Directed by Anthony Russo Joe Russo Produced by Kevin Feige Screenplay by Christopher Markus Stephen McFeely

What is Captain America: Civil War a product of? History, and time.

In the world of the film, it’s the boiling point of years of simmering tensions. The yearlong mad planning of Zemo (Daniel Bruhl). The twenty years of unresolved parental issues by Tony Stark. The century spanning friendship of Steve Rogers and Bucky Barnes. And, the continual catastrophes since Tony revealed himself to be Iron Man 8 years ago.

Outside of the film, there is its status as the thirteenth entry in the Marvel Cinematic Universe and start to Phase 3 to consider. The yearlong writing process between brother directors Joe & Anthony Russo and writing partners Christopher Markus and Stephen McFeely. The blood and tears of their crews across countries and an army of VFX people.

The end product of all that time, as a consumer and critic is undoubtedly worth it. Civil War is the platonic ideal and high watermark for these interconnected movie universes. The kind of movies that can only exist in that space, backed up by quality filmmaking. The sheer balancing act of juggling an enormous cast and a minimum emotional continuity from 7 other films (3 Iron Man, 2 Captain America, 2 Avengers) produced over a half a decade is astounding. It reminds me why this kind of stuff is popular and worth it as a fan to follow.

As its name implies, Civil War is derived from the Mark Millar event from 2006-2007. Surprisingly, it has more analogues to its namesake than previous efforts like The Winter Soldier or Age of Ultron. After an attempt to capture Brock “Crossbones” Rumlow leads to more unfortunate collateral damage involving Wakandan citizens by the Scarlet Witch, the nation of Wakanda and 116 others, come together and draft the Sokovia Accords. This legal document that would put the Avengers under the jurisdiction of a United Nations panel. Effectively transforming the Avengers into a gun but, taking their hands of the trigger. Tony Stark, the one who started the whole thing, is immediately for it. Looking for another way to assuage his guilt and grief over a lifetime of not caring about the safety and wellness of others. Ever the soldier but wearier of whom to server, Steve Rogers is against it fearing the personal biases and agendas of the panel. He counters “I know we're not perfect, but the safest hands are still our own.”

What starts as a healthy ideological split, becomes extremely personal once Buck Barnes, the Winter Soldier, is implicated in a major terrorist attack. What is Steve going to do, protect and help his friend clear his name despite all evidence to the contrary, or not? Slowly Civil War begins to deconstruct its major cast (Tony, Steve, Buck and T'Challa) in an extremely personal story of justice and heroism.

In his social satire, Rules of the Game, on the eve of WW2, French director Jean Renoir in the role of Octave reminds his love struck friend Robert “The awful thing about life is this: everyone has their reasons.” It was a biting comment on the haute bourgeoisie of France, as their reasons allowed them to justify terrible disastrous action. The same holds true for the heroes of Civil War, driven by loyalty and mostly personal vengeance. By the final act, the Accords – legally sanctified heroism – don’t matter all that matters is the emotional id they and Zemo have laid bare. Worst of all, neither side is all that wrong in wanting to destroy one another. You may like one character more than another but no one is unjustifiable.

With a cast of 12 would be Avengers, a couple of government agents, and a great villain, Civil War could’ve easily been called Avengers: Civil War. The reverberations from this movie are that big. But it isn’t really an ‘Avengers’ story, it most defiantly is one about Steve Rogers and Bucky. The Russo’s use every second of their 147-minute run time, often taking leisurely breaks for character moments and asides. Nothing feels wasted or disconnected, everything reinforces the core themes of friendship and responsibility. With such a large cast its shocking that no one feels wasted. There are a couple of cameos, but if the someone doesn’t get a mini arc, they are certain to receive a moment that’ll make fans cheer or cry.

Inside all of this personal catastrophe is the sly introduction of a new pair of heroes unlike anyone else: Prince T’Challa (Chadwick Boseman) from Wakanda and Spider-man (Tom Holland). The inclusion of Spider-man via a jaunt over to Queens feels the most grafted on due to its suddenness, however how it repurposes and plays on Spider-man mythos to reinforce Tony’s ideological foundation makes it apiece with Civil War as a whole. Tobey Maguire and the Rami Spider-man films have a Donner Superman quality too them, stylistically specific and aged but timeless. Seeing Spider-man starstruck by Tony Stark and interact with the Marvel U makes him feel like the most complete representation of the character put to screen in the 20 minutes or so he’s on it. Holland exudes the modern tech nerd with all of Peter Parker’s problems. They have finally gotten the Spidey quips right. At the other end of the spectrum is Boseman’s T’Challa who takes up the mantel of the Black Panther in a quest for vengeance. He feels like an entirely natural inclusion to the film on a thematic and plot level, providing him an origin arc that has me excited at what director Ryan Coogler and co-writer Joe Robert Cole will do with the character, unburdened by setup. While other characters are broad and active, Bosemen is still and completely assured of himself. Unlike other heroes, who are the byproduct of the State and its complexes, T’Challa is the state incarnate and that gives him a greater field of purpose and different dynamic for what it means to be a hero.

The Russo Brothers control of tone (effectively going from comedic to the right kind of serious at the drop of a hat) and pace is matched in their use of action. Easily, this is the best action in a superhero movie overall. Stylistically the brothers morph from Bourne inspired hand to hand combat into full on super powered mayhem and bring it back down for a brutal finale. The much hinted at but not really shown airport fight sequence between Teams Cap and Iron Man is the best set piece since the Battle of New York in The Avengers. Getting to see characters pair up and wail on each other, but not try and kill one another, as things slowly get out of control and end in catastrophe is amazing. The wide angled understandable chaos emulates the action filled double page splash better than the faux-single take introduction in Age of Ultron. Once again everyone gets a moment to show off what it is they do that makes them special.

History and time, is at the heart of this movie. The storytellers are enriched by its history. Unlike their distinguished competition retroactively adding a history to the frame, Marvel Studios has it. They are at the point where they are able to reflect and deconstruct their heroic figures. Showing them not to be the product of depravity and mental illness as cynical and grim; but so very human governed by biases, ego, and self-interest. Civil War deconstructs its Avengers and muddies their souls a bit, but it never strips them of the innate heroism and humanity audiences have connected to, appreciate, and love.

I am Michael Mazzacane you can follow me on Twitter and at ComicWeek.org