My Thoughts on Raya and the Last Dragon

 

Disney have spent the last decade in uncharted territory. That seems like an odd thing to say about a company that can guarantee a billion with a half-hearted remake of an old favourite, and in that regard, there's nothing surprising about Disney's recent output, but if you look at the films themselves, it starts to get more interesting. Their last few animated efforts-Moana, Zootopia the Wreck-It Ralph duology- have all drawn inspiration from more varied sources than Disney have done before, and while the studio has never been a stranger to exploring different stories, they haven't had a streak so rich with both diversity and quality in decades.

To that end, Raya and the Last Dragon is a welcome addition to the lineup, an animated fantasy epic that, even from its opening minutes, distinguishes itself from some of Disney's more frivolous fare and harkens back to the darker curios in their catalogue, such as Atlantis: The Lost Empire and The Black Cauldron. The plot follows Raya, a noblewoman wandering the wasteland in search of the last surviving dragon and the key to uniting five nations that have been turned against each other by growing distrust. Trust- and the lack of it- is a key theme in Raya, and by anchoring the high concept to such a simple, universal idea, the film is able to hit a hot streak early on and keep it going

The best parts of Raya are the moments where the tried and true Disney formula rubs up against something slightly fresher and more exciting. It's undoubtedly an entry in the Disney Princess canon but it brings some new ingredients to the table to signal the direction that brand is moving in. The film leans firmly into the adventure genre and places greater focus on worldbuilding and character relations. It's slightly darker than previous entries, but the added seriousness really suits the feel of the story. At the same time, it still finds room for animal sidekicks and more than one plucky comic relief, but places them in a new context to mine them for renewed effect.

Again, it's because the story is built around such a simple idea that the film is able to spend more time on the details of the world. Every character is defined by trust, each one of the five nations defined by their role in an early film betrayal, and every emotional turning point stems from one of the players addressing their own biases in the face of a greater good. This extends to Raya too, whose internal defense mechanisms ultimately become the backbone of the film's conflict. Kelly Marie Tran brings our heroine to life with careful, measured deliveries, which is a perfect compliment to the ever reliable Awkwafina, who brings both levity and a surprising amount of weight to the role of Sisu, the titular last dragon

All things considered, it's another strong entry in a reliable catalogue. The more solemn tone might take some getting used to but for a younger audience it's the perfect gateway to similarly story-driven fantasy stories such as Samurai Jack or Magi: The Labyrinth of Magic. Either way, it's an interesting take on a brand that's not going anywhere anytime soon, and with gorgeous animation, smart worldbuilding and a charming cast of characters, it's a fairly successful 107 minutes

★ ★ ★ ★

My Thoughts on A Quiet Place: Part II

The first Quiet Place came out of nowhere: an original blockbuster(!) helmed by Jim from The Office that delivered both thrills and heart, and managed to set up a sequel relatively organically. And though we've had to wait a while, it's finally arrived, so let's get into it. Before we begin, this is a spoiler-free zone, so don't worry about having any of the monster-fleeing goodness ruined for you here. Now, shall we?

Opening with a flashback, AQP2 threatens its audience with an unspeakable horror: over-explanation. Thankfully, it's just a tone setter, providing some context to a story that begins almost where the first left off. It doesn't really serve the plot but it does give us the chance to reacquaint with these characters, the perfect reintroduction to ensure that our empathy with them hasn't waned in three years. From there, the plot splits into a search for help and a fight for survival, and it's to the film's huge benefit that it keeps things fairly simple. There's not much to either storyline, all the better for the thrills to resonate and hoo boy do they ever. Now that the "creatures that hunt by sound" premise has been broken in, the film is able to really hone in on the relentless, electric shocks, and right from the start, it manages to find a really confident flow.

 Because AQP2 hits such a confident rhythm early on, it's able to place so much more faith in the audience and avoid burdening them with an abundance of plot, which leaves more room for the shocks. From quick darts of terror to more sustained releases of tension, Krasinski is incredibly adept at juggling different but consistently effective methods of delivering thrills, and because he's unleashing them on a cast of characters that are largely known to the audience, he's able to ensure that the stakes are always felt. The plot takes a slight backseat but the film places a clear goal for one set of characters, before having fun exploring all the ways it can keep that just out of reach for them. As for the other main storyline, it largely functions as a way to keep the adrenaline flowing, but it's engaging enough, and gives us more time to admire the beautifully nasty creature designs, which is no bad thing. 

A lot of what this film does well (simple but electric tension, genuine affection for its characters, no-frills creature attacks) was also present in its predecessor, but what's interesting is what this second installment adds. For one, it gives fairly interesting insight into what the rest of mankind has been up to. No spoilers, but one dockside dalliance gives weight to the old speculative fiction metric that the need to survive blurs the line between man and monster.

And as long as we're talking about newcomers, there's also Cillian Murphy's Emmett. Much more than a mere Krasinski stand-in, he's the family's introduction to the world outside the farm, something that becomes all the more thrilling when he finds himself completely out of his depth. There's a small moment of sound design that signals his role in the story, where the film mirrors a moment between Emmett and Regan with an early gesture she shares with her father, and brilliant as it is, it sort of exists to be subverted as Regan proves herself to be more than capable of filling the role of protector. Millicent Simmonds again delivers the performance that defines the film, seamlessly becoming a figure of hope and cementing her status as an iconic figure in modern horror. She's also just a great protagonist, effortlessly guiding the audience through a narrative that's too taut for comfort.

And that's one of the film's only real issues. The tension is maximised and Krasinski chooses action over horror, and while there's nothing wrong with that, it does mean that the film can forget to let its plot sit with the audience and place all of its focus on getting to the next setpiece. This is something that the first film did while also giving itself room to breath, and although Part II plays as an effective rollercoaster of a film, and does everything it needs to do, it moves a little too quickly and ends a mite too suddenly to really deliver any sort of cohesive point to the story.

But as an exercise in stress and an excuse to check in on the most unfortunate family in the post-apocalypse, A Quiet Place: Part II more than delivers. It's got a habit of investing too heavily in thrills but after a year out of the cinema, that's hardly a bad thing. It's light on plot but doubles down on what made the first such a triumph, and in the process manages to provide a punchy, breathless 97 minutes. It's not quite as elegant or as impactful as the first but it does tap into a rush of pure adrenaline and twist that into a pretty engaging feature length chase. Does it have the legs to keep this franchise going? Maybe not, but in the here and now, it's a decent way to return to cinemas.

★ ★ ★ ★ 

Top 20 Movie Musical Numbers Part 1 (20-11)

 Let's talk musicals. With In the Heights currently lighting up cinema screens, I thought I'd revisit one of the oldest and most beloved genres in cinema, and one that I know I can come back to time and time again for some great tunes, energetic performances and a sense of fun that few other genres can offer. And what is a musical without musical numbers? This list was so hard to put together. Getting it down to 20 was so tough but I think I'm happy with what I have. Before we start, I feel like I should run down some ground rules to outline exactly what I look for in a musical number

1.The songs have to be musical numbers, not just songs performed in the film. We're specifically looking at movies where people burst into song and sing how they feel, so that disqualifies the like of Cabaret, The Blues Brothers, School of Rock, Beyond the Valley of the Dolls, Once and Wild Rose. All great movies, but not quite what we're looking for here

2. I'm mainly looking at musicals, but if a movie has a musical number, even if it's not a musical outside of that, it counts. Think something like Wise Up from Magnolia, one of many honorable mentions for this list

3. I'm rating these on a combination of factors. First off, the song itself. How does it sound? What are the lyrics like? How does it fit into the larger plot of the film? Second, the way the number plays out. Performance is key here, and I'm really going to look at how creatively the song is brought to the screen. Spectacle gets you a long way on this list, and I'll be looking for scenes that go all out in the musical stakes

4. Just to add to the last rule, I won't be factoring in how iconic a song is. This isn't a popularity contest, and while a lot of these songs are really well loved, I'm purely going off of personal preference, so if the song you love from your favourite musical doesn't make the cut, then I'm sorry but this is just my list of songs from musicals that get me going

5. No Disney songs. At least not from their animated films anyway. There's just so many to choose from and I think the only way to honour that correctly is by giving them their own list

Alright, I think that's all the bases covered. This is going to be a big one, so let's crack on while there's still time before the curtain rises. These are my top 20 musical numbers from movies!

20. I'm On My Way (Paint Your Wagon)

Let's kick things off with a great opening song. Paint Your Wagon is an... odd film. I've got a pretty big soft spot for it but between the bulky 154 minute runtime, the unconventional musical numbers and a plot that's thin even by musical standards, it's definitely more of a curio as far as musicals go. Fortunately, it's blessed with an absolute belter of an opener. Starting with this rousing chorus chanting "goooooooold" before kicking off with a spirited ode to the life of a prospector, I'm On My Way has energy to spare. I love the way this thing sounds, with this big group of men on a journey together, celebrating their pursuit of wealth. It's so joyous, and I love the idea of all the different languages that come in a few verses into the song. It really fits for this opener about people coming together in search of one thing, and it starts the film off really nicely

It's only number 20 however, because it kind of slouches in the visual department. It mainly plays over the opening credits, which are fine, but it kind of feels like a waste of this kind of sound. Listen to it on its own and it conjures up images of men dancing around these huge wagon trains, bursting into song out of pure excitement for what they'll find when they start digging. I don't know, it's a lot of energy for such low-key visuals, and even when we do get some footage to go with it, it still feels too relaxed for something that sounds so bombastic. All the same, it's a fun, catchy number, and a great start to this list

19. Journey to the Past (Anastasia)

Anastasia is fine. It's not a bad film, but it's definitely one of the weaker entries in the Don Bluth catalogue, and the imitation Disney style doesn't do much to make it stand out. But my god do those songs bang. This has one of the best soundtracks of any animated film, and I was spoiled for choice, from the glorious Once Upon a December to the unbelievably catchy In the Dark of the Night. But it's Journey to the Past that really does it for me, from the charming, twinkly opening to the huge ballad that blossoms out of it. I love the vocals here, with Liz Callaway absolutely giving it socks as the song builds into this huge, heartfelt ballad. The lyrics are simple but smart, and the way Callaway delivers them really does a great job of reflecting how Anastasia's confidence grows as the song goes on

And then there's the visuals, and my god does this scene look amazing, like a living, breathing painting. I love the designs in this film, and Bluth's animation is as slick and smooth as ever. It perfectly complements the sound of the song, toning down on the lavish designs of a Secret of Nimh or an All Dogs Go to Heaven in favor of simple but effective visuals. Journey to the Past just really stands out among Anastasia's already stacked songbook, and really makes the case for animated music outside of the Disney catalogue

18. Every Sperm is Sacred (The Meaning of Life)

The Life of Brian is not a film about religion. It's also not a musical, but I bring it up because it's frequently cited as Monty Python's great pisstake of Christianity. Personally I've always seen it as a satire on the stupidity of blind groupthink, but if you want to hear the group take religion to task-in song form no less- then look no further than Every Sperm is Sacred, a gloriously brazen take on Catholicism that simultaneously spoofs moral righteousness, anti-contraception mindsets and 1968's Oliver in one fell swoop. It's just really funny, especially as the song goes on and more and more people start to sing about the dangers of wasting sperm. It starts with Michael Palin and his absurdly large family, before throwing in singing statues, a musical corpse, and a cameoing Michael Caine

It's so silly, and if it's not quite on the level of the group's best satire, then it definitely earns points for how far they take the gag. The comedy musical number is an underappreciated art, and Every Sperm is Sacred impresses for just how far they go into the realms of bad taste. It's not big or clever but it is hysterical, and the sheer shock value that comes from seeing this for the first time has to count for something. It also sounds really good, with the jaunty piano giving it that charming Consider Yourself vibe. I don't know, it's just a great joke delivered in song that keeps escalating and escalating, before exploding into pure musical ecstasy. Hang on, that just got really gross

17. Pinball Wizard (Tommy)

Ah yes, the classic set-up: a deaf, dumb and blind boy taking on Elton John in a pinball tournament to win eternal arcade glory. When it comes to the 1975 Whosical, there's a wealth of songs to choose from, but it's the most beloved song in the film that makes it onto this list. And can you blame me for picking it? Trippy camera movement, insane premise and the thumping, catchy music make for an absolute fever dream of a musical number, and part of what gets it on this list is just that: the weirdness of it all. Tommy is a strange film, even among Ken Russell's filmography, and this scene is a perfect encapsulation of the film's surreal genius. Elton John is an amazing addition here, too, from his giant boots to his back and forth with the crowd. He's totally on the film's wavelength, and watching him get more and more exasperated as the song goes on is a real joy. Speaking of, the scene when it switches between their facial expressions, and we get to bask in some beautiful overacting is easily my favourite part of this whole thing

I just love how it embraces the weirdness of Tommy, from the cartoonish set design to the amazingly silly lyrics ("He ain't got no distractions, he plays by sense of smell"), and then combines those things with the huge sound of The Who. It's a standout banger in a rock opera full of them, and in a genre that lives and dies by its concepts, it absolutely aces it. Pinball Wizard is a number that would feel out of place in any other musical but it's right at home amidst the insanity of Tommy. Also I know I mentioned them before but I really just want to know where Elton John gets his boots because wow they're really something

16. The Inquisition (History of the World Part 1)

For as much as I love Mel Brooks, I've never fully gotten on board with History of the World Part 1. It just feels way too inconsistent. I really don't gel with the Stone Age gags or the overlong Ancient Rome stuff, but it also hits some gems that remind me why I fell in love with Brooks in the first place, like Hitler on Ice, the sequence in King Louis' court, and this, a riotous, old-school Broadway style send-up of torture and religious persecution. Mel Brooks thrives off jokes like these, where the worst that humanity has to offer are made to look as ridiculous as possible, and turning the Spanish Inquisition's savagery into song definitely qualifies. He takes something so unspeakably horrible and imbues it with showy satire and his trademark wit

The set design is incredible, the choreography is surprisingly ace for what is clearly a gag musical number, and there's a very knowing approach to how uncomfortable the whole premise is that allows The Inquisition to have aged amazingly well. And that's the thing: this song is undoubtedly in poor taste, but there's something to be said about how much Brook relishes in crossing the line. This is at the heart of everything that he's done in some way or another, and the idea of taking control by being the one laughing rather than the butt of the joke is exactly what makes his gags so sharp, and this is no exception. It just keeps escalating and escalating, until it naturally explodes into a synchronized swim routine complete with killer nuns. Because of course it does

15. I Can Hear the Bells (Hairspray)

John Waters' 1988 Hairspray is great. I love it, a lot, and it'd definitely be one of my favourite musicals.... y'know, if it was one. Yeah, it's a weird one, because the tone is there, the plot's there, and the general Waters campiness is there, but the songs just never come. Don't worry though, because Broadway had our backs on this one, transforming Hairspray into the musical smash it was always destined to be, before gracing cinema yet again by adapting the wonderful tale of Tracy Turnblad into a delightful big screen romp. And I love this film. It's fun as all hell, and never sacrifices the essential Waters spirit in updating the plot. And as Tracy drifts into a blissful daydream. the film's bouncy soundtrack and on-point body positivity really come into effect

I Can Hear the Bells is a fun scene in a film where every scene is bursting with joy, and what I love about this one in particular is what it's able to do on a slightly smaller scale than something like Welcome to the 60s or Big Blonde and Beautiful. I know I said I was looking for spectacle on this list, but I can't think of many dream sequences in films where we don't actually see the dream, and seeing Tracy float through her day, totally lost in a fantasy and confusing everyone around her is too pure not to love. It's another really funny musical number but this one gets extra points for how sweet it is, letting Tracy have her moment and keeping all of the gags in good fun instead of playing the setup entirely for laughs. Hairspray is a good natured film anyway but I love how unabashedly kind this song is. Even when Tracy calls out Amber and the rest of her bullies, there's a strange amount of positivity that could only come from a character as joyfully optimistic as she is. It's a song that makes me float off the ground every time I hear it, and it sums up everything that's great about Hairspray as a film and a concept

14. Luck Be a Lady (Guys and Dolls)

A dingy basement full of spiritually confused gangsters. A game of craps with impossibly high stakes. Marlon Brando breaking out his lesser-seen singing voice. None of these scream showstopper but Guys and Dolls is no ordinary musical, and this is not your average setup for a song. And yet, as Sky desperately pleads with the forces of the universe to grant him the fortune to win the game and make good on an even larger wager, Guys and Dolls finds its best number in the most unlikely of places. The unconventional setting and swinging horns instantly make this one stand out, but what really makes it work is Brando. Sky's swagger shines even as he desperately works to keep his cool. It's basically the internal monologue of a man who has upped the odds a little too much and finds himself having to put his money where his mouth is. In song!

It's just got this perfect swagger to it, where the effortless cool of Marlon Brando perfectly gels with Frank Loesser's brassy, slick lyrics. I also love how the other gangsters come in as the song goes on like some sort of ominous chorus daring Sky to go through with the bet. It's an A+ musical number in a film full of them, and although it's maybe a little on the simple side as far as performances go, the sense of energy and the way it escalates to a huge conclusion always puts a smile on my face. It's a classic, and for good reason

13. Movin' Right Along (The Muppet Movie)

To find exactly what I was looking for, I had to be pretty strict on the rules for this list, and as a result, there were a lot of casualties. I nearly had The Rainbow Connection on here but because that song is largely diegetic (in the original film at least), I couldn't count it without reconsidering the entire formula of the list, and then this would never get done. But it's not like the Muppetverse is lacking when it comes to amazing musical numbers. Shoutout to the reboot and its sequel for really going all in and bringing on Flight of the Conchords' Brett McKenzie to pen the bulk of the soundtrack but for my money, there are few things as joyous as a bear in his natural habitat. A Studebaker.

Movin' Right Along is a slightly more low-key tune than some of the other Muppets songs but it's infectiously catchy and packs some gut-bustingly funny lyrics, which really solidify its charm. And that's what gets this song on the list: simple, honest charm. The sheer joy that this track radiates never fails to put a smile on my face, and because it's in what is essentially a Muppet origin story, it also perfectly lays out the MO of these fuzzy freaks- do whatever it takes to do what you love, no matter how questionable your talent is. As Fozzie and Kermit speed down the road to Hollywood, this folksy tune scores their journey to stardom. It's everything I love about the Muppets bottled and shaken up until it pops and sprays down pure puppety glee all over the audience. It's also got a sneaky Big Bird cameo. And you can't hate a scene that does that

12. La Resistance (South Park: Bigger, Longer and Uncut)

 

There's an alarming amount of people who see Bigger, Longer and Uncut as some sort of parody musical which is ridiculous because it's A) a full-blooded, smartly written collection of absolute showstoppers and B) one of the best animated musicals ever made. As for the best song? That's a tough one, but why choose one when you can pick several rolled into one? La Resistance may not be what everyone thinks when they think of this film and that's fine, but I love how it samples a little bit of each of the movie's best tunes. A little bit of Blame Canada, a dash of Satan wishing for a better life, a snippet of Terrence and Philip celebrating fucking uncles as they prepare to be executed, all the best stuff from the first two thirds of this insane pisstake.

It sends up the big rousing medleys that so many musicals open their third acts with and just does it so damn well. It functions as a piecemover that sets up the climax while also being absolutely fucking hilarious and giving almost every character a moment to shine, and that's not an easy thing to do. As the army of children prepare to go to war with their mothers who have already declared war on Canada while the devil gets ready to invade Earth and the dads of South Park prepare to be entertained, Parker and Stone kick things up a notch and go all Les Mis on us, and the result is a banger that's almost ready for Broadway. Just need to take out all the uncle-fucking first

11. The Hell of It (Phantom of the Paradise)

Okay, cards on the table time: I'm cheating slightly, because this song is never actually performed in the movie- only over the end credits- but Paul Williams did perform this in character on a Brady Bunch variety show in the mid-70s so I'm counting it because when else would I get a chance to talk about Phantom of the Paradise? A musical fuck-you to the buffoonish Beef with such venomous lyrics as "If I could live my life half as worthlessly as you, I'm convinced that I'd wind up burning too", The Hell of It just drips poison and I love every minute of it. Brian de Palma's rock opera-update on the classic Gaston Leroux tale is truly bonkers and spends every minute of its runtime jabbing at the monsters of the entertainment industry, so ending it with evil record producer Swan literally seething with so much hatred that it could only manifest itself through song was a touch of genuis

The lyrics are witty and sharp, the song itself is bouncy and catchy and Williams' voice is perfect for this. His tone is so mild that it's easy to see Swan bubble with passive-aggressive acid as he's destroying Beef's legacy line-by-line. The only thing keeping this out of the top ten is the lack of any kind of visual aspect to speak of. Yes he's performed it elsewhere but it really does feel like they wasted the best song in the film on the end credits, and given how raucous Phantom's staging is, it feels like such a missed opportunity not to have its villain kick off in fabulous fashion. All the same, I'm just glad we got it at all

And that does it for part one. Stay tuned as I rattle off my top ten musical numbers of all time. I'd recommend bringing an umbrella 

My Thoughts on Army of the Dead

Earlier this year, Zack Snyder finally got his long-awaited cut of Justice League out into the world, and putting aside personal views on both certain portions of his fanbase and the wider DCEU, it was a triumph for a creative vision stifled by studio interference and personal tragedy. ZSJL's journey from mythical meme to definitive version of Snyder's original vision is proof that every so often, the sheer power of fandom can do good, and it set Snyder up as the man of the hour, at the crest of the pop culture wave, with all eyes on what he'd do next. Army of the Dead had been on its way for a while but coming two months after the Snyder cut dropped gave it new context. It was always going to come out, but with Snyder firmly in the zeitgeist, it feels like best possible time for a Snyder-helmed zombie epic, done his way, especially given how this is a project that was similarly haunted by a long, difficult transition from script to screen

But enough context, what's actually happening in Army of the Dead? When a zombie outbreak leaves Las Vegas as a desolate, chaotic quarantine zone teeming with undead, a retired mercenary is sent in with a ragtag team to recover $200 million from a casino vault. It's a simple premise, but the joy of Army of the Dead comes from how far Snyder leans into it, fully embracing the gonzo, genre trappings a zombie heist and delivering huge, utterly bonkers setpieces from beginning to end

And as horror/action hybrids go, this is defintely an effective one. Snyder is firmly in the cockpit here, and his passion is infectious. There's a huge amount of sincerity to this film, and Snyder (along with co-writers Shay Hatten and Joby Harold) is careful to steer clear of any irony or self-referential winking. There's an obvious amount of love for genre cinema here and the amount of faith that's placed into such a ridiculous idea is exactly what makes it work. Synder takes the premise completely seriously while remembering to have fun with it, and that goes a long way in keeping the viewer engaged, ensuring that they can invest in the plot while also reveling in the sheer chaos of it all. It's a tricky tightrope to walk, but the film makes it look relatively smooth

Not that it's entirely seamless. The film is bursting with energy and never runs out of ideas but the 148 minute runtime really starts to make itself known after the first hour. AOTD is a blast, but a messy one, and as Snyder guides the viewer through Escape From New York if New York was Las Vegas and Also Filled With Zombies, the film really starts to feel bloated and sluggish. It's a shame too, because all of these ideas are good, and every character is effective and well utilised, but even with the extended runtime, there's a lot here that needed more time to breath. It's undeniably indulgent, and while that's a crucial part of its charm, it comes at the expense of the film's narrative flexibility. The conclusion is reaches is satisfying but it would have benefitted from being to the closer to a film that was slightly tighter, and a little leaner

But again, it's hard to criticise a film that wears its director's unabashed love for the weird and the wicked on its sleeve. Snyder throws everything at the wall, most of it sticks, and then an army of undead strippers mow the wall down and unleash the zombie tiger. The purity of Snyder's vision feels refreshing in a world of hollow blockbusters that thrive on brand-recognition, and his sincerity can been seen in every corner of the frame. Most poignantly, it shows itself in the central father-daughter relationship, which gives the film a strong emotional backbone and a palpable sense of heart, wonderfully brought to the screen by Dave Bautista and Ella Purnell. Bautista stands out among a fairly strong cast as a capable leading man who can shine in both huge moments of action and intimate character beats. He rejects the unbearable machismo of similar action heroes, playing Scott Ward as a man genuinely trying to make amends, and the decision to define him by quiet likability instead of brash bravado was a wise one that gives AOTD a leg up over some of its actioner contemporaries

Ultimately, it's an overstuffed, hugely indulgent, batshit crazy mess, made with so much passion, brio and genuine love that to call it either entirely good or bad would come with an impossible amount of caveats. Instead, we should celebrate the fact that filmmakers like Zack Snyder are making huge blockbusters with this level of flavour and weirdness at all. Not all of it works, but it's undoubtedly more interesting than your bog-standard made by committee, uber-forgettable blockbuster fluff. From its beautifully ridiculous opening credits sequence to the surprising emotional heft of the ending, Army of the Dead is unbalanced but incredibly watchable, and if it can make good on the proposed sequel and confirmed prequels, then maybe Snyder can keep up the hot streak he blazed into 2021 on and shower us with more exciting creations that only he could have made

★ ★ ★