In the post-Endgame era, there has been a growing sentiment that Marvel Cinematic Universe (MCU) films have become more like events rather than the cinematic milestones we came to appreciate in the first three phases. The current roadmap lacks clear phase distinctions, seemingly balancing the aftermath of the Infinity Saga while attempting to set up future sagas—though it remains unclear whether these include the Multiverse Saga leading to Kang saga, a potential Doom saga, or even Secret Invasion. Every film leading up to Captain America: Brave New World appears to align with these sentiments:
A utilitarian origin story, like Shang-Chi and Eternals, or a pass-the-baton narrative, such as Black Widow, Wakanda Forever, and Guardians of the Galaxy Vol. 3, paired with a setup for a grander scheme—which ultimately failed to materialize—exemplified by Multiverse of Madness, Quantumania, and The Marvels. In some cases, this approach has leaned into straight-up fan service, blending both elements, as seen in Spider-Man: No Way Home and Deadpool & Wolverine.
Another ambitious but underdeveloped approach has been the integration of Marvel Television into the film canon. Multiverse of Madness attempted to build on WandaVision, Quantumania tied into Loki, and Brave New World follows The Falcon and the Winter Soldier. However, these recent MCU phases have become an example of convolution, highlighting an ongoing dilemma: should each film remain accessible to general audiences, or should they cater exclusively to hardcore fans who have followed every film and TV series?
It’s a question that Brave New World struggles to answer, given the buildup leading to its story. This is the first Captain America film without Chris Evans’ Steve Rogers as the titular protagonist and the first to feature a non-super-serum Cap. Like its predecessors, it presents itself as a political thriller masquerading as a superhero film, while also serving as a secret sequel to a long-forgotten MCU film.
Brave New World, Not So Brand New World
The film’s premise is commendable and remains loyal to its comic book origins. Sam Wilson (Anthony Mackie) has fully embraced his role as the new Captain America, appointed by Rogers himself. Without the super-serum, he continues to rely on his Falcon persona, retaining his mechanical wings while deputizing Joaquin Torres (Danny Ramirez) as the new Falcon. Armed with Rogers’ vibranium shield and a smart drone named Redwing, he also finds mentorship in Isaiah Bradley (Carl Lumbly), the forgotten Black Captain America erased from history.
With the Avengers disbanded and the nation in turmoil, the United States elects the hot-headed General Thaddeus “Thunderbolt” Ross (now played by Harrison Ford, replacing the late William Hurt) as its new President. One of his first major initiatives is the Celestial Island World Summit, a global effort to regulate the mining and distribution of adamantium—a newly discovered mineral unearthed after the events of Eternals. Wilson faces a moral crossroads: should he be the heart of the people or the hand of the government? Rogers always resisted becoming a government tool, but Wilson sees his involvement as a way to keep power in check, especially given his history with Ross following the Sokovia Accords. If this sounds like an MCU geopolitical history lesson—it is, and it doesn’t stop there.
For those who remember, Ross is the same general who antagonized Bruce Banner in The Incredible Hulk, hiring Samuel Sterns (a.k.a. the Leader, Tim Blake Nelson) to create the Abomination. His controversial actions also led to his estrangement from his daughter, Betty Ross (Liv Tyler), Banner’s former love interest. With Ford in the role, Brave New World intentionally references his past political thrillers like Clear and Present Danger—where a President is entangled in a high-profile conspiracy—and Air Force One, in which Ford played a president fighting off a terrorist attack with global repercussions.
Given all these moving parts, Brave New World might seem like another complex political thriller in the vein of The Winter Soldier or Civil War. However, it ultimately unfolds as a straightforward film akin to early MCU entries, with plotlines that are functional yet unremarkable. The idea of a Captain America without superpowers—relying solely on gadgets and integrity—presents a compelling premise for an internal struggle. However, this theme heavily retreads The Falcon and the Winter Soldier, only with a greater emphasis on Wilson’s role. If handled properly, this could have made Torres’ promotion to Falcon feel more earned rather than a mere reminder of Wilson’s past identity.
Looking back, Steve Rogers’ Captain America was unique among MCU heroes. His super-soldier enhancements never visually placed him among the mightiest Avengers like Hulk, Thor, or Captain Marvel. Yet, his tactical prowess and leadership solidified his importance within the team. His solo films often delivered sophisticated action sequences despite lacking the grandiose spectacle of web-slinging chases, dimension-shattering teleportation, or cosmic destruction. Instead, Rogers’ grounded fights—marked by brutal hand-to-hand combat and expert shield choreography—felt more immediate and perilous.
Without the super-serum, one would expect Brave New World to lean into a similarly grounded style, emphasizing high-stakes action with real consequences. Unfortunately, the film feels lackluster in this department. There are two major action sequences meant to serve as highlights: one involving Wilson preventing an international conflict from escalating into war, and another centered around Red Hulk. While these sequences attempt to be gritty, they ultimately feel derivative. The aerial combat, for instance, resembles a toned-down version of Top Gun, replacing fighter jets with flying superheroes. It’s essentially an extended Falcon mission from his pre-Captain America era, albeit with higher stakes. Meanwhile, the Red Hulk confrontation lacks intensity and fails to convey real danger. If you’re waiting for the Martha-fication of Marvel films, this might be a strong contender.
While the film occasionally delves into Wilson’s inner turmoil, it never evolves into a profound character study. The narrative merely reiterates its initial premise rather than expanding upon it. In doing so, it resorts to introducing new characters without meaningful development. The biggest misstep is underutilizing Harrison Ford, a mistake that has become increasingly common in recent MCU films, where high-profile actors are reduced to glorified throwaways. Additionally, the film criminally underuses Giancarlo Esposito, seemingly relegating him to a punchbag with a big role saved for the future, while Shira Haas‘ Ruth Bat-Seraph serves little narrative purpose beyond a morally questionable inclusion.
While the idea of a non-serum Captain America driven purely by integrity and heart is noble, Brave New World fails to deliver on its ambitious premise. The political thriller elements collapse under the weight of questionable creative decisions, much like Icarus flying too close to the sun, only to realize too late that its wings were never built to withstand the heat of its own ambition, and an unconvincing narrative structure. Ultimately, it’s another misstep (or mis-flight) for Marvel.
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