Poltergeist (2015)

As I’ve stated many, many times before on this blog I am not a fan of remakes or reboots. Unless there is a justifiable reason to make one, be it a script that was too ahead of its time or a fresh angle to update the story, films of the past should just be left alone in favor of new content. But Hollywood doesn’t subscribe to my opinion on the matter. Not one iota. If they own a brand or franchise that they feel still holds weight they will use it until it stops making money. Due to this audiences have received a glut of completely unnecessary remakes over the past few years that were made just to squeeze any juice that might remain within whatever property of yesteryear they choose. 90% of them are absolute shit (A Nightmare on Elm Street, Friday the13th, The Hitcher, The Texas Chainsaw Massacre, Halloween) while the remaining 10% might bring something new to the table (Evil Dead, Robocop, Piranha 3D, Maniac).

Poltergeist falls within the 90%.

A down on their luck family of five moves into a new house only to find that it is infested with malevolent spirits that want to use the youngest child to guide them into the afterlife.

The plot of this uninspired remake, directed by Gil Kenan (Monster House, City of Ember) and written by David Lindsay-Abaire (Oz the Great and Powerful, Inkheart, Robots) pays homage to the original at the same time it spits on it. The script follows the story of the 1982 film so closely in fact that one wonders why it was remade at all. Well, other than to milk whatever money MGM can from its once popular franchise until 1988’s Poltergeist III killed it. Outside of the tweaking of some of the events to better suit modern audiences and for the sake of 3D, this is the exact same movie all over again just sped up to fit within a 90 minute run time.

I cannot fault the actors for the film’s problems, as they seem to be trying their hardest to make this tripe work. At least the adult actors anyway. Well, some of them. Two of them. Yeah, two of them. Final answer. Sam Rockwell (Galaxy Quest, Iron Man 2) and Rosemarie DeWitt (The United States of Tara, Mad Men) as the two leads are actually kind of fantastic… most of the time. They have a great chemistry together and do their best to sell the horror to the audience. The child actors don’t fare so well with only Kyle Catlett as middle child Griffin showing any signs of life. The less said about Jared Harris (Resident Evil: Apocalypse, Sherlock Holmes: A Game of Shadows) as Carrigan Burke, standing in for the small but powerful psychic Tangina, the better. He seems embarrassed for the entire film. As does Jane Adams (Happiness) as Dr. Powell. I got the feeling that they were phoning it in for the paycheck.

The script by Lindsay-Abaire is lazy and offers nothing new. It’s a PG-13 horror film meant to frighten kids so he basically took everything that worked in the original and dumbed it down. The 1982 film was meant to be frightening for both adults and children. This one is a non-stop series of boo scares and CGI bullshit. His characters are all clichés, dumb as a box of rocks and most of the time emotionless. The plot developments and exposition comes out of nowhere from characters that really have zero insight into what is going on. Harris’ Burke takes a quick look around the house and has all the answers the leads have been looking for. It’s lame. And the resolution in the finale is flat out stupid. Plus Rockwell’s character in a scene where we learn just how strapped for cash the family is immediately follows it up by going on a spending spree. Why? Because a couple of the purchases will come into use later in the film. These items couldn’t have already been owned by the characters? The scene is unneeded and makes Rockwell’s Eric come off as an irresponsible asshat who is willing to buy stupid shit and drop his family further into the money pit in which they are already neck deep.

The only positives I can say about the screenplay is that Lindsay-Abaire decided to set the film from the point of view of Griffin (standing in for Robbie) instead of the parents like in the original. I also really liked how the spirits lured young Madison (standing in for Carol-Anne) into the closet with pretty lights instead of turning it into a giant black hole and destroying the room in the process. Seeing what was actually inside the closet was cool too, but kind of ruins the mystery of the limbo where the spirits were trapped.

Gil Keenan showed such promise with his directorial debut, Monster House. It was an animated haunted house movie for kids that was both charming and scary. Best of all it worked. So when I saw he was hired to direct this film I was genuinely excited. He showed a deft hand in the genre and I thought he’d knock this one out of the park. Nope. He not only forgets to have his actors emote in the scenes when they need to the most, like after Madison disappears, he treats the film as if it were a “Greatest Hits” version of the original. Scenes are rushed and truncated so often that I felt pivotal moments were lost. The film has no breathing room to let not only the characters stretch but to let the events play out organically like in the original. When wave after wave of CGI terrors are being thrown at the main characters and you really could give a shit you know something has gone wrong. This is the ADHD version of Poltergeist and Michael Bay had nothing to do with it.

Worst of all is the fact that this movie isn’t even remotely scary. The original played on a lot of fears – clowns, the dark, drowning, storms, the loss of a child, shadows, etc. None of these fears are set up beforehand in the remake, so when the scene involving them plays out there is no reason for them to exist. In the original Robbie was afraid of the tree in the backyard because it looked creepy through his bedroom window at night. When it comes to life to attack him we understand why. The spirits knew he was scared of it so they used his fears against him. It was terrifying. When the tree attacks Griffin in the remake there is no connection. The tree just randomly comes to life and attacks him. All the scenes involving the spirits are like this. There is no rhyme or reason behind any of it. It just happens because it did in the original so why shouldn’t it happen here? Zero creativity. All new scenarios should have been invented and that’s all there is to it.

Lazy and worthless, this remake of the fantastically scary Poltergeist is a complete bust and further proves that not all movies need to be remade. It does nothing new with the property and repeats everything that went down in the original with none of the same impact. I went in with an open mind but I should have known better. I hope this bombs because I definitely do not want to see Poltergeist II: The Other Side remade. I shudder at the thought of how Preacher Kane would be bastardized in that unholy mess should it ever come to pass.

At least the 3D worked.

1 out of 5

Mad Max: Fury Road

I’m going to get this out of the way first. When I walked out of my screening of Mad Max: Fury Road I felt like I hadn’t watched a film, I’d had an experience. One that was filled with bright colors, pounding music and some of the coolest things my rods and cones had ever been exposed to. It was glorious.

I’m a huge fan of the Mad Max films. Well, maybe not the original. The Road Warrior and Mad Max: Beyond Thunderdome are two of my favorite movies from my youth. I watched both of them dozens of times back in the day, Beyond Thunderdome especially. There was something inherently cool about them regardless of the fact that they are more than a little depressing and bleak. Max, played very low key by Mel Gibson, was a self-centered opportunist that usually found a spark along his journey that reunited him with his humanity and compelled him to do the right thing. Unfortunately he always seemed to end up back at square one once the credits roll. It made him extremely interesting in The Road Warrior, and even though he went through the same arc in Beyond Thunderdome the script went about it in a different manner to keep it fresh. Max was a great character; a man of few words and a lot of balls.

It took the mastermind behind all 3 films (well, 2 and a half of them), George Miller, almost thirty years to get another Mad Max off the ground. Script issues, budgetary concerns, casting choices, location mishaps… you name it and this project most likely went through it. When the planets finally aligned and the cameras rolled my excitement began to build. It took decades, but the sequel I’ve always wanted was coming!

After Max (Ton Hardy) is taken prisoner by the desciples of the wasteland tyrant Immortan Joe (Hugh Keays-Byrne), he finds a way to escape their clutches when Joe’s second in command, Imperator Furiosa (Charlize Theron), drives away with what is most important to him – his harem of young brides.

The rumors are true. This flick is basically a 2 hour long car chase scene. But does that leave room for characterization and plot development? You bet it does. While it was a little disheartening to see that the title character was being pushed aside in favor of Furiosa I soon came to realize that Max was finding his redemption though her. Despite some unfortunate retconning of the character (it now appears that Max is haunted by the death of his daughter, not the death of his wife and son) we discover that both Max and Furiosa are two parts of the same puzzle. They may seem to be selfish assholes on the surface, but deep down they just want to do what is right amidst all the horror and violence of the ruined world around them. Yet another way to keep the character interesting is by giving him a mirror image. Genius.

At first glance Tom Hardy (The Dark Knight Rises) may not be a great choice for the character, but I found him to have the right amount of stoicism, physicality and unexpected humor required for the part. He’s a total badass in this flick just as Gibson was before him thanks to the writing and the way he’s played.  Example - His crew is in need of some supplies from an enemy vehicle stranded nearby. Max saunters into the dead of night unarmed to get what they need. We never see what happens next, only that Max returns dragging a huge bag full of supplies and covered in blood that is not his own. Fucking rad.

Even though Hardy nails the part of Max I have to give it up to the true hero of the story, Charlize Theron (Prometheus) as Furiosa. The part is written in such a way that reminded me of how Ripley was scripted in the original Alien – neither as a male or a female, just as an awesome character. The fact that the part eventually was cast as female makes the part all the richer in my eyes, especially when the actress was Charlize Theron. She brings a fierceness to the part that works wonders and a lot of heart that I doubt would have been there if not for her. While she is given much more dialogue than the lead, a staple of these films, she kind of comes off as Max’s inner voice at times. Excellent casting and she rocks the shit out of the part.

The rest of the cast is great too. Nicholas Hoult’s (Warm Bodies, Jack the Giant Slayer) Nux starts off as an annoying acolyte and evolves into much more. Rosie Huntington-Whitely (Transformers: Dark of the Moon) shows off that when someone talented is directing her she really can act alongside the best of them. Hugh Keays-Byrne, who played the villain Toecutter in the original Mad Max, is also a strong silent type who lets his crazy make-up and costume do much of the work, but is written as a somewhat sympathetic villain. Sure he’s enslaved a multitude of followers and hoards both gasoline and water from the masses, but his purpose within the film is that he just wants to protect his own even though his family is completely fucked up (he has five wives that serve no purpose other than to be baby factories for his contaminated seed). But the lengths he is willing to go to in order to do so makes him extremely threatening to the heroes.

But what of the much lauded action scenes? They are without a doubt some of the coolest and most pulse pounding I have ever seen. Pretty much anything and everything that can happen does happen to a vehicle at one point or another. Some of the stunts, which were performed real-for-real as much as possible, are so bone crunchingly visceral it made me gasp more than a few times. The multitude of fight scenes come off as something akin to an alley fight which worked better than some overly choreographed kung-fooey. Realism is the name of the game and the CGI (thankfully) pops up only sparingly.

Miller is also known as a visual auteur, and this is his most impressive work to date. Every shot is interesting to look at and creative as fuck. There are awesome slo-mo shots (Max rising from the sand), breathtaking aerial shots (the flares) and shots filled with so much mayhem that I cannot fathom how it was pulled off without some sort of digital trickery (Max swinging by on a pole as vehicles explode gloriously behind him). It’s a feast for the eyes and is one of the most visually arresting flicks I’ve seen in years. Every frame is dense with detail and even though the color palette is mostly brown, the contrast has been bumped up to make it pop off the screen.

I have to also give props to the production team who came up with all these rad ass looking cars, trucks and motorcycles that are easily differentiated as belonging to a specific tribe by the way they are designed. The costumes are wicked as well, especially Immortan Joe’s armor and faceplate that serves more than just as protection. Everything has a function besides what’s on the surface, including the ridiculous flamethrower guitar player riding on a mobile speaker filled concert stage (complete with no less than six Taiko drummers on the back end) while suspended by bungee cords. It looks cool and goofy at first, but then it begins to sink in that this is the music of war being fed live to the troops to keep them amped up and on edge. Lots of thought obviously went into developing the world the story takes place in beyond what we’ve seen in the previous films. It’s all super creative and more than a little awe inspiring. I’ve seen plenty of movies that are filled to the brim with cool ideas and tech. Some utilize them well (Jupiter Ascending) and others not at all (Ultraviolet). I’m happy to report this is the former.

If you see this movie (and if you haven’t you should be ashamed of yourself) be sure to see it in 3D. Even though it was not shot in native 3D it was designed to take advantage of the medium as much as possible when it was converted. Thankfully this wasn’t one of those rush jobs (Avengers: Age of Ultron immediately comes to mind) and it is used so well that I will go on record as saying this is one of the top three 3D films I’ve ever seen (behind My Bloody Valentine 3D and TRON: Legacy). Every shot is layered and filled with such great depth that even the scenes that take place at night were impressive. Its a great use of the format even though the final shot of the epic climax reminded me of the ending of Jaws 3D. 

And I cannot forget to mention Tom Holkenborg’s (aka Junkie XL) awesome score. Trained under Hans Zimmer, Holkenborg fills the aural space with pounding bass, screechy guitars and some awesome strings. It gets you just as amped as the images flashing by on screen. I’m totally buying this soundtrack.

The only negatives I can think of is the Vuvalini tribe not being fleshed out as well as I would have liked and the fact that these old lady warriors were introduced just to be killed off in variously gory ways 20 minutes later. The romantic angle between Nux and Capable (Riley Keough) just sort of comes out of nowhere as well. And I will fully admit that at certain times during some of the action scenes I got lost among all the frenetic shenanigans being thrown at me in rapid fire succession. But these are minor quibbles and didn’t detract from my enjoyment one iota.

Why this movie didn’t draw more of an audience the weekend of its release is beyond me. Something creative and ballsy is dwarfed by Pitch Perfect 2?! A cappa-fuck that shit! Mad Max: Fury Road is a new and compelling vision that totally reinvents the titular character in ways that defy imagination. Like I said earlier, these films are dreary and at times overwhelmingly pessimistic. But there’s hope. And I hope we get more adventures in this weird and wild world that George Miller has created. The dude’s in his 70s and he’s rocking it harder than directors in their 20s. Bring it on!

5 out of 5

#MadMax #FuryRoad #MadMaxFuryRoad #Furiosa #ImperatorFuriosa #ImmortanJoe #Nux #GeorgeMiller

Taken 3

If you read my review of Taken 2 you’ll know that I was not a big fan of the direction the series was heading. Where the first film was a tense and brutal action thriller the second was the exact opposite. It was silly, goofy and really, really dumb. After that film’s release star Liam Neeson stated that he would not appear in a Taken 3. I guess he was offered one hell of a paycheck because he’s back in the role that reinvigorated his career… and I’m pretty sure he regrets making that bank deposit.

Bryan Mills (Liam Neeson) is enjoying his long overdue retirement from black ops work, but when he is framed for the murder of his ex-wife (Famke Janssen) he is forced to go on the run to find the real killer.

Saying that this flick is boring is a massive understatement. Even though I didn’t like the second film at least there was usually something mildly exciting going on at any given time. Not here. Not only is this film overly long (it’s just under 2 hours), but there is absolutely nothing going on during its runtime. Once the inciting incident occurs the film plods along at a snail’s pace as Mills attempts to keep creeping on his daughter at college instead of dealing with the pickle he’s in. When he finally gets around to focusing on who killed his ex the big reveal is super predictable due to the cliché of casting a recognizable face in a (supposedly) nothing part. There’s none of the suspense, none of the thrills and none of what made Mills so effing rad in the original film on display. It’s a waste.

This time Neeson looks as if he’s on autopilot. He doesn’t seem nearly as committed to the role as he was in the past giving further proof that he never really wanted to participate in this abomination in the first place. Maggie Grace does nothing but cry and pout, Dougray Scott channels his inner douchebag and Sam Spruell goes into Ricardo Montalban territory with how much scenery he chews as the secondary villain. Surprisingly Famke Janssen gives a fairly decent performance for someone with relatively zero screentime. She was probably just happy to be written out of the series at this point. The best performance comes from Forest Whitaker as Dotzler, the cop on the hunt for Mills. He doesn’t go overboard, keeps his character reserved and is basically the only saving grace in the cast.

I still don’t know how director Olivier Megaton keeps getting work. Each of the film’s he’s helmed I couldn’t stand (Colombiana, Taken 2, Transporter 3) and he’s usually all about style and zero substance. However, with Taken 3 he doesn’t even take his typical route. There’s zero style and zero substance across the board. He can’t even get Neeson to look like he gives two shits about the fact that his on-screen ex-wife was killed in his own bed. The few action scenes sprinkled throughout the film are lame and unexciting, the drama is tedious and there is nothing that I can say stuck out as creative or even fun.

While I am thankful that franchise writers Luc Besson (The Fifth Element, La Femme Nikita, Leon: The Professional) and Robert Mark Kamen didn’t make the plot about someone being kidnapped yet again, they too seem to have lost interest in these stories. Sure having Lenore killed in the first 15 minutes is shocking. I really liked her character in the first film so seeing her taken out the way she was was a gasper. It’s just too bad that once it happens the writers can’t seem to find anywhere to take the story. It meanders for what seems like an eternity and is filled with needless padding (all the college scenes involving Mills trying to see his daughter) just so the film wouldn’t clock in at under 70 minutes. I think it’s time that Besson and Kamen finally put these characters to bed and move on to other projects. Maybe Besson can finally get off his ass and make that sequel to The Fifth Element he’s been teasing fans with for nearly 20 years.

It’s plainly obvious that I feel Taken 3 is the worst film in the series. There is not a drop of entertainment value left to be squeezed from this franchise. It’s creatively bankrupt from the start and tested my patience on multiple occasions as leaving the theater to take a piss felt like a much needed intermission. This franchise is officially dead to me. Let’s hope it stays that way.

1 out of 5

Avengers: Age of Ultron

The summer blockbuster movie season of 2015 has officially kicked off with the release of the much anticipated superhero team up flick, Avengers: Age of Ultron. Phase 2 of Marvel’s Cinematic Universe has been building up to this moment since the release of Iron Man 3 back in 2013 (and will conclude with Ant-Man in July), but does it live up to the hype?

When Tony Stark (Robert Downey, Jr.) inadvertently installs an alien A.I. into one of his mechanical creations the megalomaniacal Ultron (voiced by James Spader) is born. The Avengers (Mark Ruffalo, Chris Evans, Chris Hemsworth, Scarlett Johansson, Jeremy Renner) must once again unite as a team to save the world from the psychopathic robot’s ultimate goal – the extinction of mankind.

I like the original Avengers flick. It was fast paced and fun, but I also felt it was supremely flawed and more than a little bit awkward at times (the entire pre-opening titles scene especially). However, with all the “assembling the team” bullshit out of the way this flick takes off and never really stops until the end credits roll. From an opening action scene that was brought on by events in the previous week’s episode of Agents of SHIELD to an “Earth shattering” extended action scene in the finale, this flick is one of the most hectic and busy films I’ve ever seen. Not only do we have the original characters to follow, but returning side characters (Falcon, War Machine, Maria Hill, JARVIS, Baron von Strucker, Heimdall, Erik Selvig, Peggy Carter), new characters (Vision, Scarlet Witch, Quicksilver, Ultron, Ulysses Klaue, Dr. Helen Cho), side plots and revelations that it is more than a little overwhelming at times. Thankfully writer/director Joss Whedon was able to find creative and entertaining ways to deal with the expansion of the universe and still make it relatable, comprehensible to a layman and most of all – bad ass!

The cast is once again in top form. One of the most appealing aspects of these films is the fact that all these top tier actors are together on screen for extended periods of time and they all look like they’re having the time of their lives. Downey is as brash and arrogantly loveable as always. Evans keeps his roided boyscout interesting and likable (loved the ongoing joke about cursing). Ruffalo and Johansson share some amazing chemistry. Renner gets to show off the fact that his character is the heart of the troupe. Unfortunately Hemsworth, while still rocking as Thor, basically is relegated to the role of Mr. Exposition. Even when Samuel L. Jackson pops back up as Nick Fury he shows off why his character is so damned cool.

The new additions are rad as well. I especially liked Aaron Taylor-Johnson and Elisabeth Olsen as Quicksilver and Scarlet Witch respectively. They were given an arc that is not only believable but highly emotional. Paul Bettany’s Vision was pretty cool as well as he plays the part as an otherworldly god looking upon an inferior species with respect and admiration. Unfortunately we don’t get the chance to see Vision develop at all because he doesn’t show up until the final act of the film. My favorite of the new characters had to be Linda Cardellini as Hawkeye’s wife, Laura. She not only helped to ground the film during the mid-section, but went above and beyond in taking Hawkeye from an entirely one-note dude into one of the more interesting members of the ensemble.

But what about all the comic booky shenanigans, you ask? There are more references to future developments than you can shake a stick at floating around here. There’s mention of Wakanda, the Infinity Gems/Gauntlet, the Kree enhanced Inhumans (which is being set-up on Agents of SHIELD) and more. There were times that these references felt like they were shoehorned in so it could be a jumping off point for future Phase 3 films (Black Panther, Captain Marvel, Inhumans), but it wasn’t terribly distracting. There’s also plenty of events from different storylines that pop up here and there such as the Hulkbuster Armor Iron Man vs. Hulk. The script pulls from plenty of sources to make up it’s dense plot, but none of it really feels out of place.

The success of this movie falls on the back of one man, and one man alone – Joss Whedon. His knack for being able to wrangle massive ensemble casts and actually have each character stand out to have their moment in the sun is beyond impressive. The cast of this film has doubled when compared to the last one and the fact that the story manages to make (almost) complete sense, develop the characters further and actually be entertaining without tuning into a giant clusterfuck like Spider-Man 3 speaks volumes as to why Marvel has entrusted him with their flagship franchise. As always his knack for sharp, witty dialogue (one out of place rape joke aside) and strong female characters shines through amidst all the testosterone flying around. Sadly he will not be returning for Avengers: Infinity War as the making of this film took such a toll on him that he has burnt out prematurely. Boo. Suck it up. :-P

One detail I’d like to bring up that I find more than a little necessary when it comes to a franchise, and this will make me come off as a huge dork, is musical continuity. I know, I know. Who cares. Well, I do. Why? Remember the main theme from Star Wars? Of course you do! Everyone knows that fantastic piece of music by John Williams. Well, what if when you saw The Empire Strikes Back the main titles were set up the same, but a completely different composition were played over it instead? It kind of dissociates the memory of the original. Right? That music is iconic. What if the original Indiana Jones theme was only used in Raiders of the Lost Ark? Something would feel missing from the sequels, wouldn’t it? Well, every one of these Marvel films has fallen into the “new movie, new composer” trap. Even movies from within the same series, such as Iron Man, have never had a consistent theme for the character. Each of the three films has had different composers who came up with completely different main themes. I want to be able to associate a piece of music with that character just as I do with Superman, Batman or even fucking Marty McFly! Sure Alan Silvestri didn’t return for the scoring duties for Age of Ultron, but Brian Tyler and Danny Elfman took his place and continued using his main themes from The Avengers regardless of the fact that they never came up with them themselves. The moment I heard the main theme I knew instantly that I was watching an Avengers flick. Little things like this go a long way, especially for someone like me.

I do have some issues. They aren’t as major as the ones I had with the original, but they do kind of reflect the fact that there was way too much going on within the story at times. My main gripe has to do with the inception of Ultron himself. What exactly was he again? The info is kind of glossed over so that we could quickly move on to Act II. I got that he was some sort of alien A.I. trapped inside the Mind Gem of Loki’s scepter, but why when activated did it:

A)     have a bad attitude

B)     know lots of Earth slang and pop culture references

C)     have a mirrored personality of Tony Stark

It didn’t really make any sense to me and because of that I really wasn’t too invested in the character. It was almost as if the audience was expected to know the character’s comic book origin from the start so we could fill in the blanks ourselves.

The same goes for the opening action scene where the Avengers take on Baron von Strucker’s Chitauri enhanced soldiers outside his experimentation facility. This scene makes zero sense since all the information about why the Avengers are there in the first place was only divulged on Agents of SHIELD and not in the film itself. It’s as if they randomly came together to attack this joint when in fact the situation is way more complicated than that. A line of dialogue about getting some intel from a few disavowed SHIELD agents about the facility would have gone a long way to explain everything. Instead the scene comes off as mere spectacle and not much else.

Did any of this hamper my enjoyment of the film at all? Not really. Since I watch Agents of SHIELD on the regular I knew exactly what was going on from the start, but the Ultron issue still bugs me. Maybe I missed something? I don’t know. I do plan on seeing the film again so maybe I flaked over some dialogue and could catch it on a second viewing.

I found Avengers: Age of Ultron to be a better film than the original. No origin story for a team who just had individual origin stories themselves allows for a much more streamlined and competent picture with little to none of the growing pains that comes with it. Even though there is so much going on and so many old and new characters to keep track of I never felt like I was falling behind or getting confused. And the best part is that through all the shoot shoot bang bang stuff each of the characters comes out a little bit more interesting in the end. That’s more than most summer blockbusters could ever hope to achieve. I sure hope that Captain America: Civil War can maintain this momentum and be as well made as Age of Ultron. That will be a massive film filled with even more characters (like SPIDER-MAN!) and crazy plot twists. If Anthony and Joe Russo can pull that off… then Marvel really can do no wrong.

4 out of 5

My list of Marvel movies (so far) from favorite to least favorite:

1.     Captain America: The Winter Soldier

2.     Guardians of the Galaxy

3.     Avengers: Age of Ultron

4.     Thor

5.     Iron Man

6.     The Avengers

7.     The Incredible Hulk

8.     Iron Man 3

9.     Thor: The Dark World

10.  Iron Man 2

11.  Captain America: The First Avenger

#Marvel #Avengers #AgeOfUltron #IronMan #Thor #BlackWidow #Hawkeye #Hulk #CaptainAmerica #NickFury #Ultron #ScarletWitch #Quicksilver #Falcon #Vision #WarMachine #InfinityGems #InfiityGauntlet #Thanos