Posts Tagged ‘Gal Gadot’

Director: Patty Jenkins

Starring: Gal Gadot, Chris Pine, Robin Wright, Danny Huston, David Thewlis, Connie Nielsen, Elena Anaya

For as long as we can remember, superhero films have featured protagonists whose motivations consist primarily of a combination of two things: 1) a natural enemy to defeat and 2) someone whose death they feel compelled to avenge. #2 comes around a little less often than #1, but the fact remains that the hero is focused on defeating the villain. #1 is no different in the case of Wonder Woman, as she was born and bred for this purpose. But there is much that is different about her. Apart from Marvel’s Thor, Wonder Woman is unique in that she is the offspring of a god. Having the powers of an immortal god could have easily led to her imposing her will on all of humanity. But that’s not Wonder Woman’s style. She is not the sort who would destroy entire cities to end a threat, or perform a memory wipe on someone just to remove the burden of having to shield them 24/7. What truly helps Wonder Woman to stand out among the crowd is her unwavering desire to save people.

In 2017 Paris, Diana Prince (Gal Gadot) stares at an old photograph of herself and others from a century ago, recovered for her by newfound friend, Bruce Wayne, a.k.a. Batman. Her memories of a long ago era take her back first to her youth on the island of Themyscira, where she was one among the many of Amazonian warrior women who lived there. The island is obscured from the rest of the world for their (and, more specifically, Diana’s) own protection. Despite the objections of Queen Hippolyta (Connie Nielsen), Diana begins training for a battle yet to come. That battle, against Ares, the god of war, is one that Zeus (Ares’s father) believed was inevitable, and thus he created Diana through Hippolyta. In Hippolyta’s sister, General Antiope (Robin Wright), the greatest of all warriors on Themyscira, Diana could find no better teacher. Princess Buttercup is a general, now. How cool is that?!

Trouble arrives when a German plane piloted by American spy Steve Trevor (Chris Pine) crashes into the water just off the coast of Themyscira. Diana saves Steve, but he was followed, and although the ensuing German assault is soundly defeated, Antiope is killed. The Lasso of Truth forces Steve to reveal the nature of his mission: the theft of a notebook from the laboratory of Doctor Poison (Elena Anaya), who is developing mustard gas for the Germans, which indicates the plans to start a higher form of warfare. The Amazonians, up to now, had no idea that World War I was going on around them. Diana believes that this is a sign of Ares’ return, that he is posing as German General Erich Ludendorff (Danny Huston), and that it is her duty to find and defeat him.

Having no experience with the outside world, Diana is unaccustomed to a society where women have no say in any matters of importance. As such, there are many awkward moments, both in trying to assert herself and in trying to look the part of a woman living in the 1910s. Perhaps the best example of this is when Diana attempts to walk out onto the streets of London whilst carrying both her sword and shield. Not exactly the type of thing that would help her to “blend in”! At the War Council, Steve barges in and delivers the notebook, but is barred from taking any further action. An armistice with Germany is in the works, and they don’t want anything mucking it up. Steve is a soldier, and as such is willing to (reluctantly) accept orders once they are given, but Diana (whom Steve has introduced as Diana Prince) sees only foolishness in failing to act. One member of the council, Sir Patrick Morgan (David Thewlis) agrees to help them covertly.

After putting a team together, Steve and Diana head for Belgium. At the Western Front, the team finds what appears to them to be an impasse. In what has to go down as the movie’s greatest scene… perhaps one of the greatest scenes of ANY superhero film… Diana climbs from the trenches and walks through No man’s land, using her bracelets and her shield to deflect all incoming enemy fire. This moment is as breathtaking as it is inspirational. A village is liberated, and the photograph from the film’s opening scene is taken. Afterwards, Steve and Diana share a moment of intimacy. Alas, though the battle may be won, the war is far from over.

Diana tracks down and attempts to kill Ludendorff, but Steve stops her, believing that their mission to stop the gas attack would be compromised. Ludendorff subsequently orders a test of the gas on the very town which Diana and Steve just rescued. Distraught by the senseless loss of life and beginning to lose her faith in humanity, Diana lashes out at Steve and continues her pursuit of Ludendorff. Finding him once again, Diana does not fail in her mission to kill Ludendorff, yet she is puzzled. If Ares is now dead, why then does the war continue? That question is answered quickly. Out of nowhere, Sir Patrick appears, declaring himself to be Ares.

All along, Diana has assumed that Ares has been controlling the thoughts and actions of the Germans. In an attempt to simultaneously break her spirit and cause his sister to join him, Ares explains to Diana that he hasn’t deprived humanity of its free will, that it is they who choose to be evil. While this is going on, Steve pilots a plane carrying the mustard gas high into the sky where, in an act of self-sacrifice, he can detonate it safely. Despite some cheer-leading from Ares, Diana chooses not to murder a defenseless Doctor Poison, instead reassured and inspired by Steve’s final words to her as well as his final act, both of which were born from love. It is through the power of love… Diana’s love for Steve and for all of humanity… that Diana is able to summon the energy that has always existed within her to ultimately defeat her brother, once and for all.

Wonder Woman was already recognizable as being (easily) the best part of 2016’s Batman v Superman. As the star of her very own movie, the Princess of Themyscira makes 2017’s Wonder Woman one of the very best superhero movies ever made. Apart from the rather timely message of love conquering hate, Wonder Woman also features terrific set design (owing to its World War I setting), a great supporting cast (in which Chris Pine is the standout), and a powerful score by Rupert Gregson-Williams. Not since John Williams’ Superman (1978) and Danny Elfman’s Batman (1989) scores has a superhero been blessed with such appropriate music, particularly the track “Wonder Woman’s Wrath.” Incidentally, when Wonder Woman returns in Fall 2017 for Justice League, Danny Elfman will provide the music.

Finally, there’s Gal Gadot herself. A former Israeli model who owes her first big break in Hollywood (2011’s Fast Five) to actor Vin Diesel, Gadot’s hiring for Wonder Woman was widely criticized. So was Michael Keaton for 1989’s Batman, as well as Heath Ledger for 2008’s The Dark Knight. Unfairly, Gadot’s criticism had more to with her body shape than anything else. Gadot turned out not just to be a good choice, but a perfect choice. Like those before her who’ve entered the superhero genre and succeeded as mightily as Gal Gadot has with Wonder Woman, Gadot’s name will forever be synonymous with her character. For as long as Gadot wields the Lasso of Truth as Diana Prince, I will always be appreciative of what she brings to the table.

Advertisements

Director: Zack Snyder

Starring: Ben Affleck, Henry Cavill, Amy Adams, Jesse Eisenberg, Diane Lane, Laurence Fishburne, Jeremy Irons, Holly Hunter, Gal Gadot

As a comics reader, I’ve always been more of a Marvel fan. The same is true of the movies… for the most part. There have been exceptions to that rule, of course, notably with DC’s adaptations of Alan Moore classics V for Vendetta and Watchmen. The big-screen escapades of DC’s two most popular characters, Batman and Superman, have also piqued my interest on occasion. Of the two, Batman, being a man who has no superpowers to fall back on, is infinitely more relatable than the Last Son of Krypton.  So, of course, when it comes to a showdown between the two, I would always choose the side of the Caped Crusader. Not to mention the fact that I can count seeing Tim Burton’s 1989 Batman at the age of 7 as the event which changed me from a casual viewer to full-blown fan of movies. From 1978 to the present day, each hero’s cinematic ride has experienced the highest of highs, and (extremely) lowest of lows. 2016’s Batman v. Superman falls into neither category.

After a brief opening credits sequence which features what feels like the millionth depiction of the murders of Thomas and Martha Wayne (played by “The Walking Dead” co-stars Jeffrey Dean Morgan and Lauren Cohan), the action moves to the climactic battle sequence from the end of 2013’s Man of Steel, where Superman (Henry Cavill) winds up causing more destruction in Metropolis than he is able to prevent in battling General Zod (Michael Shannon). Only, this time, we witness the battle from the perspective of Bruce Wayne (Ben Affleck).

One cannot watch this sequence without automatically thinking of 9/11, and that’s what makes this the most effective part of the movie. It also helps to establish a motive for Bruce Wayne/Batman to see Superman not as a guardian of Earth, but as a threat against it. Bruce, who has been at this superhero gig for a while now, is using a much more harshly defined sense of justice these days, which provides Clark Kent/Superman with reason to voice his opinion on the matter via Daily Planet articles.

Unlike the Superman of the 1980s, who somehow was able to convince the leaders of the world to allow him to rid the Earth of nuclear weapons, this version of Superman has a hard time assuring the U.S. government that he has our best interests at heart. He is even compelled to appear before a Senate committee hearing on the subject. Unfortunately, the hearing is interrupted by a suicide bomb, which kills everyone in attendance, including Senator June Finch (Holly Hunter). Everyone, that is, except for Superman. As it happens, this event, along with the seeds of doubt pitting Batman and Superman on opposing sides, have all been orchestrated by the unhinged head of LexCorp, Lex Luthor (Jesse Eisenberg).

Behind the scenes, Luthor has been very busy, collecting a Kryptonite sample, acquiring both Zod’s corpse and his spaceship, and also investigating the existence of metahumans. Bruce Wayne acquires both the Kryptonite and the info on meta-humans, the former to be used as a deterrent against Superman. The latter reveals to him four individuals with extraordinary gifts: the super-speedy Barry Allen/The Flash (Ezra Miller), the underwater-dwelling Arthur Curry/Aquaman (Jason Momoa), the part man, part machine Victor Stone/Cyborg (Ray Fisher), as well as Amazonian Princess and daughter of Zeus, Diana Prince/Wonder Woman (Gal Gadot). Bruce is already familiar with Diana, having bumped into her at a party at LexCorp. He only needs the one meeting to be able to sense that there is more to her than most men would notice.

Diana is also interested in the meta-human file, though only for a specific photo which she claims belongs to her. Bruce shares the file via e-mail, noting that this grainy black & white image from a century ago is not merely her possession, but is in fact a record of her involvement in the events of World War I. I reserve any further commentary on the matter, as the movie does, for 2017’s Wonder Woman.

The film’s promised fight finally gets underway thanks to Lex’s maneuverings, the final piece of which is the kidnapping of Martha Kent (Diane Lane), which will ensure that Superman fights Batman at Lex’s bidding, lest Martha meet a fiery end. So the two heroes fight, with Batman using Kryptonite as a means to level the playing field. Eventually, Batman gains the upper hand, but is startled by the notion that Superman’s adoptive mother and his own dead mother share the same first name. For most who have seen this movie, this scene is one of the most heavily scrutinized. It’s the jarring transition from beating the hell out of each other to suddenly being best buds which earns that criticism.

So, Batman volunteers to save Martha while Superman goes to confront Luthor. Unable to accept defeat, Luthor unveils his Plan B: the Kryptonian abomination known as Doomsday. It takes the combined efforts of Superman, Batman and Wonder Woman to provide adequate defense against the monster, but only Kryptonite can kill it, and the only fragment left was used by Batman to form a spear. It falls to Superman to find and use the spear, but because of his own weakness to the shiny green rock it leaves him just as vulnerable, and thus Superman and Doomsday simultaneously kill one another.

An epilogue, which is mainly a teaser for the forthcoming Justice League movie, shows Batman confronting a deranged Luthor in prison, who warns of the imminent arrival of supervillain Steppenwolf (whose actual name is never mentioned), leaving Bruce Wayne with the sense that, soon, the meta-humans will be compelled to answer the call to battle. Meanwhile, a funeral is held for Superman, who is recognized in death as the hero he was never fully appreciated as in life. But there are indications that he may not be totally dead just yet…

Batman v. Superman is a fundamentally flawed movie, which is pretty much par for the course with Batman and Superman’s movies (except for 2008’s The Dark Knight). It gives us a terrific Bruce Wayne/Batman (not to mention a decent Alfred as performed by Jeremy Irons), and a not-so-great Superman. The battle scenes are great, but character behavior/motivation is a problem. Particularly depressing is the portrayal of Superman not as the ray of hope he’s been known as through the majority of his existence since 1938, but as a dark, brooding character. That’s supposed to be Batman’s territory! The whole point is for them to have two wildly contrasting outlooks on the world and life in general.

So desperate was DC to compete with Marvel Studios that it got a little too greedy. It’s never a good idea to cross pollinate two completely different comic storylines into one movie. 2006’s X-Men: The Last Stand did the same thing. So did 2007’s Spider-Man 3. All it does is undermine both arcs. If you’re gonna throw in “The Death of Superman” right after his first meeting with Batman, that’s fine. A little weird, but okay. What you shouldn’t do is pass off their chronologically final confrontation from the comics (“The Dark Knight Returns”) as their first in this movie. It’s rather jarring.

This movie is neither fantastic, nor fantastically awful, although it is clear that this wasn’t the best way to introduce the DCEU (DC Expanded Universe). One thing that Batman v. Superman got fantastically right is its portrayal of Diana Prince/Wonder Woman. Even her theme music is badass! The scene-stealing Gal Gadot’s performance is spot-on; so much so that, by herself, Wonder Woman gave hope that her own adventure might just give DC the boost it needed after this misstep. But that, as I said, is a subject best left for another film review.