A few weeks later in September, Cameron reiterated his criticism in an interview with The Hollywood Reporter. He compared Gal Gadot's representation of the character to Raquel Welch films of the 1960s,[309] and reinforced a comparison with Linda Hamilton's portrayal of Sarah Connor. He argued that Connor was "if not ahead of its time, at least a breakthrough in its time" because though she "looked great", she "wasn't treated as a sex object".[309] He also stated that he while he "applaud[s] Patty directing the film and Hollywood, uh, 'letting' a woman direct a major action franchise, I didn't think there was anything groundbreaking in Wonder Woman. I thought it was a good film. Period."[309] Former Wonder Woman actress Lynda Carter responded to Cameron's The Hollywood Reporter interview by asking him to "Stop dissing WW." Like Jenkins, she suggests that while Cameron does "not understand the character", she does. She also refers to Cameron's critiques as "thuggish jabs at a brilliant director" that are as "ill advised" as the "movie was spot on." Carter also states that she has the authority to make these observations because she has "embodied this character for more than 40 years".[310][311][312] A month later, Jenkins responded to Cameron's comments once again in an interview with Variety, stating that she "was not upset at all", as "everybody is entitled to their own opinion. But if you're going to debate something in a public way, I have to reply that I think it's incorrect."[313] Tricia Ennis was also critical of Cameron's statements, arguing that "while he may consider himself a feminist and an ally to women, [he] is not very good at it" as being an ally means using his position of privilege "without silencing the voices of those you're trying to help". She also states that it "is not enough to simply call yourself a feminist. It's not even enough to create a strong female character ... You have to bring women to the table. You have to let them speak. You cannot speak for them. But speaking for women is exactly what Cameron is doing through his comments ... Cameron is using his position of power as a respected producer and director to silence women."[314]
by Walter Chaw At some point, someone in some boardroom should have pushed away from the table and asked whether it was a good idea to have a subplot in their new Wonder Woman movie about a person in the Middle East wishing that colonizers would be expelled from occupied territories. (The granting of said wish subsequently leading somehow to nuclear holocaust.) I mean, with or without an Israeli actress in the lead role. Not to say it's not geometrically worse with an Israeli actress in the lead role, because it is. Look, the real wonder of WW84 is that this maybe isn't the worst thing about it. Neither is how flat it looks, or how it starts with 45 minutes of poorly-timed slapstick before shifting into absolutely deadening action sequences, a weird body-possession intrigue, and a horrifying message about how you should never wish for things because everything has consequences attached to it. With so much riding on its shoulders, the burden to be all things to all people has resulted in a vivisected monstrosity of plastic inauthenticity. WW84 additionally has one of the most beautiful people in the world--who's playing an immortal superhero--tearfully proclaim that she wants something to go right for her for once in her life. What I'm saying is, WW84 is a very particular, very limited kind of fantasy gratification that also happens to have fantasy gratification as its needlessly magical plot.
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Wonder Woman (Gal Gadot) goes around doing good deeds in plain sight; weird how Batman has to do a lot of Dark Knight detecting to find her in Batman v Superman: Dawn of Justice. One of the good deeds she does is break up a mall heist ripped from storyboards for The Goonies involving an ARTIFACT that grants wishes. It's not a monkey's paw, surprisingly enough, although Wonder Woman does reference the W.W. Jacobs story when she lectures someone about being careful what they wish for. The ARTIFACT is Satanic, I think--WW84 declines to come right out and say so; Wonder Woman is content instead to read an ancient cuniform to the surprise of her colleagues (who seem not to know that she's good at her day job at the Smithsonian), clasp her hands to her mouth, and inform boyfriend Steve Trevor (Chris Pine) that this ancient script tells of how a god created this ARTIFACT but for everything it grants, it takes something from you. The God of Lies, Steve. The God of Lies. If you're wondering how Steve, who died at the end of the first film 60+ movie-years prior, is alive again, it's because Wonder Woman wished that he would come back to life, and instead of granting that wish, the ARTIFACT has Steve possess some poor schlub. The ARTIFACT is also an asshole. Better would be for Steve to come back as a reanimated corpse or a housecat, but...
I have more questions. I want to know why in the prologue there's this entire flashback to Themyscira about not cheating during a tournament that looks like Cirque du Soleil with a scoreboard. It can't have been to set up the moral of this story of truth being beauty and beauty truth and that's all you know and all you need know. Probably that's only the moral because, like the instructions printed on the ARTIFACT, it's a truism someone once posited was found engraved on a Grecian Urn. Probably that's the moral because an earlier draft of the screenplay had poetry in it. I want to know why Chris Pine's entire performance here is to look surprised, or how a 152-minute movie fails to build any memorable characters. And you know you're in trouble when watching nothing less than the literal end of the world doesn't raise the blood pressure. Almost more than anything else, I'm curious why this was set in 1984, unless it was just for the shoulder pads and Jazzercise sight-gags. After the first twelve hours of this ordeal, the filmmakers abandon those altogether. Did anyone notice that the aide yelling expository softballs in the Oval Office is a Black woman? ("More nukes? How?") Or that the policeman on the street screaming into his walkie, lamenting about Wonder Woman not helping and them being in trouble, is Black? There's a point at which inclusion in supporting roles, implemented without a plan, backfires spectacularly. Did I mention that Maxwell has an Asian son? I don't know why; I do know that between this and The Midnight Sky, there is apparently no upper limit to the number of deadbeat-dad redemption arcs in production.
What sort of workshop hell resulted in this tortured sequence of events? Who piped up and said, "We want a PG-13, so he can want to rape her, but our ur-villain can't kill him with her super-strength"? What sort of equivocations were demanded to soften the fate of the rapist to the point where the beating of the rapist is now the clue that this woman broke bad? Maybe in the course of beating this shithole to death, Barbara accidentally kills her Black homeless friend who's trying to stop her and, after a moment's shock, decides it was his own fault for not minding his business. Now I get it. And the catalyst for her descent is not the poor, poor rapist getting his head caved in, but this marginalized human being at the hand of the only person who ever noticed him. His name is Leon, by the way. He's played by Mensah Bediako, and I wonder what his wish was, both the actor's and that of the character he's playing. Were those wishes included in Wonder Woman's warning against wishing? Interesting how this Black homeless guy is never seen again. I do like how Wonder Woman doesn't kill people, though. That's a nice respite from the new, city-destroying DCEU Supes. I don't like how WW84 shows how she doesn't kill people by doing "The A-Team"'s thing of having people crawl out of vehicles she's destroyed or climb out of the water after being blown off their gun towers. I get it. She doesn't even accidentally kill people.
Maren Ade's movie is about a woman working in international consulting whose dad tries to reconnect with her by wearing false teeth, a wig, and pretending to be a high-roller named "Toni Erdmann." It sounds like an awful Adam Sandler comedy, but Ade's direction and the incredible performances make the movie both touching and hilarious.
Before Ava DuVernay blew away critics with "Selma," won an Oscar with "The 13th," or became the first black woman to direct a $100 million-budget movie with "A Wrinkle in Time," she got herself on the map with "Middle of Nowhere." Starring Emayatzy Corinealdi and David Oyelowo, it's a harrowing drama about a woman who drops out of medical school after her husband goes to prison.
"Daughters of the Dust" was the first feature movie directed by a black woman to be distributed in theaters in the United States. And while the family saga gained critical praise for its gorgeous visual style and fractured narrative method, it remained largely forgotten until Beyoncé paid homage to it with "Lemonade" in 2016 and gave it a new wave of attention.
While "Daughters of the Dust" was the first theatrically distributed movie directed by a black woman, "Losing Ground" was the first full-length movie directed by a black woman, period. Despite the critical acclaim for the comedic drama about two warring married professors, it never played outside of film festivals.
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It's no wonder that Italy is one of the most popular locations to film a movie. The backdrop alone is mesmerizing. Whether you want to escape to the Amalfi Coast, luxuriate in the Tuscan countryside, or go on an adventure in Rome, there's something for everyone. Here's a look at the list: 2ff7e9595c
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