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Sing Street
Directed by: John Carney
Written by: John Carney
Starring: Ferdia Walsh-Peelo, Lucy Boynton, Jack Reynor, Mark McKenna & Ben Carolan
Music: Gary Clark
Certificate: 12A
Release Date: May 20th 2016

Hasn't the Irish film industry been pretty wonderful over the past few years?

Don't get me wrong, it's always been pretty wonderful but in recent years with the rise of independent cinema in the mainstream as well as the advent of digital distribution plus on-demand screening means that more Irish films have been able to get attention. We've also had the rise of legitimate auteurs such as Lenny Abrahamson with ' Frank' and '' as well as Tomm Moore with ' The Secret of Kells' and 'Song of the Sea'.

Another one of these directors is John Carney who created the successful TV series "Bachelors Walk" and has made a niche for himself in the Irish music romance-movie department. It's very niche, but it's a niche worth having with output like ' Once' and ' Begin Again' both being met with great critical acclaim with both films actually being nominated for "Best Original Song" at the Oscars (with ' Once' winning for "Falling Slowly"). Carney is now following those movies with something a bit smaller scale with an Irish-based coming-of-age story. Can Carney hit another sweet note in his filmography or has his career finally given a dull note?

It's the mid 1980s in Dublin. Due to the recession resulting in massive unemployment and emigration, Conor (Walsh-Peelo) is forced to leave his private school and start attending a free state-school. When there, Conor finds it difficult to adjust but his spirits brighten when he meets model Raphina (Boynton) who he invites to be a model in a music video for his band, which she accepts. Now Conor needs to actually put a band together. Enlisting the help of his new friend Darren (Carolan) to manage the band, the multi-instrumentalist Eamon (McKenna) and his music-loving older brother Brendan (Reynor), Conor must put together a great band to impress Raphina whilst also finding his own identity as he grows into manhood.

' Sing Street', first and foremost, is a movie about growing up and it's clearly a story that feels very personal to director John Carney's heart. Born in Dublin in 1972, Carney would have been around the same age as our protagonist Conor so it's hard to view scenes of Conor and his family watching "Top of the Pops" in their living room, being inspired by the latest pop music and NOT imagine that Carney is re-creating his childhood on the big screen. Even if it's not auto-biographical, Carney manages to capture the unique viewpoint of school-boys growing up in a heavily forceful, masculine environment and that type of dynamic feels incredibly human and genuine.

Conor and his group of friends/band-members in their group "Sing Street" are a fun cast of characters and all of the actors have chemistry together. Not only that, but they produce legitimately good music. They initially do covers, but a stern talking-to from Conor's older brother Brendan convinces them that they need to write their own songs and make their own unique music videos (inspired by the videos they see on TV). Even though they're a young band just starting out and their music probably isn't that good, the way the soundscape is presented and how the videos are shot allow the audience to know how amazing this music sounds to the boys. There's a difference in clarity between recording in your friend's living room as his mum brings cups of tea and snacks into your session and how it actually sounds on tape listening to it back and ' Sing Street ' gives the audience the same sense of elation that the band feels.

The musical influence also seeps its way out of the recording sessions and music video filming as the band arrives to school every week dressed based on what band was big that week on "Top of the Pops" with different hairstyles and make-up to boot. Not only are these boys trying to find their own musical style, but they're also trying to find themselves and are able to express themselves through their music in order to deal with potential problems at home. That last point feels a bit too understated from Conor's perspective to feel fully formed as the movie opens with suggestions that the marriage between Conor's parents is falling apart and then around 70 minutes later it turns out they're getting a divorce. There's not much pay-off or build-up because the audience have spent that entire time with Conor forming his band, talking with his brother and trying to impress Raphina so his relationship with his parents feels too distant to be invested or affected by it as a viewer.

However, the aspects that John Carney does focus on are continually engaging such as the love story between Conor and Raphina with the two having real chemistry together. And because the movie is committed to portraying boyhood through the eyes of Conor and his band, it works to have Lucy Boynton portray Raphina as a near-ethereal presence that the younger boys can't quite comprehend just yet. Raphina may have the surface-level trappings of a manic-pixie-dream-girl but due to the age of the main characters this is one of those rare justified examples. Not to mention that her characterisation in the latter-half of the movie does a lot to humanise and ground her.

But the most compelling, yet understated relationship in ' Sing Street' is the one between Conor and Brendan and I almost feel bad talking about it because it's not until the closing moments of the movie that the film tips its hand to reveal that and all the pieces start to fit into place. The two aren't as much brothers as they are student and teacher as Brendan's metal well-being seems to have been eroded away by living in his environment. I won't give away the rest of the themes here but the way Brendan challenges and interprets his responsibility as an older brother is something else. However, while I know that ' Sing Street' is a movie aimed primarily at teenage boys or guys in their 30s and 40s who remember being teenage boys, Conor seems to have zero familial relationship with his Sister...I wanna say Ann? She gets so little screentime I didn't even catch her name.

Incidentally, I know that the relationship between the parents and the sister is given the bare minimum in order to draw more attention to Conor's kinship with his band and new potential girlfriend, but when the family angle becomes more important later on in the film, it feels like it could have been built up much more. Thankfully, the camaraderie between Conor and his band feels palpable, with all the youngsters giving great performances. Aside from Conor who, despite his age, manages to effectively carry the enterprise, special mention must be given to the multi-talented, rabbit-loving Eamon played by Mark McKenna. There are other band members like their token black kid because of course he can play an instrument, (a joke "South Park" did years ago, though the face-paint gag is a killer) and a bassist and drummer duo but they quickly fall into the background which is a bit of a shame.

It's tough to boil down exactly what about ' Sing Street' works as it just kinda...is. It's balancing a lot of ideas and different tones as we get harrowing moments of kitchen-sink 80s drama and also elaborate fantasy/song sequences with Gary Clark's stellar original music, yet it does hold together and work like gangbusters. And at its core we have a genuine love-story and a sincere, semi-autobiographical narrative about growing up and finding yourself or clearing a path for someone else's future. It's heavy stuff (not the least of which seeing a strict headmaster almost drown Conor in a sink full of water to wash make-up off his face) but the light-humour helps to make it easier viewing.

In terms of ' Sing Street's aesthetic, it has a timeless, low-budget feel to it, almost akin to movies like ' The Full Monty' and ' Billy Elliot ' which were very much movies of their time, yet still aged very well thanks to their down-to-earth settings/characters and strong use of location-filming and the movie doesn't skimp on the details when it comes to the shabby, boy-band costumes and musical influences the Sing Street band come up with over the course of the film. The movie's not afraid to get down and dirty and show the ugly side of boyhood, but also the imagination and idealism that comes from being that age.

The music, despite being written by teenagers (and nothing that teenagers write musically is any good), is awesome and I can imagine the soundtrack alone for this movie (both the original songs and the extensive 80s catalogue of hits from A-Ha, The Cure, Spandau Ballet, The Jam, Genesis and more) becoming an underground hit.

'Sing Street' feels like concentrated sincerity as it presents an earnest and optimistic view of growing up through music and using it to find your own identity. It's also a story about brothers, love, friendship, good music etc. and while some of those themes do feel like they get buried in the mix (music pun. HA!) it still feels like a compelling whole because the stuff it gets right, it gets absolutely right, from the striking, original soundtrack, the heartfelt love story, the relationship between Conor and his brother and more. It doesn't just share aesthetic similarities with the likes of ' The Full Monty' and ' Billy Elliot ' as I believe it will go down as a modern, quiet classic in the common-people, kitchen-sink genre for years to come.

I give ' Sing Street ' 4 stars out of 5.

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Posted In: 2016 Reviews Current Reviews Reviews

Author: Trilbee

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Posted: 22nd Jun 16

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Sing Street Directed by: John Carney Written by: John Carney Starring: Ferdia Walsh-Peelo, Lucy Boynton, Jack Reynor, Mark McKenna & Ben Carolan Music: Gary Clark Certificate: 12A Release Date: May 20th 2016 Hasn't the Irish film industry been pretty wonderful over the past few years?

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When writing about stop motion animated movies, it's probably customary to bash out a few words about the way CGI has pushed older techniques to the fringes; how the hand-crafted aesthetics of stop-motion no longer seem to reach mass audiences in the way enjoyed by movies like or , with all their color and digital slickness.

What's interesting about animation studio Laika, however, is that it doesn't stick slavishly to the traditions of stop motion filmmaking. In movies like and , it has continually used cutting-edge technology like 3D printing and, yes, CGI to bring its stories to life. This is particularly true in Kubo And The Two Strings, an effervescent action fantasy which reads like an unexpectedly eccentric fusion of Alice In Wonderland and Japanese chanbara movie.
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Here, CGI waves splash onto the shore of a delicately hand-crafted miniature set; huge monsters are animated by hand, but then computers are used to matte out the rigs used to hold them aloft. The result is a movie with the tactile quality of stop motion with the scale and crystalline quality of a CGI film.

Art Parkinson provides the voice of Kubo, a young boy who lives on a tiny Japanese island with his mother, Sariatu (Charlize Theron). On the face of it, Kubo has plenty to feel glum about; his mother can barely look after herself and has a tendency to confuse dreams and reality. While still a baby, Kubo had his left eye plucked out by his maniacal grandfather, the Moon King. Whisked from danger by his terrified mother and rowed across the sea to safety one stormy night, Kubo now lives in a cave far beyond the Moon King's reach.

Now aged about 10, Kubo earns money by entertaining the local village with his extraordinary storytelling abilities. As he strums away on his shamisen, Kubo magically brings origami figures to life, and uses them to create his own little animated movies in the dust of the village square. Kubo's audience of locals lap up his stories of brave warriors and monsters, but try as he might, the boy can't quite get to the end of the tale.

Maybe it's because his own story is so full of blanks: why does his mother, in her more lucid moments, warn Kubo to return home before nightfall? What caused the huge rift in Kubo's family years before? Adventure soon comes calling, and Kubo finds himself in a dream-like realm with a giant beetle (voiced by Matthew McConaughey) and a Japanese macaque (Theron again) as his unlikely allies.

Directed with real charm and elegance by Travis Knight, Kubo And The Two Strings looks and sounds thoroughly captivating from its opening shot of a boat journeying across a roiling sea. There's an exquisite level of detail in every surface and object, from the little ivory monkey figure Kubo keeps with him to the traditional paintings caressed onto the wooden doors of a traditional Japanese house. The way squares of paper fold themselves into samurai warriors, sea creatures and boats is also a lovely piece of animated slight-of-hand.

While the story of a magical boy, a monkey and a giant insect might sound like pure whimsy, Kubo And The Two Strings is also surprisingly sharp around the edges - even compared to Laika's playfully macabre zombie horror animation, Paranorman. There are sword battles and action sequences here that pack a gutsy punch, and some very young viewers might find some scenes of the supernatural a little too nightmarish for comfort. Laika have never shied away from the quirky and the gently disturbing - those characters with button eyes in still make us shudder - but Kubo may just be the studio's most eccentric piece of filmmaking so far.

For the most part, that eccentricity plays in the movie's favor; Kubo packs in more moments of suspense, humour and pathos in its 90-minute runtime than most of this year's biggest summer movies put together. Like Tomm Moore's charming Song Of The Sea, Kubo's about a child coming to terms with loss and fear, and how dreams and storytelling help us process and preserve our memories.

Some may find Kubo And The Two Strings' dream logic and curious twists of fate a little perplexing, and very young viewers might be disturbed by some of the images Laika serve up here. But in terms of character, charm, affection for Japanese culture and sheer craft, Kubo And The Two Strings emerges as one of the year's finest animated movies. Viewed on a big screen, its imagination and design take on an almost mystical quality.

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When writing about stop motion animated movies, it's probably customary to bash out a few words about the way CGI has pushed older techniques to the fringes; how the hand-crafted aesthetics of stop-motion no longer seem to reach mass audiences in the way enjoyed by movies like or , with all their color and digital slickness.

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Directed by Taika Waititi. With Sam Neill, Julian Dennison, Rima Te Wiata, Rachel House. A national manhunt is ordered for a rebellious kid and his foster uncle who go missing in the wild New Zealand bush.

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Love & Friendship - Curzon Artificial Eye

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No movie exists within a vacuum, and even the most outlandish-looking genre film still carries a distorted reflection of the here-and-now. Captain America: Civil War and Batman V Superman may be fantastical superhero movies, but they also feel right for a year where political and ideological division is, seemingly, everywhere.

Hell Or High Water, directed by Starred Up and Young Adam's David Mackenzie, is a dusty Texan thriller charged with modern relevance. Playing on the images and trappings of western, road trip and heist genres, it's another movie - alongside The Place Beyond The Pines and Out Of The Furnace - set against the backdrop of an America riven by the last decade's financial crisis. Entire towns seem to stand empty. The nodding donkeys, once the sign of a healthy oil industry, no longer nod. Ranchers coral their skinny cattle and complain that their kids don't have any intention of following in their parents' footsteps.

As in Fede Alvarez's recent home invasion horror Don't Breathe, the 21st century depression provides an evocative backdrop for its protagonists' crimes. Texan brothers Toby (Chris Pine) and Tanner (Ben Foster), hoping to raise the money they need to prevent the bank from foreclosing on their late mother's farmland, pull off a series of increasingly ill-advised robberies - brilliantly, from the very banks to whom they're indebted. As the dodgy accountant who helps the siblings remarks, "If that ain't Texan, I don't know what is."

Since Toby and Tanner rely more on luck and determination than strategic genius, it isn't long before the law starts to circle. In typical thriller style, Jeff Bridges plays a Texas ranger, Marcus, who's only a few days away from retirement. Less than enthused at the thought of seeing out his wilderness years on a porch sipping beer, he ropes in his longsuffering partner, Alberto (Gil Birmingham), and resolves to spend as long as it takes to track the robbers down.

So begins a riveting drama-thriller which feels like both a throwback to classic dramas of the 1970s and also perfectly modern - a film with the rugged poetry of Cormac McCarthy and the intensity of Michael Mann's Heat. Chris Pine looks haggard and scruffy as the younger, more conflicted of the brothers - the irony being that he's far more of a star here than he is in the numerous films where he's played a clean-cut Hollywood lead. His body language and thousand yard stare suggest a man weighed down by a lifetime of regret; that he robs banks might suggest greed or foolishness, but all he really wants is to give his estranged sons the financial security - and dignity - that has eluded his family for generations. Ben Foster's similarly impressive as the red-eyed, wild-card brother, whose violent tendencies go hand in hand with his charm and charisma.

Then again, Hell Or High Water is if anything a four-hander, with MacKenzie and screenwriter Taylor Sheridan ( Sicario) giving the two outlaws and the lawmen on their tail equal time in the spotlight; Bridges is as wonderful as you'd expect as the dignified, wryly funny ranger, but Gil Birmingham is his equal as Marcus's partner. There's an easy chemistry between the pair, and together, they give Sheridan's keenly-observed dialogue a sense of mumbled, earthy reality.

Bridges and Birmingham's laid-back performances are such that it's entertaining enough to simply watch them driving around, quietly nudging each other with playful insults. There's a moment in a diner that is as perfectly staged and outright hilarious. These scenes are a testament to just how a much a movie can shift in tone and pace if the filmmakers have the skill to create characters we can truly care about.

One scene in particular highlights the film's freewheeling brilliance; the two old lawmen simply sit as the sun sets on a lonely town, reflecting on how financial collapse has devastated this half-forgotten part of America. It's a sequence that gets to the bitter, laugh-out-loud humour and also the melancholy in MacKenzie's film; it feels like a meditation on a closing chapter in American history, as the industries and customs which once gave stability to a whole generations of shop proprietors, oil drillers and ranchers has finally given way to the growing sway of corporations and banks.

In a year where "Make America great again" has become the rallying cry in an increasingly bizarre presidential campaign, Mackenzie's intense, thoughtful and deliciously mordant movie feels perfectly keyed into its time.

Hell And High Water is out in UK cinemas on the 9th September. We'd urge you to see it if you can.

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No movie exists within a vacuum, and even the most outlandish-looking genre film still carries a distorted reflection of the here-and-now. Captain America: Civil War and Batman V Superman may be fantastical superhero movies, but they also feel right for a year where political and ideological division is, seemingly, everywhere.

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Walt Disney Animation Studios' "Zootopia," a comedy-adventure opens in theaters on March 4, 2016.

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Captain America: Civil War is a 2016 American superhero film based on the Marvel Comics character Captain America, produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures. It is the sequel to Captain America: The First Avenger (2011) and Captain America: The Winter Soldier (2014), and the 13th film in the Marvel Cinematic Universe (MCU). The film was directed by Anthony and Joe Russo from a screenplay by the writing team of Christopher Markus and Stephen McFeely, and stars Chris Evans as Steve Rogers / Captain America alongside an ensemble cast including Robert Downey Jr., Scarlett Johansson, Sebastian Stan, Anthony Mackie, Don Cheadle, Jeremy Renner, Chadwick Boseman, Paul Bettany, Elizabeth Olsen, Paul Rudd, Emily VanCamp, Tom Holland, Frank Grillo, William Hurt, and Daniel Brühl. In Captain America: Civil War, disagreement over international oversight of the Avengers fractures the team into opposing factions-one led by Steve Rogers and the other by Tony Stark.

Development of Civil War began in late 2013 when Markus and McFeely began writing the screenplay, which borrows concepts from the 2006 comic book storyline " Civil War" while also focusing on story and character elements from the previous Captain America films to conclude the trilogy. Following positive reactions to The Winter Soldier, the Russo brothers were brought back to direct in early 2014. The film's title and premise were revealed in October 2014, along with Downey's involvement as Stark; additional cast members joined in the following months. Principal photography began in April 2015 at Pinewood Atlanta Studios in Fayette County, Georgia, and continued in the Metro Atlanta area before concluding in Germany in August 2015, with the film being the first to use IMAX's digital 2D cameras (for the film's central airport fight sequence). Visual effects were provided by nearly 20 different studios.

Captain America: Civil War held its world premiere in Los Angeles on April 12, 2016, and was released in the United States on May 6, as the first film in Phase Three of the MCU. The film was a critical and commercial success, grossing over $1.1billion worldwide, and garnering praise for the performances (particularly Evans and Downey), action sequences, screenplay, and themes. It became the highest-grossing film of 2016 and the twelfth-highest-grossing film of all time.

In 1991, the brainwashed super-soldier James "Bucky" Barnes is dispatched from a Hydra base in Siberia to intercept an automobile carrying a case of super-soldier serum. In the present day, approximately one year after Ultron's defeat in the nation of Sokovia at the hands of the Avengers, Steve Rogers, Natasha Romanoff, Sam Wilson, and Wanda Maximoff stop Brock Rumlow from stealing a biological weapon from a lab in Lagos. Rumlow blows himself up, attempting to kill Rogers. Maximoff telekinetically diverts the explosion, accidentally killing several Wakandan humanitarian workers in a nearby building.

Thaddeus Ross, the U.S. Secretary of State, informs the Avengers that the United Nations (UN) is preparing to pass the Sokovia Accords, which will establish a UN panel to oversee and control the team. The Avengers are divided: Tony Stark supports oversight because of his role in Ultron's creation and Sokovia's devastation, while Rogers has more faith in his own judgment than that of politicians. Meanwhile, Helmut Zemo tracks down and kills Barnes' old Hydra handler, stealing a book containing the trigger words that activate Barnes' brainwashing. At a conference in Vienna where the Accords are to be ratified, a bomb kills King T'Chaka of Wakanda. Security footage indicates the bomber is Barnes, whom T'Chaka's son, T'Challa, vows to kill. Informed by Sharon Carter of Barnes' whereabouts and the authorities' intentions to kill him, Rogers decides to try to bring in Barnes-his childhood friend and war comrade-himself. Rogers and Wilson track Barnes to Bucharest and attempt to protect him from T'Challa and the authorities, but all four, including T'Challa, are apprehended by the Bucharest police and James Rhodes.

Impersonating a psychiatrist sent to interview Barnes, Zemo recites the words to make Barnes obey him. He questions Barnes, then sends him on a rampage to cover his own escape. Rogers stops Barnes and sneaks him away. When Barnes regains his senses, he explains that Zemo is the real Vienna bomber and wanted the location of the Siberian Hydra base, where other brainwashed "Winter Soldiers" are kept in cryogenic stasis. Unwilling to wait for authorization to apprehend Zemo, Rogers and Wilson go rogue, and recruit Maximoff, Clint Barton, and Scott Lang to their cause. With Ross's permission, Stark assembles a team composed of Romanoff, T'Challa, Rhodes, Vision, and Peter Parker to capture the renegades. Stark's team intercepts Rogers' group at Leipzig/Halle Airport, where they fight until Romanoff allows Rogers and Barnes to escape. The rest of Rogers' team is captured and detained at the Raft prison, while Rhodes is partially paralyzed after being inadvertently shot down by Vision, and Romanoff goes into exile.

Stark discovers evidence that Barnes was framed by Zemo and convinces Wilson to give him Rogers' destination. Without informing Ross, Stark goes to the Siberian Hydra facility and strikes a truce with Rogers and Barnes, unaware that they were secretly followed by T'Challa. They find that the other super-soldiers have been killed by Zemo, who then shows them footage that reveals that the automobile Barnes had intercepted in 1991 contained Stark's parents, whom Barnes subsequently killed. Enraged that Rogers kept this from him, Stark turns on them both, leading to an intense fight, in which Stark destroys Barnes' robotic arm, and Rogers disables Stark's armor. He departs with Barnes, leaving his shield behind. Satisfied that he has avenged his family's deaths in Sokovia from the Avengers' actions by successfully fracturing them, Zemo attempts suicide, but he is stopped by T'Challa and taken to the authorities.

In the aftermath, Stark provides Rhodes with exoskeletal leg braces that allow him to walk again, while Rogers breaks his allies out of the Raft. In a mid-credits scene, Barnes, granted asylum in Wakanda, chooses to return to cryogenic sleep until a cure for his brainwashing is found. In a post-credits scene, Parker explores the features of the web shooters built for him by Stark.

Chris Evans as Steve Rogers / Captain America:
The leader of a faction of Avengers against regulation; a World War II veteran who was enhanced to the peak of human physicality and frozen in suspended animation, before waking up in the modern world. Director Anthony Russo described Captain America's character arc in the film as taking "him from the most ra-ra company man" to someone who is "a somewhat willing propagandist" to "an insurgent" at the end of the film. Unlike the comics' Civil War, the film was never going to kill Rogers, as the directors thought that was "an easy ending ... The more difficult and more interesting place to leave a family fight is: can these important relationships ever be repaired? Is this family broken permanently?" Evans' training regimen to get in shape for the role included weight lifting, which consisted of "the classic bodyweight and bodybuilding stuff", gymnastics and plyometrics, while staying away from cardio-based exercises, along with a high-protein diet. His costume in the film received "subtle changes to all the details and cut" as well as its color, becoming a combination of the stealth suit from Winter Soldier and the Avengers: Age of Ultron suit.

Robert Downey Jr. as Tony Stark / Iron Man:
The leader of a faction of Avengers in support of regulation; a self-described genius, billionaire, playboy, and philanthropist with electromechanical suits of armor of his own invention. Anthony Russo said that Stark's egomania allowed the writers "to bring him to a point in his life where he was willing to submit to an authority, where he felt it was the right thing to do." Joe Russo added that because of the visions Stark saw in Age of Ultron, he now has a guilt complex which "drives him to make very specific decisions," calling his emotional arc "very complicated". Downey's personal trainer Eric Oram stated that the trick to pitting Rogers against Stark, "is to show Iron Man using the 'minimum force' necessary to win the fight". Marvel initially wanted Downey's part to be smaller, but "Downey wanted Stark to have a more substantial role in the film's plot." noted that Downey would receive $40 million plus backend for his participation, as well as an additional payout if the film outperformed The Winter Soldier, as Marvel would attribute that success to Downey's presence.

Scarlett Johansson as Natasha Romanoff / Black Widow:
An Avenger allied with Stark; formerly a highly trained S.H.I.E.L.D. spy. Anthony Russo noted her torn allegiances in the film, saying "her head is with Tony's side of things, but her heart is with Cap in a lot of ways." Johansson added that Romanoff is "looking to strategize her position, putting herself in a place where she is able to let the powers that be fight it out" in order for her to "have a better perspective of what's really going on." Describing her character's situation after the events of Avengers: Age of Ultron, Johansson said, "I think that the Widow's past will always haunt her. She's trying to move forward, she's trying to pick up the pieces of her life." She also said that Romanoff is at a point in her life where she can make choices herself, without having others have a hand in the decision process. On the continuation of the relationship between Romanoff and Rogers from The Winter Soldier, Joe Russo said that they wanted to "test it" by having Romanoff point out to Rogers the mistakes the team have made and convince him "that it might not be as black and white as he sees it" and that the Avengers must "find a way to work within the system so that [they] aren't disbanded."

Sebastian Stan as Bucky Barnes / Winter Soldier:
A physically enhanced brainwashed assassin allied with Rogers; his best friend who reemerged after being thought to be killed in action during World War II. This portrayal is an amalgam of Barnes and the Winter Soldier, with Stan saying, "here's the guy when you merge the two. This is what came out. To me, he's never really going to be Bucky Barnes again. There's going to be recognizable things about him, but his path through the [experiences of] Winter Soldier is always going to be there, haunting him." Because of this, the character has more lines in the film than in Winter Soldier.

Anthony Mackie as Sam Wilson / Falcon:
An Avenger allied with Rogers; a former pararescueman trained by the military in aerial combat using a specially designed wing pack. Wilson is aided by a robotic drone named Redwing. Discussing the relationship between Wilson and Rogers, Mackie said, "With Falcon and Cap, what's so great is there's a mutual respect. There's a soldier respect. What's great about ... [Captain America: Civil War] is you get to see their relationship grow," adding, "He respects and admires Cap because Cap earned his rank as opposed to sitting in an office and just delegating orders." Joe Russo stated that the inclusion of Barnes to Rogers' side forces Wilson to question the dynamic and relationship he has with Rogers going forward.

Don Cheadle as James "Rhodey" Rhodes / War Machine:
A close personal friend of Tony Stark's and an Avenger allied with Stark; an officer in the U.S. Air Force who operates the War Machine armor. Cheadle called Rhodes' appearance in the film a "bit more intense and pivotal" compared to his previous appearances.

Jeremy Renner as Clint Barton / Hawkeye:
A master archer allied with Rogers; a retired Avenger and S.H.I.E.L.D. agent. On Barton's reasons for joining Rogers' side, Renner said, "Cap was the first guy who called. Let's just get the job done so I can get home to the family," along with feeling an obligation to side with Scarlet Witch, since her brother, Pietro Maximoff / Quicksilver, sacrificed himself to save Barton in Avengers: Age of Ultron. On how he and Barton fit into the Marvel Cinematic Universe, Renner said, "I'm happy to be the ensemble. I'm not scratching or clawing to do a solo movie by any means ... I think [Barton's] a utility guy that can bounce around into other people's universes a little bit".

Chadwick Boseman as T'Challa / Black Panther:
The prince of the African nation of Wakanda allied with Stark who gains enhanced strength by ingesting the Heart-Shaped Herb. Producer Kevin Feige explained that the character was included "because we needed a third party. We needed fresh eyes who wasn't embedded with the Avengers and who has a very different point of view than either Tony or Steve." T'Challa is in the "beginning phases of taking on" the Black Panther mantle, and appears in more than a cameo, with a full arc and character journey with "his own conflict and his own people that he's looking out for." Boseman did not audition for the role, instead having a "discussion about what [Marvel] wanted to do and how I saw it and what I wanted to do." T'Challa is torn between needing to live up to traditions and the legacy of his father and Wakanda, and how things need to happen in the present. Boseman developed the Wakandan accent himself, and used it during the entire production "whether he was on camera or not", while the Wakandan language was based on the Xhosa language, which Boseman was taught by John Kani (who plays T'Challa's father T'Chaka). The Black Panther costume is a combination of a practical costume and visual effects, featuring a vibranium mesh weave similar to chainmail. Costume designer Judianna Makovsky called the Black Panther costume "difficult" since "you needed sort of a feline body, but it's hard and practical at the same time. You needed a feeling of some sort of ethnicity in there, but of a world [Wakanda] we weren't really creating yet, so you didn't want to go too far and say too much about that world." Additionally, Makovsky felt creating T'Challa's royal look was "a bit of a challenge", avoiding African robes after learning actual African royalty are generally "educated in the West [and] get dressed in Savile Row." Boseman has a five-picture deal with Marvel.

Paul Bettany as Vision:
An android and Avenger allied with Stark; created using the artificial intelligence J.A.R.V.I.S., Ultron, and the Mind Stone. Because the Vision was only created in the previous film, Age of Ultron, Bettany said, "you see my character get born... He must be both omnipotent and yet totally naive at the same time. And experiencing the world in real time and his place in it. Is he going to be a force of good or a force of evil?" Bettany also said he was interested in exploring "what it means to be human and what love is" with the character, as "The only way one can guarantee one's loyalty is love." This is exhibited in the connection Vision begins to form with Wanda Maximoff, with Bettany commenting, "They both have these new burgeoning powers that they don't understand ... I think he's worried that they're both dangerous. So he feels this real connection with her." As the Vision has the ability to create a projected disguise, he chooses to dress similarly to Howard Stark's attache, Edwin Jarvis.

Elizabeth Olsen as Wanda Maximoff / Scarlet Witch:
An Avenger allied with Rogers; she can engage in hypnosis and telekinesis. According to Olsen, the character is "coming into her own and starting to understand and have conflict with how she wants to use her abilities." As such, Maximoff's costume was "relatively casual" and "more clothes-based than superhero-based" according to Makovsky, since the Russos believed Maximoff was not a full-fledged Avenger yet. When asked about the relationship between her character and the Vision compared to the comics, Olsen said, "You learn a little bit more about what connects [Scarlet and Vision] in this film. And I think there's some really sweet moments between Paul and I, and it's more about how they relate to one another and their similarities just based on their superpowers."

Paul Rudd as Scott Lang / Ant-Man:
A former petty criminal allied with Rogers; he acquired a suit that allows him to shrink or grow in scale while also increasing in strength. Rudd's suit "is streamlined and more high-tech" than the one seen in . Ant-Man director Peyton Reed had discussed the character and the way that the Ant-Man production had shot certain sequences with the Russo brothers, saying, "As we were doing [Ant-Man] and we were in post and they were getting ready to head out to Atlanta to do Civil War, we had a lot of conversations ... It's important because there's this continuity that has to happen in this universe." On the decision to have Lang grow in size to become Giant-Man in the airport battle, Feige said, "It was just a great idea to turn the tide of the battle in a huge, shocking, unexpected way. We have a lot of ideas for [Ant-Man and the Wasp], none of which are contingent upon revealing Giant-Man, so we thought this would be the fun, unbelievable unexpected way to do that." Anthony Russo added that the transformation was the continuation of Lang's character arc from Ant-Man, saying "He's just really impressed with Captain America, he just wants to deliver and he figures out a way to deliver where he might actually tear himself in half but he's willing to do it and it works."

Emily VanCamp as Sharon Carter:
A former agent of S.H.I.E.L.D. and Peggy Carter's niece who now works for the CIA and supports Rogers. VanCamp stated that her character sides with Rogers because they both have "similar moral compasses". On a potential relationship between Rogers and Carter as in the comics, Evans said, "he's certainly open to it. Sharon is obviously relevant, but ... we don't have to tie it up in one movie. So they have time." VanCamp added, "We get to explore... I can't say we are going to that extent of it, but they are certainly getting to know each other."

Tom Holland as Peter Parker / Spider-Man:
A teenager allied with Stark; he received spider-like abilities after being bitten by a radioactive spider. Feige said that Parker would be torn between superhero ideologies, saying, "Does he want to be like these other characters? Does he want nothing to do with these other characters? How does that impact his experience, being this grounded but super powerful hero? Those are all the things that Stan Lee and Steve Ditko played with in the first 10 years of his comics, and that now we can play with for the first time in a movie." On aligning with Stark, Anthony Russo said that, despite entering the conflict after the two factions have formed and not having much political investment, Parker's choice comes from "a very personal relationship" he develops with Stark. The Russos hoped "to take a very logical and realistic and naturalistic approach to the character" compared to the previous film portrayals. Anthony Russo added that the character's introduction had to fit "that specific tonal stylistic world" of the MCU, as well as the tone established by the directors in Winter Soldier, saying, "It's a little more grounded and a little more hard-core contemporary." That was "coloring our choices a lot" with Parker. On the Spider-Man suit, Joe Russo described it as "a slightly more traditional, Steve Ditko influenced suit," and that the film would explore the way the suit operates, particularly the mechanical eyes. Holland chose not to read the whole Civil War script in order to avoid potentially leaking plot information publicly. He is signed on for at least three films, not including his Civil War appearance. Holland later expanded, saying he was signed for "three Spider-Man movies and three solo movies".

Frank Grillo as Brock Rumlow / Crossbones:
Former commander of S.H.I.E.L.D.'s counter-terrorism S.T.R.I.K.E. team who was revealed to be an agent of Hydra. On returning to the character, Grillo said "He's a badass. He is just vicious. I like the idea that it's no holds barred. I was 15 pounds bigger when I did Cap 2, and I'll put another 15 pounds on to do Cap 3." However, he cautioned that "This movie is such a big movie with a lot of people in it, so you don't get as much of the time that you'd like to have." Grillo stated that Rumlow's main objective in the film is to seek revenge-"Whatever Rumlow was feeling as far as being torn between which side he should be on, which I think he was, is gone now."

William Hurt as Thaddeus "Thunderbolt" Ross:
The United States Secretary of State and a former U.S. Army general. Hurt, on returning to the MCU after appearing in The Incredible Hulk, said, "I don't think it's a reprise, I think it's a new iteration completely," adding, "what [the writers have] done is they've taken a character ... and made a new version... a more modernized style." Joe Russo added that Ross was the perfect character to use because he has "a fanatical anti-superhero point of view" and has "become much savvier and more political and has put himself in a position of power, not unlike a Colin Powell. He's cornering the Avengers politically now, he's out-maneuvering them." Joe also added that Ross was included because the Russos felt it was important to make The Incredible Hulk "relevant again within the [MCU]" since it "may have been forgotten about a little bit".

Daniel Brühl as Helmut Zemo:
A Sokovian colonel-turned-terrorist who is obsessed with defeating the Avengers. Zemo, who goes by multiple names in the film, does not wear his signature mask from the comics. Brühl said the version appearing in the film is "loosely connected" to the character from the comics and that was a reason he liked Marvel, as "some of the characters and things they're dealing with always reference to current events so my character is from a different area than you would think." Feige described the character as "very much a product of the [Marvel] Cinematic Universe and all that has occurred within that universe up to this point", while Anthony Russo called him "an everyman. His approach was: I've seen these guys fight enough to know I can't win. But what I can do is figure out ways to undermine them. He's emotionally driven and he finds a weak spot." Brühl, who was cast due to his German accent, did not feel the role was a stereotype, saying, "It's not a guy who's mean and sinister, but he's actually very clever-a very smart guy who does everything out of a very understandable reason and motivation." Brühl also stated that Zemo may re-appear in future MCU films, with Moore adding that, while Zemo has a purpose in this film, it is more to set up a future film.

Additionally, John Slattery and Kerry Condon reprise their roles as Howard Stark and the voice of F.R.I.D.A.Y. from previous MCU films. Martin Freeman is introduced as Everett K. Ross, a member of the CIA's Joint Counter Terrorism Center and a character associated with Black Panther in the comics. Freeman described Ross as someone who "works for the American government ... [and] works in conjunction with the superheroes, and certain agencies that help to tame the superheroes' power". Feige added that Ross would appear briefly in the film, with the intent being to expand on the character's role in future films. Marisa Tomei appears as May Parker, Peter Parker's aunt; John Kani appears as T'Chaka, father of T'Challa and ruler of Wakanda; Hope Davis appears as Maria Stark, Tony Stark's mother; Gene Farber appears as Vasily Karpov, the Hydra official who oversaw the Winter Soldier program; and Florence Kasumba portrays Ayo, a member of T'Challa's Dora Milaje. Alfre Woodard, who portrays Mariah Dillard in the MCU TV series , briefly appears in the film as Miriam Sharpe, the mother of an American citizen killed in the battle of Sokovia. Woodard was suggested for the role by Downey before Marvel Studios learned of her casting in Luke Cage. Jim Rash appears as a faculty member at MIT, while Stan Lee makes a cameo appearance as a FedEx deliveryman, and co-director Joe Russo cameos as Theo Broussard, a psychiatrist murdered by Zemo. Damion Poitier, who appeared as Thanos in The Avengers before Josh Brolin was cast in that role for subsequent films, appears as one of Crossbones' mercenaries.

Production

Development

In March 2014, Anthony and Joe Russo confirmed that they had signed on to return as directors for a third Captain America film, along with Chris Evans as Captain America, Kevin Feige as producer, and Christopher Markus and Stephen McFeely as screenwriters. Markus and McFeely had been working on the screenplay since late 2013, while the Russo brothers began work in February 2014. The re-hiring of the directors, three months before the release of Captain America: The Winter Soldier, came as a result of Marvel executives being impressed with test screenings of that film. Evans earned $15 million for the film.

In an April 2014 interview, Joe Russo described the project as a continuation of the story from Captain America: The Winter Soldier: "What's nice about the film is that ... it's a two-parter. There's a journey that the Winter Soldier goes on that isn't complete yet." That month, Marvel announced a release date of May 6, 2016, and Trent Opaloch, who was the cinematographer on The Winter Soldier, said he would return for the sequel. In July, Markus and McFeely stated that they were midway through a first draft for the film, on which principal photography was expected to begin in April 2015. The following month, they stated that they were looking to make the tone of the film "an amalgam" of The First Avenger and The Winter Soldier, with the Russos likening it to a psychological thriller, citing , , and The Godfather as influences, along with westerns and Brian De Palma's films. The Russos also stated that "a good portion of [ Civil War is] actually funnier than Winter Soldier" with a more comedic tone and lighter moments throughout.

In August 2014, the Russos stated that the film would be set "a couple years" after The Winter Soldier, and would continue to focus on Steve Rogers' relationship with Bucky Barnes as well as the political themes related to Captain America. Anthony stated, "The character was invented for an explicitly political purpose. So it's hard to get away from that nature." The Russos also said that they would be "bringing some new elements to the table that will give us a twist on Winter Soldier", and indicated that filming was scheduled to begin in Atlanta. They described themselves as "ecstatic" with a first draft of the screenplay submitted by Markus and McFeely, and also stated that the film's title would be announced "in a month or so at most", and that the concept and title for the film came from Feige, who had it "for a while". In September, Joe expanded by saying the film would have another "big idea that alters the universe as a whole in some way" similar to S.H.I.E.L.D. falling in The Winter Soldier. The rest of the film, such as the characters, story, and tone, would be left open to the Russos' and writers' interpretations.

Pre-production

By October 2014, Robert Downey Jr. had entered final negotiations to reprise his role as Tony Stark / Iron Man in the film. Downey was added in order for the film to adapt the 2006-07 " Civil War" comic book storyline written by Mark Millar, which pitted Iron Man against Captain America. At the end of the month, it was confirmed that Sebastian Stan would return as Bucky Barnes / Winter Soldier. A few days later, Marvel revealed that the film would be titled Captain America: Civil War, confirming Downey's appearance and announcing that Chadwick Boseman would appear in the film as Black Panther ahead of his own solo film. Feige also confirmed that the film would be the first in the MCU's Phase Three slate of films. Anthony Russo stated that adapting the "Civil War" storyline was not always the intended storyline and direction for the film when the brothers initially signed on to return as directors. Markus expanded on this, saying the original concept for a third Captain America film "never got to draft", with Feige at some point telling the writing team to begin adapting "Civil War" around their original ideas. McFeely also added that, despite the shift in direction for the film, "The central theme, even the way Zemo is operating, are from that [early] iteration." The Russos revealed that, had negotiations with Downey to appear in the film failed, they would have used the Madbomb storyline from the Captain America comics, which was eventually used as a plot point in the first season of the Agent Carter TV series. The premise for the film would have centered on Zemo detonating the Madbomb, which would "turn hordes of people into berserkers" to present a physical threat to Captain America, while still pitting heroes against each other, as some would be zombified due to the Madbomb, to satisfy an "emotional component" for the film.

McFeely said that the idea of basing a film on "Civil War" had "been on and off the table for a while" at Marvel Studios, explaining, "it's a challenge to do it and make sure that all the characters that we've established, and everyone's established in the MCU are serviced and sound correct. Because there's a difference between the characters in "Civil War", which was written in 2006, 2007. The MCU doesn't exist [when it was written]. There isn't a Robert Downey, Jr. or Chris Evans who has helped create the character[s] so we need to make sure that that template gets adjusted". Joe Russo added that the "essence" of "Civil War" was used, such as "the concept of registration, the notion that heroes need to be either monitored or controlled because their power can be scary" being applicable. Anthony Russo expanded, "in a lot of ways [superhero registration] can be a political issue, and we didn't want the conflict of the movie to solely exist on that level. We wanted to figure out very personal reasons why everyone's relationship to this idea of registration is going to become complicated. That's what the relationship between Steve and Bucky allowed us to do, to get very personal in terms of why people would lean one way or the other." Executive producer Nate Moore added that "it felt like it was kind of the right time" to adapt "Civil War" given The Avengers, plus many of the Phase Two films (Thor: The Dark World, The Winter Soldier, and Avengers: Age of Ultron), all dealt with "world-ending experiences. We felt like we had to tell the next step in that story, which is ... what is the world's reaction?"

In November 2014, Daniel Brühl joined the cast in an unspecified role, while Anthony Mackie and Frank Grillo were confirmed to return as Sam Wilson / Falcon and Brock Rumlow / Crossbones, respectively. Following the November 2014 hacking of Sony Pictures' computers, emails between Sony Pictures Entertainment co-chairman Amy Pascal and president Doug Belgrad were released stating that Marvel wanted to include Spider-Man (whose film rights are licensed to Sony) in the film, but talks between the studios concerning this were believed to have broken down. However, in February 2015, Sony Pictures and Marvel Studios reached a licensing deal for the use of Spider-Man in an MCU film, and reports indicated that the character would indeed appear in Civil War. The Russos stated they were lobbying for months to include the character in the film. In January 2015, Mackie revealed that, in addition to Atlanta, filming locations would include Puerto Rico and Berlin, while the Russo brothers confirmed that Scarlett Johansson would return in the film as Natasha Romanoff / Black Widow. Editor Jeffrey Ford, who worked on The Winter Soldier, also signed on for Civil War. In March 2015, Jeremy Renner was revealed to be reprising his role as Clint Barton / Hawkeye. The next month, it was revealed that the film would be converted to 3D in post-production, and that Brühl would be playing Helmut Zemo. Additionally, Elizabeth Olsen revealed she would reprise her role in the film as Wanda Maximoff / Scarlet Witch.

Principal photography began on April 27, 2015, in Fayette County, Georgia, at Pinewood Atlanta Studios, under the working title Sputnik. Other filming locations in the Atlanta metropolitan area included the Buckhead district of Atlanta; the Peachtree Christian Church in Midtown Atlanta; Downtown Atlanta, including an area near Philips Arena known as The Gulch, which served as the market in Lagos; Norcross, Georgia; Porsche's headquarters in Atlanta at Aerotropolis Atlanta, which served as the Avengers' headquarters in the film; and the Atlanta Civic Center, which served as the IFID (Institute for Infectious Diseases) laboratory in Lagos; the latter's interiors doubled as MIT, and a third part was used for a Berlin location. Trent Opaloch served as director of photography, while Chad Stahelski, David Leitch, and Spiro Razatos were second unit directors.

In early May, Marvel announced that Martin Freeman was cast in an unspecified role, while also reprising roles in the film would be Paul Bettany as Vision, Don Cheadle as James Rhodes / War Machine, Paul Rudd as Scott Lang / Ant-Man, Emily VanCamp as Sharon Carter, and William Hurt as Thaddeus "Thunderbolt" Ross. Samuel L. Jackson, who appeared as Nick Fury in the two previous Captain America films, said he was "surprised" to discover that he would not be in Captain America: Civil War, after "the Russo Brothers told [him he] was." Moore stated that Fury was not included "because he didn't add anything to the Civil War story they were telling", while Markus stated that they did not want him to choose any particular side because "that's not his place in the universe". On each of the character's ties to the plot, Anthony Russo said that each character was examined on a personal level to see how they would respond to the idea of registration. On the portrayal of each character, Joe Russo said that he and his brother had strong "emotional" and "psychological connection[s] to [these] characters" as children, adding, "We want to reach into that and understand what elementally motivated you to love the character. That's what we try to bring out in the characters now." He also mentioned that they were "trying to honor the feeling of naturalism and to honor the feeling of reality [with the film]."

After the reveal of the film's full cast, many outlets and fans began referring to the film as " Avengers 2.5", given the variety and ensemble nature of the cast, usually reserved for the Avengers films, and the fact that the film no longer felt like a Captain America-centric one, as with The Winter Soldier. In response to this, Feige said, "What's fun about Civil War though is, as you know from the comics, it's a very simple story. And it really has to be, to accommodate that many players. It's very much a Captain America movie and it's very much a sequel to the Winter Soldier in ways I don't think people [will expect].... It's a very simple structure that allows you to have these amazing character interactions in a way that I don't think becomes overwhelming." Feige also revealed that Hope van Dyne / Wasp was in an original draft of the film, after receiving the Wasp costume at the end of , but was cut because "there are so many characters in Civil War that we didn't want to do her a disservice," saying Marvel was "saving" the character for a better environment to reveal van Dyne in the Wasp costume for the first time and see "her dynamic with Scott [Lang] in a way it could play out".

At the end of May, the Russo brothers, along with Feige and Pascal, held a screen test in Atlanta for six teenage actors that were being eyed for the role of Peter Parker / Spider-Man, with the actors testing against Downey and Evans for "chemistry"; Tom Holland was cast as the character the next month, to also appear in a solo film. The Russos "were pretty vocal about who we wanted for the part", pushing to cast an actor close to the age of Peter Parker in the comics, in order to differentiate from the previous portrayals. They also praised Holland for having a dancing and gymnastics background. At the time, Marvel did not confirm his involvement in Civil War, due to being contractually obligated not to talk about his inclusion publicly. The Russos discussed this, saying that the various business deals and agreements stemming from the sharing of the character rights, such as on a promotional and commercial level, "were always lagging slightly behind how we were using the character. We were always in danger of upsetting the deal-there were still sensitive issues going on between the two studios that they needed to agree on." Holland was confirmed to appear in the film in July 2015, by Jonathan M. Goldstein, one of the writers of the solo Spider-Man film, and later by Entertainment Weekly from a set visit. Jon Watts, director of Spider-Man: Homecoming, was on set for the filming of Spider-Man's scenes, in order to "see what they were doing with it, and that informed where we eventually took it," and provide "ideas about this and that", such as what Parker's wardrobe and bedroom should look like, "to make sure we were all on the same page so that [ Homecoming] transitions seamlessly with theirs." Anthony Russo stated that, despite Marvel telling them to have a " plan B" should the deal with Sony fail, the Russos never created one because "it was very important to us to reintroduce" Spider-Man in the film, adding, "We only have envisioned the movie with Spider-Man."

By the end of June, filming reached the halfway mark, with production moving to Germany in early August. Filming locations in Germany included the Olympic Stadium in Berlin, and the Leipzig/Halle Airport in Schkeuditz. Additional filming also took place in Puerto Rico and Norway, and was scheduled to in Iceland. Principal photography wrapped on August 22, 2015.

Captain America: Civil War was the first film to use IMAX's digital 2D cameras, made in partnership with Arri, which was a customized version of the Arri Alexa 65. According to Joe Russo, approximately fifteen minutes of the film, the sequence where the two factions fight at Leipzig/Halle Airport, which was described as having "incredible scale to it" and referred to by the directors as the " splash panel", were shot with the cameras. Opaloch noted that there were discussions late in pre-production to shoot the entire film with the Alexa 65 cameras. However, because of how close it was to the start of shooting as well as the idea being "such a large-scale undertaking", it was decided to only use them for the airport sequence, with the rest of film being shot on Arri Alexa XT digital cameras. For the airport sequence, Opaloch rigged the Alexa 65s to a Technocrane, a Steadicam, a dolly as well as a drone for flyover shots, which had its own dedicated team operating it. Because of the amount of resolution the Alexa 65s offered, Opaloch chose to use medium close-ups instead of close-ups, and for his wide shots, hold the shot a bit longer, "maybe with a slight camera move that allows the viewer to take it all in."

Post-production

In September 2015, Mark Ruffalo, who plays Bruce Banner / Hulk in the MCU films, stated that his character was originally in the Civil War script, but was removed due to the end of Age of Ultron, as Marvel did not "want to reveal where [he is] and why" in this film. Markus added that as soon as the Hulk joined a side, the fight would be quickly over, saying, "You've got to kind of choose your roster [of characters] depending on what kind of fight you want to have." He later explained that he contemplated having the Hulk appear at the very end of the film, but decided against it, feeling that he was over-stuffing the film with characters, adding, "[The Hulk] has clearly gone somewhere at the end of [Age of] Ultron, and that's a story. Don't blow it off and put it in a little tiny chunk just to put in a little extra filigree on our movie." Additionally, Ross' alter ego, Red Hulk, was also considered for inclusion, but the Russos felt that part of the character would need a proper backstory which they could not afford to give in the already crowded film. They felt that Ross "was there sort of as the government's agenda and not to add another complicated super powered character to the mix." Spider-Man's Iron Spider suit was also considered.

That November, Joe Russo stated that the theme of the film was betrayal, calling it "extremely emotional. [The film] hinges on that emotion, and on a very personal level we didn't want [it] to become about politics and people arguing about platitudes. The third act is built around a very personal moment between [Captain America and Iron Man]." The Russos spent a great deal of time with Markus, McFeely, and Moore to ensure each character's emotional arc tracked through the entire film correctly, though realized that at some point "you have to sacrifice logic for expediency". Speaking about the post-production process in January 2016, the Russo brothers said, "This has been the easiest post process we've ever had on a film. We're very happy with how the movie was. Everyone is very happy with where the movie was. For us, the tricky thing is the effects because it's a very complicated movie and there are some really big sequences in the film. The effects are on a much larger scale than the work we did on Winter Soldier. That's the part that becomes really difficult because you don't have a lot of time and everyone has very high standards. So everyone starts killing themselves at this point...we'll be done with the movie in two and a half months." They also stated that the film would be doing "a few reshoots" in mid-to-late January.

In February, Freeman's character was revealed to be Everett K. Ross, and Gwyneth Paltrow was reported to have joined the film for the January reshoots, reprising her role as Pepper Potts; however, in April 2016, it was revealed that Paltrow does not appear in the film, with Anthony Russo explaining that Paltrow's contract with Marvel had ended after , and "we decided early on that we could make Pepper's break-up [with Tony Stark] have an emotional impact without actually having a scene with her." On March 16, 2016, the Russos stated the film was "about a week and a half away from" completion, with Joe adding that the film would have a post-credits scene, with the possibility for two or three total. The film was completed on April 4, 2016. Later in April, Alfre Woodard and Jim Rash were revealed to be cast in the film, while Feige explained that Black Panther director Ryan Coogler contributed some dialogue for Black Panther in several scenes during reshoots. At the film's premiere, it was revealed that Marisa Tomei appears in the film as May Parker, Peter Parker's aunt.

Visual effects

Nearly 20 visual effects studios worked on Captain America: Civil War including Industrial Light & Magic (ILM), Lola VFX, Method Studios, Luma Pictures, Dneg, Image Engine, Trixter, Cinesite, and The Third Floor amongst others. Lola VFX de-aged Downey Jr. in a scene that involved a younger holographic version of himself. Lola VFX's visual effects supervisor, Trent Claus said, "In this case, we analyzed footage of Mr. Downey at the approximate age that we wanted to target, which was around the time of the film Less Than Zero [when Downey was in his early 20s]." He also noted the difficulty of the scene, due to it being close to 4,000 frames, and the fact that Downey was moving his head from side to side multiple times. Lola also worked on visual effects for the Vision. The Third Floor extensively previsualized the film including the fight scene at Leipzig/Halle Airport. Gerardo Ramirez, the Previs and Postvis Supervisor for The Third Floor said:

We visualized most of the major scenes in the film, some that were more story driven and some that were more action and story driven. The Russos used various methods for planning and they used each department for what it does best. The early edits were a combination of storyboards, previs and stunt performance clips. Stunts would choreograph the hand-to-hand action while the storyboards would be used for character story moments and previs was used for the big action scenes that involved many digital characters.

Method Studios, which worked on 440 shots, was responsible for the helicopter sequence in the middle of the film and the climatic fight between Iron Man, Bucky, and Captain America. The original intent for the helicopter sequence was to place the scene next to the Paul-Löbe-Haus, where the Bundestag meets; however, the location was not allowed to be shown in the film, resulting in Method needing to create a full CGI background. For the climatic fight, one of the challenges for Method was getting the color of Iron Man's suit correct, opting to go with a more "classic Iron Man look versus the really glossy car paint look" that Iron Man had in the previous Avengers films. ILM was primarily responsible for the visual effects during the large-scale fight sequence at the airport, along with creating the digital assets for all of the characters. VFX supervisor Russell Earl, stated that the 20-minute scene grew to be an almost fully digital sequence explaining, "We ultimately ended up replacing 99% of everything that was shot with the actors being lifted from the background. Originally both Spider-Man and Black Panther were planned to be photographed elements but we ended up almost completely replacing them." Luma Pictures, who also worked on Winter Soldier, was assigned with completing shots of Bucky's arm and his metal brainwashing chair. They also worked on Bucky's escape from the task force lobby and designed Iron Man's new hybrid nanotechnology armor, which was an homage to the character's Bleeding Edge armor from the comics. Their work totaled approximately 200 shots.

Design firm Sarofsky once again worked on the film's main-on-end title sequence, having done the same for Winter Soldier. The sequence used "muted and mottled, burnt umber and steel blue and cold grey" colors, which were stark contrasts to the sequences for Winter Soldier and The First Avenger (the latter created by Method Design) which were "a minimalist graphic approach, reducing the key players to silhouettes and paring the palette down to three colors" and "vibrant and iconic propaganda art comes to life, enticing the viewer to join the fray", respectively. Creative director Erin Sarofsky noted one of the challenges for Civil War's sequence was "to make it feel like a Captain America title sequence and not an Avengers sequence" given the number of characters in the film.

Henry Jackman returned from Winter Soldier to score the sequel. He found the movie to be tonally different from the previous one, which necessitated a much more symphonic and orchestral score. This culminates in the final fight between Captain America, Winter Soldier, and Iron Man, the music for which Jackman described as "somewhat operatic and ... almost classical in its style". Though Jackman reprised and developed his themes for Captain America and the Winter Soldier from the previous film, and introduced motifs for the new characters Spider-Man, Black Panther, and Zemo, he was wary of pushing the audience to one side of the central conflict or the other by using character-specific music; Jackman composed a new main theme for the film to represent the Civil War, "a generic theme to balance everything out", "toward which all the characters can gravitate. It wrapped them all up and it helped to bind the movie together rather than do endless disparate themes." Jackman also wrote a thriller theme that appears whenever the mystery surrounding Zemo's plan is explored. This was inspired by the works of Jerry Goldsmith. The score was released on a soundtrack album by Hollywood Records on May 6, 2016.

In early July 2015, Marvel began a viral marketing campaign for Ant-Man featuring Leslie Bibb, reprising her role from the Iron Man films as journalist Christine Everhart, reporting for the faux news program, WHIH Newsfront. In one program, Everhart discusses events leading to Captain America: Civil War. The post-credits scene for Ant-Man featured footage shot by the Russo brothers for Captain America: Civil War, showing Wilson and Rogers with Barnes in their custody, and unable to contact Stark because of "the accords"; Wilson mentions that he "know[s] a guy", implying Lang. Feige explained that when the post-credit sequence appears in Civil War it may appear with "different takes...different angles." Stan said the scene was shot in early May 2015, and would appear in the middle of Civil War. The first footage of the film debuted in August 2015 at the D23 Expo. Additional footage was shown in September 2015 at the Asia Pop Comic Convention. The footage shown at the D23 Expo and 2015 Asia Pop Comic Convention received an overwhelmingly positive response from the audiences.

The first trailer for the film debuted on Jimmy Kimmel Live! on November 25, 2015, and within hours became the number one trending topic on Twitter. The trailer was viewed 61 million times in the first 24 hours of release, surpassing the 34 million views of Avengers: Age of Ultron's in 2014. Scott Mendelson of called the trailer a " doozy" and noted that the early debut ahead of the release of Star Wars: The Force Awakens was a "good show" on behalf of Disney as it was "a way to not get lost amid the 8,000 other trailers debuting with Star Wars". Mendelson also noted that based on the trailer's content, the film was being "sold as Captain America 3, as opposed to Avengers 2.5 or Iron Man 4," which could help keep the film's box office expectations in check.

On February 4, 2016, Marvel released their own version of the Facebook "#FriendsDay" video for Captain America. The video mirrors those created by Facebook for users to celebrate the anniversary of Facebook's founding, and features images of Captain America's "friends" the Winter Soldier, Thor, Falcon and Hawkeye. The video concludes with an image of Captain America and Iron Man being torn in half. Jennifer Konerman of The Hollywood Reporter called the video "timely" and its contents "especially relevant considering the storyline" of Civil War. Three days later, a teaser debuted during Super Bowl 50, which received the most social media activity out of all the film trailers released that day. Anthony Breznican of Entertainment Weekly said the footage "actually feels a little more like a teaser [than a full trailer], since it shows some new shots, but really doesn't reveal much more about the story." Additionally, he felt the chanting "unseen voices calling out, 'United...We...Stand' and 'Divided...We...Fall'" had "a football stadium vibe", complimenting it appearing during the Super Bowl. Mendelson added that Marvel did not need to follow the model used for The Winter Soldier during Super Bowl XLVIII of showing a longer trailer after the teaser since Civil War was "frankly [a] higher-profile sequel." Overall, Mendelson felt the spot was "only a little less low-key and small(er)-scale as the trailer that debuted in" November 2015, and sold the "real world" aspect "with character drama and mostly real-world action between would-be superheroes."

Four days later, on Valentine's Day, the Facebook campaign was continued, with Marvel creating a "faux-status update" for Captain America, showing his relationship status had changed to "In a Complicated Relationship with Iron Man". At The Walt Disney Company's annual shareholder meeting in the Auditorium Theatre in March, CEO Bob Iger presented a clip from the film to "generous applause". From March 7 to 10, Marvel released individual posters for characters in the film, continued its Facebook campaign with two teaser videos showcasing the participants on "Team Cap" and "Team Iron Man", and released a second trailer. The trailer was viewed close to 95 million times within the first 24 hours of release, surpassing the views achieved by the first trailer. In addition, 240,000 social media posts across Twitter, Tumblr, Instagram, and Facebook, among others, were made related to the trailer, surpassing the 81,000 the Age of Ultron trailer received in 2014. According to internet analytics firm ZEFR, the trailer was viewed over 62 million times from YouTube and Facebook over four days, making it the second most viewed trailer at the time, behind the 64.6 million views for the first Star Wars: The Force Awakens trailer. It also became the top trailer in 2016 through March 13, 2016, according to research firm ListenFirst, for receiving the most likes, retweets and other engagement on Twitter. The trailer continued to be the top viewed trailer on YouTube and Facebook for three straight weeks according to ZEFR, receiving more than 96 million total views since its release.

Mendelson called the trailer "a textbook case for unnecessary second pitches...Is there anyone out there who watched that first teaser back in December and said 'Hmm, it looks good and all, but I need more evidence'?" He added that he was "a little disappointed by the big Spider-Man reveal," having previously wondered, after a Spider-Man character poster was not released with the others, if Marvel would have the "courage" to not include the character in any marketing materials before the film's release, letting the "Peter Parker scenes the film has to offer be something that is a surprise for theatrical moviegoers and/or something that drives post-opening weekend buzz". Mendelson's colleague at Forbes Mark Hughes felt differently, noting that the trailer was targeting the general audience rather than just fans by giving "us more explanation [and context] of why a clearly major battle is raging between Captain America and Iron Man", and by including Spider-Man since "there are plenty of surprises in these movies, and since we all already know Spider-Man is in Civil War, refusing to let us see him would frankly be a bit weird and pointless ... it's common for average filmgoers to hear some final bit of information or see some final image and feel compelled, inspired, or otherwise driven to go out to the movies that day. There are any number of factors that can come into play...and the world needed to see [Spider-Man] because it's the sort of value-added element that can make [a] difference". Graeme McMillan of The Hollywood Reporter felt that the Spider-Man reveal "alone makes the trailer", describing it as feeling "like the comic book character come to life. That awkward, voice-cracking, 'hey everyone' was as humble, playing-it-cool and cocky as he should be."

With the film seemingly continuing plot threads first introduced in Age of Ultron, Mendelson wondered "to what extent the whole 'Consequences galore!' narrative of Civil War will improve Age of Ultron. As much great stuff as that movie has ... [it ultimately shows] the main hero foolishly/recklessly [bring] a world-killing threat to Earth and lots of really bad stuff goes down and yet no one seems to care at the end ... What does it mean if Civil War does retroactively improve Age of Ultron? Will we be at a point where we really can't judge a franchise installment on its own merits because a future installment may well fix the flaws a couple years down the line?" McMillan continued some of Mendelson's thinking, feeling that Marvel was "in an awkward place with Civil War" regarding superhero destruction moving forward. He wondered how superhero oversight would "actually prevent the kind of destruction that it's meant to stop ... unless the bad guys all agree to play by the new rules" as well. "Worse still ... the destruction caused by superhero fights [should now be] foremost in viewers' heads ... the audience won't be able to enjoy the sight of the Hulk smashing a random minion through a wall without thinking of the property damage and/or whoever was standing on the other side of that wall. After Civil War, can Marvel go back to pretending that everyone is okay after any large scale event ever again?"

Also in March, Marvel, in partnership with the National Academy of Sciences Science & Entertainment Exchange, Dolby Laboratories, Broadcom, and Synchrony Bank, announced the "Girls Reforming the Future Challenge", aimed at females aged 15 through 18 in STEM (Science, Technology, Engineering, and Mathematics education) fields, to submit projects they feel can change the world and have far-reaching effects. Five winners would attend the world premiere at the Dolby Theatre, and receive a tour of Walt Disney Studios and a $500 saving account from Synchrony Bank, with one grand prize winner receiving an internship at Marvel Studios. On April 10, Evans debuted an exclusive clip of the film during the 2016 MTV Movie Awards. Throughout the month, the Russo brothers and the cast promoted the film in Paris, Beijing, Singapore, Berlin and London. At the end of the month, Marvel released additional viral marketing videos of WHIH Newsfront, featuring Bibb once again reprising her role as Everhart. In the program, Everhart discusses with "political analyst" Will Adams, portrayed by Al Madrigal, the cost the Avengers bring for saving the world, and if they should have regulation from the government. Additional Newsfront segments saw William Sadler reprise his role as President Matthew Ellis, including an "exclusive" interview and his reaction to the incident involving the Avengers in Lagos. On May 2, 2016, Evans, Renner, and executives from Marvel rang the opening bell of the New York Stock Exchange in honor of the film's theatrical release.

Merchandise

At the 2015 Licensing International Expo, Disney Consumer Products announced that they would partner with licensees including Hasbro, Lego, Funko, Hot Wheels, Rubies, Mad Engine, C-Life, Jay Franco, Global Brand Group, Kellogg's, Hallmark and American Greetings to sell merchandise related to the film; Coca-Cola, Google, Samsung, Wrigley, Harley Davidson, Audi, Synchrony Financial, Pringles, Keebler, Pizza Hut, Pop Secret, Mouser Electronics, and Vivo, among other brands, were also licensees for the film. Paul Gitter, senior VP of licensing for Marvel at Disney Consumer Products said that they will build off the success of licensed products for Avengers: Age of Ultron, including a focus on a celebration of Captain America's 75th anniversary, female apparel, healthy living and travel, and on marketing newer characters such as War Machine, Falcon, Vision, Black Widow and Black Panther. "The Avengers team is both aspirational and hugely merchandisable, made up of multiple, unique heroes coming together with amazing skills, cool vehicles and a high tech headquarters," said Gitter. " Captain America: Civil War not only gives us new storytelling for our favorite superheroes, but also introduces new ones allowing us to expand product lines for kids and fans." As part of the $200 million marketing effort for the film, Harley Davidson created two customized motorcycles for the film, Audi debuted a commercial directed by the Russos featuring unreleased scenes from the film, while Pizza Hut debuted collectible boxes and Kellogg's, Pringles, and Keebler products featured virtual reality experiences. The lead-up to the film's release culminated in a massive online vote across Google, YouTube, and Twitter for either Team Captain America or Team Iron Man.

Marvel Comics released a four-issue comic prelude by writer Will Corona Pilgrim and artist Szymon Kudranski, beginning in December 2015, that adapted the events of Iron Man 3 and Captain America: The Winter Soldier. On February 10, Marvel Comics released another comic prelude, a single-issue infinite comic set between The Winter Soldier and Civil War. Written again by Pilgrim, the comic is told from the perspectives of Barnes, Rumlow, and Rogers, showing how each ended up where they begin Civil War. Art for each character's perspective is provided by Lee Ferguson, Goran Sudžuka, and Guillermo Mogorron, respectively.

Theatrical

Captain America: Civil War premiered at the Dolby Theatre in Hollywood on April 12, 2016, and was screened at CinemaCon 2016 on April 13. The film's Southeast Asia premiere was held on April 21 at the Marina Bay Sands resort in Singapore, while the European premiere took place at Vue Cinemas in Westfield London on April 26. The film was released internationally starting from April 27, releasing in 61 countries its first weekend, including the United Kingdom on April 29. The North America release on May 6, took place in over 4,200 theaters, of which 3,300 were in 3D, along with 378 IMAX theaters, 480 premium large-format, and 161 D-Box locations. Internationally, the film opened in 955 IMAX theaters, while South Korea saw Civil War open in an "unprecedented" 1,989 theaters. Captain America: Civil War was the first film released in Phase Three of the MCU. In September 2014, TNT acquired the cable broadcast rights for Captain America: Civil War to air two years after its theatrical release.

Captain America: Civil War was released on digital download by Walt Disney Studios Home Entertainment on September 2, 2016, and on Blu-ray, Blu-ray 3D and DVD on September 13, 2016. The digital and Blu-ray releases include behind-the-scenes featurettes, audio commentary, deleted scenes, a blooper reel, and an exclusive preview of Doctor Strange. The digital release comes with an exclusive " mockumentary" short film, , directed by Thor: Ragnarok director Taika Waititi, which was originally screened at San Diego Comic Con 2016 and showed what Thor was doing during the events of Civil War.

Captain America: Civil War was released on 4K UHD Blu-Ray on April 23, 2019.

Captain America: Civil War grossed $408.1 million in the U.S. and Canada and $745.2 million in other territories, for a worldwide total of $1.153 billion. By May 10, 2016, the film had grossed $737.8 million, surpassing the entire theatrical gross of its predecessor, Captain America: The Winter Soldier ($714.4 million). It became the highest-grossing film of 2016, the fourth-highest-grossing superhero film of all time, and the third-highest-grossing film in the U.S. and Canada of 2016, behind and Finding Dory. Deadline Hollywood calculated the net profit of the film to be $193.4 million, when factoring together "production budgets, P&A, talent participations and other costs, with box office grosses and ancillary revenues from VOD to DVD and TV," placing it eighth on their list of 2016's "Most Valuable Blockbusters".

United States and Canada

Two weeks ahead of its release, Fandango announced that the film outsold all previous Marvel Cinematic Universe films at the same point in the sales cycle, and by its opening week, had reached the highest advance sales for a superhero film, representing 90% of the site's weekend ticket sales. Captain America: Civil War earned $75.5 million on its opening day. The film's Friday gross included $25 million from Thursday previews, the second-highest Thursday preview gross among Marvel films, with $3.1 million of the $25 million coming from IMAX theaters, a new Marvel record. The film went on to earn $61.2 million on Saturday and $42.4 million on Sunday, for a total opening weekend gross of $179.1 million, the third-highest for a Marvel film and fifth-highest of all time. Of the $179.1 million, $16 million was from IMAX, the second best for an MCU film. Initial projections for Captain America: Civil War had it earning between $175-200 million on its opening weekend, with the projection being revised to $172-178 million after Friday. called it "the safest box office bet" since Star Wars: The Force Awakens. The film remained at number one in its second weekend, and fell to second in its third, behind The Angry Birds Movie. In its fourth weekend, Captain America: Civil War became the highest-grossing film of 2016 in North America, and by June 17, 2016, became the first film of 2016 to surpass $400 million.

Other territories

Captain America: Civil War's opening in 15 countries on April 27, 2016, earned $14.9 million, followed by $23.8 million the next day from 15 more countries, and $45.3 million two days later from 8 additional countries, for a three-day total of $84 million. Its first weekend brought a total of $200.4 million, after being projected to earn anywhere between $180-250 million, with $9.4 million coming from IMAX. The film debuted at number one in all countries except Japan. The film stayed at number one in its second weekend, earning $217 million, with existing territories seeing a 55% decline in earnings, while surpassing the entire international earnings of previous Captain America films, along with other MCU films. For IMAX in its second weekend, Captain America: Civil War earned $31 million, a new record for a day-and-date opening for a Marvel film. By its third weekend, the film remained at number one in some territories, being overtaken by The Angry Birds Movie in others, and became the top film of 2016 and fourth-highest-grossing superhero film outside of North America.

It set records for the largest opening day in Mexico ($7.3 million), opening day of 2016 in France ($2.4 million), the second-largest opening day in Brazil ($2.7 million) and the United Arab Emirates, the largest superhero opening day in the Netherlands, and the largest superhero opening in Turkey and Ukraine. It set opening weekend records in Brazil ($12.9 million), Mexico ($20.4 million), and the Philippines ($7.7 million), and was the second-largest opening weekend in Hong Kong ($6.9 million) and Thailand ($9.4 million). In the United Kingdom, the film earned the second-largest opening day and weekend of 2016 with $20.5 million, while France had the top 2016 opening weekend with $10.1 million. Germany had the best four-day opening of 2016 with $8.1 million, and Spain had the second-largest three-day opening of 2016 with $4.2 million. For South Korea, the film was the largest non-Korean opening and largest Marvel opening in history. China had the second best IMAX opening ($9.5 million), as well as the second-largest opening weekend for a Hollywood film ($95.6 million), with the film eventually becoming the third-highest Disney release in the country after 10 days, and the second largest superhero film. Japan saw the film open third with $4.2 million, behind Detective Conan: The Darkest Nightmare ($5.3 million) and ($4.8 million). The film's largest markets were China ($190.4 million), South Korea ($62.8 million), and the United Kingdom ($53.2 million).

Critical response

The review aggregator website Rotten Tomatoes reported a 91% approval rating with an average score of 7.72/10, based on 413 reviews. The website's critical consensus reads, " Captain America: Civil War begins the next wave of Marvel movies with an action-packed superhero blockbuster boasting a decidedly non-cartoonish plot and the courage to explore thought-provoking themes." Metacritic, which uses a weighted average, assigned a score of 75 out of 100 based on 52 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an "A" grade on an A+ to F scale, while PostTrak reported filmgoers gave it an 88% overall positive score and a 75% "definite recommend".

Justin Chang of called it "the most mature and substantive picture to have yet emerged from the Marvel Cinematic Universe." Sheri Linden of The Hollywood Reporter said, "Call it 'civil war' or call it brand extension; call it a 'cinematic universe' or a corporate behemoth-the latest Marvel extravaganza furthers the studio's cross-pollination of action franchises in a way that's sure to satisfy devotees." Robbie Collin of The Daily Telegraph wrote, "This is the cinematic superhero showdown you've dreamt of since childhood, precisely because that's everything-and all-it wants to be." Catherine Shoard of The Guardian called it, "a huge aspartame rush of a film: a giant irresistible snack, not nutritious, but very tasty." Richard Roeper of the Chicago Sun-Times wrote, "Kudos to co-directors Anthony and Joe Russo and the team of writers for juggling more than a dozen comic-book characters and nearly that many plot lines, and only occasionally getting us (and by us I mean me) lost in the geek weeds." Kenneth Turan of the Los Angeles Times said, "If you live and breathe Marvel, this is one of the MCU's stronger offerings. If you are a spy coming in from the cold, the answer is not so clear." A. O. Scott of The New York Times wrote, " Captain America: Civil War does not in any way transcend the conventions of the genre. On the contrary: It succeeds because it doesn't really try."

Conversely, Stephen Whitty of the New York Daily News said, "Although it's called Captain America: Civil War, the latest Marvel movie is actually a supersized Avengers picture-overstuffed to bursting. And sometimes during its two and a half hour running time, it just goes bust." Mick LaSalle of the San Francisco Chronicle said, "As a work of thought, Civil War is compromised, but at least there are thoughts to compromise. As an action film, it has its moments, but aside from the big opening sequence-the action scenes are a bit flat." Andrew O'Hehir writing for said, "Much of Captain America: Civil War is just the laborious working-out of leftover dangling plot elements from Captain America: The Winter Soldier two summers ago." While Nicholas Barber of BBC gave the film a generally favorable review, praising both its visuals and action sequences, he criticized the fact that there was "no cogent reason for any of [the Avengers] to be on one side or the other, which is why their inevitable dust-up feels like a game of dodgeball in a school playground." Mark Millar, writer of the "Civil War" comic storyline on which the film was based, felt the film "had a good opening twenty [minutes], but then I honestly can't remember what the movie was about." He also felt the film lacked levity, especially considering the Russo brothers' background in comedy.

According to Feige, Civil War is the conclusion of the Captain America trilogy that began with The First Avenger. While it is the final standalone Captain America film in Evans' contract with Marvel Studios, Evans stated in September 2015 that he was open to extending his contract past Avengers: Infinity War and Avengers: Endgame, the final films on his contract at the time. In November 2018, Joe Russo said that Evans was "not done yet" with Captain America after Endgame. In November 2019, when asked if he would reprise the role of Captain America, Evans responded, "You never say never. I love the character. I don't know," and added, "It's not a hard no, but it's not an eager yes either."

References

External links

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Captain America: Civil War is a 2016 American superhero film based on the Marvel Comics character Captain America, produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures. It is the sequel to Captain America: The First Avenger (2011) and Captain America: The Winter Soldier (2014), and the 13th film in the Marvel Cinematic Universe (MCU).

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The wilderness comes alive as the animals of the jungle line up for the first poster for Disney's The Jungle Book, showcasing the modern incarnations of such familiar characters as Kaa, King Louie and Bagheera.

Initially released as three individual images on different days this week, the new banner - unveiled in full via Twitter - features the animalistic cast of the new adaptation of Rudyard Kipling's classic books, including the first good look at Bill Murray's Baloo, who's standing alongside the hero of the story, Mowgli (newcomer Neel Sethi).

Other actors lending their voices to the movie, directed by Jon Favreau, include: Christopher Walken, Ben Kingsley, Scarlett Johansson and Star Wars: The Force Awakens' Lupita Nyong'o. Idris Elba provides the voice of the tiger, Shere Khan.

The Jungle Book will be released in theaters April 15.

This April, the classic Disney tale comes to life. #JungleBook pic.twitter.com/ETHS7UYSzp
- The Jungle Book (@TheJungleBook) January 7, 2016

The Jungle Book

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First Poster for Disney's Live-Action 'The Jungle Book' Debuts

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The wilderness comes alive as the animals of the jungle line up for the first poster for Disney's The Jungle Book, showcasing the modern incarnations of such familiar characters as Kaa, King Louie and Bagheera.

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