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My Top 10 favourite films- redux

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Waaaay back in 2013 I did my list of favourite films. Well, I was 12 then and hadn’t seen as many films as I have now, and with my film studies course I have been checking out films I never thought I would see. My new found passion for films has opened my eyes to what truly makes a film great and why I personally love them so much. There’s some films on this new list that were there before, and some which weren’t, including number 1. I regret not being able to stick in my childhood movie, The Nightmare Before Christmas, but there was just too much competition. Let’s dive right in with-

10. Alien

This is quite possibly the best paced film in the history of cinema. I’m not a massive horror fan, but combine the slasher genre with the sci-fi genre and you have a winning combination that appeals to me in every way. Everything about this film is masterfully done, with a slow build up that escalates into something utterly insane. The set design and production values are second to none, and this still looks amazing nearly forty years later. I was on the edge of my seat the whole time I watched this, and I only saw it recently. I’m glad I did, as not only has it inspired my recent writings and ideas, but it prepared me for my current film studies unit, where Ridley Scott is one of the auteurs we are studying. He is a master of detail and visuals, and this film has some of the best production design and atmosphere I have ever seen. It’s such a stunning film on a purely visual level.

 

This is a rare film where everything clicks into place. The direction is outstanding, the use of silence is genius, the acting is genuine and believable (the chest-burster scene had real reactions from the cast, who did not know there would be that much blood) and the script is brilliant. On top of being a terrifying sci-fi/horror film, this film throws in social commentary through the android Ash, with the implication that the Company are willing to throw away human lives for the sake of studying the alien and that Ash is willing to do anything to achieve the Company’s goal. It’s subtle and not in your face, leaving the main story focused on the survivors battling an unknown, unstoppable force. The characters are not the most complex but they are relatable and human- Ripley is of course one of the greatest sci-fi heroes ever, female or otherwise. Every other scene tops the last one in intensity and drama and this is why I prefer Alien to basically every other horror film ever (barring John Carpenter films). Ridley Scott approaches jump scares and gore subtly and implies more than shows, barely showing the alien despite the brilliant costume. It’s directing choices like this that allow me to appreciate the film more than just a slasher/horror film, which I’m not a big fan of otherwise. In terms of atmosphere and sheer thrills, very little comes close to this film. I love Aliens (I haven’t seen the other films other than the first two, and I don’t think I’m missing much) and I love some of Ridley Scott’s other films (Blade Runner, Gladiator and The Martian come to mind) but this is his masterpiece. It’s a worthy addition to my favourite films list.

9. The World’s End

If there’s any filmmaker working today who is worthy of the title “film auteur”, it’s Edgar Wright. He is responsible for some of the best and funniest movies I have ever seen, with Baby Driver being one of my favourite films of last year. What I admire most about his films is how he makes movies that are simple and fun on a surface level, but very complex and thematic when you take a closer look at them. You can write whole essays on his films (I did) and in the conclusion to the superlative Three Cornettos Trilogy, Edgar Wright gave the world his absolute best, in my opinion. The World’s End is a perfect combination of laugh out loud comedy with very real and dramatic ideas and themes driving the narrative forward. It’s a film that stays with you long after you finish watching it and I can’t think of a more perfect end to the trilogy.

Let’s start with the ingenious premise. What if a British pub crawl by five friends became a fight for Earth? And what if the friends are too drunk to even notice until halfway through that their hometown has been taken over by robots-that-aren’t-robots/blanks/smashy smashy egg men? And what if the leader of the group is a man-child living in the past, only being able to gain fulfilment in life by completing the pub crawl he started at seventeen? Comedy gold and heavy introspection about personal fulfilment and nostalgia ensues. Everything about the script (written by Edgar Wright and star Simon Pegg, who was snubbed for a Best Actor nomination that year) is top-notch. Gary King is a masterpiece of a character and commands the film from beginning to end. He is utterly reliant on nostalgia and the past, believing that the past is better than his life as an adult. In contrast to the rest of the characters, Gary hasn’t moved on, seeing The Golden Mile as the only way to progress. The alien invasion supplements this, as the aliens recreate the town’s past in their plan for domination, and it takes a character as over the top and counter-culture as Gary King to stop them. Even with all the complex themes, the movie is still hilarious and has a strong and engaging mystery plot, coupled with awesome action sequences and a sense of fun. Many fans of the other two films in the Cornetto trilogy see this film as too dark, but for me it’s the perfect way to end the most intelligent comedy series ever made. It’s about moving on from the past and forging a future in a changed world. Edgar Wright has never made a bad film (heck, he’s never even made a good one, they’ve all been amazing) and this is my favourite.

8. Monty Python and the Holy Grail

The. Funniest. Film. Ever. I mean, there’s laugh-a-minute and then there’s Holy Grail. Every joke hits and there’s pretty much every kind of joke imaginable- visual comedy, character humour, puns, innuendo, slapstick and fourth wall breaking. Monty Python are pretty much the crown jewels of British comedy and this film is the epitome of why we Brits are the kings of comedy. Even if you’ve never seen this film, you know at least 75% of the film due to its placement in pop culture. In fact, in Britain Holy Grail is required as part of the English National Curriculum (I’m joking, but I wish it was). How many people don’t know the Black Knight scene off by heart?

The genius of this film is taking the material completely seriously and yet not at all. The problems with the majority of comedy nowadays is how they always mention how silly they are, whilst Monty Python take everything in the film as if it’s normal. The coconuts-as-horses, the Black Knight losing his limbs and the Knights who say Ni are treated perfectly normally and straight. I cannot emphasis how important it is to take comedy material seriously, especially if it’s ridiculous. It sounds weird, but it is vital for comedy to be treated seriously to work. Holy Grail is such a crazy and over the top film that is highly entertaining. It’s Flying Circus with a budget and it’s probably the second best continuation of a TV show in film, the first of which I’ll get to later. My absolute favourite set piece in the film is the utter perfection of the bridge scene, taking in every running gag of the film and it gives every character something funny to do. It’s also a great film to study if you want to know where Terry Gilliam gets his mad genius from in his other films like Brazil and Time Bandits. This isn’t a deep or complex film, it’s just an absolute blast that will never get old.

7. The Empire Strikes Back

Thirty years and seven movies on, and Star Wars still hasn’t topped one of the greatest movie sequels of all time. I have seen this film five times and every time it is a fantastic experience. Everything great about the first film is expanded upon and twisted to create both a perfect continuation and a standalone masterpiece that still holds up. Pushing aside the memes, the iconic twist and the parodies, the film stands as an examination of power, family and good vs evil. This film has been examined and analysed so much I almost feel like summarising it is pointless, but there is so much to this film that I absolutely adore. Right down from the opening Battle of Hoth to the iconic final shot, Empire Strikes Back is perfectly structured and paced. It splits the heroes up and forces all of them to confront new challenges and ideas.

Infinitely darker and introspective than the first, this sequel is all about how to deal with all-oppressive odds. Luke’s journey in this film takes him from a optimistic hero to a broken character who nonetheless breaks through his trauma to continue fighting the Empire. He meets Yoda and finds out that the Force does not define who a person is- the person defines who the person is. A little green man ends up being the driving force of the film’s themes and I cannot emphasise how profound and well written the Dagobath scenes are. The special effects and action scenes add rather than detract from the story and still look amazing, with the majority of the model work still holding up to today’s CGI. John Williams is the MVP of the film for me. How can you not hum the Asteroid theme or The Imperial March? For all the flashy effects and action, the relative lack of plot supplements the highly personal and emotional story being told. It’s about the rights and wrongs of the Force and the negatives of heroism, yet it is also optimistic in its outlook about friendship and the goodness inside everyone. The highlight of the film outside of Yoda is Darth Vader, the greatest movie villain of all time. His cool presence, commanding character and surprising depth and complexity make him a fascinating character to watch, and it’s made all the more brilliant by the still amazing twist. Everything about the movie is building up to that brilliant, genre defining moment which changes everything. Now Luke isn’t just fighting to save the galaxy, he’s fighting to save his father and bring balance to the Force. I don’t think I need to go any further, this movie is iconic and it deserves to be.

(Slight edit here: I thought I scheduled this post for the 7th of May. Turns out it was the 4th. May the Fourth Be With You.)

6. Spider-Man 2

I’ve gushed about this movie before but I think I only scratched the surface on why this movie is a masterpiece. It’s the best comic book film ever made in my opinion, and only The Dark Knight, Logan, Black Panther and Hellboy 2 come close. Sam Raimi took a beloved character and solid foundations with the first film and made a film that’s less about superheroes and more about what it means to grow up, change and be a better person, and he did it with an amazing story combined with astonishing action, humour, respect to the source material and so much more to create the perfect superhero film. Even though this film is over ten years old, I still don’t think the superhero film genre has ever come reached the perfect heights of what was achieved in this film- a perfect blend of comic book action and themes combined with the added benefits of the film medium- acting, directing, special effects, framing of shots and Danny Elfman’s amazing music which all add up for a perfect cinematic experience.

This perfect sequel takes everything about the first film and makes it even better than before. The core premise of the film, and indeed the Spider-Man mythos, is what it means to be a hero and how doing the right thing isn’t always the most desirable. In this film, Peter struggles to balance his normal life with Spider-Man and eventually gives up the latter, causing his life to improve. But the city suffers, crime goes up and Peter realises that he is bringing hope and peace to people as Spider-Man, causing him to return to superhero life. He chooses to be Spider-Man because it’s the right thing to do, even if it isn’t something he absolutely wants. This deep introspection could make for a film that forgets to be a comic book adaptation (for all its merits The Dark Knight isn’t really a comic book film in the same vein this is) but the bright colours, campy nature, moments of humour and the brilliant cheesy heart of Stan Lee and Steve Ditko’s creation makes Spider-Man 2 a comic book brought to life. Doctor Octopus could very well be my favourite comic book movie villain who is simultaneously sympathetic and delightfully evil. It’s no wonder that this movie won Best Visual Effects at the Oscars as Doc Ock’s tentacles are some of the cleverest and well thought out visual effects I have ever seen. The train scene is the best action scene I have ever seen, the script is complex and yet at the same time simple in its execution. We don’t need to be told Peter’s angst, we’re shown it through the metaphor of him losing his powers and then through the dual plots of Peter abandoning his costume whilst Harry Osborne embraces his father’s. It’s just such a well written and put together film that still holds up after all this time.

5. Jurassic Park

Nothing beats classic Steven Spielberg. Every filmmaker who seeks to make a blockbuster should watch this film to find out why this film is so beloved whilst so many imitators fall. It isn’t about effects or action, it’s focus on story, character and other themes that tie the movie together. Behind the still incredible special effects and iconic scares, Jurassic Park is a cautionary tale about science vs man and the dangers and ramifications of tampering with the natural order of the world. This makes the film so relevant now, as advances in science may make places like Jurassic Park a reality soon. But is it right? The film doesn’t take a side and doesn’t answer the question, leaving it up to the audience to think about the themes at play. It helps that the characters here are far more sympathetic than in the book, allowing their various ideologies to play off each other brilliantly.

But the themes at play are just one of the reasons I love this film. Everyone knows the story and it’s simple but brilliant. The characters are engaging and because the first half focuses on developing them, you really care for them when the dinosaurs attack. Oh, and the dinosaurs. The dinosaurs are the crowning jewel of the whole film, with revolutionary effects by Stan Winston bringing them to life. It’s not just CGI, but amazing practical effects and puppets too. The film still looks amazing to this day. But good effects are nothing without a strong director, but thankfully Spielberg is the master of thrills and spectacle. He builds up the tension of the T-Rex paddock attack and the raptor attack in the third act so perfectly it’s no wonder he is so lauded as a filmmaker. I cannot state how great the structure of this film is, setting up the tone and characters excellently before forcing their personal conflicts against each other when the situation gets serious. Grant has to look after children, Hammond has to come to terms with the consequences of what he’s done and Jeff Goldblum (yes I know his character has a name but he is Jeff Goldblum) has to work with the others and set aside his personal grievances. Hammond in particular is a great character, as his actions are completely understandable. Who wouldn’t want to save species from extinction and exhibit them for the world to see? The audience know he’s wrong, but they understand. It’s subtle character work like this that make this film so much smarter than the average blockbuster. And of course, what mention of Jurassic Park can go ahead without the magnificent John Williams, delivering my personal favourite movie score. A classic theme for a classic film.

4. Up

To date, this is the best animated film I have ever seen. Pixar are probably the most consistent and enjoyable movie company around  and this is their magnum opus. What seems to be on the surface a kid’s film about an old man and a boy flying off to meet talking dogs and giant birds turns into something immensely mature and thought provoking. It’s about letting go of the past, learning to live life to the full and accepting loss. Not too shabby for a film that also happens to be gut bustingly funny and entertaining for people of all ages. This is such a staggering achievement for animated film that it even got nominated for Best Picture in 2009, and I have to say they made a good call nominating it. Many other Pixar films such as Inside Out, Toy Story, WALL-E and Finding Nemo are excellent, but my favourite will always be Up.

A lot of people talk about how the opening of this film is so good it overshadows the rest of the film. I agree to an extent, but the rest of the film serves as a perfect continuation and without it, the opening scene lacks the added poignancy. Charles Muntz is also criticised as being a weak villain, and while he’s not Pixar’s best one he is still an important part of the film. Carl’s whole life has led to his aim to be like Muntz, and when he finally sets off to Paradise Falls he expects the hero of his childhood to be there. By revealing that Muntz is a murderous psychopath, Carl’s whole journey and struggles become pointless. He questions what his life has led to until Ellie’s message reminds him that he’s had his journey with her and that now he must have another one- with Russel. Everything about this film is tied into this message. By becoming a father figure, Carl becomes to Russel what Muntz never was to Carl, and is also able to have the child he always wanted. Seeing the two leads go from mutual dislike to accepting each other unreservedly is one of the most satisfying character arcs in film history and it’s a joy to see. Despite this film having some incredibly mature and thought provoking themes, this is still a Pixar film, so hilarity will of course ensue. My personal favourite gag involves the lead dog having his voice box broken so he sounds high pitched, as well as the incredible sight of dogs flying mini airplanes being too funny for words. How this film can be so emotionally real and yet be so funny and over the top is beyond me, and a testament to Pete Docter’s skills as a director. I cannot fully explain why this movie is so perfect, it just is, and well worth watching again and again.

3. Pan’s Labyrinth

Guillermo del Toro is my favourite director, and I’m beyond happy that he won the Best Director Oscar this year for The Shape of Water. Pan’s Labyrinth however remains his absolute best film and one of the most complex, unique and imaginative films I have ever seen. There is so much packed into every frame and every detail that it’s impossible to dissect the genius at work here, but what we have is a masterpiece of film making that can be seen as a metaphor for war, a coming of age story, a dark fairy tale or all three. This is a film that makes you think long after it’s finished and I have cherished it since I first saw it. This is a dark and uncompromising film, yet it is also about hope and the power of stories and imagination. In one of the most visually stunning films I’ve ever seen, a brilliant story of corrupted youth and the horrors of war emerges.

The backdrop of the film is Franco’s Spain, after the Civil War is over and the regime has a tight grip over the country. As the monstrous Vidal tries to continue his father’s legacy through his unborn child, Ofelia accepts her quest to ascend to the fairy kingdom. Or does she? Are her fantastical quests just an escape mechanism from the horrors of her stepfather or are they real? I think so, as I believe this is the same fairy kingdom from Hellboy 2. The brilliance of this film is subtext told through the story, as the images and story being told in the fantasy world are an eerie parallel to the world of Vidal. The Pale Man represents Ofelia’s (and del Toro’s) fear and mistrust of authority, the giant frog symbolises Franco sucking the life out of Spain and also serves as a metaphor for Ofelia’s brother killing her mother. The film is about choice and consequences, and also about the corruption of childhood through war. Twisting genre conventions, del Toro presents a fairy tale full of death and misery, and makes the true monster the ever looming shadow of Franco and Captain Vidal instead of the various fantastical creatures. Speaking of those, this movie gained a very worthy Oscar for Best Makeup, and Doug Jones owns the amazing makeup and prosthetic needed for the Pale Man and the Faun. The visuals and effects enhance the story being told, which is beautifully conveyed through the duality of the rebels and Ofelia, both desperate to live up to an ideal that may never come about. There is so much to dissect in this film and I’ve barely covered the vast number of themes and motifs throughout. Just watch it for yourself and revel in the experience.

2. Serenity

Once upon a time an awesome show called Firefly was on TV. Then it got cancelled after 14 episodes due to low ratings. Well, maybe it got low ratings because Fox wouldn’t air the episodes on schedule, mixed up the episode order, didn’t air three episodes and showed the pilot last. Great job guys. The show’s insanely loyal and dedicated fanbase reacted with such outrage at the cancellation that in 2005, Joss Whedon managed to get a feature length film made under Universal, with the hopes that a new movie franchise would form. That didn’t happen either, but that doesn’t stop Serenity from being an amazing film that serves as a brilliant continuation of Firefly as well as being a great standalone film in its own right. I cannot think of a film that speaks to me more personally, and it serves as one of the most satisfying film experiences of all time.

Wanna know who my favourite movie character is? It’s Malcolm Reynolds, the awesome captain of Serenity. He is such a fleshed out and interesting character to see on screen. He has his own set of morals that only he truly understands, and his dedication to taking out the corrupt Alliance sees him take actions that frighten his own crew. Incidentally, if you want to know how to write for a large ensemble, watch Firefly and Serenity. It’s no wonder Joss Whedon was perfect for the Avengers as the crew of Serenity are some of the most interesting and fun gang of characters in fiction. This film takes each character and does something new and interesting with each of them, allowing the team dynamics to play out perfectly. Character development and motivations are done subtly and told visually and through the magnificent dialogue, making this a textbook example of character writing. The film picks up from where the series left off and sees the Alliance track the crew down in an attempt to recapture River Tam (sorry River Song, you’re only the second coolest River) and hide their dark secrets. Helping the Alliance is the Operative, played brilliantly by a pre-fame Chiwetel Ejiofor. One of the coolest film villains, he oozes style and his parallels with Mal are fascinating. There’s the hero who doesn’t see himself as a good guy, and a villain who knows he’s evil. The film is also about overcoming impossible odds and being true to your beliefs. Mal believes in a free world without the controlling Alliance, and he will stick to that belief until the bitter end. Throw in amazing action, dynamic direction and we have the best continuation of a TV show of all time. Watch Firefly, then watch this film. You will not be disappointed.

My favourite film of all time is admittedly a bit of a cheat, but I don’t anyone will object to my choice. Before all that though, I’ll just reveal a few of my other favourites that almost made the cut-

The Nightmare Before Christmas

The Thing

Inception

Logan

Brazil

Charlie and the Chocolate Factory

Pacific Rim

V For Vendetta

Skyfall

Princess Mononoke

Bender’s Big Score (made for TV Futurama film, but it still counts)

And my favourite film of all time is…

  1. The Lord of the Rings- all of them

Told ya this was a cheat. Ever since I finished Return of the King I have considered Peter Jackson’s trilogy to be the best cinematic experience of all time. The behind the scenes of the films are amazing in their own right- Peter Jackson took an “unfilmable” trilogy of highly acclaimed literature and adapted them over three years and an unprecedented level of detail, care and craft that was the most innovative film endeavour ever and managed to transform his country into the number one filming location and proved that filmmakers don’t have to go to Hollywood to be successful. From a director of low budget New Zealand horror films to a director whose smashed the Oscars, Peter Jackson is one of the biggest inspirations to me. The fact that the films are amazing and perfect are of course essential to the reasons why I love them. These aren’t just flashy images on screen, these are epic stories of power, war, corruption, friendship and the triumph of good vs evil. I was tempted to just stick Return of the King here, but that would be a disservice to the other two. The three films are connected, and whilst they are all technically seperate, I cannot treat them individually.

The journey taken in this trilogy is absolutely wonderful. From the Shire to Mount Doom back to the Shire again, every action taken advances the characters and their journeys. My favourite characters are Sam, Gollum and Aragorn. Sam is the trilogy’s human soul, loyal to the end and never letting Frodo down even when the Ring corrupts his friend. He isn’t a fighter or a wizard, he’s just an ordinary person who risks all to save Middle-Earth. In contrast, Aragorn is a king afraid of his destiny, only to embrace it at the end and be the hero he always needed to be. Gollum is a masterpiece of character writing, and how Andy Serkis did not get nominated for Best Supporting Actor I do not know. Gollum is the series’s example of the Ring’s corruption, yet you sympathise with him as it’s clear Sauron’s influence is to blame, not Smeagol. Every character gets an arc and many are improved upon from the books. As far as I can tell, Theoden, Eowyn, Legolas and Gimli did not have much development in the books but in the films they are given satisfying arcs which add to the richness of the films. The majestic music by Howard Shore and the amazing special effects by Weta Workshop are just the icing on the cake for this cinematic masterpiece. Whilst the characters are amazing, it’s the greater themes at play that really make this trilogy stand out, such as the messages of machinery vs man, the loss of hope brought about by war and the overcoming of darkness. The ending of The Two Towers really puts the whole trilogy into perspective, summarising it as a battle of good and how it will always triumph over evil.

It’s scenes like that which made me appreciate the more human and profound approach Jackson took to the story. There is so much to analyse about these films and there’s lots out there and explains why these films succeed where no others do. There’s visual storytelling as the Ring represents a very physical and mental challenge and serves as the ultimate personification of darkness, brilliant dialogue such as Gandalf and Pippin’s conversation in Minas Tirith and everything just clicks together to create cinema gold. The directing is amazing, the cinematography is stunning and New Zealand! Just… New Zealand. Some of the best location work ever seen on film. The action sequences are spellbinding, especially the Battle of the Pelennor Fields. The story is captivating and emotional, eliciting every emotion from awe to hilarity, victory to sadness and ultimately satisfaction. The films are such epics that it’s amazing that there is still time for intimacy and quiet. The trilogy is about ordinary people doing extraordinary things, as it is not the kings or wizards that ultimately save the day, it’s just a couple of hobbits. It’s an inspiring message for everyone. From the opening monologue to the closing door, the Lord of the Rings is actual perfection, and my favourite film of all time.

Well, that took a while. I probably will update this again down the line but that probably won’t be for a while. For now, these ten (OK, twelve) films stand as my personal favourites and are definitely worth checking out if you haven’t already.

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Avengers: Infinity War review- The most ambitious film since Return of the King

After 10 years, 18 films, 15 directors and countless heroes, Avengers: Infinity War is finally here. The amount of hype for this film is huge, as we have the culmination of the most ambitious film endeavour since the Lord of the Rings, if not even more ambitious. Does it live up to the hype? In short, with as little spoilers as possible, no.

Oh who am I kidding, yes, yes it does.

Read the rest of this entry

What are Black Panther’s Oscar chances?

Black Panther is a phenomenon. This isn’t just a superhero film, this is a cultural statement, a message to the world, and easily one of Marvel’s best and most successful films. In just over a month, Infinity War comes out, and it’s a testament to Black Panther that the epic culmination of ten years that involves the Avengers battling Thanos is the one that must be better than the King of Wakanda. Ten years ago, Marvel probably wouldn’t dream of even getting nominated, but Black Panther’s unprecedented success has many people wondering if this is the year the barriers are truly shattered and Black Panther gets recognition from the Oscars. I’m not just talking technical, I’m talking Best Picture here. Could it happen? It’s actually more likely than usual. Let’s look at the case for-

What’s different this time?

The Academy has changed. When Christopher Nolan’s 2008 masterpiece The Dark Knight failed to get a Best Picture nomination despite being hailed as one of the best films of the 21st century, the Academy Awards expanded the Best Picture slot to ten. This has helped films such as District 9, Up, Toy Story 3, Mad Max Fury Road, The Martian, Arrival and Get Out to get nominated (all very worthy nominations for great films, may I add.) Whilst there were only nine films this year up for nominations (seriously, couldn’t they have nominated Logan or Blade Runner 2049?) the field is open for a superhero film. So why wasn’t The Winter Soldier, another acclaimed Marvel film, or Wonder Woman, another cultural milestone, or Logan, held up as the best superhero film since 2008, up for grabs? Let’s take a look at those in order-

Fellow MCU film The Winter Soldier has similarities to Black Panther- a more serious tone, relevant themes and a great and engaging plot. However, the issue lies with the franchising. In order to appreciate The Winter Soldier, you have to be aware of Captain America as a character and his arc in both his first film and The Avengers. The film has many supporting characters from the MCU film such as Nick Fury and Black Widow and the plot of the film revolves around events that tie into the wider universe. The film is unquestionably a franchise film, and the Academy don’t tend to go for sequels anyway. Black Panther on the other hand is a standalone film that requires no knowledge of the other Marvel films. Wakanda is a detailed world in and of itself and the film more than holds up as a singular superhero film. This is a key reason why I think it’ll be nominated.

OK, so what about the crown jewel of non-Nolan DC films? Why do I think Black Panther will get nominated over Wonder Woman? Make no mistake, Wonder Woman was a phenomenon as well and has just as much to say as Black Panther does about society both then and now, however there are two factors that Black Panther has over Wonder Woman. Firstly, as much as Wonder Woman is acclaimed, nearly everyone, myself included, agree that the third act where Ares reveals himself and the explosions begin is weaker than the outstanding first two acts. It’s not bad, but kinda cliche, especially when he starts to turn himself into a CGI demon. In contrast, Erik Killmonger is held up as the best part of Black Panther, and the third act does not stumble in the way Wonder Woman’s does. Another factor is the release of Justice League, which had Wonder Woman as a central character. I enjoyed the film, but it was hated by critics and failed at the box office, all the while Academy voters were preparing themselves to vote. Could the failure of Justice League have contributed to Wonder Woman’s Oscar snubs? More than likely. Infinity War  is set to smash all box office records and will almost certainly receive acclaim, and even if Ant-Man 2 isn’t good (which I doubt it will be), that won’t affect Black Panther’s Oscar chances. I think fate is on Wakanda’s side.

This brings us to Logan, the only superhero film to ever be nominated for a screenplay award and one of this year’s major snubs. Yes, a writing award is great but the acting deserved recognition, especially from Patrick Stewart. With that aside, people have been saying that Logan’s inability to get a Best Picture award means Black Panther cannot get one. It’s true that Logan’s wildly different tone and themes from most superhero films made it a prime award nominee, and Black Panther is more in line with the Marvel films and is ostensibly a superhero film, whereas Logan is more of a character driven western, but Black Panther has one thing Logan doesn’t- it has the cultural impact. Logan was widely praised and adored but Black Panther is a phenomenon and has taken the world by storm. It is a hugely important films for many reasons and has something to say about the current state of world politics. It has outgrossed most Best Picture winners combined and has made a massive cultural and social impact. What do The Wizard of Oz, Jaws, Star Wars, Raiders of the Lost Ark, ET and Return of the King have in common aside from being blockbusters? They were all massively successful films that became events, which were rewarded with Best Picture nominations. Do the Academy really want to miss out on what is likely to be the biggest cultural event of the year that is causing Infinity War to look small by comparison? It’ll certainly boost the viewing figures.

Hey, if this can be nominated for an Oscar over LEGO BATMAN (!), then anything can.

There’s precedent for films like Black Panther being nominated. It’s obviously political so there’s that going for it (although I would like to think it got nominated for its own merits and not just to score points) and has a lot to say about the world currently. The release date isn’t really an issue, as Oscar-bait is slowly dying and more interesting films are taking over. Just this year Get Out, a satirical horror film about race relations released in February won Best Original Screenplay and was nominated for three more including Best Picture. The Best Picture winner is a love story between a fish man and a mute woman and is ostensibly a fantasy film directed by Guillermo del Toro, who specialises in speculative fiction. There is a high chance that Black Panther can not only be nominated, but win. It all depends on what else comes out though, although I guarantee that none will have the cultural impact of Black Panther. Ryan Coogler and Kevin Feige have a winner here- and it’s here to stay. Logan broke the screenplay barrier, now it’s time for the King of Wakanda to take one for the team and ride the Oscar glory.

Black panther review- You’ve never seen a superhero film like this

It’s only February, but Marvel have wasted no time in giving the world the first superhero film of the year, and it’s set a huge bar for the rest of the year. Considering Infinity War is next, you’d think Black Panther would mainly act as an excuse to set it up, but I was surprised at just how different and standalone this film was in relation to the rest of the Marvel Cinematic Universe. Yes, the awesome intro is there, Stan Lee has his usual hilarious one-liner and there are after credits scenes but for the most part Black Panther is the most unique and out there Marvel film. You’ll never see a blockbuster or superhero film like it. This movie serves as a massive statement to critics who complain about all superhero films being the same- I dare the superhero cynics to find another mainstream blockbuster film that features a mainly black cast which serves as a celebration of African culture whilst also dealing with Shakespearean ideals about loyalty, disillusionment, identity and colonialism, tackles modern day issues such as immigration and inequality, has an utterly unique, Oscar-worthy visual design and world building that presents a fully detailed country with its own laws and customs which also happens to be plain fun (Black Panther 2 won’t count). Until there’s another one, I’m going to assume those critics have no idea what they’re talking about.

 

As the film’s been out in most countries for about a week and it’s been released in America now, I will be spoiling the film, although not massively.

Continuing on from his awesome introduction and arc in Civil War, T’Challa/Black Panther/The coolest character in the MCU returns home to Wakanda to be crowed king. Things are not so easy though, as he soon gets involved in a global plot which revolves around vibranium smuggling, the return of Ulysses Klaw and a threat to the throne of Wakanda. Already the film sets itself apart from the rest of Marvel by having a relativity contained plot- after the awesome action scene in South Korea (Marvel really loves filming there) the rest of the film is set entirely in Wakanda and has very personal stakes. But the uniqueness doesn’t end there, as this is a very thematic and dramatic film a world away from the buddy comedy of Thor: Ragnarok. Through the different tribes of Wakanda, incredibly topical issues are raised that are very relevant for today’s world. T’Challa believes in Wakanda’s isolation as he does not want the resources of his country being taken away by foreign powers like the rest of Africa, but at the same time he rules the most technologically advanced nation on the planet and believes this to be the right way, leaving the rest of the world behind to face their own problems. W’Kabi fears that Wakanda’s involvement in world affairs will bring unneeded immigration and integration, which risks Wakanda being just another country and Killmonger believes that Wakanda should be the leaders of the world and that it is justified, seeing how Western cultures took over Africa during the 19th century and how black people have been treated even now. His motivations make absolute sense. I was very surprised as to how political this movie was, but it wasn’t done in a hamfisted or preachy manner. It enhanced the film and made it a lot more complex than the usual blockbuster.

Speaking of Killmonger, he’s probably the best villain Marvel has ever done. Like Loki, he is a very complex and interesting character who opposes the hero in a far more interesting manner than just being evil. His motivations make total sense, his actions are justified and he gets a complete character arc which is immensely satisfying to watch. There’s also the return of Ulyssess Klaw, who is great fun to watch. The film’s villains are all great and Marvel have definitely improved on this front. This bodes well for Thanos. A great villain is nothing without a great hero, but fortunately Black Panther is an awesome character. He commands the screen every second he is on screen and in his solo film he is perhaps even more well thought out than his amazing introduction in Civil War. He is a hero who doesn’t see himself as one and definetly doesn’t see himself as a superhero, yet his actions and character are all heroic. He’s become one of my favourite Marvel heroes as he isn’t afraid to make mistakes and even do things that antagonise others, as long as it’s in the service of his goals.

The world of Wakanda and the highly unique style this film has is simply amazing. The film combines futuristic technology with African culture, and it’s so interesting to watch. Marvel have successfully made politics interesting- albeit the politics of a fictional nation which seems a lot cooler and a lot more well run than most countries today. That’s kind of the point though, as fear of expanding and helping others is one of the main conflicts of the film. For all the wider themes at play, this is still a comic book film, and the action is amazing. The fighting is very intense and quite different from the usual Marvel action and it reminded me in places of a 12-rated Logan. The final battle is also awesome and the film is never boring, always offering up something new and interesting. The links to the wider MCU are very thin, with only Klaw, minor references to Civil War and a hilarious Martin Freeman as Everett Ross offering wider links to the universe. I appreciate this though, as being bogged down in references would have alienated casual audiences. The standalone nature gives Ryan Coogler to tell his own story and put a unique stamp on Marvel, which he has done immensely well. As much as I am looking forward to Infinity War, I am desperate for a Black Panther sequel to return to this unique world.

In conclusion, I highly reccomend Black Panther, even if you are not a huge superhero fan. It’s different enough to stand on its own and it has a lot to say about race, diversity and building relationships, very relevant in today’s world. It’s one of Marvel’s best films and I wouldn’t be surprised if there’s at least a bit of recognition from next year’s Oscars for this film. Next up, it’s a film ten years in the making- Infinity War. April can’t come soon enough.

5 hopes for Chris Chibnall’s era

It’s been over a month since Steven Moffat ended his tenure as showrunner of Doctor Who. Whilst I would do a retrospective, I feel like I’ve discussed his era too much in the past. For now, let’s look to the future and what Chris Chibnall has in store for Whovians. Outside of casting we don’t know too much about his era, which is great. I do have faith in him to deliver a strong run but here’s a list of things I hope he follows through on. I did a list before the Series 9 finale about wishes for Series 10, which were mostly fulfilled (two new interesting companions, great returning monsters and cool new ones and a better balance of story and character). My other two weren’t really followed through on (a consistent costume and more alien planets) so they are on this list as honourable mentions. I do like the Thirteenth Doctor’s costume so far, but I need to see it in action and let it sink in.

So, let’s dive into what I would like to see in Chris Chibnall’s era-

  • A new, original arc

I cannot stress this enough, but a series without the Daleks, Cybermen or the Master would be brilliant. I don’t think the latter two are appearing but the Daleks almost certainly will, which would be fine as long as they aren’t the story arc.

Remember (ba-dum) how effective the Silence were? We had a brand new, original threat for basically two seasons. You could argue the Series 6 arc teetered out of control and that the Silence were wasted but the fact remains that Steven Moffat created a fascinating new villain along with a highly engaging arc. I hope Chris Chibnall does the same and creates new threats, supporting characters, worlds and arcs.

Without trying to sound like I’m bias, the RTD era really had this under control. We had Ood and Weeping Angels, Torchwood and Sarah Jane, three trips to New Earth and well thought out, interesting arcs. Moffat had this in a way with Matt Smith (Silence and Angels, River and the Paternoster Gang and the Silence Will Fall arc) but Peter Capaldi’s run suffered from a lack of originality. Am I a good man? That was basically Eleven’s arc in Series 6. The companion and the Doctor are in a dangerous partnership? Explored in the God Complex. It’s why I loved Series 10, as rehabilitating the Master had never been done before. But there can still be more.

Have a cosmic war. Have a chase across time and space by bounty hunters. Have the Great Old Ones return, ready to wreck havoc across the universe. Have Rassilon plot an elaborate revenge against the Doctor. I would love Chris Chibnall to just go nuts with his story arcs and ideas. Don’t just rely on old enemies or retread old ideas, do something truly captivating and original. The whole universe can be explored, why are the arcs so Earth focused and why is everything something from the Doctor’s past? Move away from sequels to Classic Who or yet more Time War angst and do something new.

  • Good villains

Without looking them up, how many Twelfth Doctor villains can you name? As in proper, compelling, original villains (Missy doesn’t count). My guess is that you can’t name many, as most of them weren’t really villains and the ones that were weren’t very good. The Monks were promising but ended up being just the Silence, and there really isn’t that much from Twelve’s rogue’s gallery. There’s the Boneless yes, but what else?

William Hartnell battled cosmic entities and rogue Time Lords. Tom Baker encountered the last of the Osrians, the Guardians of Time and more. Sylvester McCoy fought Fenric, a being from beyond comprehension and David Tennant battled the Devil. My point is that Peter Capaldi’s rogues were a bit less impressive. Oh no, lion people. Oh no, sleep dust monsters. Watch out for the weird robot owl thing and you better hide from the terrifying King Hydroflax!

He looks cool, but try thinking of a single line the Fisher King said. And I like this story.

My wish for Thirteen is that she gets some amazing villains. They don’t have to be sympathetic or misunderstood, you can just make them evil. Is there a single redeeming quality about the Mara, or the Family of Blood? No, they’re just evil. It would help if they had some depth but sometimes they can be just evil. As long as they’re interesting, the audience will care. It says a lot when the best villain last series was a CGI wolf with tentacles.

  • Have fun

Let’s not beat around the bush here, Doctor Who is at its best when it’s dark. There’s a reason Phillip Hinchfliffe’s era is beloved. However, it’s important to have fun and embrace the camp. Having the Doctor be light hearted, caring and zany is hugely important, and unfortunately Twelve was none of that, at first anyway. The show turned utterly serious and dour with plot points like the Moon being an egg and flying Cybermen being treated incredibly seriously without any acknowledgement to the stupidness of the concepts (and the show itself is stupid. It’s about a shape shifting alien who flies in a box through time and space. But that’s what makes it great). Tom Baker had dark stories, but he was still a buffon who tripped over his scarf. Jon Pertwee was a snarky know-it-all who loved driving and David Tennant had some of the most mature storylines in the show’s history,  yet he still randomly referenced pop culture, had a positive attitude and made jokes, all whilst managing to maintain the darkness of the storylines.

Sometimes it’s good to go dark. Inferno, Waters of Mars, Curse of Fenric, The Doctor Falls- all very dark. But don’t have the basic outlook of the show be dark. Why did I like Robot of Sherwood and The Return of Doctor Mysterio? Because they were fun. Why did the fanbase dislike them? They were different from the typical Twelfth Doctor episode. Twelve was out of character for those as he was acting the way any other Doctor would act in those situations- having fun. My advice for Chris Chibnall is- lighten it up when it’s appropriate. When there are dark storylines, have them be dark. When there are light hearted or goofy scenarios, have fun. This is why having a lighter, nicer Doctor helps.

  • Take risks and don’t spoil things early

I’m going to go on a slight tangent and bring up The Last Jedi. Nothing about that film is what you’d expect. Luke Skywalker is a jaded old man and Snoke, the supposed big bad of the new trilogy, is killed off. Think about how risky that is, and how refreshing it was. Iron Man 3 does something similar with the Mandarin, turning the character from a generic bad guy to a metaphor about modern media and manipulation.

My point is, Chibnall really needs to think outside the box. Don’t give the audience what they’re expecting and subvert expectations. Of course it was going to be Missy in the Vault. But what if it wasn’t? Of course the Doctor wasn’t really working for the Monks. But what if he was? The funny thing about that last example is that Skulduggery Pleasant did a similar plot point in Resurrection, released the same week as Lie of the Land (having the main character turn evil) but actually stuck to it. That’s a risk.

The show has taken risks in the past, such as Heaven Sent, but I want more. Truly challenge the audience and make them think about the show they’re watching. What if the mysterious box in the TARDIS isn’t the arc, but the companion we’ve been following throughout the series has been working for the bad guys the whole time? What if the Earth is invaded by aliens in the most painfully generic plot imaginable, only for the Doctor to realise that they’re not on Earth and are actually on a game show? That’s the kind of risk I’m talking about. Extremis is a great example of a risk that worked.

There have been episodes in the Capaldi era that took risks, but the show as a whole needs to do more risky things, especially in regards to the story arcs. Do something that will shatter expectations and make the audience react. Don’t fear backlash, just go for it. Chibnall also needs to make sure the risks pay off- Series 8 had a dark and depressed Doctor but it didn’t really work as nothing was being subverted- he was just angry and miserable. How about a pure historical? Or a non-linear episode? Or (dare I say it?) a musical episode? As long as they’re good then the fans won’t mind.

How about a pure historical musical?

Never mind.

Also, don’t spoil things. How much more awesome would John Simm’s reveal in World Enough and Time have been if it hadn’t been spoilt? The Internet would have gone nuts. I know it’s harder to keep secrets know but the BBC need to have some degree of control over spoilers.

  • A consistent time slot

What time is Doctor Who on THIS WEEK?

This is less about the show itself and more about scheduling. Back in the day, David Tennant’s Doctor would be on TV at around 7:00. OK, so I stayed up slightly later on Saturday. But with Peter Capaldi, I didn’t know what time the show was on as it was never consistent. Sometimes it was 7, sometimes it was 8:35. You’d think with a Spring start Series 10 would not fall victim to this, but as early as Smile the schedule was being pushed around for… football. I respect that people like watching football, but if Doctor Who is on at a certain time, I want it to be on at that time and not have to wait to see if the episode will be pushed back a week just because people can’t kick a ball in time. Seriously, is there not a separate channel for sports? That would be the only hiccup you’d think, but no, it happened again for Pyramid at the End of the World and then the show was aired even earlier to accommodate a new BBC show. Hey Beeb, maybe it’s not a good idea to start a new show when your flagship sci-fi show is currently airing.

Little things like it airing five minutes before or later than last week really bug me. Is it so hard to just have a slot for Doctor Who? It’s managed with the other shows. Even Peter Capaldi has spoken out about this, and it’s believe to be one of the reasons he left, despite initially stating he was going to do more than three seasons. With Series 11 not airing until autumn, I’m worried that the same thing will happen with Series 8 and 9- instead of putting the show in that magical slot known as “before Strictly Come Dancing”, the Beeb are just going to put it afterwards and air it depending on how long Strictly lasts. It got even worse in Series 9 when the BBC chose not to air the show before the Rugby World Cup, rather letting the show run through it. Great move guys, maybe this is why the viewing figures have tanked.

If I was managing the BBC, I would air the show at 6:00-6:50 every Saturday. This way, the whole family can eat dinner whilst watching (which was the point of airing the show at around that time anyway) and there won’t be any conflicts. It’ll be autumn so it’ll be dark so any scary episodes will be appropriate and the show will not air too early or too late. I really hope this is sorted out and I hope Chris Chibnall actually has a say in this as he has a lot riding on this series (if the viewing figures are low, the BBC will just assume it’s because of Jodie Whittaker being the first female Doctor). I know when the show is on every week because I watch every week and make sure to check when it’s on but the general public, who drop in and out, will not be as dedicated as me. The show needs a proper time slot.

So, those are five points I hope Chris Chibnall expands on in his era. Have some original ideas, some great villains, have fun but don’t forget to take risks, don’t let anything be spoilt in advance and don’t let the show air inconsistently. Let’s wait and see.

Every movie I’m anticipating in 2018

Another year, another upcoming round of pop culture. Since starting film studies at college I’ve come to branch out and become more interested in other kinds of movies outside of superhero films, although yes, this list will mostly be superhero films. There will be others however, and I think this year will be a fantastic year for film.

  • February 16 (probably earlier for the UK)- Black Panther

Of course I’m looking forward to this. The best character in Civil War, and one of the best Marvel characters in general, getting his own film? Sign me up. I haven’t actually seen the trailers but I don’t need Marvel trailers to convince me to watch them- at this point, Marvel could literally make a Squirrel Girl movie and I’d watch (I would like to see that film, if only to see how nuts it is. Pun intended.) Black Panther seems to me like it’ll be an intense, more serious film than recent Marvel movies and it’ll be interesting to see how this movie ties into Infinity War. The MCU is so good and consistent I’m almost certain this movie will be at the very least entertaining.

  • March 23- Pacific Rim: Uprising

Yup. After four years (!) we’re finally getting a sequel to one of the most entertaining and original movies I’ve seen at the cinemas. The first movie is the perfect blockbuster, courtesy of Guillermo del Toro (could he win the Oscar this year? I hope so) and it built a fascinating universe that it’ll be great to revisit. It’s a shame that del Toro isn’t returning but hopefully his impact is still felt as it was his brilliant world building and visual details that made the first film great. I do have reservations about this film (the trailer is a bit bizarre and doesn’t seem to match the first film and I’m a bit concerned whether the long gap between movies show Warner Brothers have no faith in the franchise) but this should hopefully be fun and maybe even better than the first.

  • March 30- Ready Player One

I’m currently in the process of reading the book, as my new mindset towards adaptations is that I must read the book first. This is a very interesting premise and I was mainly excited for this as it meant watching a Steven Spielberg film in cinemas (and he’s very good at adaptations. He made me like a Micheal Morpurgo story!) I’m now even more excited after reading the book, which is great. It seems tailor made for me, as there are countless references to nerd and geek culture and they are woven into the plot well. This is another example of a film I haven’t seen the trailers for, but that’s because I want to go in blind. I hope it’s good and I hope this is a way for Spielberg to return to blockbusters. I like drama Spielberg but blockbusters are what mad him beloved in the first place.

  • May 4 (again, probably earlier in the UK. I’m going by the American release dates for convenience)- Infinity War

Yup, yup and yup. I don’t even need to explain this one. It’s. Infinity. War. After 10 years and 18 movies, the Marvel Cinematic Universe will bring together all their characters for one last time to battle Thanos. I didn’t even need a trailer but the one we got was amazing. Iron Spider! Human Vision! Doctor Strange! The Guardians of the Galaxy! This film is so hyped up that I’m worried it may disappoint, but seeing how I’m one of five people to think Age of Ultron was even better than the first one I’m sure to like this one even more. The recent news that Disney have brought Fox means the future of the MCU may have gotten even more exciting, and we’ll have to see whether this movie will set up the X-Men and Fantastic Four joining Marvel and creating a complete Marvel universe.

  • May 25- Solo: A Star War Story

Am I aware that this movie is probably going to end up being pretty pointless? Yes, but I’m still going to watch it. It’s Star Wars! Rogue One was a fantastic film that added depth to the universe and the original movie and it looks like this film will do the same to Han Solo. I always find one of the more interesting aspects of Star Wars to be the crime/gangster side, with bounty hunters such as the Fetts, Cad Bane, Bosk etc being awesome characters. I would love it if this movie was to focus on that aspect of Star Wars and tie Han’s backstory in with them. It would also be interesting if this film expands on Jabba the Hutt and the Hutt’s rule over Tatooine, which is under explored in the canon universe. I’m just excited to see whether or not this film will successfully bring more depth to the Star Wars universe.

  • June 22- Jurassic World: Fallen Kingdom

Yeah, I’ll admit it. I’m really, really excited for this film. Dinosaurs will never stop being amazing and I did really like Jurassic World so this sequel has strong ground. Will it top the first film? Well, seeing how the first film is one of the best movies ever…no it won’t. But as long as it keeps doing interesting things with the franchise, gives us awesome new dinosaurs and doesn’t stray too far away from what made the original great and the sequels not so (write a great story that happens to be about dinosaurs, not just throw dinosaurs at the screen.) I once again haven’t seen the trailers to this film, and it’s again because I want to go in blind. What else do I need to say about this film? The first Jurassic World gave me hope that the franchise is in good hands and I can’t wait to see this.

  • July some time earlier than America- Ant Man and the Wasp

That awkward moment when I’m anticipating an Ant-Man film more than X-Men. I’ll only watch X-Men if I hear good things, but for Ant-Man I’ll be there as early as possible because, well, it’s Marvel Studios. They have successfully made one good Ant-Man film so I can almost guarantee they’ll do a good second one. I’m a bit curious as to how Marvel will follow Infinity War and it’s interesting to have such a low key film afterwards. This will probably serve as a light breather before things get serious again with Captain Marvel and Avengers 4 and that’s a very good thing indeed. We can’t have constant doom and gloom. I’ll be honest, I have no interest in Ant-Man outside of the films so the fact I’m anticipating this shows how much better the movies are than the current Marvel comics.

  • December 14- Mortal Engines

I know absolutely nothing about the books this is based on, but I will before December. My interest in this began when I heard Peter Jackson’s involvement. The director of my favourite movies (no not the Hobbit, the other ones) is adapting another book series? Sign me up. I know he’s not technically directing but he’s writing and producing it and the movie’s filmed in New Zealand in the same studios he films his movies so it basically is a Peter Jackson film, and that’s good enough for me. The trailer looked awesome, the premise is amazing and this will give me an even bigger excuse to A) Read the books and B) Visit New Zealand.  This and Ready Player One are the movies I’m most interested about, as they are something different from what I usually like to watch.

Are there more? Of course. Deadpool 2 is, well, Deadpool, and I probably will end up watching Aquaman, even though I’m not too excited because I wasn’t a fan of him in Justice League. There may even be more that I’ll end up watching and maybe *gasp* some original movies which will end up being awesome. We’ll have to wait and see.

Twice Upon a Time review

What an exciting time to be a Whovian. We have a new showrunner and a female Doctor on the way, but before we get there, we had the final story of the highly interesting Peter Capaldi era, and by an extension Steven Moffat’s time as showrunner. By “interesting” I mean that no matter what you think of this past era, whether you think it’s a new Golden Age or a complete mess (I’ve seen strong arguments for both sides), it has been fascinating to watch. It has all come to an end with the incredibly low key adventure Twice Upon a Time. This story had a lot riding on it- it had to write off the Twelfth Doctor, give the First Doctor a good reason to regenerate, follow through on one of the absolute best Doctor Who stories and a very strong series and do all that whilst being cohesive. Did it do that? Mostly.

Let’s deal with the elephant in the room here- this was not the First Doctor. Whilst I’m not denying that David Bradley did a great job recreating William Hartnell’s tics and mannerisms, Steven Moffat’s writing just really let the side down. I understand what he was trying to do- he was using the First Doctor as a way to critique 60’s attitudes and mentality and show how far the show has come. The issue is that it goes against the First Doctor’s character. Yes, in Season 1 he was incredibly condescending, rude and abrasive to everyone. But this is supposed to be the Tenth Planet First Doctor in Season 4, who is a lot more like his future selves and accepting of everyone. Any sexist or discriminatory remarks or actions were a product of the time the stories were made, not the character himself. The First Doctor has been established as being the same as the others in mentality, as all the references to his childhood on Gallifrey refer to the idea that Time Lords have no set gender. So why One would be condescending towards women?

Another issue is that Moffat’s intentions are good, but not necessary because the show has done a fantastic job of moving away from the 60’s mentality. Having a female Doctor is a strong enough statement to show that the show has come far from the idea that the female companion was second tier to the masculine Doctor and companions (even then, Barbara is an excellent character who is a very strong female companion in the 60’s). We’ve had strong, diverse characters and the show has made great leaps in progress. Moffat really didn’t need to emphasise the differences between the 60’s and now because people know. Fans know that Toberman from Tomb of the Cybermen is not equatable to Martha, Mickey and Bill and that the modern era’s strong female characters are evidence of the show changing.

So, other than that massive issue, how was the episode? Pretty decent.

Whilst I would have loved the Twelfth Doctor to regenerate in The Doctor Falls, I was pretty happy with this episode. The best aspect of it is how it fixed one of my biggest problems with the Capaldi era and actually brought together all three seasons of his era together. His era had felt disjointed and unconnected, with no real continuity between them. This is probably due to Moffat completely changing Twelve’s behaviour and story arcs after Series 8 flopped with many people. After that you had Series 9, seen as an improvement by some but more of the same for others. Following this there was Series 10 which had a completely different tone and style again. In contrast to the other New Series Doctors, Capaldi’s run hasn’t been the most connected or well thought out.

So when everything got connected here, I was happy. Rusty the Dalek was a great callback, the stupid stupid memory wipe was erased and Clara returned briefly, which despite everything I’ve said about her I really liked. It was a great way to connect the era and I liked how Bill and Nardole were incorporated as well, allowing Twelve to say goodbye to all his companions. I would have liked to see Missy as well so that the Doctor would know she ultimately died fighting for him but that’s a minor gripe. Capaldi’s era has been retroactively improved by the inclusion of Clara in this story and the removal of one of the worst aspects of Hell Bent. I might actually like it now. Emphasis on “might”.

The story itself was very interesting and it had great ideas. The Testimony are a great idea which I would like to see again, and it’s great that they weren’t a villain and the situation were a misunderstanding. Although I am desperate for truly evil and memorable villains in the show again. The inclusion of the General was great, as he added some gravitas to the story and connected the plot to the wider Whoniverse. The Christmas Truce was a great touch with real meaning and weight to it, although I saw it coming. There isn’t too much to the plot, as there isn’t really one, but I can forgive it as it was more of a character piece. But again, I am so desperate for in depth stories and monsters again. It’s also great how this story brought Bill back without ruining her departure in the finale, which I thought was excellent.

Despite having many issues with the First Doctor, I did like some aspects of his interactions with the Twelfth Doctor. I loved how he learnt about change and how seeing his future set him on the path to regenerate, and the opening scene with The Tenth Planet was amazing. The Twelfth Doctor was utter gold, and it’s one of his best portrayals. The Doctor Falls was all about the Doctor earning his rest after so many years of fighting, whilst Twice Upon a Time is about him deciding he doesn’t need it and that the universe would be worse off without him. To top it all off, we get an amazing final speech and one final, brilliant performance from Peter Capaldi. Even in his worst scripts, he has shone.

So in conclusion, pretty decent. This wouldn’t make my Top 10 Capaldi stories or my Top 5 Christmas Specials but it was pretty enjoyable on the whole. Can’t wait for the next series.

That’s it.

Wait, there was something else?

Oh yeah, Jodie Whittaker as the Thirteenth Doctor.

I’ll be absolutely honest here and say that this is the quickest I have accepted a new Doctor. Excluding David Tennant, who was my first, it took me roughly around Vampires of Venice to truly “get” Matt Smith’s Doctor (now my favourite) and I don’t know when I accepted Peter Capaldi. It certainly took a while, but by The Zygon Inversion I truly got into his incarnation and until Series 10 before I consistently enjoyed him. With Jodie Whittaker, all it took for me to see her as the Doctor was her grin and proclaiming “Oh brilliant”, before being immediately thrown out of an exploding TARDIS in the most Doctorly sequence imaginable. I’m sold already.

Bring on Series 11.

The Last Jedi review

I have a new philosophy concerning Christmas- it isn’t Christmas until I’ve seen Star Wars and Christmas is over once Doctor Who finishes. Unfortunately, this has led to a very short Christmas for me, as I only saw Star Wars yesterday as I’ve been working throughout the month (how have I been publishing Doctor Who posts all month then? Scheduling!) and it’s Christmas Day tomorrow. This doesn’t matter though, as in a great year for fandom, Star Wars ends the year on a high. The Last Jedi is amazing, and I do not understand how this film could be so controversial, especially when this is the same franchise with Jar Jar Binks and midichlorins present.  Keep in mind I will be spoiling the film as it has been out for over a week now so if you’re one of the three people who haven’t seen this film, then watch it first before proceeding.

Continuing immediately from The Force Awakens, this film wastes no time in setting up the story, with a truly epic opening sequence that feels like a movie in and of itself. Following this, the movie splits into two- Finn, Poe and Leia are escaping from the First Order with the rest of the Resistance, and Rey has gone to find Luke Skywalker. All is not as it seems though, as there are twists, turns and secrets. My jaw was actually open through a vast majority of this film. I’d call it the best in the series since Empire Strikes Back, and that is a very high bar to reach.

In terms of the old characters, Luke is easily the best. What Rian Johnson does with his character is utterly fascinating, as it gives the audience a glimpse of a new Luke not present in the original trilogy. This Luke is not the heroic Luke we know, this is a broken character who has given up on the Jedi. Character derailment? Heresy? No, it’s development, and doing something new. It would have been easy to just have Luke be Rey’s Obi-Wan or Yoda, but instead he’s a much more complex character than that. He doesn’t want involvement with the conflict or the Jedi because he believes that his part in creating Kylo Ren exposed the true nature of the Jedi to him. By the end of the film, he realises that sometimes winning is failure, and he becomes one with the Force in order to save his friends, coming to terms with who he is as well as the nature of the Force as something that isn’t defined by good or evil. This movie didn’t ruin Luke in my eyes, it made him an even better character than before, and I agree with the people who believe Mark Hamill deserves an Oscar nomination for this film.

Honestly, Luke’s actions in this film tie into one of the biggest themes of this film, which is all about subversion and replacing the old with the new. This film seeks to make the audience question the Star Wars mythos and conventions- there’s no lightsaber battle, no “I have a bad feeling about this” and no real answers on anything. That’s a very good thing however, as the film is still Star Wars due to its themes and ideas- Star Wars has never been about lightsaber duels or catchphrases, it’s been about the characters and wider themes.

Take Snoke for example. He is a clear example of audience expectation versus the real subversion. You would think that he’d be like the Emperor, an all-powerful villain who will dominate the series in the same way Palpatine did in the originals. But no, he’s killed off to be replaced by Kylo Ren as Supreme Leader. Not only does this tie into the idea of the new killing the old, but it acts as another subversion of audience expectations, keeping the franchise alive. Also, he is obviously not dead. The Snoke in this film was probably a clone/hologram or wasn’t even Snoke. Do people really think he would be left unanswered? It’s called a trilogy. He’s not dead and if he is, well, then I will be disappointed. But JJ Abrams was a producer on this film and if he didn’t want Snoke dead he would have intervened, so I can almost guarantee that Snoke will be back.

The other characters’ arcs also tie into the idea of old vs new. Rey (and the audience) want to know about her parents, only for it to be revealed that they were no one special. Anticlimatic? In a way, but also hugely satisfying. The twist represents the film’s idea of the Force as an immense spiritual idea that anyone can have, regardless of if they’re a Jedi. This is what Luke realises, as he comes to the conclusion that it’s the Force, not the Jedi, that should survive, and that regardless of past mistakes, the Force must survive.

Too much analysis? Here’s a Porg.

Another key theme is the blurring of good and evil. Think Luke’s a perfect hero? He still has dark thoughts and is regretful of his past actions. The Jedi were an all-powerful, benevolent force? Nope, because their bureaucratic ways resulted in the emergence of the Empire. Kylo Ren is beyond redemption after killing his father? Definitely not. Even the various subplots tie into this. Poe’s rivalry with Hodo is representative of the darker, more cowardly side of the Resistance, whilst Canto Bight gives the audience a look at the wider universe and shows how there are evil people outside of the First Order. Everything is tied into the wider themes of good and evil, right and wrong and old vs new.

That said, the film never stops being fun. There’s a wide array of creatures, awesome action and it is very funny, funnier than most Star Wars films. The fact that it’s also incredibly dark is a sign of how good the film is. This is one of the most thematically complex and idealogical Star Wars films- I don’t even think Empire Strikes Back delves this deeply into the ideas of the Force and what it represents, as well as delving into the very nature of the franchise. Obviously it’s hard to top the immense nature of Empire, but The Last Jedi comes close.

Are there flaws? There are a couple. Whilst I appreciate it on a thematic level, the whole Canto Bight sequence feels really, really out of place. I like how it gave Finn (my favourite of the new heroes) a plot and it looked great, but it just felt odd. The whole thing was pointless anyway as they don’t even get the master code breaker (who really should have been a bounty hunter, to add to the whole “good and evil are blurred” theme). I also feel that the structure could have been improved- there are multiple climaxes to the film and it could have been paced a bit better. It all was worth it all in the end though.

There is so much to dive into from this film. I haven’t even discussed Kylo Ren’s continuing arc of control over his light and dark, or the ideas about corruption and class divide. It is really a film to think about- smashing expectations, subverting tropes and adding depth and meaning to Star Wars. I can understand the criticisms around The Force Awakens and how it was too similar to A New Hope, but this movie was completely different to any Star Wars film previously, and it was so refreshing. I cannot wait to see how this new trilogy is resolved, and to see the return of Obviously-Not-Dead Snoke. In terms of all the movies I’ve seen this year, only Logan tops it.

My 10 favourite Twelfth Doctor stories

To quote Tom Baker- “It’s the end, but the moment has been prepared for.” We have one more Peter Capaldi story to go so what better time than to look back at the best of his era. It’s been a bumpy ride but the good ultimately outweighed the bad. so let’s not waste any time and dive straight in-

10. Listen

A very strong early Series 8 script, Listen is an incredibly atmospheric and clever standalone that is unlike any other story in the show’s history. The sequences in the children’s home and at the end of the universe are very well written and full of tension and the dialogue is strong throughout. I love the simplicity of the storytelling and how real tension and scares were crafted out of barely anything at all. The final scene where the Doctor’s childhood was revealed could have been terrible, but I think it added to the mythology of the show. I wonder if we’ll get a reference this Christmas.

The great thing about this episode is how everything is ambiguous. The whole concept of fear and whether monsters are real or a figment of people’s imagination is a fascinating concept and one I think the episode handles very well. Watching this was one of the first times I truly saw Peter Capaldi as the Doctor and I love stories where the Doctor is vulnerable or unsure of himself. The only story I can compare this to is The Edge of Destruction, another story with no villain and that focuses entirely on character relationships and atmosphere.

9. The Eaters of Light

One of several Series 10 stories that will pop up on this list, I really love this story. Whilst monster-of-the-week plots tend to fall flat, I found this one to be strong mainly because of the themes presented throughout, such as the theme of colonisation and also about the Doctor’s responsibilities. There are many similarities to Rona Munroe’s previous story Survival, as once again there are a group of youngsters thrown into a world they don’t understand and they have to fend for themselves. I just love stories which have more under the surface.

Having this be the story before the finale really helped in my opinion, as like Boom Town it was linked to the finale through common themes and character exploration. There’s the idea of time dilation, the Doctor and Bill being seperated and the Doctor’s willingness for sacrifice. The monster was great, the TARDIS team were great, especially Nardole, and I adore the pseudo-historical scripts in the show most of the time so this one was right up my alley. The mystical elements of the plot were also really well handled and added to the story rather than detracted.

8. Mummy on the Orient Express

One of the stronger stories from Capaldi’s first year, this story was a breath of fresh air in 2014 and is still entertaining now. On top of being a fun and well paced murder mystery with a Doctor Who vibe, this story is vital in fixing the Doctor and Clara’s relationship after the ending of Kill the Moon (the only good bit about Kill the Moon may I add) and does it very well. One of the best things about this episode was the ending, where the Doctor questions his own morals and comes to term with how Clara sees him. The character growth comes naturally from the story as opposed to being in the foreground, a common problem with this era.

The villains in this were great, with the Foretold being a very memorable monster, and I love the Doctor going solo in this adventure and solving the mystery on his own. Perkins is a really watchable character and I have a hunch that Steven Moffat considered bringing him back as the second companion of Series 10 before settling on Nardole. I adore the steampunk setting and the macabre tone throughout, with the delightfully sadistic Gus being my favourite Series 8 villain. Overall a solid slice of Doctor Who that will be remembered as a highlight of Series 8.

7. Flatline

Considering this story focuses on Clara, I’m amazed I like this story as much as I do. It’s probably due to the incredibly tight script and the fascinating monsters combined with a simple but engaging plot. There are so many brilliant ideas here, such as the shrinking TARDIS, two dimensional beings, the companion becoming the Doctor and at the same time the Doctor learning how others see him through Clara. The best moment comes at the end, when the Doctor tells Clara that she was an “outstanding Doctor. Goodness had nothing to do with it”.

The Boneless are in my opinion the best original villain from the Capaldi era and I would like to see them return some day. This is easily my favourite Clara story, and whilst she’s my least favourite New Series companion I feel this story captured her character the best out of any story in her time as a companion. The whole episode just has a very original and fun vibe to it and it’s a blast every time I watch it. The sequence where the Doctor escapes from the train using his hand is simultaneously hilarious, tense and awesome.

6. Extremis

Despite the conclusion to this three parter being disappointing, Extremis still holds up as an incredibly dark and clever story. As a set up it’s perfect, with The Monks feeling like a true threat and the Doctor’s blindness adding a lot to the stakes in the story. The main plot about the Veritas is a strong enough mystery but it’s the final twist that gives a story a sense of scale and it’s executed perfectly, with the absurd plot (the Pope visiting the Doctor in person, the TARDIS not translating Italian and the gateways around the world) slotting together to make an immensely satisfying whole.

The subplot with Missy and the final act of heroism from the virtual Doctor also sets up the arc for the rest of the series. Nardole is a highlight here, adding humour to the dark story and this was the start of him progressing from an entertaining side character to an awesome companion. This is a very topical story for 2017, as it questions how people can survive in a world full of darkness and it raises questions about what’s real and what’s not. Can a post-Trump and Brexit world still have positives? This story confirms that as long as people do heroic things, it doesn’t matter what the world is like. Extremis is extremely poignant and very meta.

5. The Magician’s Apprentice/The Witch’s Familiar

This story is proof that when Steven Moffat hits, he hits hard. The highlights of this two parter are Missy and the interactions between the Doctor and Davros, with the scenes between them being some of the best of the Capaldi era. Much like the Series 10 finale later on, this story manages to feel small scale and epic at the same time. It was great seeing Skaro again and even better than that was seeing Davros again, with this being one of his finest stories. Some may find the resolution unsatisfying and that all of his character development was erased, but the early scenes still have weight to them when you realise that Davros meant every word he said, even if he hadn’t truly turned good.

Missy’s inclusion helps give the sombre second half humour and she is absolutely hilarious throughout, making the scene where she makes the Doctor almost kills Clara inside the Dalek a hint towards her darker side. She’s my favourite Master and this story confirmed it and I desperately wanted her as a full time companion. I even enjoyed Clara in this story and seeing the other Daleks from the show’s past was brilliant. The whole story is about trust, redemption and regret, and it’s simply wonderful. Whilst Series 9 may have ended poorly, it began with a bang.

4. Oxygen

Otherwise known as “what Kill the Moon should have been”. Oxygen is great because it isn’t just a base under siege/horror story, as good as those aspects of it are, but because it makes a point and serves as a clever satire. There’s no real villain here as the suits are programmed to obey the unseen company controlling them and I appreciate the return to hard sci-fi. Unlike Kill the Moon, the story never forgets that it’s Doctor Who and keeps the satire to a subtext, focusing on the brilliant dynamics between the Doctor, Bill and Nardole and the intense atmosphere.

Having recently watched the Alien movies, rewatching this story allowed me to see the influences those movies had on Oxygen, with the idea of corrupt corporations and human lives being sacrificed for the sake of profit. I always love it when the show tackles interesting ideas and difficult subject matter without losing the core of what makes the show good, which is entertaining sci fi. The story is perfectly paced and features amazing direction and cinematography, with the scene of Bill losing oxygen one of Series 10’s best. A borderline perfect story made even better by its relevance to the arc.

3. Heaven Sent

This is one story. One. Putting aside what actually happened afterwards, let’s just focus on this amazing episode featuring probably the best performance by any Doctor in any story. This looked like it was doomed to failure- the Doctor on his own talking for 55 minutes, with not much plot or action. Despite this, Peter Capaldi completely sells the Doctor’s grief and determination and it’s this episode that solidifies him as probably the best actor to take the part. The whole episode serves as a magnificent analysis of the Doctor’s mind and how he works.

The music is incredible, the direction is some of the show’s best and the whole story is a breathtaking experience. It’s the kind of episode I strive to make one day. It’s not conventional Who at all, but it’s still brilliant and serves as a fantastic metaphor for grief and letting go. The final ten minutes with the billions of Doctors punching through the wall for 4.5 billion years is a scene that will go down in Doctor Who history, with one of the lowest points of the Doctor’s life suddenly turning into the most triumphant. Easily the best episode of Series 9, but my favourite is…

2. The Zygon Invasion/Inversion

This is much more conventional Who than Heaven Sent, but that doesn’t make it worse. Taking the weakest aspect of the 50th and making a two parter out of it was extremely well played on Moffat’s part and makes the 50th even better than it already is. Like the best Jon Pertwee stories, what this story does best is use the current world climate to create a very modern and relevant story. Osgood makes a much better companion than Clara ever did and the story is full of tiny moments that help flesh out the conflict such as the Zygon who kills himself as he wants peace and the implication that these kind of conflicts never achieve anything.

The intense subject matter and themes doesn’t stop it from being highly entertaining, with a great villain in Bonnie and UNIT being plain awesome. This hearkens back to the best of the Jon Pertwee era and as a massive fan of that era this story was obviously going to appeal to me. The gritty direction and sombre mood throughout makes this an immersive experience that’s a hard watch but one that’s very rewarding. Whilst the speech in The Zygon Inversion may overshadow the rest of the story, there’s enough to like in both parts to make this a modern classic.

  1. World Enough and Time/The Doctor Falls

I’ve gushed about this enough, but simply put this is now in my Top 10 stories of all time. Considering it had to write out two companions and featured two Masters, multiple versions of Cybermen and the Doctor’s impending regeneration, I would have been happy if this was merely good. The fact that it’s brilliant in every way is one of Moffat’s finest achievements, with a story which encapsulates who both the Doctor and the Master are. Everything about this story, from the acting to the music and the direction is pitch perfect.

The Cybermen get their best showing in New Who with their origins being masterfully handled and the sheer glee of seeing two Masters on screen is enough to make any fanboy happy. The story is about triumph and who the Doctor really is and his decision to stand and fight the Cybermen makes this a brilliant bookend to his good man arc in Series 8. The themes of the series and the era as a whole are expanded upon and made better by this story. It’s epic and intimate, incredibly dark but also incredibly optimistic and is perfect in every sense of the word.

The superhero films of the year- A look back

With the release of Justice League this past week, the annual bunch of superhero films has come to an end. And what a year it has been for Marvel and DC! Two Batmen, Wonder Woman, Spider-Man, Thor, Wolverine, Baby Groot and more. To me, this has been an outstanding year for comic book movies, so let’s go through one of the craziest, most insane years in superhero film history. We’ll start from the beginning, and there will be spoilers for all movies apart from Justice League and Thor: Ragnarok-

Way back in February, we had the hilarious LEGO Batman Movie. I haven’t seen the LEGO Movie, although I’ve heard it’s good and based on this movie, I will be first in line to the sequel (I’m also hoping for the Doctor to appear in that film). This is a great, fun film for fans of LEGO, DC and good movies. I honestly didn’t expect to love the movie as much as I did.

This movie homages and references all eras of Batman, from the 30’s to Batman V Superman. This Batman is absolutely hilarious, less of a Dark Knight and more of a spoilt rich kid who happens to be a superhero. In the first case of “superhero father problems” this year, Batman has to learn to raise the orphan Dick Grayson as his own son whilst also having to fight off the Joker, whose attempts to get Batman to notice him causes him to ally himself with every villain from every franchise Warner Bros can get their hands on. Behold, as we see Voldemort, Sauron, King Kong, Daleks and more team up with the Joker to invade Gotham City. The results are glorious-

This movie is just awesome. It contains so many references and in-jokes to over 75 years of Batman that I just couldn’t help but love every second of it. This is the first Batman film to have the Bat Family, the first to have Condiment King and the first (and only I think) to have the shark from Jaws defeated by Bat Spray. A great start to a great year of comic book movies.

And now for something completely different in the best comic book film of the year, Logan.

I saw this movie and the LEGO Batman movie less than a month apart. The difference could not be bigger and it’s a testament to the diversity of comic book films that these two movies exist in the same year, let alone a month apart from each other. I’ve gone on about how this movie deserves serious consideration at this year’s Oscars and I still haven’t thought of a single legitimate reason why it wouldn’t. In terms of final bows, I can think of nothing better than Hugh Jackman playing Wolverine for one last time. Please Fox, don’t recast him, just leave this chapter of comic book history alone.

In part two of “superhero father problems” (yes I did just link the LEGO Batman Movie and Logan), an ageing Logan has to care for a dying Professor X in the near future, in the same way Xavier used to care for him. The daddy issues truly come to ahead when Logan ends up on the run with Laura, a young girl who happens to be a genetic clone of Wolverine. Logan now has to care for his “father” and make his “daughter” a better person than him, all the while escaping from the Ravagers. This is easily the darkest and least comic book like superhero film since The Dark Knight and is more like a western character study which happens to have a clawed mutant. This movie delves deep into themes such as redemption and what it means to have a family, and juxtaposes some of the best action scenes I’ve ever seen with complex character dynamics and moments of quiet.

Give. Patrick Stewart. An Oscar. Comic book films honestly don’t get better than this, and I honestly think this should be the last X-Men film (barring Deadpool films, but they’re allowed to exist because they’re Deadpool films). To end one of the oldest ongoing comic book franchises on this note will be so much better than the next continuity confusing X-Men movie. Seriously, the timeline is so confusing and whilst it’s not clear what timeline Logan is set it, I don’t really care seeing how this is a standalone film. The best comic book film this year, no question, and I expect to see this movie reap in many nominations come Oscars season.

Moving on to the giants of superhero movies, the Marvel Cinematic Universe-

Guardians of the Galaxy Vol. 2 is the third part of the unofficial quadrilogy of 2017 superhero films about problematic fathers, and it’s the movie most obviously about the issue. The second Guardians film is a joy to watch, filled with fantastic comedy and great character growth. I’ve touched upon why I love this film previously, but since May I’ve grown to love the film even more, to the point where I love it more than the first film and it’s now one of my favourite MCU films.

This movie has one of the most emotional and powerful stories in the whole MCU, with Star Lord coming to terms with his father and completing his emotional journey across two films. The Guardians go through a lot in this film and whilst they come out on top, their world will never be the same again. Seeing all the arcs and subplots come together in the final act is immensely satisfying. This film is about belonging somewhere and embracing family. Ego is one of Marvel’s best villains, brilliantly playing off Star Lord and giving the movie a sense of real menace. The plot with Rocket and Yondu is my favourite part of the film, as they bond over their reluctance and then acceptance of fatherhood (Rocket with Baby Groot and Yondu with Star Lord).

This is a truly well written and complex movie with every character’s arcs tying into some way about the idea of family, friendship and trust. However, this is still a movie with a talking raccoon, a tiny dancing tree and Taserface, so it’s not all doom and gloom. But it’s the way the hilarious comedy is weaved together with this brilliant story that makes this one of Marvel’s absolute best. I do love the first film, but I honestly believe this film surpasses it in every way. A triumph.

And with that, we move onto the movie I’m so happy ended up being so good, Wonder Woman-

Oh DC, DC, where do we start with DC? I’ll go into their current predicament later, but for now let’s cast our minds back to June, when DC made a movie everyone could agree was good. I honestly prefer DC to Marvel overall (I’ll happily read a Green Lantern comic over any Avengers comic) and I only really like the Marvel characters in movie form. DC on the characters have characters I unreservedly love, especially the Justice League. So I was happy when Wonder Woman was great, as it was such a breath of fresh air for the DCEU movies. I didn’t hate the other films, but this movie was clearly superior to the others.

What this movie nails most of all is how to embrace the silly comic book roots whilst also dealing with incredibly dark themes and ideas. This movie is all about war and it doesn’t sugarcoat it in any way- Diana sees first-hand the horrors of the First World War and has her optimistic view of the world of man shattered. The movie also deals with the idea that humanity is flawed, which is something that Diana fails to grasp, as she sees defeating Ares as the key to ending the war, only to realise it is the humans causing the war with Ares merely guiding them. A lesser movie would have painted the conflict in black and white but Wonder Woman is all about what war really is, as anyone who knows history knows the First World War was far more complex than just good vs evil. It’s a really mature story but at the same time it embraces the comic book roots and has delightfully over the top action and effects. The No Man’s Land scene is, in my opinion, the absolute best scene in any comic book movie this year-

What a scene. I hope future movies write female characters in this way- make them strong because of who they are, not based on their gender (this applies to male characters too). This film could have easily been about how Wonder Woman is awesome because she’s a woman, but instead she’s awesome because of who she is and what she values. Ares is a great villain and I love how the film misdirects the audience into thinking it’s Luddendorf (who was actually a real person whadyya know?) before revealing the much more satisfying and thematically profound answer. This movie embodies who Wonder Woman is and why DC has endured for so long. If it wasn’t for Logan, this would be my favourite film of the year.

Moving on to the most iconic Marvel character, Spider-Man-

Remember how I said I mostly prefer Marvel characters in film form? That’s not the case for Spider-Man. I’m a huge fan of the comic book character, especially the original Stan Lee run. They’re incredibly cheesy but heartfelt and genuine, which is something this movie captures well. One of the highlights of Civil War, it was great to see a fully established Spider-Man and not having to go through the origin again. In Uncle Ben’s place we have Iron Man, whose role as a surrogate father figure and his clashes with Peter make this part four of superhero dads. This Spider-Man is just a normal kid, which I really appreciate, as it’s how the character started.

What works about this movie is how small scale it is. The world is not at stake and it’s not a part of the ongoing Thanos saga- it’s just a standalone film about a kid who wants to be a hero. The small stakes allow the villain to work- and I mean really work. The Vulture looks awesome, is awesome and is the best comic book villain of the year. You understand where he is coming from and why he’s doing what he’s doing, which is not something I can say for a lot of Marvel villains. In terms of characterisation, this Spider-Man is probably the closest we have to Stan Lee’s original vision and it’s great to see the MCU stripped down to Earth. In terms of past Spider-Man films this is very unique as it deals with issues not faced by the other ones, especially seeing how the MCU’s desperately wants to join the Avengers.

This is probably my second favourite Spider-Man film after Spider-Man 2 (which to be fair is a very high bar to reach) and it captures the care free nature of the comic so well. I particularly like the action scenes, as they feel really cartoony and ridiculous, which is what a Spider-Man film should be. I also love how Spider-Man leaves the Vulture alive, setting up not only a possible reunion but also a possible Sinister Six film. It’s also a really funny film, with lots of great laughs. And it’s not even the funniest Marvel film this year! But most importantly, much like Wonder Woman it captures who the main character is perfectly. I still love the original Sam Raimi Spider-Man films more (well, the first two), but this Spider-Man is my favourite. If that makes any sense.

And now to my favourite Marvel character, Thor-

I’ve written a review for this as my last post so I’ll keep it brief- this was my most anticipated movie of the year and it did not disappoint. Everything I want from a Thor movie is here and more. Every character is awesome, with the highlights being Korg (spin-off please!), Valkyrie and the Grandmaster. Thor is as funny as he always is, Hulk is great in a movie that shouldn’t really have him in it, and Loki is just Loki. Even Doctor Strange is awesome for the brief time he’s on screen. Incidentally, both Thor and Doctor Strange are Marvel characters who, like Spider-Man, I love the comics for as well. It’s also so, so funny- as in laugh a minute. It has amazing action, great character development and is the ultimate comic book blast. I can’t really dive into this one seeing how it’s still fairly recent but if you haven’t seen it yet, there’s still time. In short- watch it. Can’t wait for Black Panther and then… Infinity War.

And now for the elephant in the room, Justice League. This movie is causing quite a stir so let’s dive straight into this-

OK, this will be less about the film itself and more to do with the fallout after this movie’s poor box office. Firstly, I’m going to come out and say that I actually like this film. Admittedly it’s mainly because Wonder Woman’s in it and I really like this universe’s Batman now that he doesn’t kill people. Seeing the Justice League together was really cool and I’m glad Superman is actually Superman. The only character I wasn’t too keen on was Aquaman, as I think he was too similar to Thor in terms of personality and didn’t really resemble the comic book character. He could have been any hero. The villain wasn’t too great but overall I still enjoyed watching it. That said…

Let’s talk about the future of the DCEU and how they can improve. At this point the movie is severely under performing at the box office, causing mass panic for Warner Bros. It isn’t superhero fatigue (a term coined by cynical art-house critics; the other six films this year have all performed brilliantly) but mostly due to a lack of faith in DC properties and the mixed reviews. Whilst I basically ignore reviews for superhero films, a lot of people don’t and that has clearly affected Justice League- Wonder Woman was a success due to the positive reviews and its standalone nature, whilst Justice League has the highly divisive Batman V Superman in its shadow.

So what’s the future for DC? I don’t see Wonder Woman 2 being affected seeing how that’s the only successful franchise they have right now. Aquaman is still being released and depending on how successful that is we may have another hit franchise. As for the rest, I think Warner Bros honestly need to step back and think about this carefully. Personally, I would use Flashpoint to restart the universe, keeping everything that works (Wonder Woman) and changing everything else. Start the universe with a Wonder Woman film with the same continuity as her previous films, then do solo films for each Justice League member with the team up film simply called Trinity. I mean, they could make do with the current universe, but the fans have spoken and as a DC fan, I think a fresh start is in order. That said I still enjoyed this version of the Justice League, but I can’t see the current DCEU surviving outside of Wonder Woman.

So after this great year of comic book movies, I honestly think this has been the best year for fandom in ages. Marvel and DC were both on their best and I watched and enjoyed all the films. Next year is set to be even more nuts and if the quality of superhero films can keep up then we’re in for a good year. All we need is The Last Jedi and a good Doctor Who Christmas special to cap this year off in style.