‘Wonder Woman’ one of the best DCU films in a long time.

Wonder Woman
 tells the story of Diana Prince, princess of the Amazons, before she was Wonder Woman. When a pilot crashes and tells of conflict in the outside world, she leaves home to fight a war to end all wars, discovering her full powers and true destiny.

What an amazing film coming out of a pile of dogshite that’s the DC universe, don’t excuse the French. Director Patty Jenkins has brought us the best portrayal of ‘Wonder Woman’ to the screen and does the character justice to such an iconic character. What’s such a massive relief is this film being done right and wasn’t destroyed like Catwoman in 2004 and Elektra in 2005. The DC universe did get off to a rough start that didn’t deliver so fingers crossed this is a change of pace, finally.

There will be no doubts comparisons to MCU and there’s no shame in saying that Wonder Woman’s DCU’s Captain America — a fish out of water with a heart of gold only wanting to do the best for those around her. You couldn’t imagine anyone else as Wonder Woman apart from Gal Gadot and she has wonderful chemistry with Chris Pine as war pilot Steve Trevor.

Amazonians accompanying Gadot is Connie Nielsen as overprotective mother and Queen, Hippolyta and her right hand woman Antiope played by the bad ass Robin Wright, whom I love very dearly.

It’s a visually spectacular film with mind blowing action set pieces pulled on camera by Matthew Jensen. It’s not a conglomeration of special effects much like what we’ve seen in previous instalments of the DC universe in Man of Steel and Batman Vs Superman helmed by Zack Snyder and Suicide Squad helmed by David Ayer. Those films were a mess that you couldn’t make any sense out of while Wonder Woman finally had a refreshing sense of logic and humour to it. It was a film that was serious but didn’t take itself too seriously.

The film doesn’t really start going until we leave the island of Themiscyra after an average first act that was needed to set Diana up as a character. There, she’s broken into a world that’s so unlike what she imagined. And from there, we’re taken straight into the action and like I said before, it isn’t overwhelming. It’s enough to get us excited to see a woman be so bad ass and kick some bad guy butt. Amongst all this, a love story is interwoven but it isn’t a stand out, over the top aspect of the story. If this was helmed by a man, or done any differently, the hinted at sex scene would’ve been taken further and made almost pornographically unnecessary. Much like the MCU with their villains, it’s not the strongest element of this movie but the women do steal the show.

All the idiots who have brought the film down because of their sexist and misogynistic views can bite their tongues. Hard. Until they bleed. While everyone deserves their opinions and the such, there are some that just need put in their ways, to help those with those views to realise what’s ultimately wrong. There have been comments about Gal Gadot’s appearance and is downright sexist trash that makes me sick thinking about it.

Wonder Woman is one of the best films in a long time, and even since The Dark Knight all those years ago. It’s such an important movie for woman and honestly, it’s the first in a dramatic change in cinema and how we view films.

Film-O-Meter: 9/10.

‘John Wick: Chapter 2′ is what every sequel should aspire to be.

John Wick: Chapter 2
 continues the story of John Wick after he returns to the criminal underworld to repay a debt and discovers that a large bounty has been put on his life.

With this sequel that every sequel aspires to be, Keanu Reeves proves that he still has it and that he’s an immortal vampire that’ll never share his secrets of eternal youth. Chapter 2 proves to be still as ridiculously over the top as the original and it’s rare that action type films have any sort of artistic value but with John Wick, there’s no doubt that it proves to be something of quality.

if you want a break from all the drama and seriousness of cinema, without having to venture into the sloppiness that comedy has become, this is the film for you. The production value of the film has been set incredibly high and is an incredible film in itself, from the colour, design, and action sequences that are beyond impressive and would put any Tom Cruise action film to shame.

And despite its extended run time from the original, you don’t feel its length as film sucks you in and spits you out. To simply put it, John Wick: Chapter 2 proves to be all around enthralling as you live in another world. It’s one of the best action films in a very long time and is everything you’d want from one. Even with other familiar faces in rapper Common is commendable in his role and the brief appearances of Ian McShane, John Leguizamo, as well as Laurence Fishburne, they all made their own impact in the small roles they were given. It was a primarily Keanu Reeves held role and any up and comer struggling with the weight of a film on their shoulders should take note. The only slight disappointment was Australian Ruby Rose who barely made an impact. While representation is a downfall in Hollywood, Rose’s character can be commended for that, but her performance as a whole was bland and unmemorable. She’s not an actress and it shows.

If you loved the first, you’ll love the second, and even then, it’s well worth your time and money.

Film-O-Meter: 7/10.

‘War Machine’ suffers from uneven pacing and scenes that just don’t make sense.

War Machine
 tells the story of a U.S. General’s roller-coaster rise and fall as part reality, part savage parody – raising the specter of just where the line between them lies today. His is an exploration of a born leader’s ultra-confident march right into the dark heart of folly. At the story’s core is Brad Pitt’s sly take on a successful, charismatic four-star general who leapt in like a rock star to command NATO forces in Afghanistan, only to be taken down by a journalist’s no-holds-barred exposé.

Going into this film, I was a little excited as it boasted the Producer’s of The Big Short and Australian writer/director David Michôd from Animal Kingdom and The Rover fame. However, Netflix film seems like a waste of talent and money. Actor/Producer Brad Pitt used to be such a good actor but recently hasn’t been anything of note and just seems like a bad decision for all parties involved.

For a budget of USD$60million, it felt like nothing but a television movie. There was nothing creative about the film and everything about it is bland. One of the major issues is that the film is just flat, so generic, and failed to capture any of the magic of the Producer’s or David Michôd’s previous work. There’s no build up, nothing at stake, and all in all just very safe. With such heavy exposition, a big no-no for any writer and filmmaker, it’s no surprise the film didn’t turn out.

War Machine suffers from uneven pacing and scenes that just don’t make sense. It seems like the film was supposed to be comedic but just didn’t work out. It’s a mess that’s watchable.

Film-O-Meter: 5/10.

The ‘Dirty Dancing’ is one baby that should’ve stayed in her corner.

Dirty_Dancing_2017.pngDirty Dancing is a musical re-imagining of the 1987 film.

What a film.

What a horrible barbarity.


I sat through this film for the cast: Abigail Breslin, who I’ve loved ever since I saw her in Little Miss Sunshine and Debra Messing, who was ever so brilliant in short lived and little known Smash as well as her Will & Grace. That and to support Australian’s in cinema, especially indigenous Australian’s in cinema, with director Wayne Blair. It may have the actors, but they lack the connection between the characters. With this unnecessary remake, it has no heart, class, taste, or magic.

Simply put, it just feels plain wrong. When the film gets it so right the first time, whats the point in continuing? If you want to relive the magic, watch the original. There’s no need to remake it for a modern audience or attempt to sequel it in the forgotten Dirty Dancing: Havana Nights.

Whatever ABC were looking for in remaking this movie because Colt Prattes’ Johnny Castle held no charisma or swagger of his character. Although Breslin is a formidble actress, and one that I clearly love, it’s so unfortunate that she’s so unsuited to this role. If they’d switched Breslin with Sarah Hyland, who plays Breslin’s sister, it might’ve been something different. And the dancing’s pitiful, lacking in every way.

This is just a painful imitation that you could tell would never work from the very beginning. The only way you’ll be able to un-see this film is to watch the original and remind you what a timeless, cheesy classic it is.

This is one baby that should’ve stayed in her corner.

Film-O-Meter: 2/10.

‘Dead Men Tell No Tales’ gives us more reason why we need new content.

Pirates of the Caribbean: Dead Men Tell No Tales tells the story of Captain Jack Sparrow in his search for the trident of Poseidon.

If it’s one thing that’s missing from Dead Men Tell No Tales is the magic of The Curse of the Black Pearl. Even the second and third instalments still have some essence of it but as soon as the unnecessary fourth and fifth instalments came around, we’re left scratching our heads.

The original movie that set this five movie series on it’s way over the last ten plus years was part of the reason why I wanted to get into filmmaking — the hilarious comedic writing combined with swashbuckling action by original writers Terry Rossio and Ted Elliott captured not only me but the audiences as well. And I’m not ashamed to say that I saw the film about four times in the cinemas alone and have worn down my copies on tape (yes, you read that right) and DVD. I loved the movie that much.

So when I heard there was to be a sequel, I was undoubtedly excited and in the end wasn’t too disappointed with the sequel or the three-quel. At this point, however, I’m just questioning why Disney and Producer powerhouse Jerry Bruckheimer wish to keep on rehashing a series that’s clearly dead.

The main reason a lot of people went to see the film in Johnny Depp’s ~Captain~ Jack Sparrow has lost his way, no longer the same actor or the same actor. It’s been thirteen years since The Curse of the Black Pearl and what made his character so captivating has lost its charm. He’s getting older and it truly shows. He hasn’t at all matured with his age and his star power losing its shine. Half that time, it seems like that Sparrow was just drunk. Not the tipsy we’re used to seeing Sparrow in previous instalments, he’s just drunk, tells terrible “jokes,” and contains none of the insane genius we grew to love him for.

It doesn’t help that the script was terribly poor, giving the rest of us more hope that we could one day write a feature film. Dead Men Tell No Tales does open to something hopeful, but it’s an annoyingly false hope that’s given to us. It loses it’s rhythm and it’s pacing all over the pace. There are characters that done need to be there and the entire project just lacks any dynamic.

Even though the decision to bring back Orlando Bloom’s Will Turner is a bright decision, he’s lack of involvement is disappointing, additionally so when Depp adds more than his fair share of flaws to the film. Much like Ryan Reynolds involvement in Life, Bloom’s screen time added up to no more than ten minutes at the most and was more than likely brought back to lure fans into the cinema

The only thing that really shone about the film, and the only thing that you’d remember the film by, is Javier Bardem’s Captain Salazaar. He’s such a creepily good villain, it’s no doubt that he did the best that he could with the role.

You could say that I’m disappointed in the film, but in all honestly, I could care less.

Film-O-Meter: 6/10.

‘Colossal’ is a delightful absurdity.

 tells the story of Gloria, an out-of-work party girl forced to leave her life in New York City, and move back home, when reports surface that a giant creature is destroying Seoul, she gradually comes to the realisation that she is somehow connected to this phenomenon.

This small, independent film isn’t something that you may have heard amongst the blockbuster’s that come out at this time of year, or any time of the year for that matter.

If anything, why this whole thing started about bringing down Anne Hathaway is ridiculous because she’s an absolutely astounding actress that deserves any praise that can be given to her. For someone who started out in Disney with the Princess Diaries, she’s done extremely well to find her place in the world post-Disney and definitely made an impact along with other stars, in whatever ways they may be, such as Demi Lovato, Selena Gomez, Shia LaBeouf, Zac Efron, Raven Symone, and even Hilary Duff. In Colossal, she gives a wonderful performance and really portray’s her character’s strange weirdness. No one else could’ve played that role.

Although it may be a hard and extremely strange film to watch, it’s an extremely grounded film despite the monsters and what seems like a weird concept. But that’s what makes the film so great — it’s a film about overcoming what holds you down and why you, yourself, could be that cause. It’s a film that you’re not prepared to like as much as you do, at least that was the case in my experience.

The thing is, however, this may’ve been a film that was a couple of years too late. If it was made and released around the time of Donnie Darko, The Big Lebowski, and Office Space, you could really see it becoming a cult hit. Nowadays, there’s a lot less acceptance of films like Colossal even though we might need films like it where it blends the bigger budget ideas with smaller indie films and the humanity that comes with it.
Despite it being a little different to what audience’s may be used to, don’t be deterred. It’s well worth the watch in its delightful absurdity.

Film-O-Meter: 5/10.

‘The Zookeeper’s Wife’ proves to be a standout film.

The Zookeeper’s Wife
tells the story of the account of keepers of the Warsaw Zoo, Antonina and Jan Zabinski, who helped save hundreds of people and animals during the German invasion.

The first thing I remember hearing about this film was an interview with ‘the zookeeper’s wife’ Jessica Chastain where she talked about how great it was to work with a female writer and director. The next thought I had was that I just had to see this film not only because it starred Jessica Chastain and Daniel Brühl (both of whom I love as actors) and talked about another portion of the Second World War that wasn’t entirely based in Germany, England, France, Pearl Harbour, Japan, or the Asia/Pacific region (though this region is still significantly less talked about) but because it had female figures in significant production roles such as the writer and director.

What made this film so great, despite the mixed reviews, is the strength of charity and compassion against brutality, which is something that we continue to experience in one form of another to this day. Though, in The Zookeeper’s Wife exploring this, the film reminds us of the many war drama’s we may have seen before and what’s obvious about the film is that what you see is what you get — the metaphor’s used are obviously clear and there’s nothing hidden for the audience to figure out for themselves.

What also put the film a little…off was the strange and seemingly contrived relationship between Chastain’s Antonina Zabinski and Brühl’s Lutz Heck, despite how historically accurate it may have been. How it was approached in the film form as we see it was a little strange and could’ve been approached in a different way.

I think the main reason why many who have spent their time and money on seeing this and felt something against it can be narrowed down to the on screen violence towards the animals of the zoo. It’s no denying the fact that it was extreme, and films can be a lot more powerful if the anguish towards other’s is only implied, much like was done with the rape of a young girl in the film. What was done to the animals was a disturbing sight that I will no doubt be able to unsee and was an unnecessary part of the film.

None of this shouldn’t discredit The Zookeeper’s Wife, however, as it proves to be a standout film on its own.

Film-O-Meter: 7/10.