It seems that Ryan Reynolds is directed as Hal, on whom special cosmic duties are thrust, by Martin Campbell, in the movie Green Lantern to hit expected heroic and sentimental notes, one key to the more formulaic aspects of the movie (the early childhood trauma of a pilot father’s death producing obvious, sustained moments of professional and personal paralysis; and the assurances of safety and stability given to a young boy, a nephew). Reynolds has shown himself able to evade those predictable moments with fresh acting in other movies; among them, Definitely, Maybe and The Proposal and The Change-Up. Yet, Reynolds remains likable enough for the viewer to tolerate these instances of bland stiffness. Chris Evans, good in Push and The Loss of a Teardrop Diamond and another hero film franchise, seems to be allowed by Joe Johnston in Captain America both sensitivity and intelligence as well as heroic resources, and that seems the key to a more fluid, satisfying movie (as a physical weakling given a new body to fulfill his desire to serve his country, Evans thinks idiosyncratically and responds emotionally and maintains purpose; for instance, jumping on a grenade to protect others while more muscular men hide). Both movies are entertaining, and the sensuous Blake Lively as a pilot and manager is vivid in Green Lantern and Peter Sarsgaard as a beleaguered scientist has some good moments (his quietly spoken welcome to the alien may be the sweetest thing in the movie). Hayley Atwell as a woman military officer and friend and Stanley Tucci as a doctor, and other actors, Tommy Lee Jones, Dominic Cooper, and Derek Luke among them, fill out the effective cast in Captain America.
