#Post-Gal Gadot is any time after her casting

[andrewmoocow]

Little Homeworld Life chapter 23: Eye of the Beholder (originally posted on May 29, 2023)

AN: Took me a long while, but Squaridot has her own episode at long last! Unfortunately, it'll be one of the last two fun slice of life episodes we'll get, the second being the one after this, before we move onto the finale of Little Homeworld and inevitably, the start of this universe's 12-chapter grand finale "Steven Universe Snake Eyes". Yeah, if Ronaldo's outburst last episode was any indication, combined with the final scene of the last episode of Black Pearl Brigade, we shall finally meet the Snake People, or Sneople, face to face. However, what I have planned has yet to come. In the meantime, have some Peridot-brand shenanigans in probably a much shorter chapter than usual.

Synopsis: Squaridot learns about meep morps from Peridot.

Cast:

Shelby Rabara as Squaridot, Peridot

Jennifer Paz as Lapis, Laz, Zuli

Gal Gadot as Desert Glass

Noël Wells as Black Rutile

Amy Sedaris as Teal Zircon

Estelle as Garnet

Michaela Dietz as Amethyst

Deedee Magno-Hall as Pearl, The Black Pearl Brigade, Yellow Pearl

Kimberly Brooks as Jasper, Superfan Rose, Hippie Rose, Shy Rose, Carnelian, Skinny Jasper

Lauren Ash as White Topaz

Casey Lee Williams as Cat's Eye

Christine Pedi as Holly Blue Agate

Hayley Kiyoko as Morganite

Christine Baranski as Hessonite

Featuring Nolan North as Ross Roberts

--

"Howdy folks, my name is Ross Roberts, and welcome to this week's installment of The Wonders of Creativity." A painter in a ridiculously huge afro said in an incredibly soothing voice to his viewers at home. Viewers like Squaridot, for example, who was watching the program very intently. "For this episode, we're going to paint a nice little picture of a cozy cabin in the woods. That's right." The host began his demonstration by showing off each of his paints as he stuck his brush in them. "Now then, we're just going to start with a little Virtuous Viridian for the grass. Can't have a forest without grass."

"Fascinating." Squaridot muttered in wonder as Ross Roberts continued painting his forest scene and giving instructions overly relaxingly.

"I do declare; we're making some good progress so far." Ross stated after he finished painting the grass, some happy little trees, and the beginnings of a bright sun in the sky." He then dabbed his brush in some blue, which he dubbed Blue Angels. "Now then, let's add some Blue Angels into the mix to form a clear summer sky." Unfortunately, Ross lost his grip and accidentally spilled his entire pallet onto his canvas, much to Squaridot's shock and dismay. "Whoo, that did not go the way I wanted it to!" he exclaimed at his own clumsiness before turning to his viewer with a shrug. "But that's okay. Oftentimes in art, you make mistakes, but they can also be opportunities to learn. I may not have gotten the painting I wanted, but I can still make something new out of it."

"Like what?" Squaridot asked Ross, even though he could not answer, before he pulled out a paintball gun from off-screen and fired it at his canvas, stunning Squaridot as the canvas was utterly pelted with paintballs. "WOW!"

"There now, that ain't so bad." Ross declared serenely. "Now then, I'm afraid that's all the time we have for today, folks. So from all of us here, I'd like to wish you a happy painting; God bless us, everyone, and remember, hugs, not drugs." The program then ended, leaving Squaridot amazed at how Ross Roberts was so calm the entire episode.

"That was so interesting!" Squaridot gasped to herself. "I never realized how you can do literally anything with art! I must tell somebody about this." Luckily, she knew exactly who to tell about her experience.

--

"Not bad, you guys." Lapis complimented her sculpting students' work elsewhere in Little Homeworld. "Hey, if you want, you can submit your work to a meep morp show we're putting on later today."

"Excellent." Black Rutile declared while creating a sculpture of herself from clay. "I've been constantly pondering building a statue to myself in honor of how amazing I am, and I must display it for all to see."

"Boy, you're as conceited as ever." Peridot stuck her tongue out at Black Rutile before seeing Squaridot rush up to her. "Oh, Squaridot, good day to you."

"Peridot, I come to tell you something that I really want to do!" Squaridot exclaimed eagerly. "I want to do some art!"

"Oh, took you long enough!" Peridot laughed heartily at her squarer counterpart. "Though Lapis and I prefer to call them meep morps, we're okay if you insist on calling it art."

"Good to see a fellow artist among us," Lapis added. "What made you want to pursue it, Square?"

"I was just binging episodes upon episodes of Ross Roberts' The Wonders of Creativity," Squaridot answered. "I've just been suckered into how soothing the host's voice was."

"Yeah, that is definitely a big draw of the program," Peridot stated with a hand on Squaridot's shoulder. "But on a related subject, let's talk about all the different kinds of meep morps you can do! For example, Lapis teaches sculpting, but there's also painting, drawing, literature, photography, and music. Or you can do what we do and throw random things together to make something new."

"Hey, that reminds me," Squaridot replied. "what made you two pursue art, and why do you call it meep morps?"

"Well, I chose to call them meep morps because I thought it would be funny," Lapis revealed. "I mean, just those words together kept making me laugh, and it just stuck."

"As for how we got into artwork, that's quite a tale," Peridot added. "You see, it all started when we were making ourselves home at the barn."

--

"Well, Lapis, how are you doing remaking this old barn?" Peridot asked Lapis while the two were busy remodeling the barn to fit their needs. Earlier that day, Lapis had tossed a truck into the wall above the big doors as a way of venting her frustrations with Jasper, and that gave Peridot the idea to spruce up the place instead of leaving it to be devoured by the numerous termites lurking there.

"Coming along nicely," Lapis replied while lifting up the silo with a pair of water arms and positioning it at the side of the barn. "You're good to go now!"

"Excellent!" Peridot declared before she welded the silo into the wall with her tools. "That should do the trick; the barn's exterior has officially been overhauled. Now what to do about the inside?"

"Not sure if we really need a fridge or heating or something," Lapis observed the current status of their pet project. "What do you think?"

"I don't know; maybe some art could do," Peridot suggested before pulling out her tablet and looking up art pieces online. "Unfortunately, a lot of these seem ridiculously expensive. I mean, this old Japanese painting of an orange fire ninja fighting a blue ice ninja is worth $1,081,992! Do you know how much that's worth in Minerals?!"

"Beats me; I was never really up to date on the Gem economy." Lapis shrugged while Peridot crunched the Gem equivalent of such a price.

"About 89,1006 minerals!" Peridot yelled in response and shoved her tablet in Lapis's face. "We don't have that kind of money!"

"So, are you suggesting we make some ourselves?" Lapis suggested. "What ideas do you have?"

"I'm glad you asked." Peridot proclaimed as she looked around the farm. "There's just so much we can do with all this old junk lying around. Plus, it could be a good, and less dangerous, way of coping with stress."

"Yeah, I like the sound of that meep morp." Lapis agreed before she started laughing. "Oh my stars, why did I think that?!" she chuckled. "It's just such a funny word!"

"That did sound pretty funny!" Peridot added while rolling on the grass in amusement. "Why don't we start calling out art pieces meep morps?!"

"Yeah, great idea!" Lapis continued laughing before she realized what she and Peridot just did. "Wait, what?"

--

Back in the present and later in the day, Squaridot had begun work on her own meep morp to enter into the art show with help from Peridot, Lapis, Laz, and Zuli. For her first attempt, she had constructed a perfect replica of her old Attack Pod from back when she was a servant of Hessonite. "Well, what do you think? Not bad for my first attempt, huh?"

"Yeah, not half bad," Peridot responded while knocking on the replica Attack Pod. "It looks almost like the real thing!"

"That's because it is!" Squaridot proclaimed. "Well, partially the real thing. Do you know that whole Ship of Theseus thing? Well, I basically took what I could find of the original Attack Pod and replaced everything that was broken! In a way, I basically rebuilt it."

"Yeah, but how much of the original is still left, I wonder?" Zuli asked quizzically.

"Let's not get too deep into this." Laz stopped Zuli's philosophizing in its tracks before she knocked on the statue. "You sure this isn't going to turn on at any moment and go on a rampage?"

"Oh nonsense, I took very special precautions to ensure such a thing won't happen!" Squaridot exclaimed nervously before the machine suddenly activated. "Oh no."

"TARGET CONFIRMED; INITIATE ASSAULT." The Attack Pod droned as it fired away at its surroundings, causing nearby Gems to panic while Squaridot awkwardly shuffled away.

"No, wait, come back!" Peridot yelled as she chased after the Attack Pod.

"Wait here, Squaridot, we'll handle this," Lapis said as she flew up and followed Peridot to stop the Pod.

"So, very special precaution, eh?" Laz smirked at a very nervous Squaridot.

"I'm so sorry for all of this." Squaridot meekly apologized.

"Don't worry, squirt," Zuli cheered Squaridot up. "Hopefully, we can find some other form of art that won't start destroying everything in sight!"

--

Once Peridot and Lapis stopped the rampaging Attack Pod, they returned to training Squaridot in the ways of meep morps. This time, they sat her in front of an easel with a set of paints. "Okay, so what do you want me to do now?" Squaridot asked.

"Anything, ah doy!" Lapis advised Squaridot. "That's the beauty of painting; you can basically do whatever you want. Then again, the same goes for all kinds of art."

"Anything I want, huh? Then anything you shall get!" Squaridot declared as she got to work on her painting. When she finished, however, Peridot and the Lapides quickly noticed how familiar the smiling woman she painted was. "How do you like it?"

"Hate to break it to you, but that's already been done." Laz gave her critiques.

"But on the plus side, I love how you perfectly recreated it." Zuli added politely.

"Wait, you mean to tell me someone already painted this?!" Squaridot complained before she threw her finished painting away and started anew. "I must find something else to paint, something way more original!"

"Don't get so discouraged; you'll find your footing." Peridot calmed Squaridot's nerves before discovering that the other Peridot had now completed a painting of a human man with two pairs of his arms and legs superimposed on him and spread apart. "See, you're getting good at it!"

"Actually, I'm pretty sure I've seen that one before too," Lapis added while resisting the urge to laugh at the nude man Squaridot just created. "Try another!"

"Will do!" Squaridot declared before painting what looked like a massive tidal wave looming over three boats in a storm. "No!" she complained before throwing it away and painting what looked like a beautiful starry night. "No!"

"What are they doing?" Jasper muttered as she and White Topaz watched Squaridot paint the day away.

"Looks like Squaridot is painting." White Topaz observed. "Should we go help her? She's looking really distressed."

"Naw, this is something she has to do herself." Jasper coldly replied before walking away from her girlfriend. "Come on, Paz, let's check up on the rest of the entrants."

For what felt like hours, Squaridot accidentally recreated famous paintings only to throw them out and start again. Feeling increasingly discouraged, she eventually gave up and threw her pallet on the canvas.

"Hey, this looks good!" Lapis pointed out.

"No, this is exactly what Ross Roberts did!" Squaridot complained before throwing that canvas away as well. "What else can we do?"

--

Another kind of meep-morping that Squaridot attempted was sculpting, and she had Lapis and Peridot serve as her models. She hoped beyond belief that things would go right this time, that the Attack Pod wouldn't show up again, or she'd end up ripping off some other famous artwork.

"Good, good," Squaridot muttered to herself while looking over at Lapis posing with Peridot on her lap. "Not bad so far. Ooh, this is looking fantastic!"

"Maybe this won't fail this time," Laz said hopefully as Squaridot finished her sculpture and presented it to her models.

"How does it look?" Squaridot asked eagerly while presenting her finished product to the two Gems.

"Hey, not bad!" Lapis complimented Squaridot's sculpture, relieved that nothing will go wrong for once. "I really like how you captured Peridot's energy here."

"Oh, finally!" Squaridot sighed in relief when she realized something. "But I think it could be better."

"Oh lord, it's good enough!" Laz snapped at Squaridot's negative self-talk. "You did good enough!"

"Hey Laz, calm down!" Zuli tried to settle Laz's anger. "Though really, it's not like you're going to accidentally drop it on the ground and ruin it."

"Well, I am far more careful than that," Squaridot said while gently putting the sculpture down, only to step on it accidentally. "Great." She muttered disdainfully before walking away. "If you'll excuse me, I'm going to deal with artist's block now."

"Squaridot, wait!" Peridot yelled and chased after the other Peridot. "You can't just give up that easily!"

"I'm not giving up; I just need new ideas!" Squaridot clarified and took a deep breath. "Would you like to know what I was doing after you saved me from the ship?"

"I don't know. What?" Peridot asked.

"I joined Black Rutile," Squaridot answered, much to Peridot's surprise. "No, it's not what you think! I was only with her for a few months before Hessonite found me! Let me explain. Initiate super wavy flashback effect!"

--

Almost immediately after being saved by the Crystal Gems from Hessonite's warship and being brought up to speed on Era 3, Squaridot was scooped up by Morganite during the early stages of the Rutile Rebels' formation to hopefully indoctrinate another victim of the Crystal Gems' oppression into their cause.

During their time together, Morganite helped Squaridot develop and master her ferrokinetic abilities, and they built many of Black Rutile's war machines and technology together, such as surveillance drones, dropships, and weapons of mass destruction. However, Squaridot felt that Black Rutile wasn't really fighting for the good of all Gems; she was just an angry bigot who refused to let go of her past.

"How has your training been progressing, 4E3M-7ZY?" Morganite asked Squaridot one evening while the Peridot was in the middle of meditation. "I hope you've been keeping up on your education."

"I'm doing well, Morganite," Squaridot answered. "Black Rutile's nuclear fusion device is almost done; we must make some final touches. Once it's done, we can finally use it to force the Decapodians into servitude."

"Excellent work, Peridot," Morganite said with a smile and a pat on Squaridot's head. "I knew we could put your genius to good use." Suddenly, security alarms began going off, signifying that an intruder may have entered the facility. "What's going on?"

"Morganite, we have a break-in!" a Ruby soldier declared from the other side of the room. "That Hessonite just laid siege to our base and is taking down every Gem in sight!"

"Her again?!" Morganite growled before she turned to Squaridot. "You stay here; I'll deal with her!"

"That won't be necessary, Morganite," Hessonite said as she suddenly appeared behind the renegade designer and prepared to strike. Still, Morganite thought fast and made Hessonite's sword collide with her Rejuvenator. "Stop what you're doing right now, and come quietly!"

"Never; she has come too far to give up now!" Morganite retorted before turning back to Squaridot. "What are you waiting for, Peridot? Leave now!"

"Wait, Peridot?!" Hessonite exclaimed. "Which Peridot?"

"Peridot Facet-4E3M Cut-7ZY." Squaridot reintroduced herself to Hessonite. "Fancy seeing you again, Hessonite. How have you been doing?"

"Ever since I helped Steven stop Demantoid and Pyrope, a lot of vigilante work fighting rebel Gems," Hessonite stated before knocking the Rejuvenator out of Morganite's hand. "Morganite was but one of the Gems I've been tracking down."

"Don't think about taking her away from me!" Morganite said while backflipping away. "This Peridot is but one of the innocent Gems that I saved from being brainwashed by the Crystal Gems, and I won't let you capture another!"

"I was not brainwashed!" Squaridot exclaimed. "They simply offered me a new life, and I simply turned it down for now."

"Well, what do you say, Peridot," Hessonite replied. "still willing to accept a second chance?"

"Don't listen to her; it's a trap!" Morganite begged Squaridot. "Just go away so Hessonite and I can talk one-to-one." She then pointed at Hessonite. "Just you and me and my GUARDS!" At Morganite's command, an army of Jasper and Amethyst guards burst into Morganite's chamber to assist their boss against the intruder. "Seize the traitor to the old ways!"

"One Morganite and nineteen Quartzes against little old me sounds like pretty bad odds," Hessonite observed just as Squaridot walked up beside her, wielding a pipe.

"Yeah, for them." Squaridot declared as the two charged into battle against the guards. "And by the way, call me Squaridot."

"If you say so," Hessonite replied.

--

"So, after defeating the guards and escaping, Hessonite decided to take me in as one of her sidekicks." Squaridot finished explaining her flashback to Peridot. "As you can observe, I didn't stick around long enough to absorb Black Rutile's manifesto, which leads us to today."

"Now, what does that have to do with our current situation?" Peridot asked. "And why didn't I hear about this before now, and yet this is being treated like this has always happened?"

"What I'm trying to say is that just like how Hessonite gave me a new approach, I need a new approach again right now," Squaridot said before a familiar voice began echoing through her mind.

"Oftentimes in art, you make mistakes, but they can also be opportunities to learn. I may not have gotten the painting I wanted, but I can still make something new out of it." Squaridot imagined a floating Ross Roberts head appearing on her shoulder, repeating the lesson he learned from his painting mistake before slowly fading away. "Mistakes, mistakes, mistakes, mistakes…."

"Wait a second, that's it!" Squaridot proclaimed excitedly. "I made so many mistakes today, but what if I can do something with all those mistakes?!"

"That's a stellar idea!" Peridot replied. "Where did you get that idea?"

"Just some voices in my head reminding me of what I heard earlier," Squaridot answered. "Been happening a lot lately."

"That's what we call using your head, Squaridot." A wrinkly green face with a male voice in Squaridot's head agreed.

"You have a good idea there." Another green face with a female voice added.

"WESLEY." A strange robotic voice declared.

--

Later that day, the art show had finally begun with Gems from all over Little Homeworld coming over to display the meep morps they spent that day creating, ranging from paintings to statues, photographs, and more; everybody had a method of art that they wanted to show off.

"And here we have this magnanimous statue dedicated to me." Black Rutile explained the bronze statue of herself holding one hand out while the other was holding the hand of Aquamarine as the two stood on top of Steven's dead body. "I consider this a monument to the idea of perseverance and how in the face of seemingly impossible odds, truth, justice, and a better tomorrow will always find a way."

"Oh, that's nothing; witness my statue!" Desert Glass proclaimed while making her sand sculpture of herself animate itself through her movements. "Try and beat that."

"Guys, this doesn't need to be a competition." Chest Rose said while she, Navy Rose, and Shoulder Rose demonstrated their meep morp, which was made up of various objects, all stuck together to make a collage. "I gathered up all the materials."

"So that's what happened to the trash bags!" Amethyst exclaimed, pointing out some of the items used for the Roses' piece.

"As for our piece, we'd like to show off pictures of all our previous adventures," Nacre said before she and the Black Pearl Brigade presented photos of their bounty-hunting adventures, ranging from their showdown with Mr. Manco on Sergione-29, meeting Sylvia Spectre, vacationing on Kyukanza, and many more.

"We truly had some glorious adventures." Braids declared.

"Some you may not have even heard of before, like this one," Cap added before presenting a picture of an adventure to the planet Yorha. "Sculder felt really at home here, but he had to choose between living among his fellow machines or sticking with us."

"But eventually, after we convinced the Yorhans to get off their shiny metal asses and help stop Andesine, they realized that Sculder's real home was on the Servant," Pony stated while the Pearls' robot companion Sculder gave a thumbs up.

"I simply painted this picture of a number 2 pencil for my artwork." Teal Zircon said before pulling a tarp off her painting of a pencil and holding a pencil in her hands to compare. "I don't know why I painted this, but it helped me remember that the most important thing in life is to use a number 2 pencil." She then angrily growled, "Number 2!"

"That is certainly a unique idea for art." Garnet raised an eyebrow. "Pearls, what did you do?"

"Our piece was far more refined than all of this!" Yellow Pearl boasted as she, Blue Pearl, and Volleyball presented a tribute to the struggles Pearls faced in the old days. "We dub this piece Little Rebellions. Carnelian and her Jasper friend helped us with this one."

"Thanks for giving us credit!" Skinny Jasper exclaimed as she and Carnelian clapped.

"Woo, go, Pearls!" Carnelian whooped.

"And finally, let's see what Squaridot did." White Topaz stated while turning to Squaridot, who replied by pulling off a tarp revealing an amalgamation of all her attempts at art thus far. Her paintings now decorated the arms and legs of the subdued Attack Pod, and at the top was her destroyed sculpture of Peridot & Lapis. "Ooh, this looks neat! What do you call this one?"

"I call my piece "Mistakes," after an epiphany I had from my continued attempts at meep morps." Squaridot explained. "I got it from an episode of The Wonders of Creativity with Ross Roberts, and he made a mistake just like me when making meep morps, but he could take it in stride because he says they can also be opportunities to learn. I may not have gotten the painting I wanted, but I can still make something new out of it."

"That is really profound." IQ gasped in awe as everybody started clapping.

"Not bad little Peridot, not bad at all." Tails agreed with IQ.

"Please, Holly, and could do better than that." Cat's Eye confidently stated.

"Don't get too cocky, Cat." Holly Blue advised.

"We're so proud of you." Peridot and the three Lapises said in unison.

As Squaridot began taking a bow for her efforts, she noticed Morganite standing among the applauding Gems, who then gave her an approving nod. The two may have parted ways, but Squaridot still saw that Morganite held some respect for her.

But hidden in the crowd, Black Rutile used the applause to further her devious plots. A quick trip with the Warp Pad allowed her to steal some Gem shards left over from the Diamonds' dismantling of the Cluster and the various Cluster experiments. In particular, Black Rutile got her hands on the fragments of a Phoenix Lapis Lazuli, an Emerald, two Citrines, and a Demantoid, which she knew would be perfect for adding to her forces and satisfying the needs of one of her subordinates.

--

I told you this would be shorter than usual. I mean, it's probably a given since the final two chapters of the series will probably be far longer. But on another subject, next chapter will be the last fun one before we get into the more serious stuff because we'll be heading to the Olympics! Well, not really the Olympics, those are far later in real life, these are basically the Olympics at home. I'm getting ahead of myself, see you next week.

#steven universe #steven universe future #fanfiction #steven universe alternate future #little homeworld life #squaridot #peridot #lapis lazuli #mean lapis #nice lapis

[katekaneownsmyspleen]

The pre-Gal Gadot Wonder Woman castings really were, oh so we have a demigoddess/goddess from the Mediterranean, you know who would perfect to play her, a white woman

#opinions and commentary #wonder women 1984 #wonder woman #gal gadot #dc #dc comics #Yes I am measuring wonder woman's history with pre-Gal Gadot and Post-Gal Gadot #Post-Gal Gadot is any time after her casting

[thatgirlinskullz]

remember how i kinda sorta ranted about the whole Batwoman/Ruby Rose recasting situation when it originally happened?

it was all so strange and sudden, and while Ruby Rose may not be the best actress or the best person (idk, i don't actually know her, she could be an actual angel, i have no idea, i'm just listing hypotheticals here), i still cared a lot about her departure from the show because it just felt off..

honestly.. i haven't even watched Batwoman since.. maybe partly because of this entire situation.. idk.

anyway.. up until this point we didn't really hear her side.. we've heard rumors, alleged fights within the crew and/or management, and a supposed injury that had affected the departure, etc etc. there's been a LOT of different stories, and a lot of speculation, none of then 100% accurate, none of then 100% believable.. and while this may not be the full 100% truth of what actually happened, we do finally have her story and OH BOY! it's a lot...

Ruby Rose has just posted on her Instagram Story a bunch of allegations, call-outs, maybe the truth?, who knows.. that claim once again that the CW/WB management is horrendous to the people they employ..

according to this she was threatened with everyone losing their jobs if she didn't come back to set after her apparently life/movement saving surgery?!!! she was ordered around and had to participate in things she didn't want to, she was not accommodated at all after her injuries.. and she's not the only one who got severely hurt during their shoots.. there were a LOT of people who got different levels of injuries and none of them were compensated/cared for in the manner they should have been.. PLUS the whole Covid situation was handled horrible and they all had to work even tho everyone else had already shut down production.. which just... ugh..

now.. these could be true, or partially true, or straight up lies, who the fuck knows anything anymore?! but goddamn.. after all we've heard about these productions, and with all the people speaking up, i am definitely leaning towards believing Ruby Rose's story.. and even if just half of these are true... fkin hell..

WB is showing us time and again what a horrible place it is, what horrible people are in charge.. the bullying and racist treatment of Ray Fisher, the sexist bullshit Gal Gadot had to deal with, the firing of Johnny Depp and keeping of Amber Heard, and now this.. endangering not just Ruby Rose but the entire cast and crew of the Batwoman set.. and trying to keep it all under wraps.. it's just straight up horrible..

as much as i love some of the properties of WB (including all the DC stuff they have), it pisses me off to no end what they let happen on their productions, and what kind of people they have in charge..

i am really curious to see how this situation develops and what WB/CW's response will be, whether other actors or crew members speak up to confirm or refute her claims.. and how the general audience will take all this.. (for now it looks like people are believing her, due to WB's history mostly, but we'll see)

i am gonna keep an eye on all this and we'll see how things go..

but if any of these claims are actually true: I AM SO SORRY TO THE PEOPLE THIS HAPPENED TO! not just Ruby Rose, but the stuntpeople, the crew members, PAs, and everyone who had to experience such a dangerous and stupidly managed set.

#ruby rose #batwoman #wb #the cw #idk anything anymore #but goddamn #if these are true it's fkin horrible #really curious how this goes down #also don't come at me for my random thoughts #i'm just trying to process all this

[grigori77]

2020 in Movies - My Top 30 Fave Movies (Part 3)

10.  WOLFWALKERS – eleven years ago, Irish director Tomm Moore exploded onto the animated cinema scene with The Secret of Kells, a spellbinding feature debut which captivated audiences the world over and even garnered an Oscar nomination.  Admittedly I didn’t actually even know about it until I discovered his work through his astonishing follow-up, Song of the Sea (another Academy Award nominee), in 2015, so when I finally caught it I was already a fan of Moore’s work.  It’s been a similarly long wait for his third feature, but he’s genuinely pulled off a hat-trick, delivering a third flawless film in a row which OF COURSE means that his latest feature is, beyond a shadow of a doubt, my top animated feature of 2020.  I could even be tempted to say it’s his best work to date … this is an ASTONISHING film, a work of such breath-taking, spell-binding beauty that I spent its entire hour and three-quarters glued to the screen, simple mesmerised by the wonder and majesty of this latest iteration of the characteristically stylised “Cartoon Saloon” look.  It’s also liberally steeped in Moore’s trademark Celtic vibe and atmosphere, once again delving deep into his homeland’s rich and evocative cultural history and mythology while also bringing us something far more original and personal – this time the titular supernatural beings are magical near-human beings whose own subconscious can assume the form of very real wolves.  Set in a particularly dark time in Irish history – namely 1650, when Oliver Cromwell was Lord Protector – the story follows Robyn (Honor Kneafsey, probably best known for the Christmas Prince films), the impetuous and spirited young daughter of English hunter Bill Goodfellowe (Sean Bean), brought in by the Protectorate to rid the city of Kilkenny of the wolves plaguing the area.  One day fate intervenes and Robyn meets Mebh Og MacTire (The Girl at the End of the Garden‘s Eve Whittaker), a wild girl living in the woods, whose accidental bite gives her strange dreams in which she becomes a wolf – turns out Mebh is a wolfwalker, and now so is Robyn … every aspect of this film is an utter triumph for Moore and co, who have crafted a work of living, breathing cinematic art that’s easily the equal to (if not even better than) the best that Disney, Dreamworks or any of the other animation studios could create.  Then there’s the excellent voice cast – Bean brings fatherly warmth and compassion to the role that belies his character’s intimidating size, while Kneafsey and Whittaker make for a sweet and sassy pair as they bond in spite of powerful cultural differences, and the masterful Simon McBurney (Harry Potter, Mission: Impossible – Rogue Nation, Tinker Tailor Soldier Spy) brings cool, understated menace to the role of Cromwell himself.  This is a film with plenty of emotional heft to go with its marvels, and once again displays the welcome dark side which added particular spice to Moore’s previous films, but ultimately this is still a gentle and heartfelt work of wonder that makes for equally suitable viewing for children as for those who are still kids at heart – ultimately, then, this is another triumph for one of the most singularly original filmmakers working in animation today, and if Wolfwalkers doesn’t make it third time lucky come Oscars-time then there’s no justice in the world …

9.  WONDER WOMAN 1984 – probably the biggest change for 2020 compared to pretty much all of the past decade is how different the fortunes of superhero cinema turned out to be.  A year earlier the Marvel Cinematic Universe had dominated all, but the DC Extended Universe still got a good hit in with big surprise hit Shazam!  Fast-forward to now and things are VERY different – DC suddenly came out in the lead, but only because Marvel’s intended heavy-hitters (two MCU movies, the first Venom sequel and potential hot-shit new franchise starter Morbius: the Living Vampire) found themselves continuously pushed back thanks to (back then) unforeseen circumstances which continue to shit all over our theatre-going slate for the immediate future.  In the end DC’s only SERIOUS competition turned out to be NETFLIX … never mind, at least we got ONE big established superhero blockbuster into the cinemas before the end of the year that the whole family could enjoy, and who better to headline it than DC’s “newest” big screen megastar, Diana Prince? Back in 2017 Monster’s Ball director Patty Jenkins’ monumental DCEU standalone spectacularly realigned the trajectory of a cinematic franchise that was visibly flagging, redesigning the template for the series’ future which has since led to some (mostly) consistently impressive subsequent offerings.  Needless to say it was a damn tough act to follow, but Jenkins and co-writers Geoff Johns (Arrow and The Flash) and David Callaham (The Expendables, Zombieland: Double Tap, future MCU entry Shang-Chi & the Legend of the Ten Rings) have risen to the challenge in fine style, delivering something which pretty much equals that spectacular franchise debut … as has Gal Gadot, who’s now OFFICIALLY made the role her own thanks to yet another showstopping and definitive performance as the unstoppable Amazonian goddess living amongst us.  She’s older and wiser than in the first film, but still hasn’t lost that forthright honesty and wonderfully pure heart we’ve come to love ever since her introduction in Zack Snyder’s troublesome but ultimately underrated Batman V Superman: Dawn of Justice (yes, that’s right, I said it!), and Gadot’s clear, overwhelming commitment to the role continues to pay off magnificently as she once again proves that Diana is THE VERY BEST superhero in the DCEU cinematic pantheon.  Although it takes place several decades after its predecessor, WW84 is, obviously, still very much a period piece, Jenkins and co this time perfectly capturing the sheer opulent and over-the-top tastelessness of the 1980s in all its big-haired, bad-suited, oversized shoulder-padded glory while telling a story that encapsulates the greedy excessiveness of the Reagan era, perfectly embodied in the film’s nominal villain, Max Lord (The Mandalorian himself, Pedro Pascal), a wishy-washy wannabe oil tycoon conman who chances upon a supercharged wish-rock and unleashes a devastating supernatural “monkey’s paw” upon the world. To say any more would give away a whole raft of spectacular twists and turns that deserve to be enjoyed good and cold, although they did spoil one major surprise in the trailer when they teased the return of Diana’s first love, Steve Trevor (Chris Pine) … needless to say this is another big blockbuster bursting with big characters, big action and BIG IDEAS, just what we’ve come to expect after Wonder Woman’s first triumphant big screen adventure.  Interestingly, the film starts out feeling like it’s going to be a bubbly, light, frothy affair – after a particularly stunning all-action opening flashback to Diana’s childhood on Themyscira, the film proper kicks off with a bright and breezy atmosphere that feels a bit like the kind of Saturday morning cartoon action the consistently impressive set-pieces take such unfettered joy in parodying, but as the stakes are raised the tone grows darker and more emotionally potent, the storm clouds gathering for a spectacularly epic climax that, for once, doesn’t feel too overblown or weighed down by its visual effects, while the intelligent script has unfathomable hidden depths to it, making us think far more than these kinds of blockbusters usually do.  It’s really great to see Chris Pine return since he was one of the best things about the first movie, and his lovably childlike wide-eyed wonder at this brave new world perfectly echoes Diana’s own last time round; Kristen Wiig, meanwhile, is pretty phenomenal throughout as Dr Barbara Minerva, the initially geeky and timid nerd who discovers an impressive inner strength but ultimately turns into a superpowered apex predator as she becomes one of Wonder Woman’s most infamous foes, the Cheetah; Pascal, of course, is clearly having the time of his life hamming it up to the hilt as Lord, playing gloriously against his effortlessly cool, charismatic action hero image to deliver a compellingly troubling examination of the monstrous corrupting influence of absolute power.  Once again, though, the film truly belongs to Gadot – she looks amazing, acts her socks off magnificently, and totally rules the movie.  After this, a second sequel is a no-brainer, because Wonder Woman remains the one DC superhero who’s truly capable of bearing the weight of this particular cinematic franchise on her powerful shoulders – needless to say, it’s already been greenlit, and with both Jenkins and Gadot onboard, I’m happy to sign up for more too …

8.  LOVE & MONSTERS – with the cinemas continuing their frustrating habit of opening for a little while and then closing while the pandemic ebbed and flowed in the months after the summer season, it was starting to look like there might not have been ANY big budget blockbusters to enjoy before year’s end as heavyweights like Black Widow, No Time To Die and Dune pulled back to potentially more certain release slots into 2021 (with only WW84 remaining stubbornly in place for Christmas).  Then Paramount decided to throw us a bone, opting to release this post-apocalyptic horror comedy on-demand in October instead, thus giving me the perfect little present to tie me over during the darkening days of autumn. The end result was a stone-cold gem that came out of nowhere to completely blow critics away, a spectacular sleeper hit that ultimately proved one of the year’s biggest and most brilliant surprises.  Director Michael Matthews may only have had South African indie thriller Five Fingers for Marseilles under his belt prior to this, but he proves he’s definitely a solid talent to watch in the future, crafting a fun and effective thrill-ride that, like all the best horror comedies, is consistently as funny as it is scary, sharing much of the same DNA as this particular mash-up genre’s classics like Tremors and Zombieland and standing up impressively well to such comparisons.  The story, penned by rising star Brian Duffield (who has TWO other entries on this list, Underwater and Spontaneous) and Matthew Robinson (The Invention of Lying, Dora & the Lost City of Gold), is also pretty ingenious and surprisingly original – a meteorite strike has unleashed weird mutagenic pathogens that warp various creepy crawly critters into gigantic monstrosities that have slaughter most of the world’s human population, leaving only a beleaguered, dwindling few to eke out a precarious living in underground colonies. Living in one such makeshift community is Joel Dawson (The Maze Runner’s Dylan O’Brien), a smart and likeable geek who really isn’t very adventurous, is extremely awkward and uncoordinated, and has a problem with freezing if threatened … which makes it all the more inexplicable when he decides, entirely against the advice of everyone he knows, to venture onto the surface so he can make the incredibly dangerous week-long trek to the neighbouring colony where his girlfriend Aimee (Iron Fist’s Jessica Henwick) has ended up.  Joel is, without a doubt, the best role that O’Brien has EVER had, a total dork who’s completely unsuited to this kind of adventure and, in the real world, sure to be eaten alive in the first five minutes, but he’s also such a fantastically believable, fallible everyman that every one of us desperate, pathetic omega-males and females can instantly put ourselves in his place, making it elementarily easy to root for him.  He’s also hilariously funny, his winningly self-deprecating sass and pitch perfect talent for physical comedy making it all the more rewarding watching each gloriously anarchic life-and-death encounter mould him into the year’s most unlikely action hero.  Henwick, meanwhile, once again impresses in a well-written role where she’s able to make a big impression despite her decidedly short screen time, as do the legendary Michael Rooker and brilliant newcomer Ariana Greenblatt as Clyde and Minnow, the adorably jaded, seen-it-all-before pair of “professional survivors” Joel meets en-route, who teach him to survive on the surface.  The action is fast, frenetic and potently visceral, the impressively realistic digital creature effects bringing a motley crew of bloodthirsty beasties to suitably blood-curdling life for the film’s consistently terrifying set-pieces, while the world-building is intricately thought-out and skilfully executed.  Altogether, this was an absolute joy from start to finish, and a film I enthusiastically endorsed to everyone I knew was looking for something fun to enjoy during the frustrating lockdown nights-in.  One of the cinematic year’s best kept secrets then, and a compelling sign of things to come for its up-and-coming director.

7.  PARASITE – I’ve been a fan of master Korean filmmaker Bong Joon-ho ever since I stumbled across his deeply weird but also thoroughly brilliant breakthrough feature The Host, and it’s a love that’s deepened since thanks to truly magnificent sci-fi actioner Snowpiercer, so I was looking forward to his latest feature as much as any movie geek, but even I wasn’t prepared for just what a runaway juggernaut of a hit this one turned out to be, from the insane box office to all that award-season glory (especially that undeniable clean-sweep at the Oscars). I’ll just come out and say it, this film deserves it all.  It’s EASILY Bong’s best film to date (which is really saying something), a masterful social satire and jet black comedy that raises some genuinely intriguing questions before delivering deeply troubling answers.  Straddling the ever-widening gulf between a disaffected idle rich upper class and impoverished, struggling lower class in modern-day Seoul, it tells the story of the Kim family – father Ki-taek (Bong’s good luck charm, Song Kang-ho), mother Chung-sook (Jang Hye-jin), son Ki-woo (Train to Busan’s Choi Woo-shik) and daughter Ki-jung (The Silenced’s Park So-dam) – a poor family living in a run-down basement apartment who live hand-to-mouth in minimum wage jobs and can barely rub two pennies together, until they’re presented with an intriguing opportunity.  Through happy chance, Ki-woon is hired as an English tutor for Park Da-hye (Jung Ji-so), the daughter of a wealthy family, which offers him the chance to recommend Ki-jung as an art tutor to the Parks’ troubled young son, Da-song (Jung Hyeon-jun). Soon the rest of the Kims are getting in on the act, the kids contriving opportunities for their father to replace Mr Park’s chauffeur and their mother to oust the family’s long-serving housekeeper, Gook Moon-gwang (Lee Jung-eun), and before long their situation has improved dramatically.  But as they two families become more deeply entwined, cracks begin to show in their supposed blissful harmony as the natural prejudices of their respective classes start to take hold, and as events spiral out of control a terrible confrontation looms on the horizon.  This is social commentary at its most scathing, Bong drawing on personal experiences from his youth to inform the razor-sharp script (co-written by his production assistant Han Jin-won), while he weaves a palpable atmosphere of knife-edged tension throughout to add spice to the perfectly observed dark humour of the situation, all the while throwing intriguing twists and turns at us before suddenly dropping such a massive jaw-dropper of a gear-change that the film completely turns on its head to stunning effect.  The cast are all thoroughly astounding, Song once again dominating the film with a turn at once sloppy and dishevelled but also poignant and heartfelt, while there are particularly noteworthy turns from Lee Sun-kyun as the Parks’ self-absorbed patriarch Dong-ik and Choi Yeo-jeong (The Concubine) as his flighty, easily-led wife Choi Yeon-gyo, as well as a fantastically weird appearance in the latter half from Park Myung-hoon.  This is heady stuff, dangerously seductive even as it becomes increasingly uncomfortable viewing, so that even as the screws tighten and everything goes to hell it’s simply impossible to look away.  Bong Joon-ho really has surpassed himself this time, delivering an existential mind-scrambler that lingers long after the credits have rolled and might even have you questioning your place in society once you’ve thought about it some. It deserves every single award and every ounce of praise it’s been lavished with, and looks set to go down as one of the true cinematic greats of this new decade.  Trust me, if this was a purely critical best-of list it’d be RIGHT AT THE TOP …

6.  THE OLD GUARD – Netflix’ undisputable TOP OFFERING of the summer came damn close to bagging the whole season, and I can’t help thinking that even if some of the stiffer competition had still been present it may well have still finished this high. Gina Prince-Blythewood (Love & Basketball, the Secret Life of Bees) directs comics legend Greg Rucka’s adaptation of his own popular series with uncanny skill and laser-focused visual flair considering there’s nothing on her previous CV to suggest she’d be THIS good at mounting a stomping great ultraviolent action thriller, ushering in a thoroughly engrossing tale of four ancient, invulnerable immortal warriors – Andy AKA Andromache of Scythia (Charlize Theron), Booker AKA Sebastian de Livre (Matthias Schoenaerts), Joe AKA Yusuf Al-Kaysani (Wolf’s Marwan Kenzari) and Nicky AKA Niccolo di Ginova (Trust’s Luca Marinelli) – who’ve been around forever, hiring out their services as mercenaries for righteous causes while jealously guarding their identities for fear of horrific experimentation and exploitation should their true natures ever be discovered.  Their anonymity is threatened, however, when they’re uncovered by former CIA operative James Copley (Chiwetel Ejiofor), who’s working for the decidedly dodgy pharmaceutical conglomerate run by sociopathic billionaire Steven Merrick (Harry Melling, formerly Dudley in the Harry Potter movies), who want to capture these immortals so they can patent whatever it is that makes them keep on ticking … just as a fifth immortal, US Marine Nile Freeman (If Beale Street Could Talk’s KiKi Layne), awakens after being “killed” on deployment in Afghanistan.  The supporting players are excellent, particularly Ejiofor, smart and driven but ultimately principled and deeply conflicted about what he’s doing, even if he does have the best of intentions, and Melling, the kind of loathsome, reptilian scumbag you just love to hate, but the film REALLY DOES belong to the Old Guard themselves – Schoenaerts is a master brooder, spot-on casting as the group’s relative newcomer, only immortal since the Napoleonic Wars but clearly one seriously old soul who’s already VERY tired of the lifestyle, while Joe and Nicky (who met on opposing sides of the Crusades) are simply ADORABLE, an unapologetically matter-of-fact gay couple who are sweet, sassy and incredibly kind, the absolute emotional heart of the film; it’s the ladies, however, that are most memorable here.  Layne is exceptional, investing Nile with a steely intensity that puts her in good stead as her new existence threatens to overwhelm her and MORE THAN qualified to bust heads alongside her elders … but it’s ancient Greek warrior Andy who steals the film, Theron building on the astounding work she did in Atomic Blonde to prove, once and for all, that there’s no woman on Earth who looks better kicking arse than her (as Booker puts it, “that woman has forgotten more ways to kill than entire armies will ever learn”); in her hands, Andy truly is a goddess of death, tough as tungsten alloy and unflappable even in the face of hell itself, but underneath it all she hides a heart as big as any of her friends’.  They’re an impossibly lovable bunch and you feel you could follow them on another TEN adventures like this one, which is just as well, because Prince-Blythewood and Rucka certainly put them through their paces here – the drama is high (but frequently laced with a gentle, knowing sense of humour, particularly whenever Joe and Nicky are onscreen), as are the stakes, and the frequent action sequences are top-notch, executed with rare skill and bone-crunching zest, but also ALWAYS in service to the story.  Altogether this is an astounding film, a genuine victory for its makers and, it seems, for Netflix themselves – it’s become one of the platform’s biggest hits to date, earning well-deserved critical acclaim and great respect and genuine geek love from the fanbase at large.  After this, a sequel is not only inevitable, it’s ESSENTIAL …

5.  MANK – it’s always nice when David Fincher, one of my TOP FIVE ALL TIME FAVOURITE DIRECTORS, drops a new movie, because it can be GUARANTEED to place good and high in my rundown for that year.  The man is a frickin’ GENIUS, a true master of the craft, genuinely one of the auteur’s auteurs.  I’ve NEVER seen him deliver a bad film – even a misfiring Fincher (see The Curious Case of Benjamin Button or Alien 3) is still capable of creating GREAT CINEMA.  How? Why?  It’s because he genuinely LOVES the art form, it’s been his obsession all his life, and he’s spent every day of it becoming the best possible filmmaker he can be.  Who better to tell the story of the creation of one of the ULTIMATE cinematic masterpieces, then?  Benjamin Ross’ acclaimed biopic RKO 281 covered similar ground, presenting a compelling look into the making Citizen Kane, the timeless masterpiece of Hollywood’s ULTIMATE auteur, Orson Welles, but Fincher’s film is more interested in the original inspiration for the story, how it was written and, most importantly, the man who wrote it – Herman J. Mankiewicz, known to his friends as Mank. One of my favourite actors of all time, Gary Oldman, delivers yet another of his career best performances in the lead role, once a man of vision and incredible storytelling skill whose talents have largely been squandered through professional difficulties and personal vices, a burned out one-time great fallen on hard times whom Welles picks up out of the trash, dusts off and offers a chance to create something truly great again.  The only catch?  The subject of their film (albeit dressed up in the guise of fictional newspaper magnate Charles Foster Kane) is to be real-life publisher, politico and tycoon William Randolph Hurst (Charles Dance), once Mank’s friend and patron before they had a very public and messy falling out which partly led to his current circumstances.  As he toils away in seclusion on what is destined to become his true masterwork, flashbacks reveal to us the fascinating, moving and ultimately tragic tale of his rise and fall from grace in the movie business, set against the backdrop of one of the most tumultuous periods in American history.  Shooting a script that his own journalist and screenwriter father, Jack, crafted and then failed to bring to the screen himself before his death in 2003, Fincher has been working for almost a quarter century to make this film, and all that passion and drive is writ large on the screen – this is a glorious film ABOUT film, the art of it, the creation of it, and all the dirty little secrets of what the industry itself has always really been like, especially in that most glamorous and illusory of times.  The fact that Fincher shot in black and white and intentionally made it look like it was made in the early 1940s (the “golden age of the Silver Screen”, if you will) may seem like a gimmick, but instead it’s a very shrewd choice that expertly captures the gloss and moodiness of the age, almost looking like a contemporary companion piece to Kane itself, and it’s the perfect way to frame all the sharp-witted observation, subtly subversive character development and murky behind-the-scenes machinations that tell the story.  Oldman is in every way the star here, holding the screen with all the consummate skill and flair we’ve come to expect from him, but there’s no denying the uniformly excellent supporting cast are equal to the task here – Dance is at his regal, charismatic best as Hearst, while Amanda Seyfried is icily classy on the surface but mischievous and lovably grounded underneath as Hearst’s mistress, Marion Davies, who formed the basis for Kane’s most controversial character, Arliss Howard (Full Metal Jacket, The Lost World: Jurassic Park, Moneyball) brings nuance and complexity to the role of MGM founder Louis B. Mayer, Tom Pelphrey (Banshee, Ozark) is understated but compelling as Mank’s younger screenwriter brother Joseph, and Lily Collins and Tuppence Middleton exude class and long-suffering stubbornness as the two main women in Mank’s life (his secretary and platonic muse, Rita Alexander, and his wife, Sara), while The Musketeers’ Tom Burke’s periodic but potent appearances as Orson Welles help to drive the story in the “present”.  Another Netflix release which I was (thankfully) able to catch on the big screen during one of the brief lulls between British lockdowns, this was a decidedly meta cinematic experience that perfectly encapsulated not only what is truly required for the creation of a screen epic, but also the latest pinnacle in the career of one of the greatest filmmakers working in the business today, powerful, stirring, intriguing and surprising in equal measure. Certainly it’s one of the most important films ABOUT so far film this century, but is it as good as Citizen Kane?  Boy, that’s a tough one …

4.  ENOLA HOLMES – ultimately, my top film for the autumn/winter movie season was also the film which finally topped my Netflix Original features list, as well as beating all other streaming offerings for the entire year (which is saying something, as you should know by now).  Had things been different, this would have been one of Warner Bros’ BIGGEST releases for the year in the cinema, of that I have no doubt, a surprise sleeper hit which would have taken the world by storm – as it is it’s STILL become a sensation, albeit in a much more mid-pandemic, lockdown home-viewing kind of way.  Before you start crying oh God no, not another Sherlock Holmes adaptation, this is a very different beast from either the Guy Ritchie take or the modernized BBC show, instead side-lining the great literary sleuth in favour of a delicious new AU version, based on The Case of the Missing Marquess, the first novel in the Enola Holmes Mysteries literary series from American YA author Nancy Springer.  Positing that Sherlock Holmes (Henry Cavill) and his elder brother Mycroft (Sam Claflin) had an equally ingenious and precocious baby sister, the film introduces us to Enola (Stranger Things’ Millie Bobby Brown), who’s been raised at home by their strong-willed mother Eudoria (Helena Bonham Carter) to be just as intelligent, well-read and intellectually skilled as her far more advantageously masculine elder siblings.  Then, on the morning of her sixteenth birthday, Enola awakens to find her mother has vanished, putting her in a pretty pickle since this leaves her a ward of Mycroft, a self-absorbed social peacock who finds her to be wilfully free-spirited and completely ill equipped to face the world, concluding that the only solution is sending her to boarding school where she’ll learn to become a proper lady.  Needless to say she’s horrified by the prospect, deciding to run away and search for her mother instead … this is about as perfect a family adventure film as you could wish for, following a vital, capable and compelling teen detective-in-the-making as she embarks on her very first investigation, as well as winding up tangled in a second to boot involving a young runaway noble, Viscount Tewkesbury, the Marquess of Basilwether (Medici’s Louis Partridge), and the film is a breezy, swift-paced and rewardingly entertaining romp that feels like a welcome breath of fresh air for a literary property which, beloved as it may be, has been adapted to death over the years.  Enola Holmes a brilliant young hero who’s perfectly crafted to carry the franchise forward in fresh new directions, and Brown brings her to life with effervescent charm, boisterous energy and mischievous irreverence that are entirely irresistible; Cavill and Claflin, meanwhile, are perfectly cast as the two very different brothers – this Sherlock is much less louche and world-weary than most previous versions, still razor sharp and intellectually restless but with a comfortable ease and a youthful spring in his step that perfectly suits the actor, while Mycroft is as superior and arrogant as ever, a preening arse we derive huge enjoyment watching Enola consistently get the best of; Bonham Carter doesn’t get a lot of screen-time but as we’d expect she does a lot with what she has to make the practical, eccentric and unapologetically modern Eudoria thoroughly memorable, while Partridge is carefree and likeable as the naïve but irresistible Tewkesbury, and there are strong supporting turns from Frances de la Tour as his stately grandmother, the Dowager, Susie Wokoma (Crazyhead, Truth Seekers) as Emily, a feisty suffragette who runs a jujitsu studio, Burn Gorman as dastardly thug-for-hire Linthorn, and Four Lions’ Adeel Akhtar as a particularly scuzzy Inspector Lestrade.  Seasoned TV director Harry Bradbeer (Fleabag, Killing Eve) makes his feature debut with an impressive splash, unfolding the action at a brisk pace while keeping the narrative firmly focused on an intricate mystery plot that throws in plenty of ingenious twists and turns before a suitably atmospheric climax and pleasing denouement which nonetheless artfully sets up more to come in the future, while screenwriter Jack Thorne (His Dark Materials, The Scouting Book for Boys, Wonder) delivers strong character work and liberally peppers the dialogue with a veritable cavalcade of witty zingers.  Boisterous, compelling, amusing, affecting and exciting in equal measure, this is a spirited and appealing slice of cinematic escapism that flatters its viewers and never talks down to them, a perfect little period adventure for a cosy Sunday afternoon.  Obviously there’s plenty of potential for more, and with further books to adapt there’s more than enough material for a pile of sequels – Neflix would be barmy indeed to turn their nose up at this opportunity …

3.  1917 – it’s a rare thing for a film to leave me truly shell-shocked by its sheer awesomeness, for me to walk out of a cinema in a genuine daze, unable to talk or even really think about much of anything for a few hours because I’m simply marvelling at what I’ve just witnessed.  Needless to say, when I do find a film like that (Fight Club, Inception, Mad Max: Fury Road) it usually earns a place very close to my heart indeed.  The latest tour-de-force from Sam Mendes is one of those films – an epic World War I thriller that plays out ENTIRELY in one shot, which doesn’t simply feel like a glorified gimmick or stunt but instead is a genuine MASTERPIECE of film, a mesmerising journey of emotion and imagination in a shockingly real environment that’s impossible to tear your eyes away from.  Sure, Mendes has impressed us before – his first film, American Beauty, is a GREAT movie, one of the most impressive feature debuts of the 2000s, while Skyfall is, in my opinion, quite simply THE BEST BOND FILM EVER MADE – but this is in a whole other league.  It’s an astounding achievement, made all the more impressive when you realise that there’s very little trickery at play here, no clever digital magic (just some augmentation here and there), it’s all real locations and sets, filmed in long, elaborately choreographed takes blended together with clever edits to make it as seamless as possible – it’s not the first film to try to do this (remember Birdman? Bushwick?), but I’ve never seen it done better, or with greater skill. But it’s not just a clever cinematic exercise, there’s a genuine story here, told with guts and urgency, and populated by real flesh and blood characters – the heart of the film is True History of the Kelly Gang’s George MacKay and Dean Chapman (probably best known as Tommen Baratheon in Game of Thrones) as Lance Corporals Will Schofield and Tom Blake, the two young tommies sent out across enemy territory on a desperate mission to stop a British regiment from rushing headlong into a German trap (Tom himself has a personal stake in this because his brother is an officer in the attack).  They’re a likeable pair, very human and relatable throughout, brave and true but never so overtly heroic that they stretch credibility, so when tragedy strikes along the way it’s particularly devastating; both deliver exceptional performances that effortlessly carry us through the film, and they’re given sterling support from a selection of top-drawer British talent, from Sherlock stars Andrew Scott and Benedict Cumberbatch to Mark Strong and Colin Firth, each delivering magnificently in small but potent cameos.  That said, the cinematography and art department are the BIGGEST stars here, masterful veteran DOP Roger Deakins (The Shawshank Redemption, Blade Runner 2049 and pretty much the Coen Brothers’ entire back catalogue among MANY others) making every frame sing with beauty, horror, tension or tragedy as the need arises, and the environments are SO REAL it feels less like production design than that someone simply sent the cast and crew back in time to film in the real Northern France circa 1917 – from a nightmarish trek across No Man’s Land to a desperate chase through a ruined French village lit only by dancing flare-light in the darkness before dawn, every scene is utterly immersive and simply STUNNING.  I don’t think it’s possible for Mendes to make a film better than this, but I sure hope he gives it a go all the same.  Either way, this was the most incredible, exhausting, truly AWESOME experience I had at the cinema all year – it’s a film that DESERVES to be seen on the big screen, and I feel truly sorry for those who missed the chance …

2.  BIRDS OF PREY & THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN – the only reason 1917 isn’t at number two is because Warner Bros.’ cinematic DC Extended Universe project FINALLY got round to bringing my favourite DC Comics title to the big screen.  It was been the biggest pleasure of my cinematic year getting to see my top DC superheroines brought to life on the big screen, and it was done in high style, in my opinion THE BEST of the DCEU films to date (yup, I loved it EVEN MORE than the Wonder Woman movies).  It was also great seeing Harley Quinn return after her show-stealing turn in David Ayer’s clunky but ultimately still hugely enjoyable Suicide Squad, better still that they got her SPOT ON this time – this is the Harley I’ve always loved in the comics, unpredictable, irreverent and entirely without regard for what anyone else thinks of her, as well as one talented psychiatrist.  Margot Robbie once more excels in the role she was basically BORN to play, clearly relishing the chance to finally do Harley TRUE justice, and she’s a total riot from start to finish, infectiously lovable no matter what crazy, sometimes downright REPRIHENSIBLE antics she gets up to.  Needless to say she’s the nominal star here, her latest ill-advised adventure driving the story – finally done with the Joker and itching to make her emancipation official, Harley publicly announces their breakup by blowing up Ace Chemicals (their love spot, basically), inadvertently painting a target on her back in the process since she’s no longer under the assumed protection of Gotham’s feared Clown Prince of Crime – but that doesn’t mean she eclipses the other main players the movie’s REALLY supposed to be about.  Each member of the Birds of Prey is beautifully written and brought to vivid, arse-kicking life by what had to be 2020’s most exciting cast – Helena Bertinelli, the Huntress, is the perfect character for Mary Elizabeth Winstead to finally pay off on that action hero potential she showed in Scott Pilgrim Vs. the World, but this is a MUCH more enjoyable role outside of the fight choreography because while Helena may be a world-class dark avenger, socially she’s a total dork, which just makes her thoroughly adorable; Rosie Perez is similarly perfect casting as Renee Montoya, the uncompromising pint-sized Gotham PD detective who kicks against the corrupt system no matter what kind of trouble it gets her into, and just gets angrier all the time, paradoxically making us like her even more; and then there’s the film’s major controversy, at least as far as the fans are concerned, namely one Cassandra Cain.  Sure, this take is VERY different from the comics’ version (a nearly mute master assassin who went on to become the second woman to wear the mask of Batgirl before assuming her own crime-fighting mantle as Black Bat and now Orphan), but personally I like to think this is simply Cass at THE VERY START of her origin story, leaving plenty of time for her to discover her warrior origins when the DCEU finally gets around to introducing her mum, Lady Shiva (personally I want Michelle Yeoh to play her, but that’s just me) – anyways, here she’s a skilled child pickpocket whose latest theft inadvertently sets off the larger central plot, and newcomer Ella Jay Basco brings a fantastic pre-teen irreverence and spiky charm to the role, beautifully playing against Robbie’s mercurial energy.  My favourite here BY FAR, however, is Dinah Lance, aka the Black Canary (not only my favourite Bird of Prey but my very favourite DC superheroine PERIOD), the choice of up-and-comer Jurnee Smollet-Bell (Friday Night Lights, Underground) proving to be the film’s most inspired casting – a club singer with the metahuman ability to emit piercing supersonic screams, she’s also a ferocious martial artist (in the comics she’s one of the very best fighters IN THE WORLD), as well as a wonderfully pure soul you just can’t help loving, and it made me SO UNBELIEVABLY HAPPY that they got my Canary EXACTLY RIGHT.  Altogether they’re a fantastic bunch of badass ladies, basically my perfect superhero team, and the way they’re all brought together (along with Harley, of course) is beautifully thought out and perfectly executed … they’ve also got one hell of a threat to overcome, namely Gotham crime boss Roman Sionis, the Black Mask, one of the Joker’s chief rivals – Ewan McGregor brings his A-game in a frustratingly rare villainous turn (my number one bad guy for the movie year), a monstrously narcissistic, woman-hating control freak with a penchant for peeling off the faces of those who displease him, sharing some exquisitely creepy chemistry with Chris Messina (The Mindy Project) as Sionis’ nihilistic lieutenant Victor Zsasz.  This is about as good as superhero cinema gets, a perfect example of the sheer brilliance you get when you switch up the formula to create something new, an ultra-violent, unapologetically R-rated middle finger to the classic tropes, a fantastic black comedy thrill ride that’s got to be the most full-on feminist blockbuster ever made – it’s helmed by a woman (Dead Pigs director Cathy Yan), written by a woman (Bumblebee’s Christina Hodson), produced by more women and ABOUT a bunch of badass women magnificently triumphing over toxic masculinity in all its forms.  It’s also simply BRILLIANT – the cast are all clearly having a blast, the action sequences are first rate (the spectacular GCPD evidence room fight in which Harley gets to REALLY cut loose is the undisputable highlight), it has a gleefully anarchic sense of humour and is simply BURSTING with phenomenal homages, references and in-jokes for the fans (Bruce the hyena! Stuffed beaver! Roller derby!).  It’s also got a killer soundtrack, populated almost exclusively by numbers from female artists.  Altogether, then, this is the VERY BEST the DCEU has to offer to date, and VERY NEARLY my absolute FAVOURITE film of 2020.  Give it all the love you can, it sure as hell deserves it.

1.  TENET – granted, the streaming platforms (particularly Netflix and Amazon) certainly saved our cinematic summer, but I’m still IMMEASURABLY glad that my ultimate top-spot winner FOR THE WHOLE YEAR was one I got to experience on THE BIG SCREEN. You gotta hand it to Christopher Nolan, he sure hung in there, stubbornly determined that his latest cinematic masterpiece WOULD be released in cinemas in the summer (albeit ultimately landing JUST inside the line in the final week of August and ultimately taking the bite at the box office because of the still shaky atmosphere), and it was worth all the fuss because, for me, this was THE PERFECT MOVIE for me to get return to cinemas with.  I mean, okay, in the end it WASN’T the FIRST new movie I saw after the first reopening, that honour went to Unhinged, but THIS was my first real Saturday night-out big screen EXPERIENCE since March.  Needless to say, Nolan didn’t disappoint this time any more than he has on any of his consistently spectacular previous releases, delivering another twisted, mind-boggling headfuck of a full-blooded experiential sensory overload that comes perilously close to toppling his long-standing auteur-peak, Inception (itself second only by fractions to The Dark Knight as far as I’m concerned). To say much at all about the plot would give away major spoilers – personally I’d recommend just going in as cold as possible, indeed you really should just stop reading this right now and just GO SEE IT.  Still with us?  Okay … the VERY abridged version is that it’s about a secret war being waged between the present and the future by people capable of “inverting” time in substances, objects, people, whatever, into which the Protagonist (BlacKkKlansman’s John David Washington), an unnamed CIA agent, has been dispatched in order to prevent a potential coming apocalypse. Washington is once again on top form, crafting a robust and compelling morally complex heroic lead who’s just as comfortable negotiating the minefields of black market intrigue as he is breaking into places or dispatching heavies, Kenneth Branagh delivers one of his most interesting and memorable performances in years as brutal Russian oligarch Andrei Sator, a genuinely nasty piece of work who was ALMOST the year’s very best screen villain, Elizabeth Debicki (The Night Manager, Guardians of the Galaxy Vol. 2, Widows) brings strength, poise and wounded integrity to the role of Sator’s estranged wife, Kat, and Aaron Taylor-Johnson gets to use his own accent for once as tough-as-nails British Intelligence officer Ives, while there are brief but consistently notable supporting turns and cameos from Martin Donovan, Yesterday’s Himesh Patel, Dirk Gently’s Fiona Dourif and, of course, Nolan’s good luck charm, Michael Caine.  The cast’s biggest surprise, however, is Robert Pattinson, truly a revelation in what has to be, HANDS DOWN, his best role to date, Neil, the Protagonist’s mysterious handler – he’s by turns cheeky, slick, duplicitous and thoroughly badass, delivering an enjoyably multi-layered, chameleonic performance which proves what I’ve long maintained, that the former Twilight star is actually a fucking amazing actor, and on the basis of this, even if that amazing new teaser trailer wasn’t making the rounds, I think the debate about whether or not he’s the right choice for the new Batman is now academic.  As we’ve come to expect from Nolan, this is a TRUE tour-de-force experience, a visual triumph and an endlessly engrossing head-scratcher, Nolan’s screenplay bringing in seriously big ideas and throwing us some major narrative knots and loopholes, constantly wrong-footing the viewer while also setting up truly revelatory payoffs from seemingly low-key, unimportant beginnings – this is a film you need to be awake and attentive for or you could miss something pretty vital. The action sequences are, as ever, second to none, some of the year’s very best set-pieces coming thick and fast and executed with some of the most accomplished skill in the business, while Nolan-regular cinematographer Hoyte van Hoytema (Interstellar and Dunkirk, as well as the heady likes of Tinker Tailor Soldier Spy, SPECTRE and Ad Astra) once again shows he’s one of the best camera-wizards in the business today by delivering some absolutely mesmerising visuals.  Notably, Nolan’s other regular collaborator, composer Hans Zimmer, is absent here (although he had good reason, since he was working on his dream project at the time, the fast-approaching screen adaptation of Dune), but Ludwig Göransson (best known for his collaborations with Ryan Coogler Fruitvale Station, Creed and Black Panther, as well as career-best work on The Mandalorian) is a fine replacement, crafting an intriguingly internalised, post-modern musical landscape that thrums and pulses in time with the story and emotions of the characters rather than the action itself. Interestingly it’s on the subject of sound that some of the film’s rare detractions have been levelled, and I can see some of the points – the soundtrack mix is an all-encompassing thing, and there are times when the dialogue can be overwhelmed, but in Nolan’s defence this film is a heady, immersive experience, something you really need to concentrate on, so these potential flaws are easily forgiven.  As a work of filmmaking art, this is another flawless wonder from one of the true masters of the craft working in cinema today, but it’s art with palpable substance, a rewarding whole that proved truly unbeatable in 2020 …

#wolfwalkers #wonder woman 1984 #ww84 #love and monsters #parasite #parasite movie #the old guard #mank #enola holmes #1917 #1917 movie #Birds of Prey #birds of prey the fantabulous emancipation of one harley quinn #tenet #tenet movie #2020 in movies

[my-personality-i-guess]

I’m gonna post spoilers of WW84 under the cut, because I did not like the movie and you all need to know why

So I’m gonna start out with what I liked about it, because honestly it was kind of good. Gal Gadot? Phenomenal, gorgeous, 10/10 I rewatched the first Wonder Woman and the woman loving side of my sexuality has reawakened. Costumes? I am not a fan of the 80s, but damn could I get behind every single outfit. I don’t even need to talk about the Amazons, they were beautiful, like I said, women. The cinematography was also quite good. 

But the first Wonder Woman movie was definitely better. 

WW84 started out fantastic. I loved the opening scene with young Diana, and it set up such a great concept for the movie. Would’ve been great if they stuck to that huh. Then we meet Kristen Wiig, who honestly I’ve never really liked. Maybe I haven’t seen her in enough stuff though, because I absolutely fell in love with Barbara. Especially the obvious gay subtext between her and Diana. All starting out phenomenally. There’s great setup for Diana to fall in love with Barbara, work out her love for Steve and the trauma she got from the war. I’d even go for a love triangle with Barbara, Diana, and Max. Then everything switches.

It feels like there were two different writers for the film. One writer set up a phenomenal plot line, a budding romance, and a storyline about healing from your past and moving on. Then the second writer scrapped all that and resurrected Steve. Don’t get me wrong, I loved Chris Pine in both Wonder Woman movies, and he was pretty funny in WW84, but his whole character just seemed to be there solely to put an end to the romance between Barbara and Diana. He played a role with very little impact. Honestly, I finished WW84 literally 5 minutes ago and I forgot Steve was even in the movie. All of a sudden there’s no plot. My whole family was confused. My dad said it was “just like a stereotypical 80s movie.” Where was the brilliant storyline that had started? Why are we skipping over what could have been a revolutionary film for a literal remake of Aladdin? (literally it’s just Aladdin. That’s the whole thing. Aladdin and queerbaiting) 

If we skip over the Aladdin bits (the entire plot line yes it’s as basic as it sounds) all there is is some forced relationship between Diana and Steve to cover up the blatant queerbaiting and, I would argue, homophobia. It’s so incredibly obvious that Barbara is in love with Diana, even though she apparently falls in love “every day, all the time” (which feeds into some harmful stereotypes about bisexuality, by the way), and yet the screenwriters try to play it off like Barbara just really admires her. I was 100% sure that Barbara was going to wish that Diana fall in love with her, but she instead wanted to be like Diana? Yes, she’s insecure, that was made blazingly obvious, but she was in love with Diana, and Diana had just told her how much she enjoyed Barbara just the way she is. Generally people don’t change what others, especially those they are attracted to, like about them. And there ends the romance. Not even a hint at the date the two went on, nothing about the feelings between the two. Steve shows up, and Barbara is no longer an interesting or relevant character. In fact, she’s killed at the end of the movie. Way to dive headfirst into the pool of kill your gays (electrocute them if you want to be vague about whether or not they’re actually dead). To top it off, Steve just is gone an hour after he was resurrected. Steve just showed up to ruin Diana’s relationship and mental health, cuz I’m sure it wasn’t at all traumatizing to lose the love off your life twice, the second time pretty much directly killing him. 

Other little things I’m pissed about:

1. Lack of diversity. The first Wonder Woman movie had an incredibly diverse cast, and WW84 had the only main character as a POC be the villain. 

2. We never learned more about the Amazons. Woah, they do the Olympics and don’t like cheating, so what? Where’s the deep delve into Amazonian culture that we got in the first film? Why didn’t Diana ever go back to Themyscira?

3. The whole plot is just Aladdin if the genie was evil. That’s it. I’m sure you’ve all seen those posts of “be careful if you meet a genie, they’re evil and manipulative”

4. There was almost no mythology. Nothing. Just 30 seconds of babbling about the “language of the Gods” and the “God of lies” no explanation, no backstory, just a throwaway explanation about how the wishing could vaguely go along with the theme. We didn’t even get any resolution about that? Considering Ares apparently killed all the Gods, I wasn’t really expecting any Godly intervention from whoever that God of lies was, but there was absolutely nothing about what happened to the rock. How did it get out of Max? Did every single person in the world take back their wish, cuz that’s unrealistic. If even one person kept their wish, what happened to the rock. It probably didn’t reform? What happened to the magic???

5. That beautiful suit of armor that’s in all the promo pics, posters, the most iconic part of the trailer? That was there for literally 10 minutes and built into the plot solely for the cameo in the end credits scene. And not even well? The armor was supposedly built to withstand the world? It was torn to shred in 30 seconds, in a fight against a woman with brand new powers she doesn’t know how to work and exactly zero fighting experience. A cheetah hybrid scientist destroyed that armor in 30 seconds flat and you expect me to believe it held back the whole of mankind?

6. Where’s the fun feminism of the first movie? No talk about how women are great? Two and a half hours and the best you can do is the villain beating up the dick who was catcalling and assaulting her and framing it as an evil thing? The entire movie Diana and Barbara were being catcalled and harassed by men who thought they’re gorgeous. Absolutely they don’t have to respond to these men. They don’t have to stick up for themselves to prove that they’re worthwhile. Good for them for ignoring the jerks. But when the only instance of a woman sticking up for herself in the whole film is framed as an evil deed, it’s a bit sketch.

7. The fight scene between Barbara and Diana at the end when Barbara is a Cats movie reject was incredibly boring and not at all riveting and iconic like the fight scenes in the first movie. In fact, every fight scene in WW84 was really flat. It felt like there was a lot of effort put into dampening Diana’s powers. In the first movie Diana was a dynamic and strong individual who had friends who, while not as powerful as her, were important to ending the conflict. In WW84 Diana did everything (except for stopping the mall heist) really poorly, and relied on Steve to get her out of nearly all of her tight spots. For how bad of a character he was, you’d think he wouldn’t do a lot in the movie, but he was constantly saving Diana. Then Diana couldn’t even do anything against Max, it was all the people reversing their wishes. Considering she literally killed a God in the first movie, you’d think she could do something about a man-rock.

tl:dr, it’s an Aladdin remake with queerbaiting and bad plot

#ww84 #ww84 spoilers #ww84 review #wonder woman 1984 #wonder woman 1984 spoilers #dc #queerbaiting #homophobia #screenwriting #movie #review

[fandumbstuff]

The DC Extended Universe, Ranked Best to Worst.

1. Wonder Woman Directed by Patty Jenkins

Wonder Woman might be the only good movie that DC has made. Patty Jenkins really hits the nail on the head and perfectly captures the voice of the character. For a character so old and so iconic, there are many versions of Diana’s story, but Patty Jenkins really manages to deliver a definitive version. Gal Gadot, like Christopher Reeve or Chadwick Boseman before her, is perfectly cast in a role that is so much more than just a movie character. Diana is as strong as she is compassionate. The character flaws she needs to overcome is her own naivete, rather than the misguided angst so many of DC’s other characters grapple with. While other action sequences in the franchise have been overly cluttered, Wonder Woman’s cinematography offers some of the slickest, most iconic action scenes in the genre. It’s an altogether incredible achievement and a milestone for cinema in general.

2. Wonder Woman 1984 Directed by Patty Jenkins

The greatest fault I could find with this movie is that it didn’t lean into the 80s setting more. It does tread the line of a rather schmaltzy central plot, but solid performances from cast members like Pedro Pascal make it believable. It’s an absolute joy to see Gadot and Pine return to their roles, and an even greater joy to see ther choice of outfits for every scene. Solid. While Kristen Wiig is expectedly brilliant like with everything she does, she’s handling a character arc that seems derivative and outdated. Like it’s predecessor, WW84 showcases some pretty stellar action sequences, with Jenkins once again showing a knowing eye for big, impressive set pieces paired with frenetically paced fight sequences.

3. Aquaman Directed by James Wan

After the convoluted mess of ensemble films like Suicide Squad and Justice League, and even some of Marvel’s recent fare, it was refreshing to see a more traditional origin story. This was ultimately what drew my interest to superheroes in general, and while this film doesn’t have the same elegance of a Superman (1978) or Batman Begins, it’s an origin story that modern audiences can sign on for easily. It’s strongest scenes are in the lore-expanding quest that Arthur and Mera go on, simultaneoulsy a National Treasure-esque adventure and a showcase for solid chemistry between Jason Momoa and Amber Heard. And while Ocean Master does seem like an exaggerated villain at times, It’s Patrick Wilson’s solid performance that manages to sell it and make him arguably the best villain DC’s had.

4. Shazam! Directed by David F. Sandberg

Obviously, an inordinate amount of fun. Shazam doesn’t try and be something it’s not. Ultimately, more than any other superhero film, Shazam understands that this genre was always intended for children. And while at times the plot might seem thin or the conflict inconsequential, Shazam never loses sight of it’s heart. A capable cast of child actors make this believable, and subverting the genre tropes makes the film charming and witty. While it seems overly simplistic in terms of it’s storytelling, in DC’s world of confusing plots, this is a welcome change.

5. Man of Steel Directed by Zack Snyder

Perhaps the strangest portrayal of Superman to date, Zack Snyder honed in on the mythos of the character and what makes him “super” Unfortunately, it seems to completely ignore what makes him a “man”. We’re left with a wholly alien representation of the character- a gross misunderstanding of who Superman is supposed to be. Horrible character choices for both Jor-El and Jonathan Kent leave Clark a shell of the hero he’s supposed to be. We’re left with a character more willing to grapple with moral dilemmas and his own inner angst than actually step up and do the right thing. Henry Cavill has an undeniably affective presence, and he certainly feels right for the role, but he’s never given a chance to actually play the part. Aesthetically pleasing to look at, and generally quite entertaining, it’s unfortunately the way Man of Steel fails its character that makes it so unbearable.

6. Birds of Prey (And the rest of the title) Directed by Cathy Yan

I mean, this is basically just a Harley Quinn movie with some other random characters thrown in. Considering Margot Robbie wrote the film, I find it particularly bothersome that the most work she does for character development is for her own character. We see brief intriguing glimpses of some of the other Birds and unfortunately never get more than a taste. Some of the fight scenes are handling quite capably, trading in the more grittier feel of the standard DC fare for more amusing prop and set work. However, much like Suicide Squad before it, I feel like the movie suffers from “soundtrack vomit”-  a post Guardians of the Galaxy symptom in which a movie tries to assemble catchy songs and them slot them into the edit with no real motivation. 

7. Batman v Superman: Dawn of Justice Directed by Zack Snyder

An absolute misfire from DC in a sad attempt to make themselves relevant amidst Marvel’s runaway success. A focal point in the movie is the collateral damage caused by Superman in Man of Steel. And apparently the best way for the movie to deliberate on this is by exhibiting even more collateral damage. Showcasing the conflict between these two iconic characters seems like a good idea on paper, and it’s certainly been captivating in past comics. But the movie seems to devolve it into nothing more than a bar fight between two dumb jocks. We see Batman get cyber bullied by Lex Luthor, and Superman get coerced by a stupid plot hole. Then they beat each other up like idiots. A movie that spawned a thousand jokes, it’s really only worth watching to make fun of.

8. Joker Directed by Todd Philips

Apparently, this movie isn’t supposed to be counted as part of DC’s Film Universe. But I couldn’t resist the opportunity to remind you what a steaming pile of garbage it is. It would be inaccurate to even call this a movie. It’s really just a desperate actor trying to win an Oscar from an Academy that continues to be woefully out of touch. And an even more pathetic attempt by a incel director to stay relevant. The talented work from it’s cinematographer and composer force me to show some restraint from putting it at the bottom of this list, but rest assured- while there might be films I put below this, there are none I hate more. 

9.  Justice League  Directed by Zack Snyder(?)

Painful to watch, I went into this movie with the lowest of expectations, and they were somehow not met at all. It feels altogether rushed, poorly constrcuted and boring all at the same time. They forego any need for world building and instead toss us headfirst into a horribly convoluted storyline. They rush through an origin for Cyborg and introduce Aquaman like he’s the douchebag you never invited who shows up to your houseparty. Batman over-compensates for his eye-rolling seriousness in the last movie by being overly witty in this one. And they solve Superman’s death by having a hilarious grave robbing scene that I guess is supposed to be funny but is so ridiculous to watch that it felt more at place in an Adam Sandler movie. And to top it all off, the movie in general is one big eyesore. It’s honestly painful to watch the shoddy CGI that constitutes the main antagonist and the waves of enemies we watch the JL plow through. And while the opening scene I think is supposed to be a last ditch effort for them to make Superman relevant, it would be promising if I could look past his god awful CGI lip.

10. Suicide Squad  Directed by David Ayer

A hilarious comedy where the characters don’t actually have any dialogue and instead just speak in one-liners. A touching romantic drama where the Joker abuses Harley Quinn. A moving character study where Deadshot just wants to be a better father by killing Batman. A thrilling action movie where we hope the heroes can overcome Cara Delevigne’s dumb dancing and blow up the generic pillar of doom she’s summoned in the middle of Gotham. Suicide Squad is all of these things and more- so there’s my rousing endorsement.

#dc #dc movies #dc films #joker #batman #superman #wonder woman #wonder woman 1984 #suicide squad #justice league #Snyder cut #man of steel #harley quinn #birds of prey #hanry cavill #gal gadot #ben affleck #batfleck #jason momoa #aquaman #shazam #zachary levi #chris pine #kristen wiig #pedro pascal #orm #ocean master #will smith #margot robbie #mary elizabeth winstead

[naughtygirl286]

So Yeah we finally seen Wonder Woman 84!! Yes there was some collectable with our screening which are posted separately but lets get to the movie.

Personally I thought it was great, I did enjoy it true I didn't have/get the same "OMG!" type of feeling I had from the first one but I still really liked and still smiled alot during the movie.

I did think the opening of the movie where its done through a flash back of Wonder Woman's childhood back on Themyscira was really nice and I was happy to see more of it in this movie.

I also liked how they kind of alluded to what she was up to and doing after the end of the war which was cool. Also it was an interesting way of how they brought back Chris Pine's Steve Trevor I was really interested in seeing how they did that that. While watching you kinda feel like saying "well that's cheating!!" but then again you are in a world of Gods and magic so I guess it is able to happen lol

But it is good that they have them on screen together again being that I think Chris Pine and Gal Gadot have amazing chemistry and they play off each other extremely well and you believe these two are a couple. I also like how they play up the relationship between Gal Gadot's Diana Prince and Kristen Wiig's Barbara Ann Minerva being they do have a friendship for the most part in the comics and I liked seeing that come though on the screen.

I was kind of worried and interested in the casting of Kristen Wiig as Barbara Ann Minerva/Cheetah being she is a comedian has been in alot of comedies and the character of Cheetah is a very vicious, violent, terrifying and intimidating character so I was wondering how she would handle it and I would have to say she did do a very good job. I liked watching the slow progression through the movie as she became more and more like Cheetah as her personality and appearance changed.

Pedro Pascal's Maxwell Lord I do think he did do a pretty good job as the character although I do wish he was a more menacing character in this being he comes off as a bit more sympathetic. I just wish he was more like his comic version and feel he as a villain was a bit wasted.

The whole sequence with the Invisible Jet I loved that and I have to say it did make me smile and I feel they did do it in a bit of a believable way. but I did love that whole thing.

Alot of people said it was overly cheesy, silly and goofy? I would have to disagree with that I didn't find it like that at all?  I really didn't find it silly or goofy? Now I do feel there was a bit of silliness and that was mainly after Chris Pine's Steve Trevor returns and him and Gal Gadot's Diana are walking around and she is showing him "the future" and he kinda has this slack jawed expression at everything which I think was meant to be a bit funny and it kinda was but to me that is pretty much the only thing that I could say was silly? Also they did the same thing for Steve Rodgers in the Marvel movies they whole "Man out of time" thing where he was amazed at everything in the "modern world"  but I do think the movie  was serious for the majority of it.

Also alot of people complained that it didn't have enough action compared to the first which I don't think is true.. Now you have to balance the action and the story and I feel that this did have alot of action in it.  I did think the mall sequence was pretty neat and I thought the Highway chase/battle was really cool as well as the showdown in the White house. I did like the final fight with Cheetah but I only wish we could have gotten to see her more clearly being the fight takes place at night

Also the credits scene with Lynda Carter was pretty cool too

but anyway I personally enjoyed it it was a fun movie and I'm happy that I got to see it. Did it meet my expectations? I don't know I didn't feel like I had any going into it I was just hoping that it would be good and that I would like it as I do with every movie and I believe it was pretty good and I did enjoy it. Now being this movie is apparently very polarizing some like it some don't I would suggest watch it for yourself and make up your own mind

#ww84 #wonder woman 1984 #wonder woman #wonder woman 2 #dc #dc comics #dceu #dceumovies #shannonj286 #naughtygirl286

[eldritchamy]

Having now watched them back to back I have to say Wonder Woman 84 is hands down better than the first movie.  There are two major issues I have with it (not discussed in this post for spoiler reasons), but everything else about it was unequivocally better.

The first movie is pretty slow to start up and even though Diana’s backstory strongly supports and explains all of the things she doesn’t understand about the world, she is very much a Born Sexy Yesterday character for almost the entire movie, and while the TWIST about who Ares was was DEFINITELY well done, Ares himself as an antagonist was incredibly lackluster and forgettable.  The first movie did some things really well, like setting it in World War ONE where there was really no obvious morally superior side, it was just an absolute clusterfuck of human tragedy and moral ambiguity on all sides and that fit the narrative perfectly.  But in retrospect?  It missed the mark in some ways too.  Diana’s innocence was really overplayed, and her sheltered childhood with an overly protective mother on an island isolated from the rest of the world accounts for SOME of that, but the framing of the character overall suffers from a lot of the film’s shortcomings.

I still like the first movie for what it is.  But what it is is a female power fantasy.  It was refreshing because it was a story of a woman being told she couldn’t do things and succeeding anyway.  We DO deserve more stories like that.  I’ll take it over yet another male power fantasy movie any day.  But god the bar was so goddamn low, and 84 REALLY shows how much higher that bar could be.  I truly, truly hope that’s the new bar that movies like this try to aim for.

The sequel reverses the Steve and Diana dynamic in a way that’s believable for the characters and genuinely CHARMING.  I was completely shocked that Steve being in the second movie A) WASN’T horribly convoluted shoehorned bullshit as an excuse to shove her 5 day love interest (I literally mapped out the timeline, it is 5 days from the plane crash to the end of the movie) into the sequel, and B) Steve being there not only fit perfectly into Diana’s character arc for the movie but was actually ENJOYABLE.  I enjoyed Steve as a character ten times more in the sequel and was actually glad he was there, and felt the emotional impact of all the story beats involving him, which was CRITICAL to selling Diana’s arc, which was absolutely the highlight of the film.

And on that point, the smaller core cast and better overall writing REALLY did wonders for fleshing out the character arcs.  The plot structure was constructed beautifully and played into the development of each character’s story in a way the first movie didn’t.  Every character’s arc felt complete and satisfying, with the possible exception of one of them not getting as much resolution as they deserved.  But overall, compared to the first movie, Diana feels WAY more like a fleshed out complete character and she is absolutely the heart and soul of the movie.  And the antagonists in particular were handled SO MUCH BETTER in terms of their own stories and motivations.  It did way more show don’t tell.  The first movie gives you a lengthy backstory about the gods and amazons and Ares in particular and then throws him into the story at the end as this overhyped flat villain.  WW84 shows you where the antagonists are coming from and they have their own stories alongside Diana’s which makes the plot better, the movie more fleshed out, and motivations deeper, the conflicts and stakes far more real.  It is flat superior in every regard.

Gal Gadot’s acting is a little bit inconsistent and some of her line deliveries are a little bit off, but the sequel ALSO has, bar none, the best acting moments I’ve seen from her, nearly back to back in the two most powerful scenes of the movie (imho).  The emotional impact of the pivotal plot moments is outstanding.  The visual framing of two particular shots without question sold the entire movie.  The characters’ choices had SO MUCH INFLUENCE on the plot.  The movie was driven by consequences for CHARACTER ACTIONS, not just “this big mystical thing happened thousands of years ago”.  You get to see and feel all of the story beats.  And the story beats, critically, are GOOD.

The ending was a little bit overextended.  It tried to reach a little too far and it kind of flopped imo.  It felt a little flat after how POWERFUL the late-middle character moments were.  And it was a LOT less of a visual spectacle and badass moment compared to the lightning blast in the first movie (which, in some ways, is a good thing).  But the overall character arcs, especially Diana’s, more than make up for that.  It was just a better movie, without question.  The writing was better, the acting was (mostly) better, the stakes felt FAR more significant without there being ANY power creep from trying to follow up the god of war, the character arcs were more fleshed out and actually SHOWN in a complete way, the emotion was deeper, the character DYNAMICS were better, etc etc etc.  

Wonder Woman was not a bad movie.  It was INCREDIBLY refreshing from the superhero genre compared to everything else that had come out by that point, and it still holds up as better than anything Marvel has done other than Thor Ragnarok, Black Panther, and Captain Marvel.  But now that the sequel is out, it’s become really clear how much higher the bar should be.

We really deserve better from the media we consume.  And while WW84 isn’t perfect, it’s a hell of a step forward.

I know everyone loves the No Man’s Land sequence, but honestly there’s a sequence in 84 that I felt was WAY more powerful as both a story beat and as part of Diana’s character development.  No Man’s Land, by comparison, feels like a power fantasy with no further depth, it’s JUST “I am no man” as an 8 minute action sequence.  The pivotal character sequence in 84 felt so much better because of how perfectly it tied into the emotion of its story beat and the consequence of choice.

Despite the two major flaws I feel it has, WW84 is a much better movie.

I don’t want to come off as overly critical of the first movie, because I loved it and I still think it’s good in a lot of ways, and is certainly fun to watch.  And I would LOVE more female power fantasy movies.  But it’s really not much more than that, in retrospect.  I just ALSO really, really, REALLY want more like the sequel, because god damn did it raise the bar.

#eldritchreviews

[smokeybrandreviews]

Binary

This started out as a whole thing about Brie Larson. She’s started a YouTube channel and i figured I'd follow it just for kicks. I’m not a huge fan of massive Hollywood stars invading more accessible spaces but, technically, they’re the “You” in YouTube, too. I can’t be too mad at that. Of course Google is going to cater more to their brand, mostly because they bring in the duckets and understand PR so they know ho not to cause an ADpocolypse, but it’s still mad sh*tty. Larson’s first post was just her being goofy, trying to figure out how to even be a YouTuber. You kind of see a side of her that i figured was there, but never really was able to confirm. Brie Larson is the poster child for Millennial geekdom and i find that adorable as f*ck. Which is why i don’t understand the MASSIVE waves of hate she’s getting from the community. Cats are reveling in her perceived failure, it’s actually insane.

Now, before we go any further, i just want to be clear; I am a fan of Brie Larson. I think she is excellent at her craft. Ma is from my hometown and it’s always great to see someone make it out of this cowtown. I believe she has every right to her opinions and the fact that she voices them from such a visible platform, makes her one of the most endearing and real celebrities in an industry maligned by the phony. Brie ain’t quite Russell Brand but she is very vocal about the unjust sh*t she sees and will totally let you know it. That, i think, is why she garners such vitriol. Look, I'm a black dude living in the US. If she gets on TV and says f*ck white dudes, I'm inclined to agree. But she didn’t say that. What she said was there needs to be more voices making film, different perspectives in the arts. White dudes dominate the industry and she’s tired of seeing that movie. I don’t understand how that’s a controversial statement. It’s true. We need more dynamic, more diverse, storytellers making films out in the wild. The thing is, that one statement earned her the ire of every entitled white boy with time and and the internet. These motherf*cker decided to take that personally and we were off to the races.

When Brie Larson was announced as Captain Marvel, i was okay with it. I thought Charlize Theron or Katee Sackhoff would have been a better look but i get it. Larson is young and can portray the character for years to come. Kind of how Florence Pugh is going to take over Black Widow duties from Scarlett Johansson. Pugh can be that character for close to a decade, as can Larson. Once again, however, the interwebs were set asunder with rage and malcontent over the Cap Marvel announcement. It was f*cking ridiculous to me. Sure, she didn’t look the part going into this but neither did Gal Gadot, the latter turned out to be the best thing going in that trainwreck DCEU. Larson grew into the part, put in the work to look the part, and is committed to the role. She did her research, consuming massive amounts of the comics, trying to find Carol’s head space, which was a goddamn feat. Captain Marvel is as controversial as Brie Larson, herself. And it’s just as stupid.

Look, i adore Captain Marvel. She’s my fifth favorite Marvel character after Spider-Man, Doctor Doom, Laura Kinney, and Illyana Rasputin. In that order. Captain Marvel grew on me during the whole Mighty Avengers and Disassembled story lines from years ago. I have no love-loss for Bendis but that cat did wonders for building up more obscure characters, Carol being one of them. I also like what he did for Luke Cage, too, but that’s not what this essay is about. I’ve been a fan of this character since the early 00s and have rode this Carol train for years. I jumped on bored when she was rocking her leotard, which i miss terribly, took my time to dig up the back issues where she was in the original red and blue digs and moonlighted as Warbird for a bit. Then, Marvel Now happened and f*cked it all up. Carol went from this attractive, uber-powered, mess of a woman to a cold, manly, aggressively stupid caricature of herself. The Carol Danvers i had grown to love, with all of her faults and trauma, became some sort of butch nightmare and the poster child for why Woke Marvel was failing. I don’t think that’s fair.

Comic Carol was on her way to becoming a real force in the Marvel universe. She had learned there was worth in her strength, one she had to drag out through deep introspection and an understanding of who she really is. No longer was she just a gender-swapped, copyright placeholder that no one knew what to do with. Now she had agency. Now she was a force. Now she was relevant. Now tore all of that away. After Marvel Now, all of that growth and nuance was thrown out of the window. She became the idealized version of what the SJWs thought a “Strong Woman” should be. Marvel gave her a massive push in an effort to  cater to this burgeoning Tumblr dynamic and it failed miserably. Marvel wanted that Steven Universe crowd and they tried real hard to get it but that sh*t did not work. The changes to the universe weren’t extreme or feminist or PC enough. Courting a fanbase that had no longevity, Carol was sabotaged and thrown to the wolves. That’s the environment we were saturated in when Disney announced Larson as Carol for the MCU. It was a perfect storm of Nerdrage, one that has not died down in any capacity all these years later for either Brie or Carol.

I don’t think the feminist slant given to the Captain Marvel movie was actually such a big deal. I think the vitriol that flick faces stems from the combined maliciousness both the new version of Carol in the comics and Brie Larson, herself, garnered. It’s kind of crazy the massive tantrum everyone decided to throw over this movie. Cats were looking for this thing to fail as some sort of petulant schadenfreude ignoring the fact that this movie wasn’t made for them. As frustrated as i was with the ludicrous discourse, i knew this movie wasn't for me. his wasn’t my Carol and i was good with that. Unlike Marvel who pandered to the trend of PC nonsense, the MCU had a clear vision in mind for the audience they wanted; Young girls. They wanted a character who was strong enough to hang with Thor, stand equally with Iron Man, and have the respect of Captain America. Captain Marvel was the best option. She would be the tentpole hero of the MCU going forward and i accepted that. I went into the film with that understanding and, on my way out, i saw, firsthand, what this movie meant to the target audience. There was a little girl, about nine or so, gushing abut how cool Captain Marvel was. She as ecstatic to see a girl like her, kicking so much butt. In the face of that, every entitled argument you have against the character falls apart in my eyes. Captain Marvel is to young girls and woman, as Black Panther was to us black folk. It’s the same energy.

Do i think the film could have been better? F*ck yea, i do. I think the script should have had one more revision and the directors definitely felt out of place. They’re good at their jobs, they mostly make A24-esque fare, but a massive, multi-million dollar, space epic connected to the most popular film franchise in history? Nah, these cats were way out of their depth. I think Feige dropped the ball on this one, a rare miss. I think Kathryn Bigelow, Patty Jenkins, Lynne Ramsay, Claire Dennis, or  Lorene Scafaria would have constructed a much better film, both visually and narrative wise. I think if the movie was better as a whole, a lot of the controversy and vitriol would have been neutered. Carol is written quite wooden and a little pretentious. The interactions between the supporting cast feels forced. The overall narrative is fine but definitely could have been embellished at parts. Captain Marvel is boring and i don’t know how that happened. You have one of the strongest characters in comics, with a distinct, visually appealing powerset, and you make her movie boring? Really? More than anything, though, is the absolute mistreatment of Sam Jackson and Nick Fury.

The writing reduces Nick Fury, the mind behind the entirety of the Avengers Initiative, to lap boy sidekick in an effort to up Carol’s own stature. That sh*t is poor writing and it’s mad frustrating to see. I hate narratives that have to job established characters, in an effort to push new additions. I just wrote a whole goddamn thing about that with Punchline, Joker’s new “partner”. It’s bogus, cheapening the character and opens up an avenue for bad-faith complaints. Rey Palpatine is another great example. Her entire character is built on the slow, methodical, violent, destruction of the Skywalker legacy. Interestingly enough, that character was launched in the same environment as New Carol so i understand why the movie is the way that it is. I don’t agree with it, but i know why. It was an incredibly poor choice to introduce Captain Marvel in this way, however, and she’s never recovered. Brie has never recovered. You want a 90s buddy-cop space opera? Lethal Weapon with Skrulls and starships? You need your Murtaugh and Riggs to stand on equal footing. That was not the case with this flick. Having Nick Fury job to Carol Danvers for two hours was the wrong way to go about all of this and i think a different creative team could have made something truly excellent.

It’s nuts to me that this is even a thing though. Brie’s personal controversy is so f*cking stupid, i choke every time i think about it. How are you mad she stand up for herself, her gender, and everyone else in a position of persecution? Don’t you want though with a platform speaking up about the inequities of our country? I feel like the same people who hate Brie for her vocal advocacy, are the same people who stan “All Lives Matter” when ever someone says Black Lives Matter. That sh*t feels like the same energy to me. I feel like the criticisms launched at comic Carol have real validity, even if most of them are just whiny man-children who miss the leotard. I miss the leotard, too, but come on? We’re passed that now. I do think, when written well, Carol can be a force in the books. Her run as part of the new Ultimates was pretty chill I think she needs that in order to be her true self, until we establish a true self for the character. It’s weird to say but Captain Marvel, Ms. Marvel previously, has been around for fifty years, and no one has any idea who she is as a character. I think Captain Marvel in the MCU, both the character and film, are hated for the wrong reasons. The fact that no one has any idea who this character is, makes for a lousy cinematic experience. The team put together in an effort to flesh this character out, didn’t have the creative capacity to do so and we were left with little more than PC tropes and Feminist agenda. The MCU let both Brie and Carol down in that regard.

Brie Larson isn’t a terrible person and she deserves more respect put on her name. She an accomplished actress with a bevy of awards and accolades to her name. She’s been in great films like Room and Scott Pilgrim, never once garnering a controversy. The fact that she speaks her truth, a truth the establishment doesn’t want to hear, should not disqualify her talent or the fact that she seems like a really chill person. Carol Danvers is a dope ass character with an amazing amount of potential. When she’s written well and not traded upon for trends, she can have real staying power. Her abilities open up a plethora of interesting, creatively fertile narratives yet to be written. Disregarding her just because Marvel decided to gamble on the pretentious third-wave feminism wave is shortsighted and makes you look like a childish brat. You’re entitled to feel however you want but let’s be clear; Brie Larson and Carol Danvers deserve so much better.

#Captain Marvel #Carol Danvers #Brie Larson #Marvel

[anotheruserwithnoname]

An excellent selection of images by Romero of the great Modesty Blaise, the crime boss-turned-superspy who is overdue for a proper adaptation in film or TV. The word is that after 3 failed attempts over the years, her creator, Peter O’Donnell, requested before his death that no further attempts be made at adapting her for film, which may explain why - other than a couple of BBC Radio serials a few years ago starring Daphne Alexander that adapted some of the novels - why we haven’t seen any indication of a Modesty Blaise movie, despite the times being so right with a Black Widow movie in development (and Modesty Blaise clearly influenced that character) and a push for more original female hero characters. Quentin Tarantino famously has wanted to do a film for decades - it’s a reason why you kept seeing the first Modesty Blaise novel showing up in Pulp Fiction. Although part of me wants to see O’Donnell’s wishes respected, at the same time I’d love to see Modesty and her “platonic life partner” Willie Garvin arrive in the 21st century to kick ass and take names. Gal Gadot as Modesty, Nikolaj Coster-Waldau as Willie, David Harewood as Sir Gerald Tarrant (MB’s equivalent of M). There - casting sorted!

Romero’s art actually took some getting used to for those familiar with original MB artist Jim Holdaway’s style, but it’s still a fascinating story about how Romero took over when Holdaway suddenly died while working on the comic strip in 1970. In order to maintain continuity, Romero imitated Holdaway’s style for the remainder of the story arc (in those days it took about 6 months of daily strips to tell a story), and then introduced his own style with the next story. He left the strip for a few years in the 1980s, but eventually came back and continued to work on it until O’Donnell retired the strip (and the character) in the early 2000s. The complete run of Modesty Blaise from 1963 to 2002 was reprinted by Titan Books over a 13-year period (I was honoured to have actually provided some information for the first volume) and I highly recommend both it and the novels O’Donnell also wrote over a 30-year period.

From the same Instagram, here’s another post focusing on the art of Jim Holdaway, so you can compare.

#modesty blaise #enrique badia romero #peter o'donnell

[erictmason]

THEY’RE GONNA WRECK IT: A “Ralph Breaks The Internet” Review

I don’t know that I ever would have told you that the original “Wreck-it Ralph”, one of the more pleasant surprises of post-Pixar-merger Disney, “needed” a sequel; the original’s story was compelling and complete enough on its own.  But the characters were so much fun to spend time with and the world felt so intrinsically interesting that it also seemed like a prime candidate to give a sequel to anyway.  And to its credit “Ralph Breaks The Internet” starts from a premise clearly designed to keep it from simply being a needless retread of the original, trading the halls of an old Arcade for the world wide web.  Unfortunately, the resulting film, while not exactly a TOTAL wash, also feels like it’s learned all the wrong lessons from its predecessor, taking an anted-up version of the first movie’s playful Video Game in-jokes that were there a mere garnish and here turning them into an inescapable aspect of the entire story that severely compromises its narrative integrity.

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Said narrative picks up six years after the events of the original, with Ralph happy as can be with his lot in life nowadays: thanks to his friendship with “Sugar Rush” superstar Vanellope Von Schweetz, he’s more than content to just do his job and hang out with her goofing off all night.  Vanellope, however, feels increasingly constrained by the repetitive limits of her closed-off racing world, leading Ralph to try and give her a new surprise or two to cheer her up; unfortunately that just leads to "Sugar Rush” getting broken.  Ralph and Vanellope thus decide to venture into the arcade’s newly connected Wi-Fi system to reach The Internet in hopes of finding the part necessary to fix the game before it’s permanently unplugged.  

Which kind of sounds like a bit of an overcooked premise, and indeed the number of contrivances the movie throws at you more or less right out the gate to get to where it wants to go speaks to the problem at the heart of the whole thing, but to start things out on a relatively positive note: Ralph and Vanellope remain a great pair of characters, and if nothing else the opening few minutes of the movie honestly do make for a pleasant little coda to the first movie.  More to the point, there actually IS something admirable about how this movie chooses to dig into how their characters have changed and where they stand:  now that he has an anchor of affirmation in Vanellope, Ralph is able to find acceptance and fulfillment in the same places he once felt rejected by...but once that anchor is threatened (as it is when Vanellope finds herself increasingly attracted to the idea of staying online in the wild and unpredictable world of an online racer called “Slaughter Race”), all of his old insecurities begin to surface.  Meanwhile the same drive to strive for something greater that drove Vanellope in the first movie has now begun to slowly but surely push her out of “Sugar Rush”; this one’s a bit shakier (and the movie fumbles it pretty much completely in the execution but we’ll get to that) but you really can see the emotional logic it works on in a way that adds up, especially because the movie genuinely has the courage of its convictions and chooses to pursue it to its most logical conclusion rather than try to hedge its bets or chicken out at the last minute.  

As well, basically all of the new characters work.  The obvious highlight is Gal Gadot as Shank, the Boss Character of “Slaughter Race”; even as her presence in the movie overall is surprisingly limited given her importance to the main emotional arc that (eventually) reveals itself as the heart of the story, she is nonetheless an immediately enjoyable presence, at once tough as nails and On The Edge (one of the movie’s better sight gags is how the world of “Slaughter Race” is bathed in the reds and browns that dominated Video Games for most of the mid-00′s and Shank feels right at home in that tone) but also a caring figure who looks at her job with a genuine sense of Duty and Honor.  Likewise Taraji P. Henson’s Yesss is delightful, a beaming bouncing presence whose constantly-changing look is a consistent delight (and who may have the most enjoyably subtle details of animation of any character in the movie with the way her coat lights up whenever she gets excited being a personal favorite).  But even minor characters like the Search Engine curator Knowsmore (our now-traditional Alan Tudyk role) and Bill Hader’s J.P. Spamley are genuinely fun new additions to the overall cast.  You do find yourself wishing they could maybe get a bit more screen time or else be better integrated into the overall story, but even so I really liked just about all of them and they do a lot to buoy the whole thing.

Unfortunately none of them, nor the movie’s clever-if-not-especially-original conception of what “The Internet” would mean to this kind of world (my personal favorite touch might be portraying pop-up ads as old-school Newsies), can really add up to much in the face of the larger problem here.  See, even though they’re a relatively minor presence in the overall movie, the original “Wreck-it Ralph” hyped up the presence of its various Video Game character cameos (many of whom return here), and the attendant in-jokes that came with them.  “Ralph Breaks The Internet” apparently seems to have the mistaken belief that it was this wink-wink nudge-nudge meta-humor at the original’s margins that was in fact the key to its success and thus, using The Internet as a launching pad to broaden its range of targets, has made that element much, much more prominent this time around.  Sometimes that does make for amusing gags; the extended (and heavily-touted) scene where Vanellope meets the other Disney Princesses is indeed a particular highlight, and the one sequence where the movie comes even remotely close with reconciling its desire to indulge in fairly tired meta-textual snark with actually trying to tell any sort of real story.  Far more often we have to deal with things like how a joke about Ralph making the age-old mistake of reading the comments stands in for any kind of actual attempt to show how his old anxieties are resurfacing (in a moment that fails to land almost completely; it is honestly impossible to tell while watching it how seriously the movie expects us to take it), or even more frustrating how Vanellope’s realization that she wants to stay in “Slaughter Race” is told to us through an incredibly ineffectual and far too self-aware parody of the old Disney-style “I Want” song.  That Vanellope would in fact choose to leave Sugar Rush behind is already the biggest buy-in the movie asks us to make of its characters, so that failed short-cut proves especially harmful to the overall arc here.  It all leads to a finale that feels like it could, indeed even should, work for how frankly it chooses to tackle the underlying emotional problems at the heart of the story, but it ultimately can’t because the movie just flat-out has not done the work to really earn it.

There are other smaller problems as well; Fix-it Felix and Calhoun, the primary side-characters from the first film, are here given what feels like it should be the lead-in to an enjoyable and inspired B-story of their own but instead wind up being nothing more than glorified cameos.  I’m also not super fond of how the movie actively begs the audience to question the logical nature of its world and characters as often (and seemingly without much thought) as it does.  But the real fundamental issue here is that “Ralph Breaks The Internet” just plain cannot square its two competing impulses; the desire to actually try and tell a story that meaningfully expands on the original’s characters in some genuinely-daring ways is ultimately undone by the far-stronger drive to weigh it all down beneath a lot of knowing referential humor that feels far less relevant and insightful than the writers think it is.  There really is something good deep in the heart of all of this, but, sad as it is to say, it basically gets wrecked this time around.

#disney #wreck it ralph #ralph breaks the internet #review #spoilers #disney spoilers #My writing

[wits-writing]

Ralph Breaks the Internet (Movie Review)

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Wreck-It Ralph is probably one of my favorite Disney animated movies from the post-Tangled era. The arcade game setting and well-structured character arcs at the core of everything keep it rewatchable years later. Ralph Breaks the Internet, directed by Rich Moore and Phil Johnston, pushes the setting and most of the supporting cast from the first movie aside as Ralph (John C. Reilly) and Vanellope (Sarah Silverman) go into the internet in order to find the key to saving Vanellope’s game, Sugar Rush, from being permanently shut down by performing internet odd jobs to earn money. The setup gives itself a wide scope to make room for gags and sequences relating to as many aspects of internet culture as would be appropriate to include in a Disney movie. That focus on internet jokes ends up coming at the cost of narrative solidity in a few key places through the movie.

[Full Review Under the Cut]

A problem with the structure of Ralph Breaks the Internet comes from how loose it plays the story. I’ve seen various people online complain about how much of Wreck-It Ralph took place in Sugar Rush when the premise seemed to promise more jumping from game to game. While that disappointment is understandable, that decision kept the story focused on the parallel arcs of Ralph and Vanellope as outcasts looking to earn some respect and friendship ultimately finding it in each other. Elements in this movie that could’ve been stronger with a more focused central narrative tend to get lost in the shuffle for lengthy stretches.

Themes set up early in the movie concern the main characters’ conflicting desires, Ralph not wanting to lose the stability he’s found since the last movie and Vanellope growing bored with doing the same thing every day. When the characters go to the internet once that stability is threatened, Vanellope finds an escape from boredom in an open-world always-online racing game called Slaughter Race, styled after battle racers like the Twisted Metal series. Since she’s a natural racer no matter what game she’s in, her skills earn the respect of an in-game character named Shank (Gal Gadot). She has more opportunity to leave her game behind for this new dark and exciting game than Ralph did, since Sugar Rush’s character roster is randomized anyway. Her arc in the movie builds to how she’s goes about making this decision. Vanellope being enamored with Slaughter Race provides some of the movie’s better moments, including an extended bit that builds off the Disney Princess cameos featured heavily in this movie’s marketing.

Ralph Breaks the Internet unfortunately shows more lack of focus concerning the titular character. It makes sense that Ralph’s happy with his sense of stability at the start, since his arc by the end of the first movie was as wrapped up as possible. He’d made peace with his nature as the bad guy of his game, earned the respect of Felix and found a meaningful connection with Vanellope. It was a touching arc and Ralph uttering the “Bad Guy Affirmation” in the climax still brings a tear to my eye on repeat viewings. That’s exactly what makes his use here both appropriate and occasionally frustrating to watch play out. The montage of Ralph rushing to make as many viral videos as possible in a short span of time to save Sugar Rush is amusing as a quick way for the movie to get all the major references to viral video trends out of its system in one go. The frustrating side of Ralph’s arc in this movie comes from what ends up feeling like a contrived source of conflict from him attempting to ruin Slaughter Race for Vanellope so she’ll go back to the arcade with him, rather than risk losing his sense of stability. This conflict serves to drive the characters towards an end-of-second-act falling out so they can be separated when the climax of the movie starts.

There’s plenty of creative design in the movie to realize its version of an environment embodying the internet, even if how utterly awash it is in plugs for real life products and sites can grate occasionally. Little avatars representing the real people browsing the web make for good, simple background character models. Slaughter Race’s entire aesthetic being a cross between the games it homages and the sunset drenched landscape of modern action movies makes for a lot of fun, especially when played against the calm-collected way the in-game characters act when player characters aren’t around. Then there’s the overall design and demeanor of the character Yesss (Taraji P. Henson), the online embodiment of a video site’s recommendation algorithm. She never appears the same way twice between scenes in tandem with how she needs to keep track of what’s trending.

While Ralph Breaks the Internet has a slightly better understanding of the way internet culture works than other movies playing on similar material, it ends up feeling like there’s a missing ingredient keeping it from being on the same level as the first movie. Plenty of it is enjoyable but other parts fall flat, as is the nature of any major movie trying to capitalize on the rapidly changing trends of the internet. How this movie ages in the years down the line will be interesting to observe. For now, it’s a serviceable sequel and a good choice for family viewing Thanksgiving weekend.

#Ralph Breaks the Internet #Wreck It Ralph #Wit's Writing #movie review #animation #Disney #Rich Moore #Phil Johnston #John C Reilly #Sarah Silverman #Vanellope #Gal Gadot #Taraji P Henson

[phantom-le6]

Film Review - Wonder Woman 84

Carrying on with my film review interval quickly so I can get on to reviewing the Batman animated series, it’s time to join DC a bit early, albeit in the live-action world of the DCEU as we take a look at Wonder Woman 84…

Plot (as adapted from Wikipedia):

A young Diana (Wonder Woman) participates in an athletic event on Themyscira against older Amazons. After falling from her horse due to looking back at her opponents, Diana takes a shortcut and remounts, but misses a checkpoint. Antiope removes her from the competition, explaining anything worthwhile must be obtained honestly.

 In 1984, Diana works at the Smithsonian Institution in Washington, D.C. while secretly performing heroic deeds as Wonder Woman. New museum employee Barbara Ann Minerva, a shy geologist and cryptozoologist, is barely seen by her co-workers and comes to envy Diana. Later, the FBI asks the museum to identify stolen antiquities from a robbery that Wonder Woman recently foiled. Barbara and Diana notice one item, later identified as the Dreamstone, contains a Latin inscription claiming to grant the holder one wish.

 Barbara wishes to become like Diana, which unwittingly results in her acquiring the same superpowers, while Diana unknowingly wishes for her deceased lover Steve Trevor to be alive, resurrecting him in another man's body; the two are reunited at a Smithsonian gala. Failing businessman Maxwell "Max Lord" Lorenzano tricks Barbara and steals the Dreamstone, hoping to use its power to save his bankrupt oil company. He wishes to "become" the stone and gains its wish-granting powers, becoming a wealthy and powerful figure who creates chaos and destruction as his powers trigger worldwide instability.

 Barbara, Diana and Steve discover that the Dreamstone was created by Dolos/Mendacius, the god of mischief, also known as the Duke of Deception. It grants a user's wish while exacting a toll unless they renounce the wish or destroy the stone. Although Diana's power and Barbara's humanity diminish, both are unwilling to renounce their wishes. Learning from the U.S. President of a satellite system that broadcasts signals globally, Max, whose powers are causing his body to deteriorate, plans to globally grant wishes to steal strength and life force from the viewers and regain his health. Diana and Steve confront him at the White House, but Barbara, now aligned with Max, betrays Diana and knocks her down, escaping with Max on Marine One. Steve convinces Diana to renounce her wish and let him go, restoring her strength and gaining an ability to fly.

 Donning the Armor of Amazon warrior Asteria, Diana flies to the satellite headquarters and again battles Barbara, who has transformed into a humanoid cheetah after wishing to become an apex predator. Following a brutal match, Diana tackles Barbara into a lake and electrocutes her, then pulls her out. She confronts Max and uses her Lasso of Truth to communicate with the world through him, persuading everyone to renounce their wishes. She then shows Max visions of his own unhappy childhood and of his son, Alistair, who is frantically searching for his father amid the chaos. Max renounces his wish and reunites with Alistair and Barbara returns to normal. Sometime later in the winter, Diana meets the man whose body Steve possessed.

 In a post-credits scene, Asteria is revealed to be secretly living among humans.

Review:

Unlike a lot of people, I have enjoyed a lot of the DC Extended Universe to date.  Granted, most of their films have been flawed to varying extents, more-so than I’ve known with the MCU, and in truth only Man of Steel and the first Wonder Woman solo films cleared top marks.  Warner Brothers and DC are clearly trying, and while they might not succeed with live action the way they do with their animated DC films, I think we can all at least commend the effort.  Certainly, that effort shows through in this film, which is both sequel to the first live-action Wonder Woman film and a further prequel to Wonder Woman’s present-day self in Batman vs Superman and Justice League.  It’s well-cast around a decent plot, and offers both the action and character most audiences expect from films of this genre.

 However, the film is not without flaw, and these become more prevalent looking at the behind-the-scenes stories and features than through watching the film itself.  First, let’s tackle the couple of controversies that have come from the observations of others.  According to Wikipedia, the film has been criticised heavily on two counts.  First, Steve Trevor is brought into the film by possessing another man’s body in a plot thread analogous to 80’s era body-swap films like Vice Versa.  Because Steve and Diana have sex at one point during this time, this aspect is likened by some to rape despite that not being the intent of the film makers.  The second point of controversy is a scene where Wonder Woman saves Muslim children from being run over, something that is apparently controversial because actress Gal Gadot once served in the Israeli Defence Forces and has spoken in support of them.

 With regards to the first, I think the film makers needed to make it clearer that while Steve is doing his possession bit, the body’s native soul is totally elsewhere, as that might have changed how some perceived the scene.  Me, I’ve taken it from the first as just Steve and Diana without that exposition, and I think we can be a little too quick to assign the concept of ‘rape’ to certain sci-fi and superhero fantasy concepts.  This criticism strikes me as people wanting to be louder on a subject that is better tackled by being smarter about it, but I do think it’s probably something story tellers need to be mindful of going forward.  If you’re going to set up something that could look like rape if not explained fully, make the time to do that, no matter how it may hurt other aspects of your story.

 With the second, I tend to look at every religious conflict now and in the past and think “will you just grow up and stop having such massive-ass hissy fits over a bunch of stories that might not even be true?” Honestly, I don’t get why so many Christians, Muslims and Jews have to have massive conflicts with each other supposedly over faith.  You’re all worshipping the same deity, for crying out loud, and odds are 50/50 as to whether that deity even exists or not.  That’s honestly not worth keeping up a bunch of rivalry and hatred that started thousands of years ago; these days, it’s just an excuse.  Got land that’s holy to more than one religion?  Just share it.  Don’t like someone else’s religion and want to stick to your own?  Just say “thanks but no thanks” and carry on about your business.  That’s the mature, adult approach, and by the same token, just accept that it’s Wonder Woman saving some kids and leave the personal politics to your own story-telling.

 So, having dismissed the quibbles of the possibly over-reactionary viewers, let’s get into the bigger issues.  In terms of adaptation accuracy, the film is mostly good, but falls a bit short on Maxwell Lord.  The guy’s supposed to be a pretty irredeemable slimeball going by the comics, and while I can accept the film giving him some justification for taking things too far, I have a hard time buying into him effectively doing the ‘right thing’ at the film’s climax. It feels highly out of character, not to mention a bit anti-climactic.  Then again, that’s why I’ve never enjoyed superhero match-ups that pit a massively over-powered hero against a villain who is all about brains.  Such clashes make it impossible for the superhero to win in classic physical combat and gain the catharsis that comes from that.  It almost feels like that part should have come first and the grudge-match with Cheetah should have followed it.

 More significant an issue than that, however, is the idea that the whole wish fulfilment aspect of the plot was somehow people seeking lies and needing to accept the truth.  Wishes are not lies; wishes are wishes and have no set place in the truth-versus-lie dichotomy.  As such, truth is not by any means the answer to things when wishes go wrong.  Wishes going wrong is simply a literary device used to convey the idea that somehow wishing is bad, but it’s not.  After all, how many people who worked on this film wished at some point they’d be able to bring Wonder Woman to life on the big screen? Every film, every TV show, every book, every story anyone has ever created is the execution of a wish.

 The reality is that wishes only become a problem as a result of greed, which is the problem created by Max Lord in this film. If he’d just wished to hit oil to save his company, he’d be fine and things wouldn’t have escalated.  Instead, he takes on the Dreamstone’s power itself so he could exact his own price from future wishers, and as a result he upsets the stupidly precarious balance that keeps the world going.  It’s an interesting idea, albeit not all that original; leaving aside the classic “monkey’s paw” legend and others like it, you’ve only got to look at the Jim Carry film Bruce Almighty and Carrey’s character Bruce granting all prayers while using God’s powers to know wish fulfilment is dangerous in excess.  However, anything in excess is dangerous, and it’s not like wishing worked out so badly for Aladdin if we go by Disney’s versions of that story.

 The reality of WW84 is that it’s a decent film that’s mostly well-acted and has a decent story, but with a flawed underlying message that gets bogged down by various flaws in execution.  If I had to pick out a film that illustrates why the DCEU needs the Flash solo film to reboot it, this one would have to be right up there with Justice League, Aquaman and Birds of Prey.  Like those films, this one only warrants 7 out of 10, and much of that is down to a lot of the actors performing so well, especially Lilly Aspell as the kid version of Diana in the opening scene.  Only 10 years old at the time of filming and she did every stunt herself; an impressive feat to say the least.

[aion-rsa]

Scarlett Johansson and Disney Legal Battle Is About More Than Black Widow

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It was the shot heard around the internet: Scarlett Johansson, the star of eight Marvel Studios movies and the face of Disney’s biggest summer release, Black Widow, filed suit against Disney over an alleged breach in her contract. The immediate firestorm in the media—and more tellingly on social media—was intense.

Some have likened Johansson’s lawsuit to actors standing up to studios’ viselike control over contracts during Hollywood’s Golden Age (more on that in a bit); others have treated it as tantamount to betrayal of their favorite purveyor of superhero content. But perhaps no reaction was larger than that of Disney itself. While Johansson alleged she extracted “a promise from Marvel that the release of the picture would be a theatrical release”—thereby acting as the bulk of her salary due to the star having a profit participation clause—“[Disney] nonetheless directed Marvel to violate its pledge and instead release the picture on the Disney+ streaming service the very same day it was released in theaters.”

In addition to Disney’s public response being shockingly scathing, it also largely seemed to evade Johansson’s legal assertions. Instead the studio aggressively targeted Johansson’s character, seemingly shaming her for daring to bring up profits during such troubled times.

“The lawsuit is especially sad and distressing in its callous disregard for the horrific and prolonged global effects of the COVID-19 pandemic,” wrote the company which reopened its theme parks in July 2020. The response also went on to note Johansson already earned $20 million in upfront salary on the film.

The intended effects of these criticisms were clearly to vilify a star who headlined Disney’s biggest franchise of the last decade and cast a cloud of suspicion around her in the courtroom of public opinion. Any perusal of Twitter these days will show its effectiveness. Or as a statement from Women in Film, Los Angeles, Reframe, and Time’s Up accurately noted, “[Those criticisms attempt] to characterize Johansson as insensitive or selfish for defending her contractual business rights. This gendered character attack has no place in a business dispute and contributes to an environment in which women and girls are perceived as less able than men to protect their own interests without facing ad hominem criticism.”

The fact that those criticisms have been so effective at swaying public opinion, particularly in the fan community who is largely most concerned with the accessibility of the next Marvel movie, is as disheartening as it is distracting. Because what’s at stake here is more than Johansson’s ability to receive any sort of percentage on the revenue Disney is generating from its $30 “Premier Access” paywall; rather it’s the entire talent pool of the moviemaking industry trying to find out where they stand in a marketplace that is increasingly transitioning to streaming, come hell or high water.

The full ramifications are only starting to become apparent. Or as THR editor Matt Belloni broke in his newsletter over the weekend, after Johansson’s lawsuit, and after Cruella became the first live-action 2021 film that Disney unceremoniously put on Disney+, star Emma Stone is “currently weighing her options” in terms of suing the House Mouse. According to the same source, Emily Blunt might also be considering similar action depending on the current rollout of Jungle Cruise. Meanwhile Dwayne Johnson was conspicuously enthusiastic on social media about Jungle Cruise’s box office performance this morning.

These early cracks in what could quickly become a PR nightmare for Disney signal a battleground that’s been approaching the industry ever since WarnerMedia announced Wonder Woman 1984 would be released in theaters and on HBO Max last Christmas. At the time, Warner Bros. allegedly paid both Gal Gadot and director Patty Jenkins undisclosed eight-figure sums to offset the loss of theatrical profit participation they would’ve earned had Wonder Woman 1984 opened under normal circumstances. However, when WarnerMedia in the same month shocked the industry with the unilateral decision to release their entire 2021 film slate in the day-and-date format simultaneously, the blowback was fearsome.

That’s because in addition to damaging filmmakers’ artistic vision for movies designed specifically for the big screen—Dune director Denis Villeneuve even wrote a passionate op-ed about it—the decision completely upended the way talent earns money off studio films. Yes, this includes stars with $20 million upfront paychecks, but it also affects below-the-line people too.

“It creates a financial nightmare,” Judd Apatow told Variety last year about the now quaint seeming WB/HBO Max deal. “Most people are paid residuals—they’re paid back-end points. What they get out of it for years and years of hard work is usually based on the success of their films. And so now what does it mean to have a movie go straight to streaming? How do they decide what to pay you? Do you have a contract that allows you to negotiate, or is it really just up to them at this point? It raises thousands of questions, which I’m sure are very complicated.”

We’re now seeing those complicated questions spill over into the courtroom. For all the tumult WarnerMedia unleashed by blindsiding their talent with last December, the company has spent months trying to untangle the damage for at least A-list talent, signing undisclosed and fiscally hefty deals with stars and filmmakers ranging from The Suicide Squad to The Little Things. Apparently the studio is still in negotiations with Legendary Pictures for all the money the production company could stand to lose from a muted theatrical release of Dune in October.

But Disney, according to Johansson and her talent representation at CAA, has strikingly not made any such overtures to their A-list talent being blindsided by Disney+ reshuffles. Which in turn raises the question if that’s how they treat Oscar winners like Stone, and longtime franchise stars of billion-dollar Disney franchises like Johansson, how do they treat the below the line people who can’t afford to publicly take this to court?

What we are seeing is a debate over what role the actual creative talent behind the films you love has in profit-making in the 21st century. Disney has been at the forefront among Hollywood studios in cultivating a direct-to-consumer model via Disney+, and yet even when they add a luxurious surcharge like $30 on top of that subscription model, they are treating it as separate from the older system of how talent along all tiers is paid.

So Johansson stars in Black Widow, which has the biggest box office opening since the pandemic began with $80.4 million. But as Disney crowed that same weekend, the studio made another $60 million on Disney+ surcharge fees, which is likely worth more than the $80.4 million box office bow after theaters get their cut—and that $60 million came at the expense of theatrical tickets, particularly when easy access to HD pirated copies of Black Widow are factored in. Hence how even though the Marvel movie opened bigger than F9, the theatrical-only Vin Diesel movie has earned about double what Black Widow did at the global box office.

Currently, Disney is saying Johansson—and by extension anyone else with a residual deal—should not be able to dip into that $60 million revenue from the opening weekend…. even though at least in Johansson’s case she was contractually promised an exclusive theatrical window.

In many ways, this mirrors the 1980s and ‘90s home media boom from first VHS and then DVD. It created a whole new revenue stream for Hollywood in the home media market. As Matthew Belloni has also noted in his latest newsletter, talent agencies like CAA are all too aware of how stars were shut out of the home media market which, for a time, doubled or even tripled studios’ profits. Now the streaming revolution has come, and talent is not keen to see that happen again.

Johansson being a big enough star to actually be the first to refuse to rollover on this is, indeed, reminiscent of Olivia de Havilland in Hollywood’s Golden Age. In 1943, de Havilland was at the end of her seven-year contract with Warner Bros. and a contentious relationship with WB head Jack Warner. Despite becoming a star under the WB system, de Havilland’s biggest successes were when she was loaned out to other studios—as WB controlled her career under an ironclad contract, as was pro forma at the time. Meanwhile in WB movies, de Havilland was often cast as a thankless love interest. As her star stature rose, her willingness to turn down many of these roles grew. As a consequence, Jack Warner suspended de Havilland for six months and, at the end of her contract, revealed the studio expected her to stay on the WB lot for another six months to make up for lost time and revenue.

De Havilland sued Warner Bros. in the same Los Angeles County superior court Johansson has now filed suit against Disney, and after a successful litigation and WB’s subsequent appeal failing, “the De Havilland Law” essentially ended a studio’s ability to control stars’ lives and careers like they were pampered indentured servants. In response WB attempted and failed to blacklist de Havilland.

It appears that once again, Hollywood is on the precipice of a turning point.

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[ageeksnerdyworld]

If you can still give Gal dignity and acknowledge her humanity even with blood on her hands and beliefs, then WHY can't you do the same for the rest of them? WHY?! They probably feel the same as Gal when you fling them poop too! So cut this selective "teaching a lesson to"?! Leave all alone or call all out, don't be a double standard shitfuck!Come on, it is obviously known she did:- Serve in the IDF during the 2006 Lebanon fiasco- Expressed her support and praise IDF from time to time even a

what in the actual fuck are u trying to say anon?? ur rambling incoherent “ask” doesn’t make any sense my dude...

first off the post I REBLOGGED was specific to Gadot for two reasons... #1 a scene in WW and the historical background that makes it significant even though it’s a relatively short scene, it’s similarity to historical events, the insensitive nature of it & the obvious prejudice within the scene itself. and #2 Gadot being cast as Cleopatra for its blind casting & prejudice. so idk why ur blabbering about ppl not doing the same “to the rest of them” & claiming that OP, and others, are “throwing shit” at an entire group of ppl but then saying that everyone’s having a double standard abt this doesn’t make any fucking sense, not to mention calling me or anybody else involved a “double standard shit fuck” is completely uncalled for bro

secondly my comments on the subject were strictly in reference to the bombing scene in WW & Gadot being cast as Cleopatra. to be brutally honest with u i don’t see how u could miss that...

thirdly my comments weren’t even abt Gadot herself as a person or as an actress so again ur claim that i was “shitting on” Gadot is complete and utter bullshit. I criticized the bombing scene for its nonsensical placement in the film & the fact that it’s completely unnecessary — clearly attacking the SCREENWRITERS.

I mentioned the insensitive nature of Gadot being cast as Cleopatra because Hollywood has a history of doing that exact thing. Instead of casting an actual Egyptian actress for their Cleopatra biopic they chose Gadot. It reminded me of what happened with the live action Aladdin. (After claiming to want to properly cast the movie w/ Middle Eastern and/or North African actors, or those of ME/NA descent, & conducting a worldwide open casting call Disney casted AN INDIAN ACTRESS to play Jasmine which was a major “fuck you” to those of us in that group bc it’s saying “oh they’re all the same so who cares” but nobody said anything). I assumed that Gadot’s casting as Cleopatra would’ve, in similar fashion to Jasmine, never be mentioned by anybody. Hollywood gets to continue on w/ prejudice casting as usual only this time w/ a real-life historical figure. Imagine the opposite was the case; an Israeli historical figure was being played by an Egyptian — ppl would talk abt it constantly. Again my comments have nothing to do with Gadot specifically but are an attack on CASTING CHOICES & BIAS IN HOLLYWOOD.

#i still don’t understand what ur saying here tbh #anon hate

[totalconservative]

New Post has been published on Total Conservative News

New Post has been published on http://totalconservative.com/gal-gadot-stands-firm-against-leftists-who-say-she-shouldnt-play-cleopatra/

Gal Gadot Stands Firm Against Leftists Who Say She Shouldn’t Play Cleopatra

Gal Gadot’s “Wonder Woman 1984” is getting mixed reviews from across the spectrum, but never doubt that the actress herself has a spine of steel. While other actors and actresses have buckled like cheap furniture the moment the woke mob turned on them for some perceived slight against diversity, Gadot isn’t backing down an inch who think she should not be playing Cleopatra in an upcoming Hollywood epic.

Since Gadot’s role was announced, woke critics have popped up everywhere to decry the “whitewashing” of the ancient Egyptian leader.

“Which Hollywood dumbass thought it would be a good idea to cast an Israeli actress as Cleopatra (a very bland looking one) instead of a stunning Arab actress like Nadine Njeim?” asked writer Sameera Khan. “And shame on you, Gal Gadot. Your country steals Arab land & you’re stealing their movie roles… [shaking my head].”

First of all, we can dismiss out of hand anyone who thinks there is anything “bland looking” about Gal Gadot. Second, there’s no particular reason to believe that Cleopatra looked anything like a modern Arab, seeing as she descended from a Greek heritage…not an Egyptian one, as Khan apparently believes. Bad take.

Others, like author Steven Salaita, tried to sidestep conversations about Cleopatra’s ethnicity and skin color to go right after Gadot’s character.

“Whatever you think of her being cast as Cleopatra, never forget that Gal Gadot proudly served (and continues to support) a colonial army notorious for maiming and murdering civilians,” said Salaita. “Not only is she responsible for participating in war crimes and whitewashing the army that committed them; she also should have her wealth seized and distributed to Palestinian refugees.”

Damn, that’s some high-quality ignorance right there.

A few short years ago, we would have been surprised if an actress paid any mind whatsoever to this kind of impotent handwringing, but times have changed. Every other day, it seems like we’re hearing about some actor stepping down from a role because it should go to a black person, an Asian person, a transgender person, etc. So we were pleasantly surprised when Gadot (in the politest possible terms) told these scolds to pound sand.

“First of all if you want to be true to the facts then Cleopatra was Macedonian,” Gadot told the BBC. “We were looking for a Macedonian actress that could fit Cleopatra. She wasn’t there, and I was very passionate about Cleopatra. I have friends from across the globe, whether they’re Muslims or Christian or Catholic or atheist or Buddhist or Jewish, of course. People are people, and with me, I want to celebrate the legacy of Cleopatra and honor this amazing historic icon that I admire so much.

“But, you know,” she continued, “anybody can make this movie and anybody can go ahead and do it.”

Exactly. If a filmmaker wants to make a film about Cleopatra starring a pansexual, Arab, two-spirit social justice warrior, have at it. The rest of us will go see this one.