Tag Archives: Wonder Woman

THE FLASH movie review

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Electrifying! From beginning to end, The Flash is a highly entertaining, funny, well-written thrill ride with a tremendous amount of heart! In an oversaturated superhero/CBM (comic book movie) live-action cinema landscape, dominated by MCU (and MCU-adjacent) movies, comes a breath of fresh air that works both visually and narratively.

Worlds collide when the Flash uses his superpowers to travel back in time to change the events of the past. However, when his attempt to save his family inadvertently alters the future, he becomes trapped in a reality in which General Zod has returned, threatening annihilation. With no other superheroes to turn to, the Flash looks to coax a very different Batman out of retirement and rescue an imprisoned Kryptonian — albeit not the one he’s looking for.

Andy Muschietti delivers a superb superhero motion picture that defies expectations set for anything the DCEU had to offer audiences. Christina Hodson’s fantastic screenwriting paired with John Francis Daley, Jonathan Goldstein, and Joby Harold’s story, provides a solid foundation upon which Muschiette crafts the motion picture for the screen. Nearly everything about this picture works incredibly well, except the CGI battle sequence at the end that felt right out of an early 2010s video game. In addition to the compelling visual storytelling, Muschietti and Hodson successfully, and organically) pay homage to Tim Burton, Zach Snyder, and even Richard Donner. Never before has a superhero multiverse been explored so well! Where other multiverse movies struggle narratively, this one excels in both form and function. And of course, the movie features THE definitive Batman Michael Keaton in a triumphant return to the screen as the Burton-verse caped crusader! While many other films in recent times have placed far less emphasis on plotting than visual composition, The Flash delivers on both.

Just when the general public and critics alike were genuinely wondering if there was anything left in the DCEU, The Flash is the strongest cinematic story to come out of this universe of characters since Wonder Woman, and perhaps the most fun superhero movie since Batman Returns. I know, positively using The Flash in the same statement as Batman Returns is high praise, as it’s my opinion that Batman Returns is the best comic book (or superhero) movie of all time. While The Flash isn’t as campy as the Batman 1960s TV series or the Schumacher movies, it strikes a balance between camp and melodrama in the same vein as Batman Returns struck a brilliant balance between camp and gothic romance. Wherein character expression may lean into camp. The Flash delivers heartfelt thoughtfulness in character interpersonal dynamics and plot. We empathize with Barry Allen’s obsessive plight to save the life of both his mother and father.

Simple plot, complex characters. That is precisely what you get in this movie. I know, what must he be thinking equating a multiverse setup with simple plot. That’s because the plot can be boiled down to when Barry Allen realizes that he has the ability to travel back in time, he returns to stop the death of his mother, but in doing so, unleashes a cataclysm of effects throughout the space-time continuum that must be corrected. There is one plot: save the life of his mother and father, whom is on trial for the death of his mother. Everything that Barry/The Flash does revolves around the central plot of stopping the death of his mother which will keep his father from being accused of her murder. No matter where we go in the multiverse, the external goal motivated by the internal need never changes.

The complexities in the narrative are character-driven. Barry Allen (Sr.) is hyper-focused on stopping the murder of his mother, no matter the cost, Bruce Wayne/Batman is wrestling with his identity as the caped crusader in a world that doesn’t need him anymore (or so it seems), and Barry Allen (Jr.) is struggling to find his place in the world as he is caught between childhood and adulthood. And the central plot connects all these characters and forces them to grow emotionally and psychologically. Apart from the central plot, none of the character growth would occur. Never once does the focus of the story shift, but the central themes of identity, overcoming trauma, and the dangers of obsession with control allow the movie to explore deeper meanings in the otherwise high concept story.

The central cast is fantastic! Never having seen The Flash TV show, I cannot comment on that expression of Barry Allen/The Flash, but Ezra Miller delivers a compelling performance of the lightning-fast superhero struggling with anxiety. We haven’t has a superhero that feels this genuinely human and vulnerable since Tim Burton’s Bruce Wayne/Batman played by Keaton. While they express their humanity differently, both play their respective everyman identities and super-alter egos with equal charisma and authenticity that is maintains its own identity depending on if they are wearing their respective masks. The idea of and meaning of the masque is something that entire books have been written on, but for the sake of argument, the masque represents a different identity and should be expressed differently unless, for dramatic purposes, the character’s humanity peaks through the superhero masque.

Miller’s portrayal of Allen/Flash is one that is unapologetically relatable and without pretense. Furthermore, I appreciate the inclusion of an individual struggling with anxiety, social awkwardness, and comes from average beginnings with no superhuman characteristics other than the ones bestowed through the electrical/chemical accident.

Many articles and podcasts have been published on Michael Keaton’s Batman, so I won’t spend too much time on him; however, we cannot talk The Flash without acknowledging the impact of the definitive Batman and Bruce Wayne returning to the big screen in a big way! At very first sights of Keaton, the Batcave, and the iconic Burton Batmobile, there were waves of applause and cheering from the audience, but nothing compares to the sheer deluge of cheering, shouting, and applauding for Michael Keaton when he appears in his Batman uniform for the first time since 1992. If this was a live performance in front of a studio audience, then all action would have stopped on stage for several minutes as the audience showed their affection for Keaton’s Batman. Even though he is not the central character, he factors heavily into the second and third acts of the movie. And you know what? He’s still got it!

Where the film simultaneously delivers and falters is in the integration of heavy CGI. The CGI works very well in the various effects of The Flash’s super speed and when exploring the multiverse; where the CGI is conspicuously unrealistic is in the final battle scenes. This is where and why the Tim Burton Batman movies will forever be timeless, but prolific use of CGI will date a film. You cannot replace the way real light bounces off real objects into the camera lens. There is a sense of real danger when practical effects, stunts, and pyro is used–it’s REAL–the danger is real. There is a dimension to practical sets and effects that CGI will never be able to replicate. Simply stating, the CGI in the battle sequences at the end takes the audience out of the film. However, the film doesn’t cheapen out on anything at Wayne Manor, the Batcave, Batmobile, or Batplane.

The score for The Flash is excellent, especially when Danny Elfman’s iconic Batman theme is integrated into the original score for this film. While I could have gone for the film to lean a little more heavily into the Elfman Batman theme, I appreciate the nuance of the theme when anything Burton-verse is on the screen. Outside of the Elfman Batman theme, the orchestration feels like an extension of each scene that never becomes the center of attention, but is always present.

About the cameos. Yes, there are some great cameos, but I am not going to disclose them as you need to experience them for yourself. What I will divulge on that subject is the conspicuous absence of Michelle Pfeiffer’s definitive Catwoman. Even though she’s stated in interviews that she hasn’t been asked to reprise her career-defining role, even thought she admittedly would love to wield the whip again, I thought that perhaps is was all a ruse and she would surprise us in this movie. But with the unparalleled positive response from audiences concerning Keaton’s return to the Batsuit, then perhaps we will get the incomparable Michelle Pfeiffer as Catwoman one last time.

Thrilling and fun for the whole family, I highly recommend watching The Flash. It was certainly the most fun I’ve had at the cinema all year.

Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida and Indie Film Critics of America. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

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“Wonder Woman (2017)” film review

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WONDERful! No seriously, this is an excellent film! And I’m just not talking about the superhero genre. DC finally hit a homer with this one. This film also serves as evidence that Zack Snyder can TELL/produce a great story but should probably stay out of the director’s chair. Warner Bros. and Ratpac Dune’s Wonder Woman is the superhero film we needed. Trailing so far behind the Marvel brand and film quality, DC needed to produce a film that would make up for Batman v Superman and Suicide Squad AND catch up to Marvel. Seemingly setting out to accomplish the impossible, this film exceeded all measurable expectations and provided a comprehensive cinematic experience. With many themes, this film hits on many topics and does so with incredible precision and elegance. It’s almost as if this film is an extension of Diana Prince herself. Never addressed or referenced as Wonder Woman actually, Diana Prince’s origin story is powerful and ever so apropos in today’s socio-political climate. If only we could all have the courage, compassion, and determination that Wonder Woman embodies and represents. There are certainly elements of this film that are directly aimed at the female audience members, but this is a film for everyone to enjoy and appreciate. Again, not just a great superhero film, but a great film period. One that’s inspirational, evocative, and without need for qualifiers.

After receiving a mysterious package from Wayne Enterprises, Diana Prince (Gal Gadot) opens it to find an old photograph of a Greco-Roman female warrior standing with British military in war-ridden Belgium. Bruce Wayne wants the story. Long before she was Wonder Woman, Diana, daughter of the queen of the Amazons, was a spirited young lady growing up on a beautiful and mysterious island inhabited by a super race of warrior women placed on the planet to watch out over those who seek to corrupt it. Being the only child on the island, she wanted to be trained alongside the other women. When her mother expresses a lack of interest in her daughter training, Diana meets secretly with her aunt. Through the years, Diana grows in strength, agility, courage, and cunning. After she rescues Captain Trevor (Chris Pine) from a downed plane that pierced the invisibility shield that hid the island from the rest of the world, she learns of the Great War happening just outside of their borders and makes the decision to leave her home and help man defeat the enemy combatants who she believes are being led by Ares, the Greek god of war. Fighting alongside men, Diana is able to realize her true destiny and powers as she stops at nothing to end the war that is killing so many innocent people and destroying the planet.

Ever since her creation in 1941 by psychologist William Marston, Wonder Woman has always been treated the best when all pre-existing inhibitions typically added to a female character in a “man’s” role are removed, allowing the feminist ethos at her core to shine and erupt with unbridled passion and strength. Among other traits, the chief characteristic that separates her from other superheroes in both the Marvel and DC universes respectively is–no, not her gender–it is her ability to integrate truth, justice, compassion, and courage in everything she does to protect the planet entrusted to her people by the Greek gods. The key to understanding Wonder Woman is not through her brute strength or supernatural powers, but through her love and compassion for innocent people and her own integrity. Rarely has any film truly given women (or anyone, for the matter) a strong female protagonist who does not pander but exhibits excellence in well-developed strength of character and a complete eruption of the fantasies of many women to rise up to serve and protect. It would have been far too easy to sell Diana Prince as a vengeful women out to destroy men or seek revenge for the destruction that has befallen the planet; but no, that is not the Diana we see. We see a heroine of others–a completely unselfish hero who is of earth. Being of the earth is truly what separates her from someone like Super Man. Sure, some strong female characters from with the world of comics, literature, theatre, TV, or film have demonstrated strong characteristics and have been leaders; but Wonder Woman sands alone as a film that provides audiences with a female protagonist who is not merely a leader, but the engineer–the author–of her own destiny and story.

Why does this film work so well??? After all, that is the question you are likely asking yourself after so many DC flops (note: that does not count the Burton or Nolan films). The short answer is that Snyder was NOT in the driver’s seat on this ride; however, there is more to it than that. Snyder’s touch is certainly evident in many scenes (especially the action sequences); furthermore, he was greatly instrumental in the overall structure, but he took a backseat to the driver of this vehicle. His approach was important in the design of the car, and even building it, but when it came time to take it for a spin, he turned the steering wheel over to Director Patty Jenkins. Films featuring strong female protagonists most often seem to fair better when there is a women at the helm. And Wonder Woman is a testament to that observation. Whereas a male director would have likely spent some time sexualizing Diana, Jenkins spends the time on her courage and compassion. Instead of focusing on the terrain of Diana’s mystical home beautifully appointed with white cliffs and sapphire water or spending time on her sleek blade or even her trademark lasso of truth, Jenkins spends a significant amount of screen time on the terrain of Diana’s face. A face that communicates the heart, mind, and soul of Diana. Instead of a face displaying anger or disgust at the world of men, her face is often bright, hopeful, containing a winning smile with eyes overflowing with optimism. In terms of the production design itself, it only bares hints of Snyder’s penchant for beautiful music videos; the production design is one that takes itself seriously, but in the perfect amounts. Although the film is quite dark, there are sufficient moments of levity.

Perhaps you’re a stereotypical dude who does not care for films that feature female protagonists and feministic themes. No fear. Wonder Woman is actually a World War I film disguised as a superhero movie. As much as Wonder Woman works as an exceptional superhero movie, it is equally an impressive World War I film. Taking place in the days leading up to Armistice Day, this film displays the atrocities of war and the determination of both sides to win. You will find yourself in the trenches in France and Belgium with the Allied forces who, against all odds, are determined to defeat the enemy in order to stop genocide and widespread devastation. Placing Wonder Woman amidst the warriors of earth, connects her to humanity in ways that most superheroes cannot. Fighting for what you believe in is a major theme in this film. Some of the best war movies are those that “show don’t tell.” And Wonder Woman certainly shows what war really looks like instead of talking about it as some abstract concept or spending time in diplomacy. In fact, diplomacy is thrown out the window, and Diana lays the need to fight on the hearts of the bureaucratic leaders and soldiers alike. Pick up your sword and fight. Don’t just sit idly by while humanity is destroyed. There is a particular scene midway through the film that nearly brought me to tears because of the strong emotion and courage displayed by Diana.

Go see it! Wonder Woman is an exceptional film that will blow your mind. I had high expectations going into the film last night after the early reviews were released, but I was not prepared for the degree to which I would thoroughly enjoy the entire experience. It’s not only a film for women, it’s sincerely a film or everyone. Next time you are faced with great opposition, when it feels that the world is caving in around you, be a Diana Prince.

Written by R.L. Terry

Edited by J.M. Wead

“Batman v Superman” movie review

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BMvSMBetter brush up on your comics before watching this movie. If DC set out to produce a movie that was completely different than the Marvel movies, then they succeeded. Batman v Superman leaves you feeling like you are watching a sequel without an original movie. And no, Man of Steel does not sufficiently set up this “sequel.” Imagine if you will, opening a book and starting to read. You are a few pages in, and you realize that there are situations, characters, settings that are unfamiliar or seem out of step. Oh, duh, you started on chapter two by mistake. Just as you flip back to find chapter one, you discover that the pages are missing. DC’s attempt to setup an entire comic universe (Justice League), in one movie, failed miserably. However, you will be hard pressed to find another superhero action movie that is more cinematic than this one. The sound and visual effects blew my mind–exponentially more impressive than anything that Marvel (Disney or Fox) has produced; but that’s Zack Snyder for you. Unfortunately, the man should have assisted a director in crafting a visual story, not attempted to tell it himself. If DC was fighting a losing battle up a hill, now it is fighting that same battle up a mountainside.

Look! Up in the sky. It’s a bird, it’s a plane, it’s a box-office bomb. Two years following the epic battle between Superman (Henry Cavill) and Zod, Metropolis is still recovering from the mass devastation. Affected by this infamous battle, crime-fighting billionaire Bruce Wayne (Ben Affleck) is fully convinced that Superman is a threat to humanity and must be contained or destroyed. Although he is not as young as he used to be, Affleck once again dawns the Batman uniform and sets out on his personal vendetta against the god-like Kryptonian. Feeling the growing threat of Batman, Superman will stop at nothing to defeat Batman and save the city. In an effort to save their respective cities from destruction, Batman and Superman vow to kill one another. While each superhero has it in for the other, Lex Luther (Jesse Eisenberg) is cooking up something in his research park that can defeat gods and titans. It’s a good thing that Metropolis and Gotham are closer together than Tampa and St. Petersburg are (LOL).

Film is a visual storytelling medium, but storytelling nevertheless. The only other more visual medium, one could argue, is comics. And, you better have studied your Justice League universe comics before buying your ticket to this attempt at a Springtime/Easter blockbuster. But unfortunately, that’s all that this movie has going for it–its unparalleled use of phenomenal visual and sound effects to create a fantastically stimulating experience. One problem: where’s the story??? I thought that this was (to borrow from Star Wars: the Force Awakens) “supposed to make things right“? Ironic how Easter is a holiday and season which represents rebirth; and as hard as DC Comics and Zack Snyder tried to rebirth this struggling universe, it still remains in the ground. All the water and fertilizer in the world could not help this Easter lily, for the farmer forgot to plant the bulb. There is little to no exposition in the entire movie. If you are unfamiliar with the story from the comics, you will most certainly feel dazed and confused. DC really needed this movie to tell an excellent story in order to continue to compete with the Marvel movies that are coming from Disney and Fox. After this travesty, there is almost no competition any longer. One can only hope that the next installment fixes things. But, it’s highly unlikely at this point.

Sometimes poor writing can be covered and masked by flashy graphics and stunning cinematography, other times, it can be assisted by an excellent cast. Well, fail once again. The casting only aided in highlighting the fallacies in the plot structure and nearly non-existent, poorly setup story. Before I negatively criticize the majority of the cast, I need to point out what worked for the film in terms of cast. Although I have been informed that he did not portray the Lex Luther from the comics, I firmly hold to that Jesse Eisenberg played the Lex Luther that this film needed and benefitted from. The quirky, psychopathy, childlike, socially awkward, intellectual Lex Luther works for this universe. He was probably my favorite part of the whole movie. He was quite the juxtaposition to other villains that have been in Marvel and DC movies–a refreshing new take. Amy Adams also plays a great Lois Lane. Since I am not familiar with the comics, I am not going to try to compare and contrast her portrayal to that of past Lois Lanes or the ones from the comics. Still, Adams brought about a fantastic charm to the character and she fit in well with Henry Cavill’s Superman.

Sadly, the rest of the principle cast was terrible. Since when did Alfred (Jeremy Irons) become nearly Bruce’s age??? Maybe he is ten years his senior, but that’s pushing it. Alfred is supposed to be a lovable and endearing old man, and Batman’s Jiminy Cricket, so to speak. Neither does Irons fit the age nor the personality traits of Alfred. I sure missed Michael Caine and Michael Gough’s Alfreds. There was a lot of concern when Affleck was chosen to become the caped crusader; and as it turns out, these concerns were valid. He has demonstrated that he cannot fill the cape in the manner in which Michael Keaton and Christian Bale were so successfully able to do. It’s entirely possible that Holly Hunter’s Senator Finch and Gal Gadot’s Wonder Woman/Diana Prince could have been the much-needed support that the film lacked, but their respective characters were severely under-developed. Also, not so much cast as he is character but where did the Kryptonian deformed creature come from??? I think the film tried to explain, but again, it failed. Who cares, though? He made the climax shocking and exciting. A solid match for Superman.

If you want to have your eyes and ears stimulated beyond what you have likely experienced in superhero action movies in the past, then this is the movie for you. Just don’t expect much beyond the mesmerizing surface. Already having a 33% on Rotten Tomatoes, most likely the grade will continue to drop. That being said, I DO believe that if you are a follower of the comics and know your stuff, then you will most likely thoroughly enjoy this film. I warn you; be prepared to be your group’s personal Wikipedia after the movie.