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  • WandaVision Episodes 1 & 2 (Spoilers!) – Disney+ Talk

    WandaVision Episodes 1 & 2 (Spoilers!) – Disney+ Talk

    Wandavision Episodes 1 & 2 (Spoilers!) – Disney+ Talk With Megan Williams:

    SPOLIERS!

    15th January saw the release of the first two episodes of ‘Wandavision’, a Marvel Studios show revolving around Wanda Maximoff (a.k.a Scarlet Witch) and Vision. Out of all of the projects that have been announced for Disney+, this was the one I was most interested in. However, I can’t talk about these episodes without spoiling some of the content. Therefore, this article will include a spoiler section at the bottom, similar to how my review for Pixar’s ‘Onward’ was constructed.

    ‘Wandavision’ is a 9-episode series that places Wanda and Vision in a black & white American sitcom-style show as they try to fit into their new neighbourhood. But there is more that meets the eye with this reality…

    Firstly, the first two episodes are a masterclass in writing a typical American sitcom. Writing influences have clearly come from shows like ‘Bewitched’, ‘The Dick Van Dyke Show’, and even ‘Friends’. The comedic traits included are slapstick gags and tropes like the miscommunication trope and hiding certain things from other people. In this case, Wanda and Vision are hiding their superpowers from the new townspeople, which then leads to hilarity. The episodes even feature ‘advertisement breaks’, showing off products and inventions, and each episode introduction is a parody of a different sitcom, giving the show even more of a 1950’s feel.

    In last week’s article, I mentioned that I was hoping this show would give Wanda and Vision more of a centre stage to shine, and I’m really glad to see that my wishes have come true. It is their show and, so far, it’s been their show right from the start. Both lead characters get time to shine. Episode 2, for example, is focused on a problem that Vision has, while the first episode gives both characters an equal amount of screen time. And, while I never cared for Vision in the MCU films, it’s a different case here; Paul Bettany is fantastic as Vision here, as a fish-out-of-water type character. He has more of a challenge than Wanda because of his human disguise. As well as this, he has to pretend to be human so as to why not draw suspicion in their new town. However, they’re both delightful and intriguing. 

    Overall, ‘WandaVision’ has so far met expectations and got me looking forward to what the rest of the show holds. I think even non-Marvel fans will enjoy the first two episodes, which is something I’ve rarely thought. However, my thoughts on this may change as the show goes on. But, so far, it’s a wonderful change of pace from the usual explosive action-packed nature of the films.

    Now that I’ve said my non-spoiler thoughts on ‘Wandavision’, I want to now talk about my theories on what I think is going on so far. If you have not seen the show, and are still interested in doing so, please be aware that the section below will have spoilers!

    I have two theories in terms of what I think is going on. My first theory is that Wanda has placed herself and Vision into this town and is using her powers to place the town under a type of trance. This is to either make them forget something or to not make them suspicious of the two newcomers. The two biggest clues that are shown to introduce this theory is in episode 2. In one scene, women’s group leader Dotty is talking to Wanda. But, as the radio nearby crackles, Dotty seems to break character and turns to Wanda, scared, to ask her who she is before everything goes back to normal. The second clue is at the end of the same episode, when Vision and Wanda see a beekeeper outside of their house. Vision looks surprised, but Wanda looks oddly calm and responds with ‘no’ and rewinds the show. When the show stops rewinding, the previous scene seems to have been erased. Wanda put herself and Vision there and doesn’t want to be saved. 

    However, my second theory is the opposite. With the introduction of S.W.O.R.D (a space-based department of S.H.I.E.L.D) at the end of episode 1, it’s possible that they imprisoned Wanda and Vision in this show for the safety of the planet. Near the end of episode 1, Vision’s boss, Mr Heart, questions where Vision and Wanda moved from, and they can’t answer the question because they don’t remember. Vision also questions his workplace and what they do and, while this would be normal if he were just starting there, the show seems to imply that they’ve been there for a while by this point. 

    These are my two theories so far and I can’t wait for the next two episodes this week!

  • Clapboard Jungle: Review

    Clapboard Jungle: Review

    An intimate and personal journey of independent filmmaker Justin McConnell’s quest to survive in the turbulent and over-saturated current film business. It is a no frills documentary, shot over a five year period, filmed very much in the spirit of DIY filmmaking.

    The mixture of handheld footage, narration (much of it to camera) and voiceover, combined with more produced footage reflects this, without placing greater importance on either. The project as a whole is very organic and plays out on two levels, the journey itself and its trajectory in a larger context. 

    As with most stories of struggle against adversity, one inevitably finds oneself rooting for the underdog, and this is no exception. Justin is sincere and honest in his documentation, through the highs and lows, ‘peaks and troughs’, he explains. His passion is endearing and it regularly shines through. Any signs of anger or bitterness cannot fully mask a fundamental spirit of optimism and determination. 

    McConnell is hands on with the promotional side too. He is not one to shy away from hitting the road to try and secure funding, backing and support, traveling internationally to attend film festivals and events such as Cannes Marché du Film, Frontières, and Fantasia. These venues and markets, rather than being held at in-house studios or companies, offer a communal pool for independents to meet, pitch and bond on a shared platform.

    They are essential hubs for filmmakers like McConnell, who lack professional representation, in which to do business. The travelogues he makes along the way pull back the curtain on the glitzy side of the industry, giving us a glimpse into the mechanical and promotional side of the business. 

    There is an impressive selection of interviews from legendary cinema veterans from various fields of the industry. Directors, writers, make-up artists and actors (including Guillermo Del Toro, Paul Schrader, Tom Savini and Michael Biehn) each offer valued insight and stories which highlight their own struggles, and insecurities and confusion as they themselves have risen through the ranks. These are straight and honest talking heads, and provide McConnell with a congenial respect as well as kudos. 

    Many of his own collaborators, such as co-writer Serena Whitney, as well as friends and family, each give their own voice to the story so we can learn more about him objectively from those in his immediate circle. In addition many of his telephone conversations are also filmed and we hear the dialogues between potential backers and financiers.

    This transparency brings us closer to his story, drawing us in and making us feel more connected to it, even though it does at times seem aimed more directly at aspiring filmmakers and cinephiles, who will no doubt get the most out of it. But McConnell is pleasant company, a joy to spend time with and clearly passionate about his mission which ends, pleasingly, on a high. 

  • American Skin: Review

    American Skin: Review

    Not all festival releases journey down the same trajectory. Despite basking in the prestige of their acclaimed festivals, some titles get lost amidst the busy shuffle. Whether it’s a byproduct of bad reviews or controversy surrounding the film (in this case, both), certain releases never reach the airwaves they intend to. That’s where Nate Parker’s latest vehicle American Skin comes in to play, finally hitting release after a 2019 festival run. Parker’s passionate attempt to re-energize a vital conversation isn’t without promise, but the writer/director gets in his own way with heavy-handed delivery.

    American Skin follows Lincoln (Nate Parker), a Marine veteran working as a school janitor while trying to mend his relationship with his son. When his son is killed by a police officer (Beau Knapp) found innocent without standing trial, he takes matters into his own hands by storming the police office. One way or another, Lincoln seeks justice for the crimes of a broken system.

    Lincoln’s story has become an all-too-familiar tale of injustice and inequality. After a year in which police brutality took the forefront across the globe, Parker’s bold continuation of an essential topic certainly presents some resonance. Every frame of American Skin radiates with emotion, oftentimes captivating audience’s through the film’s sheer force of power.

    He imbues a volatile passion that serves as a stark reflection of black American’s lingering frustration and pain (after seeing some films treat the subject matter with mere ambivalence, I’m glad there’s energy where it counts most). There’s also promise in Parker’s mockumentary approach, with the intimate framing highlighting the raw performance work present during the tense standoff (Parker elevates boilerplate mechanics through real-world stakes while ensuring the narrative never drifts into exploitative territory).

    American Skin preaches several agreeable declarations, yet political correctness doesn’t equate to an assured final product. Parker’s unkempt emotive streak morphs from a strength to a weakness once the heavy-handed writing comes into play. Almost every scene strains for thoughtful platitudes about race relations and the broken nature of our justice system. Under Parker’s hands, these significant topics combust into a series of melodramatic frames.

    A script chock-full of one-dimensional characters manifest courtroom drama into painfully simplistic exchanges. I wish Parker allowed his resonate subject matter to speak for itself rather than constantly tripping over flat soliloquies (so many scenes read of the character’s shouting at the audience rather than relaying any authentic conversation). Talented actors like Theo Rossi and Omari Hardwick display their immense abilities, but their portrayals left me wishing they had more to work with.

    Putting aside Parker’s controversial background, the writer/director seems over his head fulfilling the premise’s required tactfulness. The mockumentary approach lacks thoughtful craftsmanship, with Parker’s confused vision often tripping over itself due to some noticeable inconsistencies (this falls into the common found-footage trope of not knowing who is filming at every moment). He dances between refined framing and amateurish shakiness without ever picking a clear direction. Instead, every frame is drowned out by over-zealous score choices that yell its messages from the top of the auditorium, including an over-the-top ending that reaches laughably self-righteous territory.

    American Skin possesses the bones of accomplished and essential work. It’s just a shame that Nate Parker continually gets in his own way, playing his material at full volume until it craters into empty bombast.

  • Cocoon: Review

    Cocoon: Review

    Cocoon: Review. By Trent Neely.

    This German film follows Nora (Lena Urzendowsky) a young teen during the record hot summer of 2018. Nora spends most of her time with her older sister Jule (Lena Klenke) going to the pool and hanging out with Jule’s friends. While Jule does not love having her younger sister hanging out with her and her friends, as it leads to some embarrassing moments from time to time, we soon learn that they depend on each other.

    Their mother struggles with alcoholism and is often not around or attentive. In addition, Nora is beginning to go through puberty and must adapt to her changing body as well as emerging romantic and sexual feelings, particularly for fellow schoolmate Romy (Jella Haase). The film follows Nora during this summer of change as she grows, navigates relationships with those around her, and begins to realize who she is and what she wants in life.

    Writer and director Leonie Krippendorff crafts a strong and intimate character study. This film is Nora’s story through and through. Krippendorff does not shy away from all the realities of adolescence. The awkward and frightening, such as when Nora gets her first period during school. This moment is shown without any sense of sugarcoating, it is simply a necessary milestone of maturing, humiliating as it can be. By contrast, the euphoria falling in love and growing more confident in your own skin is highlighted just as much. This commitment to showing things as they really are and avoiding many cliches and stereotypes, helps to ensure this film stands out among other entries in the coming-of-age genre. 

    Krippendorff also makes great use of symbolism in the film by having Nora be a student and collector of caterpillars. At various points throughout the film, Nora makes reference to the life cycle and metamorphosis a caterpillar undergoes. Not only does this serve as the source of the film’s title, it mirrors Nora’s own story of growth and change.

    While great direction and writing are needed for a character-driven story, the performances here are what truly serves as the film’s anchor. Particularly noteworthy is Urzendowsky who perfectly captures every nuance of Nora’s journey as she goes from a shy girl somewhat  trapped in her older sister’s shadow, timid in voice and physical presence, to a young woman who begins to express herself and open herself up to new people and experiences as she grows more confident. Urzendowsky’s chemistry with Klenke is a highlight. The pair expertly display the dynamic of sisters who bicker, annoy, and mess with each other, but when one of them truly has a moment of need for the other, the bond and love is shown to be true. 

    The relationship between Nora and Romy is another strong point of the film. Contrasting Urzendowsky’s initial timidness as Nora, Haase’s Romy is a character who already possesses a level of excitement and confidence that she brings into Nora’s world, resulting in some of the film’s best scenes.

    The cinematography by Martin Neumeyer is another standout. The camera is frequently handheld and mobile, allowing the audience to feel like they are on Nora’s journey with her, even during her most intimate moments. This is not done in a way that is objectifying, but serves as to bring the viewer into her headspace and experience. The cinematography also helps in selling the environment of the story. As the film is set during a record heat, scenes taking place outdoors highlight the saturation of the sun, tempting the viewer to squint and look away.

    If you are looking for a film that features a realistic portrayal of the highs and lows of adolescence with strong writing, characters, performances, and cinematography watch this film if given the chance.         

  • The Midnight Sky: Another Review

    The Midnight Sky: Another Review

    The Midnight Sky: Another Review – The best space films tell us more about ourselves than anything else. Space itself is too unknown, too incomprehensible to completely absorb through a screen. The worst of the genre tells us nothing, and for all it’s staggering beauty, and a handful of poignant moments, George Clooney’s “The Midnight Sky” tells us nothing, and despite a vast reach, leaves you wanting for any semblance of depth and perhaps just a dash more hope. 

    The year is 2049, Augustine (Clooney) is the last man left behind on Earth’s final outpost in the Arctic, three weeks after “The Event” saw the beginning of our planet’s demise. He elects to remain in his isolation due to his terminal cancer, which he regularly treats through dialysis as he goes about his remaining duties. Those being contacting any remaining NASA agents still in space searching for humanities next bastion, of which there is only one team, the crew of spacecraft Aether. Led by their captain Adewole (David Oyelowo), Aether’s mission was to survey a potential new home for humanity, specifically, a moon of Jupiter known as K-23. Cutting to them we greet Sully (Felicity Jones), Maya (Tiffany Boone), Mitchell (Kyle Chandler) and Sanchez (Demián Bichir) and, buoyed by their discovery that K-23 is a perfect match for life, we find them in mostly good spirits. There is one problem though; they have had no contact with Earth, no contact from anyone anywhere, leaving them utterly ignorant of their home’s decay. 

    Augustine’s goal becomes clear, warn Aether not to return to keep the flickering candle lit on the human race’s existence. Yet he finds his own hiccup in the form of Iris (Caoilinn Springall), a young girl seemingly left behind in the evacuation of his outpost. Making matters worse his satellite isn’t powerful enough to contact Aether, leaving him no choice other than to pack up the medical technology he needs, and head to a distant weather station with a more powerful satellite alongside the continually mute Iris. 

    So it’s safe to say the stakes are pretty high, and as the tension builds, we periodically go back in time to a much younger Augustine falling in and out of love. He becomes so obsessed with charting space he forgets actually to live his life and ends up alone. Now the hardened scientist has to protect the young girl against the fiercest of snowy conditions as the crew on Aether battle space doing all it can to destroy their ship. All in all, it sounds like a perfectly mixed concoction, and in some ways it is, and yet the more you drink it in, the more you realise how much everything is lacking. 

    What is possibly the film’s largest issue is that throughout it’s hard to feel for the crew as individuals, despite Clooney’s efforts to amass empathy, we don’t get to spend enough time with them. Yes, there are brief and touching moments between the peripheral characters (Maya, Sanchez and Mitchell). However, they are so fleeting that when the complications begin to grow, and their situation becomes dire, you still struggle to care. It’s not just the sensation that they are strangers either; their fate is also just too predictable. The little trauma they go through amounts to an overlong music-driven repair sequence entirely off-tone with the rest of the film. Eventually, they do take us through one of the few genuinely moving moments, but everything remains, if you’ll pardon the pun, weightless. Not once do they generate any glimpse of thrill, their plight is to be the last form of life in the galaxy, but the film doesn’t let them know it until its ready to take us to the ending. 

    And here is precisely where everything goes amiss. The film isn’t about the crew of Aether, it’s about Augustine and Iris risking it all to save them, and Clooney tries his darndest to make this enough. In front of and behind the camera, he delivers some excellent work, the visuals stun, and his performance is one of his best in years, but the story and the pacing let him down. For all the grit and drive the dying Augustine offers, he only catalyses the moment you realise Midnight Sky’s lack of scope. Here a whole planet is dying, the only human’s left to carry the torch are returning to it, and Augustine is the only one who can save them. To me, this speaks to the grand theme of how one man can chart the destiny of forces far beyond his existence, but that’s not where we go. Instead, we get Augustine’s story and how he wasted his life and how it’s sad that he did. On top of this, life doesn’t seem to have any hope. There’s a small emotional payoff at the end and nothing grander bar a tragic realisation that all of humanity will perish. 

    The Midnight Sky’s reach far exceeds its grasp, and despite powerful work from Clooney, feels as hollow as the grand themes of space travel could ever feel. – The Midnight Sky: Another Review