If you haven’t had the chance to see Justice League yet, you can now watch Aquaman and Mera’s lone scene in the film online.
The sequence occurs around midway through the movie and shows fans the world of Atlantis for the first time. Granted, this seems to be an offsite and hidden location from the main city, but it is still part of it in some way. The crew of Atlantean Soldiers here is led by Mera, and they are tasked with defending the Mother Box.
As you can see in the clip, that doesn’t go as planned, as the Mother Box awakens unexpectedly and booms in Steppenwolf. He quickly dispatches on one guard but is knocked off his feet by Mera’s powerful Aquakinesis.
Steppenwolf recovers though and charges at Mera before she can get another shot off and knocks her into the wall. At this point, Aquaman sees the fallen guard and charges in and manages to get a few licks in on Steppenwolf after dodging his ax.
Aquaman launches into a punch but Steppenwolf catches his fist and uses his momentum to fling him into the main pillar. Steppenwolf then charges him and spears him through the pillar, knocking him out long enough to take the Mother Box.
You can watch the full clip in the video above.
Justice League just offered a tease of Mera and Atlantis, as fans will get all of it when the solo Aquaman film hits next year. Still, Justice League is important to setting up Aquaman’s demeanor, which will play into the solo film.
“You’re going to see that I really wanted him to be that gruff thing because he has to become king,” Momoa told ComicBook.com. “If Justice League is like seeing him at his lowest, and not just his lowest, but this loneliness that I wanted about him, so when we get to Aquaman you know why he became that, and how he had been put in that lonely spot.
Justice League currently has a 61.24 on ComicBook.com’s composite rankings, which you can vote in here.Rumours have been flying all over the place regarding the future of the DC Extended Universe, especially when it comes to the Caped Crusader.
Matt Reeves is directing a Batman solo movie and sources say he’s eyeing up Jake Gyllenhaal to become the new Dark Knight, while Affleck will bow out in Flashpoint.However in a new interview with Daily Sabah, the incumbent claims he’s not quite done yet.
Affleck said: “For me, it’s interesting, and I always evaluate this stuff on the merit of the material.”
The star continued: “I want to direct a Batman movie, and I never got a script that I was happy with, so they are starting over and writing another script.
And right now, I think a lot of different possibilities I think for the way the DC Universe could go, and I will just follow my interests in pursing that.And I know that I love working with this group of people, and it was a real joy for me to make this movie.”
Affleck also spoke positively about his incarnation of Batman, despite rumours he’d had enough of the role.
He added: “I like this version of Batman a lot. It was a lot to carry around the danger of being angry and resentful of Superman the whole time, which led to a darker tone.“And with this one, Batman is not a Joker and is not as funny, but is hilarious, as the straight man to Flash and other people.
“That’s a nice dynamic to get to play off of somebody and have a little bit more irony and have a little bit more self-awareness, a little bit more fun with the movie. That was great.”Here we go, diving into the year-in-review for the year that was 2017. This will be the first of a handful of year-end pieces, highlighting the year that is just about to end. The first one is one of my favorites, a look at films that arguably got a bum rap from critics or more of a lashing than they deserved.
Now, as always, there is a considerable difference between underrated and underseen. So, no, you won’t find stuff like Colossal or Professor Marston and the Wonder Women that earned positive reviews and strong word-of-mouth from the few that sought them out. Some are genuinely good films, and others are bad without being war crimes. All 11 deserved a closer look. These will be in alphabetical order save one at the end. To wit…
This was another project that was preemptively put to death before it was ever released. Granted, it was certainly sold as a “Matt Damon saves China”-type white savior fable. In truth, Zhang Yimou’s period piece actioner, about giant monsters attempting to scale the Great Wall of China, used Matt Damon and Willem Dafoe’s westerners as audience surrogates for the film’s “China is awesome!” messaging. Audiences got a dose of state propaganda (which isn’t a shock to those who have seen Hero) while also enjoying some top-shelf production values and some banger action sequences. Absent the “whitewashing” controversy that really wasn’t, this is an enjoyable piece of B-movie hokum.
The end result of DC Films’ first round of DC Comics superhero universe is… fine? It’s a hack-job to be sure, with Zack Snyder’s original intentions twice reversed after Dawn of Justice’s poor reception and then again after Joss Whedon took over. And its attempts to mold itself into an Avengers clone was a terrible idea since folks had already seen a couple of Avengers movies. But, irony of ironies, it nails the core characters, giving us fun and entertaining variations on the Super Friends as a surrogate family unit. And by the end, we wouldn’t mind seeing Mom (Wonder Woman), Dad (Batman) and the three troublemaking kids (Flash, Aquaman and Cyborg) go up against a Legion of Doom.
Halle Berry may not get the prime roles that she arguably would if she were white (or a dude), but she seems to have found a niche old-school bruised-forearm movies. Kidnap isn’t quite as good as The Call (which is a masterpiece for its first hour), but it maintains its momentum for the entire running time. And it makes clever use out of its high concept (a mother witnesses her son being kidnapped and gives chase), while offering a near consistent sense of dread and “What would you do?” tension. With shockingly smart writing and a frighteningly plausible solution (no spoilers, but there is no grand conspiracy which explicitly targeted her), this is a terrific little bit of high-toned Hollywood suspense.
Another victim of a preemptive media assassination, this was one put out to pasture as soon as word leaked that A) it cost around $125 million to produce and B) it was inspired by the brainstorming of a studio executives’ son. Well, all due respect, but if you’re going to make a movie for kids, it’s not the worst idea to ask kids what they’d like to see. Anyway, this original, character-driven coming-of-age story about a young teen (Lucas Till) who discovers an otherworldly creature inside his truck. It’s essentially The Shape of Water for kids. It’s too expensive, but it’s the kind of movie that we adult critics would still be discussing with fondness if it came out in 1985.
Shock of shocks, but this buttoned-down Power Rangers origin story ensemble made me nostalgic for a time when movies like this weren’t run-of-the-mill, and where you didn’t have the money for non-stop action so you had to spend most of the movie on character development and production value. This grounded reboot works in a Batman Begins kinda way, offering us five sympathetic kids (including one who is gay and another who is autistic) whose eventual emergence as superheroes is cause for celebration and the action climax is A) worth the wait and B) a righteous celebration rather than a burden to be overcome. I’m still stunned that I liked the Power Rangers movie more than the Justice League movie.
Both are would-be examples of what we say we want (Rough Night was the first mainstream R-rated comedy with a female director, Lucia Aniello, since Half-Baked in 1998), yet we generally ignored them in theaters this summer. And yeah, I get the trepidation for women (and men) flocking to the multiplexes to see 90-105 minutes of “women trying to have fun but finding themselves in terrible danger” comedies in a year when merely being a woman was borderline hellish. But even if the pure party aesthetics/escapism of Girls Trip was easier to stomach, both Scarlett Johansson’s bachelorette party gone wrong farce and the Amy Schumer/Goldie Hawn mother/daughter kidnapped on vacation adventure are worth seeking out from the comfort of your own home. Vote with your wallet.
Look, I get it, the other four Underworld movies weren’t that great. But, inexplicably, or maybe because my defenses were down, I kinda enjoyed this fifth offering. And yeah, that it had a female director (Anna Foerster) helped in turns of reversing the franchise’s male gaze ogling and offering some female-friendly kink along the way. It’s fun, weightless and polished sci-fi garbage that, at the very least, was an under-the-radar example of a female-directed/female-led superhero action movie. I loved Wonder Woman too, but there doesn’t have to only be one. Speaking of which, that this (and Resident Evil: The Final Chapter) did so much better overseas than in North America shows the fallacy of the whole “overseas audiences hate female-led actions” narrative.
Too complained about the lack of sleazy thrills from this Denise Di Novi joint, seemingly unaware that it was supposed to be a drama. Sure, it goes there toward the end, but up until then it’s a thoughtful, empathetic drama about a young woman (Rosario Dawson, in her first unmitigated studio leading role) whisked into a fairy-tale marriage with a rich guy and then has to deal with his vindictive ex-wife (Katherine Heigl). Both actresses are cast to type, but the Christina Hodson screenplay offers real sympathy to both parties, as the film becomes a poignant example of how patriarchal systems teach women to value themselves only in regards to their worth as wives/mothers and then pits them against each other while men get to watch the cat fights.
In a year when we were judging every movie or TV show partially by how woke they were, this was an intriguing examination of white middle-class privilege personified. The small-scale horror movie, about a poor teenager who finds a murderous wishing box, offering a textual example of how the comforts and privileges of modern life do harm (or ignores harm) to others in less fortunate parts of the world. Joey King is quite good as a young teen who eventually turns off her moral compass and becomes willing to get what she thinks she deserves even if it costs the lives of those around her. Even if the film isn’t “scary,” it works as a demo-friendly folktale.And now, without further ado, the most underrated movie of 2017, the one which I believe got the rawest of raw deals
In a world where critics and pundits constantly decry a lack of originality or even original material in Hollywood’s multiplex offerings, it’s beyond disheartening that the film nerd media lined up well ahead of schedule to take a preemptive dump on this weird little character piece, as they did last year with the equally off-the-beaten-path Collateral Beauty. Colin Trevorrow’s “one for me” caper, about a young genius who concocts a bizarre scheme to rescue his neighbor from her abusive stepfather, is actually crazier than it sounds. Yet, it remains rooted in character, with good work from the likes of Noami Watts and Jacob Tremblay, and a screenplay that manages to surprise.
Sans the viral “40 gifs explaining why OMG, Book of Tomorrow is the worst thing eva and could mean doom for Star Wars!” media reaction, it’s a quirky little movie-movie, an original bit of character-driven hokum that should be allowed to exist as A) the kind of personal project that a director gets to make in between franchise gigs and B) just a movie that exists alongside the biggies as something meant to stand on its own.