• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar
  • Skip to footer
  • Film
  • DVD
  • Editorial
  • About ScreenFish

ScreenFish

where faith and film are intertwined

  • Facebook
  • Instagram
  • Twitter
  • Home
  • Reviews
  • Interviews
  • News
  • OtherFish
  • Podcast
  • Give

Patty Jenkins

Wonder Woman 1984: Be Careful What You Wish For

March 30, 2021 by Steve Norton Leave a Comment

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.

Filed Under: Featured, Film, HBO Max, Reviews Tagged With: Cheetah, Chris Pine, DC, DCEU, Gal Gadot, Kristen Wiig, Patty Jenkins, Pedro Pascal, Steve Trevor, Wonder Woman, Wonder Woman 1984, WW84

I Am the Night – TV Noir

January 28, 2019 by Darrel Manson Leave a Comment

“Some stories you can’t tell. Some stories don’t want to be told. Some stories will eat you alive.”

TNT’s limited series I Am the Night is a large dose of noir for the small screen. It is moody and ominous, but with a certain moral light flickering amidst overwhelming darkness that envelops the story. It is the kind of story that will eat the characters alive. Produced by Patty Jenkins (who also directed three episodes) and Chris Pine (who also stars), it is based on the true story of Fauna Hodel with ties to Los Angeles’s most notorious unsolved murder. Perhaps because I saw the first episode on a big screen during AFIFest, I note a cinematic quality to the series that makes it seem bigger than expected for a TV series.

When sixteen year-old Pat (India Eisley) discovers that her mother (Golden Brooks) has lied to her about where she came from and that her real name is Fauna Hodel, she sets off to L.A. to connect with her “real family”, her mother Tamar Hodel and her grandfather Dr. George Hodel (Jefferson Mays).

At the same time, we meet a washed-up journalist, Jay Singletary (Pine). Singletary is trying to prove himself worthy of a job, but his alcoholism, drug use, and PTSD and moral injury from his time as a Marine in Korea compound to make it hard for him to cope with life. He is haunted by the story that destroyed his career and by the ghosts from his past. Singletary is in many ways a broken man, but he also has an idealistic approach to his job, looking for the truth, even when facing corruption and power. (While the series is “based in real events” as told in Fauna Hodel’s memoir, Jay Singletary is a composite character.)

As the story progresses from week to week, Fauna and Singletary discover that each can help the other in their quests—her for family, him for redemption through the truth that everyone refuses to see. They are not so much partners in their endeavors as two people who use each other to accomplish parallel goals. Yet in the end, what connects them is their survival in the face of monstrous evil.

Set in 1965, we see an LAPD that is corrupt and violent. (This is the year of the Watts riots, which we see briefly later in the story.) The truths that both Fauna and Singletary seek to uncover run afoul of the powers behind the corruption. Those powers are far more concerned with maintaining the way things are than the truth that could tear them apart. Issues of racism, truth, and identity play out over the course of the series.

Noir often sees the world as a place that is generally filled with evil. That is true of I Am the Night. At the end of the first episode we hear a warning about Dr. Hodel. As the story progresses from week to week, he becomes an ominous presence. We quickly see him as creepy, but step by step he becomes the embodiment of darkness that deepens each week. Each episode brings a new revelation and new depravities to keep us involved and a bit off-balance as we await the next installment.

Just as Dr. Hodel keeps darkening, we begin to feel more hopeful for Singletary, who in spite of his many flaws, continues to hold to an ideal of goodness. We may well understand him as a knight in very rusty armor. He is relentless in the face of physical beatings and his own emotional demons grow from his belief that the evil that fills his world must be defeated. It is the goodness that comes from such flawed characters that brings hope into the dark world of noir. Eventually a character can say, “I think there is grace here… if you can find it.” The grace that is to be found in I Am the Night is not warm and fuzzy, but as is often the case in life, the ability to see the small bits of goodness in an evil world.

Filed Under: AFIFest, Reviews, Television Tagged With: based on true events, Chris Pine, Golden Brooks, India Eisley, Jefferson Mays, miniseries, noir, Patty Jenkins, TNT

Friday at AFIFest 2018

November 11, 2018 by Darrel Manson Leave a Comment

Welcome to Hollywood and the AFIFest Presented by Audi. This is an amzing festival that brings together some of the world best filmmakers and new talent bringing fresh voices to the cinema. To be sure, there are more movies than anyone can get to, which makes me appreciate the programmers’ job of finding the best of the best.

I started the festival with what is actually the first episode of a limited TV series. The opening episode of I Am the Night introduced us to two main stories that will come together as the series moves forward. In one, Pat (India Eisley), a light-skinned African-American girl, discovers that she is actually the granddaughter of a rich white doctor in L.A. After a confrontation with the woman who raised her, she sets off to L.A. to find who she really is. Meanwhile in L.A., Jay Singletary (Chris Pine) is a washed-up photojournalist who will do anything to get a picture he can sell. I have no doubt that we’ll discover that what he’s really searching for is redemption. At the end of episode one, things just begin to turn dark and ominous. I’m looking forward to seeing the rest of this six-hour series based in a true story. One of the reasons is that it is executive produced and the first episodes are directed by Patty Jenkins (Wonder Woman). It will play on TNT in January.

In the evening I took in a French film, Non-Fiction (Double Vies), a comedy of relationships from director Olivier Assayas. It is the story of a husband and wife (Guillaume Canet and Juliette Binoche). He runs a publishing house; she is a TV actress on a successful police procedural show. We learn that all the characters are cheating on their partners, all suspect their partners are cheating on them, but does it matter. This is a very talky film, mostly taking place at dinner parties. The main discussion is the shift from old media to new and how that affects our idea of truth. More importantly, it questions how, in a post-truth world, we might think our subjective desire of reality may be more important than reality itself. There is a great deal of cynicism as the film plays out. I can’t find a North American release date for this, but I’m sure we’ll get a chance to see it in theaters.

Filed Under: AFIFest, Film, Film Festivals Tagged With: Chris Pine, Guillaume Canet, I Am the Night, India Eisley, Juliette Binoche, Non-Fiction, Olivier Assayas, Patty Jenkins

3.22 Celebrating WONDER WOMAN

June 11, 2017 by Steve Norton Leave a Comment

http://screenfish.net/wp-content/uploads/2017/06/3.22-Wonder-Woman.mp3

This week, Steve welcomes actor Amanda Jane Smith and pastor Judith McCartney to enter into the battle with Patty Jenkins’ Wonder Woman.  While the film has scored with both critics and fans, there seems to be something much more significant about this particular moment.  Is it true that Diana’s story provides a proper role model for young women?  Does the strength of her character really create something unique or is there a veiled sexism at the hands of the male gaze?  In a lively discussion, they dialogue about equality, feminine identity and the nature of evil.

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.

3.22 Wonder Woman

A special thanks to Amanda and Judith for joining us on the show!

Filed Under: Current Events, Film, Podcast Tagged With: Batman, Chris Pine, DCEU, empowerment, equality, equity, feminism, Gal Gadot, Patty Jenkins, superhero, superhero film, Superman, women, women's rights, Wonder Woman

Primary Sidebar

THE SF NEWS

Get a special look, just for you.

sf podcast

Hot Off the Press

  • Stanleyville: Exposing our Killer Instinct
  • SF Radio 8.25: Mental Health and the Multiverse in EVERYTHING, EVERYWHERE ALL AT ONCE
  • Chip ‘N Dale: Rescue Rangers – Dusting Off these Two Gumshoes
  • GIVEAWAY! Advance Screening of TOP GUN: MAVERICK!
  • Men: Trapped in Man’s World
Find tickets and showtimes on Fandango.

where faith and film are intertwined

film and television carry stories which remind us of the stories God has woven since the beginning of time. come with us on a journey to see where faith and film are intertwined.

Footer

ScreenFish Articles

Stanleyville: Exposing our Killer Instinct

SF Radio 8.25: Mental Health and the Multiverse in EVERYTHING, EVERYWHERE ALL AT ONCE

  • About ScreenFish
  • Privacy Policy

© 2022 · ScreenFish.net · Built by Aaron Lee

Posting....
 

Loading Comments...