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‘Captain Marvel’ Reviews: What the Critics Are Saying

By Dano Nissen

Dano Nissen

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“ Captain Marvel ” reviews are finally in, and critics seem to be enjoying the adventures of Brie Larson ‘s Carol Danvers.

Reviews tend to say the same thing: it’s good entertainment, but falls short of recent Marvel titles. The film delivers a political message, but not to the degree of the firebrand subversiveness of “Black Panther.” And it’s an origin story that nicely elaborates on the Marvel mythology, but not to the scale of the epic “Avengers: Infinity War.”

The latest Marvel installment, directed by Anna Boden and Ryan Fleck, currently carried an 83% on Rotten Tomatoes, which is in line with previous entries in the franchise. The film lands right between “Thor” (77%) and “Black Panther” (97%). Critics almost unanimously lauded the performances of the impressive ensemble cast, consisting of Larson, Samuel L. Jackson, Annette Bening, Ben Mendelsohn, and Jude Law.

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“Captain Marvel” flies into theaters on March 8, and is expected to bring in between $115 million and $125 million in its opening weekend. See what the critics are saying below:

Variety’s Owen Gleiberman:

“In ‘Captain Marvel,’ Brie Larson radiates an ability that too many comic-book heroes never get the chance to show: the superpower of expression. She plays a Kree warrior, known as Vers (pronounced veers ), who has been trained in the familiar comic-book-movie art of kicking cosmic butt (she specializes in leaping and flying martial-arts moves and the ability to deliver high-energy photon blasts). Yet what you can’t help but notice, apart from the slithery bravura of her combat skills, is the feeling she brings to the fight. ‘ Captain Marvel’ is only the second major Hollywood movie to feature a female superhero at its center, but it’s a savvier and more high-flying fantasy than ‘Wonder Woman,’ because it’s the origin story as head game. Larson’s Vers is like someone trapped in a matrix — she has to shake off the dream of who she is to locate the superwoman she could be. And that makes for a rouser of a journey.”

Time Magazine’s Stephanie Zacharek:

“Larson does get a few opportunities in ‘ Captain Marvel’ to be that regular, flawed-but-strong human — there just aren’t enough of them, and they’re hardly the focus of the movie. Of course, in the broader context of the Marvel Cinematic Universe, this is all just a setup for Captain Marvel’s role in the upcoming ‘Avengers: Endgame .’ But by the time I got to the end of ‘Captain Marvel’ — after watching Larson bash her way through phalanxes of wrinkled green aliens with her glowing fists, offer bathroom-mirror Post It-note words of encouragement to a little girl who beams at her adoringly, and hover in the air like Stan Lee’s version of the Blessed Virgin shimmering in the grotto before the future Saint Bernadette — I wasn’t thinking, Wow! Instead, I heard the voice of my own inner superhero, Peggy Lee, whispering in my ear: Is that all there is? The most heinous supervillain of all is Boredom.”

New York Times’ A.O. Scott:

“Filmmakers like Boden and Fleck, Ryan Coogler and Taika Waititi can put their own spin on a given story or hero, but at some point bolts or waves of orange or blue light will come shooting out of someone’s hands and someone else will be thrown backward and bounce off a wall. The protagonist’s costume will become a character in its own right. That protagonist — a tough and charming woman, in this case, determined to fight gender clichés at least to a draw — will be ready for a career of franchise clock-punching, along with the rest of us. You will stay through the very last credits in the hope of collecting every last Easter egg, and you’ll shuffle out of the theater feeling both satisfied and empty.”

The Atlantic’s David Sims:

“In recent years, the ever-expanding Marvel Cinematic Universe has seemed to keep finding exciting new territory to explore. As the long-running, multiheaded collection of superhero franchises rolled on, it exhibited inventive comedy in ‘ Thor: Ragnarok’ and ‘ Ant-Man and the Wasp,’  staggering scale in ‘ Avengers: Infinity War,’  and a genuine cultural-paradigm shift with ‘ Black Panther.’  With ‘ Captain Marvel,’  sadly, that streak is over. The 21st entry in Marvel’s galactic film empire, and the first focused on a female superhero (played by Brie Larson), is a perfectly fun time at the movies that deftly lays out the stakes of its new character for many future appearances. But more often than not, it feels a little routine.”

The Chicago Sun Times’ Richard Roeper:

“This isn’t the greatest Marvel movie ever made, but it’s definitely one of the funniest — and one of the sweetest. Larson and Jackson have terrific buddy-movie chemistry, whether they’re giving each other grief or covering each other’s behinds. Amidst all the scenes with intergalactic warships and fireball-flinging, co-directors Anna Boden and Ryan Fleck wisely find plenty of room to take the foot off the accelerator and cede center stage to Larson, Jackson and the rest of the greatly talented cast. It’s a real treat to see Carol Danvers find her footing and her wings, so to speak, while at the same time Nick Fury is taking the first steps toward becoming NICK FURY.”

Rolling Stone’s Peter Travers:

“A riot-grrrl power pulses through every frame, not to mention humor, heart and the thrill that comes from watching a genuine game-changer. ‘Wonder Woman ,’ the 2017 epic from DC Comics, may have thrown the first punch for comic-book-movie equality among the sexes. But ‘Captain Marvel’ should have its detractors on the ropes. Set in the mid-1990’s and feeling like it was made in a time before Iron Man and the other Avengers ever suited up for the big screen, this superhero film proudly waves a retro flag. But everything in its DNA, from representation (in front of and behind the screen) to its notions of empowerment, radiates our moment right now.”

The Guardian’s Peter Bradshaw:

“This is an engaging and sometimes engagingly odd superhero action movie from directors and co-writers Anna Boden and Ryan Fleck, a weirdly nonlinear mashup of past and present, memories and present experience, Earth and non-Earth action. It’s an unconventional origin-myth story, which makes it initially uncertain what the nature of those origins is, and maybe even whose origins exactly we’re talking about. There’s an eccentric splurge of tonal registers from boomingly serious to quirkily droll. The film hinges on a fierce performance from Brie Larson, though I think it could have showcased her in a stronger, clearer starring role and assigned her more of the script’s funny lines.”

IGN’s Meg Downey:

“The MCU’s newest hero, Captain Marvel, has entered the fray literally swinging, with a cosmic-flavored origin story that feels like a much-needed fresh approach to the classic Marvel Phase One formula. With a soundtrack packed full of vintage ‘90s earworms and a delightfully unselfconscious sense of humor, Captain Marvel pulls off a satisfying introduction to the hero who may be our ‘Avengers: Endgame’ trump card.”

The Verge’s Shana O’Neil:

“Ultimately, ‘Captain Marvel’ gets its many jobs done, and it looks pretty good doing it. As a first-shot representation movie, it isn’t as game-changing as ‘Black Panther,’ and it isn’t as adventurous as ‘Thor: Ragnarok.’ But it does deliver the girl-power narrative the MCU needed on a level to rival ‘Wonder Woman,’ and not just by making Captain Marvel a powerful hero. It also makes her an admirable person, one with good friends and goals worth fighting for. And it firmly establishes Carol Danvers as one of Marvel’s mightiest superheroes, which is exactly what the Avengers will need in ‘Endgame.'”

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Captain Marvel Asks Age-Old Question: Can One Superhero Movie Have It All?

Marvel just couldn’t help itself. It wasn’t enough for the studio to release its first-ever film with a woman at the center, Captain Marvel: the studio also had to go ahead and give its whole Avengers franchise a loving origin story, a fan-servicey, and it must be said, winningly indulgent exercise in self-mythologizing. Sure, the film—set in the 1990s—doesn’t go as far back as Captain America: The First Avenger did, but there’s a lot of formative stuff here, particularly pertaining to the best casting director in the superhero realm, Nick Fury ( Samuel L. Jackson ).

Which makes sense, given that the upcoming Avengers: Endgame is going to close one long chapter of this whole cinematic-universe saga. Captain Marvel is a look back before charging ahead, introducing perhaps the most omnipotent of all the good guys we’ve met so far. Good gals, too. There have been a few of those, though we’re still waiting on a star vehicle for Scarlett Johansson’s dependable Black Widow. Captain Marvel beat her to the punch (and punch and punch).

Her film, directed by Anna Boden and Ryan Fleck, does a perfectly workable job of making this one small step. Still, I wish the studio had felt confident enough in her story to let it stand alone, rather than yoking it to the birth of something larger. Captain Marvel—née Carol Danvers—could have handled things on her own.

She’s played by Brie Larson, the Oscar-winning actress who largely appeared in indie films and studio comedies before putting on this rubber suit. In Fleck and Boden’s interesting proportions—they themselves are largely independent filmmakers—Larson does a surprisingly muted riff on superhero dynamism. She’s arch and clever and very strong, but she’s also quiet, a mellow presence that sometimes gets drowned out by all the clamor surrounding her. It’s not an unsuccessful performance, exactly, but it is a weird one, a downbeat choice that gives the movie an intimate, sometimes too laid-back timbre.

Captain Marvel is a chatty film, as beings from different worlds learn the terms of each other’s lives and form wary partnerships. Boden and Fleck often shoot Captain Marvel like it’s one of their smaller projects ( Half Nelson, Sugar )—nicely composed but lo-fi, a character piece instead of a blare of whiz-bang action. That approach leads to curious scenes of Larson and Ben Mendelsohn, in green alien makeup just standing around and having a conversation, with the light bleary and diffuse around them, the camera still and observant. We’re so well versed in the superhero genre by now that it’s kinda fun to see the same rules and stakes poured through a different filter, though I’m not sure that everyone will take to it.

Of course, some dummies are already mad at the film because it’s about a woman at all, and Larson has, on her press tour, talked about that fact. Those trolls do not deserve any more of our attention—but it is a pleasure to watch the movie itself clobber its way through all that noise. Captain Marvel feels as substantial as any of the other stand-alone Marvel Cinematic Universe films, even if it does things at a more relaxed pitch. The movie’s pioneer status is gestured toward some in the film, but mostly Boden and Fleck are focused on competently telling a tale that fits into the larger machine. It does, just fine.

Do you want plot? Well, I won’t get into all the particulars—but know that it would be a big help to re-watch the first Guardians of the Galaxy film, as some cosmo-political stuff laid out in the movie comes to bear here. Basically, there’s a whole alien war happening that Earth finds itself in the middle of, while Carol Danvers—called Vers on what we assume is her home planet (leave simple Bottom to fusty old Shakespeare)—goes on a personal journey to regain her memory. Fury gets involved, as do Jude Law’s space policeman and Annette Bening, for good measure. It’s a complicated ball of yarn, perhaps more than some of the other origin movies, but Boden and Fleck cut through it diligently. Their action scenes are a bit of a muddle, but those don’t always need to be crisp for a Marvel movie to work.

The 90s aesthetic is used to charming effect, particularly in the music choices. We hear Garbage and Hole, two riot grrrl groups whose propulsive, gnarly charge gives the movie some pleasant bite. (The on-the-noseness of No Doubt’s “I’m Just a Girl” during a clunky fight scene doesn’t play quite as well.) The movie has a good time with itself, but is not a relentless gag factory like Guardians or Thor: Ragnarok —though quite like those movies, Captain Marvel is pretty spacey. If your tolerance for kooky galactic names and actors in latex masks is low, Captain Marvel may prove trying.

Still, I suspect there will be plenty of people who put those allergies aside to go see this first woman-led Marvel film. (Boden is also the first female director the franchise has had.) There is some righteousness to be found in the film in that regard, most acutely in a scene toward the end when Carol/Captain/Vers has a moment of self-actualization that comes in the form of shutting down a whiny man demanding they fight on his terms. That may be reason enough to seek out the film, whose low-key, oddball energy casts a different kind of superhero spell. I’m eager for the Captain to show her stuff to the rest of the team. I think they’ll be plenty impressed.

Richard Lawson

Chief critic.

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A team of soldiers, led by a brave army captain, takes up a dangerous mission to go into a restricted forest area and uncover the mystery behind the unexplainable deaths of previous teams th... Read all A team of soldiers, led by a brave army captain, takes up a dangerous mission to go into a restricted forest area and uncover the mystery behind the unexplainable deaths of previous teams that had visited the site. A team of soldiers, led by a brave army captain, takes up a dangerous mission to go into a restricted forest area and uncover the mystery behind the unexplainable deaths of previous teams that had visited the site.

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• Alternate versions The UK release was cut, the distributor chose to make cuts to scenes of strong violence in order to obtain a 12A classification. An uncut 15 classification was available.

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Review: In ‘The Captain,’ a Sadistic Nazi Is an Impostor

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By Jeannette Catsoulis

• July 26, 2018

“The Captain,” Robert Schwentke’s harrowing World War II psychodrama, isn’t what you would call enjoyable, exactly. More accurately, it compels our attention with a remorseless, gripping single-mindedness, presenting Naziism as a communicable disease that smothers conscience, paralyzes resistance and extinguishes all shreds of humanity.

Based on the astonishing true story of Pvt. Willi Herold (Max Hubacher), a teenage deserter from the German army whose sadism would eventually earn him the nickname of the Executioner of Emsland, the movie picks up two weeks before the end of the war. Germany is in chaos and the petrified Herold, fleeing military police, finds a Nazi captain’s uniform and can’t believe his luck when it fits. Thus disguised, he soon organizes a car, weapons and a ragtag band of brothers whose unquestioning acceptance of his command emboldens him. High on the terrifying charisma of his clothing, he invents a secret mission from the Führer and embarks on a brutal odyssey of torture and slaughter.

Shooting in Poland and Germany in knife-edged black and white, the cinematographer, Florian Ballhaus, adds uncomfortable visual heat to Herold’s ice-cold cruelties. Through camera angles and lighting, in God’s-eye views and in carefully staged close encounters, his images pinpoint the tension between real and fake authority and the ways we determine which is which. And while there’s a grotesque comedy to Herold’s gang of dupes and opportunists as it trundles from one atrocity to another, the script’s emphasis on the transactional nature of power is too chilling to encourage chuckles. We can almost see characters figure out which side their Schwarzbrot is buttered on.

In the publicity notes, Mr. Schwentke says he’s not interested in the architects of National Socialism, so much as the “back row” people who maintained its cover. And as we watch Herold gain confidence in his deception, sliding from fearful fugitive to pitiless con man, we see how the allure of a uniform might sicken its wearer as well as subjugate its followers. His swift embrace of depravity — and the self-interested silence of those who see through his ruse — gives “The Captain” a distressing inevitability that can make the viewer feel helpless, as if the seductiveness of fascism were stronger than its terrors.

The real Herold fought in Italy as a paratrooper and, at one point, had an estimated 80 soldiers under his fake command. Movie Herold, sadly, remains an enigma, as his director seems more keen to place human nature, in a general sense, under scrutiny — to sniff out the reasons so many were willing to hitch their wagons to an emperor who really had no clothes at all.

The Captain Not rated. In German, with English subtitles. Running time: 1 hour 58 minutes.

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Captain Movie Review : An underwhelming, underwritten action movie

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Users' Reviews

Refrain from posting comments that are obscene, defamatory or inflammatory, and do not indulge in personal attacks, name calling or inciting hatred against any community. Help us delete comments that do not follow these guidelines by marking them offensive . Let's work together to keep the conversation civil.

User R 671 days ago

Real facts nice movie

User srinivs 680 days ago

Arya tries to carry through, otherwise a drab movie.

User Metha 682 days ago

This film lost me in the initial stage itself

Ganesh Moorthy 689 days ago

Giving 1 star because, there is no option to vote below that. This movie gave me a headache, seriously

niloy 691 days ago

3rd class movie

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CAPTAIN MOVIE REVIEW CLICK TO RATE THE MOVIE

Captain is a film written and directed by Shakti Soundar Rajan and produced by The Show People and Think Studios. The film stars Arya in the lead role while Simran, Aishwarya Lekshmi, Kavya Shetty, Harish Uthaman and others play supporting roles. The music is composed by D Imman and the cinematography is handled by Yuva S.

Captain Vetri Selvan (Arya) is a soldier in the Indian Army. He and his team are assigned duty in Sector 42, a restricted forest area in North East India. They realise the presence of an extra-terrestrial creature in the area and are defeated by it as well. How they bounce back, defeat, and unravel the secrets about the creature forms the rest of the plot.

Director Shakti Soundar Rajan is credited with making a lot of 'first' films in Tamil. He made a zombie film, Miruthan, a space film - Tik Tik Tik. He also made Naaigal Jaakirathai and Teddy which has unique elements in it as well. With Captain, he has tried making a film on the Man vs Alien concept but the biggest issue here is that the writing is so generic.

Captain's plot and characters have some resemblance to his earlier films. The alien angle has also been treated like it's a horror film with plenty of jump scare like moments. For instance, whenever an important character turns away from the camera, the camera zooms into their face, and when they turn back at the camera, you see the alien pouncing on them.

There's a romantic angle between Arya and Aishwarya Lekshmi, but that never comes up in the film except the post climax scene. In a film that's just less than 2 hours long, portions like this make you feel the film is even longer. The screenplay has lags and the placement of songs doesn't help either.

Arya and his teammates in the army have worked well on their physique and look extremely fit. The performances could have been much better, the emotional scenes have a disconnect with the audience because of the limited range of expressions by the actors. Simran who plays the role of a scientist shines well, and makes the role look like a cakewalk.

D Imman's tries to breathe some life into the film with his background score which works well to an extent. The songs sound well when heard separately but slow down the film's pace heavily. While Yuva's cinematography is functional, offering the film what it exactly needs, the VFX could have been far better, especially the climax.

As a new attempt, Captain definitely deserves praise, but misses out on interesting screenplay and emotions. A lot of scenes are predictable because of which, when the twists are revealed they don't excite you enough affecting the engagement.

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REVIEW RATING EXPLANATION

பிரேக்கிங் சினிமா செய்திகள், திரை விமர்சனம், பாடல் விமர்சனம், ஃபோட்டோ கேலரி, பாக்ஸ் ஆபிஸ் செய்திகள், ஸ்லைடு ஷோ, போன்ற பல்வேறு சுவாரஸியமான தகவல்களை தமிழில் படிக்க இங்கு கிளிக் செய்யவும்      

CAPTAIN NEWS STORIES

கடும் குளிரில் 20 அடி ஆழ நீருக்கு அடியில் ஆர்யா.. ‘கேப்டன்’ படத்துக்காக எடுத்த முயற்சி.!

ஆர்யா நடிக்கும் 'கேப்டன்' படத்தில் சிம்ரன் கேரக்டர் இதான்.. வெளியான மோஷன் போஸ்டர்!

ஆர்யா நடிக்கும் Sci-fi திரைப்படம் 'கேப்டன்'.. சென்சார் போர்டு கொடுத்த சர்டிபிகேட்!

ஆக்ரோஷமான லுக்கில் 'கேப்டன்' ஆர்யா.. வெளியான மிரட்டலான ரிலீஸ் தேதி போஸ்டர்!

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If you ever wanted to experience what it would be like to be held hostage by a band of desperate and dangerous high-seas buccaneers as they brandish automatic weapons with careless abandon, then "Captain Phillips" is probably as close as you will ever get, or want to get.

For those whose idea of a pirate is Capt. Jack Sparrow – or Long John Silver,  for  that matter – this real-life account will be a rude awakening as to what constitutes a 21st-century model. British docudrama specialist Paul Greengrass (the "Bourne" sequels, " United 93 ") is at the top of his craft as he employs all his usual tools—nervous handheld cameras, grainy cinematography, a mostly anonymous cast, and a tension-drenched situation—to re-create a 2009 attempt to hijack an American cargo ship.

The action takes off within the first 20 minutes. Lean-and-hungry members of the world’s under-class—a ragtag, brazenly opportunistic band of young Somali men— stage their attack as if pulling off a smash-and-grab at a jewelry store. After that, it's full steam ahead and no turning back.

What unfolds in the next two hours is gripping enough that more than a few theater armrests will probably require upholstery repair.  But as Greengrass has demonstrated in such past films as 2002’s " Bloody Sunday " (about the 1972 shooting of unarmed demonstrators in Northern Ireland) and  2006’s "Flight 93" (which re-enacted the events on the plane that crashed in Pennsylvania on 9/11), he is stronger with the doc part of his cinematic equation than the interaction between characters.

Employing a little-known cast does increase verisimilitude. But, in this case, the filmmaker thankfully reached out to an actor who almost always provides a welcome security blanket for moviegoers.   Tom Hanks is one of those rare movie stars that we willingly follow into almost any unpleasant situation—even in those less-than-great thrillers based on The Da Vinci Code books—knowing that his very presence onscreen will get us through any perils that confront us in the dark. Who else would we want to observe saving a space craft from disaster in " Apollo 13 ," enduring the horrors of D-Day in " Saving Private Ryan " and surviving a plane crash on a deserted island in " Cast Away "?

Still, this is a different Hanks than the affable guy-next-door that we have come to expect. The actor submerges his natural exuberance to assume the role of a terse and weary New England-based merchant mariner who oversees a huge floating warehouse with reserved efficiency. No joking around with the crew or idle chitchat: this is a job. Period. Although the ship’s occupants are shown undergoing an emergency drill,  no trained military are involved until the situation becomes dire enough to require a visit from Navy SEALs.

There is a prologue that shows Richard Phillips—whose memoir served as the basis of the script—preparing for his journey and being driven to the airport by his wife (a cameo by Catherine Keener , who seems to be everyone’s past or current wife in movies these days). Many critics have derided this segment as clunky and forced, but I believe Greengrass wanted to introduce the captain as an average family man, not some gung-ho wannabe hero, so his cool-headed reactions later on would seem all the more remarkable; besides, other than a medical worker who shows up late in the story, Keener is the only woman with any impact onscreen. 

The focus, of course, is on the hijacking. The pirates board the ship with surprising ease, although their efforts put their own boat out of service. As Phillips sends the crew to hide out in the engine room, he assumes the role of a host of sorts, trying to distract his unwanted guests with offers of water and food while showing them around. But the foursome—headed by skeletal Muse (Barkhad Abdi), the brains of the operation—grows impatient. Rash behavior leads to serious injuries and Phillips is eventually taken captive aboard a claustrophobic covered lifeboat, with the pirates demanding a ransom of millions in exchange for his return.

Unfortunately, save for a segment showing how a greedy warlord recruits his army of willing raiders, the pirates are as much vessels of storytelling as the ship itself, though the movie at least gives them some intriguing character touches. The behavior of Muse and other fellow pirates sometimes suggests they are emulating characters in a gangster yarn -- as if they have seen " Goodfellas " or James Cagney films a few too many times. The sadistic hothead who provides the brawn would do Joe Pesci proud. Abdi and Hanks engage in some interesting psychological give and take.  Muse, exposing his youth, confesses that his dream is to go to America and buy a car. 

Susan Wloszczyna

Susan Wloszczyna spent much of her nearly thirty years at USA TODAY as a senior entertainment reporter. Now unchained from the grind of daily journalism, she is ready to view the world of movies with fresh eyes.

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Film Credits

Captain Phillips (2013)

Rated PG-13

134 minutes

Tom Hanks as Captain Richard Phillips

Catherine Keener as Andrea Phillips

Max Martini as SEAL Commander

Chris Mulkey as John Cronan

Yul Vazquez as Frank Castellano

Corey Johnson as Ken Quinn

David Warshofsky as Mike Perry

John Magaro as Dan Phillips

Michael Chernus as Shane Murphy

Angus MacInnes as John A White

• Paul Greengrass

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Ultimately, a conventional action drama that feels very "been there, done that" for audiences who see a lot of movies.

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A highly underrated MCU entry, The First Avenger deserves more fanfare. While The Avengers may overshadow it, Captain America's first outing really showed the connectivity we'd all grown accustomed to in a natural way, while being a perfect blend of period piece and superhero adventure. Evans' Steve is engaging from the get-go, highlighting all the things that makes Steve the hero he is with ease, and his supporting cast is similarly strong. The plot may be simple, but is a joy to watch unfold.

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Captain underpants: the first epic movie.

• Common Sense Says
• Parents Say 28 Reviews
• Kids Say 79 Reviews

Common Sense Media Review

Book-based adventure is fun ... if you like potty humor.

Parents Need to Know

Parents need to know that as long as you don't have a problem with potty humor, Captain Underpants: The First Epic Movie is a fun pick for elementary schoolers and up. But you really need to be OK with the potty humor, because it's constant. Based on the hugely popular book series by Dav Pilkey, the…

Why Age 6+?

Some peril/action violence, but much of it is lightened by humor and animation s

Frequent use of potty words including "poop," "poopypants," "diarrhea," "butt,"

Krupp and Edith (a cafeteria worker) flirt and eventually go on a date. The boys

Nothing in the movie (some background products resemble real-life ones but have

Kids run rampant when they eat pure sugar.

Any Positive Content?

Amid the non-stop potty humor are messages about teamwork, the power of friendsh

George and Harold are a great team -- they're creative collaborators who care ab

Intended to entertain rather than educate, but there are lessons about friendshi

Violence & Scariness

Some peril/action violence, but much of it is lightened by humor and animation style. An imaginary sequence featuring sock puppets includes laser weapons, smoke, and destruction. The villain travels with lots of weapons (axe, mace, dynamite, etc.) and ultimately attacks the school with a gigantic robotic monster -- but just when the climactic battle gets tense, it switches to flip-book animation style. A gun that can make things bigger and smaller wreaks havoc. Carnival rides go AWOL, a school is upended. Lots of slapstick: Captain Underpants jumps out of windows, nearly falls to his death, punches "bad guys" (a mime, in one case), etc.; a villain is hit by vehicles three times in quick succession. Krupp always seems to be angry and yells a lot. Tension when the boys sneak into Krupp's office. George and Harold are terrified by the idea of being put in separate classes. Kids are sad in their prison-like school. Joke about turning a flame thrower on kittens. George and Harold's pranks sometimes lead to chaos/damage.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Frequent use of potty words including "poop," "poopypants," "diarrhea," "butt," "fanny," and "fart" (the name of the planet Uranus is also played for laughs). Some insult language, including "weirdo," "idiotic," "suck up," "stupid," and "dumb." Tons of bodily function humor (burps, boogers, farting noises, all of the poop references, etc.).

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Sex, Romance & Nudity

Krupp and Edith (a cafeteria worker) flirt and eventually go on a date. The boys talk about how the two adults "like like" each other.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Products & Purchases

Nothing in the movie (some background products resemble real-life ones but have had their names changed), but the movie is tied to a popular book franchise that has licensed merchandise.

Drinking, Drugs & Smoking

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Positive Messages

Amid the non-stop potty humor are messages about teamwork, the power of friendship and creativity, the importance of art and fun in education, why people need to be able to laugh at themselves (not just others), and the idea that everyone deserves empathy. You never really understand someone until you think about things from their perspective and see what their life is really like. On the other hand, characters are mocked based on their names (something that can't be helped) and occasionally their weight.

Positive Role Models

George and Harold are a great team -- they're creative collaborators who care about each other deeply and share a strong sense of humor/the absurd. They also have a serious lack of respect for authority, pulling pranks at school and harassing their short-tempered principal, Mr. Krupp, at every opportunity. While that's funny, it's not ideal behavior; luckily, they learn that there's more to Krupp than they realized, and they gradually develop empathy for him. The boys also make a key apology to the villain, saying it wasn't right for everyone to laugh at him because of his unfortunate name (Professor Poopypants). Captain Underpants himself is very positive and civic-minded, though he doesn't execute his plans particularly well and often gets in jams. Some stereotyping (Melvin is a textbook nerd/teacher's pet), but diversity among main characters.

Educational Value

Intended to entertain rather than educate, but there are lessons about friendship, creativity, and thinking about things from someone else's point of view.

Parents need to know that as long as you don't have a problem with potty humor, Captain Underpants: The First Epic Movie is a fun pick for elementary schoolers and up. But you really need to be OK with the potty humor, because it's constant. Based on the hugely popular book series by Dav Pilkey, the story follows two prank-loving best friends who hypnotize their angry principal into believing he's Captain Underpants, the hero of the boys' many comic books. In addition to all the jokes about poop, Uranus, and other bodily functions, there's some superhero/action violence -- particularly when the villain (Professor Poopypants) attacks the school. But many of the tense/perilous moments are lightened via humor (there's lots of slapstick) and animation choices (for instance, switching to a flip-book style at the height of a big battle). Some kids might be upset by the principal's constant yelling or his threat to separate the boys and end their friendship, but things generally stay pretty upbeat. Language includes frequent potty/body words, as well as insults like "weirdo," "stupid," and "suck up," and there's some stereotyping (particularly the nerdy character, Melvin). Two adults flirt with each other and go on a date. While the boys don't show much respect for authority, they do learn important lessons about what makes a friendship/team really strong and the importance of having empathy for others. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

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Parent and Kid Reviews

• Parents say (28)
• Kids say (79)

Based on 28 parent reviews

Something kids can really laugh at

This movie is the best :-), what's the story.

In CAPTAIN UNDERPANTS: THE FIRST EPIC MOVIE, Captain Underpants is the creation of best friends George (voiced by Kevin Hart ) and Harold ( Thomas Middleditch ). They've been inseparable since kindergarten, when they bonded over their shared amusement at the word "Uranus" during a science lesson. These days, in fourth grade, they giggle over the potty-centric comic books they create and the pranks they pull at school under the nose of their by-the-book principal, Mr. Krupp ( Ed Helms ). When Krupp finally ends up with proof of their hijinks and vows to end the boys' friendship, George does the only thing he can think of: He flashes his plastic hypno-ring at Krupp. Somehow, it works, and the boys tell Krupp he's now Captain Underpants ... so he promptly disrobes, makes himself a cape, and dashes off to fight crime. Since the Captain doesn't have the super powers to match his superhero mindset, he causes more problems than he fixes, but the boys can't risk turning him back into Krupp, especially when a villain by the name of Professor Poopypants ( Nick Kroll ) arrives on the scene. How can they save their school and their friendship?

Is It Any Good?

Based on the first book in Dav Pilkey 's wildly popular series about a nearly naked superhero, this animated comedy about friendship (and farts) is guaranteed to amuse the young kids in your life. You'll likely even laugh several times yourself, thanks to a cleverer-than-expected script and moments when the main characters break the fourth wall and talk directly to viewers. But here's the thing: You have to be OK with potty humor to enjoy Captain Underpants: The First Epic Movie . If talk of poop (including diarrhea) or the sight of people (even animated ones) running around in their underwear makes you at all uncomfortable or offended, skip it. Because there's a lot of both of those things in this movie.

The good news is that there are also clear messages about the importance of friendship -- George and Harold realize that they don't have to be in the same class for their friendship to survive -- and empathy for others. The boys see Krupp in a new light as they learn more about his lonely life, and even though they can't help being amused by the professor's name, they acknowledge that it's wrong to laugh at someone for that reason alone. The voice actors are all well cast, and the movie's mix of animation styles keeps things lively and unexpected. Plus, it offers a nice argument in favor of arts, music, and creativity in kids' education. It's never hard to guess where the story is headed, but, all in all, you could do far worse for an afternoon/night out at the movies. As long as you don't mind poop jokes.

Talk to Your Kids About ...

Families can talk about the jokes in Captain Underpants: The First Epic Movie . Some parents find the potty humor really inappropriate. What do you think? When are certain kinds of jokes appropriate -- and when aren't they? Parents, talk to your kids about your own expectations for language at home and at school.

Which parts of the movie did you find scary? Why? How much scary stuff can young kids handle?

What does it mean to have empathy for another person? How do George and Harold learn empathy from their experiences with Krupp/Captain Underpants? Why is that an important character strength ?

George and Harold also model good teamwork . How does that help them realize that their friendship can withstand any threat?

Movie Details

• In theaters : June 2, 2017
• On DVD or streaming : September 12, 2017
• Cast : Kevin Hart , Thomas Middleditch , Ed Helms
• Director : David Soren
• Inclusion Information : Black actors
• Studio : Twentieth Century Fox Film Corporation
• Genre : Family and Kids
• Topics : Superheroes , Book Characters , Friendship
• Character Strengths : Empathy , Teamwork
• Run time : 84 minutes
• MPAA rating : PG
• MPAA explanation : mild rude humor throughout
• Last updated : June 9, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

Suggest an Update

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