ORIGIN Review

Why do we do the things we do to one another? Maybe it's because I'm a fairly new father, maybe because I see the faces of a 9 year-old, 4 year-old, and almost 2 year-old whom I am responsible for daily and they have softened me, but I can't see a movie that deals in even the tiniest infraction against an innocent child and not question not only why the collective "we" do the things "we" do, but how people can perpetrate such hatefulness and bigotry toward someone else, much less an innocent child who has not only done nothing wrong but also doesn't understand why there is a prejudice against them in the first place. Not to spoil anything about Ava DuVernay's latest, Origin, but while much of this fictional adaptation of Isabel Wilkerson's nonfiction book Caste: The Origins of Our Discontents is focused on Wilkerson herself (portrayed by the great Aunjanue Ellis-Taylor) as we follow along on her journey to research and write the eventual book many of the ideas in this film are based on, where Origin really flourishes is when it detours into the past and recreates these stories from throughout different stages in history that inform the present story Wilkerson is desperately trying to shape and make sense of. Undoubtedly, these detours are what will cause some critics and viewers to hasten toward thoughts that the film is disjointed and tonally uneven, but the way in which DuVernay uses these reenactments to not only emphasize to the viewer the reality of these things Wilkerson is learning, but – for my money – beautifully weaves them throughout are what make both the film’s narrative and Wilkerson’s arc feel whole. To use a tired turn of phrase, they complement one another in such a way that by the time we reach the final moments where these two strands of storytelling coalesce, I was moved to tears – asking myself the basic question of, “Why do we do the things we do to one another?”.

Official Trailer for ZACK SNYDER'S JUSTICE LEAGUE

I've had little stake in the "Release the Snyder Cut" movement, but as someone who has always appreciated Zack Snyder's dark, almost sinister take on how super heroes might be received and/or implement themselves into modern society his films have always proved daring if not necessarily successful each time out. Man of Steel was one of my favorite films of 2013 and I absolutely adored the myth-building, Ben Affleck's approach to Bruce Wayne, and the sheer scope of Batman V. Superman: Dawn of Justice three years later which was only made better by the ultimate edition released later that year. Of course, all of this momentum - despite being stifled by a fair majority of critics - came to a screeching halt in late 2017 when Joss Whedon's re-configured Justice League hit theaters on November 17th. Snyder was already shooting his planned two-part Justice League when Batman V. Superman was released in March of 2016 and I can recall reading about set visits that June, many of which were attempting to course correct the BvS narrative and assure those that weren't fans of Snyder's vision for the DC Universe thus far that Snyder was listening and taking note. Of course, by May of 2017 Snyder - dealing with a family tragedy - decided to take a break from the project despite having completed principal photography and already screened a cut of the film for friends and fellow filmmakers. The story was Whedon was only being brought in to assist in some additional photography and to assist the remainder of the post-production process. A story in The Hollywood Reporter published in May of 2017 even stated, “The directing is minimal and it has to adhere to the style and tone and the template that Zack set,” said Warner Bros. Pictures president Toby Emmerich. “We’re not introducing any new characters. It’s the same characters in some new scenes. He’s handing the baton to Joss, but the course has really been set by Zack. I still believe that despite this tragedy, we’ll still end up with a great movie.” Needless to say, by the time Whedon's version of the film was released in November it was clear this wasn't the film Snyder intended it to be and large portions of the film had been re-shot and re-configured in order for Warner Bros. to get out from under the weight of Snyder's ambitious vision allowing them to move forward with more single-shot, director-driven films that Wonder Woman had proved could be just as successful earlier that summer. Five years later though, we're finally (somehow) getting a proper Justice League film and sequel to Batman v. Superman that Snyder always intended. As someone who was completely on board for Snyder's vision from the get-go I can't wait to see what this film holds and if/how it will change the course of DC films moving forward. In addition, this official trailer for the project does not disappoint and seems to hint that Snyder has delivered everything he promised his epic to be. Zack Snyder's Justice League premieres on HBO Max March 18th.       

WONDER WOMAN 1984 Review

Wonder Woman 1984 is not a good movie. Unfortunately. It's not that it's soul-crushingly bad, but it's just not good and it for one reason or another feels like it's completely mistaken silly for entertaining. Absurdity for ambition. There is a wealth of good intent imbued on the project as writer/director Patty Jenkins returns to continue crafting the titular character into more of a beacon of hope than ever, but come the end of this bloated two and half hour epic it's nearly impossible to see how anyone associated with the project could have mistaken it for quality rather than recognizing the bizarre (and often times extremely cheesy) choices that were made, not to mention the incredibly preposterous nature of it all. It's almost as if the film actively goes out of its way not to necessarily make its message more convoluted, but rather like it's trying to do or say more than what is actually on its mind. In other words, it's trying to make the simple idea at its center feel more complex and therefore more sophisticated when in reality said execution simply feels perplexing. The oddity that is this Wonder Woman sequel is difficult to describe as it's still somewhat mind-blowing that Jenkins along with co-writers Geoff Johns (a former executive at DC Entertainment and a prolific writer and producer) and Dave Callaham (seasoned franchise screenwriter) submitted this screenplay to Warner Brothers with the confidence not only that it would be approved, but that it was good while it's even more confounding that Warner greenlit this $200 million experiment. All of this is difficult to come to terms with as I very much am in the bag for excessively bombastic superhero films that have a distinct point of view and while Wonder Woman 1984 is most certainly excessive and most definitely carves out where it wants to stand in the pantheon of the genre none of what transpires on screen ever feels satisfying despite the virtue of what the film is trying to convey. Its a baffling misfire, an ill-conceived attempt at looking to the past in order to enlighten us about our future, but most of all it's disappointing. With the first Wonder Woman film three years ago Jenkins crafted an equally ambitious, but more balanced film that honed in on the titular character’s optimism and slight naivety while utilizing the tangible and rather terrible world she entered as a way of highlighting those qualities. 2017's Wonder Woman found the right avenues to take in order to balance the many ambitions it hoped to accomplish with its story and characters whereas Wonder Woman 1984 crams in so many disparate ideas and goes so far out of its way in such ludicrous fashion in order to say what it wants to say that hardly any of it resonates.

JUSTICE LEAGUE Review

I guess I should start out by saying that I am and always have been a fan of Zack Snyder. Without much effort I can recall sitting in the theater and experiencing Dawn of the Dead along with that moment when it clicked that this wasn't just a fun horror flick, but it was a good movie. I can remember seeing 300 several times if not for the admittedly thin story, but for the ways in which the director was pushing the boundaries of the visual medium. My heart almost dropped out of my chest upon first glimpsing that opening credits sequence to Watchmen in glorious IMAX and with Man of Steel it felt as if Superman had never been so epic; that the whole scope of his being had been presented, warts and all, even if most didn't agree that Superman should have warts. I loved Man of Steel and to a certain degree, I loved Batman v. Superman: Dawn of Justice as well. I'm not one to say that film is without its flaws, there is a convoluted nature to the proceedings that are unnecessary and it devolves into a CGI crapfest for the last forty minutes, but for me BvS was very much a personal film and one that was as grand in scale as it was deep with heart and rich with themes. Though the marks against it have their validity it is a film that arguably has more to say and more at stake than any other superhero film produced in the last seventeen years and certainly in the last nine or so since Marvel has streamlined the process. This brings us to Justice League, a movie that is hard for me to even call a Snyder film for, despite having the trademark look of the director during certain sequences, is undoubtedly the least Zack Snyder film to have ever been produced. It's sad and disheartening in the way that Justice League, or what Snyder began in 2013 and has been building through to up until recently has culminated with this, a vanilla action film with people dressed like characters we know and love, but to the benefit of a story that is paint by numbers if not the simplest example of such, a barrage of unfinished CGI and shortcuts, with no real stakes to be felt. Say what you will about those civilian casualties or the lack of awareness for them in previous films, but they added a weight to these proceedings that reinforced that in order for evil to be avenged evil first has to occur. Warner Bros. and Geoff Johns have gone out of their way to ensure Justice League took into consideration the complaints from previous endeavors and it does, resolving it to be the broadest and most generic theater-going experience one might have this year. The masses will no doubt love it.

WONDER WOMAN Review

Wonder Woman is quality popcorn entertainment with ambition. It is not the exception to the rule and it certainly has its issues, namely with pacing and its generic and derivative climactic battle, but much of this is easy to forgive due to that ambition; due to the fact it is earnestly trying to be more than it has to be. It has been a rather long time coming, but the day is finally here that we have a big screen, feature-length version of Diana Prince’s origin story. Director Patty Jenkins (Monster) has crafted a magnificently mounted piece of filmmaking that feels as grand and majestic as a Wonder Woman movie should. It also doesn’t hurt that the casting of our titular heroine couldn’t feel more right and kudos to Zack Snyder for trusting his instincts on such a decision despite the initial backlash the casting and costume of Gal Gadot received. As Prince, Gadot is endearing from the moment we see her desire to uphold the legacy of her people. This initial gracing comes as she trains for an ever-impending battle that threatens to destroy her hidden island of Themyscira and the fellow Amazons that live there with her. Though unfamiliar with the comic books or even the seventies TV show starring Lynda Carter I’ve always assigned Wonder Woman to be this kind of beacon of purity in the super hero universe. Besides this though, I wasn’t sure what, as a hero, she stood for or what her motivations were or what her history entailed that might have made her so driven to defend the world from the bad guys. Turns out, Wonder Woman is more or less a God the same way Hercules was. Maybe even more so; is Hippolyta (played here by Connie Nielsen) more God-like than Alcmene? I have to imagine so. While Jenkins’ Wonder Woman provides enough of the backstory and origin details to answer many questions that might pop up throughout what is most impressive about this latest DC Extended Universe film is that it keeps to the virtues of that character throughout in the way people fondly remember. Jenkins and scribe Allan Heinberg have actively kept Wonder Woman’s optimism and slight naivety intact while placing her in a world and time that is tangible and rather terrible, not to mention under-represented on film. Such is a testament to how well Wonder Woman finds the right avenues to take in order to balance the many ambitions it hopes to accomplish. Even if some of these aspirations don’t quite reach the heights as successfully as was hoped for it is that balance that is key as there is so much to admire and enjoy about Wonder Woman that it not only remains memorable, but affecting.

Full Trailer for WONDER WOMAN Starring Gal Gadot

And the trailers for the summer movie season keep on coming as Warner Bros. has released a new trailer for director Patty Jenkins' Wonder Woman AKA the last great hope for the DC Extended Universe. The first trailer for the film premiered last summer at Comic-Con and couldn't even be overshadowed by the release of the first Justice League footage. That first look showed off Matthew Jensen's gorgeous cinematography, some exhilarating and intense action sequences, as well as some seemingly solid chemistry between Gal Gadot and Chris Pine who looks to provide an opportunity for smaller moments and humor that will take advantage of the out of her element Amazonian princess. This latest trailer combines those best elements of that initial trailer as well as the more informative, but just as gorgeous full trailer that debuted in November. Wonder Woman sees Gal Gadot reprising her role as the titular warrior that first debuted in Batman v Superman: Dawn of Justice. While that film wasn't a unanimous winner most agreed that Gadot's Wonder Woman was one of the highlights. With this being Wonder Woman's first solo feature film a lot of pressure has no doubt been applied to Jenkins (who directed Charlize Theron in her Oscar-winning role in Monster) and screenwriters Geoff Johns and Allan Heinberg, both of whom have either worked with Zack Snyder on previous DCEU films or, in Johns case, will be overseeing the DCEU from this point on. Wonder Woman, which is set before the events of BvS, tells the origin story of Diana Prince. Set in the midst of World War I, Prince’s sheltered island paradise life is upended when Pine's Steve Trevor crash lands and tells of the conflict happening in the outside world, spurning Diana into action. Wonder Woman also stars Connie Nielsen, Robin Wright, David Thewlis, Danny Huston, Elena Anaya, Ewen Bremner, Saïd Taghmaoui, and opens on June 2nd, 2017.

New Trailer for WONDER WOMAN Starring Gal Gadot

Given this week has been something of downer for the DC Extended Universe with the announcement that Flash director Rick Famuyiwa would be leaving the project due to 'creative differences' and Marvel having their latest, sure to be blockbuster opening DC and Warner Bros. are still trying to look on the bright side of things by releasing a new trailer for Patty Jenkins' Wonder Woman AKA the last great hope for the DCEU. The first trailer for the film that premiered at Comic-Con this past summer couldn't even be overshadowed by the release of Justice League footage as that first look showed off Matthew Jensen's gorgeous cinematography, some exhilarating and intense action sequences, as well as some seemingly solid chemistry between Gal Gadot and Chris Pine who looks to provide an opportunity for smaller moments and humor that will take advantage of the out of her element Amazonian princess. This new trailer is essentially more of the same, but when your first one was as good as Wonder Woman's you don't have to do much more to sell your movie. Wonder Woman sees Gal Gadot reprising her role as the titular warrior that first debuted in Batman v Superman: Dawn of Justice. While that film wasn't a unanimous winner most agreed that Gadot's Wonder Woman was one of the highlights. With this being Wonder Woman's first solo feature film a lot of pressure has no doubt been applied to Jenkins (who directed Charlize Theron in her Oscar-winning role in Monster) and screenwriters Geoff Johns and Allan Heinberg, both of whom have either worked with Zack Snyder on previous DCEU films or, in Johns case, will be overseeing the DCEU from this point on. Wonder Woman, which is set before the events of BvS, tells the origin story of Diana Prince. Set in the midst of World War I, Prince’s sheltered island paradise life is upended when Pine's Steve Trevor crash lands and tells of the conflict happening in the outside world, spurning Diana into action. Wonder Woman also stars Connie Nielsen, Robin Wright, David Thewlis, Danny Huston, Elena Anaya, Ewen Bremner, Saïd Taghmaoui, and opens on June 2nd, 2017.

First Trailer for WONDER WOMAN Starring Gal Gadot

At its panel today Warner Bros. not only gathered its directors for all future DC films that are currently in development (including Ben Affleck, James Wan, and Rick Famuyiwa), but it also unveiled the very first trailer for Wonder Woman during at Comic-Con 2016. Directed by Patty Jenkins (Monster), the film sees Gal Gadot reprising her role as the titular warrior that first debuted in Batman v Superman: Dawn of Justice. While that aforementioned film wasn't a unanimous winner most agreed that Gadot's Wonder Woman was one of the highlights. In her first solo feature ever Jenkins has been paired with writers Geoff Johns and Allan Heinberg, with a story by Heinberg and Zack Snyder, and to be completely honest this first look at the film is gorgeous and looks to balance the tone of darkness inherent to the DC universe with plenty of fun asides and fun characters-including American pilot Steve Trevor (Chris Pine). This film, which is set before the events of BvS, tells the origin story of Diana Prince. Set in the midst of World War I, Prince’s sheltered island paradise life is upended when Pine's Trevor crash lands and tells of the conflict happening in the outside world, spurning Diana into action. With what we see in the trailer it is easy to take away that the film will look gorgeous thanks to Matthew Jensen's cinematography while the actions scenes look exhilerating and intense while the chemistry between Gadot and Pine seems to be on point with Pine providing a fine and funny foil for the out of her element Wonder Woman. It's a tall order for both Jenkis and Gadot to fill in that this is the characters first solo feature on the big screen, but if what we've seen today is any indication there seems no reason to worry. Wonder Woman also stars Connie Nielsen, Robin Wright, David Thewlis, Danny Huston, Elena Anaya, Ewen Bremner, Saïd Taghmaoui, and opens on June 2nd, 2017.

3 DAYS TO KILL Review

From the opening moments of 3 Days to Kill I wasn't sure whether I was supposed to be laughing or not. That the first real "name" we see on screen comes in the form of Amber Heard is nothing but disheartening, but when you start throwing in nicknamed bad guys like "the albino" and "the wolf" I think everyone sat back in their seats and immediately realized what type of movie we were in for. As Luc Besson has done ever since truly breaking through in America with Taken six years ago it seems he has been keen to write another action hit starring a credible, middle-aged actor at the center of it. Granted, Besson only writes these things and hardly directs, but his distinct European flavor is written all over them and while neither Lockout nor this will work the way Neeson's surprise hit did it was nice to see Kevin Costner give it a try and it was surprising, if not concerning, to see McG behind the wheel of another seemingly brainless action movie that if not proving to be exactly artistic could at least be fun. The guy has directed competent action/comedies before, I actually enjoyed the two Charlie's Angels films though history doesn't look too kindly on them now, but has had a rocky road of swaying back and forth between genres since and has never really found a way to re-gain his footing. This is also the problem with 3 Days to Kill as not only does it not know what it wants to be, but it never seems to gain its footing in the first place. From the opening sequence that has Costner's senior CIA agent tripping and coughing through a large European hotel we are made to think he is going to be the nonchalant charmer who does his incredibly difficult job with an ease that makes him appealing, but instead it simply turns out he is in the right place at the right time and there isn't necessarily anything special about him other than the fact that he is dying and sees the error of his ways in choosing to chase bad guys rather than develop meaningful relationships with his wife and daughter. 3 Days to Kill could have easily been that dumb fun action flick that sees Costner re-gain some of his prime in a leading role, but instead it just turns out to be dumb with an identity crisis that leaves us nothing if not discontent.