Starfleet Uniforms in “STAR TREK: PICARD”

STARFLEET UNIFORMS IN “STAR TREK: PICARD”

Recently, I have come across a good number of articles on the Internet about the the upcoming CBS All Access series and recent addition to the STAR TREK franchise, “STAR TREK: PICARD”. I admit that my curiosity about the new series has led to some kind of anticipation for it during the past several months. There is one aspect of my curiosity that has been settled – namely the costume designs for the Starfleet uniforms to be featured in the new series.

According to the publicity surrounding “PICARD”, it is supposed to be set at least twenty years after the events of the 2002 film, “STAR TREK NEMESIS” . . . roughly around 2399. This period – namely the end of the 24th century and the early years of the 25th century – in Federation/Starfleet history has already been featured in television shows like “STAR TREK DEEP SPACE NINE” and “STAR TREK VOYAGER”. Because of my memories of the Starfleet uniform designs featured in those episodes, I realized that it did not jibe with the new uniform designs for “PICARD”, as shown in the image below:

It had occurred to me that this new uniform design for “PICARD” reminded me of the Starfleet uniforms worn between Seasons One and early Season Five on “DEEP SPACE NINE” and throughout “STAR TREK VOYAGER” (which was set in the Delta Quadrant), as shown in the images below:

 

 

I found this rather odd, considering that the time period for “DEEP SPACE NINE” and “VOYAGER” stretched from 2369 to 2377-78. Had the uniforms for Starfleet changed so little during the 20-30 years period? Not quite. Starting in 2373, Starfleet officers and crewmen wore new uniforms shown not only in Seasons Five to Seven of “DEEP SPACE NINE”, but also in various STAR TREK movies, beginning with the 1996 film, “STAR TREK: FIRST CONTACT”:

 

So what happened? Did Christine Bieselin Clark, the costume designer for “PICARD” had decided to create a new twist on the uniforms featured in “VOYAGER” and the earlier seasons for “DEEP SPACE NINE”? Or had she forgotten those uniforms featured in at least two STAR TREK uniforms set in the future? What am I referring to?

There was an episode that aired in early Season Four of “DEEP SPACE NINE” called (4.03) “The Visitor” in which Captain Benjamin Sisko had disappeared due to an inversion of the Bajoran Wormhole. The episode featured how his son Jake Sisko’s life would have eventually unfolded over the years. The episode included a scene set 25 to 30 years later in which two of Captain Sisko’s officers – Julian Bashir and Jadzia Dax had visited Jake, wearing Starfleet uniforms:

 

One could dismiss this as a possible future uniform for Starfleet personnel. And yet; in the series finale for “VOYAGER” called (7.25-7.26) “Endgame”, which began in 2404 and featured an elderly Admiral Kathryn Janeway plotting a trip to the past to change the future for the crew of U.S.S. Voyager.; the same uniform design was featured:

 

Had Clark, along with creator Alex Kurtzman, and the other producers of “PICARD”, simply decided to forgo those future uniforms featured in both “DEEP SPACE NINE” and “VOYAGER”? Had Clark even seen those episodes? Or did she decided to create new Starfleet uniforms that were similar to the more familiar uniform featured in the STAR TREK television shows set during the 2370s for the sake of nostalgia? Regardless of the answer, I can only feel that this is a step down for the new series.

 

“ADVENTURES OF DON JUAN” (1948) Review

 

 

“ADVENTURES OF DON JUAN” (1948) Review

I will be the first to admit that I have been a fan of several movies starring Errol Flynn for years. Ever since I was in my early teens. However, my preference for Flynn movies tend to be for those that were released during the first five years of his Hollywood career – between 1935 and 1941. However, I recently took a chance on viewing one of his films made during the second decade of his Hollywood career – the 1948 adventure film, “ADVENTURES OF DON JUAN”.

The character of Don Juan had originated some time in the early 17th century – actually in the 1630 Spanish play by Tirso de Molina called “El burlador de Sevilla y convidado de piedra” (“The Trickster of Seville and the Stone Guest”). Only in de Molina’s play, the character of Don Juan was portrayed as an evil man who seduced women, thanks to his ability to manipulate language and disguise his appearance. Over the next century or two, Don Juan had transformed into a wealthy libertine, who devotes his life to seducing women in the belief that he had plenty of time to repent later for his sins.

In the 1948 movie directed by Vincent Sherman, Flynn’s character is a Spanish nobleman named Don Juan de Maraña, a charming libertine, whose penchant for seducing women has landed him in scandal after scandal for many years. The movie opened in the last few years of Elizabethan England, when Don Juan is caught in a diplomatic scandal after a dalliance with the British fiancée of a Spanish nobleman. An old family friend and Spain’s ambassador to England, Count de Polan, advises Don Juan to return to Spain as soon as possible. He also sends a letter to Queen Margaret of Spain and consort to King Philip III, recommending that Don Juan serves as the Spanish court’s fencing instructor to rehabilitate the latter’s reputation.

Upon his arrival in Spain, Don Juan discovers that the country is under the thumb of the king’s premier minister, Duke de Lorca, who also has the weak-willed Philip under this thumb. Don Juan also falls secretly in love with Margaret, but remains a staunchly loyal subject to both her and the king. Don Juan discovers a treacherous plan by de Lorca, who is holding the loyal Count de Polan as a secret prisoner. The Duke plans to depose the monarchs, usurp their power over Spain, and declare war on England. With the support of his friends at court, Don Juan heroically defends the Queen and the King against de Lorca and his henchmen.

If I did not know any better, I would have sworn that “ADVENTURES OF DON JUAN” reminded me of Flynn’s 1940 movie, “THE SEA HAWK”. Like the 1940 film, Flynn’s character is trying to save his country and monarch from a scheming prime minister, plotting to take control of the throne. But there are differences. One, he is in love with a married royal figure, instead of a single noblewoman. Also, the film’s narrative remains firmly land-locked, unlike the 1940 movie. And unlike “THE SEA HAWK”“ADVENTURES OF DON JUAN” has a strong underlying streak of comedy in its narrative and in its portrayal of most of the main characters.

Do I have any complaints about “ADVENTURES OF DON JUAN”? Not really. The worst I can say about the film is that it seemed to lack an edge that a good number of Flynn’s earlier swashbucklers had possessed back in the mid-to-late 1930s. Despite the plot regarding the Duke de Lorca’s oppression of Spain and his plot to assume control of the throne, the screenplay written by Herbert Dalmas, George Oppenheimer and Harry Kurnitz just seemed to lack some kind of real edge or darkness that could be found in “THE SEA HAWK” and a few of his other films between 1935 and 1941.

On the other hand, I cannot deny that “ADVENTURES OF DON JUAN” was a joy to watch. I found it to be a very entertaining film. It possessed a strong comedic streak. Some of Flynn’s other adventure films had their moments of comedy, but a part of me began to wonder if “ADVENTURES OF DON JUAN” was basically a comedy-adventure. It certainly seemed so. And you know what? The strong comedic element really worked. I believe the topic of Don Juan’s womanizing behavior provided a great deal of strong humor for this film.

Comedy or not, “ADVENTURES OF DON JUAN” provided some good dramatic moments – especially in scenes featuring the main character’s interactions with Queen Margaret and the Duke de Lorca. And since this is an Errol Flynn swashbuckler, I have to bring up the film’s action scenes. The movie did feature its share of action scenes, but I can only think of two that really impressed me. One featured Don Juan’s fencing students fighting de Lorca’s men around the beginning of the last action scene. The other happened to be Don Juan’s main duel against the Duke de Lorca. It is fortunate that both Flynn and Robert Douglas were experienced on screen/stage fencers. Mind you, I still regard Flynn’s duel against Henry Daniell’s double in “THE SEA HAWK” as my favorite sword fight to feature the Australian actor. But I cannot deny that both he and Douglas managed to provide a first-rate duel in the movie’s final action scene.

The performances in “ADVENTURES OF DON JUAN” were excellent. The movie provided either solid or first-rate supporting performances from Romney Brent, Robert Warwick, Helen Westcott, Fortunio Bonanova Jerry Austin, Mary Stuart and Douglas Kennedy. I was surprised to find Ann Rutherford, who was a MGM contract player in the late 1930s and early 1940s in this film. She gave a funny, yet sly performance as Dona Elena, the amorous older sister of one of Don Juan’s students. Una O’Connor, a veteran of Flynn’s two earlier films, provided a breath of comedic fresh air as the maid of one of Flynn’s conquests. I was also surprised to find future television star Raymond Burr as Captain Alverez, one of the Duke de Lorca’s villainous henchmen. I thought he gave a very solid performance. Robert Douglas, who must have made a career of portraying villains, was very effective as the traitorous and scheming Duke de Lorca. “ADVENTURES OF DON JUAN” proved to be the last of 13 or 14 movies that Alan Hale co-starred with Flynn. Not only did Hale give a highly entertaining performance as Leporello, Don Juan’s personal servant; both he and Flynn managed to continue their great screen chemistry they had maintained for over a decade.

I have to be honest. I thought Viveca Lindfors gave a strong and excellent performance as the high-minded and no-nonsense Queen Margaret. But for some reason, she seemed out-of-place in this movie and as Flynn’s co-star. I think her presence in this film would have worked if there had been a lot less humor in the story. I could say that portraying Don Juan de Maraña seemed like a walk in the park for Errol Flynn. He seemed to portray the role so effortlessly. I suspect that certain film historians would be inclined to dismiss his performance . . . as they are inclined to dismiss his talent as an actor altogether. But I must admit that Don Juan has become one of my favorite Flynn roles. Mind you, I thought he handled his dramatic scenes with Viveca Lindfors and Robert Douglas with great skill. But I found Flynn’s comedic acting in this movie to be exquisite. This was especially apparent in scenes in which Don Juan had expressed annoyance by the unwanted attention of enamored women or mild resentment by his inability to put his seductive reputation behind him.

Overall, I really enjoyed “ADVENTURES OF DON JUAN”. I thought director Vincent Sherman did an excellent job of using Herbert Dalmas, George Oppenheimer and Harry Kurnitz’s screenplay to create an adventurous tale that also included romance, intrigue, action and a great deal of humor. And Sherman also worked well with a top-notched cast led by the talented and woefully underappreciated Errol Flynn.

“My Problem With Kylo Ren”

“MY PROBLEM WITH KYLO REN”

Kylo Ren has to be THE MOST overrated character I have ever seen in the Star Wars saga. I am amazed by how so many fans have gone out of their way to put this guy on a pedestal. My personal disgust for this worship has nothing to do with him being portrayed as a villain. There are plenty of other villains – within the saga or not – that I actually find interesting. My problem with Kylo Ren is that I do not find him either interesting or well written.

I will start this article with a question. What was the reason behind Kylo Ren aka Ben Solo embracing evil? What was it? Director J.J. Abrams had hinted in “STAR WARS: EPISODE VII – THE FORCE AWAKENS” that either the film’s main villain, Snoke, had influenced or mesmerized him; or his parents, Leia Organa and Han Solo, did not raise him properly. In “STAR WARS: EPISODE VIII – THE LAST JEDI”, writer-director Rian Johnson had suggested that Ben’s uncle, Jedi Master Luke Skywalker, had contemplated killing him out of fear that Snoke was influencing him. Has the franchise finally made up its mind regarding the background of Ben’s moral turn? It certainly does not seem like it to me.

However, it does seem as if Lucasfilm under Kathleen Kennedy is trying to go out of its way to find a reason to blame others for Kylo Ren’s descent into evil, instead of blaming the man himself. The Sequel Trilogy’s leading lady, a gifted Force user and former scavenger named Rey, had questioned (a bare chested) Kylo Ren in “THE LAST JEDI” on why he had murdered his father in the previous film. Rian Johnson failed to provide the young villain with a convincing answer. Instead, Ren had responded that he had killed Han to cut out any of his remaining emotional attachment . . . and nothing else. I found this odd, considering that he did not bother to personally kill Leia in “THE LAST JEDI”, when presented with the opportunity. Kylo Ren’s response to Rey’s question had struck me as the biggest piece of bullshit from a Star Wars movie that had ever reached my ears. His response struck me as vague and frustrating. Worse, Johnson had allowed Rey to accept that answer and not bother to question Kylo Ren even further or demand that he clarify his comments. And after she had learned about Ren’s last encounter with his uncle Luke, Rey had never asked him about or mentioned his murders of Luke’s students. Not once. Talk about poor writing.

There are some who claim that Kylo Ren is a better developed character than his grandfather, Anakin Skywalker. Each person is entitled to his or her own opinion about any work of art or entertainment. But every time I read or hear this claim, I find myself rolling my eyes in disgust or laughing. Exactly why is Ben Solo better developed than Anakin? Because he adhered to the “delinquent” moniker more than Anakin ever did? I realize that both J.J. Abrams and Rian Johnson tried to infuse some kind of ambiguity into the Kylo Ren character. But honestly . . . he simply struck me as some kind of emotional man child with the maturity of someone half of his age, who engages in a combination of violence and temper tantrums whenever he does not get his way. And Kylo Ren is supposed to be around 30 years old in this trilogy. I realize that Lucasfilm is trying to portray him as a . . . you know what? I have no idea what Lucasfilm is trying to achieve with this character. Not one damn idea.

Kylo Ren had been born in a stable family situation. He certainly was not a slave like Anakin. He was never an enslaved kidnap victim like Rey’s friend, the former stormtrooper Finn. He was never orphaned and forced to work for a tyrannical crime lord like Han Solo. He was never simply orphaned like Resistance figher, Rose Tico. And he was never abandoned and later orphaned like Rey.

Kylo Ren aka Ben Solo was the son of respected politician/military hero Leia Organa (Skywalker) and another military hero, former smuggler Han Solo. He had a privileged upbringing. The first two Sequel Trilogy movies had never made it clear than Leia and Han had ignored him during his upbringing. It was established that the pair had sent a younger Ben Solo to train in the ways of the Force under his uncle Luke when they began to harbor suspicions that he was being drawn under the influence of the First Order’s evil leader, Snoke. Just go with me here.
Apparently, in the eyes of Lucasfilm and Abrams, this was why Leia and Han were neglectful parents.

This is the reason why Abrams and Lucasfilm have labeled Han and Leia as bad parents? This is one of the reasons why Ben had become the evil Force user Kylo Ren? And exactly how did Snoke maanged to gain any influence over young Ben in the first place? What did the First Order leader do? Brainwash him with the Force? I also noticed that Luke’s near attempt to kill Kylo Ren led the latter to kill the former’s other Jedi students, leading him to a path of evil. At least according to Rian Johnson. So . . . Kylo Ren never considered ratting out Luke to his parents, which would have been a very effective way in tearing apart the trio? Between Abrams using Leia, Han and Snoke as Kylo Ren’s scapegoat for his moral fall and Johnson using Luke as the scapegoat . . . all I see are Lucasfilm’s conflicting reasons for the character’s downfall.

To me, Ben Solo aka Kylo Ren is basically a narrow-minded and arrogant man from an over privileged background. He has the mental capacity of a seventeen year-old and like the franchise itself, blames others for whatever misery he experiences and his moral downfall. What makes this even more ridiculous is that his character is roughly around thirty years old in this trilogy . . . at least a decade or two older than his grandfather was in the Prequel Trilogy. And characters like Kylo Ren (without the powers) are a dime a dozen in both the film/television industries and in literature.

And there is the problem of Kylo Ren’s relationship with the trilogy’s leading lady, Rey. This relationship with Rey has proven to be one of the most abhorrently written ones that I have seen on film . . . period. The idea that Rey would be remotely attracted to Kylo Ren JUST A FEW DAYS after being kidnapped, nearly mind raped and nearly killed by him is repellent to my very core. What I find equally repellent is that many fans and critics have viewed this aspect of the relationship as “sexy” or “romantic”. In fact, a critic for “TIME” magazine had regarded Kylo Ren’s attempted torture of Rey in “THE FORCE AWAKENS” as “sexual energy”. In fact, here is the exact quote from the article:

“In one of the movie’s finest moments, Ren—unmasked and intense—engages Rey in a major stare-down, an unholy duel between the light side of the Force and the dark. The sexual energy between them is strange and unsettling, like a theremin sonata only they can hear.”

Either critic Stephanie Zacharek was into the rape fantasy trope or perhaps she might be a racist who saw a potential romance between a young white woman and the white male villain who was trying to torture her via mind rape; instead of the friendship between the woman and the young black man she had befriended. And I cannot help wonder if Ms. Zacharek, along with these other critics and fans would have felt the same if Finn had been portrayed by a white actor, instead of one of African descent. I really do. In the end, many of these fans and critics (many of them white women) who either want Rey to end the trilogy with no romantic interest or with an immature and violent man child, who is portrayed by a white actor.  And guess what?  These fans got their wish after all.  With some incredibly bad writing, Lucasfilm and J.J. Abrams rushed the “Reylo” relationship in the last third of the trilogy’s final film, “STAR WARS: EPISODE IX – THE RISE OF SKYWALKER”in an attempt to plagiarize the Luke Skywalker-Anakin Skywalker (Darth Vader) relationship from the 1983 movie, “STAR WARS: EPISODE VI – RETURN OF THE JEDI”.  Abrams and Lucasiflm were so intent upon plagiarizing the 1983 movie that it actually brought the main villain from the Original and Prequel Trilogies – Sheev Palpatine – back from the dead.  However there is one difference . . . “Reylo” ended with a fatal kiss that struck me as one of the most forced moments in the history of the Star Wars franchise.

In the end, Kylo Ren aka Ben Solo struck me as another over privileged man child who resorts to violence when his sense of entitlement is threatened. As I have pointed out, there have been similar characters in other movie and television productions. And there are people like him who do exist. My problem with this is that I do not find this type of characterization particularly original. Worse, his backstory seemed to be surrounded by a great deal of vague, rushed and uneven writing from J.J. Abrams and Rian Johnson. Adam Driver, who portrays the character, is a first-rate actor. I have seen him in other movies that featured him in what I believe are better roles. If he ever decides to turn his back on the STAR WARS franchise following the release of the Sequel Trilogy’s third film, “THE RISE OF SKYWALKER”, I would not blame him. Not by a long shot.

“DARK PHOENIX” (2019) Review

 

“DARK PHOENIX” (2019) Review

I feel sorry for the old X-MEN Movie Universe. Well . . . almost. For a franchise that began on a high note, it certainly ended with a whimper. At least from a financial point-of-view. And that whimper proved to be the 2019 movie, “DARK PHOENIX”.

Actually, “DARK PHOENIX” is not the final film of this franchise. The last film is scheduled to be released in the spring of 2020. As for “DARK PHOENIX”, it is the twelfth film associated with the franchise that was associated with the old 20th Century Fox Studios. It is also the second movie in the franchise, after 2005’s “X-MEN: THE LAST STAND”, to adapt Marvel Comics’ 1976-1980 comic book series of the same title.

The movie begins in 1975 when nine year-old Jean Grey and her parents get involved in a car accident that leaves her as the sole survivor. Jean’s situation eventually attracts the attention of Professor Charles Xavier, who enrolls her as one of his students at the Xavier’s School for Gifted Youngsters. The story jumps to 1992, nine years after the events of “X-MEN: APOCALYPSE”. Some of Xavier’s former students have become the next generation of the X-Men, with Mystique aka Raven as the team’s leader in the field and the Professor receiving their glory from the public and media. The U.S. President summons the team to assist NASA into rescuing the space shuttle Endeavour, which is critically damaged by a solar flare-like energy during its mission. While the X-Men save all of the astronauts, Jean is stranded and is struck by the energy, which she absorbs into her body to save the X-Men’s aircraft from destruction. Jean survives the event and her psychic powers are greatly amplified by the energy. Her powers become uncontrollable and she later accidentally unleashes her power on the mutants celebrating the success of their mission at Xavier’s school. Even worse, Jean’s enhanced powers attract the attention of a group of alien shape shifters called the D’Bari, whose home planet had been destroyed by the energy force. They want to use the energy (or Jean) to wipe out Earth’s inhabitants and re-shape the planet to resemble their own.

Eventually, Jean and the other X-Men learn that Xavier had placed mental walls in Jean’s mind as a little girl to protect her psychic mind from experiencing trauma from her childhood accident. Jean’s enhanced power destroys the mental walls and the trauma slowly returns, filling her with desire, rage, and pain. Jean then travels to her childhood hometown after finding out that her father is still alive and learned that he abandoned her. Jean recovers her complete memory of the car accident and remembers that her post-traumatic stress disorder had originated with the childhood car accident in which she had inadvertently caused by rendering her mother unconscious at the wheel with her telepathy. When the X-Men arrive to take Jean home but she injures Peter Maximoff aka Quicksilver and accidentally kills Raven aka Mystique before disappearing. And her actions led to the U.S. Army searching for her and willing to imprison other mutants at the government’s order.

Many X-Men fans and critics had really dumped on this movie when it first hit the theaters. I am not going to examine why this film was so unpopular. I can only discuss how I felt about it. One, it was not an original film. In many ways, “DARK PHOENIX” almost struck me as a remake of the 2006 movie, “THE X-MEN: THE LAST STAND”. Or perhaps I should say . . . a remake of the Dark Phoenix story arc, but with slightly different details. I suspect that Kinsberg and the X-Men producers wanted to use the changed timeline from “X-MEN: DAYS OF FUTURE PAST” as an excuse to re-write the Dark Phoenix story arc from 2006. Personally, I feel it would have been more original of them to completely leave that story arc alone and utilize another narrative for the film.

I also found the enhancement of Jean’s powers via some alien energy wave not only unoriginal, but unnecessary. Why did Simon Kinberg even thought it was necessary to enhance Jean’s powers? She had displayed an uber level of power when she killed En Sabah Nur aka Apocalypse in “X-MEN: APOCALYPSE”. I can only assume the solar flare energy situation was created by Kinsberg to introduce the D’Bari.  Speaking of the latter, I noticed that their goal to destroy humanity and settle on Earth as its new home bore a strong resemblance to General Zod’s plan in 2013’s “MAN OF STEEL”. Look, I do not mind that Kinsberg had used aliens as the movie’s Big Bad for this film. But did he have to recycle a plot from a D.C. Comics movie? Or worse, create this energetic force to enhance Jean Grey’s powers, when they really did not require to be enhanced in the first place?

Despite the film’s lack of originality, I must admit that I actually managed to enjoy “DARK PHOENIX”. I noticed that Kinsberg’s screenplay featured a more in-depth exploration of how Jean’s enhanced powers had made an impact on her life and on those in her life. I also enjoyed how the actions of certain characters in regard to Jean had resulted in major consequences for many characters. I found it interesting how Jean found herself isolated by her fellow mutants and a lot of the blame could be tossed at Charles Xavier’s feet. He did not use his telepathy to contain her power – especially since he had encouraged her to use it to defeat En Sabah Nur in the 2016 film. Instead, he had used his telepathy to suppress her memories of her parents’ death and her emotional reaction to it . . . instead of simply helping her deal with a tragic loss. Xavier had used a short cut. And when the alien energy removed his mental blocks on Jean’s mind, tragic consequences followed. Xavier did not pay the consequences of his actions with death, but he did pay a heavy price.

Ironically, Erik Lensherr aka Magneto had no interest in exploiting Jean’s new powers, as he had done in the 2006 movie. He was more concerned in protecting Genosha, the refugee island for mutants he had founded and demanded that she leave after the U.S. Army appeared. Unfortunately, Magneto’s desire to protect those mutants under his leadership transformed into vengeance when he learned about Mystique’s death from a grieving Hank McCoy aka Beast. I found it interesting that Hank had never bothered to inform Erik that Mystique’s death had been an accident on Jean’s part. He was angry at Charles for the latter’s handling of Jean and decided to use the latter as a moral scapegoat. And unfortunately, the vengeful actions of both men ended up exacerbating an already dangerous situation. By the time the movie shifted to Manhattan, three forces (including the U.S. Army) were trying to contain, exploit or destroy Jean. Only a fourth group seemed concerned with Jean – namely the X-Men. And for once, Xavier WAS NOT the catalyst for the team’s attempt to rescue Jean. Her fellow team members – led by Scott Summers aka Cyclops and Ororo Munroe aka Storm – led this endeavor.

If I must be honest, most of the film’s visual effects did not blow my mind. At best, I found them serviceable. I could also say the same about Mauro Fiore’s cinematography. However, there was one particular scene in which the film’s visuals and Fiore’s photography really blew my mind. It involved the major clash that eventually evolved between the X-Men, the mutants under Erik Lensherr and Hank McCoy, the U.S. Army and the D’Bari. I have become increasingly weary of final action sequences shot at night over the past decade, thanks to the second “LORD OF THE RINGS” movie. I must say that I was more impressed by Fiore and the visual team’s work in this particular sequence, which began on the streets of Manhattan and ended on a train headed out of the city. And their work was more than ably supported by excellent editing from Lee Smith.

I certainly had no problems with the performances featured in “DARK PHOENIX”. The movie featured solid performances from the likes of Evan Peters, Kodi Smit Mc-Phee, Ato Essandoh and Brian D’Arcy James. Another solid performance came from Michael Fassbender, whose portrayal of Erik Lensherr struck me as skillful, but not particularly memorable. I do not think Kinsberg’s screenplay gave the actor something new or unusual to work with. At first, it seemed as if Alexandra Shipp was doomed to endure another movie in which her character, Ororo Munroe aka Storm, nearly became a background character. Thankfully, the movie’s second half gave Shipp an opportunity to convey Storm’s resilient nature with more dialogue and action scenes. I especially enjoyed that moment when Storm and Cyclops made it clear to Xavier their determination to help Jean.

Vuk proved to be the second time I have ever seen Jessica Chastain portray a villain. And I thought she gave an interesting and slightly . . . bizarre performance as the D’Bari’s manipulative leader, who seemed focused on seducing Jean for the latter’s powers. Nicholas Hoult surprised me by his skillful portrayal of the uglier side of Hank McCoy’s nature. This was especially apparent in scenes that reflected McCoy’s desire to avenge Mystique’s death. Speaking of the latter, Jennifer Lawrence’s appearance barely spanned half of the movie. I thought she gave a solid performance. But there was one scene in which she truly impressed me. It featured Mystique’s sardonic rant against Xavier for using the X-Men as his personal publicity campaign. I was more impressed by Tye Sheridan’s portrayal of Scott Summers aka Cyclops in this film than I was in the 2016 movie. Sheridan’s Cyclops became a more mature and determined personality. That maturity was expressed in Scott’s continuing love for Jean and his determination to help her as much as possible.

I think “DARK PHOENIX” marked the first time I can truly recall Charles Xavier being portrayed in a negative light . . . and I enjoyed it. This has nothing to do with any dislike of Xavier. But I cannot deny that I found James McAvoy’s portrayal of his character very interesting . . . and new. What I really found interesting is that Xavier’s uglier side was not briefly manifested in the revelation of the telepathic blocks he had placed in Jean’s head. That revelation only deepened Xavier’s arrogance and blindness. But audiences first saw signs of these traits, thanks to his argument with Mystique over his exploitation of the X-Men team for personal glory. Some of the franchise’s fans felt that Sophie Turner was not up to portraying the “Dark Phoenix” aspect of Jean Grey’s character. I suppose they were expecting a re-play of Famke Janssen’s portrayal. Even if they were not, I still managed to enjoy Turner’s performance. The main reason why I did was because Turner did not try to repeat the older actress’ performance. Thanks to Kinsberg’s script, Turner was able to put a different spin of Jean’s evolution into the Dark Phoenix . . . one that did not paint her as villainous. I also felt that Turner did an excellent job of conveying how Xavier’s mental blocks had led Jean to experience post traumatic stress (PST) and loss of control of her powers.

I cannot explain why “DARK PHOENIX” proved to be a box office failure. And if I must be honest, I am not interested in expressing my opinion on this topic. The movie was not perfect. And frankly, I wonder if it was a good idea to use the shifted timeline from “X-MEN: DAYS OF FUTURE PAST” as an excuse to create a new version of the Dark Phoenix story arc. But I cannot deny that I enjoyed the movie. I thought Kinsberg had created a solid piece of cinematic entertainment with a screenplay that did not become a convoluted mess and first-rate performances from a cast led by James McAvoy, Michael Fassbender and Sophie Turner.

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“THE LAST TYCOON” (1976) Review

“THE LAST TYCOON” (1976) Review

What is there to say about the 1976 movie, “THE LAST TYCOON”? Well . . . it was adapted from F. Scott Fitzgerald’s last novel, which had remained at the time of his death in 1941. It proved to be the last movie directed by Elia Kazan. And it starred Robert De Niro.

Actually, there is more to say about “THE LAST TYCOON”. It told the story of Monroe Stahr, Fitzgerald’s literary version of the legendary Metro-Goldwyn-Mayer production chief, Irving Thalberg. Stahr served as production chief of a major Hollywood studio in the mid-1930s. The movie unfolds with Stahr juggling his time with emotional actors and directors, and several frustrated screenwriters. Stahr also deals with more pressing conflicts like the newly created Writers Guild of America, a union organizer from the East Coast and the growing resentment his boss and head of the studio, Pat Brady. During all this activity and growing turmoil, Stahr finds himself torn between two young women. One of those women is Brady’s only child, a recent college graduate named Cecilia who is infatuated with Stahr. The other is an Irish beauty with a troubled past named Kathleen Moore, with whom Stahr falls in love and eventually obsessed. Unfortunately for Stahr, Kathleen is engaged to another man.

The production values for “THE LAST TYCOON” struck me as first rate. Well . . . almost. I enjoyed Victor J. Kemper’s sharp and colorful photography. I also enjoyed Jack T. Collis’ art direction, which I thought effectively conveyed the locations of the Hollywood community during the 1930s. But I feel that Collis’ art direction would not have been as effective without Gene Callahan’s production designs. The Academy of Motion Picture Arts and Sciences must have also been impressed by both Collis and Callahan. The two men ended up receiving Oscar nominations for Best Art Direction-Set Decoration. On the other hand, I am not surprised that Anna Hill Johnstone and Anthea Sylbert’s costume designs had failed to win any nominations. Do not get me wrong. They were not terrible. But . . . I did notice that like some of the hairstyles worn by the actresses in the film, the fashion styles of the 1970s tend to creep in.

I certainly had no problems with the movie’s performances. Well . . . with most of them. May I be frank? Robert De Niro seemed to be an embodiment of Monroe Stahr . . . or should I say Irving Thalberg? De Niro did an excellent job in conveying Stahr’s obsessive nature – whether it was creating movies or falling in love with Kathleen Moore. A second standout performance came from Theresa Russell, who portrayed Cecilia Brady, the daughter of the studio chief. Russell did an excellent job in portraying both Cecilia’s passion for Stahr and her no-nonsense intelligence. Robert Mitchum was superb as Pat Brady, the studio chief who took his daughter’s intelligence for granted and who resented Stahr’s genius as a movie producer.

Both Tony Curtis and Jeanne Moreau gave excellent performances as Rodriguez and Didi, two Hollywood stars, whose egos and insecurities threaten a film they are currently shooting. Jack Nicholson provided a strong, yet quiet presence as an East Coast union official visiting Hollywood to organize the industry’s employees. The movie also featured solid performances from Ray Milland, Dana Andrews, Donald Pleasance, Peter Strauss, Tige Andrews and Anjelica Huston. “THE LAST TYCOON” also featured Ingrid Boulting as Kathleen Moore, the woman who captured Monroe Stahr’s heart. How did I feel about her? Hmmmm . . . she was not a terrible actress. But I was not particularly impressed by her performance. She seemed to spend most of the movie trying to iconic or remote . . . a 1970s version of Greta Garbo. And it did not work for me.

For me, the real problem with “THE LAST TYCOON” was its narrative. Quite frankly, I thought it sucked. Mind you, I thought the film’s explorations of life at movie studio in the 1930s seemed interesting. What made this work is that most of this exploration was told from Monroe Stahr’s point-of-view. I cannot deny that the film’s peek into the old Hollywood studio system was interesting. But instead of fashioning a narrative from this topic or at least from studio politics, screenwriter Harold Pinter had decided revolve the film’s plot around the Monroe Stahr-Kathleen Moore love story. I can understand why he did this. F. Scott Fitzgerald did the same in the unfinished novel. The problem was that Stahr’s romance with Kathleen bored the hell out of me. One, the entire romance almost seemed on-sided on Stahr’s part. And two, both Robert De Niro and Ingrid Boulting lacked any chemistry whatsoever. Every time the pair shared the screen, I found myself struggling to stay awake. Perhaps Pinter could have done a better job in connecting the Stahr-Moore romance with studio politics . . . who knows? Unfortunately, I felt as if I was watching a movie with two different narratives that barely connected – and with the major (and boring) subplot overshadowing the minor one. Pity.

Would I ever watch “THE LAST TYCOON” again? I honestly cannot answer that question. It is a beautiful looking film, thanks to men like Jack T. Collis and Gene Callahan. I also cannot deny the film’s peek into the old Hollywood studio system and politics managed to somewhat fascinate me. Unfortunately, the movie was dominated by a dull love story that bored me senseless. So, would I ever watch this movie again? Right now, I would say no. I do not think so.

 

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“All Aboard the Orient Express”

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Below is a look at two major movies and a television movie that featured journeys aboard the famed Orient Express:

 

“ALL ABOARD THE ORIENT EXPRESS”

I will be the first to admit that I am not one of those who demand that a novel, a movie or a television production to be historically accurate. Not if history gets in the way of the story. But there is an anal streak within me that rears its ugly head, sometimes. And that streak would usually lead me to judge just how accurate a particular production or novel is.

Recently, I watched three movies that featured a journey aboard the legendary train, the Orient Express. Perhaps I should be a little more accurate. All three movies, “MURDER ON THE ORIENT EXPRESS” (1974)“MURDER ON THE ORIENT EXPRESS” (2010) and “FROM RUSSIA WITH LOVE” (1963) featured a famous route that came into existence nearly a year following World War I called the Simplon Orient Express. The original route for the Orient Express stretched from Paris to Istanbul via Strasbourg, Munich, Vienna, Budapest and Bucharest. Then in 1919, Compagnie Internationale des Wagons-Lits introduced a more southerly route, due to the opening of the Simplon Tunnel. This route stretched between Paris and Istanbul, via Lausanne, Milan, Venice, Belgrade and Sofia. Writers Agatha Christie and Ian Fleming made the Simplon Orient Express route famous thanks to their novels, “Murder on the Orient Express” (1934) and “From Russia With Love” (1957). And the movie adaptations of these novels increased the route’s fame.

Both Christie and Fleming’s novels featured the Simplon Orient Express’ route from Istanbul to Yugoslavia. There are reasons why their stories do not stretch further west to as far as at least France. In “Murder on the Orient Express”, the train became stuck in a snowdrift in Yugoslavia and detective Hercule Poirot spent the rest of the novel trying to solve the murder of an American passenger. And in “From Russia With Love”, British agent James Bond and his companion, Tatiana Romanova, made it as far as either Italy or France. The 1974 and 2010 adaptations of Christie’s novel, more or less remained faithful to the latter as far as setting is concerned. However, EON Production’s 1963 adaptation of Fleming’s novel allowed Bond and Tatiana to escape from the train before it could cross the Yugoslavia-Italy border.

While watching the three movies, I discovered that their portrayals of the Simplon Orient Express route were not completely accurate. I can imagine the thoughts running through the minds of many, declaring “Who cares?”. And I believe they would be right to feel this way. But I thought it would be fun to look into the matter. Before I do, I think I should cover a few basics about this famous train route from Istanbul to Paris-Calais.

During its heyday, the Orient Express usually departed from Istanbul around 11:00 p.m. Following the rise of the Iron Curtain after World War II, the Orient Express extended it route to stops in Greece in order to avoid the Soviet-controlled countries. The only Communist country it passed through was Yugoslavia. When the train became the slower Direct Orient Express in 1962, it usually departed Istanbul around 4:15 p.m. I do not know whether a restaurant car and/or a salon “Pullman” car was attached to the Direct Orient Express when it departed Istanbul between 1962 and 1977. One last matter. In the three adaptations of the two novels, the Orient Express usually made a significant stop at Belgrade. It took the Orient Express, during its heyday, at least 23 to 24 hours to travel from Istanbul to Belgrade.

Let us now see how accurately the two “MURDER ON THE ORIENT EXPRESS” movies and the 1963 “FROM RUSSIA WITH LOVE” flick accurately portray traveling aboard the Simplon Orient Express (or Direct Orient Express) on film. I will begin with the “MURDER ON THE ORIENT EXPRESS”, the 1974 adaptation of Agatha Christie’s novel.

 

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“MURDER ON THE ORIENT EXPRESS” (1974)

Following the conclusion of a successful case for the British Army somewhere in the Middle East, Belgian-born detective is on his way home to London, via a train journey aboard the famed Orient Express. When an American businessman named Samuel Rachett is murdered during the second night aboard the train, Poirot is asked by his friend and director of the Compagnie Internationale des Wagons-Lits, Senor Bianchi, to investigate the crime.

In this adaptation directed by Sidney Lumet, the Simplon Orient Express that left Istanbul did so at 9:00 at night. The movie also included a dining car attached to the train. One scene featured a chef examining food being loaded onto the train. This scene is erroneous. According to the The Man in Seat 61 website, there was no dining car attached to the train when it left Istanbul. A dining car was usually attached at Kapikule on the Turkish/Bulgarian border, before it was time to serve breakfast. The movie also featured a salon car or a “Pullman”, where Hercule Poirot interrogated most of the passengers of the Istanbul-Calais car.

 

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According to the “Seat 61” site, there was no salon “Pullman” car attached to the train east of Trieste, Italy. Christie needed the presence of the car for dramatic purposes and added one into her novel. The producers of the 1974 movie did the same. At least the producers of the 1974 used the right dark blue and cream-colored car for the Pullman. More importantly, they used the right dark blue cars for the train’s sleeping coaches, as shown in the image below:

 

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In the movie, the Simplon Orient Express reached Belgrade 24 hours after its departure from Istanbul. For once, the movie was accurate. Somewhere between Vinkovci and Brod, the Orient Express ended up snowbound and remained there until the end of the story.

 

 

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“MURDER ON THE ORIENT EXPRESS” (2010)

This adaptation of Agatha Christie’s novel first aired on Britain’s ITV network in 2010. The television movie started with Hercule Poirot berating a British Army officer caught in a devastating lie. After the officer commits suicide, Poirot ends up in Istanbul, where he and a British couple witness the stoning of an adulterous Turkish woman. Eventually, the couple and Poirot board the Orient Express, where the latter finds himself investigating the murder of an American passenger.

I do not know what time the Simplon Orient Express departed Istanbul in this adaptation. The movie never indicated a particular time. This version also featured a brief scene with a chef examining food being loaded aboard a dining car. As I previously mentioned, a dining car was not attached until Kapikule. The movie did feature Poirot and some of the Istanbul-Calais car passengers eating breakfast the following morning. In this scene, I noticed a major blooper. Car attendant Pierre Michel was shown serving a dish to Poirot in the dining car. Note the images below:

 

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Pierre Michel greets Poirot and M. Bouc before they board the train

 

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Pierre serves breakfast to Poirot

 

Why on earth would a car attendant (or train conductor, as he was called in the 1934 novel) act as a waiter in the dining car? Like the 1974 movie, the ITV adaptation also featured a salon “Pullman” attached to the train, east of Italy. In fact, they did more than use one salon “Pullman”. As I had stated earlier, the westbound Simplon Orient Express usually acquired a salon “Pullman” after its arrival in Trieste. But in this adaptation, the producers decided to use the dark blue and cream-colored “Pullman” cars for the entire train as shown in these images:

 

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This is completely in error. As I had stated earlier, the Orient Express usually featured a dark-blue and cream-colored salon “Pullman” between Italy and Paris. But it also featured the dark-blue and cream-colored seating “Pullmans” between Calais and Paris. There is no way that the Orient Express leaving Istanbul would entirely consist of the blue and cream “Pullman” cars.

However, the train did arrive at Belgarde at least 24 hours after its departure from Istanbul. Like the other movie, the train ended up snowbound between Vinkovci and Brod and remained there until the last scene. However, I am confused by the presence of the police standing outside of the train in the last scene. Poirot and the other passengers should have encountered the police, following the train’s arrival in Brod, not somewhere in the middle of the Yugoslavian countryside.

 

 

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“MURDER ON THE ORIENT EXPRESS” (2017)

In this adaptation of Christie’s 1934 novel, in which Kenneth Branagh directed and starred, Poirot solves a theft at the Church of the Holy Sepulchre in Jerusalem. The detective hopes to rest in Istanbul after traveling there via the Mediterranean and Agean Seas, but a telegram summons him to London for a case and he boards the Orient Simplon Orient Express with the help of young Monsieur Bouc, a director of the Compagnie Internationale des Wagons-Lits. When an American passenger named Samuel Rachett is found stabbed to death following his second night aboard the Orient Express, Poirot is asked to solve his murder.

 

 

This movie featured the departure of the Simplon Orient Express around 7:00 p.m., instead of eleven o’clock. However, this is probably the only adaptation of Christie’s novel that featured the strongest similarity to the real Sirkeci Terminal in Istanbul, the train’s eastern terminus.

However, I also noticed that passengers boarded via the dining car, at the tail end of the train. That is correct. This adaptation also has a dining car attached to the Orient Express in Istanbul, instead of having it attached at Kapikule, the Turkish-Bulgarian border crossing. And unlike the previous adaptations, the dining car and the lounge car are dark blue like the sleeping compartments, instead of a color mixture of dark-blue and cream-colored. Which was an error.

 

 

The movie did not feature a stop in Belgrade, Yugoslavia. It did, however, featured a brief stop at Vinkovci, before it encountered a snow drift, later in the night. Since it was definitely at night when the train stopped at Vinkovci, no error had been committed. Especially since it was not quite dark when the train departed from Istanbul. And the journey between Istanbul and Belgrade lasted roughly 24 hours. At the end of the film, Poirot departed from the Orient Express at Brod. This is also appropriate, since the train had been snowbound somewhere between Vinkovci and Brod in the novel. More importantly, unlike the 2010 adaptation, Poirot gave his false resolution to Rachett’s murder to the police … in Brod and not in the spot where the train had been trapped.

 

 

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“FROM RUSSIA WITH LOVE” (1963)

Ian Fleming’s tale begins with the terrorist organization, SPECTRE, plotting the theft of the KGB’s a cryptographic device from the Soviets called the Lektor, in order to sell it back to them, while exacting revenge on British agent James Bond for killing their agent, Dr. No. After Bond successfully steals the Lektor from the Soviet consulate in Istanbul, he, defector Tatiana Romanova and MI-6 agent Kerim Bey board the Orient Express for a journey to France and later, Great Britain.

While I found this adaptation of Ian Fleming’s 1957 novel extremely enjoyable, I found myself puzzled by the movie’s portrayal of Bond’s journey aboard the Orient Express. It seemed so . . . off. In the movie; the Orient Express conveying Bond, his traveling companions and SPECTRE assassin “Red” Grant; departed Istanbul somewhere between 3:00 and 4:00 o’clock in the afternoon. The train departed Istanbul around nine o’clock at night, in Fleming’s novel. Mind you, the novel was set in the 1950s and the movie, set in the early 1960s, which meant that its departure in the movie was pretty close to the 4:15 pm departure of the Direct Orient Express train that operated between 1962 and 1977. I do not recall seeing a dining car attached to the train, during its departure in the movie, so I cannot comment on that. But after the train’s departure, the movie’s portrayal of Bond’s Orient Express journey proved to be mind boggling.

The main problem with “FROM RUSSIA WITH LOVE” is that Bond’s journey proved to be the fastest I have ever witnessed, either on film or in a novel. It took the train at least three-to-four hours to reach Belgrade, following its departure from Istanbul. One, it usually took the Orient Express nearly 24 hours to reach Belgrade during its heyday. During the first ten-to-fifteen years of the Cold War, it took the Orient Express a little longer to reach Belgrade, due to it being re-routed through Northern Greece in an effort to avoid countries under Soviet rule. This was made clear in Fleming’s novel. But the 1963 movie followed the famous train’s original eastbound route . . . but at a faster speed. After killing Grant, Bond and Tatiana left the train before it reached the Yugoslavian-Italian border. Bond’s journey from Istanbul to that point took at least 15 hours. During the Orient Express’ heyday, it took at less than 48 hours. And during the 15 years of the Direct Orient Express, it took longer.

Unlike many recent film goers and television viewers, historical accuracy or lack of it in a movie/television production has never bothered me. I still remain a major fan of both “MURDER ON THE ORIENT EXPRESS” (1974 version) and “FROM RUSSIA WITH LOVE”. And although I have other major problems with the 2010 “MURDER ON THE ORIENT EXPRESS”, there are still aspects of it that I continue to enjoy. Historical inaccuracy has never impeded my enjoyment of a film, unless I found it particularly offensive. But since I can be occasionally anal and was bored, I could not resist a brief exploration of the Hollywood and British film industries’ portrayals of the Orient Express.

“AQUAMAN” (2018) Review

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“AQUAMAN” (2018) Review

Following the failure of “JUSTICE LEAGUE” to storm the box office during the fall of 2017, Warner Brothers Pictures and the DC Extended Universe (DCEU) turned to the franchise’s sixth installment to carry it and the studio to both financial and especially critical glory. That movie proved to be 2018’s “AQUAMAN”

The character of the DC Comics superhero, Aquaman aka Arthur Curry has made extensive appearances in both television and movie animations. His biggest role proved to be one of the main characters of the 1973-1986 Saturday morning animated series, “SUPER FRIENDS”. The character also made occasional appearances in the live-action WB (later, the CW) series, “SMALLVILLE”. The WB had plans for a series about Aquaman, starring Justin Hartley (who later became known as Oliver Queen aka the Green Arrow on “SMALLVILLE”), but nothing came from it. In the end, it took Zack Snyder to bring Aquaman to the fore as a live-action figure, when he cast actor Jason Momoa in the role for the DCEU franchise. “AQUAMAN” would prove to be Momoa’s third appearance in the franchise, after a brief cameo in 2016’s “BATMAN V. SUPERMAN: DAWN OF JUSTICE” and a more prominent role in “JUSTICE LEAGUE”, the following year. However, “AQUAMAN” is the first film to feature Momoa as the lead in a DCEU film, but also the first movie that is actually about the “King of the Seven Seas”.

Directed by James Wan, “AQUAMAN” is a two-fold story that explores the drama behind Arthur Curry’s family conflicts. The movie also told how Arthur aka Aquaman went on a quest to prevent his half-brother King Orm Marius from uniting the seven undersea kingdoms in order to inflict war upon the surface world. The story begins in 1985, when a Maine lighthouse keeper named Tom Curry rescues a woman who has washed ashore during a storm. The mysterious woman turns out to be Atlanna, Queen of Atlantis, who had left her ocean world to escape an arranged marriage to another member of Atlantean royalty, Orvax. Both Tom and Atlanna fall in love, marry and conceive a child, whom they name Arthur. Unfortunately, Atlantean soldiers manage to find Atlanna. She decides to leave Tom and Arthur behind and return to Atlantis in order to protect them from Orvax’s wrath.

Over thirty years later, Arthur has become known as the metahuman vigilante, Aquaman. Months after the Justice League’s defeat of Steppenwolf, Aquaman prevents a group of pirates led by the father-son team, Jesse and David Kane, from hijacking a Russian Naval Akula-class submarine. Jesse dies during the confrontation with Aquaman, while David, vows revenge against the hero. Meanwhile, Arthur’s half-brother, King Orm of Atlantis attempts to convince King Nereus of Xebel to help him unite Atlantis and the other ocean kingdoms for an attack against the surface world for for harming the Earth’s oceans. Orm also hopes to solidify his position as Atlantis’ king. Nereus’s daughter and Orm’s fiancee, Princess Mera, heads to the surface to recruit Arthur in stopping Orm’s plans against the surface world and to present himself as the true king of Atlantis.

Over a year had passed between the release of “JUSTICE LEAGUE” and “AQUAMAN”. I noticed that many film critics and moviegoers seemed willing to heap lavish praise on the 2018 film, following the other movie’s poor performance and lack of critical acclaim. I will be honest . . . I did not dislike “JUSTICE LEAGUE”. I had mixed feelings about it. I still do. But I must admit that “AQUAMAN” is a better film. To a certain extent. “AQUAMAN” is a curious mixture of a family drama, a political film, an Indiana Jones-style adventure and the usual “save-the-planet” scenario.

For me, the best aspect of “AQUAMAN” is the family drama that centered around Queen Atlanna. David Leslie Johnson-McGoldrick and Will Beall did an excellent job in conveying the consequences of Atlanna’s initial refusal to be dragged into an arranged marriage. Her actions resulted in eventual exile and possible death for her, two sons in conflict with each other, a political vacuum and one of her sons becoming a future costumed hero. The political vacuum left by Atlanna also led to an exciting and action-filled search for a missing magical artifact – the Trident of Atlan, which used to belong to Atlantis’ first ruler and had been missing his disappearance. This search would lead Arthur and Mera on a picturesque journey from the Mediterranean region to the depths of the ocean’s most elusive worlds, the Kingdom of the Trench.

I also liked the fact that Johnson-McGoldrick and Beall’s screenplay did not rush in conveying Orm’s story arc. They did not rush his efforts to solidify his position on the Atlantean throne or his efforts to convince or coerce the rulers of the other ocean kingdoms to acknowledge and join him in the attack against the surface. And what seemed to be the cherry on the top of this particular story arc is that the two screenwriters managed to utilize Aquaman’s other major nemesis – David Kane aka Black Mantis – into Orm’s story arc. In doing so, the two screenwriters and director James Wan managed to establish David Kane’s own origin story and major conflict against Aquaman for future movies. But what I really liked about “AQUAMAN” is that instead of the outsider or the interloper of a royal court being the main villain, he is the main protagonist. In other words, the main protagonist is the one who shakes up a society and not the villain. I found this refreshing after movies like “THOR” and “BLACK PANTHER”.

Another aspect of “AQUAMAN” that I enjoyed was the film’s visual styles. Bill Brzeski did an excellent job as the film’s production designer. I thought he did a competent job in not only re-creating Atlantis and other ocean worlds . . . to an extent. I also enjoyed his designs for those scenes that especially featured Arthur and Mera’s adventures in both the Sahara Desert and especially Sicily. Don Burgess’ cinematography did a great job in enhancing Brzeski’s work. This especially seemed to be the case for his photography of the shooting locations in Australia, Morocco and Italy. I am going to be frank. I am not a big fan of the traditional Aquaman suit . . . at least for Jason Momoa. From a visual perspective, I believe the suit he wore in “JUSTICE LEAGUE” worked better for him. But I must admit that I did enjoy Kym Barrett’s designs for the costume worn by Momoa in the Sicily sequence. And I especially enjoyed Ms. Barrett’s costumes for the other Atlantean and Xebel characters. Especially those costumes worn by Amber Heard. However, the one aspect of “AQUAMAN” that truly impressed me were the visual effects for the Atlantis scene created by the Industrial Light & Magic (ILM) team led by Jeff White. I mean . . . oh my God! Those visual effects truly blew me away with the sharp colors, beauty and originality, as seen in the images below:

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How on earth did the Academy of Motion Picture Arts and Sciences fail to nominate White and the ILM team for their work in this film? It is simply criminal that the organization had failed to do this.

The performances featured in “AQUAMAN” struck me as either first-rate or solid. I would certainly describe Jason Momoa’s portrayal of Arthur Curry aka Aquaman as first-rate. One, the guy has charisma and presence oozing out of his pores. And two, Momoa did a great job in utilizing both his comedic and dramatic skills, when required by the screenplay. However, a part of me wishes there had been more of a balance between comedy and dramatic scenes for the actor. Another first-rate performance came from Amber Heard, who portrayed Princess Mera of Xebel. If I must be honest, I had been impressed by the way she had taken control of her performance in “JUSTICE LEAGUE”. Her portrayal of Mera as a strong-willed and commanding personality seemed even stronger in this film. “AQUAMAN” features the second time I have seen Patrick Wilson portray a villain. In this film, he gave a strong and intimidating portrayal of Aquaman’s half-brother, King Orm Marius aka Ocean Master. Wilson’s character was not as . . . amusing as his character in 2010’s “THE A-TEAM”, but I must admit that he did a great job in conveying Orm’s arrogance and bigotry. Yahya Abdul-Mateen II portrayed the film’s other villain, sea pirate-tech specialist David Kane, who will become one of Aquaman’s biggest nemesis, Black Mantis. Since he was not the main villain, his presence was not as extensive. But I cannot deny that Abdul-Mateen gave a very intense and memorable performance. I really look forward to seeing him in future DCEU films.

“AQUAMAN” also featured strong, yet solid performances from the supporting cast.  Those performances include Nicole Kidman, who portrayed Arthur’s mother Queen Atlanna; Temeura Morrison as Arthur’s father, Tom Curry; Willem Dafoe, who portrayed Arthur’s mentor Vulko; Dolph Lundgren as King Nereus of Xebel; Michael Beach as Jesse Kane, pirate leader and father of the future Black Mantis; and Graham MacTavish, who provided the voice for Atlan, the first king of Atlantis. I also wanted to point out Randall Park, who gave a rather funny and entertaining performance as Dr. Stephen Shin, a marine biologist obsessed with finding the lost city of Atlantis. I was surprised to discover that the movie also featured voice performances from the likes of Julie Andrews, Djimon Hounsou and John Rhys-Davies.

As much as I enjoyed “AQUAMAN”, I had some problems with the film. My biggest problem proved to be director James Wan. I realize that he has managed to establish a positive reputation from the horror flicks he had directed in the past. The problem is that there were times when I found his direction rather clunky. A good example would be the film’s opening scene that featured the introduction of Aquaman’s parents. It struck me as a bit rushed.

Utilizing slow motion scenes can annoy me in any movie. But what I found particularly annoying in “AQUAMAN” was that Wan did not use slow motion in action scenes. Instead, he used it for shots featuring Momoa in various poses . . . as if he was some kind of fashion magazine model. Also, it seemed as if Wan was incapable of going from action to drama to comedy in a seamless way. Perhaps he will be able to flow his scenes a little better as he become more experienced, but I did not sense such a skill in “AQUAMAN”.

Also, I am a little . . . confused about Queen Atlanna’s position in Atlantis society. Was she the ruling monarch when she first met Tom Curry? Was she ever the ruling monarch? Or did Atlantis society forbade women sovereigns and would only allow the royal spouses of a direct female heiress or sovereign to be considered for the throne? The movie never made it clear. According to the movie, one of Orm’s major reasons for planning an attack upon the surface world was humanity’s pollution of the ocean. Aside from one minor sequence featuring news reports of piles of garbage washing up on many beaches, I feel the movie did not explore the topic of pollution as much as it should have, considering IT WASone of Orm’s reasons to attack humanity.

I realize that “AQUAMAN” is at the moment, the DCEU franchise’s most successful film. It is the only one that has managed to earn over a billion dollars so far. But do I consider it the best in the franchise? Not really. Between James Wan’s uneven direction, some plot points regarding the Queen Atlanna character and the film’s use of the pollution topic; it did not quite impress me as I had hoped it would. On the other hand, I found some of Wan’s direction rather impressive, especially the action sequences. The visual effects struck me as stunning, the movie featured excellent performances from a cast led by Jason Momoa and I thought screenwriters David Leslie Johnson-McGoldrick and Will Beall wrote a first-rate adventure. I am more than satisfied.

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