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zacksnydersjusticeleaguede · 4 years

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Zack Snyder's Justice League Stream Deutsch Film Ganzer Online 2021

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Der Director's Cut der Justice League von Zach Snyder, in dem Darkseid der Hauptgegner ist.

Manchmal ist der Name eines Regisseurs im Titel nur ein Akt des Ego, aber im Fall von Zack Snyders Justice League ist er durchaus für einen Film geeignet, der nicht das Werk eines anderen als des Autors hinter 300 sein könnte. Ein fehlerhafter Blockbuster Diese erweiterte Version der Superhelden-Extravaganz von 2017 wird in einem neuen Schnitt wieder veröffentlicht, der vom ursprünglichen Filmemacher Jahre nach seinem Ausscheiden aus dem Projekt betreut wird. Sie wird durch Snyders fein kalibrierte Vorliebe für mythische Pop-Größe sowohl gestärkt als auch behindert. Das Bild läuft vier Stunden und bietet einen weitreichenden Rahmen, während Batman und seine Kohorten um die Rettung der Erde kämpfen. Obwohl der Kampf um eine zufriedenstellendere und endgültigere Darstellung der Justice League sicherlich atemberaubend sein kann, wird Snyders Version sicherlich durch seine Exzesse und die zugrunde liegenden Mängel einer überfüllten Geschichte zunichte gemacht. Zack Snyders Justice League trifft HBO Max und internationale Partner am 18. März dank einer von Fans inszenierten Kampagne, in der Snyder gebeten wird, seine ursprüngliche Vision zu verwirklichen, nachdem der Avengers-Filmemacher Joss Whedon ihn während der Produktion ersetzt hatte. Abgesehen von Wonder Woman 1984 war das Superheldenkino während der Pandemie Mangelware. Erwarten Sie daher ein beträchtliches Interesse - ganz zu schweigen von der krankhaften Neugier auf diese zweite Einstellung bei einem kritischen und kommerziellen Misserfolg.

Batman (Ben Affleck), der noch immer vom Tod von Superman (Henry Cavill) betroffen ist, versammelt ein Team von Superhelden - Wonder Woman (Gal Gadot), Aquaman (Jason Momoa), Cyborg (Ray Fisher) und Flash (Ezra Miller) Konfrontieren Sie einen interstellaren Feind, Steppenwolf (von Ciaran Hinds geäußert), der gekommen ist, um die Mutterkisten zu sammeln, mystische Geräte, die, wenn sie zusammengefügt werden, den Planeten zerstören werden. Aber ohne den Mann aus Stahl sind unsere Helden möglicherweise nicht mächtig genug, um ihn aufzuhalten.

Es wurde viel darüber gesagt, dass Snyder den Film 2017 verlassen hat (teilweise wegen des Selbstmordes seiner Tochter Autumn) und durch Whedon ersetzt wurde, der einen Großteil des Bildes neu geschrieben und neu aufgenommen hat. Mit einem geschätzten Budget von 70 Millionen US-Dollar enthält Zack Snyders Justice League kein Filmmaterial von Whedon, stellt Snyders Material wieder her und enthält neu gefilmte Szenen. (Diese neue Version wird im 4: 3-Format und nicht im herkömmlichen Breitbildformat angezeigt, falls der Film jemals in IMAX abgespielt wird.)

Im Gegensatz zu Whedons witziger, hektischer zweistündiger Version nimmt sich Zack Snyders Justice League Zeit, um jeden ihrer Charaktere - einschließlich Steppenwolf (dessen CG erheblich verbessert ist) - zu etablieren und die Einsätze für den vorhersehbaren Kampf um Leben und Tod zwischen Gut und Böse zu legen böse. In einer Zeit, in der es dem Publikum leichter fällt, Streaming-Serien zu spielen, ist die vierstündige Laufzeit von Zack Snyders Justice League möglicherweise nicht so entmutigend, und der Filmemacher leistet gute Arbeit, um das Verfahren in einem gleichmäßigen, selbstbewussten Tempo zu halten.

Im Laufe seiner Karriere hat Snyder stets übergroße Brillen mit einem dunklen Ton und einem stilisierten visuellen Flair hergestellt, das sich an Graphic Novels und Videospielen orientiert, und tatsächlich schwelgt der Film in seinem operativen Ehrgeiz. Die traurige Farbpalette des Kameramanns Fabian Wagner und die brütende Partitur von Tom Holkenborg verleihen der Geschichte, in der diese DC-Helden - im Gegensatz zu ihren sonnigeren Marvel-Kollegen - als gefolterte Personen behandelt werden, die durch die Verantwortung belastet sind, als letzter Kampf der Erde gegen den scheinbar unbesiegbaren Steppenwolf zu dienen. Trotz der klugen Comic-Erleichterung von The Flash fühlt sich Snyders Vision wirklich düster und episch an - nicht nur wegen Supermans Tod, sondern auch, weil dieser alternde Batman befürchtet, dass er es nicht wert ist, seine Mitstreiter zu führen.

Die längere Erzählung hilft bei einigen Aufführungen - insbesondere bei Fisher als jungem Mann, der mit seiner neuen Realität als kybernetischem Wesen ringt. Aber Affleck bleibt ein bisschen zu mürrisch, und Gadot hat nicht den gleichen Funken wie in ihren eigenen Wonder Woman-Filmen - ein Hinweis darauf, dass diese Charaktere selbst nach vier Stunden in eine weitläufige Erzählung eingebettet werden, die nicht immer jeden zulässt von ihnen zu glänzen.

So bewegend Snyders auffällige Theaterstücke auch sein mögen, der Film sackt schließlich unter dem Gewicht seiner eigenen Selbstbedeutung ab. (Während Zack Snyders Justice League der ursprünglichen Kinofassung überlegen ist, weiß man zu schätzen, warum Whedon versucht hat, Leichtsinn einzufügen.) Und im Vergleich zum weitaus geschickteren Jonglieren von Charakteren und Vorfällen in den Avengers-Bildern bleibt Chris Terrios Drehbuch bei der Suche nach Mother Boxes sowie die Adressierung unzähliger Nebencharaktere, darunter Amy Adams 'triste Lois Lane.

Am tödlichsten ist jedoch, dass Snyder nach dem letzten Showdown mit Steppenwolf einen langwierigen Epilog aufgreift, der noch mehr Charaktere einführt, was zu dem Gefühl beiträgt, dass seine Besessenheit dieses Mammutunternehmen zwar befeuert, ihn aber auch anfällig für Overkill macht. Dieses oft absorbierende Werk kann so mächtig sein wie Superman selbst, aber ein Mangel an Zurückhaltung erweist sich als sein Kryptonit.

Es sollte leicht sein, Zack Snyders Justice League als Unsinn abzutun. Es geht um eine Gruppe von Superhelden - einige gekappt, andere nicht -, die zusammenarbeiten, um einen intergalaktischen genozidalen Alien zu besiegen. Dies ist auch die gleiche Handlung wie bei einem Avengers-Film, daher liegt der Hauptunterschied in der Ausführung. Während sich die Marvel-Filme für eine allgemein ansprechende Pop-Sensibilität entscheiden, ist diese Justice League bedeutungsvoll und manchmal nachdenklich, ein Werk eines einzigartigen Regisseurs, der eine einzigartige Interpretation von Superhelden hat. All dies wäre interessant, sogar provokativ, wenn Snyders Talent seiner Vision entsprechen würde. Leider untergraben das Aufblähen des Storytelling und die bombastische Aktion sein endgültiges Update des Originalfilms. Aufgrund beruflicher Unterschiede und familiärer Tragödien konnte Zack Snyder die Justice League 2017 nicht beenden. Joss Whedon übernahm die Zügel und lieferte dann einen zweistündigen Beiljob, der Snyders mythischen Ehrgeiz unbehaglich mit seinen eigenen witzigen Instinkten verband. Diese aktualisierte Justice League ist zugegebenermaßen eine Verbesserung: Snyder hat viele Szenen, die nicht funktionierten, abgeworfen und einige andere hinzugefügt, um sie (grenzwertig) kohärent zu machen. Das Ergebnis ist ein maximalistisches vierstündiges Epos (ja, dieser Film ist länger als Lawrence von Arabien und Vom Winde verweht). Sind alle vier Stunden notwendig, um diese Geschichte zu erzählen? Absolut nicht. Werden diejenigen, die #releasethesnydercut-Trends haben, mit dem, was ihnen gegeben wird, zufrieden sein? Wahrscheinlich, obwohl sie eher erschöpft als berauscht sein könnten.

Snyder fügt so viel Aufblähung hinzu, dass sich sein Film so anfühlt, als würde er sich über vier Tage und nicht über vier Stunden entfalten. An einem längeren Film ist an sich nichts auszusetzen - Der Ire ist fast dreieinhalb Stunden alt und verdient seine Laufzeit -, also liegt das Problem hier im Detail. Mehrere Charaktere werden mehr als einmal vorgestellt, während die Ursprungsgeschichten von Cyborg (Ray Fisher) und The Flash (Ezra Miller) die größere Erzählung verlangsamen. In sechs Teilen und einem Epilog erzeugt und löscht die Justice League erzählerische Impulse, bis nur noch eigenständige Szenen oder Bilder übrig bleiben. Einige einzelne Szenen sind faszinierend, wie ein langer Rückblick, in dem sich alte Helden gegen einen gemeinsamen Feind vereinen. Sie bieten Snyder die Möglichkeit, sein Lieblingsthema zu erkunden - das Nebeneinander von Superhelden und ursprünglicher Mythologie -, außer dass sich seine Helden nicht so entwickeln, wie er es wünscht. In Snyders Herzen gibt es eine resonante Version dieser Geschichte, aber egal wie viel er versucht, er will es nie ganz in unsere hinein.

Anstelle eines Seitenverhältnisses „Briefkasten“ wählt Snyder Boxer-4: 3-Dimensionen, die fast quadratisch sind. Dafür gibt es zwei Gründe: Er kann die Höhe eines hoch aufragenden IMAX-Bildschirms ausfüllen, obwohl der Heimbetrachter auf der linken und rechten Seite vertikale schwarze Balken sieht. Noch wichtiger ist, dass dieses Seitenverhältnis es ihm ermöglicht, Bilder und Menschen auf unterschiedliche Weise zu betrachten. Hier ist die Justice League etwas Einzigartiges. Der quadratische Rahmen betont Gesichter und Körper, eine formale Einschränkung, die das Thema „Götter auf Erden“ vertieft, das den Film dominiert. Vielleicht ist die IMAX-Version des Films wirklich beeindruckend, ein Gonzo-Superhelden-Experiment, das etwas Dringenderes und Ursprünglicheres erschließt. Manchmal sind die Bilder großartig, wie eine Einstellung von Superman (Henry Cavill), der eine messianische Pose einnimmt, während er über dem Planeten schwebt. Trotzdem besteht eine ständige Inkongruenz zwischen der formalen Schönheit und jeder tieferen Verbindung.

Diese Herangehensweise an das Spülen von Küchenspülen ist letztendlich statisch, fast wie eine Urlaubs-Diashow, die jedes erschöpfende Detail abdeckt. Ohne jeglichen Impuls leiden die Aufführungen entsprechend. Es gibt keine Spannung zwischen Batman (Ben Affleck) und den anderen Helden, als er versucht, sie zu rekrutieren, weil wir wissen, dass es eine lange, charakterbasierte Szene gibt, die das Verfahren bald in die Länge ziehen wird. Aquaman (Jason Momoa) und Wonder Woman (Gal Gadot) sind wie nachträgliche Gedanken, ein vergessenes menschliches Element in einer Geschichte, die nur Raum für intergalaktische Zerstörung bietet. Der Bösewicht Steppenwolf hat leichte ästhetische Verbesserungen erfahren, aber er hat immer noch die Bedrohung eines mittleren Managers, dessen Hauptziel es ist, magische Kisten zu sammeln (bei aller Feierlichkeit verlässt sich die Justice League immer noch auf dieselben müden McGuffins wie ihre Marvel-Äquivalente ). Bei so vielem, was hier passiert, geht es um Verpflichtung - eine, die Snyder den Charakteren und seinen Fans gegenüber empfindet -, dass wichtigere Elemente wie Charakter / Leistung zweitrangig sind.

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justiceleague2021streaming · 4 years

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Zack Snyder's Justice League online film streaming ita gratis completo

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La narrazione più lunga aiuta in alcune delle performance, in particolare Fisher, da giovane, alle prese con la sua nuova realtà come essere cibernetico. Ma Affleck rimane un po 'taciturno e Gadot manca della stessa scintilla dei suoi film di Wonder Woman - un'indicazione che, anche entro quattro ore, questi personaggi vengono calzati in una narrativa estesa che non sempre consente a ciascuno di loro di brillare. Per quanto possa essere eccitante la vistosa teatralità di Snyder, il film alla fine cede sotto il peso della sua stessa importanza. (Sebbene la Justice League di Zack Snyder sia superiore alla versione cinematografica originale, si può capire perché Whedon abbia cercato di inserire leggerezza.) E rispetto alla giocoleria molto più abile tra personaggi e incidenti delle immagini dei Vendicatori, la sceneggiatura di Chris Terrio è impantanata nella ricerca per Mother Boxes, oltre ad affrontare una miriade di personaggi secondari, tra cui la monotona Lois Lane di Amy Adams. Più fatalmente, tuttavia, dopo lo scontro finale con Steppenwolf, Snyder segue un epilogo esteso che presenta ancora più personaggi, contribuendo alla sensazione che, sebbene la sua ossessione abbia alimentato questa gigantesca impresa, lo renda anche suscettibile di esagerazione. Questo lavoro spesso coinvolgente può essere potente quanto lo stesso Superman, ma la mancanza di moderazione si rivela essere la sua kryptonite. Con chi preferisci passare la giornata in giro: la Justice League o gli Avengers? Non necessariamente per accompagnarli in una missione mortale e mozzafiato per salvare l'universo, ma solo per essere nella stessa stanza mentre fanno un piano, combattono e giocano, magari ordinano del cibo per il viaggio? Warner Bros. presenta un film del 2017 ristampato dal regista Zach Snyder. Scritto da Chris Terrio. Rating R (per violenza e un po 'di linguaggio). Durata: 242 minuti. Disponibile giovedì su HBO Max. Anche i nomi lo riflettono. "Siamo la Justice League, facciamo giustizia". "Bene, noi siamo i Vendicatori e ci riuniamo!" Ci viene ricordato quanto oscuro e quasi privo di divertimento possa essere il DC Movie Universe nell'attesissimo, pesantemente esagerato, finalmente pubblicato (su HBO Max) "Justice League by Zack Snyder", noto anche come "The Snyder Cut", che si vocifera quasi dal giorno in cui Snyder si è allontanato dal film sui supereroi del 2017 in post-produzione dopo la morte di sua figlia, e le redini sono state consegnate a Joss Whedon. Anche se il mega-film di Snyder (la durata è di 4 ore e 2 minuti) ha i suoi momenti di tentativo di leggerezza, di solito per gentile concessione di The Flash di Ezra Miller e del suo "gee whiz!" commenti in corsa, questo è un film oscuro, con il cast di talento che spesso sembra essere in competizione per vedere chi può essere il più oscuro, e il direttore della fotografia Fabian Wagner che dipinge con colori saturi che lo fanno sembrare nuvoloso e persino grigio quando siamo dentro casa. È un miglioramento rispetto all'originale più diretto e molto più breve? Non per questo critico, anche se ero la minoranza a cui è piaciuto molto il film del 2017. C'è MOLTA esposizione aggiuntiva e più sequenze d'azione, e abbiamo un epilogo esteso pieno di immagini criptiche e post-apocalittiche che sono ugualmente affascinanti ed esasperanti - ma il taglio di Snyder vale il viaggio di quattro ore, grazie in gran parte alla CGI di prima classe e alle prestazioni di gioco costellate di stelle e coraggiose, in particolare Gal Gadot come Wonder Woman, Jason Momoa come Aquaman, il già citato Ezra Miller come Flash e Ray Fisher nei panni di Cyborg.

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zacksnydersjusticeleaguefilme · 4 years

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Zack Snyder's Justice League Film Online Ganzer Deutsch Stream 2021

Film stream - https://zack-snyders-justice-league-de.blogspot.com/

"ETWAS IST ZU KOMMEN" und That Something ist ein historisch bizarrer Film: Zack Snyders Justice League, weithin bekannt als "The Snyder Cut", die vierstündige Neuinterpretation seines eigenen Superfilms durch den Filmemacher. - DC Comics Helden. Mit Zack Snyders Justice League kommt das seltene Beispiel eines Künstlers, der die kreative Kontrolle über ein längst verlorenes Werk wiedererlangt, wovon viele Regisseure sicherlich träumen, aber nur wenige es schaffen, es zu erreichen. Da die Veröffentlichung des HBO Max-Epos bevorsteht und Snyder die Möglichkeit bietet, seine Vision von DCs bedrängter Reaktion auf Marvels Avengers wiederherzustellen, gibt es keinen besseren Zeitpunkt als jetzt, um die Kinofassung erneut zu besuchen. Originalfilm - und schätzen, wie komisch es wirklich ist. Der sogenannte Snyder Cut landet am 18. März auf HBO Max und kommt vier Jahre nach dem ursprünglichen Kinostart der Justice League. Obwohl Snyder offiziell gutgeschrieben wurde, ist die 2017er Version der Justice League nicht in der Lage, ihre Aufgabe zu erfüllen. (Wie kürzlich bekannt wurde, hat Snyder diesen Schnitt nicht einmal gesehen, nachdem er von seiner Frau und der ausführenden Produzentin der Justice League, Deborah Snyder, gewarnt worden war.) Nur wenige Monate vor der Veröffentlichung des Films verließ Snyder die Produktion nach dem Tod ihrer Tochter durch Selbstmord. In seiner Abwesenheit rief Warner Bros. Snyders Ersatz an: Avengers Regisseur Joss Whedon, der beauftragt wurde, den Film fertigzustellen. Whedons Arbeit an dem Film umfasste zwei Monate umfassender Überarbeitung und Überarbeitung des bereits vorhandenen Materials, obwohl der Umfang der Überarbeitung seit der Veröffentlichung des Films Gegenstand von Debatten war. Im November 2017 behauptete Produzent Charles Roven, dass „80,85% des Films ursprünglich gedreht wurden“, aber im Dezember 2019 sagte der Kameramann Fabian Wagner, die Zahl sei nur um 10% näher. Laut der New York Times schrieb Whedon etwa 80 neue Drehbuchseiten, was darauf hindeutet, dass der Großteil der Version, die in die Kinos kam, seine eigene war. Nichtsdestotrotz schreibt der Film Whedon neben dem Originalautor Chris Terrio nur als Co-Autor zu, wobei Whedon für seine Regieaufgaben nicht im Abspann aufgeführt ist. Ironischerweise war das vielleicht ein Gefallen: Die Kinofassung von Justice League ist, um ehrlich zu sein, eine DEEPLY GOOFY MESS - und das nicht nur aus den Gründen, die viele annehmen würden. Ja, die Kinofassung der Justice League ist gelinde gesagt ungleichmäßig. Ja, es gibt Nebenhandlungen und Szenen, die scheinbar nirgendwo hin führen oder einfach keinen Sinn ergeben. Und ja, es ist überraschend leicht zu erkennen, wann Henry Cavills Bart digital entfernt wurde, weil die Technologie anscheinend so weit fortgeschritten ist, dass wir jeden Schauspieler Jahrzehnte jünger aussehen lassen können, aber niemand ist es. kann herausfinden, wie eine Dummy-Stange digital erzeugt wird. Lippe. Diese Dinge, jede eine langjährige Beschwerde über das Feature, sind zweifellos wahr und machen die Justice League ein bisschen schlechter als ein Film. Was die Justice League jedoch fasziniert, sind die weniger offensichtlichen schlechten Entscheidungen, die während des endgültigen Bearbeitungsprozesses getroffen wurden. Der Film zum Beispiel ist unglaublich grell und farbenfroh. Snyders erste beiden DC-Filme, Man of Steel und Batman gegen Superman: Dawn of Justice, wurden wiederholt wegen ihrer tristen und dunklen Farbpaletten kritisiert, aber Justice League wurde bisher mit Farben brutal überkompensiert, so dass fast jeder Moment wie ein schlecht gemachtes Video aussieht Spiel filmisch. Ist der rote Himmel in der klimatischen Action-Sequenz da, um die Dinge dramatischer zu machen, oder um auf den „Red Sky Crossover“ -Trop der DC-Comic-Serie Crisis on Infinite Earths aus den 1980er Jahren zu verweisen - und ist es sogar wichtig, wenn das Endergebnis einen direkten Eindruck hervorruft? -to-DVD-Film aus den 1990er Jahren? Ebenso verwirrend sind die musikalischen Hinweise aus dem Film. Es ist eine Sache, Themen für bestimmte Charaktere wiederzuverwenden, aber Danny Elfman, der mit Whedon an Avengers: Age of Ultron gearbeitet hatte, verwendet unerklärlicherweise seine eigene Partitur von Batman aus dem Jahr 1989 sowie John Williams 'Thema aus Superman: The 1978 Movie. Musik aus der zeitgenössischen Filmreihe. Insbesondere verwendet Elfman Williams '"Superman Main Theme" in einer Szene, in der der neu auferstandene Man of Steel gegen den Rest der Justice League kämpft und dabei Metropolis erheblichen Schaden zufügt ... aber hätte dieser ikonische musikalische Moment nicht gerettet werden sollen etwas etwas heldenhafteres? Und dann ist da noch die Tatsache, dass der Film seine eigenen Kernthemen nicht nur einmal, sondern zweimal liefert. Der Öffentlichkeit wird wiederholt gesagt, dass Supermans Abwesenheit für Ereignisse so schädlich ist.

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zacksnydersjusticeleagueita · 4 years

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Zack Snyder's Justice League Guardare - https://zack-snyders-justice-league-ita.blogspot.com/

Ispirato dal sacrificio di sé di Superman, Bruce Wayne riacquista fede nell'umanità. Arruola il supporto della sua nuova alleata, Diana Prince, per combattere un nemico ancora più potente. Batman e Wonder Woman reclutano una squadra sovrumana per combattere la minaccia risvegliata.

"QUALCOSA STA PER ARRIVARE" e That Something è un film storicamente bizzarro: Justice League di Zack Snyder, ampiamente noto come "The Snyder Cut", la reinterpretazione di quattro ore del regista del suo super film. - Eroi della DC Comics. Con Justice League di Zack Snyder arriva il raro esempio di un artista che riacquista il controllo creativo su un'opera perduta da tempo, qualcosa che molti registi sicuramente sognano, ma pochi riescono a ottenere. Mentre si profila l'uscita dell'epopea di HBO Max, offrendo a Snyder la possibilità di ripristinare la sua visione della risposta assediata della DC agli Avengers della Marvel, non c'è momento migliore di adesso per rivisitare il taglio teatrale. film originale - e apprezza quanto sia davvero strano. In arrivo il 18 marzo su HBO Max, il cosiddetto Snyder Cut arriva quattro anni dopo l'uscita nelle sale di Justice League. Sebbene ufficialmente accreditata a Snyder, la versione 2017 di Justice League non è all'altezza del suo lavoro. (In effetti, come è stato recentemente rivelato, Snyder non ha nemmeno visto questo taglio, dopo essere stato avvertito da sua moglie e dal produttore esecutivo di Justice League Deborah Snyder.) Pochi mesi prima dell'uscita del film, Snyder ha lasciato la produzione dopo la morte di sua figlia da parte di suicidio. In sua assenza, la Warner Bros. ha chiamato il sostituto di Snyder: il regista di Avengers Joss Whedon, assunto per completare il film. Il lavoro di Whedon sul film includeva due mesi di estese rielaborazioni e rielaborazioni di materiale già esistente, sebbene la quantità di rielaborazioni sia stata oggetto di dibattito sin dall'uscita del film. Nel novembre 2017, il produttore Charles Roven ha affermato che "l'80,85% del film è quello che è stato girato originariamente", ma a dicembre 2019 il direttore della fotografia Fabian Wagner ha detto che la cifra era più vicina solo del 10%. Secondo il New York Times, Whedon ha scritto circa 80 nuove pagine di sceneggiatura, suggerendo che la maggior parte della versione che è arrivata nei cinema era la sua. Tuttavia, il film attribuisce a Whedon solo il ruolo di co-sceneggiatore, insieme allo scrittore originale Chris Terrio, con Whedon non accreditato per i suoi doveri di regista. Ironia della sorte, forse questo è stato un favore: la versione teatrale di Justice League è, per essere sinceri, UN PROFONDO GOOFY MESS - e non solo per le ragioni che molti presumono. Sì, il taglio teatrale di Justice League è a dir poco irregolare. Sì, ci sono sottotrame e scene che sembrano non andare da nessuna parte o semplicemente non hanno senso. E, sì, è sorprendentemente facile capire quando la barba di Henry Cavill è stata rimossa digitalmente perché a quanto pare la tecnologia è avanzata al punto che possiamo far sembrare qualsiasi attore più giovane di decenni, ma nessuno lo è. può capire come generare digitalmente una falsa canna. labbro. Queste cose, ognuna una lamentela di lunga data sul film, sono indiscutibilmente vere e ognuna rende Justice League un po 'peggiore di un film. Ciò che rende affascinante Justice League, tuttavia, sono le cattive decisioni meno ovvie prese durante il processo di editing finale. Il film, ad esempio, è incredibilmente vistoso e colorato. I primi due film DC di Snyder, Man of Steel e Batman v Superman: Dawn of Justice, sono stati ripetutamente criticati per le loro tavolozze di colori scuri e scuri, ma Justice League è stata selvaggiamente compensata con i colori così lontano che quasi ogni momento sembra un video mal fatto cinematica del gioco. Il cielo rosso nella sequenza d'azione culminante è lì per rendere le cose più drammatiche, o per fare riferimento al tropo "crossover del cielo rosso" della serie di fumetti DC degli anni '80 Crisis on Infinite Earths - ed è persino importante quando il risultato finale evoca una diretta -to-film in DVD degli anni '90? Altrettanto sconcertanti sono gli spunti musicali del film. Una cosa è riutilizzare i temi per personaggi specifici, ma Danny Elfman, che aveva lavorato con Whedon in Avengers: Age of Ultron, usa inspiegabilmente la sua colonna sonora di Batman del 1989 e il tema di John Williams di Superman: The 1978 Movie. musica dalla serie di film contemporanei. Nello specifico, Elfman usa il "tema principale di Superman" di Williams in una scena in cui l'Uomo d'Acciaio appena risorto combatte il resto della Justice League, causando danni significativi a Metropolis nel processo ... ma questo momento musicale iconico non dovrebbe essere stato salvato qualcosa di un po 'più eroico? E poi c'è il fatto che il film non riesce a fornire i propri temi centrali non una, ma due volte. Al pubblico viene ripetutamente detto che l'assenza di Superman è così dannosa per gli eventi.

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grigori77 · 3 years

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2021 in Movies - My Top 30 Fave Movies (Part 1)

30. ZACK SNYDER’S JUSTICE LEAGUE – one of the undisputable highlights of the Winter-Spring period, this long-awaited, much vaunted redressing of a balance was a particular thorn in the side of DC cinematic fans for years – the completion and restoration of the true, unadulterated original director’s cut of the painfully abortive DCEU team-up movie that was absolutely butchered when Joss Whedon took over from original director Zack Snyder and then heavily rewrote and largely reshot the whole thing. It was a somewhat painful experience to view in cinemas back in 2017 – sure, there were bits that worked, but much that didn’t and it wasn’t like the underrated Batman Vs Superman: Dawn of Justice, which improves immensely on subsequent viewings (especially in the three hour-long director’s cut). No, Whedon’s film was a MESS. Needless to say fans were up in arms, and once word got out that the finished film was not at all what Snyder originally intended, a vocal, forceful online campaign began to campaign for the release of what quickly became known as the Snyder Cut. Thank the gods that Warner Bros listened to them, ultimately taking advantage of the intriguing alternative possibilities provided by their streaming service HBO Max to allow Snyder to reshoot, reinstate and represent his intended creation in its entirety. The only remaining question, of course, is simply … is it actually any good? Well it’s certainly much more like BVS:DOG than Whedon’s film ever was, and there’s no denying that, much like the rest of Snyder’s oeuvre, this is a proper marmite movie – there are gonna people who hate it no matter what, but the faithful, the fans, or simply those who are willing to open their minds are going to find much to enjoy here. The holes has been thoroughly patched, most of the elements that didn’t work in the theatrical release having been swapped out or reworked so that now they pay off BEAUTIFULLY. This time the quest of Bruce Wayne/Batman (Ben Affleck) and Diana Prince/Wonder Woman (Gal Gadot) to bring the first iteration of the Justice League together – half-Atlantean team tank Arthur Curry/the Aquaman (Jason Momoa), lightning-powered speedster Barry Allan/the Flash (Fantastic Beasts’ Ezra Miller) and cybernetically-rebuilt genius Victor Stone/Cyborg (True Detective season 3’s Ray Fisher) – not only feels organic, but NECESSARY, as does their desperate scheme to use one of the three alien Mother Boxes (no longer just shiny McGuffins but now genuinely well-realised technological forces that threaten cataclysm as much as they provide opportunity for miracles) to bring Clark Kent/Superman (Henry Cavill) back from the dead, especially given the far more compelling threat of this version’s collection of villains. Ciaran Hinds’ mocapped monstrosity Steppenwolf is a more palpable and interesting big bad this time round, given a more intricate backstory that also ties in a far greater ultimate mega-villain that would have become the DCEU’s Thanos had Snyder had his way to begin with – Darkseid (Ray Porter), tyrannical ruler of Apokolips and one of the most powerful and hated beings in the Universe, who could have ushered the DCEU’s now aborted New Gods storyline to the big screen. The newer members of the League receive far more screen-time and vastly improved backstory too, Miller’s Flash getting a more pro-active role in the storyline AND the action which also thankfully cuts away a lot of the clumsiness the character had in the Whedon version without sacrificing any of the nerdy sass that nonetheless made him such a joy, while the connective tissue that ties Momoa’s Aquaman to his own subsequent standalone movie feels much stronger here, and his connection with his fellow League members feels less perfunctory too, but it’s Fisher’s Cyborg who TRULY reaps the benefits here, regaining a whole new key subplot and storyline that ties into a powerful and tragic origin story, as well as a far more complicated and ultimately rewarding relationship with his scientist father, Silas Stone (the great Joe Morton). It’s also really nice to see Superman handled with the kind of skill we’d expect from the same director who did such a great job (fight me if you disagree) of bringing the character to life in two previous big screen instalments, as well as erasing the memory of that godawful digital moustache removal … similarly, it’s nice to see the new and returning supporting cast get more to do this time, from Morton and the ever-excellent J.K. Simmonds as fan favourite Gotham PD Commissioner Jim Gordon to Connie Nielsen as Diana’s mother, Queen Hippolyta of Themyscira and another unapologetic scene-stealing turn from Jeremy Irons as Batman’s faithful butler Alfred Pennyworth. Sure, it’s not a perfect movie – the unusual visual ratio takes some getting used to, while there’s A LOT of story to unpack here, and at a gargantuan FOUR HOURS there are times when the pacing somewhat lags, not to mention an overabundance of drawn-out endings (including a flash-forward to a potential apocalyptic future that, while evocative, smacks somewhat of overeager fan-baiting) that would put The Return of the Kingto shame, but original writer Chris Terrio’s reconstituted script is rich enough that there’s plenty to reward the more committed viewer, and the storytelling and character development is a powerful thing, while the action sequences are thrillingly hefty (even if Snyder does keep falling back on his over-reliance on slow motion that seems to alienate some viewers), and the new score from Tom Holkenborg (who co-composed on BVS:DOJ) feels a far more natural successor than Danny Elfman’s theatrical compositions (not to say I’m disparaging the Batman composer, you know I love him, but it wasn’t a great fit). The end result is no more likely to win fresh converts than Man of Steel or Batman Vs Superman,but it certainly stands up far better to a critical eye this time round, and feels like a more natural progression for the saga too. Ultimately it’s more of an interesting tangential adventure given that Warner Bros seem to be stubbornly sticking to their original plans for the ongoing DCEU, but I can’t help hoping that they might have a change of heart in the future given just how much better the final product is than any of us had any right to expect …

29. WEREWOLVES WITHIN – definitely one of the year’s biggest cinematic surprises, this darkly comic supernatural murder mystery from indie horror director Josh Ruben (Scare Me) is based on a video game, but you’d never know it – this bears so little resemblance to the original Ubisoft title that it’s a wonder anyone even bothered to make the connection, but even so, this is now notable for officially being one of the highest rated video game adaptation in Rotten Tomatoes history, with a Certified Fresh rating of 86%. Certainly it deserves such distinction, but there’s so much more to the film – this is an absolute blood-splattered joy, the title telling you everything you need to know about the story but belying the film’s pure, quirky genius. Veep’s Sam Richardson is forest ranger Finn Wheeler, a gentle and socially awkward soul who arrives at his new post in the remote town of Beaverton to discover the few, uniformly weird residents are divided over the oil pipeline proposition of forceful and abrasive businessman Sam Parker (The Hunt’s Wayne Duvall). As he tries to fit in and find his feet, investigating the disappearance of a local dog while bonding with mail carrier Cecily Moore (Other Spaceand This Is Us’ Milana Vayntrub), the discovery of a horribly mutilated human body leads to a standoff between the townsfolk and an enforced lockdown in the town’s ramshackle hotel as they try to work out who amongst them is the “werewolf” they suspect is responsible. This is frequently hilarious, the offbeat script from appropriately named Mishna Wolff (I’m Down) dropping some absolutely zingers and crafting some enjoyably weird encounters and unexpected twists, while the uniformly excellent cast do much of the heavy-lifting to bring their rich, thoroughly oddball characters to life – Richardson is thoroughly cuddly, while Duvall is pleasingly loathsome, Casual’s Michaela Watkins is grating as Trisha, flaky housewife to unrepentant local horn-dog Pete Anderton (Orange is the New Black’s Michael Chernus), and Cheyenne Jackson (American Horror Story) and Harry Guillen (the TV version of What We Do In the Shadows) make an enjoyably spiky double-act as liberal gay couple Devon and Joaquim Wolfson; in the end, though, the film is roundly stolen by Vayntrub, who invests Cecily with a bubbly sweetness and snarky sass that makes it absolutely impossible to not fall completely in love with her (gods know I did). This is a deeply funny film, packed with proper belly-laughs from start to finish, but like all the best horror comedies it takes its scary elements seriously, delivering some enjoyably effective jumps and juicy gore, while the werewolf itself, when finally revealed, is realised through some quality prosthetics. Altogether this was a most welcome under-the-radar surprise for the summer, and SO MUCH MORE than just an unusually great video game adaptation …

28. SYNCHRONIC – writer-director duo Justin Benson and Aaron Moorhead are something of a creative phenomenon in the science-fiction and fantasy indie cinema scene, crafting films that ensnare the senses and engage the brain like few others. Subtly insidious conspiracy horror debut Resolutionis a sneaky little chiller, while deeply original body horror Spring(the film that first got me into them) is weird, unsettling and surprisingly touching, but it was breakthrough sleeper hit The Endless, a nightmarish time-looping cosmic horror that thoroughly screws with your head, that really put them on the map. Needless to say it’s led them to greater opportunities heading into the future, and this is their first film to really reap the benefits, particularly by snaring a couple of genuine stars for its lead roles. Steve (Anthony Mackie) and Dennis (Jamie Dornan) are paramedics working the night shift in New Orleans, which puts them on the frontlines when a new drug hits the streets, a dangerous concoction known as Synchronic that causes its users to experience weird localised fractures in time that frequently lead to some pretty outlandish deaths in adults, while teenage users often disappear entirely. As the situation worsens, the pair’s professional and personal relationships become increasingly strained, compounded by the fact that Steve is concealing his recent diagnosis of terminal cancer, before things come to a head when Dennis’ teenage daughter Brianna (Into the Badlands’ Ally Ioannides) vanishes under suspicious circumstances, and it becomes clear to Steve that she’s become unstuck in time … this is as mind-bendingly off-the-wall and spectacularly inventive slice of weirdness from Benson and Moorhead that benefits enormously from their exquisitely obsessive attention to detail and characteristically unsettling atmosphere of building dread, while their character development is second to none, benefitting their top-notch cast no end. Mackie is typically excellent, bringing compelling vulnerability to the role that makes it easy to root for him as he gets further out of his depth in this twisted temporal labyrinth, while Dornan invests Dennis with a painfully human fallibility, and Ioannides does a lot with very little real screen time in her key role as ill-fated Brianna. The time-bending sequences are disorienting and disturbing, utilising a pleasingly subtle use of CGI to further mess with your head, and the overall mechanics of the drug and its effects are fiendishly crafted, while the directors tighten the screw of slowburn tension throughout, building to an offbeat ending that’s as devastating as anything we’ve seen from them so far. Altogether this is another winning genre-buster from a filmmaking duo who deserve continued success in the future, and I for one will be watching eagerly.

27. THE TOMORROW WAR – although cinemas finally reopened in the UK in early summer, the bite of the COVID lockdown backlog was still very much in effect during the 2021 blockbuster season, with several studios preferring to hedge their bets and wait for later release dates. Others turned to streaming services, including Paramount, who happily lined up a few heavyweight titles to open on major platforms in lieu of the big screen. One of the biggest was this intended sci-fi action horror tentpole, meant to give Chris Pratt another potential franchise on top of Guardians of the Galaxy and Jurassic World, which instead dropped in early July on Amazon Prime. So, was it worth staying in on a Saturday night instead of heading out for something on the BIG screen? Mostly yes, although it’s mainly its trashy, guilty pleasure big budget B-picture charm that makes this such a worthwhile experience – the film’s biggest influences are clearly Independence Day and Starship Troopers, two admirably clunky blockbusters that DEFINED prioritising big spectacle and overblown theatrics over intelligent writing and realistic storytelling. It doesn’t help that the premise is pure bunk – in 2022, a wormhole opens from thirty years in the future, and a plea for help is sent back with a bunch of very young future soldiers. Seems Earth will become overrun by an unstoppable swarm of nasty alien critters called Whitespikes in 25 years, and the desperate human counteroffensive have no choice but to bring soldiers from our present into the future to help them fight back and save the humanity from imminent extinction. Less than a year later, the world’s standing armies have been decimated and a worldwide draft has been implemented, with normal everyday adults being sent through for a seven day tour from which very few return. Pratt plays biology teacher and former Green Beret Dan Forrester, one of the latest batch of draftees to be sent into the future along with a selection of chefs, soccer moms and other average joes – his own training and experience serves him better than most when the shit hits the fan, but it soon becomes clear that he’s still far out of his depth as the sheer enormity of the threat is revealed. But when he becomes entangled with a desperate research outfit led by Muri (Chuck’s Yvonne Strahovski) who seem to be on the verge of a potential world-changing scientific breakthrough, Dan realises there just might be a slender hope for humanity after all … this is every bit as over-the-top gung-ho bonkers as it sounds, and just as much fun. Director Chris McKay may still be pretty fresh (with only The Lego Batman Movie under his belt to date), but he shows a lot of talent and potential for big budget blockbuster filmmaking here, delivering with guts and bravado on some major action sequences (a fraught ticking-clock SAR operation in war-torn Miami is the film’s undeniable highlight, but a desperate battle to escape a blazing oil rig also really impresses), as well as handling some impressively complex visual effects work and wrangling some quality performances from his cast (altogether it bodes well for his future, which includes Nightwing and Johnny Quest as future projects). Chris Pratt can do this kind of stuff in his sleep – Dan is his classic fallible and self-deprecating but ultimately solid and kind-hearted action hero fare, effortlessly likeable and easy to root for – and his supporting cast are equally solid, Strahovsky going toe-to-toe with him in the action sequences while also creating a rewardingly complex smart-woman/badass combo in Muri, while the other standouts include Sam Richardson (Veep, Werewolves Within) and Edwin Hodge (The Purge movies) as fellow draftees Charlie and Dorian, the former a scared-out-of-his-mind tech geek while the latter is a seriously hardcore veteran serving his THIRD TOUR, and the ever brilliant J.K. Simmonds as Dan’s emotionally scarred estranged Vietnam veteran father, Jim. Sure, it’s derivative as hell and thoroughly predictable (with more than one big twist you can see coming a mile away), but the pace is brisk, the atmosphere pregnant with a palpable doomed urgency, and the creatures themselves are a genuinely convincing world-ending threat, the design team and visual effects wizards creating genuine nightmare fuel in the feral and unrelenting Whitespikes. Altogether this WAS an ideal way to spend a comfy Saturday night in, but I think it could have been JUST AS GOOD for a Saturday night OUT at the Pictures …

26. ANTLERS – writer-director Scott Cooper is kind of a cinematic chameleon when it comes to the genres of his films. He made a blinding debut with acclaimed drama Crazy Heart, then switched to slowburn thriller on Out of the Furnace, before tackling true crime biopic Black Mass and then pulling a crazy hairpin into revisionist western for Hostiles. As a result, it’s no great surprise to see him make another major swerve, this time going hard and fast into horror territory with this bleak and emotionally brutal supernatural horror produced by Guillermo del Toro. Even so, this is a pretty daring departure for Cooper, but as a critically acclaimed and highly intellectual storyteller he’s definitely equal to the task, delivering a dark and chilling modern-day horror fable of raw emotional power, troubling social relevance and oppressive dread that hooks the viewer from the start but doesn’t offer up easy solutions. The tiny Oregon town of Cispus Falls is in the midst of a social and economic crisis, a situation particularly felt by local drug dealer Frank Weaver (Child of God’s Scott Haze) and his two young sons, which is only exacerbated when he and his youngest, Aiden (newcomer Sawyer Jones), are attacked by some kind of impossible creature in the decommissioned mine where his soon-to-be-abandoned meth lab has been built, and starts to transform into a monstrous beast himself, ravenously hungry with an insatiable desire for flesh. Soon elder son Lucas (relative newcomer Jeremy T. Meadows) is left alone to hold the fort, hunting critters and bringing home roadkill to feed the beast in the futile hope that he can preserve his family in the face of what’s quickly becoming an untenable situation. Further complications arise when Lucas’ new schoolteacher, Julia Meadows (The Americans’ Keri Russell), begins to recognise clear signs of abuse in the young boy in her care, prompting her to look into the case, which ultimately draws in her brother Paul (Cooper regular Jesse Plemons), the newly-elected town sheriff. Then Frank escapes and it all goes to hell … this is beyond a shadow of a doubt the bleakest film I saw throughout the entirety of 2021, right up to a decidedly downbeat ending which is one of the most soul-crushing I’ve ever come across, perhaps not the best viewing for a year which had already gotten pretty depressing, but there’s no denying it’s also an incredibly potent film, and as a piece of pure slowburn horror cinema it’s pretty much a masterpiece of atmospherics, subtlety and nuance. The creature itself, a staple bogeyman of Native American folklore, will be instantly familiar to those in the know, but it’s handled with chilling expertise and brought to life through some impressively horrible physical effects, while the cinematography is first-rate, finding cold beauty in some particularly spartan and hostile environments. The biggest strength of this film, however, as it always is in a Scott Cooper film, is the cast, who all deliver some excellent performances, particularly Russell and Plemons as an emotionally scarred pair of recently-reunited siblings who both bear the scars of their own long history of childhood abuse, while Meadows is a stone-cold revelation of tightly-wound pain and inner-turmoil that hurts your soul to witness, but makes it impossible to look away. This is definitely one of the best films to date in the career of a filmmaker whose career I’ve been following with great interest, and since it looks like he’s decided to stay in this particular genre for his next film, a decidedly meta-sounding adaptation of Louis Beyard’s fictional Edgar Allan Poe-starring-horror thriller The Pale Blue Eye, it looks like he might finally have found his niche …

25. SPIDER-MAN: NO WAY HOME – with everything going to shit over the past two years and cinema in particular getting a major kicking through various circumstantial difficulties, it was inevitable that something was going to break along the way, particularly for something that’s become so precision-based as the movie-making behemoth that is the Marvel Cinematic Universe. Up until now it’s been one long success story, the studio releasing top-notch effort after top-notch effort, and it was only a matter of time before that success streak was broken. I had a feeling that 2021 was going to be the year it would happen, especially with them releasing FOUR MOVIES IN ONE YEAR thanks to the backlog that’s built up due to COVID, so I suspected at least one of them was going to wind up being a lesser product. In the end that offending culprit was no real surprise – Eternals was an attempt (like with Guardians of the Galaxy) to expand the universe with something a good deal more cosmic and horizon-widening, but the results, while admirable and enjoyable enough, were clunky and, ultimately, inherently flawed, leading to that one being consigned to my runners-up list for 2021. The really worrying thing is, it was ALMOST TWO movies, because the first time I watched this third entry in the decidedly beleaguered MCU Spider-Manstandalone series I found myself somewhat underwhelmed and unsure of how I felt about the final film. They certainly set out with BIG intentions – the latest route for the MCU, post-Endgame, is to fully embrace the idea of the Marvel Multiverse and all its additional complexities and opportunities, and No Way Home was clearly meant to be our introduction to this concept, along with 2022’s Doctor Stange In the Multiverse of Madness – but here it rather felt like they were biting off more than they can chew, and the end result is far from a perfect movie, at times feeling tonally and narratively inconsistent and over-indulgent of the studio’s past glories with their most famous character. Thankfully, a second viewing improved things for me and I was finally able to reconcile things in my head. It’s still something of a mess, but there’s no denying it’s also a really fun one. Best of all is that, while it may be rather clunky in its narrative, the characters remain as strong as ever – Tom Holland remains the lovably flappable yet precocious heart of the franchise as Peter Parker/Spider-Man, who finds his future comprehensibly torpedoed after Far From Home’s villain, Mysterio, reveals his secret identity to the world while simultaneously framing him as a murderer and techno-terrorist. So he goes to his new post-Endgame ally, Doctor Stephen Strange (Benedict Cumberbatch), the Sorcerer Supreme, for help in making the whole world forget through magic, only for the resulting spell to backfire spectacularly, instead drawing in all the people who know Peter Parker is Spider-Man from across ALL the various dimensions of the Multiverse … especially the VILLAINS. Cumberbatch is similarly on fine form here, bringing more of Strange’s snarky self-importance to bear while also turning the character into something of a friendly antagonist this time round as differences in their personal moral codes put him at odds with Parker’s core values in the ensuing crisis, while Zendaya and Jacob Batalon once again up light the screen as Peter’s most faithful companions, his girlfriend MJ and best friend Ned. To tell you much beyond this would be giving away some brilliant little spoilers throughout the film (how much you already know depends how well you’ve avoided social media reveals and the frustratingly loud-mouthed trailers), needless to say there’s some fine nostalgic fun to be had in the array of familiar villains (and a couple of allies) who are unleashed upon this universe, while, despite the inconsistencies, they’re (mostly) weaved into the story well enough that there’s some interesting thematic developments and powerful emotional beats to be had in their inclusion here. The visual effects are still as well-realised as we’ve come to expect, while the set-pieces are once again riveting and well-appointed, and by-and-large there’s the same expertly-crafted balance of well-observed humour and dramatic power that has always made the MCU films in general (and their Spider-Manmovies in particular) such a joy to indulge in. The end results may be one of the weaker entries in the canon, but it’s still a long way from terrible, and when it works it REALLY WORKS, making the whole enterprise worth our time. So has the MCU finally jumped the shark? Not quite yet, but it’s starting to ride pretty close to the tank. Here’s hoping they can pull it back before things gets messy …

24. ARMY OF THE DEAD – another high profile release that went straight to streaming was this monster hit for Netflix from one of this century’s undeniable heavyweight action cinema masters, the indomitable Zack Snyder, who kicked off his career with an audience-dividing (but, as far as I’m concerned, also MASSIVELY successful) remake of George Romero’s immortal Dawn of the Dead, and has finally returned to zombie horror after close to two decades away. The end result was, undeniably, the biggest cinematic guilty pleasure of the entire summer, a bona fide outbreak horror EPIC in spite of its tightly focused story – Dave Bautista plays mercenary Scott Ward, leader of a badass squad of mercenaries who were among the few to escape a deadly outbreak of a zombie virus in the city of Las Vegas, enlisted to break into the vault of one of the Strip’s casinos by owner Bly Tanaka (a fantastically game turn from Hiroyuki Sanada) and rescue $200 million still locked away inside. So what’s the catch? Vegas remains ground zero for the outbreak, walled off from the outside world but still heavily infested within, and in less than three days the US military intends to sterilise the site with a tactical nuke. Simple premise, down and dirty, trashy flick, right? Wrong – Snyder has never believed in doing things small, having brought us unapologetically BIG cinema with the likes of 300, Watchmen, Man of Steeland, most notably, his version of Justice League, so this is another MASSIVE undertaking, every scene shot for maximum thrills or emotional impact, each set-piece executed with his characteristic militaristic precision and explosive predilection (a harrowing fight for survival against a freshly-awakened zombie horde in tightly packed casino corridors is the film’s undeniable highlight), and the gauzy, dreamlike cinematography gives even simple scenes an intriguing and evocative edge that really does make you feel like you’re watching something BIG. The characters all feel larger-than-life too – Bautista can seem somewhat cartoonish at times, and this role definitely plays that as a strength, making Scott a rock-hard alpha male in the classic Hollywood mould, but he’s such a great actor that of course he’s able to invest the character with rewarding complexity beneath the surface; Ana de la Reguera (Eastbound & Down) and Nora Arnezeder (Zoo, Mozart in the Jungle), meanwhile, both bring a healthy dose of oestrogen-fuelled badassery to proceedings as, respectively, Scott’s regular second-in-command, Maria Cruz, and Lilly the Coyote, Power’s Omari Hardwick and Matthias Schweighofer (You Are Wanted) make for a fun odd-couple double act as circular-saw-wielding merc Vanderohe and Dieter, the nervous, nerdy German safecracker brought in to penetrate the vault, and Fear the Walking Dead’s Garrett Dillahunt channels spectacular scumbag energy as Tanaka’s sleazy former casino boss Martin, while latecomer Tig Notaro (Star Trek Discovery) effortlessly rises above her last-minute-casting controversy to deliver brilliantly as sassy and acerbic chopper pilot Peters. I think it goes without saying that Snyder can do this in his sleep, but he definitely wasn’t napping here – he pulled out all the stops on this one, delivering a darkly comic and endearingly CRACKERS zombie flick that not only compares favourably to his own Dawn but is, undeniably, his best film for AGES. Netflix certainly seem to be pleased with the results – a spinoff prequel, Army of Thieves, starring Dieter in another heist-based comedy thriller, dropped in October and it was hugely entertaining too, while an animated series is set to follow in Spring 2022, and there’s already rumours of a sequel in development. I’m certainly up for more …

23. THE FRENCH DISPATCH – one of my very favourite filmmakers to have emerged from the indie scene in the mid-to-late 90s returns in typically fine form, writer-director Wes Anderson delivering another wonderfully oddball and imaginative comedy this time based around the intriguing central concept of a portmanteau presenting the final issue of the fictional titular travel correspondence magazine after its creator/publisher/editor-in-chief Arthur Howitzer Jr. (Anderson’s chief acting collaborator, the incomparably ubiquitous Bill Murray) dies suddenly of a heart attack. The ensuing anthology of sketches and stories is about as absurd and rich in wildly-observed allegorical satire as we’ve come to expect from one of the genre’s masters, with nary a beat missing the mark throughout. The tones of the pieces on offer are perhaps a little at odds with each other, but the quality of the material is consistent throughout, and the three main stories featured are the most particular delights on offer here (the undeniable highlight of the film is the third main “article”, a fascinating screwball homage to those rambling restaurant critiques that ultimately largely overlook the food and instead just weave a magic spell of a story about a time and a place). The 1950s/60s settings are blissfully realised throughout, Anderson having fun wallowing in what’s clearly his favourite time period with beautifully realised production and costume design and typically offbeat attention to detail, and the uniformly excellent cast, populated with the usual mixture of his faithful regulars and a broad selection of intriguing “new” faces, are all on sparkling form, particular standouts including Frances McDormand as a worldly and somewhat jaded investigative journalist profiling a students’ revolution in the fictional French city of Ennui, Timothee Chalamet as the pretentious young leader of said revolt, Benicio del Toro as an incarcerated artist whose work suddenly becomes the toast of the scene, and Jeffrey Wright as a wonderfully verbose food critic who finds himself caught up in a crazy hostage situation. This is every bit as evocative, imaginative and amusingly odd as we’ve come to expect from Anderson, another collection of comedic classicism that delivers plenty of deep belly laughs while simultaneously making us think and, every once in a while, genuinely touches our hearts, so it’s as great an addition to the oeuvre of a true master of his craft as previous masterpieces such as The Royal Tenenbaums, The Darjeeling Limited, Moonrise Kingdom and Grand Budapest Hotel. Altogether he shows no sign of flagging at all …

22. WITHOUT REMORSE – I’m a big fan of Tom Clancy, to me he was one of the ultimate escapist thriller writers, and whenever a new adaptation of one of his novels comes along I’m always front of the line to check it out. The Hunt For Red October is one of my favourite screen thrillers OF ALL TIME, while my very favourite Clancy adaptation EVER, the Jack Ryan TV series, is, in my opinion, one of the very best Original shows that Amazon Prime have ever done. But up until now my VERY FAVOURITE Clancy creation, John Clark, has always remained in the background or simply absent entirely, putting in an appearance as a supporting character in only two of the movies, tantalising me with his presence but never more than a teaser. Well that’s all over now – after languishing in development hell since the mid-90s, the long-awaited adaptation of my favourite Clancy novel, the origin story of the top CIA black ops operative, has finally arrived as a direct spin-off from distributor Amazon’s own Jack Ryan series. Michael B. Jordan plays John Kelly (basically Clark before he gained his more famous cover identity), a lethally efficient, highly decorated Navy SEAL whose life is turned upside down when a highly classified operation experiences deadly blowback that sees half his team assassinated in retaliation, while Kelly barely survives an attack in which his heavily pregnant wife is killed. With the higher-ups unwilling the muddy the waters while scrambling to control the damage, Kelly, driven by rage and grief, takes matters into his own hands, embarking on a violent personal crusade against the Russian operatives responsible, but as he digs deeper with the help of his commanding officer, Lt. Commander Karen Greer (Queen & Slim’s Jodie Turner-Smith), and mid-level CIA hotshot Robert Ritter (Jamie Bell), it becomes clear that there’s a far more insidious conspiracy at work here … in the past the Clancy adaptations we’ve seen tend to be pretty tightly reined-in affairs, going for a PG-13 polish that maintains the intellectual fireworks but still tries to keep the violence clean and relatively family-friendly, but this was never going to be the case here – Clark has always been a dark shadow to Jack Ryan, another of Clancy’s righteous men but without the moral restraint, so going for an unfettered R-rating was the right choice. Jordan’s Kelly/Clark is a blood-soaked force of nature, a feral dog let off the leash, bringing a brutal ferocity to the action that does the literary source proud, tempered by a wounded vulnerability that helps us to sympathise with the broken but still very human man behind the killer; Turner-Smith, meanwhile, matches him in the physical stakes, jumping into the action with enthusiasm and looking damn fine doing it, but she also brings tight control and an air of pragmatic military professionalism that makes it easy to believe in her not only as an accomplished leader of fighting men but also as the daughter of Admiral Jim Greer, while Bell is arrogant and abrasive but ultimately still a good man as Ritter; Guy Pearce, meanwhile, brings his usual gravitas and quietly measured charisma to proceedings as US Secretary of Defence Thomas Clay, and Lauren London makes a suitably strong impression during her brief screen time to make her absence keenly felt as Kelly’s wife Pam. The action is intense, explosive and spectacularly executed, culminating in a particularly impressive drawn-out battle through a Russian apartment complex, while the labyrinthine plot is intricately crafted and unfolds with taut precision, but then the screenplay was co-written by Taylor Sheridan, who here reteams with Sicario 2director Stefano Sollida, who’s also already proven a seasoned hand at this kind of thing, and the result is a tense, knuckle-whitening suspense thriller that pays magnificent tribute to the most compelling creation of one of the best authors in the genre. Amazon have already signed up for more, having greenlit sequel Rainbow Six, and with this directly tied in with the Jack Ryan TV series too I can’t help holding out hope we just might get to see Jordan backing John Krasinski up in the future …

21. BLACK WIDOW – no major blockbuster property was hit harder by COVID than the MCU, which saw its ENTIRE SLATE for 2020 delayed for over a year in the face of Marvel Studios bowing to the inevitability of the Pandemic and unwilling to sacrifice those all-important box-office receipts by just sending their films straight to streaming. The most frustrating part for hardcore fans of the series was the delay of a standalone film that was already criminally overdue – the solo headlining vehicle of founding Avenger and bona fide female superhero ICON Natasha Romanoff, aka the Black Widow. Equally frustratingly, then, this film became somewhat overshadowed by real life controversy when star and producer Scarlett Johansson went head-to-head with Disney in civil court over their breach-of-contract after they hedged their bets by releasing the film simultaneously both in cinemas and on their own streaming platform, which led to poor box office receipts as many of the film’s potential audience chose to watch it at home instead of risk movie theatres with the virus still very much remaining a threat (and Disney subsequently reacted AGAIN by backtracking on their release policy and instigating a new 45-day cinema exclusivity window on all their big releases for the foreseeable future). But what of the film itself? Well Black Widow is an interesting piece of work, director Cate Shortland (Berlin Syndrome) and screenwriter Eric Pearson (Thor: Ragnarok) delivering a decidedly stripped-back, lean and intellectual beast that bears greater resemblance to the more cerebral work the Russo Brothers presented with their Captain America films than the more classically bombastic likes of Iron Man, Thor or the Avengers flicks, concentrating on story and characters over action and spectacle as we wind back the clock to before the events of Infinity War and Endgame, when Romanoff was on the run after Civil War, hunted by the government-appointed forces of US Secretary of State “Thunderbolt” Ross (William Hurt) after violating the Sokovia Accords. Then a mysterious delivery throws her back into the fray as she finds herself targeted by a mysterious assassin, forcing her to team up with her estranged little sister Yelena Belova (Midsommar’s Florence Pugh), another Black Widow who’s just gone rogue from the same Red Room Natasha escaped years ago, armed with a McGuffin capable of foiling a dastardly plot for world domination. The reluctant duo need help in this endeavour though, enlisting the aid of their former “parents”, veteran Widow and scientist Melina Vostokoff (Rachel Weisz) and Alexie Shostakov (Stranger Things’ David Harbour), aka the Red Guardian, a Russian super-soldier intended to be their counterpart to Captain America, who’s been languishing in a Siberian gulag for the last twenty years. After the Earth-shaking, universe-changing events of recent MCU events, this film certainly feels like a much more self-contained, modest affair, playing for much smaller stakes, but that doesn’t mean it’s any less worthy of our attention – this is as precision-crafted as anything we’ve seen from Marvel so far, but also feels like a refreshing change of pace after all those enormous cosmic shenanigans, while the script is tight as a drum, propelling a suspense-filled thriller that certainly doesn’t scrimp on the action front. Sure, the set-pieces are very much in service of the story here, but they’re still the pre-requisite MCU rollercoaster rides, a selection of breathless chases and bone-crunching fights that really do play to the strengths of one of our favourite Avengers, but this is definitely one of those films where the real fireworks come when the film focuses on the characters – Johansson is so comfortable with her character she’s basically BECOME Natasha Romanoff, kickass and ruthless and complex and sassy and still just desperate for a family (though she hides it well throughout the film), while Weisz delivers one of her best performances in years as a peerless professional who keeps her emotions tightly reigned in but slowly comes to realise that she was never more happy than when she was pretending to be a simple mother, and Ray Winstone does a genuinely fantastic job of taking a character who could have been one of the MCU’s most disappointingly bland villains, General Dreykov, master of the Red Room, and investing him with enough oily charisma and intense presence to craft something truly memorable (frustratingly, the same cannot be said for the film’s supposed main physical threat, Taskmaster, who performs well in their frustratingly brief appearances but ultimately gets Darth Maul levels of short service). The true scene-stealers of the film, however, are Alexie and Yelena – Harbour’s clearly having the time of his life hamming it up as a self-important, puffed-up peacock of a superhero who never got his shot and is clearly (rightly) decidedly bitter about it, preferring to relive the life he SHOULD have had instead of remembering the good in the one he got; Pugh, meanwhile, is THE BEST THING IN THE WHOLE MOVIE, easily matching Johanssen scene-for-scene in the action stakes but frequently out-performing her when it comes to acting, investing Yelena with a sweet naivety and innocence and a certain amount of quirky geekiness that made for one of the year’s most endearing female protagonists (certainly it was a grand pleasure getting to see more of her when Yelena put in a welcome appearance in the HawkeyeDisney+ series). This is definitely one of the LEAST typical by-the-numbers MCU films to date, and by delivering something a little different I think they’ve given us just the kind of leftfield swerve the series needs right now. It’s certainly one of their most fascinating and rewarding films so far, and since it seems to be Johansson’s final tour of duty as the Black Widow, it’s also a most fitting farewell indeed.

#zack snyder's justice league #werewolves within #synchronic #the tomorrow war #antlers #antlers movie #spiderman no way home #army of the dead #the french dispatch #without remorse #black widow #black widow movie #black widow mcu #2021 in movies

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aion-rsa · 3 years

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Army of Thieves: Inside Zack Snyder’s Vision for a Whole Army of the Dead Universe

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Coming less than a year after its predecessor, Army of Thieves is a prequel to Zack Snyder’s recent Netflix hit zombie movie, Army of the Dead. But Thieves is not an action-horror hybrid like that earlier movie, which was directed and co-written by Snyder. Instead Thieves is a heist thriller (one based on a Snyder story and written by Shay Hatten, who worked on the first film’s screenplay) and set in the early days of Dead’s zombie pandemic. Hence the new film focuses on one character we met in the previous film and what he was up to before the zombies struck: Ludwig Dieter (Matthias Schweighöfer), the savant-like safecracker hired in Dead to break open a vault at the center of that film’s storyline.

What makes it all the more interesting is that Snyder didn’t direct the movie either: Schweighöfer did. A director and producer in his native Germany as well as an actor, Schweighöfer finds himself helming his first major international production for streaming giant Netflix under the production banner of Zack and Deborah Snyder, who are coming off both the success of Army of the Dead and the massive publicity behind their restoration of Zack Snyder’s Justice League.

“I loved working with Zack on Army of the Dead,” Schweighöfer tells Den of Geek. “I loved Dieter, and it was so much fun to play this guy. [Getting] the offer from Zack to direct, I was like the luckiest boy in the world. We were allowed to have an origin story of this fantastic character… we ended up with this fantastic idea to have a heist movie with a romance aspect in it, and a lot of action.”

The Snyders’ longtime producing partner Wesley Coller concurs, saying, “It was exciting because as we started talking about doing this idea, Matthias came to us and said, ‘I would love to be considered to direct this. Obviously, we had the relationship with him as an actor. But we started getting more familiar with his work as a director and it just quickly became very clear to us that it would be a great fit to have him be the one to not only carry the character forward but also just the storytelling as a whole.”

Snyder, unsurprisingly is also a fan of Schweighöfer’s previous work and was keen to pass the baton on this project.

“I know that as a director, he had an amazing team that he worked with and that his eye and his style was clearly there,” says Snyder. “So I encouraged him once we decided that he was the perfect guy, because no one knew Dieter as well as Matthias. Who could you get to tell Matthias what Dieter should do? Nobody. And then my job was to just say, ‘Do your thing, don’t be afraid and just go for it.’”

As Army of Thieves opens, Dieter is working a dead end job as a bank teller in a small German town and posting occasional videos online about his obsession with safe cracking. A mysterious woman named Gwendoline (Nathalie Emmanuel of Game of Thrones and Fast and Furious fame) approaches him about joining her criminal crew to help find and open three reputedly impenetrable safes, each named after a segment of composer Richard Wagner’s Ring Cycle based on Norse mythology.

Snyder says that the connection to the Ring Cycle and Norse mythology—which continues into Army of the Dead, in which the safe that needs cracking is the fourth of the same group and named Götterdämmerung (“Twilight of the Gods” or “Ragnarok”)—also acts as a metaphor for the apocalypse that is about to descend on modern humanity in Dead.

“I don’t want to completely blow it, because it all is part of this bigger idea,” Snyder explains, “but if you look at something like the central thing in Army of the Dead as the Götterdämmerung, and that concept that the ‘Twilight of the Gods’ is happening… if we are the gods of our world, our Ragnarok is literally happening with the zombie apocalypse. And even though it feels like it’s been contained, probably to Vegas [at the end of Dead], well, the gods of Norse mythology were pretty confident that they weren’t going to be destroyed either. There’s more to it, let’s just put it that way.”

The backdrop of the zombie apocalypse does indeed seem contained to the United States as Army of Thieves opens, with Dieter recruited by Gwendoline to join her small crew and begin their safecracking spree across Europe, as a pair of relentless Interpol agents track their movements and attempt to figure out their plans.

Movies

Zack Snyder’s Army of the Dead Universe Is Here to Stay

By John Saavedra

Movies

Army of Thieves Ending Explained

By John Saavedra

While a heist thriller may seem like an odd choice as a prequel to a movie about a zombie Götterdämmerung, Zack says that the genre itself has its own special appeal. “The fact that [the heist movie] endures is the thing that makes it interesting,” the producer considers. “If you make a heist film, there’s certain elements that you almost have to include now, but we get to deconstruct the why of all those things and have fun. The audience knows they’re coming, but we can subvert them at the same time.”

While Army of Thieves itself sprang out of the creation of the character of Dieter, the idea of assembling a series of films that spun off from Snyder’s 2004 directing debut, Dawn of the Dead, has been around almost since that film was released more than 15 years ago. Indeed, Army of the Dead was once slated as its original follow-up.

“We had developed it, we had tried to get it made, but the budget was too big,” says Deborah Snyder. “So it kind of sat and then after Justice League, we were going to do it with Warner Bros. but they didn’t want to spend the money—it was a lot of visual effects to get it done. So Zack and I, having the relationship with [Netflix head of original films] Scott Stuber, went to Netflix, and they were so excited to have this and to see what it was.”

Zack says that although the initial idea was to do smaller follow-ups to Army of the Dead geared toward local audiences in Netflix’s international markets, the concept picked up enough steam, and the global response to Dead was strong enough, to turn it into a full-blown shared universe: the “Army-verse” as Zack calls it with a chuckle.

An animated prequel series called Army of the Dead: Lost Vegas is already in production, with Dead cast members Dave Bautista, Tig Notaro, Ella Purnell, Omari Hardwick, and others reprising their roles from the movie.

“We get to unpack quite a bit in terms of how that team came together,” says Coller. “We also get to go down the rabbit hole of where this outbreak may have originated, what its origins are, the path that it took to Vegas, so I think there’s a lot of interesting ideas in terms of the camaraderie in the team building and who they are, while also getting to explore some of the zombie genre fun of the outbreak.”

Deborah even interjects that “maybe even Area 51” is on the table in a potential spin-off. Down the line.

“Growing this as a franchise happened very organically,” says Coller. “The conversation quickly became, ‘Well, there’s a lot to learn about [Army of the Dead].’ What happened before? Where does all come from? And I think, to that point, our experience with being in a franchise world previously [with DC films] was helpful, because I think we could see the potential and we were like, ‘Oh, yeah, we can start to build that’… I think being able to do that now in an original space offered all these new exciting things, too, because there wasn’t canon and there wasn’t boxes to be checked or history with the property.”

Zack himself will helm the live-action sequel, titled Planet of the Dead, presumably after he directs his new sci-fi movie Rebel Moon. While the connection points between the animated series, the live-action Dead movies, and Army of Thieves are all there, Zack hints that they may link to each other in unexpected ways.

“[Army of Thieves] connects to the prequel animated series only in the same way that Army of the Dead connects to this,” Zack says. “I believe the animated series actually connects us more to what would be Army 2.” Zack adds that he and writer Shay Hatten “plant a lot of seeds” for Planet of the Dead in Lost Vegas, with time loops potentially in the mix, and even a chance that Dieter himself—who seemingly sacrificed himself at the end of Army of the Dead—could return.

“It’s just fun to expand these concepts, have them all connect and have that backstory make sense,” says Zack, who says the goal is to “let the fans really take apart the time loops and then maybe start to make some correlation between these characters and the gods of Norse mythology, and how they all meet their demise. These are things that you can start to play with, and as you get further down, you start to see how we are putting these together.”

Army of Thieves is now streaming on Netflix.

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theliterateape · 4 years

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I Like to Watch | Zack Snyder’s Justice League

by Don Hall

Mythology is fun.

As a kid I loved reading Edith Hamilton’s book on the Greek gods and the myths. Hercules, Perseus, Apollo, and Hera—this fell completely in line with my love for superhero comics. The strangely petty human traits of envy, greed, and lust combined with the power to level cities make for some great storytelling.

Zeus was basically Harvey Weinstein in the retroactive revision we’re mired in today. If Harvey could’ve changed into a golden animal and boned unsuspecting ladies looking for careers in Hollywood I’m pretty certain he would. The gods and demi-gods of the Greeks dealt with daddy issues, mommy issues, bad relationships, and fighting. Lots of fighting. Sometimes for the good of humanity but more often for the glory of winning.

Zach Snyder is in the business of tackling myths and reframing them with a style all his own. His career has become its own myth.

From Dawn of the Dead (not so much a reboot of Romero's zombie mythology but a philosophical reimagining of the genre that arguably jumpstarted The Hollywood fascination with it), 300 (a borderline homoerotic take on the myth of the Greek underdog), and Watchmen (a ridiculously ambitious attempt to put one of the most iconic takedowns on the potential fascism of the superhero legend machine ever written) to his nearly single-handed hack at answering the Marvel juggernaut with Man of Steel and Batman vs Superman: Dawn of Justice, Snyder is in the artistic business of subverting and re-envisioning the mythologies we embrace without even seeing them as such.

Snyder's style is operatic. It is on a grand scale even in the most mundane moments. The guy loves slow motion like Scorcese loves mobsters and Italian food. When you're tackling big themes with larger than life stories, the epic nature of his vision makes sense and has alienated a good number of audience members. With such excess, there are bound to be missteps but I'd argue that his massive take on these characters he molds from common understanding and popular nomenclature elevates them to god-like stature.

Fans of Moore's Watchmen have much to complain about Snyder's adaptation. The titular graphic novel is almost impossible to put in any other form than the one Moore intended and yet, Snyder jumped in feet-first and created a living, breathing representation of most, if not all, of the source material's intent. Whether you dig on it or not, it's hard to avoid acknowledging that the first five minutes of Watchmen is a mini-masterpiece of style, storytelling, and epic tragedy wrapped up in a music video.

Despite a host of critical backlash for his one fully original take, Sucker Punch is an amazing thing to see. More a commentary on video game enthusiasm with its lust for hot animated chicks and over-the-top violence that a celebration of cleavage and guns, the film is crazily entertaining. For those who hated the ending, he told you in the title what his plan was all along.

The first movie I saw in the theaters that tried to take a superhero mythology and treat it seriously (for the most part) was Richard Donner's Superman: The Movie. Never as big a fan of the DC characters as I have been of Marvel, it was still extraordinary to see a character I had only really known in pages to be so fully realized. Then came Burton's Batman movies. The superhero film was still an anomaly but steam was gaining. Things changed with Bryan Singer's X-Men in 2000, then Raimi's Spiderman, and those of us who grew up with our pulpy versions of Athena, Hermes, and Hades were rewarded with Nolan's Batman Begins. A far cry from the tongue-in-cheek camp of the 1966 TV Batman, Christian Bale's Bruce Wayne was a serious character and his tale over three films is a tragic commentary filled with the kind of death and betrayal and triumph befitting the grand narrative he deserved.

I loved Singer's Superman Returns in 2006 because it was such a love letter to the 1978 film (down to the opening credits) but by then, the MCU was taking over the world.

Snyder's first of what turns out to be an epic storyline involving perhaps seven or eight movies was Man of Steel. It was fun and, while I had my issues with the broodiness of Kal El, the odd take on Jonathan Kent, and a redheaded Lois Lane, I had no issue with Superman snapping Zod's neck. Darker and more tragic than any other version of the Kryptonian, it was still super entertaining.

Then came Batman v Superman: Dawn of Justice. By 2016, Marvel had codified their formula of serious characters wrestling with serious issues of power and responsibility peppered with lots of good humor and bright colors. Snyder's desaturated pallete and angst-filled demi-gods was not the obvious road to financial competition.

I'll confess, I hated it. BvS felt half-rendered. Lex Luthor was kind of superficial and played as a kind of Joker. The whole Bruce Wayne wants to kill Superman thing felt undeveloped and the "Martha" moment was just stupid.

When Joss Whedon's version of Snyder's Justice League came out in 2017, I was primed for it to be a turd and I wasn't surprised. So much of it didn't work on any level. I dismissed it as DC trying and failing miserably and was comforted by the coming of Thanos.

Following Thanos and the time heist was COVID. Suddenly, we were internationally sidelined and the movie theater industry caved in. Streaming services started popping up like knock-off smartphones and Hollywood was reeling, doing anything and everything to find a way back. Since Whedon's disastrous helming of Snyder's third act, fans online had been demanding to #ReleasetheSnyderCut but no one was ever really taking them seriously until all movie production was shut down for a year.

The stage was set to remedy a mistake (or at least make some bucks on a do-over of a huge box office failure). Snyder had left the production in part because of the suicide of his daughter and in part due to the constant artistic fights over executives looking for the quippy fun of the MCU but he still had all the original footage. Add to that the broiling accusations that Joss Whedon was "abusive" during the reshoots, the path seemed destined. For an additional $70 million and complete control, Snyder delivered a four hour mega-movie streamed on HBOMax.

Of course, I was going to watch the thing as soon as I could.

The Whedon version opens with an homage to the now dead Superman (including the much maligned digitally erased mustache on Henry Cavill). The SynderCut opens with the death of Superman and the agony of his death scream as it travels across the planet. It's a simple change but exemplifies the very different visions of how this thing is gonna play out.

Snyder doesn't want us to be OK with the power of these beings unleashed. He wants us to feel the damage and pain of death. He wants the results of violence to be as real as he can. When Marvel's Steve Rogers kicks a thug across the room and the thug hits a wall, he crumples and it is effectively over. When Batman does the same thing, we see the broken bones (often in slow motion) and the blood smear on the wall as the thug slides to the ground.

The longer SnyderCut is bloated in some places (like the extended Celtic choir singing Aquaman off to sea or the extended narrations by Wonder Woman which sound slightly like someone trying to explain the plot to Siri). On the other hand, the scene with Barry Allen saving Iris West is both endearing and extraordinary, giving insight to the power of the Flash as well as some essential character-building in contrast to Whedon's comic foil version.

One thing I noticed in this variant is that Zach wants the audience to experience the sequence of every moment as the characters do. An example comes when Diana Prince goes to the crypt to see the very plot she belabors over later. The sequence is simple. She gets a torch and goes down. Most directors which jump cut to the torch. Snyder gives us five beats as she grabs the timber, wraps cloth around the end, soaks it with kerosene, pulls out a box of matches, and lights the torch. Then she goes down the dark passageway.

The gigantic, lush diversity of Snyder’s vision of the DC superhero universe—from the long shots of the sea life in the world of Atlantis to the ancient structures and equipment of Themyscira— is almost painterly. Snyder isn't taking our time; he's taking his time. We are rewarded our patience with a far better backstory for the villain, a beautifully rendered historic battle thwarting Darkseid's initial invasion (including a fucking Green Lantern), and answers to a score of questions set up in both previous films.

Whedon's Bruce Wayne was more Ben Affleck; Snyder's is full-on Frank Miller Batman, the smartest, most brutal fucker in the room. Cyborg, instead of Whedon's sidelined non-character, is now a Frankenstein's monster, grappling with the trade-off between acceptance and enormous power. Wonder Woman is now more in line with the Patty Jenkins version and instead of being told about the loss of Superman, we are forced to live with the anguish of both his mother and Lois Lane in quiet moments of incredible grief.

To be fair to Whedon (something few are willing to do as he is now being castigated not for racism or sexism but for being mean to people) having him come in to throw in some levity and Marvel-esque color to Snyder's Wagnerian pomposity is like hiring Huey Lewis to lighten up Pink Floyd's The Wall or getting Douglas Adams to rewrite Cormac McCarthy's The Road.

I loved Snyder's self-indulgent, mythologic DC universe.

So much so that I then re-watched Man of Steel and then watched the director's version of BvS (which Snyder added approximately 32 minutes). The second film is far better at three hours and Eisenberg's Lex Luthor now makes sense. Then I watched Zach Snyder's Justice League a second time.

After nineteen hours of Snyder's re-imagining of these DC heroes and villains, I saw details that, upon first viewing, are ignored or dismissed, but after seeing them in order and complete, are suddenly consistent and relevant. Like Nolan or Fincher, Snyder defies anyone to eliminate even one piece of his narrative no matter how long. With all the pieces, this is an epic story and the pieces left at the extended epilogue play into a grander narrative we will never see.

Or maybe we will. Who knows these days?

#I Like to Watch #Zach Snyder's Justice League

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catweazle-ganzer-filme-de · 3 years

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❍❍❍ Definition and definition of film / KinoX ❍❍❍

While the players who play a role in the film are referred to as actors (men) or actresses (women). There is also the term extras that are used as minor characters with few roles in the film. This differs from the main actors, who have larger and more roles. As an actor and actress, good acting talent must be required that corresponds to the subject of the film in which he plays the leading role. In certain scenes, the role of the actor can be replaced by a stunt man or a stunt man. The existence of a stuntman is important to replace the actors who play difficult and extreme scenes that are usually found in action-action films.

Movies can also be used to deliver certain messages from the filmmaker. Some industries also use film to convey and represent their symbols and culture. Filmmaking is also a form of expression, thoughts, ideas, concepts, feelings and moods of a person that are visualized in the film. The film itself is mostly fictional, though some are based on actual stories or on a true story.

There are also documentaries with original and real images or biographical films that tell the story of a character. There are many other popular genre films, from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science fiction films, crime films, documentaries and others.

This is some information about the definition of film or film. The information has been cited from various sources and references. Hope it can be useful.

❍❍❍ TV FILM ❍❍❍

The first television shows were experimental, sporadic programs that from the 1930s could only be seen at a very short distance from the mast. TV events such as the 1936 Summer Olympics in Germany, the crowning of King George VI. In Britain in 19340 and the famous launch of David Sarnoff at the 1939 New York World’s Fair in the United States, the medium grew, but World War II brought development to a halt after the war. The 19440 World MOVIE inspired many Americans to buy their first television, and in 1948 the popular Texaco Star Theater radio moved to become the first weekly television variety show that hosted Milton Berle and earned the name “Mr Television” demonstrated The medium was a stable, modern form of entertainment that could attract advertisers. The first national live television broadcast in the United States took place on September 4, 1951, when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco on AT & T’s transcontinental cable and microwave relay system was broadcasting to broadcasters in local markets has been.

The first national color show (the 1954 Rose Parade tournament) in the United States took place on January 1, 1954. For the next ten years, most network broadcasts and almost all local broadcasts continued to be broadcast in black and white. A color transition was announced for autumn 1965, in which more than half of all network prime time programs were broadcast in color. The first all-color peak season came just a year later. In 19402, the last holdout of daytime network shows was converted to the first full color network season.

❍❍❍ Formats and Genres ❍❍❍

See also: List of genres § Film and television formats and genres TV shows are more diverse than most other media due to the variety of formats and genres that can be presented. A show can be fictional (as in comedies and dramas) or non-fictional (as in documentary, news, and reality television). It can be current (as in the case of a local news program and some television films) or historical (as in the case of many documentaries and fictional films). They can be educational or educational in the first place, or entertaining, as is the case with situation comedies and game shows. [Citation required] A drama program usually consists of a series of actors who play characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (with the exception of soap opera series) generally remained static without storylines, and the main characters and premise barely changed. [Citation required] If the characters’ lives changed a bit during the episode, it was usually reversed in the end. For this reason, the episodes can be broadcast in any order. [Citation required] Since the 1980s, many FILMS have had a progressive change in the plot, characters, or both. For example, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television films to have this kind of dramatic structure [4] [better source required], while the later MOVIE Babylon 5 further illustrated such a structure had a predetermined story about the planned five season run. [Citation required]

In 2021, it was reported that television became a larger part of the revenue of large media companies than the film. Some also noticed the quality improvement of some television programs. In 2021, Oscar-winning film director Steven Soderbergh declared the ambiguity and complexity of character and narrative: “I think these qualities are now being seen on television and people who want to see stories with such qualities are watching TV.

❍❍❍ Thanks for everything and have fun watching ❍❍❍

Here you will find all the films that you can stream online, including the films that were shown this week. If you’re wondering what to see on this website, you should know that it covers genres that include crime, science, fi-fi, action, romance, thriller, comedy, drama, and anime film.

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Regularly and thoroughly clean your hands with an alcohol-based hand rub or wash them with soap and water.

Why? Washing your hands with soap and water or using alcohol-based hand rub kills viruses that may be on your hands.

Maintain social distancing

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Why? When someone coughs or sneezes they spray small liquid droplets from their nose or mouth which may contain virus. If you are too close, you can breathe in the droplets, including the COVID-19 virus if the person coughing has the disease.

Avoid touching eyes, nose and mouth

Why? Hands touch many surfaces and can pick up viruses. Once contaminated, hands can transfer the virus to your eyes, nose or mouth. From there, the virus can enter your body and can make you sick.

Practice respiratory hygiene

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armyofthedeadstream · 3 years

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Dave Bautista ist nicht das, was man als "starken, stillen Typ" bezeichnen würde. Kaum verborgen unter dem riesigen Körper eines Superhelden - eine Rolle, die er mehrfach in Marvels Guardians of the Galaxy-Filmen gespielt hat - liegt ein Herz voller Emotionen. Er ist anfällig für Wutausbrüche und Frustrationen und hat keine Angst, auf dem Bildschirm zu weinen. Mit 52 Jahren ist er etwas älter als Ihr normaler Hollywood-Action-Typ. Er trägt das Gewicht all dieser Jahre in jeder Linie auf seinem verwitterten Gesicht. Er sieht aus, als könnte er dich fertig machen, ohne ins Schwitzen zu geraten - und dann mit der Schuld und Schande ringen, was er für den Rest seines Lebens getan hat.

All diese Eigenschaften machen Dave Bautista zum perfekten Hauptdarsteller für Zack Snyder, einen Filmemacher, der das letzte Jahrzehnt damit verbracht hat, die Ikonographie der Helden von DC Comics auseinander zu reißen. Er verwandelte Superman in einen widerstrebenden Retter, der von Selbstzweifeln geplagt war, und machte Batman zu einem sadistischen Rächer des Verbrechens. Snyders neueste Version, Army of the Dead, ist eine hochkarätige Kombination aus Zombiefilm und Überfallfilm. Über den Nervenkitzel hinaus ist es jedoch Snyders Gelegenheit, die Themen seiner letzten DC-Filme und insbesondere den Schnitt seines Regisseurs der Justice League über reumütige Väter fortzusetzen, die versuchen, zerbrochene Beziehungen zu ihren Kindern inmitten apokalyptischer Spielereien zu reparieren.

Hier kommt Bautista ins Spiel. Er spielt Scott Ward, einen pensionierten Soldaten, der den Verteidigungsminister aus Las Vegas rettete, nachdem er plötzlich von Zombies überrannt worden war. Der Ausbruch von Vegas wurde letztendlich durch den Bau einer Mauer um Sin City eingedämmt. Jahre später ist das Militär bereit, den Ort ein für alle Mal zu zerstören, um keine weiteren Probleme der Untoten zu verursachen. Nachdem die Regierung abgelenkt ist, erkennt ein wohlhabender Casino-Magnat (Hiroyuki Sanada von Mortal Kombat) eine Gelegenheit und rekrutiert Ward, um ein Team zusammenzustellen, das 200 Millionen Dollar aus dem Tresor seines verlassenen Casinos holt, bevor die Bomben das Geld auslöschen.

Ward wirft Burger in einen fettigen Löffel, der seiner erwachsenen Tochter Kate (Ella Purnell) entfremdet ist, und beschließt, nichts zu verlieren. Also trifft er sich wieder mit einigen seiner alten Freunde (einschließlich Omari Hardwicks Vanderohe, einem philosophischen Krieger, der eine riesige Kreissäge als Waffe mit sich herumträgt) und rekrutiert neue Hilfe (wie Matthias Schweighöfers Dieter, ein schrulliger sicherer Cracker ohne Zombietötungserfahrung ) um nach Vegas zurückzukehren. Sanadas Tanaka besteht darauf, dass der Überfall ein Kinderspiel sein wird - eine frühe Montage schneidet seine Beschreibung des Plans mit Zeitlupenaufnahmen von Wards Crew ab, die mühelos Zombies auf ihrem Weg zu Glück und Ruhm schlachtet -, aber kein Filmüberfall ist jemals ein Kinderspiel . Noch bevor Ward und seine Firma sich nach Vegas schleichen, gibt es Komplikationen. Kate verlangt, sich dem Team anzuschließen, um einen vermissten Freund zu finden, und Tanaka fügt seinen rechten Mann (Garrett Dillahunt) der Gruppe hinzu, und er hat offensichtlich nicht die besten Interessen der Mission im Herzen.

Snyders allererster Spielfilm als Regisseur war ein Remake von George Romeros Dawn of the Dead, eine entmutigende Aufgabe, die er mit beeindruckendem Selbstvertrauen und Können bewältigte. Snyder kehrte zum ersten Mal seit über 15 Jahren wieder in die Welt der Zombies zurück und erfand eine lebendige neue Version des Genres. Das Hinzufügen von Überfallelementen verleiht der bekannten Formel bereits einen neuen Ton und Geschmack. Darüber hinaus entwickeln Snyder und die Co-Autoren Shay Hatten und Joby Harold eine interessante Möglichkeit, beide Klassen von Zombies - die langsamen, durcheinandergebrachten und die schnellen, intelligenten - einzubeziehen, indem sie in den Ruinen von Las Vegas eine ganze Zombie-Gesellschaft gründen . Die Entdeckung der Bräuche und der Kultur dieser Gesellschaft (zusammen mit den Motivationen des Anführers der Zombies, gespielt von Richard Cetrone) verstärkt die Intrige, als Ward und seine Männer immer tiefer in feindliches Gebiet vordringen.

Es gibt gewichtige Ideen, die an den Rändern des Rahmens auftauchen - die Situation in Vegas führt zu einer Flüchtlingskrise in den Vereinigten Staaten, und die Behandlung der Überlebenden, die „unter Quarantäne gestellt“ wurden, enthält beunruhigende Parallelen zu unserer postkoviden Realität - aber meistens Snyder scheint jetzt eine tolle Zeit zu haben, die sich endlich keine Sorgen mehr darüber macht, was DC-Fans (und vor allem, was Führungskräfte von Warner Bros.) von seiner Arbeit halten. Sein dystopisches Las Vegas ist voller wilder Bilder, wie eine Zombie-Häuptlingin in einem zerfallenden Showgirl-Outfit und ein untoter Tiger, der auf der Suche nach frischem Fleisch über den Strip streift. Snyder bietet die erforderlichen Action-Sequenzen, die von etwas namens Army of the Dead verlangt werden, aber er findet auch viele Möglichkeiten, die Zuschauer zu überraschen.

Zack Snyder setzt sein ruhmreiches Comeback mit einer hirnspritzenden, actiongeladenen neuen Version des Zombie-Genres fort. Army of the Dead ist ein Überfallfilm, der in einem von Fleischessern überrannten Las Vegas spielt. Denken Sie nicht daran, dass Ocean's Eleven The Walking Dead trifft. Der Film stellt ein Zombieszenario mit einem viel raffinierteren Gegner auf. Hervorragende praktische Effekte und Make-up-Design tragen zum grausamen Gemetzel bei. Eine saftige Nebenhandlung und eine lange Laufzeit sind negativ, aber nicht genug, um den Film nach unten zu ziehen. Army of the Dead wird ein Monsterhit für Netflix sein.

Army of the Dead beginnt mit einer frenetischen Montage, die die Hauptfiguren vorstellt und die Erzählung umrahmt. Ein Unfall führt dazu, dass Las Vegas von Zombies befallen wird. Das Militär umgibt die Stadt mit einer Barrikade von Containern, um die Untoten zu bereinigen. Am Stadtrand wird eine Quarantänezone eingerichtet, in der Vertriebene untergebracht und überwacht werden. Es werden strenge Maßnahmen ergriffen, um sicherzustellen, dass sich die Infektion nicht über die ehemalige Stadt Sin hinaus ausbreitet. Dave Bautista spielt Scott Ward, einen Ex-Militärmann, der mit seinem Team von Las Vengeance aus Las Vegas geflohen ist. In der Folgezeit wird er von einem Casino-Mogul (Hiroyuki Sanada) mit einem lukrativen, aber gefährlichen und zeitkritischen Job angesprochen. In seinem Tresor stecken 200 Millionen Dollar. Er will das Geld, bevor die Regierung die Stadt am 4. Juli in vier Tagen zerstört. Ward versammelt seine Söldner (Omari Hardwick, Ana de la Reguera, Tig Notaro) sowie einen Safecracker (Matthias Schweighöfer) und einen triggerfreudigen Social-Media-Influencer (Raúl Castillo). Die Mission wird komplexer, als er gezwungen ist, seine entfremdete Tochter (Ella Purnell) und eine zweifelhafte Kojote (Nora Arnezeder) anzuwerben, um die Stadt zu infiltrieren.

Zack Snyder hatte sich bereits 2004 mit der fantastischen Dawn of the Dead sein Zombie-Verdienstabzeichen verdient. Er verändert das Spiel komplett, indem er die Untoten mehr als sinnlose Orgelknabber macht. Es gibt verschiedene Arten von Zombies, die nicht nur herumwirbeln und tatsächlich eine Agenda haben. Das Erreichen des Tresors ist nicht einfach nur ein Weg durch das Gewölbe. Das Team muss sorgfältig einen Weg zu seinem Ziel aushandeln. Aber nicht jeder auf der Mission hat das gleiche Ziel. Snyders Handlung ist nicht die abgestandene Zombie-Runderneuerung, die wir unzählige Male zuvor gesehen haben. Es ist erfrischend, wieder ein wenig Kreativität im Genre zu haben.

Army of the Dead hat eine Fülle von CGI, aber die Kreaturen- und Make-up-Effekte sind herausragend. Es gibt Szenen, in denen Blut und Eingeweide auf das Kameraobjektiv spritzen. Arterien sprudeln wie Springbrunnen, die Haut wird zerrissen und der Darm wird wie Nudeln gezogen. Ich bin kein Fan von extremem Blut, aber die Verschwörung rechtfertigt ein Blutbad. Das ist kein Folterporno. Die Aktion hat einen menschlichen Tribut, der Sinn macht. Der Tod ist in diesem Film nicht einfach oder schmerzfrei.

Die üblichen Schwächen von Zack Synder sind vorhanden. Army of the Dead läuft zwei Stunden und achtundzwanzig Minuten. Die Länge des Films führt zu einigen unnötigen Pausen. Zum Glück nimmt die Aktion wieder zu, aber eine engere Bearbeitung hätte das Tempo verbessert. Es gibt auch Melodramtöne, da Dave Bautista und Ella Purnell eine angespannte Vater-Tochter-Beziehung haben. Es ist absolut unglaublich und gezwungen. Trotzdem sind sich Snyders Fans seines jüngsten Verlusts sehr bewusst und verstehen, warum das Thema Versöhnung so wichtig ist.

Army of the Dead ist ein lustiger Publikumsmagnet von einem Regisseur, der eindeutig wieder im Groove ist. Es ist der erste Film in einem neuen Zombie-Universum mit einem Prequel, Army of Thieves, das für später in diesem Jahr geplant ist. Army of the Dead ist eine Produktion von The Stone Quarry. Es wird am 14. Mai im Kino erscheinen. Gefolgt von einem Streaming-Debüt am 21. Mai auf Netflix.

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dalegoldberg · 3 years

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Will movie theaters be relevant in a post-pandemic world? It's now up to you.

On Monday, the beloved Arclight and Pacific Theaters announced they’re closing for good. ArcLight Cinemas is arguably Hollywood's most cherished theater and Pacific has been a mainstay in Los Angeles since 1946. The announcement of their closing shocked many as another casualty of the Covid-19 pandemic.

In the company announcement, they said "This was not the outcome anyone wanted, but despite a huge effort that exhausted all potential options, the company does not have a viable way forward." One can understand how a movie theater might go under in the middle of a pandemic but I did find it interesting that they felt there was truly no way forward.

One might've expected some members of the Hollywood elite to come clamoring forward with a bucket of cash to at least front the company long enough to sustain it through the pandemic so that it could reopen when the time was right.

Back in 2014, Kodak faced a similarly dire situation (for different reasons, obviously) and was ready to close its doors. That was until J.J. Abrams, Christopher Nolan, Quentin Tarantino, Judd Apatow and other filmmakers banded together to save the floundering company. Their shared love of film compelled them to save the dying medium and, thanks to those filmmakers and their studio backers, the company is still alive today.

But that hasn’t happened with these theaters. I'm not saying that can't happen, of course. The announcement just came this week so time will tell. I will say, however, it sounds like the company may have already exhausted their options (in light of the no "viable way forward" statement).

The death of ArcLight Cinemas and Pacific Theaters may not just signify another casualty of the pandemic but may actually be a sign of the times. Even prior to the pandemic many were wondering, amongst cord cutting and increasing interest in streaming content, how much longer would movie theaters stay relevant?

The pandemic has shifted the world in general, of course, and one of those big changes coming post-pandemic may be a world where movie theaters have a drastically different business model. Perhaps, one that makes them unrecognizable to us as we know them today.

Does that seem like too bold a claim? Perhaps. Let's just look at the state of the business now.

The state of the business pre-Covid

Prior to the pandemic, movie studios were beholden to the theaters to release their movies in theaters for a certain period of time. So if Warner Brothers wanted to release "Godzilla vs Kong" in theaters, they would have had to wait 90 days before releasing the film on Blu-Ray or to a streaming platform. There was a bit of flexibility on this when it came to digital rentals but otherwise 90 days was the standard. Now, movie studios did have the option of by-passing the theatrical exhibition altogether if they wanted and just going straight to people's homes. Why didn't they?

One reason might've been the Paramount Consent Decrees. The Consent Decrees date back to 1948 when the Supreme Court ruled that movie studios had to separate their distribution operations from their exhibition operations. Essentially, studios were barred from owning movie theaters as it was seen as a monopolistic practice and not fair to consumers. At the time, the only way you could see a movie was in a theater. Gradually, over time, of course, that changed and technology enabled us to watch movies at home. We got VHS, then DVD's, then Blu-Rays, then iTunes Movies, then Netflix and so on. But the theaters remained as a mainstay. Why?

I know many of my friends would argue it's because there's no better way to see a movie than in a theater. If you said that twenty years ago I would have agreed. But today, I'd say that's become largely subjective given the technology available at home. From a purely business oriented perspective, though, there's a host of little reasons theaters remained important such as films not being eligible for Oscar nominations without a theatrical release and, possibly, because studios worried that bypassing theaters would result in further regulations by the courts.

But mostly, it's because we, the audience, were accustomed to theaters. It gave a film legitimacy when it was presented in a theater. It used to be that if a movie went “straight to home video” it was considered cheap and probably low budget. Because of that, even though the studios were giving up 50% of their revenue to the theaters, their gross still was greater than what home distribution netted them in the initial release window.

Even after the invention of Blu-Rays and iTunes Movies, studios were still sending movies to theaters (1) because it was a huge source of revenue and (2) because it helped market the movie. The movie’s success at the box office gave us a reason to want that movie at home.

A shift in Public perceptions

There's a growing number of people that no longer think that way. If a movie goes to streaming now (the new home video), we no longer assume the movie is cheap or low budget. The content on streaming is just as good as the stuff we're seeing in theaters. There’s been a massive shift in our perception of what great “cinema” is. Yeah, you might still wanna' see some things in theaters but it doesn’t cheapen the movie for you if you don't.

And that’s a big problem for theaters. The leverage they’ve had over the studios up till now has been the Consent Decrees and our perception of what great cinema is. Significant, no doubt, but those two things have changed. In August of last year, the Paramount Consent Decrees were terminated with a two-year sunset period on certain aspects of the Decrees all but ensuring that studios could now vertically integrate if they wanted to. Or just bypass the theaters altogether - as some studios already have been experimenting with.

Even at the start of the pandemic, many movies were removed from theaters and sent straight to streaming with studios reporting that the revenue gained from VOD and online rentals rivaled the profit gained from theatrical distribution. As various studios like Paramount and Warner Brothers enter the streaming game alongside Disney (Disney Plus, Hulu) and Netflix, they too are experimenting. As you may have heard, Warner Bros. is releasing all their movies this year on their streaming platform HBOMax on the same day the films are released in theaters (a practice known as "day and date"). No doubt, the bean counters at Warner Bros. will be looking to see if this is a practice that should stay. It’d be fair to say that these experiments are not true representations of reality given the state of the world we’re testing this new distribution model with. But it is changing our perception of how important movie theaters are.

Studios are altering the deal

During the pandemic, theaters have been brought to their knees and have been forced to renegotiate certain terms with the studios including the release window between theatrical and home distribution. Most studios now have negotiated a home release date that comes just 17 days after the movie debuts in theaters - far shorter than the original 90 days.

This, of course, can be argued to just be a by-product of the pandemic. Theaters don't have leverage now but once the pandemic is over they will and they'll renegotiate. Right?

That really hinges on whether or not audiences still think a movie has more value if it was presented in a theater before they got to see it at home. Does it enhance the movie for me if it gets shown in a theater or am I just as interested (or maybe even more interested) in seeing it if it is sent straight to my home?

Other big changes are happening

There's other factors to consider as well. One might be the massive shift of homeowners into the suburbs and away from the city during the pandemic. Many employers are making it possible to work from home (a trend that will likely continue post-pandemic as the internet improves and more businesses see the benefits of a remote workforce) resulting in a mass exodus from cities to suburbs. Living in the suburbs means you don’t have the same pull of massive audiences in large gatherings the way you used to. We’re also investing more in our homes to make them enjoyable places to not only live but play as well. It’s a shift in our culture.

Another factor is that our perception of long form content has changed. Episodic television used to be where big movie stars went to end their careers after a career starring in movies. Now, it’s the reverse. A lot of stars are starting in television rather than finishing there because we (the audience) love binging on serialized content and when we’re not binging episodes we’re watching four hour movies (The Irishman, Zack Snyder's Justice League). Those experiences don’t work well in theaters where you’re stuck sitting in the same place and can’t hit the pause button.

Ultimately, the biggest factor might be what it usually comes down to - money. Before the pandemic audiences were already lamenting about the cost of movie tickets. A single afternoon of me taking my wife and kids to see the latest Disney movie in a theater could cost me $50 - $60 just for admission (not to mention the cost of food and drinks). But during the pandemic I was able to rent “Mulan” for $30 from comfort of my own home. Or, if I wanted, I could just wait three months and then see it as part of my regular Disney Plus subscription (which I was already paying for anyways so I could watch “The Mandalorian”).

As things open back up, many people are not necessarily swimming in money and, while I think the Covid relief packages have probably helped, a lot of people are still hurting and will be looking for any which way to save money. It seems unlikely that theaters will be able to lower their costs at this point given the need to recoup their losses from the pandemic and the probable need to make new investments in their facilities to stay competitive. They will need to get creative to show real value to audiences that might be reluctant to rush back in to theaters.

So what will happen to theaters post-pandemic?

For those of you worried I’m predicting doomsday for theaters - relax. I think theaters are probably here to stay regardless of what happens. They’re too much a part of what movies are to simply disappear. That said, they are a business and, currently, a failing one. What they look like post-pandemic doesn’t look great, from my perspective, unless the business model changes.

One possible scenario is that theaters become like playhouses or music festivals. In other words, they’ll still exist but in fewer quantities and will become more niche, featuring elevated experiences centered around tentpole movie properties which audiences are willing to pay a premium for (think “Top Gun: Maverick” or “Godzilla vs Kong”). I can see this form of adaptation working well in everyone’s favor.

Another possibility is that the studios buy out the movie theaters. The termination of the consent decrees has made that a real possibility. And then, once they’ve purchased them, build brand experiences centered around their properties. Something like miniature Disney Lands. They would most likely close a significant number of locations leaving only the flagships they felt would bring in a large audience and use them to promote the movies on their slate. A company like Disney with a large library of films could also use the theaters as a means of re-presenting old films from their library, borrowing a tactic from LucasFilm, and refresh old content to make it new again for theatrical. In essense, the net effect would be the same as in the first scenario: fewer theaters, more niche experiences.

I say this because it is somewhat unclear, to me at least, how the current model can persist if studios own theaters. Yes, they’d control theatrical distribution but they’d likely only be purchasing a theater to distribute their own movies. Would a company like Paramount, who’s only releasing seven movies this year, see the value of owning a theater chain? Even Disney’s slate only consists of 14 movies. To make the business viable (at least as it exists now), they would have to present movies from other studios. Would one studio trust that the studio in ownership of the theater was giving them a fair number of screens for presentation? It seems untenable under the current model.

What happens next is really up to you

The biggest change from the pandemic is that we as audiences have changed the way we look at movies. We’re ok with watching movies at home and, thus, the leverage theaters have to negotiate longer release windows between theatrical and home distribution has all but disappeared. The artificial pillars that made theaters a necessity are all but gone. And yes, the Oscars will likely still require that movies be released in theaters to be eligible for nomination but the standards of what a "theatrical release" means do not require as vast a distribution as you might think (see page 2, sub-section D of the General Entry rules). Plus, let's be honest - not all movies are meant to be Oscar contenders.

So really, the only thing to keep theaters relevant now is you - the audience. My prediction is that we’ll initially see some high demand for theaters as cities are re-opened and we try to return to our regular lives. But after we get back to a sense of normalcy (whatever that means in the future) we’ll see how much audiences really want to keep paying $20 per ticket to see a movie when they could just pay $30 once to rent it at home with the entire family or binge the new hot show on Netflix / Amazon / Apple TV/ Paramount Plus / Disney Plus / Hulu / Peacock / whatever else is out there.

At that point, the studios will do some math and if the profit they’re making from streaming outweighs the profit from the box office, theaters won’t have much of a leg to stand on. That is, unless audiences continue to demand theaters be a relevant part of the movie watching experience. Without considerable innovation on behalf of the theaters, though, I question how likely that is to happen.

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grigori77 · 3 years

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Movies of 2021 - My Pre-Summer Favourites (Part 2)

The Top Ten:

10. ZACK SNYDER’S JUSTICE LEAGUE – one of the undisputable highlights of the Winter-Spring period has to be the long-awaited, much vaunted redressing of a balance that’s been a particular thorn in the side of DC cinematic fans for over three years now – the completion and restoration of the true, unadulterated original director’s cut of the painfully abortive DCEU team-up movie that was absolutely butchered when Joss Whedon took over from original director Zack Snyder and then heavily rewrote and largely reshot the whole thing. It was a somewhat painful experience to view in cinemas back in 2017 – sure, there were bits that worked, but most of it didn’t and it wasn’t like the underrated Batman Vs Superman: Dawn of Justice, which improves immensely on subsequent viewings (especially in the three hour-long director’s cut). No, Whedon’s film was a MESS. Needless to say fans were up in arms, and once word got out that the finished film was not at all what Snyder originally intended, a vocal, forceful online campaign began to restore what quickly became known as the Snyder Cut. Thank the gods that Warner Bros listened to them, ultimately taking advantage of the intriguing alternative possibilities provided by their streaming service HBO Max to allow Snyder to present his fully reinstated creation in its entirety. The only remaining question, of course, is simply … is it actually any good? Well it’s certainly much more like BVS:DOG than Whedon’s film ever was, and there’s no denying that, much like the rest of Snyder’s oeuvre, this is a proper marmite movie – there are gonna people who hate it no matter what, but the faithful, the fans, or simply those who are willing to open their minds are going to find much to enjoy here. The damage has been thoroughly patched, most of the elements that didn’t work in the theatrical release having been swapped out or reworked so that now they pay off BEAUTIFULLY. This time the quest of Bruce Wayne/Batman (Ben Affleck) and Diana Prince/Wonder Woman (Gal Gadot) to bring the first iteration of the Justice League together – half-Atlantean superhuman Arthur Curry/the Aquaman (Jason Momoa), lightning-powered speedster Barry Allan/the Flash (Fantastic Beasts’ Ezra Miller) and cybernetically-rebuilt genius Victor Stone/Cyborg (relative newcomer Ray Fisher) – not only feels organic, but NECESSARY, as does their desperate scheme to use one of the three alien Mother Boxes (no longer just shiny McGuffins but now genuinely well-realised technological forces that threaten cataclysm as much as they provide opportunity for miracles) to bring Clark Kent/Superman (Henry Cavill) back from the dead, especially given the far more compelling threat of this version’s collection of villains. Ciaran Hinds’ mocapped monstrosity Steppenwolf is a far more palpable and interesting big bad this time round, given a more intricate backstory that also ties in a far greater ultimate mega-villain that would have become the DCEU’s Thanos had Snyder had his way to begin with – Darkseid (Ray Porter), tyrannical ruler of Apokolips and one of the most powerful and hated beings in the Universe, who could have ushered the DCEU’s now aborted New Gods storyline to the big screen. The newer members of the League receive far more screen-time and vastly improved backstory too, Miller’s Flash getting a far more pro-active role in the storyline AND the action which also thankfully cuts away a lot of the clumsiness the character had in the Whedon version without sacrificing any of the nerdy sass that nonetheless made him such a joy, while the connective tissue that ties Momoa’s Aquaman into his own subsequent standalone movie feels much stronger here, and his connection with his fellow League members feels less perfunctory too, but it’s Fisher’s Cyborg who TRULY reaps the benefits here, regaining a whole new key subplot and storyline that ties into a genuinely powerful tragic origin story, as well as a far more complicated and ultimately rewarding relationship with his scientist father, Silas Stone (the great Joe Morton). It’s also really nice to see Superman handled with the kind of skill we’d expect from the same director who did such a great job (fight me if you disagree) of bringing the character to life in two previous big screen instalments, as well as erasing the memory of that godawful digital moustache removal … similarly, it’s nice to see the new and returning supporting cast get more to do this time, from Morton and the ever-excellent J.K. Simmonds as fan favourite Gotham PD Commissioner Jim Gordon to Connie Nielsen as Diana’s mother, Queen Hippolyta of Themyscira and another unapologetic scene-stealing turn from Jeremy Irons as Batman’s faithful butler Alfred Pennyworth. Sure, it’s not a perfect movie – the unusual visual ratio takes some getting used to, while there’s A LOT of story to unpack here, and at a gargantuan FOUR HOURS there are times when the pacing somewhat lags, not to mention an overabundance of drawn-out endings (including a flash-forward to a potential apocalyptic future that, while evocative, smacks somewhat of overeager fan-service) that would put Lord of the Rings’ The Return of the King to shame, but original writer Chris Terrio’s reconstituted script is rich enough that there’s plenty to reward the more committed viewer, and the storytelling and character development is a powerful thing, while the action sequences are robust and thrilling (even if Snyder does keep falling back on his over-reliance on slow motion that seems to alienate some viewers), and the new score from Tom Holkenborg (who co-composed on BVS:DOJ) feels a far more natural successor than Danny Elfman’s theatrical compositions. The end result is no more likely to win fresh converts than Man of Steel or Batman Vs Superman, but it certainly stands up far better to a critical eye this time round, and feels like a far more natural progression for the saga too. Ultimately it’s more of an interesting tangential adventure given that Warner Bros seem to be stubbornly sticking to their original plans for the ongoing DCEU, but I can’t help hoping that they might have a change of heart in the future given just how much better the final product is than any of us had any right to expect …

9. SYNCHRONIC – writer-director duo Justin Benson and Aaron Moorhead are something of a creative phenomenon in the science-fiction and fantasy indie cinema scene, crafting films that ensnare the senses and engage the brain like few others. Subtly insidious conspiracy horror debut Resolution is a sneaky little chiller, while deeply original body horror Spring (the film that first got me into them) is weird, unsettling and surprisingly touching, but it was breakthrough sleeper hit The Endless, a nightmarish time-looping cosmic horror that thoroughly screws with your head, that really put them on the map. Needless to say it’s led them to greater opportunities heading into the future, and this is their first film to really reap the benefits, particularly by snaring a couple of genuine stars for its lead roles. Steve (Anthony Mackie) and Dennis (Jamie Dornan) are paramedics working the night shift in New Orleans, which puts them on the frontlines when a new drug hits the streets, a dangerous concoction known as Synchronic that causes its users to experience weird localised fractures in time that frequently lead to some pretty outlandish deaths in adults, while teenage users often disappear entirely. As the situation worsens, the pair’s professional and personal relationships become increasingly strained, compounded by the fact that Steve is concealing his recent diagnosis of terminal cancer, before things come to a head when Dennis’ teenage daughter Brianna (Into the Badlands’ Ally Ioannides) vanishes under suspicious circumstances, and it becomes clear to Steve that she’s become unstuck in time … this is as mind-bendingly off-the-wall and spectacularly inventive as we’ve come to expect from Benson and Moorhead, another fantastically original slice of weirdness that benefits enormously from their exquisitely obsessive attention to detail and characteristically unsettling atmosphere of building dread, while their character development is second to none, benefitting their top-notch cast no end. Mackie is typically excellent, bringing compelling vulnerability to the role that makes it easy to root for him as he gets further out of his depth in this twisted temporal labyrinth, while Dornan invests Dennis with a painfully human fallibility, and Ioannides does a lot with very little real screen time in her key role as ill-fated Brianna. The time-bending sequences are suitably disorienting and disturbing, utilising pleasingly subtle use of visual effects to further mess with your head, and the overall mechanics of the drug and its effects are fiendishly crafted, while the directors tighten the screw of slowburn tension throughout, building to a suitably offbeat ending that’s as devastating as anything we’ve seen from them so far. Altogether this is another winning slice of genre-busting weirdness from a filmmaking duo who deserve continued success in the future, and I for one will be watching eagerly.

8. WITHOUT REMORSE – I’m a big fan of Tom Clancy, to me he was one of the ultimate escapist thriller writers, and whenever a new adaptation of one of his novels comes along I’m always front of the line to check it out. The Hunt For Red October is one of my favourite screen thrillers OF ALL TIME, while my very favourite Clancy adaptation EVER, the Jack Ryan TV series, is, in my opinion, one of the very best Original shows that Amazon have ever done. But up until now my VERY FAVOURITE Clancy creation, John Clark, has always remained in the background or simply absent entirely, putting in an appearance as a supporting character in only two of the movies, tantalising me with his presence but never more than a teaser. Well that’s all over now – after languishing in development hell since the mid-90s, the long-awaited adaptation of my favourite Clancy novel, the origin story of the top CIA black ops operative, has finally arrived, as well as a direct spin-off from distributor Amazon’s own Jack Ryan series. Michael B. Jordan plays John Kelly (basically Clark before he gained his more famous cover identity), a lethally efficient, highly decorated Navy SEAL whose life is turned upside down when a highly classified operation experiences deadly blowback as half of his team is assassinated in retaliation, while Kelly barely survives an attack in which his heavily pregnant wife is killed. With the higher-ups unwilling the muddy the waters while scrambling to control the damage, Kelly, driven by rage and grief, takes matters into his own hands, embarking on a violent personal crusade against the Russian operatives responsible, but as he digs deeper with the help of his former commanding officer, Lt. Commander Karen Greer (Queen & Slim’s Jodie Turner-Smith), and mid-level CIA hotshot Robert Ritter (Jamie Bell), it becomes clear that there’s a far more insidious conspiracy at work here … in the past the Clancy adaptations we’ve seen tend to be pretty tightly reined-in affairs, going for a PG-13 polish that maintains the intellectual fireworks but still tries to keep the violence clean and relatively family-friendly, but this was never going to be the case here – Clark has always been Jack Ryan’s dark shadow, Clancy’s righteous man without the moral restraint, and a PG-13 take never would have worked, so going for an unfettered R-rating is the right choice. Jordan’s Kelly/Clark is a blood-soaked force of nature, a feral dog let off the leash, bringing a brutal ferocity to the action that does the literary source proud, tempered by a wounded vulnerability that helps us to sympathise with the broken but still very human man behind the killer; Turner-Smith, meanwhile, regularly matches him in the physical stakes, jumping into the action with enthusiasm and looking damn fine doing it, but she also brings tight control and an air of pragmatic military professionalism that makes it easy to believe in her not only as an accomplished leader of fighting men but also as the daughter of Admiral Jim Greer, while Bell is arrogant and abrasive but ultimately still a good man as Ritter; Guy Pearce, meanwhile, brings his usual gravitas and quietly measured charisma to proceedings as US Secretary of Defence Thomas Clay, and Lauren London makes a suitably strong impression during her brief screen time to make her absence keenly felt as Kelly’s wife Pam. The action is intense, explosive and spectacularly executed, culminating in a particularly impressive drawn-out battle through a Russian apartment complex, while the labyrinthine plot is intricately crafted and unfolds with taut precision, but then the screenplay was co-written by Taylor Sheridan, who here reteams with Sicario 2 director Stefano Sollida, who’s also already proven to be a seasoned hand at this kind of thing, and the result is a tense, knuckle-whitening suspense thriller that pays magnificent tribute to the most compelling creation of one of the best authors in the genre. Amazon have signed up for more with already greenlit sequel Rainbow Six, and with this directly tied in with the Jack Ryan TV series too I can’t help holding out hope we just might get to see Jordan’s Clark backing John Krasinski’s Ryan up in the future …

7. RAYA & THE LAST DRAGON – with UK cinemas still closed I’ve had to live with seeing ALL the big stuff on my frustratingly small screen at home, but at least there’s been plenty of choice with so many of the big studios electing to either sell some of their languishing big projects to online vendors or simply release on their own streaming services. Thank the gods, then, for the House of Mouse following Warner Bros’ example and releasing their big stuff on Disney+ at the same time in those theatres that have reopened – this was one movie I was PARTICULARLY looking forward to, and if I’d had to wait and hope for the scheduled UK reopening to occur in mid-May I might have gone a little crazy watching everyone else lose it over something I still hadn’t seen. That said, it WOULD HAVE been worth the wait – coming across sort-of a bit like Disney’s long overdue response to Dreamworks’ AWESOME Kung Fu Panda franchise, this is a spellbinding adventure in a beautifully thought-out fantasy world heavily inspired by Southeast Asia and its rich, diverse cultures, bursting with red hot martial arts action and exotic Eastern mysticism and brought to life by a uniformly strong voice cast dominated by actors of Asian descent. It’s got a cracking premise, too – 500 years ago, the land of Kumandra was torn apart when a terrible supernatural force known as the Druun very nearly wiped out all life, only stopped by the sacrifice of the last dragons, who poured all their power and lifeforce into a mystical gem. But when the gem is broken and the pieces divided between the warring nations of Fang, Heart, Spine, Tail and Talon, the Druun return, prompting Raya (Star Wars’ Kelly Marie Tran), the fugitive princess of Heart, to embark on a quest to reunite the gem pieces and revive the legendary dragon Sisu in a desperate bid to vanquish the Druun once and for all. Moana director Don Hall teams up with Blindspotting helmer Carlos Lopez Estrada (making his debut in the big chair for Disney after helping develop Frozen), bringing to life a thoroughly inspired screenplay co-written by Crazy Rich Asians’ Adele Kim which is full to bursting with magnificent world-building, beautifully crafted characters and thrilling action, as well as the Disney prerequisites of playful humour and tons of heart and soul. Tran makes Raya an feisty and engaging heroine, tough, stubborn and a seriously kickass fighter, but with true warmth and compassion too, while Gemma Chan is icy cool but deep down ultimately kind of sweet as her bitter rival, Fang princess Namaari, and there’s strong support from Benedict Wong and Good Boys’ Izaac Wang as hard-but-soft Spine warrior Tong and youthful but charismatic Tail shrimp-boat captain Boun, two of the warm-hearted found family that Raya gathers on her travels. The true scene-stealer, however, is the always entertaining Awkwafina, bringing Sisu to life in wholly unexpected but thoroughly charming and utterly adorable fashion, a goofy, sassy and sweet-natured bundle of fun who grabs all the best laughs but also unswervingly champions the film’s core messages of peace, unity and acceptance in all things, something which Raya needs a lot of convincing to take to heart. Visually stunning, endlessly inventive, consistently thrilling and frequently laugh-out-loud funny, this is another solid gold winner once again proving that Disney can do this kind of stuff in their sleep, but it’s always most interesting when they really make the effort to create something truly special, and that’s just what they’ve done here. As far as I’m concerned, this is one of the studio’s finest animated features in a good long while, and thoroughly deserving of your praise and attention …

6. THE MITCHELLS VS THE MACHINES – so what piece of animation, you might be asking, could POSSIBLY have won over Raya as my animated feature of the year so far? After all, it would have to be something TRULY special … but then, remember Spider-Man: Into the Spider-Verse? Back in 2018, that blew me away SO MUCH that it very nearly became my top animated feature of THE PAST DECADE (only JUST losing out, ultimately, to Dreamworks’ unstoppable How to Train Your Dragon trilogy). When I heard its creators, the irrepressible double act of Phil Lord and Christopher Miller (The Lego Movie, Cloudy With a Chance of Meatballs), were going to be following that up with this anarchic screwball comedy adventure, I was VERY EXCITED INDEED, a fervour which was barely blunted when its release was, inevitably, indefinitely delayed thanks to the global pandemic, so when it finally released at the tail end of the Winter-Spring season I POUNCED. Thankfully my faith was thoroughly rewarded – this is an absolute riot from start to finish, a genuine cinematic gem I look forward to going back to for repeated viewings in the near future, just to soak up the awesomeness – it’s hilarious to a precision-crafted degree, brilliantly thought-out and SPECTACULARLY well-written by acclaimed Gravity Falls writer-director Mike Rianda (who also helms here), injecting the whole film with a gleefully unpredictable, irrepressibly irreverent streak of pure chaotic genius that makes it a affectionately endearing and utterly irresistible joyride from bonkers start to adorable finish. The central premise is pretty much as simple as the title suggests, the utterly dysfunctional family in question – father Rick (Danny McBride), born outdoorsman and utter technophobe, mother Linda (Maya Rudolph), much put-upon but unflappable even in the face of Armageddon, daughter Katie (Broad City co-creator Abbi Jacobson), tech-obsessed and growing increasingly estranged from her dad, and son Aaron (Rianda himself), a thoroughly ODD dinosaur nerd – become the world’s only hope after naïve tech mogul Mark Bowman (Eric Andre), founder of PAL Labs, inadvertently sets off a robot uprising. Cue a wild ride comedy of errors of EPIC proportions … this is just about the most fun I’ve had with a movie so far this year, an absolute riot throughout, but there’s far more to it than just a pile of big belly laughs, with the Mitchells all proving to be a lovable bunch of misfits who inspire just as much deep, heartfelt affection as they learn from their mistakes and finally overcome their differences, becoming a better, more loving family in the process, McBride and Jacobson particularly shining as they make our hearts swell and put a big lump in our throat even while they make us titter and guffaw, while the film has a fantastic larger than (virtual) life villain in PAL (Olivia Colman), the virtual assistant turned megalomaniacal machine intelligence spearheading this technological revolution. Much like its Spider-Man-shaped predecessor, this is also an absolutely STUNNING film, visually arresting and spectacularly inventive and bursting with neat ideas and some truly beautiful stylistic flair, frequently becoming a genuine work of cinematic art that’s as much a feast for the eyes as it is the intellect and, of course, the soul. Altogether then, this is definitely the year’s most downright GORGEOUS film so far, as well as UNDENIABLY its most FUN. Lord and Miller really have done it again.

5. P.G. PSYCHO GOREMAN – the year’s current undeniable top guilty pleasure has to be this fantastic weird, thoroughly over-the-top and completely OUT THERE black comedy cosmic horror that doesn’t so much riff on the works of HP Lovecraft as throw them in a blender, douse them with maple syrup and cayenne pepper and then hurl the sloppy results to the four winds. On paper it sounds like a family-friendly cutesy comedy take on Call of Cthulu et al, but trust me, this sure ain’t one for the kids – the latest indie horror offering from Steven Kostanski, co-creator of the likes of Manborg, Father’s Day and The Void, this is one of the weirdest movies I’ve seen in years, but it’s also one of the most gleefully funny, playing itself entirely for yucks (frequently LITERALLY). Mimi (Nita Josee-Hanna) and Luke (Owen Myre) are a two small-town Canadian kids who dig a big hole of their backyard, accidentally releasing the Arch-Duke of Nightmares (Matthew Ninaber and the voice of Steven Vlahos), an ancient, god-tier alien killing machine who’s been imprisoned for aeons in order to protect the universe from his brutal crusade of death and destruction. To their parents’ dismay, Mimi decides to keep him, renaming him Psycho Goreman (or “P.G.” for short) and attempting to curb his superpowered murderous impulses so she can have a new playmate. But the monster’s original captors, the Templars of the Planetary Alliance, have learned of his escape, sending their most powerful warrior, Pandora (Kristen McCulloch), to destroy him once and for all. Yup, this movie is just as loony tunes as it sounds – Kostanski injects the film with copious amounts of his own outlandish, OTT splatterpunk extremity, bringing us a riotous cavalcade of bizarrely twisted creatures and mutations (brought to life through some deliciously disgusting prosthetic effects work) and a series of wonderfully off-kilter (not to mention frequently off-COLOUR) darkly comic skits and escapades, while the sense of humour is pretty bonkers but also generously littered with nuggets of genuine sharply observed genius. The cast, although made up almost entirely of unknowns, is thoroughly game, and the kids particularly impress, especially Josee-Hanna, who plays Mimi like a flamboyant, mercurial miniature psychopath whose zinger-delivery is clipped, precise and downright hilarious throughout. There are messages of love conquering all and the power of family, both born and made, buried somewhere in there too, but ultimately this is just 90 minutes of wonderful weirdness that’s sure to melt your brain but still leave you with a big dumb green when it’s all over. Which is all we really want from a movie like this, right?

4. SPACE SWEEPERS – all throughout the pandemic and the interminable lockdowns, Netflix have been a consistent blessing to those of us who’ve been craving the kind of big budget blockbusters we have (largely) been unable to get at the cinema. Some of my top movies of 2020 were Netflix Originals, and they’ve continued the trend into 2021, having dropped some choice cuts on us over the past four months, with some REALLY impressive offerings still to come as we head into the summer season (roll on, Zack Snyder’s Army of the Dead!). In the meantime, my current Netflix favourite of the year so far is this phenomenal milestone of Korean cinema, lauded as the country’s first space blockbuster, which certainly went big instead of going home. Writer-director Jo Sung-hee (A Werewolf Boy, Phantom Detective) delivers big budget thrills and spills with a bombastic science-fiction adventure cast in the classic Star Wars mould, where action, emotion and fun characters count for more than an admittedly simplistic but still admirably archetypical and evocative plot – it’s 2092, and the Earth has become a toxic wasteland ruined by overpopulation and pollution, leading the wealthy to move into palatial orbital habitats in preparation for the impending colonisation of Mars, while the poor and downtrodden are packed into rotting ghetto satellites facing an uncertain future left behind to fend for themselves, and the UTS Corporation jealously guard the borders between rich and poor, presided over by seemingly benevolent but ultimately cruel sociopathic genius CEO James Sullivan (Richard Armitage). Eking out a living in-between are the space sweepers, freelance spaceship crews who risk life and limb by cleaning up dangerous space debris to prevent it from damaging satellites and orbital structures. The film focuses on the crew of sweeper vessel Victory, a ragtag quartet clearly inspired by the “heroes” of Cowboy Bebop – Captain Jang (The Handmaiden’s Kim Tae-ri), a hard-drinking ex-pirate with a mean streak and a dark past, ace pilot Kim Tae-ho (The Battleship Island’s Song Joong-ki), a former child-soldier with a particularly tragic backstory, mechanic Tiger Park (The Outlaws’ Jin Seon-Kyu), a gangster from Earth living in exile in orbit, and Bubs (a genuinely flawless mocapped performance from A Taxi Driver’s Yoo Hae-jin), a surplus military robot slumming it as a harpooner so she can earn enough for gender confirmation. They’re a fascinating bunch, a mercenary band who never think past their next paycheque, but there’s enough good in them that when redemption comes knocking – in the form of Kang Kot-nim (newcomer Park Ye-rin), a revolutionary prototype android in the form of a little girl who may hold the key to bio-technological ecological salvation – they find themselves answering the call in spite of their misgivings. The four leads are exceptional (as is their young charge), while Armitage makes for a cracking villain, delivering subtle, restrained menace by the bucketload every time he’s onscreen, and there’s excellent support from a fascinating multinational cast who perform in a refreshingly broad variety of languages. Jo delivers spectacularly on the action front, wrangling a blistering series of adrenaline-fuelled and explosive set-pieces that rival anything George Lucas or JJ Abrams have sprung on us this century, while the visual effects are nothing short of astounding, bringing this colourful, eclectic and dangerous universe to vibrant, terrifying life; indeed, the world-building here is exceptional, creating an environment you’ll feel sorely tempted to live in despite the pitfalls. Best of all, though, there’s tons of heart and soul, the fantastic found family dynamic at the story’s heart winning us over at every turn. Ultimately, while you might come for the thrills and spectacle, you’ll stay for these wonderful, adorable characters and their compelling tale. An undeniable triumph.

3. JUDAS & THE BLACK MESSIAH – I’m a little fascinated by the Black Panther Party, I find them to be one of the most intriguing elements of Black History in America, but outside of documentaries I’ve never really seen a feature film that’s truly done the movement justice, at least until now. It’s become a major talking point of the Awards Season, and it’s easy to see why – director Shaka King is a protégé of Spike Lee, and together with up-and-coming co-screenwriter Wil Berson he’s captured the fire and fervour of the Party and their firebrand struggle for racial liberation through force of arms, as well as a compelling portrait of one of their most important figures, Fred Hampton, the Chairman of the Illinois Chapter of the BPP and a powerful political activist who could have become the next Martin Luther King or Malcolm X. Get Out’s Daniel Kaluuya is magnificent in the role, effortlessly holding your attention in every scene with his laconic ease and deceptively friendly manner, barely hinting at the zealous fire blazing beneath the surface, but the film’s true focus is the man who brought him down, William O’Neal, a fellow Panther and FBI informant placed in the Chapter to infiltrate the movement and find a way for the US Government to bring down what they believed to be one of the country’s greatest internal threats. Lakeith Stanfield (Sorry to Bother You, Knives Out) delivers a suitably complex performance as O’Neal, perfectly embodying a very clever but also very desperate man walking a constant tightrope to maintain his cover in some decidedly wary company, but there’s never any real sense that he’s playing the villain, Stanfield largely garnering sympathy from the viewer as we’re shamelessly made to root for him, especially once he starts falling for the very ideals he’s trying to subvert – it’s a true star-making performance, and he even holds his own playing opposite Kaluuya himself. The rest of the cast are equally impressive, Dominique Fishback (Project Power, The Deuce) particularly holding our attention as Hampton’s fiancée and fellow Panther Akua Njeri, as does Jesse Plemmons as O’Neal’s idealistic but sympathetic FBI handler Roy Mitchell, while Martin Sheen is the film’s nominal villain in a chillingly potent turn as J. Edgar Hoover. This is an intense and thrilling film, powered by a tense atmosphere of pregnant urgency and righteous fury, but while there are a few grittily realistic set pieces, the majority of the fireworks on display are performance based, the cast giving their all and King wrestling a potent and emotionally resonant, inescapably timely history lesson that informs without ever slipping into preachy exposition, leaving an unshakable impression long after the credits have rolled. This doesn’t just earn all the award-winning kudos it gained, it deserved A LOT MORE recognition that it got, and if this were a purely critical rundown list I’d have to put it in the top spot. As it is I’m monumentally enamoured of this film, and I can’t sing its praises enough …

2. RUN, HIDE, FIGHT – the biggest surprise hit for me so far this year was this wicked little indie suspense thriller from writer-director Kyle Rankin (Night of the Living Deb), which snuck in under the radar but is garnering an impressive reputation as a future cult sleeper hit. Critics have been less kind, but the subject matter is a pretty thorny issue, and if handled the wrong way it could have been in very poor taste indeed. Thankfully Rankin has crafted a corker here, initially taking time to set the scene and welcome the players before throwing us headfirst into an unbelievably tense but also unsettlingly believable situation – a small town American high school becomes the setting for a fraught siege when a quartet of disturbed students take several of their classmates hostage at gunpoint, creating a social media storm in the process as they encourage the capture of the crisis on phone cameras. While the local police gather outside, the shooters discover another threat from within the school throwing spanners in the works – Zoe Hull (Alexa & Katie’s Isabel May), a seemingly nondescript girl who happens to be the daughter of former marine scout sniper Todd (Thomas Jane). She’s wound pretty tight after the harrowing death of her mother to cancer, fuelled by grief and conditioned by her father’s training, so she’s determined to get her friends and classmates out of this nightmare, no matter what. Okay, so the premise reads like Die Hard in a school, but this is a very different beast, played for gritty realism and shot with unshowy cinema-verité simplicity, Rankin cranking up the tension beautifully but refusing to play to his audience any more than strictly necessary, drip-feeding the thrills to maximum effect but delivering some harrowing action nonetheless. The cast are top-notch too, Jane delivering a typically subtle, nuanced turn while Treat Williams is likeably stoic as world-weary but dependable local Sherriff Tarsey, Rhada Mitchell intrigues as the matter-of-fact phantom of Zoe’s mum, Jennifer, that she’s concocted to help her through her mourning, Olly Sholotan is sweetly geeky as her best friend Lewis, and Eli Brown raises genuine goosebumps as an all-too-real teen psychopath in the role of terrorist ringleader Tristan Voy. The real beating heart and driving force of the film, though, is May, intense, barely restrained and all but vibrating with wounded fury, perfectly believable as the diminutive high school John McClane who defies expectations to become a genuine force to be reckoned with, as far as I’m concerned one of this year’s TOP female protagonists. Altogether this is a cracking little thriller, a precision-crafted little action gem that nonetheless raises some troubling questions and treats its subject matter with utmost care and respect, a film that’s destined for major cult classic status, and I can’t recommend it enough.

1. NOBODY – do you love the John Wick movies but you just wish they took themselves a bit less seriously? Well fear not, because Derek Kolstad has delivered fantastically on that score, the JW screenwriter mashing his original idea up with the basic premise of the Taken movies (former government spook/assassin turned unassuming family man is forced out of retirement and shit gets seriously trashed as a result) and injecting a big dollop of gallows humour. This time he’s teamed up with Ilya Naishuller, the stone-cold lunatic who directed the deliriously insane but also thoroughly brilliant Hardcore Henry, and the results are absolutely unbeatable, a pitch perfect jet black action comedy bursting with neat ideas, wonderfully offbeat characters and ingenious plot twists. Better Call Saul’s Bob Odenkirk is perfect casting as Hutch Mansell, the aforementioned ex-“Auditor”, a CIA hitman who grew weary of the lifestyle and quit to find some semblance of normality with his wife Becca (Connie Nielsen), with whom he’s had two kids. Ultimately, he seems to have “overcompensated”, and his life has stagnated, Hutch following a autopiloted day-to-day routine that’s left him increasingly unfulfilled … then fate intervenes and a series of impulsive choices see him falling back on his old ways while defending a young woman from drunken thugs on a late night bus ride. Problem is, said lowlifes work for the Russian Mob, specifically Yulian Kuznetsov (Leviathan’s Aleksei Serebryakov), a Bratva boss charged with guarding the Obshak, who must exact brutal vengeance in order to save face. Cue much bloody violence and entertaining chaos … Kolstad can do this sort of thing in his sleep, but his writing married with Naishuller’s singularly BONKERS vision means that the anarchy is dialled right up to eleven, while the gleefully dark sense of humour shot through makes the occasional surreality and bitingly satirical observation on offer all the more exquisite. Odenkirk is a low-key joy throughout, initially emasculated and pathetic but becoming more comfortable in his skin as he reconnects with his old self, while Serebryakov hams things up spectacularly, chewing the scenery with aplomb; Nielsen, meanwhile, brings her characteristic restrained classiness to proceedings, Christopher Lloyd and the RZA are clearly having the time of their lives as, respectively, Hutch’s retired FBI agent father David and fellow ex-spook half-brother Harry, and there’s a wonderfully game cameo from the incomparable Colin Salmon as Hutch’s former handler, the Barber. Altogether then, this is the perfect marriage of two fantastic worlds – an action-packed thrill ride as explosively impressive as John Wick, but also a wickedly subversive laugh riot every bit as blissfully inventive as Hardcore Henry, and undeniably THE BEST MOVIE I’ve seen so far this year. Sure, there’s some pretty heavyweight stuff set to (FINALLY) come out later this year, but this really will take some beating …

#movies 2021 #zack snyder's justice league #synchronic #synchronic movie #without remorse #raya and the last dragon #the mitchells vs the machines #pg psycho goreman #psycho goreman #space sweepers #judas and the black messiah #run hide fight #nobody #nobody movie

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