'Wonder Woman 1984' Review

Synopsis: Fast forward to the 1980s as Wonder Woman squares off against Maxwell Lord and the Cheetah.

Runtime: 151 minutes

MPAA Rating: PG-13 (for sequences of action and violence)

Who should see it? Fans of DC Comics and Wonder Woman.

Helmed by returning Wonder Woman director Patty Jenkins who co-wrote the screenplay with Geoff Johns and Dave Callaham, Diana Prince's second solo outing has shaken things up drastically. As the title suggests, Wonder Woman 1984 is set nearly seventy years after its predecessor and introduces a whole new cast of supporting characters. Lately, Hollywood seems hellbent on integrating 80s pop culture references into just about everything (i.e., Stranger Things, Ready Player One, and It, among other things). Therefore, I was a bit nervous that Wonder Woman 1984 might rely too heavily on the novelty of nostalgia. Well, I'm pleasantly surprised to report there were no popular 80s songs forced in the soundtrack, and there's even a story basis for the film's setting, so it's more than a gimmick. 

The 80s were a decade of mass consumerism, and that distinctive quality of the era ties right into Wonder Woman 1984's central message. The sequel is all about the pursuit of our greatest desires and begs the question of what we are willing to sacrifice to obtain the thing we covet most. What I found very interesting about this dilemma was how Jenkins and company forced their selfless heroine to face the consequences of making a selfish choice. This conflict offered Diana a compelling arc and served as a natural continuation of her story. It was also refreshing to see her feeling at ease in man's world after being a fish out of water in the first film. On that note, the mysterious return of Steve Trevor signifies a role reversal between the two since Trevor's not very well acquainted with the culture of the 1980s.

I was very skeptical about Chris Pine's return considering his character's state at the end of Wonder Woman. While dealing with comic book characters offers a degree of freedom to make creative decisions like this, doing so shouldn't come at the risk of undermining the dramatic weight of Steve's previous choices. However, the logic behind his sudden reappearance was held up within this fictional universe's confines and served the story. Jenkins, Johns, and Callaham totally made it work and found a unique way to incorporate it into the narrative, so consider me pleasantly surprised.

Jenkins once again delivers some exhilarating action with the backing of a great technical crew. The stunt choreographers notably found creative ways to implement Wonder Woman's Lasso of Truth in the major set pieces. Wonder Woman 1984 improves on the original with more clearly defined villains and a focused third act confrontation. That said, I found the use of slow-motion excessive at times, whereas it didn't bother me in the first film. The dialogue mixing also seemed uneven as I saw the movie in IMAX, but many of the lines still sounded very quiet. I could understand what was being said for the most part but thought the dialogue could have been amplified even more. 

I applaud the marketing department for preserving most plot details but thought the beginning of the film seemed aimless as audiences are left in the dark about the greater plot. Once things clicked together around the midway point, I understood the setup better and am curious to see what I think with repeat viewings. Two other things that stood out to me were that the film wasn't quite as visually stimulating as its predecessor and I was also initially underwhelmed by Hans Zimmer's score. This is primarily because I hold Zimmer in very high regard as one of the best film composers working today, so I hold him to a higher standard. While his Wonder Woman theme is still incredible, the remainder of his music doesn't measure up. Again, I could feel differently after settling in with it, but these are my initial thoughts. 

In many ways, Wonder Woman 1984 exceeds its predecessor while maintaining the qualities of this iteration that first endeared audiences. Front and center, Gal Gadot remains a charismatic lead and continues to embody Diana's virtuous traits. This time around, Gadot showcases much more range with an emotionally-charged arc. An advantage of bringing back Chris Pine as Steve Trevor is that the chemistry between him and Gadot carries over from the first film. Pine persists to be a likable love-interest and charming presence, bringing levity and heart aplenty to the proceedings.

Joining the cast, Kristen Wiig's Barbara Minerva makes an interesting foil to Diana. Wiig's awkward quirkiness warms your heart before her character's tragic descent seemingly squanders that goodwill. Wiig handles both extremes with poise, never falling into the trappings of a stereotype. You truly ache for her as she becomes the villainess Cheetah. 

The other prominent addition is Pedro Pascal as Maxwell Lord, an eccentric TV personality-turned-businessman. Recently, Pascal has had his face covered for much of The Mandalorian, which at times hinders that performance. However, here, he's as expressive as can be. Pascal's star power takes care of the character's magnetic presence, a front for Lord's bubbling insecurities. Though he's not wearing a physical helmet, Pascal still gets to gallivant around with a metaphorical mask. Going into Wonder Woman 1984, I had an idea of who his character might actually be that proved incorrect, so I was glad the movie kept me on my toes. Based on Ares's shortcomings in Wonder Woman, the depth and dimension of Maxwell Lord really took me off guard. Pascal makes for a compelling antagonist, who I'd consider one of the DCEU's best thus far! Here's hoping he has more opportunity to emote on The Mandalorian.

Without a doubt, my favorite characteristic of Jenkins' Wonder Woman films is how unabashedly sentimental they are. This franchise wears its heart on its gauntlets and attests to the value of love and compassion. It's fitting for Wonder Woman 1984 to release amidst a pandemic and the holiday season due to its hopeful message. Whether you see it in theaters or HBO Max when it releases on Christmas day, you're sure to enjoy the latest adventure headlined by DC's quintessential heroine. Wonder Woman 1984 just might be my new favorite entry in the DCEU. At the very least, it's neck-and-neck with its predecessor. I was already eagerly awaiting Patty Jenkins' recently announced Star Wars: Rogue Squadron, but I cannot wait to see what she does three years from now in a galaxy far, far away... 

Film Assessment: A-

'A Wrinkle in Time' (2018) Review

A Wrinkle in Time unfolds itself alongside a young, intelligent Meg Murry and her little brother Charles Wallace four years after the mysterious disappearance of their father. Meg, Charles, and her classmate Calvin are then transported through space by three peculiar and powerful beings in order to embark on a daring quest to find Mr. Murry. 

This incarnation of A Wrinkle in Time stands as the second attempt to translate Madeleine L'Engle's novel that's been long described as "unfilmable." I, myself, am quite familiar with the book as I had to read it eight years ago in my seventh grade English class, and I'll be upfront to admit that I absolutely hated it. However, I wasn't going to simply let my distaste for the source material or my preconceived notions automatically color my review as negative because I believe every film should be seen before I form and share an opinion . With that being said, my expectations weren't very high for A Wrinkle in Time and I still wound up disappointed when it was all over.

The 2018 adaptation is directed by the acclaimed African American female filmmaker Ava DuVernay and features a script written by Jeff Stockwell and Jennifer Lee, which was based on Madeleine L'Engle's publication. DuVernay previously had helmed smaller-scale films such as Selma and 13th to great success, but this was her first big-budget venture and I can't imagine how embarrassing this must be for her. I've often heard film fans throw her name into the ring to helm a Star Wars flick, but I couldn't be happier to hear she's not interested in the gig after seeing how she handled this big-budget bonanza. She's clearly talented but I don't think blockbusters fit her style of filmmaking.

I'd say A Wrinkle in Time's biggest issue is that it was well-intentioned but not well executed. DuVernay definitely embraced the awkwardness of the source material in an effort to remain faithful as possible I guess? As a result, the plot's immensely incoherent, the dialogue's dreadful, the acting is atrocious, the characters are uninteresting, and the film wasn’t entertaining in the least. That's not even mentioning the inharmonious edits, jarring camera movement, or terrible song choices including various generic pop-style songs I'd never heard before but am sure were created purely for the film's soundtrack. On that note, Ramin Djawadi is a composer who I greatly admire due to his work on Game of Thrones... but his score rarely fit the mood of the scene it accompanied... The sole strengths of A Wrinkle in Time are really just its visuals and Chris Pine's performance, but neither of those elements can carry the movie... Even the bright, colorful imagery doesn't look natural due to lackluster vfx work from time-to-time, as can be evidenced above.

So you may be wondering, "How is that DuVernay's fault?" Well, a director oversees the entire project and should reign things in if they aren't working. They provide guidance for the cast and crew, and it's their responsibility to ensure their vision makes it to the big screen the way they intended. Otherwise, they didn't exactly fulfill their obligation. Perhaps, these shortcomings can be attributed to the studio, as Disney's had a spree of at least one flop-a-year (whether it be critical, financial, or both in certain cases). However, this film is far too ambitious for it to simply be a studio-made product. There's evident artistic intent put into this so it's not like nobody tried. Genuine effort was put forth.

One of A Wrinkle in Time's most glaring issues though was an immense emotional disconnect. I could have cared less about the characters, and the filmmakers didn't give me any incentive to invest in them whatsoever. Every character functions as either an expositional device or a stilted, stale personality. Seriously, the lines these actors were provided with would suffice as some of the worst dialogue I've heard uttered all year. And if there's one thing we take for granted these days, it's quality performances. ESPECIALLY those from young actors since we've been blessed with watching a talented pool of performers these last few years. Unfortunately, Storm Reid, Levi Miller, and Deric McCabe aren't up to the task of elevating the material provided. In the role of Meg, Reid provides a performance leagues beyond her other young costars as she's at least able to occasionally display emotional depth. Her scenes with Pine are easily her best, and are a testament to her potential if she continues to fine-tune her acting abilities. However, Reid's mostly left waking around almost as expressionless as possible, and the film suffers a great deal from it.

I don't say this to rip on the child actors as I understand they're trying their best, but I get the vibe they were miscast and DuVernay's lack of experience directing young talent didn't help things. Poor Levi Miller is offered nothing of substance or pertinence to work with whatsoever. His introductory dialogue is along the lines of "I don't know why I'm here. I just suddenly felt the urge to here and so I'm here." At that point, I started laughing because his lines were so awkward and unnatural. Beyond that though, his character has little-to-no development and it feels like he was only incorporated to motivate Meg and because he was in the book. Then there's Deric McCabe as Charles Wallace... Sadly, his line delivery was one-note so he just sounded like a kid reading a script written by other kids... The script wasn't written by children by the way... Having read the book, I know what Duvernay and McCabe were going for... They just didn't hit their mark, and the role would have been far better suited to a young actor like Jacob Tremblay or Jackson Robert Scott (the kid who played Georgie in last year's adaptation of It).

In regards to the experienced adult actors, it's just as bad...The three entities Mrs. Which, Mrs. Whatsit, and Mrs. Who are portrayed by Oprah Winfrey, Reese Witherspoon, and Mindy Kaling respectively, and they're each awful... They're around to guide Meg and occasionally impart words of wisdom, yet they're rarely around and feel rather pointless as a result (I know it's like that in the novel as well). Oprah must be running low on interview money to stoop to this... Anyways, Oprah stands around to speak inspirational, empowering quotes you'd probably find on a poster without a care in the world, Reese Witherspoon is ditsy as can be as Mrs. Whatsit, and Mindy Kaling's Mrs. Who is stuck only able to utter quotes spoken by others unless the script demands otherwise... I couldn't take any of them seriously at all though because they each look ridiculous in the eccentric, over-the-top costumes.

I'm including this gif to point out how silly she looked running in that costume. I couldn't help but chuckle, and I hope you get a good laugh from it as well! If A Wrinkle in Time has any saving grace, its that you can at least laugh at it from time-to-time for all the wrong reasons. It should also be noted that Zach Galifianakis, David Oyelowo, and Michael Peña are in this, but good luck remembering that when it's over because their screen-time is SCARCE. Oyelowo's just a disembodied voice so you probably won't even know he was ever involved. Good for him I suppose!

The only actor in entire ensemble who I felt delivered an all-around quality performance was Chris Pine. Pine provides a performance rich with nuance and subtle expressions of emotion that enhance the awful things around him. Gugu Mbatha-Raw does the best she can with her depiction of Mrs. Murry, but is ultimately caged in by limited screen-time and an awful script. Thankfully, she has some scenes with Pine though because their chemistry really worked.

On the bright side, A Wrinkle in Time sends a positive message to young audience members. It's just a shame they've probably heard it already and that the delivery was so clunky in comparison to every other film that ever sought to inspire or empower its audience to be themselves. The children at my screening were not interested in the events onscreen at all, getting up on numerous occasions to walk around or simply divert their focus elsewhere.

In case it wasn't already apparent, I don't think A Wrinkle in Time is deserving of your crisp cash. If you hope to levy your hard-earned dollars towards supporting diverse blockbusters or you're simply going to the theater for the sake of enjoyment, you'd be better off supporting Annihilation, Black Panther, or Game Night. Otherwise, you may as well stay at home since A Wrinkle in Time is a colossal waste of time. I was already envious of those whose Wrinkle in Time screening was interrupted by an entourage of celebrities during the Oscars, but I'm even more jealous now that I've seen the film. Their prayers for it to stop must have been answered at least... 

Film Assessment: D-

'Wonder Woman' Review

Wonder Woman recounts the origin story of trained warrior and courageous princess Diana who has grown up among the fierce female race of Amazons on the sheltered tropical island Themyscira. All is well on the secluded paradise till American intelligence officer Steve Trevor crashes off the island's shore, the first instance of man entering the mythic realm. Trevor is retrieved by the Amazons and in turn tells them of the ongoing power struggle outside their island, World War I. Diana then decides to disobey her mother's commands and accompanies Trevor on a quest into man's world with intentions to end the conflict at hand, discovering her exceptional abilities and fated destiny along the way.

I'll be honest in saying I was cautiously optimistic for Wonder Woman since I was burned thrice before by DC with Man Of Steel, Batman v Superman: Dawn of Justice, and Suicide Squad. While Wonder Woman's marketing material has been stellar from the outset of its promotion, much like Suicide Squad, the DC Extended Universe's spotty track record was enough for me to temper my expectations. I did however maintain hope that Wonder Woman would be the film to turn everything around for DC considering Patty Jenkins was directing and it seemed more standalone in nature, and it is with great pleasure that I'm able to reassure any skeptics that Wonder Woman is truly wonderful! 

Director Patty Jenkins shepherds the Amazon into her own corner of the DC universe so the two can brief moviegoers on the influential heroine's humble beginnings. Jenkins had a difficult task at hand in meeting a broad appeal that didn't favor men or women and she struck the right chord. The supporting male characters are never downplayed in favor of some feminist agenda and there are moments exemplifying Wonder Woman's heroic qualities that offers an ideal representation of female empowerment without overdoing the girl power. Jenkins makes it clear from the start that this will be a tale for everyone to enjoy by infusing Wonder Woman with a sense of hope and optimism, something that's lately been lacking from DC films. 

Jenkins and her cinematographer Matthew Jensen quickly break the mold of DC's gritty/grungy aesthetic with the lush locale of Themyscira. The vivacious color palette of Themyscira is easily the most vivid venue to be seen in the DCEU thus far, managing to look like a plausible place while maintaining a guise of mysticism. This is even further accentuated when contrasted to the nasty No-Man's land and murky London skyline. The visual effects and production design showcased also are a step above DC's usual display, making a breathtaking backdrop to the insane action.

If you thought that Wonder Woman would skimp out in the action department because it was directed by a woman, then you were way off because the action sequences constructed by Jenkins and her stunt team are absolutely incredible! Scenes of the Amazons sparring, a beachside invasion, a trek through No-Man's Land, and an all-out melee in the third act will all astound viewers based on looks alone. It's worth noting that Jenkins and editor Martin Walsh utilize quite a bit of slo/fast-mo in these sequences that can grow a bit repetitive for those not in favor of that technique, but it adds a visceral energy that only intensifies the excitement. This vitality is then dialed up another notch by Rupert Gregson-Williams' potent compositions and Hans Zimmer's pre-existing exuberant Wonder Woman theme. 

Despite Wonder Woman's ability to leaps bounds above the other DCEU installments, I'm fairly certain that Wonder Woman will draw criticism from its startling similarities to the period piece war backdrop featured in Captain America: The First Avenger and the fish-out-of water story told in Thor. There will be numerous comparisons between them (especially with The First Avenger), but I assure you Wonder Woman is very unique when it's all said and done.

Wonder Woman features a screenplay penned by Allan Heinberg, who received some assistance from Zack Snyder and Jason Fuchs in writing the story treatment. Heinberg's script works well and it's not because it revolutionizes the superhero origin story, but rather because it understands the lead character. Diana's easily the most heroic DC character to galavant onscreen in quite some time and pairing Diana opposite the horrific scrim of World War I really brought out her valiant nature. It's also incredibly refreshing to see a female character in a superhero movie that's not a damsel or obvious eye candy, but a fully realized character. While Marvel has Black Widow and Scarlet Witch, DC had yet to truly deliver one of those till now.

Allowing Diana to enter man's world not only accentuates her character but it provides a suitable opportunity for humor thanks to the fish-out-of-water element and I laughed at nearly every joke the writers threw at me. The romantic relationship between Steve Trevor and Diana felt fully fleshed out and strayed away from feeling unbalanced, which was something I feared. Steve probably saves Diana as many times as she rescues him so while Diana's clearly more capable than Steve thanks to her power-set, she learns a thing or two from him on her expedition.

Wonder Woman does admittedly run into a little trouble in its third act with a chaotic, needlessly elaborate final fight. The film's villains also feel slightly underdeveloped with vague motivations, which weren't exactly convincing to begin with. The third act CG isn't the greatest when compared to the remainder of the flick, but it worked for everything Jenkins was striving to achieve. Outside of those minuscule nitpicks, Wonder Woman doesn't encounter too many other issues and easily outweighs those cons.

The cast assembled for the Amazonian's first feature film is one to behold and they step up to the legacy the comics set before them. When Gal Gadot was first cast as Wonder Woman, fans were quite contentious about whether she was the right choice for the role considering she was almost entirely known for modeling at the time. Even after a scene-stealing appearance in Batman v Superman, no one really quite had a grasp of the character since her powers and characterization were left a mystery. Thankfully, Gadot walks a fine line as Wonder Woman and proved up to the task of meeting the physical demands of the role as well. Gal Gadot imbues Diana with compassion, strength, and virtue making her the ideal female role-model and exemplary incarnation of the female icon.

Chris Pine brings charisma aplenty to Steve Trevor as an endearing action hero and likable love interest opposite Gadot. Pine and Gadot exhibit an interesting and sincere dynamic, unlike most comic book couples as the two share an undeniably unique chemistry. Lucy Davis also tags along as sociable supporting player Etta Candy, showcasing some solid comedic chops along the way.

Connie Nielsen and Robin Wright play the predominant Amazonians as the lionhearted General Antiope and confident Queen Hippolyta. Both actresses serve as influential up-bringers and memorable maternal figures for Diana, demonstrating courage and kindness in the best ways imaginable.

Ewen Bremner's anxious sniper Charlie, Saïd Taghmaoui's ladies man Sameer, and Eugene Brave Rock's soft-spoken Chief each added delightful personas to Trevor's squad and stood out as captivating supporting players among the larger ensemble. Elsewhere Danny Huston, Elena Anaya, and David Thewlis adequately act the archetypes of the hardened General Erich Ludendorff, tortured Doctor Poison, and inscrutable Sir Patrick. In regards to references, there aren't too many easter eggs that I noticed aside from the obvious origin story beats and there's no post credits scene, but do look forward to a new DC logo opening up the proceedings. There's absolutely no question about it, you should definitely check out Wonder Woman this weekend! I know I'll be seeing it a few more times!

Turns out Wonder Woman had more in her arsenal than I suspected with dedicated direction, vibrant visuals, astonishing action, powerful performances, and charming characters. She didn't even need to use her Lasso of Truth to coerce me into acclaiming Wonder Woman as the greatest DCEU entry to date, the foremost female lead comic-book movie, and the best DC film I've seen since The Dark Knight! 

Film Assessment: A-

'Hell or High Water' Review

Nominated For: Best Picture, Best Supporting Actor; Jeff Bridges, Best Original Screenplay, and Best Film Editing.

Hell or High Water is a crime drama that focuses on a pair of brothers, recent divorcee Toby Howard and ex-con Tanner, executing a series of bank robberies to prevent their family land from being foreclosed. Hell or High Water has been the one of the more heavily discussed awards geared films over the later portion of the summer since it premiered at the Un Certain Regard of 2016's Canne's Film Festival, therefore I thought that it seemed like a must-see from it's massive surge of critical praise. 

David Mackenzie directs and maintains focus on the core characters to great effect as they traverse gray morality in their actions. Taylor Sheridan pens the screenplay after his screenwriting debut in last year's Sicario and expertly incorporates classic western themes about the bank against the common man. Giles Nuttgens' cinematography and the score composed by Nick Cave and Warren Ellis evoke western spirit with desolate landscapes and a hopeful atmosphere paralleling the underlying messages from Sheridan's script. 

Hell or High Water also features superb showings from it's talented cast. Chris Pine has probably one of the more compelling characters of the bunch as his Toby Howard is constantly questioning the morality of the brothers' actions and Pine is remarkable at conveying those sensibilities with an effective balance of charm and reservation. Ben Foster's Tanner is a scumbag and Foster brings revolting qualities to his character as he shows disregard to the people harmed in their heists. Pine and Foster play well off one another with their contrasting personalities and characterizations allowing for some introspective conflict between the pair's morality. 

Jeff Bridges brings the classic wise maverick in his portrayal of Marcus Hamilton, an aging Texas Ranger on the verge of retirement looking for adventure where he can find it. Bridges has some great moments of sincerity and levity, albeit some darker humor poking fun at his partner. 

In conclusion, Hell or High Water is an interesting mix of the classic western spirit and a modern day setting that's focus on character and dialogue keep it true to form. Hell or High Water may feels similar to films of it's genre but it's an incredible demonstration of great direction, an excellent screenplay, and tremendous performances. 

Film Assessment: B+

'Star Trek Beyond' Review

Nominated For: Best Makeup and Hairstyling.

Star Trek Beyond picks up with the crew of the USS Enterprise three years into their five year voyage of uncharted space and the long journey has taken it's toll on each of the crew members respectively but that all has to be put on hold when they must investigate the scene of a distress signal only to find themselves under attack from an enemy they didn't see coming, can't predict, and have no hope against, Krall. With the crew now divided on a foreign planet they must use their wit and their will to reunite and stop Krall from waging war on the Federation. That's the basic setup and all you need to know going in for Star Trek Beyond.

Star Trek Beyond has been a worrisome development coming off the heels of the latest/most divisive film in the franchise Star Trek Into Darkness, and the first trailer for the film didn't do it any favors drawing comparisons to Fast and Furious and Guardians of the Galaxy, a complete deviation from the philosophical core of the franchise. Many worried that since Justin Lin was taking over the directors chair he would bring with him the nonsensical action featured in his most notable works from the Fast and Furious franchise (The Fast and the Furious: Tokyo Drift, Fast and the Furious, Fast Five, and Fast and Furious 6). Many feared how this cast would fare with the absence of J.J. Abrams, who kicked it all off with 2009's Star Trek and had his hands busy with Star Wars: The Force Awakens, but the tide turned in favor of Star Trek Beyond with the release of it's subsequent marketing material and I'm overjoyed to tell you that Star Trek Beyond is a blast. 

Lin takes over the helm from Abrams bringing along with him the amusing action sequences from the Fast and Furious films and thankfully ensures Star Trek Beyond is not dumbed down to level of the Fast and Furious with the help of screenwriters Simon Pegg and Doug Jung. Pegg and Jung split up the crew, pairing up characters we typically don't see with one another and the writing duo manage carve out a nice story that explores not just the cosmos but but  crew of the Enterprise themselves. 

The visual effects in Star Trek Beyond are remarkable as the Enterprise looks illustrious traversing the final frontier and is even more beautiful when it engages in warp speed. The make-up, costuming, and production design is top notch creating authentic alien worlds, creatures, and space ship interiors. I must commend the work on Idris Elba's Krall prosthetic that looked magnificent in the first act. The action sequences are infectiously fun featuring exciting space ship combat, a thrilling motorcycle sequence, and the destruction of the NC-1701 that was undeniably awesome to watch. This Trek flick once again boasts engaging futuristic sound design and another one of Michael Giancchio's adventurous scores.

The star-studded cast step onto the Enterprise once more and this time around they feel like they've transitioned more into the personalities that make the Enterprise crew what they are. Chris Pine's Kirk and Zachary Quinto's Spock are provided engaging character drama as they must deal with significant events in their life. Pine brings out a charming captain in Kirk and finally seems to be a responsible leader as opposed to the rebellious daredevil.

Meanwhile, Quinto walks the fine line between reason and emotion, never leaning too heavily on either side, proving he makes for a terrific Spock. Karl Urban's Bones has a substantially larger role in this installment proving to be hilarious when paired with Quinto's Spock as the juxtaposing personality clash brings several laughs with it.

Simon Pegg's Scotty is once again comedic relief for the crew and has his most substantial role in the franchise yet. Zoe Saldana and John Cho still aren't given much to do as Lieutenant Uhura and Sulu but they fit the roles nicely and have a few of their own moments. Saldana's Uhura is primarily there for her relationship with Spock but gets to kick some butt once again and there's a very controversial decision made to portray Cho's Sulu as gay and I will say that it's present but merely a simple moment that doesn't pull focus away from the film.

Anton Yelchin brings perfect comedic timing and a convincing Russian accent to Chekov getting to primarily play off Pine's Kirk as they're stranded together and it was a very interesting dynamic. Sadly this will be Anton Yelchin's final voyage onboard the Enterprise because the actor tragically died in a car accident a few weeks ago. The film also address Leonard Nimoy's passing in a touching and respectful way and I think both Trek actors would have been very proud with the finished product.

Elsewhere, Sofia Boutella is a welcome addition to the franchise after proving herself in Kingsman: The Secret Service. Boutella's Jaylah makes for an awesome addition to the franchise as she can carry an action sequence and stands as a compelling character in her own right. It was fun to see her work off of the various crew members but especially delightful to see her chemistry with Pegg and Pine. 

My only real qualm with Star Trek Beyond lies in it's villain. Idris Elba's Krall is exceptionally malevolent, proving to be an exceptional strategist and overlooking threat to the crew and for the first two acts of the film stayed the course, but his motivation was still unclear. Elba is terrific in the role injecting gravitas and weight to Krall, but once all Krall's secrets are divulged I found myself scratching my head more than feeling a sense of relief. The reasoning behind Krall's actions made sense, but the reveal didn't elaborate enough for me to fully comprehend how he became what he was and if anything detracted from his antagonistic ambiance, a similar problem plaguing many a Marvel villain right now.

I saw Star Trek Beyond in IMAX 3D and felt that the experience was worth the price of an IMAX ticket so I'd recommend it for anyone willing to pay the extra dough. In conclusion, Star Trek Beyond proved to be a wildly entertaining science fiction adventure with fresh direction, astounding visuals, and a remarkable ensemble cast. Star Trek Beyond is bold and dares to go where J.J. Abrams hasn't gone before, crafting a Star Trek movie worthy of adopting the Trek monicker in it's 50th year while embracing the fun of a summer blockbuster.

Film Assessment: A-