Aquaman


Under the sea, a princess waits.

(2018) Superhero (Warner BrothersJason Momoa, Amber Heard, Patrick Wilson, Willem Dafoe, Nicole Kidman, Dolph Lundgren, Yahya Abdul-Mateen II, Temuera Morrison, Ludi Lin, Michael Beach, Randall Park, Graham McTavish, Leigh Whannell, Julie Andrews (voice), Djimon Hounsou, (voice), John Rhys-Davies (voice), Andrew Crawford, Sophia Forrest, Natalia Safran. Directed by James Wan

 

It’s no secret that the Marvel Cinematic Universe has far out-stripped the DC Extended Universe for box office supremacy. There are a lot of reasons for that; regardless, the fact of the matter is that DC has a lot of catching up to do, and here’s where they start.

Arthur Curry (Momoa) a.k.a. Aquaman (although he is rarely referred to by that term) is the son of Polynesian lighthouse keeper (Morrison) and Atlanna (Kidman), a princess of Atlantis. Bullied as a young boy, he learns that due to his half-Atlantean lineage he can communicate with sea animals, control water and swim faster than a dolphin. He can also breathe underwater as well as on land. He is tutored by Vulko (Dafoe), an advisor to the king of Atlantis, Arthur soon becomes a kind of superhero, although he prefers very much to be left alone to drink beer and brood, mainly over the disappearance of his mother and his father’s sad faith that she will return to him someday.

However, the arrival of new princess Mera (Heard) tells Arthur of a power struggle going on in the deep. Orm (Wilson), his half-brother, has claimed the throne, although Arthur apparently has a better claim. Orm means to declare war on the surface dwellers and who could blame him, given all the pollution and damage we have inflicted on the oceans. Arthur and Mera will need to go on a quest to find Neptune’s trident, the most powerful weapon in Atlantis that has been lost for generations, if they are to challenge Orm and save the human race.

Wan is an accomplished director who has launched two major movie franchises – Saw and The Conjuring – and looks to give DC a badly needed infusion of fun. It’s no accident that Jason Momoa’s Aquaman resembles Chris Hemsworth’s Thor in many respects; the roguish demeanor, the royal bloodline, the affection for humans and the wisecracks; Wan’s no fool, and that lighter sort of superhero sells better in today’s market than the brooding, dark heroes of DC’s recent past.

Other than that, this is pretty standard superhero movie stuff; big battles, lavish special effects, the existence of the human race on the line. Aquaman is at its best, oddly enough, when Momoa’s charm is allowed to shine through; the big special effects are almost too busy with too much going on so that the end result is not eye candy but vertigo.

Heard delivers the best performance of her career as the agile Mera, and Kidman lends needed gravitas as Atlanna. There is also a subplot involving regular Aquaman nemesis Black Manta who is played by the underutilized Mateen, who is due a superhero character of his own one of these days. The wow factor is definitely here, but the movie is a little too long, a little too overwhelming. Still, where it shines, it really shines and Momoa is certainly an action star for the new decade.

REASONS TO SEE: Best DC film since Wonder Woman. Momoa was born to play a superhero.
REASONS TO AVOID: Gets a little too artsy for its own good.
FAMILY VALUES: The special effects are on the busy side.
TRIVIAL PURSUIT: According to director James Wan, the octopus playing drums during the duel between Orm and Arthur is Topo, Aquaman’s sidekick during the 50s and 60s. Wan figured that if Mad Max: Fury Road could have flame-throwing guitars, he could have an octo-drummer.
BEYOND THE THEATERS: Amazon, AMC On Demand, AppleTV, Fandango Now, Google Play, HBO Now, Microsoft, Movies Anywhere, Redbox, Vudu, YouTube
CRITICAL MASS: As of 4/26/20: Rotten Tomatoes: 65% positive reviews, Metacritic: 55/100
COMPARISON SHOPPING: Waterworld
FINAL RATING: 7/10
NEXT:
Capital in the 21st Century

Wonder Woman


Gal Gadot takes aim at stardom.

(2017) Superhero (Warner Brothers) Gal Gadot, Chris Pine, Connie Nielsen, Robin Wright, Danny Huston, David Thewlis, Said Taghmaoui, Ewen Bremner, Eugene Brave Rock, Lucy Davis, Elena Anaya, Lilly Aspell, Lisa Loven Kongsli, Ann J. Wolfe, Ann Ogbomo, Emily Carey, James Cosmo, Wolf Kahler, Alexander Mercury, Martin Bishop, Flora Nicholson. Directed by Patty Jenkins

 

In a world where superheroes are nearly all men, the superhero movie reigns supreme at the moment. Audiences of superhero fans – also mostly male – have been streaming to these films for more than a decade, buoyed by advances in CGI technology which enable the deeds and superpowers to be rendered to live action. It’s a great time to be a fanboy.

But what about the women? While it’s true there are not very many female superheroes at either of the two major comic book houses – DC and Marvel – compared to male ones, there definitely are some and there have been few female-centric superhero movies, the not-well-remembered Elektra being the last one back in 2005. The most iconic distaff super heroine – DC’s Wonder Woman – hasn’t had a movie of her own, until now. Although her TV series starring Lynda Carter in the title role is fondly remembered from back in the 70s, there was a certain element of camp to it that gave it less serious consideration – which in many ways was true of all superhero TV shows until recently. Now it’s different for this is the age of the super heroine.

Diana of Themyscira (Gadot) lives on an island of all female Amazon warriors. Her mother Hippolyta (Nielsen) is reluctant for her daughter to be trained in the arts of war, although her aunt Antiope (Wright) trains her in secret, recognizing that Diana is destined for greatness. When Hippolyta finds out, she is furious and Diana becomes frustrated, chafing at the bit to learn how to fight from her aunt who is widely acknowledged to be the greatest of all Amazon warriors.

The world of Themyscira has been hidden from the world of Men and for good reason but all this comes to an end when a biplane carrying an American spy, Steve Trevor (Pine), splashes into the lagoon of Themyscira. The First World War is raging in Europe and when a German flotilla of ships chasing Trevor manages to find Themyscira, an all-out battle rages on the sands of their beach. They manage to defeat the Germans but at great cost.

Diana finds out more about the conflict and immediately recognizes the hand of Ares, God of War, in the insanity. Bound and determined to go and kill Ares and thus save the world, she gets reluctant but tacit approval from her mother to go. Diana reaches the London of 1919 and it is a confusing place to her. However, Trevor reports to the war council that Germany’s General Ludendorff (Huston) is planning on unleashing a new poison gas perfected by the mad Dr. Maru (Anaya) – who is known among the rank and file as Doctor Poison – that could turn the tide of the war. Sir Patrick (Thewlis), a Parliamentarian who alone seems to take Diana seriously, sends Trevor and Diana deep into Germany to find and destroy the factory manufacturing the poison gas.

Trevor and Diana are accompanied by three of Trevor’s operatives; Chief (Brave Rock), Sameer (Taghmaoui) and Charlie (Bremner). The five of them pass beyond enemy lines to witness the horrors of war and of the world of men firsthand. Diana’s sensibilities are thrown into disarray but she must put that all aside if she is going to save millions of lives. In order to do that however she is going to have to confront a god.

There has been much critical praise here with some critics stumbling all over themselves to label this a feminist superhero movie. I don’t really know how to react to that; part of me doesn’t think that the term “feminist” has a very strict definition to be honest. There are all sorts of feminists believing in all sorts of ideals. I imagine you could shoehorn Wonder Woman into a category that believes that women can be superheroes and just as badass as men can and I would be okay with defining this as a feminist film from that standpoint.

One thing positive I think the movie will do is dispel the Hollywood myth that women directors can’t do big budget action CGI films, James Cameron’s criticisms notwithstanding. Clearly Jenkins proves here that she can handle the many facets that go into a production of this magnitude and in some ways comes out with a product better than that produced by a number of Hollywood heavyweights. No longer can women directors be ghettoized into smaller more intimate films about love, feelings and empowerment which seemed to be all Hollywood – and indie producers as well – were letting women direct. Who wouldn’t want to see a woman handling a Star Wars film or a war epic after seeing this?

Gal Gadot is one reason the movie succeeds. She has always had screen presence in her supporting roles; here she proves that she has more than enough to tackle a lead role in a Hollywood blockbuster. She handles the fight scenes convincingly (not true for all A-list Hollywood men) but then again she actually served in the Israeli army, an organization that knows a thing or two about kicking butt. She also does well with the comic overtones during her fish out of water scenes in London. In fact, I wish there would have been more of this element to the film – Gadot is that good.

There is a lot to be said about the set design here. Everything is terrific, from the imaginative Themyscira sets (shot on the Amalfi coast in Italy) to the note-perfect London of the Great War era. The world we see may be fantastic but it is always believable and there is much to be said for that. The action sequences are also imaginatively staged with one exception and I’ll get to that in a moment.

The movie falls down on two fronts; first, that irritating theme music first introduced in Batman v. Superman: Dawn of Justice. We hear it again and again in this film and quite frankly it makes me want to stick a power drill in my ear. Secondly, the climactic battle is a nighttime set everything but the kitchen sink battle royal between Diana, Ares, the German army and Team Trevor. There is a lot of flying debris and dimly lit action sequences. It’s overwhelming considering the CGI overkill and I thought it almost came from a different movie, although there is a distinctly femme point of view to how the scene is resolved and that, I must admit, was much appreciated.

There was much buzz surrounding this film, which was heralded as a different take on superheroes. Wonder Woman, one of the most iconic characters in the DC Comics pantheon was finally getting her own live action big screen extravaganza and the film was to be directed by – *gasp* – a woman. Never mind that eight out of the ten producers are men as well as all five credited screenwriters; the glass ceiling has been shattered at last.

As any woman will tell you – well, not really. Certainly strides are made here and there is hope for the future as Marvel has a female superhero film (directed by a woman) in the pipeline and given its impressive box office receipts there is definitely going to be a sequel to this film and Jenkins is in line to direct it, although if she passes it will likely give another female director a chance to shine. This is to my mind the best DC comic book film not directed by Richard Donner, Tim Burton or Christopher Nolan and certainly a huge step for the DCEU (DC Extended Universe) to establish itself as a contender to Marvel.

This isn’t the greatest comic book superhero film ever. It isn’t even the best one being released this summer. However, it’s plenty good enough to be a worthy addition to one’s home movie library whether you are a feminist or a fanboy – or both. There’s no reason the two have to be mutually exclusive.

REASONS TO GO: Gadot is absolutely sensational in the title role. There’s enough action to make the film palatable to superhero fans but the different point of view will be attractive to those tired of the same old thing.
REASONS TO STAY: The climactic battle is a bit of sensory overload.
FAMILY VALUES: There is some superhero and war-related violence, some sexually suggestive content and a few disturbing images.
TRIVIAL PURSUIT: This is the first female-directed film to have a budget over $100 million, the first female-directed film to have a $100 million plus opening weekend and currently holds the title as the female-directed film to earn the most box office revenue ever.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Vudu, YouTube
CRITICAL MASS: As of 9/5/17: Rotten Tomatoes: 92% positive reviews. Metacritic: 76/100.
COMPARISON SHOPPING: Captain America: The First Avenger
FINAL RATING: 7.5/10
NEXT:
Baywatch