Aquaman and the Lost Kingdom (2023) | REVIEW

Jason Momoa as Arthur Curry in James Wan’s AQUAMAN AND THE LOST KINGDOM — PHOTO: WARNER BROS. PICTURES (Still image from trailers).

Directed by James Wan — Screenplay by David Leslie Johnson-McGoldrick.

Once upon a time, the kickstarting of the DC Extended Universe (DCEU) felt like such a big deal. Warner Bros. was going to do what Marvel did and actually have a connected cinematic superhero universe and it was going to be this prestige project with the first film, titled Man of Steel, echoing a kind of director-led importance that was supposed to follow in the footsteps of Christopher Nolan’s critically acclaimed Dark Knight trilogy. I think, however, that it is fair to say that it never got off on the right foot. Their Superman-universe opener was met with a mixed critical reception and fans criticized certain choices that they felt were against the core tenets of the beloved iconic character. In the next years, the DCEU was never fully embraced despite certain successes along the way (e.g. Patty Jenkins’ Wonder Woman) in large part due to several films that missed the mark in one way or another (e.g. David Ayer’s Suicide Squad). Online toxicity, director idolization, and mild-at-best reception followed, and now the universe is being fully rebooted by James Gunn. Before that could happen though, they had to release a couple of ‘lame duck’ films that they already had in the can but which everyone knew mattered not. Aquaman and the Lost Kingdom is the last one of those, and, unfortunately, the DCEU went out with a whimper. 

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REVIEW: Ambulance (2022)

Yahya Abdul-Mateen II and Jake Gyllenhaal in AMBULANCE — PHOTO: Andrew Cooper / Universal Pictures.

Directed by Michael Bay — Screenplay by Chris Fedak.

At this point, I’m starting to get used to the idea of seeing Jake Gyllenhaal in American remakes of Danish films. In 2009, he appeared in Jim Sheridan’s Brothers, a remake of Susanne Bier’s Brødre. In 2021, he appeared in Antoine Fuqua’s The Guilty, a remake of Gustav Möller’s Den Skyldige. And now, in 2022, he stars in Michael Bay’s Ambulance, a remake of Laurits Munch-Petersen’s Ambulancen. I don’t know what it is that draws him to Danish projects. What I do know is that I think Bay’s remake might be an improvement on the Danish film.

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REVIEW: The Matrix Resurrections (2021)

Keanu Reeves is back as ‘Thomas Anderson’ in THE MATRIX RESURRECTIONS — Photo: Warner Bros.

Directed by Lana Wachowski — Screenplay by Lana Wachowski, David Mitchell, and Aleksandar Hemon.

After the events of The Matrix Revolutions, in The Matrix Resurrections, Thomas Anderson (still played by Keanu Reeves) is somehow still alive. However, something is off about him. He is now a video game developer, and the creator of The Matrix, which the people around him claim to be a video game. But he has these dreams, and every time he crosses paths with a woman named Tiffany, she looks just like Trinity (played by Carrie-Anne Moss). He is prescribed blue pills by his therapist (played by Neil Patric Harris) to keep his dreams and visions in check. However, right as his business partner (played by Jonathan Groff) tells him that they have to make a new Matrix game, he encounters a young and different-looking Morpheus (played by Yahya Abdul-Mateen II), who asks him to take the red pill.

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REVIEW: Candyman (2021)

Yahya Abdul-Mateen II as Anthony McCoy in Nia DaCosta’s CANDYMAN (2021) — Photo: Universal Pictures.

Directed by Nia DaCosta — Screenplay by Nia DaCosta, Win Rosenfeld, & Jordan Peele (Get Out; Us).

Horror remakes, reimaginings, or sequels decades after a popular antagonist’s inception are inevitable. This movie studio trend was especially prevalent in the 2010s, when it was emphasized just how profitable decent-to-good horror films can be. One of the more stylized attempts was Luca Guadagnino’s Suspiria remake, while one of the more disappointing attempts was Kölsch & Widmyer’s Pet Sematary remake. Horror remakes are a dime a dozen these days, but the current horror movie trend is the legacyquel — a portmanteau of legacy and sequel — which is a continuation of a previous film but one that takes place a long time after the events of the original film and often with entirely new characters. Another trend is that of ignoring some films in the franchise, for the purpose of taking the franchise in another direction. Such is the case with a legacyquel like David Gordon Green’s Halloween. Another legacyquel that ignores certain chapters in its own cinematic mythology, Nia DaCosta’s Candyman, which really ought to have a different title for simplicity’s sake, follows many horror movie trends, but perhaps most notably those kickstarted by her producer and co-writer Jordan Peele.

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REVIEW: The Trial of the Chicago 7 (2020)

Trial of the Chicago 7 Film Poster
Release Poster – Netflix

Written and Directed by Aaron Sorkin (Steve Jobs) — Distributed by Netflix.

Back in July 2020, news broke that Netflix had acquired the distribution rights to this Aaron Sorkin legal drama following negotiations with Paramount Pictures. The global COVID-19 pandemic had made it difficult for Paramount to live up to the promise of a wide theatrical release this year especially since it was, reportedly, important for the filmmakers to have their film released to the public prior to the 2020 United States Presidential Election in November. Netflix provided them with a feasible and acceptable way out. The Trial of the Chicago 7 has now been released globally on the popular streaming service, thus giving Americans a chance to watch this drama before casting their vote. Continue reading “REVIEW: The Trial of the Chicago 7 (2020)”

REVIEW: Watchmen (2019 – Limited Series)

Release Poster – HBO

The following is a short review of Watchmen — Created by Damon Lindelof.

Alan Moore’s Watchmen is one of the most beloved comic book stories ever made. It is one of those graphic novels that comic book readers have been championing for decades, and it has been notoriously difficult to adapt. Zack Snyder tried and succeeded (to some extent) with his 2009 adaptation, which, of note, changed the ending of Moore’s story. Moore, infamously, is unwilling to endorse or watch adaptations of Watchmen, but I think it is time for the celebrated comic book writer to change his tune. Because Damon Lindelof (LOST; The Leftovers) has made a sequel to the iconic graphic novel that deals with timely issues and which also subverts all of the right tropes. Continue reading “REVIEW: Watchmen (2019 – Limited Series)”

REVIEW: Aquaman (2018)

Theatrical Release Poster – Warner Bros. Pictures

The following is a review of Aquaman — Directed by James Wan

If you are reading this as a die-hard Aquaman-fan, I’m sorry but I have to start off my review like this: I’ve never thought that highly of the character. I didn’t make dumb water-jokes about him, but, for the longest time, the first things I thought about when I heard someone mention ‘Aquaman’ was, first, Alan Ritchson in CW’s Smallville and, then, the fake James Cameron film from HBO’s Entourage. Continue reading “REVIEW: Aquaman (2018)”