Wonder Full Movie


For one to properly discuss even the bare essentials of Get Out, Jordan Peele’s social thriller about a white and seemingly liberal family that, secretly and for generations, has lobotomized black people, one must make peace with an obvious truth: white evil has always been a characteristic of American life, from the earliest days of colonization, when the blood of slaves first dampened U.S. soil, until now. Evil has always lived in the open here, in the land of the free. Still, our America—the one that gives rise to plutocratic womanizers, the one that fetishizes the death of black men and women, the one that has done its very best to gut the middle class and believes in lawless gun control despite a continuous wave of mass shootings—makes it easy to hide a particular kind of evil (or just as easy to broadcast it).

The genius of Get Out, framed as it was in a more psychologically perverse vision of Stanley Kramer’s Guess Who’s Coming to Dinner, was its insistence on airing what many black people have long known to be true—just how draining white people can be on our existence, sometimes quite literally. I don’t know if Peele’s film will trigger a real and needed shift in Hollywood, if it will open up more doors for more inclusive stories to be told, or if white people actually confronted their demons in the months since, but I do know the feeling the film left me with, the feeling of acknowledgement, Peele’s knowing head nod. As I sat in a darkened midtown theater in late February, watching Peele put a name to a shape and color of evil I’d encountered before, I remember thinking: Yes, that’s it. That’s it right there—Jason Parham

was a surprisingly great year for movies. There were wickedly smart horror flicks like Get Out, wonderfully imaginative superhero movies like Thor Ragnarok, and brilliant dramas like Lady Bird. There was also a little thing called Star Wars: The Last Jedi. Not every flick was perfect, but there were a lot of gems out there—many of them in places you wouldn’t expect. (Who knew Guillermo del Toro would put out one of the most romantic movies of the year?) Want to know the best of the best? Well, we collected those for you right here.

Just eight days into the New Year, Meryl Streep took the stage at the Golden Globe Awards and started 2017 off with a defiant bang.

While accepting a lifetime achievement award, Streep, in a six-minute speech, issued a blistering criticism of then President-elect Donald Trump — without evening mentioning his name — that would dominate the news cycle in the following days and prompt a response from Trump himself.

“When the powerful use their position to bully others, we all lose,” she said.

More than she or anyone else could have known at the time, those words would seem eerily prescient by the end of the year.

Led by the bravery of the so-called “Silence Breakers,” the entertainment industry stands in a new era — one where women feel empowered to share their stories of sexual harassment and assault, some after many years of believing they were alone with their experiences.

It could be called fitting that this reckoning is taking place when storytelling about and by women is not only of higher quality than ever, but is also being consumed and valued more than before.

From a bulletproof warrior, to a cunning handmaid, to a group of women who brought friendship and laughs to the big screen, 2017 has been a historic year for female characters and creators — a year that many hope is the start of more to come.

‘Niche’ no more

Since coming out of film school in 2010, Tracy Oliver knew the kind of stories she wanted to tell.

She had been long inspired by the storytelling of Nora Ephron and the characters brought to life in movies starring Julia Roberts and Sandra Bullock. But “I never saw women of color in them,” she told CNN.

Oliver set out to change that.

“Girls Trip” debuted in July. The comedy is about a group of women who rekindle their friendship during a wild and emotionally loaded trip to New Orleans. It stars Regina Hall, Queen Latifah, Jada Pinkett Smith and breakout star Tiffany Haddish.

Oliver, who co-wrote the script with “black-ish” creator Kenya Barris, hoped “Girls Trip” would prove that a film starring women of color could capture the same spirit as the movies she grew up loving, and appeal to a mass audience despite being labeled by some as “niche.”

The film has made over $115 million at the U.S. box office to date, domestically out-grossing comedies like “Baywatch,” “Daddy’s Home 2,” “Bad Mom’s Christmas” and “Rough Night.”

“People were able to look beyond color and whatever cultural differences that separate us and distill it down to its core, which is a love story between women,” she said.

“Girls Trip” was not the only female-led film to get audiences to theaters in droves this year.

“Beauty and the Beast,” starring Emma Watson, was the highest grossing film of 2017, earning nearly $1.3 billion worldwide.

The second-highest grossing film was “Wonder Woman,” from director Patty Jenkins.

With a gross of $821.8 million worldwide, the film also made a record-setting $103.1 million during its opening weekend. It is the biggest opening ever for a female director.

For Jenkins, the main shock about any of her achievements is that it they are achievements at all.

“I thought I was in the middle of a story,” she told CNN recently, referring to the “incredible” female filmmakers who’ve come before her. “I didn’t think I was in any early place in line.”

For Elizabeth Hannah, co-writer of the award season frontrunner “The Post,” the underlying message in all these successes is how betting on female storytellers and stories is simply good business.

“What I’ve seen this year, what we’ve all seen this year, is these movies make money,” Hannah told CNN. “A lot of people I know went to go see ‘Lady Bird.’ A lot of people I know went to go see ‘I, Tonya.’ People are going to see these films, and I think it’s about busting through this preconceived notion.”

All told, it was a big year for firsts across television and film.Joi McMillon was the first Black woman to earn an Oscar nomination in film editing for her work in “Moonlight.”

With her best supporting actress win at the Academy Awards, Viola Davis became first Black actress to win an Emmy, Oscar and Tony.Lena Waithe became first Black woman to win a comedy writing Emmy for her much-hailed episode of “Master of None.”

Julia Louis-Dreyfus earned her sixth straight win for “Veep,” and in the process became the record holder for the most Emmys won for the same role in the same series.

Also in television: The top honors in all three overall categories at the Emmys — limited series, drama and comedy — went to the female-led series “Big Little Lies,” “Handmaid’s Tale” and, for the third time in a row, “Veep.”

Even the titular Doctor on “Doctor Who” will soon lose a “Y” chromosome during the character’s next regeneration. Jodie Whittaker will become the first female to lead the iconic series in 2018.In a year that has seen great successes for women in entertainment, Hannah, the co-writer of “The Post,” said she’s feeling positive about what will come next.

“I think it all starts with the people behind the scenes and the more women we can have in roles of authority and roles of ownership, the more you will see female voices out in the world,” she said.

Oliver hopes those voices come from all walks of life. If her movie “Girls Trip” doesn’t in some way make it easier for female writers or young writers of color to be seen, heard and hired, she said, “then we haven’t done enough.”

That may seem like a lot of pressure to put on a single project, or even a big responsibility for a single person to take on. But like Wonder Woman showed when she single-handedly took on rounds gunfire in No Man’s Land — and as any of the women who stood up and out in 2017 proved, for that matter — when something seems impossible, it’s probably because it’s a job for a woman. – (CNN)