Wonder Woman (2017): A DC Ode to Powerful Women (Review)

Wonder Woman 1

It is hard to believe that Wonder Woman (brought to us by the same man who dehumanized Superman – Zack Snyder; but directed by Patty Jenkins which explains so much) came at the beginning of a year that has turned into one of empowerment for females in “the business.” Gal Gadot, in her second outing as Diana “Queen of the Amazons,” proves once more that one can love a strong yet beautiful woman warrior with little effort. 

The film itself shows that, Harley Quinn aside, there are positive female role models out there in the darker verse. It also takes Wonder Woman out of those 1970’s spandex short-shorts sported by the TV version played so capably by Linda Carter.

Despite the original outcry of dismay when Gadot was cast as the lasso spinning heroine, the actress (whose face could launch a 1000 ships) brings the DC seeker of justice to living breathing life. All the emotions missing in Snyder’s version of Superman are there for the taking in this film.

Set in WWI, versus the WWII origins of Marvel’s  Captain America, Chris Pine easily plays the American spy who is running from the Germans, aka the Hun (the Nazis do not turn up for quite some time…) headed up by the maestro of acting, Danny Huston. The cast is full of familiar and well-known names, all of whom turn in splendid performances.

David Thewlis, that long, tall and talented Brit actor, who needs to be in more films damn it, kills it as the politico whom one suspects immediately of shady dealings and the crew that Pine collects to stop Huston’s character are all brilliant as well. 

The only shocker, in terms of cast and actors, is the transformation of Lucy Davis (who is, perhaps, best known for playing Dianne in Shaun of the Dead) into a modern version of “Aunt Clara” from Bewitched, aka the late actress Marion Lorne.

Image courtesy of IMDb
Aunt Clara…
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Elena Anaya plays the sinister and scarred doctor who plans of murdering a lot of her fellow denizens with a new gas. She is a close colleague of Huston’s murderous general and the two make a great “couple.” Cameos by Connie Nielsen and Robin Wright round out this film with yet more stand out performances. 

Make no mistake though this is Gadot’s film.  She manages to surpass Carter’s TV heroine in this “origin” story with scary ease. Jenkins skillfully moves the film and her performers through the paces with admirable snap, crackle and pop.

Wonder Woman is up for a number of awards in the upcoming Oscar race and deservedly so. The effects, with the exception of that glowing lasso, are brilliant. The sets are spot on and London, for the brief time it is on show, looks authentic.

The story itself echoes real-life complaints of how the “war to end all wars” was run by generals sitting on their bums at Whitehall (see the last season of Black Adder “Black Adder Goes Forth” for a more blackly comic reference). Diana’s rant to the room of bureaucrats who have no problem sentencing thousands of innocents to death is spot on.

WW is a long film, it runs for two hours and 21 minutes, but does not lag or bog down in the middle. There is a jab at the ridiculous concept that glasses can adequately hide a superhero’s identity (Clark Kent anyone?) and we find that Diana works for the Dark Knight himself; Bruce Wayne.

There is enough time to wonder if the special gas that Dr. Maru gives Ludendorff is meant to be a tongue in cheek jibe at Viagra, but this does not distract from the overall film. (One also wonders if Wonder Woman would be so popular with fans if she were a plain yet muscly, superhero who looked horrid in those small warrior outfits. Although at the end of the day, the conclusion is that it really does not matter. Diana is appealing because of her mindset, not her appearance, although many teen boys, and girls, might disagree.)

Wonder Woman earns a full  five stars. It entertains full stop. While it is up for a number of those little gold chaps that the Academy like to give out, it will, no doubt, be snubbed. It is, after all, a comic book film and not, for instance, Schindler’s List…

There is a good bit of violence, of the non-visceral sort, no intense cursing and no on-screen sex antics. This is a film that the entire family can enjoy. It is also amazingly pertinent at a time when the Weinsteins, and others with that “casting couch” mentality, are being drummed out of the business by some very brave and new “wonder women.”

How to Lose Friends and Alienate People (2008) Real Life, But Not

Poster for How to Lose Friends and Alienate PeopleThis, sort of, biopic about Brit journo Toby Young is entertaining fodder. Never mind that it took me around seven years to finally watch this film, there were reasons…Okay? Essentially, like most amusing features based upon humorous memoirs, the film is about real life, but not really. How to Lose Friends and Alienate People is pretty much fictional from the first frame. Where Toby, renamed Sidney, for the film worked in New York for Vanity Fair magazine, Pegg’s journalist works for Jeff Bridges, in the guise of Clayton Harding owner of Sharps a celebrity focused glossy.

It is fun, at the start of the film to see Thandie Newton, as herself, interacting with Pegg’s character, probably a payback for appearing together the previous year in Run Fatboy Run! and what’s wrong with that?

The romantic interest in the film is played by, alternatively, Megan Fox, who had not yet insulted her Transformer’s producer Michael Bay and Kirsten Dunst who had just finished her Spider-Man run as Mary Jane. There are a number of respectable names in the film. Gillian Anderson, whose character may, or may not be a cougar who tempts Young into dancing with the devil so to speak.

Everyone in the film looks ridiculously young, no pun intended. Pegg looks like he has regressed age-wise from the superior television comedy Spaced and Fox looks very different as well, having not gone that final step with plastic surgery that “refined” her face, and body even further. Sadly, there is no cure for “toe-thumbs.”

Jeff Bridges could have been Shemped at the start of the film as he talks to Pegg’s character looking away from the camera. In fact, the Oscar winning star could have phoned his role in as it did not require an enormous amount of effort on his part. The same could be said of Dunst.

Danny Huston, however, excelled as the sleazy and oily king of the paps who heads up the “show and tell” portion of the magazine. I will admit a soft spot for Huston whom I fell in love with initially in 40 Days of Night and then later in The Warrior’s Way and American Horror Story.

The beginning of the film offers such familiar British acting worthies as Chris O’Down, James Cordon and Fenella Woolgar as well as the more famous English stars in tiny cameos, Daniel Craig, Kate Winslet; and Australian star Toni Collette.

How to Lose Friends and Alienate People is amusing and at one point it borrows from the second of the Cornetto trilogies, Hot Fuzz, where they do a riff on the “Can I have your autograph” gag. Compared with other Pegg offerings, this film is much better than, say, Burke and Hare but not quite on par with any of the Cornetto trilogy films.

On Netflix at the moment, along with A Fantastic Fear of Everything and while the biopic is definitely worth a look, the latter film can be missed without too much guilt. 3.5 out of 5 stars for this older funny film.

1 June 2015

Michael Knox-Smith

American Horror Story: Blood Bath (Recap and Review)

American Horror Story: Blood Bath (Recap and Review)

This week’s episode of American Horror Story, titled Blood Bath, sees the show continue to build the body count although the title of blood bath seems a bit more fitting for the next show where it looks like Dandy goes all out. Before then, however, Ethel and Elsa have a showdown, prompted by the bearded lady overhearing Mars speaking with Spalding about killing the twins. This accidental eavesdropping occurred after Darling told her friend and employer that if she ever found out that Elsa had lied about the Tatler sisters, she would kill her.