Sure, Jack Kirby’s a revered artist, and he created some of the best known comic characters around. Captain America and the Avengers and the Inhumans and the X-men, Galactus and the Silver Surfer and Red Skull and Darkseid, Kirby had a major hand in the stories and look of the heroes and villains currently raking in millions upon millions for film franchises on both sides of the ‘verse divide. He’s a giant of a figure, as BBP continues celebrating a summer of Kirby at 100. But did you know Jack Kirby was a spy?
Early reviews have been positive to absolutely glowing – and that sense of affirmation is just the vaccination that the DC Extended Universe film franchise has desperately needed! With the tent pole Justice League film dropping later this year and the cinematic debut of Aquaman now firmly in production, the Wonder Woman film had a massive pop culture encumbrance to bear on its shoulders.
Indeed, perhaps unfairly, the future of Warner Brother’s comic book universe of films was in absolute jeopardy due to previously dark and critically lackluster movies.
Thankfully, that sentiment is not the same in the comic book world – the wellspring of these globally recognized pop culture icons.
This Saturday, June 3, is appropriately, #WonderWomanDay. Fans around the world will be celebrating the feminist icon with comic book readings, cosplay, theater-goings and much, much more.
But you can get an early start on the festivities today with the release of Wonder Woman Annual #1 – a fantastic introduction to the character for readers of any age!
Anyone who watches Mr. Robot knows how hypnotic Rami Malek’s presence can be. He’s mastered an aura of complicated blankness, his glinting, buggy eyes set deep in his flatly inexpressive face. Malek calls on that same bright, disturbed facade to propel the shambolic, disjointed thriller Buster’s Mal Heart from director Sarah Adina Smith. A head-scratcher with a twisty split narrative, the film’s an uneven study of one man’s descent into madness, held together by the force of Malek’s commanding distance.
High school dramas are back with a vengeance. There’s the noir soap opera shenanigans of Archie, Betty and Veronica on Riverdale, and the sharply observed teen pathos of Thirteen Reasons Why. Both series paint a portrait of high school about fifty shades darker than the quaint distractions of a John Hughes movie. Out on the big screen in limited release this weekend is My Entire High School Sinking Into the Sea, joining the class of 2017 with a surrealistic romp fusing teen comedy and disaster movies to hilarious effect.
There’s nothing quite like a David Lynch movie. You know the second you find yourself immersed in one of his unsettling worlds, the strange blend of earnest innocence and churning malevolence vying against one another, light and dark and laughter and horror and violence but especially the eeriness. Nobody but nobody does eerie like David Lynch. Which makes David Lynch: The Art Life so fascinating, a movie about a movie-maker that takes up all the stuff he does other than movies.
The world doesn’t need another milquetoast Canadian indie comedy. But it’s a national specialty, so they keep coming around, safe, inoffensive, government-funded and mildly amusing. Unfortunately for Chokeslam, safe and inoffensive aren’t the words you want to hear about a wrestling comedy, even if it aspires to the romantic variety. Director Robert Cuffley’s attempts to fuse the world of wrestling with the genre clichés of rom-com make for a cute, unassuming yarn that never quite gets off the mat.
They don’t come around all that often, but the movies love a charismatically gruff old man. From the goofy classic Grumpy Old Men with Jack Lemon and Walter Matthau to Clint Eastwood’s racist curmudgeon in Gran Turino, there’s a strange appeal to bitter old cranks. At least, when they discover they have a heart after all. Hannes Holm’s A Man Called Ove, from the novel by Fredrik Backman, follows in the genre’s creaky, recalcitrant footsteps. With a wonderful performance as the titular Ove from Rolf Lassgård, the film hits all the right irascible notes. Nominated for an Academy Award in the Best Foreign Film category, and another for Makeup and Hairstyling, A Man Called Ove has been an unlikely success.
The Canadian Western has to be the smallest of film genres. Philip Borsos’ The Grey Fox (1982) pretty much begins and ends the genre. It’s small because Canadians don’t really think we had a western frontier, in the same way America did. That’s not entirely true, but misses a larger point, that really almost all of Canada is frontier. Still. And most of that frontier isn’t west. It’s north. Inuk director Zacharias Kunuk corrects that oversight with an arctic reimagining of John Ford’s classic western The Searchers (1956). Spare and evocative, Kunuk’s Maliglutit brings the Western to the snowbound north with arresting results.
TIFF’s been doing a retrospective on the German director Rainer Werner Fassbinder. A prodigious wunderkind of the seventies German New Wave, he died of a drug overdose at 37, leaving behind over 40 features and television mini-series made in a brief 15-year career. (Cocaine is a powerful drug in the right nose.) In that burgeoning output, Fassbinder made only one science fiction film. World on a Wire appeared in 1973, a made-for-TV two-parter that virtually disappeared soon after its release. Steeped in a 1970s futurist aesthetic, the film is both wildly dated and amazingly anticipatory, a speculative plunge into the world of virtual reality fully 36 years ahead of The Matrix. Turns out Neo wasn’t the only one popping pills to see what’s really going on.
I’ve been obsessed with Anne of Green Gables since I was a kid, and I’m always a bit nervous when new adaptations appear. I never want to see anything that ruins my Anne, so as I sat down to watch the PBS Holiday special, I crossed my fingers, and did my best to keep an open mind.