News Of The World Is An Emotionally Absorbing And Well-Acted Western Drama

 

      When it comes to making Westerns, one key aspect of them that makes the films standout in the eyes of the audience are the wide varieties of stories the genre possesses. Audiences not only find themselves looking forward to the action portion of the stories, but also become invested in the plot as well as the characters. That most certainly appears to be the case with the genres newest release titled News Of The World starring two time consecutive Academy Award Winner Tom Hanks with it being directed by Oscar nominated director Paul Greengrass. Having shared a history of both working together previously on 2013's acclaimed drama Captain Philips with the results being successful, the two find themselves pairing up once again to deliver a powerful and affecting Western drama which showcases the strength of both men's talents on film with a surprisingly mesmerizing performance from young supporting actress Helena Zengel. 

      The plot for News Of The World transports audiences back to 1870's Texas with a veteran (Tom Hanks) traveling from town to town with him making a living by reading stories to crowds from newspapers from all over the world. When he comes across a 10-year old German girl (Helena Zengel) taken by the Kiowa people six years earlier and raised as their own, he inadvertently becomes responsible for returning her to her surviving family. To Western fans, News Of The World has a narrative that feels familiar with it bearing similarities to True Grit. Though its story-structure has been done before, the overall experience itself is one that's extremely slow-paced though an absorbing one that carries emotional power to it thanks to Hanks masterful performance, as well as Greengrass pure craftsmanship as a filmmaker. The combination of these two working together results in an experience that's superbly acted and filmed with both having a natural professional relationship in which they understand how the other person works, along with bringing out their sheer talent and skills. The heart of the film lies within the performances of its main leads with the audience becoming invested in their story. For both Hanks and Greengrass, the film serves as being uncharted territory for them with their admirable efforts to tell an intriguing type of Western story ending with one that's not just thoroughly entertaining, but also well-filmed and succeeds in making the audience becoming connected with both Hanks and Zengel's characters on screen. For some audiences, the story may be too slow-paced for them to find the plot interesting. Others who appreciate this genre as well as genuinely solid filmmaking will find News Of The World to be a Western that relies on old and familiar formula to tell its story, but still manages to be solidly effective at doing so. 

      Whereas Paul Greengrass keeps the films narrative and story-structure focused, it's the performances of both Tom Hanks and Helena Zengel that make the story engaging to audiences with their convincing performances. One of the most notable traits of Greengrass films is the amount of realism that his actors bring to each story, with the audience totally finding themselves believing that they're in the moment with these characters with the performances in News Of The World being no exception. Both Hanks and Zengel work extroadinarily well off each other while showcasing chemistry that feels natural, along with making their character dynamic come across as being spot-on. Hanks commands the screen as Captain Jefferson Kyle Kidd, a former member of the Confederate Army who served in the 3rd Texas Infantry, making a living but traveling from town to town reading newspapers to the populace for a total of ten cents per person. Hanks portrays his character as being a dedicated person to his work, along with person a person without kin due to him losing his wife to cholera. Hanks demonstrates a firm group on playing his character with him showing a great deal of emotional range, most notably in the scenes where he cares for Zengel's characters well-being. Helena Zengel delivers a wonderfully terrific performance as Johanna, the young girl who Kidd comes across during his travel with him being left with no choice but to look after. Despite Zengel having minimal dialogue and speaking in a different language throughout their whole ordeal, she still manages to do a fantastic job of playing her character as well as expressing a great deal of emotional acting. The heart of the film lies within both the performances and character arc that both her and Hanks present on the screen. The audience remains consistently engaged with the story due to their dynamic, which often helps in overlooking the films slow-burning pace. The rest of the cast deliver effective performances despite the main leads largely dominating the screen with Thomas Francis Murphy giving his character both a striking and terrifying presence as the would-be authoritarian leader Farley, who insists that Hanks character read the local propaganda news about forcing everyone out of the area who isn't white. Murphy's character is not only thrilling to watch despite his small role, but his subplot bears a disturbing connection with the modern era in regards to disinformation, making Kidd's characters attempts to heal a fractured nation by going around it and reading the news a noble deed. Other welcomed cast members who wonderfully fill up the screen include Mare Winnigham as Kidd's friend Doris Boudlin, Micha Covino, Fred Hechinger, and Neil Sandilands, Ray McKinnon, and Elizabeth Marvel. As far as performances go, everyone plays their parts convincingly and add something to the film in regards to believability. Despite everyone attempting to juggle the brief amounts of screen presence they have, it's the amazing performances of Hanks and Hengel that connect the audience to the story and ultimately make them care about their ordeal. With performances such as the one Thomas Francis Murphy delivers that's exceptionally acted out, audiences feel the tension of the scene with them becoming concerned about the main characters safety. Regardless of how audiences feel about Greengrass films, the acting always gets marked as being one of his films highest points. 

      In terms of directing, this is is Greengrass at his most restrained and straight-forward in comparison to his previous works in which he used rapidly shaking camera work that gave his films a documentary style of filmmaking. Greengrass still proves to be most effective at crafting stories, which are surrounded by realism along with drawing the audience into the story. He does a terrific job of creating a background landscape that looks and feels like 1860's Texas during the Civil War era. The film is well-shot with cinematography that captures striking wide views of mountains, canyons, and plains with both the costume and set decoration accurately depicting the films historical time period. They not only work well in making the films story appear as being authentic, but also showing a tattered nation with the characters clothes being work out. The editing gives the film a slow-burning pace which tests the audience patience, while allowing enough time for Kidd and Johanna's relationship to grow. The score by James Newton Howard is both low-key and sombre with it fitting the story thematically, while carrying moments where the music appears bigger in scope. On both a technical and storytelling front, director Greengrass does a masterful job of bringing a war torn 1800's United States to life with its authenticity being richly detailed. He does well with keeping the pacing of the film steady enough to allow the experience to be an absorbing one for the audience, with the relationship between Kidd and Johanna feeling like a natural progression rather than appearing rushed or forced. Whereas Paul Greengrass work is known mainly for his ability to take stories centering around teal-life events and bring then to the big screen in a form that feels larger-than-life, News Of The World has the highly skillful filmmaker trying his hand at a different genre and largely succeeding at presenting a different narrative.

      The script written by both Greengrass and Like Davies takes direct inspiration from the works of both True Grit and The Mandalorian in regards to the whole subplot involving an older person looking after a young child with them ultimately becoming their undisclosed caretaker. An obvious reference to those would be the dynamic between Kidd and Johanna with the latter taking direct inspiration from Mattie Ross's character in True Grit. Although both Greengrass and Davies place the main leads relationship as being the soul of the movie, they manage to incorporate themes that feel strikingly relevant to today's world despite the film taking place in the mid 1800's era. The concept of Kidd trying to share real news with people from all walks of life along with keeping them informed, painfully mirrors today's predicament with the country as a whole being fragmented in regards to people's selecting of which news to buy as fact, while disregarding the rest as fiction if it doesn't match up with their agenda. Greengrass and Hanks choose to show a country that was deeply divided as well as barely remaining intact due to fighting a civil war with Kidd trying to deliver news to people that might or might've been censored from them due to which side their fighting on. The character of Farley represents a dictatorish authorative figure, whose forcefully selective of which piece of news his people get to hear so long as it fuels his agenda of keeping everything that's non-white below everyone else. The scene in which Kidd's character is forced by Farley to read the local propaganda to his community, yet chooses another piece of news to read to them while allowing Farley's people the opportunity to decide for themselves what they want to hear, is both a significant and powerful moment with him giving Farley's people the chance to speak up for themselves despite being under Farley's control. News Of The World carries other themes that run parallel to today's world such as a divided America that's combating racism, the relocating of Native Americans that's strikingly similar to the issue with migrant children at the border, the hard lives lived by settlers in the west, while also covering topics that make the story feel personal such as the death of family, the circle of life, finding ones true family heritage only to embrace a new one with a stranger who essentially becomes a parent or guardian throughout their ordeal. The script has a lot of issues at play within its story despite its basic plot which has been done before essentially. Although the story beats feel familiar, Greengrass finds ways to make everything feel fresh and engaging to watch, while drawing parallels between the two different eras. At the heart of the films writing however, lies a beautiful yet subtle message that's eloquently stated in the film saying that in order for one to move forward they must first remember, then choose to create new memories. That message is driven home through Johanna's character with her distant relatives, and wanting to run away again when remembering what happened to her parents. Her old memories emerge when she rediscovers her past with her creating new ones through her experience with Kidd. On the surface, the plot for News Of The World is effective but feels familiar to other films within the genre with similar storylines. Despite the landscape of the story feeling repititive, Greengrass and Davies incorporate themes and scenarios that are not only thought-provoking but serve as being reflective of modern times. The story gets its power from those themes, as well as the character arc that both main characters experience in their journey together through a split country and era that closely resembles modern times.

          If there's one thing about News Of The World that stands out in regards to its filmmaking, it's the amount of thoughtfulness and heart that both its filmmakers and main stars put into making it an emotionally charged experience. Given that this was unfamiliar territory to both Hanks and Greengrass in exploring the Western genre, it becomes clear upon watching the film that both men wanted to make their story a different type of Western than what audiences are generally accustomed to. The end result is a soft-spoken and well-made story of loss, hope, and seeking both comfort and peace from total strangers. It's also a story that feels quite timely despite its setting being so far back. News Of The World stands as being one of 2020's understated films with incredible acting, directing that feels on point though handled with an appropriate amount of restraint, and building up of tension. With a genre that feels a bit dated, Greengrass shows audiences that there's more story to tell with Hanks continuing to show that he's on top form as an actor, and Zengel's breakout as his co-star being a remarkable start to what appears to be a promising career. 

Final Verdict: For Western fans and those who enjoy Tom Hanks, News Of The World is a brilliantly-acted and affecting Western drama.

Zack Snyder's Justice League Lives Up To It's Hype In Giving Fans A Far Superior Vision Of The Justice League

      

       When it comes to the anticipation for the release of different versions of pre-existing films, very few generate the type of excitement and hype that Zack Snyder's unseen cut of Justice League has created. The most comparable instance in which both audiences and fans demanded that an unseen version of a specific film be released, was in 2006 when Warner Brothers finally gave in to the demands of Superman fans with the release of the much talked about Superman ll: Richard Donnor Cut with fans finally getting to see the version of the film that Donnor originally filmed and nearly completed before he was replaced by Richard Lester, who ended up reshooting most of the film. In a scenario that almost mirrors the production history of that film, director Zack Snyder left the production of Justice League due to a personal family tragedy and was replaced by Avengers filmmaker Joss Whedon with the latter ultimately refilming 80 percent of the final cut that landed in theaters. The end result of that version proved to be both a financial and critical failure with the future of the DCEU being uncertain. Fast-forward four years later after an aggressive campaign from both DC fans as well as those of Zack Snyder, audiences finally get the opportunity to see the latters original version of the film which spans a running time of just over 4 hours long. With the release of Snyder's cut of the film finally becoming a reality with the filmmakers vision becoming fully realized, the question fans have is whether Snyder's cut lives up to the amount of hype and expectations generated over the past year of its assembling. The answer is both a surprising and enthusiastic yes. The newest version of Justice League is leaner, darker, bigger in terms of scope, and more thorough in its development of the films main characters. It not only manages to be leaps and bounds ahead of what audiences were given in 2017, but the significant alteration of the film in comparison to Joss Whedon's version is an eye-opening experience that needs to and should be rightfully seen by every DC and comic book fan to get a clear idea of the vision that Snyder had in store for both these characters and the DCEU universe going forward. The Snyder Cut of Justice League is an ambitious, passionate, and visually stimulating comic book film that deservedly stands as being the strongest DC film since Christopher Nolan's The Dark Knight trilogy.

      Bearing virtually the exact same plot from the original cut, Zack Snyder's cut of Justice League centers around Bruce Wayne/Batman (Ben Affleck) teaming up with Diana/Wonder Woman (Gal Gadot) to put together​ a league of metahumans such as Clark Kent/Superman (Henry Cavill) Aquaman (Jason Momoa), Cyborg (Ray Fisher), and the Flash (Ezra Miller) in a mission to save the planet when an evil presence threatens the world's existence. Whereas the plot remains virtually the same as Whedons version, the overall experience is one that's entirely different and ultimately more satisfying. Zack Snyder's Justice League presents a rare occurrence in which a filmmaker who originally left their project due to unusual circumstances receives the opportunity to finish it while having complete creative control in doing so. The newest version of Justice League essentially has the imprint of its directors trademark style of visionary storytelling all over it with him also managing to surprise in numerous areas, that often became the subject of various criticisms from audiences prior in regards to his struggles as a consistent storyteller. The Snyder Cut Of Justice League feels like a larger and more fleshed out version of the story that both Snyder and Warner Brothers were originally going for. The film is significantly darker than the previous version with Snyder showing the clear threat that looms with the presence of a much more effective Steppenwolf, along with the inclusion of Darkseid. What's most surprising about the Snyder Cut as a whole in comparison to its predecessor, is the emotional weight that the film carries with audiences growing attached to the main heroes along with becoming invested in each of their background stories/character arcs. The ones that receive the largest upgrade in terms of development in this cut are Cyborg, The Flash, Cyborg's father Silas, and original villain Steppenwolf with the latter's motives becoming more clear along with his presence being more intimidating as well as threatening. The experience of watching the newest version of Justice​ League is one that feels surreal unlike most other alternate versions of films that came before it. Snyder's version of the story is greater in scope with it carrying a powerful message regarding teamwork and unity in which a group of outsiders come together to protect mankind in the same vein as Marvel's Avengers. At a time where the future is uncertain and filled with bleakness, Snyder's Cut provides fans with an optimistic feeling of hope with the assembling of the Justice League feeling more like what comic book fans experienced back in 2012 with the release of Whedon's The Avengers. Though Snyder's​ universe didn't have the carefully planned and steady buildup that the MCU had prior to the release of the original version of Justice League, the film more than compensates for the lack of proper separate origin films for characters such as Aquaman, Cyborg, and The Flash at the expense of making audiences sit through the films 222 minute running time that's conveniently split into a total of six chapters plus an epilogue. Zack Snyder's cut of Justice League is both long and drawn out, but its excessive length is used to maximum potential with the story feeling far more coherent and epic than Whedon's version. While probably no one outside of Snyder's loyal base of fans was clamoring for his version of an already disappointing film, DC fans and audiences alike will be deeply grateful that they did as the Snyder Cut of Justice League surpasses the Whedon version in every aspect of its filmmaking from the writing and directing to the performances of the main cast, and a more accurate depiction of the characters that fans desired. Although the film very much feels like a Snyder directed feature with his traditional excessive use of slow-motion shots along with a more dark and grittier atmosphere, this is unquestionably his best directing effort with him delivering a breathtaking visual experience while incorporating a surprising amount of emotion, humor, and heart into the film. It's an experience that fans may not necessarily desire to endure mainly due to the films excessive length, but they'll be glad that they did while hoping for more.

      Besides the Snyder Cut being stunning to watch visually, the soul of the film lies within its main cast whom ultimately prove to be a fantastic ensemble team. One of the few aspects of the Whedon version which stood out despite its enormous amount of problems, was the strength of its cast with everyone appearing to have chemistry that felt both natural and realistic. With the Snyder cut, that relationship is built on with the cast in addition to their performances feeling more natural as a whole. Ben Affleck once again owns it as Bruce Wayne/Batman with him showing audiences that his casting as the Caped Crusader was no fluke as he perfectly embodies the role of the teams leader/outsider. Affleck feels more fleshed out in this version with him appearing to be having fun with assembling his team, along with having a more firm grip on playing the role of Bruce Wayne. As for Batman, Affleck is fantastic to watch and serves as being one of the strongest actors to don the cape and cowl. The same can be said for Henry Cavill as Clark Kent/Superman. Cavill continues to make the case with fans that he's the ideal choice for the part despite the polarizing response fans have towards the way his character was handled in both Man Of Steel and Batman V Superman. He's hands down the best film version of Superman since Christopher Reeve. Gal Gadot is perfect as Diana/Wonder Woman with her portrayal of the character being compelling to watch along with her showcasing strong chemistry with Affleck. Ezra Miller delivers a solid performance as the socially awkward and geeky Barry Allen with his character appearing to be more fleshed out this time. Ray Fisher stands as being one of the films true standouts as Victor Stone/Cyborg with his character arc experiencing a massive upgrade in the newer cut. With Stone, Fisher brings a great deal of emotion to his part with him serving as being the heart of the film. Jason Mama's performance as Arthur Curry/Aquaman is spot on with him being both fun to watch and charismatic despite his character being more unpleasant in this version. Jeremy Irons does great as the smart talking yet loyal butler Alfred Pennyworth with him providing both Bruce and the Justice League with tactical support. His scenes with Affleck are solid with both men feeling realistic as their fictional counterparts. As for the films main antagonists, Ciaran Hinds delivers a strong performance as Steppenwolf, a godlike military officer from the planet Apokolips who searches for the three Mother Boxes held on Earth. Hinds role as Steppenwolf stands as being one of the films most significant changes with his character posing even more of a threat this time around, but his motives are more understandable to the audience with him coming across as being a bit sympathetic. Ray Porter is effectively chilling as Darkseid, the tyrannical New God from Apokolips and Steppenwolf's nephew and master. The rest of the cast deliver strong and noteworthy performances with Joe Morton receiving a substantial upgrade in screentime as Victor's father Silas Stone in a performance that's both scene-stealing and moving, along with the always reliable performances of Amy Adams as Lois Lane, Diane Lane as Martha Kent, Connie Nielsen as Diana's mother Hippolyta, Willem Dafoe as Aquaman's mentor Nuidis Vulko, Amber Herd as Mera from James Wan's Aquaman, Ryan Zheng as S.T.A.R labs scientist Ryan Choi, and both J.K Simmons and Harry J. Lennix shining in a brief yet vital role as Gotham City Police Commissioner James Gordon as well as the hotly anticipated Martian Manhunter. A lot of what makes the Snyder Cut of Justice League so enjoyable to watch and engaging lies within its performances with the huge ensemble of actors/actresses giving the film a genuinely epic feeling, that they're watching a team up which bears both the size and scope of the first Avengers flick. Watching the Snyder Cut, audiences can clearly see the enthusiasm and excitement that the films all-star cast has for telling the story with their performances feeling more fleshed out and natural in comparison to Whedon's shorter version. Everyone brought their A game to this film with the Justice League cast feeling like a truly great fit in terms of both working and building off each other.

      Given that this version of Justice League is helmed by Zack Snyder, fans already know what to expect from the filmmaker in regards to his visual flare as well as his unique style of directing. Hailed as being a visionary filmmaker, Snyder lives up to his name with his newest cut of the film being exhilarating to watch on both a visual and storytelling level. Whereas audiences may become annoyed with his endless amount of slow motion use, they'll marvel in the epic vision he presents in telling the story. The films use of CGI is excessive but works for the most part with a few shaky moments such as the use of CGI work on Martian Manhunter. Other moments where it's breathtaking are the scenes involving our heroes fighting Steppenwolf with his presence and Darkseid's being hugely appealing on a visual front. The sequences such as Steppenwolf doing battle with the Amazonian warriors in Themyscira are exciting to watch with helping to give the Snyder cut a scope that feels like a legitimate meshup of Avengers: Infinity War and Endgame. The films cinematography and use of lighting gives the story a greyish look, that matches the dark and gritty tone of the previous Snyder directed DCEU films despite the more hopeful outlook that Justice League's story possesses. The films pacing ends up being one of its most glaring issues with it feeling endlessly long with its 4 hour running time, but one can clearly see the necessity behind its length when seeing how the film adequately provides background information on all the key members of the Justice League team with characters such as Cyborg, The flash, Silas, Alfred, and Steppenwolf benefitting the most from the extended length. The costume and background design both work together in bringing Snyder's universe to life along with adding to the grandeur of the production. One of the key elements of a Zack Snyder directed picture that often make his films appealing to audiences as well as being polarizing is his hyper-aggressive visual style of directing. His films turn out to be visually stunning because of the immense control he possesses over the way he wants things to look with his version of Justice League being no exception. One aspect of the Snyder Cut that's most shocking is the amount of emotion and heart that the film carries in contrast to his previous works. As far as storytelling goes, this is Snyder at his strongest and most passionate in giving the fans what they want while simultaneously showing that he's the filmmaker most equipped for carrying out the unifying of the popular DCEU characters when it comes to them assembling. For those who felt that his abilities as a storyteller were somewhat lacking, they'll be genuinely surprised at what they see here.

      In addition to Snyder giving his best directing effort with the Snyder Cut, the writing for the newest version of Justice League proves to be significantly stronger than his previous works within the universe despite the questionable character subplot and plot hole. The screenplay by Chris Terrio feels more fleshed out and thorough with its exploration of the plot and characters. With Snyder's version, the stakes feel higher with the threat of the films main antagonists feeling much bigger in scope. The script also does a thorough job of adding in-depth backgrounds to many of the characters who felt shafted with Whedon's film. Not only do audiences find themselves connecting more deeply with the heroes in this version, but also understand their situations and motives for joining the group. Although there are no newer main characters added, the newer supporting ones help to make the story feel more populated and bigger in scope. Despite both versions of Justice League being structurally similar narratively speaking, the Snyder Cut places greater emphasis on themes regarding alliances, the formation of groups and working together against a common  foe, the loss of loved ones, hope, second chances, and having faith. This version of the Justice League story places greater emphasis on hope as well as the formation of the team. The film also feels like a partial concluding chapter to Snyder's Superman story with it essentially wrapping up the storylines of both Man Of Steel and Batman V Superman. With the newest versions strengths regarding the script, it also carries its share of weaknesses such as the subplot involving Lois Lanes character feeling a bit off despite being effective. Whereas Lois is shown to clearly be grieving over the loss of Clark still from the events of the previous film, she isn't given much to do besides that in this story. It also isn't made clear or explained on why Superman chose to attack the other Justice League members when brought back to life with no dialogue being given to show why he's doing so despite the sequence itself being thrilling to watch. The idea of the Justice League coming together to bring Clark back to help defeat both Steppenwolf and Darkseid works despite it happening so early in the DCEU timeline because of how it shows the strength of the team coming together and unifying against a common foe. The subplot involving the main baddies searching for the power cubes draws direct parallels to the infinity stones in Avengers: Infinity War and Endgame. Even though Snyder's cut of the film comes with its share of questionable subplots involving characters and plot holes (Why wasn't Martin Manhunter helping save the Earth sooner rather than revealing himself at the end to Bruce), it ultimately turns out to be the strongest written and most thoughtful screenplay of both Justice Leagues with the delivery of fan service being heavily used. 

      In the end, both cuts of Justice League have their own share of  pros and cons with the Snyder Cut being the most rewarding fort those who demanded it. The Snyder Cut is the far superior version of the story in regards to both plot and character development with characters such as The Flash and Cyborg getting their due with newer characters such as Darkseid and Martian Manhunter being a great addition to story. Although Snyder's cut of the film beats Whedon's in every major category of filmmaking, the latter's cut has moments with Henry Cavill's Superman being more like the traditional image of Clark Kent/Superman that audiences have of him with an example being the camera footage of him in the beginning, or the funny bit where he races The Flash at the end. Though Snyder gives Superman a new black suit that looks fantastic, his character doesn't experience much of a change in personality in this cut despite smiling more. Beyond the moments with Superman in Whedon's version, Snyder's film bests the latter's in every other department while providing a pathway for the DCEU to move forward in a form that matches the level of Marvel's recent works. What's most remarkable about Zack Snyder's version of Justice League is how much bigger and grander it feels in scope with each character receiving their proper amount of development in a way that brings them down to a more human level. Every character feels important to the plot and serves to further advance it while expanding the DCEU. As well executed and entertaining as the Snyder Cut turns out to be, it's not for everyone as general audiences may find the directors vision of the characters and their universe to be too dark and gritty despite their presence on film being hugely rewarding to watch. This film was made specifically for loyal fans of Snyder's universe who fought relentlessly for his cut of the film to finally see the light of day with their efforts not only succeeding, but being worth it as the Snyder Cut stands as being the DCEU's best film yet. Zack Snyder's Justice League is an unusual event in filmmaking that needs to be seen to be both understood in regards to its troubled production history and appreciated for finally making its way to the big screen, as well as allowing its most loyal and ardent fans to be heard. The film shows what the DCEU can be which is something special and epic in a scale that's equal to that of Marvel if allowed to continue growing. If this is to be the final film in the SnyderVerse directed by the visionary filmmaker, then he unquestionably caps off his unusually distinct universe on an extraordinarily high note. Snyder's Justice League delivers provides both its universe and fans with a much needed win while showing that there's room for more story to tell with these characters with audiences looking to the future of the DCEU for the first time with a genuine feeling of optimism that the universe can continue to grow into something incredible if left on its current path. As the Snyder Cut shows, there is a pathway to success and fans should be willing to push for it despite the odds of the newest version ever being considered official canon by Warner Brothers. Zack Snyder's Justice League is one of the strongest comic book films made on the DC side in over a decade.

Final Verdict: For DC, comic book fans, and those of Zack Snyder in general, Zack Snyder's Justice League is a must see experience that's long, tensely exciting, and ultimately rewarding.

Disney's Raya And The Last Dragon Carries A Formulaic Story That's Saved By Breathtaking Animation And Heart

      When it comes to saving the world, a key aspect is requiring the trust of those involved in doing so. That very much appears to be the driving message behind Disney's newest animated feature Raya And The Last Dragon. The film serves as being the studios third major release on their hit streaming platform Disney Plus along with receiving the same launch set up as 2020's live-action Mulan with it being offered to audiences for $30 dollars. Featuring a cast that's predominantly Asian, the film aims to deliver another fantasy adventure for young audiences while taking heavy inspiration from Southeast Asian culture. Like any newly released animated feature from Disney, the film boasts impressive animation while utilizing many familiar elements of recent animated and live-action features such as Moana and Mulan to deliver an entertaining, though formulaic tale of a fierce and courageous warrior princess embarking on a journey to find the last dragon. While there isn't much outside of the films stunning animation that audiences haven't seen before, Raya And The Last Dragon plays on familiar character and story tropes which make them work to genuinely satisfying results, while continuing the studios push for a wider broad of representation with its audience.

      The plot for Raya And The Last Dragon centers around a young woman named Raya (Voiced by Kelly Marie Tran) trying to bring back her father after being turned to stone by a monster. In doing so, she awakes a fabled dragon to help her not only save the world but make things right again. Boasting gorgeous animation along with a story that appropriately honors the culture it embraces, Raya And The Last Dragon gives audiences another epic adventure that's beautifully drawn with groundbreaking animation which continues to push the boundaries of what Disney can achieve on a visual front. Despite the visuals being phenomenal to watch, the films main story can't help but feel repetitive as the filmmakers rely on the same traditional formula for an animated Disney flick such as the main protagonist being a strong-willed individual, who befriends a non-human character that ends up becoming their comedic sidekick in essentially saving the world. Not to mention that the main character is driven by both tragedy, as well as the loss of a loved one. For those who watch Disney films, the plot for Raya And The Last Dragon feels extremely familiar and makes very little effort in diverting from the main generic formula, that has proven to be successful with Disney stories up until now. Even though the plot offers nothing new outside of some much needed and admirable representation of Southeast Asian culture, it still manages to work as a whole due to the way the filmmakers handle the story as well as the terrific voice acting performances from its main cast. Raya And The Last Dragon represents everything that older audiences have seen before growing up with previous Disney films with comparisons also being drawn to films such as Avatar. Much like that film, Raya is heavily reliant on groundbreaking visuals and an emotional composed score to enchant its audience, while coasting on a formulaic plot to give audiences the full experience of being entertained and ultimately moved by the films main themes regarding broken worlds and trusting in others to make a difference. While it's not the most original Disney film ever made with much of its story-structure being lifted from previous classics, Raya And The Last Dragon is able to make use of its unquestionably reliable formula with both its top-notch animation and the skillful performances of its voice cast, elevating it to being a thoroughly enjoyable experience despite there being no surprises storywise.

      When it comes to the voice acting of its cast, the effort they put into bringing their animated counterparts to life on the screen is one that showcases a genuine enthusiasm for telling the story with everyone bringing their own form of energy to the film, along with showing a genuine appreciation for being represented in the story culturally speaking. Kelly Marie Trans performance as the fierce and courageous young female warrior Raya, is both charming and heartfelt with her appearing to embody all of the main characters traits while conveying the necessary amounts of emotion through her voice acting. Her casting is both ideal as well as perfect for the film with her helping to create a likable strong female character that young audiences, particularly female, will unquestionably get behind. Awkwafina adds an enormous amount of energy and humor to the film as the goofy water dragon Sisu with her performance bearing a strong resemblence to Eddie Murphy's character Mushu (Who also happens to be a rejected dragon whom befriends Mulan) from the classic 1998 Mulan cartoon. Awkwafina's performance is enjoyably fun to watch with her also sharing solid chemistry with Tran. The same can also be said for Gemma Chan in the role of the films main antagonist Namaari, the warrior princess of the Fang Land as well as Raya's friend turned enemy. Chan does well with her part, along with giving her character an emotional complex in regards to choosing loyalty between her mother and her old friend. She also showcases strong chemistry when working off Tran like Awkwafina. The rest of the voice acting cast for Raya And The Last Dragon deliver noteworthy and energetic voice performances with Izaac Wang as Boun, a charismatic 10-year old Captain of a boat restaurant in the Tail Land called the Shrimporium. Daniel Dae Kim gives a small yet emotionally effective performance as both Raya's father Chief Benja, as well as the Chief of Benja. Sandra Oh does well as Namaari's mother Virana and the chieftess of the Fang Land with Alan Tudyk as Raya's best friend Tuk Tuk, whose a mixture of both an armadillo and pill bug. The cast for Raya And The Last Dragon plays a significant part with adding some much needed energy to the story, as well as heart. Their presence also gives the film a legitimate feeling of authenticity in regards to it being an Asian inspired fantasy tale.

      Directed by Don Hall and Carlos Lopez Estrada along with co-direction from Paul Briggs and John Ripa, the filmmaking team behind Raya And The Last Dragon does a phenomenal job of bringing both the characters and story to life in a form that's mesmerizing to watch, along with them creating a new type of Disney world in which young audiences can become engulfed by. Technically speaking, the film is beautiful to watch with both the background and characters looking real and wonderfully sketched. The films visual point becomes its one true saving grace along with the inspiring work from its cast. The films cinematography, art-set decoration, and costume design all gorgeously blend together in bringing the fantasy world of Kumandra to life on the big screen in a fashion that feels epic, while honorably representing the films culture. The score by James Newton Howard is masterfully handled with the music having a combination of being exciting and adventurous, while being simultaneously heartbreaking and ultimately hopeful. In terms of bringing the world of Kumandra to life along with giving the film a unique visual style, the directing team behind Raya And The Last Dragon succeeds with it being tremendously hard for audiences to not be captivated by what's shown on screen. Though the narrative is structurally familiar, the filmmakers manage to keep things relatively straightforward with both the plot and characters constantly moving at a fluid pace with the film never losing sight of its emotional core. Some of the most powerful moments in the story are within the films opening sequence involving the characters of Raya, Namaari, and Raya's father that manages to be surprisingly effective as well as dramatic, along with scenes in which the character of Sisu flies through the sky with the inspirational and genius music playing in the background. Everything about the film visually speaking, feels as if a great attention to detail was paid towards making the world shown in Raya And The Last Dragon a distinct one with the achieving such a feat.

      As well as those elements work within the film, its core weakness lies within its writing. The screenplay by Qui Nguyen and Adele Lim carries universal yet potent themes that run rampant throughout the Disney universe such as family, death, the loss of loved ones, greed, saving the world, and magic while introducing ones that further enhance the story such as division, magic, emotions, taking risks, betrayal, trust, legacy, and spirit. The film has much to say regarding the concept of family, loss, and trusting another while wrapping those themes around a fantasy adventure whose plot often feels repetitive to previous Disney stories. The character of Raya is well-established with her also serving as a narrator in presenting information to the audience regarding other characters or locations which appear throughout the film. Her character arc mainly consists of typical character tropes that accompany many Disney characters such as the death of a relative or loved one with them being reflective of that loss, while turning their grief into strength. There isn't anything new or particular about Raya's character which screams groundbreaking in regards to her writing, but the writers are able to utilize the same female-driven character formula once again while making it feel somewhat fresh. The relationship between Raya's character and Sisu is fairly laid out despite it feeling painfully similar to the one shown in the animated Mulan regarding that films main character and Mushu. The conflict between Namaari and Raya is effective, though audiences can see the twist coming a mile away that the former is going to betray Raya's character with the latter winning her back in the end through trusting her. Their subplot would be a genuinely interesting one if it weren't for the fact that it screams strong comparisons to the Marvel Cinematic Universe with the relationship between Captain America and Bucky. In other words, it's too predictable and generic of a plot twist for audiences to be genuinely shocked by. Outside of the main trio, the side characters aren't that compelling nor leave a lasting impression upon audiences once the movie ends. As well-intended as the film aspires to be with presenting its overall message regarding the need for trusting others with saving the world, the plot can't shake off the fact that it feels a bit cliched despite having an emotional meaning to it. The film is very much a story about gaining back what was lost, and having the courage to place ones trust in another to help make things right. The script thrives when it shows how the region of groups have been divided when the dragons ultimately sacrificed themselves to protect them against a force of evil. There is no innovativeness to the plot of Raya discovering the last dragon and trying to bring the regions together in fighting against evil. The conflict between the characters of Raya, Namaari, and the latters mother mainly serve to drive home the themes of loyalty and trust in the story, despite neither subplots bringing nothing new to the table. Overall, the screenplay for Raya And The Last Dragon works in providing audiences with both story and characters that are serviceable enough to use as a backdrop in showcasing the films visually striking world along with a noble message to teach kids about family and friendships, so long as they can excuse the predictability of the story, as well as the lack of depth with the side characters. Besides the main key figures, there isn't anyone in the story that sticks out as being memorable.

      Perhaps the comparison drawn between this film and 2009's Avatar is a fitting one due to how both films essentially work more as being astonishing technological experiences rather than being groundbreaking pieces of storytelling. Neither film brings anything new to the table on that front, but are able to compensate for their shortcomings with both imaginative and absorbing filmmaking. Much like how audiences became immersed in the world of Pandora in James Cameron's film, the same occurs here with the world of Kumandra being shown through colorful animation that's crisp and feels more technologically advanced in comparison to how a Disney film such as Toy Story looked like 25 years prior with then state-of-the-art technology. Audiences will unquestionably be blown away by the emotions shown on the main characters faces through the films animation as well as their skin, smoke, water in specific scenes, and the amount of attention paid to detailing elements of Southeast Asian culture. This is a story that was specifically made to  both represent and honor that specific target audience, with it not managing to disappoint here. As familiar as the story beats may appear, they're able to work once again due to the clear vision the filmmakers have for telling the story. Young audiences will be the most forgiving of the films faults and appreciate the characters of Raya and Sisu, with older ones acknowledging the level of independence that Raya's character receives in the story without the need of a male figure to rescue or assist her in her quest. Raya And The Last Dragon is far from being a perfect animated tale, but its imagination and drive to deliver audiences a newer world with a brand new set of characters and Disney princess, is more than enough to compensate for its heavy reliance on classical Disney formulas. The film is very much guilty of doing so here, but the way the filmmakers execute the story make it an experience that's both visually dazzling and ultimately watchable due to its possessing of both charm, as well as heart with its plot.

Final Verdict: For both Disney fans and those who enjoy animated films, Raya And The Last Dragon gives audiences a colorful and flashy new adventure boasting impressive graphics, even if certain elements of its story give off a genuine impression of Deja Vu.

Coming 2 America Provides Fans With A Surprisingly Decent Sequel To The Original Comedy Classic

 

       Long-distant sequels to comedy classics are often met with a significantly tall (And near impossible) order of having to live up to both the legacies and standards established by their predecessors, with most cases having them falling flat in comparison. Some recent examples of long-distant comedy classics trying and ultimately failing to make lightning strike twice are Anchorman 2, Dumb And Dumber To, and Zoolander 2 with the few exceptions being Bill &Ted Face The Music and Borat Subsequent Moviefilm. With Coming 2 America, the long-awaited sequel to the 1988 smash hit starring Eddie Murphy experienced numerous setbacks and development hell in regards to getting off the ground with both its main stars Eddie Murphy and Arsenio Hall, rightfully stating that they wouldn't​ make a sequel unless it lives up to the first film both story and quality wise. Fast-forward 33 years after the release of the first film, the sequel to Coming to America finally lands on Amazon Prime with 90 percent of the originals cast returning for the follow-up. With the production of Coming 2 America being greenlighted, audiences were left scratching their heads in wondering why a sequel to the first film was necessary, especially given the distance between the two movies along with Eddie Murphy's career being well past its prime. What could've easily turned out to be a complete disappointment of a sequel manages to be a surprisingly decent follow-up, that not only remains both funny and goofy in nature, but maintains the heart of the original. Coming 2 America is not a perfect comedy sequel by any means, but it delivers a very strong effort in delivering a worthy feel-good sequel to its classic predecessor.

      The plot for Coming 2 America centers around African monarch Akeem (Eddie Murphy) discovering that he has a long-lost son in the United States. Upon learning this, Akeem returns to America to meet and build a relationship with him while a dictatorish general named Izzi (Wesley Snipes) aspires to takeover the throne of Zamunda. The plot for Coming 2 America structures itself as being similar to the original in terms of walking familiar story beats, as well as providing a plausible scenario for Murphy's character to once again return to America in search of a member of his family. While it can be said that the storyline for the sequel relies a little too heavily on the first film for comfort, that's not necessarily a bad thing as the new film changes up the main synopsis with Akeem looking for his son this time compared to searching for his bride in the original. One of the key aspects of the first Coming to America that made it a comedy classic was not just the goofy nature of its plot, but the amount of charm and heart it possessed. Audiences not only laughed at both Murphy and Hall's characters antics, but became invested in their hilarious venture to find Akeem a bride. The sequel not only does a solid job of staying true to both the characters and plot of the original, but maintains its heart without dishonoring it. The new film brings the characters into a more modern setting with a fresh batch of references to the recent pop culture and political climate. The end result is a surprisingly faithful follow-up to the original classic that feels like a nostalgic trip down memory lane, while providing a fresh new batch of appealing characters along with playing off numerous jokes from the first film. Although the humor isn't as edgy as the first film due to the lowering of its rating from being Rated R to PG-13, the sequel still generates massive laughs from its audience while being both charming and well-intended on its own right. The return of many of the key characters from the first film is a nice touch in helping bridge the two films together, along with providing the audience with a strong teaspoon of nostalgia. Like how last year's Bill & Ted Face The Music embraced the legacy of its predecessor while giving the series a proper upgrade, Coming 2 America works in the same vein in regards to utilizing everything that worked about the original film, while showing audiences where these characters have ended up since audiences last saw them three decades prior. For a sequel that audiences in particular didn't ask for, Coming 2 America makes the case for being a worthy follow-up that gets more right than gets wrong.  

      One key element of the sequel that helps it recapture some of the originals energy, is the enormous appeal of the films talented cast. The returning faces from the original film go a long way with making the whole experience feel even more fun with the new additions to the cast matching them in showing genuine enthusiasm for being apart of the film, as well as playing their characters. Both Eddie Murphy and Arsenio Hall once again reprise their roles from the previous film with them still carrying the same energy and chemistry from before with them appearing to not miss a beat. Murphy once again delivers a charismatic performance as Prince/King of Zamunda, Akeem Joffer with his character being shown to struggle in regards to holding onto his kingdom as General Izzi plots to take over through an arranged marriage with one of Akeems children as well as his own. Murphy manages to slip back into one of his trademark character roles and play an older and wiser version of him, without missing any of the charisma he brought to the iconic role of Akeem 33 years earlier. Murphy also once again handles the duties of playing multiple characters in the sequel with him reprising his previous roles of soul singer Randy Watson with his fictional band, Sexual Chocolate from the first along with Queens local barber Mr. Clarence, and the Jewish barbershop customer Saul. Murphy does great with playing these roles once again with him bringing the same style of energy in playing them that he did previously. The same can also be said about Arsenio Hall reprising his role as Akeem's best friend and servant Semmi, with him also performing multiple roles like Murphy such as Reverend Brown from the first, along with Mr. Clarence's right hand barber, Morris, and a hilarious witch doctor named Baba. The return of both Murphy and Hall plays a significant role in the sequel being as fun and entertaining as it ultimately turns out to be with them reusing many of the same characters and gimmicks from the first, that also manage to work here. Outside of their performances, the true standout of the film goes to Wesley Snipes in his hilarious role as General Izzi with his character repeatedly trying to push Akeem to have his eldest daughter Meeka marry his foppish son, Idi. Snipes is delightfully fun to watch with him playing his character as being ridiculously over-the-top, especially with the way his character makes an entrance in Akeem's palace. When Murphy and Hall aren't on the screen, Snipes steals the show and provides the film with a hilarious side character/ antagonist, allowing Snipes to demonstrate his hidden talents as a comedic star. The newest additions to the main cast all manage to shine with Jermaine Fowler delivering a likable performance as Akeem's son Lavelle Junson, along with Leslie Jones as Lavelle's mother Mary. Junson does a fairly solid job of playing his character as being a young man trying to find his true purpose in life, while slowly coming to terms with the revealing of being the new heir to Zamunda. Tracy Morgan and KiKi Layne deliver both fun and effective performances as Lavelle's uncle Reem Junson, and Layne as both Akeem and Lisa's daughter Princess Meeka Joffer, whose revealed to be inegligible to take over the throne of Zamunda with it having to be specifically a male heir. The returning faces from the original are much welcomed here. along with helping to give the sequel a legit feeling of authenticity to it. Shari Headley's return is noteworthy as Akeem's wife Queen Lisa, whom he fell in love with during his previous trip to America. Although her character has a smaller role in comparison to the first film, her part still adds a sizable amount of weight to the story along with grounding Akeem's character as not just being a king but a family man this time around. James Earl Jones return is greatly appreciated as the ailing King Jaffe Joffer with his character showing visible frustration at the lack of a male heir being produced by Akeem to pass the throne onto. The rest of the cast deliver noteworthy performances that add to the film including Bella Murphy as Akeem and Lisa's second daughter Princess Omma Joffer, Akiley Love as their third daughter Princess Tinashe Joffer, John Amos in a surprise return as Akeem's father-in-law and Lisa's father Cleo McDowell, Louie Anderson as Akeem's former co-worker Maurice at McDowell's restaurant, Vanessa Bell calloway as General Izzi's younger sister and Akeem's previous intended bride Imani Izzi, and Nomzamo Mbatha in an impressive performance as Mirembe, a royal groomer and love interest to Lavelle in a fitting parallel to Akeem's forbidden romance with Lisa in the first film. The cast for Coming 2 America is a combination of both old and new faces that not only work beautifully together, but add a great deal of freshness and energy to the story. The new faces do a great deal in helping modernize the originals concept for today's generation, while bringing in the fans of the original. Everyone carries a performance that's lively along with having a shared acknowledgement of the legacy their continuing, as well as the need to do it justice. Thankfully for the audience, that very much appears to be the case here.

      Taking over the directorial reigns from John Landis who helmed the first Coming To America, Craig Brewer who previously helmed 2005's Hustle And Flow and Black Snake Moan steps in to helm the much anticipated sequel with him bringing a more modern style approach to the story, along with giving it the visual flare that made the original film appealing, particularly the scenes in Zamunda. The production for Coming 2 America feels grand in scope with the cinematography, art-set design, and costume design all going hand-in-hand in bringing the world of Zamunda alive to audiences where they feel transported back to the kingdom they fell in love with in the first Coming to America. With the sequel, the film doesn't just feel like a celebration of the first, but also the richness of African-American culture in general. The story is steadily paced for the most part despite the films third act feeling a bit rushed in comparison to the rest of the film. Although the film boasts a PG-13 rating in comparison to the first being rated R, both Murphy and Brewer push the boundaries of their rating by including much of the originals crude humor without using excessive profanity. One aspect of the films production that's noteworthy, is the collaboration that both Murphy and Brewer have developed together with their previous work on Dolemite Is My Name. Like Landis before him, Brewer appears to know how to properly capture Eddie Murphy on camera in a way that captures both his trademark comedic style and serious acting, which largely benefits his character. Although Brewer isn't quite as skillful as Landis in crafting a well-rounded comedy, the effort that the former puts into making the sequel work is both a strong and admirable one with unquestionable love for the original film being shown on clear display here. 

       The films screenplay by Kenya Barris, Barry W. Blaustein, and David Sheffield from a story by Blaustein, Sheffield, and Justin Kanew, delivers a reasonably solid effort in showing where the characters from the first film such as Akeem, Lisa, and Semmi ended up in a more modern setting. What the script does well at is staying true to the original film with the audience being able to buy all the new subplots regarding the original characters, while being able to digest new twists to the story such as the hilarious explanation given on how Akeem could possibly have a son. The script places heavy emphasis on themes regarding family, assuming one's role as heir, finding love outside of royalty, and recognizing that women can become leaders of Zamunda as evidenced with Princess Meeka's character being frustrated with the gender barriers in regards to assuming the throne. The story also drives home the notion that the future of Zamunda lies with the new generation of rulers assuming their role on the throne such as the characters of Lavelle and Meeka. A key element that made the plot for Coming To America so significant for audiences was the fact that it was an unusual story made in Hollywood at the time regarding a black fairytale that was not only outrageously funny and clever with its concept, but carried a tremendous amount of heart which made it work. Despite Coming 2 America not having the complete amount of heart that the original carried, it stays true to the latter's roots while providing newer characters for the audience to connect with. The problems that arise with the script outside of it doing a decent enough job of providing convincing reasons for Akeem's character to make another venture back to America, the whole scenario can often find itself feeling a bit too familiar to audiences with it feeling as if Murphy and Brewer are learning too much on the original for comfort along with subplots that often feel repetitive of what was shown before previously. such as the romance between Lavelle and Mirembe clearly mirroring that of both young Akeem and Lisa. The main difference between the two love stories is although audiences knew that Lisa was inevitably going to end up being Akeem's bride, there was a certain charm and thrill that one felt upon watching Akeem attempt to both impress and win her without outright revealing his true heritage to her. Although the romance between Lavelle and Mirembe works here, it's not as effective and ultimately comes across as feeling like a watered down version of what was done before (And much better). In addition to the romance not being as strong, Lavelle's character isn't as likable or appealing as Akeem was in the first Coming To America with the only reason audiences would even bother caring for his character because of his connection to the latter. The areas where the script does excel at is showing the marriage struggles that both Akeem and Lisa have in being a happily married couple, along with Akeem being called out for not changing the rules of the kingdom so that Meeka can become a ruler herself. The script also earns props for pushing the story further with Akeem essentially losing both his parents and taking the role of his father in pushing his newfound son to marry for royal purposes rather than true love. The stories most powerful moments come with Akeem confiding in Lavelle about the lessons he learned in the past about love and doing what he feels is best for his life and not what his parents says. The audience witness the full effect of these scenes when Akeem is put in a position to where he's faced to either accept Lavelle's feelings and desire to be with Meeka, or insist on him marrying out of royalty like Akeem's father attempted to persuade him to do. Despite its share of faults, the script for Coming 2 America lands for the most part with it doing an honorable job of building off both the characters and world from the first movie, along with doing so in a way which the audience can buy as being believable and convincing. While its true that the sequel bears many similarities to the story structure of the first film, it also appropriately distances itself and provides new surprises for the audience regarding the characters while moving the story forward.

      As fun and entertaining as the Coming 2 America turns out to be, one questions whether a sequel to the original was necessary given the gap between both movies along with the first film essentially wrapping everything up nicely with its fairy tale ending. Even though a sequel ultimately wasn't necessary and often finds itself struggling with the thin line between being a sequel rather than a retread of the first, it does a pretty solid job of justifying its existence without taking away any of the original films power. The first Coming To America was a story about a young prince in search for his bride with the sequel essentially serving as being a completion of his family tree. The newest film is best enjoyed by those who've seen the first film and appreciate both its characters and jokes, as the sequel provides numerous callbacks to that film along with utilizing the same style of humor. Although it can be argued that the newer film plays it a little too safe in regards to presenting familiar subplots and jokes (One can't help but wonder what both the filmmakers and Murphy could've accomplished with the film boasting an R rating), there's enough shown with what Coming 2 America does right in regards to being a faithful sequel while effectively moving the story forward with newer characters who ultimately help to compliment the old ones. Whereas the new film stands as being a sequel that virtually nobody asked for with its existence being made fun of in the film with Lavelle's character questioning what else Hollywood has to offer besides unnecessary sequels, reboots, and pointless remakes that nobody wants. While his response to Mirembe declaring her likeness for film is meant to be funny, it brings the audience to question the very existence of the film laid before them. Thankfully, Coming 2 America makes the case of being a reasonably solid follow-up to the first that not only celebrates its legacy, but effectively introduces it to a newer audience. There isn't any question that a great deal of love went into making this sequel despite its faults, and should be commended for its bravery to continue the originals story. And do it surprisingly well. 

Final Verdict: Fans of the original Coming To America as well as Eddie Murphy will be surprised to find that Coming 2 America is a surprisingly decent sequel to the first, that maintains the originals laughs while giving audiences an extreme shot of nostalgia.