The Link Appleyards here are the hapless government agents, played by William Hurt and Martin Freeman, struggling to control the far more powerful superheroes whose battle rages around them. Its storyline about a superhero registration act that divides the former Avengers into “yes” and “no” camps cleaves tightly to the frontier doctrine that the authorities simply cannot be trusted like a true-hearted, unselfish tough guy hero. The latest Marvel movie, Captain America: Civil War, typifies the current of anti-establishment politics that continues to course through the superhero genre like a seam of bitter gold through granite. Each is predicated on a mantra of frontier libertarianism, that peculiarly American belief that the strong individual should be able, and indeed has a virtual duty, to protect himself and those he loves against villainy – rather than expecting the authorities to do so for him. Both began by presenting simplistic battles between good and evil forces before arguably becoming more complex as time went on. Both are mass-market confections in which larger-than-life heroes emerge to engage in acts of valiance that would be beyond most normal human beings. Comic-book movies have been compared to the western before, and for good reason.
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