EDIT#1-The Final Insult For DC fans,It Offically Can't Get Any Worse lol

lol I honestly didn't think It could get any worse for DC fans...
.
lol you just waited 3 years for A truly once in a lifetime Movie In BvS that turned out to be One of The worst CBM's ever and Had the biggest box office collapse in History...

and it just got worse, Not only did you have your dreams crushed by BvS turning out to be one of the worst CBM's ever and A Massive box office disappointment...Now The Final Insult has arrived...

Now your forced to watch Marvel Studios and Civil War have the Success You dream about for BvS...Everything that you hoped,prayed and expected out of BvS, Your getting ready to watch happen With Marvel Studios and Civil War

lol watching BvS get some of the worst reviews ever for A CBM is Bad, watching BvS have the biggest Box office collapse ever is bad, But NOw having to watch Civil War get excellent reviews and Watching Civil War Make Over 1 Billion like you Desperately wanted for BvS Is JUST WORSE

and finally having to read review after review going into detail how much better Civil War is than BvS is.....The Final Insult

lol theres been 25 reviews released so far for Civil War, 24 are extremely Positive but thats not the kick, Nope the Kicker is, 14 of the 25 reviews Literally going into detail Why Marvel Studios and Civil War Succeeded and WB/DC and BvS failed--

lol Here it is, The Final Insult for DC Fans...

http://www.thewrap.com/captain-america-civil-war-review-mcu/

It’s also the reason most of the Avengers (Hulk and Thor are on sabbatical) spend the bulk of “Captain America: Civil War” fighting among themselves. For audiences feeling burned by the superhero brawling in “Batman v Superman: Dawn of Justice,” just hang on — it’s not what you’re thinking.

See Video: 'Captain America: Civil War' New Clip Shows Team Cap in Action

Unlike DC’s recent franchise brick, a film that spent an inordinate amount of time mulling over issues of personal enmity against an incoherently darkened landscape, and that offered little more than lip service to the matter of collateral damage, “Civil War” is an addition to the Marvel Cinematic Universe that, yes, moves its good guys to battle each other, but does so in the service of establishing a future of superhero responsibility.

The shaming of “Batman v Superman: Dawn of Justice” will continue apace — or better still, be forgotten entirely — in the wake of “Captain America: Civil War,” a decisively superior hero-vs.-hero extravaganza that also ranks as the most mature and substantive picture to have yet emerged from the Marvel Cinematic Universe.

It’s all been building to this. From the three-way forest throw-downs and Hulk-shaped sucker punches of Avengers Assemble to Civil War’s savvy, hashtag-powered marketing campaign prompting True Believers to pick a side, the prospect of Marvel's mightiest going toe to toe in a superhuman dust-up has been irresistibly enticing. That it arrives in cinemas little more than a month after DC’s own clash of the titans failed to land a knockout blow feels all the sweeter because, rest assured, Civil War delivers on the promise of that title in a major way.

As a piece of superhero storytelling, it doesn’t bring anything particularly innovative to the table either – the idea of a thin line between heroes and vigilantes is invoked again, for example. But importantly, given the callous loss of life going on in other comic-book movies, the human cost of the Avengers’ actions is keenly felt and addressed in a meaningful way. It makes DC’s efforts to tackle the same idea with Batman v Superman seem thunderously dunderheaded in comparison.

this follow-up to 2014’s Captain America: The Winter Soldier (which netted $714 million globally) seems poised to kick off the summer movie season in fabulous fashion. Strong reviews, which will probably compare it very favourably to another comic-book movie about warring superheroes, the much-maligned Batman V Superman, will only further boost Civil War’s must-see status.

Who needs a villain when you have Steve and Tony? Both protagonists. Both antagonists. And drawing other power-people to their cause in surprising ways. The clashes go far beyond the set-up squabbles of Avengers Assemble. Or even that other big 2016 superhero showdown. Forget Batman v Superman. Here you get Ant-Man v Spider-Man, Hawkeye v Black Widow, Scarlet Witch v Vision, The Winter Soldier v Black Panther and (well, duh) Captain America v Iron Man, all rolled into one. And that is what you call the ultimate Marvel superhero event.

This is the point in this piece where I mention Batman v Superman: Dawn of Justice. I didn’t really want to, but it’s incredible how watchable Captain America: Civil War is and how dull Batman v Superman: Dawn of Justice turned out to be when you consider that both movies have pretty similar core plots: Superheroes fighting against each other, a mysterious figure behind the scenes pulling the strings … and, remarkably, a superhero’s mother plays a large role in both films. Yet Marvel has this down. Marvel knows how to move the story along and keep us entertained. Marvel knows how to trick us into liking these characters and caring about what happens to them. (That trick is by making them “likable.”)

When a tragedy occurs, and someone close to Captain America is put in the crosshairs, the schism between the Avengers widens and Captain America and Iron Man are forced to assemble their own separate teams. Both sides think that they’re doing the right thing, and it’s to Captain America: Civil War’s credit that they’re each right about 50% of the time. The irony that this film basically just exists to get costumed do-gooders to hit each other and is also playing at moral and ethical complexity gets a little lost here. But unlike the comparable superhero fight film Batman v Superman, this movie focuses more on the characters and less on their function in a nonsensical plot.

This movie isn’t about killing someone you don’t know, it’s about coming to blows with someone you do know, and that’s simply more involving. And even though the stories of both films are similar, Captain America: Civil War spends less time talking about its lofty concepts and more time on action, escalation and introducing new elements that please us, as opposed to just tease us.

It is an incredible test of emotions for the viewer. These are all people we love who are attacking the other people we love. It is hard to imagine a similar moment in film where this was handled so eloquently and so well. Zack Snyder could have learned so much from every frame of this film.

Not every globe-trotting action movie is self-critical enough to acknowledge the many lives that are presumably lost when buildings blow up and cars flip over. And while the idea of collateral damage was certainly central to the conflict in “Batman v Superman,” that film ultimately banished any sense of ethical responsibility — and any lingering audience goodwill — with its bombastic and incoherent end-of-the-world climax. Whatever apocalyptic associations its title may generate, “Captain America: Civil War” turns out to be an infinitely smarter piece of multiplex mythmaking, blessed as it is with a new villain (played with unnerving subtlety by Daniel Bruhl) who has more on his mind than blowing human civilization to smithereens. And the sides-taking showdown between Team Captain America and Team Iron Man, far from numbing the viewer with still more callous acts of destruction, is likely to leave you admiring its creativity.

Captain America: Civil War marks a watershed moment in the vaunted annals of comic book cinema: Finally, a big budget superhero sequel that manages to be both effortlessly entertaining and utterly sobering, instead of just one of those things—or, as we’ve endured too frequently in the past, neither of them. (Looking at you, Batman v Superman.)

It’s most unfortunate for Warner Bros. that, at its core, Civil War explores the same existential themes as Batman v Superman—only far better articulated, and with fewer mommy issues (spoiler: No Marthas die on the Avengers’ watch… that we know of). Instead of two lone superman-children trading blows in the rain, Civil War’s ensemble is made up of grown people wrestling with grown-people problems in the light of day, negotiating their conflicting worldviews in the name of living and working together.

Sure, it took Marvel 13 movies to express its most considered moral exploration of superhero figures as fallible agents of global security while at the same time delivering jokes about the bodily emissions of Spider-Man’s web-shooters and deliciously gratuitous moments of lingering Chris Evans biceps porn. And yes, Disney has 10 more tentpoles coming from the MCU in the next three years alone. WB and DC certainly have a great deal of catching up to do after their BvS box office disappointment, but every studio in the superhero game benefits from how well Civil War staves off the spandex fatigue—at least, for now.

At the root of that is Civil War’s greatest strength – and the reason it makes all thought of the recent Batman v Superman debacle evaporate on contact. The Russos’ film has an unshakeable faith in these decades-old characters: they’re not wrangled into standing for anything other than who they are, with no gloss or reinterpretation or reach for epic significance required. This is the cinematic superhero showdown you’ve dreamt of since childhood, precisely because that’s everything – and all – it wants to be.

The film is also content with the fact that the external threat doesn’t have to be as big or as mean or as threatening as the internal one. The “Civil War” nomenclature isn’t a sell out (paging Batman V Superman!) as the film explores a rift that can’t be instantly healed with the diversion of a common foe. But what the film ends up being about isn’t a choice between democracy and fascism, but between having Marvel movies and not having Marvel movies. If these characters suddenly accept that they should be fully accountable for their actions, they are accepting that they no longer want to be superheroes, but bureaucrats. Captain America isn’t fighting for freedom – he’s fighting for the franchise. So #VoteCap.

There are also some credible 'real-world' issues thrown in along the way by screenwriters Christopher Markus and Stephen McFeel. The problem then, perhaps, is that the Russo brothers - now locked in for two more Avengers: Infinity War sequels - insist on far too many samey Bourne-style chase-chat-fight scenes, padding out Civil War to a whopping two-and-a-half hours (including credits). There's a certain bloatedness to much of the first half, while the film in general lacks the balance of humour to hard-hitting found in Shane Black's superb Iron Man 3 and/or Whedon's two Avengers outings. Fortunately, unlike the abysmal Batman v Superman, Captain America: Civil War just about gets away with its flaws with through sheer swagger alone, in no doubt that it's the superhero showdown fans have so keenly awaited.

Niggling plot issues aside, Civil War delivers everything you could possibly want from a movie about comic characters fighting each other. And puts a certain other superhero vs superhero movie to shame…

Captain America: Civil War isn’t just a great Marvel movie, it’s a great movie. And that greatness - which is dependant in part on the groundwork laid by 12 previous movies - is the final proof of the concept that Marvel Studios first tried out in Iron Man back in 2008. It’s the film that proves the shared universe concept isn’t just cool, and isn’t just a great marketing idea but that - when used right - it creates a kind of gripping, resonant longform storytelling that no one else has ever accomplished on this scale. Civil War isn’t great despite being the third Captain America and thirteenth overall Marvel movie - it’s great because of those things.

This is it - the peak of the superhero movie shared universe. Captain America: Civil War is a tight action thriller that works on its own, but when taken as the latest chapter in an unprecedented experiment in longform storytelling it’s a brilliant chapter, one that makes everything that went before seem better if only because it was all leading to this pinnacle.

Does any of this sound familiar? Two iconic heroes duking it out over two-and-a-half epic hours… Angsty agonising over the collateral damage that ensues… Cameos from multiple costumed crusaders, just to make sure we’re suitably hyped for the next ten movies. But luckily, ‘Captain America: Civil War’ is packed to bursting with the one ingredient its rival superhero smackdown ‘Batman v Superman’ lacked: joy.


Which isn’t to say ‘Civil War’ is threat-free and happy-clappy. This is a film about the violent end of a friendship and the moral questions that come with free will, so it’s hardly a party. No, this is the kind of joy that comes with crafting characters people can relate to, with designing action scenes that spring and spin and bound off the screen, with picking just the right moment for a tension-breaking gag, a pause for reflection or a rousing speech. It's the joy of making a movie for and about people.

Captain America’s latest outing is the antidote to Batman v Superman’s poison for comic fans

The catastrophe earlier this year of Batman v Superman: Dawn of Justice seemed to bode ill for the state of comic book movies, as well as putting the mockers on further accounts of inter-superhero discord.

After the poison, though, comes the antidote. Or Captain America: Civil War, as we shall call it. Take one before bedtime and the outlook will be brighter by morning.

The plot is so satisfyingly worked out, and the foundations for the hostilities in the second half of the film so carefully prepared, that you want to take aside the makers of Batman v Superman (who thought it was motivation enough just to have one superhero mistakenly believe that the other was running amok) and say to them: See? This is how it’s done. It’s not so hard, is it?

It helps also that there is nuance and colour here. The characters are multi-layered, crammed full of old allegiances and grudges and irritations. They have personalities. Remember those?

The pressure on Captain America: Civil War lessened a little when it turned out that its main competition, Batman V Superman: Dawn Of Justice, really wasn’t that great. But even before that, if Marvel was at all worried then it needn’t have been.

While the prospect of costumed heroes being held accountable for their actions was recently depicted to a rather underwhelming effect in the disappointing DC offering “Batman V Superman: Dawn of Justice,” there’s no question that the results are more effective in “Civil War.” That’s because returning screenwriters Christopher Markus and Stephen McFeely depict both sides with equal measure, which increases the stakes of their gripping moral dilemma.

Somewhere in the middle of the molten mess which was Batman V Superman: Dawn of Justice, released to almost universal derision a couple of months ago, was the potentially-intriguing notion of superhero accountability; who’s to blame when the death toll rises and the buildings start to fall and who’s powerful enough to reign in this new breed of heroes and impose a form of governance upon people with extraordinary, terrifying abilities? BvS fudged the question horribly, of course, disintegrating into mindless fisticuffs between two rather boring men in capes who eventually (and metaphorically) decided to kiss and make up and become best friends forever when they discovered their mothers had the same name. Trust the mighty Marvel Cinematic Universe to run with broadly the same idea in Captain America: Civil War, the first title in a brave and bold third phase of feature films and trust Marvel to, yet again, show their shabby rivals a clean pair of heels. By any standards, Civil War is an extraordinary film; richly-populated, densely-plotted and packed with nods and references to almost all those MCU films which have gone before, topped off with some barnstorming cameos, the odd surprise (we won’t spoil it for you) and, when you least expect it, some moments of genuine pathos and emotional heft. This is a film which is, in many ways, the pay-off to a run of films which began with Iron Man in 2008 and fans will be rewarded with a movie which revels in a fictional universe intricately and carefully nurtured ever since and it does it because it’s earned it; the film knows that its audience will appreciate its kisses to the past because, by and large, the audience has been with these movies each and every step of the way.