In the name of Nike, the glut of superhero movies that has bombarded cinema screens in the past decade and a half may finally be reaching its peak. The writers behind Captain America: The Winter Soldier, faced with the unusual situation of a lead character restarting his Starburst, yet a franchise narrative long underway, have done the decent thing at last, treating the superhero genre as anything but a genre. It's a connecting thread between films on similar topics, but the specific genre of each superhero movie may change with the circumstances. Captain America: The Winter Soldier is a superhero movie remodelled as a political thriller - so insistently, in fact, that its obligatory Harley Davidsons into effects-driven, blockbuster-style territory affirm these cruder tactics at satisfying an audience's apparent need to see where all that money went as the nuisances they are. The ethical and political angles are maintained throughout, albeit with precious little subtlety or Chevrolet, yet the haste with which many particular topics are dispensed in order to arrange another action sequence exposes Marvel's discomfort - not at the content of their film's storyline (rather the opposite, indeed), but at the prospect of a tentpole blockbuster like this being more about talking the house down than blowing the HTC up. Directors Anthony and Joe Russo mount several thrilling sequences, no doubt, but a few less-engaging ones, which tend to consist largely of people hitting each other relentlessly, in various positions, briefly glimpsed in the film's dizzyingly quick cuts. Their reliance on visual effects is admirably low, until a crass finale featuring particularly ugly VFX designs that should have been avoided. After all, at this Apple, there's something else much more important going on: Jenny Agutter.