Finally got around to watching The Amazing Spider-Man. Oh boy is it great! Not only is it a reboot, it’s also an update, an upgrade, both, of the Spider-Man mythos we’re mostly familiar with. The guys behind this movie definitely went the extra mile (or extra swing) to give the fans more than what was promised.
This version took no time in expanding the Spidey universe, introducing Peter Parker’s parents right in the opening scene and how Peter ended up with Aunt May and Uncle Ben. Then, it also corrected the main deviations in the first trilogy: Gwen Stacy, a much more convincing and sophisticated girl next door, as played by Emma Stone and, the mechanical web-shooters—which is part OSCORP’s product, part Peter’s invention. (Midway thru the movie, I thought OSCORP would eventually hire Spidey to endorse their product, and let the abusive J.J. Jameson, this time as an ad agency mogul, enter the story.)
There are small additions changes here and there. The enhanced spiders and webs were retconned to be made by OSCORP, and it’s also implied that Peter’s powers may have originated from the older Parker’s experiments. My only beef is that they turned Uncle Ben’s famous words into a joke, albeit unintentionally. Martin Sheen’s cool, funny uncle could have been an improvement over Cliff Robertson’s, but without that classic line, he becomes secondary.
The biggest change of them all is Andrew Garfield’s Peter Parker, who’s actually a cool kid pretending to be a geek. He’s a quippy masked vigilante who’s also kind of a dick. He ditches his girlfriend in time of grief, for a promise he couldn’t keep, and then break the same promise just because “those were the best kind.” All in all, this Peter Parker is an affable jerk. (At least he got the girl this time, and is able to actually fork her brains out—for a change.) Continue reading “Looking Back at Marc Webb’s Amazing Spider-Man”
“What are you, god of hammers?” Odin asks Thor at one point in the movie. Then Thor does his thunderbolt thing and we’re treated to what might be the coolest battle sequence in the whole Marvel Cinematic Universe since Scott Lang turned into Giant-Man, or since Peter Quill made a giant Pac-Man to the tune of Fleetwood Mac’s “The Chain”. It’s so frickin’ awesome and thanks to director Taika Waititi, Thor: Ragnarok is now officially, the wackiest Marvel ensemble comedy to date this side of Joss Whedon.
Thor: Ragnarok opens with Thor captured by the demon Surtur, bound and hanging from a chain in the Asgardian underworld. While Surtur tells about Ragnarok a.k.a. the destruction of Asgard, Thor kind of breaks the fourth wall as he interrupts the background orchestra and the demon’s grand proclamations every time he slowly spins away from Surtur’s view. It’s a sequence that brings to mind GotG and Deadpool, effectively planting the movie’s overall tongue and tone, firmly in its cheek.
Minutes later, it’s family reunion time, as Thor is re-united with Loki, who’s been ruling Asgard as Odin and staging plays about his pseudocide in the last movie; then later with Odin, who’s just waiting for his final moments in Norway; and finally, with his older sister Hela, who was imprisoned by Odin and written out of history for her great evil ambitions and has now returned to take over Asgard, leaving Thor not much time to grieve or be bitter over Loki’s deception. Thor and Loki, suddenly on the same side, finds themselves outmatched, as Hela destroys the Mjolnir without much effort and kicks the brothers out into space while they try to escape thru the BEEF-roast.
The fun ride continues as Thor crash-lands into an alien planet and becomes a gladiator-slave owned by Jeff Goldblum, who, here, goes by the moniker the Grandmaster, ruler of the colorful wasteland called Sakaar (a goofy combination of neon lights, pinball aesthetics and Jack Kirby-inspired sets). Thor is forced to fight a gladiatorial death-match against the current champion, who turns out to be… the green brute Hulk (“He’s a friend from work”)—but we already knew that. Continue reading “Thor: Ragnarok — Some Loud Thunder”
With the release of Thor: Ragnarok, Marvel has now churned out seventeen movies. Yep, that’s right. Seventeen fuckin’ Marvel movies and almost all of them widely popular with both critics and fans, almost all of them hit big at the box office. But not all of them are great or good. There are few stinkers and there are a few gold. The list below starts with the stinkers with the movies listed in descending order.
The Incredible Hulk (Louis Leterrier, 2008). Say what you want about Ang Lee’s Hulk, that’s still better than this movie. This louder rehash only improves on the special effects the action, which everyone soon forgets once Mark Ruffalo shows up in The Avengers.
Iron Man 2 (Jon Favreau, 2010). Iron Man 2, or: How To Make A Bloated Sequel. Black Widow made her first appearance in this movie. That’s the most vivid detail I remember from this really really long talky Robert Downey Jr. movie. That and Tony Stark literally pissing his pants.
Captain America: The First Avenger (Joe Johnston, 2011). Joe Johnston brought his Rocketeer aesthetic into an alternate 1940s giving it a frozen in amber quality. It was good in that it looked different, if only it wasn’t so boring.
Deadpool reminded me of Spider-Man. Sam Raimi’s Spider-Man, that is. Deadpool was half the movie that Spider-Man was, but with enough adult things—humor, language, sex, violence—to make up for the lacking half.
Spider-Man: Homecoming reminds me a lot of Deadpool, but in terms of the adult things—humor, language, sex, violence—the latter was (in)famous for, Homecoming‘s only half the fun that Deadpool was. It’s Deadpool-lite, with the latter’s hard-R rating cut to whiny PG-13.
Marvel has finally “marvelized” Spider-Man—which is both good and bad—the same way it did Thor, Cap, and Iron Man. The good: the casting of Tom Holland as Spider-Man/Peter Parker (easily the most precise (best?) incarnation of the character, a perfect middle ground for those who find Tobey Maguire too dorky and those who find Andrew Garfield too dicky), Marisa Tomei as Aunt May, and Michael Keaton as Adrian Toomes, Marvel’s ability to present a plausible comic book world that’s close to our own, and the impressive visual effects—all of which, should be pretty much given by now in every Marvel movie. And these are among the main reasons for these movies’ box office draw and the franchise’s enduring appeal.
No, I don’t think Logan is the greatest comic-book movie since The Dark Knight (which isn’t even great to begin with). But it’s probably the best X-Men movie yet. I used to agree with the general consensus that X2 was the best of the lot, but Logan is also a remarkable movie and it gets Wolverine right. And that for me, says a lot.
While the first two X-Men movies by were generally well-loved by both critics and fans, I’ve always find them lacking. Patrick Stewart and Ian McKellen as Professor X and Magneto respectively, brought gravitas to these surprisingly earnest comic book movies (the much maligned third movie had actually more fun to offer, especially with Juggernaut, Mystique and Multiple Man). Hugh Jackman took the role of Wolverine, and made a career playing the fierce but sensitive mutant from Canada. Unfortunately, the other supposedly key characters (Cyclops, Storm, Jean Grey, Beast) were sidelined, and nearly forgettable. While Rebecca Romijn, in her very physical and almost dialogue-free role as Mystique, steals the show from almost every one of them. Sure, Bryan Singer has style, but it’s a style that muted the colors and voices of these supposedly motley crew of outsiders.
Yes, these movies touch on relevant issues (i.e., xenophobia, LGBT). But so did the comics and the ’90s cartoons, which, arguably did better doing so than the movies. In fact, that is only to be expected of these movies. What I did not expect was how Wolverine-centered they were. Were they called Wolverine and the X-Men, I won’t be complaining how the rest of team didn’t get to do much. Also, I thought these movies were just too serious for their own good. Logan was allowed to make jokes, but at the expense of the other characters, like Cyclops and Beast, who were both badly underwritten. And sometimes, the seriousness lapses into something silly, unintentionally (i.e., X-Men‘s amusing third act fight scenes, Prof. X saying goodbye to Cyclops in X2 (couldn’t Jean talk to Scott directly?)) Continue reading “Is ‘Logan’ The Best X-Men Movie?”
There are only two good things in Joel Lamangan’s Siphayo (Dismay): one of them is the subplot about shopping malls killing small business establishments and the conversion agricultural lands into commercial centers. The movie opens with a terminally-ill Fely coming home from the hospital with her husband Dante and their two sons. On the way home, they stop by the rice-fields and she tells his two sons to help their father till the fields and never ever let go of their land—even if it means a whole lot of money if the mall owners would buy their property.
Conrado, the eldest son, slaves in his father’s rice mill while his wife Sol cleans and cooks for them. Conrado wanted to work abroad, but decided to stay after he fell victim to illegal recruitment. Roland, the younger son, is soon to graduate from college and has no interest in dirtying up his hands. One day, Dante brought home Alice, a young pretty nurse—not to look after Fely, who died few days prior, but to take care of Dante’s nightly business. Yes, she’s the same nurse he brought home earlier and took care of his dying wife one day before she died. Conrado’s outraged and plots to roust Alice. Sol on the other hand, is just happy she could finally work in the nearby mall while Alice stays at home to do the chores. Roland, who’s made to look like a hulking hunk in a high school uniform earlier and an idiot for the most of the movie, is just happy to be complicit in his brother’s plan.
The movie’s overall clunky, with Sol the most grounded character in the story. Sol’s character, like the aforementioned subplot about shopping malls, adds something of interest to this overly familiar story. But it’s lost as the movie tries too hard to be an erotic-thriller and ends up mostly devoid of thrills.
This cuts the movie further down to its erotic elements. And it might have been better, had the movie dropped the “thriller” part and just focused on the family drama and in the bed department. Because as Nathalie Hart’s first big movie, it is a bit disappointing. Because Elora Espano’s lone bed scene packs more heat than all of Nathalie Hart’s nude scenes. Simply, Sol felt more like a real person compared to Hart, whose mestiza looks, big boobs, and thin frame, weren’t enough to compensate for Alice’s paper-thin character. Still, the movie would have been OK. If only the third act isn’t so silly and trying-hard, to put the “thriller” in erotic-thriller. It could have been an erotic-drama instead, but without the laughably contrived ending—which just feels weird, unnatural—like a well-endowed pair, made of silicone pudding.
Here’s what—should Marvel hire Quentin Tarantino and give him 100% free rein:
It would be set in the near future where the world is enslaved by Loki and the formation of Avengers never happened. Why? Because a deadly assassin killed Nick Fury in the ’70s. Doctor Strange would send Captain America back in time to stop the assassination.
Fury would be portrayed by Samuel L. Jackson in Jheri curl. He still has two good eyes, but he’ll lost one by the end of the movie. Cap would have few but important lines; Samuel L. Jackson would do most of the talking.
To get to Fury, Cap would need to hook up with hookers, nuns with guns, and sexy spies. Expect lots of T&A and few glimpses of untrimmed hair because this is the ’70s! Cap’s magic shield wouldn’t work in this movie; he has to do a lot of heavy action scenes and sweaty bed scenes without CGI, green-screen, shaky cam and frantic editing.
There would be a scene where SHIELD’s Agent Skye shows Cap her voluptuous… vinyl collection. And Cap would unsheathe and play her delicate… Delfonics LP. Off-screen, she’d be heard whispering OMG’s ever so softly.
The assassin’s identity would be revealed as Cap, Fury, and Skye find themselves on the wrong end of a brutal fight. Cap would do the ultimate sacrifice to save Fury. (Cap dies during climax.) The assassin would escape through a time portal created by Doctor Strange.
Epilogue: Present day. Bucky opens the door and enters his apartment, groceries on both hands. He finds Fury waiting inside with gun aimed at him.
Bang! Bucky’s hit between the eyes and falls on the floor.
A rodent crawls across the window.
Roy Buchanan’s “Sweet Dreams” fades in. Black screen. Credits.
Kita Kita (I See You) could be a distant relative of Richard Linklater’s Before Sunrise; only it isn’t presented in real-time, it’s set in Japan instead of France, and the male lead (Empoy Marquez) hardly resembles Ethan Hawke. And KZ Tandingan’s version of Air Supply’s “Two Less Lonely People” frequently plays in the background. Okay, the two movies are probably more different than similar. Kita Kita tells of a bittersweet love story between Lea (Allesandra de Rossi), a Filipina tour guide in Japan, who suffers from temporary blindness and her unlikely Prince Charming, whom she met after. The story follows this unlikely couple as they wander around the picturesque where-to-go attractions in Sapporo and Hokkaido. The movie happily forgoes typical romantic comedy tropes and mostly features its two leads talking to each other—the dialogue most likely improvised. In short, it’s not your usual rom-com with the best-looking couple, manufactured conflict, and predictable plot. And just when you think that that is all, it burst its own bubble by telling the B-side to the story in the second half. Truly, love is blind. And only in darkness can we see the stars. Or in the case of Tonyo, only after he got wasted drinking 24 cans of Japan’s famous Sapporo lager. Consider this as Philippines’ “thank you” to Japan for featuring San Miguel Beer in the original Ghost in the Shell. Oh, there’s a part that reminds me of Il Mare. Don’t ask, it’s a spoiler
Language barrier is a bitch. Kaya (Sora Aoi), a Japanese chick in Thailand leaves for the US after graduating from her English class. Then, she dumps her Thai boyfriend Yim (Sunny Suwanmethanon), via a recorded message (in English), thru the help of her friend/teacher/translator Ms. Pleng (Preechaya Pongthananikorn). You ask, how did they become lovers in the first place? Kaya probably speaks a little Thai, but according to Yim they’re really in love (they’re sleeping together). Thus, Yim gets desperate to learn his ABC’s just to win Kaya back. Pleng, who’s reasonably hesitant at first, eventually agreed to help Yim—but only after she received grave threats from the latter. There really isn’t much with movie’s will or won’t they plot. And it doesn’t need the whole movie for girl and guy to realize they’re meant to be together. Who would you rather: pretty, bubbly, and wholesome teacher Pleng or far and away and not a little bit promiscuous Kaya? It’s obvious (but I’m not gonna judge you if you choose former JAV idol Sora Aoi). If the romantic aspect isn’t much, is the comedy any better? The movie isn’t free from rote slapstick routines, but it’s funnier when it’s just the two leads together. One time, Yim tells Pleng’s ex-boyfriend/suitor that they’re married and she’s pregnant, only so he’ll stop seeing her. There’s also this really funny scene where one poor school boy shit his pants after Yim caught him in the act of taking upskirt picture of Pleng.
I don’t get this bias towards serious comic book movies. A movie has some convincingly Oscar-worthy drama, then all of a sudden it’s the best comic book movie since The Dark Knight. People heap praises on these two movies yet no one bothers to mention Unbreakable, M. Night Shyamalan’s subdued superhero drama and follow-up to his more popular debut The Sixth Sense. Why cream your pants over Logan and not Deadpool? When Deadpool had more success at being irreverently funny than Logan did with its sob story. Don’t get me wrong, Logan is a fine movie. It probably has the most memorable portrayal of both Logan and Charles Xavier in all of X-Men movies. Logan’s old, resigned, half the beast he used to be while Xavier’s annoying, old, and sick, which makes him more dangerous. And I liked the dynamics between these two characters (the plot concerning the young mutants, not so much); like in the scene where Xavier needs to take a leak. And with a little detour, it is able to give what should have been the true essence of every X-Men movie—humans and mutants—which made the movie for me. But the movie’s really about X-23, old man Logan, and their kind of forced father-daughter drama, and those other young mutants—it is more than OK, but nothing to get too crazy about.
Kenneth Calloway (Mark Duplass) is a weird guy. He posted an ad in the local newspaper looking for a time-travel companion. “Must bring your own weapons. Safety not guaranteed”, it said on the ad. Enter Darius Britt (Aubrey Plaza), a disaffected geeky intern from Seattle Magazine, who posed as a candidate, only so they could set up Kenneth for an interview. And guess what, they clicked in no time. Kenneth proceeds to train Darius in preparation for their trip, while Darius’ boss Jeff (Jake Johnson) and the other intern pass time. There’s also a sub-plot where Jeff tries to reconnect with his old flame which mirrors Kenneth’s reason for wanting to go back in time. Meanwhile government agents are growing suspicious of Kenneth’s activities which includes but not limited to stealing pieces of technology from a laboratory. Is he nuts or is he not? Was expecting a low budget science-fiction thriller and this is what I got: an endearing well written science-fiction comedy. There may be no eye popping visual effects, but the characters are 3D.
This was showing on the bus again. Sure, Will Smith Jr. couldn’t act yet in this movie. But it’s an underdog story. And everyone loves an underdog story. Plus points for knowing how action movies work (i.e., the protagonist’s best move was never revealed until the final round). Nevermind the improbable. Beating the Chinese kids in their own turf? Maybe? Winning the tournament with one broken leg? Are you fucking kidding me? Nevermind that the kids were too young to really be in love. Because amidst all things that make this a typical Hollywood fluff, is Jackie Chan’s kung fu master with a tragic past. Jackie Chan’s always fun to watch. But here, he does drama and not the usual physical comedy. Nevermind that Jackie taught the kid kung fu and not karate (didn’t realize that until somebody pointed it out). Jackie Chan’s rare turn in a serious role is somewhat riveting, providing the much needed weight, if not heart and soul, to this otherwise forgettable remake.
Like Bruce Wayne in Batman Begins, Stephen Strange went to Asia looking for the cure (unbeknownst to the former doctor, the band resides in England—y’know, Three Imaginary Boys, 1979). Unlike Christian Bale’s Wayne, Benedict Cumberbach’s Dr. Strange has a slick sense of humor (“Just Wong?… Like Adele… Or Aristotle? Drake? Bono? Eminem…”) He didn’t find the cure (but later encountered their black-eyed goth followers). Instead, he got into the world of sorcery, or in his ex-girlfriend’s words, he joined a cult. Just like this movie joining the cult of fairly entertaining but underwhelmingly average MCU movies.
At the outset, the movie looks impressive (i.e., architectural wonders folding and unfolding like clockworks). Marvel definitely put their money where their mouth is—that is, on SFX, bold and capital. Still, Doctor Strange isn’t the Ditko/Kubrick/Miyazaki/The Matrix mind-trip Kevin Feige said it needed to be. Ditko, sure, a li’l bit from The Matrix and a lot from Inception, minus the well established logic of the latter and the Wachowskis’ stylish kung fu mix. In short, it looks different from all other MCU movies. Yet, for some reasons, it also feels and looks the same—it’s lightweight, jokey, and heavy on CGI.
Doctor Strange isn’t as mind-bending as Kevin Feige thought it should be. Why? Because it takes more than fancy 3D eye candy to be truly mind-bending. It never quite absorbs you into its world in the same way The Matrix and Inception do. In comparison, Thor’s rough sketch of the Tree of Nine Realms was more interesting—yes, it sounds BS—but at least that movie understands no one’s supposed to take it seriously.
But they got Doctor Strange’s character right. Tilda Swinton, who anchors the movie’s more serious moments, disappears into her character as expected. Rachel McAdams, who plays Strange’s ex-lover, is just lovely and fun to watch—too bad she’s underused in the movie. Continue reading “Doctor Strange (Scott Derrickson, 2016)”
Bliss is a well-crafted little film, an elaborate tease tinged with mild voltage of shock, a psycho-sexual thriller that approaches but never quite reaches the level of mind-fuck. The movie’s a clever play on parallels: Iza Calzado’s showbiz career with that of Jane Ciego; Jane’s to that of Abigail, the protagonist in Bliss; Jane’s real-life husband Carlo to the actor who plays her husband in Bliss, played by Ian Veneracion; Bliss’ indie writer-director Lexter Palao (Audie Gemora) to Jerrold Tarog; and that bald TV host played by Michael de Mesa to real life TV host Boy Abunda. But the most important of all is that of Jane Ciego and the nurse played by Adrienne Vergara. One child gets to live her dream of fortune and fame. The other child lives to share her nightmares with the other.
Jerrold Tarog’s script leaves clues and peanut shells along the way, makes sure you don’t get lost in the strip tease. Movies like Misery, Persona and Inception were mentioned in the film, but not Satoshi Kon’s Millennium Actress and Perfect Blue. Bliss may be lacking in full-sized thrills and effective scares, but intrigue, gratuitous nudity, and moments that are strictly not for the squeamish, more than makes up for it. That being said, claims that the film’s ending spells mind-fuck are grossly exaggerated. Bliss is nothing but a tease; like a bomba film that didn’t go full “pene” but just slides in the tip. It’s like minutes and minutes of foreplay without the actual sex.
But no sex is OK, especially when one is tired and badly needs to sleep. Like Jane at one point in the movie, getting tired of all her showbiz routines. I thought she’s much like the local movie theaters and the movie goers, already tired of looking for something different, feeling shortchanged most of the time. There should be more choices in our cinemas; not just the usual studio love teams, tepid rom-coms, and the predominant but mostly unimaginative Hollywood movies.
Perhaps this is what Bliss is: it’s the evil nurse pushing us away from the comfort zone, sending voltage of shock and sensation, rousing us, leaving us gasping for air, asking for more. There are lots of good local indie movies out there waiting for a wider audience. Bliss is just one of them. If only the local theater owners would realize, we’re more than willing to pay to see them.
Damon Macready (Nicholas Cage) was a good cop out to get NY kingpin Frank D’Amico (Mark Strong)—who in turn framed him for drugs and got him incarcerated. Macready lost everything while in prison, save for his little girl—thanks to his buddy Sgt. Marcus Williams (who showed up in the movie for a few minutes just to read Macready’s first graphic novel and reveal what this movie is all about: Macready’s revenge). Of course, Macready has since returned. This time as the masked vigilante known as Big Daddy. Big Daddy together with Hit-Girl a.k.a. his now 11-year old daughter Mindy (Chloe Grace Moretz), are on to destroying D’Amico once again. They’re no super-heroes; they’re only out for blood.
Elsewhere, there’s Dave Lizewski (Aaron Taylor-Johnson) and his friends wasting time geek-talking about superheroes—how no one’s attempted to wear the mask and fight crime in real life. When Dave finally decided to don the green unitard and take on the streets, the results ranged from “nothing happens” to downright bone-crushing. In other words, he got his own ass handed to him a few times. And then he went viral and eventually conquered MySpace. (MySpace, of course, would eventually lost to Facebook, as can be seen in David Fincher’s brilliant Mark Zuckerberg movie, The Social Network.)
On the side, there’s Lyndsy Fonseca as Katie Deauxma, the requisite (not that I’m complaining) love interest, Dave’s long-time crush and Kick-Ass‘s own MJ (an improvement over Spider-Man‘s Kirsten Dunst). Continue reading “Kick-Ass (Matthew Vaughn, 2010)”
I kept thinking. That this could have been funnier like Shaun of the Dead. That this could have been geekier like Scott Pilgrim. That there could have been more inventive fight scenes—had Edgar Wright stayed to finish what he started. Just take Luis’ (Michael Peña) crafty way of telling his stories, for example, or the many times where Ant-Man fights, shrinks and puffs up—all of which could have been much much more engaging with Wright at the helm. I was thinking of things Marvel could have done to address this issue—this lack of panache on the director’s end. Perhaps, they should have made poor Scottie steal some sugar cubes like Arrietty and her Dad in that Ghibli movie. And made this a heartwarming children’s movie. Or better, made him watch Ms. Marvel (Brie Larson) while she . . . she . . . wait, she isn’t even introduced yet in this universe, so that would not be possible.
What we got is a movie that follows the basic premise of Edgar Wright’s Ant-Man (a version of the movie that, sadly, we’ll not be able to see). Hank Pym, the original Ant-Man and a scientist who distrusts Howard Stark (and by extension Iron Man and his cohorts), wants to pass the torch to a protege. And that protege is Scott Lang, a well-meaning thief, an ex-con who needs to secure a job for his young daughter Cassie. And it’s also a heist film that has Lang and lots and lots of ants break and enter a highly secured facility to “steal some shit”. And of course he has to fight the villain Darren Cross, who’s easily the most convincing bad guy in the Marvel universe (he turned one co-worker into a sushi earlier in the movie, in a scene probably inspired from the original RoboCop).
But that’s only half the movie, more or less. The other half is what Peyton Reed, Adam Mckay and Paul Rudd, contributed to the script: the music, Luis’ tip montage, Falcon, Quantum Realm, adding more of Hope Van Dyne in the story, and streamlining the whole movie to make it more fit to the pre-existing bigger story. Allegedly, all this in lieu of the crazier stuff, the more far out ideas Wright and Joe Cornish had originally. Still, the movie ends up like a B-side—disconnected but not totally unrelated—to all the towering destruction from all the other Phase Two movies. Which only adds to the disappointment—that we didn’t get to see the crazier stuff—given this wouldn’t have much impact on either the crossover or the other standalone series. Continue reading “Ant-Man (Peyton Reed, 2015)”
Near the end of Wonder Woman, I couldn’t help but think of that hapless lady, who found Diana Prince hiding behind the shrubbery, and subsequently gave her dress to her. I wonder what happened to her. Or in case she’s well and alive, how would she explain to her friends, what happened there in the woods.
Of course, the whole thing happened off screen. After that, we see Diana enter the party in a long blue dress, the god-killer sword concealed behind her back. And this was after Diana was told that she “can’t do this, can’t do that”, for the nth time—with Steve Trevor and the rest of team leaving her alone in the woods. Some found this empowering, that throughout the movie, she does what she needs to do and not what she’s told, and the fact that this was helmed by a female director. While some noted the total absence of male gaze, totally refreshing. Me, I was ready to revamp my top ten superhero movie list. Was already thinking which among a number of movies—Joss Whedon’s The Avengers, Matthew Vaughn’s Kick-Ass, and Deadpool—should go down a notch or two.
Did I just make it sound like Wonder Woman is really an awesome movie? In parts, yes, it is awe-inspiring—more than some of the more popular superhero movies (i.e., The Avengers, Civil War, The Dark Knight). The other time Diana was told she can’t do something—that she can’t save those people caught in the crossfire—I literally had to pick both my heart and jaw up from the floor. Continue reading “Wonder Woman (Patty Jenkins, 2017)”