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.
Also known as: Superman: Man of Steel (working title), Autumn Frost (fake working title)
Release Date: June 10th, 2013 (New York City premiere)
Directed by: Zack Snyder
Written by: David S. Goyer
Based on: Superman by Jerry Siegel, Joe Shuster
Music by: Hans Zimmer
Cast: Henry Cavill, Amy Adams, Michael Shannon, Kevin Costner, Diane Lane, Laurence Fishburne, Antje Traue, Ayelet Zurer, Christopher Meloni, Russell Crowe, Carla Gugino (voice)
Syncopy, Legendary Entertainment, Warner Bros., 143 Minutes
“You will give the people of Earth an ideal to strive towards. They will race behind you, they will stumble, they will fall. But in time, they will join you in the sun, Kal. In time, you will help them accomplish wonders.” – Jor-El
I was pretty disappointed with this film when it came out and honestly, I’m still pretty disappointed in it, watching it seven years later.
My biggest takeaway from the movie is how good Henry Cavill is as Superman. It just kind of sucks that this is the script and the film that he was given to play that role.
Sadly, the movies with him in them didn’t get any better and this whole DCEU is like a wet fart when compared to Marvel’s MCU, which this was designed to compete with.
Zack Snyder seems like a nice enough guy but his films just never really seem to speak to me. He has his fans, he has his critics and while I want to like the guy’s movies, I can’t give them a free pass because he’s a great guy that does come into his projects with actual passion for the material.
The big issue with this film more than anything is the writing. It’s just a drab yet exhausting story where it feels like a lot happens but nothing happens. It also features so much over-the-top mass destruction that it breaks the movie from top-to-bottom.
General Zod, a human-sized alien dictator comes to Earth and causes more destruction to a major city than all of the Godzilla movies combined yet Superman won’t kill him until Zod’s just about to laser eye a few people to death?
One, this guy already killed hundreds of thousands, if not millions.
Two, why the fuck didn’t these people run while Superman had Zod mostly subdued in a read choke?
Three, couldn’t Superman have just poked Zod’s eyes out Three Stooges style?
When you think about it, this is a really dumb movie.
Hell, you don’t need to think about it. I watched this the first time in the theater baffled by half of it and annoyed by the other half. And man, I really wanted to like it because I loved Cavill, as well as Russell Crowe and Michael Shannon. I also liked seeing Laurence Fishburne play Perry White. Although, Amy Adams was just another actress that didn’t feel like Lois Lane.
Ultimately, this wasn’t the worst DCEU movie but like most of them, it was still a wet fart.
Pairs well with: the other Zack Snyder DCEU films.
From Filmento’s YouTube description: We got a new teaser for Matt Reeves’ The Batman starring Robert Pattinson and it looks amazing. But more than great, it also looks and feels familiar — like Batman’s very own murder mystery detective thriller with The Riddler in vain of David Fincher’s Se7en. Plus, @The Film Theorists also made the same point in a great new video titled “Film Theory: This is NOT A Batman Movie! (The Batman Trailer 2021)”. And so, let’s take a look at 1995’s Seven starring Brad Pitt and Morgan Freeman to find out what makes it the greatest detective movie of all time and what the Batman needs to do to reach the same level. In this episode of Film Perfection, let’s see what makes a great detective thriller.
From Filmento’s YouTube description: Margot Robbie’s Harley Quinn Birds of Prey movie is the first DC film of the new decade, and by the quality of it it seems DC is up to its old habits a’la Suicide Squad/Batman v Supeman/Justice League. But the interesting thing about Birds of Prey’s failure is that its pretty much a copy paste of other successful movies: Pirates of the Caribbean and Deadpool. The character of Harley Quinn is a straight ripoff of Johnny Depp’s Captain Jack Sparrow, whereas the narrative and the wonky world of Birds of Prey is a straight ripoff of Ryan Reynolds’ Deadpool. But despite copying cinematic greats, Birds of Prey still manages to fail, because it completely misses the point of what makes Pirates and Deadpool great. So, in today’s episode of Anatomy of a Failure, lets see how that happened and how DC/DCEU looks once again to be taking a backseat to Marvel/MCU.
Also known as: Birds of Prey (unofficial title), Harley Quinn: Birds of Prey (re-branded title)
Release Date: January 25th, 2020 (Mexico City premiere)
Directed by: Cathy Yan
Written by: Christina Hodson
Based on: characters by DC Comics
Music by: Daniel Pemberton
Cast: Margot Robbie, Mary Elizabeth Winstead, Jurnee Smollett-Bell, Rosie Perez, Chris Messina, Ella Jay Basco, Ali Wong, Ewan McGregor, Steven Williams
Clubhouse Pictures, LuckyChap Entertainment, DC Entertainment, Kroll & Co. Entertainment, Warner Bros., 109 Minutes
“Here’s the thing, Romy baby: your protection is based on the fact that people are scared of you. Just like they’re scared of Mr. J. But I’m the one they should be scared of! Not you, not Mr.J! Because I’m Harley Fucking Quinn!” – Harley Quinn
This movie’s title was so bad that they actually changed it after it was in theaters for only a week, where it didn’t perform up to expectations. But I don’t think that the stupid, pretentious, cutesy pie title was the only problem with the movie.
To start, I’ve never seen a motion picture be so self unaware. It tries so hard to be edgy, cool and original all while being a poor attempt at making a Deadpool movie for girls. It’s pretty obvious how blatantly this is trying to channel the Deadpool mojo that it deflates anything good within the picture.
Additionally, while this is visually stunning, overly vivid with a giallo style color palate, the choppy editing and amateur shot framing makes this feel like a 109 minute music video. And like all big studio movies that are trying to be cool, the music isn’t even that good, as it recycles exactly the same type of tunes you’d expect from yesteryear while also sprinkling in awful modern covers of classic hits that don’t really work. In short, it’s predictable as fuck.
When it comes to the characters, other than Harley Quinn, this film doesn’t really understand any of them. Who the fuck wrote this? Have they read a comic about any of these characters? I’m supposed to believe that this Cassandra Cain will eventually become a Batgirl? Not to be an asshole but they made her look like Rose Tico cosplaying as Short Round. That’s not the actresses fault, just like it wasn’t Kelly Marie-Tran’s fault that Rose Tico looked like a frumpy baked potato with the dumbest, most unappealing haircut in Star Wars history.
But look at this film’s version of Roman Sionis a.k.a. Black Mask, a villain I have always loved. This is absolutely not who that character is. Granted, I enjoyed Ewan McGregor in this, as well as the character, but he didn’t need to be Black Mask, he could’ve just been an eccentric Gotham City mob boss. There is nothing about him that even resembles Black Mask, other than he puts on a Black Mask for about ten minutes before taking it off again.
Ewan McGregor was the best thing in this film, which is funny when you think about it, as this had a very clear agenda. But I’ll get to that further into this review.
On top of that, Victor Zsasz wasn’t Zsasv, Black Canary wasn’t Black Canary, Renee Montoya was only about halfway there and the Huntress was sort of accurate but completely unlikable and awkward.
Beyond that, this is a movie that doesn’t seem to know what it wants to say. Well, it is very clear that it wants to communicate that all men are pieces of shit, as every single man in this movie are portrayed as pieces of shit, even the fatherly old Asian guy that lets Harley live upstairs.
So the man hate is clear, which is odd because no matter how hard this movie tries to appeal to women, it’s audience was still mostly men. But this is typical of the agenda-driven Hollywood nowadays. But hey, maybe this COVID-19 shit will be a wake up call for studios to actually give a shit about what their audiences want. Probably not, though, as their heads are so far up their ass that they are on a steady diet of their own shit.
The part of the message that isn’t clear is that this can’t decide between whether or not women should stick together or fuck each other over and go solo. I guess teaming up is all fun when you’re sticking it to the patriarchy but once the men are out of the way, they just act like the men they were trying to beat. It’s childish, boring, predictable and lame.
And like all things in entertainment that have this sort of pro-feminist agenda, the story wants to preach self-confidence and self-reliance but then it constantly has its characters telling each other that they’re cool and how much they are all each other’s besties. Is this what women are? Not in my experience but what do I know, I have a penis.
Anyway, confident, self-sufficient and badass women don’t need constant reassurance that they’re cool and likable. That’s not what confident, self-sufficient and badass is. But that’s what this movie is teaching the young girls who may see this picture.
For the first third of this film, I was really happy with its pacing and thought that it was flying by. But then, once you get to the part where the story starts jumping around in the timeline (another way it was trying to be Deadpool), things just went off the rails and the film became sloppy. There was no reason to do this and frankly, it’s one of the things I didn’t like about Deadpool. After this whole section of the film, the pacing didn’t pick up or recover and everything became a slog to get through.
I think that a lot of the problem with this movie is that it hired an inexperienced director. This is something that had the potential to be a massive franchise, featuring a big star playing a character that is one of the most popular in all of pop culture. But the studio didn’t take this seriously enough, so why should any of us?
It also didn’t help that the director, before this came out, was bragging about the heroes not using guns (they do) and just kicking the patriarchy’s ass. She also admitted to not being a fan of comics.
Maybe it’s time for these companies to start hiring creatives that know the material, are passionate about it and thus, want to make the best representation of what these characters and stories should be.
And they wonder why box office numbers were already decreasing before COVID-19.
Pairs well with: the other lackluster DC Comics movies of recent memory.
From Filmento’s YouTube description: 2019’s Joker is a strange film in the sense that its one and only protagonist is the furthest thing from a traditional hero as can be — he’s a bad guy. Yet, despite all the evil acts Joaquin Phoenix’s Arthur Fleck in this Todd Phillips movie commits, the audience never turns on him and instead keeps staying on his side. In today’s award winning episode of everyone’s favorite show Film Perfection, let’s see how this is made possible. Not sure how it will work in Joker 2 though, if we get one.
From Filmento’s YouTube description: Brie Larson’s Captain Marvel didn’t seem to enthrall everyone. It was a functional film, but comparing it to DC’s first female led comic-book film of Wonder Woman, Captain Marvel seemed to be pretty forgettable. In today’s episode of One Versus One, let’s find out what core differences there are between these two female superhero movies, and why Captain Marvel became forgettable while Wonder Woman despite its flaws is memorable. It’s Marvel vs DC, Captain Marvel vs Wonder Woman. Here’s how not to adapt a movie.
From the Midnight’s Edge YouTube description: While DC’s comic output is legendary, cinematically the brand has traditionally left some to be desired. Numerous in-development DC TV shows, video games, and especially films have been canceled over the years, some highly anticipated, others reviled both before and after cancellation.
In this video, we will discuss the troubled developments behind, and the stories five such films could have told, namely Lobo, Plastic Man, Green Arrow, Joss Whedon’s Wonder Woman and Darren Aronofsky’s Batman: Year One.