Also known as: Wonder Woman 2 (informal title), WW84 (promotional title)
Release Date: December 16th, 2020 (several international markets)
Directed by: Patty Jenkins
Written by: Patty Jenkins, Geoff Johns, David Callaham
Based on: Wonder Woman by William Moulton Marston
Music by: Hans Zimmer
Cast: Gal Gadot, Chris Pine, Kristen Wiig, Pedro Pascal, Robin Wright, Connie Nielsen, Lynda Carter (cameo)
Atlas Entertainment, DC Entertainment, DC Comics, Warner Bros., 151 Minutes
“I don’t wanna be like anyone. I want to be an apex predator. You’ve always had everything while people like me have had nothing. Well now it’s my turn. Get used to it.” – Barbara Minerva
I really liked the first Patty Jenkins Wonder Woman movie. However, I always felt like my initial reaction was a bit overblown, as it had the same sort of long-term effect that the Marvel Cinematic Universe movies tend to give me. You see, I leave the theater really satisfied but then, as time passes, I don’t have much urge to ever rewatch them again.
I let my high rating for 2017’s Wonder Woman stand because it was my initial reaction to seeing the film for the first time. And I also thought that I’d give the sequels their fair shot at doing the same. I thought about revisiting the first movie before seeing its long-awaited and long-delayed follow-up . However, I just couldn’t muster up the interest.
Having now seen Wonder Woman 1984, I feel a bit harsher towards the first movie, as it kind of exposes some of the flaws it had a bit more. The reason being, this film shares those flaws but also shows that Jenkins couldn’t correct them and in fact, doubled down on them because she either didn’t know they were there or because she doesn’t listen to actual criticism.
The biggest of those flaws is the action. In the first film, it was wonky and not very great except for a few dynamic shots. In this movie, you open with some Amazonian Olympic games, followed by a quick action montage to reintroduce us to the film’s hero. Then you have to wait an hour and twenty minutes before you get to the first legit action sequence, which is terrible, ignores all the laws of physics and has certain things happen just for plot convenience. You then get another sequence in the White House and then one more big final fight. That’s it for a two and a half hour movie about a comic book superhero.
I actually have to say that the opening sequence of the child Diana competing against adult Amazons in their version of American Ninja Warrior was, believe it or not, my favorite thing in the film. This takes up the first ten-to-fifteen minutes of the movie and then it’s all downhill from there.
This is followed up by reintroducing us to Gal Gadot, as the adult Diana a.k.a. Wonder Woman. This is a cheesy, slapstick-y introduction that wedges in so much blatant ’80s iconography it looks like Stranger Things buttfucking The Goldbergs while sucking on Ready Player One‘s tits and reaching around to fingerbang Hot Tub Time Machine. The whole sequence is awful, lowest common denominator, try hard bullshit where the director doesn’t know what she’s doing but she’s trying to cover that up by throwing Trapper Keepers in your face.
Over an hour later we get the next action scene. This is actually the first straight up, real action scene. However, it is quick, dumb and ended with Diana lassoing a goddamned missile, riding it down the street to scoop up two kids and then crashing and rolling on the street in a way that would have killed them. But whatever.
The White House fight was actually fairly decent and the only action sequence that was. But for a high point in regards to the action, it was dull and just a paint-by-numbers affair.
The final fight sees Diana then fight Kristen Wiig’s Cheetah, who at this point has turned into an actual humanoid cheetah. The character’s CGI is deplorable. I mean, it’s really damn bad. It was hard to watch this scene, as it played like late ’90s Sci-Fi Channel cringe.
At the same time, I did feel the emotion of the conflict, as Diana cared about the woman Cheetah used to be but even then, the visuals were so shit that it ruined the connection that this confrontation needed to have with the audience. The baffling bad CGI was just distracting and pulled you right out of the film.
After that, we have to see Wonder Woman finally confront Maxwell Lord, who has essentially turned himself into a genie that is trying to grant the wishes of everyone on the planet. This whole storyline was dumb as hell, made little-to-no sense and I never really understood the villain’s true motivation other than he was a loser that craved power. It was said that this character was supposed to represent Donald Trump and be a critique of his presidency and personality. Frankly, after seeing this movie, that doesn’t make a lick of fucking sense. Also, in the end, he reverses everything and reunites with his son. Was he off the hook? Did he serve jail time? I guess none of that is important because this movie is stupid.
So between the action scenes, we have long drawn out dramatic stuff. Most of it is boring but we see Diana and Steve, her love from the first film, reunite. However, Steve came back from a wish Diana made early in the story. So, the writing was on the wall from the get go that Steve was going to have to die to beat the villain.
Moving on, the cinematography was bland and basic. It felt tonally at odds with the first picture and didn’t really feel like it had any ties to any of the other Justice League or DCEU movies. Maybe Jenkins is trying to ignore all that and just do her own thing. I don’t blame her for that, actually.
Before wrapping this up, I should also mention that there’s a pointless cameo by Lynda Carter but I do like seeing her. I just wish she would have had something more to do than catch a pole from falling on a baby.
So that’s it. This wasn’t worth the wait and really, I don’t care about a third film or anything coming out of the DCEU, anyway.
It’s Christmas, back to drinking whiskey and smoking meat.
Pairs well with: its predecessor, as well as Aquaman and other DCEU films.
Release Date: December 6th, 2018 (Singapore sneak preview)
Directed by: Bob Persichetti, Peter Ramsey, Rodney Rothman
Written by: Phil Lord, Rodney Rothman
Based on: Spider-Man by Stan Lee and Steve Ditko, Miles Morales by Brian Michael Bendis and Sara Pichelli
Music by: Daniel Pemberton
Cast: Shameik Moore, Jake Johnson, Hailee Steinfeld, Mahershala Ali, Brian Tyree Henry, Lily Tomlin, Luna Lauren Velez, John Mulaney, Kimiko Glenn, Nicolas Cage, Liev Schreiber, Chris Pine, Lake Bell, Marvin Jones III, Stan Lee (cameo), Cliff Robertson (archive recording), Oscar Issac (cameo), Donald Glover (cameo)
Columbia Pictures, Sony Pictures Animation, Marvel Entertainment, Arad Productions, Lord Miller Productions, Pascal Pictures, Sony Pictures Releasing, 117 Minutes, 143 Minutes (Alt Universe Cut)
“That person who helps others simply because it should or must be done, and because it is the right thing to do, is indeed without a doubt, a real superhero.” – Stan Lee
I intended to see this in the theater but the holidays are really busy for me and I didn’t get around to it or any other movies around that time. I heard great things about this movie though, so I rented it as soon as it was available.
Full disclosure, I’m not a huge fan of animated films. At least I haven’t been in my adult life. I still love a lot of the old cartoons and anime I watched as a kid but due to the overwhelming positive fan response to this and my love of Miles Morales, I wanted to give this a chance.
Overall, it’s a mighty fine motion picture and the best Spider-Man movie since Spider-Man 2.
I thought that the CGI animation was really well done. I prefer traditional animation and have never found CGI animation to be that interesting but this shows how great this animation style can be when pushed to the max and utilized for its strengths while being meticulously crafted with heart.
The story doesn’t really follow the comics but how many comic book film adaptations do? Still, it was engaging, it captured who Miles is and it examined a lot of different aspects of heroism. I absolutely love how it presented and handled the life of an aged Peter Parker. And ultimately, the bond between Miles, Peter, Gwen Stacy and the other heroes was strong and everything human and emotional felt natural.
I was really excited to see Spider-Gwen and Spider-Ham, especially. I loved Gwen’s earliest stories and I’ve been a Spider-Ham junkie since childhood.
This also features a lot of villains and even does a gender bending twist to Doctor Octopus that worked for me.
I think that this movie definitely did exactly what it set out to do which was to launch Miles Morales into the minds of normal moviegoers and kids that don’t pick up the comics while incorporating a nice array of other Spider-heroes in a fun and unique way. It also humanizes the vilest villain and makes this a more emotional and touching movie than most of the live action Spider-Man adaptations.
I’m definitely excited for the multiple sequels and spinoffs that Sony seems to have planned for the very near future.
Pairs well with: I’d assume, the future sequels and spinoffs. As well as Miles Morales Spider-Man comics.
Also known as: Star Trek 3, Washington, Star Trek Into Oblivion (working titles)
Release Date: July 20th, 2016 (Indonesia, Iceland, Philippines, Sweden, Thailand)
Directed by: Justin Lin
Written by: Simon Pegg, Doug Jung
Based on: Star Trek by Gene Roddenberry
Music by: Michael Giacchino
Cast: Chris Pine, Zachary Quinto, Karl Urban, Zoe Saldana, Simon Pegg, John Cho, Anton Yelchin, Deep Roy, Idris Elba, Sofia Boutella, Shohreh Aghdashloo, Greg Grunberg, Danny Pudi, Doug Jung, Leonard Nimoy (photo cameos)
Bad Robot Productions, Skydance Productions, Sneaky Shark Productions, Perfect Storm Entertainment, Paramount Pictures, 122 Minutes
“[to Kirk] It isn’t uncommon, you know, even for a captain, to want to leave. There is no relative direction in the vastness of space. There is only yourself, your ship, your crew. It’s easier than you think, to get lost.” – Commodore Paris
I guess they saved the best for last because even though this film did the worst at the box office out of the three J. J. Abrams Star Trek movies, it was the best movie of the lot.
Most people probably don’t agree with my assessment of this one but I like it because it feels more like Star Trek than the two films that Abrams directed. Who would’ve thought that Justin Lin, a director most known for Fast & Furious movies would turn out something so Trek-ish. And that’s not a knock against the Fast & Furious franchise, as I find those films pretty fun and enjoyable for what they are.
I believe that a lot of the credit for this film’s narrative has to go to the writers, Simon Pegg, who plays Scotty, and Doug Jung, who also had a small cameo in this. Pegg isn’t just an actor, though, as he was a creative force in several of his other projects like the classic British comedy show Spaced and the films Shaun of the Dead, Hot Fuzz and The World’s End.
This is really action packed but it feels more like a Star Trek TV episode adventure than the two films before it. It is definitely more in tune with the films of the Original Series and Next Generation eras than the two Abrams pictures before it.
With that being said, this is also fresh and new and it does some really cool things that no other Trek film has done. The Enterprise faced a new type of threat that no ship in the entire Star Trek mythos has ever faced, small drone ships that act like a carnivorous swarm of locusts. You see the Enterprise get ripped apart and as much as any fan hates seeing the Enterprise get beat, it’s an incredible sequence and one of the absolute best in Star Trek history.
For the bulk of the picture, the crew is marooned on a planet. They must find a way off of the rock while stopping the evil plans of the madman that stranded them there. Additionally, that same madman plans to attack the Federation, so not only do Kirk and his crew need to escape their predicament but they also need to find a way to defeat the man that just destroyed the USS Enterprise.
There are some solid twists and turns in the plot and none of it feels like swerves just for the sake of swerves. The plot twists work organically and overall, this Star Trek film feels the least formulaic of this trilogy.
The final battle is a lot of fun, even if I never expected to see a final outer space showdown in Star Trek cued to the Beastie Boys’ “Sabotage”. Some old school fans might find this to be a bit cringeworthy but in that moment, it worked for me. Plus, if you don’t like “Sabotage” you’re probably a communist.
My only big beef with the movie is that after introducing us to Dr. Carol Marcus, who joined the crew in the previous film and was played by the stunning Alice Eve, she’s mysteriously absent from this picture. Why? And also, WTF, man?!
Anyway, Star Trek Beyond was just a lot of fun. It was great escapism, filled its two hours incredibly well and it deserves more fanfare than it received. Frankly, I’m really disappointed that the fourth film in this series was cancelled.
Pairs well with: The other Kelvin timeline Star Trek films: Star Trek and Star Trek Into Darkness.
Also known as: Star Trek XII, Star Trek 2, 2, Untitled Star Trek Sequel (working titles)
Release Date: April 23rd, 2013 (Sydney premiere)
Directed by: J. J. Abrams
Written by: Robert Orci, Alex Kurtzman, Damon Lindelof
Based on: Star Trek by Gene Roddenberry
Music by: Michael Giacchino
Cast: Chris Pine, Zachary Quinto, Karl Urban, Zoe Saldana, Simon Pegg, John Cho, Anton Yelchin, Leonard Nimoy, Bruce Greenwood, Deep Roy, Benedict Cumberbatch, Peter Weller, Alice Eve, Noel Clarke, Chris Hemsworth, Heather Langenkamp, Bill Hader (voice)
Bad Robot Productions, Skydance Productions, K/O Paper Products, Paramount Pictures, 133 Minutes
“He used my friends to control me. I tried to smuggle them to safety by concealing them in the very weapons I have designed. But I was discovered. I had no choice but to escape alone. And when I did, I had every reason to suspect that Marcus had killed every single one of the people I hold most dear. So I responded in kind. My crew is my family, Kirk. Is there anything you would not do for your family?” – Khan
There is one simple thing that ruins this movie. It’s still enjoyable and a lot of fun but this film could have actually been pretty great. What ruins it is the reveal that Benedict Cumberbatch’s John Harrison is actually Khan Noonien Singh.
While this film was being made, everyone and their mother speculated that Cumberbatch was Khan. The filmmakers promised us that he wasn’t. It was a pretty big debate at the time going on within the Star Trek fan community. So when the reveal comes in the film, which was no surprise to anyone, it sort of made me go, “Really, MFer?! So you guys lied?!” Did they try to salvage the reveal by denying it? Did they think that would work and then the fans would be pleasantly surprised? Maybe that kind of Hollywood bullshittery is why Disney wanted J. J. Abrams to helm their first Star Wars movie.
I’m not really that pissed about it in retrospect. But it is worth mentioning how this film had some controversy around it because of that. But hey, the normies loved it, as they loved the previous Abrams Trek film and the post-Lucas Star Wars films. But I digress.
I did love Cumberbatch as the villain here but he didn’t need to be Khan. He should have stayed John Harrison and been a character in the same vein as Khan. There could be other genetically modified warlords from Earth’s past that were put on ice for centuries. Or he could have been an acolyte of Khan, leading up to a third film where Khan is unleashed.
The problem I have with Cumberbatch as Khan is that he doesn’t look the part, act the part or feel Khan-like in any way whatsoever. I’m not sure why he was cast, other than he is an incredible actor. He just feels wasted being wedged into a mold where he doesn’t quite fit. But again, he’s damn good, all things considered. Maybe Hollywood was all out of Mexican actors to play Indian despots?
But as good as Cumberbatch is, he is overshadowed by an even more villainous character that became a total curveball and pleasant surprise within the film, Peter Weller’s Admiral Marcus. Weller just owns this film in every single scene that features him. Plus, his vessel was one of the most intimidating in Star Trek history. He just fit the part so well and looked like a tyrant king sitting in his captain’s chair like it was a throne over the galaxy.
I also liked that the film finally included the Klingons, even though it got them wrong and made them look bizarre. The Klingons’ look has varied over the years but the look from the original movies and the television shows from Star Trek: The Next Generation on became their iconic look. Deviating from that makes little sense. They could have toned it down and made them look more like they did in the original series from the ’60s but no, Abrams had to make his own stupid version of them.
The crew was good in this but that carries over from the first film. I thought that most of the casting was well done and it’s nice to see them work better as a unit now without Kirk and Spock bickering for 75 percent of the movie. But I guess that’s replaced with Spock and Uhura bickering.
I did enjoy the addition of Alice Eve to the cast as crew member Dr. Carol Marcus, daughter of Weller’s evil admiral. She had great chemistry with Chris Pine and Dr. Marcus was a character I loved from the original movies. But where the hell was she in Star Trek Beyond? But I’ll address that when I review it.
The opening sequence of the movie is beautiful and really cool. It’s actually one of my favorite parts of this Kelvin timeline trilogy. The rest of the movie feels cold, as it primarily takes place in space until we get to see Earth at the end. There’s also about 5 minutes of the Klingon homeworld but it is mostly seen during a spaceship chase that just feels a lot like what Abrams gave us in the first act of The Force Awakens when Rey and Finn escaped the desert planet by flying through shipwrecked Star Destroyers.
Also, the scenes that are call backs to older Trek moments were pretty cringe. The scene where Kirk dies and Spock is on the other side of the glass, a role reversal from the end of Wrath of Khan, was so awkward and off putting that it sucked you out of the film. Plus, you knew that Kirk would be alive again in ten minutes and the emotional impact wasn’t there.
If they would have fine tuned this movie a bit more, not made Cumberbatch reveal himself to be Khan and not meddled with establish canon and character design, then this could have been a damn fine space adventure. At its core, it still doesn’t feel like Star Trek in spirit but there are very few modern filmmakers that I think could pull that off, especially when trying to appeal to the widest modern audience possible.
There is a lot to like with this movie but there are so many things wrong with it that it’s bogged down by its own bullshit.
Pairs well with: The other Kelvin timeline Star Trek films: Star Trek and Star Trek Beyond.
Also known as: Star Trek XI, Star Trek Zero, Corporate Headquarters, The Ernest Castelhun Chronicles, Untitled Walter Lace Project, Star Trek: The Future Begins (working titles), Star Trek: The Beginning (South Korea),
Release Date: April 6th, 2009 (Austin premiere)
Directed by: J. J. Abrams
Written by: Robert Orci, Alex Kurtzman
Based on: Star Trek by Gene Roddenberry
Music by: Michael Giacchino
Cast: Chris Pine, Zachary Quinto, Karl Urban, Zoe Saldana, Simon Pegg, John Cho, Anton Yelchin, Leonard Nimoy, Bruce Greenwood, Eric Bana, Ben Cross, Winona Ryder, Chris Hemsworth, Clifton Collins Jr., Rachel Nichols, Deep Roy, Tyler Perry, Victor Garber (scene cut), Brad William Henke (scenes cut)
Spyglass Entertainment, Bad Robot Productions, Paramount Pictures, 127 Minutes
“Don’t pander to me, kid. One tiny crack in the hull and our blood boils in thirteen seconds. Solar flare might crop up, cook us in our seats. And wait’ll you’re sitting pretty with a case of Andorian shingles, see if you’re still so relaxed when your eyeballs are bleeding. Space is disease and danger wrapped in darkness and silence.” – Dr. Leonard ‘Bones’ McCoy
I’ve loved the Star Trek franchise as long as I can remember. However, nothing has really resonated with me since the end of Enterprise in 2005. This film was an attempt at rebooting the franchise and altering the timeline so that it wasn’t forced into having to work within the framework of already established canon. I wouldn’t call that the best idea, as Star Trek has such a rich mythos that it doesn’t need to be rebooted, there are unlimited ways to tell stories within a franchise this large. But a reboot is what we got because Hollywood is gonna Hollywood.
That being said, for what this is, Star Trek isn’t a bad motion picture. It’s an unnecessary one but I did want to give it a shot because if this was all the Trek I was going to get, I wanted to try to make the best of it.
This could have been better though. They hired the wrong guy to direct, as he just wanted to make Star Wars movies, which he would later do, and wasn’t a fan of Star Trek and didn’t really understand what it needed to be in contrast to what Star Wars is.
The director, J. J. Abrams, also made some strange stylistic choices in how he made the Enterprise look and how he went absolutely ape shit with the use of lens flares and lighting. The film is almost headache inducing at times.
As far as the story goes, the altering of the timeline really seems moot, as there are things that are different before the moment of that alteration. I’m specifically talking about the time Enterprise was already in space before Kirk showed up, as well as Spock’s previous service on the ship and Captain Pike’s role in everything.
Additionally, the story really seems to be a rehash of Star Wars: Episode IV – A New Hope, which Abrams would also heavily borrow from for his first Star Wars movie, Episode VII – The Force Awakens. But this is the same guy who also borrowed heavily from E.T. the Extra-Terrestrial for his picture Super 8. It all kind of makes me wonder what his next Star Wars film will heavily borrow from.
In the realm of Star Trek movies, this is better than the worst films that came before it but it doesn’t come close to the greatness of Wrath of Khan, The Voyage Home, The Undiscovered Country or First Contact. As its own film, separate from the series, it is a fun, space action movie. I will give it that. It is a good adventure and a better than average popcorn movie but we’ve seen this all before and done much better.
In retrospect, I’m pretty happy with most of the casting. I never liked the idea of anyone else ever playing the original crew but that bad idea is salvaged fairly well with most of the cast choices. I like Pine as Kirk, Quinto as Spock and Urban as Bones. However, I just don’t see how they will ever have the chemistry that Shatner, Nimoy and Kelley had. But since this series was cancelled after the third film, I guess we’ll never see what develops between the three men over the long haul.
But this film also diminishes McCoy’s importance, as the relationship they focus on is just between Kirk and Spock and not the trinity we all came to love on the original television show and the movies of the ’80s. And that’s a shame, really, as I love Karl Urban’s commitment to the McCoy character. He just nails it so well. I think he actually understands the role much more than Abrams, the man behind the camera.
I’m probably coming off as harsh but I’m just calling it like I see it. I did enjoy revisiting this, as it was a quick paced, exciting film. It did have some heart in the moments where Leonard Nimoy, as the older Spock, came into the story. But it did lack the right sort of emotion to make me feel for these characters.
I do like this for the most part but that doesn’t mean that it isn’t just a framework for something that could have been richer and more intimate. A lot of the pieces to this puzzle were good and while some connected, it’s as if the filmmakers gave up about halfway through and just threw all the pieces back into the box.
Pairs well with: The other Kelvin timeline Star Trek films: Star Trek Into Darkness and Star Trek Beyond.
Release Date: May 16th, 2016 (Cannes)
Directed by: David Mackenzie
Written by: Taylor Sheridan
Music by: Nick Cave, Warren Ellis
Cast: Jeff Bridges, Chris Pine, Ben Foster, Gil Birmingham, Marin Ireland, Katy Mixon, Dale Dickey
Sidney Kimmel Entertainment, OddLot Entertainment, Film 44, LBI Entertainment, Lionsgate, CBS Films, 102 Minutes
“I know their faces was covered, but could you tell their race? Black, white?” – Marcus Hamilton, “Their skin or their souls?” – Elsie
Hell or High Water was a Picture of the Year nominee. It doesn’t seem to be all that well known, however. It was incredibly overshadowed by the other nominees that year: La La Land, Moonlight, Manchester by the Sea, Fences, Arrival, Hacksaw Ridge, Hidden Figures and Lion. In fact, out of all the fanfare for the others, I forgot this was in the discussion.
It also saw nominations go to Jeff Bridges for Best Supporting Actor, as well as nominations for Best Original Screenplay and Best Film Editing. It also had three Golden Globe nominations. Still, when I’ve brought it up to people, it’s virtually unknown.
That being said, I’m not sure why it got overshadowed. It’s a damn fine film. It is a neo-western with a subtle neo-noir touch to it. It’s got some stylistic similarities to No Country for Old Men, granted it isn’t that good. Still, it’s a solid contemporary western tale with a great cast.
While Jeff Bridges rarely, if ever, fails to be great in a role, it was refreshing to see Chris Pine actually get to do something at this level. He doesn’t work as much as I’d like and I do enjoy him as the modern incarnation of Captain James T. Kirk in the rebooted Star Trek film series but it’s rare that I get to see him do something exceptional and at the level where I feel his talent lies. He also got to play opposite of Ben Foster in nearly every scene he had. Foster is another guy that just nails every role he is in and man, does he nail his role here.
To summarize the story, Pine and Foster play two brothers robbing banks in western Texas. The reason behind their motivation isn’t clear in the beginning but the way they hit the bangs is unusual and draws the attention of Jeff Bridges, an old Texas Ranger that makes it his personal mission to catch these culprits.
The story almost has the makings of something you’d read in a Cormac McCarthy novel but without an overabundance of violence. This film does have violent moments but nothing on the scale of No Country for Old Men or Blood Meridian.
The picture is accented and strengthened with incredible cinematography by Giles Nuttgens, who has a few dozen films under his belt already. The landscapes are just vast and beautiful, especially with the wide shots capturing the vehicles moving about in the countryside.
The score by Nick Cave and Warren Ellis has a good emotional impact and just added to the film’s visual allure.
The high octane moments in this picture are exciting and energetic. There is a moment where Foster’s character finally goes over the edge, unloads a machine gun at good Samaritans tracking their escape from a robbery and gets himself caught up in a standoff with the law in an effort to allow his brother to escape. It’s an emotional and action packed high point in the film that was well worth the wait, as you knew the character would eventually become fully unhinged.
I really enjoy that this film is not predictable. It has some twists and surprises that just sort of happen. It doesn’t follow a traditional narrative for this type of story and ultimately, that makes the plot feel much more authentic and realistic.
I wouldn’t quite call this the film of the year for 2016 but it is pretty high up on my list for motion pictures that year. A good solid cast, great direction, wide open landscapes and a good amount of action all come together to make this maybe the manliest and ballsiest film of that year.
Star Trek is one of the greatest franchises of all-time. Unlike the fanboys who incessantly argue about which is better, Star Trek or Star Wars, I don’t waste my time with all that. They are both very different series, excluding the reboot film series by J.J. Abrams, which is more or less a dumbed down/action heavy version of Star Trek made by a guy who didn’t like Trek and wanted to make his own Star Wars film.
That is not a knock against Star Wars, it is just observing the fact that they are more of a set of films fueled by action, as Star Trek was a film series (and television series) that was a lot deeper philosophically. Again, the two series are two entirely different things where the only thing that they really have in common is that they are in space and both share the word “Star” in their titles.
When I was a kid, I liked both. However, I saw the intellectual edge that Star Trek had and grew a deep respect and love for it. My introduction to Star Trek was the films of the 1980s that featured the cast of the original television series. They were stellar films (most of them anyway).
This is a countdown where I rank each Star Trek film, whether it features the original cast, The Next Generation cast or the new reboot movies done by J.J. Abrams.
By the way, I do really like the cast in the Abrams film series, so no fault goes to them.
1. Star Trek IV: The Voyage Home (1986)
2. Star Trek II: The Wrath of Khan (1982)
3. Star Trek VI: The Undiscovered Country (1991)
4. Star Trek III: The Search for Spock (1984)
5. Star Trek: First Contact (1996)
6. Star Trek: Nemesis (2002)
7. Star Trek Beyond (2016)
8. Star Trek: The Motion Picture (1979)
9. Star Trek: Generations (1994)
10. Star Trek Into Darkness (2013)
11. Star Trek (2009)
12. Star Trek V: The Final Frontier (1989)
13. Star Trek: Insurrection (1998)
Release Date: May 15th, 2017 (Shanghai)
Directed by: Patty Jenkins
Written by: Allan Heinberg, Zack Snyder, Jason Fuchs
Based on: Wonder Woman by William Moulton Marston
Music by: Rupert Gregson-Williams
Cast: Gal Gadot, Chris Pine, Robin Wright, Danny Huston, David Thewlis, Connie Nielsen, Elena Anaya, Lucy Davis, Said Taghmaoui, Ewen Bremner, Eugene Brave Rock
DC Entertainment, Atlas Entertainment, Cruel and Unusual Films, Tencent Pictures, Wanda Pictures, Warner Bros., 141 Minutes
“To the war!” – Diana Prince
So far, I have not liked the DC Comics films that have been coming out as a part of their shared cinematic universe. Man of Steel was not my cup of tea, Batman v. Superman: Dawn of Justice was littered with serious issues and Suicide Squad was a complete clusterfuck of biblical proportions. Wonder Woman, however, has been receiving a ton of praise from critics and I’ve really only heard good things from those who were able to see it early. So how does it measure up?
Well, this is hands down the best DC Comics film since Christopher Nolan was making Batman movies. It blows all of their recent movies out of the water and then shoots them back down again while they are still in mid-air. And then it blows them out of the water again.
Wonder Woman is very good. It is the type of film that DC needed to get the locomotive back on its tracks. It makes me wish that the shared universe started here and we could wipe away those three previous films. And ultimately, I can only hope that this means that great things are coming in the future and that the people behind these movies have now righted the ship.
Most importantly, we now have a female superhero movie that doesn’t suck. And on that same token, it carries a strong feminist message without making itself too preachy. It has a good balance of showcasing the inequality of women during its historical era without beating it over the audience’s head like Hollywood likes to do.
When Gal Gadot was cast as Wonder Woman, I didn’t know much about her. Her casting is really what makes this picture work so well. She is perfect as Wonder Woman and showed that she had the ability to carry a huge motion picture on her back. Plus, she was the focal point in this film, the one to really turn DC’s film universe around.
Additionally, Chris Pine was a great choice for Steve Trevor. He’s starting to become a favorite of mine between this film and his ability to really nail Captain Kirk in the modern Star Trek films despite those films not feeling all that Trekish. He has a certain charm and charisma that go beyond just his looks. Plus, he has great comedic timing and delivery.
I love the music in this film much more than the other DC Comics pictures. Wonder Woman’s theme is simply bad ass. I can’t even recall what theme plays for Batman or Superman.
Now with all these positives, I do have to reel it back in a bit.
While the film was pretty good for a summer blockbuster, I don’t know if it has lasting power. It is good by comparison of what constitutes a normal tent pole film but it lacked in depth and didn’t generate the same sort of feeling you get when you know you are watching a classic for the first time.
The plot was pretty straightforward but it wasn’t all that interesting. The villain just kind of shows up at the end but the twist of who he actually is was not a surprise and I suspected it before it happened. Also, the final battle between Wonder Woman and Ares wasn’t very good. It was like a music video where the music was replaced with philosophical banter about the nature of man and it came off to make Ares look like a complete chump. Ares barely fazed Wonder Woman and she just sort of throws his lightning back at him, obliterating him. It was overly stylized visual poetry where there was no real feeling that Wonder Woman was in any real danger.
Also, for a film as long as this is, it didn’t feel like a whole lot happened. Once we get off of the magical island where the Amazons live, it is quite some time before there is any real battle. And when we finally get to that point, Wonder Woman is invincible and just crushes all the baddies, no sweat. I get that she is a god but this is why I’ve always had issues with Superman and Wonder Woman stories. They need a threat that is actually a threat and even though Wonder Woman confronts another god, she’s the “God Killer”. I kind of just hope Darkseid shows up in one of these movies soon.
Negatives aside, this film is full of a lot more positives and it is worth your time, if you are a fan of superhero flicks. It also gives little girls a film of their own because Elektra, Catwoman and so many others didn’t cut it.
Pairs well with: Well, I guess the other (really shitty) DC Comics films, as of late.