Per The Hollywood Reporter: “Sarnoff says the studio announced the 2021 strategy before talking with its partners because they feared the news would leak. ‘I wish we could have had more time to speak to our partners and talent,’ she says. ‘We are very conscious of paying a fair price for the HBO Max 31-day distribution of the movie, and we think they’ll be happy to see how much effort we will put behind successfully launching these movies.’”
Sure, Gadot and Pine once again have a charming chemistry, but his character’s return from the dead — in which he, basically, takes over some poor guy’s body — sparks more questions about the gaps in logic. And then there’s their utter sexlessness, an especially damning reminder of the way this genre fails to take into account one of the most beautiful aspects of being human. Instead, in 1984, Diana’s non-erotic yearning for Steve has become the entirety of her identity. Why? She doesn’t miss her Amazon sisters, whom she can never see again, more? It’s been over a century and she still hasn’t moved on from Steve? There’s something deeply sad and predictable about a female superhero so tied to a single man she’s willing to lose her powers for him. Romance has the potential to be heartwarming and expansive in superhero stories, but here it just feels claustrophobic. (I won’t even expand on a turn at the end ripped from a Hallmark movie, Christmas visuals and all, that was so galling I’m still not sure it happened.)
Nolan, one of Warner Bros.’ most prized directors, openly criticized the studio December 7 and has doubled down on his stance in the week since. Speaking to The Washington Post this week, the director said, “It’s about what the French call droit moral. Do they own [the film] absolutely, because they paid for it or they financed it? And that is not a purely legalistic question; it’s a question of ethics as well. It’s a question of partnership and collaboration. They did not speak to those filmmakers. They did not consult them about what their plans were for their work. And I felt that somebody needed to point out that that wasn’t the right way to treat those filmmakers.”
It’s quite a way to begin the film, a piercing evocation of the story’s era that feels celebratory while still haunted by menace. That darkness stalks Ma Rainey’s characters as they retreat into a pair of rooms, housed within a Chicago recording studio, where Rainey and her band are set to immortalize a host of her standards. She’s running late, but the band has assembled to practice. Steady, pragmatic Cutler (Colman Domingo), the trombonist, just wants to get the band in shipshape for Rainey’s arrival. Pianist Toledo (Glynn Turman) and bassist Slow Drag (Michael Potts) want to get their work done too, but brash young coronet player Levee (Chadwick Boseman) keeps derailing the process. The record’s white producer has promised Levee that they’ll use his new, flashier arrangements, while his bandmates know that Rainey will refuse to do any version other than exactly her own.
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