The Avengers

No Assembly Required

The Avengers
1961 -1969
161 episodes
From extremely mislabelled 
Studio Canal sets on DVD and Blu Ray

John Steed was not the original Avenger in The Avengers. Lots of people seem to forget that. There were also five Avengers girls and a couple of other regulars… people seem to forget that too.

I watched the early episodes in the early 1970s, between the ages of four to seven. They were on repeat in the afternoons and I watched them on our old black and white telly with my mum. I don’t recall seeing the Hendry episodes which is about right, they were put out live and only three and a third episodes of that first season have survived.

Anyway, since me and my mother had enjoyed our recent rewatch of The New Avengers so much I decided to invest in the various box sets (and single edition in the case of the episode Tunnel Of Fear, which was rediscovered years after the Series 1 and 2 box set was issued) so we could watch all the surviving episodes.

Of which, from the first season, 22 and two thirds are missing. We have everything else, though so, out of 161 episodes… we must have watched 138 episodes this time around. Not doing too badly, I guess. The series was kind of a sideways follow up to Police Surgeon, with some of the actors but none of the characters coming over to the new show.

Okay, so the first Avenger was Ian Hendry as Dr. David Keel. His fiance gets murdered in the first show, Hot Snow and, that’s all we have of that first episode. The stuff we are no longer able to see is the great Patrick Macnee turning up as John Steed. A shady man of mystery working for a shady organisation who offers Keel the chance to work for him to foil the criminals who killed his girlfriend. And, after this, to keep helping him out to eradicate criminals like them. A kind of, freelance Avenger, if you will.

I quizzed my late father when he was alive about this first season (two of which Macnee isn’t even in) and he said Steed was always an ambiguous character at this time. You were never really sure who he was working for and why… or even whether he was an actual good guy or someone very dark grey. And from the episodes with him in which have survived from this first season… well he certainly does play it like that.

But the whole thing is grim and hard hitting and not quite what the show would later become. For instance, you couldn’t imagine one of the ‘good guys’ holding up a loaded syringe and threatening to squirt one of the bad guys in the face with acid in the later shows but, that’s exactly what Dr. Keel does in one of those surviving episodes.

Hendry was pretty good in these episodes but I always liked him as an actor. Now Macnee is perceived as having a complete character change from the first series into the next seasons but, now I’ve seen how all those episodes play out, I disagree. He’s playing him the same way pretty consistently with not much of the perceived softening and just, maybe, becoming a little more sophisticated in steadying increments as the various seasons progress.

And there’s also Ingrid Hafner as regular Carol Wilson in the first series. Dr. Keel’s secretary and helper in his adventures. So technically the first Avenger girl. She does her bit as does Steed who, in the episode Tunnel Of Fear, seems just as quirky and eccentric as he does in the later episodes. Although the trademark bowler hat and umbrella aren’t a permanent, regular fixture until sometime in Series 3.

Steed and his new recruited, freelance and sometimes reluctant partners take over from Series 2. We have Dr. Martin King (played by Jon Rollason), the brilliant and very scatty nightclub singer Venus Smith (played by Julie Stevens) and, of course, Cathy Gale (as played by Honor Blackman). It was like they were doing live auditions, alternating between the co-star role week after week. Plus a few of Steed’s bosses occasionally turn up. And the stories do start getting a little quirkier and unique in places, depending on who was doing the writing.

Cathy Gale, of course, stuck... and she was the main - leather clad for the last reel hand to hand combat sequences - co-star for all of Series 3. 

The first season was shot live and the second/third seasons were shot on videotape… and it shows on all three seasons. People are constantly flubbing their lines because they were only doing one take, you get flies landing on the camera lens and you can sometimes see the crew… and in one wonderful moment you can see several of them wheeling a big old camera onto the next set through an open door. Wonderful stuff. Honor Blackman was lobbying for them to start shooting on film, which they did from series 4 onwards. Alas, by the time she got her wish she’d left the show to star in Goldfinger (reviewed by me here). There are a few references to that in the episodes themselves. In the last episode she’s going off on holiday to ‘pussyfoot’ around (a reference to her Bond character Pussy Galore) and, in the fourth series Christmas episode, Steed receives a Christmas card from Cathy Gale from Fort Knox.

Okay, so Diana Rigg turned up as her replacement for Series 4-6 (not 4-5 as Studio Canal will have you believe… I’ll get to that soon) and her character, Emma Peel (named after a shortening of the industry term Man Appeal to M Appeal), is certainly the one that casual watchers seem to remember. The Avengers was at the height of its popularity by this point.

She’s confident like Cathy Gale and she’s also, at least at first, still just a freelance with her own brilliant life going on at the same time but, by the time of her departure, something subtle and wordless has shifted the tone and, somewhere around  the time of opening sketches playing around the theme of “Mrs. Peel, we’re needed!”, which followed the title sequence, she somehow ended up as a full employee of… well, whoever Steed works for. Indeed, regular boss figure Mother, played beautifully by Patrick Newell, becomes the regular for the final, extended seventh season and his first episode is Emma Peel’s last one, which also introduces new Avengers girl Tara King, played wonderfully by Linda Thorson. At the end of the episode, after Mrs. Peel’s long thought dead husband turns up alive and well in an Amazon jungle, Steed tells Mother he needs a replacement and asks specifically for Tara King.

By this time, the show was getting more and more surreal and leaning more and more into the comedy… with deadly agents turning invisible using a kind of chameleon paste, fake time travel plots and even an episode as a remake of The Maltese Falcon (with Stratford Johns and Ronald Lacey filling in for Sydney Greenstreet and Peter Lorre).

The casts throughout the various series were great with lots of returning actors like Peter Cushing (this and The New Avengers) and Christopher Lee and some actors that were reappearing as different people so regularly… people like Roy Kinnear, Philip Madoc, Peter Bowles, Julian Glover and Warren Mitchell… that they were almost drawing regular paychecks on the show.

There were some great title sequences too. The first three seasons had different, often alternating titles set to Johnny Dankworth’s original theme music for the show with Laurie Johnson coming in on the music for Seasons 4-7 (with some help from Howard Blake). It’s funny, even though Diana Rigg (who was certainly brilliant in the show) was not my favourite Avengers girl (I preferred Julie Stevens, Honor Blackman and Linda Thorson), I preferred the two title sequences she got over her three seasons, my favourite being her original black and white stills montage, which carried on the style (to some extent without the posterisation), of the previous sequences.

Oh, about that Laurie Johnson opening music from seasons 4-7... this would be the one that is most often remembered from the show but, the one you always find on commercial recordings (and to be fair, my favourite iteration), is the new arrangement of it he wrote for the final season with Tara King. There’s a lot more punchiness to it but my favourite section is a bit of counterpoint melody which plays on the second part of the main melodic line. Now it’s just a thing I always knew from the music but watching it now against the images, I finally realised that it’s a specific melody for Linda Thorson’s new character. Just after it starts on the titles we focus on Tara and, it’s also used as leitmotif for her character on occasion when she comes on screen in various stories. She even plays it herself on an organ in one episode. So, watching it now, that music totally makes sense to me and as each episode progresses, it pushes that connection. So I was surprised when... oh no, I’ll get to the 1998 movie in another review. 

And I have to say I thoroughly enjoyed most of the episodes I saw from the entire run of the show, including the one with the triffid creature from outer space. It’s all pretty good stuff and they even ran a spoof episode on my favourite TV show, The Prisoner, at one point.

And, with an aside to acknowledge stylish directors like Robert Feust (who would go on to direct the Dr. Phibes films and The Final Programme, reviewed here) I have to also acknowledge the slap dash way in which Studio Canal has decided to release these…

For starters, on the Blu Ray called Series 5, you have both Series 5 and the much shorter Series 6. With Season 7 turning up in the next set under the title Series 6! Worse than this, which is pretty bad already, they choose to present all the episodes in production order rather than their intended broadcast order. Which is totally different. So you’ll constantly be chopping and changing discs to find the real next episode throughout the entire run. Which is exactly the kind of rubbish presentation I would expect from Studio Canal but it doesn’t lessen the sting of the thing.

And that’s me pretty much done with The Avengers. A series I would totally recommend with the slight warning that, on most episodes, the visible camera boom will be your constant companion. And if you want to read up on the further exploits of John Steed and the brilliant follow up series, you can read my review of The New Avengers right here.

Free Guy

Ready NPC One

Free Guy
USA/Canada 2021
Directed by M. Shawn Levy
Walt Disney

Warning: Plot spoilers so, if you didn’t see the trailer,
probably don’t read the paragraphs here dealing with the story.

Okay, so Free Guy is one of those nicely made action fantasy movies with a lot of heart. It’s not exactly original but it’s presented in a way slightly differently to most movies that take on this kind of theme and, I’d say it more or less does it’s own thing so, I’m not going to criticise it on the ‘originality’ stakes.

After explaining to the audience the difference between the Heroes who wear sunglasses and those who don’t, Guy (played by Ryan Reynolds), wakes up every morning in Free City, grabs his blue shirt from the cupboard and heads off over to the coffee shop for his morning drink before going to work as a bank teller. A bank that’s robbed every day, one of a series of largely violent incidents barely blinked at by Guy and his friends because this stuff is happening all the time. Then he becomes somewhat aware of a girl, Molotov, who inadvertently inspires him to break out of his established routine and he steals a pair of sunglasses. The glasses help him see the world for what it is... a game in which he can evolve and raise his character level in order for Molotov, who is really Millie (played by Jodie Comer), to take him seriously.

And when I say she’s really Millie, Free City is just a big, global online video game but Guy, without any forehand knowledge of this, is an NPC (which, to those of you who don’t play video games, stands for Non Player Character). So the non-evolving, collateral damage characters who are there to interact with players and get punched, blown up or otherwise injured before re-spawning for another glorious day in Free City (much like the characters played by movie extras, I guess). However, Millie and her ex-partner Keys (played by Joe Keery) are trying to find the evidence inside the game that proves that Key’s boss, who distributes the game and who is played by director Taika Waititi, has illegally used their game engine as the basis for Free City. And once she realises what’s going on with Guy, she needs the assistance of the first evolving AI character, which itself is a remnant of that original software, to help her locate it before the sequel game is released to the public and the original version is overwritten... effectively ending all the NPC’s lives in the game (as far as Guy is concerned).

And I won’t say anymore than that but it’s a really nice action comedy with a side helping of romance and a big heart. It does, honestly, resemble Ready Player One (reviewed here) a lot. Actually, the film shares a screenwriter with Ready Player One so, perhaps that’s not so surprising. And the plot also has similarities to Disney’s earlier 1982 hit Tron in some ways... although the way in which it’s presented here is certainly a lot different.  

Reynolds is absolutely perfect in the role of the up beat NPC Guy and Jodie Comer is... well I’ve only seen her be brilliant in everything she’s in so far and she has good on-screen chemistry with Reynolds, for sure. There are also a heck of a lot of cameo appearances in the movie, too many to mention here... some quite overt like Channing Tatum and Chris Evans, others more hidden like Hugh Jackman. Also, there are loads of video game references (most of which went completely over my head because I’m not a big game player, although I did pick up that Free City was based a little on Liberty City from some of the Grand Theft Auto games) and a load of pop culture shout outs too... fans of the Marvel Cinematic Universe, Star Wars and a couple of their scores are in for a treat too, it has to be said.

The film hurtles along at a rapid pace but there’s still time to pack in a ‘double love story’ (kind of) and even a nice, very welcome reference to the problematic and insane lack of gun control laws in America, it has to be said. It’s a morally uplifting film in a lot of ways and it’s all packaged up in a world filled with hot cars, health power ups, exploding buildings and all the things you might expect from a modern, action oriented video game. However, it also pushes the idea that playing games with a violent content is not necessarily the way to go and there’s a nice moment when it’s shown that everybody around in the ‘real world’ has come to love the main NPC, known globally as Blue Shirt Guy, because he goes around trying to save people and promote the idea that everyone should be nice to each other... which is also a sensibility which has grown in him from the original source code of the unreleased game hidden somewhere in the world of Free City. It’s a nice concept and the brisk pacing and non-stop comedy shenanigans of the main characters means the idea never outstays it welcome.

And that’s pretty much all I’ve got to say about Free Guy. This film is another hit for Reynolds, as far as I’m concerned and Comer proves she has what it takes to be able to help carry a huge studio tent pole movie too. Absolutely brilliant fun and this is one I’ll definitely be picking up on Blu Ray to show my nearest and dearest. Definitely worth catching this one.

The Avengers - The Cybernauts Trilogy

Cool As Thwack!

The Avengers - The Cybernauts Trilogy
Airdates: 16th October 1965,
30 September 1967 & 2nd November 1976
Network - Zone 2 Blu Ray

Warning: Some spoilerage here.

When Network released this Blu Ray set a couple of years ago, I was hoping it would lead to a proper Blu Ray restoration of all the surviving episodes of various series of The Avengers in one massive boxed edition. Alas, that hasn’t happened yet but I’ve finally got around to watching this marvelous little mini set and, I have to say, they’ve done such a good job with these that they really should get onto doing a full restoration sometime soon (I see StudioCanal have got Blu Ray sets out for just three individual seasons but... that’s not enough and my respect for that specific company and their rights to release things in various territories and therefore blocking other labels has been steadily going downhill over the last few years).

The Avengers started in 1961 as a replacement show for Police Surgeon,  for the star of that series, Ian Hendry. This bizarre arm of the British Secret Service had Henry assisted in most episodes by a character called John Steed, played by Patrick Macnee. However, Hendry left the show towards the end of the first series which left Steed as the main character and he would continue on in that role in six more series of that show from 1961 - 1969, followed by the reincarnation of the show with two more series as The New Avengers from 1976 - 1977. During that time he had various assistants, all known over here in the UK as ‘Avengers girls’ (excepting in one obvious case) and they were Honor Blackman as Cathy Gale, Diana Rigg as Emma Peel (played by Uma Thurman in a later movie adaptation), Linda Thorson as Tara King and, for The New Avengers, the duo of Joanna Lumley as Purdey and Gareth Hunt as Mike Gambit. It’s of some interest to note that three of the four Avengers girls, with the exception of Linda Thorson, were also Bond girls. Diana Rigg and Joanna Lumley even starred in the same Bond film, my favourite one, On Her Majesty’s Secret Service (reviewed here) and, of course, Patrick Macnee would also have a large role in A View To A Kill (reviewed here). Alas, the vast majority of the Honor Blackman episodes are lost to history but I do remember seeing her in these (and catching all these old episodes) when they were repeated in the early 1970s on British television.

This Network release picks on the three episodes out of the entire run which have what is, for three episodes spaced apart over the course of 11 years, a surprising amount of connective tissue, not least of which is the main instrument of destruction of the main bad guy (who is different in each episode), the Cybernauts of the titles. The set also allows us to see three different periods of Avengers history too, in that the way those episodes fall we have one of the black and white Diana Rigg era episodes, followed by one of the colour Diana Rigg era episodes and then, finally, an episode from The New Avengers.

The Cybernauts are a lovely creation, actually, and you can see why they were reused a couple more times throughout the show’s history. In a pre-titles sequence in the first of these, simply called The Cybernauts, we meet the antagonist robots who really never change much over the course of the stories which feature them. They have no emotion or real reasoning, they just home in on anyone who happens to be carrying a certain homing pen (in the first one, this plot mechanism is changed for the next two), can bash their way through walls with their very distinctive ‘woosh... thwack’ karate chop sound and can kill or stun a person with one blow. After we first see them in action, we are presented with the title sequence of the time, which was static shots made into a montage (somewhat like a slow flickerbook) of Steed and Mrs. Peel striking poses to Laurie Johnson’s classic music.

We then get to the main plot and have a wheelchair bound cybernetic scientist, Dr. Armstrong, played by Michael Gough (who you may remember from a number of horror movies but who you might best remember these days as Alfred The Butler in the two Tim Burton Batman movies) and his assistant Benson, played by Frederick Jaeger. These two are murdering the ‘competition’ and are going to create a technological dystopia with their suspiciously scientific ways. Enter Steed and Mrs. Peel who eventually work out what’s going wrong and manage to get the two active Cybernauts to attack each other... Dr. Armstrong getting in the way at the wrong time and getting killed by them himself.

The next story, The Return Of The Cybernauts, sees a somewhat familiar opening scene as the previous episode to feature them two years prior. We also get, of course, that wonderful opening title sequence from this era with the beautiful, musical pre-amble to the main theme as Mrs. Peel uncorks Steed’s champagne bottle with a pistol shot. Wonderful stuff. This is pretty much the same kind of thing but it’s revenge that drives the story beats. Benson, who seems to have gone bizarrely unaccounted for in the last episode, is now assisting Dr. Armstrong’s surviving brother, played here by the wonderful Peter Cushing. They both want to kill Steed and Mrs. Peel and they once more use the Cybernauts in a very strange way... to kidnap scientists to devise a terrible poetic justice for the death of Armstrong. Lots of Dutch angles in this one but, even though the show once again features those killer Cybernauts with their deadly wooshing and thwacking... these episodes seem somewhat atypical for The Avengers as I remember them... they’re not nearly as surreal as they sometimes got, for sure.

The third story, The Last Of The Cybernauts?? (accept no substitutes on the IMDB, it’s definitely got a double question mark in the title) from The New Avengers has a slightly different plot variation in that a dastardly double agent is almost killed and left in a fiery inferno by the show’s three heroes. One year later, he uses the man who made the original cybernauts for Dr. Armstrong all those years ago (a character who was never mentioned in the previous episodes, alas) and uses them in a plot to avenge himself on Steed, Purdey and Gambit, who kind of instigated the car chase that led to him being disfigured and in a wheel chair. By the end of the show, though, he can walk again as he augments himself and turns into a human Cybernaut, only to fall at the first hurdle of his revenge plot. We also have, of course, The New Avengers title sequence with Laurie Johnson’s new theme which is steadily rooted in the base line phrase of the original music.

So, three great episodes which, I have to say, look crisper than I've ever seen anything like them looking before. Network have done an absolutely wonderful job here and seeing unexpected guest stars such as Burt Kwouk and John Hollis popping up in minor roles in an episode here and there is almost the icing on the cake but... not quite. Because there’s more...

My favourite part of  this disc is the option to watch these episodes with ‘the vintage experience’ switched on. Basically, Network have gone out of their way to restore vintage ads which would have been showing during the commercial breaks contemporary to each episode (seriously, the restoration on the ads is as good as on the episodes themselves) and although I tend to hate advertisements on principle, it’s kind of nice seeing adverts and hearing jingles from when you were a child which you had forgotten about over the years. That also means, of course, that you get the ‘bumper’ titles and music to separate the ads fro the show... which is also a very welcome addition.

If you’re interested, I noted down all the ads in the order they appear and they are as follows: Birds Eye Beef Burgers, ESSO Extra, Tempo Frozen Garden Peas, a Polo advert which is quite unintentionally sexual and therefore very funny (what with various talking heads going on about how much they enjoy sucking them), Birds Eye Fish Fingers, Benson And Hedges cigarettes (I’d forgotten how televisions and cinemas were full of what are now illegal tobacco adverts back in the day), Kellog’s Corn Flakes, Mr. Kipling's exceedingly good cakes, Martini, a different Birds Eye Beef Burgers ad, Gale’s Choc-Nut Spread, Gillette razor blades, After Eight chocolate mints, Biological Radiant (for a purer white), the ESSO Tiger ad, Terry Wogan bestowing the virtues of Bovril cubes, KiteKat cat food, Reliant Robin, John Le Mesurier not saying much of anything to sell Castella Court Cigars, Orson Welles telling us about Domecq Sherry, Diana Rigg travelling by British Airways, Ready Brek (central heating for kids), Castrol GTX and Hai Karate aftershave (which I was just getting into for a couple of years before it retreated from the market place).

And that’s that for The Avengers - The Cybernauts Trilogy. Three mostly wonderful episodes (the dialogue isn’t great in The New Avengers episode, to be fair but... the chemistry between the actors is phenomenal) brought to us by Network and, seriously, if they’re reading this, they really need to get cracking on giving the full series a shot at Blu Ray box set heaven, before the horrible world of streaming tries to take over the marketplace. Can’t do much more than recommend this trilogy heavily for people who like this period of British espionage television. It’s a wonderful thing and you should grab it before it goes.

Captain America: The First Avenger

The Man With No Namor

Captain America: The First Avenger 2011 USA

Directed by Joe Johnston

Screening at UK cinemas

Warning: Star spangled spoilers are slight but they are being played.

“When Captain America throws his mighty shield... all those that dare to oppose his shield must yield.”

Woah! I really am just not sure where to start on this movie review. On the one hand it’s a brilliant looking movie, more than competently handled with some really nice “tips-of-the-hat” to the long history of this character... which I’m not a huge fan of, I hasten to add, although I do have all the old seventies issues of The Invaders, so I’m a little familiar with the character (or would be if I could remember much about them now in the 15 or more years since I last read them). On the other hand... this film didn’t keep me entertained much and I did feel things were dragging towards what turned out to be an unsatisfying denouement when they should have been cracking along at the fun pace of a 1940s republic serial.

Mind you, having said that, I’ve seen the Republic serial of Captain America from 1944 and I have to say this movie is certainly a lot better than that... and yes, I love old movie serials but that particular title is one of the worst I’ve seen.

Okay... where to begin on this one then.

The first half an hour to three quarters of an hour is tremendous. It doesn’t suffer from one of my long-standing complaints about superhero movies, that of not being set in period, and evokes a lovely this-is-us-now-looking-back sense of atmosphere which subtly permeates the proceedings until... well until things go a bit pear shaped in the second half of the movie. The pacing on these sequences is fantastic and the puny, Steve Rogers’ character is well spelled out, although the Bucky Barnes character is just so not Bucky Barnes it’s untrue. What happened to the teen/kid sidekick who was pretty much based on Batman's Robin?

There are loads of nice references for fans of the comics, which actually did not start off in the hands of Marvel Comics when first released in 1941... in fact Marvel as we know it today didn’t revive Captain America until an early issue of The Avengers in the 60s, following on from their revival of Namor (The Sub Mariner) in an early issue of Fantastic Four after Stan Lee bought the characters (did he buy them or did the rights get inherited by Marvel via Timely).

Now I missed the sly reference to the original Human Torch in this movie (damn, can I wait until the DVD to spot it or shall I go see it in 3D again... nah, I think I’ll pass) but I was quite annoyed by the absence of the aforementioned Sub Mariner, especially since this movie is done in the right period. I guess you could say these characters formed The Invaders with Cap and Bucky during one of the battle montages in the movie but you’d be hard pushed to do it... although saying that, there’s a reference to The Invaders character Union Jack in the movie. Like Bucky Barnes, this character is never seen in costume and so I didn’t catch the reference myself (you can tell I’ve been doing a modicum of research for this one, can’t you?) but there are so many other distractions that there’s a point when the hodge podge of little fanboy quirks begin to grate. Especially when they contradict things quite badly. Why the heck have we got the characters that made up the team from Sgt. Fury and his Howling Commandoes in it... if NIck Fury isn’t leading them himself. Yeah that’s right... Nick Fury fought in World War Two... so put it in the movie and have him frozen alongside the main character perhaps? Do you think?

I think I’ve just covered most of the negative references in this movie.

The positive ones are... well for starters, the inclusion, in a big way, of Howard Stark (yeah, Iron Man’s dad) although this does give rise to a continuity error... how come he’s got Cap’s shield in Iron Man 2 which is, you know, the only one of it’s kind made with a special metal, if Roger’s gets frozen and goes into suspended animation with it at the end of the movie. That question needs to be answered please people!

Another great thing about this movie is that, despite all the pre-publicity for the film, we do actually get to see Captain America in his proper, original costume from the 40s with his big, floppy wing ears, his red, turn up boots and his old-style pointy shield. That’s a great rush (even though it’s played for laughs) and to top it off the writers even found a way to include a little tribute to the famous cover of the first issue of Captain America, the one where he’s seen socking Hitler on the jaw, as part of... well okay, I don’t want to give too much away... but they even manage to include facsimilies of that comic in the movie itself... however, footage of a fictional Captan America movie did not match any footage from the 1944 serial... actually this movie footage looks like everything that movie serial needed to be, to be honest with you. Although I’ve got a nagging feeling in my head that I should go and watch that serial again now.

Lots of great things then, but this movie really falls flat a little before all those sequences... character development almost dissappears once Steve Rogers takes his super-serum but there are still enough “little moments” to hold your interest, even if the pacing isn’t as "singing along" as it was before. Tommy Lee Jones is absolutely excellent in it, bringing his comedy timing which we know him for from movies like Men In Black... and Chris Evans is, well, absolutely perfect. It’s a shame they didn’t have the original Human Torch in this movie with him... he could have played both roles since he did such a good job with the silver age version of the character in the Fantastic Four movies. It’s also a shame since the one thing it tells me loud and clear is... The Vision won’t be in The Avengers movie next summer (The Vision was an android member of the team haunted by amnesia of not knowing who he was and why he was created... years later it was revealed that he was a revived version of the original Human Torch... well actually it got a bit more complicated than that but that's the essence of it).

Actually that’s a major gripe with this movie for me. We’re rushing towards a movie version of The Avengers and this means they have to get Captain America frozen in time and then thawed out in time for next summer’s event movie... they even begin the process at the opening of this movie (as opposed to surprising non-comics readers at the end). This is a great shame because, frankly, I would have liked to have seen another Captain America movie (or two) set back in the 40s and this time have The Invaders join in. That would be cool.

The other gripes I had with this film were the fact that the good Captain is not going up against the Nazis but Hydra... and this production does everything it can to make it very clear that these bad guys are not Nazis... different logos, different salutes and, the thing which really kills this move for me, the introduction of disintegrating ray guns which takes things firmly out of the World War 2 feel and into B-movie science fiction... nothing wrong with B-movie science fiction, it’s just that they’d done such a good job on the film up until these things came along and ruined it.

So that and, yeah, the pacing felt off in the second half of the film. The climactic fight scene was something I was expecting to build to and be spectacular... then I’d realised we’d just had it... it was nowhere near as good as the stuff we’d seen in the battle montages and this really felt like a big anticlimax to the movie... in much the same way that Optimus Prime in Transformers 2 rose up from the dead and... gave the other robot a few punches and finished him, The End.

What more can I say about this movie. I’m really conflicted because it is really well made, other than on these points... and I would love to see a proper direct sequel... set in period. But it doesn’t look like we’re going to get that as The Avengers is obviously something that the studios are expecting to make more-money-than-humanly-possible with. I wish them luck and I’ll be first in line... but I just wish Captain America, a character who is not even one of my favourites, could have been treated with a little more thoughtfulness in regards to his context in the rest of the Marvel Universe on screen. As it is, I think this movie ranks six or seventh in my top ten list of successful Marvel adaptations... but please don’t let that put you off going to see it. I think it’s very successful on an artistic level and, while I prefer Johnstons own The Rocketeer as a good period movie (stymied from being a good adaptation by copyright issues, I guess), this is certainly a movie where that World War Two atmosphere of patriotism is done right. So it’s definitely worth a look and, for once, the 3D on this movie really isn’t bad.