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  • Zack Snyder’s Justice League: Another Review

    Zack Snyder’s Justice League: Another Review

    Zack Snyder’s Justice League, the moment fans have been waiting for since the 2017 release is finally here…and it’s outstanding. Count me surprised!

    Over the next few weeks, the internet will tell you this is either the best thing to ever be released, or it’ll tell you that this is the worst thing to ever be released. I shall tell you neither, but it is the best movie the DCEU has had, and my god is it better than I ever expected! Zack Snyder’s Justice League is a miracle of a movie when you take into account how we got here, the reason why he left in 2017 and was replaced by Joss is heart-breaking and quite frankly, from what I’ve heard, disappointing from a studio many look up to. I never campaigned for its release and I side with no one, but that’s what makes his cut all the more pleasing and surprising in just how great the final product is.

    Zack Snyder’s time in the DC Universe has starkly reflected the strengths and blemishes surrounding his trademark style. Many hate his work for being too gritty and dark with the action putting off many, which in all fairness is reasonable, yet it’s a style I’ve become fonder of over the last week. Unlike the 2017 Justice League, the Snyder’s cut allows for a great sense of flow and coherency that was sorely missing. The huge length allows introductions for new characters like The Flash, Aquaman and Cyborg while still tying up narrative loose ends from previous DC films that muddled many fans. Compared to Justice League, Zack Snyder’s Justice League develops every aspect I had previously complained about. Steppenwolf is heavily improved, allowing for a villain that’s actually daunting rather than being a stale end of a joke, and the characters that inhabit the film are finally done justice with Ben Affleck’s Batman and Gal Gadot’s Wonder Woman improving heavily, Ezra Miller’s Flash and Jason Momoa’s Aquaman working better, and Ray Fisher’s Cyborg finally being done justice.

    However, Zack Snyder’s Justice League still operated under a rather faulty foundation. Many will complain about the runtime and Leto’s return, whilst not bad at all, offers very little to think about given he’s given nothing to do. Similarly, in this case, the return to the ‘Nightmare World’ is handled in a way that sets up a sequel (that honestly, I hope we get now), and while this works in its own way, many fans will find it jolting if they don’t know anything about the comics. Of course, the film still holds a myriad of other problems. There are still some scenes that feel stale and the humour from The Flash doesn’t always land properly but my enjoyment from this film and general awe at what Snyder was able to accomplish can’t be understated. I absolutely loved this and given how unexpectedly good this is, I am truly and wholeheartedly pleased for him.

    If you would have told me a week ago that I would be this hyped for a film and overall love it this much, I would have told you that you were lying. Sure, it was one of my most anticipated of the year, it even made my top 10 list, but that was purely because I was happy Snyder was finally getting it released and was intrigued to see how it turned out. I didn’t actually think it would be good. But over the past week, rewatching Man of Steel and Batman V Superman: Dawn of Justice, my anticipation level had gone through the roof, and after watching the hell that is Justice League 2017, I had hope that this would be at least a little better. Thankfully, it is so much better. While you can clearly see scenes from the original Justice League (luckily not the awful ones!), I began to understand more and more why it didn’t work as time went on. Whole narratives were cut, characters underdeveloped and pieces that just didn’t fit together, thrown in to make what turned out to be a messy film. That’s exactly what Zack Snyder’s Justice League does right. During its 242 minutes narrative it showcases why this film needed to be so long, it shows just how much the 2017 version was missing and it’s these two added hours that truly turns what could have been a rather mediocre film into one that’s truly revolutionary. 

    –Flash“What are your superpowers again?”
    –Batman“I’m rich.”

    Don’t get me wrong, there is no way the 2017 one would have been this good even if Snyder had stayed. The two-hour studio mandated runtime would never have worked but, nevertheless, I don’t think anyone expected this cut to be this good. It’s a four-hour epic with dazzling visuals, a grand score, more consistent character development and a tone that fits rather well. Junkie XL’s score is great, incorporating some old themes and adding some new ones to make a powerful sound. Just listening to it was enough to hook me, its raw, its powerful and it’s completely extraordinary, eliciting emotions in me I would have never expected. It’s one of the best comic book movie scores ever released and it’s easily the DCEU’s best film to date, with an epic scope that truly made the runtime fly by. Snyder’s vision transforms the film into a bold, stunning blockbuster with heart with Ray Fisher shining alongside Ben Affleck, Henry Cavill, Gal Gadot, Ezra Miller and Jason Momoa. Ray Porter makes for a formidable Darkside in the scenes he’s in (hopefully setting up something bigger and better!) and the scenes with Harry Lennix’s character, which I won’t spoil for you, proves to be a great cameo addition to the film. It’s not often I’m stunned by a DCEU film. The Detective Comics Extended Universe hasn’t been one I’ve often been kind to, but this, this is epic on a grand scale. 242 minutes of pure brilliance from a man that truly deserved it. No matter the fanbase that surrounds the film, this film is for Zack Snyder and he deserves all the praise he can get.

    Justice has been done, the League has formed, and the Cut has been released. Zack Snyder should be proud. Rest in Peace Autumn.

  • The Place That Makes Us: Review

    The Place That Makes Us: Review

    The Place That Makes Us: Review. At one point, Youngstown Ohio was a prominent force in the rustbelt, but that all changed after the closure of the steel mills that had once served as the lifeblood of the city. Because of the closures, the city struggled and many residents were forced to go elsewhere for work. Consequently, infrastructure and prosperity faltered. Specifically, the loss of the steel industry led to a rise in unemployment, an uptake in squatting and abandoned homes, an increase in crime, drug use, and economic strife in the city for those that remained. This documentary centers on the lives of several residents of Youngstown as they seek to rebuild and revitalize the city, overcoming challenges ranging from lack of awareness, bureaucracy, and limited resources.

    Director Karla Murthy finds a compelling approach when it comes to this kind of documentary. While there have been many documentary films that chronicle the rise and fall of blue-collar cities like Youngstown, these films tend to be focused on the testimonials of the workers who were there in the beginning. The successes and struggles they had, and a recounting of the timeline of the town’s history, from its early days, to the industry boom, leading up to the present day struggles.

    We see in this film that Murthy’s focus is on the next generation of residents. Murthy’s presence in the film feels very observational. Interviews for the most part do not feel overly edited or staged. One gets the feeling viewing the film that Murthy and the crew want to hear honestly from the interviewees when it comes to the challenges Youngstown faces and residents’ hopes for the city’s future. 

    Most of the people featured in The Place That Makes Us never worked in steel mills (although their relatives did) and grew up long after the city’s “boom” but are still willing to fight for it. Two residents followed, Ian Beniston and Tiffany Sokol work for an organization that focuses on renovating abandoned housing properties and selling them to new owners in the hopes of revitalizing neighborhoods and communities. Another resident, Julius T. Oliver by his own admission came from a difficult home life, but is now a business owner and city councilman actively striving to affect positive change in Youngstown, including putting together youth outreach initiatives. Finally, Bernadette  “Bernie” Elliott spends the film trying to find a new home, as her current one is being neglected by her landlord and its condition is worsening.

    Despite the varied backgrounds and challenges each of these people all face in Youngstown, it is evident that each person shown in the film shares the common trait that they care deeply about the city because they grew up there and they do not want to give up on the city itself and the lives they have built there. One of the most moving aspects of the film is that even though everyone featured recognizes the scope of Youngstown’s challenges and the need for large structural and fundamental change, each person still feels that it is their duty to do their best as a citizen to help change the city for the better.

    Interestingly, despite repeated albeit brief mentions by interviewees regarding the effects crime and drugs has had and continues to have on Youngstown, Murthy does not delve very deep on the subject apart from one brief scene where a police officer gives an interview presumably after a drug raid. While it is understandable to not want to come across as being exploitative about sensitive issues like drug abuse and addiction, it seems like too important  of a subject to only bring up occasionally and mostly in passing.

    That Place That Makes Us is a compelling documentary. A film that shows the challenges a city faces when it loses a core notion of its identity, but also a film that celebrates what can be accomplished when people work together to make a better life for themselves and for their neighbors. Viewers looking for a short, honest, uplifting documentary should seek this film out.

  • The Vault: Review

    The Vault: Review

    The Vault Synopsis: When an engineer (Freddie Highmore) learns of a mysterious, impenetrable fortress hidden under The Bank of Spain, he joins a crew of master thieves who plan to steal the legendary lost treasure locked inside while the whole country is distracted by Spain’s World Cup Final. With thousands of soccer fans cheering in the streets, and security forces closing in, the crew has just minutes to pull off the score of a lifetime.

    He may not be a household name domestically, but Spanish writer/director Jaume Balagueró has achieved a significant level of influence during his career. Balagueró cleverly revived the found footage genre with Rec in 2007, a cult favorite that became a central influence for a new generation of spooky titles. After strong initial success, Balagueró has struggled to recapture that lightning in a bottle.

    A few poorly received offerings (you probably haven’t heard of Muse and Inside, and for good reason) have left the director searching for a sense of identity outside his horror sphere. Balagueró’s latest, a heist rift on the 2010 World Cup entitled The Vault, at least marks a step in the right direction. That being said, this competent, yet rarely compelling offering never stretches past familiar conventions.

    Heist films elicit a restless sense of unease when operating at their apex, whether that be through the meticulous behind-the-scenes planning or the perilous mission itself. Balagueró does a serviceable job at capturing the genre’s dashing sense of adventure. He keeps a firm grasp on pace while implementing a sly mixture of edits and stylistic frames. I also admire how straightforward The Vault is. Balagueró and his writers know exactly the kind of taunt yarn they want to create, keeping their focus more on genre entertainment over any revelatory developments.

    While that can work in theory, The Vault’s vanilla execution never engrossed me. Balagueró is restricted to “director-for-hire” tendencies aside from a few vibrant flourishes. It’s a letdown for his lively visual identity to settle despite working in a genre defined by its auteur filmmakers (from Michael Mann’s Heat to Quentin Tarantino’s Pulp Fiction, great voices have always reinvigorated heist movie tendencies). The film is consistently capable, but it never builds enough momentum to keep audiences invested during the patient build-up.

    I can get down with a no-nonsense heist story. That being said, I wish the writers imbued the rudimentary screenplay with a semblance of identity. The thriller elements miss on swagger and charisma, lacking the kind of bold energy to keep audiences attuned. When the script tries to develop attachment through its makeshift family, its sincerity lands closer to clumsy hokiness. Corny character dynamics and stale dialogue exchanges leave characters in a state of total disconnect. I wish the capable cast received more dimension to work with. Stars Freddie Highmore and Astrid Berges-Frisbey lack natural chemistry onscreen, while the assured supporting players have little to do with their relatively hollow roles.

    The Vault lands in a so-so middle ground. Fans of heist adventures should find some passable entertainment here, but the general lack of personality and verve left me wanting more.

  • Wonder Woman 1984 Holds Strong

    Wonder Woman 1984 Holds Strong

    Wonder Woman 1984 lands a second week at Number 1 on the Official Film Chart.

    Still holding strong ahead of the competition following its chart-topping debut last week, the Gal Gadot-starring sequel leads a freshly shaken-up Top 10 following a week of Unforgettable Entertainment, as film fans flocked to new and classic titles alike via offers across all major digital retailers.

    Former Number 1 Joker rockets 18 places to Number 2, landing just ahead of Luc Besson’s 1994 action Leon – which enters the Official Film Chart for the first time at Number 3. Spider-Man: Far From Home holds on to a place in the Top 5 at Number 4, while Avengers: Endgame climbs three to Number 5 to claim its 18th non-consecutive week in the Top 10.

    Zombieland: Double Tap makes a return to the Top 10 at Number 6; 2001: A Space Odyssey enters the chart for the second time at Number 7; Captain America: The First Avenger flies in at Number 8 thanks to a new 4K steelbook, and former Number 1 Sing zooms back into the Official Film Chart at Number 9 after some time away.

    Finally, Trolls World Tour zooms 14 places to round off this week’s countdown at Number 10.

    This week’s Official Film Chart online show features a sneak peek at sci-fi rom-com Superintelligence starring Melissa McCarthy & James Corden, which is available to Download & Keep from 30 March.

    Now, as well as OfficialCharts.com, the Official Film Chart can also be found on FindAnyFilm.com – the ultimate site for Film and TV fans to discover all the legal ways to buy the entertainment they want on disc and digital formats.

    The Official Film Chart Top 10 – 24th March 2021

    LWPosTitleLabel
    11WONDER WOMAN 1984WARNER HOME VIDEO
    202JOKERWARNER HOME VIDEO
    NEW3LEONSTUDIOCANAL
    34SPIDER-MAN – FAR FROM HOMESONY PICTURES HE
    85AVENGERS – ENDGAMEMARVEL FILMS
    RE6ZOMBIELAND – DOUBLE TAPSONY PICTURES HE
    RE72001 – A SPACE ODYSSEYWARNER HOME VIDEO
    RE8CAPTAIN AMERICA – THE FIRST AVENGERMARVEL FILMS
    RE9SINGUNIVERSAL PICTURES
    2410TROLLS WORLD TOURDREAMWORKS ANIMATION

    © Official Charts Company 2021

    VIEW THE FULL TOP 40 – https://www.officialcharts.com/charts/film-chart/

  • When Claude Got Shot: SXSW Review

    When Claude Got Shot: SXSW Review

    Claude Motley was studying at law school and was weeks away from his bar exam when he was carjacked. Claude knew the risks, but thinking about his wife and family he drove away and the person who held him up fired his gun at his car.

    Unfortunately for Claude, it also hit him in the face and fractured his jaw. In the hospital despite his injuries, Claude was also treated like a perpetrator, but once he got out of hospital, he was able to identify the person who shot him. Also, because of his belief in the law, Claude wanted to see the young man brought to justice.

    However, Nathan King was the person who shot him, a 15-year-old boy and it was his first offence. Not only that, but after a second incident Nathan was shot in the back which left him paralysed from the waist down.

    When Claude Got Shot is a documentary about a single case where a man got shot and the difficulties that people from all sides have to go through when dealing with the criminal justice system in America.

    What starts out as a seemingly straightforward documentary about gun control in America starts to go much deeper as it concentrates on its subjects. Issues such as Nathan’s life changing injury in the face of self-defence and Claude’s treatment in the hospital are raised, but not for very long as the documentary goes into intricate detail about this one case.

    Everything from Claude’s time in hospital, the trial and the aftermath are all dealt with, showing all sides from Claude’s family to Nathan’s mother. There are even times when the court system itself is shown to be biased against a certain type of person.

    The assumptions are that because Claude is a man going to law school and that Nathan lives in a single parent family that Nathan must have had a bad upbringing. It’s just a coincidence that they both happen to be black. However, looking deeper into Claude’s own life, When Claude Got Shot shows that the choices people make are what defines them.