Some are born to bear the brunt of the biopic. Director Tom Hooper made a name for himself with the application of camera to history, and he did it well. The King’s Speech was solid work, and his turn to musicals with Les Misérables still offered the period piece iconography that had turned his work into something mesmerising and, crucially, entertaining. John Adams falls to the former, its mesmerising achievement here is capturing the story of the eponymous founding father. His rise to the presidency and inability to rise even higher. Detractions and deductions pave the road of Adams’ life, and with Paul Giamatti in the titular role, the core of this miniseries is complete. It is the perfect rendition of a life spent in government.
Inconceivable it may be, Wonder Woman is the best of a bad bunch. Still rotten to its core, the DC filmmaking inexperience surely insurmountable. Their staggering inability to provide something unique and at the same time keep up with the efforts of all the other cinematic universes now making the rounds is a collaboration of poor ideas and shoddy producers looking for what the teenagers of tomorrow will enjoy. Considering this, it is no surprise that the DC Extended Universe cavalcade finds its greys and browns and tonal nonexistence to be a sham and a farce. Wonder Woman presents that well, in an era of colours and shtick, candy-stuffed, headache-inducing guff, DC follows the thought process of grim and gritty storytelling as often as it can.