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2020 in Movies - My Top 30 Fave Movies (Part 3)

10. WOLFWALKERS – eleven years ago, Irish director Tomm Moore exploded onto the animated cinema scene with The Secret of Kells, a spellbinding feature debut which captivated audiences the world over and even garnered an Oscar nomination. Admittedly I didn’t actually even know about it until I discovered his work through his astonishing follow-up, Song of the Sea (another Academy Award nominee), in 2015, so when I finally caught it I was already a fan of Moore’s work. It’s been a similarly long wait for his third feature, but he’s genuinely pulled off a hat-trick, delivering a third flawless film in a row which OF COURSE means that his latest feature is, beyond a shadow of a doubt, my top animated feature of 2020. I could even be tempted to say it’s his best work to date … this is an ASTONISHING film, a work of such breath-taking, spell-binding beauty that I spent its entire hour and three-quarters glued to the screen, simple mesmerised by the wonder and majesty of this latest iteration of the characteristically stylised “Cartoon Saloon” look. It’s also liberally steeped in Moore’s trademark Celtic vibe and atmosphere, once again delving deep into his homeland’s rich and evocative cultural history and mythology while also bringing us something far more original and personal – this time the titular supernatural beings are magical near-human beings whose own subconscious can assume the form of very real wolves. Set in a particularly dark time in Irish history – namely 1650, when Oliver Cromwell was Lord Protector – the story follows Robyn (Honor Kneafsey, probably best known for the Christmas Prince films), the impetuous and spirited young daughter of English hunter Bill Goodfellowe (Sean Bean), brought in by the Protectorate to rid the city of Kilkenny of the wolves plaguing the area. One day fate intervenes and Robyn meets Mebh Og MacTire (The Girl at the End of the Garden‘s Eve Whittaker), a wild girl living in the woods, whose accidental bite gives her strange dreams in which she becomes a wolf – turns out Mebh is a wolfwalker, and now so is Robyn … every aspect of this film is an utter triumph for Moore and co, who have crafted a work of living, breathing cinematic art that’s easily the equal to (if not even better than) the best that Disney, Dreamworks or any of the other animation studios could create. Then there’s the excellent voice cast – Bean brings fatherly warmth and compassion to the role that belies his character’s intimidating size, while Kneafsey and Whittaker make for a sweet and sassy pair as they bond in spite of powerful cultural differences, and the masterful Simon McBurney (Harry Potter, Mission: Impossible – Rogue Nation, Tinker Tailor Soldier Spy) brings cool, understated menace to the role of Cromwell himself. This is a film with plenty of emotional heft to go with its marvels, and once again displays the welcome dark side which added particular spice to Moore’s previous films, but ultimately this is still a gentle and heartfelt work of wonder that makes for equally suitable viewing for children as for those who are still kids at heart – ultimately, then, this is another triumph for one of the most singularly original filmmakers working in animation today, and if Wolfwalkers doesn’t make it third time lucky come Oscars-time then there’s no justice in the world …

9. WONDER WOMAN 1984 – probably the biggest change for 2020 compared to pretty much all of the past decade is how different the fortunes of superhero cinema turned out to be. A year earlier the Marvel Cinematic Universe had dominated all, but the DC Extended Universe still got a good hit in with big surprise hit Shazam! Fast-forward to now and things are VERY different – DC suddenly came out in the lead, but only because Marvel’s intended heavy-hitters (two MCU movies, the first Venom sequel and potential hot-shit new franchise starter Morbius: the Living Vampire) found themselves continuously pushed back thanks to (back then) unforeseen circumstances which continue to shit all over our theatre-going slate for the immediate future. In the end DC’s only SERIOUS competition turned out to be NETFLIX … never mind, at least we got ONE big established superhero blockbuster into the cinemas before the end of the year that the whole family could enjoy, and who better to headline it than DC’s “newest” big screen megastar, Diana Prince? Back in 2017 Monster’s Ball director Patty Jenkins’ monumental DCEU standalone spectacularly realigned the trajectory of a cinematic franchise that was visibly flagging, redesigning the template for the series’ future which has since led to some (mostly) consistently impressive subsequent offerings. Needless to say it was a damn tough act to follow, but Jenkins and co-writers Geoff Johns (Arrow and The Flash) and David Callaham (The Expendables, Zombieland: Double Tap, future MCU entry Shang-Chi & the Legend of the Ten Rings) have risen to the challenge in fine style, delivering something which pretty much equals that spectacular franchise debut … as has Gal Gadot, who’s now OFFICIALLY made the role her own thanks to yet another showstopping and definitive performance as the unstoppable Amazonian goddess living amongst us. She’s older and wiser than in the first film, but still hasn’t lost that forthright honesty and wonderfully pure heart we’ve come to love ever since her introduction in Zack Snyder’s troublesome but ultimately underrated Batman V Superman: Dawn of Justice (yes, that’s right, I said it!), and Gadot’s clear, overwhelming commitment to the role continues to pay off magnificently as she once again proves that Diana is THE VERY BEST superhero in the DCEU cinematic pantheon. Although it takes place several decades after its predecessor, WW84 is, obviously, still very much a period piece, Jenkins and co this time perfectly capturing the sheer opulent and over-the-top tastelessness of the 1980s in all its big-haired, bad-suited, oversized shoulder-padded glory while telling a story that encapsulates the greedy excessiveness of the Reagan era, perfectly embodied in the film’s nominal villain, Max Lord (The Mandalorian himself, Pedro Pascal), a wishy-washy wannabe oil tycoon conman who chances upon a supercharged wish-rock and unleashes a devastating supernatural “monkey’s paw” upon the world. To say any more would give away a whole raft of spectacular twists and turns that deserve to be enjoyed good and cold, although they did spoil one major surprise in the trailer when they teased the return of Diana’s first love, Steve Trevor (Chris Pine) … needless to say this is another big blockbuster bursting with big characters, big action and BIG IDEAS, just what we’ve come to expect after Wonder Woman’s first triumphant big screen adventure. Interestingly, the film starts out feeling like it’s going to be a bubbly, light, frothy affair – after a particularly stunning all-action opening flashback to Diana’s childhood on Themyscira, the film proper kicks off with a bright and breezy atmosphere that feels a bit like the kind of Saturday morning cartoon action the consistently impressive set-pieces take such unfettered joy in parodying, but as the stakes are raised the tone grows darker and more emotionally potent, the storm clouds gathering for a spectacularly epic climax that, for once, doesn’t feel too overblown or weighed down by its visual effects, while the intelligent script has unfathomable hidden depths to it, making us think far more than these kinds of blockbusters usually do. It’s really great to see Chris Pine return since he was one of the best things about the first movie, and his lovably childlike wide-eyed wonder at this brave new world perfectly echoes Diana’s own last time round; Kristen Wiig, meanwhile, is pretty phenomenal throughout as Dr Barbara Minerva, the initially geeky and timid nerd who discovers an impressive inner strength but ultimately turns into a superpowered apex predator as she becomes one of Wonder Woman’s most infamous foes, the Cheetah; Pascal, of course, is clearly having the time of his life hamming it up to the hilt as Lord, playing gloriously against his effortlessly cool, charismatic action hero image to deliver a compellingly troubling examination of the monstrous corrupting influence of absolute power. Once again, though, the film truly belongs to Gadot – she looks amazing, acts her socks off magnificently, and totally rules the movie. After this, a second sequel is a no-brainer, because Wonder Woman remains the one DC superhero who’s truly capable of bearing the weight of this particular cinematic franchise on her powerful shoulders – needless to say, it’s already been greenlit, and with both Jenkins and Gadot onboard, I’m happy to sign up for more too …

8. LOVE & MONSTERS – with the cinemas continuing their frustrating habit of opening for a little while and then closing while the pandemic ebbed and flowed in the months after the summer season, it was starting to look like there might not have been ANY big budget blockbusters to enjoy before year’s end as heavyweights like Black Widow, No Time To Die and Dune pulled back to potentially more certain release slots into 2021 (with only WW84 remaining stubbornly in place for Christmas). Then Paramount decided to throw us a bone, opting to release this post-apocalyptic horror comedy on-demand in October instead, thus giving me the perfect little present to tie me over during the darkening days of autumn. The end result was a stone-cold gem that came out of nowhere to completely blow critics away, a spectacular sleeper hit that ultimately proved one of the year’s biggest and most brilliant surprises. Director Michael Matthews may only have had South African indie thriller Five Fingers for Marseilles under his belt prior to this, but he proves he’s definitely a solid talent to watch in the future, crafting a fun and effective thrill-ride that, like all the best horror comedies, is consistently as funny as it is scary, sharing much of the same DNA as this particular mash-up genre’s classics like Tremors and Zombieland and standing up impressively well to such comparisons. The story, penned by rising star Brian Duffield (who has TWO other entries on this list, Underwater and Spontaneous) and Matthew Robinson (The Invention of Lying, Dora & the Lost City of Gold), is also pretty ingenious and surprisingly original – a meteorite strike has unleashed weird mutagenic pathogens that warp various creepy crawly critters into gigantic monstrosities that have slaughter most of the world’s human population, leaving only a beleaguered, dwindling few to eke out a precarious living in underground colonies. Living in one such makeshift community is Joel Dawson (The Maze Runner’s Dylan O’Brien), a smart and likeable geek who really isn’t very adventurous, is extremely awkward and uncoordinated, and has a problem with freezing if threatened … which makes it all the more inexplicable when he decides, entirely against the advice of everyone he knows, to venture onto the surface so he can make the incredibly dangerous week-long trek to the neighbouring colony where his girlfriend Aimee (Iron Fist’s Jessica Henwick) has ended up. Joel is, without a doubt, the best role that O’Brien has EVER had, a total dork who’s completely unsuited to this kind of adventure and, in the real world, sure to be eaten alive in the first five minutes, but he’s also such a fantastically believable, fallible everyman that every one of us desperate, pathetic omega-males and females can instantly put ourselves in his place, making it elementarily easy to root for him. He’s also hilariously funny, his winningly self-deprecating sass and pitch perfect talent for physical comedy making it all the more rewarding watching each gloriously anarchic life-and-death encounter mould him into the year’s most unlikely action hero. Henwick, meanwhile, once again impresses in a well-written role where she’s able to make a big impression despite her decidedly short screen time, as do the legendary Michael Rooker and brilliant newcomer Ariana Greenblatt as Clyde and Minnow, the adorably jaded, seen-it-all-before pair of “professional survivors” Joel meets en-route, who teach him to survive on the surface. The action is fast, frenetic and potently visceral, the impressively realistic digital creature effects bringing a motley crew of bloodthirsty beasties to suitably blood-curdling life for the film’s consistently terrifying set-pieces, while the world-building is intricately thought-out and skilfully executed. Altogether, this was an absolute joy from start to finish, and a film I enthusiastically endorsed to everyone I knew was looking for something fun to enjoy during the frustrating lockdown nights-in. One of the cinematic year’s best kept secrets then, and a compelling sign of things to come for its up-and-coming director.

7. PARASITE – I’ve been a fan of master Korean filmmaker Bong Joon-ho ever since I stumbled across his deeply weird but also thoroughly brilliant breakthrough feature The Host, and it’s a love that’s deepened since thanks to truly magnificent sci-fi actioner Snowpiercer, so I was looking forward to his latest feature as much as any movie geek, but even I wasn’t prepared for just what a runaway juggernaut of a hit this one turned out to be, from the insane box office to all that award-season glory (especially that undeniable clean-sweep at the Oscars). I’ll just come out and say it, this film deserves it all. It’s EASILY Bong’s best film to date (which is really saying something), a masterful social satire and jet black comedy that raises some genuinely intriguing questions before delivering deeply troubling answers. Straddling the ever-widening gulf between a disaffected idle rich upper class and impoverished, struggling lower class in modern-day Seoul, it tells the story of the Kim family – father Ki-taek (Bong’s good luck charm, Song Kang-ho), mother Chung-sook (Jang Hye-jin), son Ki-woo (Train to Busan’s Choi Woo-shik) and daughter Ki-jung (The Silenced’s Park So-dam) – a poor family living in a run-down basement apartment who live hand-to-mouth in minimum wage jobs and can barely rub two pennies together, until they’re presented with an intriguing opportunity. Through happy chance, Ki-woon is hired as an English tutor for Park Da-hye (Jung Ji-so), the daughter of a wealthy family, which offers him the chance to recommend Ki-jung as an art tutor to the Parks’ troubled young son, Da-song (Jung Hyeon-jun). Soon the rest of the Kims are getting in on the act, the kids contriving opportunities for their father to replace Mr Park’s chauffeur and their mother to oust the family’s long-serving housekeeper, Gook Moon-gwang (Lee Jung-eun), and before long their situation has improved dramatically. But as they two families become more deeply entwined, cracks begin to show in their supposed blissful harmony as the natural prejudices of their respective classes start to take hold, and as events spiral out of control a terrible confrontation looms on the horizon. This is social commentary at its most scathing, Bong drawing on personal experiences from his youth to inform the razor-sharp script (co-written by his production assistant Han Jin-won), while he weaves a palpable atmosphere of knife-edged tension throughout to add spice to the perfectly observed dark humour of the situation, all the while throwing intriguing twists and turns at us before suddenly dropping such a massive jaw-dropper of a gear-change that the film completely turns on its head to stunning effect. The cast are all thoroughly astounding, Song once again dominating the film with a turn at once sloppy and dishevelled but also poignant and heartfelt, while there are particularly noteworthy turns from Lee Sun-kyun as the Parks’ self-absorbed patriarch Dong-ik and Choi Yeo-jeong (The Concubine) as his flighty, easily-led wife Choi Yeon-gyo, as well as a fantastically weird appearance in the latter half from Park Myung-hoon. This is heady stuff, dangerously seductive even as it becomes increasingly uncomfortable viewing, so that even as the screws tighten and everything goes to hell it’s simply impossible to look away. Bong Joon-ho really has surpassed himself this time, delivering an existential mind-scrambler that lingers long after the credits have rolled and might even have you questioning your place in society once you’ve thought about it some. It deserves every single award and every ounce of praise it’s been lavished with, and looks set to go down as one of the true cinematic greats of this new decade. Trust me, if this was a purely critical best-of list it’d be RIGHT AT THE TOP …

6. THE OLD GUARD – Netflix’ undisputable TOP OFFERING of the summer came damn close to bagging the whole season, and I can’t help thinking that even if some of the stiffer competition had still been present it may well have still finished this high. Gina Prince-Blythewood (Love & Basketball, the Secret Life of Bees) directs comics legend Greg Rucka’s adaptation of his own popular series with uncanny skill and laser-focused visual flair considering there’s nothing on her previous CV to suggest she’d be THIS good at mounting a stomping great ultraviolent action thriller, ushering in a thoroughly engrossing tale of four ancient, invulnerable immortal warriors – Andy AKA Andromache of Scythia (Charlize Theron), Booker AKA Sebastian de Livre (Matthias Schoenaerts), Joe AKA Yusuf Al-Kaysani (Wolf’s Marwan Kenzari) and Nicky AKA Niccolo di Ginova (Trust’s Luca Marinelli) – who’ve been around forever, hiring out their services as mercenaries for righteous causes while jealously guarding their identities for fear of horrific experimentation and exploitation should their true natures ever be discovered. Their anonymity is threatened, however, when they’re uncovered by former CIA operative James Copley (Chiwetel Ejiofor), who’s working for the decidedly dodgy pharmaceutical conglomerate run by sociopathic billionaire Steven Merrick (Harry Melling, formerly Dudley in the Harry Potter movies), who want to capture these immortals so they can patent whatever it is that makes them keep on ticking … just as a fifth immortal, US Marine Nile Freeman (If Beale Street Could Talk’s KiKi Layne), awakens after being “killed” on deployment in Afghanistan. The supporting players are excellent, particularly Ejiofor, smart and driven but ultimately principled and deeply conflicted about what he’s doing, even if he does have the best of intentions, and Melling, the kind of loathsome, reptilian scumbag you just love to hate, but the film REALLY DOES belong to the Old Guard themselves – Schoenaerts is a master brooder, spot-on casting as the group’s relative newcomer, only immortal since the Napoleonic Wars but clearly one seriously old soul who’s already VERY tired of the lifestyle, while Joe and Nicky (who met on opposing sides of the Crusades) are simply ADORABLE, an unapologetically matter-of-fact gay couple who are sweet, sassy and incredibly kind, the absolute emotional heart of the film; it’s the ladies, however, that are most memorable here. Layne is exceptional, investing Nile with a steely intensity that puts her in good stead as her new existence threatens to overwhelm her and MORE THAN qualified to bust heads alongside her elders … but it’s ancient Greek warrior Andy who steals the film, Theron building on the astounding work she did in Atomic Blonde to prove, once and for all, that there’s no woman on Earth who looks better kicking arse than her (as Booker puts it, “that woman has forgotten more ways to kill than entire armies will ever learn”); in her hands, Andy truly is a goddess of death, tough as tungsten alloy and unflappable even in the face of hell itself, but underneath it all she hides a heart as big as any of her friends’. They’re an impossibly lovable bunch and you feel you could follow them on another TEN adventures like this one, which is just as well, because Prince-Blythewood and Rucka certainly put them through their paces here – the drama is high (but frequently laced with a gentle, knowing sense of humour, particularly whenever Joe and Nicky are onscreen), as are the stakes, and the frequent action sequences are top-notch, executed with rare skill and bone-crunching zest, but also ALWAYS in service to the story. Altogether this is an astounding film, a genuine victory for its makers and, it seems, for Netflix themselves – it’s become one of the platform’s biggest hits to date, earning well-deserved critical acclaim and great respect and genuine geek love from the fanbase at large. After this, a sequel is not only inevitable, it’s ESSENTIAL …

5. MANK – it’s always nice when David Fincher, one of my TOP FIVE ALL TIME FAVOURITE DIRECTORS, drops a new movie, because it can be GUARANTEED to place good and high in my rundown for that year. The man is a frickin’ GENIUS, a true master of the craft, genuinely one of the auteur’s auteurs. I’ve NEVER seen him deliver a bad film – even a misfiring Fincher (see The Curious Case of Benjamin Button or Alien 3) is still capable of creating GREAT CINEMA. How? Why? It’s because he genuinely LOVES the art form, it’s been his obsession all his life, and he’s spent every day of it becoming the best possible filmmaker he can be. Who better to tell the story of the creation of one of the ULTIMATE cinematic masterpieces, then? Benjamin Ross’ acclaimed biopic RKO 281 covered similar ground, presenting a compelling look into the making Citizen Kane, the timeless masterpiece of Hollywood’s ULTIMATE auteur, Orson Welles, but Fincher’s film is more interested in the original inspiration for the story, how it was written and, most importantly, the man who wrote it – Herman J. Mankiewicz, known to his friends as Mank. One of my favourite actors of all time, Gary Oldman, delivers yet another of his career best performances in the lead role, once a man of vision and incredible storytelling skill whose talents have largely been squandered through professional difficulties and personal vices, a burned out one-time great fallen on hard times whom Welles picks up out of the trash, dusts off and offers a chance to create something truly great again. The only catch? The subject of their film (albeit dressed up in the guise of fictional newspaper magnate Charles Foster Kane) is to be real-life publisher, politico and tycoon William Randolph Hurst (Charles Dance), once Mank’s friend and patron before they had a very public and messy falling out which partly led to his current circumstances. As he toils away in seclusion on what is destined to become his true masterwork, flashbacks reveal to us the fascinating, moving and ultimately tragic tale of his rise and fall from grace in the movie business, set against the backdrop of one of the most tumultuous periods in American history. Shooting a script that his own journalist and screenwriter father, Jack, crafted and then failed to bring to the screen himself before his death in 2003, Fincher has been working for almost a quarter century to make this film, and all that passion and drive is writ large on the screen – this is a glorious film ABOUT film, the art of it, the creation of it, and all the dirty little secrets of what the industry itself has always really been like, especially in that most glamorous and illusory of times. The fact that Fincher shot in black and white and intentionally made it look like it was made in the early 1940s (the “golden age of the Silver Screen”, if you will) may seem like a gimmick, but instead it’s a very shrewd choice that expertly captures the gloss and moodiness of the age, almost looking like a contemporary companion piece to Kane itself, and it’s the perfect way to frame all the sharp-witted observation, subtly subversive character development and murky behind-the-scenes machinations that tell the story. Oldman is in every way the star here, holding the screen with all the consummate skill and flair we’ve come to expect from him, but there’s no denying the uniformly excellent supporting cast are equal to the task here – Dance is at his regal, charismatic best as Hearst, while Amanda Seyfried is icily classy on the surface but mischievous and lovably grounded underneath as Hearst’s mistress, Marion Davies, who formed the basis for Kane’s most controversial character, Arliss Howard (Full Metal Jacket, The Lost World: Jurassic Park, Moneyball) brings nuance and complexity to the role of MGM founder Louis B. Mayer, Tom Pelphrey (Banshee, Ozark) is understated but compelling as Mank’s younger screenwriter brother Joseph, and Lily Collins and Tuppence Middleton exude class and long-suffering stubbornness as the two main women in Mank’s life (his secretary and platonic muse, Rita Alexander, and his wife, Sara), while The Musketeers’ Tom Burke’s periodic but potent appearances as Orson Welles help to drive the story in the “present”. Another Netflix release which I was (thankfully) able to catch on the big screen during one of the brief lulls between British lockdowns, this was a decidedly meta cinematic experience that perfectly encapsulated not only what is truly required for the creation of a screen epic, but also the latest pinnacle in the career of one of the greatest filmmakers working in the business today, powerful, stirring, intriguing and surprising in equal measure. Certainly it’s one of the most important films ABOUT so far film this century, but is it as good as Citizen Kane? Boy, that’s a tough one …

4. ENOLA HOLMES – ultimately, my top film for the autumn/winter movie season was also the film which finally topped my Netflix Original features list, as well as beating all other streaming offerings for the entire year (which is saying something, as you should know by now). Had things been different, this would have been one of Warner Bros’ BIGGEST releases for the year in the cinema, of that I have no doubt, a surprise sleeper hit which would have taken the world by storm – as it is it’s STILL become a sensation, albeit in a much more mid-pandemic, lockdown home-viewing kind of way. Before you start crying oh God no, not another Sherlock Holmes adaptation, this is a very different beast from either the Guy Ritchie take or the modernized BBC show, instead side-lining the great literary sleuth in favour of a delicious new AU version, based on The Case of the Missing Marquess, the first novel in the Enola Holmes Mysteries literary series from American YA author Nancy Springer. Positing that Sherlock Holmes (Henry Cavill) and his elder brother Mycroft (Sam Claflin) had an equally ingenious and precocious baby sister, the film introduces us to Enola (Stranger Things’ Millie Bobby Brown), who’s been raised at home by their strong-willed mother Eudoria (Helena Bonham Carter) to be just as intelligent, well-read and intellectually skilled as her far more advantageously masculine elder siblings. Then, on the morning of her sixteenth birthday, Enola awakens to find her mother has vanished, putting her in a pretty pickle since this leaves her a ward of Mycroft, a self-absorbed social peacock who finds her to be wilfully free-spirited and completely ill equipped to face the world, concluding that the only solution is sending her to boarding school where she’ll learn to become a proper lady. Needless to say she’s horrified by the prospect, deciding to run away and search for her mother instead … this is about as perfect a family adventure film as you could wish for, following a vital, capable and compelling teen detective-in-the-making as she embarks on her very first investigation, as well as winding up tangled in a second to boot involving a young runaway noble, Viscount Tewkesbury, the Marquess of Basilwether (Medici’s Louis Partridge), and the film is a breezy, swift-paced and rewardingly entertaining romp that feels like a welcome breath of fresh air for a literary property which, beloved as it may be, has been adapted to death over the years. Enola Holmes a brilliant young hero who’s perfectly crafted to carry the franchise forward in fresh new directions, and Brown brings her to life with effervescent charm, boisterous energy and mischievous irreverence that are entirely irresistible; Cavill and Claflin, meanwhile, are perfectly cast as the two very different brothers – this Sherlock is much less louche and world-weary than most previous versions, still razor sharp and intellectually restless but with a comfortable ease and a youthful spring in his step that perfectly suits the actor, while Mycroft is as superior and arrogant as ever, a preening arse we derive huge enjoyment watching Enola consistently get the best of; Bonham Carter doesn’t get a lot of screen-time but as we’d expect she does a lot with what she has to make the practical, eccentric and unapologetically modern Eudoria thoroughly memorable, while Partridge is carefree and likeable as the naïve but irresistible Tewkesbury, and there are strong supporting turns from Frances de la Tour as his stately grandmother, the Dowager, Susie Wokoma (Crazyhead, Truth Seekers) as Emily, a feisty suffragette who runs a jujitsu studio, Burn Gorman as dastardly thug-for-hire Linthorn, and Four Lions’ Adeel Akhtar as a particularly scuzzy Inspector Lestrade. Seasoned TV director Harry Bradbeer (Fleabag, Killing Eve) makes his feature debut with an impressive splash, unfolding the action at a brisk pace while keeping the narrative firmly focused on an intricate mystery plot that throws in plenty of ingenious twists and turns before a suitably atmospheric climax and pleasing denouement which nonetheless artfully sets up more to come in the future, while screenwriter Jack Thorne (His Dark Materials, The Scouting Book for Boys, Wonder) delivers strong character work and liberally peppers the dialogue with a veritable cavalcade of witty zingers. Boisterous, compelling, amusing, affecting and exciting in equal measure, this is a spirited and appealing slice of cinematic escapism that flatters its viewers and never talks down to them, a perfect little period adventure for a cosy Sunday afternoon. Obviously there’s plenty of potential for more, and with further books to adapt there’s more than enough material for a pile of sequels – Neflix would be barmy indeed to turn their nose up at this opportunity …

3. 1917 – it’s a rare thing for a film to leave me truly shell-shocked by its sheer awesomeness, for me to walk out of a cinema in a genuine daze, unable to talk or even really think about much of anything for a few hours because I’m simply marvelling at what I’ve just witnessed. Needless to say, when I do find a film like that (Fight Club, Inception, Mad Max: Fury Road) it usually earns a place very close to my heart indeed. The latest tour-de-force from Sam Mendes is one of those films – an epic World War I thriller that plays out ENTIRELY in one shot, which doesn’t simply feel like a glorified gimmick or stunt but instead is a genuine MASTERPIECE of film, a mesmerising journey of emotion and imagination in a shockingly real environment that’s impossible to tear your eyes away from. Sure, Mendes has impressed us before – his first film, American Beauty, is a GREAT movie, one of the most impressive feature debuts of the 2000s, while Skyfall is, in my opinion, quite simply THE BEST BOND FILM EVER MADE – but this is in a whole other league. It’s an astounding achievement, made all the more impressive when you realise that there’s very little trickery at play here, no clever digital magic (just some augmentation here and there), it’s all real locations and sets, filmed in long, elaborately choreographed takes blended together with clever edits to make it as seamless as possible – it’s not the first film to try to do this (remember Birdman? Bushwick?), but I’ve never seen it done better, or with greater skill. But it’s not just a clever cinematic exercise, there’s a genuine story here, told with guts and urgency, and populated by real flesh and blood characters – the heart of the film is True History of the Kelly Gang’s George MacKay and Dean Chapman (probably best known as Tommen Baratheon in Game of Thrones) as Lance Corporals Will Schofield and Tom Blake, the two young tommies sent out across enemy territory on a desperate mission to stop a British regiment from rushing headlong into a German trap (Tom himself has a personal stake in this because his brother is an officer in the attack). They’re a likeable pair, very human and relatable throughout, brave and true but never so overtly heroic that they stretch credibility, so when tragedy strikes along the way it’s particularly devastating; both deliver exceptional performances that effortlessly carry us through the film, and they’re given sterling support from a selection of top-drawer British talent, from Sherlock stars Andrew Scott and Benedict Cumberbatch to Mark Strong and Colin Firth, each delivering magnificently in small but potent cameos. That said, the cinematography and art department are the BIGGEST stars here, masterful veteran DOP Roger Deakins (The Shawshank Redemption, Blade Runner 2049 and pretty much the Coen Brothers’ entire back catalogue among MANY others) making every frame sing with beauty, horror, tension or tragedy as the need arises, and the environments are SO REAL it feels less like production design than that someone simply sent the cast and crew back in time to film in the real Northern France circa 1917 – from a nightmarish trek across No Man’s Land to a desperate chase through a ruined French village lit only by dancing flare-light in the darkness before dawn, every scene is utterly immersive and simply STUNNING. I don’t think it’s possible for Mendes to make a film better than this, but I sure hope he gives it a go all the same. Either way, this was the most incredible, exhausting, truly AWESOME experience I had at the cinema all year – it’s a film that DESERVES to be seen on the big screen, and I feel truly sorry for those who missed the chance …

2. BIRDS OF PREY & THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN – the only reason 1917 isn’t at number two is because Warner Bros.’ cinematic DC Extended Universe project FINALLY got round to bringing my favourite DC Comics title to the big screen. It was been the biggest pleasure of my cinematic year getting to see my top DC superheroines brought to life on the big screen, and it was done in high style, in my opinion THE BEST of the DCEU films to date (yup, I loved it EVEN MORE than the Wonder Woman movies). It was also great seeing Harley Quinn return after her show-stealing turn in David Ayer’s clunky but ultimately still hugely enjoyable Suicide Squad, better still that they got her SPOT ON this time – this is the Harley I’ve always loved in the comics, unpredictable, irreverent and entirely without regard for what anyone else thinks of her, as well as one talented psychiatrist. Margot Robbie once more excels in the role she was basically BORN to play, clearly relishing the chance to finally do Harley TRUE justice, and she’s a total riot from start to finish, infectiously lovable no matter what crazy, sometimes downright REPRIHENSIBLE antics she gets up to. Needless to say she’s the nominal star here, her latest ill-advised adventure driving the story – finally done with the Joker and itching to make her emancipation official, Harley publicly announces their breakup by blowing up Ace Chemicals (their love spot, basically), inadvertently painting a target on her back in the process since she’s no longer under the assumed protection of Gotham’s feared Clown Prince of Crime – but that doesn’t mean she eclipses the other main players the movie’s REALLY supposed to be about. Each member of the Birds of Prey is beautifully written and brought to vivid, arse-kicking life by what had to be 2020’s most exciting cast – Helena Bertinelli, the Huntress, is the perfect character for Mary Elizabeth Winstead to finally pay off on that action hero potential she showed in Scott Pilgrim Vs. the World, but this is a MUCH more enjoyable role outside of the fight choreography because while Helena may be a world-class dark avenger, socially she’s a total dork, which just makes her thoroughly adorable; Rosie Perez is similarly perfect casting as Renee Montoya, the uncompromising pint-sized Gotham PD detective who kicks against the corrupt system no matter what kind of trouble it gets her into, and just gets angrier all the time, paradoxically making us like her even more; and then there’s the film’s major controversy, at least as far as the fans are concerned, namely one Cassandra Cain. Sure, this take is VERY different from the comics’ version (a nearly mute master assassin who went on to become the second woman to wear the mask of Batgirl before assuming her own crime-fighting mantle as Black Bat and now Orphan), but personally I like to think this is simply Cass at THE VERY START of her origin story, leaving plenty of time for her to discover her warrior origins when the DCEU finally gets around to introducing her mum, Lady Shiva (personally I want Michelle Yeoh to play her, but that’s just me) – anyways, here she’s a skilled child pickpocket whose latest theft inadvertently sets off the larger central plot, and newcomer Ella Jay Basco brings a fantastic pre-teen irreverence and spiky charm to the role, beautifully playing against Robbie’s mercurial energy. My favourite here BY FAR, however, is Dinah Lance, aka the Black Canary (not only my favourite Bird of Prey but my very favourite DC superheroine PERIOD), the choice of up-and-comer Jurnee Smollet-Bell (Friday Night Lights, Underground) proving to be the film’s most inspired casting – a club singer with the metahuman ability to emit piercing supersonic screams, she’s also a ferocious martial artist (in the comics she’s one of the very best fighters IN THE WORLD), as well as a wonderfully pure soul you just can’t help loving, and it made me SO UNBELIEVABLY HAPPY that they got my Canary EXACTLY RIGHT. Altogether they’re a fantastic bunch of badass ladies, basically my perfect superhero team, and the way they’re all brought together (along with Harley, of course) is beautifully thought out and perfectly executed … they’ve also got one hell of a threat to overcome, namely Gotham crime boss Roman Sionis, the Black Mask, one of the Joker’s chief rivals – Ewan McGregor brings his A-game in a frustratingly rare villainous turn (my number one bad guy for the movie year), a monstrously narcissistic, woman-hating control freak with a penchant for peeling off the faces of those who displease him, sharing some exquisitely creepy chemistry with Chris Messina (The Mindy Project) as Sionis’ nihilistic lieutenant Victor Zsasz. This is about as good as superhero cinema gets, a perfect example of the sheer brilliance you get when you switch up the formula to create something new, an ultra-violent, unapologetically R-rated middle finger to the classic tropes, a fantastic black comedy thrill ride that’s got to be the most full-on feminist blockbuster ever made – it’s helmed by a woman (Dead Pigs director Cathy Yan), written by a woman (Bumblebee’s Christina Hodson), produced by more women and ABOUT a bunch of badass women magnificently triumphing over toxic masculinity in all its forms. It’s also simply BRILLIANT – the cast are all clearly having a blast, the action sequences are first rate (the spectacular GCPD evidence room fight in which Harley gets to REALLY cut loose is the undisputable highlight), it has a gleefully anarchic sense of humour and is simply BURSTING with phenomenal homages, references and in-jokes for the fans (Bruce the hyena! Stuffed beaver! Roller derby!). It’s also got a killer soundtrack, populated almost exclusively by numbers from female artists. Altogether, then, this is the VERY BEST the DCEU has to offer to date, and VERY NEARLY my absolute FAVOURITE film of 2020. Give it all the love you can, it sure as hell deserves it.

1. TENET – granted, the streaming platforms (particularly Netflix and Amazon) certainly saved our cinematic summer, but I’m still IMMEASURABLY glad that my ultimate top-spot winner FOR THE WHOLE YEAR was one I got to experience on THE BIG SCREEN. You gotta hand it to Christopher Nolan, he sure hung in there, stubbornly determined that his latest cinematic masterpiece WOULD be released in cinemas in the summer (albeit ultimately landing JUST inside the line in the final week of August and ultimately taking the bite at the box office because of the still shaky atmosphere), and it was worth all the fuss because, for me, this was THE PERFECT MOVIE for me to get return to cinemas with. I mean, okay, in the end it WASN’T the FIRST new movie I saw after the first reopening, that honour went to Unhinged, but THIS was my first real Saturday night-out big screen EXPERIENCE since March. Needless to say, Nolan didn’t disappoint this time any more than he has on any of his consistently spectacular previous releases, delivering another twisted, mind-boggling headfuck of a full-blooded experiential sensory overload that comes perilously close to toppling his long-standing auteur-peak, Inception (itself second only by fractions to The Dark Knight as far as I’m concerned). To say much at all about the plot would give away major spoilers – personally I’d recommend just going in as cold as possible, indeed you really should just stop reading this right now and just GO SEE IT. Still with us? Okay … the VERY abridged version is that it’s about a secret war being waged between the present and the future by people capable of “inverting” time in substances, objects, people, whatever, into which the Protagonist (BlacKkKlansman’s John David Washington), an unnamed CIA agent, has been dispatched in order to prevent a potential coming apocalypse. Washington is once again on top form, crafting a robust and compelling morally complex heroic lead who’s just as comfortable negotiating the minefields of black market intrigue as he is breaking into places or dispatching heavies, Kenneth Branagh delivers one of his most interesting and memorable performances in years as brutal Russian oligarch Andrei Sator, a genuinely nasty piece of work who was ALMOST the year’s very best screen villain, Elizabeth Debicki (The Night Manager, Guardians of the Galaxy Vol. 2, Widows) brings strength, poise and wounded integrity to the role of Sator’s estranged wife, Kat, and Aaron Taylor-Johnson gets to use his own accent for once as tough-as-nails British Intelligence officer Ives, while there are brief but consistently notable supporting turns and cameos from Martin Donovan, Yesterday’s Himesh Patel, Dirk Gently’s Fiona Dourif and, of course, Nolan’s good luck charm, Michael Caine. The cast’s biggest surprise, however, is Robert Pattinson, truly a revelation in what has to be, HANDS DOWN, his best role to date, Neil, the Protagonist’s mysterious handler – he’s by turns cheeky, slick, duplicitous and thoroughly badass, delivering an enjoyably multi-layered, chameleonic performance which proves what I’ve long maintained, that the former Twilight star is actually a fucking amazing actor, and on the basis of this, even if that amazing new teaser trailer wasn’t making the rounds, I think the debate about whether or not he’s the right choice for the new Batman is now academic. As we’ve come to expect from Nolan, this is a TRUE tour-de-force experience, a visual triumph and an endlessly engrossing head-scratcher, Nolan’s screenplay bringing in seriously big ideas and throwing us some major narrative knots and loopholes, constantly wrong-footing the viewer while also setting up truly revelatory payoffs from seemingly low-key, unimportant beginnings – this is a film you need to be awake and attentive for or you could miss something pretty vital. The action sequences are, as ever, second to none, some of the year’s very best set-pieces coming thick and fast and executed with some of the most accomplished skill in the business, while Nolan-regular cinematographer Hoyte van Hoytema (Interstellar and Dunkirk, as well as the heady likes of Tinker Tailor Soldier Spy, SPECTRE and Ad Astra) once again shows he’s one of the best camera-wizards in the business today by delivering some absolutely mesmerising visuals. Notably, Nolan’s other regular collaborator, composer Hans Zimmer, is absent here (although he had good reason, since he was working on his dream project at the time, the fast-approaching screen adaptation of Dune), but Ludwig Göransson (best known for his collaborations with Ryan Coogler Fruitvale Station, Creed and Black Panther, as well as career-best work on The Mandalorian) is a fine replacement, crafting an intriguingly internalised, post-modern musical landscape that thrums and pulses in time with the story and emotions of the characters rather than the action itself. Interestingly it’s on the subject of sound that some of the film’s rare detractions have been levelled, and I can see some of the points – the soundtrack mix is an all-encompassing thing, and there are times when the dialogue can be overwhelmed, but in Nolan’s defence this film is a heady, immersive experience, something you really need to concentrate on, so these potential flaws are easily forgiven. As a work of filmmaking art, this is another flawless wonder from one of the true masters of the craft working in cinema today, but it’s art with palpable substance, a rewarding whole that proved truly unbeatable in 2020 …

#wolfwalkers #wonder woman 1984 #ww84 #love and monsters #parasite #parasite movie #the old guard #mank #enola holmes #1917 #1917 movie #Birds of Prey #birds of prey the fantabulous emancipation of one harley quinn #tenet #tenet movie #2020 in movies

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agirlwithachakram · 4 years

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okay here’s my thoughts about Aladdin (2019)

Things that were okay

"Only your fleas will mourn you" is a sick burn.

"Friend Like Me" was like, all right.

Will Smith was actually good

The Fresh Prince joke was fucking funny. I can't complain about that.

Agrabah was clearly designed by Ubisoft although I wish they'd made more use of that.

Jafar getting new hats every time he upgrades is hilarious. And losing his hat when he's in jail and when he becomes a genie. Just phenomenal. Hat man.

Costumes were good except there was way too much of that eye-scorching pink color.

Things that sucked

Prince Ali. What a nightmare of a number. It looked like it might be a big Bollywood style dance number and then...it wasn't. They kept cutting the shots to things that aren't cool anytime it looked like a cool dance bit might actually happen.

In fact, every musical number looks like it was shot and edited and directed by a person who hates musicals.

A Whole New World could have been a great Disney number or they could've opted to make it more Arabian sounding if they wanted to do something new. Irritating pop ballad shouldn't have even been on the table, but that's what they went with.

What jackass mixed Naomi Scott's voice? In her solo songs, I can't actually understand her, she sounds staticky and crunchy. And she's not really singing musical style, which is unfortunate, but even so, they could've made her voice ring out clear over the drums, and they didn't!

Nasim Pedrad is utterly wasted in this movie. She's an extremely funny actor who gets like three good lines. The rest of the time it feels like her acting choices were dictated by a dumbass.

Actually she's not the only one with that problem. You can't fool me, Disney, I've seen Marwan Kenzari in The Old Guard! I know he's a good actor! So what the hell happened here? Bad lines and bad direction, I guess. They should've kept his beautiful curls, also.

Speaking of, was Disney like "We heard somewhere that our original Jafar was offensive. Therefore, we will now only cast Professional Ridiculously Beautiful Men as Jafar" because they are three for three with Naveen, Oded, and Marwan now.

The script is so stupidly heavy handed and the movie is too long.

It's funny like The Room is funny. Every dramatic moment is so goofy you can't help but laugh. The deliberate funny moments are either 100% carried by Will Smith or they just fall flat.

Hakim. They spend five minutes randomly and suddenly shoehorning in this important character moment for a guy we DON'T KNOW AND DON'T CARE ABOUT.

Iago wouldn't be in this movie if he hadn't been a major character in the previous one. They can't figure out a way to make him make sense, and the fact that Jafar grabs him and drags him into the lamp at the end is stupid and unearned because he doesn't actually seem like a character.

Pasek and Paul have never once written a song FOR something. They just like to write their own songs and everyone's too embarrassed to say "this doesn't really fit" so they just use them anyway.

While we're adding dumb songs, I think they should've added a song for Jafar. "I am from the gutter too" or whatever. Like! They were obviously trying to make him more interesting. Great! So give him an exposition song. He can sing it to/with Iago and thus establish their relationship better.

The CGI on Will Smith is actually pretty much fine, uh, most of the time, but the CGI on poor Marwan at the end is horrendous.

Rajah is like a random animal companion character that Jasmine mostly forgets she has and just keeps for the aesthetic.

Every number with the exception of Whole New World could probably be done as a big showstopping Bollywood style number. Instead, none of them are, which is dumb. They waste a LOT of time on boring bits and dumb lines. They could cut down a half hour and still add another song if they'd just work properly with what they have.

One Jump is a terrible way to introduce Jasmine because it just makes her look extremely stupid right off the bat. Then Jasmine and Aladdin running off to his lil hideout to have a Sad Conversation--which is NEVER FOLLOWED UP ON--is utterly unearned and basically ridiculous. Also the lute/lullaby line made it sound like Aladdin and Jasmine were going to be revealed to be siblings later.

Speaking of One Jump, I think it undermines Aladdin's character to change it like that. In the original, he steals bread which he then gives away. In this one, he steals a necklace and pawns it for dates--which he then gives away, sure, but there's some more direct about the way he clings to the bread specifically for a whole song, only to share it with kids who need it.

ALSO speaking of One Jump, good LORD the editing was terrible. It like...sped up and slowed down? Why??? And why did they half try to get the cartoon acrobatics and half just give up on doing anything interesting at all? Ridiculous.

Why did Jafar call the Sultan Baba? That's not his dad.

How did this movie make a billion dollars when it's so bad. SO MUCH POTENTIAL. So much wasted.

Color grading was bizarre. Mad Max: Fury Road was brighter.

This is the single most phoned in movie I've ever seen and clear proof to me that Disney has completely broken the industry. A billion dollars for this flick that looks like it was directed by some random guy named Ritchie (as opposed to successful director Guy Ritchie) who never went to film school or like, watched a musical ever. At least with the libertarian wet dream garbage that was Avengers: Endgame, they'd spent 20-odd movies convincing everyone it was going to be worth their time!

#aladdin #aladdin (2019)

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fleur-marigold · 5 years

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BROOOOO i just watched klaus?? and??? (SPOILERS)

i hadn’t heard ANYTHING about it up until now so i had no idea it was so eagerly anticipated but i can completely see why, when i first saw screenshots i either thought it was 3d or more akin to something like tangled’s flash animation, but... WOW! this is EVERYTHING 2d animation could be if it were still practiced (still waiting on that nostalgia cash-in renaissance) and more - the beautiful blending of 2d/3d like treasure planet, the gorgeous detail, effects and vividity of princess and the frog, the strong geometric 3d turn-style of el dorado and spirit, the showstopping scenery, lighting and colouring, the fantastically unique character designs, expressions and gestures, and the storybook stylization, texturing and natural look to everything akin to cartoon saloon and other indie studios... i’ve been waiting for a movie that makes every second feel like raw ART and this one had by eyes glued to the dang screen not wanting to miss a single second!

the trailer made it look a little more cheesy & literal, something more like you’d expect from a kids’ xmas movie, kind of like those indie movies that are a little on the corny/below average side but that you forgive or endear out of artistic ingenuity, but it turned out sooo much better than i’d hoped and beyond, my only real gripe in that area being that one or two of the better jokes were spoiled in the trailers but they were far outbalanced by the in-movie ones. the characters were a mix of pleasant surprises (i didn’t see many trailers but the advertising would NOT have made me of jesper as the kuzco type) and familiar faces (klaus’ wife is a story heard before but it’s still felt as genuine and heartfelt), the story so layered and clever, the setting and interactions so charming and lovable... augh

i feel like people are going to be quite open with their criticisms on account of how good the movie is otherwise so here are my main critiques that i’ll get out of the way so i can keep gushing: - geo setting is a subject but could definitely have included some racial diversity (though the saami being handled so respectfully was a breath of... icy fresh air) - alva is a little too close to disney pixar same face design (pale, thin, round and smooth but pointy chin/nose) especially in comparison to the exaggerated and whacky features of the others - romance didn’t feel necessary (plus being rushed) but alva was fleshed out beyond love interest and it felt done without making too big a scene that i can’t really complain (though the ‘of course she did’ line is -_-) - i loved the subtle commentary through the inter-clan grudges! maybe a little more on that topic and how overcoming differences and finding similarities can be so empowering - i can’t tell if they were fat jokes or just big tall strong people jokes? there was only one but it still would’ve been cool without it - some music choices were a little on the dated/pop/distracting side but nothing too bad - i LOVE the ‘you were using us?’ ‘yes- no- well, at first, but-’ trope but it HAS been done in this way many times before, and the reveal felt a little weightless when jesper’s bad side wasn’t really known to the townsfolk so i’m not sure why they’d assume the worst of him automatically (someone mentioned making him more openly arrogant but still entertaining would’ve been useful), but knowing it would be wrapped up well took away most discomfort here

the entire viewing was filled with my FAVOURITE emotion to be filled with when watching anything new: surprise! i had absolutely no idea how gorgeous, entertaining and delightful watching this would be, and i kept having to yell about how great everything was to my brother any time there was a quiet moment. the witty dialogue, visual & situational humor were all freaking hilarious, the development of the townsfolk and the heartfelt nature had me ‘aww’ing’ nonstop, alva’s story of devoting herself to teaching in a happy and encouraging environment was gorgeous, their efforts to include nonenglish speakers in the festivities, the sneaky and unintentional explanations for the santa mythology... ALL great stuff. and of course the star of the show klaus was an absolute darling sweetheart ;__; i love... unconventional santas and he’s definitely up there in my faves alongside rotg’s, having him be cold, quiet and even scary is such an awesome way of doing things... i almost wish he’d stayed in that atmosphere a little longer but watching him open up, regain his joy and realize he’s safe to laugh and help others feel the same in the process was just 8′) having him hardly say a word and communicate so much of his intent through action, be it silly or tragic or toothachingly sweet (the birdhouses........ the reindeer ;o;) made him a treat to watch!

which brings me to by far my favourite part! this might be the only christmas movie i’ve ever seen that actually FEELS like a christmas movie, y’know you get all those ~true meaning~ and ~magic~ and ~family~ messages that try to make it deep but not once has one of them felt genuine until i saw klaus’ face upon seeing the pure, glowing childlike wonder his gift gave to the first child, realizing just how much it meant to him from that singular frame it just. guh. shoots me right through the heart. the setting for it was perfect too, having an entire TOWN play the scrooge role was wonderfully inventive and sooo satisfying and uplifting and purely FUN to see even the grumpiest of characters show change... it made me especially sad thinking about all the children trapped in such a horrible and unloving place, and knowing their parents had been born the same and forced into the cycle of violence to survive, so having them be the main focus of the letters, having innocence and good will and PLAY be the driving force that changed not only the heart of the town, but that of jesper too, is just... something i’d never get sick of watching. that scene where they gift margu her sled and she tries it for the first time? THAT scene is... pure, unbridled magic unlike anything i’ve seen before. i don’t think there’s any point in discussing ‘meanings’ of contemporary christmas unless it captures a feeling like this

i’ll likely add to this as i remember more (/rewatch a whole bunch) but i really enjoyed it and would definitely recommend it! it’s something i feel like i could watch people’s reactions to and still get the same wonder and elation i got from my first viewing for years to come :’) which is great for a yearly rewatch hehe

#klaus #netflix #jesper

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fearsmagazine · 4 years

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Warner Bros. Consumer Products launches Wonder Woman 84 collection with toys/collectibles from LEGO, Funko, Mattel and McFarlane, gear/apparel and other goodies!

Warner Bros. Consumer Products (WBCP) has launched an all-new collection of must-have lifestyle products and engaging experiences inspired by “Wonder Woman 1984,” (WW84) the highly anticipated follow up to 2017’s record-breaking “Wonder Woman” feature film from Warner Bros. Pictures. The specially-designed collection of fashion, jewelry, accessories, footwear, home goods, pet products, collectibles and toys pays homage to the timeless DC Super Hero, with nods to the film’s new 80s aesthetic, her nemesis The Cheetah and the metallic sheen of her new golden armor. The product collection honors a new era of Wonder Woman and offers fans of all ages a way to manifest Wonder Woman’s qualities of strength, truth, courage and compassion, all with her signature style. The “WW84” collection was developed in collaboration with premier partners and is available now at retailers globally. The film is set to open in theaters on October 2, 2020.

“’Wonder Woman 1984’ gives us the ideal opportunity to celebrate the glamour and energy of the 1980s inspired by the power and grace of Wonder Woman,” said Maryellen Zarakas, senior vice president of franchise management and marketing for Warner Bros. Consumer Products. “Our signature collection of products and experiences are highly-styled and wonderfully-inventive, and allow fans to tap into their own heroic, Wonder Woman inner spirit, further deepening their engagement in the brand and global community of Wonder Woman fans.”

Joining forces with some of the top brands in fashion, beauty, toys and more, and offering something for every age group, WBCP’s collection of “WW84” products include:

Adult Fashion: Around the globe, fans are reveling in the breadth of new Wonder Woman product including premier fashion collections. The “WW84” fashion collection includes collaborations with such world-renowned designers and trendsetters such as Lauren Ralph Lauren, EleVen by Venus Williams, Her Universe, Hybrid, Modern Lux, Miu Miu and more. Lauren Ralph Lauren celebrates Wonder Woman with a curated collection of pieces as powerful and confident as the iconic DC Super Hero. The feminine styles and sophisticated designs from Lauren Ralph Lauren can be found at select Bloomingdale's and Bloomingdales.com. The fashion-forward activewear brand created by global tennis champion and entrepreneur Venus Williams, introduces the EleVen by Venus Williams x Wonder Woman Collection offering premium athletic staples that bring out the best in fierce women who are competitive, compassionate, and ready for anything life has to bring. The collection will be available to shop on EleVenByVenusWilliams.com. Winners of the Her Universe Fashion Show, Adria Renee and Sarah Hambly, will debut their first fashion collections at Hot Topic and HerUniverse.com, DC Super Hero’s indomitable spirit in fun, easy-to-wear designs. Hybrid and Modern Lux offer a wide range of t-shirts and sweatshirts at a variety of affordable price points ($12.99 and up), and Her Universe at Torrid offers on-trend plus-sized apparel, including a showstopping snakeskin-patterned jacket ($45-$80). An exclusive Wonder Woman capsule collection released by Miu Miu features tees decorated with vintage prints of the comic book heroine and are available now at miumiu.com. Every fan can blend their personal style with Wonder Woman apparel from partners that include Bershka, Zara, EMP and Riva, to create a unique look.

Jewelry: With a dazzling variety of styles, WBCP’s “WW84” jewelry collections from Swarovski, Alex Ani, RockLove, and Zales draw inspiration from Wonder Woman’s iconic logo and gear such as the lasso of truth and her new golden armor and wings. Even her nemesis Cheetah gets a piece of the action with jewelry collections inspired by her animal magnetism (prices range from $65 to $1,000). To keep all Wonder Woman fans on time, a collection of watches from Accutime Watch Corporation are available in a wide range of styles.

Footwear and Accessories: “WW84”-inspired shoes from Reebok, diaper bags and accessories from Jujube, hats and masks from Love Your Melon, purses from Loungefly and more complete a heroine’s wardrobe. Reebok’s full collection of footwear and apparel blends iconic ‘80s silhouettes with designs inspired by the Super Hero and Super Villain of the film. Jujube, known for high-quality, multifunction diaper bags, backpacks and totes, as well as mini versions perfect to the last detail, interprets Wonder Woman's `80s vibe in brilliant colors accented with gold metal ($40 to $195). A limited-edition assortment of DC Super Hero-themed masks from Love Your Melon gives back 50 percent of net profits to nonprofit organizations that lead the fight against pediatric cancer ($25).

Beauty: The Revlon X WW84 limited-edition makeup collection offers a power palette for eyes and face in 10 bold and brilliant hues for limitless looks ($14.99). Other items include the Liquid Armor Glow Pot (highlighter), Super Lustrous Lipstick and more ($6.99 to $14.99). Ulta Beauty’s bath & body collection honors Wonder Woman with two cosmetic bags, a scented candle, golden body scrub, body wash, a colorful bath bomb, nail polish appliques, and peel off mask ($8.00- $24.00). Exclusively at Bloomingdale’s and Houseofsillage.com, the House of Sillage Wonder Woman Parfum ($395.00) is a charismatically sultry and bold fragrance that elicits your inner goddess. The Bow Lipstick Case Set ($250.00) is a work of art inspired by Wonder Woman's gold-plated armor, finished in enamel and encrusted with more than 300 brilliant diamond-cut Swarovski crystals. The set features its own unique Diamond Powder Satin Finish Lipstick in a bold red shade infused with real crushed white diamond powder.

Home and Stationery: Hallmark honors Wonder Woman’s strength with a range of “go strong all day long” framed quotes, travel mugs and vinyl tote bags ($19.99 to $34.99). Silver Buffalo’s retro “save the day” ceramic mug inspires your morning routine ($7.99). From Erin Condren, notebooks, notecards, stickers and list pads feature colorful and energetic Wonder Woman classic comic graphics—or a metallic star-sparkle theme ($7.50 to $24.00). GB Eye also offers an assortment of Wonder Woman prints, posters and collectibles.

Luxury Pet Fashion and Accessories: Wonder Woman style makes the perfect gift for your four-legged furry friend. Pamper your beloved pet with Moshiqa’s one-of-a-kind, high-end style products for dogs and cats that combine the glamour of gold with the power of functional design for a heroic look. From the company that created a new category in luxury fashion discover the finest craftsmanship and extravagant accessories such as a golden pet harnesses with wings, a gold utility belt for stashing pet treats and looping your leash, sparkling dog and cat tiaras, and food/water bowls with the Wonder Woman insignia to make your kitty cat or pooch feel pampered always (prices available at moshiqa.com/wonderwoman).

Infant to Tween Fashion: From babies to tweens, kids of all ages can feel empowered wearing “Hero starts with Her” fashions and “Fierce” graphic t-shirts from Hybrid ($12.99+). Beanie hats from Love Your Melon and masks from Mask Club round out the collection ($25-$55). Wonder Woman encourages kids to practice good dental hygiene with a Colgate toothpaste pump ($3.95), while DC Wonder Woman bandages help booboos heal with super speed ($3.29). For Halloween or role play any day, Rubie’s Wonder Woman Armored costume glows with strength and power, and The Cheetah catsuit costumes are sure to be the hottest Super-Villains on the block.

Toys: Fans can relive the onscreen action of “WW84” with toys from Mattel, LEGO®, Funko, McFarlane Toys and Maxx. With true-to-movie fashions made in the characters’ likenesses, the “WW84” Barbie and Mattel portfolio of dolls includes a two-doll giftset spotlighting the timeless romance of Diana Prince and Steve Trevor ($80.00), a Young Diana and Horse set ($29.99), a Deluxe Golden Armor Feature Wonder Woman Doll ($29.99) and core dolls ($14.99).

LEGO® brings an action-packed scene from the movie to life in its Wonder Woman vs. The Cheetah set ($39.99), based on Wonder Woman’s first confrontation with her nemesis. The set can be positioned in an action pose with Cheetah leaping out of a cloud, while Wonder Woman’s friend from the previous film, Etta Candy, looks on in the background. More heroine-inspired toys include cars and a premium invisible jet from Hot Wheels.

Pop collectibles from Funko, two versions of incredibly detailed lifelike action figures from McFarlane Toys and huggable plush from Maxx ($11.00 to $19.99). “WW84” toys and collectibles from Bandai, Hot Toys, Kotobukiya, Medicom Toy and Prime 1 Studio will be available in Japan for fans soon.

DC Wonder Woman Virtual Run: In partnership with Rugged Races, Warner Bros. Consumer Products and DC launched the DC Wonder Woman Virtual Run, allowing participants to run a 5K or 10K whenever and wherever they want, outside or even on a home treadmill. Registered participants receive an exclusive collection of Wonder Woman-branded gear, including a premium quarter-zip pullover, finisher’s medal, terry cloth wristbands, and a reusable tote bag. Runners of all ages and genders can sign up through November 1 for either 5K or 10K distances at https://dcwonderwomanrun.com. Registration is $40.00 per participant.

About “WONDER WOMAN 1984”

Fast forward to the 1980s as Wonder Woman’s next big screen adventure finds her facing two all-new foes: Max Lord and The Cheetah. With director Patty Jenkins back at the helm and Gal Gadot returning in the title role, WONDER WOMAN 1984 is Warner Bros. Pictures’ follow up to the DC Super Hero’s first outing, 2017’s record-breaking WONDER WOMAN. The film also stars Chris Pine as Steve Trevor, Kristen Wiig as The Cheetah, Pedro Pascal as Max Lord, Robin Wright as Antiope, and Connie Nielsen as Hippolyta. Charles Roven, Deborah Snyder, Zack Snyder, Patty Jenkins, Gal Gadot and Stephen Jones are producing the film. Rebecca Steel Roven Oakley, Richard Suckle, Marianne Jenkins, Geoff Johns, Walter Hamada, Chantal Nong Vo and Wesley Coller are the executive producers. Patty Jenkins directed from a screenplay she wrote with Geoff Johns & David Callaham, story by Jenkins & Johns, based on characters from DC.

Warner Bros. Pictures Presents an Atlas Entertainment/Stone Quarry Production, a Patty Jenkins Film, WONDER WOMAN 1984. Set to open October 2, 2020 in theaters in 2D and 3D in select theaters and IMAX, it will be distributed worldwide by Warner Bros. Pictures. This film is rated PG-13 for sequences of action and violence. https://www.wonderwomanfilm.com/

#movie news #ww84 #Wonder Woman #products #makeup #warner bros #dccomics #rubies #funko #matel #barbie #mcfarlane toys #lego

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arplis · 5 years

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Arplis - News: Dishy Vintage Coat Hooks

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agilenano · 5 years

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Agilenano - News: Dishy Vintage Coat Hooks

Agilenano - News from Agilenano from shopsnetwork (4 sites) https://agilenano.com/blogs/news/dishy-vintage-coat-hooks

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