So… Wonder Woman is out. I volunteered to review it. Holy Heck, How do you review a film like Wonder Woman?
So recently I got an opportunity to catch director Guy Ritchie’s King Arthur: Legend of the Sword which stars Charlie Hunnam as The Once and Future King. The film can best be summed up as Camelocked Stocked and Two Smoking Barrels.
I watch, I drink, I spit hot fire. Yup, you guessed it, spoilers ahead.
Colossal checked off a lot of boxes for what I would theoretically enjoy in a movie. Directed by Nacho Vigalondo, it is often funny, surprisingly dark, and an inventive new take on kaiju movies. I like all those things. The lead, Gloria, is easy to root for as played by star Anne Hathaway. And Jason Sudeikis impresses as Gloria’s friend and eventual foil, Oscar. For about half of the movie, I found this all very enjoyable.
2017 is simply not here for the Marvel Cinematic Universe.
First there was epic debacle known as #IronCyst.
Now the shark has substantially been jumped with Guardians of the Galaxy Vol. 2.
The “Whitelash” theory of Trump’s super-embarrassing slide into the presidency (well, we never claimed the U.S. wasn’t anti-intellectual, did we?) has the still-ascendant, but demographically shrinking and culturally stagnating white/cis-het/male contingent (helped substantially by their female counterparts) striking back at the diversity of Obama’s America by electing a crypto-white-supremacist in response to his racist and xenophobic dog whistles. Although not the only compelling narrative of the last year and a half, Trump’s Whitelash has enough truth to it to make it into at least a Ronald-Takaki-authored history book, if not a textbook from Texas.
Meanwhile, pop culture may be lashing in the opposite direction — and, in fact, contributing to the panic. Whereas the last Academy Awards shows of Obama’s presidency featured a field of winners that rivaled a wedding-dress-clad polar bear fainting on an iceberg for whiteness, it is President Trump’s first Oscars that saw the Academy — now led by a black woman — crowning its first African-American-made Best Picture. The last season of tv was the most diverse in history, and we don’t need numbers or stats to know this. And even the debate around diversity failures points to how far we’ve come, and how aware of the changing nature of American culture the mainstream has become.
So it’s not much of a stretch to see Logan, clearly the end of a franchise, as the gentle, mournful and mourning, Hollywood-sanctioned version of conservative white panic.
Originally posted at Black Girl Nerds
All that is lacking in substance is made up for with gorgeous imagery in a Zhang Yimou’s new and pointless film, The Great Wall. Whomever his set people are, give them all the awards because they bring their A-game when it comes to costume and set design. But I digress.
I’m not sure what I expected, but I certainly wasn’t expecting the Silk Road version of Edge of Tomorrow featuring giant Komodo Dragons. Shouldn’t a larger budget allow more time to work on perfecting the CGI? How many Adobe-editing programs did they use to get these monsters to look as fake and silly as they do? Zhang Yimou should stick to martial arts dramas because he is out of his element with The Great Wall.
This film could best be described as Katniss Everdeen In Space. While this prequel is light years (and a galaxy far away) of an improvement over the New Hope reboot aka The Force Awakens, it is not the second coming of Christ fanboys are making it out to be.
Katniss Everdeen in Space is not so much a good movie as it is a good Star Wars movie by Star Wars standards.
Doctor Strange, directed by Scott Derrickson (Sinister), tells the story of Stephen Strange (Benedict Cumberbatch), a gifted neurosurgeon who is wrapped up in his own vanity. After karma executes Stephen’s fate he suffers irreversible damage to his hands, destroying his valued medical career. His desperate search for physical healing takes him to the Far East to a place called Kamar-Taj. There he meets the “Ancient One,” (Tilda Swinton) a mystical witch with undisputed power, and Baron Mordor (Chewitel Ejiofor) one of the chief masters of the Kamar-Taj temple. Strange believes the Ancient One is the key to healing his hands and returning back to the medical field. Little does he know he is smack in the middle of a war between good and evil. His visit to Kamar-Taj will be a turning point for Stephen Strange. He chooses to learn the ways of the arts but isn’t sure if this magical war is a good fit for him.
Six months and change after the release of its first trailer — and therefore about the same amount of time since co-writer C. Robert Cargill’s infamous “[t]he social justice warriors were going to get mad at us for something this week” rebuttal to Asian American critics of the film’s whitewashing — the initial reviews are in for Doctor Strange, and they’re not encouraging.
Oh, the movie? Actually, the critics seem to like it just fine. Being The Nerds of Color, however, we’re interested in looking at a different metric. Doctor Strange’s whitewashing of primary character The Ancient One was, after all, one of the driving forces behind the hashtag and rallying cry #whitewashedOUT in May.
So no, this isn’t a review of Doctor Strange the film, but a review of the reviews of the film, using a simple standard: how accurately and humanely did each review portray Asian American dissent over the whitewashing of The Ancient One?
Nate Parker stars in the Nat Turner biopic film, Birth of a Nation. While most true story adaptations include a few embellishments, don’t go into this expecting anything remotely accurate. After having done some research, very little of what is presented in this film can be found as historical fact. What Parker has created is a sloppy, amateurish, slavery pain-porn film, rife with Christianity overkill. It’s a mockumentary of Nat Turner’s legacy and tries to trick its audience into thinking this is an actual part of history.