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  • The Series Finale: WandaVision – Disney+ Talk

    The Series Finale: WandaVision – Disney+ Talk

    The Series Finale: WandaVision – Disney+ Talk

    It seems like a long time ago since I started discussing ‘Wandavision’ but we have come to the conclusion of the series. 

    Episode 9, titled ‘The Series Finale’, sees Wanda, Vision, Billy and Tommy go up against S.W.O.R.D and their secret weapon in order to protect their beloved and bewitched town. 

    If I were to say anymore in the episode description, I would be spoiling the episode! 

    Overall, this is an episode that was bound to happen: a battle between Agatha Harkness and Wanda Maximoff, and a faceoff between Vision and White Vision. And, while this does happen, the show is happy to give us more answers, one that was personally unexpected. 

    ‘Wandavision’, overall, has been a delightful addition to the Marvel Cinematic Universe. The decision to make this a mystery show was a fantastic idea. It meant that this entry was unique to the usual action-packed format that is so often seen in the films. As well as this, it focused on Wanda Maximoff and Vision, two characters that were previously poorly written. The introduction of this show meant that they were given a second chance in terms of writing and character development. And, while Wanda Maximoff was one of my favourite characters even before ‘Wandavision’, my love for her has increased after this. 

    Paul Bettany and Elizabeth Olsen are fantastic as Vision and Wanda, and this show gives them more of a spotlight to shine in, which they do effortlessly. Their onscreen chemistry is beautiful and it’s clear why these characters love each other. Wandavision does a better job at displaying their relationship than the Marvel Cinematic Universe ever did! Elizabeth Olsen is also fantastic as Wanda, a character struck with so much immense grief that it literally held a town captive. Despite her actions, she’s a sympathetic character; she just wants to be happy with Vision, something that was taken away from her suddenly and horribly. Grief is something that everyone can relate to. Even Monica says at the end that, if she had Wanda’s powers, she would immediately bring her mother back. Even if she was perceived as the villain in some episodes, Wanda’s motivation is a sympathetic, relatable and tragic one.

    I love that Vision was essentially playing the detective and was trying to figure out what was going on in Westview. In a sense, he was the viewer; he didn’t know what was going on after being suddenly placed in this town and wanted answers. He was also a sympathetic character; he just suddenly existed, without any prior memories and was expected to go along with Wanda’s everchanging storylines. I also understood his perspective because he was confused and scared as he didn’t know what was going on. Like Olsen, Paul Bettany was also given a chance to shine here, with a couple of episodes dedicated to him discovering more information about the new town of Westview. I not only applaud Marvel for creating a fantastic and unique show, but I also appreciate them giving the two characters a second chance. 

    As someone who was never interested in the previous Marvel shows, ‘Wandavision’ was a breath of fresh air. I really hope this changes the way Marvel approach their show structures in the future. They don’t need just action-packed shows and films to make them exciting and intriguing. 

    While there isn’t too much information in terms of spoilers for this episode, I’m still going to be including a spoiler section. So, the rest of this article will now contain spoilers!

    So, I want to start this section off by saying that one of my theories was technically correct. In a previous Disney+ Talk article, I suspected that Tommy and Billy weren’t real; that they were an illusion. And, technically, I am right: they’re integrated with the Hex. This is discovered when Wanda decides to try and undo the Hex and free the town. However, by doing so, she’d also destroy Tommy and Billy and the Vision that she’s created. It’s an unfair decision to give her: will she set the town free, thus killing her children and husband, or will she keep the town captive forever just so she can be happy? It’s a cruel moral dilemma to give her, but one that had to be given at some point. Furthermore, something that was unexpected was that the townspeople feel her pain and grief when under her spell. Not only did Wanda not realize this, but we also didn’t know this. She doesn’t know how to control her powers under immense stress and grief and this scene was a clear indication of that. A line that struck to me specifically was when ‘Dotty’ asks Wanda if she can see her child as she’s been locked away in the house for all this time, indicating that Wanda’s powers could only reach so far and to a specific amount of people. This idea was introduced in a previous episode when Vision visited the outskirts of Westview. However, it still doesn’t make it less disturbing. The line also implies that Wanda’s unintentionally kept all the children of Westview locked away, until the Halloween themed episode. While Wanda may seem villainous, she is no villain; just someone who can’t control their powers while grieving. 

    Another character that appears in this episode is White Vision. This is Vision that S.W.O.R.D kept from Wanda and turned into a weapon for their own use: to destroy Wanda Maximoff. And, while he may seem like a robot under straight orders at first (and even battles the illusion Vision), he is ultimately defeated by logic and memories. Like the rest of this show, this was a unique route that Marvel chose to take when it came to this battle. And, while we did get some fight scenes from the two replicas, it was heart-warming to see White Vision and Vision use logic to end the fight. Heart-warming, but not surprising since they are the same character. S.W.O.R.D may get rid of Vision’s memories, but they can’t get rid of his true core self; he’s still the same Vision on the inside. This is beautifully symbolized using the story of the Ship of Theseus: if everything on the ship is replaced with new and better equipment and technology, is it still the same ship? While they discussed that question, which ended with Vision giving White Vision his memories, my question is where is White Vision? The episode seems to leave this unanswered, leaving room for him to reappear. 

    Another character that has the potential to reappear is Agatha Harkness. After being defeated by Wanda, where Wanda transforms into her amazing modern Scarlett Witch costume, Agatha is imprisoned in the Hex. Here, she is to forever be trapped in the role that she chose for herself: the friendly but nosey neighbour. It’s a cruel fate for her, but one that is arguably deserved. Like previously mentioned, it also means that Marvel could bring Agatha Harkness back into the MCU if they wanted to. 

    One character that I was not happy about was Pietro. Said to be a huge cameo and change to the Marvel Cinematic Universe, Pietro turned out to be just another resident that had been brainwashed too. This is discovered by Monica Rambeau halfway through the episode. However, some things are still unexplained with him: if he is just another resident, how did he get Quiksilver’s powers? My theory is that he is still Quiksilver but is just under a secret identity. He just happened to arrive to Westview at the wrong time!

    And, speaking of Monica Rambeau, the finale rewards viewers with two end credit scenes. The first one revolves around Monica after she’s helped fight S.W.O.R.D (and stop three speeding bullets!). She is asked to meet an official who turns out to be a Skrull and is told that the Skrull would like to meet Monica. Considering that the Skrull were introduced in ‘Captain Marvel’, I think this is Marvel introducing Monica as a potential second Captain Marvel. If that’s the case, then I’m onboard with that. Monica has been one of my favourite characters in ‘Wandavision’ and I hope the film universe handles her better than they did with Wanda and Vision. 

    The second end credit scene revolves around Wanda, who has now left Westview and is living, alone, in a cabin. The scene starts off calmly as she sits on the porch then goes inside as the kettle boils. However, the camera keeps moving forward to the back room, and reveals that the Scarlett Witch is in the back room studying the Darkhold spell book, seemingly in a trance. Then the voices of Tommy and Billy are heard, calling out for help. It’s a striking scene, that has a lot of indications. Firstly, the children are alive, but can’t leave whatever remains of the Hex. So, if the children are alive then does that mean that the illusion Vision is still alive? And, secondly, if they’re stuck in a different world, could this open up the possibility of the multiverse? Considering that Doctor Strange 2 will feature multiverses, I think this scene serves as an introduction to that concept, an aspect that I am really looking forward to. 

  • Verdict: Review

    Verdict: Review

    Verdict is a film by Raymund Ribay Gutierrez recorded in the Philippines. It has received more than 10 awards for 21 nominations in different festivals around the world. He won the “Special Jury Prize” in the Orizzonti section of the prestigious Venice Film Festival in 2019.

    The film opens with the assault of Joy Santos (played by Max Eigenmann) by her husband Dante Santos (played by Kristoffer King), this assault will be the focus of the film. The aggression is very violent, Dante, who is drunk, seems out of control, Joy tries to defend herself with a knife, while their daughter Angel (played by Jordhen Suan) is injured during the confrontation. Joy will be able to find refuge with the VAWC (Office for Violence Against Women and Children), a unit specializing in violence against women and children.

    What follows is a woman’s struggle to be heard and to seek justice in a society hampered by an inefficient bureaucracy.  She will have to go through different stages, facing this chaotic administration that does not encourage her to file a complaint, then the refusal of her neighbors to testify in her favor by fear of generating conflict. 

    Her only real help will come from her lawyer, who is very invested in her work and gives the best of herself. But Dante, for his part, has been in contact with a lawyer who seems to know this kind of case and who is obviously more experienced than Joy’s lawyer. 

    The film plays with the viewer’s frustration to make him react, we have the impression that despite the terrible events Joy was victim of, she doesn’t win this case, we even fear that the situation will turn against her because of the stab she gave to Dante during the confrontation and the various threatening message she sent to him.

    The performance of the actors is unbelievable, Kristoffer King (Dante) perfectly interprets the role of the violent, deceitful and deeply evil-looking husband, devoid of any conscience. Max Eigenmann manages to create in the spectator a real compassion for her and her story, her interpretation is of a rare accuracy. We really want her to obtain justice, whatever the cost. 

    The film is very well paced, there’s no time to get bored, the events follow one another with accuracy. Throughout the film we will therefore follow this court case, as there are unfortunately thousands of them throughout the world, domestic assaults being widespread. 

    With his film, Raymund Ribay Gutierrez tries to alert us to the hardships that a woman must endure in order to make her voice heard in the Philippines, in a society where the justice system seems to be very inefficient and where sexism is still omnipresent.

  • Sentinelle: Review

    Sentinelle: Review

    Sentinelle Synopsis: Transferred home after a traumatizing combat mission, Klara (Olga Kurylenko), a highly trained French soldier, uses her lethal skills to hunt down the man who hurt her sister.

    Netflix’s wide net of content gets marked as a roadblock to cinema’s success on the big screen. While streaming’s growth has made the industry more unpredictable, services like Netflix provide a platform for projects often underrepresented by industry norms. Last year alone, the streamer released one of the year’s most prolific international films (Atlantics) along with a few other low-key success stories (Lost Bullet and Rogue City).

    The streamer continues its inclusive streak with the French actioner Sentinelle. Featuring the assured talents of Olga Kurylenko as a recovering soldier, this no-nonsense twist on familiar genre trappings elevates above its low-rent peers.

    For Kurylenko, Sentinelle should be a welcomed stepping stone into action stardom. The former Bond starlet commands the screen as Klara, imbuing the character’s rigid persona with much-needed gravitas. Where some action films turn their heroes into blankly stoic everyman, Kurylenko ably develops layers upon the character’s persona. Klara’s struggles with PTSD and grief are effectively sold despite insular frames coming few and far between. The star’s poise and capabilities allow the material to engage despite its genre limitations.

    Sentinelle is certainly workman-like, but writer/director Julien Leclercq goes through familiar motions with craft and self-awareness. The filmmaker never forgets the genre pretenses he’s working under, constructing a hard-nosed actioner from his solemnly serious tonality. I really enjoyed Leclercq’s favoring of brutally intimate brawls, with his steady hand and inclusion of thoughtful stylistic choices enhancing the drama at hand (one of the few movies to use slow-motion without feeling tacky). His ability to keep a straight-faced presentation also prevents the material from drifting towards dated actioner mechanics. This isn’t a movie that glorifies its violence, rather using it as a tool to reflect Klara’s demons manifesting her revenge spree.

    Sentinelle’s relentless 80-minute runtime keeps audiences engaged throughout. However, Leclercq’s effort rarely stretches past conventional norms. The screenplay happily goes through the motions without finding opportunities to subvert expectations. I admire a filmmaker knowing exactly the kind of film he wants to create, but his action would’ve flourished if intertwined with a delve deeper into Klara’s demons (the sister character is utilized as a careless plot initiator).

    For better and for worse, Sentinelle sticks to its conventional action movie cards. Under Kurylenko and Leclercq’s hands, that limited approach still elicits an engaging yarn for audiences to untangle.

  • A Black Rift Begins To Yawn: Review

    A Black Rift Begins To Yawn: Review

    A Black Rift Begins to Yawn opens on one of the most beautiful, awe-inspiringly transfixing shots of the year, a beautifully lit skeleton that then proceeds to linger on for a further two minutes.

    However, not even thirty seconds after, this Lovecraftian horror starts to fall apart, transitioning to a pointless shot thrown in purely to extend the runtime slightly, offering far too many shots that linger for far too long. 

    Director Matthew Wade’s story follows two women, Laura (Sara Lynch) and Lara (Saratops McDonald), as they work on a mysterious project that distorts their memories of time, place, and identity when they discover cassette tapes at the home of their recently deceased professor that appears to have recorded a signal from an alien satellite. It’s obvious to see where Wade got the idea for his work, with it taking a great deal of inspiration from science fiction writer H.P. Lovecraft’s The Shadow Out of Time, which is where the title of the film “A Black Rift Begins to Yawn” comes from. 

    I’ll get straight to the point with this one, A Black Rift Begins to Yawn is a film fans of Lovecraftian aesthetics will enjoy, but for wider audiences, it’ll prove to be nothing but a shell of a movie that’s thin on plot, but high on violet tinged visuals that add very little to the film. It must be stated that the films look is beautiful, from the aforementioned first shot to the last the stylized look never slips, but beauty can only do so much for a film, and sadly, that’s where the lack of a strong story and developed characters will confine this to a niche audience.

    There’s a severe sense of disappointment when viewing a film with such an interesting premise that ultimately turns out to be nothing more than a shell of what could have been. Perhaps I speak unknowingly, the Lovecraftian, cosmic world of fantasy and horror is one I know little about and thus, by all means, this could very well, be one that fans adore.

    Yet, from an outsider’s perspective, A Black Rift Begins to Yawn is a bore that’s unconventional approach to cinema left me checking my watch, yawning throughout. Whilst the film attempts to impress its audience by showcasing some impressive deeply layered imagery, the plot at hand gives the film a rather pretentious feeling, affecting greater merit than it actually possesses, leaving Wade feeling more like a competent cinematographer then a good director.  

    Nevertheless, the film’s dream-like sound and imagery will undeniably leave audiences transfixed to the screen, which is ultimately intended, but the lack of a decent storyline will leave many viewers disappointed by its end result.

    Fans of cosmic horror should find something worthwhile here, just as long as they can focus more on the cosmic part and forget about the horror, but wider audience members like myself will gain nothing out of the end project. Matthew Wade’s efforts are commendable, but if you’re not a preexisting fan of the genre, A Black Rift Begins to Yawn won’t change your mind. 

  • Foster Boy: The BRWC Review

    Foster Boy: The BRWC Review

    Foster Boy: The BRWC Review – This legal drama inspired by real events centers on Jamal Randolph (Shane Paul McGhie) a young teen in Chicago currently at the end of a prison sentence who is set to begin a civil trial against Bellcore Family Services, a private contractor that places kids into foster homes on behalf of the state. Jamal alleges that his case worker at Bellcore, Pamela Dupree (Julie Benz) knowingly placed another foster child who had a history of sexual violence in the same home as Jamal without informing him or his foster parents. This other foster child then proceeded to repeatedly sexually assault Jamal over a three year period and Ms. Dupree never intervened despite Jamal’s complaints. Seeing that he currently has no lawyer to represent him, Judge George Taylor (Louis Gossett Jr.) assigns corporate attorney Michael Trainer (Matthew Modine) to Jamal’s case pro bono. 

    Though initially reluctant to take on the case due to it not being corporate litigation as well as prejudice against Jamal’s background, Michael’s investment in the case deepens as he learns more about Jamal himself and his history, as well as witnessing Bellcore’s suspicious attempts to have the case settled quickly. Initially, Jamal finds himself reluctant to trust Michael as he views him as an elitist corporate lawyer who is part of the system that has failed him repeatedly. The film follows Jamal and Michael as they get to know and trust one another as they seek to have Jamal’s story told, while fighting against prejudice and Bellcore’s escalating attempts to both settle the case and intimidate and discredit them.

    Director Youssef Delara and writer Jay Paul Deratnay craft an engaging drama that touches on a variety of important issues such as racial prejudice, class inequity, the dangers of a for-profit foster care system, the presence of abuse in many foster homes, corporate corruption and the lingering effects of trauma. While all these issues clearly inform plot, character, and performance, the confines of a 100 minute runtime and the legal drama genre format limit how much depth can be mined from these ideas. A large portion of the film is spent on Michael Trainers’ arc of starting out resistant to take on the case, to accepting it as he learns more about Jamal and what Bellcore is willing to do to win the case. Including threatening him and his family. This emphasis on Michel results in a feeling that Jamal disappears from the narrative for a significant portion of the film, despite his journey of receiving justice and having the opportunity to tell his story being the core of the story.

    The performances by the two leads is what truly allows the film to have the weight and impact that it does. Matthew Modine as Michael Trainer effortlessly embodies a man who slowly realizes that he has been blind to his privilege and has harboured some level of prejudice and indifference to those around him. But when he is confronted with irrefutable proof of corruption, injustice and pain in Jamal’s case, he accepts the call to action. Shane Paul McGhie gives a standout performance as Jamal Randolph. McGhie has the difficult task of portraying a character who in some ways has had to harden himself in order to cope with the trauma of his past and the repeated failures of the system, while at the same time must also possess an undercurrent of vulnerability and sadness so the audience can both empathize with him and see the level of pain that abuse can inflict on someone. McGhie embraces this challenge and the result is a captivating performance. Particularly during one scene near the film’s end where Jamal is on the witness stand.

    The supporting players are also great in their roles here. Michael Beach and Michael Hyatt are outstanding as Bill and Shaina Randolph respectively, Jamal’s foster turned adoptive parents who never stop fighting for him and harbor natural guilt that Jamal’s abuse occurred under their own roof without them knowing it. Louis Gossett Jr. is stellar as Judge George Taylor, a character defined by his pursuit of justice and fairness throughout the whole film, A man who serves as both a firm disciplinarian and advocate for Jamal. Julie Benz is also very engaging as Pamela Dupree, a character that represents what callousness and profit-centric thinking can lead a person to do. Despite these attributes and a relatively limited amount of screentime. Benz’ performance hints at hidden depths and complexities within this character that will leave viewers thinking about her motivations after the credits roll.

    If you want to see a film with great performances that talks about important issues while incorporating them into a compelling drama, watch this film if given the chance.