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Written by Matthew Toomey

Created: 31 May 2017

Too many superhero movies are being produced today.  Some are still likeable but there’s a growing familiarity to their style and storylines.  The villains are up to the same old tricks and the heroes always find a way to defeat them whilst up against near-impossible odds.  When something doesn’t quite work out the box-office, the studio puts the franchise on ice and reboots it a few years later with a fresh cast.

All of that said, there are reasons to be excited about Wonder Woman.  For starters, this is the first time a live action film has been made about this famous comic book character.  You won’t be sitting through another Batman or Spider-Man origin tale that you’ve seen before.  Further, Patty Jenkins (Monster) is the first ever female to direct a movie within the Marvel or DC Comics universe.

It has been a long journey to get to this point.  One of Jenkins’ favourite movies growing up was Richard Donner’s Superman (the 1978 release with Christopher Reeve).  She directed short films about superheros and had been pitching her idea of a Wonder Woman movie since the early 2000s.

The stars never aligned though.  She made Monster, took time off to have a baby and couldn’t convince the studio about her vision.  Sexism also played a part.  Some still have a deluded view that only men like action movies and so only men should make them.  This is just the second time in history that a woman has solo-directed a live action film with a budget exceeding $100 million (Kathryn Bigelow was the first in 2002 with K-19: The Widowmaker).

This 141 minute introduction to Wonder Woman is framed as an origin story and plenty of background information is provided in the opening act.  Diana (her original name) was born and raised on a remote island that is home to a powerful group of female warriors known as Amazons.  They were created by the mighty god Zeus to help protect the planet should the sinister god Aries ever try to destroy mankind.  It’s a shame the island is kept hidden from the public because it’d be a great holiday destination with its stunning views, large waterfalls and crystal clear water.

Set during World War I, life on the island is disrupted when a British Air Force pilot crashes just off the coastline.  He is rescued by Diana and brought ashore.  It’s the first time in her life that she’s come face-to-face with a man.  The pilot, Captain Steve Trevor (Pine), speaks about the horrors of the “great war” and how he must return to London to pass on valuable intelligence information to his superiors.

Diana believes she has a part to play.  She senses that the war must be the result of Aries’ influence on the invading German soldiers and so she grabs her rope, sword and shield and joins Trevor in London.  Having never spent a single moment off her idyllic island, her naïve interactions with those in the “real world” provide an important injection of laughs.  It’d be the equivalent of me travelling back in time 500 years and trying to fit in – not an easy task.

There are other characters in the mix.  General Ludendroff (Huston) and Doctor Poison (Anaya) are the prominent villains as they develop chemical weapons to give Germany the upper hand.  The list of allies include Trevor’s take-no-nonsense secretary (Davis) and a small team of soldiers who join Trevor and Diana as they head to the front line and prepare for battle.

The film’s two major strengths come down to the two most important ingredients – cast and story.  32-year-old Israeli actress Gal Gadot (Fast & Furious) is incredibly convincing in the lead role and has created a distinctive superhero who is strong and intelligent.  Chris Pine (Star Trek) also impresses in a role that requires him to call on both his dramatic and comedic skills.  They’re a great pair.

Aside from the necessary finale, the movie doesn’t get bogged down with long-winded action sequences.  Rather, the focus is on telling an interesting story that blends Greek mythology with actual history.  It’s reminiscent of Marvel’s Captain America: The First Avenger which placed its heroes in a war-time setting.  The screenplay also includes insightful duologues between Diana and Trevor as they debate the link between war and man.

We’ll see Wonder Woman again on screen in November when she teams up with her fellow superheroes in Justice League.  For the time being, we can enjoy her terrific origin story.

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Written by Matthew Toomey

Created: 17 May 2017

There are lots of ways to become a film director but the path taken by American Chad Stahelski is a great story in itself.  His career began in the early 1990s when he worked as a stuntman on films such as Escape From L.A., Alien: Resurrection and Wild Wild West.  One of his earliest credits was The Crow – the movie where star Brandon Lee lost his life due to an accidental shooting on set.  Stahelski was required to step in as Lee’s replacement (with the help of special effects) for the handful of scenes still to be completed.

Given a small resemblance to Keanu Reeves, Stahelski landed the part of his stunt double on the The Matrix which was shot in 1998.  It’s there where he become friends with Reeves and was amazed by the attention to detail displayed by directors Lana and Lilly Wachowski.

Fifteen years later, Reeves got in touch with Stahelski about a life-changing opportunity.  He’d come across an action script from relatively unknown writer Derek Kolstad and was looking for a director.  He felt that Stahelski’s experience in performing and choreographing stunt scenes made him an ideal fit to sit in the director’s chair for the first time.

John Wick was the end result.  Released back in 2014, the film quietly developed a cult-like following.  It was a little different from the predictable action pieces that emanate from Hollywood and ended up grossing just under $100 million at the global box-office – not bad for a film with a $30 million price tag.  Stahelski had proved his worth and a sequel was put into production.

If you never saw the original, John Wick (Reeves) is a hitman who is practically unstoppable.  After a group of Russian gangsters killed his dog and stole his car, he went on a bloody rampage to get those responsible.  The body count was very, very high.  The film wasn’t all about violent action scenes through.  There’s a charm and sophistication to Wick which makes him likable.  He’s also part of cool James Bond-like community where other hitman help out with weapons and hideouts.

John Wick: Chapter 2 picks up where the last film left off.  Wick is keen to retire and live an ordinary life but he is brought back into action when called upon by Santino D’Antonio (Scamarcio), a cunning Italian crime lord.  Wick has no choice but to comply as D’Antonio once helped him out of a life-or-death scenario.  He’s asked to travel to Italy and kill D’Antonio’s sister.  The reasons are convoluted and not worth explaining.

What follows is another fun, outlandish adventure involving John Wick.  A website called Visu put together a list that shows Wick kills a total of 128 people in this film – up from the 77 in the original movie.  There’s a wide array of weapons including shotguns and assault rifles.  Not everyone gets a bullet.  Some get crushed with a car while others meet their demise thanks to a simple pencil.

It may sound horrible but as an action fan, it’s exciting to watch.  Stahelski and his crew have drawn on their creative juices to craft action scenes that don’t feel repetitive.  There’s something a little different about each one.  As an example, there’s a humorous moment in a subway where Wick is involved in a shootout with a skilled bodyguard but those around them don’t realise as they’re using silencers on their guns.

Wick’s vulnerability also makes him endearing to the audience.  He’s not a cyborg/superhero who waltzes around with an air of arrogance.  He’s skilled but he also takes his fair share of hits.  He spends much of the film hanging on by a thread – walking around with a limp and bloodied face.  The lack of dialogue also adds to his character.  His forlorn expression says more than any words could.

On track to make more than twice as much money as the original, this won’t be the last time we hear from John Wick.

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Written by Matthew Toomey

Created: 28 May 2017

Mike Mills developed a love for punk rock growing up in the 1970s and 1980s.  That passion helped shape the early years of his working career.  He designed album covers and directed music videos for bands including the Beastie Boys, Sonic Youth and Air.  He also directed television commercials to keep a steady income rolling in.

He had always hoped to transition into feature filmmaking but wasn’t quite sure how to go about it.  After making the little known Thumbsucker in 2005, Mills tapped into his own life and struck oil in 2010 with Beginners.  It told the story of a 75-year-old widowed man who, despite being married for 44 years, reveals to his middle aged son that he is gay.  It won Christopher Plummer an Academy Award for his incredible performance.

Mills continues his theme of drawing from personal experience with 20^th Century Women.  This time around, the focus is squarely on his mother.  The lead character is a 55-year-old Dorothea Fields (Bening), a single mum trying to raise a 15-year-old son, Jamie (Zumann).  The way she acts, the way she dresses and the way she smokes is mirrored from Mills’ own mother who passed away in 1999.  He even had Bening wear her mother’s actual jewellery.

The film takes place over a short period in 1979 and beautifully observes the relationship between mother and son.  Jamie is at a slightly rebellious age and describes his overbearing, inquisitive mother as “sad and alone”.  Dorothea is worried that her son might be “slipping off the rails” and she asks a group of friends for assistance.

Abbie (Gerwig) is an artist with big dreams but is struggling to find her place in the world.  Julie (Fanning) is a promiscuous teenager who yearns to be close to someone spiritually and not just physically.  William (Crudup) is the only male in the mix and is a financially-struggling carpenter who is helping fix up their rundown home.

Mills has created an incredible, heart-warming drama.  I could listen to these characters talk and watch them interact for hours.  They don’t go through any remarkable transformation.  We simply observe their lives and appreciate the complexity of who they are.  They share deep conversations, provide laughs, and offer unexpected support when times get tough. 

Narration is sometimes described as “lazy filmmaking” but Mills uses the technique perfectly.  Each featured actor gets a chance to narrate and in doing so, they provide insight into their character’s past and future.  It helps you realise that life is full of wonderful moments but their value to us and our memory of specific details does change over time.  This isn’t a tear-jerker but there are many powerful moments of reflection.

Overlaying all the drama is Mills’ clear admiration for the era in which the film is set.  Jamie develops a love for alternative music, much to the concern of his mother.  There’s a humorous scene where Dorothea and William listen to a song for the first time and try to put their own spin on the lyrics as middle-aged adults.  There’s another great moment at a dinner party that I won’t spoil.

Nominated for best original screenplay at this year’s Academy Awards, 20^th Century Women is a movie I could watch again and again.  If it’s not the best film of the year, it’ll be damn close.

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Written by Matthew Toomey

Created: 15 May 2017

Between 1858 and 1947, there were 24 Viceroys of India.  They were appointments made by the British Crown and their main responsibility was to head the central government of India.  When Lord Mountbatten was appointed to the position by Prime Minister Clement Attlee in February 1947, he knew that he would be the last Viceroy of India.  His key role was to help transition the country from British rule to an independent republic. 

Acclaimed filmmaker Gurinder Chadha (Bend It Like Beckham) spent most of her upbringing in London but she has always had an interest in India history given her family ancestry.  In 2006, she appeared on the British television series Who Do You Think You Are? – a show where celebrities trace back through their family tree.  It promoted her to do more research into India’s independence and provided the inspiration for this dramatic film.

The story is told from several perspectives.  As you’d expect, we see things through the eyes of Lord Mountbatten (Bonneville) and his wife, Edwina (Anderson).  Both characters are portrayed as even-handed and open-minded.  They haven’t come with a specific plan of attack and are prepared to listen to the thoughts of India people.  There’s a scene where Edwina discusses the idea of delaying independence but for a good reason – to improve literacy and to reduce death rates before the handover.

To show the effect on the Indians themselves, the three-person writing team have created a fictional love story that is given equal weighting.  Jeet (Dayal) and Aalia (Qureshi) are servants who work at the Viceroy’s residence and get the chance to eavesdrop on some of the top-secret political negotiations as they take place.  The pair fall in love but it’s a Romeo & Juliet-type scenario given that he is a Hindu and she is Muslim.  Their respective families are not impressed.

The reason for that particular story is that it highlights the religious divide within India and a key issue that was at the heart of India’s desire for independence.  Some were pushing to split the country into two – Hindus would remain in India whilst Muslims would form part of a new country to be called Pakistan.  Others were against the proposal and wanted to see the country remain united.  After months of lobbying, it would fall upon the Viceroy to make a final decision.

In creating the screenplay, Chadha drew from a 2006 book written by Narendra Singh Sarila that had been recommended to her by Prince Charles.  He was a former civil servant who worked as a personal aide to Mountbatten and had recently discovered a suite of top-secret documents that provided insight into how the negotiations unfolded.  His version of history was not the same as that being taught in schools and some scholars still disagree with the content of his book.

A strength of the film is its balanced nature.  While events may not have taken place precisely as depicted, you do see varying points of view in deciding the right path to independence.  Muhammad Ali Jinnah puts forward a persuasive argument for splitting the country into two whereas Mahatma Gandhi argues strongly in maintaining the country as a whole.  The composition of the respective governments and the election process is also openly debated.

The storyline between Jeet and Aalia is a little corny and distracting but it provides an emotional kick that becomes important during the film’s epilogue.  The magnitude of the situation takes shape and it’ll be a learning experience for those who aren’t familiar with this piece of Indian history.

You can read my interview with director Gurinder Chadha by clicking here.

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Written by Matthew Toomey

Created: 23 May 2017

It’s been a bumpy voyage for those involved with this latest instalment of the Pirates of Caribbean franchise.  I’m referring to more than the characters.  The studio executives, producers and crew members have also been put through the ringer.  Script problems delayed the process for several years and there were also worries about the huge budget.  Poor reviews plagued the 4^th film (On Stranger Tides) and questions were asked about whether there was sufficient demand for this fresh outing.

The Swedish directing duo of Joachim Rønning and Espen Sandberg, both of whom were responsible for the Oscar nominated Kon-Tiki, expressed a desire for this series to return to its roots.  They wanted to create something fun and exciting in the same vein as the 2003 original, The Curse of the Black Pearl.  I’m not convinced they’ve achieved that but you can see than an effort has been made to create an interesting story as opposed to relying solely on special effects and a goofy Johnny Depp.

One could argue that Depp is a supporting player in Dead Men Tell No Tales.  The stronger story involves two youngsters – Henry (Thwaites) and Carina (Scodelario).  He is the son of Will Turner and he seeks the long-lost Trident of Poseidon so that he can break a curse that keeps his father trapped permanently at the bottom of the sea.  She is a sharp scientist who wants to prove that magic isn’t real through her study of astronomy and horology.  It should come as no surprise that these two fall in love throughout their adventures together.

Trying to put a stop to their efforts is Captain Armando Salazar (Bardem).  He was once a successful pirate hunter but now finds himself trapped in a giant cave (referred to as the Devil’s Triangle).  A curse prevents him from escaping and so he too is looking to get his hands on the Trident with the help of the always shifty Captain Barbossa (Rush).

So where does Captain Jack Sparrow (Depp) fit into all of this?  He starts out with no luck, no ship and no crew but ends up doing what he does best – drinking rum, stumbling through dangerous scenarios, and playing everyone off against each other.  It’s hard to be too enthused by Depp's performance since he’s delivering the same repetitious material from the earlier films.  The film is far more entertaining when he’s off screen.

One can’t help but think this franchise is reaching its conclusion.  It hasn’t been able to sustain its momentum to the same extending as Star Wars (offering more story) or The Fast and the Furious (offering more creative action).  It’s a watchable blockbuster but not one that is particularly memorable.

You can read my chat with star Geoffrey Rush by clicking here.