While I can say in all honesty that Marvel studios has never made a bad film, their last two efforts at continuing the success of the smash hit Avengers have been rather underwhelming (Thor: The Dark World more so than Iron Man Three). Their latest film, however, is not only a far superior an effort than that of it’s two predecessors, but may in fact be Marvel’s greatest film to date as well as possibly one of the greatest superhero movies ever made.

Captain America: The Winter Soldier is a dazzling spectacle of exhilarating action, witty humor, wonderfully crafted characters and taut political intrigue. It follows the titular hero as he struggles to adjust to contemporary American society after being frozen alive since his heyday in World War II. There is an intriguing amount of subtext throughout the movie regarding the moral ambiguity of a post-patriot act America, the pitfalls of a society so dependent on a digital/global network and even struggles of shell shocked soldiers returning to civilian life. The film establishes, quite expertly, a history around the legacy of Captain America, cementing him as the original, shining example of super-heroism. within the Marvel Cinematic Universe. All this is achieved by the writer- director duo behind the scenes: Anthony and Joe Russo. Despite a background in comedy television, the two don’t miss a single step in the process of thrilling blockbuster making, while maintaining the humanity and charm of their earlier works (such critically acclaimed shows as Community and Arrested Development).

Chris Evans delivers an earnest, likable but stoic performance as Steve Rogers/ Captain America, effortlessly embodying the character. In point and fact the entire cast was firing on just the right cylinders. Anthony Mackie is a show stealer as newcomer to the franchise Sam Wilson/ Falcon. Meanwhile Scarlet Johansson and Samuel L. Jackson are the best they’ve ever been in the roles of Natasha Romanov/ Black Widow and as S.H.I.E.LD Director Nick Fury, respectively. Robert Redford brings the pedigree one would imagine from his involvement with charm and menace as World Security Councilmen Alexander Pierce. Without divulging too many spoilers, the main standout of this film, aside from its hero of course, is his villainous foil: The almost ethereal assassin known only as The Winter Soldier for much of the film. With few lines, the actor (who shall be go unnamed until the film is released) imbues the character with an indomitable menace and truly daunting threat to our heroes.

There is only so much I can gush over without spoilers so I’ll end it here. Captain America: The Winter Soldier is fantastic. It has great performances, great directing, writing, action, everything. Go see it. And while I’m sure it goes without saying, as this IS a Marvel movie, but make sure you sit through the credits.

The Wind Rises marks the swan song of animation legend Hayao Miyazki’s prolific filmography. The film is truly a work of beauty and provides a more than sufficent goodbye to a pioneer in the field of Japanese Animation. The animation is crisp, colorful and imaginative while maintaining a remarkable realism in the movements of here human form. The dream sequences in which Jiro imagines his planes dazzling and spark with creativity. As a matter of preference I generally prefer foreign movies with subtitles rather than a dub track, but the English voice dub cast is naturalistic and generally not distracting as dubs often are. Joseph Gordon Levitt, Emily Blunt and John Krasinksi all give great, understated vocal performances that seek to emote rather than over-animate.
The story is a biographical piece about Jiro Horikoshi, a Japanese engineer who lived his dream of designing and building airplanes by doing so for the Japanese war effort in World War II. An artist with a passion, he honors his country while fulfilling his life long ambition, yet still maintains his innocence as a man who simply wants to build planes, regardless of what they are used for. The film provides some biting commentary on the backwards nature of Japanese society during the Second World War, especially in comparison with the rest world. It also illustrates some chilling recreations of disasters like the Great Kanto Earthquake of 1923 and the bombings of Hiroshima and Nagasaki.
But the true heart of the film lies in the romantic subplot between Jiro and Naoko. Let me preface what I’m about to say with this: I generally find love interests tacked on and unnecessary. They don’t interest me, in fact they generally bore me. The romantic sub plot displayed here is one of the most beautiful love stories I’ve seen put to film. There is a sincerity and warmth that diffuses the melodrama it could have so easily devolved into. Spoilers ahead: Their story is a tragedy, as Naoko is stricken with Tuberculosis and eventually passes. But her death is never seen, it is simply presented as something he had to go through. That right there exemplifies what I loved so much about this movie: it’s avoidance of melodrama while still maintaining a touching story of love and tragedy. I can not reccomend this movie enough, especially if you’re a fan of Miayazaki’s other work like Howl’s Moving Castle, Spirited Away, or Princess Monoake. Either way this movie is a moving experience and a wonderful send off to a tremendous talent.