'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-

'Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn)' Review

Synopsis: It's open season on Harley Quinn when her explosive breakup with the Joker puts a big target on her back. Unprotected and on the run, Quinn faces the wrath of a narcissistic crime boss, his right-hand man, and every other thug in the city. But things soon even out for Harley when she becomes unexpected allies with three deadly women.

Runtime: 109 minutes

MPAA Rating: R (for strong violence and language throughout, and some sexual and drug material)

Who should see it? Adults fans of Harley Quinn, the Birds of Prey, and DC Comics.

Directed by Cathy Yan and featuring a screenplay from Christina Hodson, Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) is the first of four female-driven comic-book movies to be released this year. Misogynistic incels are surely raging in their basements. Still, hopefully, their cries will fall on deaf ears because Birds of Prey is beaming with personality and zany, creative energy. The regime change at Warner Bros. has helped DC course-correct from a spotty track record to a streak of surefire critical and commercial hits. The secret being that Warners and DC became less concerned with building a universe and focused on telling quality, standalone stories. Margot Robbie leveraged her star power to be more involved behind-the-scenes as a producer after initially pitching the idea on the set of Suicide Squad. Robbie championed Yan and Hodson's vision every step of the way, so Birds of Prey manifested into a unique addition for the DC Extended Universe that took note of past failings.

Whereas Suicide Squad felt restrained by its PG-13 rating and studio interference, Birds of Prey is liberated by an R-rating and the vitality of artistic freedom. The filmmakers really let loose and leaned into the crazed mental state of its protagonist with fourth wall breaks and non-sequential storytelling, among other things. Though the title is Birds of Prey, it's very much Harley Quinn's movie, and that's reflected in spades with Yan's approach to the material. Rather than ignore Suicide Squad, Yan builds on the foundation laid by David Ayer in a way that serves Harley's story. While Birds of Prey is its own creative beast, there are similarities to the style and presentation. Flashy title graphics, a series of high-energy action set pieces, and a soundtrack of pop bops can still be found surrounding the unhinged harlequin.

However, it was obvious that Yan and Hodson wanted to distance Harley from Jared Leto's Joker as much as possible. Harley and Joker's breakup actually works as a wonderful catalyst for setting the plot in motion, though. I especially liked the idea that it would result in Harley's lost immunity within Gotham since nobody wants to mess with Joker aside from Batman. It also offers a compelling character arc for Harley as she's forced to fend for herself. Containing the story within Gotham and positioning the city's criminal underworld against Harley and the Birds of Prey was a wise choice. Suicide Squad ridiculously pit ordinary characters against a supernatural threat, so it was nice to see Birds of Prey stay on the street-level with suitable antagonists. Yan also effectively grounds whacky, cartoonish antics with the menace of Black Mask and Victor Zsasz. Otherwise, I was impressed by the colorful costuming, production design, Matthew Libatique's cinematography, and the phenomenal stunt work. More roller skates in action films, please.

Concerning the cast, Margot Robbie's really honed in on her portrayal of Harley Quinn. Robbie's clearly having a blast acting like an absolute maniac, and I have a difficult time imagining anyone else in the role. One nice flourish was incorporating her past life as psychiatrist Harleen Quinzel when she'd periodically psychoanalyze everyone around her before snapping back to the ditsy Harley. Her separation from the Joker really beefed up the character. It made her more sympathetic to see her struggle in striking out on her own. I'm curious whether she'll remain independent or not.

As for the Birds of Prey, Jurnee Smollett, Mary Elizabeth Winstead, Rosie Perez, and Ella Jay Basco were well-cast and great additions to the universe. Notable stand-outs being Smollett's Black Canary and Winstead's Huntress while Basco's Cassandra Cain was especially endearing. That said, they're all secondary to Harley. I wish more emphasis had been placed on each member, as it would have been nice to flesh them out in the film titled Birds of Prey.

In the role of Black Mask, Ewan McGregor gleefully gnaws on the scenery. Switching on a dime, McGregor fluctuates from an eccentric crime boss to a fearsome foe and makes the mood swings believable. The design of his mask was also very cool, and I'm glad they didn't stuff McGregor under it for the entire runtime because that'd waste an actor of his caliber. I also can't go without mentioning Chris Messina's Victor Zsasz, who was an intimidating henchman.

It's said "birds of a feather flock together," so I'm happy to report Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn)'s earned a place alongside the top tier of DC's film catalog. In simpler terms, BoP is a bop!

Film Assessment: B+

'Joker' Review

Nominated For: Best Picture, Best Director; Todd Phillips, Best Actor; Joaquin Phoenix, Best Adapted Screenplay, Best Film Editing, Best Cinematography, Best Costume Design, Best Makeup and Hairstyling, Best Sound Editing, Best Sound Mixing, and Best Original Score.

Won: Best Actor; Joaquin Phoenix and Best Original Score.

Synopsis: Arthur Fleck struggles to find his way in Gotham's fractured society. A clown-for-hire by day, he aspires to be a stand-up comic.. but finds the joke always seems to be on him. Caught in a cyclical existence between apathy and cruelty, Fleck begins a slow descent into madness as he transforms into the criminal mastermind known as the Joker.

Runtime: 121 minutes

MPAA Rating: R (for strong bloody violence, disturbing behavior, language and brief sexual images)

Who should see it? Adult fans of DC Comics and the Joker.

Directed by Todd Phillips with a screenplay from Phillips and Scott Silver, Joker is a standalone film removed from the baggage of a shared cinematic universe. Audiences should prepare themselves for an unsettling, artistic character piece about DC Comics' preeminent villain. While not necessarily a faithful iteration, the representation of Joker put forth by Phillips and Phoenix encapsulates the character's essence to a tee. Arthur lashes out with no particular ideology in mind, choosing to instead relish in the ensuing chaos he's caused. There's no rhyme or reason to his actions. He's crazy. Drawing inspiration from the work of Martin Scorsese (notably Taxi Driver & The King of Comedy), Joker depicts a troubled individual surrendering to his darkest impulses and retaliating against society.

For the past few months, Joker has been a hot topic of conversation as many speculated whether the film might incite real-world violence or not. Frankly, I find this controversy to be absurd and grossly overblown. If anything, the media coverage over the controversy is more likely to inspire acts of violence than the movie itself. Phillips doesn't glorify Arthur's disturbing behavior in the slightest and makes it very clear that he is unhinged. Not to mention, onscreen violence and mentally ill protagonists are nothing new for Hollywood. With that said, I understand this isn't a film for everyone. The violence and subject matter will undoubtedly add to its polarizing reception among other things. 

However, I was riveted and spellbound by an increasingly twisted turn of events. Evocative imagery from cinematographer Lawrence Sher coupled with Hildur Guðnadóttir's nerve-wracking musical score and Mark Friedberg's grungy production design forms an enticing and dread-inducing atmosphere. That maddening sensation festers in a slow-burn leading towards the film's inevitable chaotic conclusion, ideally embodying the Clown Prince of Crime's manic mental state. All the while, Arthur's status as an unreliable narrator further contributed to the insanity.

The Joker is a notoriously challenging role which has enabled all-time great performances and a few not so memorable ones, but Joaquin Phoenix proved to be well up to the task as he commands the screen for the film's entire two-hour duration. His portrayal's not only mentally and psychologically taxing, but physically transformative as well. An emaciated and unhinged Phoenix skillfully contrasts Arthur's sinister nature and naivety to match the profile of a potential serial killer. Phoenix's intensity lends a layer of realism to the role that makes his incarnation all the more frightening when all is said and done. Scattered amongst the supporting cast, Robert De Niro, Zazie Beetz, Frances Conroy, Brett Cullen, and Brian Tyree Henry are noteworthy, but this is Phoenix's showcase through and through. 

In a year filled with lighthearted comic-book adaptations, Joker is a refreshing change of pace. It dances to the beat of its own rhythm. Uninterested in appeasing the masses, it offers an uncompromising glimpse into the origins of an iconic antagonist. For better or worse, it's what Joker would have wanted. So stop clowning around and go see Joker!

Film Assessment: A+ A-

'Shazam!' Review

Synopsis: Billy Batson is a streetwise 14-year-old who can magically transform into an adult superhero simply by shouting out one word. His newfound powers soon get put to the test when he squares off against the evil Dr. Sivana.

Runtime: 132 minutes

MPAA Rating: PG-13 (for intense sequences of action, language, and suggestive material)

Who should see it? Fans of DC and comic-book movies in general.

Shazam! is directed by David F. Sandberg, written by Henry Gayden, and serves as the seventh entry in the DC Extended Universe. In recent years, the films released by DC and Warner Bros. have been met with mixed reception from critics and audiences alike. Wonder Woman and Aquaman were both noteworthy hits carried by positive word of mouth, but everything else either underperformed at the box office or left the majority of critics and audiences unsatisfied. I suspect Shazam! will join with the former considering it's already debuted to favorable reviews and taps into the current comic-book-movie craze as an entertaining adaptation of a more obscure superhero origin. 

The novelty of Shazam! which sets it apart from the onslaught of superhero movies is the lead character's ability to freely transform from a regular teenager to a full grown adult superhero. It's essentially Big meets Superman. While that premise could have floundered as a gimmick in the wrong hands, a degree of self-awareness and creative comedic beats ensure that the novelty never wears off. The story by Henry Gayden and Darren Lemke is simple, straight-forward, and self-contained, which looks to be a trend for DC in the coming years. The various members of the Justice League are alluded to via merchandise and mentions, but you don't need to have seen their respective films to understand what's going on or catch those references. Shazam! is committed to first and foremost telling a standalone story, and that's become somewhat refreshing in the age of the interconnected Marvel Cinematic Universe.

The lighthearted buoyancy of the titular hero trickles down throughout Shazam!, amounting to a joyous cinematic experience. And I believe many may consider it their favorite DC movie when all is said-and-done primarily on account of its electrifying entertainment value. It's silly in all the right ways thanks to Sandberg's direction and a charming lead performance from Zachary Levi! As Shazam, Levi carries a youthful exuberance that teeters perfectly between foolish and childish, so you genuinely believe there's a teenager trapped in a superhero's body having the time of his life. 

Playing said teenager is Asher Angel, a relatively unknown actor who'll surely make it big thanks to this performance. In the role of Billy Batson, Angel exudes the scrappy attitude of an independent foster kid while his insecurities surface in select moments. Asher actually handles the character's vulnerability quite well, which makes Batson an endearing protagonist and even enhances everything Levi's doing as Shazam to an extent. Meanwhile, Jack Dylan Grazer's Freddy makes for a suitable sidekick of sorts as a disabled companion and passionate superhero fanboy. Opposite Angel and Levi, Grazer grounds the proceedings and invokes plenty of heart alongside the rest of Billy's foster family.

Frequently, superhero blockbusters get carried away with the grand spectacle and minimize the perspective of the ordinary individuals who surround the men of steel and caped crusaders. Shazam!, however, revels in championing that point of view and Sandberg bolsters this idea most via Billy's connection to his newfound foster family endearingly portrayed by Cooper Andrews, Marta Milans, Grace Fulton, Jovan Armand, Ian Chen, and Faithe Herman respectively. 

Others worth acknowledging include Djimon Hounsou's noble wizard Shazam and Mark Strong's villainous Dr. Thaddeus Sivana. Their character could have been reduced to little more than one-note archetypes, but Hounsou and Strong each elevate the personas of the magical guardian and power-hungry antagonist presented on paper. I'd even go as far to saying Dr. Sivana is one of the more developed antagonists we've seen onscreen from DC in recent years.

All in all, Shazam! is an electrifying addition to the ever-expanding roster of distinguished DC movies. Whether it's lightning in a bottle or DC's finally found their creative stride, Shazam! zaps some much-needed energy and enthusiasm into an uneven universe as a delightful, heartfelt origin story worth raving about! 

Film Assessment: A-