Series Created by Ronald D. Moore, Matt Wolpert, and Ben Nedivi — Available Now on Apple TV+.
In Additional Bite-Sized Reviews, Feb. ’21, Pt. II, I wrote about my experience of finally binge-watching the entire first season of Apple TV+’s For All Mankind, which was originally released back in 2019. The alternate-reality angle of the show was what had originally made me interested in the show, and, ultimately, the execution was what kept me hooked throughout the solid but somewhat bumpy first season. To reiterate, the show is, essentially, ‘what if the Soviet Union had reached the Moon first and, as a result, the United States continued and accelerated the space race.’
Series Created by Robert Kirkman — Available Now On Amazon Prime Video.
It’s always nice to see, when something you’ve loved for years is adapted successfully. Over five years ago, I read the first forty issues, or so, of Robert Kirkman’s Invincible, a superhero comic book series from Image Comics. I loved the comic book series back then, I still do, and I was excited when it was announced to be adapted as both an animated series and a film. That interest reached a fever pitch when the voice cast was announced. Steven Yeun (voicing Mark Grayson, Invincible), J. K. Simmons (voicing Nolan Grayson, Omni-Man), Sandra Oh (voicing Debbie Grayson), and Gillian Jacobs (voicing Atom Eve) voice the most pivotal characters, but it doesn’t stop there. Other great actors such as Seth Rogen, Mahershala Ali, and Walton Goggins all play important characters. Once you actually watch the show, you’ll see exactly why the cast is so star-studded. Because Invincible could be the ‘next big thing.’
Directed by Shaka King — Screenplay by Will Berson & Shaka King.
Next week, Shaka King’s Judas and the Black Messiah may have become the winner of one or multiple Oscars at the 93rd Academy Awards, which, in theory, was supposed to honor the best films of 2020, in spite of the fact that this film was released in 2021. This is the result of a change to this Oscar season’s eligibility period due to the COVID-19 global pandemic, and this now means that select films released in early 2021 may also qualify to compete against 2020 films at the Oscars.
In general, this was a rule change that I am very much against as I absolutely do think that there are enough good films from 2020 that the Academy should honor, instead of adopting some odd eligibility window for the sake of giving more time to studios to release films that absolutely could’ve competed at the 94th Academy Awards instead. Regardless, I actually highly recommend Shaka King’s Judas and the Black Messiah, and, if it had been released in 2020, it probably would be one of my favorite films of that year.
Directed by Darius Marder — Screenplay/Story by Darius Marder, Abraham Marder, and Derek Cianfrance.
If I’m not mistaken, Darius Marder’s first narrative feature film, Sound of Metal, was originally slated to be released in Danish theaters in December of 2020. However, when all of Denmark’s theaters were then ordered to close due to another lockdown as a result of the COVID-19 global pandemic, the film was basically put in some sort of limbo. This week, on April 12th, 2021, I finally got the chance to watch one of my most anticipated films of the 2020 awards season, when it was released on Amazon Prime Video. In short, it was definitely worth the wait.
In this edition of my monthly movie and television catch-up article series titled ‘Additional Bite-Sized Reviews,’ I recommend an underseen horror film that I, however, have mixed feelings on, and then I tell you about my experience of watching the second season of Apple TV+’s Servant, which, I thought, didn’t advance the plot all that much.
Directed by Patty Jenkins — Screenplay by Patty Jenkins, Geoff Johns, and Dave Callaham.
The highly anticipated sequel to Patty Jenkins’ 2017 film, Wonder Woman, has finally arrived in Denmark. The film was released in theaters around the world (and simultaneously on HBO Max exclusively in the United States) in December of 2020, but, a week, or so, prior to the theatrical release in Denmark, all Danish theaters were ordered to close due to the second wave of the Coronavirus global pandemic. At the time of writing, theaters are still closed. This also means that Wonder Woman 1984 eventually skipped Danish theaters entirely.
In the mean time, frustratingly, the film was not made available for premium-video-on-demand in Denmark, and it took the distributor this long to release the film on HBO Nordic. That’s right, almost exactly three months after it was released on a streaming service in the United States. But now, thankfully, that wait is over. I’ve finally had the chance to watch the sequel to the hit 2017 superhero film led by Gal Gadot. Unfortunately, while I appreciated the original film, this sequel just feels misguided.
Directed by Max Barbakow — Screenplay by Andy Siara.
I am a sucker for time loop movies, and, like most people, I have been a huge fan of these films since I saw Harold Ramis’ Groundhog Day as a kid and fell in love with the concept and the film. Although I had seen him in the original Ghostbusters film prior to my first viewing of Groundhog Day, his quintessential time loop classic from 1993 was actually the film that made me a true fan of Bill Murray.
Similarly, Edge of Tomorrow, another fantastic time loop film, boosted Emily Blunt’s career, and, though it may be too early to tell, the Happy Death Day-film series ought to do the same thing for Jessica Rothe. Every time loop film released after 1993 stands on the shoulders of Groundhog Day, and, even though Edge of Tomorrow and Happy Death Day are great films in the subgenre, there are many films that fail to build off of that formula in a satisfying way. Fortunately, Max Barbakow’s Palm Springs is a refreshing and timely (more on this later in the review) time loop film.
Directed by Zack Snyder — Screenplay by Chris Terrio — Story by Chris Terrio, Zack Snyder, and Will Beall.
In 2017, Warner Bros. released the film titled Justice League in theaters worldwide. This was a superhero team-up film that was supposed to be the third installment in a series of films set in Warner Bros.’ cinematic universe that has been dubbed the DC Extended Universe. The previous two installments — Man of Steel and Batman v Superman — were directed by Zack Snyder, who had essentially become the godfather, or the face, of the DC Extended Universe.
Snyder was also supposed to complete Justice League, but, due to a family tragedy, he decided to step away from the film and let Joss Whedon, the seasoned superhero filmmaker hired by Warner Bros. to replace him, finish the film. But Whedon and Snyder are very different filmmakers and they have different sensibilities, and, ultimately, the theatrical cut of Justice League was met with largely negative reviews. The final product lacked a uniform vision and tone, and it started to become clear that a lot of the essential material that Zack Snyder had planned for the film had been left on the cutting room floor.
Directed by R. J. Cutler — Distributed by Neon / Apple TV+.
Veteran filmmaker and documentarian R. J. Cutler’s The World’s A Little Blurry is a fantastic year-in-the-life documentary about the rise to stardom for Billie Eilish, the immensely popular teenage singer-songwriter, who, in early 2019, had her debut studio album — When We All Fall Asleep, Where Do We Go? — released to critical acclaim. Cutler’s film is — for the most part — a vérité documentary that allows you to experience several private moments, as well as critical moments in her — and her brother Finneas’ — creative process, as a fly-on-the-wall. It’s an eye-opening documentary epic (it even has an intermission) about the life of a somewhat anxious teenage superstar that cares deeply about her fans, precisely because she is still a fan at heart, and she knows what it’s like to need that kind of bond. Continue reading “REVIEW: Billie Eilish – The World’s A Little Blurry (2021 – Documentary)”→
Directed by Autumn de Wilde — Screenplay by Eleanor Catton.
Autumn de Wilde’s feature film directorial debut, Emma., is a romantic-dramedy period piece based on the 1815 Jane Austin novel of the same name, which has been adapted numerous times. Autumn de Wilde’s film takes place in the early 19th Century and it follows its privileged titular character, Emma Woodhouse (played by Anya Taylor-Joy), as she interferes with her friend’s love life. Her friend, the sweet but impressionable Harriet Smith (played by Mia Goth), is attracted to a Mr. Robert Martin (played by Connor Swindells). But, instead, Emma thinks that Harriet should pursue a romantic relationship with the local vicar, Mr. Elton (played by Josh O’Connor), even though it’s clear to everyone except for Emma and Harriet that he is actually attracted to the title character. Continue reading “REVIEW: Emma. (2020)”→