*MOVIE RECAP: ZACK SNYDER’S JUSTICE LEAGUE (SNYDER CUT)

There is this unique pleasure for movie nerds like myself to watch a director’s cut of a movie — you know, watching a movie as originally intended to be seen.

My measuring stick determining how good a movie or a TV show is — has always been based on how memorable or unmemorable the movie or show ends up being.

Having said that, by my own personal metric, the theatrical cut of Justice League directed by Josh Whedon, or also known as the Whedon cut, was not a memorable movie. It was way over the top, cheesy, and unfocused in terms of storytelling, with plot holes all over the place. Nevertheless, the Whedon cut wasn’t as awful as most fans have expressed; it was actually pretty watchable and, at times, somewhat entertaining, but it was far from what it was expected from this ensemble cast of superheroes. It was very forgettable, to say the least.

I blame the studio for this meh version of the Justice League. First, they jumped the gun and rushed to make their own version of an Avengers type of movie. And, unfortunately, it was way too soon — Because they were still introducing and developing movies featuring the characters that make up the core team of the Justice League members.

Everybody reading this blog probably knows by now that Zack Snyder had to drop out of Justice League in the middle of the shooting of this movie due to a family tragedy. Josh Whedon stepped in, and the rest of the story lives on perpetually in motion picture infamy.

The controversy between the two versions of this movie prompted an online campaign to release the director’s cut, or the Snyder cut as it is now officially known.

There are people out there who are disgusted by the fandom for pushing Warner bros. hard to release the Snyder Cut. Calling these hardcore fans toxic and such. However, I don’t see it this way; Fans should absolutely have a say in how things are being presented and sold to them. We, the fans, spend our money on movies, toys, merchandise, and all kinds of media entertainment products. Mediocrity will not be easily accepted anymore. This is a lesson for movie studios to pay close attention and to learn from all the outrage this Whedon Cut created.

This version is 4 hours long; I watched the whole thing in 2 seatings — and I was very much engaged in it throughout the 4 hours. It is more than a Director’s cut; it is an entirely different movie. It is leaps and bounds better than the theatrical cut. I think this version could’ve worked in theaters as a two-part movie, just like the Avengers two-parts Infinity war and Endgame movies.

Although my comic book knowledge of the DC Extended Universe is far from being encyclopedic, this movie is the best and the closest thing you will ever get to a superhero comic book slash graphic novel on film. Sin City (2005), 300 (2006), and Watchmen (2009) are my favorite graphic novels adapted into films. Coincidentally, Zack Snyder directed both 300 and Watchmen. I have some issues with 300, but for the most part, I thought Watchmen was actually a pretty damn good adaptation (except for changing the ending from the graphic novel).

This Snyder Cut has epic vibes to it — the CGI looks clean and pretty. It is beautifully shot, a gorgeous movie to watch. And, it is darker, grittier than anything Marvel has released. Dark superhero stories are what I like to see.

Here are the main differences from the theatrical version:

Aquaman is way more involved in the story, and his character has Godlike vibes here, similar to the way Thor was presented in the Marvel universe.

The cyborg plotline here is another vast improvement from the Whedon Cut. Unlike the theatrical version, Cyborg here is an integral part of this movie. We got to see how Cyborg is a God amongst men in terms of his powers and how those powers are unique within the modern technological world.

The Flash is more compelling here and funnier. But I still don’t know much about him and his powers. So I’m looking forward to The Flash stand-alone movie.

Superman kicked ass. I loved seeing this version of angry, pissed-off Superman — and the black suit made things even more extraordinary.

Wonder Woman is also better here than in the theatrical cut; she is presented as an old God in terms of her level of strength and power. But there is zero continuity with the events of Wonder Woman 84. I have no clue how they are planning to make WW84 fit into the larger scope of things.

We get a much better version of Batman and Bruce Wayne. This is the version of Batman the fandom wanted to see or close enough to it. The nightmare scene between Batman and the Joker was incredible. — it teased us on what happened with Robin (it seems like Joker killed Robin). This version of Jared Leto’s Joker was impressive.

We finally get to see Darkseid and how powerful, menacing, and evil he really is. The fighting sequence between the old heroes and gods against Darkseid was terrific. Watching Zeus, Artemis, Ares, King Arthur, and even a Green Lantern in battle was fucking awesome.

The whole premise of the Mother Boxes was better presented. There was also more depth to Steppenwolf. Introducing Granny Goodness on film was an outstanding idea. Let’s remember that both Darkseid and Granny Goodness were original Jack Kirby creations.

The Snyder Cut was an excellent movie-watching experience. I was fine the 4 hours; it didn’t feel like it dragged too long. I think the 4 hours were just about right to move the story forward for the sake of storytelling and character development. This type of long format should be the standard from now on — Maybe even breaking them down in parts might be the way to go. It just feels like it is meant to be consumed that way.

Zack Snyder has pulled off something awe-inspiring here. As movie and superhero fans, we are fortunate to have seen a 4 hour never before seen version of all these unique comic book characters. The next online fan campaign should be for Warner to restore the Snyder verse.

Five out of Five Popcorn Bags 🍿🍿🍿🍿🍿

Zack Snyder’s Justice League (2021). Streaming on HBO MAX.

*MOVIE RECAP: MORTAL KOMBAT

It is hard to believe that it has been 28 years since the first time I played Mortal Kombat, the arcade game at an actual Arcade Center — Man, where the hell have the years gone?

I can still clearly remember how my friends and I would religiously meet up after school at my local neighborhood arcade center for a chance to play this groundbreaking video game. The ridiculous violence of the game was incredible; the blood, the gore — the fatalities. There was nothing quite like this game before 1993, and video game-playing kids from my generation were utterly mesmerized, to say the least. I loved playing Mortal kombat at the Arcade, I wasn’t good at it as my friends, but I still loved playing it.

Hollywood has never been good at adapting video games into movies. The first film adaptation of this game, Mortal Kombat: Annihilation (1997), was cheesy as fuck and almost unwatchable. The video game adaptation of the other 90s sensational fighting Arcade game, Street Fighter (1994), was also a god-awful mess of a movie. Another clear example was the adaptation of Super Mario Bros (1993). The 90s were pretty rough for video game adaptations.

Notwithstanding, I came to this 2021 Mortal Kombat reboot completely open-minded. Still, my expectations were pretty low. 

Mortal Kombat 2021 is not all bad; many things worked well for me, and a few things did not. The opening scene slash fight sequence between Sub-Zero and Hanzo is terrific. I assume that this movie is supposed to be an origins story based on the original characters from the Arcade game, while at the same time adding new characters to the franchise like Cole Young (Lewis Tan).

The premise is pretty absurd and unclear. The main plotline here is that Earth’s greatest champions made up of mercenaries, martial artists, and super-powered fighters, have to fight Earthrealm’s supernatural enemies from the Outer world realm. The tournament rules are never clear, and the actual tournament never really takes place — the whole thing seems confusing.

There is this mysterious Dragon marking on the bodies of random people who are chosen to represent Earth against the supernatural warriors of the netherworld. If they have this Dragon mark on their body, they have to be recruited and trained to fight for Earth.

And while in their training sessions, these chosen warriors are supposed to unlock their unique superpowers and abilities. This Dragon marking concept is a new thing; this idea did not come from the video game.

The movie is a lot more enjoyable if you are already familiar with the characters. The casting is pretty solid, Lord Raiden (Tadanobu Asano), Jax (Mehcad Brooks), Sonya Blade (Jessica McNamee), Kano (Josh Lawson), Liu Kang (Ludi Lin), Kung Lao (Max Huang), and Shang Tsung (Chin Han) are all excellent.

All the original characters from the game are back except for Johnny Cage. Spoiler alert! A poster with Johnny Cage’s name shows up at the end of the movie. I assume he will be in the Sequel; if there is a sequel — there should be a sequel.

Sub-zero (Joe Taslim) was fantastic, and so was Hanzo Hasashi/ Scorpion (Hiroyuki Sanada); their fight scenes are awesome. The video game references like Scorpio’s “Get Over Here” phrase is fan service at its best. It is never really explained why Hanzo choose the new name slash new persona of Scorpio. This should be addressed in the next movie.

Also, the killing of crucial characters was weird and felt somewhat convoluted in terms of those characters possibly returning from the dead in future films. The killing of rogue mercenary Kano was unexpected — He lit up the screen in every scene he was in. And although Kano seemed to be used primarily for comic relief, his character was one of the highlights of this movie.

The same thing goes for the characters of Mileena and Liu Kang, they are fan favorites, and they felt wasted here. There was way too much time spent on the new character Cole Young. He was an uninspiring and underdeveloped character — Cole was by far the most uninteresting character here.

We still don’t know what set of rules we are dealing with, or if there are any, and how those rules can determine the return from the dead of the characters already killed off. Hanzo came back from the dead, so I have to assume other warriors will follow.

This movie packs lots of things and storylines — those things feel forced and awkward at times. This reboot was supposed to be the launching point for a new franchise and series of movies. However, the nostalgic connection to these characters worked best for me; if it weren’t for the fond memories surrounding this game, I probably would not have enjoyed this reboot as much as I did.

Two out of Five Popcorn Bags 🍿🍿

Mortal Kombat (2021.

*MOVIE RECAP: THE UNITED STATES VS BILLIE HOLIDAY

At first glance, this movie had the makings of a powerful story — sadly, it did not live up to my expectations. 

The United States vs. Billie Holiday takes its name straight out of the US government’s prosecution case of Billie Holiday, and it is based on the 2012 non-fiction book Chasing the Scream: The First and Last days of the War on Drugs by Johann Hari.

Decades have passed since Billie Holiday’s death. Yet, it seems like we still do not have a complete grasp and understanding of how important and influential she was in our culture, not just musically but also on civil rights activism. She died when she was only 44 years old. Suffering indignity after indignity and humiliated by her own government, handcuffed to a hospital bed as she was dying. 

At the center of the story, there is the song Strange Fruit. The song became controversial in the late 30s and 40s for being a protest song to the lynching of Black Americans, and it is considered to be the launching point in the awakening of the civil rights movement. The song drew the attention of the US government, most notably, the attention of a government agent and known racist Harry J. Anslinger (Garrett Hedlund), who was the first US official to declare war on drugs; targeting minorities and artists. Demonizing blacks and Jazz musicians as drug users and bad influences on the so-called authentic American culture.

Anslinger was the first commissioner of the Federal Bureau of Narcotics and launched what has become known as the original version of the US war on drugs in the early part of the 20th century. One of Anslinger’s initial targets was Billie Holiday. He was obsessed with taking Billie Holiday down, primarily for her activism and defiance — but also as a symbolic gesture to any other potential civil rights activists out there. 

They used every tool at their disposal to destroy her life and career. They tried to censor her in multiple ways, even went as far as to block and deny her a cabaret license, which was crucial for performers; they needed a cabaret permit to perform at live music venues in those days. 

In this movie, we see how Aisnlinger assigns an undercover agent to infiltrate Billie Holiday’s inner circle to report and keep tabs on her. This undercover agent, Jimmy Fletcher (Trevante Rhodes), becomes emotionally and romantically involved with Holiday.

The weird thing is that apart from Johann Hari’s book, there isn’t much verifiable evidence about this love affair between Billie Holiday and Jimmy Fletcher — and there seems to be an evident exaggeration of this story by this movie’s director Lee Daniels.

Andra Day is outstanding here; she Portrays Billie Holiday convincingly. Still, the highlight of this movie for me was the soundtrack along with Andra Day’s performance of Billie Holiday’s music. She actually sings all the songs herself and captures the essence of Billie Holiday’s signature sound.

The United States vs. Billie Holiday is a movie that comes across as messy, cluttered, and all over the place. There is way too much focus on the romance between Fletcher and Holiday. Their love affair gets in the way of the story a bit. I wanted to see more about Holiday and her band members and the relationship dynamics between them. There was a powerful story here to be told. Unfortunately, this movie missed a huge opportunity to convey the core story of Billie Holiday’s life and struggles. And on top of all that, it also wasted away Andra Day’s top-notch performance.

Three out of Five Popcorn Bags 🍿🍿🍿

The United States vs. Billie Holiday (2020).

*MOVIE RECAP: ONE NIGHT IN MIAMI

It took a while for me to process this film properly, especially amid all the fantastic and well-made socially conscious films that came out between late 2020 and early 2021. Movies like The Trial of the Chicago 7, Judas and the Black Messiah, Ma Rainey’s Black Bottom, the USA vs. Billie Holiday, Nomadland, and Da 5 Bloods — all of those films had a powerful and enduring social message to deliver.

One Night in Miami is based on a 2013 stage play of the same name by Kemp Powers, who also wrote the screenplay for this film version. Regina King shines as director here, making her directorial debut — And at first glance, I got the sense that this wasn’t her first film as a director — An impressive achievement by Regina King.

The story is set in February of 1964, the same night that Cassius Clay defeated Sonny Liston for the world heavyweight championship. Cassius Clay had not yet changed his name to Muhammad Ali, and the movie takes place when he was about to join the Nation of Islam. Malcolm X invites Jim Brown, Sam Cooke, and Cassius Clay to join him in his hotel room to celebrate the victory of the new world champ. It is a fictional account of a one-night gathering of all these 1960’s pop-culture icons.

Throughout the evening, the gathering turns into a discussion of politics, life decisions, identity, and empowerment—their unique role in pop culture and the line between celebrity and social responsibility.

We get to see how all of the things that took place throughout these men’s lives have led them to this particular night. And how their lives changed in the immediate aftermath of this evening together.

The performances are excellent; all of these historical personalities feel human and real. Kinglsey Ben-Adir (Malcolm X), Eli Goree (Cassius Clay), Aldis Hodge (Jim Brown), and Leslie Odom Jr. (Sam Cooke); all provide an equal voice to each character, giving their singular take and perspective on things. All of these performances are intensely captivating.

One of my highlights from this movie was the powerful flashback scene between Jim Brown and Mr. Carlton (Beau Bridges). The location is set on Mr. Carlton’s Plantation style house — We get to see Jim Brown visiting his hometown and Mr. Carlton’s home. It seems like both of their families go way back. During their conversion at the front porch, Mr. Carlton tells Jim Brown that he’ll do anything for him except allow him to set foot inside his house because of his race. This scene was taken straight out of Jim Brown’s autobiography.

Another highlight for me was the scene where Malcolm X challenges Sam Cooke for his lack of acknowledgment of social issues in his music. Malcolm brings up Bod Dylan as an example — a white musician making socially conscious music. Malcolm and Cooke have some intense scenes together; however, Sam Cooke’s performance of the song “A Change is Gonna Come” on Johnny Carson’s Tonight show, as Malcolm X watches him perform the song, was profoundly moving.

I wanted to see more of the relationship between Cassius Clay and Angelo Dundee (Michael Imperioli). I think the film could have benefited from adding more of their relationship dynamic.

One Night In Miami is a fascinating, well-made film. It doesn’t feel confined like most stage adaptations feel like. It is an essential and relevant movie; It deals head-on with issues of racial divisions in the US and how those issues intersect between culture, politics, sports, and entertainment. It is unfortunate how relevant the issues and ideas raised in this film are today.

Four out of Five Popcorn Bags 🍿🍿🍿🍿

One Night in Miami (2020).

*MOVIE RECAP: COMING 2 AMERICA

Ok, sad to say this but Coming 2 America sucks ass — It is a terrible sequel, and it failed to live up to the greatness of the original Coming to America movie (1988).

First of all, Coming to America is a classic comedy; if it’s on TV when I’m browsing through channels, I always stop and watch it, regardless of how deep in the story the movie might be on. The original was rated R, and this sequel is PG-13, a major red flag right off the get-go.

Our old friend Prince Akeem (Eddie Murphy) from the fictional African kingdom of Zamunda is now king, and Lisa (Shari Headley) is the Queen; they have three young daughters. The central plot conflict here is that their marriage has not given them a male heir, which tradition dictates that only a male heir can lay claim to the throne of Zamunda.

Warlord General Izzy (Wesley Snipes) from a neighboring nation wants to marry his son with one of Akeem’s daughters to unite both kingdoms, bring peace, and avoid war. Obviously, King Akeem, Queen Lisa, and their daughters are opposed to this idea.

Akeem discovers that he has a son living in New York from a wild one-night stand during Akeem’s first visit to New York City. So now, presented with this new fact, Akeem decides to return to Queens in search of his long-lost son and convince him to take his rightful place as the future ruler of Zamunda.

Returning to NY, Akeem tracks down his illegitimate son Lavelle (Jermaine Fowler) and convinces him to move to Zamunda. But first, Lavelle will need to go through a training and learning process before establishing him as the future heir to the throne.

From this point on, whatever little promise this movie initially showed goes completely over a cliff.

Akeem becomes just another character here. The premise of this sequel entirely undoes Akeem’s journey of self-discovery from the original movie. Prince Akeem discovered something about himself through his 1988 journey while living and working in New York City, which he seemed to utterly forget 33 years later. His trip to America was also fun and hilarious, with the whole fish out of water angle. He was so unaware of the real world, hell-bent on finding his future wife in Queens. King Akeem spends almost no time in Queens or in NYC, which contradicts this sequel’s title. Maybe they should’ve just called this movie “Zamunda” or “Coming to Zamunda” instead of Coming 2 America.

I wanted to see a lot more of Semmi (Arsenio Hall), and we don’t really get much of him this time around. Wesley Snipes is hilarious; there is a level of Pageantry to his performance — I can tell he was having a blast with this role. Plus, the chemistry between Murphy and Snipes is excellent, probably my favorite thing from this movie.

Jermaine Fowler needed more time to develop his Lavelle character, similar to how Akeem was developed in the original film. Also, Leslie Jones and Tracy Morgan are annoying as fuck, especially with what they are given to work within their characters.

This next generation of Zamunda rulers was also poorly developed. And the jokes delivered by the new cast members don’t hit at all and fall flat…. I think I laughed once and chuckled a few times throughout the whole thing.

Nevertheless, the throwbacks to the original film are pretty cool. Watching John Amos, James Earl Jones, and Louie Anderson return was pure nostalgic awesomeness. I wished Eriq La Salle (Darryl) and Allison Dean (Patrice) had returned in some capacity.

It was great seeing the Barbershop guys back, you know, the old characters played by Arsenio Hall and Eddie Murphy. Although, it is hard to believe that those guys could still look the same as they did in ’88 or even be alive 33 years later. But hey, sometimes you have to suspend disbelief and go along for the sake of mindless entertainment.

Now, here is the potentially redeeming storyline if this coming to America franchise continues—so hear me out.

Colin Jost shows up early in this movie, playing Mr. Duke, a direct relative of the Duke Brothers from Eddie Murphy’s first film, Trading Places (1983). The Duke Brothers (Don Ameche & Ralph Bellamy) had an important cameo in Coming to America, which brilliantly ended up linking the Trading Places slash Coming to America universes together. And, if they continue to build upon this connection, therein lies the makings of a potential reboot of those two movie universes. Get Dan Akroyd, Jamie Lee Curtis, and Eddie Murphy on board, and here we go.

Despite taking 33 years to make this sequel, Coming 2 America is a sequel that we did not really need or wanted but expected to be better. It simply does not have the long-lasting comedic effect that the original 1988 movie had. Look, there is absolutely nothing wrong with a shameless exercise of fan service. Hell, I even welcome those types of movies from time to time. However, this movie just did not quite work for me. It is definitely a more family-friendly movie. But still, it comes off as lazy, unfunny, and not as edgy as the original.

One out of Five Popcorn Bags 🍿

Coming 2 America (2020).

*MOVIE RECAP: DOLEMITE

This is one of those movies that always seem to end up getting buried in algorithm purgatory. If you missed it when it was initially released, you have to search for it on Netflix’s endless catalog of original content. If it were a non-streaming release, it would probably be in constant rotation on cable TV.

Dolemite was a character created by standup performer Rudy Ray Moore back in the mid-70s. He performed as this Dolemite character during his standup routines, becoming a popular underground comedy act, and he eventually made comedy records as this character. All of those Dolemite LPs became bestselling comedy albums, reaching the bestselling charts.

Dolemite has been cited as a source of influence for many hip-hop artists that came out of the 80’s and 90s rap scene (Snoop Dog has credited Dolemite as his most significant influence).

During the blaxploitation era, Rudy Ray Moore made and acted in a bunch of blaxploitation films. However, his Dolemite character became his most iconic role.

Eddie Murphy is superb here playing Moore. He brilliantly captures the essence of this middle-aged performer who is still figuring things out as an artist and will not stop chasing his dream of being a star at this late stage of his life.

Wesley Snipes is excellent playing D’urville Smith, the director of the first Dolemite movie, who was never really sold on the concept of Dolemite but seized the opportunity of directing this movie as a springboard into other jobs. D’urville Smith was an actor best known for playing Diego, the elevator man on Rosemary’s Baby — I’m glad to see Wesley Snipes back on top form here.

Dolemite was Directed by Craig Brewer (Hustle & Flow), who also directed Murphy and Snipes in the sequel to Coming to America. Seasoned screenwriters Scott Alexander and Larry Karaszewski wrote this movie; They are a screenwriting team that has made a name for themselves, writing biopics like Ed Wood, Man on the Moon, and The People vs. Larry Flint.

Dolemite is My Name is a very inspiring movie; Rudy Ray Moore teaches us that it is never too late to pursue your dreams. You get the sense watching this film that everybody involved in the making of this movie treated this story with much respect, appreciation, and reverence. It should be on everyone’s watchlist.

Four out of Five Popcorn Bags 🍿🍿🍿🍿

DOLEMITE (2019). Streaming on Netflix

*MOVIE RECAP: GODZILLA VS KONG

As much as the old adage “don’t judge a book by its cover” might be valid for appraising works of literature, it’s downright true with this movie. The movie title says it all; it is all about two giant monsters punching and kicking each other into oblivion.

Godzilla vs. Kong is the fourth and latest installment in the cinematic MonsterVerse series. The first movie in this monster series was Godzilla (2014), which was a pretty good movie directed by the exceptional Gareth Edwards.

The second entry into this shared universe was Kong: Skull Island (2017), a highly entertaining, fun, and at times, pretty compelling movie. I had a good time watching this 2017 version of King Kong.

The third movie was Godzilla: King of the Monsters (2019). This movie had a lot of stuff to unpack. It wasn’t bad at all; I actually enjoyed it quite a bit. The whole concept of the Titans as the original and rightful rulers of the planet was awesome. The plot twist about Monster Zero as an invasive species, an alien creature not meant to be on Earth, was brilliant.

Sadly, Godzilla vs. Kong is not as memorable as the previous three Monsterverse movies. The storyline or plot (if you can call it a plot) centers around Getting Kong to his original homeland, which is supposed to be somewhere deep within the Hollow Earth. We learned that there is supposed to be some type of ancient historic rivalry between Godzilla’s ancestors and Kong’s ancestors.

We have the Apex corporation, a shady biotech company keeping Kong in a containment dome type of structure that resembles Skull Island. This sinister biotech company is using the skeleton remains of Ghidorah from Godzilla: King of the Monsters to engineer a monster of their own to challenge and kill Godzilla.

The human character component is pretty weak here. Despite the impressive casting, the characters are all poorly developed. Except for Jia (Kaylee Hottle), she is the last remaining member of the now-extinct Iwi people from skull island. She is deaf and communicates with Kong through sign language; her relationship with King Kong was the most interesting part of this movie.

The Hollow Earth concept is a fascinating idea. Watching how this myth is given such a prominent role in the storyline was interesting; however, this movie’s overall approach towards the Hollow Earth theory was beyond silly.

The only redemptive feature in this movie was the monster fight scenes; they were my favorite thing from the whole movie. Those scenes alone are worth watching this movie.

Godzilla vs. Kong is the less impressive movie out of all four MonsterVerse films. Nevertheless, this movie is a wild big-screen spectacle. The CGI, Sound effects, and all of the special effects are fantastic; the whole thing is meant to be enjoyed better on the big screen and IMAX. You have to suspend disbelief for however long this movie runs and let it take you along for a ridiculous action-packed ride.

Two out of Five Popcorn Bags 🍿🍿

Godzilla vs. Kong (2021).

*MOVIE RECAP: WONDER WOMAN 84

Wonder Woman 84 (WW84) has an exciting and very engaging start, and then at about the 45-minute mark, it collapses completely.

This sequel is way more cartoonish than the original 2017 movie, which was a fantastic movie, and I felt like it was a bit more grounded in realism than this movie. My only issue with the original film was Diana and Ares’s final battle scene — Everything else about it was terrific.

It has been roughly 60 years since the events of Wonder Woman 1 — we see Diana Prince (Gal Gadot) still heartbroken over the loss of Steve Trevor (Chris Pine); she lives a quiet life, maintaining a low profile, she dines alone. She seems envious of the couples she sees dining out. Diana works at the Smithsonian in Washington DC and lives in what appears to be the infamous Watergate building.

There is tons of cheesiness throughout this movie — some work, and some do not. The main villain here is a wishing stone; An ancient mystical stone that grants wishes but takes something away from you in return. An evil god of deception created this wishing stone — You wish for something, and it cost you something.

Diana uses this wishing stone to resurrect her old boyfriend Steve from the dead. However, Steve returns in the body of another person. This was pretty weird and problematic for many reasons, but I felt like they could have easily brought Steve back just as he was without the whole body snatcher thing.

Steve Trevor not being a more significant part of the plot here like he was in the original Wonder Woman was a bummer. Also, the White house fight scene was bizarre and ridiculous. The plot’s globetrotting parts are flimsy, and I was not too fond of all the Middle East scenes.

Nevertheless, there are some cool things I enjoyed. The 1980’s mall scene was fun and cool, although not as cool as the 1980s Stranger Things season 3 mall scenes, but close enough. The feel and vibe of Washington DC in the 1980s were very close to how the city felt and looked in those days. The overabundance and greed of the Reagan 80s were well depicted, but it was missing a bigger 80’s soundtrack to grasp the era better. Steve witnessing what the world has become and all the technological advances are some of the funniest moments in the entire movie.

In any case, apart from the whole resurrection weirdness, there are a bunch of continuity issues connecting this movie with the rest of the DC Extended Universe movies. The events here are not even referenced in any of the other DC Extended Universe movies, nor they seem to impact any of the storylines in Dawn of Justice or Justice League. Those two movies are supposed to be directly connected with Wonder Woman and her storyline.

And, of course, the Linda Carter cameo can not be understated. It was an exceptional moment in this movie.

Max Lord (Pedro Pascal) is a villain with very little villainy and malice in him — he is driven mainly by greed and desperation. Pascal’s performance is a bit over the top but excellent. I can tell that he was all in to make this character work. Max Lord is a failing businessman slash TV personality with tons of huckster charm. It is implied that he has been searching for the wishing stone for a long time.

Barbara Minerva (Kristen Wiig) is another interesting character with a compelling arc. She is a gemologist, newly employed at the Smithsonian. She dreams of being someone else, and then thanks to the wishing stone, she becomes someone else. My main issue with this character is that I felt like we needed more Barbara Minerva and less of Cheetah. Barbara’s transformation into Cheetah should have been hinted at by the end of the movie and then have her return in the next film as the main antagonist.

Anyhow, Kristen Wiig seemed to be having lots of fun playing this Barbara/Cheetah character. The chemistry between Barbara and Max is solid, and the scene where Barbara is jogging and is attacked was very entertaining.

Wonder Woman 84 delivers a message of compassion and empathy, I think. Diana shows us that it takes real strength to love your enemy and that the true meaning of bravery lies in your respect and compassion for life. I liked how the fight sequence between cheetah and wonder woman is primarily a verbal fight scene. Diana feels compassion for Barbara and wants her to come to her senses…. the scene paid off for me.

The same thing for Max — Diana understands Max’s pain; she reasons with him and connects with his humanity. They both share emotionally well-acted scenes, which felt satisfying or even more satisfying than the action scenes.

Wonder Woman 84 is a complicated and bold movie to watch. It brings an unapologetic message of forgiveness, empathy, and kindness to the audience. Still, it doesn’t become preachy in its delivery—it is a superhero movie where both villains get a chance to redeem themselves and just walk away. Multiple viewings are needed to grasp what this movie attempts to execute.

Three out of Five Popcorn Bags 🍿🍿🍿

WONDER WOMAN 1984 (2020).

*MOVIE RECAP: TOLKIEN

If all you want is just a simple, cliff notes version of Tolkien’s life and a brief understanding of his journey towards writing and developing The Hobbit and the Lord of the Rings trilogy, then this movie is your ticket.

Nicholas Hoult is solid here playing John Ronald Reuel Tolkien (J.R.R. Tolkien); Hoult delivers a strong performance, attempting to capture the early life and formative years of Tolkien. However, this movie falls somewhat flat for me. There was plenty of room to be daring with this biopic, but it felt like lazy storytelling.

Nevertheless, the performances by the entire cast are remarkable. Lilly Collins is excellent as Edith Bratt (Tolkien’s wife and muse), Derek Jacobi is a scene-stealer in every scene he is in, which is a good thing; I always enjoy watching him.

The performances by the four friends who together form the brotherhood called T.C.B.S. (Tea Club and Barrovian Society), which eventually will be called “the fellowship,” are outstanding. There is a pretty remarkable scene when a young Tolkien attends the opera with his future wife Edith to see Wagner’s Ring cycle, “one ring to rule them all.

All of those things were pretty cool, but this type of biopic deserves a more careful and deliberate approach, similar to how National Geographic is doing their “Genius” T.V. series, based on extraordinary figures of history. The first season was focused on Einstein and the second season on Picasso. Those two seasons were excellent, and maybe any future attempts to make another Tolkien biopic should be approached similarly.

Maybe, an eight to ten-episode T.V. series rather than a movie would’ve been more appropriate. I think it is virtually impossible to properly showcase and highlight specific aspects of Tolkien’s life and genius in a 112-minute film.

The whole thing felt like an origin story gone a bit lazy. Still, TOLKIEN is very entertaining and definitely worth watching. The performances end up rescuing this convoluted script.

Two out of Five Popcorn Bags 🍿🍿

TOLKIEN (2019).

*MOVIE RECAP: MA RAINEY’S BLACK BOTTOM

Every year, without exception, I look forward to Awards season — it is a special time for movie nerds like me. It is a solid, two-month stretch of movie watching and catching up with some of the best films of the year. But also, it is a time when I have the chance to watch some of the most incredible movie performances of the year.

2020 was unique from previous years in terms of movie releases and Award contenders — the global pandemic forced all Oscar hopefuls to be released simultaneously on both movie theaters and streaming services. I love this format, and frankly, I feel that this streaming option should become the norm from now on.

HBO, Netflix, Prime, and Hulu had some of the most compelling movies of 2020 in their streaming catalogs. But Netflix, I think, had the upper hand; The Trial of the Chicago 7MankDa 5 Bloods, and Ma Rainey’s Black Bottom were some of the most interesting and well-made movies of 2020. 

On top of all that, Chadwick Boseman’s final on-screen performances on Da 5 Bloods and Ma Rainey’s Black Bottom were nothing short of astounding; (both movies were Netflix productions). 

Ma Rainey’s Black Bottom is based on the 1982 play of the same name by August Wilson and beautifully directed by George C. Wolfe. Most of the movie takes place over a day — during a recording session in 1920s Chicago and all of the issues and conflicts that come to the surface throughout the recording session. 

Ma Rainey was known as the Mother of the Blues, and Viola Davis (Ma Rainey) delivers an incredible performance, capturing the essence and physicality of this real-life character. There are only a handful of photographs of Ma Rainey in existence; I think there is only a total of 7 pictures, from what I read somewhere. Viola Davis is simply brilliant here — her physical demeanor is central to the story. There is a specific kind of power in the way she walks and stands. She knows her worth and demands to be treated with respect while standing her ground no matter what.

Levee Green (Chadwick Boseman) is a trumpet player and the youngest member of Ma’s band. The conflict and the power struggles between Levee and Ma build up as the story moves along. Levee is looking to make his way in the world, but he refuses to play by the established rules. Boseman gives an exceptional final movie performance.

Top-notch performances by the rest of the cast. Most notably by the other three members of Ma’s band. Toledo (Glyn Turman), Cutler (Colman Domingo), and Slow Drag (Michael Potts) all shared unique life experiences, and their personal stories brought a particular sensibility to their characters.

Ma Rainey’s Black Bottom is a movie that feels like a stage play with lots of moving parts. Excellent performances all around, where race, social status, and music take center stage.

Four out of Five Popcorn Bags 🍿🍿🍿🍿

Ma Rainey’s Black Bottom (2020). Streaming on Netflix.