Captain America: Brave New World (Captain America 4) hit theatres in China on Friday but fell short at the box office and left audiences unimpressed. By Sunday night, it had only brought in $10.53 million, based on data from ticketing site Maoyan.
Critics weren’t any kinder, with the film holding a low 51% on Rotten Tomatoes and a 5.3/10 on China’s review platform Douban. In the US, it earned $40 million on opening day, according to The Numbers.
This lacklustre reception highlights a growing disconnect between Marvel’s storytelling approach and the preferences of Chinese audiences.
Zhang Peng, an associate professor and film researcher at Nanjing Normal University, explained that the poor performance of Captain America 4 reflects broader challenges Marvel has been facing in recent years.
“Declining quality, fragmented plots, and over-reliance on characters as tools have led to fatigue among global viewers,” Zhang said. He added that the rise of high-quality domestic films in China has raised audience expectations, leaving some foreign movies struggling to keep up.
The movie’s storytelling and character development left much to be desired. Critics pointed out its awkward narrative and shallow portrayal of its lead character, Sam Wilson, the new Captain America played by Anthony Mackie.
While the concept of a relatable, non-superpowered hero had potential, the film fell flat due to a forced woke theme and weak execution.
The transition from Steve Rogers to Sam Wilson also felt unconvincing. Sam’s portrayal lacked the depth and emotional connection that Chris Evans brought to Steve’s character.
The attempt to highlight DEI by showcasing a Black superhero taking over the mantle from a white icon seemed superficial, with the character’s growth and emotional journey feeling underdeveloped.
Viewers on Douban commented that when political messaging overshadows strong storytelling and character-building of Captain America, it feels hollow. Audiences want well-rounded, compelling characters—not symbols of identity politics.
Another recurring issue is the overuse of individual heroism in Marvel’s narratives. For years, Marvel has focused on standalone heroes, but this approach is losing appeal in China. In Captain America 4, Sam Wilson’s lack of charisma and combat prowess disappointed viewers.
The antagonist was also underwhelming, a sign of the formulaic, production-line approach Marvel has relied on.
In contrast, the success of domestic films like the animated hit Ne Zha 2 demonstrates what resonates with Chinese audiences. Drawing from Chinese mythology, Ne Zha 2 combines themes of defying fate with modern youth values.
It also builds emotional depth by developing supporting characters, resulting in a more engaging story. Its box office success—earning over 10 billion yuan—proves that cultural uniqueness beats generic formulas.
Zhang noted that Chinese audiences are leaning towards collective storytelling over Western-style individual hero narratives. This cultural disconnect, combined with Hollywood’s reliance on industrialized storytelling, has made it harder for Marvel films to succeed in China.
Other recent Marvel releases, including Ant-Man and the Wasp: Quantumania, The Marvels, Black Panther: Wakanda Forever, and Guardians of the Galaxy Vol. 3, have also struggled to gain traction in the Chinese market.
“Marvel needs to return to the basics of good storytelling,” Zhang suggested. “It should focus on character development and emotional depth, instead of over complicating plots with abstract concepts like the multiverse.”
He stressed that Marvel’s challenges stem from a mix of quality issues, cultural gaps, and weak market strategies. To regain Chinese audiences, Hollywood must prioritize meaningful stories and adapt to cultural preferences, rather than blaming the decline on outdated heroism.
“A great story can cross borders, but how it’s told matters. If Hollywood continues to rely on the superhero universe model, it risks being overtaken by more inventive storytelling from China and other regions,” Zhang concluded.
