“Wonder Woman 1984” Review!

There’s a small but memorable scene in Wonder Woman 1984 in which the film’s major antagonist, Maxwell Lord (the irresistibly charming Pedro Pascal), having just worked his dark magic on the President of the United States and sparked an all-out nuclear war with the Soviet Union, tries to escape from an altercation at the White House only to find himself awkwardly handcuffed to Steve Trevor (Chris Pine), Wonder Woman’s quick-thinking sidekick and lover. I bring this up because it’s representative of the film overall, which handcuffs itself to Pine’s Trevor and stubbornly sticks to him even as his very presence in the story demands that the entire plot revolve around him and not the lead character. The only way this metaphor could have been made even stronger would be if Wonder Woman herself were handcuffed to Trevor in this scene to reflect the film’s inability to give independence or agency to its female characters.

Wonder Woman 1984
Wonder Woman | cnbc.com

Make no mistake, I loved Pine in the first film – and I adored the mature, elegant romance between him and Diana Prince (Gal Gadot): which was written in such a way that both characters could be strong and vulnerable with each other, and both had equal footing – with Diana clearly and effortlessly remaining the lead. Trevor’s death in Wonder Woman was a heartbreaking and powerful moment that allowed us all to see the good in humanity. And yet he’s back in Wonder Woman 1984, nearly a century after his death in World War I, doing pretty well for a guy whom we last saw get blown to bits in mid-air. Prior to the film’s release, I was as excited as anyone to see him return: in hindsight, I’m beginning to realize how foolish it was to ever attempt something that could so easily go so wrong…and did.

It’s blasphemous to even suggest, I know. The first film relied so heavily on that spark of chemistry between the two actors and their characters. But Wonder Woman 1984 had the means to substitute that timeless pairing for another one that could have been just as well-written and well-received, if director Patty Jenkins and her team of screenwriters hadn’t decided to resurrect Steve Trevor for one last lackluster hurrah: because let me tell you, everything that’s bad about this film’s flawed script, from the convoluted globe-trotting adventure to the random interlude with a Mayan shaman, feels to me like the inevitable side-effect of having to devise an excuse for how Steve was even able to come back at all.

And with the return of Steve Trevor, Diana herself gets sidelined in a story that seems almost uninterested in her as an individual. She’s got nowhere left to go and nothing new to learn, essentially. A vague theme about the importance of being true to yourself is woven throughout the film, but it’s not exactly an urgent message that Diana personally has to embrace, unlike the first film’s timely reminder to believe in the goodness of people. She was being true to herself anyway, before Steve randomly came back into her life and took over her entire storyline (oh, the parallels to Avengers: Endgame). I mean, it’s really a shame there was no way to weave this message more cleverly into the plot and romantic subplot by…oh I don’t know, making this a queer love story?

Just as DC preceded Marvel in the department of successful female-led superhero movies, many of us had hoped they’d be the first to give us a proudly and openly LGBTQ+ superheroine onscreen in the form of Diana Prince (Harley Quinn was vaguely bisexual in Birds Of Prey, and a supervillain anyway). We’ve known for some time that wouldn’t be the case, with Patty Jenkins confirming that wasn’t the story she wanted to tell. But what we get instead is a film that tiptoes around even the possibility of a same-sex romance as clumsily as Barbara Ann Minerva (Kristen Wiig) strides around the Smithsonian in high heels. Now, to be fair, most of the romantic tension between Diana and Barbara is more a result of the palpable chemistry between the two actresses (the quiet, ethereal Gadot and sparky, exuberant Wiig complimenting each other very nicely), rather than necessarily indicative of anything intentionally written into the script, but at the same time…come on. Both Diana and Barbara are canonically bisexual in DC Comics, and you’re telling me Patty Jenkins didn’t know what she was doing by casting a romantic filter over their awkwardly flirtatious lunch overlooking the Washington Monument, or having Barbara tumble into Diana’s arms in a subversion of a dated Hollywood romantic trope? It’s queerbaiting that only serves to underscore the fact that the rest of the movie is, in the words of one of my favorite reviewers, Valerie Complex; “aggressively heteronormative”.

Wonder Woman 1984
Cheetah | flickeringmyth.com

To the surprise of absolutely no one, the scenes that center women are the highlights of the film: from those early interactions between Diana and Barbara, to the epic prologue action sequence on the Amazonian isle of Themyscira, to a cheeky and delightful mid-credits scene. But none of these isolated scenes make up for the fact that the character arcs of both female leads in Wonder Woman 1984 (one of those female leads being a literal icon of feminism) revolve almost entirely around men. For Diana, that’s Chris Pine’s Steve, who returns with the help of an incredibly convenient plot device and plays fish-out-of-water for a while…a really long while, during an excruciating montage that exists solely to trot out every semi-nostalgic 80’s cultural trope you can imagine. Pine is still perfectly likable and has some laugh-out-loud line deliveries, but never truly recaptures what made his character so special – and thus feels like a burden the film must carry.

For Barbara Ann Minerva, it’s Pedro Pascal’s Maxwell Lord – who is quite an interesting character, despite being surprisingly little like the young Donald Trump we all assumed he would be based on the promotional material. An oil tycoon with his eye on a legendary ancient wishing stone forged by the Gods, Lord seduces the world with his voice and power to make the impossible possible. He’s got Trumpian elements to his character, of course (among the more obvious examples: he yells “You’re hired!” at one point), but his motivations are relatable, and his charm genuine. Pascal also just oozes the kind of unshakably consistent charisma that can turn a silent, faceless gunslinger into a beloved icon, or make a dumpster fire of a movie like We Can Be Heroes shockingly entertaining.

Minerva herself does get to transform into the anthropomorphic Cheetah we know from the comics, and the CGI isn’t entirely awful as she flails about in her dimly-lit third-act duel with Diana (or perhaps Diana’s Golden Eagle armor is so distractingly awful I didn’t notice), but she deserved to be the major antagonist of this film, and not merely Maxwell’s loyal henchwoman. I’m also afraid that Wiig’s excellent dramatic performance and thrilling action sequences will be overshadowed in the larger fandom discourse.

Apart from Wiig’s notable fights (particularly her brutal takedown of a drunk man who continually harasses her on her jogging route), the action in Wonder Woman 1984 is fairly slight, with the only other standout being the prologue on Themyscira, where the Amazons compete for honor and glory in a series of challenges that test their physical abilities. If Jenkins is going to commit to having Diana only use her Lasso of Truth as a weapon (an idea I actually really like, as it reflects the character’s refusal to kill), she just has to find better ways to incorporate it into action scenes, because it can too easily come off as overly ridiculous.

Wonder Woman 1984
Wonder Woman | cbr.com

Jenkins did make other “campy” elements from the character’s mythology work for Wonder Woman 1984, though, including Cheetah (doesn’t matter if she’s dressing up as a cat, or literally morphing into one: it’s still a hilariously campy concept), and the Invisible Jet – which comes about through a bizarre but acceptable deus ex machina. Unlike Shazam, this film isn’t trying to be goofy or funny: it still takes itself very seriously, and thus comes across as uniquely earnest for a superhero movie. In some ways, I’d say that’s one of several ways in which the movie evokes real 80’s adventure movies: both the good and the bad. The heightened sense of adventure, the not-so-great CGI you’re willing to excuse because everything happening onscreen is just so much fun, and the outdated perceptions of women and foreign nations that make us cringe deeply in our souls (we just need to collectively stop letting white American directors write North African and Middle Eastern nations into their scripts, because they’ve proven they’re not up to the task of handling those nations and their individual cultures at all well).

There’s still plenty of hope for the Wonder Woman franchise in the near future. We’re not dealing with another Crimes Of Grindelwald here (although the box-office reception would seem to disagree). But the divisive audience reactions and legitimate criticisms of Wonder Woman 1984 should hopefully alert Warner Brothers to the need to put this series back on track with better screenwriters and a stronger, more cohesive focus on women as individuals with their own storylines….even (and especially) if that means no more Steve Trevor.

Movie Rating: 6.5/10

“The Snyder Cut” DC Fandome Trailer!

The Snyder Cut of Justice League will finally release on HBO Max next year (in four, hour-long segments), and at last we have a full-length trailer for the now legendary epic film that most thought would never see the light of day. But for several years now, fans have been asking – even demanding – that Warner Brothers release the Snyder Cut, and I can’t blame them, because (a) Joss Whedon’s Justice League, the version of the film that actually got released in theaters back in 2017, was memorable only for how horrible it was, and (b), more importantly to me, the tenacity and perseverance of Snyder Cut fans has since inspired similar fan-driven campaigns such as the push for a She-Ra movie or a Quake spinoff, both of which I support wholeheartedly.

The Snyder Cut
denofgeek.com

But anyway, back to the Snyder Cut. Truth be told, it’s not urgent to me that I see Zack Snyder’s cut of this film, though I will definitely be curious to see how it turns out, and whether or not it lives up to the intense hype. The trailer does a pretty good job of letting us know what we’re in for: an epic of gargantuan proportions, overflowing with darkness and unimaginable horrors, set in a post-apocalyptic hellscape. The members of the Justice League are divided across the world, Superman is dead, and an ancient alien tyrant named Darkseid chooses this moment to arrive on earth with the intention of subjugating the human race.

Prior to this trailer, there was no clear victor in the perennial contest between DC’s Darkseid and Marvel’s Thanos, two suspiciously similar characters who both appear in their respective cinematic universes under very similar circumstances – but I still don’t know if there’s a clear victor, even now that we can compare both of them. Which one looks better? I’d be inclined to say Thanos: his slightly more humanoid features allow for a greater range of emotions to pass across his broad, bald head. But which is the better-written character? Well, that’s impossible to say until we actually see the Snyder Cut. Darkseid was written out of the theatrically released cut of Justice League and replaced with his servant, Steppenwolf, who also makes an appearance in this trailer but not as the main villain. Steppenwolf’s new design looks appropriately fearsome: he’s an alien mass of prickling scales and spines. Darkseid’s design, meanwhile, is still not fully-rendered, so I’m not going to pass judgment just yet, but I will say this: based on what we can see so far, I’m not certain I like his look. He’s a little on the short side, and a bit too bulky, with enormous hands – but then again, I’m not a big fan of his design in the comics either.

The Snyder Cut
Darkseid | nerdist.com

Leonard Cohen’s “Hallelujah” plays over scenes of global destruction as Darkseid and his cosmic armies rain fire on the earth, while the Justice League slowly but surely gets their act together and begins to fight back. Superman returns in his stylish, all-black suit; Aquaman strips down in slow-motion because reasons; Cyborg actually has a lot of screentime, which lends credence to Zack Snyder’s continual promises that his character is the emotional core of the film; Batman poses dramatically on gargoyles in the rain; Wonder Woman, oddly, is almost nowhere to be seen; and The Flash of all people actually has cool action scenes, which is…shocking (no pun intended). Obviously, we all kind of know what’s going to happen: we have, technically, seen this movie before. But the Snyder Cut is sure to feature some major changes from the theatrically released Justice League. New characters like Iris West will show up, while other characters will have vastly different roles in the story.

It’s even possible that the ending of Zack Snyder’s Justice League will leave the door open for future team-up movies: it’s unclear whether DC has an interest in bringing him back for the long run, but based on his celebrity status amongst fans and his popularity with the cast, it probably wouldn’t be a bad business decision. With Ben Affleck officially returning as Batman in The Flash and Henry Cavill set to reprise the role of Superman somewhere down the line, it seems like DC is trying to lure in the Snyder fanbase again across the board, not just with this one film.

The Snyder Cut
comicbookmovie.com

When all is said and done, this trailer is incredible because it’s for a movie that wouldn’t even exist had the fans not rallied behind Zack Snyder with all their might and worked to get something done. On its own, it’s only an okay trailer, and I intend to rate it as such – it really doesn’t make me any more intrigued than I already was by this whole concept – but when you take a step back and see the bigger picture, it’s a lot more than that. It’s a testament to the power of fandoms, and the impact we can – and arguably, should at times – have on the decision-making process.

Trailer Rating: 6.9/10

“The Batman” DC Fandome Trailer!

The reaction to the first teaser trailer for The Batman, revealed last night at DC Fandome, has been one of almost unanimous praise so far: which makes it my painful duty to report that I can’t quite share in the growing excitement surrounding the film as much as I’d love to, as much as I truly hope to be able to in the near future, as more of the film is completed and revealed to us. Unfortunately, the teaser trailer simply isn’t connecting with me, although I’ve now watched it several times. I’ve identified most of my issues, as well as several elements which I genuinely find interesting or at least intriguing, and hope to see expanded upon.

The Batman
variety.com

Let’s start with a positive: Robert Pattinson. I’m a big fan of Pattinson, and I feel certain he has all the makings of an excellent, instantly iconic, Batman. A dark, twisted, vengeful Batman who stalks the streets of Gotham like a rogue detective – we’ll talk about detective work in a moment – dealing out a very violent kind of justice to the city’s hordes of criminals and wrongdoers. Pattinson’s suit has the perfect Batman silhouette, and I absolutely love all of his gadgetry and customized accessories – particularly his Batmobile, which flares into life around the trailer’s midpoint and looks to be equipped for high-speed chases. I don’t quite understand what Pattinson and director Matt Reeves are going for with Bruce Wayne’s long, unkempt hair and dark eyeshadow, but it’s striking nonetheless and it’s already given rise to a deluge of memes about “Emo Batman”.

Gotham City itself is honestly a bit of a mixed bag, personally. On the one hand, I feel like this film is going to tell a Jack the Ripper storyline under the guise of superheroes and villains – The Riddler, who appears to be the film’s primary antagonist, shares many similarities with the historical serial killer, which this take on the character could be examining – and I love that idea. We don’t see any establishing shots of Gotham in this trailer, but it has all the essence of Jack the Ripper’s London: dark, foggy, atmospheric; the kind of city where evil lurks in wait around every street corner, and nobody is safe. But that stylistic decision feels almost too easy, too safe. It’s dark and it’s gritty, and those are two words I’ve heard enough of when it comes to Batman.

The Batman
deadline.com

Now, I’m not saying that The Batman has to be as brightly-lit or gaudy as Birds Of Prey, but I do feel like a pop of color would help to differentiate this Gotham from past incarnations of the iconic city, while a bit of absurdity never hurt anyone. My ideal vision of Gotham is of a semi-psychedelic labyrinth, lit by flashing neon and inhabited by colorful characters. Gotham’s brooding darkness has been explored to death, but its sensuality (for lack of a better word) has never really been touched upon. Even if I were lucky enough to be making this movie, I would still incorporate that Jack the Ripper tone, but I don’t see why it needs to be oppressively grimdark to achieve that. At the same time, I should point out that only about thirty percent of The Batman has actually been filmed, and this teaser trailer may not be indicative of everything that’s in the film. Matt Reeves explained in the panel leading up to the trailer’s debut that all the characters will still be transitioning into the heroes and villains we know from the comics, and considering that he counted Gotham as a character in the story, I wonder if that same sort of character arc will be granted to the city itself.

I also don’t want to sound like I hate everything about Gotham – I love the mansion which Selina Kyle’s amateur Catwoman attempts to burgle, with its arched Gothic windows looking out over the city skyline. This mansion is also the setting where the Riddler’s first murder takes place.

Speaking of which, time to address the Riddler in the room! Paul Dano is never unmasked in the trailer, but from what we see and hear of him, he’s definitely a very disturbed and terrifying character. The first we see of him, he’s taking his time setting up a perfect little crime scene, leaving his clues and a signature calling card for Gotham’s greatest detective, Batman himself (feeling the Jack the Ripper vibes yet? Because I am). Matt Reeves mentioned that most of Batman’s villains are still new on the scene in this film, which takes place during the early years of the Caped Crusader’s career, and that Riddler in particular is only just emerging for the first time. That gives me hope that, despite Dano’s character appearing in muted green throughout the trailer, he will eventually suit up in a brighter, somewhat more comics-accurate costume, perhaps trading in his mask for a quaint little hat along the way. The tone of this Gotham seems so dark that it’s hard to imagine that being the case, but I’m remaining hopeful.

The Batman
indiewire.com

A large part of why I’m still hopeful is because Catwoman actress Zoë Kravitz mentioned in a previous interview that she has already had a chance to wear her Catwoman suit during the filming – so either she’s referring to her low-tech burglar getup in the trailer, or there are actually comics-accurate costumes in store for all of Batman’s villains. I don’t see why not: Batman got a perfect outfit, so why shouldn’t the rest? Ironically, Catwoman’s costume already looks quite good, though I don’t know if she’s intentionally embracing her feline design aesthetic, or if her ski mask is only accidentally bunching up into cat ears as an act of foreshadowing.

Then there’s The Penguin, and this is another negative: not because of Colin Farrell, who is very talented and seems to have undergone an incredible physical transformation into this role with the help of extreme makeup and prosthetics (can you say Oscar nominations?), but because the role requires this much makeup and prosthetics at all. When Farrell was announced as The Penguin, my first thought was how original and out of the box it was – in the comics, Penguin has always been a very grotesque figure, whereas Farrell is traditionally handsome. I concluded too quickly that Farrell’s Penguin would be very suave, maybe even fabulously dressed or well-groomed. Well, not quite. Farrell is instead unrecognizable under all the makeup, which has turned him into a much more familiar, jowly, balding crime lord. It feels safe. Too safe, if you ask me.

The Batman
observer.com

That’s my big problem with the trailer as a whole: it’s just a tad bit too predictable. When Matt Reeves promised us a Batman movie that’s like nothing we’ve ever seen before, I expected a wild divergence from the days of the dark, gritty Batmen in their dark, gritty Gothams – but instead, Reeves has doubled down on the dark and the gritty and come out with something that almost looks and feels like an exaggeration of everything I’ve grown bored with when it comes to this character. Now, I’m well aware that this Batman’s selling-point is supposed to be that he works as a detective, which is something I’m very excited to see (especially with The Riddler being the main villain), but I didn’t see him doing any actual detective-work in the trailer. And again, this is a teaser for a film that isn’t even half-completed yet, so it’s not fair to make any assumptions about anything, but I’ve still got to review what we did see – and what we did see didn’t feel like anything I haven’t seen before in some way or another, though there are distinct differences here and there.

Well, time to turn it over to you, dear reader. Share your own thoughts, theories and opinions in the comments below!

Trailer Rating: 7/10

“Wonder Woman 1984” DC Fandome Trailer!

“Barbara, what did you do?”

What Barbara Ann Minerva has done is somehow steal the spotlight in the second official trailer for Wonder Woman 1984, released today at the opening panel of the online DC Fandome event. Even with the epic trailer showcasing new scenes of Wonder Woman herself, all eyes are on one thing: Barbara Ann Minerva, and her grisly transformation into the apex predator she’s always dreamed of becoming – the animalistic supervillain Cheetah.

How could she not be the main focus of this trailer? For months, we’ve been waiting eagerly to catch any official glimpse of her look, and relished all the merchandise leaks that have given us hints: but nothing beats the real deal. And even though her scenes in this trailer are darkly-lit (making me question whether her design is still being worked on behind-the-scenes?), there’s enough here to make it obvious that she will be a formidable villain to Wonder Woman, armed with fearsome claws, super-strength, incredible stamina and agility, and a feral bloodlust for power. In fact, as much as we all love Wonder Woman and want to see her take the lead, it’s hard not to watch this trailer and wonder whether Barbara Ann Minerva’s tragic story will form the emotional core of this hotly-anticipated upcoming DC movie.

Wonder Woman 1984
slashfilm.com

Wonder Woman 1984 will tackle many issues, some of which are alarmingly relevant today: the main conflict comes from Maxwell Lord, a charismatic con-man (intentionally modeled off a younger Donald Trump) selling lies, empty promises and cursed gifts to the gullible, with both Wonder Woman and Barbara Ann Minerva being ensnared by his spell. But whereas Wonder Woman presumably gets a reunion with Steve Trevor, the former love of her life, as part of her bargain with Lord, Barbara Ann Minerva gets superpowers which put her on equal footing with her arch-nemesis but have the side-effect of turning her into a horrific animal/human hybrid. When I say “horrific”, I mean that in a good way…not in, like, a Cats way. It’s difficult to say when she’ll obtain her powers, however, because most of her action scenes (such as her fight with Wonder Woman in the hallways of the White House) have her wearing an extremely fashionable cheetah-print jacket and high-heeled boots, complemented by a messy mane of blond curls. That and her black evening attire when she strolls into high-society for the first time are still her best looks, based on what we’ve seen so far.

Wonder Woman
cinemablend.com

But while it’s Cheetah that has captured my attention, there are other standout moments in this trailer: we once again see Wonder Woman lassoing lightning and swinging through the clouds, but she has tranquil, emotional beats with Steve Trevor as well (walking past the Washington Monument in what is sure to be a lovely romantic scene), and the duo are just as humorous as ever – Steve Trevor, a man out of time, is clearly having a hard time adjusting to 80’s fashion norms, though if anyone can rock a fanny-pack and parachute pants, it’s him. There’s more footage from the gravity-defying Amazon Olympics on Themiscyra, a sequence which I’m sure must have some significance to Wonder Woman’s arc, but for now just looks really cool.

The trailer is lacking just one thing, and that’s a catchy, era-appropriate song choice. It’s not too major a problem, but it does feel like a downgrade after the first trailer‘s brilliant use of an electronic instrumental rendition of “Blue Monday” by New Order.

So how are we feeling, DC fans? Share your own thoughts, theories and opinions in the comments below!

Trailer Rating: 8/10

Michael Keaton Will Return As Batman For The First Time Since 1992!!

Michael Keaton must have enjoyed his recent stint as the Marvel supervillain Vulture, because it appears that he’s even considering rejoining the DC Extended Universe – returning to the role of Bruce Wayne/Batman for the first time since 1992. And not just for one quick cameo, either: no, the rumor is that Keaton will take on a recurring role throughout several films in the DCEU, in a capacity that many are comparing to Samuel L. Jackson’s guest star roles in the Marvel Cinematic Universe films as Nick Fury.

Keaton is expected to make his big comeback at some point in The Flash movie. The film – apparently still starring Ezra Miller as the goofy, super-fast hero – has long been rumored to mess about with the DCEU’s already complicated continuity, doing what it can to bring some cohesion to the chaos with the help of alternate realities and time travel. Keaton’s Batman could very well show up to help Miller’s Flash with that daunting task: and as a business strategy, it would be genius. Not only will Keaton’s name and the Batman brand recognition alone entice general audiences, but setting up Miller and Keaton as a comedic duo could keep audiences enthused, entertained, and willing to suspend their disbelief while The Flash and The Batman work out how to fix the DCEU’s canon in a film that could potentially have a lot of pseudo-scientific exposition.

Michael Keaton Batman
syfy.com

Meanwhile, moviegoers who are still looking forward to Robert Pattinson’s take on the Dark Knight need not fear: while Michael Keaton’s Batman might replace Ben Affleck’s largely reviled version of the character in the main timeline of the DCEU, Pattinson’s version exists on the peripheries, much like Joaquin Phoenix’s Joker. So don’t expect the entire DCEU to suddenly fit together perfectly due to this: even if we do get a whole bunch of time-travel/world-hopping shenanigans, I’d imagine the intent behind that would be to focus on reversing and/or rewriting parts of Justice League, firmly defining what does and does not exist in the main canon, and putting the franchise on a clear path forward.

Michael Keaton is, as I mentioned, expected to stick around in the role for at least a few more films, including a planned Batgirl solo film. If he were to continue, The Hollywood Reporter notes that his Batman could be “something of a mentor or a guide or even string puller”, which definitely sounds similar to Nick Fury over in the MCU and would probably be very appealing to Keaton, who could reap the benefits for years to come. However, all of that is far ahead in the future, and Michael Keaton hasn’t even been officially signed on yet: The Flash is expected to start filming in the first quarter of next year, giving him a bit more time to make his decision. But the pressure is going to be put on him heavily now: the news is already sparking plenty of fan hype, and the DCEU won’t want to let go of that momentum – they’ve actually been riding high for a couple weeks now, following some very well-received reports that Henry Cavill could return as Superman and that the DC will have their own fan-event later this summer to rival San Diego Comic-Con At Home and Disney’s D23 Expo.

Michael Keaton Batman
time.com

Beyond the fact that Michael Keaton is finally going to return to this iconic role, this casting has major ramifications for the future of the DCEU, as it suggests that other versions of well-known characters could possibly show up, either in The Flash or later down the line – and with DC Comics having a very long history of being adapted to the big and small screen, there’s plenty of material they could draw from: much like what the CW network did when adapting the DC’s Crisis On Infinite Earths storyline, where they snatched up a number of actors from various other DC-adjacent properties and had them come together for a spectacular showdown (incidentally, DC may have been laying the groundwork for this very moment when they had Ezra Miller’s Flash cameo in Crisis On Infinite Earths alongside Grant Gustin’s version of the Flash – there’s no word yet on whether CW talent could cross over into the films, but it’s certainly not out of the question anymore).

To be quite honest, this news could be a life-saver for The Flash, which has been stagnating quietly for years now, waiting for someone to come in and save the project from utter oblivion. Andy Muschietti, who is, as of right now, still signed on to direct the picture and is apparently the one who extended the offer to Keaton, was that “someone”. Now let’s just hope we get to see this suddenly very intriguing film soon!

What do you think about the news that Michael Keaton is returning to the DCEU? Share your thoughts, theories and opinions in the comments below!

“Wonder Woman 1984” Trailer Review!

Yes, this is really happening. Diana Prince, the world’s one and only Wonder Woman, has officially returned in the first trailer for her long-awaited sequel movie, Wonder Woman 1984.

The trailer finds Diana living her best life in the 1980’s, far removed from the horrors of warfare that she braved and defied in her origin movie: elegant and mature, she’s now a wine-sipping, evening gown-wearing celebrity with a fancy apartment in Washington D.C., and easy access to the flashy, vibrant world of the rich and famous. She’s got new friends, including the quirky, clumsy Barbara Ann Minerva, and new enemies, like Pedro Pascal as a charming but suspicious businessman and motivational speaker named Maxwell Lord (more on both these characters in a moment). And of course, she’s joined once again by the love of her life, Steve Trevor, who appears as if by magic to dance with her at a party – there’s no explanation yet for how he’s miraculously returned from the dead, but I think the trailer gives us plenty of clues.

But first: the 80’s. There’s been a lot of tension in the DC fandom recently about whether or not it’s a mistake to take the normally serious and epic character of Wonder Woman and place her in a time period so often associated with…well, shoulder pads and bangles. But Diana fits perfectly in this era – not only when she’s living it up in the big city, but also when she’s going full 80’s action hero: lassoing bad guys in the White House, swinging from lightning bolts (she is the daughter of Zeus, after all), and blowing up an entire caravan of heavily-armored military trucks. So everybody who was worried that a 1984 setting meant cheesy comedy and nauseatingly bright colors can cool it – this movie has the best of both worlds. Incredible action and techno music.

And who will she be fighting? Surprisingly, we still don’t have any idea what Barbara Ann Minerva will look like as the anthropomorphic super-villain Cheetah (though she does sport a lavish cheetah-print outfit at one point: a far cry from her other appearance in the trailer, which has her wearing giant round glasses and a rather bizarre hairstyle). But we do get a long look at Maxwell Lord, who also has a wide range of stylistic choices in these two minutes: he’s a dapper, sickly sweet collector of ancient artifacts, who has the power to make dreams come true – rumor has it that he will grant Barbara Ann’s wish to be a superhuman, and Diana’s personal, unspoken wish to be reunited with Steve Trevor.

As for Steve and Diana, their romance is still just as strong as ever, and they have a couple of cute moments – riding in Diana’s invisible jet and visiting museums together (Steve Trevor not being able to tell modern art apart from garbage cans is very relatable). But the focus is all on the woman herself, and her new, impressive suit of golden armor, which comes with unfolding wings. She doesn’t even need a Godkiller sword at this point, because she just is the weapon. Diana’s really out here about to rock this world to its core, and I don’t know if we as a society are ready for that.

Scratch that – I am. June 5th can’t come soon enough.

So what do you think of the trailer? Share your thoughts, theories and opinions in the comments below!

Trailer Rating: 9.5/10

Jonah Hill (Maybe) Cast In “The Batman”!

With the focus all on Bruce Wayne’s nemesis Joker for the past few weeks, with critics and early audiences chattering excitedly about controversy and Oscar drama, it’s understandable why plenty of people have probably forgotten about, you know, Bruce Wayne. But yes, indeed, there is a new Batman movie coming out of DC Studios, and the headlines it’s been stirring up today might turn the attention away from Joker for just a little while (not enough to make a dent in that film’s box-office tracking, though).

The Matt Reeves-directed Batman prequel, simply entitled The Batman, already caused quite a rift in the DCEU fandom when it cast Robert Pattinson in the lead role, as the franchise’s newest Dark Knight. But since then, there’s been little to no news about the film, and much of what has been rumored seems “too good to be true”. Daisy Ridley was rumored at one point to be playing Batgirl; then it was Andy Serkis as a possible candidate for The Penguin; Eddie Redmayne lobbying for the role of The Riddler; Vanessa Hudgens wanting to play Catwoman; Josh Gad campaigning for The Penguin; just last night Zendaya made unintentional waves in the Batman fandom by wearing green to the Emmys, which, according to some, was a nod to Poison Ivy; only a few weeks ago it was Rihanna who accidentally got herself labeled as Poison Ivy by over-enthusiastic theorists; so on and so on. The list of A-list actors who want to be in The Batman to accompany Pattinson on his journey back to stardom is incredibly long, but so far none of these are more than rumors or fan-speculation. And as for the actual cast that is being assembled, well, it’s a lot more low-key. Matt Reeves has already made it clear he’s going for a much more grounded approach to the superhero than has been previously attempted, so maybe he just doesn’t want big, flashy superstars distracting from his vision. Whatever his reasoning, he’s just picked out two actors for lead roles – and, well, they might not be Rihanna, but they’re nothing to sneeze at, either.

First, Westworld‘s Jeffrey Wright has apparently been cast to play Commissioner Jim Gordon, Gotham City detective, Batman ally, and, most importantly, the father of Barbara Gordon, a.k.a. Batgirl. Wright’s casting suggests that a woman of color could be up for that coveted role: considering that Batgirl, in the comics, happens to be a white woman with red hair, this will undoubtedly spark more of the usual uproar about how “Hollywood hates redheads”, a statement that is still laughably wrong no matter how many times it gets brought up. However Reeves decides to interpret Barbara, though, the casting of her father is a win for Wright, who’s got a decent, but relatively low-profile resume: he’s definitely looking to change that, scoring roles in the next James Bond film, as well as Marvel’s What If? streaming show.

Then, there’s the big headline: Jonah Hill, a two-time Oscar nominee who has mostly flown under the radar with mainstream audiences, is in early talks to play a villain in The Batman, but neither he nor Warner Brothers can decide which one. Apparently Matt Reeves is intent on nabbing the Moneyball star, and Hill is intent on starring in this movie; it’s just a matter of figuring out which of Gotham’s legendary rogues is best suited for the dramatic actor. According to other trades, the conversation has been narrowed down to a choice between The Penguin and The Riddler, both iconic characters; but “it is unclear if the two sides will be able to find common ground”. I can’t imagine how difficult this choice could possibly be (if you’re going to cast Jonah Hill in your Batman movie, you cast him as The Penguin, there is no room for doubt), but all the reports are unanimous in saying that the delay has nothing to do with dealmaking, but everything to do with pure indecision. Personally, Hill as Penguin and Eddie Redmayne as Riddler sounds like a perfect scenario, and if it were up to me, I wouldn’t be hesitating, but Reeves and Warner Brothers probably know what they’re doing. Emphasis on probably

The Batman is expected to include a large, possibly unprecedented number of villains, but no names are yet confirmed. So I turn the question to you: who would you like to see Jonah Hill play in the Caped Crusader’s solo movie? Share your thoughts in the comments below!

“The Flash” Is Still Happening!

Ezra Miller’s promising career has kind of run up against a brick wall this year – his two biggest upcoming projects, in J.K. Rowling’s Wizarding World and the DC Extended Universe, have both been stuck in some sort of…well, we can’t even call it “development hell” because neither has even made it into development yet! The Fantastic Beasts franchise is busy sending out S.O.S signals and frantically rearranging its schedule, with the release date for the series’ third entry having been pushed back to November of 2021. Miller’s DC solo movie, Flashpoint (or just The Flash, it doesn’t technically have a title yet) has been slowly drifting off into hazy forgetfulness for years, with random outbursts of news popping up every now and again to remind us that, maybe, someday, this movie might have a slim chance of possibly happening.

Earlier this year, there was huge breaking news that Ezra Miller was not only still making that movie, but had taken it upon himself to rewrite the entire script with the help of comic-book author Grant Morrison. The rumor, which began circulating on March 15th, suggested that Miller’s new script could be submitted to Warner Brothers Studios, and I quote, “as early as next week”.

And, uh, yeah…that apparently never happened.

What makes it even weirder is that, after the deafening silence from Miller, DC, and Warner Brothers the week after that report surfaced, there continued to be precisely no news about the film in the months since. Miller’s contract with DC was said to expire in May, at which point the actor would either have to renegotiate his deal or part ways with the role of the Flash – not something that seemed likely, considering that Miller claimed to be deeply committed to making sure the movie happened. Well, May came and went, and there was still no word about what Miller was up to: had he submitted his script, against the wishes of his own directors, John Francis Daley and Jonathan Goldstein? Had they persuaded him to abandon his idea and end his partnership with Morrison? Did Miller’s expire? Is he still playing the Flash? Is the Flash even still happening?

The story is still very patchy and incomplete, and there’s obviously a lot of stuff going on behind the scenes: because now, according to one vague sentence in a brief piece on Miller’s gender-fluidity by Variety, Miller “will get his DC Universe stand alone film as soon as he wraps up his work on the “Harry Potter” spinoff series “Fantastic Beasts”.

So…um, I guess he’s still onboard?

What’s not clear is whether Miller’s script – a darker take on the source material than that being used by his directors – has been adopted for the film, or whether the actor has been forced back in line. It would seem that he’s renegotiated his deal, at the very least. And it looks like The Flash is still happening? Unfortunately, it’s clearly not happening anytime soon: Miller’s responsibility to the Fantastic Beasts franchise will probably keep him occupied through most of early 2020, as he shoots Fantastic Beasts 3.

The article, though, doesn’t say Fantastic Beasts 3 – it refers to the entire Fantastic Beasts franchise, which gives me some reason to worry. Now, it could mean one of three things: (a) the article is simply worded oddly: Variety is usually reliable, but they did also reference an upcoming Justice League sequel in an article not too long ago about Ben Affleck – needless to say, there is no upcoming Justice League sequel and never has been. (b) the article is being literal, and implies that Miller will have to finish filming the last three Fantastic Beasts movies before he can move on to playing the Flash, in which case we’re going to have to wait a very long time for that movie, or (c), the most dreadful possibility, the article is being literal, and Fantastic Beasts 3 is indeed the end of the franchise: unfortunately, it’s not out of the realm of possibility, with the way that the second film in the series, The Crimes of Grindelwald, drastically underperformed at the box-office, and failed to resonate with critics or audiences.

I’m really hoping that it means nothing, and just boils down to a faulty editor or a careless writer.

But whatever it means for the Wizarding World, it looks like Miller’s future with the DCEU is…safe, I guess? He hasn’t been publicly let go, at least. Whatever is going on with the script behind the scenes, it looks like the Flash is still making his way…slowly…to the big screen.

Ezra Miller’s New “Flash” Script

It’s been common knowledge for months now that Warner Brothers is still working out what to do with the DCEU. They’ve experienced a pretty uneven string of hits, mild successes, and epic fails – from the peak of their creative genius, Wonder Woman, to the disastrous Justice League. But last year’s Aquaman proved to be a billion-dollar hurricane at the box-office, and paved the way for a new take on the DCEU – one that is light-hearted, cheesy, over-the-top, and…well, still completely discombobulated. The emphasis now was on making DC movies stand-alone adventures, without trying to tie them into some bigger universe. Gone was the grim-faced Henry Cavill; gone was the dour Ben Affleck; gone was Geoff Johns, the man behind Justice League: gone was the dark and serious tone of the prior DC movies.

And then, today, we learn that Ezra Miller is making one last effort to try and stop DC from going down this path.

Ezra Miller, the actor who has portrayed The Flash in Justice League and Batman vs Superman, is set to star in an origin movie titled The Flash, which should start production later this year. Just the other day, however, we got news that Miller is taking it upon himself to completely rewrite the script for the movie.

Yes, Miller has enlisted the help of author Grant Morrison, and is going against the wishes of Flash writers John Francis Daley and Jonathan Goldstein, who currently have a very light-hearted, funny script written for the film, in keeping with Warner Brothers’ new approach to making DC movies. Miller, on the other hand, is writing a much darker, more serious screenplay, and is actually showing incredible bravery in doing so: the official writers don’t seem to be backing this idea, and Miller’s future in the DCEU could be at stake. His script could be submitted as early as next week, which means we will soon learn if a new Flash is coming onboard, and Ezra Miller will be joining the lengthy list of cast and crew members kicked out from the DC franchise.

My feelings are quite conflicted: I do not like this new approach to DC movies, where they all have to be completely stand-alone and ridiculously comical. It works for one or two, like Aquaman, but characters like Wonder Woman would not, in my opinion, benefit from a more humorous approach, and the Flash, even though we’ve only seen him as a funny character, certainly has the capability to be more serious. Ezra Miller has done a great job as the dark and brooding Credence Barebone in the Fantastic Beasts franchise, and I wouldn’t be surprised if that’s what’s inspired him to rewrite the script – to complement his own expanding talents as much as to help out the DCEU.

So what will happen? I have an uneasy feeling that Ezra Miller’s script probably won’t ever see the light of day, and the Flash will be recast. But maybe…just maybe…there’s a chance that Miller’s script is too good to pass up on, and the movie will end up being a more serious installment in the DCEU. Maybe Miller can initiate a new tonal style for DC movies, who knows? Despite what Warner Brothers likes to claim, none of their “serious” films were all that serious, except Wonder Woman, so this would be a great opportunity to expand the brand.

We should find out next week.