Birthday presents are cool and all, but how many people get an entire Marvel movie trailer released in honor of their birthday? Shang-Chi And The Legend Of The Ten Rings star Simu Liu became one of the lucky few to receive that distinction this morning, as Marvel surprised him – and all of us – with a first trailer for the hotly-anticipated next installment of the MCU after Black Widow: after initially revealing a poster for the upcoming movie that, while quite beautiful, wouldn’t have given us much to talk about beyond the fact that Simu Liu’s official costume is stunning.
Shang-Chi | collider.com
But we’ve been promised a lot of martial arts epics by Hollywood that have more often than not failed to match the visual splendor and shock-and-awe factor of action films produced in China, South Korea, and Japan. I can’t say for certain if Shang-Chi will be able to break that trend based on just a single trailer, but I’d be lying if I said I wasn’t optimistic – because the trailer has got the visual splendor in spades (cinematographer Bill Pope is new to the MCU, but not to action-heavy blockbusters, with the visually stunning Alita: Battle Angel being one of his most notable credits), and the wuxia elements left me both shocked and awed…possibly because, for the longest time, I was convinced Marvel would go in a much grittier direction with the character.
The first minute of trailer footage still had me worried that would be the case – but then Shang-Chi battles a magical, flowery-hat wearing, wind spirit, in a bamboo grove (and the Crouching Tiger, Hidden Dragon parallels are so strong, I have to believe it’s Michelle Yeoh behind that green mask)…and from there, the trailer cuts to a flashback sequence, with an entire army of gravity-defying warriors fighting alongside giant lions and bats. The Mandarin (here using the name Wenwu) uses his titular Ten Rings to create magic weapons and conjure tidal waves. There’s a villain named Razor-Fist, played by Florian Munteanu, whose arms turn into glowing blades. Awkwafina drives a bus over a row of cars like this is Fast And Furious. It’s kind of zany, but that’s undeniably also part of the winning formula for genuine wuxia films.
Shang-Chi vs Death Dealer | metro.co.uk
From what we can glean of the story, it’s clear that Shang-Chi was The Mandarin’s adopted son and one of his most powerful disciples as a child. But after letting Shang-Chi go off on his own and forget (or try to forget) his martial arts training for ten years, The Mandarin suddenly shows up again in his son’s life now that he’s an adult, with a whole bunch of threats and taunts about how he’s gone from being the right-hand man of the most dangerous and feared crime-lord in the world to working as a hotel valet and using his spare time to sing a karaoke rendition of A Whole New World (gotta love the corporate synergy there) with Awkwafina.
But Shang-Chi gets pulled back into his life of crime, and…well, I have no idea what happens next. There were rumors at one point that the film’s plot would revolve around a martial arts tournament with the prize being the Ten Rings themselves, and we see glimpses of what that might look like with Shang-Chi dueling Meng’er Zhang’s character in some kind of nightclub/crime den, but my theory (based on Zhang and Munteanu’s villains being clearly visible disembarking from The Mandarin’s helicopter behind Shang-Chi in one shot) is that The Mandarin will send them all on a globe-trotting treasure-hunt to the death. That allows for more diversity to the locations and fight-scenes than just a single building (even one with such beautiful bisexual lighting).
And speaking of diversity, one thing I really want to talk about is the fact that this film is a milestone for Asian and Asian-American representation onscreen. Building off the amazing work of Chloe Bennet and Ming-Na Wen on Agents Of S.H.I.E.L.D., Simu Liu’s Shang-Chi will be the first Asian-American superhero to exist inside the peripheries of the MCU proper, and the first to get his own solo movie – and that is definitely worth celebrating. There’s no need to pit these characters against each other or hate on any of them, particularly since (if their adorable Twitter interactions are any indication) it seems like Liu would love for Bennet’s Quake to cross over into the MCU at long last.
Wenwu and Shang-Chi | finance.yahoo.com
And on that note, happy birthday to Shang-Chi himself, Simu Liu! He seems like one of the most humble, down-to-earth people working in the MCU today, but he’s going to literally fly onto our screens this September, and I couldn’t be happier for him.
There’s a small but memorable scene in Wonder Woman 1984 in which the film’s major antagonist, Maxwell Lord (the irresistibly charming Pedro Pascal), having just worked his dark magic on the President of the United States and sparked an all-out nuclear war with the Soviet Union, tries to escape from an altercation at the White House only to find himself awkwardly handcuffed to Steve Trevor (Chris Pine), Wonder Woman’s quick-thinking sidekick and lover. I bring this up because it’s representative of the film overall, which handcuffs itself to Pine’s Trevor and stubbornly sticks to him even as his very presence in the story demands that the entire plot revolve around him and not the lead character. The only way this metaphor could have been made even stronger would be if Wonder Woman herself were handcuffed to Trevor in this scene to reflect the film’s inability to give independence or agency to its female characters.
Wonder Woman | cnbc.com
Make no mistake, I loved Pine in the first film – and I adored the mature, elegant romance between him and Diana Prince (Gal Gadot): which was written in such a way that both characters could be strong and vulnerable with each other, and both had equal footing – with Diana clearly and effortlessly remaining the lead. Trevor’s death in Wonder Woman was a heartbreaking and powerful moment that allowed us all to see the good in humanity. And yet he’s back in Wonder Woman 1984, nearly a century after his death in World War I, doing pretty well for a guy whom we last saw get blown to bits in mid-air. Prior to the film’s release, I was as excited as anyone to see him return: in hindsight, I’m beginning to realize how foolish it was to ever attempt something that could so easily go so wrong…and did.
It’s blasphemous to even suggest, I know. The first film relied so heavily on that spark of chemistry between the two actors and their characters. But Wonder Woman 1984 had the means to substitute that timeless pairing for another one that could have been just as well-written and well-received, if director Patty Jenkins and her team of screenwriters hadn’t decided to resurrect Steve Trevor for one last lackluster hurrah: because let me tell you, everything that’s bad about this film’s flawed script, from the convoluted globe-trotting adventure to the random interlude with a Mayan shaman, feels to me like the inevitable side-effect of having to devise an excuse for how Steve was even able to come back at all.
And with the return of Steve Trevor, Diana herself gets sidelined in a story that seems almost uninterested in her as an individual. She’s got nowhere left to go and nothing new to learn, essentially. A vague theme about the importance of being true to yourself is woven throughout the film, but it’s not exactly an urgent message that Diana personally has to embrace, unlike the first film’s timely reminder to believe in the goodness of people. She was being true to herself anyway, before Steve randomly came back into her life and took over her entire storyline (oh, the parallels to Avengers: Endgame). I mean, it’s really a shame there was no way to weave this message more cleverly into the plot and romantic subplot by…oh I don’t know, making this a queer love story?
Just as DC preceded Marvel in the department of successful female-led superhero movies, many of us had hoped they’d be the first to give us a proudly and openly LGBTQ+ superheroine onscreen in the form of Diana Prince (Harley Quinn was vaguely bisexual in Birds Of Prey, and a supervillain anyway). We’ve known for some time that wouldn’t be the case, with Patty Jenkins confirming that wasn’t the story she wanted to tell. But what we get instead is a film that tiptoes around even the possibility of a same-sex romance as clumsily as Barbara Ann Minerva (Kristen Wiig) strides around the Smithsonian in high heels. Now, to be fair, most of the romantic tension between Diana and Barbara is more a result of the palpable chemistry between the two actresses (the quiet, ethereal Gadot and sparky, exuberant Wiig complimenting each other very nicely), rather than necessarily indicative of anything intentionally written into the script, but at the same time…come on. Both Diana and Barbara are canonically bisexual in DC Comics, and you’re telling me Patty Jenkins didn’t know what she was doing by casting a romantic filter over their awkwardly flirtatious lunch overlooking the Washington Monument, or having Barbara tumble into Diana’s arms in a subversion of a dated Hollywood romantic trope? It’s queerbaiting that only serves to underscore the fact that the rest of the movie is, in the words of one of my favorite reviewers, Valerie Complex; “aggressively heteronormative”.
Cheetah | flickeringmyth.com
To the surprise of absolutely no one, the scenes that center women are the highlights of the film: from those early interactions between Diana and Barbara, to the epic prologue action sequence on the Amazonian isle of Themyscira, to a cheeky and delightful mid-credits scene. But none of these isolated scenes make up for the fact that the character arcs of both female leads in Wonder Woman 1984 (one of those female leads being a literal icon of feminism) revolve almost entirely around men. For Diana, that’s Chris Pine’s Steve, who returns with the help of an incredibly convenient plot device and plays fish-out-of-water for a while…a really long while, during an excruciating montage that exists solely to trot out every semi-nostalgic 80’s cultural trope you can imagine. Pine is still perfectly likable and has some laugh-out-loud line deliveries, but never truly recaptures what made his character so special – and thus feels like a burden the film must carry.
For Barbara Ann Minerva, it’s Pedro Pascal’s Maxwell Lord – who is quite an interesting character, despite being surprisingly little like the young Donald Trump we all assumed he would be based on the promotional material. An oil tycoon with his eye on a legendary ancient wishing stone forged by the Gods, Lord seduces the world with his voice and power to make the impossible possible. He’s got Trumpian elements to his character, of course (among the more obvious examples: he yells “You’re hired!” at one point), but his motivations are relatable, and his charm genuine. Pascal also just oozes the kind of unshakably consistent charisma that can turn a silent, faceless gunslinger into a beloved icon, or make a dumpster fire of a movie like We Can Be Heroes shockingly entertaining.
Minerva herself does get to transform into the anthropomorphic Cheetah we know from the comics, and the CGI isn’t entirely awful as she flails about in her dimly-lit third-act duel with Diana (or perhaps Diana’s Golden Eagle armor is so distractingly awful I didn’t notice), but she deserved to be the major antagonist of this film, and not merely Maxwell’s loyal henchwoman. I’m also afraid that Wiig’s excellent dramatic performance and thrilling action sequences will be overshadowed in the larger fandom discourse.
Apart from Wiig’s notable fights (particularly her brutal takedown of a drunk man who continually harasses her on her jogging route), the action in Wonder Woman 1984 is fairly slight, with the only other standout being the prologue on Themyscira, where the Amazons compete for honor and glory in a series of challenges that test their physical abilities. If Jenkins is going to commit to having Diana only use her Lasso of Truth as a weapon (an idea I actually really like, as it reflects the character’s refusal to kill), she just has to find better ways to incorporate it into action scenes, because it can too easily come off as overly ridiculous.
Wonder Woman | cbr.com
Jenkins did make other “campy” elements from the character’s mythology work for Wonder Woman 1984, though, including Cheetah (doesn’t matter if she’s dressing up as a cat, or literally morphing into one: it’s still a hilariously campy concept), and the Invisible Jet – which comes about through a bizarre but acceptable deus ex machina. Unlike Shazam, this film isn’t trying to be goofy or funny: it still takes itself very seriously, and thus comes across as uniquely earnest for a superhero movie. In some ways, I’d say that’s one of several ways in which the movie evokes real 80’s adventure movies: both the good and the bad. The heightened sense of adventure, the not-so-great CGI you’re willing to excuse because everything happening onscreen is just so much fun, and the outdated perceptions of women and foreign nations that make us cringe deeply in our souls (we just need to collectively stop letting white American directors write North African and Middle Eastern nations into their scripts, because they’ve proven they’re not up to the task of handling those nations and their individual cultures at all well).
There’s still plenty of hope for the Wonder Woman franchise in the near future. We’re not dealing with another Crimes Of Grindelwald here (although the box-office reception would seem to disagree). But the divisive audience reactions and legitimate criticisms of Wonder Woman 1984 should hopefully alert Warner Brothers to the need to put this series back on track with better screenwriters and a stronger, more cohesive focus on women as individuals with their own storylines….even (and especially) if that means no more Steve Trevor.
