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The Batman (2022)

THE BATMAN, Robert Pattinson as Batman, 2022. ph: Jonathan Olley / © Warner Bros. / Courtesy Everett Collection

In recent years, we have seen many franchises emerge with plenty of reboots, prequels and sequels dominating the film industry. A lot of these films tend to provide plenty of nostalgia and familiarity that is enjoyable to watch, but offers nothing new. One such franchise that is reinvented time and time again is DC’s Batman. Following Christopher Nolan’s Dark Knight Trilogy, it felt as though the franchise couldn’t get more gritty and dark, but Matt Reeves proves it can be done with this year’s The Batman. The film is filled with characters that we all know and love including the titular character himself (Robert Pattinson), Catwoman (Zoë Kravitz), and Detective Gordon (Jeffrey Wright) to name a few. Rather than fill the film with the usual villains such as the Joker, Reeves has chosen villains who have been overlooked or not as widely used cinematically with the Riddler (Paul Dano) and the Penguin (Colin Farrell) being the major villains in the film. Unlike other Batman adaptations, this Batman is not as refined in his fighting skills, making him more realistic, while also finding out more about what his parents were really like and the mystery surrounding their untimely death.

The Batman is directed by Matt Reeves who cowrote the screenplay with Peter Craig. Reeves development as a true visionary feels as though it has come full circle since he became a household name in 2008 with Cloverfield. Just as Cloverfield pushed narrative boundaries and explored alternative filming techniques, Reeves applies this innovative way of thinking with The Batman. From the telescopic point of view that opens the film, to the brilliantly shot climactic scene in which Batman beats up a load of cronies in a dark hallway with the only lighting provided by gunfire, Reeves brings an element of true imagination to a studio blockbuster and shows that not all superhero films need to contain a formulaic structure and content. The screenplay is particularly brilliant and perfectly delves into Bruce’s character without feeling too over the top, while also having plenty of fun with the Riddler’s character and his clues.

Robert Pattinson proves himself more than capable of taking on the Caped Crusader and can simply be explained as a perfect mix between Michael Keaton’s and Christian Bale’s performances. The film has more interest and focus in seeing the character as Batman rather than Bruce Wayne, which serves the narrative brilliantly. Pattinson’s Batman is unlike others because his fighting skills aren’t perfect and there are moments when he is getting beaten up by thugs. The Batman is a much more violent take on the character, but one that feels more realistic and less like a regular superhero film as it feels as though Batman is just a man wearing a suit who can fight. Pattinson’s Bruce is moody and isolated from the world, despite living in the centre of the city, while his Batman is relentless and will do anything to get to the bottom of the situation. The scene in which Batman confronts the Riddler in Arkham State Hospital is the best in the film as it shows the character break face as he tries to figure out what the villain has planned.

Playing opposite Pattinson is Zoë Kravitz as Catwoman in a turn that feels revolutionary for a character that has been overtly sexualised over the years. Kravitz’s Catwoman is unapologetic in her actions and isn’t afraid to stand up for what she believes in, even if it isn’t necessarily the morally right thing. From the moment that Kravitz steps onto the screen, the audience is immediately drawn to her. What is amazing about Kravitz’s performance is how well she develops Selina’s character throughout the film, so her turn never gets boring or loses steam. Not only does she have great chemistry with Pattinson which makes the film gripping to watch in its entirety, but Kravitz’s Catwoman is incredibly strong and capable of asserting her own agency without the need for male assistance or approval, which feels revolutionary and authentic in how it is portrayed onscreen.

The main antagonist in the film is the Riddler, who is played phenomenally by the always fantastic, Paul Dano. In a career that has shown gigantic range, Dano appears to be getting the recognition that he has long deserved from mainstream audiences thanks to his menacing Riddler. It’s an unpredictable performance that shows the same level of dedication and characterisation that he brings to films such as There Will Be Blood and Prisoners. Even when he is not onscreen, his presence is felt through the entire film in the game of cat and mouse thanks to his ability to be a perfect match for Pattinson’s Batman. Dano may not be obvious choice for a superhero villain, but he’s proven that he is more than capable of performing exceptionally well in any genre.

In a film full of brilliant performances it’s difficult to choose which one was best of all, but in this instance, it has to go to Colin Farrell who is completely unrecognisable as the Penguin, a sleezy mobster who helps Carmine Falcone (John Turturro) run Gotham’s crime scene. Although he only has a small role in the film, Farrell is absolutely magnetic and steals every scene he is in. The chase scene between him and Batman is brilliantly executed and highly intense. Farrell has been knocking it out of the park for years and proven that he is a flawless character actor who is able to fully immerse himself into each character he plays. His Penguin doesn’t feel like a caricature, although there are some funny moments, and it’s exciting to see if he will star in the sequel.

The score is composed by Michael Giacchino, who has brought us a slew of iconic soundtracks over the years spanning across various genres including family films such as Ratatouille and Up as well as blockbusters such as Jurassic World and Rogue One: A Star Wars Story. It only makes sense that someone like Giacchino fits the bill considering his resume, and he delivers his best score in years. The main character theme consists of four hard-hitting notes that have become immediately identifiable. The opening track “Can’t Fight City Halloween” is riveting and atmospheric, instantly transporting the audience into the grime and horror of Gotham City.

The Batman delivers brilliance from start to end thanks to its gritty aesthetic, innovative filming techniques, and incredible characterisation filled with great performances from both the heroes and the villains. Pattinson’s career has gone from strength to strength and with The Batman, he is able to translate his indie successes to a huge blockbuster. Reeves has done a great job of setting up this particular Batman universe, and with the hint of a new villain (probably the Joker) incorporated into the film’s narrative, it’s only a matter of time before we see a sequel to The Batman.

What did you think of The Batman? Let me know in the comments below!

The Batman is available to view in cinemas now!

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The Suicide Squad (2021)

As cinemas have gradually been getting back to normal, a lot has been riding on the release of James Gunn’s The Suicide Squad. The sequel to the much maligned 2016 film, Suicide Squad, The Suicide Squad may not have a title that clearly distinguishes it from its predecessor but the standard in overall quality couldn’t be further apart. Following some familiar faces led by Harley Quinn (Margot Robbie) and Rick Flag (Joel Kinnaman) as well as some new villains such as Bloodsport (Idris Elba) and Peacemaker (John Cena), the Squad must infiltrate the South American country of Corto Maltese to prevent an experiment that threatens the US. What follows is a film full of twists and turns that brings the best of comic movies by incorporating a gripping storyline combined with imaginative characters and great special effects. The Suicide Squad lives up to the hype and shows that there is more to these characters then we were led to believe in the 2016 film.

Written and directed by James Gunn, The Suicide Squad combines a cartoonish style with extreme violence resulting in a film that is fun to watch. Gunn proves himself the perfect match for this franchise and has helped propel it back to where it can be and in turn, giving it a future for more Suicide Squad films. If Birds of Prey displayed just how well the Harley Quinn character can lead a film, The Suicide Squad shows that there is even more that can be done with the character. Gunn has clearly thought back to the 2016 film and written a film that incorporates what works and what doesn’t. The script is much tighter and concise while giving the characters the development they need and ensuring that there are plenty of action scenes. One big improvement for this film was the soundtrack which is more controlled and doesn’t flit from one song to the next which is what happened with the 2016 film. All in all, James Gunn is what this franchise needed and it will be interesting to see if he is involved in any of the sequels.

Margot Robbie brings another memorable performance as Harley Quinn. Showing why she is one of the most in demand actresses working today, Robbie is highly charismatic and charming as Quinn, who has moved on from the tragedies regarding her ex once and for all. What is refreshing about The Suicise Squad is that it is an action film that relies heavily on Quinn and with the success of Birds of Prey, was a brilliant decision. Many of the highlights in the film are attributed to Robbie’s performance and that frantic energy she brings to the role. The best scene I the film is one that sees her break out of her captivity with the combination of her many confrontations with military personnel and fluid cinematography creating a sequence that is captivating and violent to watch.

When it comes to the supporting cast, there are a slew of strong performances. With a few returning faces such as Rick Flagg (Joel Kinnamin) and plenty of new characters such as Bloodsport (Idris Elba) and Peacemaker (John Cena) but the highlight by far is Sylvestor Stallone’s incredible voice work as King Shark. Stallone is one of the most iconic action stars and has a strong filmography to boot but it’s easy to forget just how funny he can be. His villainous turn in Robert Rodriguez’s 2003 spy comedy Spy Kids 3-D: Game Over as The Toymaker is brilliantly funny and incorporates plenty of charisma. He channels a similar energy in his performance as King Shark which, despite being a character with limited communicative skills, is just as lovable and developed as the rest of the Squad.

Overall, The Suicide Squad was what Suicide Squad could and should have been. Combining the fun of the comics with flourishing colours and action that flies off the screen, James Gunn appears to have shown us how great this franchise is and the potential it has in the future. Hopefully Gunn has even more ideas up his sleeve for the next installment and it will expand more into the DC Universe.

What did you think of The Suicide Squad? Let me know in the comments below!

The Suicide Squad is available to watch in cinemas now!

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Why Parasite’s win is important

Going into the 92nd Academy Awards, it seemed that pretty much every category was a lock. Joaquin Phoenix was favoured to take home the Best Actor gong for Joker, Renee Zellweger winning Best Actress for Judy and Sam Mendes was the strong favourite to win Best Director for 1917 with the latter ultimately winning Best Picture. How much the Academy surprised us then when the Best Director trophy was awarded to Bong Joon-ho for Parasite and then his film won the Best Picture award, beating the odds. Personally I was very happy as I had placed a bet on Parasite to win so there was a monetary reward for myself but the happiness goes to another more serious level. 1917 is a prime example of a quintessential award film. Don’t get me wrong, 1917 is a brilliant film that is full of revolutionary technical achievement, particularly Roger Deakins’ cinematography but it is no secret that the Academy and other Western award bodies have a love affair with war films. So much so that it has become a running joke in the film industry that to win awards, you have to make or star in a war film.

For those who are not in the know, Parasite is a Korean film exploring classism and inequality in a society that only benefits the rich and leaves those poorer to live in the gutter (quite literally). It has been the source of much hype since its premiere at last year’s Cannes Film Festival where it won the top prize, the Palme d’Or, in a rare unanimous vote, marking the first Korean film to win the prestigious award. Korean cinema is among the best in the world and has been a leading institution for years for filmmakers and film lovers and it felt like it was finally getting its due in the mainstream. Bong Joon-ho has previously delved into English-language with Snowpiercer (2013) and Okja (2017) which have become much-loved modern classics and released to acclaim; however, I think it’s poignant that Bong’s ascendance to the global audience has come from a Korean-language film that explores Korean society. It is very much detached from Western society in both its subject matter and filmmaking technique, allowing Bong to direct without the restrictions that Western studios demand. The fact that a film like Parasite, a film that is inherently unique in its style and content can beat a film like 1917 shows that there is an appetite for a different kind of film experience. It also shows a promising step forward in what audiences now expect. Naturally, franchises such as the Marvel and DC films still top the box office but Parasite concrete proof that people want more variety in the cinemas as well. Parasite’s subsequent box office success after its award wins confirms this. Now that it’s been given the chance to screen in more cinemas, it’s been able to demonstrate that there is an audience who want to watch foreign-language films, snubbing the assumption that Western audiences don’t want to watch films with subtitles.

There are many people who dismiss award season as pointless and dim, viewing it as celebrities patting themselves on the back. I don’t think it is as simple as that though. The truth is people do pay attention to awards season and follow the films that are successful. Of course, a lot of time there are the usual suspects who are nominated time and time again, sometimes undeservedly but when you have a film like Parasite that isn’t given the same chance as a mediocre English-language film then the exposure that award season brings is crucial for the film’s box office success.

Overall, there were some brilliant films this award season but Parasite was the clear standout. The fact that it won the major awards is a sign that the Academy is looking at artistic merit and not just succumbing to making it a popularity contest. Parasite’s win may not seem significant but the importance cannot be understated. Hopefully this will spark the beginning of an awards body that seeks to be more inclusive and diverse, giving all films an equal chance.

Here are my reviews for some of the films of the 92nd Academy Awards:

Winners: 1917, Joker, Jojo Rabbit, Judy, Marriage Story, Once Upon a Time in Hollywood, Parasite, Toy Story 4

Nominees: A Beautiful Day in the Neighborhood, Bombshell, The Irishman, The Lighthouse, The Two Popes

Snubs: Dolemite Is My Name, Hustlers, Midsommar, Uncut Gems

What did you think of Parasite’s winning streak at the Oscars? Let me know in the comments below!

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Joker (2019)

I don’t know if there has been such a hype around a film with added polarisation to boot. Todd Phillips’ origin take on iconic villain in Joker shows how Arthur Fleck, a failed stand-up crippled with mental illness who rebels against a system that seems rigged and only rewards those born into riches and fortune. Arthur struggles to navigate his way in Gotham City which has gradually become more violent as the rich continue to cut public funding. I previously did a Top 5 Joaquin Phoenix performances post which you can read here in anticipation for this film. As I predicted, Joker would easily slip into the best of the best from an actor who can’t do any wrong. Joker also won the Golden Lion at Venice Film Festival which is unheard of for a franchise superhero film because of its groundbreaking venture and reluctance to fit in with a particular aesthetic that audiences and critics are used to.

Todd Phillips shows his talent for direction with this film. Taking inspiration from some of the best directors in history, mainly Martin Scorsese, Phillips achieves in making an epic based not on a superhero franchise but on a character. This film is rich in character development that it would weirdly fit in with the films of Paul Thomas Anderson. It’s refreshing to see someone venture into a different genre of film despite his ridiculous motive. An obvious element to point out would be that the film is told from Arthur’s perspective in contrast to the numerous Batman films that only see the Joker from Bruce Wayne’s point of view. Phillips allows us to not necessarily sympathise Joker’s actions but to understand his view of a city that ignored him for years and stomped on him daily. Phillips throws us into a specific period of his life rather than showing us his life thus far. What we learn about Arthur’s background is varied and unreliable so it becomes hard to grasp Arthur as a person. What we do gain is that he has lead a life that has pulled him in all sorts of uncertainties and directions but when he is dressed as a clown, he feels comfortable behind the guise.

As expected, Joaquin Phoenix is nothing less than extraordinary and this role will almost certainly bring him an abundance of award wins I think. He is arguably the best working actor today. This may be his time to win a long overdue Oscar (he should have won for The Master really) but that’s not to say that it wouldn’t be deserved if he won for this. Arthur Fleck is a deeply complex character. His mental illness leaves him extremely vulnerable as seen in the opening scene when a group of teenagers take his sign and subsequently beat him up, he’s physically malnourished with Phoenix losing 50 pounds for the role. There are so many layers and sides to this character that he becomes increasingly unreliable and the uncertainty in his actions makes for a terrifying experience. There’s no predicting his motives or what he will do next. If I had to draw comparisons from another Joker, it would have to be Jack Nicholson’s particularly in the chat show scenes but that’s only a glimmer as Phoenix has managed to pave a way for his own Joker. Phoenix is an absolute powerhouse of acting and even those who dislike the film have respect for his portrayal. It’s a performance that shows the physical and mental consequence to actions made by those seen as “higher” and “superior” than himself.

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As far as other characters go, we have a supporting role led by Robert De Niro who is making a welcome return from a few years of very questionable choices in film as Murray Franklin, Gotham’s most popular talk show host. Arthur idealises this man but what he doesn’t realise is that Murray is a product of the society that threatens to marginalise him further. He broadcasts a portion of Arthur’s failed stand-up routine for the whole of Gotham to see and isolate him further. Arthur appears oblivious to Murray’s behaviour initially and eagerly accepts and invitation to be on his show in which he is ridiculed further but Arthur isn’t as vulnerable as it seems and his appearance on the show makes for one of the most intense scenes in film this year. I hope De Niro keeps this up and with The Irishman coming out later this year, I am hoping this marks a return to the actor that we loved before Dirty Grandpa.

My favourite scene would have to be the Bathroom Dance scene in which Joker finds his way to a grimy public bathroom and dances with himself. The combination of Phoenix’s whimsical nature and the dark, vibrant score that provides an undertone for what had occurred in the previous scene. Hildur Guðnadóttir’s award-winning score for Joker was one of my major highlights aside from Phoenix. It feels that the score and the character are connected as the score weaves its way through Arthur’s movement. In this scene, the two are combined as one and it is as if this is the music in his mind. If any scene could be used to sum up the film, it’s this one. The Joker is known for his violent outbursts but this scene sees him literally celebrating a triple murder. It’s a different side that we see for a character who had thus far been victimised and pushed down.

I was excited for Joker since I am a huge Joaquin Phoenix fan but, to be honest, the hype surrounding the film made me less and less excited and I was unsure whether I would enjoy. However, I was not let down and thoroughly enjoyed the film from beginning to end. As someone who has experience with mental illness, it was refreshing to see mental illness portrayed in a way that seemed unfiltered and honest. Of course, the character of Arthur Fleck isn’t one to aspire to but the film shows a picture of how those less fortunate are left to fend for themselves when thrown into difficult situations. Joker is a film that lends itself well to the DC franchise but also as a standalone in its own right. It’s depiction of a broken character who becomes even more fragmented is unafraid and undoubtedly a reflection of society today. The film feels progressive and risky while also remaining loyal to a character that has been well-loved for decades.

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Top 5 Joaquin Phoenix Performances

Undoubtedly the man of the moment in the film that has the festival circuit buzzing, Joaquin Phoenix is the frontrunner for awards for his titular performance in Todd Phillips’ origin story Joker. During a film climate that seems dominated by superhero films, Joker seems like it is doing something entirely different by twisting the tone and idea of the superhero movie. It feels that after years of playing the underdog in Indie features and his reluctance to entertain the spotlight, the mainstream media has finally caught up. It feels only right that I compile a list of my top 5 performances although it’s very tricky to do so.

Here’s my top 5 in chronological order:

Gladiator (2000)

I never thought Gladiator would be in a top anything list. Truth be told, I find the film overwhelming overall but the one element of it I absolutely love is Joaquin Phoenix’s brilliant performance as the evil Commodus, the power hungry son of Marcus Aurelius who gives power to Maximus (Russell Crowe) until a new empire is formed. His lust for power knows no bounds as he murders his own father and has Maximus arrested. It’s Phoenix’s performance that brings the real depth to this film. He could have easily played this role as a cartoonish villain but instead brings a snakelike presence to the character. His strength comes from the power that others give him rather than strength that he has by himself which comes to fruition in the final fight scene with Maximus.

The Master (2012)

Undoubtedly my favourite Joaquin Phoenix performance, The Master follows ex-marine Freddie Quell (Joaquin Phoenix) as he becomes involved with a cult called The Cause, led by Lancaster Dodd (Philip Seymour Hoffman) and his wife, Peggy (Amy Adams). I won’t dwell too much on this film, mainly because I have written an extensive review for this film (which you can read here). Phoenix brings his A game to his performance and it truly is a career best. The scene where he initially undergoes “Processing” with Lancaster in which his darkest secrets and even darker past are revealed. It’s a brilliantly shot scene that brings together to titans of acting and should have won both Phoenix and Hoffman Academy Awards.

Her (2013)

Spike Jonze’s romantic Her shows a tender side to Phoenix in the role of Theodore Twombly, a depressed soon-to-be divorcé whose job is writing intimate letters for people who are too afraid to do so. He is so emotionally intense and yet detached at the same time as he begins a sexual relationship with his OS (voiced by Scarlett Johansson). Featuring a stellar cast that is rounded off by Amy Adams and Rooney Mara, this was one of the best films of 2013 and brought Spike Jonze a much-deserved Oscar for his screenplay. It’s a saddening portrayal of love and heartbreak in the 21st century. This is a film that easily could have fallen into ridiculous due to its eccentric plot but the sincerity that Phoenix brings to the role allows the audience to become truly invested in the plot.

Inherent Vice (2014)

Phoenix’s second collaboration with Paul Thomas Anderson brings renowned author Thomas Pynchon to the big screen in what is the only adaptation to date. Based on the drug-infused novel, Inherent Vice, we follow Doc Sportello, an alcoholic, drug-loving cop in 1969 as he tries to bring down a drug lord. It’s a hallucinogenic mesh of colour, music and Joanna Newsom who stars as a narrator only Doc can see. The film itself is hugely underrated, possibly due to the fact that it is too bizarre for a lot of people. Being a big fan of Pynchon, I was so excited to see how it would work adapting one of his books into film and it works perfectly. Phoenix is perfect casting and carries off Doc’s happy-go-lucky attitude with ease. He heads up a star-studded cast fantastically and commands the screen whenever he is on it. He brings the perfect amount of slapstick while also keeping the character’s dignity intact. It’s truly a brilliant film that I think is wrongly overlooked.

You Were Never Really Here (2017)

Lynne Ramsay’s gritty New York City based nightmare follows Phoenix as hitman, Joe, who lives and breathes violence and killing all while living with his elderly mother in his childhood home. He specialises in rescuing trafficked girls. He’s a character who’s backstory is stained with violence and abuse and there isn’t much else that he is capable of doing. He is quiet and alone but happy in his loneliness. When tasked with retrieving a Senator’s daughter from traffickers, Joe embarks on his hardest mission yet. The film is bloody and holds no punches. It’s brutal from beginning to end with devastating results. The direction and writing is super tight and brought both Phoenix and Ramsay prizes at Cannes Film Festival in a rare double win.

With the release of Joker, it seems that Phoenix is going to break into the mainstream and he’s the frontrunner come award season. It seems that these awards are long overdue. If it were up to me, he’d have a couple of oscars in his cabinet already but sadly that hasn’t been the case. I’d hope that those who are introduced to phoenix’s talents as the Joker watch him in other films and see his talents beyond that superhero universe.

I’ll be posting a review for Joker as soon as its released and I’m looking forward to seeing whether it would break into my top 5.

What do you think of my list? Do you agree or disagree? Let me know in the comments below!

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Women’s Voice In Film

Women in film has become a huge talking point for film development in recent years, partially due to the #metoo movement that outed the abusive patriarchy in film seeing women given less power both in representation and finance. A lot of discussion on the internet (from men mostly) questioning whether there truly is a problem in the first place, do the women deserve the harassment they face and most importantly, do we really need these gender swap remakes? The answers to these questions are simply: yes there is a problem, no a woman never deserves harassment and of course we need as much female representation as possible.

It’s not secret that the days of Golden Hollywood, although seemingly flawless and iconic, foresaw the way women in film were treated by their bosses (producers and directors). From the infamous “casting couch” to the manipulative studio contracts, Hollywood presented itself as a mecca of dreams but proved to be a breaking point of mental illness, drug and alcohol misuse and domestic abuse. This period sees the breakdown of many stars including Judy Garland, Marilyn Monroe and Bette Davis just to name a few. It seemed that solace could only be found at the bottom of a whiskey glass.

So what does this issue have to do with Hollywood today?

Well, to begin with, despite the elimination of studio contracts in the 50s due to the collapse of the Hollywood studio structure, it appears that female filmmaking is still viewed as a niche rather than as an equal offering. The fact that we even discuss a film as “female” or celebrate female creators and strong female characters shouldn’t be something we celebrate in the 21st century. Especially considering that we’re at a century of accessible filmmaking that has distributed across the globe. AFter everything that has happened globally regarding women’s issues such as voting rights, reproductive rights, fighting the wage gap, it’s unsurprising that the fight for the female experience through a woman’s perspective has been equally difficult. After all, film is a brilliant and affordable medium to translate issues to a global audience using visuals to gain awareness for issues. Take last year’s Oscar-winning short documentary Period. End of Sentence. that looks at female poverty in India where women are forced to quit school due to periods as they are unablt to afford sanitary products. In terms of fictional feature films, we have seen a resurgence of female driven comedies with Bridesmaids accredited with starting this trend. Other offerings in recent years have reverted back to teenage years with 2019’s Booksmart and 2017’s Lady Bird among the big fish. it’s great to see original stories created by women being given mainstream releases and have subsequently done well in the awards circuit. As well as comedies, we have also seen female-centred dramas such as Todd Haynes’ beautiful and iconic LGBT love story Carol (you can read my review here) starring Cate Blanchett and Rooney Mara, which I would argue is the best love film of the century so far. Now these Indie films do incredibly well, but why hasn’t this translated as well into mainstream films? I’ll try to break this down.

It’s known that the majority of people who will go and see an original story created and performed by women is going to be seen by women. That’s all well and good but considering that men are the majority of the cinematic audience statistically, it’s important to get men to see films created and performed by women too. This is for a number of reasons and since the film industry is a business, the most important issue is money. If more men see the films then more money is given to the filmmakers and then more films created by women can be made which would eventually make the idea of the “female film” as old and traditional as the Golden Age of Hollywood. This brings me to the gender swap remakes. If you looked at the highest grossing films in recent years, chances are that they are filled with sequels, reboots, prequels and remakes. Using this information, it is a smart idea that in order to bring a female perspective to a high-grossing film, you must incorporate strong female roles into these films. However, this hasn’t been without a share of complaints from a small portion of the male audience. Take the Marvel and DC Universes for example. Admittedly, I am not a huge fan of the Marvel Universe but I have never heard such negativity from a male audience regarding it’s iconic female characters before. It seems that every other film is released with no issue, Marvel films particularly tend to sell out every initial screening and exceed in both critic and audience circles so when they decided to do a film dedicated to Captain Marvel, this should have been a celebration for a strong female character to join the achievements of its predecessors; however, this sadly wasn’t the case. A portion of the male audience was outraged by Brie Larson’s interpretation of the role as well as her feminist statements. It’s all well and good when the male superheros want to prove their stereotyped masculinity (which is an old school trope that Marvel appear to be fighting as well by bringing vulnerability into the male characters) but when Captain Marvel doesn’t need a man to save the world and more importantly, doesn’t want a man with her to save the world, this is a major issue. It was a role that should have been celebrated but instead, while Endgame was adored for bringing its emotion to the male characters (Iron Man specifically), Captain Marvel is viewed in a negative light because she veers away from the traditional “eye-candy” trope that Golden Hollywood has been feeding the audience with for years. I hope that as these franchises expand and more female characters are incorporated into their respected universes, the male audience that openly despises the likes of Captain Marvel and Wonder Woman may be open to the idea of the strong, independent women without thinking of them as simple love interests or sidekicks rather than the leaders of their own stories. Despite this small male audience who tweet outrageously about the femalecentred films, DC is clearly proud of the overwhelming success of Wonder Woman as they are bringing Patty Jenkins back for the second film (I did actually enjoy Wonder Woman! The first segment featuring the Amazonians is astonishing direction and writing).

I am not writing this article to be negative or bash the male audience because the male audience is important to the plight of female filmmaking as well and it is only a small portion. I think that there has to be an understanding that it is much harder for a woman to get a film made than a man. Once that statement is understood and acknowledged then the discussion of female film becomes a welcome idea and celebrated. But in a world where the Indie films created by women are renowned for their originality, why do we need gender swapped films such as Ghostbusters? Do we actually need them?

As I said at the top of this article… yes, yes we do!

Why do we need them? By remaking films with gender swapped protagonists, it gives the audience a new perspective on a femiliar setting. It’s easy to be angered when a classic like Ghostbusters is given an update with the best female comedians much like the original with men. It’s a brilliant film by itself (it obviously isn’t as good as the original) but I don’t think the intention was to “outdo” the original. I think it was to show that women could be given an ordinary role without the woman part being of any importance. I think that if Ghostbusters was remade with a male cast, there would be the usual complaints of “we don’t need a remake” but the abuse hurled at the stars of the film showed that there is sexist view from this portion of male audience. It seems to not only be that women have “taken” the roles, but that women are put in powerful positions without being the love interest. There is also an argument that representation is important and when given the opportunity to make these remakes, it’s another opportunity to put women in the driving seat which is only a positive.

Some of the films I love such as Eternal Sunshine of the Spotless Mind and Frances Ha feature brilliant female characters. Clementine Kruczynski (played fantastically by Kate Winslet) in the former and Greta Gerwig as the quirky titular character in the latter are women who have their flaws and struggles but at the end of the day, are independent and strong. Both films directed by men but show the important of strong female presence in film. Eternal Sunshine’s script won the Best Original Screenplay Academy Award suggesting that there is a demand for these female characters. Another film that is a force of nature is 2016’s Turkish offering, Mustang, about five young sisters who are forced into marriage after wrongly being accused of sexual activity with a group of boys in their class at school. Written and directed by Deniz Gamze Erguven in her directorial debut, Mustang is one of the best films I have ever seen. The film is shown through the eyes of the youngest sister, Lale, giving the audience an innocent glimpse into an oppressive world without explicitly saying so. Much like the message of the film, the writing and directing is subtle with a lot of stillness and peace in moments of chaos. Another brilliant female-led offering is 2018’s The Favourite which was hugely snubbed in the Oscars this year and has not one, not two but THREE stellar leads in the form of Olivia Colman as Queen Anne (who deservedly won an Oscar for her performance) and Rachel Weisz and Emma Stone as the women vying for the queen’s attention. It’s a complex triangle of lust, power and manipulation. This answers the question whether women can carry a film with a resounding YES!

At the end of it all, more needs to be done to finance and distribute mainstream films created by and starring women but this isn’t to say that none exist at all and the offerings we have had in recent years particularly show a huge improvement to the films of the Golden Era. Women have proven time and time again that they can create films that are both critical and commercial (when given the chance) successes.

What are your favourite films created by and/or starring women? Let me know in the comments below?