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 Anders Ølholm & Frederik Louis Hviid — Screenplay by Anders Ølholm & Frederik Louis Hviid.
Shorta (which is apparently an Arabic word for ‘police’) is a Danish action-thriller about the so-called blue wall of silence, i.e. a tendency for police officers to withhold information and not report on their colleagues’ misconduct. The film follows two police officers — Jens (played by Simon Sears) and Mike (played by Jacob Lohmann) — who are on patrol. In the film, law enforcement has been asked not to go into the fictionalized ghetto ‘Svalegården’ since the last significant encounter between police officers and the inhabitants of Svalegården led to officers kneeling on the back of the neck of a young man, Talib Ben Hassi, who is, at the beginning of the film, in a coma. Continue reading “REVIEW: Shorta (2020)”→
Directed by Fisher Stevens — Screenplay by Cheryl Guerriero.
Fisher Stevens’ Palmer follows Eddie Palmer (the titular character played by Justin Timberlake), a former high school football star, who was just released from prison. Eddie goes to live with his grandmother, Vivian (played by June Squibb), and soon he seeks out a job as a janitor at a local school. Vivian tends to watch over their young neighbor, Sam (played by Ryder Allen). Sam, a flamboyant young boy who likes to play with dolls, is soon left with no guardian in sight when Vivian passes away and his mother, Shelly (played by Juno Temple), leaves town. Though he is initially reluctant, Eddie decides to do the right thing and become the temporary guardian for a young boy who keeps on challenging Palmer’s own prejudices. Continue reading “REVIEW: Palmer (2021)”→
Directed by Simon Stone — Screenplay by Moira Buffini.
Back when I was just a very young teenager, my school had arranged for me to receive (what I guess you would call) on-job training for a week with a team of Danish archaeologists. I had had a natural interest in archaeology, and therefore I was thrilled when I got the chance to learn from them. Over the course of that week, I archived a lot of items, I spoke with the archaeologists for quite some time, I got an early look at a history museum’s recreation of a Viking ship (if memory serves), and I even got to take part in an actual excavation. For this reason, I had a particular interest in Simon Stone’s The Dig, a Netflix original film about a historic excavation in England in 1939, and I actually really enjoyed watching it and learning about Basil Brown and Edith Pretty. But I will say that this period drama is probably a little bit too slow for your average Netflix subscriber. Continue reading “REVIEW: The Dig (2021)”→
Directed by Mikael Håfström — Screenplay by Rob Yescombe & Rowan Athale.
In 2020, Netflix found some success by placing a Marvel star in a fast-paced action movie with a somewhat forgettable plot with the Chris Hemsworth-led Extraction, which I liked. Now, in 2021, Netflix is hoping that they can do the same thing again with Outside the Wire, a science fiction action film starring Anthony Mackie, from the director of the John Cusack-led 1408, which I actually also like quite a bit. Unfortunately, Outside the Wire is nowhere near as effective of an action film as Extraction was, and they forgot to make it as fast-paced as the aforementioned film. Instead, we’re left with a serviceable but incredibly forgettable and generic science fiction flick. Continue reading “REVIEW: Outside the Wire (2021)”→
Directed by Pete Docter — Screenplay by Pete Docter, Mike Jones, and Kemp Powers.
For years, critics all over the world have praised Pixar for their storytellers’ ability to make animated films that appeal to people of all ages. Often animated films will only reserve a couple of jokes to please parents and other adults, but Pixar tends to go the extra mile and provide us with films that enthrall both children and adults such as Coco, Up, and the Toy Story-films. However, with their latest film, Pete Doctor’s Soul, I think that Pixar has made an animated film that actually appeals more to adults than children. I have even had conversations with friends, who agree that Pixar’s latest great animated film actually feels like a film designed primarily for a grown-up audience. However, even though that could be true, Pete Docter’s Soul is yet another home run from an exceptional animation studio that is as good as it has ever been. Continue reading “REVIEW: Soul (2020)”→
Directed by Ken Cunningham — Available on Disney+.
It can be difficult to enjoy Star Wars fully when the fanbase is as fractured as it has been these last few years. A significant part of the fandom has a deep hatred for a film that I like quite a bit, and it has made it so draining to debate Star Wars opinions these days. These last few weeks, I have been watching the second season of The Mandalorian, which I will hopefully be reviewing soon, and it, along with this LEGO Star Wars Holiday Special released on Disney+, truly reminded me why I have always loved Star Wars so much that even online disputes can’t ruin it for me. The LEGO Star Wars Holiday Special is genuinely wonderful and a good time for the whole family. Continue reading “REVIEW: The LEGO Star Wars Holiday Special (2020)”→
Directed by Anders Thomas Jensen — Screenplay by Anders Thomas Jensen.
It is quite extraordinary that in a year like 2020, which has seen a global pandemic severely damage the film industry and movie theaters all around the world, somehow the Danish film industry has thrived. This year has produced several event films, so to speak, in my home country. It all began with Mikkel Nørgaard’s Klovn: The Final, which is a continuation of arguably Denmark’s most popular comedy series of the last two decades. Then, not too long ago, Thomas Vinterberg’s near-masterpiece Druk was released to rave reviews, and it has almost single-handedly revived Danish movie theaters. Now, this week, Anders Thomas Jensen’s black comedy Retfærdighedens Ryttere has been released in Denmark. It is strange to say this, but, in spite of the COVID-19 pandemic, this has been a remarkably strong year for the Danish film industry. Continue reading “REVIEW: Retfærdighedens Ryttere (2020)”→
Directed by Jens Dahl — Screenplay by Sissel Dalsgaard Thomsen.
I think the Danish film industry has produced several gems and even some masterpieces. I really like to write about Danish films on my blog since it gives me a chance to highlight and talk about films that people outside of Denmark may not have heard of. But while there are very many excellent Danish dramas and great Danish comedies, I think it’s very odd that the Danish film industry has been struggling to keep up with the rest of the world when it comes to the very popular horror genre. Continue reading “REVIEW: Breeder (2020)”→