WONDER WOMAN 1984 (2020)

Eh.

Feels like an 80s movie through and through, from direction to VFX composition, it’s as much the aesthetic of the Donner-era Superman as anything else.

Thing is, there’s some super-sketchy political messaging in there regarding the Middle East, and the final hopeful climax of the film that sees all the people of the world renouncing their wishes to heal the chaos… well, it’s kinda far-fetched for 2020, even in a pulpy superhero film.

The pacing is slow and it treads on its own feet trying to tell you its themes rather than embodying them and there’s really no iconic moments that match the No Man’s Land sequence in the first.

As a blockbuster it’s fine. Serviceable, a bit naïvely optimistic and uncritical of the world it uses as its backdrop and regularly too-convenient in its plot devices. All tell, no show. Even the chemistry between Gadot and Pine is stunted compared to the last round. Pascal looks like he’s having fun, at least.

Dodgy CGI all over the place, but it’s a pandemic film so it’s hard to judge too harshly even though we have television shows with better output this year. Unfortunately it does the same videogame boss battle climax the last one did.

Overall, never really rises above “okay”. Hard to even find a lot to highlight — I watched this just hours ago and it’s already smudged together. Can’t even work up enough passion to rage post about it.

Probably skip it.

THE NEW MUTANTS (2020)

It’s hard to tell at what point of this film’s absurdly protracted release things started coming apart — clearly there was a distinct vision at one point and all the mess of its production just muddied that so much that what we got was just sort of a flat, disjointed and indecisive jumble of ideas that don’t cohere together at all.

Nothing in its premise stands up to the slightest bit of scrutiny, and the fact that it’s trying to squeeze five superhero origins and a romance and a horror film and a teen drama all into a tight 94min does nothing any favours at all.

100% would have been better served as a limited TV series where any one of those concepts could have had a moment to breath outside of rushed expository dialogue. As it is, each of the characters gets an introduction, a scene where they Don’t Want To Talk About Their Trauma, a manifestation of said trauma and then a moment of overcoming it in the climactic battle. On paper it sounds like everyone gets an arc but really it’s just a fill-in-the-blanks, paint-by-numbers rollout with zero nuance and a staggering lack of clarity or explanation.

I’m familiar with the comic run it’s based on and even still I struggled to keep focus. Some of the visual effects and design are cool but they’re not in service of anything.

Not even bad enough for a fun drunk watch, just skip it like you would all the late-game X-Men movies that aren’t Logan.

LEGION (s01-03)

It’s hard to pin Legion down, since it’s very proudly one of the least superhero-y comicbook-based TV series of the past decade despite being populated by very comicbooky characters and ideas.

It’s more of a psychedelic mind trip through gorgeous production design, S-tier cinematography and a plot and cast of characters that absolutely delight in and embrace all the weirdest things that the genre has to offer.

The cast is clearly having a ball, and it goes to show yet again how underutilised Dan Stevens is in the broader scheme of things.

Sure, there are action sequences and the like, but more often the central conflicts are resolved by compassion and strange conversations and a few times by psychic dance-battles. Oh, and a hippy cult smokes happiness from the udders of a gigantic pig at one point.

Yeah. It’s weird.

And that’s all to the benefit, because it’s not trying to be a regular sort of X-Men show, it’s a character study of a persona fragmented by trauma, wrapped in a dream-like 1960s aesthetic and often a very Lynchian desire to be willfully obtuse.

It’s unsettling and dark at times, gorgeous and strange and wonderful at others. The pacing overall is fairly off-kilter, but if you’re willing to forgive its self-indulgence you’ll find a tonne of reasons to fall in love with it.

It runs just long enough to tie itself up nicely without overstaying, but I wish more shows were this willing to embrace the absurdity of their own premises.

Highly recommended.

MEPHISTO IN HADES // TRIUMPH & TORMENT

iPAD // PROCREATE

Digital painting study from MARVEL / Mike Mignola’s TRIUMPH & TORMENT graphic novel, wherein Drs Doom and Strange voyage into Hades to reclaim the soul of Doom’s mother from Mephisto.

This also marks my 100th post here over years and several iterations of the page. Thanks to everyone who’s stuck around and welcome to those who’ve just found me now, noodling away in my quiet little corner of the internet :)

BRIGHTBURN (2019)

What if Superman hadn’t been sent to Earth as a refugee but rather as a kind of sleeper agent to a race of cruel alien warmongers?

Alternatively: Superboy the movie but he’s creepy and psychotic and it’s vaguely a methaphor for puberty.

A further case for the notion that the origin story is the least interesting part of a hero/villain fable, particularly when the morality of the protagonist is implied to have been decided for him by his host planet’s programming and no amount of nurture from his adoptive family will sway him back to “good”.

Kinda predictable despite being mostly well executed with some disgustingly visceral horror stuff in there too. It’s not bad, it just doesn’t quite live up to the potential of the premise in any way that something like CHRONICLE hadn’t already managed.

WATCHMEN s01 (2019)

Mostly lives up to the impossible task of following on from a legendary piece of graphic fiction.

Takes up in the modern day, following the trajectory of the world that was created after Ozymandias teleported an engineered giant dimensional squid into New York to unite humanity against a perceived common extraterrestrial threat.

Yep, this is a continuation of the comics, not the Zack Snyder film adaptation – because while that is a tonally faithful translation of the incredibly precise graphic novel, there are key mechanical differences that are relevant here that land in spoiler territory.

But even in doing an excellent and clever job of expanding the world, it ultimately only manages to be something of a paler imitation of a superior story that was designed to intentionally be complete in and of itself.

Still, plenty to enjoy. A great modernised take on a classic, well executed social commentary and some good turns. Recommended.