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The Suicide Squad: War is a Funny Thing

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The sequel to 2017’s disastrous Suicide Squad, James Gunn’s soft-reboot The Suicide Squad also tells the story of a ragtag group of villains and maniacs with unique abilities who are forced to work together by the America Government. If they are able to survive this suicide mission, they get reduced jail time. Disobey an order though and their head blows up. This time, their team consists Harley Quinn (Margot Robbie), Bloodsport (Idris Elba), Peacemaker (John Cena), King Shark, a giant CGI shark-man (voiced by Sylvester Stallone) and other crazy characters thrown in the mix like a living human weasel and Mongal, an alien warrior from another planet. Their mission is to destroy Jötunheim, a Nazi-era prison located in Corto Maltese, South America where alien experimentations are being used by its new evil dictators. 

The Suicide Squad is James Gunn at his absolute best. This is a film that really feels like an R-rated Guardians of the Galaxy (which is definitely a good thing). Picking James Gunn as the writer/director was a great decision for the WB and the difference in quality between the first Squad film and this one is night and day. Widely panned by critics and audiences, the first film felt like it was made by Hot Topic. Overstuffed by character backstories with limited action scenes and, lest we forget, the worst depiction of the Joker ever, 2017’s Squad was a tremendous let-down for the company. However, in Gunn’s vision for Squad, we jump right into the action and craziness, where half the team gets decimated within the first 5 mins of the movie. (It really is a Suicide Squad…) Gunn’s voice is nuts, often unexpected, and truly fitting of a rated-R movie. 

In addition, unlike the first film, Gunn’s film really isn’t trying to take themselves too seriously. Gunn clearly understands how insane both the premise and some of these characters are. For instance, there’s one really epic scene where King Shark rips a guy in half with his bare heads in slow-motion while lighting strikes in the background. (And that’s not even the craziest part of the movie!) This Squad also contains a woman that controls rats, Harley’s epic escape from prison and Bloodsport’s shooting through someone else’s bullet. That sort of high intensity action pairs really well with the comedy that James Gunn loves throwing into his films like Polka-Dot Man’s deep hatred for his mom that runs so deeply that he sees her everywhere. 

The underlying theme of The Suicide Squad seems to be a criticism of American nationalism and the smoke and mirrors that the American image upholds. This idea is best symbolized through Amanda Waller and John Cena’s character, Peacemaker. Decked out in the classic red, white, and blue colors of America, Peacemaker has dedicated his heart for “liberty.” Both characters are willing to do whatever they can to preserve the image of America as ‘for the people, by the people’ and the nation that all others should aspire to be. Of course, this is all a delusion but both characters act to try to preserve this false image simply because it’s something that they were led to believe. They truly think what they’re doing is right, despite being on both sides of the propaganda. 

The Suicide Squad further delves into its critique of the US by mentioning how many South America countries have been ravaged by them during the Cuban Missile Crisis. Similar to the way that Corto Maltese was used to store illegal human experiments using the alien starfish, so too did the US use Cuba for their nuclear weapons in the 1960s. In an example of toxic American nationalism, Waller and the Peacemaker will do whatever it takes to preserve US interests, even at the expense of poorer and less developed countries.

Overall, The Suicide Squad is the rag tag team of villains that we deserved (and needed). Director James Gunn is allowed total freedom here and looks like a genius. Not only is the action exceptional (and plenty) but the comedy is incredible and works so well with the characters they have.

The 4K UHD combo pack contains a gag reel of ridiculousness, three themed trailers, commentary from Gunn, deleted and extended scenes, four “scene breakdowns,” and four featurettes: “Gotta Love the Squad,” “The Way of the Gunn,” “Starro: It’s a Freakin Kaiju!” and “Bringing King Shark to Life.”

Zack Snyder’s Justice League: Reborn Film Finally Does Justice to the Franchise

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You could forgive me if I doubted.

After years of hearing about the mythological ‘Snyder Cut’, there was simply no way that this film could meet expectations. After all, the original film was such a tepid piece of fodder that there was simply no way that a few tweaks or additional scenes could self-correct a franchise that had fallen so far off the rails. Now, with a refreshed budget and a new home on HBOMax and Blu-ray, Zack Snyder’s Justice League has finally arrived. 

And I admit that I was stunned by the results.

The details of the Snyder Cut’s resurgence has been well-documented. Determined not to copy Marvel’s roadmap to success, DC chartered their own path that rushed the process. By the time that The Avengers came around, standalone films had charted a path that allowed audiences to connect with the characters before they attempted to work together. Falling behind in the box office, the release of Batman v. Superman: Dawn of Justice gave DC the chance to try and regain some traction in the pop culture world. In their attempt to speed up the process, they threw their characters into films without any proper introductions. Whether they were attempting to ‘catch up’ to Marvel or simply afraid of being accused of ‘copying’ Disney’s juggernaut franchise, the result was a middling mess of confusion that left no time to create something special. 

After Joss Whedon’s cut of the Justice League failed to catch on with audiences, WB may have thought they were free of the franchise with a chance to reboot things once again. However, they underestimated their fans. After an unprecedented fan campaign that lasted three years and a hashtag (#ReleaseTheSnyderCut) that simply wouldn’t die, WB found themselves portrayed as the villains of a fiendish plot to suppress a director’s vision. Even so, they held firm to their comment that any other version for the film simply did not exist.

All that changed with the creation of HBOMax. Even if Snyder had been able to complete the film initially, there’s simply no way that the WB would have allowed a four-hour cut to be released in theatres, especially for a franchise that had been viewed as flailing. Although, with the move to streaming, Snyder suddenly had the opportunity to lean in to his longer take on the film. All of a sudden, he had the time (and freedom) to tell the story his way. Given more space in the world of digital media, Snyder’s League feels less like a theatrical release and more like the first chapter of a mega mini-series event. At a time when binge-watching has taken over the ‘theatrical experience’, Zack Snyder’s Justice League leans into our current obsession with long-form storytelling, complete with ‘chapters’ marking breaks within the film. 

Most importantly though, what about the quality of the film itself? 

The truth is that it’s good. Very, very good. 

Shockingly good, really.

In the new cut, Zack Snyder’s Justice League picks up immediately following the events of Batman v. Superman: Dawn of Justice. After Superman’s (Henry Cavill) death, the world is left with a need for heroes. As such, Batman (Ben Affleck) and Wonder Woman (Gal Gadot) begin building a team of super-humans who will stand together against an ancient evil that is preparing to return and exact revenge on humanity. 

Although I have never considered myself a ‘Snyder-apologist’, one can’t help but recognize the quality of his epic saga. The ‘director’s cut’ is far from a new concept in our culture. Even so, the extent of these re-edits usually amounts to a few additional scenes or some updated special effects. In the case of the new League, Snyder offers an almost entirely different story with new subplots and expanded character beats.

In fact, it’s not an exaggeration to suggest that it improves on the original theatrical cut in virtually every way.

While Whedon’s original film attempted to ‘lighten’ the tone with more quips and less exposition, that vision never truly fit with the world that Snyder had already created. Marked by rushed character arcs that never satisfy and a bland villain, the original film rarely works. Nevertheless, with the move to HBOMax, Snyder’s version has the proper time to explore the stories of new characters without betraying the larger superhero story. Though this saga would obviously have benefited from prior stand-alone films, Snyder’s League does its very best to compensate by giving meaningful backstories to its new additions, especially Ray Fisher’s Cyborg. Once a side character with little relevance, Cyborg has suddenly become the film’s emotional core with an arc that has a significant impact on the outcome of the story.

In addition, the most notable change comes through a more fully realized villain in Steppenwolf. Whereas Whedon trimmed the brute’s story down to almost nothing, Snyder’s new footage offers a meaningful role to the character. Instead of a standard ‘big bad’ who’s forgettable (at best), the new League highlights his motivation and relationship to the larger impending force of nature in Darkseid. As a result, not only does Steppenwolf become more interesting to the viewer but his actions simply make more sense. (What’s more, new special effects give the character a much more menacing look, a factor that was lacking in the original cut.) 

Of course, it’s also important to know that the film ends on an enormous cliff-hanger. Originally conceived to be the first of three films, League operates in grand strokes but never fully concludes. (For the record, Snyder has currently stated he has no intention of returning to the world.)

What’s more, despite its overall quality, this League will not likely win any new converts from those who struggle to connect with Snyder’s vision. Although it goes without saying that this a vastly improved version of the film, all the Snyder-isms that will cause derision remain front and centre. Off-putting to some for his showmanship, there’s little question that his visual polish drives his work. Featuring a litany of stylized effects, slow-motion action and dark, gritty story-telling, League is Snyder is at his free-wheeling best yet he will still likely alienate viewers who are looking for something more along the lines of Marvel’s lighter, more humorous tone.

However, these vast differences are all very intentional. Whereas Marvel has taken a much more scientific or ‘human-centred’ approach to their content, Snyder’s vision for the DC Universe has always included viewing these heroes as modern gods. Though Marvel seems to create heroes on par with mankind, Snyder views characters like Superman, Batman and Wonder Woman as super beings who have been sent as examples to inspire humanity to greatness. (One need not look further than the giant monument to Superman to see that this is true.) There’s a deep admiration for his characters within Snyder’s work that hints at the spiritual longings of a culture looking for heroes. As such, his vision for the League meets every superhuman act with a grand crescendo. Bursts of electricity, clangs of metal and a bombastic soundtrack give the film an epic scale that highlights his vision. To Snyder, the DC Universe is an example of our modern mythology and, as such, he is unapologetic in his reverence for the material.

With the release of his ambitious superhero opus, Snyder truly does come out as the winner here. With grandiose storytelling and vastly improved character arcs, Zack Snyder’s Justice League shows what the director can do when given the time (and money) to bring his vision to life. As a result, this reborn League certainly feels like the unexpectedly epic conclusion that this chapter of the DCEU (and Snyder himself) needed.

That is, until #RestoreTheSnyderVerse takes effect.

Zack Snyder’s Justice League is available to stream on HBOMax and on Blu-ray. The special feature included is “Road to Justice League” as Snyder reflects on the three DC films he made for Warner Bros.

Godzilla Vs. Kong: Battle of the Beasts

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In Godzilla Vs. Kong, big beast fans finally get their latest version of the colossal fight between two monolithic monsters, one primate and one reptilian. It’s the fourth film in the “Monsterverse,” the films from Warner Bros. that star either Godzilla or Kong. This time, it’s all about the battle royales between the two beasts, as humans (always those pesky humans!) try to use Kong to fend off the attacks of Godzilla.

In terms of the movies’ timeline, it’s been five years since Godzilla took down King Ghidorah, and the company Monarch continues to monitor Kong on Skull Island. Kong interacts with the little deaf girl Jia via sign language, building a friendship that the scientists watching him hope to use. Monarch geologist Dr. Nathan Lind (Alexander Skarsgård) is sent with Dr. Ilene Andrews (Rebecca Hall) and her adopted daughter Jia, to follow Kong to the center of the Earth where Titans are believed to roam. The corporations, rather than countries, drive the economics and action of the film — super corporations in their own right with political aspirations, and that’s how the man-made Mechagodzilla enters the picture, threatening to destroy, well, everything.

Now, fans can own the Blu-ray combo pack, with commentary by director Adam Winguard and ten featurettes that explain the background for Gojira, the king of monsters, how Kong has evolved, and the two epic battles between the two monsters. While some of the CGI has elements that reveal the lack of integration, it’s certainly not apparent in the exploration of “Round One: Battle at Sea.” That proves to be one of the most eye-popping spectacles of the last year, and a testament to cinematographer Ben Seresin, no stranger to big, explosive battles with his work on Transformers Revenge of the Fallen, World War Z, and The Mummy.

While fans of these films come for the explosive battles, it’s worth noting that the issues of family (between humans and between humans with Kong), and the question of pursuing truth at all odds are raised in a way that makes the film deeper than the average “blow ’em up” spectacle. You’ll have to choose which side you come down on – reptile or primate – and wrestle with the outcome of the big animal prints left behind.

7.21 Into the Fire of THOSE WHO WISH ME DEAD

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When the heat of the flames tries to overtake you, what will you do? In THOSE WHO WISH ME DEAD, Angelina Jolie plays Hannah, a burnt-out flame jumper who is struggling to deal with the traumatic events of her past. When she meets young Connor, she finds herself forced into the fire again as she attempts to help him get to safety. This week, Victor Stiff (That Shelf, Dope Black Movies) and filmmaker Ryan Kayet (Riverlife Productions) drop by to talk about Taylor Sheridan’s unique style and what it means to find beauty in the fire.

You can stream the episode on podomatic, Alexa (via Stitcher), Spotify or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

7.21 Those Who Wish Me DeadDownload

In the Heights: A Portrait of Dreams, Community, and Identity

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This movie wasn’t for me.

Now don’t get me wrong, I’m not saying that I didn’t love every single moment of it, because I did. I was entranced by the story of this tight-knit Latino community as they navigate their way through life, their struggles, their dreams, and even the brutal New York summer heat. 

I’m not saying that Lin-Manuel Miranda’s lyrics and music weren’t mesmerizing, because they were. After one viewing I was already humming “Piragua” without realizing it and, even though I was watching on my laptop, I still felt as if I was watching it on Broadway (where it originated in 2008). 

I’m not saying that the ensemble cast of Anthony Ramos, Melissa Barrera, Leslie Grace, Jimmy Smits, Corey Hawkins, Olga Merediz, Gregory Diaz IV, Stephanie Beatriz, and Lin-Manuel Miranda wasn’t an effortless performance that transported me into these lives and stories, because it was.

Basically yes, everything about In the Heights was stunning, but it wasn’t made for me. 

The best way I can describe it is if a family member handed me an old love letter from years ago. Intimate and personal but voluntarily shared with me, the offer of this letter would be as if to say “hey, I’m inviting you into this part of my story so that you can witness and understand things that aren’t part of your daily life.” And so I read the letter – not from a position of voyeurism or entitlement – but from a place of respect for the person who placed it in my hand. And when I finish the letter, I look up into the shining eyes of the one who owns it, they smile gently and nod and, for that moment, I am transported into a story that lives and breathes as it is passed down from generation to generation.

It isn’t my story. But oh, how I long to help steward it. 

Most viewers are going to be able to connect with the central theme of fulfilling dreams and destinies. Usnavi (Anthony Ramos) runs a corner bodega, a small convenience store that connects the community of Washington Heights with good coffee and charisma. Longing for the return to his roots in the Dominican Republic, everything Usnavi does is to support that dream – from supporting his young cousin Sonny (Gregory Diaz IV) to caring for the neighborhood grandmother Abuela Claudia (Olga Merediz) – every day moving closer to that realization. But in the midst of pursuing his “El Sueñito” (Little Dream), those closest to him are navigating their own life changes and dreams. Nina (Leslie Grace), the pride of her family, friends, and entire community, has returned from her first year in college lost and homesick. Leaning into her old flame Benny (Corey Hawkins) while arguing with her father Kevin (Jimmy Smits), Nina has to decide where her future lies and what she will do with it. But while she is yearning to stay, aspiring fashion designer (and Usnavi’s crush) Vanessa (Melissa Barrera) is doing everything in her power to move out of town and into high society. Together they all have to work through uncovering not only who they are, but what they are meant to do. 

It is through the cultural strength of Lin-Manuel Miranda’s composition that this story is told, and it is here where I am back to reading that love letter. I can’t fully grasp the pain of being treated as less-than, or the fear that undermines the hope for their future. I don’t understand the language (literally), and I don’t know if my definition of community will ever be as robust as what I witnessed during this film. But I saw it. I heard it. I felt it. And this is where I hand that love letter back, forever changed by its contents and with a small piece of it engraved upon my heart and in my mind. Never to forget the beauty of a story that pulled back the veil just enough for me to see beyond my own view, while still preserving the intimacy between the author and the recipient. And I am grateful.

In the Heights is now streaming on HBO Max and in theaters.

Those Who Wish Me Dead: Sheridan’s Latest Brings the Heat

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Where there’s smoke, there’s fire. And in his new actioner Those Who Wish Me Dead, director Taylor Sheridan definitely brings the heat.

Those Who Wish Me Dead follows Hannah (Angelina Jolie), a smoke jumper who is struggling with the events of a rescue gone wrong. Now choosing to work in isolation in the watchtower, Hannah stands atop the Montana wilderness, looking for signs of danger. However, this life of seclusion is upended when she meets Connor (Finn Little), a terrified and bloodied boy who needs to make his way back to civilization. As she attempts to bring him to safety, Hannah soon discovers that not only must she dodge an oncoming fiery blaze but also avoid the sights of two relentless killers who are consumed with killing young Connor as well.

Directed by Taylor Sheridan, Those Who Wish Me Dead is a tightly executed thriller that burns with blazing ferocity throughout. Known for such well-regarded films as Sicario and Wind River, Sheridan’s work rarely fails to disappoint, especially when it comes to building a world of intensity. At only 100 minutes, he makes great use of his runtime with very little extra padding. From the film’s opening sequence, Sheridan shows that he knows what he wants to accomplish and goes after it with force. Part Backdraft and part No Country for Old Men, the film has some truly harrowing set-pieces that are positively gripping. (Two scenes involving both a raid on the sheriff’s home and Jolie’s run through a storm-riddled field are particularly worth noting.) 

While the script is solid, what gives life to the film is its cast. While Dead features strong work from Jon Bernthal, Aiden Gillan and Nicholas Hoult, it’s the female cast members whose performances are straight fire. With the bulk of her work in the last decade relegated to family fare, Jolie’s dramatic work has been much more limited. However, in the role of Hannah, Jolie has the opportunity to dig into a unique blend of both compassionate caregiver and brooding badass. (Seriously, when was the last time we got to see her character jump from a moving vehicle… for fun?) With both courage and empathy, Jolie consistently reminds the viewer what makes her so special as an actress and she is a joy to watch onscreen. At the same time, the best surprise may come in the form of relative newcomer Medina Senghore who is on absolutely incredible. As mother-to-be Allison, Senghore showcases a protective strength and focus that fuels the film, making her one of its most notable talents. 

Interestingly, Sheridan opts to play much of the film’s exposition close to his vest. While this will likely irk some viewers, it is also one of the film’s most interesting traits. By keeping its secret under wraps, Sheridan also keeps the narrative firmly fixated on the journey of his characters. This is not a film dedicated to bringing down a vast conspiracy (although that certainly exists). Instead, Sheridan is more focused on the characters and their journeys at this one moment of their lives, especially that of Hannah.

With this in mind, it’s worth noting that Sheridan’s use of fire in this film feels particularly unique. Rather than simply treat it as an oncoming threat, Sheridan uses it to represent the pain that we fear most. Haunted by a particularly traumatic moment of her past, Hannah has chosen to work in solitude in the watchtower. For her, the fire represents her own perceived failures. (“Instead of fighting [the fire], we found ourselves running from it. And that’s not where you want to be,” she explains.) In other words, as the oncoming blaze ravages the forest, Hannah not only attempts to outrun the flames but also her inability to deal with her pain.

As a result, she has opted to take on the role of warning people of danger rather than enter into it herself. 

All that changes when she meets Connor. Though she fears the flames, she also recognizes that sometimes you need to face them head-on. Without giving away any spoilers, Sheridan uses Hannah’s decision to endure the fire as an opportunity for her to potentially begin to move forward. Regardless of what she’s been through, this becomes a time where she can stand and fight.

Whereas fire decimates, so too can it make something new.

Well-written and anchored by fierce performances, Those That Wish Me Dead is a thrilling ride from start to finish. With each film, Sheridan continues to develop his skills as a story-teller and he attacks this story with focus and heat. At the same time, he also shows that the fire we fear may also be the very thing that we must face in order to heal.

Those Who Wish Me Dead is available in theatres and on HBO Max on Friday, May 14th, 2021.

7.17 Culture and Carnage in GODZILLA VS. KONG

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Welcome to tonight’s main event! After many delays and teases, Godzilla vs. Kong FINALLY pits these massive titans against one another in an epic onscreen battle of monster mayhem. For most of a century, these characters have lived on as cultural icons that are simply too big to ignore. But why do these particular creatures hold such a special place in our hearts? This week, Dave Voigt (InTheSeats.ca, host of In The Seats With…) and monster maven Ben Dower drop by to chat about what defines these cultural icons and how they’ve changed over the year.

You can stream the episode on podomatic, Alexa (via Stitcher), Spotify or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

7.17 Godzilla vs. KongDownload

Wonder Woman 1984: Be Careful What You Wish For

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What’s your greatest wish?

Whether it’s world peace, romance or even just ‘more wishes’, everyone has something that they would ask for if given the chance. But what are you willing to sacrifice to get it? 

This is the primary question behind Wonder Woman 1984 (or WW84), the follow-up to Patty Jenkin’s 2017 blockbuster that revived a flagging DC cinematic universe. Once again directed and co-written by Jenkins, WW84 is bombastic blast of colour that never loses the character moments that gives this franchise its heart. While it isn’t as ground-breaking as its predecessor, WW84 is still a thoroughly enjoyable follow-up that continues the journey of the Amazonian princess and solidifies her as one of the great cinematic superheroes of the modern age.

Set amidst the vibrant and sleek 1980s, Wonder Woman 1984 finds Diana Prince (Gal Gadot) keeping a low profile amongst the mortals that she loves so dearly. Working as a museum curator, she only steps into the heroic limelight if she can do so without public acclaim. However, when an ancient artifact with magical abilities draws the attention of the smarmy businessman Maxwell Lord (Pedro Pascal), Diana must not only face off against a growing evil but her own battle with temptation as well.

Though this is a film that truly does deserve the big screen treatment, it is significant that WW84 followed through with its 2020 release date, even if it must be on demand instead of its planned theatrical rollout. (Honestly, who could’ve expected that this would be the only superhero epic that we got to see this year?) With its bright colours, infectious energy and positive messages, it’s fair to say that this may be the blockbuster that we have been waiting for in 2020. (No offense, Tenet.) While one would be hard pressed to say that this film were gritty or self-reflective in any way (again, read: Nolan, Christopher), WW84 still proves poignant as it emphasizes the importance of living in the truth of the moment as opposed to clinging to false dreams or ‘what-if’ scenarios.

For her second time leading the franchise, Jenkins’ work in WW84 continues to impress. As only her third feature (!!), she understands the sort of character development required to engage the audience without losing the impact of the action sequences. Given the setting, this is a film that leans heavily into nostalgia, even in its set pieces. (In fact, even an early fight scene in the mall feels like a campy throwback to the very earliest of superhero films like Superman: The Movie) Keeping the tone light throughout the film, Jenkins allows the fun to shine brightly yet still manages to give the drama some real emotional stakes. (Heck, she even manages to bring back the deceased Steve Trevor in a way that feels justified within the film.)

With every turn as the character, Gadot grows more confident and comfortable in the role of Diana Prince. What’s more, her onscreen chemistry with co-star Chris Pine continues to ground their characters, as they support and challenge one another in various moments. (In fact, in an interesting twist, WW84 actually flips the dynamic between the two characters from the first film, with Pine’s Trevor as the somewhat naïve soul learning from the more confident and self-aware Diana.) However, the real surprise of the film is Wiig who clearly relishes the opportunity to take on the role of villain. Known for her comedic work, Wiig’s performance feels familiar at the film’s outset as the awkward and self-conscious Barbara Minerva. However, as the film progresses, Wiig truly settles into the role, imbuing Barbara with a dark ambition that makes her a suitable foil for Gadot’s Diana.

Whereas the film’s ‘period setting’ admittedly felt gimmicky when details of the sequel were first announced, it’s extremely appropriate for the film. Set at the height of the ‘Me Generation’, WW84 makes good use of the psychology of self-improvement and selfishness that defined the 80s. Drenching the film in golden colours throughout much of the film, Jenkins leans into this notion of self-indulgence by creating a visual world of luxury that would make King Midas jealous. At a time of financial excess and an obsession with the ‘image’, this was an era that sought to teach us that who we were was never enough and to always reach for more. (“Life is good, but it could be better,” Lord repeats.) 

However, without giving away any spoilers, it’s worth noting that WW84 recognizes the damage of this greediness and its effect on others. For every wish that’s fulfilled, there comes a cost to be paid by the person who makes the request. The more one leans into their own selfishness, the greater the impact on those around them. As such, the film calls for global humility in order to survive and serves as a reminder that self-sacrifice is required by all in order to heal the world. (Again, a much-needed commentary during the current pandemic.)

Fun and enthusiastic, Wonder Woman 1984 sparkles with joy. Rather than use the sequel to create a ‘darker’ entry into the franchise, Jenkins continues to allows heart, love and reason to win the day. In essence, WW84 is a film about finding contentment in the moment despite our circumstances and working together to build a brighter future.

And, in 2020, what more could you want?

“Wonder Woman 1984” 4K UHD Combo Pack and Blu-ray includes special features “The Making of Wonder Woman 1984: Expanding the Wonder,” “Gal & Kristen: Friends Forever” and “Gal & Krissy Having Fun” about its two stars; “Small But Mighty,” two scene studies, “Meet the Amazons,” the “Black Gold” commercial; a gag reel; and the WW1984 retro remix.

7.15 Restoring the Universe in ZACK SNYDER’S JUSTICE LEAGUE

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After Joss Whedon’s Justice League failed to catch on with audiences, those committed to seeing Zack Snyder’s original vision brought to completion began the most extensive fan campaign that Hollywood has ever seen. Featuring hashtags, billboards and even renting a plane, #ReleaseTheSnyderCut seemed like a passionate but empty pursuit. However, after four years and an additional $100M, Warner Bros. has finally released the Snyder Cut onto HBOMax. Clocking in at over four hours long, Zack Snyder’s Justice League has new effects, new characters and a more fully-developed script… but does that truly make it any better? This week, Victor Stiff (host of YouTube’s Dope Black Movies) and Dave Voigt (podcaster and founder of InTheSeats.ca) stop by to debate the value of the Snyderverse, the nature of heroism and the differences between Marvel and DC.

You can stream the episode on podomatic, Alexa (via Stitcher), Spotify or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

7.15 Zack Snyder’s Justice LeagueDownload