Social Sheffield Film Editor, Natasha Edgington, picks the top three films screening in Sheffield, Mon. 18 – Sun. 24 Sept. 2017
1. – Kills on Wheels (2016) – – – (15) (Showing at Showroom)
[Genre: Drama/Thriller/Comedy. Dir: Attila Till. Starring: Zoltán Fenyvesi, Ádám Fekete, Szabolcs Thuróczy, Mónika Balsai. Language: Hungarian]
Hungarian hitman thriller Kills on Wheels is the most exciting entry offering this week, a refreshing take on the oft-ventured genre. The story follows disabled teenagers Zolika and Barba, who eke out a glum existence together in a rehabilitation centre. The two friends share a burning passion for comic artistry, and dream of having their own published, were the odds not against them. When wheelchair-bound former fireman Rupaszov arrives at the centre, the pair are drawn to the beguiling figure, who was paralysed in a work accident several years prior. Rupaszov’s shady connections to Serbian drug baron Rados soon entangle the two friends, thronging them into a life of crime and confusion. Writer-director Attila Till approaches the gangster film from an entirely different and humanist angle with Kills on Wheels. Having spent some time volunteering in care homes with disabled people, Till has achieved a refreshing representation of disability on film, which seeks to change the conversation on the matter. Till deftly combines the gangster elements with tangible moments of realist beauty, portraying the struggle to find identity as a disabled teenager. A bold and offbeat thriller laced with black humour, Kills on Wheels will positively surprise you.
See the trailer: Kills on Wheels (2016)
2. – Borg vs McEnroe (2017) – – – (15) (Showing at Curzon, Showroom)
[Genre: Drama/Biography. Dir: Janus Metz Pedersen. Starring: Shia LaBeouf, Sverrir Gudnason, Stellan Skarsgård, Tuva Novotny. Language: English/Swedish/French]
There’s something particularly compelling about sports rivalry on film, and Janus Metz Pedersen hurls us amidst the tennis court feuds of Borg vs McEnroe. Danish director Pedersen injects the slow nature of the sport with vigour and delivers a well-balanced depiction of the psychological profiles of the titular opponents. Inspired by real events, Borg vs McEnroe chronicles the days leading up to the climactic 1980 Wimbledon final. Pedersen effectively discerns the titular polar opposites by journeying into their upbringings to reveal attributes that have only been further amplified by the competitive sport. Widely considered one of the greatest players of the sport to date, steely Swede Björn Borg (played as an adult by Sverrir Gudnason) is shown as a youth barely containing his simmering fury. Young spoilt New Yorker John McEnroe (played as an adult by Shia LaBeouf) is a controlled and naïve beginner, who honours his idol Borg by adopting his signature sweatband. Through their chosen coaches, Borg under the guidance of Lennart Bergelin (Stellan Skarsgård) and McEnroe his father (Ian Blackman), the rivals gradually mould into the fire and ice personas that defined their iconic duel. Pedersen has made an excellent job with Borg vs McEnroe, a brilliantly-crafted and intriguing sports narrative that serves far beyond the game itself. The screenplay explores key aspects in competition; humiliation and endurance, discipline and sacrifice. Expert casting choices ensure it’s a believable watch for fans of the sport, and allows some clever duality between LaBeouf’s real life persona and his role in the film. While motorsports have been the hot topic in recent years, Borg vs. McEnroe has just given tennis its most incisive cinematic depiction thus far.
See the trailer: Borg vs McEnroe (2017)
3. – Becoming Cary Grant (2017) – – – (PG) (Showing at Showroom on Sunday 24 September at 3:30pm)
[Genre: Documentary/Biography. Dir: Mark Kidel. Starring: Jonathan Pryce, Judy Balaban, Kent Victor Schuelke, David Thomson. Language: English]
Director Mark Kidel outlines the trouble and strife of Hollywood’s original modern gentleman in Becoming Cary Grant. Despite his legendary career in film and the eternal legacy now left behind, Cary Grant was a fractured Hollywood icon who could never shed his past as a working-class boy growing up in Bristol. Kidel blends together Grant’s home video archive, unfinished memoirs and reconstructed footage to trace the subject’s life, beginning with his childhood as Archie Leach. After a long battle with depression following the death of her child, Grant’s mother abandoned her family while he was just a boy. With no explanation offered by his tailor father, Grant’s long-standing issues with abandonment and female relationships began to form. Following his father’s subsequent abandonment, Grant sought refuge in a travelling acrobatic troupe, which introduced him to the prospect of escapism via. the stage. Becoming Cary Grant charts his rise to stardom, becoming Hollywood’s first notable actor to appeal equally to both male and female audiences. Kidel employs contemplative narration by actor Jonathan Pryce, and delineates Grant’s LSD-facilitated psychiatry sessions during the ‘50s, after his mid-life existential crisis. For casual fans of the subject, or those who wish to know more, the film will prove quite informative. However, there may be too many omissions made for hardcore fanatics to ignore. Becoming Cary Grant paints a portrait of a solitary soul lost in Hollywood, imprisoned by a persona of his own making.
See the trailer: Becoming Cary Grant (2017)
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The Beguiled (2017) – – – (15) (Showing at The Light)
[Genre: Drama. Dir: Sofia Coppola. Starring: Colin Farrell, Nicole Kidman, Kirsten Dunst, Elle Fanning. Language: English/French]
Genre pieces have long been the forté of American director Sofia Coppola, and her latest accomplishment The Beguiled makes no exception. Coppola swaps the vapid modernity of The Bling Ring for the chaste torment of 1864 Virginia, with a reworking of Don Siegel’s 1971 film of the same name. Amid the quaint Virginian countryside three years into the Civil War, matron Miss Martha Farnsworth (Nicole Kidman) and teacher Edwina (Kirsten Dunst) hold their French lessons outdoors for the young ladies of Farnsworth Seminary. When young Amy (Oona Laurence) ventures into the woods to forage for mushrooms, she discovers wounded Dublin-born Union Corporal John McBurney (Colin Farrell). Amy dutifully notifies Miss Martha of her discovery, who hesitatingly allows the soldier into the school until recovered. Disturbing the dynamic of the sisterly dwelling, John’s presence steadily rouses desires that were better left dormant. Arguably her best film of the past decade, The Beguiled is a wonderfully subversive Southern Gothic tale complemented by Coppola’s refined aesthetic. While there are slight issues with gender representation in Coppola’s inevitably feminine approach, black humour and carnal tension help to balance the flaws. Those who found the languid pacing of the director’s earlier films off-putting will find the plot progression here more engaging. As expected, Coppola’s latest looks absolutely sumptuous. Cinematographer Philippe le Sourd (The Grandmaster) has achieved a work of chiaroscuro magnificence, mostly shot in natural daylight with nighttime scenes illuminated by candlelight. The Beguiled is an alluring and polished period drama, peppered with dark wit and sharp quips.
See the trailer: The Beguiled (2017)
Detroit (2017) – – – (15) (Showing at Cineworld, The Light)
[Genre: Drama. Dir: Kathryn Bigelow. Starring: John Boyega, Will Poulter, Algee Smith, Jacob Latimore, Hannah Murray. Language: English]
American filmmaker Kathryn Bigelow (The Hurt Locker, Zero Dark Thirty) returns with latest socio-political docudrama Detroit. Bigelow’s sprawling saga chronicles the racially-charged uprising of 1967, a period in the city’s history that feels alarmingly relevant today. Amongst the many tumultuous events during the 5-day riots, The Algiers motel incident garnered significant press coverage, and understandably so. It’s this particular story that Bigelow and former journalist cum scriptwriter Mark Boal seek to portray with Detroit. The film opens with a sequence depicting the Great Migration of African-Americans in 1916, the movement which would fan the flames of disenfranchisement in largely black communities. Working chronologically from 1967, Detroit kicks off with the police raid on an unlicensed drinking establishment that would become the impetus to the chaos. The botched club raid sparks mass rioting and looting, with the citizen’s allegiances torn between authority and race. As conflict wreaks havoc into the third day, many seek refuge in The Algiers motel, including the group The Dramatics, whose concert has been cancelled. The predominantly black guests of the motel attempt to pass the time and socialise with each other in their rooms. However, when a small joke between friends results in Carl Cooper (Jason Mitchell) firing his starter pistol, the authorities believe a sniper lay in their midst. The razor-sharp tension in the air throngs the National Guard, Michigan State Police and Detroit Police forces into the building with devastating results. Detroit will prove a difficult watch for many viewers, particularly in its harsh second act that features some deeply unsettling torture scenes. Detroit serves as a stark and harrowing reminder that fundamental facets of society have experienced little progression since the events of 1967. However, to comprehensively tackle this weighty moment in American history, Bigelow would require far more than the 143-minute runtime. This lack of time means vital chapters in the timeline are either omitted entirely or glossed over, and fail to provide sufficient context for those unfamiliar with the incidents. Detroit showcases some fantastic performances from its huge cast, including John Boyega (Star Wars: The Force Awakens, Imperial Dreams) as a security guard conflicted by his loyalties and Will Poulter (The Revenant, Son of Rambow) as the inherently racist tyrant fuelling the brutality. A powerful and gut-wrenching dramatisation of historical events, Detroit will leave viewers contemplating the barbaric tendencies of humankind.
See the trailer: Detroit (2017)
Dunkirk (2017) – – – (12A) (Showing at Cineworld, Curzon, The Light, Odeon, Vue)
[Genre: War Drama/Historical. Dir: Christopher Dunkirk. Starring: Fionn Whitehead, Aneurin Barnard, Mark Rylance, Tom Hardy, Kenneth Branagh, Cillian Murphy, Harry Styles. Language: English]
Christopher Nolan made his directorial debut in 2000 and went on to become one of the most successful directors of the century. His latest release, gargantuan war epic Dunkirk, marks an exceptional milestone in his career and unveils a craftsman really coming into his own. The ambitious creation is presented in a triptych of separate stories, spread across three locations. Seven months into World War II, Hitler’s Wehrmacht army have surrounded the Calais stronghold and overpowered the French port of Boulogne. Caught within the Nazi’s trap, the 400,000 Allied troops have nowhere to turn, marooned on the barren beaches of Dunkirk. Young and visibly startled from the horrors of war, Private Tommy (Fionn Whitehead) heads to the shore through the shower of propaganda leaflets and hurtling gunfire. As he wanders across the vast expanse of stranded souls, Tommy encounters a private by the name of Gibson (Aneurin Barnard) burying a fallen soldier. After they brace against another assault by the German Stukas, the pair seize the stretcher of a wounded soldier and head for the only rescue ship in sight. Elsewhere, civilian captain Dawson (Mark Rylance) charts a brave expedition to the titular beach, after his boat is enlisted as an evacuation vessel. Also commandeering the runtime are white-knuckle sequences of RAF Spitfire pilots Farrier (Tom Hardy) and Collins (Jack Lowden) defending ships against Hitler’s Luftwaffe bombers. Little can be said about the plot of Dunkirk without revealing too much, although its narrative simplicity is one of its greatest assets. For Dunkirk doesn’t suffer the complexities of the director’s previous works, the attributes that have long confused – and divided – fans and filmgoers alike. Nolan takes the reins of his uninhibited freedom in the film industry and creates one of the most immersive depictions of war for some time. Dunkirk is all about the experience of being in war, and the film achieves just that by the dizzying sound design alone. Hans Zimmer provides a suitably droning soundtrack, which proves a welcome departure from the all too familiar sounds of his earlier collaborations with the director. Instead, he charges the scenes with momentum, blending together clock-ticking, shredding strings and jarring diegetic effects. The restrained use of dialogue is duly effective here, relying on the beautifully realistic performances and Nolan’s sure-handed direction to do the storytelling. What makes Dunkirk so special is that quietly powerful moments are respected as just that, quiet. The camera never dwells on a scene for too long, refusing to succumb to the overt sentimentality of Hollywood storytelling. Fans of Nolan will be prepared for his trademark narrative structure, though it fits in well with the subject matter. The filmmaker cleverly plays with time to weave together the three storylines, forming a powerful conclusion. A visceral and unsettling assault on the senses, Dunkirk shines as one of Nolan’s most impressive spectacles thus far.
See the trailer: Dunkirk (2017)
Get Out (2017) – – – (15) (Showing at Film Unit on Mon. 18 Sept. at 19.30)
[Genre: Horror/Thriller. Dir: Jordan Peele. Starring: Daniel Kaluuya, Allison Williams, Catherine Keener, Bradley Whitford, LilRel Howery, Caleb Landry Jones. Language: English]
One half of the duo behind sketch show Key & Peele, comedian Jordan Peele makes his directorial debut with wry social-thriller Get Out. Chris Washington (Daniel Kaluuya, Sicario) is an aspiring photographer who for several months has been dating the charming Rose Armitage (Allison Williams, Girls). She invites him for a weekend visit to meet her wealthy liberal parents, who live in the affluent white suburbs upstate. Apprehension creeps in when Rose reveals she has not mentioned that Chris is black. When they arrive at her parents’ colonial estate, Chris is received with an overly saccharine welcome. Her psychiatrist mother Missy (Catherine Keener) and neurosurgeon father Dean (Bradley Whitford) are quick with the awkward racially-accommodating niceties, eagerly ushering him on a guided home tour. Chris soon discovers that the grounds are maintained by two stereotypical black servants, strong handyman Walter and dutiful housekeeper Georgina. When he tries to make an introduction, Chris is met with vacancy; void of emotion and disregard for their racial heritage. As the weekend continues, the sea of innuendo-infested interactions and surreal episodes uncover a more ominous agenda at hand. Get Out is total triumph for Peele, serving a wonderfully original narrative gushing with glorious homages to horror. The cleverly-written satire delivers a timely critique on the deep-rooted prejudice that writhes through many, even those who proclaim otherwise. The director injects his unsettling social commentary on the liberal elites and race relations with cathartic comedy, executing a harmonious balance. Influence is unashamedly drawn from Roman Polanski’s Rosemary’s Baby and Bryan Forbes’ The Stepford Wives with brilliantly unnerving results. Complementing the insightful script is the soundtrack by Michael Abels, composed from an ensemble of strings, harp, percussive bowls and Swahili vocals. Abels renders a sophisticated and suspenseful horror score that echoes the essence of Alfred Hitchcock composer Bernard Herrmann. Get Out shines as a blistering social commentary, amplified by its toxic paranoia and taut observational humour.
See the trailer: Get Out (2017)
La La Land (2016) – – – (12A) (Showing at Film Unit on Tues. 19 Sept. at 19.30)
[Genre: Musical/Romantic Comedy. Dir: Damien Chazelle. Starring: Ryan Gosling, Emma Stone, J. K. Simmons, John Legend. Language: English]
Damien Chazelle’s La La Land sets the precedence for contemporary musicals, giving the genre a much-needed rejuvenation. Crazy, Stupid, Love co-stars Ryan Gosling and Emma Stone reunite and take centre stage in this sensational feature. The film opens with jazz pianist Seb and aspiring actress Mia stuck in a Los Angeles traffic jam, which explodes in to a glorious routine on a four lane overpass. Their paths fail to cross during this sequence, and Chazelle teases this during the beginning, evoking the poetics of great movie (and real life) romances. When boy finally meets girl in serendipitous circumstances, their compatibility is undeniable. Both are dreamers and perfectionists, largely unappreciated in a city made of fleeting stardom. But all good things come to an end, and ultimately they must decide what is important – dreams or love. Damien Chazelle has achieved a visual masterpiece, invoking the majesty of classic Hollywood musicals and forging his own interpretation. The kaleidoscopic splendour of the imagery is its most breath-taking aspect. Shot on 35mm celluloid, the camera pirouettes through the film in sweet reverie. Chazelle takes inspiration from Jacques Demy’s French ‘60s musicals The Umbrellas of Cherbourg and The Young Girls of Rochefort, and celebrates legends Fred Astaire, Gene Kelly and Ginger Rogers. The two leads captivate with equally remarkable performances, and are a true joy to watch on screen. With music being a primary concern of Damien Chazelle (his last feature being the highly-acclaimed Whiplash), one wonders what genre he will tackle next. Tantalising the senses with its lavish pastel hues and compelling chemistry, La La Land is an idyllic escape from the January blues.
See the trailer: La La Land (2016)
Moonlight (2016) – – – (15) (Showing at Film Unit on Thurs. 21 Sept. at 19.30)
[Genre: Drama. Dir: Barry Jenkins. Starring: Ashton Sanders, Alex R. Hibbert, Trevante Rhodes, Mahershala Ali, Naomie Harris. Language: English]
Exploring the journey many black men raised in marginalised communities face, director Barry Jenkins’ Moonlight delivers a coming-of-age drama unlike most others. Divided over three time periods, the film charts the life of central character Chiron and childhood companion Kevin, observing the pivotal moments that shaped their course. Adapted from Tarell Alvin McCraney’s play In Moonlight Black Boys Look Blue, the film begins with Chiron (aptly nicknamed Little) at ten-years-old during a particularly vulnerable period of his youth. A nuclear family with home comforts is but a mere fantasy for Chiron, who lives with his substance-addicted mother in a deprived Miami neighbourhood. Due to his dysfunctional home life he is an easy target for bullies, and finds little sympathy from his mother who is often absent. Chiron finds an ally in the local Cuban drug dealer Juan (Mahershala Ali), who helps him escape another assault by taking him home to his girlfriend Teresa. Sensing he is without familial security, Juan and Teresa take him under their wing, their home becoming Chiron’s sanctuary. Jenkins’ starkly realistic portrait of the African-American upbringing is a tender, heart-wrenching and profound experience. The carefully-written screenplay avoids the tropes of “disadvantaged” stereotypes; despite his criminal activities Juan is a paternal, nurturing figure and there is more to Chiron and Kevin’s friendship than meets the eye. James Laxton’s refined cinematography mirrors the emotional fluctuations of the narrative, echoing the aesthetic glory of Hong Kong auteur Wong Kar-wai. Having already won the Golden Globe Award for Best Motion Picture (Drama), the film is set for further success with nominations in the upcoming Academy Awards and BAFTA ceremonies. Moonlight is a truly beautiful character study, covering themes of race, sexuality, class and love.
See the trailer: Moonlight (2016)
The Salesman (2016) – – – (12A) (Showing at Film Unit on Weds. 20 Sept. at 19.30)
[Genre: Drama/Thriller. Dir: Asghar Farhadi. Starring: Taraneh Alidoosti, Shahab Hosseini, Babak Karimi. Language: Persian/English]
From the director of the critically-acclaimed A Separation, comes Iranian filmmaker Asghar Farhadi’s latest creation The Salesman. Since its debut on the awards circuit, the film has been very well-received, winning Best Actor and Best Screenplay at Cannes and most recently Best Foreign Film at the Academy Awards. As with the most ingenious works in cinema, the opening scene epitomises the road ahead; a warning of things to come. Married couple Emad and Rana are suddenly evacuated from their apartment block as the building begins to quake and collapse. Rana and literature teacher Emad are actors rehearsing for a theatre production of Arthur Miller’s Death of a Salesman. Fellow stage actor Bakar offers them a place to live in one of his newly vacant properties. After they move in, Bakar explains the previous tenant has left behind some belongings in one of the rooms, but promises they will be collected soon. The mystery tenant has but one request, for her possessions to remain untouched. Eager to make their mark on the new home, the couple neglect her wishes and fill the room with their own. Their ignorance ignites a chain of events that has Emad and Rana scrambling to restore their dignity and ruptured trust. Director Asghar Farhadi demonstrates his impeccable ability as a screenwriter with The Salesman. Examining good/bad, the perception of others, and shame in repressive cultures. These notions are wonderfully handled by avoiding clinical, black-and-white representations. He instead entrusts his audience with the freedom to cast their own judgement on the very real, very mortal characters. Farhadi cleverly juxtaposes the theatre performances with the plot narrative, at times blurring the lines between reality. The duality of theatre and real life is an effective mechanism in psychologically-driven films, a superb example of this is John Cassavetes’ 1977 spectacle Opening Night. Adhering to the traditions of great auteurs in film, Farhadi beckons his arsenal of regular actors to centre stage, assimilating their roles with supreme talent. Absolutely deserving of its acclaim and much more, The Salesman is a masterful and conflicting test of the moral compass – a divisive talking point on ‘what would you do?’
See the trailer: The Salesman (2016)
The Villainess (2017) – – – (18) (Showing at Showroom)
[Genre: Action Drama. Dir: Jung Byung-gil. Starring: Kim Ok-bin, Shin Ha-kyun, Sung Jun, Kim Seo-hyeong. Language: Korean]
There’s something about revenge cinema that South Korean filmmakers are so naturally inclined towards, and Jung Byung-gil’s The Villainess makes a gnarly addition to the nation’s roster. The film opens with seven minutes of sheer carnage propelled by Sook-hee, a petite and unsuspecting young woman with a thirst for vengeance. Having been raised by ruthless gangsters who trained her as an assassin, Sook-hee lashes back after her husband’s assassination on their honeymoon. When the Korean Intelligence Service track her down, they propose a deal that promises a better life for Sook-hee and her unborn child. As Sook-hee is thronged into training once more, her past life as a cold-blooded killer is never too far behind. A punchy and kinetically-charged thriller, The Villainess is a must see for action junkies. Largely comprised of cleverly-choreographed sequences, the film takes a bow to The Raid, Hardcore Henry and Kill Bill. The psychological flaws of Sook-hee’s character allow room for compelling dissection, torn between her killer instinct and fanciful dreams of motherhood. While not without its faults, The Villainess confirms Byung-gil as a budding new voice in South Korean cinema.
See the trailer: The Villainess (2017)
War for the Planet of the Apes (2017) – – – (12A) (Showing at Vue)
[Genre: Action/Drama. Dir: Matt Reeves. Starring: Andy Serkis, Woody Harrelson, Steve Zahn, Karin Konoval. Language: English]
Matt Reeves takes to the helm once more for the prequel trilogy finale with War for the Planet of the Apes. Taking place two years after Dawn of the Planet of the Apes, Caesar (Andy Serkis) and the apes are forced deeper into the woods by invading soldiers from the northern military encampment. When the apes outwit and capture squad leader Preacher, he’s released as a warning to the Tyrannical Colonel McCullough (Woody Harrelson). Antagonised by the Preacher’s news, the callous Colonel retaliates with an ambush that leaves Caesar longing for revenge. Drawing to a respectable close, fans of the trilogy will be undoubtedly pleased with War for the Planet of the Apes. Understandably, the film is really for those who are already familiar with the previous two instalments to appreciate the significance of the story. Reeves and co-writer Mark Bomback have crafted a brilliantly absorbing story, woven together with biblical, historical and political themes. As to be expected, the work of Weta Digital continues to astound, demonstrating the full potential of motion-capture technology. The apes are sumptuously rendered, with remarkable attention given to the finest detail. The coupling of Michael Seresin’s noir-esque cinematography and Michael Giacchino’s enthralling score delivers great impact. War for the Planet of the Apes forms as a compelling conclusion to the beloved Apes trilogy.
See the trailer: War for the Planet of the Apes (2017)
Wind River (2017) – – – (15) (Showing at Cineworld, Curzon, Showroom)
[Genre: Crime Drama/Mystery. Dir: Taylor Sheridan. Starring: Jeremy Renner, Elizabeth Olsen, Kelsey Asbille, Graham Greene, Julia Jones. Language: English]
Actor turned screenwriter Taylor Sheridan has been thriving behind the scenes for the past few years and now hops into the director’s chair for a second time with murder mystery Wind River. Having worked alongside Denis Villeneuve on the script for Sicario and David Mackenzie on Hell or High Water, Sheridan fuses together his directorial vision and skillful knack for storytelling with gripping results. As U.S. Fish & Wildlife agent Cory Lambert (Jeremy Remmer) treks the snow-blanketed wilderness of Wyoming’s Wind River Indian Reservation in search of a mountain lion predator, he uncovers the frozen body of Indian teenager Natalie. His discovery harkens painful memories for Cory, whose teenage daughter was raped and murdered three years prior. Vowing to deliver the justice he was unable to do for his daughter, Cory reports the body to local sheriff Ben (Graham Greene), who enlists FBI rookie agent Jane Banner (Elizabeth Olsen) to lead the investigation. As the team trudge deeper into their investigation, the desolate and unforgiving territory grows harsher with each development. Considering this is Sheridan’s first ‘real’ directorial effort, Wind River marks a strong and respectable debut. The stark Wyoming landscape is as essential to the story as the characters that drive it, permeating the atmosphere with disquieting isolation. Sheridan’s sure-handed direction and well-written screenplay ensures the film is engaging throughout, bolstered by his decision to live on an Indian reservation to carry out research. Billowing the tension and quivering the heartstrings is another exceptional score by music dream team Nick Cave and Warren Ellis. Exploring the abandonment of Native American communities and the disparities that sadly persist, Wind River provides plenty to mull over long after the credits roll.
See the trailer: Wind River (2017)
Wonder Woman (2017) – – – (12A) (Showing at Film Unit on Sat. 23 Sept. at 15.30 & 19.30)
[Genre: Action/Fantasy. Dir: Patty Jenkins. Starring: Gal Gadot, David Thewlis, Robin Wright, Chris Pine, Danny Huston. Language: English]
The ultimate female superhero of the comic world receives her first live-action film with Patty Jenkins’ Wonder Woman. Respectably, it is the first female-driven superhero movie directed by a woman. The saga charts the origins of the hero formerly known as Diana (Gal Gadot), a demigoddess who reigned the island of Themyscira before her superhero days. Through the years, Paradise Island lay gruelling challenges in her path that gradually shaped her into an impenetrable warrior. The arrival of an American pilot (Chris Pine) to the island sheds light on the outside world, which is being torn apart by a calamitous conflict. Adorned in her mystical sartorial gifts from the Gods, Diana strives to deliver cosmic justice and discover her true destiny. Wonder Woman is a wonderfully refreshing addition to the DC franchise and marks the fourth instalment to the DC Extended Universe. The director renders one of the most exciting and heartfelt superhero films in recent times, which is sure to delight diehard fans. It has already overshadowed releases Suicide Squad and Batman v Superman: Dawn of Justice and deservedly so. The film threads together well-choreographed action, humour and strong performances with great effect. Gal Gadot is completely captivating as the titular hero and has electric chemistry with co-star Chris Pine. A thrilling asset to the DC arsenal, Wonder Woman sets the bar high for the superhero genre.
See the trailer: Wonder Woman (2017)
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