Set in a futuristic universe in the year 10,191, the film revolves around a noble family who is asked by an emperor to watch over the harvesting of a mysterious mélange on a planet unaware that they’re being set-up by a rivaling house who had been waging war on the planet’s inhabitants. It is a film that may have a simple premise on paper but it is filled with layers on its themes on power, idealism, colonialism, and politics. The film’s screenplay by Denis Villeneuve, Eric Roth, and Jon Spaihts definitely play into a lot of the conflicts that goes on where the actions of the House of Harkkonen led by its baron (Stellan Skarskard) in going to war with the inhabitants of the planet of Arrakis in the Fremen forces its emperor to end the conflict by having the Harkkonens leave the planet and ask the House of Atrides led by Duke Leto Atrides (Oscar Isaac) to watch over the planet and its production of its resource in this mélange that makes interstellar traveling possible.
Traveling with his concubine Lady Jessica (Rebecca Ferguson) and their son Paul (Timothee Chalamet) along with several officials, Duke Atrides hopes to make peace with the Fremen and continue production of the spice yet Paul, the weapons master Gurney Halleck (Josh Brolin), and sword master Duncan Idaho (Jason Momoa) believe something is off. Especially as Idaho had been learning about the Fremen as he was able to get its chieftain in Stilgar (Javier Bardem) to have discussions with Duke Leto leading to the first steps of a peaceful resolution while planetologist Dr. Liet-Kynes (Sharon Duncan-Brewster) reveal much about the planet as she is aware that Paul is having dreams and visions that is increased by his contact with mélange. Even as Paul had been taught in the teachings of his mother who is a disciple of the Bene Gessirit sisterhood, who are powerful in both they’re physical and mental abilities, as her mentor in Gaius Helen Mohiam (Charlotte Rampling) realizes that Paul is a threat as she asks Baron Harkkonen to spare Paul and Jessica which he agrees to unaware that he plans on killing them all.
The screenplay does a lot in not just fleshing out these characters but also play into the stakes of what the House of Atrides is dealing with as they begin to ask questions about why they’re in Arrakis. Even as Paul becomes a target with some believing he is a prophet that will help the Fremen rebel against the emperor though Paul himself is unsure while a lot of the dreams he has features a young woman he would meet in Chani (Zendaya). There are also a lot of political maneuvering in the hand of the Harkkonens as they are intent on having control of the mélange in an act of greed and domination as they treat the Fremen as vermin. There is a structure to the script as it does play into the development of Paul Atrides but also in this journey of the role he has to play as he has to cope with loss as well as things he has to do for the greater good.
Villeneuve’s direction is definitely vast in its presentation as it plays into the different worlds of the universe as it has a physicality that isn’t seen often in sci-fi films. Shot on various locations in the Liwa Oasis at United Arab Emirates as parts of Arrakis along with the deserts of Jordan and Stadlandet as the House of Atrides’ home planet of Caladan plus studios in Budapest for some of the interiors including the home planet of the Harkkonens. Villeneuve maintains a world that grand where the future is this massive universe and Arrakis is at the center where Villeneuve uses a lot of wide and medium shots to capture the look of this desert world with the sand being this mélange that has mystical quality that does more than provide a resource for interstellar traveling during a scene where Duke Atrides, Paul, Gurney, and Dr. Liet-Kynes are saving harvesters where Paul gets close into contact with the mélange.
Villeneuve also uses close-ups to play into Paul’s interaction with the mélange as well as the dreams he have that often feature Chani as well as images possibly relating to future events and such. There is a physicality to Villeneuve’s presentation in the dragonfly-planes that the House of Atrides uses as well as other spaceships along with some of the designs of the sandworms who move around the desert. Villeneuve emphasizes more on this air of physicality as well as the presentation of other planets including a planet where the emperor’s soldiers as it this desolate and rainy world while the Harkkonens’ home planet is just as dark in comparison to the desert beauty of Arrakis. Even in the film’s second act where Paul and Lady Jessica hide from the Harkkonens and the emperor’s army with the aid of Dr. Liet-Kynes and Idaho, there is this air of realism into the locations and places where Villeneuve’s usage of tracking shots play into the suspense.
Villeneuve also play up into this world of politics such as scene of Duke Atrides being confronted by Baron Harkkonen as the compositions that Villeneuve create is filled with this dramatic tension while the third act plays into the aftermath of the threat that is Paul Atrides. Notably as Atrides and Lady Jessica deal with the world they’re in but also revelations about why their house was sent to Arrakis. The final moments of the film is more of setting up of what is to come since the film basically sets up a lot of what happens in the first half of the book. Yet, Villeneuve is able to do more than just establish the world and these characters but also the stakes itself in what Paul has to do for Arrakis and the universe itself. Overall, Villeneuve crafts a ravishing yet intoxicating film about a young man taking his steps into finding himself amidst a troubling intergalactic conflict on a repressed planet.
Cinematographer Greig Fraser does incredible work with the film’s cinematography in its emphasis on natural lighting for many of the daytime exterior scenes on Arrakis along with some of its interior scenes in the caves and tunnels along with the usage of low-key lighting for some of the interior/exterior scenes at night as it is a highlight of the film. Editor Joe Walker does excellent work with the editing as it is largely straightforward with some rhythmic cuts to play into some of the action and drama while also knowing when to have shots linger for a bit to play up the suspense. Production designer Patrice Vermette, with supervising art director Tom Brown and senior art director Karl Probert plus set decorators Richard Roberts and Zsuzsanna Sipos, does phenomenal work with the look of the city and spice refinery on Arrakis as well as the space ships and the way the home of the Harkkonens look as it play into their personality. Costume designers Bob Morgan and Jacqueline West do amazing work with the design of the refined suits of the House of Atrides as well as the gowns of the Bene Gessirit and the clothes of the Harkkonens.
Hair/makeup/prosthetics makeup designer Donald Mowat does brilliant work with some of the prosthetics that include some of the makeup of the characters such as Gaius Helen Mohiam and some of the Harkkonens including Baron Harkkonen in his obese yet larger-than-life persona. Special effects supervisor Gerd Nefzer and visual effects supervisor Paul Lambert do superb work with the effects from the usage of prosthetics in the look of some of the space ships along with digital effects into the look of the giant sand worms including the detail in its mouth. Sound editors Theo Green and Mark A. Mangini do tremendous work with the sound as it adds to the film’s atmosphere in the way the sand worms emerge along with the thumpers to attract their attention as well as the way the space ships and such sound as it is a highlight of the film. The film’s music by Hans Zimmer is sensational for its bombastic score that features elements of bass-heavy electronics and orchestral bits along with vocal choirs and such, with vocal contributions from Lisa Gerrard of Dead Can Dance, to play into the scale of the film as it is a highlight while music supervisors Peter Afterman and Alison Litton cultivate a soundtrack that features some folk-like pieces and other electronic pieces to play into the world that the characters are in.
The casting by Jina Jay and Francine Maisler is marvelous as it feature some notable small roles from Roger Yuan as Gurney’s right-hand man Lt. Lanville, Golda Rosheuvel as the Fremen maid Shadout Mapes who assists Lady Jessica in Arrakis, Benjamin Clementine as an imperial delegate who brings an order to Duke Atrides early in the film, Babs Olusanmokun as a Fremen in Jamis who challenges Paul’s allegiance late in the film, Chang Chen as Suk physician Dr. Wellington Yueh who works for the House of Atrides as he is a man dealing with conflict of his own, David Dastmalchian as the Harkkonen official who aids in political dealings and matters of torture, Stephen McKinley Henderson as the House of Atrides’ official Thufir Hawat who also deals in political matters and the handling of security, and Zendaya in a fantastic small role as the Fremen Chani who appears in Paul’s dreams as a symbol of hope as well as someone who is part of a rebellion against the Harkkonens and the emperor. Dave Bautista is superb as Baron Harkkonen’s brutish nephew Glossu Rabban as a figure who kills people and does whatever his uncle asks him to while also realizing the big threat this is Paul Atrides.
Javier Bardem is terrific as the Fremen chieftain Stilgar as a man who is suspicious of the House of Atrides’ arrival only to realize their motives as he would play a bigger role late in the film. Sharon Brewster-Duncan is excellent as Dr. Liet-Kynes in a role that was originally as a man where Brewster-Duncan brings a lot of gravitas and charisma to the role as a planetologist who works for the emperor yet realizes that something isn’t right where she would help out the House of Atrides as she knows a lot about life on Arrakis. Jason Momoa and Josh Brolin are amazing in their respective roles as Paul’s mentors in the sword master Duncan Idaho and the weapons master Gurney Halleck as two men who teach Paul on the ideas of combat with Momoa as someone who got to know the Fremen as he is also aware that something is off while Brolin’s performance as Gurney is more reserved as someone who isn’t as trusting as Idaho but is loyal to the House of Atrides. Charlotte Rampling is brilliant in her small role as Gaius Helen Mohiam as the Bene Gessirit Reverend Mother who tests Paul on his skills and realizes that he is powerful where she sees him as a threat.
Stellan Skarsgard is incredible as Baron Vladimir Harkkonen as this evil and greedy figure who is obese and creepy in his look while displays a chilling tone to his character as someone that wants it all and to destroy everyone in his path. Oscar Isaac is remarkable as Duke Leto Atrides as the head of House of Atrides who is hoping to bring peace and prosperity to Arrakis while learning that he’s become a political target where he copes with not just the expectations for his son but also the fate of his family. Rebecca Ferguson is phenomenal as Lady Jessica as Duke Atrides’ concubine and a Bene Gessirit priestess who taught Paul special vocal powers as she deals with her role as a Bene Gessirit but also the big role that Paul might have to play. Finally, there’s Timothee Chalamet in a tremendous performance as Paul Atrides as the son of Duke Atrides who is a young man trying to learn about the universe as he has visions that could be about the future while dealing with the role he has to play where Chalamet brings a lot of that air of uncertainty but also someone who knows he has to grow as it is a career-defining performance for Chalamet.
Dune-Part One is a magnificent film from Denis Villeneuve. Featuring an incredible ensemble cast, rapturous visuals, astonishing set pieces, its emphasis on themes of politics and colonialism, and Hans Zimmer’s phenomenal score. The film is definitely a grand piece of art that doesn’t just live up to the vision of Frank Herbert but also be a sci-fi film that does a lot more than just be action in favor of characters, motivations, and the stakes. In the end, Dune-Part One is an outstanding film from Denis Villeneuve.
Denis Villeneuve Films: August 32nd on Earth - Maelstrom - Polytechnique - Incendies - Prisoners (2013 film) - Enemy (2013 film) - Sicario - Arrival (2016 film) - Blade Runner 2049 - Dune-Part Two - (Dune: Messiah)
Related: Dune (1984 film) - Jodorowsky's Dune - The Auteurs #68: Denis Villeneuve
© thevoid99 2021
Following events that lead to death of Superman (Henry Cavill), the film follows a group of superheroes who band together to retrieve a trio of powerful boxes before a godlike being gets it to bring in a much more menacing figure who plans on destroying the universe. It’s a story similar to the 2017 theatrical film version of the film but what screenwriter Chris Terrio and his co-writers in Zack Snyder and Will Beall presented isn’t just grander but also focuses on themes of loss, redemption, and identity. Notably as Bruce Wayne/Batman (Ben Affleck) feels guilty for not making peace with Superman sooner following their brief fight and their battle against Doomsday that lead to Superman’s death. That battle would have serious repercussions as it would awaken these three Mother boxes and also brought attention to dark forces that realize that the boxes are on Earth. Both Wayne and Diana Prince/Wonder Woman (Gal Gadot) become aware that there are these forces are coming as they would recruit Barry Allen/the Flash (Ezra Miller), Arthur Curry/Aquaman (Jason Momoa), and Victor Stone/Cyborg (Ray Fisher) to form a team.
What Terrio does with the story is flesh out more development in not just these individuals who would form the Justice League but also the motivations of its antagonist Steppenwolf (Ciaran Hinds) who is also seeking redemption for his master/uncle in a god-like being known as Darkseid (Ray Porter) who had found an anti-life equation on Earth hoping to destroy the universe. The script is broken into six chapters plus an epilogue as it help play into the development of characters as well as explore the themes of grief and redemption. For Bruce Wayne, forming the Justice League is him trying to redeem himself as his attempt to recruit Curry in its first chapter yet Curry is reluctant having felt more like an outsider by his own people despite a later plea from his mentor Nuidis Vuklo (Willem Dafoe) to take up the mantle as King of Atlantis knowing that something wrong is about to happen. The script also does more to showcase who Barry Allen and Victor Stone are as the former is a young man trying to find a job as his power is running faster than the speed of light while channeling electricity as he says yes to Wayne’s offer. The latter is a once-promising football player/student who was nearly killed in a car accident that also killed his mother as his father Silas (Joe Morton) had tried to save his son only for Victor to feel resentful as it’s why he turned down Prince’s offer to join the team.
Terrio’s script does have some exposition as the second part reveals about what Wayne and Prince have to face in Steppenwolf and the bigger threat that is Darkseid as the first two parts serve as the first act while the second act play into the next two parts of the series where it does flesh out the characters but also play into their motivations to fight but also take the time to know each other as both Allen and Stone find common ground in their own lack of direction in life while Curry gets the chance to cope with his own identity and be part of a team. The third act is about not just resurrecting Superman but also dealing with the stakes of what they have to face in Steppenwolf and the looming presence of Darkseid.
Snyder’s direction definitely aims for something grander while he chooses to present the film in a completely different tone than the theatrical version which had a look that emphasized on something overly stylized in its desaturated color. Snyder chooses to pull a back a bit on the visuals while the entire film in seven parts and a four-hour running time is given a different aspect ratio presentation of 1:33:1 that does manage to showcase a broader look and feel that felt lost in theatrical cut. Snyder’s compositions are straightforward when it comes to the non-action scenes as he does take the time to let shots linger for a bit and know when not to cut while the action scenes do feel more fluid while allowing the shots to linger as a way for the audience to understand what is going on. There also moments in some of the slow-motion shots such as Allen saving the life of a young woman who nearly dies in a car accident as Snyder goes into great detail of what had happened as it is told largely from Allen’s perspective when he’s running fast. There are also scenes where Snyder allows Stone to be his old self in a hyper-digital world to figure out a location or a scenario that showcases a man who is struggling with new identity and his old one but is trying to find acceptance in this new role.
The added element of profanity and gore does give the film a bigger edge as it play into the stakes and what the Justice League has to face as Darkseid is someone that is absolutely uncompromising in what he wants to do as he is giving Steppenwolf the chance to redeem himself following their loss in the past when Atlanteans, Amazonians, humans, and other warriors defeated Darkseid. The stakes are bigger and the violence is more intense as it does play into the brutality of what the Justice League is dealing with as it would also concern one of the mother boxes that Victor’s father Silas (Joe Morton) had been hiding as he had figure out what to do in case it falls into the wrong hands. It would play into its third act while there are also these brief moments that allude to a vision that Wayne had as Stone would see it as well which would relate to the film’s epilogue. The film’s epilogue is a mixed-bag where it does feel overstuffed and overwritten as it relates to these dark visions that Wayne and Stone had about a possible future as it relates to Darkseid and the Anti-Life equation where Wayne, Stone, and Allen team-up with Mera (Amber Heard) and two unlikely figures.
Yet, the epilogue also include an appearance from a mysterious figure who visits Wayne as it plays into the idea of hope which does carry into the members of the Justice League. Though it is a big flaw in the film, it doesn’t overshadow the journey into what Snyder wanted as it plays into these heroes working together and taking the time to get to know each other. He makes the most of the near-four hour running time as it does play into this story of redemption, unity, identity, and hope that would emerge in the most trying of times. Overall, Snyder crafts an exhilarating and riveting film about a group of superheroes who come together to fight off a powerful being who wants to destroy everything and everyone.
Cinematographer Fabian Wagner does excellent work with the film’s cinematography as the desaturated look of the theatrical cut is given a cleaner look as well as do a bit more with the dark colors and the film’s look as it does have some vibrancy to emphasize some of the dramatic and action scenes in the film. Editors David Brenner, Carlos M. Castillon, and Dody Dorn do amazing work with the editing as it definitely has a more fluid tone in establishing much of the action and drama without the need to do any fast-cutting or jump-cuts in order to let shots linger on for a bit while it also has these stylized slow-motion shots that doesn’t just help add a lot to the action but also in establishing what Allen sees when he is running super-fast. Production designer Patrick Tatapoulos, with art directors Beauchamp Fontaine, Samuel Leake, and Andrew Palmer, does brilliant work with the look of the Wayne estate and his lab as well as the lab that Silas Stone works at. Costume designer Michael Wilkinson does fantastic work with the costumes that include the look of Superman’s black suit as it does have this menacing look as a hero who isn’t here to play.
Special effects supervisor Mark Holt and visual effects supervisors John “D.J.” Des Jardin do terrific work with the visual effects as the look of Steppenwolf is given a cleaner and more menacing look while Darkseid does have this look of a figure that is out only for destruction as much of the special and visual effects add to the film’s visual look as it does play more like a world that is coming apart by Darkseid with the Justice League going into war. Sound designer Scott Hecker does superb work with the film’s sound in creating sound effects of how the Parademons and their weapons sound as well as the atmosphere in some of the action scenes as it help play into the stakes. The film’s music by Tom Holkenborg is incredible with this mixture of orchestral bombast and somber music pieces that includes some work co-written with Hans Zimmer including a variation of Wonder Woman’s theme as it has this air of urgency and knows when to appear while the soundtrack features covers of songs by Leonard Cohen and Tim Buckley as well as pieces from Nick Cave & the Bad Seeds and a traditional Icelandic folk song sung during Wayne’s meeting with Curry.
The casting by Kristy Carlson, Lora Kennedy, and Kate Ringsell is tremendous as it feature cameo appearances from Marc McClure as a police officer Lois Lane often says hi to, Harry Lennix in a dual role as General Swanwick and a mysterious individual, Karen Bryson as Victor’s mother Elinor, Michael McElhatton and John Dagleish as a couple of terrorists Diana defeats early in the film, Sergi Constance as Zeus, David Thewlis as Ares, Robin Wright as Antiope, Billy Crudup as Barry’s father Henry, Kiersay Clemons as the young woman Barry saves in Iris West, Lisa Loven Kongsli as Diana’s aunt Menallipe, Ryan Zheng as a scientist in Ryan Choi who helps out Silas Stone, Jeremy Irons as Bruce Wayne’s longtime butler Alfred Pennyworth who helps out the Justice League, and the voice work of Russell Crowe and Kevin Costner in their respective roles as Jor-El and Jonathan Kent. The appearances of Jessie Eisenberg as Lex Luthor, Joe Manganiello as Deathstroke, and Jared Leto as the Joker for the film’s epilogue are fun to watch with Leto at least given something to do in his brief appearance. Amber Heard’s performance as the Atlantean princess Mera is not very good largely as Heard often speaks in a weird accent as it never sounds right.
Willem Dafoe and J.K. Simmons are terrific in their brief appearances in their respective roles as Curry’s mentor Nuidis Vuklo and Gotham police chief James Gordon as the former tries to get Curry to fight despite Curry’s issues with the Atlanteans while the latter helps the Justice League in locating where the parademons have taken some of Silas Stone’s staff hostage. Peter Guinness is superb in his small role as Darkseid’s enforcer DeSaad as someone who is reluctant to have Steppenwolf back in the fold due to Steppenwolf’s past failings while Ray Porter is fantastic in his brief role as the evil god Darkseid as a being who is the intense force of destruction. Connie Nielsen is excellent as Diana’s mother Hippolyta who fights off Steppenwolf and later sends a warning to Diana as she copes with what is at stake while Joe Morton is brilliant as Victor’s scientist father Silas as a man who admits to being an absentee father as he tried to save his son’s life while dealing with the power that is in one of the Mother boxes. Ciaran Hinds is amazing as Steppenwolf as he is given more to do to flesh his character more than in the theatrical version as it showcases his own motivations for redemption as well as be this massive threat to the world.
Amy Adams and Diane Lane are incredible in their respective roles as Lois Lane and Martha Kent as two women both in mourning and dealing with loss with the former just unable to return to work and the latter having lost her home as they both would eventually regain their way. Jason Momoa and Gal Gadot are phenomenal in their respective roles as Arthur Curry/Aquaman and Diana Prince/Wonder Woman as two heroes with the former being a reluctant half-Atlantean who is aware of what is happening but doesn’t want to be involved as he also copes with the prejudice of the Atlanteans while the latter is an Amazonian warrior who is also trying to restore some faith in people while aware that the stakes of what their facing is much greater than everyone realizes.
Ben Affleck and Henry Cavill are remarkable in their respective roles as Bruce Wayne/Batman and Kal-El/Clark Kent/Superman with the former being a man consumed with guilt as he decides to form a team and acting on faith and hope while the latter is the Kryptonian superhero who had died and then be resurrected as he copes with returning to the world and dealing with what is at stake. Finally, there’s the duo of Ezra Miller and Ray Fisher in sensational performance in their respective roles as Barry Allen/the Flash and Victor Stone/Cyborg as two young men with different powers as the former is someone trying to get his father out of prison and find his own role in the world while the latter is a man who was nearly killed in an accident and is given unlimited access to technology with Miller providing a bit of humor as Allen yet it is Fisher that is the heart and soul of the film as someone dealing with his identity and what he could do with the power he’s given.
Zack Snyder’s Justice League is a marvelous film that manages to live up to what a film about the Justice League superhero team needed to be. Thanks to its ensemble cast, bombastic music score, dazzling visuals, and its emphasis to explore themes of redemption, loss, and hope in a dark world. It is a film that doesn’t just have a lot of thrills and spectacular action scenes but it is also a film that also explore people trying to keep hope alive amidst a dark threat emerging. While it does have flaws with a four-hour running time that is demanding, it at least does give the audience time to invest in characters who are all trying to do good in a world that is facing impending doom. In the end, the director’s cut of Justice League is a remarkable film from Zack Snyder.
Zack Snyder Films: (Dawn of the Dead (2004 film)) – 300 - Watchmen - (Legends of the Guardians: The Owls of Ga’Hoole) – Sucker Punch - (Army of the Dead) - Rebel Moon
DC Extended Universe: Man of Steel - Batman v Superman: Dawn of Justice - Suicide Squad - Wonder Woman - Justice League - Aquaman - Shazam! - Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) - Wonder Woman 1984 - The Suicide Squad (2021 film) - (Black Adam) – (Shazam! Fury of the Gods) – (Aquaman and the Lost Kingdom) – (The Flash) – (Blue Beetle) – (Batgirl)
© thevoid99 2021
Based on the DC Comics series by Paul Norris and Mort Weisinger, Aquaman is the story of a half-human, half-Atlantean who reluctantly goes into the underwater world of Atlantis to stop his younger half-brother from uniting the seven kingdoms to wage war against the surface world. Directed by James Wan and screenplay by David Leslie Johnson-McGoldrick and Will Beall from a story by Wan, Beall, and Geoff Johns, the film is a part-origin story and an adventure story where Arthur Curry deals with his mother’s disappearance and the destiny he has to take on to save the world from destruction as he is played by Jason Momoa. Also starring Amber Heard, Patrick Wilson, Willem Dafoe, Dolph Lundgren, Temeura Morrison, Yahya Abdul-Mateen II, and Nicole Kidman as Atlanna. Aquaman is a grand and exhilarating film from James Wan.
Set several months after a confrontation with an evil force where he is part of the Justice League, the film is about Arthur Curry/Aquaman dealing with his past but also a new threat in the former of his younger half-brother Orm (Patrick Wilson) who wants to wage war on the surface world and become king of Atlantis. It’s a film that has a simple premise that is expected with films about superheroes but it’s more of a study of a man reluctant to take on what is rightfully is as he also deals with the fact that he’s half-human and it lead to the disappearance and death of his mother Queen Atlanna. The film’s screenplay by David Leslie Johnson-McGoldrick and Will Beall opens with how Atlanna met lighthouse keeper Thomas Curry (Temeura Morrison) in 1985 and fell in love that lead to the conception of Arthur as their tranquil life was disrupted by Atlantan forces who want Atlanna to return as she reluctantly leaves Thomas and Arthur to protect them.
The script would showcase some flashbacks of Arthur growing up to understand his powers to communicate with aquatic creatures but also be trained by Atlanna’s advisor Nuidis Vulko (Willem Dafoe) who would teach Arthur many things as he would later become Orm’s advisor only to get uneasy about Orm’s ambition as he chooses to help Arthur in secrecy. Also helping Curry with this growing conflict is Princess Mera of Xebel (Amber Heard) whose father King Nereus (Dolph Lundgren) had aligned himself with Orm after an attack from a Russian submarine. Yet, Orm has also made a secret alliance with a pirate in David Kane (Yahya Abdul-Mateen II) to set-up the attack as he wants to find Arthur following a confrontation at a submarine that lead to the death of Kane’s father Jesse (Michael Beach) during an attempted hijack on that sub. Though the script does have a few clunky moments in the dialogue, it does succeed in establishing the characters and the stakes with the first act being about Orm’s desire to attack and Arthur reluctantly trying to stop him while its second act is about their first duel that nearly kills Arthur and his escape with Mera as they try to find an ancient artifact that relates to a trident that belonged to Atlantis’ true king in Atlan as the person who holds it is Atlantis’ true heir.
James Wan’s direction is definitely grand in terms of the visual scope he presents of the underwater world that is Atlantis but also ground it with some realism for some scenes on the surface. Shot largely in Australia and at Village Roadshow Studios on the Gold Coast in Queensland, Australia with additional locations shot in parts of Italy, Canada, and Morocco, Wan does create a world that is vast not just above the sea but also under the sea. Particularly on the latter as the world of Atlantis is enchanting as well as wondrous while it also feature an array of beings, creatures, and human-like figures known as Atlanteans who live and breathe underwater while they can converse underwater as they also have powers. Yet, Wan also showcases the sense of prejudice towards Arthur yet there are a few that are willing to give him a chance despite their issues with civilization at the surface. Wan’s usage of the wide shots in how he presents Atlantis as well as the film’s climatic battle scene definitely capture a lot of coverage and establishes it in what is going on.
Wan’s direction also knows when to break away from the action in favor of character development and interaction that include scenes of Arthur and Mera on Earth traveling through the Sahara and later going to Sicily to find clues of the trident’s whereabouts. Wan keeps things smooth and help bring some nuances to the story including Arthur and Mera’s growing relationship while they have to fight off Orm’s personal guards, sea creatures, and David Kane wearing a suit as he’s called Black Manta. Wan’s approach to action and suspense add to the stakes that occur including the sequence in the third act where Arthur and Mera face off against monsters in this wormhole known as the Trench that leads to a mysterious land where Atlan’s trident is located. Wan does allow shots to linger for a bit including a few fights including Atlanna’s fights against a royal guard early in the film as it is shot in one entire take with tracking shots and other camera effects. The film’s climatic battle sequence display an air of grandeur and importance where Wan does establish what is going on as well as what is at stake as it play into Arthur stepping into his role as King of Atlantis. Overall, Wan crafts an intoxicating yet exhilarating film about half-man, half-Atlantean who comes to term with who he is and his destiny.
Cinematographer Don Burgess does excellent work with the film’s cinematography with its colorful and vibrant look for many of the exterior scenes shot in the day in some of the film’s different locations along with the usage of low-key and blue-green colors for some of the scenes under the sea. Editor Kirk Morri does nice work with the editing as it does play into conventional fast-cutting with some of the action but does stray from chaotic editing to establish what is happening as it also include some stylish cuts for the humorous moments in the film. Production designer Bill Brezki, with set decorators Danielle Berman and Beverley Dunn plus supervising art director Richard Hobbs, does amazing work with the look of Atlantis as well as the home of Thomas Curry, the bar Arthur and Thomas go to, the palace in the Sahara, and other locations including some in Sicily. Costume designer Kym Barrett does fantastic work with the suit that Mera wears under the sea as well as the clothes that other Atlanteans wear along with the more casual look of Arthur and the eventual suit that he would wear in its third act.
Hair/makeup designer Lesley Vanderwalt and special makeup effects/creature designer Justin Raleigh do brilliant work with the look of some of the characters as well as how hair moves underwater as it’s a highlight of the film. Special effects supervisors Mark R. Byers and Brian Cox, plus visual effects supervisors Tim Alexander, Jay Barton, Bryan Hirota, Sebastian Moreau, David Nelson, Craig Wentworth, and Jeff White, do incredible work with the visual effects as it is a major highlight of the film with the design of Atlantis, the creatures of Atlantis, and some of the underwater effects as they’re top notch and they have this air of grandeur that the film needed. Sound designers Harry Cohen, Eliot Connors, Joe Dzuban, and Stephen P. Robinson, along with sound editor Peter Brown, do superb work with the sound as it help play into the atmosphere of the locations as well the sound effects of some of the Atlantean weapons that are used.
The film’s music by Rupert Gregson-Williams is wonderful for its mixture of bombastic orchestral score with some electronic flourishes as it help play into the massive scope of the film as well as some soaring pieces with lush string arrangements while music supervisor Michelle Silverman creates a fun soundtrack that features an original piece by Skylar Grey as well as some inspired usage of music from Roy Orbison and Depeche Mode though the track from Pitbull with Rhea is just dumb.
The casting by Anne McCarthy and Kellie Roy is marvelous as it feature some notable small roles and appearances from Andrew Crawford providing the motion capture performances of the Brine King and King Richou of the Fisherman with John Rhys-Davies and Djimon Hounsou respectively providing the voices, Leigh Whannell as a cargo pilot, Julie Andrews as the voice of a mysterious creature guarding King Atlan’s trident, Ludi Lin as Atlantis’ front-line army commander Captain Murk, Graham McTavish as King Atlan via flashbacks, and Randall Park in a small performance as the marine biologist Dr. Stephen Shin who is trying to prove to everyone that Atlantis is real. In the roles of the young Arthur, Tainu and Tamor Kirkwood as the three-year old Arthur, Kaan Guldur as the nine-year old Arthur, Otis Dhanji as the 13-year old Arthur, and Kekoa Kekumano as the 16-year old Arthur are terrific in displaying the character’s growth and understanding of his powers through Vulko’s guidance. Michael Beach is superb as David’s father Jesse Kane as a leader of pirates who would confront Arthur only to be bested and urge his son to avenge him.
Yahya Abdul-Mateen II is fantastic as David Kane/Black Manta as a pirate who seeks to find and kill Arthur in an act of revenge while conspiring with Orm to help start a war with the surface people in exchange for weapons to hunt Arthur. Dolph Lundgren is excellent as King Nereus of the Xebel tribe who is Mera’s father as he also helps Orm with an upcoming war unaware of the truth of Orm’s intentions. Temeura Morrison is brilliant as Thomas Curry as a lighthouse keeper who meets and fall for Atlanna as he is also someone who is aware of his son’s gifts and powers but also knows about the danger that his son will face. Nicole Kidman is amazing in her small role as Queen Atlanna as a descendant of King Atlan who meets and falls for Thomas Curry as she reluctantly leaves Thomas and Arthur only to be punished for her actions leading to her possible execution. Willem Dafoe is remarkable as Nuidis Vulko as Atlanna’s former advisor who would teach Arthur about his powers while also being a reluctant advisor to Orm as he becomes suspicious of Orm’s intentions leading him to help Arthur.
Amber Heard is incredible as Mera as King Nereus’ daughter with telepathic and hydrokinetic powers that helps Arthur in his journey as she is also someone who knows a lot about the underwater world but not much about the surface as she does provide some funny moments. Patrick Wilson is great as Orm as Arthur’s younger half-brother who is the king of Atlantis who hopes to unite the seven kingdoms but also wants to start a war on the surface world as he’s not really an antagonist but someone who despises Arthur for what happened to their mother. Finally, there’s Jason Momoa in a phenomenal performance as Arthur Curry/Aquaman as a half-man, half-Atlantean who possesses some incredible powers to converse with sea creatures as well as being strong but he’s also someone that isn’t sure about ruling Atlantis knowing about its prejudices where Momoa displays some humor and charm but also a weariness as someone who is grounded and knows how to do the right thing as it’s a true breakout performance for Momoa.
Aquaman is a spectacular film from James Wan that features an incredible performance from Jason Momoa in the titular role. Along with its ensemble cast, dazzling visual effects, bombastic music score, and story of identity and family, it’s a blockbuster superhero film manages to be so much more as well as be adventurous and fun. Even as it explores a man coming to terms with who he is but also the role he chooses for an entire world. In the end, Aquaman is a sensational film from James Wan.
James Wan Films: (Saw) – (Dead Silence) – (Death Sentence) – (Insidious) – (The Conjuring) – (Insidious: Chapter 2) – (Furious 7) – (The Conjuring 2) - (Malignant) - (Fast & Furious 10)
DC Extended Universe: Man of Steel - Batman v Superman: Dawn of Justice - Suicide Squad - Wonder Woman - Justice League - Shazam! – Birds of Prey – Wonder Woman 1984 - Zack Snyder's Justice League - The Suicide Squad (2021 film) - (Black Adam) – (Shazam! Fury of the Gods) – (Aquaman and the Lost Kingdom) – (The Flash) – (Blue Beetle) – (Batgirl)
© thevoid99 2019
Based on the characters from DC Comics, Justice League is the story of a group of superheroes who form a team to stop a major threat from unleashing havoc on Earth as well as secure a trio of boxes to stop this threat. Directed by Zack Snyder with additional direction by Joss Whedon and screenplay by Whedon and Chris Terrio from a story by Terrio and Snyder, the film is superhero movie that feature many revered superheroes who come together and save the world as they also deal with themselves. Starring Ben Affleck, Gal Gadot, Henry Cavill, Ezra Miller, Jason Momoa, Ray Fisher, Amy Adams, Diane Lane, Amber Heard, Jeremy Irons, Connie Nielsen, J.K. Simmons, and Ciaran Hinds as the voice of Steppenwolf. Justice League is a thrilling though underwhelming film from Zack Snyder.
The film is a simple story in which a group of superheroes team up to face a super threat as it all takes place on Earth following the death of Superman/Clark Kent (Henry Cavill) during a major battle. For Batman/Bruce Wayne (Ben Affleck), he is consumed with guilt for not doing enough to help Superman as he encounters a major threat forcing him to call upon Wonder Woman/Diana Prince (Gal Gadot) to help him recruit other figures with special abilities. The film’s screenplay by Chris Terrio with additional work from Joss Whedon does play into the stakes yet it doesn’t do enough to introduce the other characters that would be part of this team and information about these mysterious boxes that the Justice League has to get to stop this antagonist in Steppenwolf. The first act is about Wayne and Prince recruiting the other supers into the Justice League with the Flash/Barry Allen (Ezra Miller) immediately saying yes while Cyborg/Victor Stone (Ray Fisher) and Aquaman/Arthur Curry (Jason Momoa) initially decline until Steppenwolf get involved with their personal lives.
The boxes that are known as the Mother Boxes are all sources of power that Steppenwolf wants to use to destroy the world but he had been thwarted many centuries ago by an alliance of men, Atlanteans, Olympian Gods, the Green Lantern Corps, and Amazonians who agreed to hide the boxes from Steppenwolf. The character of Steppenwolf is a villain that is underwritten due to the fact that he’s not compelling and is never really fleshed out. The script also doesn’t do much Stone as there is little to know about his origin as a kid who survived a car accident only for his father Silas (Joe Morton) to have one of the three boxes to use to create a new cyborg body that Stone would use to retrieve all sorts of information. While Allen and Curry do get a bit of back story, they’re also hampered by the script’s shortcomings due to the fact that they never get a proper introduction though there’s brief mention of why Allen can run so fast and emit electricity.
Zack Snyder’s direction is definitely lavish with some dream-like compositions to play into a world coping with loss as well as a growing sense of hopelessness and danger. Shot mainly at the Warner Brothers Studios in Leavesden in Britain with additional locations around London, Los Angeles, Chicago, parts of Scotland, and Iceland. Snyder does establish a world on the brink of chaos and despair as he does create some unique wide shots for some scenes including Wayne’s meeting with Curry in an attempt to get him on board. There are also some close-ups and medium shots in the film to play into the characters interacting with one another as Snyder does know where to put a few moments of humor in the film as well as giving audiences a break for the action. It’s among some of the things that Snyder and his replacement in Joss Whedon would succeed in doing but it’s not enough to make the film more engaging than it needed to be.
Among these issues is that there is this feeling that there’s a longer film in there somewhere as Whedon had to make some compromises to make it less messy but it undercuts some of the moments with the characters as Stone isn’t given a lot to do in how he became Cyborg while the sequence about the origin of Steppenwolf and the three boxes seem to feel like there was a longer version presented. Then there’s many of the visual set pieces as it relates to the action where Snyder and Whedon try to create so much action and visual textures yet the emphasis on visual effects do overwhelm the action including the film’s climax where the Justice League faces off against Steppenwolf and his army. It also has these clunky moments where they try to do so much but ends up being overkill in moments where it wants to be funny and exciting with moments that are serious. Overall, Snyder and Whedon crafts a worthwhile but lackluster film about a group of superheroes coming together to save the world.
Cinematographer Fabian Wagner does some fine work with the cinematography in terms of setting the mood for some scenes at night with its lighting although the reliance on de-saturated colors is overkill as it doesn’t do enough to make the film visually vibrant in favor of grittiness that doesn’t entirely work. Editors David Brenner, Richard Pearson, and Martin Walsh do some good work in the editing in creating some fast-cuts for some of the action though there’s moments where there is too much fast-cutting where it doesn’t do enough to establish what is going on in these action sequences. Production designer Patrick Tatpoulos, with set decorator Dominic Capron and senior art director Matthew Gray, does excellent work with the look of the Batcave where Wayne does much of his work and serves as a temporary base for the Justice League as well as the look of the place where Steppenwolf wants to use the Mother Boxes. Costume designer Michael Wilkinson does amazing work with the costumes in the look of the characters as well as the casual clothes they would wear when they’re not working as superheroes.
Makeup designer Victoria Down does nice work with the look of the characters from the look of Cyborg as well as the tattoos on Curry. Special effects supervisor Mark Holt and visual effects supervisor John “D.J.” Des Jardin do some terrific work on the visual effects for the design of the monsters though its usage as set-dressing isn’t inspired while the look of Steppenwolf is underwhelming as well as the awkward look of Clark Kent when he smiles. Sound designer Chuck Michael does superb work with the sound in the way the aliens sound as well as some of the weapons and the layer of sounds in the film’s climax. The film’s music by Danny Elfman is wonderful for its orchestral bombast that help play into the action and suspense along with a few low-key pieces for the non-action scenes while music supervisor Karen Elliott does do some OK work on the soundtrack as it includes music from the White Stripes as well as covers of songs by Sigrid doing Leonard Cohen’s Everybody Knows and Gary Clark with Junkie XL doing the Beatles’ Come Together.
The casting by Kristy Carlson, Lora Kennedy, and Kate Ringsell is great as it feature some notable small roles and appearances from Billy Crudup as Allen’s father Henry, Joe Morton as Stone’s father Silas, Amber Heard as the Atlantean Mera who knows Curry’s mother, Connie Nielsen as Prince’s mother Queen Hippolyta who would send her daughter a signal about Steppenwolf, Michael McElhatton as a terrorist Diana defeats early in the film, Diane Lane as Kent’s adoptive mother Martha Kent, and J.K. Simmons as Gotham police commissioner James Gordon who briefs members of the Justice League about the kidnappings at Gotham. Amy Adams is fantastic as Lois Lane as the reporter for the Daily Planet and Clark Kent’s love interest who copes with not just loss but also the sense of hopelessness despite the efforts of the Justice League. Ciaran Hinds is OK as Steppenwolf as he provides the voice of this menacing figure though it’s a character that is severely underwritten and not really given much to do but go after the Mother Boxes and kill good people.
Henry Cavill is good as Clark Kent/Superman as he’s first seen in an Instagram video as the superhero where he would later be part of a plan to be revived as Cavill has his moments despite some bad visual effects on his face. Jeremy Irons is excellent as Alfred Pennyworth as Wayne’s longtime butler/assistant who is the film’s conscience of sorts as someone who helps the Justice League with information as well as be aware of what is at stake. Ray Fisher is alright as Victor Stone/Cyborg as a former athlete who survived an accident that would have him sport a machine-like body as he deals with his abilities and being alive as Fisher has his moments though he’s not given a lot to do. Jason Momoa is superb as Arthur Curry/Aquaman as a half-Atlantean/half-human man that has the ability to control water and such as he is reluctant to join the Justice League until Atlantis was attacked prompting him to join as he does provide some funny moments.
Ezra Miller is brilliant as Barry Allen/the Flash as a young superhero who can run very fast and emit electricity as he is an admitted loner that has a hard time trying to get friends as he is also a fanboy of sorts in working with Batman and Wonder Woman as he is fun to watch. Gal Gadot is amazing as Diana Prince/Wonder Woman as the Amazonian princess who learns about Steppenwolf’s return as she decides to help Wayne out in forming the Justice League while dealing with her own reluctance to help out humanity. Finally, there’s Ben Affleck in an incredible performance as Bruce Wayne/Batman as the vigilante who decides to form a team as a way to make amends for his anger towards Superman while being aware of this threat as knows he’s been in too many battles but is hoping to save the world.
Justice League is a horrendous film from Zack Snyder and Joss Whedon. Despite its great cast, some nice action set pieces, and bits of humor, it’s a film that falls short in what it needed to be as this epic superhero cross-over film with high stakes. Especially as it rely too much on visual effects and spectacles that don’t really do much for the story that needed to flesh out the characters more. In the end, Justice League is a drab and lackluster film from Zack Snyder and Joss Whedon.
Zack Snyder Films: (Dawn of the Dead (2004 film)) – 300 - Watchmen - (Legends of the Guardians: The Owls of Ga’Hoole) – Sucker Punch - (Army of the Dead) - Rebel Moon
Joss Whedon Films: Serenity - The Avengers (2012 film) - Much Ado About Nothing (2012 film) - The Avengers: Age of Ultron
DC Extended Universe: Man of Steel - Batman v Superman: Dawn of Justice - Suicide Squad - Wonder Woman - Aquaman – Shazam! – Birds of Prey - Wonder Woman 1984 - Zack Snyder's Justice League - The Suicide Squad (2021 film) - (Black Adam) – (Shazam! Fury of the Gods) – (Aquaman and the Lost Kingdom) – (The Flash) – (Blue Beetle) – (Batgirl)
© thevoid99 2018
