Captain America is evidence that the book-ending of history produces interesting results. The release adds an exciting dimension to the stream of nostalgia that is the media. The movie incarnation of Cap tells the story of the young Steve Rogers (Chris Evans - no, not that Chris Evans) from being a scrawny military reject, deemed unfit for service because of his small stature, to being the emblem of American defiance of the Third Reich in the Second World War via his battle with his arch-nemesis, the Red Skull (Hugo Weaving).

The necessary aesthetic changes to Rogers’ body, which are central to the story, are displayed using impressive CGI, shrinking down the Adonis-like Evans to the size of a fifteen-year old boy. Evans’ performance is solid, but the steadfast simplicity of the character means it requires very little brevity, which Evans is capable of; as displayed in Scott Pilgrim Vs. The World and The Losers last year. Hayley Atwell and Hugo Weaving, as Peggy Carter and the Red Skull respectively, give more dynamic performances. Yet, whilst the acting and writing are good, they play second fiddle to the action sequences which were the core of this summer blockbuster.

In terms of violence, the action sequences are pushed further than any Marvel film has dared to go, except perhaps X-Men: First Class. Whilst they are all very impressive, well-choreographed and supplemented by strong CGI, there is an incredible asinine, offensively choppy action sequence dumped into the middle of the film.

However, this film delightfully captures the 1940s aesthetics and feel and has a certain perceptive self-awareness; at one point children are shown buying Captain America comic books. It is enjoyable, highlighting the best of the action film genre without caving into its worst excesses. There is a convoluted plot concerning nationalism, in particular, which is great given the title and premise. All in all, Captain America is a successful execution of an often misinterpreted formula.