#batman would probably result in 'give my faves their own series too

[irregularjohnnywiggins]

Random Wondy Series Thoughts, Part the First

Okay, so a while back I did a pitch for my version of a Green Arrow TV show, and I had a lot of fun with it. So, whilst I still wanna do the basic outlines of at least two more seasons of it, I figured I’d do a season featuring one of my favourite female superheroes – Wonder Woman.

Fair warning – I’m going to talk a fair bit about sexism, rape and homophobia – nothing explicit, but this is Ancient Greek mythology in the modern world, and I am talking about it.

So, few things out of the way first:

My version of Amazonian history/society is a weird miss-mash of Perez, Jimenez, and Legend of Wonder Woman – namely, the Amazons as a whole are descended from Scythians, who established Themyscira, but then Jerkules comes along and fucks it all up so magic island time! The Amazons believe their children are the souls of dead women, but it’s not confirmed because Zeus has forbidden the gods from interacting with Themyscira.

Speaking of children, I’m keeping the LoWW style ‘all Amazons except for a handful are mortal and they magically reproduce by praying’ thing, if only so that I personally am not skeeved out by Diana being the Casanova of Themyscira.

The Amazons are explicitly racially diverse, homo-normative but also bi/pan/everything inclusive (especially trans, I’m considering making Phillipus trans) and technologically advanced. Azzarello can meet me in the fucking pit.

Also, Diana’s bi as fuck.

The patron gods are the ones from Perez’s run – with Hermes instead of Hera, as the token Good Ally™ of Olympus (I can’t remember if this is mythologically accurate – I don’t remember specifics of him doing anything too asholeish, so fuck it.) Hera, however, is fundamental to founding Themyscira, gives Diana her ability to speak eloquently at birth, and it’s hinted that Heracles attacking the Amazons really starts Hera on the path of ‘I’m becoming just as bad as Zeus’ that culminates in her dumping him and deciding to modernize into the ‘family is whoever the fuck you want’ idea later on down the line.

Incidentally, in case that didn’t give you the clue, yes I’m doing the clay origin. Why wouldn’t I?

The Amazons mainly worship Aphrodite and Athena, but after those the most popular god is Hestia, because I love her, you should love her, we all should love Hestia.

Incidentally, Doom’s Doorway is a thing, as are the floating islands of the Jimenez run. Other ideas I’m stealing borrowing: The purple healing ray, Warbringer’s idea that some Amazons worship different gods (though mainly Egyptian, Roman and Etruscan, not any and all – you’ll see why later), also the idea that Themyscira is an impossible biome with a dessert right next to a frozen wasteland, the Invisible Jet being magic space goop, this meme, you get the idea.

More Amazons come to the island as castaways on wreckage – this is Donna Troy’s origin, she was deposited there in 1941, and Hippolyta decided to combat the Nazis and became the first Wonder Woman.

Xena and Gabrielle are Hippolyta’s mothers. This may not make much sense to any Xena fan, but I like it, so I’m keepin’ it.

Whilst we’re on the subject, Percy Jackson is around, with a few changes – namely, the Hunters of Artemis are Amazons, with Zoe Nightshade being Phillipus’ best friend.

With all that backstory out of the way, let’s get on with the pilot:

(Fair Waning: most of the art will be from LoWW, because it’s so gosh darned pretty)

We open the same way LoWW opened – the backstory of the Amazons, from their origins to Hippolyta’s time as Wonder Woman (ending as she goes to combat Ares), eventually revealed to be a story being told to a group of youths, one of which is Donna Troy, by Diana. We slowly get introduced to Themyscira, how it operates and that Diana is feeling very Moana about her state of affairs.

Incidentally, something that’ll come up later – the backstory establishes that during Hippolyta and Antiope’s fall out, instead of the 50-50 split hinted at in canon, it was rather more 30-70 Antiope’s way. Yes, this does mean what you’re thinking – it’s not just Bana-Mighdall, there’s more Amazons out there.

Regardless, we then have Diana interacting with Hippolyta and Phillipus, which establishes two things – one, Hippolyta is unusually defensive about Diana bringing up her fight with Ares, and has forbidden Diana from learning any sort of weapon’s training, and two, Phillipus has been cheerfully ignoring that order for the past five hundred years. (Phillipus is the Cool Mum, Hippolyta the Safe Mum. I don’t make the rules.)

Cut to:

Steve Trevor, who is being given instructions by his commanding officer to report to X aircraft carrier and perform flight manoeuvres. Although he questions these orders, given the aircraft carrier is several hundred miles away and there are at least five ones in between here and there, he follows them out. As he walks out of the room, his commanding officer reveals himself to be Deimos, Ares’ son and God of Terror.

Cut to:

Olympus, where Athena, Aphrodite and Apollo are viewing this event. They establish that the carrier is right next to Themyscira, and that Steve setting foot on the land will break Themyscira’s defences, leaving them open to attack. They also establish there’s fuck-all they can do about this, as Zeus has decreed that no Olympian can interfere with the mortal world – Athena in particular expresses frustration with this, storming off. Aphrodite and Apollo talk about how Athena’s become angrier at Zeus, particularly after World War II, where he forbade Athena from joining either side. Apollo asks what they can do about Ares’ plan, and Aphrodite smiles. She says she has a plan.

Cut once again to:

Gateway City, where Etta Candy, college sorority and fashionista, is talking with the rest of the Holiday Girls, until she gets a phone call. It’s from Aphrodite, who tells her she has a job for them…

Back to Themyscira, where Diana is training with Donna. Hippolyta arrives, looking furious, and starts berating them both. Just as mother and daughter are about to start arguing, Penelope runs up, saying that Menalippe is hurt. Hippolyta orders Diana and Donna to stay behind, but neither of them listen.

Menalippe says that she was sent a message by Mnemosyne (Titaness of Foresight – Apollo is too… frat boy to be the god of choice on Themyscira, tbh) that dark times are coming, and they need to hold a games to decide who shall champion Themyscira’s beliefs to the outside world, because they may not have a choice soon. Diana begs to join the games, but Hippolyta forbids it, leading Diana to storm away in disgust. Phillipus stays behind to confront Hippolyta, saying that she needs to stop trying to protect Diana, because she’s her daughter, of course she’s going to fight. Hippolyta protests that she’s Phillipus’ daughter to, but Phillipus smiles sadly and says that they both know that’s not true. From behind the curtain, Diana is crying.

Meanwhile:

Steve boards the aircraft carrier, but not before locating a stowaway: Etta Candy. Despite her protests, he prepares to do his drills alongside his new co-pilot, Leo Nides (Yes, that is a play on Leonidas of Sparta. No, he’s not black. Yes, he is Greek)

Whilst he’s out flying, his co-pilot starts attacking him, chanting in Ancient Greek. The plane starts crashing…

The day of the games opens up bright, with Diana sulking in her room. Donna sneaks in, and the two talk about parenthood, and how Donna doesn’t remember her parents, but whenever either of them think of ‘parents’, they immediately think of Hippolyta and Phillipus. Suddenly, there’s a horrible sound from outside, and they both run out to see a strange contraption fall from the sky.

(Yes, the Amazons have planes, but that doesn’t mean they know what a fighter jet looks like. They’ve already figured out hovercraft some four hundred years ago, after all.)

The plane crashes, and as the Amazons stand around it, a figure stumbles out. With shock, the Amazons realize it’s a man, just as the island shakes and the defences fall.

The episode ends with the crew on the boat, Etta Candy and the Amazons looking on in shock as Themyscira is revealed to the world for the first time in eons.

So, that’s my idea! Please leave all comments, things you liked, things you hated, things you feel indifferent towards, really anything, I’d love to hear it all! This’ll probably be part one of a series of four five, with part 2 (and part 3) being the second (and third, there was too much) of the pilot, part 3 4 being an overview of the rest of the season/any individual episodes, and part 4 5 an overview of where to go after season 1. I’ll link to them once I’ve posted them, but for now bye!

[grigori77]

2020 in Movies - My Top 30 Fave Movies (Part 3)

10.  WOLFWALKERS – eleven years ago, Irish director Tomm Moore exploded onto the animated cinema scene with The Secret of Kells, a spellbinding feature debut which captivated audiences the world over and even garnered an Oscar nomination.  Admittedly I didn’t actually even know about it until I discovered his work through his astonishing follow-up, Song of the Sea (another Academy Award nominee), in 2015, so when I finally caught it I was already a fan of Moore’s work.  It’s been a similarly long wait for his third feature, but he’s genuinely pulled off a hat-trick, delivering a third flawless film in a row which OF COURSE means that his latest feature is, beyond a shadow of a doubt, my top animated feature of 2020.  I could even be tempted to say it’s his best work to date … this is an ASTONISHING film, a work of such breath-taking, spell-binding beauty that I spent its entire hour and three-quarters glued to the screen, simple mesmerised by the wonder and majesty of this latest iteration of the characteristically stylised “Cartoon Saloon” look.  It’s also liberally steeped in Moore’s trademark Celtic vibe and atmosphere, once again delving deep into his homeland’s rich and evocative cultural history and mythology while also bringing us something far more original and personal – this time the titular supernatural beings are magical near-human beings whose own subconscious can assume the form of very real wolves.  Set in a particularly dark time in Irish history – namely 1650, when Oliver Cromwell was Lord Protector – the story follows Robyn (Honor Kneafsey, probably best known for the Christmas Prince films), the impetuous and spirited young daughter of English hunter Bill Goodfellowe (Sean Bean), brought in by the Protectorate to rid the city of Kilkenny of the wolves plaguing the area.  One day fate intervenes and Robyn meets Mebh Og MacTire (The Girl at the End of the Garden‘s Eve Whittaker), a wild girl living in the woods, whose accidental bite gives her strange dreams in which she becomes a wolf – turns out Mebh is a wolfwalker, and now so is Robyn … every aspect of this film is an utter triumph for Moore and co, who have crafted a work of living, breathing cinematic art that’s easily the equal to (if not even better than) the best that Disney, Dreamworks or any of the other animation studios could create.  Then there’s the excellent voice cast – Bean brings fatherly warmth and compassion to the role that belies his character’s intimidating size, while Kneafsey and Whittaker make for a sweet and sassy pair as they bond in spite of powerful cultural differences, and the masterful Simon McBurney (Harry Potter, Mission: Impossible – Rogue Nation, Tinker Tailor Soldier Spy) brings cool, understated menace to the role of Cromwell himself.  This is a film with plenty of emotional heft to go with its marvels, and once again displays the welcome dark side which added particular spice to Moore’s previous films, but ultimately this is still a gentle and heartfelt work of wonder that makes for equally suitable viewing for children as for those who are still kids at heart – ultimately, then, this is another triumph for one of the most singularly original filmmakers working in animation today, and if Wolfwalkers doesn’t make it third time lucky come Oscars-time then there’s no justice in the world …

9.  WONDER WOMAN 1984 – probably the biggest change for 2020 compared to pretty much all of the past decade is how different the fortunes of superhero cinema turned out to be.  A year earlier the Marvel Cinematic Universe had dominated all, but the DC Extended Universe still got a good hit in with big surprise hit Shazam!  Fast-forward to now and things are VERY different – DC suddenly came out in the lead, but only because Marvel’s intended heavy-hitters (two MCU movies, the first Venom sequel and potential hot-shit new franchise starter Morbius: the Living Vampire) found themselves continuously pushed back thanks to (back then) unforeseen circumstances which continue to shit all over our theatre-going slate for the immediate future.  In the end DC’s only SERIOUS competition turned out to be NETFLIX … never mind, at least we got ONE big established superhero blockbuster into the cinemas before the end of the year that the whole family could enjoy, and who better to headline it than DC’s “newest” big screen megastar, Diana Prince? Back in 2017 Monster’s Ball director Patty Jenkins’ monumental DCEU standalone spectacularly realigned the trajectory of a cinematic franchise that was visibly flagging, redesigning the template for the series’ future which has since led to some (mostly) consistently impressive subsequent offerings.  Needless to say it was a damn tough act to follow, but Jenkins and co-writers Geoff Johns (Arrow and The Flash) and David Callaham (The Expendables, Zombieland: Double Tap, future MCU entry Shang-Chi & the Legend of the Ten Rings) have risen to the challenge in fine style, delivering something which pretty much equals that spectacular franchise debut … as has Gal Gadot, who’s now OFFICIALLY made the role her own thanks to yet another showstopping and definitive performance as the unstoppable Amazonian goddess living amongst us.  She’s older and wiser than in the first film, but still hasn’t lost that forthright honesty and wonderfully pure heart we’ve come to love ever since her introduction in Zack Snyder’s troublesome but ultimately underrated Batman V Superman: Dawn of Justice (yes, that’s right, I said it!), and Gadot’s clear, overwhelming commitment to the role continues to pay off magnificently as she once again proves that Diana is THE VERY BEST superhero in the DCEU cinematic pantheon.  Although it takes place several decades after its predecessor, WW84 is, obviously, still very much a period piece, Jenkins and co this time perfectly capturing the sheer opulent and over-the-top tastelessness of the 1980s in all its big-haired, bad-suited, oversized shoulder-padded glory while telling a story that encapsulates the greedy excessiveness of the Reagan era, perfectly embodied in the film’s nominal villain, Max Lord (The Mandalorian himself, Pedro Pascal), a wishy-washy wannabe oil tycoon conman who chances upon a supercharged wish-rock and unleashes a devastating supernatural “monkey’s paw” upon the world. To say any more would give away a whole raft of spectacular twists and turns that deserve to be enjoyed good and cold, although they did spoil one major surprise in the trailer when they teased the return of Diana’s first love, Steve Trevor (Chris Pine) … needless to say this is another big blockbuster bursting with big characters, big action and BIG IDEAS, just what we’ve come to expect after Wonder Woman’s first triumphant big screen adventure.  Interestingly, the film starts out feeling like it’s going to be a bubbly, light, frothy affair – after a particularly stunning all-action opening flashback to Diana’s childhood on Themyscira, the film proper kicks off with a bright and breezy atmosphere that feels a bit like the kind of Saturday morning cartoon action the consistently impressive set-pieces take such unfettered joy in parodying, but as the stakes are raised the tone grows darker and more emotionally potent, the storm clouds gathering for a spectacularly epic climax that, for once, doesn’t feel too overblown or weighed down by its visual effects, while the intelligent script has unfathomable hidden depths to it, making us think far more than these kinds of blockbusters usually do.  It’s really great to see Chris Pine return since he was one of the best things about the first movie, and his lovably childlike wide-eyed wonder at this brave new world perfectly echoes Diana’s own last time round; Kristen Wiig, meanwhile, is pretty phenomenal throughout as Dr Barbara Minerva, the initially geeky and timid nerd who discovers an impressive inner strength but ultimately turns into a superpowered apex predator as she becomes one of Wonder Woman’s most infamous foes, the Cheetah; Pascal, of course, is clearly having the time of his life hamming it up to the hilt as Lord, playing gloriously against his effortlessly cool, charismatic action hero image to deliver a compellingly troubling examination of the monstrous corrupting influence of absolute power.  Once again, though, the film truly belongs to Gadot – she looks amazing, acts her socks off magnificently, and totally rules the movie.  After this, a second sequel is a no-brainer, because Wonder Woman remains the one DC superhero who’s truly capable of bearing the weight of this particular cinematic franchise on her powerful shoulders – needless to say, it’s already been greenlit, and with both Jenkins and Gadot onboard, I’m happy to sign up for more too …

8.  LOVE & MONSTERS – with the cinemas continuing their frustrating habit of opening for a little while and then closing while the pandemic ebbed and flowed in the months after the summer season, it was starting to look like there might not have been ANY big budget blockbusters to enjoy before year’s end as heavyweights like Black Widow, No Time To Die and Dune pulled back to potentially more certain release slots into 2021 (with only WW84 remaining stubbornly in place for Christmas).  Then Paramount decided to throw us a bone, opting to release this post-apocalyptic horror comedy on-demand in October instead, thus giving me the perfect little present to tie me over during the darkening days of autumn. The end result was a stone-cold gem that came out of nowhere to completely blow critics away, a spectacular sleeper hit that ultimately proved one of the year’s biggest and most brilliant surprises.  Director Michael Matthews may only have had South African indie thriller Five Fingers for Marseilles under his belt prior to this, but he proves he’s definitely a solid talent to watch in the future, crafting a fun and effective thrill-ride that, like all the best horror comedies, is consistently as funny as it is scary, sharing much of the same DNA as this particular mash-up genre’s classics like Tremors and Zombieland and standing up impressively well to such comparisons.  The story, penned by rising star Brian Duffield (who has TWO other entries on this list, Underwater and Spontaneous) and Matthew Robinson (The Invention of Lying, Dora & the Lost City of Gold), is also pretty ingenious and surprisingly original – a meteorite strike has unleashed weird mutagenic pathogens that warp various creepy crawly critters into gigantic monstrosities that have slaughter most of the world’s human population, leaving only a beleaguered, dwindling few to eke out a precarious living in underground colonies. Living in one such makeshift community is Joel Dawson (The Maze Runner’s Dylan O’Brien), a smart and likeable geek who really isn’t very adventurous, is extremely awkward and uncoordinated, and has a problem with freezing if threatened … which makes it all the more inexplicable when he decides, entirely against the advice of everyone he knows, to venture onto the surface so he can make the incredibly dangerous week-long trek to the neighbouring colony where his girlfriend Aimee (Iron Fist’s Jessica Henwick) has ended up.  Joel is, without a doubt, the best role that O’Brien has EVER had, a total dork who’s completely unsuited to this kind of adventure and, in the real world, sure to be eaten alive in the first five minutes, but he’s also such a fantastically believable, fallible everyman that every one of us desperate, pathetic omega-males and females can instantly put ourselves in his place, making it elementarily easy to root for him.  He’s also hilariously funny, his winningly self-deprecating sass and pitch perfect talent for physical comedy making it all the more rewarding watching each gloriously anarchic life-and-death encounter mould him into the year’s most unlikely action hero.  Henwick, meanwhile, once again impresses in a well-written role where she’s able to make a big impression despite her decidedly short screen time, as do the legendary Michael Rooker and brilliant newcomer Ariana Greenblatt as Clyde and Minnow, the adorably jaded, seen-it-all-before pair of “professional survivors” Joel meets en-route, who teach him to survive on the surface.  The action is fast, frenetic and potently visceral, the impressively realistic digital creature effects bringing a motley crew of bloodthirsty beasties to suitably blood-curdling life for the film’s consistently terrifying set-pieces, while the world-building is intricately thought-out and skilfully executed.  Altogether, this was an absolute joy from start to finish, and a film I enthusiastically endorsed to everyone I knew was looking for something fun to enjoy during the frustrating lockdown nights-in.  One of the cinematic year’s best kept secrets then, and a compelling sign of things to come for its up-and-coming director.

7.  PARASITE – I’ve been a fan of master Korean filmmaker Bong Joon-ho ever since I stumbled across his deeply weird but also thoroughly brilliant breakthrough feature The Host, and it’s a love that’s deepened since thanks to truly magnificent sci-fi actioner Snowpiercer, so I was looking forward to his latest feature as much as any movie geek, but even I wasn’t prepared for just what a runaway juggernaut of a hit this one turned out to be, from the insane box office to all that award-season glory (especially that undeniable clean-sweep at the Oscars). I’ll just come out and say it, this film deserves it all.  It’s EASILY Bong’s best film to date (which is really saying something), a masterful social satire and jet black comedy that raises some genuinely intriguing questions before delivering deeply troubling answers.  Straddling the ever-widening gulf between a disaffected idle rich upper class and impoverished, struggling lower class in modern-day Seoul, it tells the story of the Kim family – father Ki-taek (Bong’s good luck charm, Song Kang-ho), mother Chung-sook (Jang Hye-jin), son Ki-woo (Train to Busan’s Choi Woo-shik) and daughter Ki-jung (The Silenced’s Park So-dam) – a poor family living in a run-down basement apartment who live hand-to-mouth in minimum wage jobs and can barely rub two pennies together, until they’re presented with an intriguing opportunity.  Through happy chance, Ki-woon is hired as an English tutor for Park Da-hye (Jung Ji-so), the daughter of a wealthy family, which offers him the chance to recommend Ki-jung as an art tutor to the Parks’ troubled young son, Da-song (Jung Hyeon-jun). Soon the rest of the Kims are getting in on the act, the kids contriving opportunities for their father to replace Mr Park’s chauffeur and their mother to oust the family’s long-serving housekeeper, Gook Moon-gwang (Lee Jung-eun), and before long their situation has improved dramatically.  But as they two families become more deeply entwined, cracks begin to show in their supposed blissful harmony as the natural prejudices of their respective classes start to take hold, and as events spiral out of control a terrible confrontation looms on the horizon.  This is social commentary at its most scathing, Bong drawing on personal experiences from his youth to inform the razor-sharp script (co-written by his production assistant Han Jin-won), while he weaves a palpable atmosphere of knife-edged tension throughout to add spice to the perfectly observed dark humour of the situation, all the while throwing intriguing twists and turns at us before suddenly dropping such a massive jaw-dropper of a gear-change that the film completely turns on its head to stunning effect.  The cast are all thoroughly astounding, Song once again dominating the film with a turn at once sloppy and dishevelled but also poignant and heartfelt, while there are particularly noteworthy turns from Lee Sun-kyun as the Parks’ self-absorbed patriarch Dong-ik and Choi Yeo-jeong (The Concubine) as his flighty, easily-led wife Choi Yeon-gyo, as well as a fantastically weird appearance in the latter half from Park Myung-hoon.  This is heady stuff, dangerously seductive even as it becomes increasingly uncomfortable viewing, so that even as the screws tighten and everything goes to hell it’s simply impossible to look away.  Bong Joon-ho really has surpassed himself this time, delivering an existential mind-scrambler that lingers long after the credits have rolled and might even have you questioning your place in society once you’ve thought about it some. It deserves every single award and every ounce of praise it’s been lavished with, and looks set to go down as one of the true cinematic greats of this new decade.  Trust me, if this was a purely critical best-of list it’d be RIGHT AT THE TOP …

6.  THE OLD GUARD – Netflix’ undisputable TOP OFFERING of the summer came damn close to bagging the whole season, and I can’t help thinking that even if some of the stiffer competition had still been present it may well have still finished this high. Gina Prince-Blythewood (Love & Basketball, the Secret Life of Bees) directs comics legend Greg Rucka’s adaptation of his own popular series with uncanny skill and laser-focused visual flair considering there’s nothing on her previous CV to suggest she’d be THIS good at mounting a stomping great ultraviolent action thriller, ushering in a thoroughly engrossing tale of four ancient, invulnerable immortal warriors – Andy AKA Andromache of Scythia (Charlize Theron), Booker AKA Sebastian de Livre (Matthias Schoenaerts), Joe AKA Yusuf Al-Kaysani (Wolf’s Marwan Kenzari) and Nicky AKA Niccolo di Ginova (Trust’s Luca Marinelli) – who’ve been around forever, hiring out their services as mercenaries for righteous causes while jealously guarding their identities for fear of horrific experimentation and exploitation should their true natures ever be discovered.  Their anonymity is threatened, however, when they’re uncovered by former CIA operative James Copley (Chiwetel Ejiofor), who’s working for the decidedly dodgy pharmaceutical conglomerate run by sociopathic billionaire Steven Merrick (Harry Melling, formerly Dudley in the Harry Potter movies), who want to capture these immortals so they can patent whatever it is that makes them keep on ticking … just as a fifth immortal, US Marine Nile Freeman (If Beale Street Could Talk’s KiKi Layne), awakens after being “killed” on deployment in Afghanistan.  The supporting players are excellent, particularly Ejiofor, smart and driven but ultimately principled and deeply conflicted about what he’s doing, even if he does have the best of intentions, and Melling, the kind of loathsome, reptilian scumbag you just love to hate, but the film REALLY DOES belong to the Old Guard themselves – Schoenaerts is a master brooder, spot-on casting as the group’s relative newcomer, only immortal since the Napoleonic Wars but clearly one seriously old soul who’s already VERY tired of the lifestyle, while Joe and Nicky (who met on opposing sides of the Crusades) are simply ADORABLE, an unapologetically matter-of-fact gay couple who are sweet, sassy and incredibly kind, the absolute emotional heart of the film; it’s the ladies, however, that are most memorable here.  Layne is exceptional, investing Nile with a steely intensity that puts her in good stead as her new existence threatens to overwhelm her and MORE THAN qualified to bust heads alongside her elders … but it’s ancient Greek warrior Andy who steals the film, Theron building on the astounding work she did in Atomic Blonde to prove, once and for all, that there’s no woman on Earth who looks better kicking arse than her (as Booker puts it, “that woman has forgotten more ways to kill than entire armies will ever learn”); in her hands, Andy truly is a goddess of death, tough as tungsten alloy and unflappable even in the face of hell itself, but underneath it all she hides a heart as big as any of her friends’.  They’re an impossibly lovable bunch and you feel you could follow them on another TEN adventures like this one, which is just as well, because Prince-Blythewood and Rucka certainly put them through their paces here – the drama is high (but frequently laced with a gentle, knowing sense of humour, particularly whenever Joe and Nicky are onscreen), as are the stakes, and the frequent action sequences are top-notch, executed with rare skill and bone-crunching zest, but also ALWAYS in service to the story.  Altogether this is an astounding film, a genuine victory for its makers and, it seems, for Netflix themselves – it’s become one of the platform’s biggest hits to date, earning well-deserved critical acclaim and great respect and genuine geek love from the fanbase at large.  After this, a sequel is not only inevitable, it’s ESSENTIAL …

5.  MANK – it’s always nice when David Fincher, one of my TOP FIVE ALL TIME FAVOURITE DIRECTORS, drops a new movie, because it can be GUARANTEED to place good and high in my rundown for that year.  The man is a frickin’ GENIUS, a true master of the craft, genuinely one of the auteur’s auteurs.  I’ve NEVER seen him deliver a bad film – even a misfiring Fincher (see The Curious Case of Benjamin Button or Alien 3) is still capable of creating GREAT CINEMA.  How? Why?  It’s because he genuinely LOVES the art form, it’s been his obsession all his life, and he’s spent every day of it becoming the best possible filmmaker he can be.  Who better to tell the story of the creation of one of the ULTIMATE cinematic masterpieces, then?  Benjamin Ross’ acclaimed biopic RKO 281 covered similar ground, presenting a compelling look into the making Citizen Kane, the timeless masterpiece of Hollywood’s ULTIMATE auteur, Orson Welles, but Fincher’s film is more interested in the original inspiration for the story, how it was written and, most importantly, the man who wrote it – Herman J. Mankiewicz, known to his friends as Mank. One of my favourite actors of all time, Gary Oldman, delivers yet another of his career best performances in the lead role, once a man of vision and incredible storytelling skill whose talents have largely been squandered through professional difficulties and personal vices, a burned out one-time great fallen on hard times whom Welles picks up out of the trash, dusts off and offers a chance to create something truly great again.  The only catch?  The subject of their film (albeit dressed up in the guise of fictional newspaper magnate Charles Foster Kane) is to be real-life publisher, politico and tycoon William Randolph Hurst (Charles Dance), once Mank’s friend and patron before they had a very public and messy falling out which partly led to his current circumstances.  As he toils away in seclusion on what is destined to become his true masterwork, flashbacks reveal to us the fascinating, moving and ultimately tragic tale of his rise and fall from grace in the movie business, set against the backdrop of one of the most tumultuous periods in American history.  Shooting a script that his own journalist and screenwriter father, Jack, crafted and then failed to bring to the screen himself before his death in 2003, Fincher has been working for almost a quarter century to make this film, and all that passion and drive is writ large on the screen – this is a glorious film ABOUT film, the art of it, the creation of it, and all the dirty little secrets of what the industry itself has always really been like, especially in that most glamorous and illusory of times.  The fact that Fincher shot in black and white and intentionally made it look like it was made in the early 1940s (the “golden age of the Silver Screen”, if you will) may seem like a gimmick, but instead it’s a very shrewd choice that expertly captures the gloss and moodiness of the age, almost looking like a contemporary companion piece to Kane itself, and it’s the perfect way to frame all the sharp-witted observation, subtly subversive character development and murky behind-the-scenes machinations that tell the story.  Oldman is in every way the star here, holding the screen with all the consummate skill and flair we’ve come to expect from him, but there’s no denying the uniformly excellent supporting cast are equal to the task here – Dance is at his regal, charismatic best as Hearst, while Amanda Seyfried is icily classy on the surface but mischievous and lovably grounded underneath as Hearst’s mistress, Marion Davies, who formed the basis for Kane’s most controversial character, Arliss Howard (Full Metal Jacket, The Lost World: Jurassic Park, Moneyball) brings nuance and complexity to the role of MGM founder Louis B. Mayer, Tom Pelphrey (Banshee, Ozark) is understated but compelling as Mank’s younger screenwriter brother Joseph, and Lily Collins and Tuppence Middleton exude class and long-suffering stubbornness as the two main women in Mank’s life (his secretary and platonic muse, Rita Alexander, and his wife, Sara), while The Musketeers’ Tom Burke’s periodic but potent appearances as Orson Welles help to drive the story in the “present”.  Another Netflix release which I was (thankfully) able to catch on the big screen during one of the brief lulls between British lockdowns, this was a decidedly meta cinematic experience that perfectly encapsulated not only what is truly required for the creation of a screen epic, but also the latest pinnacle in the career of one of the greatest filmmakers working in the business today, powerful, stirring, intriguing and surprising in equal measure. Certainly it’s one of the most important films ABOUT so far film this century, but is it as good as Citizen Kane?  Boy, that’s a tough one …

4.  ENOLA HOLMES – ultimately, my top film for the autumn/winter movie season was also the film which finally topped my Netflix Original features list, as well as beating all other streaming offerings for the entire year (which is saying something, as you should know by now).  Had things been different, this would have been one of Warner Bros’ BIGGEST releases for the year in the cinema, of that I have no doubt, a surprise sleeper hit which would have taken the world by storm – as it is it’s STILL become a sensation, albeit in a much more mid-pandemic, lockdown home-viewing kind of way.  Before you start crying oh God no, not another Sherlock Holmes adaptation, this is a very different beast from either the Guy Ritchie take or the modernized BBC show, instead side-lining the great literary sleuth in favour of a delicious new AU version, based on The Case of the Missing Marquess, the first novel in the Enola Holmes Mysteries literary series from American YA author Nancy Springer.  Positing that Sherlock Holmes (Henry Cavill) and his elder brother Mycroft (Sam Claflin) had an equally ingenious and precocious baby sister, the film introduces us to Enola (Stranger Things’ Millie Bobby Brown), who’s been raised at home by their strong-willed mother Eudoria (Helena Bonham Carter) to be just as intelligent, well-read and intellectually skilled as her far more advantageously masculine elder siblings.  Then, on the morning of her sixteenth birthday, Enola awakens to find her mother has vanished, putting her in a pretty pickle since this leaves her a ward of Mycroft, a self-absorbed social peacock who finds her to be wilfully free-spirited and completely ill equipped to face the world, concluding that the only solution is sending her to boarding school where she’ll learn to become a proper lady.  Needless to say she’s horrified by the prospect, deciding to run away and search for her mother instead … this is about as perfect a family adventure film as you could wish for, following a vital, capable and compelling teen detective-in-the-making as she embarks on her very first investigation, as well as winding up tangled in a second to boot involving a young runaway noble, Viscount Tewkesbury, the Marquess of Basilwether (Medici’s Louis Partridge), and the film is a breezy, swift-paced and rewardingly entertaining romp that feels like a welcome breath of fresh air for a literary property which, beloved as it may be, has been adapted to death over the years.  Enola Holmes a brilliant young hero who’s perfectly crafted to carry the franchise forward in fresh new directions, and Brown brings her to life with effervescent charm, boisterous energy and mischievous irreverence that are entirely irresistible; Cavill and Claflin, meanwhile, are perfectly cast as the two very different brothers – this Sherlock is much less louche and world-weary than most previous versions, still razor sharp and intellectually restless but with a comfortable ease and a youthful spring in his step that perfectly suits the actor, while Mycroft is as superior and arrogant as ever, a preening arse we derive huge enjoyment watching Enola consistently get the best of; Bonham Carter doesn’t get a lot of screen-time but as we’d expect she does a lot with what she has to make the practical, eccentric and unapologetically modern Eudoria thoroughly memorable, while Partridge is carefree and likeable as the naïve but irresistible Tewkesbury, and there are strong supporting turns from Frances de la Tour as his stately grandmother, the Dowager, Susie Wokoma (Crazyhead, Truth Seekers) as Emily, a feisty suffragette who runs a jujitsu studio, Burn Gorman as dastardly thug-for-hire Linthorn, and Four Lions’ Adeel Akhtar as a particularly scuzzy Inspector Lestrade.  Seasoned TV director Harry Bradbeer (Fleabag, Killing Eve) makes his feature debut with an impressive splash, unfolding the action at a brisk pace while keeping the narrative firmly focused on an intricate mystery plot that throws in plenty of ingenious twists and turns before a suitably atmospheric climax and pleasing denouement which nonetheless artfully sets up more to come in the future, while screenwriter Jack Thorne (His Dark Materials, The Scouting Book for Boys, Wonder) delivers strong character work and liberally peppers the dialogue with a veritable cavalcade of witty zingers.  Boisterous, compelling, amusing, affecting and exciting in equal measure, this is a spirited and appealing slice of cinematic escapism that flatters its viewers and never talks down to them, a perfect little period adventure for a cosy Sunday afternoon.  Obviously there’s plenty of potential for more, and with further books to adapt there’s more than enough material for a pile of sequels – Neflix would be barmy indeed to turn their nose up at this opportunity …

3.  1917 – it’s a rare thing for a film to leave me truly shell-shocked by its sheer awesomeness, for me to walk out of a cinema in a genuine daze, unable to talk or even really think about much of anything for a few hours because I’m simply marvelling at what I’ve just witnessed.  Needless to say, when I do find a film like that (Fight Club, Inception, Mad Max: Fury Road) it usually earns a place very close to my heart indeed.  The latest tour-de-force from Sam Mendes is one of those films – an epic World War I thriller that plays out ENTIRELY in one shot, which doesn’t simply feel like a glorified gimmick or stunt but instead is a genuine MASTERPIECE of film, a mesmerising journey of emotion and imagination in a shockingly real environment that’s impossible to tear your eyes away from.  Sure, Mendes has impressed us before – his first film, American Beauty, is a GREAT movie, one of the most impressive feature debuts of the 2000s, while Skyfall is, in my opinion, quite simply THE BEST BOND FILM EVER MADE – but this is in a whole other league.  It’s an astounding achievement, made all the more impressive when you realise that there’s very little trickery at play here, no clever digital magic (just some augmentation here and there), it’s all real locations and sets, filmed in long, elaborately choreographed takes blended together with clever edits to make it as seamless as possible – it’s not the first film to try to do this (remember Birdman? Bushwick?), but I’ve never seen it done better, or with greater skill. But it’s not just a clever cinematic exercise, there’s a genuine story here, told with guts and urgency, and populated by real flesh and blood characters – the heart of the film is True History of the Kelly Gang’s George MacKay and Dean Chapman (probably best known as Tommen Baratheon in Game of Thrones) as Lance Corporals Will Schofield and Tom Blake, the two young tommies sent out across enemy territory on a desperate mission to stop a British regiment from rushing headlong into a German trap (Tom himself has a personal stake in this because his brother is an officer in the attack).  They’re a likeable pair, very human and relatable throughout, brave and true but never so overtly heroic that they stretch credibility, so when tragedy strikes along the way it’s particularly devastating; both deliver exceptional performances that effortlessly carry us through the film, and they’re given sterling support from a selection of top-drawer British talent, from Sherlock stars Andrew Scott and Benedict Cumberbatch to Mark Strong and Colin Firth, each delivering magnificently in small but potent cameos.  That said, the cinematography and art department are the BIGGEST stars here, masterful veteran DOP Roger Deakins (The Shawshank Redemption, Blade Runner 2049 and pretty much the Coen Brothers’ entire back catalogue among MANY others) making every frame sing with beauty, horror, tension or tragedy as the need arises, and the environments are SO REAL it feels less like production design than that someone simply sent the cast and crew back in time to film in the real Northern France circa 1917 – from a nightmarish trek across No Man’s Land to a desperate chase through a ruined French village lit only by dancing flare-light in the darkness before dawn, every scene is utterly immersive and simply STUNNING.  I don’t think it’s possible for Mendes to make a film better than this, but I sure hope he gives it a go all the same.  Either way, this was the most incredible, exhausting, truly AWESOME experience I had at the cinema all year – it’s a film that DESERVES to be seen on the big screen, and I feel truly sorry for those who missed the chance …

2.  BIRDS OF PREY & THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN – the only reason 1917 isn’t at number two is because Warner Bros.’ cinematic DC Extended Universe project FINALLY got round to bringing my favourite DC Comics title to the big screen.  It was been the biggest pleasure of my cinematic year getting to see my top DC superheroines brought to life on the big screen, and it was done in high style, in my opinion THE BEST of the DCEU films to date (yup, I loved it EVEN MORE than the Wonder Woman movies).  It was also great seeing Harley Quinn return after her show-stealing turn in David Ayer’s clunky but ultimately still hugely enjoyable Suicide Squad, better still that they got her SPOT ON this time – this is the Harley I’ve always loved in the comics, unpredictable, irreverent and entirely without regard for what anyone else thinks of her, as well as one talented psychiatrist.  Margot Robbie once more excels in the role she was basically BORN to play, clearly relishing the chance to finally do Harley TRUE justice, and she’s a total riot from start to finish, infectiously lovable no matter what crazy, sometimes downright REPRIHENSIBLE antics she gets up to.  Needless to say she’s the nominal star here, her latest ill-advised adventure driving the story – finally done with the Joker and itching to make her emancipation official, Harley publicly announces their breakup by blowing up Ace Chemicals (their love spot, basically), inadvertently painting a target on her back in the process since she’s no longer under the assumed protection of Gotham’s feared Clown Prince of Crime – but that doesn’t mean she eclipses the other main players the movie’s REALLY supposed to be about.  Each member of the Birds of Prey is beautifully written and brought to vivid, arse-kicking life by what had to be 2020’s most exciting cast – Helena Bertinelli, the Huntress, is the perfect character for Mary Elizabeth Winstead to finally pay off on that action hero potential she showed in Scott Pilgrim Vs. the World, but this is a MUCH more enjoyable role outside of the fight choreography because while Helena may be a world-class dark avenger, socially she’s a total dork, which just makes her thoroughly adorable; Rosie Perez is similarly perfect casting as Renee Montoya, the uncompromising pint-sized Gotham PD detective who kicks against the corrupt system no matter what kind of trouble it gets her into, and just gets angrier all the time, paradoxically making us like her even more; and then there’s the film’s major controversy, at least as far as the fans are concerned, namely one Cassandra Cain.  Sure, this take is VERY different from the comics’ version (a nearly mute master assassin who went on to become the second woman to wear the mask of Batgirl before assuming her own crime-fighting mantle as Black Bat and now Orphan), but personally I like to think this is simply Cass at THE VERY START of her origin story, leaving plenty of time for her to discover her warrior origins when the DCEU finally gets around to introducing her mum, Lady Shiva (personally I want Michelle Yeoh to play her, but that’s just me) – anyways, here she’s a skilled child pickpocket whose latest theft inadvertently sets off the larger central plot, and newcomer Ella Jay Basco brings a fantastic pre-teen irreverence and spiky charm to the role, beautifully playing against Robbie’s mercurial energy.  My favourite here BY FAR, however, is Dinah Lance, aka the Black Canary (not only my favourite Bird of Prey but my very favourite DC superheroine PERIOD), the choice of up-and-comer Jurnee Smollet-Bell (Friday Night Lights, Underground) proving to be the film’s most inspired casting – a club singer with the metahuman ability to emit piercing supersonic screams, she’s also a ferocious martial artist (in the comics she’s one of the very best fighters IN THE WORLD), as well as a wonderfully pure soul you just can’t help loving, and it made me SO UNBELIEVABLY HAPPY that they got my Canary EXACTLY RIGHT.  Altogether they’re a fantastic bunch of badass ladies, basically my perfect superhero team, and the way they’re all brought together (along with Harley, of course) is beautifully thought out and perfectly executed … they’ve also got one hell of a threat to overcome, namely Gotham crime boss Roman Sionis, the Black Mask, one of the Joker’s chief rivals – Ewan McGregor brings his A-game in a frustratingly rare villainous turn (my number one bad guy for the movie year), a monstrously narcissistic, woman-hating control freak with a penchant for peeling off the faces of those who displease him, sharing some exquisitely creepy chemistry with Chris Messina (The Mindy Project) as Sionis’ nihilistic lieutenant Victor Zsasz.  This is about as good as superhero cinema gets, a perfect example of the sheer brilliance you get when you switch up the formula to create something new, an ultra-violent, unapologetically R-rated middle finger to the classic tropes, a fantastic black comedy thrill ride that’s got to be the most full-on feminist blockbuster ever made – it’s helmed by a woman (Dead Pigs director Cathy Yan), written by a woman (Bumblebee’s Christina Hodson), produced by more women and ABOUT a bunch of badass women magnificently triumphing over toxic masculinity in all its forms.  It’s also simply BRILLIANT – the cast are all clearly having a blast, the action sequences are first rate (the spectacular GCPD evidence room fight in which Harley gets to REALLY cut loose is the undisputable highlight), it has a gleefully anarchic sense of humour and is simply BURSTING with phenomenal homages, references and in-jokes for the fans (Bruce the hyena! Stuffed beaver! Roller derby!).  It’s also got a killer soundtrack, populated almost exclusively by numbers from female artists.  Altogether, then, this is the VERY BEST the DCEU has to offer to date, and VERY NEARLY my absolute FAVOURITE film of 2020.  Give it all the love you can, it sure as hell deserves it.

1.  TENET – granted, the streaming platforms (particularly Netflix and Amazon) certainly saved our cinematic summer, but I’m still IMMEASURABLY glad that my ultimate top-spot winner FOR THE WHOLE YEAR was one I got to experience on THE BIG SCREEN. You gotta hand it to Christopher Nolan, he sure hung in there, stubbornly determined that his latest cinematic masterpiece WOULD be released in cinemas in the summer (albeit ultimately landing JUST inside the line in the final week of August and ultimately taking the bite at the box office because of the still shaky atmosphere), and it was worth all the fuss because, for me, this was THE PERFECT MOVIE for me to get return to cinemas with.  I mean, okay, in the end it WASN’T the FIRST new movie I saw after the first reopening, that honour went to Unhinged, but THIS was my first real Saturday night-out big screen EXPERIENCE since March.  Needless to say, Nolan didn’t disappoint this time any more than he has on any of his consistently spectacular previous releases, delivering another twisted, mind-boggling headfuck of a full-blooded experiential sensory overload that comes perilously close to toppling his long-standing auteur-peak, Inception (itself second only by fractions to The Dark Knight as far as I’m concerned). To say much at all about the plot would give away major spoilers – personally I’d recommend just going in as cold as possible, indeed you really should just stop reading this right now and just GO SEE IT.  Still with us?  Okay … the VERY abridged version is that it’s about a secret war being waged between the present and the future by people capable of “inverting” time in substances, objects, people, whatever, into which the Protagonist (BlacKkKlansman’s John David Washington), an unnamed CIA agent, has been dispatched in order to prevent a potential coming apocalypse. Washington is once again on top form, crafting a robust and compelling morally complex heroic lead who’s just as comfortable negotiating the minefields of black market intrigue as he is breaking into places or dispatching heavies, Kenneth Branagh delivers one of his most interesting and memorable performances in years as brutal Russian oligarch Andrei Sator, a genuinely nasty piece of work who was ALMOST the year’s very best screen villain, Elizabeth Debicki (The Night Manager, Guardians of the Galaxy Vol. 2, Widows) brings strength, poise and wounded integrity to the role of Sator’s estranged wife, Kat, and Aaron Taylor-Johnson gets to use his own accent for once as tough-as-nails British Intelligence officer Ives, while there are brief but consistently notable supporting turns and cameos from Martin Donovan, Yesterday’s Himesh Patel, Dirk Gently’s Fiona Dourif and, of course, Nolan’s good luck charm, Michael Caine.  The cast’s biggest surprise, however, is Robert Pattinson, truly a revelation in what has to be, HANDS DOWN, his best role to date, Neil, the Protagonist’s mysterious handler – he’s by turns cheeky, slick, duplicitous and thoroughly badass, delivering an enjoyably multi-layered, chameleonic performance which proves what I’ve long maintained, that the former Twilight star is actually a fucking amazing actor, and on the basis of this, even if that amazing new teaser trailer wasn’t making the rounds, I think the debate about whether or not he’s the right choice for the new Batman is now academic.  As we’ve come to expect from Nolan, this is a TRUE tour-de-force experience, a visual triumph and an endlessly engrossing head-scratcher, Nolan’s screenplay bringing in seriously big ideas and throwing us some major narrative knots and loopholes, constantly wrong-footing the viewer while also setting up truly revelatory payoffs from seemingly low-key, unimportant beginnings – this is a film you need to be awake and attentive for or you could miss something pretty vital. The action sequences are, as ever, second to none, some of the year’s very best set-pieces coming thick and fast and executed with some of the most accomplished skill in the business, while Nolan-regular cinematographer Hoyte van Hoytema (Interstellar and Dunkirk, as well as the heady likes of Tinker Tailor Soldier Spy, SPECTRE and Ad Astra) once again shows he’s one of the best camera-wizards in the business today by delivering some absolutely mesmerising visuals.  Notably, Nolan’s other regular collaborator, composer Hans Zimmer, is absent here (although he had good reason, since he was working on his dream project at the time, the fast-approaching screen adaptation of Dune), but Ludwig G��ransson (best known for his collaborations with Ryan Coogler Fruitvale Station, Creed and Black Panther, as well as career-best work on The Mandalorian) is a fine replacement, crafting an intriguingly internalised, post-modern musical landscape that thrums and pulses in time with the story and emotions of the characters rather than the action itself. Interestingly it’s on the subject of sound that some of the film’s rare detractions have been levelled, and I can see some of the points – the soundtrack mix is an all-encompassing thing, and there are times when the dialogue can be overwhelmed, but in Nolan’s defence this film is a heady, immersive experience, something you really need to concentrate on, so these potential flaws are easily forgiven.  As a work of filmmaking art, this is another flawless wonder from one of the true masters of the craft working in cinema today, but it’s art with palpable substance, a rewarding whole that proved truly unbeatable in 2020 …

[darkartandcraft]

Trapped in the Dream of Death - Interview with Illustrator and Tattoo Artist Revolting Worship

We were honored to sit down and talk to Columbus, Ohio resident Nate Burns, aka "Revolting Worship" about his artwork, his transition to the tattoo realm and a little bit about his success with social media. 

So, can you tell us the story behind Revolting Worship? Why did you decide on that handle? How long have you been revolting worship?

The pen-name “Revolting Worship” was birthed mostly out of my entrenched metal nerddom; sort of harkening back to the history of artists/musicians of the genre utilizing pseudonyms to “brand” their creative output. It was a fun exercise that honestly ended up sticking more than I imagined/intended it to. 

Please summarize your illustration style in 3-4 words. 

Line & texture obsessed canoodling. 

You saw pretty prolific growth before Instagram started tangoing with their algorithm. What sorts of actions do you attribute your success?

Lots of time spent drawing to always have something at least halfway worthwhile to show for the efforts. Basically pouring in time to honing my craft was the primary goal (as it always should be as far as I’m concerned) but it just so happened to work in my favor that the old social media algorithms benefited those with speedier working processes ie. always working means always having something you could show means being pushed into feeds more often. The constant flux in algorithm changes hasn’t effected my working process or the amount of time I’m working, however. 

Did you always want to be an artist? What made you decide that's what you wanted to be?

I’d say in some form or another, yes, I’ve always wanted to make art for a living. Some of my earliest memories were drawing my own bootleg Batman and X-men comics, haha!

Okay, so here's one of our topical questions but get into it. Who are your top five greatest influences into your artwork (not that we can't guess some of them - cough DORE cough)?

Haha, well, Dore is in there for sure. Dürer, Harry Clarke, Joseph Clement Coll and Bernie Wrightston would probably have to round out the rest of that line-up. 

What creators should everyone reading this article follow on social media? 

Ooo hmmm. Some personal faves are Henrik Uldalen, Becky Cloonan, Little Thunder, Allison Sommers, Mike Moses, Brian Ewing, Randy Ortiz, Brandon Holt, Mike Sutfin, James Jean, Eric Fortune, Michelle Konczyk, Allen Williams, Adam Burke, Alessandra Maria, Jeremy Hush, all the artists I have the pleasure to work with in my American Crow family, the list goes on. 

How long have you been illustrating? About three years ago, you began tattooing. Why did you decide to do that? 

I’d say I’ve been illustrating in a professional capacity for about 7 years now? Looking back, I’m hesitant to call anything from the first few years very professional but I suppose that’s the ever present “your own biggest critic is yourself” that a lot of artists have haha. 

As far as making the leap into tattooing; it happened pretty organically. I had been getting tattooed for years and developed a friendship with the David Boggins, whom had been doing the majority of my tattoos at the time. We had had art nights every once in a while together so he became acquainted with my illustration style, etc. and over the years of getting tattooed and becoming more and more exposed to other artists and the industry in general, I started finding the idea of tattooing more interesting. I ended up asking David if he was interested in taking on an apprentice and it all started from there! 

How has tattooing influenced your illustration work and your illustration work influenced your tattooing? 

They’ve both influenced my drawing style subconsciously. The way I make marks and compose things has definitely changed (for the better, I believe) the more I started approaching a piece from the perspective of tattooing. Now, the only glaring difference between how I handle an illustration vs. a tattoo project is that when it comes to an illustration I can cut loose on a lot more detail, etc. simply due to working on paper and it’s possibilities compared to flesh. 

Has tattooing affected the amount of illustration commissions you take on? If it has, how has it made you selective and what are the projects you take on now as a result? 

Its definitely made me more selective on what illustration projects for the sake of finding the time to work on it.

How has tattooing changed your artwork? Now that you tattoo, do you find yourself exploring different subject matter or imagery than you did when you just illustrated

I’d say its influenced the sizes I like to work at? I’ve found myself really enjoying working larger and “stretching my creative legs” when I get a chance. 

What are some of your favorite illustration projects you've ever done for yourself? For someone else? 

I’m really excited about a personal piece I’m working on currently for the gallery show at the upcoming Midnite Communion in November. I really enjoyed the “Wraiths” series I had a chance to do last year; 13 5”x 7” pieces that gave me a chance to explore creating different environments, etc. 

Favorite project done for someone else? Hmm. If I really had to boil it down; I had a lot of fun with and enjoyed the end results for the album art I had a chance to do for Chrch’s “Light Will Consume Us” as well as Northern Widows’ “ Way of Suffering.” 

What would be your ideal commission? 

I pretty much love any chance I get to make gross, macabre shit for bands I really enjoy. I know that’s pretty vague but there’s nothing quite as satisfying as making some filthy art for equally filthy music. Filthy being a pretty subjective term here. 

Okay let's talk about your upcoming travels and artwork. What are some of your upcoming guest spots so people can get some of your tattoos? 

I’ll be visiting Ritual Tattoo Gallery in Denver this June from 5th-7th and White Willow Tattoo in Pittsburgh on July 29th-30th, both of which are currently booked up. So that’ll be a lot of fun! As mentioned earlier, I’m currently working on a large (for me) 11”x14” illustration for Midnite Communion in November our in Long Beach, CA. Hoping to possibly have another piece ready to go for an unannounced Chicago show in October. 

How can people buy your original artwork or prints?

I will sometimes post original pieces for sale on my social media but, otherwise, interested parties can  contact me and inquire as to what I have around. As far as prints go; I normally always have some availed at the shop (American Crow Tattoo) and sometimes will upload a small number of them for sale via online, it’s just a matter of watching my IG for announcements. 

How has digital media affected your artwork and your ability to be a professional artist?

Digital media has definitely made it light years easier to get your work out there and viewed by a wide audience. Having prints and merch made has also never been more seamless. 

What are Revolting Worship's top three points of advice to younger, less experienced artists?

 If you have time to complain, you have time to draw. You get out what you put in, meaning; you can always be improving on your work. The more time you pour into your craft, the better your skill set will be. 

Finding your style takes time and unfolds naturally as long as you’re putting in the work mentioned in the previous point. Learning what you like about certain types of art, artists, techniques, etc. and WHY you like what you do will subconsciously guide you. Don’t get too caught up on/stress out about finding your style, it will happen organically. Be more focused on learning. 

There’s a big difference between “taking inspiration from” or “emulating” and completely ripping off another artist. Please don’t do the latter. By all means, learn from the artists you admire but please become familiar with the difference between learning and stealing. 

What do you want people to know about you and/or your artwork? 

I feel beyond fortunate that people give a shit about what I do and allow me to do it for a living. Everything I do is made possible by the supportive people I’ve surrounded myself with and whom continue to be my patrons. All of my work is hand drawn and it warms my heart that the time poured into the traditional methods of making art still have an audience that appreciates it and are more available to see it in an increasingly digital world. 

Make sure to give Revolting Worship a follow on Instagram.

[grigori77]

2019 in Movies - My Top 30 Fave Movies (Part 3)

10.  HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD – while I love Disney and Pixar as much as the next movie nut, since the Millennium my loyalty has been slowly but effectively usurped by the consistently impressive (but sometimes frustratingly underappreciated) output of Dreamworks Animation Studios, and in recent years in particular they really have come to rival the House of Mouse in both the astounding quality of their work and their increasing box office reliability.  But none of their own franchises (not even Shrek or Kung Fu Panda) have come CLOSE to equalling the sheer, unbridled AWESOMENESS of How to Train Your Dragon, which started off as a fairly loose adaptation of Cressida Cowell’s popular series of children’s stories but quickly developed a very sharp mind of its own – the first two films were undisputable MASTERPIECES, and this third and definitively FINAL chapter in the trilogy matches them to perfection, as well as capping the story off with all the style, flair and raw emotional power we’ve come to expect.  The time has come to say goodbye to diminutive Viking Hiccup (Jay Baruchel, as effortlessly endearing as ever) and his adorable Night Fury mount/best friend Toothless, fiancée Astrid (America Ferrera, still tough, sassy and WAY too good for him), mother Valka (Cate Blanchett, classy, wise and still sporting a pretty flawless Scottish accent) and all the other Dragon Riders of the tiny, inhospitable island kingdom of Berk – their home has become overpopulated with scaly, fire-breathing denizens, while a trapper fleet led by the fiendish Grimmel the Grisly (F. Murray Abraham delivering a wonderfully soft-spoken, subtly chilling master villain) is beginning to draw close, prompting Hiccup to take up his late father Stoick (Gerard Butler returning with a gentle turn that EASILY prompts tears and throat-lumps) the Vast’s dream of finding the fabled “Hidden World”, a mysterious safe haven for dragon-kind where they can be safe from those who seek to do them harm.  But there’s a wrinkle – Grimmel has a new piece of bait, a female Night Fury (or rather, a “Light Fury”), a major distraction that gets Toothless all hot and bothered … returning writer-director Dean DeBlois has rounded things off beautifully with this closer, giving loyal fans everything they could ever want while also introducing fresh elements such as intriguing new environments, characters and species of dragons to further enrich what is already a powerful, intoxicating world for viewers young and old (I particularly love Craig Ferguson’s ever-reliable comic relief veteran Viking Gobber’s brilliant overreactions to a certain adorably grotesque little new arrival), and like its predecessors this film is just as full of wry, broad and sometimes slightly (or not so slightly) absurd humour and deep down gut-twisting FEELS as it is of stirring, pulse-quickening action sequences and sheer, jaw-dropping WONDER, so it’s as nourishing to our soul as it is to our senses.  From the perfectly-pitched, cheekily irreverent opening to the truly devastating, heartbreaking close, this is EXACTLY the final chapter we’ve always dreamed of, even if it does hurt to see this most beloved of screen franchises go. It’s been a wild ride, and one that I think really does CEMENT Dreamworks’ status as one of the true giants of the genre …

9.  TERMINATOR: DARK FATE – back in 1984, James Cameron burst onto the scene with a stone-cold PHENOMENON, a pitch-perfect adrenaline-fuelled science fiction survival horror that spawned a million imitators but has never truly been equalled.  Less than a decade later, he revisited that universe with a much bigger and far bolder vision, creating an epic action adventure that truly changed blockbuster cinema for the better (or perhaps worse, depending on how you want to look at it), but, with its decidedly final, full-stop climax, also effectively rendered itself sequel-proof.  Except that Hollywood had other ideas, the unstoppable money machine smelling potential profit and deciding to milk this particular cash cow for all it was worth – on the small screen, it was the impressive but ultimately intrinsically limited Sarah Connor Chronicles, while on the big screen they cranked out THREE MORE sequels, Sony Pictures starting with straightforward retread Rise of the Machines and following with post-apocalyptic marmite movie Salvation, while Twentieth Century Fox then tried a sort-of soft reboot follow-up to T2 in Genisys.  These were all interesting in their own way (personally, I like them all, particularly Salvation), but ultimately suffered from diminishing returns and whiffed strongly of trying too hard without quite getting the point. Cameron himself had long since washed his hands of the whole affair, and it looked like that might well be it … but then Skydance Productions founder David Ellison thought up a new take to breathe much needed new life into the franchise, and enlisted Cameron’s help to usher it in properly, with Deadpool director Tim Miller the intriguing but ultimately inspired choice to helm the project.  The end result wisely chooses to paint right over all the pretenders, kicking off right where Judgement Day left off, and as well as Cameron being heavily involved in the story itself, draws another ace with the long-awaited ON-SCREEN return of Linda Hamilton in the role that’s pretty much defined her career, hardboiled survivor Sarah Connor.  I’ll leave the details of her return for newcomers to discover, suffice to say she gets caught up in the chase when a new, MUCH more advanced terminator is sent back in time to kill unassuming young Mexican factory worker Dani Ramos (Natalia Reyes).  Of course, the future resistance has once again sent a protector back to watch her back, Grace (Blade Runner 2049’s Mackenzie Davis), a cybernetically-enhanced super-soldier specifically outfitted to combat terminators, who reluctantly agrees to team up with the highly experienced Sarah in order to keep Dani alive. Arnold Schwarzenegger once again returns to the role that truly made him a star (of course, how could he not?), and he for one has clearly not lost ANY of his old love or enthusiasm for playing the old T-800, but revealing exactly HOW he comes into the story this time would give away too much; the new terminator, meanwhile, is brilliantly portrayed by Gabriel Luna (probably best known for playing Ghost Rider in Marvel’s Agents of SHIELD), who brings predatory menace and an interesting edge of subtle, entitled arrogance to the role of Rev-9.  Ultimately though, this is very much the ladies’ film, the three leads dominating the action and drama both as they kick-ass and verbally spar in equal measure, their chemistry palpably strong throughout – Hamilton is as badass as ever, making Sarah even more of a take-no-shit survivalist burnout than she ever was in T2, and she’s utterly mesmerising in what’s EASILY her best turn in YEARS, while Reyes goes through an incredible transformative character arc as she’s forced to evolve from terrified salary-girl to proto she-warrior through several pleasingly organic steps … my greatest pleasure, however, definitely comes from watching Mackenzie Davis OWN the role of Grace, investing her with an irresistible mixture of icy military precision, downright feral mother lion ferocity and a surprisingly sweet innocence buried underneath all the bravado, thus creating one of my favourite ass-kicking heroines not just for the year but this past decade entirely. Unsurprisingly, in the hands of old hand Tim Miller (working from a screenplay headlined by Blade and Batman Begins scribe David Goyer) this is a pulse-pounding thrill ride that rarely lets its foot up off the pedal, but thankfully the action is ALWAYS in service to the story, each precision-crafted set piece engineered to perfection as we power through high speed chases, explosive shootouts and a succession of bruising heavy metal smackdowns, but thankfully there’s just as much attention paid to the characters and the story – given the familiarity of the tale there’s inevitably a certain predictability to events, but Miller and co. still pull off a few deftly handled surprise twists, while character development always feels organic.  Best of all, this genuinely feels like a legitimate part of the original Terminator franchise, Cameron and Hamilton’s returns having finally brought back the old magic that’s been missing for so long. I’d definitely be willing to sign up for more of this – such a shame then that, thanks to the film’s frustrating underperformance at the box office, it looks like this is gonna be it after all. Damn it …

8.  DOCTOR SLEEP – first up, before I say anything else about this latest Stephen King screen adaptation, I HAVE NOT yet got round to reading the original novel yet, so I can’t speak to how it compares.  That said, I HAVE read The Shining, to which the book is a direct sequel, so I DO know about at least one of the major, KEY changes, and besides, this is actually a sequel to Stanley Kubrick’s MOVIE of The Shining, which differed significantly from its own source material anyway, so there’s that … yeah, this is a complicated kettle of fish even BEFORE we get down to the details.  Suffice to say, you don’t have to have read the book to get this movie, but a working knowledge of Kubrick’s horror classic may at least help you get some context before watching this … anyways, enough with the confusion, on to the meat of the matter – this is a CRACKING horror movie by any stretch, and, for me, one of the strongest King horrors to make it to the big screen in quite some time.  Of course it helps no end to have a filmmaker of MAJOR calibre at the helm, and there are few working in horror at the moment with whom I am quite so impressed as Mike Flanagan, writer-director of two of this past decade’s definitive horrors (at least for me), Oculus and Hush, as well as a BLINDING TV series adaptation of The Haunting of Hill House for Netflix – the man is an absolute master of the craft, incredibly skilled with all the tricks of this particular genre’s trade, and, as it turns out, a perfect fit with King’s material.  Following on from The Shining, then, we learn what happened to the kid, Danny Torrance, after he and his mother left the Overlook Hotel in the wake of his father’s psychotic break driven by monstrous apparitions “living” in the cursed halls, following him from childhood as he initially shuns the psychic gifts (or “shine”) he was taught to use by the hotel’s late caretaker, Dick Halloran.  It’s only in later years, as he fights to overcome his alcoholism and self-destructive lifestyle, that he reconnects with that power, just in time to discover psychic “pen-pal” Abra Stone, an immensely powerful young psychic.  Which leads us to the present day, when Abra, now a teenager, becomes the target of the True Knot, a group of psychic vampires who travel America hunting and killing young people with psychic abilities in order to consume their “smoke” (basically the stuff of their “shines��), thus expanding their already unnatural lifespans – they’re tracking Abra, and they’re getting close, and only her “Uncle Dan” can save her from them.  Ewan McGregor is PERFECT as the grown-up Dan, delivering one of his career-best turns as he captures the world-weary seriousness of someone who’s seen, felt and had to do things no-one should, especially when he was so very young, the kinds of things that colour a soul for their entire life, and he’s clearly DESPERATE not to become his father; newcomer Kyleigh Curran, meanwhile, is an absolute revelation as Abra, bringing depth and weight far beyond her years to the role, but never losing sight of the fact that, under all the power, she’s ultimately still just a child; there are also excellent supporting turns from the likes of Cliff Curtis as Dan’s best friend and AA sponsor Billy Freeman, Zahn McClarnon (Longmire, Fargo season 2) and Emily Lind (Revenge, Code Black) as True Knot members Crow Daddy and Snakebite Annie, and Carl Lumbly (Cagney & Lacey, TV’s Supergirl), who beautifully replaces deceased original actor Scatman Crothers in the role of Dick.  The film’s tour-de-force performance, however, comes from Rebecca Ferguson as Rose the Hat, leader of the True Knot – they’re an intriguing bunch of villains, very well written and fleshed out, and it’s clear they have genuine love for one another, like a real family, which makes it hard not to sympathise with them a little bit, and this is none more true than in Rose, whom Ferguson invests with so much light and warmth and intriguing, complex character, as well as a fantastic streak of playful mischief that makes her all the more riveting in those times when they then turn around and do some truly heinous, unforgivable things … as horror movies go this is the cream of the crop, but Flanagan has purposefully kept away from jump scares and the more flashy stuff, preferring, like Kubrick in The Shining, to let the insidious darkness bubble up underneath good and slow, drawing out the creepiness and those most unsettling, twisted little touches the author himself is always so very good at.  Intent can be such a scary thing, and Flanagan gets it, so that’s just what he uses here.   As a result this is a fantastic slow-burn creep-fest that constantly works its way deeper under your skin, building to a phenomenal climax that, (perversely) thanks in no small part to the differences between both novels and films, pays as much loving tribute to Kubrick’s visionary landmark as the original novel of The Shining.  For me, this is Flanagan’s best film to date, and as far as Stephen King adaptations go I consider this to be right up there with the likes of The Mist and The Green Mile.  Best of all, I think he’d be proud of it too …

7.  SPIDER-MAN: FAR FROM HOME – summer 20019 was something of a decompression period for fans of the Marvel Cinematic Universe, with many of us recovering from the sheer emotional DEVASTATION of the grand finale of Phase 3, Avengers: Endgame, so the main Blockbuster Season’s entry really needed to be light and breezy, a blessed relief after all that angst and loss, much like Ant-Man & the Wasp was last year as it followed Infinity War.  And it is, by and large – this is as light-hearted and irreverent as its predecessor, following much the same goofy teen comedy template as Homecoming, but there’s no denying that there’s a definite emotional through-line from Endgame that looms large here, a sense of loss the film fearlessly addresses right from the start, sometimes with a bittersweet sense of humour, sometimes straight.  But whichever path the narrative chooses, the film stays true to this underlying truth – there have been great and painful changes in this world, and we can’t go back to how it was before, no matter how hard we try, but then perhaps we shouldn’t. This is certainly central to our young hero’s central arc – Peter Parker (Tom Holland) is in mourning, and not even the prospect of a trip around Europe with his newly returned classmates, together with the chance to finally get close to M.J. (Zendaya), maybe even start a relationship, can entirely distract him from the gaping hole in his life. Still, he’s gonna give it his best shot, but it looks like fate has other plans for our erstwhile Spider-Man as superspy extraordinaire Nick Fury (Samuel L. Jackson) comes calling, basically hijacking his vacation with an Avengers-level threat to deal with, aided by enigmatic inter-dimensional superhero Quentin Beck, aka Mysterio (Jake Gyllenhaal), who has a personal stake in the mission, but as he’s drawn deeper into the fray Peter discovers that things may not be quite as they seem. Of course, giving anything more away would of course dumps HEINOUS spoilers on the precious few who haven’t yet seen the film – suffice to say that the narrative drops a MAJOR sea-change twist at the midpoint that’s EVERY BIT as fiendish as the one Shane Black gave us in Iron Man 3 (although the more knowledgeable fans of the comics will likely see it coming), and also provides Peter with JUST the push he needs to get his priorities straight and just GET OVER IT once and for all.  Tom Holland again proves his character is the most endearing teenage geek in cinematic history, his spectacular super-powered abilities and winning underdog perseverance in the face of impossible odds still paradoxically tempered by the fact he’s as loveably hopeless as ever outside his suit; Mysterio himself, meanwhile, frequently steals the film out from under him, the strong bromance they develop certainly mirroring what Peter had with Tony Stark, and it’s a major credit to Gyllenhaal that he so perfectly captures the essential dualities of the character, investing Beck with a roguish but subtly self-deprecating charm that makes him EXTREMELY easy to like, but ultimately belying something much more complex hidden beneath it; it’s also nice to see so many beloved familiar faces returning, particularly the fantastically snarky and self-assured Zendaya, Jacob Batalon (once again pure comedy gold as Peter’s adorably nerdy best friend Ned), Tony Revolori (as his self-important class rival Flash Thompson) and, of course, Marisa Tomei as the ever-pivotal Aunt May, as well as Jackson and Cobie Smoulders as dynamite SHIELD duo Fury and his faithful lieutenant Maria Hill, and best of all Jon Favreau gets a MUCH bigger role this time round as Happy Hogan.  Altogether this is very much business as usual for the MCU, the well-oiled machine unsurprisingly turning out another near-perfect gem of a superhero flick that ticks all the required boxes, but a big part of the film’s success should be attributed to returning director Jon Watts, effectively building on the granite-strong foundations of Homecoming with the help of fellow alumni Chris McKenna and Erik Sommers on screenplay duty, for a picture that feels both comfortingly familiar and rewardingly fresh, delivering on all the required counts with thrilling action and eye candy spectacle, endearingly quirky character-based charm and a typically winning sense of humour, and plenty of understandably powerful emotional heft.  And, like always, there are plenty of fan-pleasing winks and nods and revelations, and the pre-requisite mid- and post-credit teasers too, both proving to be some proper game-changing corkers.  Another winner from the Marvel Cinematic Universe, then, but was there really ever any doubt?

6.  US – back in 2017, Jordan Peele made the transition from racially-charged TV and stand-up comedy to astounding cinemagoers with stunning ease through his writer-director feature debut Get Out, a sharply observed jet black comedy horror with SERIOUS themes that was INSANELY well-received by audiences and horror fans alike.  Peele instantly became ONE TO WATCH in the genre, so his follow-up feature had A LOT riding on it, but this equally biting, deeply satirical existential mind-bender is EASILY the equal of its predecessor, possibly even its better … giving away too much plot detail would do great disservice to the many intriguing, shocking twists on offer as middle class parents Adelaide and Gabe Wilson (Black Panther alumni Lupita Nyong’o and Winston Duke) take their children, Zora (Shahadi Wright Joseph) and Jason (Evan Alex), to Santa Cruz on vacation, only to step into a nightmare as a night-time visitation by a family of murderous doppelgangers signals the start of a terrifying supernatural revolution with potential nationwide consequences.  The idea at the heart of this film is ASTOUNDINGLY original, quite an achievement in a genre where just about everything has been tried at least once, but it’s also DEEPLY subversive, as challenging and thought-provoking as the themes visited in Get Out, but also potentially even more wide-reaching. It’s also THOROUGHLY fascinating and absolutely TERRIFYING, a peerless exercise in slow-burn tension and acid-drip discomfort, liberally soaked in an oppressive atmosphere so thick you could choke on it if you’re not careful, such a perfect horror master-class it’s amazing that this is only Peele’s second FEATURE, never mind his sophomore offering IN THE GENRE.  The incredibly game cast really help, too – the four leads are all EXCEPTIONAL, each delivering fascinatingly nuanced performances in startlingly oppositional dual roles as both the besieged family AND their monstrous doubles, a feat brilliantly mimicked by Mad Men and The Handmaid’s Tale-star Elisabeth Moss, Tim Heidecker and teen twins Cali and Noelle Sheldon as the Wilsons’ friends, the Tylers, and their similarly psychotic mimics.  The film is DOMINATED, however, by Oscar-troubler Nyong’o, effortlessly holding our attention throughout the film with yet another raw, intense, masterful turn that keeps up glued to the screen from start to finish, even as the twists get weirder and more full-on brain-mashy.  Of course, while this really is scary as hell, it’s also often HILARIOUSLY funny, Peele again poking HUGE fun at both his intended audience AND his allegorical targets, proving that scares often work best when twinned with humour.  BY FAR the best thing in horror in 2019, Us shows just what a master of the genre Jordan Peele is, and it looks like he’s here to stay …

5.  KNIVES OUT – with The Last Jedi, writer-director Rian Johnson divided audiences so completely that he seemed to have come perilously close to ruining his career.  Thankfully, he’s a thick-skinned auteur with an almost ridiculous amount of talent, and he’s come bouncing back as strong as ever, doing what he does best. His big break feature debut was with Brick, a cult classic murder mystery that was, surprisingly, set in and around a high school, and his latest has some of that same DNA as Johnson crafts a fantastic sleuthy whodunit cast in the classic mould of Agatha Christie, albeit shot through with his own wonderfully eclectic verve, wit and slyly subversive streak.  Daniel Craig holds court magnificently as quirky and flamboyant Deep South private detective Benoit Blanc, summoned to the home of newly-deceased star crime author Harlan Thrombey (Christopher Plummer) to investigate his possible murder and faced with a veritable web of lies, deceit and twisting knives as he meets the maybe-victim’s extensive and INCREDIBLY dysfunctional family, all of whom are potential suspects.  Craig is thoroughly mesmerising throughout, clearly having the time of his life in one of his career-best roles, while the narrative focus is actually, interestingly, given largely to Ana de Armas (Blade Runner 2049 and soon to be seen with Craig again in the latest Bond-flick No Time To Die), who proves equally adept at driving the film as Harlan’s sweet but steely and impressively resourceful nurse Marta Cabrera, whose own involvement in the case it would do the film a massive disservice to reveal. The rest of the Thrombey clan are an equally intriguing bunch, all played to the hilt by an amazing selection of heavyweight talent that includes Jamie Lee Curtis, Michael Shannon, Toni Collette and It’s Jaeden Martell, but the film is, undeniably, DOMINATED by Chris Evans as Harlan’s black sheep grandson Ransom, the now former Captain America clearly enjoying his first major post-MCU role as he roundly steals every scene he’s in, effortlessly bringing back the kind of snarky, sarcastic underhanded arrogance we haven’t seen him play since his early career and entertaining us thoroughly.  Johnson has very nearly outdone himself this time, weaving a gleefully twisty web of intrigue that viewers will take great pleasure in watching Blanc untangle, even if we’re actually already privy to (most of) the truth of the deed, and he pulls off some diabolical twists and turns as we rattle towards an inspired final reveal which genuinely surprises. He’s also generously smothered the film with oodles of his characteristically dry, acerbic wit, wonderfully tweaking many of the classic tropes of this familiar little sub-genre so this is at once a loving homage to the classics but also a sly, skilful deconstruction.  Intriguing, compelling, enrapturing and often thoroughly hilarious, this is VERY NEARLY the best film he’s ever made.  Only the mighty Looper remains unbeaten …

4.  CAPTAIN MARVEL – before the first real main event of not only the year’s blockbusters but also, more importantly, 2019’s big screen MCU roster, Marvel Studios president Kevin Feige and co dropped a powerful opening salvo with what, it turns out, was the TRUE inception point of the Avengers Initiative and all its accompanying baggage (not Captain America: the First Avenger, as we were originally led to believe).  For me, this is simply the MCU film I have MOST been looking forward to essentially since the beginning – the onscreen introduction of my favourite Avenger, former US Air Force Captain Carol Danvers, the TRUE Captain Marvel (no matter what the DC purists might say), who was hinted at in the post credits sting of Avengers: Infinity War but never actually seen.  Not only is she the most powerful Avenger (sorry Thor, but it’s true), but for me she’s also the most badass – she’s an unstoppable force of (cosmically enhanced) nature, with near GODLIKE powers (she can even fly through space without needing a suit!), but the thing that REALLY makes her so full-on EPIC is her sheer, unbreakable WILL, the fact that no matter what’s thrown at her, no matter how often or how hard she gets knocked down, she KEEPS GETTING BACK UP.  She is, without a doubt, the MOST AWESOME woman in the entire Marvel Universe, both on the comic page AND up on the big screen. Needless to say, such a special character needs an equally special actor to portray her, and we’re thoroughly blessed in the inspired casting choice of Brie Larson, who might as well have been purpose-engineered exclusively for this very role – she’s Carol Danvers stepped right out of the primary-coloured panels, as steely cool, unswervingly determined and strikingly statuesque as she’s always been drawn and scripted, with just the right amount of twinkle-eyed, knowing smirk and sassy humour to complete the package.  Needless to say she’s the heart and soul of the film, a pure joy to watch throughout, but there’s so much more to enjoy here that this is VERY NEARLY the most enjoyable cinematic experience I had all year … writer-director double-act Anna Boden and Ryan Fleck may only be known for smart, humble indies like Half Nelson and Mississippi Grind, but they’ve taken to the big budget, all-action blockbuster game like ducks to water, co-scripting with Geneva Robertson-Dworet (writer of the Tomb Raider reboot movie and the long-gestating third Sherlock Holmes movie) to craft yet another pitch-perfect MCU origin story, playing a sneakily multilayered, misleading game of perception-versus-truth as we’re told how Carol got her powers and became the unstoppable badass supposedly destined to turn the tide in a certain Endgame … slyly rolling the clock back to the mid-90s, we’re presented with a skilfully realised mid-90s period culture clash adventure as Carol, a super-powered warrior fighting for the Kree Empire against the encroaching threat of the shape-shifting Skrulls, crash-lands in California and winds up uncovering the hidden truth behind her origins, with the help of a particular SHIELD agent, before he wound up with an eye-patch and a more cynical point-of-view – yup, it’s a younger, fresher Nick Fury (the incomparable Samuel L. Jackson, digitally de-aged with such skill it’s really just a pure, flesh-and-blood performance). There’s action, thrills, spectacle and (as always with the MCU) pure, skilfully observed, wry humour by the bucket-load, but one of the biggest strengths of the film is the perfectly natural chemistry between the two leads, Larson and Jackson playing off each other BEAUTIFULLY, no hint of romantic tension, just a playfully prickly, banter-rich odd couple vibe that belies a deep, honest respect building between both the characters and, clearly, the actors themselves.  There’s also sterling support from Jude Law as Kree warrior Yon-Rogg, Carol’s commander and mentor, Ben Mendelsohn, slick, sly and surprisingly seductive (despite a whole lot of make-up) as Skrull leader Talos, returning MCU-faces Clark Gregg and Lee Pace as rookie SHIELD agent Phil Coulson (another wildly successful de-aging job) and Kree Accuser Ronan, Annette Bening as a mysterious face from Carol’s past and, in particular, Lashana Lynch (Still Star-Crossed, soon to be seen in No Time To Die) as Carol’s one-time best friend and fellow Air Force pilot Maria Rambeau, along with the impossibly adorable Akira Akbar as her precocious daughter Monica … that said, the film is frequently stolen by a quartet of ginger tabbies who perfectly capture fan-favourite Goose the “cat” (better known to comics fans as Chewie).  This is about as great as the MCU standalone films get – for me it’s up there with the Russo’s Captain America films and Black Panther, perfectly pitched and SO MUCH FUN, but with a multilayered, monofilament-sharp intelligence that makes it a more cerebrally satisfying ride than most blockbusters, throwing us a slew of skilfully choreographed twists and narrative curveballs we almost never see coming, and finishing it off with a bucket-load of swaggering style and pure, raw emotional power (the film kicks right off with an incredibly touching, heartfelt tear-jerking tribute to Marvel master Stan Lee).  Forget Steve Rogers – THIS is the Captain MCU fans need AND deserve, and I am SO CHUFFED they got my favourite Avenger so totally, perfectly RIGHT.  I can die happy now, I guess …

3.  JOHN WICK CHAPTER 3 – needless to say, those who know me should be in no doubt why THIS was at the top of my list for summer 2019 – this has EVERYTHING I love in movies and more. Keanu Reeves is back in the very best role he’s ever played, unstoppable, unbeatable, un-killable hitman John Wick, who, when we rejoin him mere moments after the end of 2017’s phenomenal Chapter 2, is in some SERIOUSLY deep shit, having been declared Incommunicado by the High Table (the all-powerful ruling elite who run this dark and deadly shadowy underworld) after circumstances forced him to gun down an enemy on the grounds of the New York Continental Hotel (the inviolable sanctuary safe-house for all denizens of the underworld), as his last remaining moments of peace tick away and he desperately tries to find somewhere safe to weather the initial storm.  Needless to say the opening act of the film is ONE LONG ACTION SEQUENCE as John careers through the rain-slick streets of New York, fighting off attackers left and right with his signature brutal efficiency and unerring skill, perfectly setting up what’s to come – namely a head-spinning, exhausting parade of spectacular set pieces that each put EVERY OTHER offering in every other film this past year to shame.  Returning director Chad Stahelski again proves that he’s one of the very best helmsmen around for this kind of stuff, delivering FAR beyond the call on every count as he creates a third entry to a series that continues to go from strength to strength, while Keanu once again demonstrates what a phenomenal screen action GOD he is, gliding through each scenario with poise, precision and just the right balance of brooding charm and so-very-done-with-this-shit intensity and a thoroughly enviable athletic physicality that really does put him on the same genre footing as Tom Cruise.  As with the first two chapters, what plot there is is largely an afterthought, a facility to fuel the endless wave of stylish, wince-inducing, thoroughly exhilarating violent bloodshed, as John cuts another bloody swathe through the underworld searching for a way to remove the lethal bounty from his head while an Adjudicator from the High Table (Orange Is the New Black’s Asia Kate Dillon) arrives in New York to settle affairs with Winston (Ian McShane), the manager of the New York Continental, and the Bowery King (Laurence Fishburne) for helping John create this mess in the first place.  McShane and Fishburne are both HUGE entertainment in their fantastically nuanced large-than-life roles, effortlessly stealing each of their scenes, while the ever-brilliant Lance Reddick also makes a welcome return as Winston’s faithful right-hand Charon, the concierge of the Continental, who finally gets to show off his own hardcore action chops when trouble arrives at their doorstep, and there are plenty of franchise newcomers who make strong impressions here – Dillon is the epitome of icy imperiousness, perfectly capturing the haughty superiority you’d expect from a direct representative of the High Table, Halle Berry gets a frustratingly rare opportunity to show just how seriously badass she can be as former assassin Sofia, the manager of the Casablanca branch of the Continental and one of John’s only remaining allies, Game of Thrones’ Jerome Flynn is smarmy and entitled as her boss Berrada, and Anjelica Houston is typically classy as the Director, the ruthless head of New York’s Ruska Roma (John’s former “alma mater”, basically).  The one that REALLY sticks in the memory, though, is Mark Dacascos, finally returning to the big time after frustrating years languishing in lurid straight-to-video action dreck and lowbrow TV hosting duties thanks to a BLISTERING turn as Zero, a truly brilliant semi-comic creation who routinely runs away with the film – he’s the Japanese master ninja the Adjudicator tasks with dispensing her will, a thoroughly lethal killer who may well be as skilled as our hero, but his deadliness is amusingly tempered by the fact that he’s also a total nerd who HERO WORSHIPS John Wick, adorably geeking out whenever their paths cross.  Their long-gestating showdown provides a suitably magnificent climax to the action, but there’s plenty to enjoy in the meantime, as former stuntman Stahelski and co keep things interestingly fluid as they constantly change up the dynamics and add new elements, from John using kicking horses in a stable and knives torn out of display cases in a weaponry museum to dispatch foes on the fly, through Sofia’s use of attack dogs to make the Moroccan portion particularly nasty and a SPECTACULAR high octane sequence in which John fights katana-wielding assailants on speeding motorcycles, to the film’s UNDISPUTABLE highlight, an astounding fight in which John takes on Zero’s disciples (including two of the most impressive guys from The Raid movies, Cecep Arif Rahman and Yayan Ruhian) in (and through) an expansive chamber made up entirely of glass walls and floors.  Altogether then, this is business as usual for a franchise that’s consistently set the bar for the genre as a whole, an intensely bruising, blissfully blood-drenched epic that cranks its action up to eleven, shot with delicious neon-drenched flair and glossy graphic novel visual excess, a consistently inspired exercise in fascinating world-building that genuinely makes you want to live among its deadly denizens (even though you probably wouldn’t live very long).  The denouement sets things up for an inevitable sequel, and I’m not at all surprised – right from the first film I knew the concept had legs, and it’s just too good to quit yet.  Which is just how I like it …

2.  AVENGERS: ENDGAME – the stars have aligned and everything is right with the world – the second half of the ridiculously vast, epic, nerve-shredding and gut-punching MCU saga that began with 2018’s Avengers: Infinity War has FINALLY arrived and it’s JUST AS GOOD as its predecessor … maybe even a little bit better, simply by virtue of the fact that (just about) all the soul-crushing loss and upheaval of the first film is resolved here.  Opening shortly after the universally cataclysmic repercussions of “the Snap”, the world at large and the surviving Avengers in particular are VERY MUCH on the back foot as they desperately search for a means to reverse the damage wrought by brutally single-minded cosmic megalomaniac Thanos and his Infinity Stone-powered gauntlet – revealing much more dumps so many spoilers it’s criminal to continue, so I’ll simply say that their immediate plan really DOESN’T work out, leaving them worse off than ever.  Fast-forward five years and the universe is a very different place, mourning what it’s lost and torn apart by grief-fuelled outbursts, while our heroes in particular are in various, sometimes better, but often much worse places – Bruce Banner/the Hulk (Mark Ruffallo) has found a kind of peace that’s always eluded him before, but Thor (Chris Hemsworth) really is a MESS, while Clint Barton/Hawkeye (Jeremy Renner) has gone to a VERY dark place indeed. Then Ant-Man Scott Lang (Paul Rudd) finds a way back from his forced sojourn in the Quantum Realm, and brings with him a potential solution of a very temporal nature … star directors the Russo Brothers, along with returning screenwriters Christopher Markus and Stephen McFeely, have once again crafted a stunning cinematic masterpiece, taking what could have been a bloated, overloaded and simply RIDICULOUS narrative mess and weaving it into a compelling, rich and thoroughly rewarding ride that, despite its THREE HOURS PLUS RUNNING TIME, stays fresh and interesting from start to finish, building on the solid foundations of Infinity War while also forging new ground (narratively speaking, at least) incorporating a wonderfully fresh take on time-travel that pokes gleeful fun at the decidedly clichéd tropes inherent in this particular little sub-genre.  In fact this is frequently a simply HILARIOUS film in its own right, largely pulling away from the darker tone of its predecessor by injecting a very strong vein of chaotic humour into proceedings, perfectly tempering the more dramatic turns and epic feels that inevitably crop up, particularly as the stakes continue to rise.  Needless to say the entire cast get to shine throughout, particularly those veterans whose own tours of duty in the franchise are coming to a close, and as with Infinity War even the minor characters get at least a few choice moments in the spotlight, especially in the vast, operatic climax where pretty much the ENTIRE MCU cast return for the inevitable final showdown.  It’s a masterful affair, handled with skill and deep, earnest respect but also enough irreverence to keep it fun, although in the end it really comes down to those big, fat, heart-crushing emotional FEELS, as we say goodbye to some favourites and see others reach crossroads in their own arcs that send them off in new, interesting directions.  Seriously guys, keep a lot of tissues handy, you really will need them.  If this were the very last MCU film ever, I’d say it’s a PERFECT piece to go out on – thankfully it’s not, and while it is the end of an era the franchise looks set to go on as strong as ever, safe in the knowledge that there’s plenty more cracking movies on the way so long as Kevin Feige and co continue to employ top-notch talent like this to make their films. Eleven years and twenty-two films down, then – here’s to eleven and twenty-two more, I say …

1.  THE IRISHMAN (aka I HEARD YOU PAINT HOUSES) – beating smash-hit superhero movies and unstoppable assassin action-fests to the top spot is no mean feat, but so completely blowing me away that I had NO OTHER CHOICE than to put this at NUMBER ONE is something else entirely.  Not only is this the best thing I saw at the cinema this past year, but I’d be happy to say it’s guaranteed to go down as one of my all-time greats of the entire decade. I’ve been an ardent fan of the filmmaking of Martin Scorsese ever since I first properly got into cinema in my early adolescence, when I was first shown Taxi Driver and was completely and irrevocably changed forever as a movie junkie.  He’s a director who impresses me like a select few others, one of the true, undisputable masters of the craft, and I find it incredibly pleasing that I’m not alone in this assertion.  Goodfellas and The Departed are both numbered among my all-time favourite crime movies, while I regard the latter as one of the greatest films of the current cinematic century.  I’ve learned more about the art and craft of filmmaking and big-screen storytelling from watching Scorsese’s work than from any other director out there (with the notable exception of my OTHER filmmaking hero, Ridley Scott), and I continue to discover more about his films every time I watch them, so I never stop.  Anyways … enough with the gushing, time to get on with talking about his latest offering, a Netflix Original true-life gangster thriller of truly epic proportions chronicling the career and times of Frank Sheeran, a Philadelphia truck driver who became the most trusted assassin of the Northeastern Pennsylvania crime family and, in particular, its boss (and Sheeran’s best friend) Russell Bufalino, particularly focusing on his rise to power within the Philly Mob and his significant association with controversial and ultimately ill-fated Teamster boss Jimmy Hoffa.  It’s a sprawling epic in the tradition of Scorsese’s previously most expansive film, Casino, but in terms of scope this easily eclipses the 1995 classic, taking in SIX DECADES of genuinely world-changing events largely seen through Sheeran’s eyes, but as always the director is in total control throughout, never losing sight of the true focus – one man’s fall from grace as he loses his soul to the terrible events he takes part in.  Then again, the screenplay is by Steve Zaillian (Schindler’s List, Moneyball, Fincher’s The Girl With the Dragon Tattoo), one of the true masters of the art form, with whom Scorsese previously worked with on Gangs of New York, so it’s pure gold – tight as a drum, razor sharp and impossibly rich and rewarding, the perfect vehicle for the director to just prep his cast and run with it.  And WHAT A CAST we have here – this is a three-way lead master-class of titanic proportions, as Scorsese-regular Robert De Niro and his Goodfellas co-star Joe Pesci are finally reteamed as, respectively, Sheeran and Bufalino, while Al Pacino gets to work with the master for the first time as Hoffa; all three are INCREDIBLE, EXTRAORDINARY, on absolute tip-top form as they bring everything they have to their roles, De Niro and Pesci underplaying magnificently while Pacino just lets rip with his full, thunderous fury in a seemingly larger-than-life turn which simply does one of history’s biggest crooks perfect justice; the supporting cast, meanwhile, is one of the strongest seen in cinema all year, with Ray Romano, Bobby Canavale, Anna Paquin, Stephen Graham, Harvey Keitel, Stephanie Kurtzuba (The Wolf of Wall Street), Jack Huston (Boardwalk Empire) and Jesse Plemmons among MANY others all making MAJOR impressions throughout, all holding their own even when up against the combined star power of the headlining trio.  This is filmmaking as high art, Scorsese bringing every trick at his considerable, monumentally experienced disposal to bear to craft a crime thriller that strongly compares not only to the director’s own best but many of the genre’s own other masterpieces such as The Godfather and Chinatown.  It may clock in at a potentially insane THREE HOURS AND TWENTY-NINE MINUTES but it NEVER feels overlong, every moment crafted for maximum impact with a story that unfolds so busily and with such mesmerising power it’s impossible to get bored with it.  The film may have received a limited theatrical release, obviously reaching MOST of its audience when unleashed on Netflix nearly a month later, but I was one of the lucky few who got to see it on the big screen, and BELIEVE ME, it was totally worth it.  Best thing I saw in 2019, ONE OF the best things I saw this past decade, and DEFINITELY one of Scorsese’s best films EVER.  See it, any way you can.  You won’t be disappointed.