after the Disney+ miniseries “The Falcon and the Winter Soldier,” which saw Mackie’s beloved Sam Wilson take on the mantle of Captain America, “Brave New World” finds Wilson at odds with Thaddeus Ross (Harrison Ford), the new U.S. president, as a national conspiracy emerges. As Wilson and his sidekick Joaquin Torres (Danny Ramirez) search for the mastermind, Ross races to organize an international treaty to share resources from the celestial Tiamut from 2021’s “Eternals.”
Yes, after three years, the fallout of “Eternals” that resulted in a humongous alien exoskeleton lying in the Indian Ocean is finally examined. We also see the continuation of unresolved plotlines from 2008’s “The Incredible Hulk,” with Tim Blake Nelson and Liv Tyler reprising their roles as Samuel Sterns and Betty Ross, respectively.
But this immediately creates one of the film’s biggest flaws: Instead of being an original story with new mysteries, “Brave New World” spends most of its time tying up loose ends from previous MCU films; in fact, two of the most poorly received MCU films. When most of the plot revolves around films many fans have disregarded, how does it create originality and suspense?
The answer, unfortunately, is that it doesn’t. “Brave New World” attempts a grounded spy thriller along the lines of “Captain America: The Winter Soldier,” which is not only one of the best MCU flicks but one of the greatest action films of the 2010s. By relying so heavily on unrequested fan service, “Brave New World” lacks the plot twists and paranoia of the masterpiece.
It doesn’t take much effort to notice the muddled direction and chaotic tonal structure. “Brave New World” doesn’t seem to know what type of film it wants to be. A notable example of this comes in the film’s first 20 minutes. Wilson and Torres are invited to the White House to witness the signing of Ross’ treaty, with elderly super soldier Isaiah Bradley (Carl Lumbly) tagging along. The lively trio shares drinks in their personal limo, makes jokes about Bradley’s lack of knowledge of iPhone photography and further mocks him when he tries to receive AirDrops of the photos.
It’s all classic MCU humor, but it feels uncanny and out of place for the spy thriller “Brave New World” wants to be. The film notoriously went through a difficult production, with several reshoots and last-minute character additions (Giancarlo Esposito’s villainous Sidewinder appears only briefly and adds little to the story), but the final product fails to hide creative changes and studio interference. Despite a 118-minute runtime, new characters like Shira Haas’ Israeli superhero Sabra aren’t given enough screen time to be fleshed out.
But the biggest victim of the film’s creative flaws is Wilson, whose character arc is betrayed by his own film. In a universe full of superheroes, solo outings need to be built around the starring character. Due to Wilson’s lack of character development, it feels like he could be swapped out with any other hero and the film would remain the same. Mackie gives it his all, but since the screenplay sidelines his character in favor of world-building and fan service, he feels unnecessary to his own film.
In fact, the main character is arguably Ross, who tries to redeem his past mistakes in his new role as president. Ford carries “Brave New World” with a fresh performance that emulates his legendary filmography. Replacing the late William Hurt, Ford gives the recurring MCU antihero a fresh spin, emulating Hurt’s stubborn and gritty portrayal of Ross while adding a solemn side to the character who wants to fix his wrongdoings in the time he has left. Plus, his highly anticipated transformation into the Red Hulk results in a fun CGI-heavy climax to an otherwise dull story.
There’s been much debate surrounding the political undertones of “Brave New World.” After all, it depicts an aging man with a fiery temper who assumes the office of president of the United States and whose tantrums turn him into a raging monster (sound familiar?). This is probably a coincidence — the film was completed months before the 2024 presidential election — but “Brave New World” had the opportunity to be a groundbreaking MCU entry examining the real-world consequences of political power.
Instead, “Brave New World” plays it safe. It offers no new conflicts, few new dilemmas and barely any development for the grand storyline, a few mentions of reforming the Avengers and a cheesy post-credits scene to remind audiences that the grand finale of the Multiverse Saga is on its way. Worst of all, it only reaffirms Deadpool’s quip that the MCU is “at a bit of a low point.”
“Captain America: Brave New World” feels like a reminder that the MCU formula has dried out. Its fans are growing tired of generic, CGI-loaded films and will no longer rush to the nearest theatre for these films unless there is something fresh and truly exciting to be seen. The only way for this franchise to be revitalized is for maestro Kevin Feige to give the keys to the creators and allow them to break the formula. Character-driven films are the future, and there’s a whole multiverse of them waiting to be discovered.
