Justice League's behind-the-scenes problems are well-documented now, but it's not the first superhero movie to have super-sized difficulties coming to screen.
In pole position for this year’s prize is ‘La La Land’, a film arriving as much-needed respite following the many shocks, horrors and uncertainties of 2016. ‘La La Land’ is a mug of hot chocolate after getting caught in a sleet storm. It’s a sincere homage to a bygone Hollywood era, and so there are certainly similarities to be drawn with another Oscar-winner – ‘The Artist’, but none favour the 2012 Best Picture winner. What undoes Michel Hazanavicius’ well-meaning ode to silent movies is its knowing winks, and a single line of illusion-cracking dialogue. ‘La La Land’ by contrast is a wholehearted and true resurrection of a long-forgotten form which pays tribute in all the right ways, but is contemporary also, making the genre work for modern audiences but never trampling its legacy.
The return of a heavy-breathing dark lord, first contact like we’ve never seen it before, a humanitarian scrapping with a CGI bear, a 20-storey Paul Rudd – it’s safe to say that in 2016, we’ve seen it all.
It sounds ludicrous, and it is especially laughable with the revelation that both Wachowskis are transgender women – a group held up as especially dangerous by these types. With that knowledge, you can’t come to any conclusion other than all of these people are basically Agent Smith. See, “The Matrix” trilogy is inherently trans.