All Defiant on the Western Front in Wonder Woman

Early on in Patty Jenkins’ confident and electrifying big-screen Wonder Woman epic, after getting rescued by the film’s hero (a robust yet appealingly vulnerable Gal Gadot), our guy in distress (a somewhat charming gritty Ken Doll with a sense of humor, Chris Pine) upon being asked about how he stacks up to other men says, “I’m above average.” In some ways, that’s the best way to describe Wonder Woman in comparison to every other superhero movie. It’s above average. But to leave it at that would be deny the film’s subversive charms and contextual place in the pantheon of fantasy films as mirrors into the audience’s psyche.

Let’s not dismiss, however, just how fun it is to simply watch an above average film in this over-saturated genre. Jenkins and her crew show great creativity and tactical savviness in their treatment of all the genre clichés while choosing a relaxed and serialized pacing in the action, following each big set piece with moments of more intimate drama and character development (witness celebratory Belgian villagers and our heroes dancing in the streets in the evening snowfall that seems ripped from a great war-time romance).

The film’s inherently silly exposition (routed in Greek myth) is made palpable thanks to beautifully rendered Renaissance-style paintings of Greco-Roman fantasy come to life – smartly linking the lore and art of old with modern comic book pages and colorful cells flipped through feverishly by childhood’s fingers. Playful camera angles bring to life a rousing aeronautical flyover of an exploding enemy bunker and battle horses and motorcycles racing through war-torn woods, while slo-mo is used judiciously when warranted and not just for the sense of style. Continue reading

Immortals Beloved

Tarsem goes mad Renaissance on them Greeks, yo!

The above image appears in the final moments of Tarsem “Is it okay to call you Singh now?” Singh’s operatic and opulent visual feast and “Ode to a Grecian Urn” fantasia film that is Immortals.  It’s an image a young boy conjures when he closes his eyes and imagines the Titans and the Gods duking it out in the clouds above, and it’s a magical cinematic moment you’ll wish there was more of in Immortals.  When the visionary director focuses on the visions – like an earlier scene where the beautiful Oracle Phaedra (Freida Pinto) first touches our hero Theseus (an appropriately Superman ready Henry Cavill) and is set into a literal 3D tizzy of finely crafted and overt symbolism – it’s enough to make you thank the cinematic gods for Tarsem…almost. Continue reading