Army of the Dead is the latest film from Zack Snyder, and his second of 2021. The film follows Dave Bautista and a slew of others including Ella Purnell, Omari Hardwick (who has not been getting enough credit for his performance here), Ana de la Reguera, Theo Rossi, Matthias Schweighöfer, Nora Arnezeder, Hiroyuki Sonada, Garret Dillahunt, and a standout who borderline steals the scene ever chance she is on screen, Tig Notaro. This ragtag group of mercenaries is hired by Sanada to steal $200 million dollars in Las Vegas, the only hiccup, the city is walled off due to a zombie virus infecting the city.
Dave Bautista has been typecast ever since his breakout performance in 2014’s Guardians of the Galaxy as the buff tough guy who can also do comedy. In this film however he shows a much larger range. Snyder gives Bautista more room to work in, and leaves the comedy to other actors in the ensemble. The visual style of this film is similar to the previous style of Snyder’s previous films, but with him also being the Director of Photography along with Directing, he is in total control of the frame.
After the 8 year stint at Warner Bros and being screwed over constantly, Zack Snyder has been welcomed into the Netflix family with full creative control and support from the streaming giant. Giving Snyder full creative control might be the best decision made in this film. From the fantastic and mesmerizing opening scene and opening credits sequence, that has become a staple in Snyder’s visual style, that provide the viewer with as much laughs as shots that are nothing short of pieces of art. Snyder’s latest is the gory fun that we have come to expect from him and his return to the zombie genre is full of twists, great action scenes, and very colorful and memorable dialogue.
I’ve always been a fan of DC, their comics, TV shows, and film. Yes, even the highly controversial DCEU. Three, almost four years ago when Justice League was released most, including myself, were let down by the half baked film. Now after much campaigning from the fans we have Zack Snyder’s original, uncut version, much to the glee from fans and filmmakers alike. Especially after the numerous reports coming from the 2017 Justice League set in which Joss Whedon at best behaved poorly. This in conjunction with reports of Warner Bros. tampering with other DCEU films, Suicide Squad being a major example led many to speculate just how much more grandiose and joyful Snyder’s version might be.
Martin Scorsese criticized superhero films broadly claiming they were like “theme parks” and not “cinema”. Zack Snyder’s Justice League seems to be the closest example of what a superhero film might look like after the advent of the Avengers that Scorsese may like. There is a clear vision and style to the film. Shot differently than most contemporary superhero films and brimming with a fantastic cast who work well together. Ray Fisher has long been a big campaigner for the Snyder Cut to be released. After watching this rendition of the film you can clearly see why, as he’s it’s heartbeat.
There’s been talk about the runtime, 242 minutes is a long film, and the longest superhero film of all time, beating Snyder’s previous record with Watchmen: The Ultimate Cut. The runtime feels completely earned, at this point in the DCEU we had not been introduced to Aquaman, Flash, or Cyborg. So this is a continuation of Wonder Woman’s story as well as a sequel to Batman V. Superman: Dawn of Justice and an introduction to those respective characters. Something that’s easy to forget now, on the other side of those films release.
By the end of the film, I was in tears, there are some of the best fan service moments I’ve seen. I don’t want to delve into spoilers but the last 80 minutes of the film are some of Snyder’s best filmmaking in his career. I hope to see the Snyderverse restored, expanded on, and continued in the future. This is better than any film the MCU has put out yet. I loved this film so much and I can’t say that enough. To me this film is perfection.
The first Wonder Woman was a breath of fresh air not only for the struggling DC Extended Universe, but for superhero movies as a whole. It was charming and oftentimes stirring (the No Man’s Land scene!), and despite its somewhat bizarre and bloated third act, the movie managed to succeed on almost every level.
Wonder Woman 1984, on the other hand… not so much.
The movie opens with a wholly unnecessary flashback to Amazon homeland of Themyscira, then reintroduces us to our hero, Diana Prince (Gal Gadot), who goes around stopping mall heists when she’s not working at the Smithsonian. She still longs for lost love Steve Trevor (Chris Pine), who sacrificed himself at the end of the first movie, and while it’s been quite some time since Steve died—66 years, in fact—Diana still mourns him. I too would be sad for over half a century if my Chris Pine-looking boyfriend died, so no judgement there. Diana meets Barbara Minerva (Kristen Wiig), a fellow employee at the Smithsonian, though one much more awkward than Diana; Diana and Barbara meet Maxwell Lord (Pedro Pascal), a wannabe oil tycoon. The three of them encounter a strange stone that grants wishes, and then we’re off to the races.
Wonder Woman 1984 commits to its name, and the movie stays true to the time period in which it’s set: returning director Patty Jenkins populates the movie with vibrant 80s colors, Jazzercise, the good old Soviets versus Americans shtick, and, unfortunately, an increasingly ludicrous plot and cheesy writing, even for superhero movies. And we don’t even get any fun 80s songs.
The first act opens innocently enough. Steve Trevor mysteriously returns (and some dubious moral implications about the manner of his return remain largely undiscussed), giving Pine and Gadot a chance to reignite their chemistry from the first movie. Pine is great as the fish out of water in this movie, mirroring Diana’s journey in the first, and I could watch him marvel at parachute pants all day. It’s fun! It’s Chris Pine in a fanny pack!
Then, unfortunately, the plot kicks into gear, and even good performances can’t distract from bad writing.
There are interesting granules in there, to be sure. Maxwell Lord clings to the American dream by exploiting the Middle East, Ronald Reagan wishes above all else to have more nuclear missiles closer to the Soviets, a megalomaniac businessman amasses power through false promises and backstabbing to become a dangerous demagogue—but all of these elements remain uninterrogated or are turned into bizarre jokes and stereotypes, leaving me scratching my head at their inclusion in the first place. Instead, we are left with truly cringe-worthy lines like, “I wanna be number one. An apex predator like nothing there’s ever been before,” which even a game Kristen Wiig can only sell so well. (She then promptly gets turned into a reject from Cats.)
Still, there are some nice moments. Pedro Pascal has a great time slowly losing his marbles, and there is a fun and too brief scene where he and Chris Pine get handcuffed together. Shenanigans ensue. Gadot gets some cool action sequences (and some that really drag), albeit ones that would have looked much cooler from a seat in a movie theater and not from my yoga mat on the floor. Steve and Diana share a sweet conversation in a jet in what seems like the only real heart-to-heart they have in the entire movie. Diana soars through the winds as Adagio in D Minor from the (superior) movie Sunshine plays, because I guess Oscar winner Hans Zimmer couldn’t be bothered to write something original.
And yet. Wonder Woman 1984 overstays its lengthy runtime, has a completely unbelievable ending even for the superhero genre, and ultimately hits many of the same character beats for Diana as her first solo outing did. Frankly, there seems to be very little point to its existence. I’m not expecting extreme intellectual rigor from superhero movies, and at its worst Wonder Woman 1984 is still fun enough. But is it too much to ask for more?
Wonder Woman 1984 Trailer
Wonder Woman 1984 is currently available to stream from HBO Max until 1/25/21