Howe's World of Film and TV

Wonder Woman 1984 (2020) – Review

A Warner Bros Picture, Written by Patty Jenkins, Geoff Johns, Dave Callaham, Directed by Patty Jenkins.

Wonder Woman 1984 (2020) is the follow up to Wonder Woman (2017) and the newest instalment in the DC Extended Universe. Set almost 70 years after her first solo adventure, we now find Diana Prince/Wonder Woman (Gal Gadot) in 1980s Washington, where she quickly becomes entangled in a series of events that leads to the shock return of her long dead boyfriend Steve Trevor (Chris Pine). As Diana tries to figure out the mystery of his return, she runs up against the villainous Barbara Minerva/Cheetah (Kristen Wiig) and corrupt businessman Maxwell Lord (Pedro Pascal). This film had been delayed for over a year when it was finally released, so many people were just anxious to finally see it (and see any major blockbuster after the last year we have had) and when it was finally seen by the masses, there has certainly been a huge and loud split in opinion.

We are essentially treated to two opening sequences, one an impressive visual spectacle as Young Diana (Lilly Aspell) competes in a competition on Themyscira, and the second a 1980s nostalgia drenched sequence set in a shopping mall as current Diana saves the day. Both sequences are interesting in their own ways, and are arguably two of the best sequences in the film, which is likely more of a reflection on what was to come than on the scenes themselves.

There are so many decisions made in the film that just feel like instantly the wrong one, and one of the main examples of that is bringing back Steve Trevor in the body of another man. When you are a superhero movie, with a particular focus on the ancient gods, you can quite literally come up with anyway for a character to return, and this is absolutely the worst they could have gone for. It feels instantly creepy, and rids the reunion and rekindling of a relationship between Diana and Steve of any of its emotion, romance, or stakes. This is such a shame, because Steve Trevor is an incredible character and Chris Pine is an absolute triumph in the role, and even here, Gadot and Pine have some superb chemistry, that all just feels slightly wasted and like they have missed a golden opportunity.

The same sentiment is echoed for the entire story around Kristen Wiig’s Cheetah, one of Wonder Woman’s most iconic villains, who spends most of this film bouncing between Diana and Max, and then gets one scene actually as Cheetah before the end of the film, and even then, it is almost a side quest for Diana, therefore fully relegating Cheetah to a secondary villain in the film. From the start of the film, the character never really worked as an awkward outcast who never got attention, because Kristen Wiig is a naturally funny and beautiful person, and the film’s idea that all she had to do was take off her glasses and put-on tighter clothes to suddenly be attention grabbing and confident was so cliched.

A major moment for Barbara is when she sees a man, who earlier in the film tried to assault her in the park, and she attacks this man in the street. The scene is treated as a dark moment for Barbara, with ominous music and a feeling that this is the moment she really descends into villainy, and it leaves the viewer feeling uneasy about the choice for this specific scene to be used as the moment for that character progression. To me, Barbara confronting and dealing with this man who had tried to harm her felt satisfying and right, and yet treating it as her descent into villainy was just another strange narrative decision.

The only person who seems to truly know what film he is in is Pedro Pascal, as he makes his Max Lord an incredibly over the top villain, and feels like a perfect amalgamation of many 80s tropes. The whole tone of the film feels like that is what they are reaching for, and yet only Pascal seems to be giving a performance in line with this, which allows him to steal the show.

As for Wonder Woman herself, there is surprisingly little to say, because most of the plot just happens to her and she spends most of her time reacting, instead of being proactive. Her costume and make-up/hairstyling are absolutely perfect in every shot, with Gal Gadot looking exactly like an ancient goddess and leaping off the screen. Gadot’s acting in this has been the topic of much debate, and I think Wonder Woman 1984 is the best proof yet that Gal Gadot is absolutely perfect in this role and yet is in general a very poor and limited actor, and I think both points can be true.

There are many scenes that leave you questioning why it was included, but the ones that stand out the most are the incredibly offensive stereotypes of the middle east that are inserted into the film for really absolutely no reason and just leave a real sour taste in your mouth. The scene in particular where Wonder Woman leaps to the rescue of two middle eastern children (who apparently couldn’t hear the tanks charging towards them as they played football) feels incredibly on the nose and unnecessary, particularly when you factor in the recurring controversy around Gal Gadot’s military history. This whole aspect of the story just is a perfect example of how misguided the screenplay is, and how whole segments could have been taken out and nothing is lost.

For a film that is over 150 minutes long, there is simply not enough stand out character moments or memorable action scenes to justify that length. There is some good stuff here, mainly the costumes, the scale of the film, and some of the performances, but after the fantastic foundations that were laid in the almost universally loved first film, its incredibly disappointing how they have wasted all that goodwill by making the wrong creative decisions at almost every stage of the film.

Rating = 2.5/5

Sylvie’s Love (2020) – Review

An Amazon Studios Picture, Written and Directed By Eugene Ashe.

Sylvie’s Love tells the story of Sylvie (Tessa Thompson), a young woman from Harlem in the 1950s, who has a summer romance with a saxophonist named Robert (Nnamdi Asomugha). When they reconnect years later, they find each other in very different stages of their lives but discover that their feelings for each other have not faded with the years.

The set up here is one as old as time, man and woman have summer romance, are forced apart and then reconnect years later to discover that connection is still as strong. This may sound like a criticism, but it truly isn’t, because Sylvie’s Love really does create a timeless feel to it. Everything about it feels like the glossy and sweeping romances of the 1950s; full of elegance, charm and heart. In many ways, it could be considered the perfect tonic for these dark times, to be able to switch this on at home and be transported into a film that is sweet, emotional, wistful, and sexy, perfect escapism for right now.

The central reason why the film and in particular the romance works so well, are its lead two stars, and in particular Tessa Thompson. Thompson is now a well-known star thanks to her supporting work in the MCU and on Westworld, but when she is given the chance to lead films, like Little Woods (2018) and this one, she absolutely excels and shows just what a talent she is. Her Sylvie is straight out of the classic Audrey Hepburn playbook; charming, graceful, internally strong and with a real kindness. It is also great to see how a strong Black woman is allowed to pursue and achieve in the career she wants, and also have romance, without the film ever judging or putting her down for either, and the credit for that goes to both Thompson and writer/director Eugene Ashe.

In addition to Thompson, the central romance would not work without the charismatic and really impressive performance from Nnamdi Asomugha as Robert. A young man full of talent and hope in his career, he finds himself fighting to be recognised for his talents, as well as balancing it with pursuing the woman he loves, he is constantly told is above his station. The chemistry Asomugha has with Thompson is evident from the very first scene they shared, and the most impressive aspect of that is how the two manage to evolve that chemistry over the course of the film to fit with the different stages of their lives the characters find themselves in.

It certainly isn’t a perfect film, as it often flirts with delving deep into the topics like class, race, and the hypocrisy of showbusiness, but then quickly glosses over them. This does lead to a slight lack of real exploration and payoff for issues that are really fascinating and important to look at, but in many ways, this is never what this film was interested in, so you can’t hold that against it.

Overall, this is just a hugely enjoyable film, with great lead performances and a story that allows you to feel a wide range of emotions throughout, and leaves you feeling deeply satisfied as the final credits roll.

Rating = 4/5

The Simpsons Season 15 (2003) – TV Review

‘Simple Simpson’ is one of the Simpsons episodes that always sticks in my head for some reason, likely due to the pop culture references and iconography, but it is a really well done episode and the ending, with Homer and Bart on the roof, might actually be one of my favourite Simpsons moments.

‘Millhouse doesn’t live here anymore’ is another episode I would like to single out, mostly because it’s always great when an episode has a good Millhouse focus, as he is consistently one of the funniest characters on the show.

In general, this is another really strong season and goes further to prove that the idea the show went off the rails after the first 10 years or so isn’t true at all, and that decline was something that really happened post movie.

Rating = 4/5

The Simpsons Season 14 (2002) – TV Review

‘The Great Louse Detective’ is a clear stand out episode here, due to being one of the finest uses of Sideshow Bob, and also features a good twist that calls back to one of the shows finest one off characters in its early years, Frank Grimes.

‘A Star is Born-Again’ is one that stuck out to me because it is something a bit different and gives us a good focus on someone who is consistently a stand out character, Ned Flanders.

The ‘Treehouse of Horror’ this season was one of the best they have done so far, with three distinct and interesting stories. As for the rest, there was a consistently strong set of episodes, if slightly forgettable, that likely would’ve been raved about if it came from another show with lower expectations.

The Simpsons just keeps churning out quality.

Rating = 4/5

Ma Rainey’s Black Bottom (2020) – Review

A Netflix Original Picture, Written by Ruben Santiago-Hudson, Directed by George C. Wolfe.

Ma Rainey’s Black Bottom tells the story of a 1927 recording session for legendary singer Ma Rainey’s (Viola Davis) new album, and focuses on the behind the scenes struggles that grip the day, especially focusing on Levee (Chadwick Boseman) and the rest of the band as they prepare to play. It is part of producer Denzel Washington’s push to adapt August Wilson’s legendary plays to screen, a collection which will show the Black experience in America throughout the decades. The film itself is a powder-keg of vibrancy and tension, packed full of real flare and musical exuberance, as well as simmering pain and anger that threatens to overflow at every wrong turn.

The real centrepiece and thing that makes this film work are the performances, and there is simply no other place to start than with the late Chadwick Boseman. Boseman suddenly passed away in the summer, making this his final film role, and despite the tragedy still feeling so fresh and powerful, there is simply no better performance to go out on than this. He is very much the lead of the film, and he carries it on his shoulders with ease. His Levee is a ball of energy, packed full of charisma, pain, hope, and sadness, and Boseman manages to merge them together perfectly as he becomes almost the quintessential Wilson leading man, clinging on to hope but broken down by a system that abuses him. Some of the monologues Boseman delivers throughout the film are genuinely earth-shattering and it is quite simply the acting performance of the year. He had so much more to give us, even though he had already given us so much. What a loss, he was just getting started.

As for the rest of the cast, despite falling very much into Boseman’s shadow, they are still exceptional and are real contenders when it comes round to best ensembles of the year. Viola Davis is not in the film as much as you might expect for the titular character, but when she appears, she is superb and completely transforms into the role, showing us a woman who is deliberately over the top and difficult because she knows as a Black woman in a white man’s world that they are only after her voice, and without that, they view her as useless. The rest of the cast are also truly great; Colman Domingo, Glynn Turman, Michael Potts, and Taylour Paige all bringing unique attributes to this melting pot of talent. Paige has the least to do of anyone, but her charm, acting ability, and natural beauty, especially in the passionate scenes she shares with Boseman, is electric. She really leaps off the screen and demands you pay attention to her, perfectly pairing with Boseman to deliver some of the best scenes of the film, and I cannot wait to see how her career progresses.

The main criticism that I have seen people throw at this film, is the main criticism I have myself, and that is that it still very much feels like a play, and in many ways like a filmed version of the play. When adapting from stage to screen, the key balance to strike is to keep the essence of the play alive while expanding the scope of the story to make it more cinematic, and in general, this isn’t something on display here. The majority of the film still takes place in the cramped space of just a couple of rooms, and feels very much like you could have just filmed the play. However, this doesn’t completely mean that the adaptation doesn’t work, because the dialogue and acting is so strong, along with some electric direction, that it keeps you completely gripped and takes your mind away from the fact that the scope of the story hasn’t been expanded much (and in reality, I’m not sure to what extent you can expand this story).

This film, and August Wilson’s original piece of work, tells a very specific story that examines multitudes of angles on the Black experience in America, and does so in an initially subtle and then increasingly prevalent way, leading to some startling moments. Two of the things that the film heavily examines are the exploitation of black artists for the gain of white businessmen, and the constant threat to the life of people of colour in every day situations, from outside their community, and as a result of that, from within. There are very particular moments in the film that deal with this head on, which I will not spoil, but it is done very well and is incredibly powerful. The devastating final scene, in which we see an all-white band playing the music Levee created and wanted to be able to play himself, really hammers this home even more, and leaves you feeling entirely furious by the end. It will be important to search for the views on this film of Black critics to really get an understanding of how successfully the film tell their story, and it is their views we need to listen to.

Overall, this film is a real success due to the remarkable performances and strong, unfortunately timeless themes. The narrative has been driven by Chadwick Boseman’s passing, and he is rightly the favourite to win an Oscar for this performance. In such a short time, I don’t believe any actor in Hollywood history has left behind a legacy similar to his, particularly when it comes to the Black community. RIP King.

Rating = 4/5

The Simpsons Season 13 (2001) – TV Review

‘The Parent Rap’ is a really funny episode with a good set up, strong character moments, and some of the best one-liners and laugh out moments the show has done for years.

‘The Blunder Years’ is a really memorable episode that references iconic 80s coming of age films in a major way and manages to tie plots together smartly. It has big character moments for Homer, Burns and Smithers, and is the show at its ‘parody’ best.

Overall, this season was quite a strong return to form, feeling almost closer to the golden years of the early 90a where the episodes feel fresh and particularly characters focused, with changes to the character lasting long-term (i.e. Lisa’s religious journey that really launches here).

Really good stuff.

Rating = 4/5

The Queen’s Gambit (2020) – TV Review

As the streaming wars intensify and Netflix feels even more need than ever to stand out from the pre-established IPs the other streamers like Disney Plus and HBO Max possess, they need shows like this more than ever. A seven-part limited series, with a rising star at its centre and a focus not on spectacle and explosions, but character and drama, and they will therefore be delighted that The Queen’s Gambit has become not just one of their biggest shows of the year, but one of 2020s biggest hits across the globe.

People have been captivated by Scott Frank’s story of orphan Beth Harmon’s (Anya Taylor-Joy) journey to become a chess master on the world stage, and all the people she interacts with along the way. On the surface, a limited series set in the 60s about the world of chess is not something you instantly think of as must-see TV, but that is certainly what has happened here, and there is a very particular reason. Chess is used as a pawn to be able to tell a very specific and personal character story, and that is why it works, because it isn’t actually a show about chess, it is a show about the human condition.

The recreation of the 60s is not particularly flashy but is absolutely spot on in every aspect, with some really strong production design, costume design, and hairstyling, making it feel authentic to the time period it is in, without ever looking like it is trying to show off. We also have some interesting themes explored that are specific to the time period itself, without ever focusing on it too much, whether it is on the young housewives turning to drink to get through lives they have got stuck in, or it is the way the US v Soviet Union conflict manages to seep its way into all walks of life, including Beth’s chess career.

There are some interesting visual sparks used throughout to portray the way in which Beth sees the game of chess and illustrate why she is able to be so good, because she simply sees the game in a different way than everyone else and it makes for a very compelling visual that recurs through the series. As for her opponents and friends in the chess world, this is where Beth has the opportunity to develop relationships with multiple dashing men, all of which offer different things to her personally over the years and allow for her to grow and experience more, and all have an ‘Avengers: Endgame’ style moment together in the finale.

However, the main stand out from the supporting cast is film director Marielle Heller as Beth’s adopted mother. She is a revelation in this acting role and brings real charm and pathos to the kind parental figure, who eventually succumbs to her demons and falls down the hole of addiction, something Beth soon repeats herself.

Arguably the single most important reason why the shows works so well is its lead star Anya Taylor-Joy. For me, she was already one of the best rising stars in Hollywood before this, after some brilliant performances in the likes of The Witch, Split, Thoroughbreds, and Emma, but this is probably her most complicated and nuanced role, and she absolutely dominates it. Her progression from naïve and dependent teen to addict and brilliant chess master in the space of a few years is remarkable, and the fact that Taylor-Joy able to make Beth both incredibly engaging and likable (the dreaded word, I know), as well being incredibly damaged and self-destructive, therefore making a truly fully formed character that you completely root for, is magnificent.

One sequence in particular, where Beth goes on a downward spiral in her home, and we see her dancing around in her underwear, cigarette in her mouth and drinking from the bottle, and she flails around, performing for no one and desperately searching to feel something, really sums up the quality of her acting. It is visually interesting, but is also a defining moment for the character as she hits rock bottom and Taylor-Joy delivers in this moment unlike much I have seen in 2020, and I thinks he is a serious awards contender for this role. She has already filmed Edgar Wright’s Last Night in Soho and Robert Eggers’ The Northman, and will soon start production in the role of ‘Furiosa’ in George Miller’s Mad Max prequel, so it is safe to say that things are only looking up for Anya Taylor-Joy.

Overall, this is an incredibly well made and engaging piece of television, and is exactly what Netflix need to keep producing to stay ahead of the competition. I think it is interesting that it has caught on quite as much as it has, because for me, despite all the praise, there was something slightly lacking to make me go crazy for it, but I still really liked it. Anya Taylor-Joy is truly magnetic and I cannot wait to see what the future holds for arguably the most talented young actor in Hollywood.

Rating = 4/5

A Creepshow Holiday Special (2020) – TV Review

In this festive special of the anthology series, we are presented with ‘Shapeshifters Anonymous’ where a group of shapeshifters meet to discuss their problems and end up in a fight to the death.

This horror special is intentionally wacky and off the wall, and in the final act, where an army of Santa’s descend on the group in an almighty bloodbath, it is pure genre holiday fun.

However, a lot of it outside of the crazy concept just doesn’t come together, with all the characters not being given enough to do in order for you to connect to them, and whole idea just feeling rushed.

Adam Pally and Anna Camp do the best they can, with Camp in particular given a few memorable moments where she can shine, but for the most part, they don’t get enough to do.

Overall, it’s some harmless holiday fun with very little substance to it, but that might be just what some people need right now.

Review = 2.5/5

Promising Young Woman (2020) – Review

A Focus Features Picture, Written and Directed by Emerald Fennell.

Some films manage to pierce their way through the zeitgeist and into peoples minds and discussions, and the only way that is done is by being something extraordinary, whether in quality, subject matter or delivery. This film is all of them and when more people have seen it, will become one of the most discussed films of the year.

Promising Young Woman (2020) revolves around Cassie (Carey Mulligan), a young woman who works in a coffee shop and who spends her nights pretending to be drunk in bars so that predatory men can pick her up and attempt to take advantage, and she can turn the tables on them at the last minute and expose them. She does this in response the sexual assault that cost the life of her best friend, and the complete apathy she finds in society towards victims, and her need to try and fight back against a system where it is viewed as a much bigger deal to ruin a man’s life if he is accused of assault, than it is the damage which is done to a woman who is assaulted.

For many it will be a particularly triggering and upsetting film, and it definitely doesn’t shy away from the difficult subject matter in any way. The film has been marketed as almost a feminist revenge flick, and while it does start off that way, it ends up far more nuanced and complicated than that, and people should be aware of that going in so that they are prepared for what they get. It tackles rape culture directly, and even more specifically looks at the ‘nice guy’ defence and the ways in which so many people and structures in society allow for this type of abuse and suffering to be inflicted with little consequence. At the same time though, it is thoroughly entertaining and is a genuinely funny film, with some great lines and moments of physical comedy. The fact that it is able to achieve this despite the subject matter shows what a uniquely talented writer-director Emerald Fennell (Killing Eve) is, and the singular vision she brings to every aspect of this film.

The soundtrack to this film is one of the best utilised and most entertaining I have heard on a movie in a long time, using remixes of certain songs and the original versions of others, most being pop classics by female artists, and giving them a resonant feeling. The way the songs are used in the context of the film is genius, and the absolute stand out is a montage style scene in a store where Cassie and Ryan (Bo Burnham) dance to Paris Hilton’s ‘Stars are Blind’, and it will stick with everyone for a long time when they see it.

This film rests entirely on the shoulders of star Carey Mulligan, with the subject matter being a particular heavy burden to carry, and there is truly no one better in the world to lead this movie. Mulligan is a rare talent, managing to imbue a steely and determined persona, while still showing us the pain and vulnerability this character has under the surface. Cassie is propelled by pain and suffering, and arguably has lost the person she once was in the pursuit of justice and revenge, and Mulligan manages to pull this off. She makes you root for Cassie to both get payback on the people committing wrongs, and also root for her to make personal growth and find happiness again, whilst also having you understand that it is not healthy the path Cassie is going down. Through all of this, she also manages to bring a humour and sarcasm that draws you into the character even more and makes her incredibly engaging. Mulligan should win an Oscar for this role.

The rest of the ensemble all have mostly small roles but are so smartly cast and really add to the movie in their own way. Bo Burnham is perfectly utilised, as are Alison Brie and Connie Britton. Christopher Mintz-Plasse and Sam Richardson are both utilised in situations that are far from comedic but they manage to add real humour to the moments, and Richardson in particular gets the biggest laugh of the film with a piece of physical comedy.

The final third of this movie is so engrossing, shocking and brave that it astounded me. Whether people agree with where it goes or not, it pulls absolutely no punches and feels exactly like the story Emerald Fennell wanted to tell. The final act with Mulligan in her ‘nurses’ outfit with bubble-gum hair’ (that is all the context I will give so I don’t spoil anything, but this has been heavily shown in the marketing) is so enthralling and leaves you sick to your stomach, and there is a certain shot of a ray of light appearing onto a body that is stunning. The final scene too, with ‘Angel of the Morning’ playing, elicits such a wide range of emotions, and it is such a crying shame people aren’t able experience it in a packed cinema.

Overall, the film is simply mesmerising and demands to be seen. It will cause huge amounts of discussion and likely will split people straight down the middle, and the discussion is truly important. In particular look for the views of women on this film, because the film is so singularly rooted in the female experience, that it is the opinions and experiences of women who saw this film that will prove the most important and relevant in my opinion. Any film that stays with you as long as this one does after watching it is something special, and it lingers in your bones for days after. Quite simply one of the best films of the year.

Rating = 4.5/5

A Christmas Carol (2020) – Review

The story of Scrooge and the ghosts who visit him on that fateful night is a tale as old as time, one which has been adapted in almost every way you could imagine and it is so engrained in society. With this in mind, if you decide to make a new version, you have to make it incredibly fresh.

This is what brother and sister duo Jacqui and David Morris have done, as they have decided to tell the story through a mix of modern dance and animation, as well as some other mediums, and have attracted some A-list voice talent to do voiceover work.

Carey Mulligan, Martin Freeman, Daniel Kaluuya, Andy Serkis and more all pop up but because of the medium are not able to particularly shine or show off their talents. Not seeing real actors talk or even the animated characters talk much (and this doesn’t always have to be the case, just look at classic silent cinema) means a lack of investment in these specific versions of the characters creeps in.

One thing this film does focus on more explicitly than most other versions is the focus on class disparity and the crushing issues caused by capitalism. Just this alone provides it with a unwise perspective and let’s you understand why they felt necessary to remake a classic.

The story is so well known that it is almost impossible to successfully put a new spin on it, and not everything about this film does work, but the modern dance elements do create a real ethereal and unique feeling to the film, a graceful haunting quality that personifies the tragedy that lies at the heart of this story.

Rating = 3/5