Aquaman and the Lost Kingdom

Tonight, I went to the theaters to watch “Aquaman and the Lost Kingdom,” which came out two days ago, and I will let you know what I thought of this sequel.

The DC Extended Universe has gone through its ups and downs, but now with the release of this sequel directed by James Wan, this marks the end.

The first film grossed $1.15 billion, making it the fifth highest-grossing film of 2018 and, at the time, was not only the highest-grossing film based on a DC Comic Book character to this day worldwide (including the Nolan “Batman” trilogy) but also the 20^th highest-grossing film of all time. Simon Thompson noted in his review, “Fast forward to December 2023, and “Aquaman and the Lost Kingdom” lands in theaters with comparatively little fanfare outside of what feels like a perfunctory promotional campaign, minimal hoopla for a film of its size, a sequel to a hit, and anchored by an embargo that lifted around the same time that first public screenings take place around the world.” What happened?

Everyone knows the DCEU will transition into the new DC Universe (DCU) with James Gunn and Peter Safran at the helm, and this is the final chapter in the franchise, but still. Regardless of the quality of the film, it’s hard not to feel bad for James Wan, main actor Jason Momoa, and the rest of the cast, both returning and new.

What are “they” hiding? Thompson said, “Is it a double bluff, and it’s so good it’ll blow our fins off, and it had to be kept a secret until almost literally the last second?” Now we have the answer.

Thompson said, “This array of set pieces is best described as good but not great and an entertaining, if slightly forgettable, romp with no shortage of spectacle but a few pinches short on substance.” To tell you the truth, it’s hard not to enjoy the film.

After an entertaining recap at the start of the film to let everyone know what happened in the first film and to tell everyone where Momoa’s Arthur Curry is when we’re reunited a few years on, things pick up very fast. Thompson said, “If there’s one thing “Aquaman and the Lost Kingdom” deserves credit for, and there are plenty of things, it’s the fact as stuffed as it is, there’s not a lot of fat on it, and it doesn’t waste time.”

Taking place several years after the first film, the basic story of the film is that Curry, aka Aquaman, is now a father and has to get back in action to protect Atlantis, along with everyone and everything he loves, from David Kane, aka Black Manta, reprised by Yahya Abdul-Mateen II, who has his mind set on getting his hands on the powerful Black Trident. Thompson noted, “If he succeeds and releases the megalomaniacal Kordax from an icy tomb in the Lost Kingdom, the nightmarish Atlantian promises to make him Kane powerful.” However, getting the Trident isn’t enough: Kordax, played by Pilou Asbaek, also needs the blood from Curry’s bloodline to break the spell and be free. To stop the evil from being released, Aquaman needs to team up with his half-brother Orm, reprised by Patrick Wilson, who he needs to first break out of prison without starting a war. The change in their dynamic is one of the film’s highlights, and, sadly, we won’t be getting more of that. There’s also a subplot about polluting the environment, a strong fuel substance called Orichalcum, and a plague threatening Atlantians and others. As everyone has guessed, so much is going on.

Thompson mentioned, “There’s more to it, and many additional characters are introduced along the way, but that’s the bones writer David Leslie Johnson-McGoldrick has to put meat on— and put meat on them he does. Johnson-McGoldrick previously collaborated with Wan on the first “Aquaman” and also “The Conjuring 2” and “The Conjuring: The Devil Made Me Do It,” and here the two worlds collide as the pair lean into horror and monsters. It never gets too dark or intense, but it is executed in a way that adds an edge for older, accustomed viewers while offering a nice genre gateway for some younger fans who want to explore darker themes. Coupled with Rupert Gregson-Williams’s pacey, vibrant, and engaging score, it’s PG-13 a romp that licks along from set piece to set piece, which is basically what “Aquaman and the Lost Kingdom” is. The good thing is that it’s not trying to be anything different, and the focus is on thrills rather than taking itself too seriously, even when it dips its toes into the pool of deep and meaningful.”

Where does the film go downhill? Even though the film has a lot of ideas, that’s also one of the flaws because it moves from one idea to the next without taking a break of tone. Thompson said, “They are all decent enough ideas, but while the narrative works, it doesn’t feel like it flows so much as things are assembled in an order, and it feels somewhat bitty and formulaic. They create a chain, but it lacks cohesion. There’s a difference. Also, while the set pieces are impressive to look at for the most part, they are often placed in such huge spaces that the epic scale isn’t used as effectively as it could be, and it feels a bit lost.” However, when the focus is on one of the ideas rather than the bigger one and focuses on the action, it is most impactful and works. That’s when the intended surprise happens. Thompson said, “Bigger isn’t always better, and what is meant to showcase epic scale feels more like a sound stage with space people weren’t sure how to use.”

On top of that, some of the effects hurt the film. There are moments of CG that move the audience out of the moment, which is sad. If you see this in 3D, it feels like they meant for that to happen. The final problem would be that some of the returning cast either aren’t given enough to do or feel underserved or too functional, which hurts cast members like Temuera Morrison, Nicole Kidman, Amber Heard, and Dolph Lundgren. However, we have Martin Short’s Kingfish, introduced like the characters in the “Star Wars” Cantina, and John Rhys-Davies’ Bring King, who don’t have major roles but are the highlight of their scenes.

It's sad that “Aquaman and the Lost Kingdom” is the final film in the DCEU because more of this would have been nice. However, the DCEU ends on a high note and in style, despite lacking substance sometimes, which is satisfying. James Wan delivered. Don’t let the fanfare leaving get to you because his good work should not go unrewarded.

I had no idea that critics slammed this film, but when I saw it, I liked it. I thought it was funny, the underwater scenes looked the best (better than the second “Avatar”), the action scenes were great, the actors did a good job, and the characters were amazing. Check this out in theaters because I think it was worth seeing in theaters. You will love this, but judge it based on your own judgment.

Thank you for joining in on this review tonight. Stay tuned tomorrow for the next review in “Disney Month 2023.”

Blue Beetle

Tonight, on Max, I saw the latest film in the near-ending DC Extended Universe, “Blue Beetle,” which came out theatrically in August but on Max 12 days ago. How is this film? Let’s find out.

This is a superhero movie that would be a lot better if it weren’t a superhero movie.

That’s the case with “Blue Beetle.”

In it, Jaime Reyes, played by Miguel from “Cobra Kai,” Xolo Mariduena, a recent college graduate, gets passed an alien relic called a scarab, and it chooses him to transform into the Blue Beetle, complete with a blue suit of armor and the ability to create super weapons.

The first time this happens, he’s in the kitchen with his Latino family and opens a Big Belly Burger box (which I first heard of from CW’s “The Flash”) that he’s been given suddenly by Jenny Kord, played by Bruan Marquezine. The box has the scarab, which Jenny steals from her aunt, Victoria Kord, played by Susan Sarandon, the evil CEO of Kord Industries.

Jaime doesn’t know the relic is in the burger box, and Jenny has told him not to open it. But Jaime’s family – mom (Elpidia Carrillo), dad (Damian Alcazar), sister (Belissa Escobedo), grandmother (Adriana Barraza), and Uncle Rudy (George Lopez) – insist he sees what’s inside. He does, the beetle relic sticks to his face, crazy stuff happens, and the family gets frightened.

The Reyes family’s scared reaction is the funniest scene in this lighter DC film, which is at its best when it focuses on the family, and (after the first transformation scene) at its most uninspired when the story changes to superhero action.

Tim Miller said in his review, “In much of the same way that “Black Panther” was admirably groundbreaking for its Black hero and depiction of Black culture in what traditionally has been a very white genre, “Blue Beetle” deserves attention for its emphasis on Latino characters. (As was the case with “Black Panther,” this shouldn’t be a big deal at this point in history, but it is.)”

Miller continued, “Aside from its historical significance, though, the Reyes family is just a lot of fun, especially Mariduena’s likable, charismatic Jaime; Escobedo’s wisecracking younger sister (who, noting that Jaime took pre-law in college, asks potential employer Jenny, “You guys need any pre-lawyers?”); and Lopez’s excitable free spirit, Uncle Rudy, who tools around in a pickup truck he calls “The Taco”.”

“Blue Beetle’s” director, Angel Manuel Soto, and screenwriter, Gareth Dunnet-Alcocer, could have made a family comedy with these charming characters, getting rid of the tired superhero theatrics, and they might have had a stronger film,

As it is, the film looks at Reyes’ economic/employment issues, family values over materialism (“Things don’t last; la familia, that’s forever”), and related themes. “Blue Beetle” is smart, entertaining, and, in its respect, necessary.

I think that this movie is fun, enjoyable, and funny. Check this out on Max because I think this is a good film to look at. This has been getting very good reviews and for a superhero that is a young Latino, I think this is to be seen. Don’t miss your chance to watch this on Max because I do think this is one of the better DCEU films.

Spoiler alert: there is a mid-credits scene where Jenny’s father makes a radio call on the computer in his mansion saying that if she is watching this, he is alive. I think they are going to include Blue Beetle in the new DC Universe when that is made. I don’t see any reason why they wouldn’t since this film is not as bad as some of the previous ones.

Thank you for joining in on this review tonight. Look out next month to see what I will end the year off with.

The Flash

Last night on Max, I saw the new “The Flash” movie, which came out theatrically in June but on Max two days ago. Now, I will let everyone know what I thought about this latest, and one of the last, in the DCEU.

One of the last leftovers from Zack Snyder’s failed lease running the DCEU, yet having a joy and lightness that runs counter to that forgettable time, the supremely entertaining “The Flash” reminds everyone of what could have been had someone a little less serious been at the helm.

Edwin Arnaudin said in his review, “A continuation of the wise-cracking Barry Allen (Ezra Miller) in Justice League — not Snyder’s bubonic-dark, interminable director’s cut that neutered the superhero collective’s chief comic relief — this first foray into comic book territory by horror director Andy Muschietti (It; Mama) offers steady action that pair exceedingly well with the humor and world-building of formerly cursed screenwriter Christina Hodson (Bumblebee; Birds of Prey).”

Arnaudin continued, “Like its super-fast hero, The Flash remains in impressive motion, rarely pausing throughout its zippy, near-2.5-hour runtime as Barry stumbles upon a potential way to save his murdered mother Nora (Maribel Verdú, Y Tu Mamá También) and exonerate his wrongfully accused father Henry (Ron Livingston, stepping in fairly well for Billy Crudup) — as long as he doesn’t accidentally reenact Ray Bradbury’s “A Sound of Thunder” and royally screw up his present-day existence.”

What comes about is another solid multiverse film, one that doesn’t get overly caught up in explaining its science and does a worthy job of showing rather than telling to spell out its main points, much of which is focused in a timeline with a second Barry who’s hilariously not used to his powers.

Arnaudin noted, “As such, some intriguing overlaps with Spider-Man: Across the Spider-Verse arise in terms of inevitabilities/destiny and the consequences of altering timelines, and as with that animated romp, the different versions we get of beloved characters offer some of The Flash’s greatest thrills.”

Used to a timeline with Ben Affleck as Bruce Wayne/Batman, Barry finds himself in one with the great Michael Keaton as Batman – a return as good and likely better than whatever the news creates in your head. Also, with no Henry Cavill as Clark Kent/Superman, Bruce, and the two Barrys discover a different Kryptonian on Earth: Kara Zor-El, played by Sasha Calle, whose rescue from a Russian military laboratory is increased by the kind of visually smooth fight missing from “Man of Steel,” “Batman v Superman: Dawn of Justice,” and other lesser DCEU films.

The hilarious arguing between the Barrys and the dry reactions they inspire from this Batman and Supergirl sustain “The Flash’s” contagious energy, while a well-done showdown with General Zod, reprised by Michael Shannon, and his army keeps everyone on the edge of their seats to the nicely done fight. Despite the effects work here remains consistent with the film’s prior great visuals, the imagery inside the Speed Force – the space where Barry moves across his timeline – doesn’t look great. However, their distinct look allows for some fun multiverse “cameos” in a thrilling climax that includes different types of DC variants, including some that never quite made it to the screen (including Christopher Reeves, Helen Slater, Adam West, and even Nicolas Cage).

However, multiverse creativity aside, “The Flash” feels like it exists in a previous and completely different reality from whatever James Gunn has planned for his DC Universe (DCU), and if this is indeed the end of Flash standalone films for the time being, let it be. However, thanks to Muschietti, Hodson, and a great cast, it was fun while it lasted.

Spoiler Alert: There is an end credits scene of Barry explaining to a drunk Arthur Mamoa’s Aquaman about the timeline.

I guess people could have guessed from seeing the trailer that this film was going to do the Flashpoint story, which we all know about, even those who have never read the comics and have seen the CW show, like myself. This is a different variation of “The Flash” and I liked this one. I don’t get why people think this was a disaster, especially at the box office, because I think they did a well enough job with this. I wouldn’t mind seeing this again, especially with how everything played out. My advice is to ignore what everyone is saying and see this on Max if you have an account. You will especially love seeing Keaton return as Batman and he even delivers a couple of familiar lines. Check it out, and judge for yourself.

Thank you for joining in on this review today. Stay tuned to see what I will review next month.

Shazam! Fury of the Gods

Today, I watched “Shazam! Fury of the Gods,” which came out in theaters in March and on Max (formerly HBO Max) five days ago, and I will let you know what I thought of it.

Everyone who enjoyed the low stakes, self-contained storytelling and silly juvenile antics on screen in “Shazam!” will likely be just as satisfied with the sequel, “Shazam! Fury of the Gods.” Even with a little bigger budget and better villains, director David F. Sandberg’s sequel is happily more of the same, and that’s just fine.

Teenager Billy Batson (Asher Angel) is still dealing with all the insane events that magically turned him into a superhero (Zachary Levi) and led to his giving out a variety of similar abilities to his foster siblings Freddy (Jack Dylan Grazer), Mary (Grace Caroline Currey), Pedro (Jovan Armand), Darla (Faithe Herman), and Eugene (Ian Chen). However, he never could have thought that dangerous consequences he unleashed when, two years before, during their fight with Dr. Thaddeus Sivana (Mark Strong), he snapped the staff of the ancient Wizard (Djimon Hounsou) that give him and his family their powers.

The daughters of Atlas – Hespera (Helen Mirren), Kalypso (Lucy Liu), and Anthea (Rachel Zegler) – have been freed from their prison, and all they need is the staff to put their plan in action that could either restore their mythical land to its enchanted beauty or instead send the human world into a place of chaos and misery. Billy and his family are thrown into the fight of their lives, each wondering if they’re too young and too underqualified to have the fate of humanity in their hands.

Sara Michelle Fetters said in her review, “Once again, Sanberg tries to blend a playful, Amblin-esque tone with some decidedly nastier ideas. An opening sequence at a museum, where Hespera and Kalypso retrieve the Wizard’s broken staff, is aggressively violent. It culminates in a petrifying crescendo that would make Medusa cringe, and parents with youngsters in tow should keep this in mind before buying tickets. There’s an even worse, if brief, bit later on in which the director seemingly pays homage to the terrifying opening from M. Night Shyamalan’s otherwise laughable The Happening, and it’s suitably bone-chilling in its destructive splatter.”

The rest of the film is a blend of every teen-friendly 80s flick you can think of, which is a pro and a con, frequently at the same time. This can make things feel uneven, like the sincerely understated likability of Freddy carelessly flirting with an incognito (and unexpectedly taken) Anthea immediately juxtaposed with the immature vanity of the former’s superhero alter ego, reprised by Adam Brody) acting like a falsely scripted version of a high school nerd.

However, the emotions centering around chosen family, acceptance, diversity, understanding, and empathy remain real. The foster household that selfless parents Rosa (Marta Milans) and Victor Vasquez (Cooper Andrews) have created for their children remains superb. Fetters said, “I liked how returnee Henry Gayden (There’s Something Inside Your House) and series newcomer Chris Morgan (a veteran of the Fast and Furious franchise — and it shows) have determinedly structured their screenplay to revolve around the core group, putting front and center the dynamics that make each who they are, and the difficulties they are having communicating with one another now that they’re all superheroes.”

Fetters continued, “Levi dives even more into his Chuck-era bag of tricks than he did in the prior installment, and this can get obnoxious. Thankfully he tones down his schtick considerably in the final act, when he grounds his performance in something honest and pure. This helps make Billy’s decisions during the climax mean something, and even though I saw this ending coming from a mile away, my heartstrings were still tugged to the point that I didn’t really care how obvious this turn of events was.”

There are hints and references that this series may continue, and if the sequel proves to be a hit, even with all the confusion in the DC Extended Universe, “Shazam! Fury of the Gods” is so self-contained that inserting this hero back into the larger principal story won’t be especially difficult. Fetters said, “But if this is the final incarnation of the Shazam family’s adventures, they’ve gone out with electrifying flair and shockingly pleasant enthusiasm.” Bigger isn’t always better, and sometimes “more of the same” is exactly what’s needed to keep an audience entertained.

Spoiler alert: in the mid-credits scene, Emilia Harcourt (Jennifer Holland) and John Economos (Steve Agee) try to get Billy to join the Justice Society on behalf of Amanda Waller. In the post-credits scene, Sivana in prison meets Mister Mind, voiced by David F. Sandberg, once again, furious that he has not begun hashing out their plan. Also returning are D.J. Cotrona, Ross Butler, and Meagan Good with Gal Gadot making a cameo.

I don’t see why critics were so hard on this film. In my opinion, I still found this to be thoroughly entertaining, and I really liked how the stakes were raised while still revolving all around family. Ok, maybe there may have been a couple of times where I was thinking things should hurry up, like when they start talking when they have the other person in their grasp, but that was about it. I think this is another one of my favorite comic book adaptations. Still, if you have Max, you should see this if you didn’t see this in theaters. I think everyone will still like it and not think of it as a waste of their time. Check it out and have a good laugh.

Thank you for joining in on this review tonight. Stay tuned next month to see what I have in store next.

Black Adam

Tonight, I went out with a friend to see “Black Adam,” which came out a little over two weeks ago and this has been slammed by critics. However, audiences love this movie, so let’s find out how this is.

The latest installment from the DCEU looks at the darkness that anyone can experience when they get betrayed, grief, anger or anything else that triggers from traumatic events or happenings in life. With the right people to help and openness, even those experiences can hold rays of hope. That is the story of “Black Adam.”

Let’s tell the truth from the beginning. Teth Adam, played by Dwayne Johnson, as he’s told throughout the film, is not a hero, he’s an anti-hero – with hero potential. He’s shown, not as evil, but as livid and the anger makes him do some really horrendous actions.

Welcome to Kahndaq, Black Adam’s home. Imagine a Middle Eastern-like country that has been under oppression for centuries. The people suffering have been in rebellion against their oppressors for the same amount of time.

Flash forward to today, the rebellion is led by Adrianna, played by Sarah Shahi, a Tomb Raider-like who wants the find the crown of Eternium, made by an evil king from long ago. The crown and saying “Shazam!” will summon a century-prisoned warrior. What she gets is Teth Adam, filled with rage at his 5,000-year exile who immediately starts murdering everyone he sees with his lightning bolts, like Raiden.

In comes the Justice Society of America (JSA), whose mission is to keep people like Teth Adam in check. Ordered to go to Kahndaq are Hawkman (Aldis Hodge), Cyclone (Queintessa Swindell), Atom Smasher (Noah Centineo), and Doctor Fate (Pierce Brosnan). Fate and Hawkman have been around for years and are very close friends. Cyclone and Atom Smasher are the new recruits. Atom Smasher is literally putting on his superhero suit for the very first time. His mistakes at being a superhero give some laughs in this dark story.

Hosea Rupprecht said in her review, “For a believing audience, the ethics of this film present a quandry.” Adrianna’s son, Amon, played by Bodhi Sabongui, worships Adam. Why not, he’s supposed to be the hero the people have been waiting for. Meanwhile, Hawkman is trying to get through to Adam that heroes don’t kill people. However, Adam won’t listen to him, wanting only to cause chaos on the current enemies of his home country, Intergang and their leader Ishmael, played by Marwan Kenzari. However, the JSA doesn’t stop, helping the fight against Intergang but without killing anyone.

Rupprecht mentioned, “Casting someone as physically daunting as Dwayne "The Rock" Johnson in the role of Black Adam was a stroke of genius but the script gives him little to do but scowl and look menacing. Pierce Brosnan as Doctor Fate provides the best performance, looking debonaire and put together, even as he struggles to convince Adam that he can become the champion that his people need, that he can transform from seeking revenge to serving his people rather than himself.”

Be prepared to know that this film is not meant for children. Rupprecht said, “There's quite a body count while Black Adam tries to get his priorities straight and in the pre-historic preamble to the film a boy gets stabbed and thrown off a cliff. Not pretty.” If you decide to let older children see the film, it gives a great chance to have a conversation about what it means to look up to someone for their mistakes and what it is that can attract us to such people. After all, nobody is completely negated of mistakes in their lives.

We all have had moments of anger, grief, betrayal that have come from painful or traumatic events. What we do with those memories is up to us. Just know that in the bad times there are always rays of hope, people or thoughts we can hold onto to get us through the bad times. Rupprecht ended her review by saying, “For us believers, the glimmers that keep us going are gifts from our loving God who always holds us in the palm of his hand, leading us from darkness into light.”

Spoiler alert: the mid-credits scene shows Amanda Waller (Viola Davis) calling Adam and warns him against leaving Khandaq, before Superman (Henry Cavill) arrives and says they need to talk.

Personally, I think this is one of the darker DCEU movies that we have gotten in a while. However, as a spin-off of “Shazam,” it’s good. I liked it a lot and I think everyone should see it. Go to the theaters and watch it because you will like it, I promise. Even though there might be moments that remind you of Raiden, Doctor Strange, or even Transformers, I still think it is good.

Thank you for joining in on today’s review. Stay tuned this Friday for the next review in “Benicio Del Toro Month.”

Zack Snyder's Justice League

Today, I finished watching Zack Snyder’s extended “Justice League” cut, which was released on HBO Max back in March. Seeing how this film is four hours long, I watched it in pieces while I was exercising, since that’s what people have been doing during the pandemic. Now, I will let all of you know if I thought this is better than the theatrical version.

Four years ago, when the “Justice League” film was released, it got mixed reviews. Many DC comic and movie fans had dismissed the film for its poor, unfocused script. Mostly because the film went through a difficult production and some serious changes between 2016 to 2017. There were reports that Zack Snyder left during the production because of the suicide of his daughter Autumn, then Joss Whedon came in and changed things around and may have ended up changing things a little too much than he should have.

Apparently die-hard fans and cybercitizens went all over social media with the #ReleaseTheSnyderCut campaign, and the studio eventually listened after a few years. Now we finally get the version Snyder always wanted to release, and it became a four-hour long movie that came out on HBO Max. Fortunately, the famous Snyder cut this time around makes Justice League into a film worth seeing.

After Superman (Henry Cavill) sacrifices himself to kill Doomsday, Batman/Bruce Wayne (Ben Affleck) travels all over the planet to gather a new team of superheroes, which includes Wonder Woman (Gal Gadot), The Flash (Ezra Miller), Aquaman (Jason Momoa), and Cyborg (Ray Fisher), to defend everyone from an oncoming alien attack. That attack is Steppenwolf (Ciarán Hinds), one of Darkseid’s (Ray Porter) minions who wants to get the three Mother Boxes, the powerful and indestructible boxes that are capable of building and destroying the planet.

Tatat Bunnag said in his review, “While the premise in Zack Snyder's Justice League in broad terms remains the same as the 2017 film, with double the runtime, the new film is a methodical slow burn and has a much deeper interest in exploring its characters more than one may expect.” Nearly every character in the extended version in every way has more of a background and is far more articulate and appealing. These improvements help us really like the characters and understand where they’re coming from.

The premise for the Flash and Cyborg mainly – since the presence of those two characters were mainly dull and somewhat boring in the theatrical version – really bring forth everything that’s human and strong about them. Mainly, Cyborg feels like a well-rounded person in this movie, and for the first time, you see what he thinks and understand more of his family background (Joe Morton and Karen Bryson). Bunnag said, “And it's frankly stunning how engaging Barry Allen/The Flash is here compared to the bland iteration in the theatrical cut.” Allen struggles to find a direction in life and keep his promise he gave to his father, played by Billy Crudup. Now the film pieces the character together from his decision to help the heroes to accepting his responsibility to use his powers for good. Steppenwolf is also more a well-done villain in this version. There’s more clearness to his motivations, which include his duty and loyalty to Darkseid.

Zack Snyder’s Justice League also nicely gives us more background on the three Mother Boxes, which was never explained in the theatrical version. When we look at the Marvel Cinematic Universe and how they have released so many main and solo movies over the years to go into so much detail on each of the Infinity Stones, we see the DC Extended Universe never had a chance like that before. Now, thanks to the extended version, there’s more than enough time to let viewers know more about the Mother Boxes. Bunnag ended his review by saying, “Ultimately, Zack Snyder's Justice League is definitely a surprise vindication for the director and really saves the movie from the dustbin of history. With its improved stories, better realised protagonists and antagonists, I believe that it should resonate with fans better than ever.”

We also get appearances from other famous DC characters, like Jeremy Irons as Alfred, J.K. Simmons as James Gordon, Jesse Eisenberg as Lex Luthor, Amy Adams as Lois Lane, Diane Lane as Martha Kent, Amber Heard as Mera, Willem Dafoe as Nuidis Vulko, Kiersey Clemons as Iris West, Joe Manganiello as Deathstroke, and even Harry Lennix makes a surprise appearance as Martin Manhunter. We even hear the voices of Carla Gugino as the A.I. on the Krypton ship, Russell Crowe and Kevin Costner as Clark Kent/Kal-El’s fathers.

 For those who did not really get into the theatrical version, check out the Snyder cut. There are still some problems, it doesn’t resolve all the issues from the theatrical version, but they do improve on those mistakes. Snyder’s direction and characterization are better, but he just can’t do Superman justice. That’s a major complaint that I can understand where people come from when they say that. However, seeing how this is a long film, which it in pieces, since you can watch it on HBO Max, if you have an account. Still, you should see this because it is a great film and another one of my favorite comic book films. I didn’t mind the theatrical version like a lot of people did, since I missed some of those comedic moments that were in the theatrical version, but the Snyder version was worth it in the end.

Thank you for joining in on today’s review, stay tuned tomorrow for the continuation of “The Addams Family Month.”

Batman v Superman: Dawn of Justice: Ultimate Edition

Since this year, we saw the release of Zack Snyder’s Justice League cut, I thought it would be best to finally check out “Batman v Superman: Dawn of Justice: Ultimate Edition.” I know that this has been out for since 2016, but I never got around to it until recently, and I watched it on HBO Max while exercising, since this version is a half-hour longer than the theatrical version. I heard that this version is better, but is this R-rated extended edition superior or not? Since I just finished it this morning, I will let everyone know.

I can safely say that the “Ultimate Edition” is thankfully superior to the theatrical version. There are a lot of scenes added and everything that was added feels necessary in making sense of things that didn’t add up in the theatrical version. One of the added parts is Henry Cavill as Superman doing way more in the “Ultimate Edition.” Superman did not have a lot of scenes in the theatrical version, but the “Ultimate Edition” has him investigating Batman hard in Gotham, interviewing citizens who fear him. Sean Gallagher said in his review, “Likewise, we learn just how much of a death sentence the bat-brand can be from the point of view of the branded’s wife. Through Clark’s investigations, he learns that Batman sees himself as a fearmonger and above the law.” Clark sees that he needs to stop Batman because he’s been told by Gotham residents how scared they are of him.

The “Ultimate Edition” also does a better job explaining why Superman was blamed for the events in Africa. In the theatrical version, soldiers tasked by Lex Luthor destroyed a village and blamed Superman for it, which confused many viewers as to how this would make everything think that Superman never uses firearms. The “Ultimate Edition” shows the villagers were burned by Anatoli and his minions and knowing that Superman has heat vision, that makes the crime seem more believable. On top of that, we see that one of the survivors was paid by Luthor to say Superman was to blame. This beginning makes a lot more sense and makes the movie’s overall story more consistent and logical.

Another part that makes more sense is the explanation on why Superman didn’t see the bomb in Wallace’s (Scoot McNairy) wheelchair. Lois, played by Amy Adams, gets to do some real investigating (with the help of Jena Malone’s character, exclusive to this version) and learns that Wallace wasn’t a willing participant in his demise. He didn’t commit suicide but was killed so that Superman could get framed. She also sees that the wheelchair he was using in the senate hearing was made of lead, which Superman’s X-Ray vision would have not seen and prevented him from stopping the bomb. Again, this is vital information. Even though the warehouse fight hasn’t changed so much from the theatrical version, besides a few additional serious violence, the Batman fight scene against Luthor’s minions still is one of the best Batman fight scenes ever on screen.

The scene where Lex Luthor (Jesse Eisenberg) speaks with Steppenwolf is also added in the “Ultimate Edition,” which gives contest to the final conversation he has with Batman (Ben Affleck) in the cell. This scene was released online before the release of the “Ultimate Edition” but it’s still a nice inclusion as a segue from “Batman V Superman” to “Justice League.” A lot of scenes that are added in the “Ultimate Edition” just make other scenes make more sense, instead of just leaving the audience scratching their heads and asking why certain scenes were in the movie.

Unfortunately, even though the “Ultimate Edition” does add a lot and makes sure there are not as many plot holes than in the theatrical version by adding scenes that makes the movie make more sense, the problems that people had with the original theatrical version are still here. Snyder and his team decided not to remove any scenes from the “Ultimate Edition,” which is sad because there are certain parts of the movie that could have been removed completely. One of them could have been Lex’s speech at his gala, which still feels weird to watch (along with his cartoony antics), and the Martha scene at the height of the fight between the superheroes still hits a bad nerve. Gallagher noted, “Doomsday’s last-minute appearance isn’t alluded to at all until he shows up really, barring Lex running some mysterious experiments on General Zod’s body, so that reveal still comes out of left-field.” The Justice League cameos are still shown very briefly in email attachments seen by Batman. There’s also a lot of stuff in the movie that sometimes makes it feel distracted when looking at the future of the DC Extended Universe.

Now, I don’t know if Snyder’s cut to “Justice League” learned any lessons from the “Ultimate Edition,” but I must see that in order to make any sort of final judgment. The additions that Snyder made in the “Ultimate Edition” were very essential to make the movie much better, and I heard that the Snyder “Justice League” cut is his original vision of the movie before he was replaced by Joss Whedon due to the tragedy in Snyder’s family, although now I’m hearing that wasn’t entirely true. I know that Snyder made his version of “Justice League” four hours long, and I don’t think he would have released that in theaters, seeing how people would not have wanted to sit through a four-hour movie. Like I already stated, I must watch Snyder’s version of “Justice League” that he released earlier on HBO Max. That will also be an exercise movie, since now with streaming services, I can watch films in pieces if they’re too long.

In the end, I will say that if you were not satisfied with the theatrical version of “Batman v Superman: Dawn of Justice,” check out the “Ultimate Edition” on HBO Max. Even though the flaws from the theatrical version are still present, a lot of scenes make more sense, and it was needed. Like I had already stated, it is a three-hour long movie, so if you can’t sit through the movie that long, watch it in pieces, if you have HBO Max.

Thank you for joining in on my review today. Stay tuned Friday for the continuation of “Special Needs Month.”

The Suicide Squad

Last night I got a chance to see “The Suicide Squad,” which came out in theaters and HBO Max yesterday. How is this compared to the first movie?

Brian Tallerico started his review by saying, “Many will see James Gunn’s “The Suicide Squad” as a funhouse mirror inversion of the writer/director’s work with “Guardians of the Galaxy.” After all, it’s another collection of underdog heroes who overcome all odds to defeat an interstellar enemy. “Guardians for Adults” wouldn’t be entirely incorrect. However, the main influence on this clever action comedy isn’t Starlord but The Toxic Avenger. Gunn has brought the B-movie sense of humor and brazenly adult level of violence that he honed working with Troma Entertainment in the 1990s to his first DC adaptation, even giving his mentor Lloyd Kaufman a cameo. Only the man who wrote “Tromeo and Juliet” could deliver something this gleefully grotesque, vicious, and unapologetic, and the DC Universe is all the better for it.”

Gunn intelligently avoids many of the problems of the beginning moments of David Ayer’s attempt on this series of the DC Universe by introducing a dozen or more characters into the film (thereby not giving views a repeat of the hour or so of introductions from the first movie). Just to clarify, this is somewhat of half-sequel, half-reboot where some actors play the same characters but it’s also very much a standalone film. You don’t really need to see the first one (and probably won’t) but it’s also not entirely a new start.

For example, Viola Davis is one of the returning actors from the first film, once again playing Amanda Waller, the manager of a group called Task Force X. She is in charge of what is basically the Suicide Squad, a team of superpowered criminals who are sent into fight with chips implanted in the back of their heads. If they go off the mission, don’t do what they’re told, say something against Waller, Waller sets the chip off. Most of the anti-heroes don’t return, which is the reason for their name.

Waller has grouped a team to drop off the shore of a South American island called Corto Maltese. It’s led by the fascinating Rick Flag (Joel Kinnaman in a larger role) and the forever corrupted Harley Quinn (Margot Robbie), but also includes Captain Boomerang (Jai Courtney), Blackguard (Pete Davidson), T.D.K. (Nathan Fillion), Javelin (Flula Borg), Mongal (Mayling Ng), and the creepy looking Weasel (Sean Gunn), which is a wide-eyed, six-foot weasel. Going along to Corto Maltese on his first mission is Savant, played by Michael Rooker, who somewhat leads the film in the beginning.

We’re just getting started with characters, so take notes.

At the same time the first group is heading into impending doom, another group is landing on an opposite beach, basically allowing team one to be the distraction. They’re the real group of “The Suicide Squad” and they include the born leader Bloodsport (Idris Elba), the blindly patriotic Peacemaker (John Cena), the insecure Polka-Dot Man (David Dastmalchian), the charming Ratcatcher 2 (Daniela Melchior), and the unforgettable King Shark (Sylvester Stallone), whose basic superpower appears to be him wanting to eat his enemies (and possibly his comrades if he ends up having to). When this group is joined by Flag and Quinn, the movie really moves along, sending the team off to destroy a Nazi-type prison in the core of the island where we see that a powerful alien animal named Starro is caged. A lot of madness happens.

Tallerico said, “Chaos is the key aesthetic choice here but directing this kind of sensory assault and not getting lost in the noise is much harder than it looks, and it's Gunn’s greatest accomplishment here. He never loses the characters in the action like so many poor modern blockbusters tend to do. While it feels like “The Suicide Squad” is a rollercoaster without brakes, it’s actually a very well-calibrated action comedy, alternating humorous beats with bursts of intense violence. On that note, this is the most insanely violent superhero blockbuster yet, making “Deadpool” look kind of sweet. Gunn doesn’t just edge into adult territory with his violence, he embraces the R rating that Marvel would never give him, allowing limbs to be ripped from bodies and fates of his characters to usually come with a gross, sticky sound. It’s a film that’s playful in its action in ways that most modern blockbusters aren’t allowed to be. You can tell that Gunn and his team are having a blast, and that kind of thing can be infectious. Audiences know when a filmmaker is going through the motions for a corporation. The films that last are when that doesn’t happen, and Gunn is doing this from his Troma-raised passionate heart.”

He's also a really underrated filmmaker when we look at balancing comedic tone with his cast. Tallerico noted, “The “Guardians” films felt fresh because they remembered things like charisma and playfulness, both of which are in abundance here too. Robbie knows Quinn inside and out by this point, and it feels like Gunn returns her a bit more to her origins (even just in color palette) than Ayer.” Elba finally gets a strong action movie lead and does an amazing job – the conversation about how he’d still be an excellent James Bond should happen again. He’s fascinating and even finds a little depth in his character’s conflict over being forced into heroism. They’re the standouts, but everyone here works, bringing their own fun to the cast, which really shows Gunn’s skill with large casts.

I agree with Tallerico when he said, “Like so many modern superhero movies, “The Suicide Squad” starts to feel long and repetitious after a while, and it’s a little disappointing that a film borne from a subversive template culminates in heroes and villains crashing into crumbling buildings again. Without spoiling anything, there’s an element of the final scenes of “The Suicide Squad” that I found playfully wonderful, but they also become overly familiar in their “big boom, building fall down” structure.” As smart as the film is made, a lack of ambition leaks in during the final third. However, Gunn does get a hold on it just before it feels like it’s about to go back into boredom, focusing it again on what has always interested him the most: the underdog. It could be The Toxic Avenger, Rocket Raccoon, or The Polka-Dot Man – they’re all the same to James Gunn, people who could be heroes if only given the chance.

If you didn’t like the first “Suicide Squad” movie, this one is for you. It is pure madness and insanity at its best. I think this is what the first movie was supposed to be, but now that we have this sequel, I really think it was worth it. All the violence, gore, characters, comedy, everything about it just makes it pure DC fun. This is another step in the right direction for the DC Extended Universe, and I’m looking forward to what it has in store for us next. Check this out on HBO Max, if you don’t feel comfortable going to the theaters yet.

Thank you for joining in on my review tonight, look out next Friday for the next installment in “The Crow Month.”

Wonder Woman 1984

Like the countless movies and TV shows before, “Wonder Woman” knows exactly what it needs for everyone to enjoy it: Taking place in the 80s.

Johnny Oleksinski mentioned in his review, “The clothes! The hair! The personalities! Wham! Compared to our bland, monochromic decade, the ’80s were the Land of Oz. And a wallop of flair is just what this DC hero franchise desperately needed.”

The first film took place during a time in human history that isn’t really looked at: World War I. A plagued Wonder Woman went to the trenches and dealt with a straight hour of smoke and soot. Squint and you possibly can see the protagonist.

Oleksinski said, ““Wonder Woman 1984,” by contrast, is visually dazzling with kaleidoscopic color and buoyant action sequences. The plot, thank Ares, is no longer so self-serious, even if it is a bit knotty.”

Oleksinski continued, “Amazonian Princess Diana (Gal Gadot), who does not age, still looks catwalk-ready in her new life as a Smithsonian scientist in 1984 Washington, DC.” She looks at rare artifacts there, and is surprised to see an ancient wishing stone with Latin words arriving at the museum.

Not realizing how powerful the object can be, she wishes that her late boyfriend Steven Trevor, reprised by Chris Pine, would come back to life. He does! Her shy colleague Barbara, played by Kristen Wiig, asks the stone if she can be more like Diana. Oleksinski noted, “Considering Gadot is a former dancer turned Miss Israel turned combat trainer turned Hollywood A-lister, I can hardly see why.”

Then a loser named Max Lord, played by Pedro Pascal, steals the rock. Oleksinski mentioned, “He’s a failed businessman and TV personality who’s attempting to make a buck by hawking “oil-rich” plots of land that actually contain no oil. He wishes to become the wishing stone itself, thus turning him into a sinister genie crazy on world domination. Pascal makes Lord into an unhinged psycho who could’ve been a bad guy on “Dallas.””

Oleksinski noted, “By the way, it’s nice to see the talented Pascal take off his “Mandalorian” helmet for a couple of hours. That thing must be getting stinky.”

After Barbara makes her wish, she changes into Cheetah, a friend of Diana’s who later becomes her enemy. Oleksinski noted, “It’s some of Wiig’s best film acting since “Bridesmaids,” and she’s finally found a major project she easily fits into. The actress brings just enough comedy style to her bookish nobody, and finds real ferocity as a feline femme fatale.”

Oleksinski continued, “In the last film, Wiig probably would’ve stuck out like a tux in Florida, but director Patty Jenkins has embraced humor this go-around.” When Steve tries on a pair of parachute pants, he doubtfully yells, “Does everybody parachute now?!” Pine also is funny when he tries out his first escalator.

Sadly, the one problem I think will bother a lot of people is the length. Patty Jenkins doesn’t include a lot of enjoyment in the two and a half hour runtime, and the final fight is not even the best one the movie shows. Oleksinski credited, “There is a far more gripping car chase through Cairo midway through, and a Cirque du Soleil-like flashback to Diana’s Amazon training at the start of the film.”

However, Jenkins is way better than most of the men directing at the Marvel Studios currently. The best part of “Wonder Woman 1984,” released on HBO MAX yesterday, is when Diana finds out her new superpower. Gadot’s helpless look and the charming movement of the camera all over her as Hans Zimmer’s powerful score increases is amazing.

Despite the good action scenes, great acting, emotional moments, Gal Gadot killing it in the role, Chris Pine back, Wiig doing good as Cheetah, I do have some problems. For one, Gadot is not Wonder Woman for a lot of film but for a few parts, which is a surprise, considering this is a Wonder Woman sequel. Another is that Pascal is just like how Jim Carrey was in “Bruce Almighty.” I feel that maybe Jenkins could have reworked this film a little bit, but overall, this is a good sequel, even though the first one is better. Do give this a watch because this is one of the better DC movies. Since people are avoiding going to the theaters, and this was theatrically released, if you have an HBO MAX account, see it on there.

There is a surprise mid-credits scene that you need to see, since they are planning an Amazons film and a third Wonder Woman movie.

Thank you for joining in on tonight’s review. Stay tuned tomorrow to see what film I will review next in “Disney Month 2020.”

Birds of Prey (subtitled And the Fantabulous Emancipation of One Harley Quinn)

I decided to go watch “Birds of Prey,” which came out almost a week ago, and I’ll let everyone know what I thought of the first R-rated movie in the DCEU.

Matthew Lucas started his review by saying, “Birds of Prey, the sequel, spin-off, or whatever you'd like to call it to 2016's Suicide Squad, marks one of the most impressive jumps in quality from first film to second film that I can recall.” “Suicide Squad” had grossed over $700,000,000 worldwide, which is one of the highest grossing films that a lot of people didn’t really get into.

All praises, “Birds of Prey (subtitled And the Fantabulous Emancipation of One Harley Quinn)” looks to have learned a lot of the flaws of the loud “Suicide Squad;” lowering the stakes, modernizing the story, not casting Jared Leto’s really criticized Joker, and making Margot Robbie’s Harley Quinn the main focus. The film starts with Harley getting thrown onto the street after breaking up with the Joker. This starts a revenge process that puts Harley on the top of the list with so many of Gotham criminals who’ve had problems with her for years, but couldn’t go anywhere near her when she was dating the Joker. Now everyone from criminals to cops now wants to track her down, with one crime boss mainly, the evil Roman Sionis, played by Ewan McGregor, wanting to find her.

Followed by criminals and cops, Harley now sees she has to team up with four other women – humiliated detective Renee Montoya (Rosie Perez), assassin Helena Bertinelli (Mary Elizabeth Winstead), and Sionis’ frustrated driver Dinah Lance (Jurnee Smollett-Bell), to protect a teen orphan (Ella Jay Basco) from Sionis’ goons. Each one has their own fighting styles and their own problems with Sionis in order to break his evil criminal business finally.

Lucas had noted, “Birds of Prey more closely resembles more serious action films like John Wick and Atomic Blonde than it does its predecessor, embracing its R-rating and tearing into its bruising action scenes with relish, with the tongue-in-cheek humor of the Deadpool films. Cathy Yan directs with a stylish verve that actually recalls Tim Burton's Batman films, especially in the film's funhouse finale, where the carnivalesque sets turn into a kind of Luis Buñuel-inspired nightmare. It's great stuff, trimming the excesses of Suicide Squad, lowering the stakes, and giving us more of its best elements - namely Robbie's Harley Quinn. Birds of Prey replaces world-ending stakes and evil sorceresses of Suicide Squad with a more localized crime drama, and it's all the better for it, giving the new group a chance to congeal without working so hard to tie it into a grander narrative.”

Actually, the film is fun primarily because it does feel different from the rest of the DC films. Other than a few references to Batman, the Joker, and the events of the previous films, “Birds of Prey” mostly is a standalone. Lucas ended his review by saying, “Robbie is the film's strongest asset but Yan (whose only other credit is a Chinese film from last year called Dead Pigs that never got an American release) displays a commanding visual eye and a knack for combining comedy with serious, sometimes brutal, action. It's a gleefully over-the-top, candy-colored comic book spectacle that finds a pleasing balance between character and action that puts it a cut above its superhero peers.”

In actuality, I thought this film was going to be more violent and more powering towards women than how it turned out. Even though it wasn’t like that, I still had a fun time watching this. To the film’s credit, I applaud it for not having a nude scene. Still, I don’t see any harm if anyone wants to go see it as I think everyone will have a fun time watching it. Make sure to stay after the credits to hear Harley on audio almost reveal the identity of Batman.

Thank you for joining in on today’s review. Stay tuned this Friday for the next installment of “Black History Movie Month.”

Shazam!

Guess what everyone? I just came back from seeing the latest installment in the DC Extended Universe, “Shazam!,” which came out four days ago. Is it as good as the other solo superhero movies that DC has been coming out with? Let’s find out:

I know it’s a comic book origin story, in the same vain as one comic book origin story that came out four weekends ago and with another comic book origin story coming out next week. However, “Shazam!” is fun and funny, with a very talented actor who really knows how to act like a teenager in a genre that doesn’t look like it will be tiresome anytime soon.

After a small beginning where The Wizard Shazam (Djimon Hounsou) tries, and fails, to find someone (Ethan Pugiotto) to pass on his magical powers, we meet Billy Batson (Asher Angel). He’s a strong, experienced kid, one who’s trying to find his birth mother after being in foster families for so long. Picked up by the cops, Billy is sent to live with another foster family, this one with Victor (Cooper Andrews) and Rosa (Marta Milans). Billy rooms with Freddy, played by Jack Dylan Grazer, fast-talking with a bad leg, and crazy over superheroes: He has a model of a Batarang, a genuine hit stopped by Superman’s chest, and a pack of questions about which superpower you’d want if you were a superhero.

After Billy stands up to some bullies and saving Freddy that look like one of those old school teen comedies, The Wizard Shazam meets with Billy to test his loyalty – and, as you have seen in the trailers and commercials, Billy succeeds, becoming the white-caped, red-suited hero, Shazam, played by Zachary Levi. By saying the name “Shazam,” Billy changes from being a kid to the superhero, a bolt of lightning which changes him. That quick change really helps out when he fights with Thaddeus Sivana, played by Mark Strong, a villain that has the power of the literal symptoms of the Seven Deadly Sins.

Sonny Bunch admitted in his review, “The most interesting character in the film, to my mind, is not Billy nor Shazam nor Sivana, but Freddy.” Because of him and how much he knows about what it would be like to be a part of the superheroes. It’s Freddy who makes him take a series of tests to see what, exactly, Shazam’s powers are. It’s Freddy who is inspired by the capes and the masks to try and make something more of himself. And it’s Freddy who gets infuriated in Billy which makes the disobedient boy to reconsider the gift he’s been given.

Bunch said, “I've noted before that the Zack Snyder-overseen DC films were, at heart, an examination of the ways in which the world would change if gods were proven to be real. Freddy is a ground-eye view of this idea, a child whose world was shaped in horrible and wonderful ways. Shazam! is connected to the broader DCEU in minor concrete ways—the aforementioned Batarang and crushed bullet; toys in department stores celebrating the vigilantes* in their midst—but the ideas that animate the film are very much in line with the ideas that animated previous entries in the series. This thematic unity is more pleasing than any cameos or post-credits stingers could be.”

Bunch continued, “Levi is fantastic as Captain Marvel (though I don’t believe he's ever referred to as such in the film, instead having jokey names like Captain Sparklefingers foisted upon him; one wonders if another universe's interloper threw up a legal roadblock). It's about time we had a movie in which a marvelous captain was portrayed by someone able to express an emotional range beyond smug self-satisfaction.” Mark Strong’s villain is decent, as far as they go. It still feels strange that no one really figures out what to do with Strong in the role of the villain, seeing how good he is in films like “Kingsman,” “Zero Dark Thirty,” and “RocknRolla.” There’s something about his intensity that just doesn’t work in these big, superhero roles.

This is another great entry in the DCEU. It’s funny, doesn’t really have a lot of action, but the action scenes they have are really good, has some great family-oriented themes, and is in the same vein as “Big,” “Freaky Friday,” “Jack” and any other films where a kid is in an adult body. I like that the DCEU has been doing solo superhero movies, and this might be almost, if not as good as “Wonder Woman.” This easily makes another one of my favorite comic book adaptations. You should definitely go to the theaters to see this one because you will have a great time seeing this.

Spoiler Alert: In the mid-credits scene, Sivana is in jail and is recruited to a villain job with Mister Mind. In the post-credits scene, Freddy sees whether Shazam can talk to fish, referencing Aquaman, only for Shazam to think the power is stupid.

Thank you for joining in on tonight’s review, I’ll see you Friday for the continuation in “Edgar Wright Month.”

Aquaman

Finally, I have gone and seen “Aquaman,” which came out four weeks ago, and now I will let everyone know what I thought about it.

Graeme Tuckett started her review out by admitting, “I walked out of 2017's needlessly tedious Justice League into a frigid northern winter night thinking Jason Momoa's Aquaman and Ezra Miller's Flash were by far the most entertaining characters in that benighted film.”

Tuckett continued, “Like you, I've been bashed around the eyes and ears too often by this DC Comic's franchise, with its patronising insistence on spectacle over storytelling, complete inability to acknowledge the inherent silliness of a genre based on middle-aged men in rubber suits saving the world by punching things, and scripts that have too often betrayed the occasional brilliance of the original comic books.”

One word: “Martha.”

However, “Wonder Woman” was completely great, with some actual jokes and personalities to move the turmoil forward. Now, thankfully, “Aquaman” is here to keep that good work going.

Aquaman is a half-son of Atlantis, raised by Thomas Curry (Temuera Morrison), a lighthouse keeper (making a joke about cooking some eggs with one of his very first lines) after an Atlantean princess named Atlanna (Nicole Kidman) is taken back to the Kingdom of Atlantis under the charge of falling in love with a human.

The mandatory and really familiar hero’s journey traits start showing really early, with a majority of the film taking place in the present day, a year or more after “Justice League.”

Tuckett said, “But, where DC in the past would have allowed their male lead to descend into a lifeless morass of weaponised moping, this Aquaman actually seems to enjoy his life.”

Jason Momoa is a really talented funny actor, and he brings a good humor and enthusiasm to this film which keeps it going along even though, or as a response to, the boring and predictability of the plotting.

A supporting cast is filled with terrific character actors helps a lot. Patrick Wilson can be boring and forgettable as Momoa’s half-brother and enemy, Kidman, Willem Dafoe, Amber Heard, Michael Beach, Yahya Abdul-Mateen and (no kidding) Dolph Lundgren all act like they’re more than happy to be in this film.

Tuckett noted, “I saw Moana again a few nights ago, so maybe I was in exactly the right headspace to make the connection, but Momoa's Aquaman truly reminded me mightily of Dwayne Johnson's work as the animated Maui in that film.” Momoa brings the same playfulness, comedy grooming and enjoyment to the character.

Unlike so many of DC’s characters, this one isn’t an orphan looking for vengeance and redemption. He’s a man with a home, a family and a reason to be happy.

Tuckett commented, “Or, as Momoa plays him, he is, like Maui, explicitly a Polynesian demi-God, complete with a shark tooth tatau adorning his arms and chest and a pounamu the size of your Mum's meatloaf around his neck.”

This Aquaman isn’t the unclearly Nordic character the comics once had. Tuckett said, “He is pretty much Tangaroa, God of the sea, and a more fitting Hollywood salute to the world's greatest ever sea-faring people would be hard to imagine.”

Tuckett continued, “I truly believe that any film which understands its purpose and its reason to exist – its kaupapa – will always find an audience. While the films designed to do nothing but turn a profit, are often the ones that fail the hardest.”

“Aquaman” does everything we want a big-budget superhero movie to do, but it also remembers (like “Wonder Woman” before it, and hopefully the rest of the DC Extended Universe movies to be released) to have a heart, and something other than just bravado to give us for even thinking of showing up.

I’m on board with everyone when I say that this movie is definitely the second best of the DC Extended Universe to date. I loved the action, the characters, the writing, the jokes that were snuck in there and even the visuals were just a masterpiece. Credit goes to James Wan for making this movie the way he did. Definitely more lighter in tone compared to a couple of the past ones. Another one of my favorite comic book adaptations, especially in the DC Universe. Don’t miss your chance to see this in the theaters, you will absolutely love this one, I promise.

Spoiler alert: In the mid-credits scene, David (Abdul-Mateen) is rescued by Dr. Stephen Shin (Randall Park), a scientist obsessed with finding Atlantis, and agrees to lead Shin there in exchange for his help in his revenge on Aquaman.

Now that I have seen all the movies that were released in 2018, let’s now move on to 2019 and the movies to be released this year. However, we first have to finish “Madagascar Month,” which will be next week, so stay tuned for that.