Wonder Woman is an origin story of sorts for Diana Prince a.k.a Wonder Woman (Gal Gadot), the Amazon who leaves her home island of Themyscira to venture to aid the Allies in World War II. She is accompanied on her journey by Steve Trevor (Chris Pine), an American spy who crash landed in Themyscira after escaping from the Germans with information on their new super weapons.
I originally planned to see Wonder Woman on Tuesday, and after some delays I finally got around to it last night. The film made headlines for being the first DC Extended Universe (DCEU) film to get good reviews, currently sitting at 92% on Rotten Tomatoes. I’m not one to blindly follow reviews, but I know a lot of other people do. Relatively poor reviews for Man of Steel and horrendous ones for BatmanvSuperman led Warner Bros to force changes onto Suicide Squad that ultimately made that film worse e.g. cut out the abusive Joker and Harley Relationship, overload the film with songs to lighten the tone.
With that said, I realized that Wonder Woman was carrying the DCEU on its shoulders. This film needed to rekindle hope for the studio executives and the general audience. Did the film live up to the hype? I will say that it wasn’t amazing, but it was pretty good.
Firstly, any regular readers will know that I despise the obsession with “fun” that is rampant these days, especially when it comes to comic book films. The Marvel Cinematic Universe has a whole is committed to keeping the films light, with Kevin Feige saying the films will never be dark. There is no better example of this than Thor: Ragnarok (the Asgardian term for Doomsday) being rewritten just to lighten the tone. I have no problem with levity and fun, but it is always better when it actually fits the situation and the characters. It gets tiresome when every serious moment or line is undercut by a one-liner.
Wonder Woman definitely has more levity and “fun” than MOS and BvS, but is darker than Suicide Squad. Yet it is still better than Suicide Squad. Point being, “fun” is not a guarantee of good, “dark” is not a guarantee of bad, and I hope studio executives don’t see Wonder Woman’s success as the sole result of its lighter tone.
The humour does work well in the film, mainly playing off Diana as a fish out of water in “Man’s World”. Gal Gadot truly shines when portraying Diana’s childlike curiosity and innocence as she learns more about Man’s World. Her performance is weaker when the script asks more of her. Fortunately, she is assisted by Chris Pine. After seeing Pine as Captain Kirk in the new Star Trek films I knew he would be great in this role and he didn’t disappoint. The character of Steve Trevor has often been used as comic relief and Pine nails that, while also deftly handling the more serious moments. Pine and Gadot are also assisted by their own rag-tag group, amongst which Sameer (Said Taghmaoui) is the stand out.
One issue that the DCEU, like the MCU has had, are its villains. The MCU has Loki as its standout, and the DCEU is still trying to find its own. On repeat viewings, The Joker is underwhelming (not just due to his screen time), Doomsday’s weak CGI and tacked on introduction didn’t help his case, and Lex Luthor…they should have cast someone else. General Zod is one of the DCEU’s better contenders, a competent villain but not a very memorable one.
Wonder Woman fights against the Nazis here, with the main focus on General Erich Ludendorff (Daniel Huston) and Isabel Maru a.k.a Doctor Poison (Elena Anaya). Although Ludendorff has more screen time, Doctor Poison was more memorable. Her mask probably helped to add to her screen presence, and I’d much rather see a slew of Doctor Poison costumes for Halloween this year than the Harley Quinn epidemic of last year. Not to take anything away from Huston either, his German accent is a bit hokey at times but overall he was enjoyable, with he and Doctor Poison forming a Joker/Harley dynamic.
Diana also has a more personal villain in the film. Many people may already know the villain I’m referring to, but I won’t delve into him too much to avoid giving too much away. Overall, the final villain’s reveal and the final fight scene could have been handled better.
A consistent issue with the DCEU has been its third act. Man of Steel still offers the best third act fight scene in my opinion, with Wonder Woman coming in second. Let’s not talk about Suicide Squad. Like BatmanvSuperman and MOS, WW’s last fight scene is somewhat hampered by some cartoonish effects. The effects in this sequence were more jarring since the visuals and action were pretty impressive up to this point. We don’t truly see Diana fight as Wonder Woman for at least fourty minutes into the film, but the fight is well worth it. I also didn’t feel like the film dragged up until this point or any other in the film. Aside from some poor effects, my only issue with the fight scenes is that slow-motion is overused at times. Otherwise, the action is fast-paced and well-choreographed. Let’s not forget the score, with the Wonder Woman theme being reminiscent of the Donner Superman one in terms of the excitement it generates.
Wonder Woman offers action, levity and some great performances. Wonder Woman also doesn’t shoehorn in any links to other DC characters. The only reference to another member of the Justice League is an organic one that helps to tie the story together and give an ending that has all the “hope” so many people say the DCEU is lacking. I walked out of the theater more excited about Justice League and the other DCEU films, while also hoping that the stories don’t end up being hampered by the “fun” mentality. WW’s tone was a great mix of dark and light, not afraid to show the dark side of human nature while also countering with a level of optimism that befits the character. Superman helped to counter the darkness in Batman, and Wonder Woman helps to counter the darkness in both.
Reviews have started pouring in and Wonder Woman looks like it is the DC Extended Universe’s (DCEU’s) first critical darling.
I have never been one to follow critics blindly, but this is still news that I am happy to hear. In my opinion, Man of Steel was a decent (7/10) film hampered by some weak acting and some pacing issues. Batman v Superman came across as a rushed buildup to the Justice League, with a terrible portrayal of Lex Luthor and a weak third act. Suicide Squad… let’s just move on.
Box office success is always imprtant to fans since a film is more likely to spawn a franchise if it is financially successful. If a film is not intended to be a franchise, financial success can still be good for fans since it is validation that other people watched something they enjoy. This is easy to understand but people often seem confused about why fans care abor critics. While the reviews may not impact my own enjoyment of a single film, they can have implications for a franchise. Batman v Superman nearly grossed one billion dollars but was still considered a box office disappointment rellative to expectations. Suicide Squad was a success financially but was critically panned. A string of films like this can cause studios to lose faith in directors or an entire film universe e.g. all the fanboys crying for the X-Men rights to back to Marvel after X:Men Apocalypse.
Wonder Woman is a chance to prove that a female led superhero film can be a critical and financial success, and that the DCEU ship can right itself. People who may have lost interest in the DCEU before, will be more likely to see Wonder Woman. If they like Wonder Woman, they’ll be more likely to see The Justice League, and so on. The DCEU can’t really be considered a failure prior to Wonder Woman, but it didn’t appear to be headed in the right direction.
One of my worries is that the good reviews are attributed SOLELY to the lighter tone. Wonder Woman‘s “fish out of water elements lend itselt to comedy; and Steve Trevor has always been depicted as comic relief as well. I have no problem with humour, but hate when it becomes part of a formula that ultimately waters down an entire world. The mentality that the DCEU films just need more “fun” is rampant online. Even The Rock expressed this mentality when discussing bringing Black Adam to the big screen. “Fun” does not fit Black Adam at all, so now we’ll likely get a bastardized version of the character. MOS and BvS are always criticized for their “depressing” tone but let’s not forget that the lighter Suicide Squad was an even worse film (according to RT). “Fun” is not the only ingredient for good, and also does not have to be an ingredient for good. The Justice League trailers feature some humour that comes across as a cheesy response to all the MOS and BvS criticisms: “We added jokes. People will love it now.” Let’s hope the desire to add “fun” doesn’t overshadow other issues the previous DCEU films had. There is a tendency now to tie unrelated elements of the writing back to “fun”. “Fun” becomes the root that all quality springs from in some people’s minds.
With that said, I am eager to see if Wonder Woman lives up to its hype.
As a child, most of the music I listened to was whatever my parents were listening to. I heard the pop and rap on the radio, but also older R&B and reggae. When I was thirteen, I started listening to music independently, getting into the alternative rock that was popular in England (my home at the time). As I grow older, I continuously seek out older music of many genres, wanting to diversify my tastes.
I first heard about Talib Kweli Greene (known professionally as Talib Kweli) when I was doing my undergraduate degree at the University of Ottawa. I forget the context for his name being brought up, but I believe he may have been doing a show somewhere in the city. Years later, when I joined Twitter, I was randomly motivated to find his account. To this day, I have not listened to his music. I will, but this post isn’t about his artistry. Anyone who follows Kweli knows he isn’t afraid to engage anyone who tweets to him or about him. Some of these tweets come from people criticizing his career or music for one reason or another, but a lot of the ones I’ve seen are people who accuse him of being racist.
As I’ve discussed before, “colour-blind racism” is the modern racism. It is a naive mindset that racism, both instutional and individual, is dead now except for those pesky people wearing white hoods. It treats any mention of race as being racist, while also defending comments, mindsets and behaviours that rely on racist assumptions. People will say they don’t see colour, and then argue that black people would get killed by cops less if they just obeyed the law. People will say they don’t see colour, but then refuse to date anyone whose skin doesn’t match their own. People will say they don’t see colour, but then assume a black person with a good job isn’t qualified for it.
Racists are drawn to Kweli like moths to the flame. There is a sort of vicious cycle at work, where someone attempts to call Talib out for perceived racism, e.g. Talib’s declarations of being proudly black or his previous responses to another racist. Then once Talib dismantles this racist’s arguments, another jumps in to attack him because he dared to discuss race. Such is the hypocrisy of the colour-blind racist. While they have their own racist assumptions and beliefs, they are quick to throw out the word racist for those who call them out on it. “I’m not racist, you politically correct social justice warriors, (other right wing buzzwords) race-baiters are the real racists. I just think I should be able to say I don’t want more black people in my neighborhood without libtards attacking me. Black people are violent after all! That’s not racist, I have black friends.”
I have sometimes wondered why Kweli bothers to respond to these people, and some tweets from fans have also expressed the same question. Some of the haters accused Kweli of doing nothing but tweeting all day, but a look at his touring and musical output shows he is a productive artist. He handles time well, but I guess I still wondered why he bothers. Then I read Kweli’s own answer to the question, and it all made sense.
People are always quick to label racist online comments as the work of “trolls”, people who write inflammatory comments and derive enjoyment from the uproar they produce. The word “troll” implies that the poster doesn’t actually believe what they wrote, they are just saying it to see how people react. This kind of mindset, where we just ignore online racists, is downright irresponsible in this day and age. As Kweli points out, the alt-right is an entity that was birthed online. Real people reside behind the alt-right sites and comments that have proliferated online. These people have jobs, families and the ability to vote. They got Trump elected, with their own votes and their ability to spread misinformation that reinvigorated the resentment of minorities that many people in America harbour. Kweli combats racism through campaigns and events and he knows “twitter fingers” may not be for everyone, but it is one of the tools he employs to combat the ignorance that is stoked by this new climate of right wing backlash.
The people who decide to accuse Kweli of racism demonstrate one racist assumption after another, and a straw-man understanding of concepts like white privilege. User @adamant919 had the audacity to use the term “black privilege” to describe black people’s supposed natural gifts and our “handouts” with programs like affirmative action, which actually benefit white women more and don’t lead to unqualified applicants getting selected for jobs. Funny enough, the user appears to have deleted his account since. This isn’t the first user that has deleted his account following an encounter with Kweli and it gives me some hope that some people might realize the error of their ways. However, someone can delete their account out of a sense of embarrassment, without actually reflecting on their views.
This Slate article offers an interesting case study of the infamous Hunger Games (2012) racist backlash, where supposed fans were upset that the character Rue was played by a black girl, even though Rue is described as having dark brown skin in the book. One fan began collecting these racist tweets, such as “Rue being black ruined the movie” and created a tumblr account to showcase them. This article follows up on this tumblr account, reaching out to some of the twitter users to get their thoughts.
The user who wrote this tweet argued that she didn’t mean to be racist. She was just surprised that Rue was black since Rue was supposed to remind Katniss (the white, main character) of her sister. Firstly, “remind her of” doesn’t always mean “look like”. If she was truly “colour-blind” then Rue’s skin colour shouldn’t have even registered with her. Aside from the terrible excuse offered by the twitter user, the author brings up a point that a lot of people like to use for defending racists online: “This kind of drive-by scapegoating does not seem conducive to genuine reflection (and it definitely doesn’t encourage reflection in the individuals it scapegoats). It allows us to point the finger at other, younger, relatively powerless people, rather than consider the ways in which we’re implicated in a problem that is much, much larger than a few misguided teenagers on Twitter.”
I have heard people say the same thing to Kweli about his Twitter comments, and it usually comes across as very disengenious. Some of the users from the Hunger Games example may be teenagers, but some of them are grown men and women. The same goes for the alt-right. People who throw out the “don’t shame people” argument out act as if there are no attempts made to examine racism on a much larger scale. There is plenty of information online, in classes, on tv that sheds light on the much larger problem of institutional racism. People choose to ignore these sources. People choose ignorance. They reject enlightenment as left wing propaganda, the work of libtards or social justice warriors. People surround themselves with friends and sources who share the same views and refuse to challenge any of their assumptions about the world. How exactly should their racist comments be dealt with? Conservatives love to throw out the argument of free speech to defend bigotry and no one is saying they don’t have the right to make such comments. My question is: If someone is willing to go online and criticize someone’s skin colour or attack a rapper for his liberal beliefs, why are we discouraged from exercising our free speech and shining the spotlight back on them?
As Kweli says, if someone is already racist “when I respond to them, it doesn’t matter what facts I give or how much sense I make. They’re going to be who they are.” Being kinder to the racists won’t make them more prone to ‘reflection.” The real purpose behind responding is to avoid having your message become silenced. There were probably millions of people, viewing one racist comment after another from the alt-right and thinking that all those comments wouldn’t have any impact on their lives. They stayed silent, and let misinformation and racist rhetoric fill the void. They may as well have packed Trump’s things and moved them into the White House for him.
Note: Spoilers Ahead
After much delay, I finally got around to seeing a film I’ve heard nothing but good things about. I must say, the film lives up to the hype for the most part. Since the film was released a while ago I didn’t really feel like doing a review of it, which is why I want to sum up my thoughts on the film itself and move on to the interesting questions/issues it raised.
Firstly, the performances are all amazing. The only other film I have seen Daniel Kaluuya in in Sicario, and he was alright in that. The role was smaller and didn’t allow him to demonstrate the range we see in Get Out. It looks like things are looking up for Kaluuya since he also has a role in 2018’s Black Panther.
The Armitages, the family that Chris is expecting to join, are all outstanding. Caleb Landry Jones was particularly interesting as Jeremy, Chris’s prospective brother-in law. Keith Stanfield, probably best known as Darius on Atlanta, isn’t in the film that much but stole the spotlight when he was present.
Get Out works well as a comedy when it is intended to be comedic, as expected from Jordan Peele. However, it is also masterful as a horror film. The horror isn’t the type you would expect from a franchise like The Conjuring. There are no jump scares to be found. Instead, Peele forces an air of unease upon us that permeates most of the film. I was reminded of an episode of The Twilight Zone, where its strength lies in its ability to unsettle you and get your mind and heart racing. More importantly, it also gets you thinking.
Peele has described Get Out as a “very personal” story“. A friend at work pointed out that Peele has a white wife, and it is very easy to see Get Out as a satirical, cathartic reenactment of encounters with his wife’s own family. I forget the exact wording, but I remember a tweet that said Get Out isn’t about ‘hang that nigger’ racism, it’s about ‘I’m not racist because I have black friends and voted for Obama’ racism. I think that tweet is a perfect distillation of what Get Out offers.
The Armitages’ are a rich, white family who are openly welcoming to Chris when they meet him. The dad is quick to mention he voted for Obama and that Obama was the best president in his time. With this statement, the film starts to delve more into the issue of the fetishization of the black body. Jeremy is the one to bring up the idea that black people’s genetics make them superior athletes, expressing his own quiet disdain and envy at this fact. This stereotype is also brought up by the extended family, and the comments all bring back memories of comments I’ve head all through my life as well. I was recently involved in a Twitter conversation where @adamant919 had the audacity to call our supposed natural gifts “black privilege”. Funny enough, it looks like the user has since deleted his account.
This fetishization reduces the black body to something that is either a threat, a conquest or a toy. Get Out is one of the first films in a while that generally surprised me with a third act reveal. Initially I thought that Chris would simply be brainwashed into submission, becoming another Andre Hayworth via Missy Armitage’s hypnosis. It was genuinely chilling to hear the breakdown of the surgery that would be performed to turn the black body into a vehicle for someone else, reducing Chris to a passenger within his own body. The Armitages’s could easily do the same process with white bodies, but it is clear that they are appealing to a desire specifically for black ones. In Chris’s case, Jim Hudson only wants his eyes so that he can capture the kinds of pictures he envies Chris for. However, the groundskeeper (Walter), is being controlled by Rose’s grandfather. Walter’s role on the estate becomes more chilling when we realize it is an old white man reveling in what his new body can do. The infamous Walter sprint, which grandpa calls his “exercise”, becomes a man testing out stereotypes for himself.
Peele is currently being considered to direct The DC Extended Universe’s Flash film and I was hesitant when I heard this, since the role seems far removed from his skillset. After seeing Get Out and how it manages to combine satire, horror and comedy, I am sure Peele can find a way to handle any project that comes his way.
Potential spoilers ahead for all Marvel Neflix shows: Daredevil (1 and 2), Luke Cage, Jessica Jones and Iron Fist
The Avengers of netflix are arriving later this year, and Marvel recently released the first trailer for the team up series.
Firstly, I have to say that my excitement for the series was somewhat dimmed after watching Iron Fist. Although the show wasn’t as bad as critics made it out to be, it still fell short of the other series’ in my opinion. The acting ranged from great to hammy, with some actors struggling with some scenes more than others. Since Iron Fist is supposed to be one of the best fighters in the Marvel universe, the fight scenes were also a huge disappointment, with the best one trumped by almost any fight from Daredevil. The writing could also have been greatly improved to provide better villains and better plotting. Next to Mike Colter, Finn Jones is definitely the weakest actor out of the defenders. At least with The Defenders, Jones and Colter won’t be carrying the show. They’ll be supported by Charlie Cox and Krysten Ritter.
When the series was scheduled to arrive before another season of Luke Cage I assumed that Cage would be broken out of prison. From this trailer it appears like that isn’t the case. We see Cage in public, riding a bus and still being referred to as Harlem’s hero. Perhaps he received some legal assistance from Matt too.
The first scene in the trailer remains my favourite. It isn’t action packed, but it is the perfect introduction for Matt Murdock’s character. It is also the first shot we get of two defenders together. Like the after-credits scene in Iron Man, where we first see Nick Fury, this shot of Matt and Jessica could be the start of an era.
The other character meetings appear to happen by chance, such as Rand and Cage. Since the characters all live in the same city, this bothers me less than it normally would but hopefully they’re not just bumping into each other on the street. One thing (among many) that bothered me about Iron Fist, was that Claire just happened to train at the dojo where Colleen worked, leading to her meeting Rand. Yes, same city, but Manhattan is a pretty big place and the characters don’t all live in the same area of Manhattan. It would make more sense for them to meet as they pursue leads on a new threat, such as Sigourney Weaver’s character, Alexandra.
Not much has been revealed about Alexandra yet, but she is likely involved with The Hand. Elektra died at the end of Daredevil’s second season, but her body was retrieved by The Hand afterwards. Now we know that Elektra will return, serving as The Black Sky, The Hand’s weapon. Unless the show will have two different villains, it looks like The Hand will be the main one for The Defenders.
We don’t see too much of the fight scenes so far, which is fine by me. Hopefully the fights are better than the ones we got in Iron Fist. While Jessica Jones and Luke Cage aren’t great martial artists, DD and IF are supposed to be some of the world’s best. I want to see that portrayed convincingly. If the actors get more than fifteen minutes to practice choreography, we should be good to go.
I was happy to see the interaction between Cage and Rand, since they have their own Heroes for Hires series in the comics. The moment Rand punches Cage is also a throwback to Cage’s own series, where a thug punches him and breaks his hand. It looks like Rand’s punch affects him a lot more than the thug’s did.
Many cast members from previous shows are confirmed to return for this series as well. We know Misty Knight is back, but Colleen Wing, Karen Page, Jerri Hogarth, Foggy Nelson, Trish Walker and of course, Stick are all returning. Even if their roles are relatively small, it does bring up the question of pacing. The previous Netflix shows were all thirteen episodes, but could have been shortened. Luke Cage in particular felt like it was dragged out via legal wrangling. We already know the main characters, so maybe The Defenders doesn’t need to be as long. However, we still have to deal with introducing the characters to one another and setting up their villain. I am hoping that the show doesn’t feel rushed or bloated between the team introductions, the conflict itself, plus appearances from other characters.
With all that said, I am excited for the show. I am hoping that it represents all the best things about the Marvel netflix shows. The great acting and action from DD and JJ. The great villains, with the exception of Diamondback any villain introduced in Iron Fist. The great supporting characters and the writing that isn’t afraid to eschew mindless “fun” in order to tell a good story.
Note: For anyone that didn’t know, I have become an avid comic book reader over the past two years. This adds to my list of traits that make me ridiculously desirable to women. This short piece on Extremity was intended for comicommand, since the site is not being updated for the moment (but will return) I am posting it here.
Image Comic’s first new comic of the year proves to be another promising addition to Image’s stable and comic book offerings as a whole. Writer and artist Daniel Warren Johnson (Space Mullet) brings a fictional world replete with warring clans. The main character, Thea, is a human female whose mother was killed by a clan known as the Paznina. In addition to killing her mother, they also cut off Thea’s right hand. Along with her hand, Thea loses her skills as an artist and a cornerstone of her identity. Johnson intended Thea’s dilemma to mirror his own fears of losing the extremity that makes him who he is.
The first issue introduces us to Thea, as well has her brother, Rollo and her father Jerome, the leader of their clan. While Jerome expects his son to be his successor, the first issue makes it clear that Thea is more likely to do so. In relatable fashion, Rollo is hesitant to engage in the violence that is needed to survive in their world. While he struggles to kill one man, his father wears a mask embedded with the teeth of fallen foes. Thea shows signs of struggling with violence as well, but is a much more capable warrior than her brother. Since her father acknowledges her skill, but is still insistent on Rollo becoming the next clan leader, it is likely that sexism plays a role in their clan’s hierarchy.
The final issue ends with Thea getting revenge on the man who cut off her hand, one of the first acts in an all out-war with the Paznina. Johnson made it clear he wants to explore how a family will develop under such circumstances, and it is clear that the members involved can’t get through one violent act after another without changing fundamentally. In this sense, the comic reminds me slightly of The Walking Dead, which consistently focuses on how people adapt to a new and harsher world. Of course, this isn’t unique to The Walking Dead. This question is central to most post-apocalyptic tales and/or tales of revenge. However, it is interesting to see it focus on a female character.
The artwork is aided greatly by the shading and colouring bestowed by Mike Spicer. The artwork itself is the weakest part of the comic in my opinion, but like any series, I want to read more issues before I pass a more definitive judgment on it. The dialogue can also be clichéd at times, and overly expository at others. The characters didn’t need to call each other “brother” or “sister” for us to know they’re related, more subtle cues were present in the comic’s pages. However, there were only a few lines that I had gripes with and they didn’t dissuade me from reading the next issue when it is available.
Note: The below article is one that I intended to upload to comicommand back in March. Since comicommand is not being updated for the moment (but will be soon), I have decided to post this article on my site instead.
I heard mixed things about The Dark Knight: Master Race but my love of Batman eventually persuaded me to check out Frank Miller’s latest foray into the character’s mythos. This series is also co-written by Brian Azzarello (100 Bullets) and follows three years after The Dark Knight Strikes Again.
In this continuity, Ray Palmer (The Atom) is successfully able to free the inhabitants of the miniaturized, bottled Kryptonian city Kandor. Not only does he free them, but he also returns them to full size. Once free, these new inhabitants set out to create a society where the strongest, their own people, rule.
Although I also have mixed thoughts about this series, which shifts from amazing to mediocre within one issue, its exploration of Superman and his people is enough to keep me reading.
One of my biggest issues with the new 52, at least as portrayed in animated films like Justice League: War, was the relationship between Superman and Wonder Woman. When together, they are like the captain of the football team and the head cheerleader. Lois Lane wasn’t just a love interest to me. She was one of the key figures, along with Superman’s adoptive parents, that literally and figuratively kept Superman grounded. While Superman was more physically separated from his parents, Lois was a constant thread that enabled him to value human life. Growing up among humans also developed Superman’s respect for them.
In contrast, the daughter that he had with Wonder Woman grew up among Amazons and sees humans as “ants”. When the inhabitants of Kandor make their intentions clear, Lara is eager to follow them and shun her father, who she sees as a traitor to his people. She has grown up with the power granted by two of the world’s greatest heroes, along with the isolationist mindset of the Amazons.
The Kandorian leader, Quar, is a twisted version of what Superman could have been. While enemies like Zod desired the annihilation of humans, Quar expresses a paternalistic mindset that undermines human agency. In his own view, humans need to be ruled. They are the savage slaves that he wishes to civilize. Superman recognizes his power, and the advantages it gives him over the people of Earth, but he also recognizes the strength and free will of its people. Although he is better than Quar in many ways, he is not far removed from him.
It is an understatement of epic proportions to say that the post-Flashpoint DC Animated Films have not lived up to their predecessors. Flashpoint, my favourite DC Animated film, was followed by War, which had very little going for it. Weak voice acting from a lot of the cast, weak dialogue, terrible characterizations for some characters (Wonder Woman especially) etc. The list of negatives goes on and the subsequent films did little to raise my hopes. Batman v Robin and Gods and Monsters were bright spots, which gave me hope that DC were climbing the ladder back to greatness. Then Justice League vs. Teen Titans came along, and sent my hopes spiralling into the abyss. The Killing Joke was a little disappointing, and could have cut the batgirl prelude, but was a pretty good film overall. Then we got a pretty forgettable Justice League Dark, not terrible, but nothing special earlier compared to works like Under The Red Hood, Superman vs The Elite, First Flight or even Assault on Arkham.
All of that to say, I made sure not to get my hopes up about this film.The Judas Contract (TJC) is an adaptation of the comic storyline of the same name, which I have not read. I can’t judge the film based on it’s accuracy to the comic since I have not read the comic yet and don’t want to simply Google comparisons since they’ll contain spoilers for the comics.
Overall, the film is a definite improvement over JL vs Teen Titans and War. Since the latter two films are my most hated DC animated films to date, that compliment isn’t saying much.
The most notable improvement in this film was the handling of Damian Wayne’s character. Since his introduction in Son of Batman Damian Wayne has been abrasive, stubborn, arrogant…in short, bratty. In Son of Batman, Batman vs. Robin and Bad Blood his more undesirable characteristics were also balanced out to create an anti-hero that was annoying at times, but not insufferable. Then JL vs Teen Titans undid any development the character previously received and pretty much made him Bart Simpson in a Robin suit. All improvements in terms of social skills, self-awareness, respect etc. were gone.
Spoiler: I was happy when Blue Beetle nearly killed him.
In TJC Damian is still a loner who is adjusting to working well with a team, just like his dad. He still has an attitude problem but he also looks out for his team and isn’t the petulant child we last saw in JL vs Teen Titans.
Damian, along with Beast Boy are the highlights among the Titans, with their dialogue and voice actors bringing the most life to their roles. Nightwing, one of my favourite characters, also gets to shine. We get to learn more about Starfire’s background, although she still just comes across as a two-dimension princess kindness for the most part.
The newest member, Terra, plays a pivotal role in the story and her story arc demonstrates how seemingly unsympathetic characters can still gain our sympathy. However, there is a birthday scene that was truly cringeworthy and reminded me of the DDR scene in JL vs Teen Titans.
I have to say that Deathstroke was the biggest highlight of the film. Aside from being one of my favourite DC villains, Miguel Ferrer does an amazing job as the villain. Deathstroke doesn’t have that many lines compared to some of the other characters, and his character mainly relies on charisma for the role. Ferrer brings that in spades and makes me overlook some of the weaker dialogue and relatively little screen time.
The other villians were somewhat forgettable in my opinion, and the final fight actually proves to be one of the duller ones. Bigger is not always better.
Overall, The Judas Contract was a decent way to pass the time, but still makes me miss the older DC films even more.
I have previously discussed my refusal to see Thor: Ragnarok due to Marvel’s insistence on bringing a comedy writer onboard to rework the film only because they worried the film was too dark.
Of course, I wouldn’t want a film to be dark if the tone doesn’t fit the characters or story. This argument can be a can of worms since many characters have stories that are uncharacteristically dark or light (e.g. The Flash with Flashpoint Paradox). The Barry Allen version of The Flash isn’t all sunshine and rainbows, but Flashpoint Paradox still took the darkness to a whole other level.
But I digress.
The previous Thor films had plenty of comic relief, or attempts at it. These included one painful line after another from the likes of Kat Dennings and Natalie Portman. One of the few good things to come out of the Thor series has been Loki. Ragnarok refers to Asgardian doomsday, so a dark tone seemed appropriate. Even if the film wasn’t going to adapt the mythical Ragnarok events, a title referencing doomsday still implies some level of darkness. Darkness would fit the story, and it could therefore fit the character. If a film is overhauled only to lighten the tone, regardless of whether the tone fits the character or story, that is a travesty. People complain about film’s being “dark” for no reason, but very few people have a problem with more “fun”.
What bothers me the most about the decision to change the film is that this demonstrates how the need for “fun” overrides other artistic considerations. The previous Thor films have other issues, such as a love story lacking chemistry, and some weak villains (looking at you dark elves). All those issues were overlooked previously, but bring on some darkness, and it’s all hands on deck to make another film.
I still refuse to see the film in theatres but I must say that this first trailer has some great moments. More Loki is always a good thing, and I love the new look, which is partially inspired by his look in the Young Avengers.
Hela looks like she might give us another good villain. Her helmet has drawn a lot of comparisons to Aku, but since the helmet originates from the older comics, seems like Aku was inspired by Hela.
The Hulk doesn’t look as convincing (CGI wise) as he did in The Avengers film but the film still has more post-production to go. I actually didn’t mind the “he’s a friend from work” line since it actually seems in character for Thor. However, it still sucks that just about every epic moment is likely to be undercut by a one-liner that the fun-addled masses will eat up.
I’ve been told my writing is quite depressing, so perhaps I hate the Marvel “fun mania” since it clashes with my own creative proclivities. As Jeremy Jahns said sometimes I would prefer an epic moment, to a funny one. Likewise, sometimes I would prefer an epic movie to a “fun” one.