Before The Avengers would assemble, audiences were introduced to perhaps the team’s most crucial member…
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Chris Evans leads as Steve Rogers/Captain America in director Joe Johnston’s ‘Captain America: The First Avenger’ (image credit: Disney/Marvel Studios).
Year: 2011
Starring: Chris Evans, Hugo Weaving, Hayley Atwell, Sebastian Stan, Tommy Lee Jones, Dominic Cooper, Stanley Tucci, Toby Jones, Samuel L. Jackson
Directed by: Joe Johnston / written by: Christopher Markus and Stephen McFeely (Captain America created by Joe Simon and Jack Kirby)
What’s it about?
Rejected from enlisting in the U.S. Army, Steve Rogers, a physically weak but strong spirited young man from Brooklyn is recruited for a secret programme that will see him transformed into the ‘Super Soldier’ Captain America, to lead the fight against the forces of Hydra…
Retrospective/review
In July of 2011, Marvel Studios edged closer to the culmination of ‘Phase One’ of its plans for the Marvel Cinematic Universe, as it approached The Avengers, with the release of Captain America: The First Avenger introducing audiences to Steve Rogers/Captain America, the classic Marvel hero who will be the keystone of the eponymous comic book superhero team.
Directed by Joe Johnston (The Rocketeer, Jurassic Park III), and starring Chris Evans, Captain America: The First Avenger is predominantly a period piece bookended by scenes taking place in modern day. The bulk of the narrative unfolds at the height of World War II, where Steve Rogers (Evans), a physically diminutive but noble spirited young man from Brooklyn, repeatedly refused enlistment in the U.S. Army, is selected for a top-secret programme where an experimental serum transforms him into the tall, muscular and agile Super Soldier ‘Captain America’ who will lead the fight against Nazi lieutenant Johann Schmidt – aka ‘The Red Skull’ (The Matrix trilogy’s Hugo Weaving) – and the forces of Hydra as they seek to unlock the powers of a mysterious and powerful artefact known as the Tesseract.
The casting of Chris Evans in the lead role may not have seemed an obvious one (even though he was a highlight of 20th Century Fox’s not-so-great Fantastic Four films, where he played The Human Torch) but any fears where quickly allayed with an instantly likeable and grounded performance as Steve Rogers, prior and post-transformation and it’s now difficult to imagine anyone else playing the role. It helps that writers Christopher Markus and Stephen McFeely provide Rogers with a strong character arc, from the frustrated underdog and determined recruit to subsequent propaganda performer (the stage shows and movie serials with accompanying costume providing nostalgic homages to the history of Marvel’s ‘Star-Spangled Man’) and his eventual first real mission as Captain America, it affords Evans with rich material to invest in. Kudos also must be given to costume designer Anna B. Sheppard as Cap’s World War II battlefield uniform is a standout example of creating something that is both faithful and unique and looks great onscreen. The use of doubles and digital effects trickery also proves convincing in presenting viewers with the smaller and more slight pre-serum Rogers.
Hugo Weaving as Johann Schmidt/The Red Skull, one of the MCU’s more memorable villains (image credit: Disney/Marvel Studios).
Evans is ably supported by Sebastian Stan, making his first appearance as Steve Rogers’ best friend James Buchanan “Bucky” Barnes (later to become the Hydra-conditioned assassin known as The Winter Soldier) but it’s undoubtedly the superb Hayley Atwell who proves his equal as the no-nonsense and dutiful British Agent Peggy Carter. Evans and Atwell have wonderful chemistry and Carter is a great addition to the MCU, so it’s little wonder that Atwell would reprise here role in subsequent films and earn her own short-lived tv series (the sorely overlooked Agent Carter). As the main antagonist, Hugo Weaving (who had previously worked with Joe Johnston on Universal Monster remake The Wolf Man) effortlessly delivers one of the MCU’s more memorable villains as the iconic Red Skull.
The cast is rounded out impressively with the participation of Oscar Winner Tommy Lee Jones (earning the prestigious award for Best Supporting Actor in The Fugitive) as Colonel Phillips, Stanley Tucci as the Super Soldier serum’s creator Dr. Abraham Erskine (who also has a great rapport with Chris Evans, with some great character-building scenes between the two), Dominic Cooper as Howard Stark (father of future Iron Man, Tony Stark), Neal McDonough as “Dum Dum” Dugan (one of the infamous “Howling Commandos”) and Toby Jones as Hydra scientist Dr. Arnim Zola. Lest us also not forget that there’s another enjoyable cameo from late Marvel Comics legend, Stan Lee as well as an appearance from Samuel L. Jackson as Nick Fury.
Much like he demonstrated on The Rocketeer, Joe Johnston balances story, character and action brilliantly, weaving touches of Raiders of the Lost Ark into the nostalgic and adventurous fantasy period piece. Of the film’s action set-pieces, they are numerous (and enhanced by Predator and The Abyss composer Alan Silvestri’s music score) and expertly staged, whether it’s Rogers’ rescue of imprisoned soldiers from the clutches of Hydra or the tense and gripping flying-wing finale. Said finale of course sees Captain Rogers attempting the ultimate sacrifice to save the free world from annihilation. Luckily, he is frozen deep in ice, to be discovered and revived in present day, leading to a poignant dénouement that paves the way for Marvel’s expanding film and television universe.
Captain America: The First Avenger is an underrated early effort from Marvel Studios that firmly establishes Marvel’s Golden Age hero and puts the final pieces in place before unleashing their ambitious and highly anticipated team-up, The Avengers.
Geek fact!
Actress Laura Haddock, later to play Peter ‘Star Lord’ Quill’s mother in Guardians of the Galaxy makes a brief appearance in The First Avenger as an autograph seeking admirer of Captain America. Subsequent Doctor Who companion Jenna Coleman can also be seen in a small role as Bucky’s date at the Stark Expo.
All images herein remain the property of the copyright owners and are used for illustrative purposes only.
Film and TV you might not have checked out but really should…
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Bill Campbell, Jennifer Connelly and Timothy Dalton star in ‘The Rocketeer’ (image credit: Disney).
Year: 1991
Starring: Bill Campbell, Alan Arkin, Jennifer Connelly, Timothy Dalton, Terry O’Quinn
Directed by: Joe Johnston / written by: Danny Bilson & Paul De Meo (story by Danny Bilson, Paul De Meo & William Dear. Based on The Rocketeer, created by Dave Stevens)
What’s it about?
Test pilot Cliff Secord comes into possession of a prototype rocket-pack that allows him to soar into the skies as the heroic ‘Rocketeer’…
In review: why you should see it
An unfortunate financial disappointment for Walt Disney Pictures on its theatrical release (barely recouping its budget of around $40 million) in the summer of 1991, The Rocketeer has thankfully earned more appreciation in the years since to become something of a cult favourite. Based on the graphic novel by the late writer/artist Dave Stevens, itself inspired by 1940s adventure serial King of the Rocket Men, The Rocketeer is a charming film of a more innocent and less cynical time and is a fun, heroic adventure taking place in late 1930’s America. With lots of heart, an adventurous spirit and a nostalgic magic it’s impossible not to fall under its spell.
A charismatic and likeable Bill Campbell (recognisable by fans of Star Trek: The Next Generation from his guest role in the 1988 episode “The Outrageous Okana”) plays Cliff Secord, a daring young stunt pilot who comes into possession of a hi-tech rocket-powered jet pack invented by Howard Hughes (a fictionalised version of the real-life aviator portrayed by Terry O’Quinn), lost by its creator and desperately sought after by both Nazi agents and the FBI. Unaware of the origins of the rocket pack and the danger he faces, Cliff uses it to rescue his friend, who runs into trouble during an aerial performance at a local air show. His deeds witnessed by the crowd, the mysterious helmeted hero is celebrated by the media as “The Rocketeer”. Needless to say it isn’t long before Cliff is embroiled in troubles of his own as enemies who will stop at nothing to possess the rocket-pack begin to close in on him.
The ever-stunning Jennifer Connelly is wonderful as Cliff’s actress girlfriend, Jenny Blake, who is more than just the token love interest or a mere damsel in distress and comfortably holds her own as she gets involved in the action. There’s great chemistry between Connelly and Campbell and together with Secord’s friendship with his mentor, “Peevy” (Alan Arkin) helps drive the emotional core of the story. Played with a seething menace and maniacal intensity, Flash Gordon’s Timothy Dalton (following his all-too brief and undervalued stint as super-spy James Bond in The Living Daylights and Licence to Kill) is brilliant as the central villain, arrogant box office star Neville Sinclair with a sinister agenda and a true identity that only enhances the threat he poses to not just Secord and his friends but also the entire world.
Cliff Secord blasts into the skies in ‘The Rocketeer’ (image credit: Disney).
Director Joe Johnston (later to helm Jurassic Park III and Marvel’s Captain America: The First Avenger) is the perfect fit, his experience working with Steven Spielberg on the Indiana Jones films lovingly infused into the retro-pulp action adventure of The Rocketeer. Johnston skillfully directs the aerial sequences and delivers some solid action set-pieces, including a climactic duel between Sinclair and Secord aboard the airship Luxembourg which provides a suitably exciting finale that tops things off nicely. The high-flying action is facilitated by Industrial Light & Magic who produce some commendable special and visual effects work.
The Rocketeer is something of a lost gem, a film that is incredibly entertaining with likeable characters, a good script and decent special effects. It’s disappointing that the film’s lack of success (despite receiving favourable reviews) nixed the prospect of any sequels and sobering to think that Disney might have ever had a comic book flop on their hands, but this was some years before the corporation would acquire Marvel Studios and reap the benefits of the popular and lucrative Marvel Cinematic Universe. Still, despite the further adventures of The Rocketeer appearing in comic book form and an animated series aimed at young viewers (for which Bill Campbell would reprise his role), it’s a shame that the property has not been revived for the big screen, something it is more than ripe for.
Geek fact!
Screenwriters Danny Bilson and Paul De Meo had another comic book property under their creative belts, the writing duo responsible for the development of the short-lived 1990 television series of DC’s The Flash, featuring future Henry Allen, John Wesley Shipp in the lead role of Barry Allen.
Image(s) used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).
Anthony Mackie and Sebastian Stan reprise their superhero roles for the latest Marvel/Disney+ series…
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Anthony Mackie and Sebastian Stan return to the Marvel Cinematic Universe for Disney+ series ‘The Falcon and The Winter Soldier’ (image credit: Disney/Marvel Studios).
Warning! Contains SPOILERS
Starring: Anthony Mackie, Sebastian Stan, Wyatt Russell, Daniel Bruhl, Emily VanCamp, Erin Kellyman, Adepero Oduye
Series created by: Malcolm Spellman (based on the Marvel comics)
What’s it about?
As the U.S. government unveils a new Captain America, Sam Wilson and Bucky Barnes unite to take on the threat of an emerging radical group…
In review
Following the conclusion of the first Marvel Cinematic Universe streaming series for the Disney+ platform – the excellent WandaVision – Marvel Studios’ six-episode superhero action drama The Falcon and The Winter Soldier has now also wrapped up and it’s another hit for entertainment goliaths Marvel and Disney. The series sees lead stars Anthony Mackie and Sebastian Stan reprise their roles as Marvel heroes Sam Wilson/The Falcon and “Bucky” Barnes/The Winter Soldier, respectively (both last seen in 2019 blockbuster Avengers: Endgame), as they take on the threat of a revolutionary group calling themselves the ‘Flag Smashers’ whilst also facing their own personal post-Blip concerns and the rise of the U.S. government’s newly appointed Captain America, decorated Afghan War veteran John Walker (Wyatt Russell – son of Kurt Russell).
The Falcon and The Winter Soldier is an engrossing Tom Clancy-esque action-espionage thriller in the spirit of Captain America: The Winter Soldier and Captain America: Civil War (the “flavour” further enriched by bringing back composer Henry Jackman to score the show). Series creator Malcolm Spellman and his writing staff tap into present day concerns, commenting on themes such as racial prejudice and division, the political state and social unrest whilst mirroring the buddy-cop character dynamics of the Lethal Weapon films, making the pairing of Sam and Bucky even more enjoyable. Blessed with a handsome budget, The Falcon and The Winter Soldier boasts top-notch action scenes – Sam’s aerial battle in episode one and a truck-top fight involving Sam, Bucky and Walker as they take on the Flag Smashers in episode two are early examples – but is not driven by them, taking the time to delve into its characters and plot more deeply than a two-hour film possibly can. This obviously results in a slower and more measured pace than an MCU film which some viewers might struggle with, but a generally consistent rhythm is quickly established, injecting the action where it’s called for and not just for the gratuity of it. The Falcon and The Winter Soldier is far more motivated by character drama and the rich, thought provoking thematic elements it presents and as a result, anyone expecting straightforward superhero entertainment may be disappointed.
The series’ premiere episode does a good job of reintroducing the lead characters and their status quo following their return from non-existence in the ‘Blip’ (as per the events of Endgame) as Sam and Bucky attempt to get a grip on their lives. Doubtful about taking up the role bequeathed to him by Steve Rogers, Sam Wilson relinquishes Cap’s shield to the U.S. government, before finding out that his status as an Avenger won’t help him secure a bank loan to help his sister Sarah (played by Adepero Oduye) and save the Wilson family’s fishing business. Things are no better for Bucky Barnes, now gifted a Presidential pardon for his previous actions as The Winter Soldier, he begrudgingly submits to therapy for post-traumatic stress and plagued by guilt befriends an elderly Japanese man (Ken Takemoto), whose son he had murdered during one of his past operations as a Hydra assassin. It creates an interesting set-up for both characters giving both Mackie and Stan plenty of depth to explore and they have never been better in their roles as they are elevated above their place as supporting players in the MCU films.
With Sam and Bucky taking on government contracts to make ends meet and Bucky questioning Sam’s decision to give up Cap’s shield and all that comes with it, tensions rise as the two begin to clash with a headstrong and determined John Walker. Discovering that the Flag Smashers have super soldier serum-induced abilities, matters are further complicated when Sam and Bucky decide to team up with Zemo (Daniel Bruhl), incarcerated at the end of Civil War. Travelling to Madripoor (a location Wolverine fans will know, weaving an X-Men related element into the MCU) with Zemo, who we learn actually is a Baron, aligning the character more closely with his Marvel Comics counterpart (even donning the iconic purple mask at one point), allows the investigation of the Flag Smashers to progress as well as facilitating a reunion with exiled former S.H.I.E.L.D. Agent Sharon Carter (Emily VanCamp, also last seen in Civil War) who helps the mismatched trio search for the shadowy string-puller of events: the enigmatic Power Broker. The dingy criminal underworld vibe and accompanying action is comfortable territory for John Wick screenwriter Derek Kolstad and he gleefully infuses those elements here into The Falcon and The Winter Soldier.
Daniel Bruhl is assuredly excellent, bringing a snarling arrogance and scheming duplicitousness to the wholly untrustworthy yet surprisingly helpful Zemo. Releasing the Baron naturally has its consequences, drawing the attention of Wakanda (again, recalling the events of Civil War, where Zemo was responsible for the death of King T’Chaka) heating things up further as the eminent African nation dispatches it’s formidable royal guard, the Dora Milaje. Lead by Ayo (Black Panther’s Florence Kasumba), there’s a gripping hotel room fight that’s a swift reminder of how down-right awesome and unstoppably efficient Wakanda’s warrior woman are. Flashbacks to Bucky’s recovery in Wakanda burdens him with a sense of betrayal as the scenes demonstrate how Ayo helped to break his Hydra induced programming. It’s another small but significant aspect that enriches Stan’s character whilst providing organic connectivity with the wider MCU.
Wyatt Russell as the new Captain America, John Walker in‘The Falcon and The Winter Soldier’(image credit: Disney/Marvel Studios),
As John Walker, Wyatt Russell is a great addition and enjoys a strong character arc, the new Captain America a harder-edged combatant who becomes more intense and increasingly frustrated at the perceived interference from Sam and Bucky, their methods seen as too tame in order to get results. Walker is very much a man of action and prepared to do what is necessary so it’s fitting that angered by the slaying of his partner Lemur Hoskins – a.ka. Battlestar (Cle Bennett) -, the new-Cap gets himself serum-boosted. Consequentially, no punches are pulled in the shocking scenes (in the closing moments of the aptly titled “The Whole World is Watching”) of an enraged John Walker, giving chase and bludgeoning a Flag Smasher with Captain America’s shield as crowds capture the brutal event on their smartphones. It presents some unsettling and potent symbolism that once again presses upon the issues of today and makes the need for a more noble-spirited and just Captain America in the mould of Steve Rogers even more desperate. Walker is not “bad” in simple black and white terms, but a product of a different time and forged by a different kind of conflict, this notwithstanding it remains a reminder of Captain America: The First Avenger in that it’s not just an enhancing super solider formula that makes a Captain America but that there also needs to be a good and balanced soul at the end of the needle.
What really works well with The Falcon and The Winter Soldier is that beyond its characters and action set pieces, it paints an interesting picture of the post-Blip world and how many who have returned after a five-year absence are displaced and that not everyone is fortunate to receive the help and understanding they need. Whilst the Flag Smashers are labelled as terrorists and commit deplorable acts, the series provides its villains with believable motivation and even an angle of sympathy through the group’s leader, Karli Morgenthau (Erin Kellyman) and the scripts bring some prescient arguments to the table. This is exemplified in a philosophical exchange between Sam and Morgenthau as the heroic Flacon recognises her cause but questions the execution of her agenda. It’s well-written and wonderfully performed by both Anthony Mackie and Erin Kellyman and makes for good drama. There’s also an addition to Marvel mythology as Sam and Bucky’s initial investigations lead them to the doorstep of Isaiah Bradley (first introduced to the Marvel Comics universe in 2003’s Truth: Red, White and Black #1 and played here by the superb Carl Lumbly), an African America super soldier who fought in the Korean War and was subsequently imprisoned and experimented on. This abuse makes a powerful and evocative statement that highlights important issues and does so in a thought-provoking manner.
Given John Walker’s turn, the penultimate episode opens with a necessary confrontation between the rogue Captain America and Sam and Bucky, before unexpectedly changing gear to a contemplative character-driven piece that’s actually a highlight of the series as Sam, through the counsel of Bucky, realises that he is the man for the job. Whilst also introducing Veep’s Julia Louis-Dreyfus as Marvel Comics character Contessa Valentina Allegra de Fontaine, it lays the groundwork for a pacey and poignant finale (“One World, One People” – another appropriately titled episode) in which Sam finally takes up the role of the true Captain America. It’s a triumphant moment and the battle to stop the Flag Smashers once and for all allows the former Falcon to display all the daring-do and heroics incumbent of any Captain America. It culminates in a potent and evocative media-facing speech from Sam Wilson that, although could be seen as a little too ‘on the nose’ is, once again, an address of important issues of race and equality.
Of course, it was never in doubt that we would see Sam Wilson’s inevitable transition from Falcon to Captain America and a natural and fitting evolution for the character as has been seen in the comics. It’s similarly unsurprising that Sharon Carter is revealed as the Power Broker (speculation is already rife that she is actually a Skrull agent, given that the Secret Invasion series is nearing production…but who knows?) and likewise that John Walker would be redeemed, in a manner, as he assumes his new identity: U.S.Agent (again, mirroring the Marvel comic books), ready to take on the under-the-radar assignments Captain America morally cannot and under the orders of the Contessa.
As we’ve seen with WandaVision and now The Falcon and The Winter Soldier, there is a lot of creative potential for the various other upcoming Disney+ Marvel series (Loki being the next to arrive this June) and provide fans with some substantial long-form storytelling and entertainment between the popcorn blockbuster offerings of the MCU films.
The bottom line: The Falcon and The Winter Soldier presents viewers with a superior form of dramatic superhero entertainment that’s laced with prescient and thought-provoking themes.
All six episodes of The Falcon and The Winter Solider are now available to stream via Disney+.
Image(s) used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).
Looking at some of the best pop culture offerings in film, TV and comics…
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“I’ll be back…”
Edward Furlong joins a returning Linda Hamilton and Arnold Schwarzenegger for James Cameron’s ‘Terminator 2: Judgment Day’ (image credit: StudioCanal).
Year: 1991
Starring: Arnold Schwarzenegger, Linda Hamilton, Robert Patrick, Edward Furlong, Joe Morton
Director: James Cameron / written by: James Cameron & William Wisher
What’s it about?
A reprogrammed cyborg is sent back in time to protect John Connor, the future leader of the human resistance against Skynet, an advanced A.I. that once attempted to have his mother ‘terminated’ and has now sent another killing machine to eliminate John…
In review: why it’s a classic
Irrefutably one of the greatest sequels of all time and a science fiction action classic on its own merits, Terminator 2: Judgment Day takes everything that was achieved with 1984’s The Terminator and amplifies it with the gift of a generous production budget in the region of $100 million (making it the most expensive film ever produced at the time) and cutting-edge special effects presenting a blockbuster film on an epic scale. Returning to direct is James Cameron (who also produces and co-writes with William Wisher), whose career was launched with the surprise success of The Terminator and quickly assured by Aliens in 1986. Cameron’s direction is both masterful and meticulous ensuring that T2 engages and thrills whilst having the same commitment to innovation the filmmaker had demonstrated previously.
At this point a household name as one of the world’s biggest stars, Arnold Schwarzenegger reprises the role that made him – the Terminator. Having become more familiar to audiences as the hero rather than the villain, T2 makes a creative switch with its lead actor and this time out Arnie gets to play the good guy, a reprogrammed T-800 model Terminator sent back in time by the human resistance to protect a young John Connor from being murdered by Skynet’s (the genocidal A.I. attempting to exterminate mankind) own Terminator, the morphing liquid metal T-1000 (Robert Patrick). Also returning is Linda Hamilton in a career high, providing an intense performance as a hardened and weary Sarah Connor, a credible evolution of the underdog everyday girl of The Terminator, physically and emotionally transformed into the troubled and burdened woman we meet in T2, now institutionalised and unable to safeguard her son. Edward Furlong hits the ground running in his introductory film role as the rebellious pre-teen John Connor. The young Connor’s ‘hero’ arc in T2, together with the surrogate father relationship he establishes with Schwarzenegger’s Terminator is the core of the film without which it simply would not have succeeded. The excellent Joe Morton is also suitably cast as Miles Dyson, the man whose work would lead to the creation of Skynet and there are some great moments with him as he learns of what the future holds.
Not enough can be said of Robert Patrick, who puts in a chilling and predatory performance as the relentless and formidable T-1000, brought effectively to life using revolutionary computer-generated effects (supervised by Denis Muren, who would work with Steven Spielberg on Jurassic Park) which builds upon the pioneering CGI utilised by James Cameron in The Abyss. The equally impressive practical effects and prosthetic/makeup designs are once again handled by Stan Winston and his team, integrating seamlessly into the film to provide a sense of authenticity and believability. The superb technical work on T2 would rightfully result in Academy Awards for make-up, visual effects and sound.
Robert Patrick as the relentless T-1000 Terminator (image credit: StudioCanal).
The action set-pieces remain phenomenal and really hold-up when viewed today, enhanced by Adam Greenberg’s Oscar nominated cinematography. From the opening sequences depicting the war-ravaged future of 2029, the T1000’s tanker truck pursuit of John Connor and his Terminator guardian and the rescue of Sarah Connor from the Pescadero mental institute to the assault on the Cyberdyne labs and the gripping steel-mill finale it’s all thoroughly entertaining, culminating in a crushing emotional pay-off. Adding to this is composer Brad Fiedel who provides another memorable score, his electronic-synth music building upon the themes he crafted for The Terminator, highlighting all the excitement, tension and emotion of T2.
Terminator 2: Judgment Day would go on to gross over $500 million worldwide, a significant sum back in 1991 and a huge hit for the once mighty Carolco Pictures. James Cameron would revisit the film to produce a ‘Special Edition’ extended cut (including a dream sequence that features Michael Biehn as Kyle Reese, reprising his role from The Terminator) two years later and a 3D theatrical re-release in 2017. Beyond its ambitious effects work and action spectacle, T2 is a film with a great deal of heart and humanity at its core and it’s the successful marriage of those components – together with its wonderful cast – that makes it a film that continues to resonate with viewers thirty years later.
Standout moment
Tracking John Connor to a mall, the T-1000, disguised as a police officer, gives chase to its target. But John is not alone as a large, shotgun wielding man comes to his rescue…
Geek fact!
Whilst Earl Boen is another actor to return from The Terminator, as Dr. Silberman, there is one more face from James Cameron’s 1984 classic to appear in Terminator 2: screenwriter William Wisher, who cameoed as an L.A. cop in The Terminator is seen as one of the mall patrons, taking pictures of Arnold Schwarzenegger’s fallen T-800.
Image(s) used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).
Two iconic Titans clash in the latest chapter of Warner Bros/Legendary Pictures’ MonsterVerse series…
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A monstrous clash: two cinematic titans collide in ‘Godzilla vs. Kong’ (image credit: Warner Bros’ Pictures).
Spoiler-free review
Starring: Alexander Skarsgard, Millie Bobby Brown, Rebecca Hall, Brian Tyree Henry, Kaylee Hottle, Kyle Chandler, Demian Bichir, Eiza Gonzalez, Shun Oguri
Directed by: Adam Wingard / written by: Eric Pearson & Max Borenstein (story by Terry Rossio, Michael Dougherty & Zach Shields) / 117 minutes
What’s it about?
The King of the Monsters faces the King of Skull Island as Apex Titans Godzilla and Kong grapple for their place as the victor…
In review
Not since Batman v Superman: Dawn of Justice has there been such an anticipated cinematic smackdown between two titanic pop culture icons and thankfully Godzilla vs. Kong delivers. The latest entry in the Warner Bros/Legendary Pictures ‘MonsterVerse’ series, Godzilla vs. Kong is grandiose, bombastic fun (embellished by Tom Holkenborg’s music score) and fully embraces its roots, melding epic scale action with the bonkers, outlandish B-movie comic book sci-fi (complete with flourishes of ropey character dialogue and moustache twirling villainy) of Japanese kaiju films with the worldbuilding and ancient mythology of King Kong. Godzilla vs. Kong therefore succeeds by just being what it is – a big, dumb roller coaster popcorn blockbuster that doesn’t falter in its efforts to entertain. It’s unlikely to sway the opinion of anyone who hasn’t enjoyed 2014’s Godzilla, 2017’s Kong: Skull Island and 2019’s Godzilla: King of the Monsters but for fans of those films it’s a satisfying treat.
Opening with Godzilla seemingly going on the offensive against humankind as he demolishes a facility owned by the shady Apex Cybernetics, the Monarch organisation, having captured Skull Island’s Kong for study and fearing untold devastation should the two Titans meet, hastily draws up plans to return Kong home. Director Adam Wingard (You’re Next) delivers the incredible effects-laden action with aplomb and with clear joy and enthusiasm (the recently announced ThunderCats feature film is in good hands). From Godzilla and Kong’s scintillating initial face-off, an ocean-bound, battleship-sinking clash to the city-crumbling decimation of their brawl amongst the searing neon-lights of Hong Kong it’s all kaiju fans would want or hope for and an enthralling sugary delight for that inner-child.
Eric Pearson and Max Borenstein’s screenplay provides a functional framework to drive the narrative from point to point (alas lacking the post-war nuclear terrors and environmental concerns allegorically woven into classic Godzilla flicks) between the various showdowns of the two Apex Titans. As was the case with the previous MonsterVerse instalments, the script draws on the rich history of both characters and laces it with fan-pleasing Easter eggs and reverence to the established mythology whilst creating some of its own – the most notable example being Kong’s wondrous journey into the home of his kind, the subterranean realm known as the Hollow Earth (culminating in a gratifying moment where the giant ape demonstrates the ‘King’ portion of his title). Whilst the writing doesn’t seek to overly service the human characters, there’s enough interest to hold the viewers’ attention and keep them invested.
Millie Bobby Brown returns to the MonsterVerse in ‘Godzilla vs. Kong’ (image credit: Warner Bros. Pictures).
Of the human cast, the returning Millie Bobby Brown (the Stranger Things actress reprising her role from Godzilla: King of the Monsters) is a standout as the sparky Maddison Russell, as is Iron Man Three’s Rebecca Hall who plays scientist Ilene Andrews, joined by Alexander Skarsgard (The Stand) as ridiculed author/scientist Nathan Lind. Also returning is Kyle Chandler in the role of Maddison’s father, Mark Russell (it’s worth noting that Chandler also starred in Peter Jackson’s King Kong) albeit in a much smaller capacity and bafflingly, despite being billed in the opening credits, the excellent Lance Reddick makes an all-too brief appearance – leaving one to believe there may be extra scenes left on the cutting room floor.
Newcomer Kaylee Hottle provides a sweet and touching performance as Jia, a deaf Skull Island orphan, under the care of Hall’s Andrews. Saved from devastation on Skull Island by Kong, Jia is a key presence as she utilises sign language to communicate with the great ape, providing some surprisingly heartfelt moments. There’s some goofy humour courtesy of conspiracy podcaster Bernie Hayes (Brian Tyree Henry) and Maddison’s school chum Josh (Julian Dennison, of Netflix’s The Christmas Chronciles: Part 2) to lighten the tone whilst Demian Bichir, Eiza Gonzalez and Shun Oguri make for a trio of suitably cheesy villains. The cast are all fine and enjoyable in their parts, although there is a genuine lack of gravitas in the wake of Ken Watanabe’s absence…his character’s fate in King of the Monsters obviously precluding his involvement, sadly.
Again, it’s not the human characters that the audience is here for and Godzilla vs. Kong treats their true leads with awe and reverence. Given ‘Gojira’ was last to have his own MonsterVerse film, the focus of Godzilla vs. Kong shifts a little more towards Kong who by all intents is the main protagonist and the only hope of halting Godzilla’s rampage. Like the previous films, there is a definite sense of personality to both characters conveyed through the intricate CGI animation and their interactions with the human players – more specifically in the case of Kong here. A little slow in its first act, Godzilla vs. Kong ramps up to a mostly even pace, carefully positioning Godzilla and Kong’s confrontations throughout the film. The finale is perhaps a bit predictable, but the climactic Hong Kong battle facilitates an exciting finish as the two silver screen leviathans face a threat that might be greater than them both, as hinted at in the film’s marketing.
Godzilla vs. Kong obviously isn’t profound or meaningful (at least in terms of intellectual high-art cinema) nor does it intend to or need to be, it’ simply bold, awesome spectacle and the kind of entertainment that’s needed right now.
The bottom line: Godzilla vs. Kong does what it should by bringing audiences an epic, effects-filled extravaganza that pits cinema’s (literally) biggest monsters against one another for an all-mighty clash that’s popcorn entertainment at its purest.
Godzilla vs. Kong is now in cinemas where available and is also viewable (for a limited period) via HBO Max in the U.S. and Premium Video on Demand internationally.
Image(s) used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).
DC core heroes are brought together to face cosmic evil in Zack Snyder’s ‘Justice League’ (image credit: Warner Bros. Pictures).
After much anticipation and feverish expectations, Zack Snyder’s Justice League – affectionately known in fan circles as the ‘Snyder Cut’ – arrived this Thursday courtesy of a long fought, passionate fan campaign and a costly endeavour by Warner Bros. Pictures and the burgeoning streaming platform HBO Max (the film available to U.K. viewers via Sky Cinema/Now TV as part of its international roll-out). $70 million dollars and some hard but dedicated work later, Zack Snyder’s original vision for Justice League has been ceremoniously brought forth into the light and the differences are significant and often astonishing.
Zack Snyder’s Justice League is a spectacular effort that provides an almost completely different viewing experience from that of the more compromised theatrical version which saw Marvel Studios veteran Joss Whedon (director of The Avengers and Avengers: Age of Ultron) brought in to replace a grieving Zack Snyder, following the tragic suicide of his daughter Autumn (to whom this version of Justice League is lovingly dedicated), to oversee post production and studio mandated rewrites/reshoots. It can be argued (though few would) that there is still entertainment value in the flawed but fun theatrical version of Justice League (read the review from 2017 here), as it’s perhaps more easily digestible and no doubt more palatable to the general viewer unaware or less troubled by the commercially-driven ills that befell the final product. For those more inclined to commit to a four-hour running time then there is much to offer in Zack Snyder’s film.
Less of an extended cut (in the vein of Snyder’s superior ‘Ultimate Edition’ of Batman v Superman: Dawn of Justice) of Justice League and more of a total reworking of it, Zack Snyder’s Justice League is a longer, deeper and in many ways more satisfying, often more mighty effort. It’s not for the timid or for audiences attuned, or accustomed to, and with a preference for the brighter, tirelessly upbeat popcorn blockbuster fare of the Marvel Cinematic Universe (as phenomenal as they often are, of course) as this is unmistakably a Zack Snyder film. Visually grand, operatic, mythological and of serious mind and intention, it’s an unconventional superhero epic that demands more from the viewer with a tone that’s more adult (beyond an uptick in bloody violence and peppering of bad language) and delves more deeply into it’s characters, providing expanded back stories and greater depth for the likes of newcomers Cyborg (Ray Fisher, whose role is greatly enhanced), The Flash (Ezra Miller) and Aquaman (Jason Mamoa) joining the already established Batman (Ben Affleck), Wonder Woman (Gal Gadot) and the resurrected Superman (Henry Cavill – thanks to digital tooling, here dons a version of the iconic black rebirth suit from the 1990s Death/Return of Superman comics). The film takes an existing villain, Steppenwolf (voiced by Ciarin Hinds) and adds more dimension – as well as tweaking his physical appearance with stronger CGI – as well as reinstating the overlord of proceedings, the formidable power-hungry cosmic conqueror Darkseid (Ray Porter), who was excised from the theatrical cut. There are a few small character moments from the theatrical version that are sorely missed, such as Batman’s encouragement and reassurance to an overwhelmed and inexperienced Flash during the tunnel battle, but on the whole there is a lot more to chew on (and less goofiness) in Snyder’s cut. Another major change of note is the music score with Tom Holkenborg’s (who, as Junkie XL, collaborated with Hans Zimmer on Snyder’s Batman v Superman) music replacing Danny Elfman’s score and proves stylistically more suited to Snyder’s film.
Admittedly, Zack Snyder’s Justice League is only likely to appeal to hardcore fans of not only the director and his vision for these core DC characters but also is more of benefit to readers invested in the rich mythology of DC comics history, well-versed in classics such as Jack Kirby’s Fourth World and Mark Waid and Alex Ross’s Kingdom Come (to cite a couple of celebrated works). The film treats the titanic DC heroes seriously, recognising the fundamental differences between the DC and Marvel universes. Marvel succeeds greatly by putting the human in superhuman and whilst there is some element of that within the DC pantheon, the DC Universe is largely concerned with mythological fantasy. Is this all to say that Zack Snyder’s Justice League is perfect? No, it’s a little slow in it’s set-up and perhaps a tighter three-hour cut would be more refined, leading more quickly into the pacier urgency of the second half. Is it the greatest superhero film of all time? Again, no, but in many ways it is ground-breaking in delivering something different from the maligned rough-edged romp of the theatrical version. Sadly, Zack Snyder’s Justice League leaves us hanging with the narrative doors wide-open for the envisioned sequels that are no longer on the table with the theatrical edition remaining part of the official DC Films canon, but ignoring it’s epilogue the story is fairly complete, if only to now occupy its own abandoned corner of the multiverse. Whilst Zack Snyder’s Justice League is left as a sort of DC Elseworlds one-shot live-action graphic novel and a promising glimmer of what might or could have been, just as the icons of DC Comics endure, the DC Extended Universe goes on.
Image(s) used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).
Looking at some of the best pop culture offerings in film, TV and comics…
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“Let’s make sure that history never forgets the name…Enterprise”
Recurring guest star Whoopi Goldberg, a key component in the success of “Yesterday’s Enterprise” (image credit: ViacomCBS).
Year: 1990
Starring: Patrick Stewart, Jonathan Frakes, LeVar Burton, Michael Dorn, Gates McFadden, Marina Sirtis, Brent Spiner, Wil Wheaton, Denise Crosby, Christopher McDonald, Tricia O’Neil, Whoopi Goldberg
Director: David Carson / written by: Ira Steven Behr, Richard Manning, Hans Beimler, Ronald D. Moore (from a story by Trent Christopher Ganino & Eric A. Stillwell) / series created by: Gene Roddenberry
What’s it about?
The forbearer to the current U.S.S. Enterprise is brought 22 years into the future via a temporal rift and changes the flow of history, creating an alternate timeline where the Federation is close to defeat in a war against the Klingon Empire…
In review: why it’s a classic
Ask any Star Trek fan about their favourite episodes and it’s likely that many would include “Yesterday’s Enterprise” on their list – there’s no argument that it’s not just an outstanding instalment of Star Trek: The Next Generation but a gripping piece of science fiction drama in its own right. From a story by Tent Christopher Ganino and Eric A. Stillwell, “Yesterday’s Enterprise” sees Captain Picard and the crew of the U.S.S. Enterprise ‘D’ confronted with the preceding Enterprise ‘C’ which appears in the present, causing devastating changes to the timeline with the United Federation of Planets on the losing side in a war with the Klingon Empire. With history recording that the Enterprise C disappeared during a battle to save a Klingon outpost from destruction by Romulan warships and Guinan sensing that something is not right, Picard and his crew believe that their only hope is for the previous Enterprise to return to its own time where the selfless sacrifice of the ship and its crew, seen by the Klingons as an honourable act, could avert a terrible conflict.
A thrilling and engaging story, “Yesterday’s Enterprise” is also iconic for facilitating a guest return for Denise Crosby as Lt. Tasha Yar, who was killed back in “Skin of Evil” in the first season of The Next Generation. The teleplay’s writers include Ira Steven Behr, future writer and showrunner of Star Trek: Deep Space Nine and Ronald D. Moore, who would go on to co-write feature films Star Trek: Generations and Star Trek: First Contact (and subsequently develop the reimagined Battlestar Galactica series) and their presence is heavily felt with a strong focus on characterisation and statements of morality, qualities that lift “Yesterday’s Enterprise” (and for that matter, any great Star Trek episode) above its core SF concept. It’s through the darker and more hopeless scenario of a deadly and costly war that we appreciate the altruistic values of the Federation as we know it and that the brave acts of a few can benefit the many.
Denise Crosby returns as Tasha Yar in “Yesterday’s Enterprise”, also featuring Christopher McDonald as Lt. Castillo (image credit: ViacomCBS).
“Yesterday’s Enterprise” boasts a reliably strong performance from Patrick Stewart, at this point in the series he is fully invested and committed to the role of Captain Picard and gets to add a subtle shade of grit to his character who in the altered timeline is a military commander as opposed to an explorer and diplomat. The regular supporting cast all play smaller but significant parts with Brent Spiner’s Data being a particular standout, but it’s arguably the guest stars who really enhance “Yesterday’s Enterprise”. Denise Crosby’s return is a welcome one and she is provided with meaningful material, Christopher McDonald delivers a likeable performance as Enterprise C helmsman Lt. Castillo (and sharing great chemistry with Crosby, essential for the romantic bond that develops between their characters) and Tricia O’Neil brings authority to the role of the Enterprise C’s captain, Rachel Garrett. Yet, it’s Whoopi Goldberg who shines the most – her appearances as the mysterious and noble Guinan always add significantly to any episode of Star Trek: The Next Generation but her portrayal in “Yesterday’s Enterprise” is particularly impressive with a passionate and layered performance. Goldberg’s scene with Stewart’s Picard in which she pleads that the Enterprise is not supposed to be a ship of war, but a ship of peace is especially poignant and really captures the heart and soul of Star Trek.
David Carson’s direction is skilled and attentive, his staging of scenes and positioning of the actors together with the use of various angles and close-ups draw the viewer further into the drama. Carson is also adept at cranking up the pace as he executes tense and energetic action scenes and it’s no surprise that Carson (whose first credit for Star Trek: The Next Generation was “The Enemy”, from earlier in the third season) would be called on again to helm further Star Trek episodes, including the premiere of Star Trek: Deep Space Nine and also The Next Generation’s first big screen outing, 1994’s Star Trek: Generations.
As exciting as it is emotionally impactful, “Yesterday’s Enterprise” is yet another example of Star Trek at its best and an exemplary piece of storytelling that continues to resonate over thirty years later.
Standout moment
Learning from Guinan that she died a senseless death in the original timeline, Tasha Yar confronts a conflicted Captain Picard with a request to transfer to the Enterprise C and face a potentially more gallant fate…
Geek fact!
Tricia O’Neil would return to Star Trek again with guest roles as a Klingon scientist in sixth season TNG outing “Suspicions” and as a Cardassian military observer in the DS9 episode “Defiant”.
If you like this then check out…
Star Trek: Voyager – “Timeless” : fifteen years after the loss of the U.S.S. Voyager during a daring attempt to return home, former officer Harry Kim plans to alter history and prevent the disaster from ever occurring.
Image(s) used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).
‘Star Trek: Discovery’ goes boldly into the future…
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The cast of ‘Star Trek: Discovery’ assemble as they raise the flag for season 3 (image credit: ViacomCBS).
Warning! Contains SPOILERS
Starring: Sonequa Martin-Green, Doug Jones, Anthony Rapp, Mary Wiseman, Wilson Cruz, Michelle Yeoh, David Ajala, Blu del Barrio, Ian Alexander, Janet Kidder
Series created by: Bryan Fuller & Alex Kurtzman (based upon Star Trek, created by Gene Roddenberry)
What’s it about?
Michael Burnham and the crew of the U.S.S. Discovery find a new adventure awaits them as they arrive in the 32nd Century…
In review
For its third season, Star Trek: Discovery enters unknown territory as Commander Michael Burnham (Sonequa Martin-Green) and the U.S.S. Discovery and its crew make their one-way trip 930 years into the far future of the 32nd Century – the farthest point in time in which a Star Trek series has taken place. It’s another entertaining outing that allows Star Trek: Discovery to chart its own course whilst keeping an eye on the history of the franchise to deliver some surprising moments of fan service. Things get off to a slightly uneven start as Discovery’s writers and lead producers Alex Kurtzman and Michelle Paradise contend with balancing standalone narratives with this season’s overarching story (more on that in a moment) but everything begins to ramp up and coalesce as the end line approaches, leading to an engaging tranche of final episodes.
Picking up right where season two left off, the third season’s opening episodes – “That Hope is You, Part 1” and “Far From Home“ deal with Burnham and the Discovery’s arrivals in the 32nd Century, which thanks to temporal mechanics comes one year apart. Despite the defeat of the malevolent A.I. known as Control and sentient life being kept safe from annihilation, with the universe-spanning Sphere Data merged into Discovery’s systems, we find that the galaxy is in a troubled place following ‘The Burn’, a sudden catastrophic event occurring a century earlier. In this incident, the majority sources of the warp drive enabling substance Dilithium simultaneously detonated along with any starship with an active warp core, claiming millions of lives and the decimation of both the Federation and Starfleet.
Given the scarcity of Dilithium, coupled with Starfleet’s diminished numbers and inability to operate properly it’s a job that only Discovery, with its unduplicated space-hopping spore drive, can achieve and on which the remnants of Starfleet must rely. Hindering their mission is the threat of the Emerald Chain, a nefarious mercantile group that seeks to fill the galactic power void left by a contracted United Federation of Planets – of which its founding centre, Earth, is no longer a member. It paints a grim picture that mirrors our currently fractured and disconnected world, but the hope that Discovery can uncover the origin of The Burn and find a way to rebuild Starfleet and the Federation is what forms the positive backbone of this season.
The backdrop to the seasonal arc is established in the early episodes of season three, which also facilitate the introduction of some new characters. Upon her arrival in the future, Burnham meets Cleveland “Book” Booker (David Ajala, sharing some great chemistry with Sonequa Martin-Green) an initially roguish space courier from whom she learns of The Burn as well as the galaxy’s status quo and finds herself partnering with as she awaits the arrival of Discovery. Book is an enjoyable addition to the series as he becomes a helpful ally to the Discovery crew and hopefully Burnham and Book’s exploits during the year-long wait for Discovery will be detailed in a future novel or comic book title as it’s something that’s sadly only touched upon on screen.
In keeping with the traditions of Star Trek, Discovery further expands the diversity of its cast and characters by adding non-binary actor Blu del Barrio and transgender actor Ian Alexander (who performed the role of Lev in video game sequel The Last of Us Part II) to the group. Del Barrio plays Adira, a human joined with a Trill symbiont after its former host, Gray – Adira’s boyfriend – is tragically killed. Del Barrio brings a wonderfully sensitive performance to the likeable Adira and given that their character is taken under the wing of Lt. Cmdr. Stamets and Dr. Culber, del Barrio gets to share some great scenes with series regulars Anthony Rapp and Wilson Cruz. Ian Alexander, though given less to do, is equally effective as he features in flashback scenes as well as mysteriously appearing, sporadically, to Adira.
New crewmate Adira (Blu del Barrio) joins Cmdr. Burnham (Sonequa Martin-Green) onboard Discovery (image credit: ViacomCBS).
Rounding out the guest cast is Oded Fehr who is excellent as Starfleet’s noble, no-nonsense commander in chief, Admiral Vance and oddly, iconic film director David Cronenberg, who appears as the enigmatic ‘Kovich’. Little is known about Kovich at this point but with Cronenberg confirmed to return in season 4, we’ll surely find out more. Season three finds its big bad in the form of Osyraa, the Orion leader of the Emerald Chain – played by Janet Kidder (niece of Superman’s Margot Kidder). Though more of a straightforward villain than a compelling antagonist, Osyraa proves a formidable enough foe as things ramp up towards the season finale.
Of the established Discovery cast, all have their moments this season. Sonequa Martin-Green continues to be the centre of the series and is given a lot to tackle, given Burnham’s year working with Book and her doubts about her future once she reconnects with Discovery. These feelings are eventually allayed but Burnham finds her time with Book has reawakened some old habits and despite good intentions, she rashly defies orders to rescue Book from the Emerald Chain in “Scavengers” resulting in her removal as first officer, much to Saru’s disappointment. Speaking of whom, Doug Jones is once more a standout as Saru, who rightfully (and not unexpectedly) earns his promotion to captain of the U.S.S. Discovery. Yet, the investigation of The Burn also leads to some personal stakes and a clouding of judgement when a Kelpien distress signal is discovered. Burnham’s demotion leads Saru to entrusting Ensign Sylvia Tilly as acting first officer, a decision that on the face of it might seem ridiculous but is earned given Tilly’s growth as a character – her commitment to the command training programme and trustworthiness as well as her stint as ‘Captain Killy’ in the Mirror Universe, all make sense of the creative choice. As Tilly, Mary Wiseman has always been the heart of Discovery and excels in demonstrating the young ensign’s abilities – and shortcomings – in a leadership role.
Wilson Cruz is also great as Dr. Hugh Culber, who after his post-rebirth soul searching and self-doubt finds he is now more at peace with himself and a point of moral counsel for his crewmates, evidenced in “People of Earth“ which deals with the crew’s trauma at what they’ve gone through and left behind. A lot of this is focused through Discovery’s helm officer, Lt. Detmer, giving Emily Coutts a chance to step-up and enjoy some uncomfortably tense moments with Stamets as her mounting post-traumatic stress reaches a breaking point. It may be a misconception that there shouldn’t be conflict between characters in Star Trek, it’s actually always been present since the original series, only side-stepped in the early years of The Next Generation at the behest of series creator Gene Rodenberry. Trek has always utilised instances of conflict to facilitate drama but in the end, it always serves to create an understanding and strengthen the familial bond between the core characters – as it does so here.
As with previous seasons there are some standout episodes. One highlight is “Unification III”, penned by series writer/producer and Trek novelist Kirsten Beyer. It’s a revisitation of the Star Trek: The Next Generation two-parter “Unification”, where Ambassador Spock (the late, great Leonard Nimoy – who we get to see courtesy of footage from the TNG story) sought the reunification of the divergent Vulcan and Romulan races. “Unification III” finds that this was finally achieved after the destruction of Romulus (see Star Trek 2009/Star Trek: Picard), with Romulan survivors living on the Vulcan homeworld, now known as Ni’Var – another world which has seceded from the Federation (at least it’s heartening to have learned that the Kelpien homeworld, Kanimar has since joined). The episode helps to paint the wider cosmic picture in terms of post-Burn politics and relations and sees Burnham reunited with her time-travelling mother (the superb Sonja Sohn), who, in a neat tie-in to Star Trek: Picard, has been living in the future as a member of the noble Qowat Milat group.
The two-part “Terra Firma” is also rather good (following the disappointment of the Book-focused “The Sanctuary”), seeing the departure of Michelle Yeoh’s Philippa Georgiou as she prepares to head-up the gestating Section 31 series and a return (of sorts) to the Mirror Universe courtesy of the mysterious ‘Carl’ (CSI’s Paul Guilfoyle), guardian of an equally mysterious doorway. Whilst it’s fair to say that the Mirror Universe may have been played out in Star Trek for now (perhaps more so since Discovery went there for half a season) it serves Georgiou well, providing reasons for the softening of her character since her arrival in the Prime Universe. It also gives us a chance to see, in keeping with the spirit of Mirror U outings, the delightfully over-the-top dark and ruthless versions of familiar characters, this time including the Mirror Burnham (alas, mentions of Jason Isaac’s Gabriel Lorca don’t lead to a cameo), with Sonequa Martin-Green clearly relishing the role. It also affords Michelle Yeoh an opportunity to grapple with a conflicted and surprisingly vulnerable Georgiou. The biggest surprise of the season comes in “Terra Firma, Part 2”, learning that Georgiou’s trip to the Mirror Universe was simply a test of worthiness by Carl, who reveals himself as…the Guardian of Forever! This tie-in to one of the all-time classic Star Trek episodes, “The City on the Edge of Forever” is a golden moment which expands the mythology of the Guardian (not seen since the also-classic animated Star Trek episode “Yesteryear”) by combining what was established in the televised version of “The City on the Edge of Forever” with Harlan Ellison’s original concept. The two-parter concludes with Georgiou’s poignant farewell as she enters the Guardian’s portal to travel to an unknown time and place – leaving viewers awaiting the Section 31 series to see how Georgiou’s story continues.
The Guardian of Forever returns (image credit: ViacomCBS)!
It’s also worth mentioning that after its journey to Starfleet’s space-bound HQ (in “Die Trying“), Discovery receives a nifty futuristic refit (complete with bizarrely independent warp nacelles) and upgraded technology to bring her more in line with the standards of other 32nd Century Starfleet ships, including the U.S.S. Voyager-J and the Eisenberg-class U.S.S. Nog (a touching tribute to late Deep Space Nine actor Aron Eisenberg and his character in that series). As for the Sphere Data, this begins to manifest itself via Discovery’s main computer (which plays into the events of the season finale), foretelling what was seen in the Short Treks instalment “Calypso”.
Season three is wrapped up in a trilogy of final episodes. “Su’Kal” is a surreal outing in which the cause of The Burn is revealed – a Kelpien named Su’Kal (Bill Irwin), marooned at birth on a Dilithium rich planet and raised by various holograms in an elaborate holographic environment. It’s a great episode for Doug Jones, not only because Saru gets to connect with another being of his race but also for the fact that the setting allows Jones to appear sans his Kelpien make-up. The explanation for the Burn and Su’Kal’s link to it are a little vague although ultimately cleared up in the season finale, but in basic terms, it’s presented that when Su’Kal becomes emotionally unstable, so does the Dilithium around him. Su’Kal’s trauma of his mother’s death caused such an event, creating a chain reaction on a galactic level, resulting in what becomes known as The Burn. Whilst some might be disappointed by this reveal and its metaphysical nature, it’s actually an unexpected one and a welcome alternative to the predictability of The Burn simply being the responsibility of a villainous individual or group. Penultimate episode “There is a Tide…” is an exciting and unabashed homage to action classic Die Hard as Ossyra and the Emerald Chain seize Discovery (and thus its spore drive) placing Burnham in the main action role as the incarcerated acting captain Tilly and Discovery bridge crew plot to retake the ship, which provides an opportunity for stalwart ancillary characters Detmer, Owosekun (Oyin Oladejo), Rhys (Patrick Kwok-Choom) and Bryce (Ronnie Rowe Jr.) to play an active part here and in the finale.
The season finale, “That Hope is You, Part 2” brings everything to an action-packed and effects-laden close which, for better or worse, is generally par for the course with most long-form narrative streaming shows but although there is the tendency for Discovery’s producers to overindulge in the feature film visuals afforded the series (an example being the elaborate turbolift shaft sequence which becomes a little excessive) it does keeps the viewer hooked. It gets all a bit frantic but the resolution sees the Emerald Chain defeated (albeit rather quickly and conveniently) and Su’Kal separated from the Dilithium rich environment, now providing Starfleet with a vital source to fuel the warp drive capabilities of its ships. Surprisingly, Saru decides to depart Discovery and return to Kanimar with Su’Kal (at least temporarily we’re assured as Doug Jones is returning for the now in production fourth season). That leaves the captain’s chair of the U.S.S. Discovery vacant, a position that Admiral Vance offers to Burnham – which after brief hesitation, she accepts. It’s not a totally unexpected development as it was likely that the show’s main character would eventually end up in a command position and it puts things in an interesting position that will hopefully conclude Burnham’s arc of redemption. The finale also sets the series on a positive and hopeful path as the work to reconnect Starfleet and rebuild the Federation truly begins and that promises a very Star Trek-like direction for the series going forward.
The bottom line: Star Trek: Discovery transports viewers into the far off future of the 32nd Century for another entertaining chapter in the series with some standout episodes and fine cast performances.
All episodes of Star Trek: Discovery’s third season are now available to stream via CBS All Access in the U.S. and via Netflix internationally (Canadian viewers can watch it via the Crave TV service).
Image(s) used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).
It’s Superman vs. General Zod in the 1980 sequel to ‘Superman: The Movie’…
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Christopher Reeve returns as the Man of Steel in ‘Superman II’ (image credit: Warner Bros. Pictures).
Year: 1980
Starring: Gene Hackman, Christopher Reeve, Terence Stamp, Sarah Douglas, Margot Kidder, Jack O’Halloran, Susannah York
Directed by: Richard Lester / written by: Mario Puzo and David & Leslie Newman (Superman created by Jerry Siegel and Joe Shuster)
What’s it about?
Relinquishing his powers to become mortal so that he can be with Lois Lane, Superman soon faces the threat of General Zod and his fellow Kryptonian criminals who have escaped the Phantom Zone…
Retrospective/review
Not quite the classic that Superman: The Movie is, Superman II is still a fun and generally pleasing sequel with its light-hearted, family-orientated and occasionally goofy approach making it a product of its time. As is now widely known, Superman II began shooting back-to-back with Superman: The Movie under the direction of Richard Donner. The demands and pressures to get the first Superman completed in time for its December 1978 release resulted in suspension of work on Superman II and mounting tensions between producers Alexander and Ilya Salkind and Donner would see the filmmaker’s departure from the sequel. This led to Donner being replaced by director Richard Lester who would go on to reshoot much of what Donner had already filmed, establishing a slightly less dramatic and more comic strip tone.
Debuting in time for Christmas of 1980, Superman II sees the return of Christopher Reeve as Clark Kent/Superman who finds he is forced to reveal his true identity to an increasingly suspicious Lois Lane (Margot Kidder) and decides to relinquish his powers in order for the pair to be together. It’s a sacrifice that comes at a cost when Kryptonian criminal General Zod and his cohorts are released from imprisonment in the Phantom Zone (as per the opening act of Superman: The Movie) and arrive on Earth, the yellow sun’s radiation blessing them with super abilities. Realising his advantage, Zod sets about subjugating the people of Earth and seeks vengeance against the son of his jailor, Jor-El – Superman himself! The de-powered Man of Steel has no choice but to find a way to defeat Zod before it’s too late.
Superman II is pure comic book entertainment of a simpler time and whilst inferior to Superman: The Movie it’s a highly enjoyable follow-up. Unsurprisingly, Christopher Reeve shines as the Man of Steel with all the confidence, nobility and humanity audiences expected. Margot Kidder likewise puts in another sparky performance as the determined Lois Lane and shares great chemistry with Reeve. Terence Stamp is excellent in the role of General Zod, with a lighter take on the villain that can’t really compare to the fiercer and more formidable version portrayed by Michael Shannon in Man of Steel but Stamp brings gravitas and a believability to the character and together with Sarah Douglas’ uber femme fatale, Ursa, and Jack O’Halloran’s hulking mute, Non, provide a suitable threat to challenge Superman. The central hero has more than ‘just’ a trio of Kryptonian adversaries to contend with as Superman II brings back Gene Hackman (once more receiving top-billing) for another enjoyably sinister turn as the devious Lex Luthor, who having escaped prison (facilitating a cameo by Ned Beatty as the bumbling Otis) locates Superman’s Fortress of Solitude and unlocks its secrets, then seeks to form an alliance with Zod to achieve his own villainous ends.
Terence Stamp stars as General Zod in ‘Superman II’ (image credit: Warner Bros. Pictures).
The script from Mario Puzo and David & Leslie Newman is fun, balancing humour, drama and action with numerous heart-felt moments. Whilst some of the effects work now appear a little dated, the action sequences remain engaging under Richard Lester’s capable direction – especially Superman’s battle with Zod in the heart of Metropolis and the climactic face-off in the Fortress of Solitude. There are some odd abilities on display in terms of powers – Zod’s telekinetic eye beams, the Kryptonians’ game of teleportation during that aforementioned showdown in the Fortress of Solitude and of course, Superman’s throwable chest symbol (affectionately parodied in the hit animated comedy, Family Guy)…a little bizarre, but not totally ridiculous when considered alongside Silver Age Superman comics. The resolution to the restoration of Superman’s powers is a little quick and convenient as is the amnesia kiss Clark employs to erase Lois’s knowledge of his identity, acting as a reset button for further instalments. These are all little moments that although a tad silly, have their charm if accepted at face value and taken in the right context.
In 2006, Warner Bros. Home Video would release Superman II: The Richard Donner Cut, where all of the footage shot by Richard Donner would be restored and edited with the gaps filled in by sequences from Richard Lester’s theatrical version of the film, screen test footage and some CGI elements. In a number of ways it’s a superior version, not in the least for the restoration of scenes with Marlon Brando’s Jor-El (replaced by Susannah York as Lara-El in the theatrical version to avoid having to pay Brando another hefty fee), a more serious tone and the incorporation of music by John Williams from Superman: The Movie. It’s definitely worth checking out but the at times cumbersome assembly of the cut (Donner’s Superman II was after all an incomplete production) leaves it feeling less definitive and admittedly there are some moments from Lester’s film that are arguably better…Superman asking Zod if he’d care to “step outside” has much more impact than the original line regarding “freedom of the press”, a small but significant example. There’s no doubt that if Donner had been able to complete his version of Superman II back in 1980 there’s every chance that it would have been something special but as it stands the Donner Cut is a curiosity that’s a treat for fans to be able to experience.
Superman II is solid entertainment and despite falling short of the high bar set by Superman: The Movie is a worthy sequel to a beloved classic and a comic book adventure that’s suitable viewing for all ages.
Geek fact!
Appearing in Superman II is the late Shane Rimmer, voice of Scott Tracy in Gerry Anderson’s classic puppet series Thunderbirds and would also go on to have a small role in Christopher Nolan’s Batman Begins.
All images herein remain the property of the copyright owners and are used for illustrative purposes only.
Before the genesis of the MCU, Marvel’s most treasured icon made his big-budget silver screen debut in Sony’s ‘Spider-Man’…
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Poster art for director Sam Raimi’s ‘Spider-Man’ (image credit: Sony Pictures/Marvel Entertainment).
Year: 2002
Starring: Tobey Maguire, Willem Defoe, Kirsten Dunst, James Franco, J.K. Simmons, Rosemary Harris, Cliff Robertson
Directed by: Sam Raimi / written by: David Koep (Spider-Man created by Stan Lee & Steve Ditko)
What’s it about?
Bitten by a genetically engineered spider, teenager Peter Parker finds he is endowed with enhanced strength and senses which he utilises for good as the heroic costumed vigilante ‘Spider-Man’…
Retrospective/review
Whilst the great explosion of comic book films began in the summer of 2000 with the release of 20th Century Fox’s X-Men, the continued success of the genre was undoubtedly secured by the debut of Sony/Columbia Pictures’ Spider-Man two years later. Helmed by Sam Raimi, director of The Evil Dead – and a huge Spider-Man fan – with a screenplay by David Koepp (Jurassic Park), the first big screen outing for Marvel’s iconic webslinger is well worth revisiting. Being Marvel’s most treasured character, Spider-Man had previously been adapted into live action in a short-lived late 1970s television series and had more recent success on the small screen with the hit animated series which ran between 1994 and 1998. After an aborted attempt by Aliens and Terminator 2 director James Cameron to bring Spidey to the big screen in the mid-90s with Carolco Pictures, Sony’s Spider-Man would hit cinemas in the summer of 2002.
An origin story, Spider-Man sees high school student Peter Parker, gifted with the proportionate strength, enhanced senses and wall-crawling abilities of an arachnid after being bitten by a genetically engineered spider (a modernised take on the more atomic age inspired radioactive one of the comic book), turn to a secret life of costumed crime-fighting following the murder of his uncle, Ben – an act he finds he could have prevented but fails to do so. His heroic vigilante alter-ego identified by the public as ‘Spider-Man’, Peter is soon faced with the challenge of the ‘Green Goblin’, a deranged villain who begins terrorizing New York from the skies above with his aerial military assault glider.
Kirsten Dunst as the iconic red-headed girl next door, Mary Jane Watson (image credit: Sony Pictures/Marvel Entertainment).
In the lead role of Peter Parker/Spider-Man is Tobey Maguire, bringing to the screen the awkward, nerdy underdog qualities of the smart but meek Parker boy, with all the cares and ills of an everyday teenager to life whilst infusing his guise of the ‘Friendly Neighbourhood Spider-Man’ with the requisite dose of heroism, humour and good-heartedness. He shares good chemistry with co-star Kirsten Dunst, who plays Mary Jane Watson, the seemingly unattainable red-headed girl next door he yearns to be with. Equally suited is James Franco as Peter’s best friend, Harry Osborne, completing the central trio who will grow and develop over the course of the Raimi Spider-Man trilogy. Filling the important parts of Peter’s Uncle Ben and Aunt May are, respectively, Cliff Robertson and Rosemary Harris with both actors deftly providing the supportive and loving parental roles that are a key component of the Spider-Man mythos.
As Norman Osborn/Green Goblin, Willem Defoe delivers an increasingly unhinged turn with Osborn’s path to insanity unfolding as the chemically induced persona of the Goblin takes hold. The scenes in which Osborn ‘converses’ with the Goblin (in the mirror/via the Goblin armour helmet) are an irrefutable highlight of Defoe’s performance. Granted, the design of the Goblin suit is a little like something out of Power Rangers but that doesn’t detract from the overall threat. There cannot of course be any discussion of Spider-Man without praise for the inimitable J.K. Simmons as the cantankerous chief of the Daily Bugle newspaper, J. Jonah Jameson. Simmons’ energetic portrayal of Jameson is such a delight and his crusade against what he perceives as the menace of Spider-Man bringing another essential ingredient to the mix.
Sam Raimi directs with a genuine passion and clear understanding of the Spider-Man character and his world. Raimi’s horror background adds a pleasing hint of the gothic and a dash of dark humour to proceedings accentuated by the music score from composer Danny Elfman, who also provides a main theme as recognisable as that of the 1960s Spider-Man cartoon and as epically sweeping and heroic (complementing those exhilarating web-slinging scenes superbly) as Elfman’s previous work for Tim Burton’s Batman and Batman Returns. The action is engaging and expertly staged, with an exciting and tense finale that’s also shockingly brutal as Osborn’s Goblin proves his physical might over the young and inexperienced hero.
The friendly neighbourhood web-slinger faces the deranged ‘Green Goblin’, played brilliantly by Willem Defoe (image credit: Sony Pictures/Marvel Entertainment).
Spider-Man remains largely faithful to the source material and despite the contemporary setting it very much feels like the classic Lee/Ditko comics of the early 60s, adhering to the spirit and core elements of those original stories – not in the least the tragic death of Uncle Ben. Driven by Ben’s wise words that “with great power comes great responsibility” (invoking Stan Lee’s immortal phrasing from the Marvel Comics) to use his abilities for good, it also reminds us that the burdened hero is often the most interesting and identifiable and part of the reason why Spider-Man is such an enduringly popular fictional character. There is one significant change from the established lore in Peter’s ability to shoot webbing organically from his wrists, as opposed to the mechanical web-shooters and web fluid he would invent in the comic. It’s a slightly odd element that was (supposedly) retained from James Cameron’s treatment that would later be rectified with The Amazing Spider-Man reboot and continued in the recent Marvel Studios iteration.
Received favourably by audiences, Spider-Man is a solid, highly entertaining first big-budget cinematic outing for the Marvel Comics character which would lead to a sequel that many still consider one of the best comic book films of all time.
Geek fact!
The Evil Dead star Bruce Campbell cameos as a wrestling ringleader and would also go on to appear in Spider-Man 2 and 3.
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