Existentialism. Vengeance. Greed. Can you guess which one is the theme of a Disney movie?
For Christmas, I received the 2019 edition of “1001 Movies to See Before You Die.” Apparently the 2020 edition was on backorder till March, but something tells me that year-by-year the movies don’t change that much. Call me crazy. Throughout the year, I intend to see all the classic noirs, foreign legends, and everything in between that this anthology lists. In the meantime, I’ve seen three films that were released in 2020 on demand (since the pandemic has led to the majority of theaters shutting down across America/the world at large) since January 1st. I thought I’d give them all a shoutout, since I genuinely enjoyed them all! Let’s go in viewing order, shall we?
- Wonder Woman 1984. Words cannot describe how much joy I feel when I think of Gal Gadot/Patty Jenkins’ interpretation of Wonder Woman. The original movie in 2017 made me feel so empowered! I was in the gym pushing myself to the limit every single day for weeks after seeing it, trying to be as strong as her. Did I get there? No. Did “Wonder Woman 1984” put me back there in terms of motivation? Yes. Oof.
The original movie takes place during World War I, while the sequel takes place, eponymously, in 1984. Wonder Woman (her human alias name is Diana Prince!) is now working at the Smithsonian, while secretly performing good deeds as her superhero persona. She befriends Barbara Ann Minerva, an awkward but good-natured crypto-zoologist tasked with identifying nearly stolen antiquities (I say nearly because attempts to steal it were foiled… can you guess who was there to stop it?).
Simultaneously, secretly struggling businessman Maxwell Lord (who Aaron thought was supposed to be a Donald Trump type, though I saw him more as a Jordan Belfort) is VERY interested in one of the particular antiquities. The “Dreamstone,” origins unknown, is said to be capable of granting the heart’s truest desire. For Diana, it’s the long lost love of her life, Steve Trevor. For Barbara, it’s Diana’s confidence and grace. For Maxwell… it’s power. Suddenly, Steve reappears, Barbara doesn’t need her glasses, and Maxwell gains ownership of oil reserves, royalty-level security, and the ability to grant wishes for everyone in the world.
The movie relies on simple ideas: you can’t cheat your way to success. Pain is universal. The truth will set you free. I think the original film was better, but that isn’t to say that it’s sequel isn’t great. Diana, in the first film, was a strong woman while simultaneously being a bit of a deer-in-headlights, entering the “modern” world of Earth from her warrior princess realm of Themyscira. Now, she is more adjusted and truly, more human, while still maintaining her sense of morality. She struggles with the ethics of keeping Steve in her life, despite the consequences that comes with wishing for him on the Dreamstone (spoiler alert: wishing with the Dreamstone comes with consequences). The film’s climax mirrors that of the original movie, with Diana confronting the villain with the ultimate good force of life against the evil. “Wonder Woman 1984” is a flashy, fun two and a half hours that brings a bit of a more light, fun side to the realm of modern DC adventures. I mean, compare this to “Justice League” or “Batman vs. Superman!” There’s more fun to be had here, even with a literal apocalypse that comes with the consequences of selfishness. - Soul. I love Disney. I love jazz. This was a Disney movie about jazz. Can you guess if I liked it? This movie first received buzz for being Pixar’s first movie with an African-American protagonist. It took on a life of its own when it premiered on Disney Plus on Christmas Day of last year. Critics raved, audiences roared. The movie managed to do what Pixar does best: present mature themes in a child’s narrative, to set the modern youth up for a better understanding of what it means to be a human. It’s hefty, and executed beautifully. But I’m getting ahead of myself!
Joe Gardner, voiced by Jamie Foxx, is a part-time band teacher in New York City with a passion for jazz music. He clearly enjoys sharing his love of the genre with his mostly less-than-enthused students, but his dreams lie in pursuing a full-time career as a jazz pianist. He gets his shot when a former student helps him land an audition with Dorothea Williams (played by Angela Bassett), a saxophonist leading her own prolific jazz quartet. The audition goes well, and Dorothea invites him to perform with her troupe that night. Joe heads home, excited for the potential of his dream finally come a’ knockin’, only to almost immediately fall down an open manhole in the street.
Down, but not out, Joe’s soul awakes just before he ascends into “the Great Beyond.” Fighting to return to Earth to finally achieve his dreams, he poses as a mentor to unborn souls before they go to Earth, hoping to steal their pass back to his reality. As a mentor, he is paired with the realm’s biggest nightmare, soul 22. Depicted by my homegirl, Tina Fey, 22 is a cynical and dare I say obnoxious being, who doesn’t think Earth, or being alive, seems that great. Thus begins Joe’s adventure with 22, showing her all the beauty there is to life, and why he’s so eager to return to a world that constantly builds up to break down, rejects, and crushes your soul.
The music of the movie is a combination of jazz and a near-ethereal score by Trent Reznor and Atticus Ross (who paired together for “The Social Network” and “Gone Girl,” two movies with two of my favorite film scores). It’s a Pixar movie, so there isn’t any big musical numbers like you’d expect in a standard Disney movie, but music obviously plays a big role in the film, as Joe’s biggest purpose is music. Or is it? “Soul” asks its viewers, young and old, to rethink the idea that every one of us has a reason to be here. Sure, you may find your callings and your passions, but is that your reason to live? Or is the reason for us to live just to live? This film asks you to honor your passions, love what you love, but remember to stop and smell the roses, and the perfect slice of pizza, on the way. - Promising Young Woman. Okay, we’ve covered flashy eighties tributes, vibrant pastel imaginings of reality, so what’s left? A colorful revenge thriller about the patriarchy, obviously. This movie is much darker than a comic adventure or a cartoon, so if things that you could find discussed in any reflection on the #MeToo movement are triggering, you may want to stop here. Unless you have a wish fulfillment on par with “Inglorious Basterds” or “Once Upon a Time in Hollywood,” where the bad guys actually lose. Hard.
Cassie Thomas is, by all accounts, a nobody. She dropped out of med school, and practically off the face of the planet, and is living with her parents while working a minimum wage job at a coffee shop. That is, her day job. By night, she goes to clubs, alone, appears to be too under the influence, and waits for a “nice guy” to “get her home.” One by one, she ensures that all of the “nice guys” learn what it really means to be nice.
While working at the coffee shop, a former med student from her graduating class, Ryan, comes in and is almost immediately smitten. Cassie, knowing that all men seem like “the good guy” at first, allows herself to be cautiously charmed by his wit, genuine kindness, and yes, boyishly handsome good looks (it’s Bo Burnham. The tall man. I love him). However, her goal with the “nice guys” around town receives a new purpose when Ryan tells her that another student of theirs, Al Monroe, is slated to get married soon to his bikini model girlfriend. Ryan tells her that he’s a good guy, though they’re not exactly friends, but Cassie remembers him differently. Much differently.
With cameos by Connie Britton, Molly Shannon, and McLovin himself, this film is star-studded with actors and actresses who repeat the patriarchal cliches that we’ve heard from every story about a girl who says she was assaulted. “Not enough evidence.” “He said, she said.” “She slept around, anyway.” You sit through the film, gritting your teeth, knowing that it’s just a movie, but not just a movie. These are ripped from the headlines of dozens of stories a day. Finally, Cassie realizes that it’s time for justice. She’ll see the truth comes out, or die trying.
The color scheme of “Promising Young Woman” is incredible. Cassie’s home (or rather, her parent’s home), the coffee shop where she works, the local pharmacy, is all pink and bright colors, almost indicating a sense of girl-like innocence. The same innocence is lost by the time the average girl is six years old, when she gets told that a boy pulls her hair because he likes her, or when she’s thirteen and bike rides past a man who catcalls her. Sometimes, it’s worse. Early in the film, Cassie is walking alone past a construction site. Several construction workers shout at her jeeringly, and she stares them down until they uncomfortably leave, telling her to “take a joke” as they do. Does all of this sound familiar? Are you tired of hearing about it yet? To quote Rose McGowan, one of the loudest voices to kick off this new* edition of the #MeToo movement: “Imagine how tired we are.” The movie is full of wit, grittiness, all wrapped up in a pretty bow that is the final ten minutes. The ending of the film had me on the edge of my seat, terrified, angry, and then elated. Enjoy at your own risk.
These three movies are very different, but they all kind of have the same message: you have a life. What are you going to do with it? I think that’s the biggest question I’m taking with me into 2021. I have a lot of great things in my life, and a few not-so great things. Now what? What can I do? I can do my best, and do what’s right, and be grateful for the opportunity to do so. Time to get in “the zone.”
*Please note, the concept of using the phrase “Me Too” in this context was first utilized by activist Tarana Burke in 2006.