At one point in "Avengers: Age of U

At one point in "Avengers: Age of Ultron," the hammer-swinging superhero Thor (Chris Hemsworth) tells the android villain Ultron (James Spader) that “there’s no need to break anything.” “Clearly you’ve never made an omelet,” Ultron replies. It's nice when a movie hands you a metaphor like that. The second “Avengers” is a gigantic omelet combining everything in writer-director Joss Whedon's refrigerator, pantry and spice rack, and dozens of eggs are broken in its creation. This film about a team of good guys battling a brilliant, genocidal robot is bigger, louder and more disjointed than the first "Avengers”—which, like this new installment, was a crescendo picture, meant to merge strands from solo superhero movies within the Marvel Universe. But it’s also got more personality—specifically Whedon’s—than any other film in the now seven-year-old franchise. And in its growing pains you can see a future in which these corporate movies might indeed be art, or at least unique expressions, rather than monotonous quarterly displays of things crashing into other things, with splashes of personality designed to fool people into thinking they're not just widgets stamped out in Marvel's hit factory.


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You shouldn’t go into it expecting a smooth ride, and you should know that there are basic ways in which it's not up to snuff. There's too much over-edited "coverage" by multiple cameras, as opposed to true direction with purpose and flair. (Marvel farms out the planning of its action scenes to second unit crews and special effects artists long before the actors arrive on set, which might account for the choppy, incoherent, “just get it done” feeling of some early showdowns.) It isn't until the final third that the movie's destructo-ramas develop personalities as distinctive as the film's dialogue scenes. Between Captain America (Chris Evans), Iron Man (Robert Downey, Jr.), Black Widow (Scarlett Johansson), the Hulk (Mark Ruffalo), Hawkeye (Jeremy Renner) and Thor; a number of supporting and cameo players; and several new leads, including Ultron’s henchpersons, the twins Quicksilver (Aaron Taylor-Johnson) and Scarlet Witch (Elizabeth Olsen), there might just be too many characters, even for a two-and-a-half-hour movie. (Whedon's pre-release cut came in at three-plus hours; could this be one of those rare cases where longer is better?) The film will do nothing to quell complaints that the superhero genre is sexist: Black Widow is involved in yet another relationship with a male Avenger and burdened with a tragic backstory equating motherhood with womanly fulfillment, and while Scarlet Witch has some pleasingly Carrie-like rampages, she isn't given enough to do.

Still, given the band-of-heroes conceit and the mandate to serve as a high point in an ongoing mega-narrative, it’s hard to imagine "Age of Ultron" handily dispatching any of these problems. And as in the first “Avengers,” which was also overstuffed, Whedon manages to refine the main players’ personalities and set them against each other, often in logistically complex conversations between five or more people: action scenes of a different sort.

Captain America and Tony Stark/Iron Man are at the heart of this one. They’re always more intriguing when set against each other than when they’re claiming the spotlight in their own movies, but Whedon, who also serves as a consultant and dialogue polisher on other Marvel entries, has taken their conflict a step further by drawing on events in “Iron Man 3” and “Captain America: The Winter Soldier.” It’s Stark who creates the titular bad guy—with the reluctant help of scientist and part-time Hulk Bruce Banner—in response to trauma he suffered while battling Thor’s brother Loki and his extraterrestrial allies in the first “Avengers.” Ultron is supposed to serve as a Skynet-like artificial intelligence network that detects apocalyptic threats and swiftly destroys them. Cap saw the horrific outgrowth of this mentality in the second “Captain America," in which millions of alleged terrorists were nearly wiped out by S.H.I.E.L.D. in simultaneous extra-judicial assassinations. Cap is appalled both by the Ultron project itself and the fact that Stark started it in secret because he “didn’t want to hear the ‘man-is-not-meant-to-meddle medley’” from his fellow Avengers. He was right to worry. Like many a sci-fi robot or Frankenstein’s monster, the creature has a different idea of what constitutes a threat (spoiler: it’s us).

All of which makes "Age of Ultron" a metaphorical working-through of America's War on Terror, with Cap representing a principled, transparent military, answering to civilian authority, and Stark as the more paternalistic military-industrial response to 9/11 type threats, treating the masses as unruly kids who aren't allowed a voice on grounds that all they’ll do is squabble and finger-point while the enemy-du-jour gathers strength. There are accusations of hypocrisy from both sides. Some of Whedon’s

Kết quả (Việt) 1:

Tại một thời điểm trong "Avengers: tuổi của Ultron", các búa đong đưa siêu anh hùng Thor (Chris Hemsworth) cho android nhân vật phản diện Ultron (James Spader) rằng "không có không cần phải phá vỡ bất cứ điều gì." "Rõ ràng bạn đã không bao giờ thực hiện một món trứng tráng," Ultron trả lời. It's nice khi một bộ phim tay bạn một ẩn dụ như thế. Thứ hai "Avengers" là một món trứng tráng khổng lồ kết hợp tất cả mọi thứ trong nhà văn-của đạo diễn Joss Whedon rack tủ lạnh, phòng đựng thức ăn và gia vị, và hàng chục quả trứng được chia tạo ra của nó. Bộ phim này về một nhóm người tốt chiến đấu một rực rỡ, diệt chủng robot là lớn hơn, to hơn và hơn nữa rời rạc hơn đầu tiên "Avengers"-đó, giống như phần mới, là một hình ảnh cao lần đầu, có nghĩa là để nhập sợi từ solo siêu anh hùng phim trong vũ trụ Marvel. Nhưng nó cũng có nhiều cá tính-đặc biệt Whedon's — hơn bất kỳ bộ phim khác trong nhượng quyền thương mại bây giờ bảy tuổi. Và trong cơn đau đang phát triển của nó bạn có thể nhìn thấy một tương lai mà trong đó những phim công ty có thể thực sự là nghệ thuật, hoặc biểu hiện ít độc đáo, thay vì đơn điệu hàng quý Hiển thị thứ đâm vào những thứ khác, với splashes của cá nhân được thiết kế để đánh lừa mọi người nghĩ họ đang widget không chỉ đóng vào nhà máy sản xuất hit của Marvel. XEM NGAY BÂY GIỜYou shouldn’t go into it expecting a smooth ride, and you should know that there are basic ways in which it's not up to snuff. There's too much over-edited "coverage" by multiple cameras, as opposed to true direction with purpose and flair. (Marvel farms out the planning of its action scenes to second unit crews and special effects artists long before the actors arrive on set, which might account for the choppy, incoherent, “just get it done” feeling of some early showdowns.) It isn't until the final third that the movie's destructo-ramas develop personalities as distinctive as the film's dialogue scenes. Between Captain America (Chris Evans), Iron Man (Robert Downey, Jr.), Black Widow (Scarlett Johansson), the Hulk (Mark Ruffalo), Hawkeye (Jeremy Renner) and Thor; a number of supporting and cameo players; and several new leads, including Ultron’s henchpersons, the twins Quicksilver (Aaron Taylor-Johnson) and Scarlet Witch (Elizabeth Olsen), there might just be too many characters, even for a two-and-a-half-hour movie. (Whedon's pre-release cut came in at three-plus hours; could this be one of those rare cases where longer is better?) The film will do nothing to quell complaints that the superhero genre is sexist: Black Widow is involved in yet another relationship with a male Avenger and burdened with a tragic backstory equating motherhood with womanly fulfillment, and while Scarlet Witch has some pleasingly Carrie-like rampages, she isn't given enough to do.Tuy nhiên, được căng ban nhạc của anh hùng và các uỷ thác để phục vụ như là một điểm cao trong một mega-câu chuyện đang diễn ra, nó là khó tưởng tượng "Tuổi của Ultron" handily dispatching bất kỳ của những vấn đề này. Và như trong những đầu tiên "Avengers," đó cũng overstuffed, Whedon quản lý để tinh chỉnh nhân vật của người chơi chính và đặt chúng với nhau, thường ở logistically phức tạp các cuộc hội thoại giữa người năm hoặc nhiều hơn: những cảnh hành động của một loại khác nhau. Captain America and Tony Stark/Iron Man are at the heart of this one. They’re always more intriguing when set against each other than when they’re claiming the spotlight in their own movies, but Whedon, who also serves as a consultant and dialogue polisher on other Marvel entries, has taken their conflict a step further by drawing on events in “Iron Man 3” and “Captain America: The Winter Soldier.” It’s Stark who creates the titular bad guy—with the reluctant help of scientist and part-time Hulk Bruce Banner—in response to trauma he suffered while battling Thor’s brother Loki and his extraterrestrial allies in the first “Avengers.” Ultron is supposed to serve as a Skynet-like artificial intelligence network that detects apocalyptic threats and swiftly destroys them. Cap saw the horrific outgrowth of this mentality in the second “Captain America," in which millions of alleged terrorists were nearly wiped out by S.H.I.E.L.D. in simultaneous extra-judicial assassinations. Cap is appalled both by the Ultron project itself and the fact that Stark started it in secret because he “didn’t want to hear the ‘man-is-not-meant-to-meddle medley’” from his fellow Avengers. He was right to worry. Like many a sci-fi robot or Frankenstein’s monster, the creature has a different idea of what constitutes a threat (spoiler: it’s us). All of which makes "Age of Ultron" a metaphorical working-through of America's War on Terror, with Cap representing a principled, transparent military, answering to civilian authority, and Stark as the more paternalistic military-industrial response to 9/11 type threats, treating the masses as unruly kids who aren't allowed a voice on grounds that all they’ll do is squabble and finger-point while the enemy-du-jour gathers strength. There are accusations of hypocrisy from both sides. Some of Whedon’s