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The Heroism of “Wonder Woman” Is Worth Celebrating
It seems folly to discuss Wonder Woman outside of the greater context of the DC Extended Universe, but Patty Jenkins’s film begs to be discussed in isolation – it’s simply in another stratosphere. So, that’s it; that’s all the comparison to the DCEU that will be contained in this review. The rest of the time will be spent heralding Wonder Woman as a superhero film that knows precisely how to tell a refreshing origin story, establish stakes and pathos in a fantastic world, and champion a powerful theme of heroism, strength, and love. With a stunning performance from Gal Gadot, a brilliant fish-out-of-water skeleton, and action sequences that contain spectacle and depth, Wonder Woman is potent storytelling.
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State of the Blog – June 2017
As we inch towards the halfway point of the year, blockbuster season is now in full swing. Here at Plot and Theme, things are going swimmingly, and I’ve got a lot of cool things going on, plus neat flicks and pieces on the blog to look forward to. But, we’ll start by looking back on what went down during the month of May, both in the greater landscape of cinema, and here on my humble little blag.
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Interview: Director Steve James talks Abacus: Small Enough to Jail
Here’s the interview I mentioned with my previous post!
Hop on over to my patreon page for even more discussion! -
ABACUS: Small Enough to Jail
This is another great documentary from Steve James, who also made “Life Itself” and the 30 for 30 on Allen Iverson’s Trial. I was also fortunate enough to interview the director about this film, so look for that in the near future!
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Post #300 on Plot and Theme!
For my 300th post here on Plot and Theme, I decided to update all my readers by explaining the next phase of my blogging, which involves getting the word out that the blog is growing and rewarding readers who support my nonsensical writings.
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Twelve Cool Films from the Cannes Film Festival
The Cannes Film Festival is in the books, and there are some cool things that happened at the 70th iteration of this super-prestigious festival. This will be a causal post where I touch on a few of the things that interest me and therefore should interest you (because I am very often right). Obviously, I haven’t seen any of these films, so my excitement is completely based on word-of-mouth from the festival and other murmurs. I’ll recount the winners of the awards, then mention the other flicks that have me excited at the very end.
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The Hilarious “Mindhorn” Blends Crime with Irreverence and Dry British Wit
Are you re-watching episodes of QI and startling yourself with how often you remember the answers? Do you have a VPN set up to watch 8 Out of 10 Cats? Are you slightly angry that my previous question didn’t conclude with “Does Countdown”? This hackneyed rhetoric is just a way for me to say that if you enjoy British comedy, then Sean Foley’s Mindhorn is definitely for you. Even if you’re not crazy about the Brits and their particular brand of whimsy, you’re likely to find something to enjoy in this weird little farce.
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“War Machine” is Imbalanced, Has Too Few Barbs
The satire is the most fragile of all the genres. Drama fails or succeeds on the strength of very definite qualities like story, character, and pathos. Comedy has leeway with its execution on account of its casual tone, as even the blackest comedies have a jokey kernel. Strict genre fare or action is even more forgiving: as long as the film hits a few key points, we enjoy the parts that hit, and dismiss the parts that miss (i.e., the recent Mad Max, which is awesome yet fairly bereft of story). But with satire, if certain elements are missing – a unifying vision, a stylistic conceit, or even a single performance – then the product just feels off. So is the case with War Machine, the Netflix film from Brad Pitt’s production company Plan B Entertainment. Though the satirical aspirations of this send-up of the War on Terror are apparent and welcome, there are simply too many missteps.
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“Dr. Strangelove” and the Absurdity of the Politically Powerful
A Year of Masterpieces: The Filmography of Stanley Kubrick
Introduction
Stanley Kubrick’s Dr. Strangelove, Or: How I Learned to Stop Worrying and Love the Bomb is a satirical masterpiece. In this piece, we will discuss the germination of the great film and then detail how the director combines a serious camera (Part I), genuine but exaggerated characters (Part II), and a farcical tone (Part III) into one of the greatest condemnations of the military state of all time. Kubrick’s aim is simple: to subvert the grim seriousness of the Cold War by showcasing the absurdities that arise from taking concepts like “mutually assured destruction” and “nuclear deterrence” to their logical conclusions.
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Inside Out 2017: A Date for Mad Mary
This movie is fantastic! One of my favorite things about getting screeners is being blind-sided by something awesome, and “A Date for Mad Mary” definitely counts!
Film Criticism and Fiction Writing by Derek Jacobs
