Finally watched … A Royal Night Out (movie review)

(image via IMP Awards)


Using history for narrative inspiration can be a double-edged storytelling sword.

Granted you have a deep well on impossibly dramatic stories to dwell on, larger-than-life figures and epically heroic outcomes, all of which are custom made for big screen adaptation; however there is also the problem of historical elements not always taking place in a compressed enough timeframe or in a tidy linear progression which lends itself to audience-pleasing A to Z narratives.

The solution, of course, is to bend facts here and historical notes there to form the sort of story that will work well in a movie; Hollywood has done it for years, giving birth to that famously obtuse phrase “Based on a true story …”

But what if knowledge of a particular event is limited – where to then oh storytelling wizards?

In the case of the romantically delightful A Royal Night Out, you take what little you do know and extrapolate from there, imaging what it would be like if you were Crown Princess Elizabeth (Sarah Gadon) and Princess Margaret aka P2 (Bel Powley) and you were suddenly given the freedom of London on the night of VE Day.

Well, limited freedom anyway, with the King and Queen (played by Rupert Everett and Emily Watson respectively) laid down understandably strict rules for where their hitherto-cossetted daughters could venture on this historical night.

Chaperoned by stuffy military officers, who become far less so as the night wore on, the two princesses – sensible though longing for adventure Elizabeth and giddily excitable Margaret, invested by Powley with enough exuberant joie de vivre for 10 movies – embark on a world-opening excursion into a London celebrating the end of war in Europe and the many possibilities that opened up.



That, as far as it goes, is that as far as known history goes.

As a 2015 article in The Telegraph noted, the now Queen Elizabeth herself has confirmed the broad brushstrokes of events that led to the two princesses enjoying a fantastically rare night on the town, ostensibly to gauge the public’s reaction to the King’s speech marking the end of the war.

But once Elizabeth and Margaret are out the gilded doors of Buckingham Palace, little is known of what went on that night so screenwriter Trevor de Silva and Kevin Hood have free rein to imagine what a rare night of freedom might mean to the young royals.

True to the spirit of the feel good, sugary confection that A Royal Night Out turns into with beautifully-written comedy of errors narrative anchoring it all the way, their adventures are both substantially authentic – well as authentic as an imagined, fun-filled outing can be; suffice to say, you can imagine two teenagers, for that is what the princesses to all intents and purposes, relishing the change to let slip their normal responsibilities for one giddily exciting night – and deliciously, hilariously sitcom-ish.

Leavening out the chaotic joy of a light and fluffy narrative are some touching moments, particularly when Elizabeth, having met a decidedly anti-royal airman named Jack Reynor (Jack Hodges) and first sparred and then bonded with him, and he with her much to his reluctance, finds herself surprisingly challenged to reassess what she wants from life.

Not that she can act on those impulses or realisation since duty trumps all when everything is said and done, but the scene where she drops Jack back to his air base is inherently moving because it acknowledges that there must be a tension between obligation and inclination, no matter what your station in life.



That’s not to suggest that A Royal Night Out is a searing in depth exploration of the pressures of life of the royal family, and particularly that of Britain’s current ruling monarch, but one thing this delightful film full of bonhomie, laughs and riotously good cheer does well, is shed a little speculative light on what may be like.

It’s all fun and froth in large part, but it works because of that extra small substantial element that humanises Elizabeth and Margaret, and on a wider level, helps you to understand what it must have been like to live through such an important part of the twentieth century.

Another reason it works as well as it does, rolling a romantic comedy, a buddy comedy caper and an historical film into one, is that it doesn’t take itself too seriously despite all those explorations of noblesse oblige vs. the unfettered indulgence of the human spirit.

A Royal Night Out is, at its core, a gleefully rich, spirited rollicking good time of a film, one which takes the kernel of a true story and makes merry with it, in the process delivering up a warm, funny and thoroughly enchanting movie that will have you laughing, sighing and wishing that everyone, no matter who they are, could get their fairytale ending.



Come along for a glorious ride on Olaf’s Frozen Adventure!

Festive sugar rush! (image via YouTube (c) Disney)


One of the many joys of being an uncle to four quite delightful young nieces and nephews is the chance it gives me to go and watch a host of animated films that might otherwise pass me by.

Of course, I go and see some of them anyway, but there’s something inordinately wonderful about watching these movies with their intended demographic – let’s face it, many of them have a lot of adult-level elements to them too so I’d like them we’re a target audience too but obviously not THE target audience – and seeing the joy and excitement they feel when something really silly or funny happens.

One film I am very much looking forward to seeing with them this Christmas – we have a tradition of a Boxing Day film each year – is Pixar’s latest masterpiece Coco, which will be preceded, for the first time ever, by a Disney short featuring the breakout character from Frozen, Olaf.

In Olaf’s Frozen Adventure, a quite delightful 21 minute short film by all appearances, Olaf sets out to find out how the people of Arendelle celebrate Christmas in order to give reunited sisters Anna (Kristen Bell) and Elsa (Idina Menzel) some festive ideas for their first holiday season as family.

It looks immeasurably sweet, slapstick silly funny and yes, there may be a kickass song tucked away in there somewhere too.

Coco opens in USA on 22 November and Australian on Boxing Day (26 December).



And if you missed the latest fantastic trailer for Coco itself, fret no more for here it is …


Fear the Walking Dead – “TEOTWAWKI” (S3, E3 review)

Victor is thick as thieves with Dante … or not? (image courtesy AMC)



You may not think that you can prepare for the End of the World As We Know it – both a kickass R.E.M. song and the long form version of tonight’s acronymic title – but according to Jeremiah Otto (Dayton Callie), survivalist and purveyor of scratchy ’90s conspiracy theory infomercials and buckets full of all sorts of handy goods with which to stand a chance of surviving the apocalypse, you can not only prepare but become so ready that you’ll be laughing while the rest of the world burns.

Or walks around in undead shambling form.

To be fair, Jeremiah, who is as far from a rabid nutjob as you could hope for, humbled by the passage of the years and a TEOTWAWKI that no one in their wildest nightmares saw coming, never envisaged that the might preparations of he and his disciples would be needed for this kind of apocalyptic end.

But the net effect has been the same – a safe haven, behind secure boundaries, with all the food, gun and ammos you could want – and as Alicia (Alycia Debnam-Carey) discovers at a faux Bible study group with one very unusual headstrong member (Jeff the zombie head) – drugs and moonshine too, and a real chance at something approaching a normal life.

Of course, “normal” is a tenuously elastic concept right now, and while Alicia and Nick (Frank Dillane) – egged by a recovering Luciana (Danay Garcia) – are not exactly enamoured with Jeremiah’s Sanctuary o’ Peace, Safety and BBQ’s Boars, Madison (Kim Dickens) has decided it’s home for the foreseeable future.

We know, naturally that this can’t last, and that sooner or later some damn big spanners, human or zombie; I’m tipping the former -will be thrown in the well-constructed works and everyone will be on the run again; but for now, it’s all happy campers, S’mores and weirdly cult-like meetings.


“Brothers and sisters gather together and let us celebrate our doomsday cult-ishness …” (image courtesy AMC)


True, it’s not even remotely ideal, and while Jeremiah and elder son Jake (Sam Underwood) are unexpectedly sane and sensible and not the least bit inclined to a Ricktatorshop, the crazy son Troy (Daniel Sharman) is not, but it’s the best thing on offer right now, and Madison is staying put.

Turns out too that she has more in contact with Jeremiah that she suspected, with both of them sharing their pasts (and present to be honest) with addicts who had a deleterious affect on their lives, but who also shaped them into the kind of people who can survive pretty much anything.

That was the key message of this episode, which bore the trademark qualities of Fear the Walking Dead – a  thoughtful mix of rumination, character-building and action, embedded in the idea that the apocalypse is not one gigantic epic event after another but rather a series of day-to-day, often small scale (but no less important for that) struggles for survival that require almost as much tenacity and will to live to survive as the big punctuation moments.

Madison recognises this, as does Alicia, and quietly I suspect Nick too – who bonds in a strangely macho way with Troy while our boar hunting; how all those lights and dogs didn’t attract a flock of zombies I don’t know – all of them unsure of their new home but resigned to the fact that it is way better than the alternatives offered so far.

Another person coming to grips with that unpalatable reality is Victor Strand (Colman Domingo) who, you may recall, left the Hotel of High Gates and Precious Attitudes for a life on the road, one which leads, and not in any pleasing way to his old associate Dante (Jason Manuel Olazabal).

Ready to schmooze and charm his way back into Dante’s water-soaked graces – he commands a bloody big dam, a key asset when the pipes of civilised society have well and truly run dry – he finds himself instead almost tossed to the zombies far below, only avoiding a rather messy, painful fate by dint of some, let’s be honest, rather unedifying pleading.


What a friend we have in Jesus … or weed … same same (image courtesy AMC)


Lacking in dignity or not, it saved his life, and got him some water, delivered by none other than Daniel Salazar (Rubén Blades), an apparition (or is he?) that is visiting Victor in his jail cell-inhabiting hour of need.

Surprising though it was to see him, it underscored hos desperate Victor is of a familiar face, and some way of making sense of his current predicament.

Used to being in command and finding an angle in just about every instance, Victor suddenly found himself humbled; not an unusual occurrence in the midst of TEOTWAWKI, but not one he envisaged for himself.

His shock and confusion is palpable, clear evidence that while the likes of Madison, Alicia and Nick have made their peace with the less-than-ideal nature of current things, Victor has most definitely not, although you suspect that will change given Dante’s avowed aim of humbling the heck out of him, and in quick order.

The genius of “TEOTWAWKI”, and indeed Fear the Walking Dead as a whole, is that it takes small pivotal moments and changes in peoples’ lives to underscore just how much the world has changed.

It is the power of small “s” storytelling, leveraging the idea that big ideas can be conveyed in quiet, small “d” drama episodes, that you don’t need the bombastic, ever more bloodthirsty narrative of the likes of Game of Thrones and The Walking Dead (effective though they can be), to tell a commanding, compelling story.

Indeed, by the end of “TEOTWAWKI” we had gained a new appreciation for how low the apocalypse has brought everyone, and how the options in the face of such a tumbling fall are few and far between, with only the pragmatic and the farsighted able to navigate their way through its preciously restricted gamut.

It was an episode girded by illuminating conversations, penetrating insights and one or two truly dramatic though brief moments, another impressive episodic addition to a show that has shown, and keeps showing, a real knack for telling stories that make the apocalypse all too human and relatable, and in the process far more chilling and frightening than any big epic moments can do.

  • So is it all happy families for Jeremiah, Madison et al? Haha … NO. In fact “100” gives the impression that things will only gets slowly, nastily worse, not better … go figure huh?



Can David Tennant calm your cats and dogs? He can and it’s purrr-fectly marvellous

(image via YouTube (c) More Than)


Pet behaviourist Karen Wild and vet Robert White-Adams (with a little help from David Tennant) talk about the science behind the first films for cats and dogs designed to help calm them around fireworks and loud noises. (synopsis via Laughing Squid)

This is a genius idea.

Bring together the warm, dulcet and altogether calm and welcoming tones of David Tennant, best known as the whimsically engaging tenth incarnation of Doctor Who, and dogs and cats, to create a series of videos to calm animals freaked out by loud noises like fireworks.

It’s a wonderful initiative spearheaded by insurance company More Than that recognises that our deearly beloved pets need to be diverted and reassured when things get a little (or a lot) too overwhelming for them.

Watch these delightful videos with your pets and you might find yourself a whole lot more zen too.

MORE THAN has created the first film for cats that is scientifically designed with the intention of reducing stress caused by fireworks and loud noises. Guided by extensive scientific research the film features a range of animate and inanimate objects, including fish and swaying trees, and a soothing narration from David Tennant. The film loops a number of times to reinforce feelings of calm among cats. It is designed to be played a number of times to cats suffering from noise phobia to help combat nervousness and stress.



MORE THAN has created the first film for dogs that is scientifically designed with the intention of reducing stress caused by fireworks and loud noises. Guided by in depth scientific research the film has been shot in a dog’s colour vision, features slow-moving pastoral scenery, a cast of sedentary dogs and a voiceover by David Tennant using words and cadences that will relax dogs.



Book review: Uprooted by Naomi Novik

(cover image courtesy Tor Books)


There is something deliciously subversive about Noami Novik’s Uprooted, an epic fantasy novel that seems to promise something sweetly benign in the first few chapters, before giddily defying expectations every step of its uniformly excellent way.

The book starts out innocently enough with the protagonist and narrator Agnieszka, a 17 year old girl from a village called Dvernik, wondering who will be chosen by the local wizard and lord, the Dragon, to be his sole companion in his immense tower over the next 10 years.

Agnieszka, along with her entire village, is certain that she won’t be chosen, with the dubious honour of being the chosen one falling to her best friend and soulmate Kasia, who has been groomed from a young age to appeal to everything the Dragon seems to look for in his, supposedly platonic, companion.

Much to her surprise, she is chosen, largely because of her latent magical ability which she doesn’t recognise she possesses, but which the aged wizard, who looks far younger than his century plus years thanks to some measure of immortality conferred by his gifts, knows she possesses in spades.

He is compelled by the King’s law to choose her to train in the magical arts, a pressing concern in the kingdom of Polnya, and its neighbour Rosya with whom it has a fractious, often warlike, relationship, where an evil malignant entity known as the Wood, which can corrupt and despoil people and is hellbent on humanity’s destruction, constantly seeks to wipe out all life in its path.

What first reads as a bucolic story of peasant girl discovering her gifts, and winning over her gruff mentor in the process – the Wizard is nothing if not cantankerous, unwilling to get close to anyone in any form – soon transforms into a lushly-told, epic beyond words battle between flawed good and horrific evil, with a resolution that rewards the muscular storytelling that precedes it.



And muscular the narrative most certainly is.

An unflinching look at the darkness that hides in the hearts of men and women, even those with the best of intentions and purity of belief, and the way this can take physical form, Uprooted manages to pack a series’ worth of narrative into perfectly-told length.

Rather than feeling like you’re desperately trying to cram in all the various plot points at breakneck, half-done speed, Novik provides a book that flows profoundly beautifully and well, offering up an exquisitely-well poised narrative, vivid characters who leap to life with minimal introduction, dark undercurrents and an imperfect protagonist whose heart is most certainly in the right place.

While her skills do rise to meet her aspirations, it’s not a smooth trajectory with Agnieszka getting it wrong as much as she gets it right; this adds a delightful and reassuring element of grounded humanity to the story which has magic at its core but never forgets that these are fallible people wielding it.

It’s this balance between rugged, flawed humanity and the mysteries and poetry of magic – it’s not kiddy time stuff either with many of the spells playing ferociously well and without apology on deeply elemental, world-changing levels – that makes Uprooted such a pleasure to read.

Yes, much of the narrative is driven by Agnieszka and the Dragon’s attempts to thwart the great evils afoot in their land, but it never loses sight of who they are or why they are fighting, with their motivations, their successes and failures integral to the telling of this magnificently well told, expansive tale.

Novik has succeeded in ways that will leave you gasping with pleasure, awe and more than a little trepidation, in crafting a dense but accessible story for the ages, a novel that pulses with dark and light, hope and despair and some fantastically well-choreographed back-and-forth between Agnieszka and the Dragon who grow closer but not in any of the cutesy Beauty and the Beast ways you might expect.

Uprooted is grandly told, muscular fantasy storytelling, a masterwork that is as dense as they come, filled with fastidious world building and intricate relationships and portents of doom, and get gorgeously accessible and real, thanks largely to a protagonist who, though magical to the core, is as human and thus fallible as they come, and yet possessed of the kind of chutzpah and willingness to fight on for what she loves and believes that will have you cheering her on as you frantically turn every page, eager to see where it all ends up.


(cover image courtesy Tor Books)

Want to get close to aliens? Time to get yourself Ghosted!

Adam Scott and Craig Robinson get Ghosted (image courtesy Fox)


From 20th Century Fox Television, 3 Arts Entertainment, and Gettin’ Rad Productions, a cynical skeptic (Craig Robinson), and a genius “true believer” in the paranormal (Adam Scott), are recruited by a secret government agency to look into the rampant “unexplained” activity in Los Angeles — all while uncovering a larger mystery that could threaten the existence of the human race. (synopsis via official Ghosted website)

Oh how I love me a good parody!

Particularly one that jumps on the zeitgeist with giddy alien-seeking abandon and makes merry with conspiracies, possible extraterrestrial threats and all things governmental and hush-hush secretive.

And most especially when it stars and is executive produced by Adam Scott and Craig Robinson and features, among others, the fabulous Ally Walker, most recently seen on Colony, overseeing (with a little regret to her credit) the cauterisation of Los Angeles.

There are in-jokes, jabs and pokes at all kinds of secretive goings on, really crap undercover prep and some delightful observational humour.

And oh my does it look like a bundle of silly, goofy, daffy, world-saving fun.

Sign me up and get me abducted by aliens if you please.

As long as they have great TV reception and I can watch what looks like it will be a very entertaining show.

Ghosted premieres this US autumn on Fox.


Stargate Universe lives on with a new comic resolving that bittersweet cliffhanger

(image via Stuffpoint (c) MGM)


Stargate Universe followed a exploration team on an ancient spaceship called Destiny, and their attempts to get back to Earth from billions of light years away. In the season two finale, the decision is made to put Destiny on a three-year, faster-than-light jump while the crew goes into stasis chambers. However, one of the stasis pods is discovered to be malfunctioning. Math genius Eli Wallace (David Blue) volunteers to stay behind, believing he is smart enough to fix the pod before life support shuts down. (synopsis (c) io9 Gizmodo)

The ending of Stargate Universe was a deeply bittersweet, movingly melancholic fair.

Not so much because it signalled the end of the Stargate franchise’s third live action TV spinoff (following Stargate SG1 and Stargate Atlantis) – to be fair while that looked sadly likely, it wasn’t an absolute certainty at the time of screening – but because Eli was the sole person left awake, charged with making sure the members make it safely to the next far-off stage of their journey.



With the end of the series after just 40 episodes, we never found out how the gamble by the Destiny’s inhabitants paid off, leaving fans like myself feeling a little bit incomplete (but not as incomplete as the mere 13 episodes of Firefly left us, but hey that’s a whole other kettle of terminated-too-early fish.)

But now, thanks to a comic book by writers Mark L. Haynes and J.C. Vaughn and artist Giancarlo Caracuzzo, called Back to Destiny from American Mythology, we’ll have a chance to fight out what happened next as io9 Gizmodo explains:

“It’s described as a sort of third season where ‘Eli races against time to repair his damaged stasis pod, [and] a new danger to the ship threatens the fragile plan meant to keep everyone alive.'”

Granted it’s not the renewed TV series we all would have liked but given the rich, deeply-imaginative talent out there in comic book land (yes I will happily live there thank you), this sequel will no doubt be an extraordinarily good way to return to Stargate Universe.

And who knows? If it’s succcessful, it may well spawn a new series of comic books such as those for Buffy and Firefly, something which would make and many other fans, ridiculously star-gazingly happy.

Sesame Street parodies strike again: Witness the tasty fun of Orange is the New Snack

(image via YouTube (c) Sesame Workshop)


Sesame Street is the unquestioned monarch of parody.

From Game of Thrones to Harry Potter, True Blood to Pirates of the Caribbean and many more in-between, the parodies from the unquestioned originator of the gold standard in televisual children’s education have amused and instructed in equal measure, proof that teachable moments can be as silly as they are important.

The latest addition to this stellar line-up is Orange is the New Snack, a homage to the Netflix series which is about to enter its fifth highly-successful season Orange is the New Black, in which the inmates of Litchfield Aacdemy find out that oranges are far yummier and better for you than the usual snacks (Cookie Monster may disagree, of course).

It’s madcap, silly and makes frequent allusions to the show it is parodying and if you’re a fan of Orange is the New Black, or simply of Sesame Street‘s gift for silliness-based learning, you’ll find a lot to love about their latest effort.

Even if you have to watch it from The Shoe!


Movie review: Ali’s Wedding

(image via


It’s a rare thing indeed these days to walk out of a romantic comedy, more popularly referred to as rom-coms, with your head held high, a skip in your step and a strong sense that the world is a wonderful place.

Too often you are left with a nagging feeling that more could have been done, that the script is deficient, the actors unequal to the task or simply lacking in chemistry, and that if this is the face of love in the 21st century, it needs to seriously consider a nip and a tuck and a stringent regime of Botox injections.

The sheer delight of Ali’s Wedding, directed by Jeffrey Walker to a finely-balanced, near-effortless screenplay by Osama Sami (with Andrew Knight), and it is a delight in every gloriously positive sense of the word, is that Australia’s first Muslim rom-com possesses nary a moment when you think something else, something better, could have been done.

That is not to say it is a perfect piece of cinema, but it is so close to garnering that high accolade and so suffused with a warm, rich, funny sense of life’s complications and beguiling possibilities, that it’s near impossible not to leave the cinema believing that pretty much anything in life can be achieved, staggeringly high, intractable expectations by family and society be damned.

This is largely due to the highly autobiographical nature of the narrative which recounts the quirky story of Osama Sami life story which is winningly abundant in the kind of expectation-bucking events and spirit that you would expect of someone always destined to follow his own path.

Destined he may have been but Sami, who plays the role of chief protagonist, Ali, the lovestruck son Iraqi refugee and senior cleric of the local mosque, Mehdi (Don Hany), has to battle against some fairly significant currents to make his own way in the world, in this case the suburbs of Melbourne.


(image courtesy official Ali’s Wedding Facebook page)


It’s not his family that is the problem necessarily.

Certainly, his mother (Frances Duca) is dead set on him becoming a doctor and when he announces to the world that he has successfully passed his entry exam to Melbourne University with a score of 96.4 – beating his arch-nemesis, the unceasingly ambitious Luay (Shayan Salehian); his father Sayeed (Majid Shokor) performs a similar function for Mehdi – beaten only by the secret object of his considerable affection Dianne (Helen Sawires), she embraces the idea of a medical professional in the family with a comedic intensity that is a pleasure to watch in action.

No, the real problem for Ali is Ali himself, pushed down by real and imagined expectations by society and the community, the sort of pressures (real and imagined) that anyone who has had a high-profile parent of any stripe and grown up in a community of fairly conservative expectations will relate to immediately.

It is that immense relatability, even as Sami does an exemplary job of casting a positive, highly-authentic spotlight on the Muslim community in Australia, that is key to the many delights of this uniformly enjoyable film.

In the guise of a finely-wrought rom-com, Sami explores the many ways in which the Muslim community is wholly different from the wider society around it while being driven by many of the same imperatives that any parent who wants the best for their child or anyone longing for the very best life can bring them, will recognise in an instant.

In other words, while the world he inhabits has many unique characteristics and customs, many of which are given an affectionately comedic slant in ways that only a true insider can sympathetically manage, it is also universally human, something that came to me quite profoundly when I realised his life as a cleric’s son mirrored my own as a Christian minister’s son near exactly.

And, of course, love is as universal as it gets, and Ali’s Wedding uses this to genuinely heart-warming effect, recognising that though the setting may change – in this case the tug of war between Ali’s arranged marriage to Yomna (Maha Wilson) and his driving need to win the hand of Dianne, herself beset by familial pressures – that the impetus to be with the one you love is something that anyone with a beating heart will know and understand.


(image courtesy official Ali’s Wedding Facebook page)


It is the near universality of human experience that gives Ali’s Wedding, which could have quite easily been just another quirky, lightweight rom-com, though still I suspect a damn good one even so, such substance and likeable intensity alongside the steady stream of well-delivered quips and wry observations.

This is a film that doesn’t simply want to provide laughs, though it does that exceptionally well, or give us a warm-and-fuzzy ain’t love grand feeling, though again it exceeds there in remarkably touching ways, but it wants to say something meaningful.

The genius is that is does this near subversively, eschewing even a hint of lecturing polemic in favour of simply showing us what life is really like in the Muslim community, but more particularly in the life one earnest young man who doesn’t quite fit the mold and likely never will.

It grants Ali’s Wedding some heft and emotional resonance, in turn gifting us one of the most sweet, funny, well-rounded and remarkably affecting films in quite some time, one that doesn’t even hint at cliche or tropes in its whimsically serious quest to prove to us that, even in real life and against some fairly insurmountable odds, love can actually conquer all.


Weekend poster art: Celebrate the triumph of #WonderWoman with these wonderful posters

(image (c) Doaly via Poster Posse)


From Warner Bros. Pictures and DC Entertainment comes the epic action adventure starring Gal Gadot, Chris Pine, Connie Nielsen and Robin Wright, directed by Patty Jenkins. Before she was Wonder Woman, she was Diana, princess of the Amazons, trained to be an unconquerable warrior. Raised on a sheltered island paradise, when an American pilot crashes on their shores and tells of a massive conflict raging in the outside world, Diana leaves her home, convinced she can stop the threat. Fighting alongside man in a war to end all wars, Diana will discover her full powers…and her true destiny. (official synopsis courtesy Warner Bros.)

Wonder Woman is officially a box office-bestriding phenomenon ($US 300 million and counting in international sales).

A long overdue big screen retelling of the story of the most iconic female superhero out there – and I would argue one of the most compelling ever – Wonder Woman is that rare blockbuster, possessed of impressive action, rich characterisation, a well-rounded, beautifully-articulated protagonist (thank you Gal Gadot) and a thoughtful narrative that tackles themes of war and broken humanity without once feeling like an overwrought polemic.

It deserves all the success in the world and more, something that the folks over as Poster Posse agree most heartily with as evidenced by their collection of gorgeously evocative alternative movie posters that capture the spirt and feel of a film that should be considered one of the best films of the year and one of the best superhero movies ever.

It’s that good, and so are these brilliant posters.

You can check out more at Poster Posse here and here.


(image (c) Andrew Swainson via Poster Posse)


(image (c) Chris Malbon via Poster Posse)


(image (c) Daniel Nash via Poster Posse)


(image (c) Orlando Arocena via Poster Posse)