Justice League – Review


My friend Noah Miles wrote in his Spider-Man: Homecoming review, “I don’t know if Jon Watts is a good director. I really don’t. It’s impossible to tell from this, although the direction here is probably the worst I’ve seen so far this year, because Marvel reshoots everything and rarely allows directors creative freedom to take risks and do something visually interesting.” It was the first thing that came into my head after having left Justice League, because from the many reshoots that came along since Zack Snyder left the production after the death of his daughter, you can really tell this isn’t so much of a Zack Snyder film. As a matter of fact, it seems more like the traces of a butchered plan that were haphazardly stitched together as a means of trying to appeal to the masses. The sad thing is, there’s barely enough about Justice League as it stands that truly works.

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Wonder Woman – Review


It’s already about time, we finally have received a live action Wonder Woman film. Among many things that surprise me, one that comes out the most is the fact that it had taken this long for the demigoddess to receive her own film and we’ve finally come this far, but at the same time comes the first female-directed superhero film with a female lead, with Patty Jenkins directing for the first time since 2003’s Monster. After the disasters of Catwoman and Elektra, what’s there to be said about Wonder Woman? The most pleasing thing to report is the fact that not only is it just a great superhero movie as a whole and one of the better ones to have come in recent memory, but just a great film all around. After all of these years without having her own live action film, not only does Wonder Woman finally manage to have the spotlight for herself but she’s also set an example for the very highest points of superhero cinema from recent memory.

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Demonlover – Review


Now for one of the most underrated films of its own time we talk about Olivier Assayas’s Demonlover, which has found itself categorized as a part of the New French Extremity movement. This erotic thriller drew a wide range of reactions going from great dislike to high praise. On behalf of the latter half of its own audience what I can only come to say about Demonlover is that it might indeed very well be one of Olivier Assayas’s best films. If there was anything to be proven with Demonlover it was that Assayas was certainly amongst the most versatile filmmakers of his very own kind, going from experimental drama films now to a cyberpunk erotic thriller – it’s a shame that this film has gone underseen over the years but here’s hoping it gets a critical reevaluation that I believe it deserves. Perhaps it may prove a baffling work for some but I still think there’s something all the more hypnotizing about that quality to Assayas’s work: and it’s absolutely brilliant.

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