There is nothing wrong with formulaic action adventures. Globe trotting action flicks have been making people happy for over a hundred years. The Falcon and the Winter Soldier embraces this ethos by visiting exotic locales, introducing a plethora of underworld connections and bringing in an old adversary. In so doing, it not only includes essential genre elements but keeps audiences engaged.
European destinations, explosive hand to hand encounters and snappy dialogue define much of the run time. However, at present there is a lack of tangible threat, other than the wild goose chase involving Super Soldier Serum. This particular plotline might allow Steve Rogers to be name dropped occasionally, but audiences need something other than the Flag Smashers to rally against. Reminding fans of past glories might be a nice touchstone moment, but ultimately The Falcon and the Winter Soldier requires something more tangible.
Daniel Bruhl’s Zemo changes the dynamic between Sam and Bucky, by lacing their liaison with uncertainty. Sam is one hundred percent Team Avengers while Bucky hides darker secrets beneath the chiselled features. It is that dichotomy which makes this latest Marvel project so intriguing.
Elsewhere, Zemo’s backstory gets more meat on the bone, while audiences are admitted into inner sanctum of shady acquaintances. By bringing him in the intention is to undermine Bucky’s rehabilitation, cast doubt on his psychological stability and float the possibility of a relapse. Although this is only one element of the whole, it represents the most interesting plot point as an audience member now.
John Walker still feels ineffectual despite the best efforts of Wyatt Russell, as he is given little to do. For many the shadow of Steve Rogers is not helping this new interpretation to bed down with audiences. Small cut away scenes, which focus on the efforts of a global repatriation council to use government powers feel truncated and do little to solidify his character in the hearts of audiences.
So far nothing more substantial has come out of this show, apart from the fact that superheroes rarely get a salary. Whether or not they get a medical plan or any type of financial help, has grabbed the attention more than the show itself. That is not to say The Falcon and the Winter Soldier lacks Marvel hallmarks. Just that right now, it feels like a collection of really cool sub plots without a driving force. Private jets, classic cars and European aristocracy aside, there needs to be something which ties the room together. Having reached the halfway mark Marvel fans are used to relying on this studio to see them right. On this occasion more than most, they need to come through.