tag:blogger.com,1999:blog-20997165156274532382024-03-18T15:04:09.914-07:00Film FreeQJourneys of Examination and Discernment From a Lifelong MoviegoerB.E. Kerianhttp://www.blogger.com/profile/10731709676312668865noreply@blogger.comBlogger369125tag:blogger.com,1999:blog-2099716515627453238.post-65210484088123985272024-03-18T09:50:00.000-07:002024-03-18T15:03:38.227-07:00REVIEW: “Mad Max: Fury Road” (2015) <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfuK-yRohKtW4sxI1jOP-mG20TUteOUabiOOT_4OMzc3Da0aff_UJasH-AlAiUCDHV8fFr7ivgFaxLPxkdgkWFZTYEkgM7Dm1DK3J59AiqVbfksjqMBMWb9ZDE06ZiLKbEG-z3zUVf12mxDz7pRkW4Icy74gR_baQHd97jnuzxmnFN_vmJMumqTmqGa0cG/s1024/s-l1200.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="690" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfuK-yRohKtW4sxI1jOP-mG20TUteOUabiOOT_4OMzc3Da0aff_UJasH-AlAiUCDHV8fFr7ivgFaxLPxkdgkWFZTYEkgM7Dm1DK3J59AiqVbfksjqMBMWb9ZDE06ZiLKbEG-z3zUVf12mxDz7pRkW4Icy74gR_baQHd97jnuzxmnFN_vmJMumqTmqGa0cG/w216-h320/s-l1200.webp" width="216" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDu9QBKwf-pWKNlHuRUOd84adgn80Ls2ESeacQEghudnqMcxmQcHbXVXGXIlBxPFRbMxw_69ngH09l0aEzLnQeZU1k20syajYOSUUlZv8Te31B41aeUVWyaSDe0I11yeG8mmMW36ir3fEMbwt6T0o0vH6C5BiKTPLKPj63w2RGNJbkRnFOgoWQ_K7UKpLK/s1000/81MJv+WKb9L._AC_UF894,1000_QL80_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="675" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDu9QBKwf-pWKNlHuRUOd84adgn80Ls2ESeacQEghudnqMcxmQcHbXVXGXIlBxPFRbMxw_69ngH09l0aEzLnQeZU1k20syajYOSUUlZv8Te31B41aeUVWyaSDe0I11yeG8mmMW36ir3fEMbwt6T0o0vH6C5BiKTPLKPj63w2RGNJbkRnFOgoWQ_K7UKpLK/w216-h320/81MJv+WKb9L._AC_UF894,1000_QL80_.jpg" width="216" /></a></div><div><br /></div><div><i>WRITER'S NOTE: A shorter version of this review was posted on my Instagram page @be.kerian on March 18, 2024. </i></div><div><br /></div><div><span class="s2" style="font-family: UICTFontTextStyleBody;">It had been thirty years since we last saw a <i>Mad Max</i> movie on the big screen, and seventeen since franchise co-creator George Miller directed a live-action feature. The question was, would audiences today be interested in seeing a new installment/iteration of this post-apocalyptic series that launched the career of original star Mel Gibson? </span></div><div><span style="font-family: UICTFontTextStyleBody;"><br /></span><span class="s2" style="font-family: UICTFontTextStyleBody;"><i><b><a href="https://www.youtube.com/watch?v=iO0jUAzOsV8">Mad Max: Fury Road</a></b></i> was said to have been one of the most difficult shoots in Hollywood history. Production was delayed several times due to budget concerns, location scouting, logistics, and safety. Filming lasted for over six months in the country of Namibia, with grueling weather conditions that ranged from scorching hot (during the day) to freezing cold (at night). And lead actors Tom Hardy (taking up the mantle this time as the wandering Max Rockatansky) and Charlize Theron (as the fearless and determined Imperator Furiosa) didn’t get along. To make matters worse, executives at Warner Bros. were skeptical—and dismayed—by early test footage. </span></div><div><span style="font-family: UICTFontTextStyleBody;"><br /></span><span class="s2" style="font-family: UICTFontTextStyleBody;">With that in mind, a better question was if this new <i>Mad Max</i> would actually be any good. As recounted in author Kyle Buchanan’s 2022 book, “Blood, Sweat & Chrome” (an in-depth and eye-opening oral history of the making of the film), Miller described the genesis of his years-in-the-making project this way: </span></div><div><span class="s2" style="font-family: UICTFontTextStyleBody;"><br /></span></div><div><span class="s2" style="font-family: UICTFontTextStyleBody;"><i>I was in Los Angeles, crossing the street, and this very simple idea popped in my head. What if there was a </i>Mad Max<i> movie that was one long chase, and the MacGuffin was human? Can you tell an entire story on the run, and how much of the backstory can you pick up on the way? The essential task was to see how rich the story could be while it’s on the road.</i></span></div><div><span style="font-family: UICTFontTextStyleBody;"><br /></span><span class="s2" style="font-family: UICTFontTextStyleBody;">Miller added, </span></div><div><span class="s2" style="font-family: UICTFontTextStyleBody;"><br /></span></div><div><span class="s2" style="font-family: UICTFontTextStyleBody;"><i>In one way, it was surprisingly restricted: When you think about it, most of the key characters are sitting in the same spot all the time, and those vehicles are hurtling through the wasteland in some form of chase or race. Those sorts of restrictions are stylistically interesting as a filmmaker but also, it’s a very seductive world to work in because of the allegories. It’s all there for you.</i></span></div><div><span style="font-family: UICTFontTextStyleBody;"><br /></span></div><div><span style="font-family: UICTFontTextStyleBody;"><span class="s2" style="font-family: UICTFontTextStyleBody;">So, is <i>Fury Road</i> any good? The answer: a phenomenal yes. </span>Essentially a two-hour car chase (as Miller described), <i>Fury Road</i> pulls off the challenging feat of sustaining a narrative that’s in constant movement. (That's why they're called "moving pictures," right?) <span class="s2" style="font-family: UICTFontTextStyleBody;">To describe the experience of watching it is like getting a (pardon the expression) humongous shot of adrenaline in your chest and going full-throttle. </span></span></div><div><span style="font-family: UICTFontTextStyleBody;"><br /></span></div><div><span style="font-family: UICTFontTextStyleBody;">Originally written on storyboards (the filmmakers also seriously considered shooting in native 3-D), every character, </span><span style="font-family: UICTFontTextStyleBody;">vehicle design, and prop has a specific and unique function and history, not to mention real substance. As they did with <i>The Road Warrior</i>, the crew creatively took scraps and pieces of junk, and made them into works of art. </span><span class="s2" style="font-family: UICTFontTextStyleBody;">Reportedly, 90 percent of the action and stunts (meticulously and expertly planned out) on screen were done practically, with post-production visual effects that removed safety wires, and added massive sandstorms and other compositing. (The same went for nighttime scenes, shot during the day but changed to a blue haze for the final movie.) </span><span class="s2" style="font-family: UICTFontTextStyleBody;">And wait until you see the flame-throwing guitar and polecats! (I don’t think we’ve ever seen anything like that in movies before.) </span></div><div><span class="s2" style="font-family: UICTFontTextStyleBody;"><div><br /></div></span></div><div><span class="s2" style="font-family: UICTFontTextStyleBody;">Yet, for all of its heart-pounding spectacle, the story (written by Miller, Brendan McCarthy, and dramaturgist Nico Lathouris) is rather simple and linear. Hardy's Max (haunted by memories and visions) may be the title character, but he really plays passenger while Theron's Furiosa is in the driver's seat, as she</span><span class="s2" style="font-family: UICTFontTextStyleBody;"> leads a dangerous trek to free a group of women from a violent warlord (the infamous and intimidating Immortan Joe, played by Hugh Keays-Burne) and to a Garden of Eden of sorts.</span></div><div><span style="font-family: UICTFontTextStyleBody;"><br /></span><span class="s2" style="font-family: UICTFontTextStyleBody;">The film is so exhilarating and jaw-dropping that we’re more invested in the story, characters, and genuine stakes, rather than the behind-the-scenes drama. (<a href="https://www.youtube.com/watch?v=tI6k_8tomRE">Hardy and Theron reportedly resolved their differences near the end of production and have since apologized, especially after seeing the finished product.</a>) Still, </span><span style="font-family: UICTFontTextStyleBody;">I don't know what's more amazing: the amount of effort and layers put into the making of this film, or that every single person who worked on it survived. </span><span style="font-family: UICTFontTextStyleBody;">It's a unique and incredible story of t</span><span style="font-family: UICTFontTextStyleBody;">enacity, persistence, integrity, and survival against overwhelming odds. </span><span style="font-family: UICTFontTextStyleBody;">Buchanan, perhaps, summed it up best, </span></div><div><span style="font-family: UICTFontTextStyleBody;"><br /></span></div><div><span style="font-family: UICTFontTextStyleBody;"><i>We go to the movies to be transported, and </i>Fury Road<i> takes us to the outer reaches of our imaginations . . . But <a href="https://www.youtube.com/watch?v=_9klHcXRdSs">the epic journey of [getting the film made]</a> proved even more meaningful for the people who made it. What they had all accomplished by the skin of their teeth was a very rare thing indeed.</i> (pp. 324) </span></div><div><span style="font-family: UICTFontTextStyleBody;"><br /></span><span class="s2" style="font-family: UICTFontTextStyleBody;">I would argue that <i>Fury Road</i> has more craft and substance than most action movies put together. M</span><span class="s2" style="font-family: UICTFontTextStyleBody;">any contemporary filmmakers, like <a href="https://www.indiewire.com/features/general/guillermo-del-toro-praises-lady-bird-reddit-ama-1201904100/">Guillermo del Toro</a> and <a href="https://www.youtube.com/watch?v=CG-cM3b9cmk">Bong Joon-Ho</a> have declared it as one of the greatest films they’ve ever seen. </span><span style="font-family: UICTFontTextStyleBody;">Executive producer Iain Smith called it “a victory of filmmaking over studio expediency” (read Buchanan's book, pp. 290). U</span><span style="font-family: UICTFontTextStyleBody;">nlike, say, </span><i style="font-family: UICTFontTextStyleBody;">Apocalypse Now</i><span style="font-family: UICTFontTextStyleBody;"> (which also had a tremendously difficult production, and a very depressing narrative), </span><i style="font-family: UICTFontTextStyleBody;">Fury Road</i><span style="font-family: UICTFontTextStyleBody;"> is a film I could watch again and again, because it’s greater than the sum of its parts. (Which is not to take the otherwise complicated behind-the-scenes stories, nor the film’s violent nature, lightly or passively.) </span><span style="font-family: UICTFontTextStyleBody;">It's also a rare movie of its kind to get the recognition it did at the Academy Awards, maybe the first since </span><i style="font-family: UICTFontTextStyleBody;">The Lord of the Rings: The Return of the King</i><span style="font-family: UICTFontTextStyleBody;"> the previous decade. (<i>Fury Road</i> won six of its ten nominations, the most awarded to an Australian film to date.) Both were game-changing juggernauts on so many levels. Plus, a black-and-white "chrome" edition of <i>Fury Road</i> (<a href="https://www.youtube.com/watch?v=qnuHyC5gPis">which Miller himself favored more</a>) was released in 2016, with its own unique and dynamic results. </span></div><div><span style="font-family: UICTFontTextStyleBody;"><br /></span><span class="s2" style="font-family: UICTFontTextStyleBody;">But it’s not a film for everybody, especially the squeamish. Because it's</span><span class="s2" style="font-family: UICTFontTextStyleBody;"> a two-hour chase, the action sequences are relentless, wild, and gonzo. They're the primary reason for the film's R-rating, with a high body count, a few sad deaths, and one particularly graphic moment. The s</span><span class="s2" style="font-family: UICTFontTextStyleBody;">ubject matter is heavy, with references to sex slavery (the Five Wives wear revealing garbs for most of the story), human sacrifice (blood is a visual metaphor for life-stealing--hence, the "blood bags"--but also for life-giving), and suicidal fanatics (although, the pale-bodied Nux, played by Nicholas Hoult, does have a redemptive arc). </span></div><div><span style="font-family: UICTFontTextStyleBody;"><br /></span><span class="s2" style="font-family: UICTFontTextStyleBody;">For everyone else, they may find a lot of mythological and theological elements under the hood. There are t</span><span class="s2" style="font-family: UICTFontTextStyleBody;">hemes of environmentalism and some biblical parallels (the aforementioned "Green Place" a.k.a. this story's Garden of Eden). Other themes include feminism, standing against those who abuse power (i.e., political, sexual, physical, spiritual), taking back what was stolen, facing </span><span class="s2" style="font-family: UICTFontTextStyleBody;">the harsh realities of the world (“Out here, everything hurts”), and looking/fighting for </span><span class="s2" style="font-family: UICTFontTextStyleBody;">hope and redemption—not just for the central characters, but also for a community or more. </span><span style="font-family: UICTFontTextStyleBody;">Just be sure to strap in. </span></div>B.E. Kerianhttp://www.blogger.com/profile/10731709676312668865noreply@blogger.com0tag:blogger.com,1999:blog-2099716515627453238.post-53301315667861011262024-03-11T11:35:00.000-07:002024-03-11T11:35:22.152-07:00Oscars 2024: To the Unsung Heroes That Make the Movies<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwEsBmBGM_4xGqIycH9p5NYvUi4qn2bFum0-uqbHJtoS-Rq7lA_9KoiRotpD3FPFTKRN1sb839QTMpbuw6yyffEdc7puapTLlDULGvdZnq4IRli7s1YnCePTUDF5r0YvWgifA_VVcA2zseiU6AxpAQEaE9c5X06SKm5CvGNLF1rTP5Rai3XQOEMRdd747A/s1100/gettyimages-2074658626_custom-81b351c2a8169a5fa531693b7631e783b949fc72-s1100-c50.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="826" data-original-width="1100" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwEsBmBGM_4xGqIycH9p5NYvUi4qn2bFum0-uqbHJtoS-Rq7lA_9KoiRotpD3FPFTKRN1sb839QTMpbuw6yyffEdc7puapTLlDULGvdZnq4IRli7s1YnCePTUDF5r0YvWgifA_VVcA2zseiU6AxpAQEaE9c5X06SKm5CvGNLF1rTP5Rai3XQOEMRdd747A/w400-h300/gettyimages-2074658626_custom-81b351c2a8169a5fa531693b7631e783b949fc72-s1100-c50.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">The cast and crew of <i>Oppenheimer</i> accept the award for Best Picture <br />(Courtesy <a href="https://www.npr.org/2024/03/09/1234303136/oscars-2024">NPR</a>) </span></td></tr></tbody></table><div><br /></div><div>The 96th Academy Awards were another year of celebration and dedication. For starters, five previous award-winners each presented and commended each of the twenty acting nominees for the first time since 2010. Starting with <a href="https://www.youtube.com/watch?v=zpGA2B_AgYw">Da'Vine Joy Randolph's Supporting Actress win for <i>The Holdovers</i> (a very inspiring way to begin the ceremony)</a>, several of this year's nominated films managed to take home at least one Oscar statue. </div><div><br /></div><div>Some of these films included Hayao Miyazaki's seven-years-in-the-making anime masterpiece <i><a href="https://www.youtube.com/watch?v=oxEzC9aSKoE">The Boy and the Heron</a></i> (a surprise victory against the more ambitious <i>Spider-Man: Across the Spider-Verse</i>), Justine Triet & Arthur Harari's original screenplay for their morally-ambiguous courtroom drama <i><a href="https://www.youtube.com/watch?v=r5AAoOWDGnY">Anatomy of a Fall</a></i> (that film's dog, Messi, was in the audience!), Jonathan Glazer's haunting Holocaust drama-thriller <i>The Zone of Interest</i> (which won <a href="https://www.youtube.com/watch?v=sMc1khOqEFE">Best International Feature</a>, and for its chilling sound), Cord Jefferson's adapted screenplay for the sharp satire <i><a href="https://www.youtube.com/watch?v=UEZz2dSXS0c">American Fiction</a></i>, and Wes Anderson's short film adaptation of Roald Dahl's witty and entertaining <i>The Wonderful Story of Henry Sugar</i>. Jefferson even made an eye-opening (and worthwhile) call for other types of stories to be told, particularly low-budget independent features, and not just big-budget spectacles. (No offense, Christopher Nolan.) </div><div><br /></div><div>I was disappointed that Lily Gladstone didn't win Best Actress for her captivating, empathetic, and layered performance in Martin Scorsese's historical western-drama <i>Killers of the Flower Moon</i>. That honor went to <a href="https://www.youtube.com/watch?v=XDYBUnCqsyw">Emma Stone, for her leading performance in Yorgos Lanthimos's dark fantasy <i>Poor Things</i></a> (which picked up additional trophies for its makeup, production design, and costumes). In fact, had Gladstone won, Scorcese's three-and-a-half-hour epic saga wouldn't have gone home empty-handed--a feat it now shares with the director's previous flick, <i>The Irishman</i> (also pushing the same runtime). And with last night's runtime. (Well, almost.) But all disappointment aside, Scorsese remains one of our master filmmakers and dedicated advocates for cinema. </div><div><br /></div><div>Getting back to the ceremony, Christopher Nolan's three-hour biopic <i>Oppenheimer</i> took home seven of its eleven nominations, including acting wins for <a href="https://www.youtube.com/watch?v=7_vHwsLJY58">Marvel vet Robert Downey Jr.'s supporting turn</a> and DC vet Cillian Murphy's leading role (marking them the second and third people to win acting trophies for a Nolan feature, since Heath Ledger's posthumous win in 2009), <a href="https://www.youtube.com/watch?v=1oSey1_flNE">Hoyte Van Hoytema's cinematography</a>, <a href="https://www.youtube.com/watch?v=_mBa-fss4-w">Jennifer Lame's film editing</a>, <a href="https://www.youtube.com/watch?v=io8IyhYEeJw">Ludwig Goransson's original score</a>, <a href="https://www.youtube.com/watch?v=BG6ed8Qexbs">Nolan's direction</a>, and Best Picture. </div><div><br /></div><div>Billie Eilish (one of the best dressed that evening, along with Randolph, Ariana Grande, and Jon Batiste) and Finneas O'Connell gave a <a href="https://www.youtube.com/watch?v=Xz-ZSuTnWbI">beautiful rendition of their <i>Barbie</i> ballad "What Was I Made For?"</a> (which won Best Original Song, and was backed by an incredible orchestra). But <a href="https://www.youtube.com/watch?v=wmG0983hPUs">it was Ryan Gosling who stole the show</a> with his hilarious and well-choreographed performance of "I'm Just Ken". (It was extra fun watching him share the mic with co-stars Margot Robbie and America Ferrera, and director Greta Gerwig.) </div><div><br /></div><div><div>There were also some terrific reunions amongst presenters and/or nominees throughout the evening, including <i>Twins</i> and former Batman villains <a href="https://www.youtube.com/watch?v=AelmLu63Ly8">Arnold Schwarzenegger & Danny DeVito (one of the biggest laughs of the night)</a>, <i>Beetlejuice</i> alums Michael Keaton & Catherine O'Hara (who will be reprising their respective roles later this year), WWE pros John Cena (who had, perhaps, the most awkward moment of the night) and Dwayne Johnson backstage, and <a href="https://www.youtube.com/watch?v=SsFAhOt1H_s">Best Picture presenter Al Pacino with Nolan and co-producer Emma Thomas</a> (for the first time since the 2002 psychological thriller <i>Insomnia</i>). Pacino, however, seemed to rush opening the envelope without acknowledging the other nominees (although, I have seen this twice before, when Tom Hanks presented the award to <i>The Hurt Locker</i> in 2010, or when the late, great British actor Sir Laurence Olivier presented the statue to <i>Amadeus</i> in 1985). </div></div><div><br /></div><div>But more importantly, "Barbenheimer" reps Emily Blunt and Ryan Gosling were just two of the many presenters and/or winners (along with host Jimmy Kimmel) to salute the unsung heroes who make movies happen, from <a href="https://www.youtube.com/watch?v=tr4TBM6T-Ig">stunt performers</a> to crew members and orchestra players. The same goes for real-life heroes, including teachers and educators (i.e., <a href="https://www.youtube.com/watch?v=haR2ZmOeQFw">Billie Eilish's win</a>, <a href="https://www.youtube.com/watch?v=Hf48aDZrBG4">Best Documentary Short winner <i>The Last Repair Shop</i></a>), and those fighting and advocating for various causes around the world. <a href="https://www.youtube.com/watch?v=woUoScUVdqc">Ukrainian filmmaker Mstyslav Chernov (Best Documentary Feature winner for the harrowing <i>20 Days in Mariupol</i>), perhaps, said it best: "Cinema forms memories, and memories form history."</a> Cillian Murphy also <a href="https://www.youtube.com/watch?v=nUg-dZMrEjA&t=5s">dedicated his Oscar</a> "to the peacemakers everywhere" around the world. </div><div><br /></div><div>Amidst all the praise, glamour, and recognition, we should do the same. </div>B.E. Kerianhttp://www.blogger.com/profile/10731709676312668865noreply@blogger.com0tag:blogger.com,1999:blog-2099716515627453238.post-55498199009013185822024-03-04T08:34:00.000-08:002024-03-04T08:34:09.358-08:00REVIEW COLLECTION: “Mad Max”—The Original Trilogy<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxXonMSZBWoK9fgei6wVPI1KF6DyPeIC1WB0I-TbSlyDe6Boj8j_Tmb0xMzR2gFfMkm8i4jaiJ0AZCIDA2JvLTWEWyvkz7C5vL0csfi87pRDgoF3ImO_QfHT2TZHrWjNDhMR16ra7fG1uFROvWTZlmWN4WFqVze4KgpNLPsaLPnllMX35rpr29V0hfRTA_/s400/524774.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="400" data-original-width="400" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxXonMSZBWoK9fgei6wVPI1KF6DyPeIC1WB0I-TbSlyDe6Boj8j_Tmb0xMzR2gFfMkm8i4jaiJ0AZCIDA2JvLTWEWyvkz7C5vL0csfi87pRDgoF3ImO_QfHT2TZHrWjNDhMR16ra7fG1uFROvWTZlmWN4WFqVze4KgpNLPsaLPnllMX35rpr29V0hfRTA_/w400-h400/524774.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(Courtesy Google Search)</span></td></tr></tbody></table><div><br /></div><div><div><i><b><a href="https://www.youtube.com/watch?v=JMG7j3zReJQ">Mad Max</a></b></i> (1979) </div><div><div style="text-align: left;"><div>Movies about car chases and stunts reached new heights with this sleeper flick about a post-apocalyptic future ruled by road gangs and patrolled by remaining highway officers, including the relentless Max Rockatansky. <i>Mad Max</i> not only marked the directorial debut of former medical doctor (and Australian native) George Miller, but also the debut of its leading man, the American-born Mel Gibson. More accurately, the setting of this fast-paced story is a small town, with truck shops, diners and police stations still intact, and what remains of a contemporary civilization but slowly becoming a wasteland. </div><div><br /></div><div>The high points of this film are its car chases and crazy stunts (including an iconic crash through a white camper). Everything is on display: cars, motorcycles, trucks, you name it. Following Steve McQueen in <i>Bullitt</i> and Gene Hackman in <i>The French Connection</i>, Gibson’s Max is a man of few words, but with a lot to say physically, as he goes toe-to-toe with various kinds of psychopathic criminals—ruthless, sadistic, and exploitive. Metaphorical snakes, if you will. Miller has described <i>Mad Max</i> as “a silent picture with sound,” and as “a western in new clothes.” (<a href="https://www.imdb.com/title/tt0079501/trivia/?ref_=tt_trv_trv">Read IMDb trivia.</a>) Agreeably, the film is full of kinetic energy and thunderous impact. </div><div><br /></div><div>Brian May’s score is equal parts action-fueled, emotional (particularly with Max’s family life), and at times terrifying (like a horror show); one gang scene involves a meat cleaver, and another a target practice on a naked statue. There are other scenes of nudity as well; others reveal bloody after-effects. Then there’s that split-second shot of one character’s bulging eyeballs. </div><div><br /></div><div>Max’s character changes over the course of the film, from determined to traumatized to vengeful; from hero to anti-hero. It’s a brilliant three-act structure, no doubt. But a bleak and ambiguous one, at that. In other words, <i>Mad Max</i> is a slow-burn thriller under the hood. </div><div><br /></div></div></div><div><b><i><a href="https://www.youtube.com/watch?v=UlwtiOyaoo0">The Road Warrior</a></i></b> (1981) </div><div><div>One of the rare sequels to improve on its predecessor in just about every way. Thanks to a bigger budget and more creative freedom for director George Miller and his team, <i>The Road Warrior </i>(a.k.a. <i>Mad Max 2</i>) shifts into higher, full-throttle gears of action, adrenaline, mythology, history, and sociology. Furthermore, this is the <i>Mad Max</i> chapter that set the standard for what this cinematic world represents: a post-apocalyptic setting of a desert wasteland, scrappy colonies, and global loss. </div><div><br /></div><div>Max continues his existential journey as a steampunk “Lone Ranger” (with a dog as his only companion), in a future where people fight for gasoline, and even dog food is used for meals. The film provides another commendable three-act structure, which involves Max wandering the dusty highways, running into a community of desperate survivors, and ultimately helping those people, if only to get himself out of the situation. Even so, the traumatized, former police officer is asked about what he’s looking for, and what his purpose is. He’s even offered an opportunity to start a new life. </div><div><br /></div><div>More significantly, <i>The Road Warrior</i> succeeds as an even more engrossing “silent picture with sound,” as Miller once called the first film. It has strong sound design and editing, not to mention massive and insane set pieces, as well as gripping chase sequences. But it also contains a few jump scares, some brief images of nudity (including one rape scene), and some bloody results. </div><div><br /></div><div>The filmmakers came up with more unique (and standout) vehicle designs and crazy costumes, whether for the antagonistic gangs (led by the bulked-up Lord Humungus, whose hockey mask predates horror icon Jason Voorhees), the aerial scrapper that Max keeps running into (veteran character actor Bruce Spence), or the survivors looking for a better world—a promised land, a Garden of Eden. As the saying goes, it’s a long road ahead. </div><div><br /></div><div>TRIVIAL FACT: Late cinematographer Andrew Lesnie (a frequent collaborator of Peter Jackson) worked on this film earlier in his career, and is credited as “Documentary Cameraman.”</div></div><div><br /></div><div><b><i><a href="https://www.youtube.com/watch?v=9JKZKjFjHDM">Mad Max Beyond Thunderdome</a></i></b> (1985) </div><div><div>This third chapter in the original <i>Mad Max</i> saga leans more into mythology and world building than in action. TV director George Ogilvie assists franchise co-creator George Miller behind the camera this time around. And as the first and only PG-13 entry in the series, <i>Mad Max Beyond Thunderdome</i> feels like two movies for the price of one. </div><div><br /></div><div>In one corner is a society that gets its fuel from pig manure and holds gladiatorial matches to the death in the titular arena. Running this show is the charismatic Auntie Entity (played by Tina Turner, in her screen debut), who uses the elusive road warrior (Mel Gibson takes up the mantel one last time—and with longer hair) to take back control of her community from a supposedly-fierce competitor. (Max is just looking for supplies that were stolen from him.) In the other corner is a tribal society of lost children, waiting and hoping for a lost war pilot a la <i>Lord of the Flies</i> or <i>Peter Pan</i>’s Lost Boys of Neverland. (I wonder if Steven Spielberg was inspired by this movie when he made <i>Hook</i> years later.) </div><div><br /></div><div>Definitely a product of its era (in style and tone), <i>Thunderdome</i> is a bit uneven and tamer than its predecessors, but a distinct and dynamic vision from a brilliant filmmaker nonetheless. Instead of mostly automotive action, it’s more about adventure and discovering a larger world. But that doesn’t mean it’s devoid of ambitious set pieces, including the titular match, and the climactic chase sequence (complete with a thunderous score). Plus, it’s incredible hearing Turner’s voice over the soundtrack (including the profound anthem, <a href="https://www.youtube.com/watch?v=QMAULOwDY1Q">“We Don’t Need Another Hero”</a>). </div><div><br /></div><div><i>Beyond Thunderdome</i> was reportedly the inspiration for Dr. Dre & Tupac Shakur’s 1995 music video for their rap hit, “California Love”. Two years after this film, Gibson helped launch another successful franchise with Richard Donner’s buddy-cop action flick, <i>Lethal Weapon</i>, opposite Danny Glover. </div></div></div>B.E. Kerianhttp://www.blogger.com/profile/10731709676312668865noreply@blogger.com0tag:blogger.com,1999:blog-2099716515627453238.post-45219350274248741612024-03-04T08:32:00.000-08:002024-03-04T08:32:58.903-08:00REVIEW COLLECTION: Legacy of the “Planet of the Apes” Part 1<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNFDSDn9sgTsZzDK9_UuwfVeUOHCTrprj7Uw053tjJrpVBcgResxwdOaktGoxohjp8dKOCkxhAbeAP4SLK8KX-uyhkRkLu_ln8kiJ5jhTUO4mnBxH8caRXr2jNIQ6rjhs55Nbo8KfNKe5CcJutzeTHXF97zLtzxV7KYl9hMVDmbDpzbOkwdktWZ7TXC6JL/s900/planet-of-the-apes-erdina-pasha.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="834" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNFDSDn9sgTsZzDK9_UuwfVeUOHCTrprj7Uw053tjJrpVBcgResxwdOaktGoxohjp8dKOCkxhAbeAP4SLK8KX-uyhkRkLu_ln8kiJ5jhTUO4mnBxH8caRXr2jNIQ6rjhs55Nbo8KfNKe5CcJutzeTHXF97zLtzxV7KYl9hMVDmbDpzbOkwdktWZ7TXC6JL/w371-h400/planet-of-the-apes-erdina-pasha.jpg" width="371" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(Courtesy Pixels Merch)</span></td></tr></tbody></table><div><br /></div><div><div><b><i><a href="https://www.youtube.com/watch?v=k0-dUM_A-Cg">Planet of the Apes</a></i></b> (1968) </div><div><div>A trio of American astronauts, on a special mission deep in space, crash land on a strange planet ruled by human-sized primates, while people there are enslaved or used for sport. That’s the premise of the original 1963 novel, <i>La Planète des singes</i>, by French author Pierre Boulle, and the basis for the groundbreaking film adaptation released five years later. </div><div><br /></div><div>From a screenplay by Rod Serling and Michael Wilson, and under the direction of Franklin J. Schaffner (not to mention Steadicam cinematography by Leon Shamroy), <i>Planet of the Apes </i>was headlined by screen legend Charlton Heston, as lead astronaut Taylor. Though known for such larger-than-life figures as Moses and Judah Ben-Hur, Taylor is a much more complex role for Heston to flex his acting muscles—and literally, since many of his scenes involve him being shirtless or in dirty rags—as he searches for answers to how this mysterious civilization came to be. </div><div><br /></div><div><i>Planet of the Apes</i> is most famous for its impressive makeup effects by John Chambers and his team. And they’ve managed to convincingly pull off not one but three different species of monkeys, from scientist chimpanzees (including Kim Hunter’s Zira and Roddy McDowell’s Cornelius) to militaristic gorillas and politician orangutans (led by Maurice Evan’s commanding Dr. Zaius). </div><div><br /></div><div>But the film has so much more going on underneath all that makeup and world-building. This is a thoroughly-engrossing science-fiction tale with challenging themes of evolution, power, class, religion, enslavement, and destruction. (Reportedly, that first sight of apes on horseback, as well as Heston’s oft-quoted line in their presence, and the shocking twist at the end, were and remain jaw-dropping moments in cinema.) The result is haunting and thought-provoking. </div><div><br /></div><div>It’s also worth noting that, while this film (and most of its sequels) received a “G” rating upon release, this is not really a child-friendly movie, due to scenes of nudity, sexuality (including Linda Harrison’s mute Nova), language, and intense action and violence. Not to mention a pervasive sense of chills and thrills. That would be a madhouse for the little ones.</div></div><div><br /></div><div><div><b><i><a href="https://www.youtube.com/watch?v=GipXEQNpaQI">Beneath the Planet of the Apes</a></i></b> (1970) </div><div>20th Century Fox followed up the successful <i>Planet of the Apes</i> with this lackluster (and stranger) sequel that centered on a different astronaut, on a rescue mission, who eventually discovers a secret underground society of telepathic people. Beginning exactly where the last film ended, Taylor (Charlton Heston, in a rather small role) suddenly disappears, leaving his mate Nova (Linda Harrison, once again) on a search for help. She soon meets Brent (an engaging James Franciscus, who bears a resemblance to Heston), and they both not only try to survive the present ape society (on its way to war, apparently), but are shocked at the discovery of a secret world deep into the “Forbidden Zone” that (gasp) worships an atomic bomb. </div><div><br /></div><div>Maurice Evans (Dr. Zaius) and Kim Hunter (Zira) reprise their respective roles from the first movie. And there are some thought-provoking themes about characters contemplating what they’ve lost or left behind, as well as political or ethical conflicts between intelligence and morality. The same with prejudice, power and control. </div><div><br /></div><div>Whereas the first film was Grade A, <i>Beneath the Planet of the Apes</i> is B-level moviemaking, both visually and viscerally. Several obvious green screen effects (from lightning strikes to earthquakes and firestorms) are dated, as is the film’s sexual imagery and revealing garbs (including a scene of implied and forced rape?). As soon as our main characters discover what was once an underground subway station, the movie loses it from there, thanks, in part, to fast editing and a screeching sound design. </div><div><br /></div><div>This cult of Doomsday worshippers—and it is clearly a cult, with creepy and radiated skin—confuse peace with malevolence, and thereby mentally force others to kill each other.) That’s messed up. With more of an emphasis on man-made religion and destruction, <i>Beneath</i> has one of the most depressing and nihilistic endings of any film—certainly in this original series. This was reportedly Heston’s idea, as he believed it would not guarantee any more installments. Be careful what you wish for. </div></div><div><br /></div><div><b><i><a href="https://www.youtube.com/watch?v=t4OQqg-oL2M">Escape From the Planet of the Apes</a></i></b> (1971) </div><div><div>Considered by many to be the best of the <i>Apes</i> sequels, <i>Escape From the Planet of the Apes</i> opens with scientist chimpanzees Zira and Cornelius (Kim Hunter and Roddy McDowell, the latter of whom couldn’t be in the previous movie due to scheduling conflicts) as they, along with a fellow doctor, crash land from the future into present day California. What follows is a subversive franchise entry that embraces more comedic aspects while retaining the series’ trademark surprise/shock factor. </div><div><br /></div><div>A subplot explains that the three primates found one of the American spaceships (from the previous films), fixed it up, and managed to escape earth just before a nuclear explosion that destroyed the planet. A bit far-fetched, perhaps. But it sets the stage for an exceptional three-act structure in which our sole ape characters are embraced by the general public and bask in various trends and culture of the time (the story actually takes place in 1973), including fashion, television, sports, women’s rights, and museums. But Zira and Cornelius eventually go on the run once dark secrets of a possible future are revealed and those in power label them as threats to human civilization, especially since Zira is expecting a child. </div><div><br /></div><div><i>Escape </i>also counts as something of a reboot in this series, as it deals with time travel and relevant fears of the unknown, including the future. As one character asks, “Given the power to alter the future, have we the right to use it?” The screenplay (written by Paul Dehn) even throws in discussions about the nature of evil and the existence of God, but not passively. And it does all of these things with genuine character development, conflict, and emotional and moral stakes. “We think we have all the time in the world,” argues a political official, “How much time does the world got?” </div><div><br /></div><div>But because this is a <i>Planet of the Apes</i> story, it also has tragedy. Not only does one character or more apparently condone suicide in one scene, but the tension and suspense throughout the film’s third act boils to a sad finish. Then again, the chimps did have Ricardo Montalban’s circus manager Armando on their side.</div></div><div><br /></div><div><b><i><a href="https://www.youtube.com/watch?v=CWIbQqbivVc">Conquest of the Planet of the Apes</a></i></b> (1972) </div><div><div>The <i>Planet of the Apes</i> series took a daring and controversial turn with a fourth installment in the early-1970s. Roddy McDowell headlined this darker chapter, this time as Caesar, the son of simians Cornelius and Zira. Set in the year 1991 (or rather, a 1970s version of the future, and 20 years after the events of <i>Escape</i>), the human-ape roles have been reversed—primates are enslaved, and fearful or controlling human beings try to keep them in check and prevent a reported apocalypse. </div><div><br /></div><div>Caesar’s existence and true identity—no other ape can speak but him—is unknown to everyone else, except for his kind-hearted master and circus friend Armando (Ricardo Montalban, once again). But after a heated public incident nearly blows their cover, the two are forced to split up and blend in with society. As Armando is interrogated, Caesar is horrified by the cruelty his brethren face on a daily basis. But step by step, he spreads the word about a plan to fight back and free his fellow captives. </div><div><br /></div><div>This is a story where police officers and other authority figures are the villains (which is hard to watch, given the numerous related headlines our culture has seen in recent years). Moments involving torture and beatings are one thing. But when the central rebellion really gets going, it’s relentlessly violent and polarizing. One of the lone exceptions in this batch of human characters is the governor’s right-hand man, McDonald (played by Hari Rhodes), who reveals unexpected motives that make him a trustworthy and empathetic figure. He even has two of the film’s best moments, evoking humanity in the midst of all the chaos and slaughter. </div><div><br /></div><div><i>Conquest of the Planet of the Apes</i> was the first and only PG-rated sequel in the series. But it should stand as further proof that these films were never really for children. McDowell once compared this sequel to other gritty films of its era, such as <i>Dirty Harry</i> and <i>The French Connection</i>. With scenes involving weapons, gunfire, explosions, property damage, one suicide, and a main character who ultimately becomes the future that humanity feared (very haunting), it’s not hard to see why.</div></div><div><br /></div><div><b><i><a href="https://www.youtube.com/watch?v=yg_cSD2VnE8">Battle for the Planet of the Apes</a></i></b> (1973) </div><div><div>The final installment in the original series, <i>Battle for the Planet of the Apes</i> proceeds the devastating events of <i>Conquest</i>—twelve years after an atomic explosion ignites a war between simians and mutated human adversaries. In this chapter, Caesar (Roddy McDowell, one last time) leads a community of surviving apes (including his chimpanzee wife Lisa, orangutan confidant Virgil, and militaristic gorilla Aldo) and allied human beings. </div><div><br /></div><div>Screen veteran John Huston makes an appearance as the eponymous “Lawgiver,” who recounts the events from the previous two films. In those respects, <i>Escape</i>, <i>Conquest</i>, and <i>Battle</i> form their own trilogy within this franchise, culminating in a battle between not only man and beast, but also ape against ape. Caesar even journeys to a “Forbidden City” to look for answers to his past, and soon comes face to face with (what looks like) a former assistant to the governor from <i>Conquest</i>. </div><div><br /></div><div>Other themes include religion, the nature of good and evil, the reality of war, power, control, and what it means to be human. But <i>Battle</i> feels like it retreads familiar territory. It’s a very dialogue-driven piece, and, perhaps, the tamest of all the <i>Apes</i> films by comparison. Still, it does contain scenes of intense violence (predating <i>Mad Max</i> and <i>The Terminator</i>), including one tragic, merciless death (a moment that’s reiterated later on, supposedly going against what the central community stands for). </div><div><br /></div><div>The success of this franchise (around the same time as James Bond and <i>Star Trek</i>) soon led to an animated television series, a successful merchandising campaign, an insightful behind-the-scenes documentary in 1998 (one of McDowell’s last on-camera appearances before his death that year), and <a href="https://www.youtube.com/watch?v=ZqZdfxc-fq0">a hilarious parody on an episode of <i>The Simpsons</i></a>. Talk about monkey-see-monkey-do. </div></div></div>B.E. Kerianhttp://www.blogger.com/profile/10731709676312668865noreply@blogger.com0tag:blogger.com,1999:blog-2099716515627453238.post-1168035114247638252024-03-01T11:34:00.000-08:002024-03-01T11:34:31.243-08:00REVIEW COLLECTION: Six x Seuss<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9raJM6LTKMbah_7C_AFFWjIsUOyodMQhJczahoFj2N3FETjxQC5_dVRvUatUXLs-TpJSug8aHrd-oR3A4TD_9InRByNKl33_3GmAO9yalPs6140cUDbZezGBVrTHCamV-ibotnZxUtG6Tcw9b_i0oFIdhxXAeslvjjFOBv4OBHF6nPtGKRpsu0C5Nn_gU/s3000/5wl1e8qs31k21.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="3000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9raJM6LTKMbah_7C_AFFWjIsUOyodMQhJczahoFj2N3FETjxQC5_dVRvUatUXLs-TpJSug8aHrd-oR3A4TD_9InRByNKl33_3GmAO9yalPs6140cUDbZezGBVrTHCamV-ibotnZxUtG6Tcw9b_i0oFIdhxXAeslvjjFOBv4OBHF6nPtGKRpsu0C5Nn_gU/w400-h266/5wl1e8qs31k21.png" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(Courtesy <a href="https://www.reddit.com/r/PlexPosters/comments/ax2v1t/dr_seuss_modern_film_adaptations_collection/">Reddit</a>)</span></td></tr></tbody></table><div><br /></div><div><i>WRITER’S NOTE: In honor of Dr. Seuss’ birthday this weekend, here is a look back on the six films that were adapted from his original works. Except for the last one, the following reviews were originally posted on my Instagram page @be.kerian. </i></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoI9aBi6dkZvR8uxBA0mIdskCkrnEpMrKLr52ATOpTJvXxNQEjeAk36HJJpKZuYEzN5LVLnL9t6VfNq75uqk7awl0g1dCJyk_hoP2FfYQmsPJz_NjA1Cpo5IhnL-4ATBcgI9uKzOYknHbDzyaFcDWFGBov-RAa7K_LTxFxYcico2R6HjTucTIZogNh6mMd/s1200/5000-Fingers-of-Dr-T-1953.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1200" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoI9aBi6dkZvR8uxBA0mIdskCkrnEpMrKLr52ATOpTJvXxNQEjeAk36HJJpKZuYEzN5LVLnL9t6VfNq75uqk7awl0g1dCJyk_hoP2FfYQmsPJz_NjA1Cpo5IhnL-4ATBcgI9uKzOYknHbDzyaFcDWFGBov-RAa7K_LTxFxYcico2R6HjTucTIZogNh6mMd/w400-h300/5000-Fingers-of-Dr-T-1953.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(Courtesy Columbia Pictures) </span></td></tr></tbody></table><div><b><i><a href="https://www.youtube.com/watch?v=dgpfMxYFSmE">The 5,000 Fingers of Dr. T.</a></i></b> (1953) </div><div><div>While several children’s books written by Theodore Geisel a.k.a. Dr. Seuss had been adapted into animated shorts throughout the 20th Century, none of them were made into live-action movies in the author’s lifetime. The lone exception was an original musical conceived and co-written by Geisel in the early-1950s. But it reportedly wasn’t a very good experience. </div><div><br /></div><div>The story of <i>The 5,000 Fingers of Dr. T.</i> centers on a boy named Bart Collins (a play on Bartholomew Cubbins, portrayed by Tommy Rettig), bored by piano lessons from his overbearing and strict teacher, who escapes into a surreal and sinister dream world ruled by the maniacal Dr. Terwilliker (Hans Conried, best known as the voice of Captain Hook in Walt Disney’s <i>Peter Pan</i> that same year). </div><div><br /></div><div>The film’s set and costume designs are impressive, impeccable, and grand, with clever homages to Seuss’s <i>Hunches in Bunches</i>, very witty lyrics (“What Marvelous Weather”), an extravagant sequence involving non-piano players in green makeup, and the centerpiece involving hundreds of child extras and wacky sounds galore. It may just have the largest and most unique piano ever constructed for a mainstream feature film. </div><div><br /></div><div>The story is full of moments that start but don’t seem to quite finish, as if each character is dragging from one thing to the next. While it seems to critique the roles of adults/parents and children, and portrays music playing as a chore or slave drive, <i>5,000 Fingers</i> isn’t quite sure what kind of story it wants to. Much of this is due to the entire film being reportedly reworked and re-edited. Geisel subsequently refused to have Hollywood make any more live-action versions of his work, a stipulation that his widow, Audrey Geisel, kept after the author’s death in 1991. That is, until the turn of the century. (But that’s another story.) </div><div><br /></div><div>TRIVIAL FACT: The 2001 DVD release of <i>5,000 Fingers</i> includes the 1953 UPA short, <i>Gerald McBoing-Boing’s Symphony</i>, a superb piece of animation that I found livelier by comparison. </div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMrWOC9U6LDuUyGbgX9Uoxg-u7kfAsZjgjcx1hMRmoVTDTqdestUsVyFFxfqlsmenj0Ate5UTEO1BLvx_U8BEBPkOayVniSzENCSW9thAbAH9hxJ6NJjY-fZMfYr6n-H8y5mfDlLnLFd0U6wv5PyA_5FR_CyJtpKRXuzVPlV1VgLZNXfu5clJh5Q91xzc3/s2048/MV5BMjM5NTE1NjQ4OF5BMl5BanBnXkFtZTgwNDI0NjQzNDM@._V1_.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1377" data-original-width="2048" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMrWOC9U6LDuUyGbgX9Uoxg-u7kfAsZjgjcx1hMRmoVTDTqdestUsVyFFxfqlsmenj0Ate5UTEO1BLvx_U8BEBPkOayVniSzENCSW9thAbAH9hxJ6NJjY-fZMfYr6n-H8y5mfDlLnLFd0U6wv5PyA_5FR_CyJtpKRXuzVPlV1VgLZNXfu5clJh5Q91xzc3/w400-h269/MV5BMjM5NTE1NjQ4OF5BMl5BanBnXkFtZTgwNDI0NjQzNDM@._V1_.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(Courtesy Universal Pictures)</span></td></tr></tbody></table><div><b><i><a href="https://www.youtube.com/watch?v=YQV5Pr7pWtM">How the Grinch Stole Christmas</a></i></b> (2000) </div><div><div>It was one of the most anticipated movies at the turn of the century. Not to mention one of the biggest Hollywood productions in years, with hundreds of actors in makeup and prosthetics, and sets that brought a beloved author’s iconic illustrations and characters to life. The resulting live-action version of Dr. Seuss’s <i>How the Grinch Stole Christmas</i>, directed by Ron Howard, is highly divisive. </div><div><br /></div><div>The positives, for starters, include the incredible art direction, production design, and costumes, as well as Rick Baker’s award-winning makeup for Jim Carrey’s ever-infamous curmudgeon and the many citizens of Who-ville. To be sure, the film works on its own, and it has heart (thanks to James Horner’s wondrous score, and the moving “Where Are You, Christmas?”). And even though his schtick and voice can get old at times, Carrey still delivers some clever improvised bits, fourth-wall gags, and other now-iconic moments (“5 o’clock, solve world hunger. Tell no one”). </div><div><br /></div><div>That being said, you can really see the hand of Hollywood all over this production. This 2000 box-office hit extends the narrative with a creepy and sad backstory for the Grinch, the addition of a love interest (and some unnecessary innuendos and subtle adult jokes), making the Whos more consumeristic, and giving Cindy Lou-Who (Taylor Momsen, in her screen debut) a larger role. Plus, the Grinch’s main heist doesn’t really begin until the last act of the film. </div><div><br /></div><div>Carrey himself has admitted that he regrets some of the aforementioned gags in this PG-rated family comedy, while Seuss’s widow Audrey Geisel consulted over script rewrites and input at best. She did, on the other hand, approve of Carrey’s casting and the incredible crew work behind-the-scenes. Which is why it’s a shame that the overall tone is edgy. The movie may be funny, imaginative, and heartwarming, but this big-budget spectacle ain’t got nothing on the simple cartoon. </div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKCfkhfS8UChgN1GHv5cPUEojwQVXGE0bIiHupUyrh2-DSGvuSj1ZHTu7vtUBgcaxyjdRtKUMTkV9D-l6bSW7S6HklVX0EQjV6HAloqXvtAvDoptgGftoGxnrV-HCb3B2jBJjbSkJFfkyJXeCqnaMgMEKCO5JZYzfbXkPFuW-RCkbUb4G5lJp9gURaAqfw/s2048/MV5BMTU3MDM2MzI5MF5BMl5BanBnXkFtZTcwNjEyNDczMw@@._V1_.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1370" data-original-width="2048" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKCfkhfS8UChgN1GHv5cPUEojwQVXGE0bIiHupUyrh2-DSGvuSj1ZHTu7vtUBgcaxyjdRtKUMTkV9D-l6bSW7S6HklVX0EQjV6HAloqXvtAvDoptgGftoGxnrV-HCb3B2jBJjbSkJFfkyJXeCqnaMgMEKCO5JZYzfbXkPFuW-RCkbUb4G5lJp9gURaAqfw/w400-h268/MV5BMTU3MDM2MzI5MF5BMl5BanBnXkFtZTcwNjEyNDczMw@@._V1_.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(Courtesy Universal Pictures/DreamWorks Pictures)</span></td></tr></tbody></table><div><b><i><a href="https://www.youtube.com/watch?v=qgC3iNmZimY">The Cat in the Hat</a></i></b> (2003) </div><div><div>I really wanted to like this movie. And there was every reason to. It was only the second live-action film adaptation of a beloved Dr. Seuss book (consisting of 220 words and 31 colorful illustrations). It starred an iconic comedic actor in the title role (Mike Myers). And its sets were impeccable and whimsical. Plus, I’m a Dr. Seuss fan at heart. Which is why this 2003 flick was so disappointing. </div><div><br /></div><div>Picture the most imaginative sets being treated like giant litter boxes. This may look like a Seuss story, which reimagines the classic tale of a brother and sister who, home alone on a rainy day, get visited by a mysterious and mischievous feline. But it feels and acts nothing like it. (The lone exceptions are the charming animated logos during the opening credits, and Victor Brandt’s fitting Seussian narration.) Instead, the filmmakers litter the screen with uncalled-for innuendos, mean-spirited hijinks (one sequence has the Cat cutting his tail with a meat cleaver), shameless product plugs, and lowbrow potty humor. And a disgusting gut. For a book that originally taught children how to have fun while reading, this movie is nothing more than encouraging them to misbehave. </div><div><br /></div><div>Myers’ non-stop riffing (an impersonation of Bert Lahr’s Cowardly Lion from <i>The Wizard of Oz</i>) gets old fast. Thing One and Thing Two are just creepy. The main kids, Sally and Conrad (Dakota Fanning and Spencer Breslin, respectively), aren’t even likable. And the supporting cast (including Sean Hayes as a germophobic boss and Alec Baldwin as a snooty neighbor) is lame. Only a few climactic moments work (“You don’t know when enough is enough!”). </div><div><br /></div><div>Film critic Leonard Martin believes this movie betrayed everything Dr. Seuss stood for, and that the inclusion of his name in the title was and is insulting. It was this flick that prompted Seuss’s widow, Audrey Geisel, to put an end to any future live-action movies based on her late husband’s work. And for good reason. Next, it was back to animation. </div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfmWrHbxUnaPkPGjFgNH-jlLHy1TUiHDonyrAl1Y36apkUUuhRKY8lNIkMU8xCQ-jYS4gOS-O2sOPrGfM-W_Ql5HTYkoLYKA0IGVRqsr525FYSZdFSRjrH0J1lCCvfY89NnIMOpSYWGkNIP9twMOXF8Nj5rr_8P42Z1CtfmkBGvm3cQR3EctXugOJrcpB7/s450/Dr.Seuss_Horton.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="250" data-original-width="450" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfmWrHbxUnaPkPGjFgNH-jlLHy1TUiHDonyrAl1Y36apkUUuhRKY8lNIkMU8xCQ-jYS4gOS-O2sOPrGfM-W_Ql5HTYkoLYKA0IGVRqsr525FYSZdFSRjrH0J1lCCvfY89NnIMOpSYWGkNIP9twMOXF8Nj5rr_8P42Z1CtfmkBGvm3cQR3EctXugOJrcpB7/w400-h223/Dr.Seuss_Horton.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(Courtesy 20th Century Fox)</span></td></tr></tbody></table><div><b><i><a href="https://www.youtube.com/watch?v=TKanZwVG_w8">Horton Hears a Who!</a></i></b> (2008) </div><div><div>This CGI flick from the late-2000s was hardly the first to translate a Dr. Seuss book into an animated feature. (That distinction goes to Bob Clampett’s 1942 take on “Horton Hatches the Egg”.) But “Horton Hears a Who” arguably proved that the medium was the best way to adapt Ted Geisel’s unique characters and literary worlds. </div><div><br /></div><div>“Horton” is a visual delight. It’s a brilliant showcase for Blue Sky Animation’s photorealistic techniques (including water and fur), walking a fine line between lifelike and cartoony. The film itself has its moments, and a terrific voice cast (Steve Carell is perfect as the Mayor of Who-ville). As only the third feature-film adaptation of Seuss’s books, it’s the most audience-friendly pick, with clever, seamless Seussian narration by Charles Osgood, and a colorful score by John Powell. </div><div><br /></div><div>But it has the hand of Hollywood all over it. In spite of its G-rating and accolades from critics and audiences, its tone is broad and edgy. For one thing, the Sour Kangaroo (voiced by Carol Burnett) comes across as mean and cruel. A few pop culture references feel out of place (REO Speedwagon’s “Can’t Fight This Feeling,” anybody?). And while I’m a lifelong fan of Jim Carrey, I’m not sure if he was the person to voice Horton. I’ve always pictured the delightful pachyderm as a good-natured and humble character. Carrey’s voiceover does those things, but he plays Horton as overly-excited and exaggerated. But that’s just my opinion. </div><div><br /></div><div>On the other hand, the way the filmmakers handle the story’s themes of faith, doubt, perseverance against all odds (even in the face of death), and integrity (biblical parallels can be drawn from them as well) are commendable and worthwhile. </div><div><br /></div></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-b936sno_fpNLIBRcx9dQPGxR-DF5x_RoOiGgZIm0Alf8Ey0KQWKi_b_VhMSsy20ji7njfmbZV1pFWQNCcOPUd777BRqQNy34nErfNzDX8xRoq372L219Vl7m1LIZoShBwapCElJ_ED4X8aV9Kd_MxClcm5HEyF2SPOXm4-zw4Mj_RpZUmoCiaFN6Ut5f/s600/doctor-span-articleLarge.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="330" data-original-width="600" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-b936sno_fpNLIBRcx9dQPGxR-DF5x_RoOiGgZIm0Alf8Ey0KQWKi_b_VhMSsy20ji7njfmbZV1pFWQNCcOPUd777BRqQNy34nErfNzDX8xRoq372L219Vl7m1LIZoShBwapCElJ_ED4X8aV9Kd_MxClcm5HEyF2SPOXm4-zw4Mj_RpZUmoCiaFN6Ut5f/w400-h220/doctor-span-articleLarge.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(Courtesy Universal Pictures) </span></td></tr></tbody></table><div><b><i><a href="https://www.youtube.com/watch?v=1bHdzTUNw-4">The Lorax</a></i></b> (2012) </div><div><div>Dr. Seuss books are natural fits for musicals. (Lest we forget, there was, in fact, a stage production in the early-2000s, titled <i>Seussical</i>, which they still need to make into a movie.) The 2012 CGI take on Geisel’s 1971 tale <i>The Lorax</i> (courtesy Illumination) was technically the first official feature-length Seuss musical (previous films had at least one musical segment). The songs by composer John Powell and co-writer Cinco Paul aren’t memorable, but they are intriguing, well-written, and progress the story. (The comically-dark “How Bad Can I Be” is a standout.) </div><div><br /></div><div>The movie features the voices of Zac Efron (as protagonist Ted), Taylor Swift (as the girl next door he tries to impress), Betty White (as an optimistic grandmother), and Danny DeVito (as the titular creature). Ed Helms voices the Once-ler, who’s given a face and a more likable personality (a significant liberty from the book) and a hillbilly-esque family. The writers even go so far as making him and the Lorax friends before all the destruction happens. </div><div><br /></div><div>The additional of a plastic-filled town called “Thneedville” (based on the material from the ever-popular truffula trees) is amusing, adding to the story’s commentary on commercialism, greed, and the damaging effects on nature and life. But the addition of an antagonistic business tycoon O’Hare (voiced by comedian Rob Riggle) leaves little to be desired, and reduces some of the story’s wit and creativity. (The Once-ler’s scenes as an older man work much better.) </div><div><br /></div><div>If I’m being honest, I truly believe Hollywood doesn’t fully understand Dr. Seuss. Sure, they get the look and character designs right. (And <i>The Lorax</i> has bright and gorgeous animation, to be sure.) But they feel and act like generic or lukewarm variations, which explains this movie. At least <i>The Lorax</i> is age-appropriate and mild enough for its target audience of children and families, with some nice messages about owning up to mistakes, and about caring and stewardship. Not bad at all. </div><div><br /></div></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNzQWqklTb2m2umE_5IL0IrscrNxMd046yYnfIc3kdRdLtLeWY-eIMYkdQQOfqV-Iwl2qYhZKbBG7LwTki9kK3-DMnN21yJNDPucW98S8u8pFHweuhwAYdHEUtuuOAz1vRNRug6uZk5sm3-0D2ICzBDFn-Ss1nHl_G2S2QLv63sFKYWJpfG2L7icpnIdY4/s1581/the-grinch-review.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1054" data-original-width="1581" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNzQWqklTb2m2umE_5IL0IrscrNxMd046yYnfIc3kdRdLtLeWY-eIMYkdQQOfqV-Iwl2qYhZKbBG7LwTki9kK3-DMnN21yJNDPucW98S8u8pFHweuhwAYdHEUtuuOAz1vRNRug6uZk5sm3-0D2ICzBDFn-Ss1nHl_G2S2QLv63sFKYWJpfG2L7icpnIdY4/w400-h266/the-grinch-review.webp" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(Courtesy Universal Pictures)</span></td></tr></tbody></table><div><b><i><a href="https://www.youtube.com/watch?v=vjnqABgxfO0">The Grinch</a></i></b> (2018) </div><div><div>Let me be honest: I still think a great adaptation of a Dr. Seuss book is yet to be made. It would be amazing to see a visionary filmmaker that has a lot in common with the author's originality and whimsy. Say, Wes Anderson or Spike Jonze. That being said, I enjoyed the latest version of <i>The Grinch</i>. It's wonderfully animated. It has a terrific voice cast, including Benedict Cumberbatch as the titular "Mean One.” And it continues Illumination's reputation as a first-rate studio that specializes in fun culture and character-driven stories that audiences of any age can appreciate.</div><div><br /></div><div>Instead of expanding the Grinch's background like they did in the live-action version, this one restrains certain elements that give enough of an idea of why the green miser chooses to "steal Christmas" from the Whos of Who-ville. It also pays homage to the Chuck Jones short with the iconic songs (and in Danny Elfman's magical score), and by portraying the Whos as sweet and not as superficial consumers. Purists may balk at the way the film modernizes the story, or the music by Pharrell Williams (who narrates) and Tyler the Creator. </div><div><br /></div><div>But if I've learned anything about books and movies, it's that, while they may take certain liberties, as long as the author's vision and the story's center drive everything, it's alright. For what it's worth, the characters in this version (compared with the other Seuss-related movies) aren't overly exaggerated or pointless (e.g., Cindy Lou Who is portrayed as a little girl with a single mom and two brothers). </div><div><br /></div><div>Stephen King once said, "Movies and books are apples and oranges. They're ‘delicious,' but they don't taste the same." <i>The Grinch</i> is more of a holiday treat as opposed to poetic produce. But it’s one of those rare cases where the movie works on its own. Though far from a great movie, <i>The Grinch</i> may currently be the best movie version of a Dr. Seuss book. It's certainly the most endearing. </div></div>B.E. Kerianhttp://www.blogger.com/profile/10731709676312668865noreply@blogger.com0tag:blogger.com,1999:blog-2099716515627453238.post-35858721328087103632024-02-12T11:17:00.000-08:002024-02-12T11:17:18.555-08:00REVIEW: “Origin” (2023) <p class="p1" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 28px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 3px; text-size-adjust: auto;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlcbYmn5WS9sEcKDUg8VuFi2j7_C0SRhkEciI1Ii18iFV2ApkXx4SZp0ncF5pidEiaK4VQ7V7SaQYeg6eDGVy-1qMt7EpugUQFanXjpCNB3E5aSHhAKZBoESgrP0s9vtyurOlTC280eq2idkq6grckM6OTSdihWnZwcubiR7hq_k6qazpErfbbXhlkQ8Av/s512/IMG_1874.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="512" data-original-width="346" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlcbYmn5WS9sEcKDUg8VuFi2j7_C0SRhkEciI1Ii18iFV2ApkXx4SZp0ncF5pidEiaK4VQ7V7SaQYeg6eDGVy-1qMt7EpugUQFanXjpCNB3E5aSHhAKZBoESgrP0s9vtyurOlTC280eq2idkq6grckM6OTSdihWnZwcubiR7hq_k6qazpErfbbXhlkQ8Av/w270-h400/IMG_1874.jpeg" width="270" /></a></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 17px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 22px; text-align: left; text-size-adjust: auto;"><span style="font-family: UICTFontTextStyleBody;">Ava DuVernay’s ambitious feature film <i><a href="https://www.youtube.com/watch?v=s27ETxdCUqw">Origin</a></i> opens with a disclaimer that, while it is based on a book by journalist Isabel Wilkerson (the 2020 bestseller, <i>Caste: The Origins of Our Discontents</i>), it is a dramatization of that text. But the socially-conscious filmmaker takes it several steps further by placing Wilkinson center stage, and presenting the story of a dedicated woman (an incredible Aunjanue Ellis-Taylor) who researches the history and roots of prejudice, and eventually goes on a centuries- and continental-spanning odyssey.</span><span style="font-family: UICTFontTextStyleBody;"> </span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 17px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 22px; text-align: left; text-size-adjust: auto;"><span style="font-family: UICTFontTextStyleBody;"><br /></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 17px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 22px; text-align: left; text-size-adjust: auto;"><span style="font-family: UICTFontTextStyleBody;">Shot on 16mm Kodak film,</span><span style="font-family: UICTFontTextStyleBody;"> </span><i style="font-family: UICTFontTextStyleBody;">Origin</i><span style="font-family: UICTFontTextStyleBody;"> </span><span style="font-family: UICTFontTextStyleBody;">interconnects multiple storylines of “quiet revolutionaries,” from a German Nazi and Jewish woman in World War II, to black researchers in the Deep South, and an Indian professor advocating for Dalit rights. According to Devernay,</span><span style="font-family: UICTFontTextStyleBody;"> </span><a href="https://podcasts.apple.com/us/podcast/origin-with-ava-duvernay-and-ed-zwick-ep-455/id1067471691?i=1000638466764" style="font-family: UICTFontTextStyleBody;">the story blends magical realism with real-life historical periods</a><span style="font-family: UICTFontTextStyleBody;">. I wondered, on the other hand, how all of this was connected, especially with Isabel’s personal stages of grief over the loss of those dearest to her. </span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 17px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 22px; text-align: left; text-size-adjust: auto;"><span style="font-family: UICTFontTextStyleBody;"><br /></span></div><p class="p3" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 17px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-size-adjust: auto;"><span class="s2" style="font-family: UICTFontTextStyleBody;">The film dramatizes the original author’s writing process, research, and immersion into the facts and untold stories from the world’s history of dehumanization. Observations and/or accounts from others (including eyewitnesses) create an objective and universal experience. The result is what Ann Hornaday of the Washington Post called “<a href="https://www.washingtonpost.com/entertainment/movies/2024/01/17/origin-movie-review-ava-duvernay/">a new cinematic language</a>.” </span></p><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 17px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 22px; text-align: left; text-size-adjust: auto;"><span style="font-family: UICTFontTextStyleBody;"><br /></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 17px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 22px; text-align: left; text-size-adjust: auto;"><span style="font-family: UICTFontTextStyleBody;">Perhaps</span><span style="font-family: UICTFontTextStyleBody;"> </span><i style="font-family: UICTFontTextStyleBody;">Origin</i><span style="font-family: UICTFontTextStyleBody;"> </span><span style="font-family: UICTFontTextStyleBody;">answers more questions than it asks. It also carries a bit too much conversation and some political agendas, more than its captivating visual imagery/poetry (i.e., falling leaves), including the difference between racism and caste systems, subjugation and elimination, and the issue of labels. As Isabel tells us, "You don’t escape trauma by ignoring it, but by confronting it." </span></div><div><p class="p2" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 17px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 22px; text-size-adjust: auto;"><span style="font-family: UICTFontTextStyleBody;"><br /></span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 17px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 22px; text-size-adjust: auto;"><span style="font-family: UICTFontTextStyleBody;">What is for certain, on the other hand (despite this film’s heavy and difficult subject matter), is what a bold and daring piece of cinema this is. Only two other films from 2023 took such risks: Sony Animation’s</span><span style="font-family: UICTFontTextStyleBody;"> </span><i style="font-family: UICTFontTextStyleBody;">Spider-Man: Across the Spider-Verse</i><span style="font-family: UICTFontTextStyleBody;"> </span><span style="font-family: UICTFontTextStyleBody;">and Raven Jackson’s</span><span style="font-family: UICTFontTextStyleBody;"> </span><i style="font-family: UICTFontTextStyleBody;">All Dirt Roads Taste of Salt</i><span style="font-family: UICTFontTextStyleBody;">; all three center around black protagonists. (In addition, next to </span><i style="font-family: UICTFontTextStyleBody;">Sound of Freedom</i><span style="font-family: UICTFontTextStyleBody;">, this is the only other 2023 release I saw in theaters with a hashtag over the end credits, encouraging audiences to buy tickets for others to see the film.) </span><span class="s2" style="font-family: UICTFontTextStyleBody;"></span></p></div><div><p class="p2" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 17px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 22px; text-size-adjust: auto;"><i style="font-family: UICTFontTextStyleBody;"><br /></i></p><p class="p2" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-size: 17px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 22px; text-size-adjust: auto;"><i style="font-family: UICTFontTextStyleBody;">Origin</i><span style="font-family: UICTFontTextStyleBody;"> </span><span style="font-family: UICTFontTextStyleBody;">is a profound and eye-opening testament to the power of the written word, as well as perseverance, social change, acknowledging our nation’s (and world’s) history, and recognizing what’s worth living for after all that has happened. </span></p></div></div>B.E. Kerianhttp://www.blogger.com/profile/10731709676312668865noreply@blogger.com0tag:blogger.com,1999:blog-2099716515627453238.post-65065171885689422312024-01-23T10:07:00.000-08:002024-01-23T10:52:26.648-08:00Oscar Nominations 2024: Large and Small, Local and Abroad<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8N8htEQ0ntQSSBM1NGxtubm09nAuUi-Ew1NJVPRRZD-gABSpTE3mC2IdZllUHoNPsz6NGTsHTv9OWMzhY2Nm987JNJg86qmeooW31ANVzMOil17EfcFd_OpPe-fYUk5ZT5L_oQEwX-VKgmCBYAEid-_V7EctgM9WldzFaQuN12dCPoLuyF34-cXHvnlsI/s512/512x288-Q90_12889b58276cbbf63a7affa5ac72e214.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="288" data-original-width="512" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8N8htEQ0ntQSSBM1NGxtubm09nAuUi-Ew1NJVPRRZD-gABSpTE3mC2IdZllUHoNPsz6NGTsHTv9OWMzhY2Nm987JNJg86qmeooW31ANVzMOil17EfcFd_OpPe-fYUk5ZT5L_oQEwX-VKgmCBYAEid-_V7EctgM9WldzFaQuN12dCPoLuyF34-cXHvnlsI/w400-h225/512x288-Q90_12889b58276cbbf63a7affa5ac72e214.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(Courtesy <a href="https://abc.com/shows/oscars/news/nominations/oscar-nominations-2024-list">ABC</a>)</span></td></tr></tbody></table><div><br /></div><div>Academy members from a record 93 countries around the world were involved with this year's Oscar nominations (announced this morning by Academy president Janet Yang, and presenters Jack Quaid and Zazie Beetz). And a large majority of that diversity is collectively reflected in each category and genre--with a few snubs thrown in, as is common. </div><div><br /></div><div>First, let's talk about the films that we weren't surprised got recognized this year. As one of two blockbuster hits that did phenomenally well with both audiences <i>and</i> critics, <i>Barbie</i> picked up noms for its colorful and respectable costumes and production design, Greta Gerwig and Noah Baumbach's satirical screenplay (although some, like myself, would argue that it was more original than adapted), two of its songs (the tongue-in-cheek "I'm Just Ken" and the deeply emotional "What Was I Made For"), the supporting performances of Ryan Gosling and America Ferrera, and as Best Picture. </div><div><br /></div><div>The other record-breaking success it shared the screen with last summer, fellow Best Picture-nominee <i>Oppenheimer</i>, earned Christopher Nolan his second nomination as Best Director (after <i>Dunkirk</i> in 2018). Nolan also picked up nominations for his adapted screenplay and for co-producing the film, while the biopic's score, sound, production design, editing, and cinematography went off at the push of a button. And let's not forget the two standout performances by Robert Downey Jr. (supporting actor) and Cillian Murphy (lead actor). </div><div><br /></div><div>Other acclaimed films that made the cut included Martin Scorsese's western epic <i>Killers of the Flower Moon</i> (Best Picture, Director, Editing, the late Robbie Robertson's posthumous score, Original Song, Cinematography, and DeNiro's supporting role; I'm rooting for Native American actress Lily Gladstone's lead performance), Alexander Payne's seasonal dramedy <i>The Holdovers</i> (Best Picture, Editing, and performances from Paul Giamatti and Da'vine Joy Randolph; hats off for David Hemingson's original screenplay), Yorgos Lanthimos's dark comedy <i>Poor Things</i> (Best Picture, Director, Original Screenplay, Emma Stone and Mark Ruffalo's performances), Bradley Cooper's music drama <i>Maestro</i> (Best Picture, Makeup & Hairstyling, Original Screenplay, Sound, Cinematography), and Cord Jefferson's daring satire <i>American Fiction</i> (Best Picture, Adapted Screenplay, Score, and Jeffrey Wright's brilliant performance). </div><div><br /></div><div>Other inclusions that weren't surprising were Animated Feature nominees <i>The Boy and the Heron</i> (Hayao Miyazaki's latest masterpiece from Japan), <i>Elemental</i> (Pixar's inventive and emotional romantic comedy about personified elements), and <i>Spider-Man: Across the Spider-Verse</i> (Sony Animation's genre- and medium-bending Marvel superhero sequel). While tentpole movies like Gareth Edward's sci-fi epic <i>The Creator</i> and Christopher McQuarrie's globe-trotting action-adventure sequel <i>Mission: Impossible--Dead Reckoning Part One</i> performed below expectations during their theatrical runs, the Academy recognized each of them for their respective visual effects and sound designs (and deservedly so). The same could be said for Ridley Scott's large-scale take on France conqueror <i>Napoleon</i>, which picked up nominations for its costume design, production design, and visual effects. Speaking of <i>Napoleon</i> (but on a different note), <i>Napoleon Dynamite</i> alum Jared Hess and wife Jerusha Hess scored their first Oscar nominations for their animated short film, <i>Ninety-Five Senses</i>. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjO0ydoSRF5n83C-CF957_6J8YRG2_mAdwoI8sSH3Tc3sTS_GqokQnScJCVfHUa-TpJ1B2PWDvazAnkMspA9l3q-d4RGlcNSr_97OS-SMIEb88nPXgHbBytW3jpDmAUJ_l7qjOsGrD3jsCr0p-zKFKEqrB-VmfybUW5C2xgkUHWn033YRJU7_P9m3eLaxA/s1500/Zone-of-Interest-and-Anatomy-of-a-Fall.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="845" data-original-width="1500" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjO0ydoSRF5n83C-CF957_6J8YRG2_mAdwoI8sSH3Tc3sTS_GqokQnScJCVfHUa-TpJ1B2PWDvazAnkMspA9l3q-d4RGlcNSr_97OS-SMIEb88nPXgHbBytW3jpDmAUJ_l7qjOsGrD3jsCr0p-zKFKEqrB-VmfybUW5C2xgkUHWn033YRJU7_P9m3eLaxA/w400-h225/Zone-of-Interest-and-Anatomy-of-a-Fall.webp" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(L-R) <i>Anatomy of a Fall</i> (Neon) and <i>Zone of Interest</i> (A24)<br />(Courtesy Deadline) </span></td></tr></tbody></table><div><br /></div><div>Other first-time nominees included Emily Blunt (for her supporting role as the wife of the titular <i>Oppenheimer</i>), Colman Dimongo (for his lead performance as March on Washington organizer Bayard Rustin, in George C. Wolff's historical biopic <i>Rustin</i>) and Sterling K. Brown (for his supporting role as a gay sibling, in <i>American Fiction</i>). Oscar veterans Annette Bening and Jodie Foster also picked up nominations (their first in 13 and 29 years, respectively) for their performances as real-life swimmer Diana Nyad and her friend-coach Bonnie Stoll, in Jimmy Chin and Elizabeth Chai Vasarhelyi's sports drama <i>Nyad</i>. </div><div><br /></div><div>Jonathan Glazer's Holocaust thriller <i>Zone of Interest</i> and Justin Triet's courtroom drama <i>Anatomy of a Fall</i> both shared nominations as Best Picture, International Feature, Directing, and Screenplay (<i>Zone</i>'s adapted, <i>Fall</i>'s original). The only differences are <i>Zone</i>'s sound design and <i>Fall</i>'s Lead Actress Sandra Huller. Even so, I believe this is <a href="https://deadline.com/2024/01/oscar-nominations-anatomy-fall-zone-interest-record-most-international-1235801806/">the first time in the Academy's history that two international features were also nominated for Best Picture in the same year</a>! </div><div><br /></div><div>While Margot Robbie's absence as Best Actress for <i>Barbie</i> is a bit of a bummer (she was recognized as one of the film's producers, a credit she shares with fellow nominee Bradley Cooper), it's even more of a letdown that Greta Gerwig didn't get a Best Director acknowledgement. Other snubs included Cooper as Best Director for <i>Maestro</i> (although he was recognized as Lead Actor, along with lead actress Carey Mulligan, and as co-producer, along with Steven Spielberg), Leonardo DiCaprio's leading role in <i>Killers of the Flower Moon</i> (ditto Martin Scorsese and Eric Roth's masterful adapted screenplay), Alexander Payne as Best Director for <i>The Holdovers</i>, and the impressive visual effects for <i>Oppenheimer</i>. Another of the year's best films, Celine Song's thoughtful drama <i>Past Lives</i>, only received two nominations (Best Picture and Original Screenplay). Greta Lee not being recognized as a Lead Actress is another shame, because her performance was one of the best of 2023. I will say, <i>Past Lives</i> does count as an International Feature, alongside <i>Zone of Interest</i> and <i>Anatomy of a Fall</i>. So that's a pretty remarkable achievement. </div><div><br /></div><div>The musical adaptation of Alice Walker's <i>The Color Purple</i> received only one nomination, for Danielle Brooks' commanding supporting turn. (Lead actress Fantasia Barrino, a phenomenal performance, was left out.) Other films with sole nominations include Todd Haynes' dark comedy <i>May December</i> (Original Screenplay; nothing for actresses Natalie Portman and Julianne Moore, nor acclaimed supporting actor Charles Melton), Wim Wender's character drama <i>Perfect Days</i> (International Feature from Japan), Matthew Heineman's engrossing documentary <i>American Symphony</i> (Original Song by Jon Batiste and Dan Wilson; it arguably should've gotten a Best Documentary Feature nomination), James Mangold's adventure sequel <i>Indiana Jones and the Dial of Destiny</i> (for John Williams' reportedly-final film score; <a href="https://deadline.com/2024/01/john-williams-martin-scorsese-oscar-history-oldest-nominees-1235801856/">both Williams and Scorsese are the oldest nominees this year</a>), Takashi Yamazaki's monster movie update <i>Godzilla Minus One</i> (for its visual effects), and Wes Anderon's short film adaptation of Roald Dahl's <i>The Wonderful Story of Henry Sugar</i> (his feature-length comedy <i>Asteroid City</i> wasn't recognized at all). </div><div><br /></div><div>If there's a common theme among this year's roster of films, I would say it includes box-office hits, comedies, epic stories (both large scale and small scale), and international darlings. Stay tuned, ladies and gentlemen, for the televised broadcast (with host Jimmy Kimmel) on March 10th. </div>B.E. Kerianhttp://www.blogger.com/profile/10731709676312668865noreply@blogger.com0tag:blogger.com,1999:blog-2099716515627453238.post-87016370355257266222024-01-05T10:43:00.000-08:002024-01-05T10:43:04.527-08:002023: Standout Films of the Year<div style="text-align: left;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKVFlGUFTDp-vkFBazBY4RoBQ413bJv8DqqEBLXLnQJhx8_Fki_vK9W6Z3U92M8EEtzovx55zOS5PKaEMQ9nDXF6GQAk35JPHJe299-ZZoLHHuxnD3nrH6fysf7fcloa3Snki4Tahyphenhyphen6AIb2YKSBmS_w-i4Bn4aXleEWtDJNT5l4bRLDY0CyKgzJ6PTmUXL/s1600/Barbie_1690198768738_1690198783894.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="899" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKVFlGUFTDp-vkFBazBY4RoBQ413bJv8DqqEBLXLnQJhx8_Fki_vK9W6Z3U92M8EEtzovx55zOS5PKaEMQ9nDXF6GQAk35JPHJe299-ZZoLHHuxnD3nrH6fysf7fcloa3Snki4Tahyphenhyphen6AIb2YKSBmS_w-i4Bn4aXleEWtDJNT5l4bRLDY0CyKgzJ6PTmUXL/w400-h225/Barbie_1690198768738_1690198783894.webp" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(Courtesy Warner Bros and Universal) </span></td></tr></tbody></table></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div>2023 has been a year for the books. It was a year full of turbulent worldwide issues, ranging from ongoing wars in Israel and Ukraine, to a Writer’s Strike in Hollywood, and several more unexpected passings of famous stars and figures in film and television. As for cinema and movie theaters themselves, there were several instances of surprise successes, disappointing attendance, and fandom towards new faces that had moments to shine. </div><div><br /></div><div>Let’s start with the phenomenon that had audiences coming to theaters in droves: the “Barbenheimer” effect, if you will. Opening simultaneously on July 21st, Greta Gerwig's take on Mattel's ever-popular doll-line <i><a href="https://www.youtube.com/watch?v=GZuubCclyS0">Barbie</a></i> and Christopher Nolan's massive biographical thriller <i><a href="https://www.youtube.com/watch?v=bK6ldnjE3Y0">Oppenheimer</a></i> (about the creator of the Atomic Bomb) couldn't be more different from each other. And yet, they have so much in common. For instance, both were large-scale productions with impressive practical elements. Both were stacked with a who's-who of A-list talent. And both were helmed by exceptionally-terrific directors who treated their respective projects as films first and commerce second. (Neither film made my list this year, due to <i>Barbie</i>'s satirical-but-complicated take on gender roles, and <i>Oppenheimer</i>'s inclusion of some unnecessarily-explicit sex scenes.) I also want to give props to actor-turned-director Bradley Cooper, for his masterful work in front of the camera (as American composer Leonard Bernstein) and behind it with the powerfully heavy music drama <i><a href="https://www.youtube.com/watch?v=gJP2QblqLA0">Maestro</a></i>. </div><div><br /></div><div>Along with <i>Barbie</i>, another blockbuster that truly respected its brand and legacy was <i><a href="https://www.youtube.com/watch?v=TnGl01FkMMo">The Super Mario Bros. Movie</a></i>, a collaboration between the video game franchise's parent company Nintendo and powerhouse CGI company Illumination. (Personally, watching Mario made me feel like a little kid again, being a child of the 1980s gaming world. I did also enjoy Illumination's <i><a href="https://www.youtube.com/watch?v=hWbfohXIdEU&t=8s">Migration</a></i> at the end of the year.) </div><div><br /></div><div>On the flip side, superhero movies saw a steady decline this year. Marvel's current phase of features, from <i><a href="https://www.youtube.com/watch?v=ZlNFpri-Y40">Ant-Man and the Wasp: Quantumania</a></i> to <i><a href="https://www.youtube.com/watch?v=iuk77TjvfmE">The Marvels</a></i>, received low ratings from fans and critics. (<i><a href="https://www.youtube.com/watch?v=u3V5KDHRQvk">Guardians of the Galaxy Vol. 3</a></i> was exceptional, and DC's <i><a href="https://www.youtube.com/watch?v=vS3_72Gb-bI">Blue Beetle</a></i> was cool if familiar.) Speaking of DC, the highly-anticipated and long-awaited <i><a href="https://www.youtube.com/watch?v=hebWYacbdvc">The Flash</a></i> fell short of expectations. Part of this may have had to do with star Ezra Miller's recent public controversies, despite reportedly owning up to said mistakes and making better strides. On the other hand, the best part about this flick was seeing Michael Keaton back as Batman--which had this writer (who grew up with the 1989 Tim Burton film) grinning with glee. (Read my full review <a href="https://reelmeans.blogspot.com/2023/06/review-flash-2023.html">here</a>.) The same could be said for Harrison Ford's fifth and final outing as everyone's favorite archeologist in <i><a href="https://www.youtube.com/watch?v=nIzPvirp4bo">Indiana Jones and the Dial of Destiny</a></i>; ditto longtime composer John Williams' final film score. Despite being an improvement over the previously-uncharacteristic <i>Kingdom of the Crystal Skull</i>, it's easy to see where <i>Dial of Destiny</i> (directed by James Mangold, but co-produced by Steven Spielberg and George Lucas) fell short, particularly in its overreliance on CGI and action/violence that was louder than it needed to be. </div><div><br /></div><div>As for the Walt Disney Company (which <a href="https://www.youtube.com/watch?v=-EP55BRDTF8">celebrated 100 years this year</a>), movies like the animated <i><a href="https://www.youtube.com/watch?v=ctlz0R1tSZE">Wish</a></i> apparently didn’t connect with a whole lot of people; although, the film did have an incredible animation style and a captivating heroine (voiced by the phenomenal Ariana DeBose), but was distracted by several homages to the studio’s library, rather than telling a more original story. Then there was the live-action remake of <i><a href="https://www.youtube.com/watch?v=kpGo2_d3oYE">The Little Mermaid</a></i>. Perhaps no film in recent memory has divided both critics and audiences so heavily. To be fair, not every animated Disney movie needs to get the live-action treatment. On the other hand, what most people (myself included) do agree with is Halle Bailey’s beautiful and soulful performance--not to mention a more self-aware and proactive variation--as Ariel. (Read my full review <a href="https://reelmeans.blogspot.com/2023/06/extended-review-little-mermaid-2023.html">here</a>.) The Mouse House did have at least one theatrical comeback for the year. Although it had the worst opening weekend for a Pixar movie, the inventive and original CGI romance-comedy <i>Elemental</i> steadily built strong word-of-mouth and made back its budget and then some. </div><div><br /></div><div>But the films that stuck with me this year dealt with characters honoring or facing the past—or the pain/ghost(s) of it—to move forward. In some cases, there were stories about reexamining the past, or the untold stories of our nation’s history. In other cases, there were stories that have never been told in such a way before. Overall, these were films that had sincere narratives and character arcs, as opposed to pushing specific agendas--mostly. In a way, this mirrors <a href="https://reelmeans.blogspot.com/2023/06/2022-standout-films-of-year-second.html">my list from 2022</a>, but takes it one step or more further, and with a little more maturity. </div><div><br /></div><div style="text-align: center;">***</div><div>First things first. Here is a list of films that didn’t make my top ten, but are worth mentioning or looking into. (I've included my initial reviews posted on my Instagram page @be.kerian.) </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvY0pTcUIksnDOgwNBDc4Sugpctt25iRwReDIWuOWHg5vuQtqqG-hEheM-BZ6h3eMHHHsHRpPQFa6swnybwAPfciuyNGGhZ_h8WaQouL8DdQwr8800yqbTQsRZ8Jf4Si-KmBXq5ukjlm3LqZ7T1NKnBzIWDECMrBfNKXAQAl8Ytwv69eoE_MKJccQhN4-k/s3900/9429842f63e50cbd17cad9.98931561_.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1950" data-original-width="3900" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvY0pTcUIksnDOgwNBDc4Sugpctt25iRwReDIWuOWHg5vuQtqqG-hEheM-BZ6h3eMHHHsHRpPQFa6swnybwAPfciuyNGGhZ_h8WaQouL8DdQwr8800yqbTQsRZ8Jf4Si-KmBXq5ukjlm3LqZ7T1NKnBzIWDECMrBfNKXAQAl8Ytwv69eoE_MKJccQhN4-k/w400-h200/9429842f63e50cbd17cad9.98931561_.webp" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(Courtesy Amazon Studios) </span></td></tr></tbody></table><div><div><i><b><a href="https://www.youtube.com/watch?v=Euy4Yu6B3nU">Air</a></b></i></div><div><div><i>NBA legend Michael Jordan is still as relevant as ever, thanks to a new biopic about the Nike company and the creation of the "Air Jordan" footwear in the early-1980s. Ben Affleck steps behind the camera once again while acting in front of it (as Nike CEO Phil Knight). But this electrifying true story centers on college basketball scout and salesman Sonny Vaccaro (Matt Damon) who takes a chance on a then-teenage Jordan while he was still a rookie ballplayer, and forever changing the game, business, and marketing behind the game.</i></div><div><i><br /></i></div><div>Air<i> gets its R-rating from strong language choices (some foul shots that could've easily been sidelined on the court), as well as some unethical turns along the way. As for Affleck and Damon, they've really come a long way since their </i>Good Will Hunting<i> days. (They also serve as co-producers through their newly-formed company, Artists Equity, while Alex Convery is credited as the film's sole screenwriter.) And their skill, charisma, and commitment is still intact and on full display here; ditto an impeccable cast, including Viola Davis, whom the real Jordan personally recommended should play his mother. Expertly directed, written, and acted, </i>Air<i> is a dynamic and nostalgic slice of sports and pop culture history.</i> [April 12, 2023] </div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz2EmGL6MMJdBZPG0fV5D33WrXjCSnkpTSLq-UZPsZka1m-ZkZgqdZ3X-NeVKkdgHIwJ8cQugZsQ7GnCaJcTpECflT1sflL4a_9oSdSl5TwdZgMemm6u_YgSqhFB3V1rWzwvDfODMRZ24L7SbmgC_Ng_ZSe_gK7B0sSm_tYW31j2NmnGijZanBMuan8Nq9/s987/MV5BZDgxMmM2ZTMtOTFlNi00MzllLWI3ZDctNTBiZThiNjY0OTIxXkEyXkFqcGdeQXZ3ZXNsZXk@._V1_.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="555" data-original-width="987" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz2EmGL6MMJdBZPG0fV5D33WrXjCSnkpTSLq-UZPsZka1m-ZkZgqdZ3X-NeVKkdgHIwJ8cQugZsQ7GnCaJcTpECflT1sflL4a_9oSdSl5TwdZgMemm6u_YgSqhFB3V1rWzwvDfODMRZ24L7SbmgC_Ng_ZSe_gK7B0sSm_tYW31j2NmnGijZanBMuan8Nq9/w400-h225/MV5BZDgxMmM2ZTMtOTFlNi00MzllLWI3ZDctNTBiZThiNjY0OTIxXkEyXkFqcGdeQXZ3ZXNsZXk@._V1_.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(Courtesy A24) </span></td></tr></tbody></table><div><b><i><a href="https://www.youtube.com/watch?v=qiQvFKfpCi4">All Dirt Roads Taste of Salt</a></i></b> </div><div><div><i>Prior to a screening of </i>All Dirt Roads Taste of Salt<i>, Twin Cities Film Fest founder and executive director Jatin Setia described Raven Jackson’s directorial debut as “a non-linear poem that is cinematically flawless.” While only time will tell if that statement holds up, for the moment I can’t argue with the writer-director’s remarkable vision. Very few films that I’ve seen have each provided a unique but similarly-universal experience, certainly as far as visual poetry and freedom of expression. Films like Terrence Malick’s </i>The Tree of Life<i>, Michael Dudok De Wit’s </i>The Red Turtle<i>, and David Lowery’s </i>A Ghost Story<i>. And now, </i>All Dirt Roads<i> joins that distinct list, with a subjective perspective on life, death, rebirth, and family, told through the eyes of a young black women in Mississippi who transitions from childhood to motherhood.</i></div><div><i><br /></i></div><div><i>The non-linear structure forces (and challenges) viewers to ponder not only the way each shot is particularly framed the way it is. (Director of photography Jomo Fray shot on Kodak 35mm film, thoroughly captivating.) Even more, there is an idea or theme in each shot that demands multiple viewings as well as different interpretations. Water, soil, and especially hands, serve as key visual motifs, representing everything from admiration to affection, empathy, and sadness. One scene finds a young couple (who apparently haven’t seen each other in years) slowly embracing and shedding tears, without a single word. Again, watch the hands. The final result is slow-going and, again, will produce multiple interpretations as any great poem would do. But at just over 90 minutes in length, it’s an incredible experience. Co-produced by Barry Jenkins, this A24 release is profound, beautiful, and a testament to what true cinema is and should be.</i> [October 22, 2023] </div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil1alcbL1xJWrkC9pyfyuC09RYHP-yttVuoaNbOqpe1JHQxKdMdUvzdsjPWyRwrxSfFvlmwor6h22oFRbJ2q7l7YzByC2pQjrjqNhiPX851D2CGsSert-GsxxL6PEnOBBU33BBRXku8nZUj8GmTCTvmZKnfpO7UqGeA9OCYluuEG3a_GyBM0QrdCoi0gy4/s3600/aytg-unit-23098rc3.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2400" data-original-width="3600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil1alcbL1xJWrkC9pyfyuC09RYHP-yttVuoaNbOqpe1JHQxKdMdUvzdsjPWyRwrxSfFvlmwor6h22oFRbJ2q7l7YzByC2pQjrjqNhiPX851D2CGsSert-GsxxL6PEnOBBU33BBRXku8nZUj8GmTCTvmZKnfpO7UqGeA9OCYluuEG3a_GyBM0QrdCoi0gy4/w400-h266/aytg-unit-23098rc3.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(Courtesy Lionsgate) </span></td></tr></tbody></table><div><b><i><a href="https://www.youtube.com/watch?v=LzRzojHC3iE&t=7s">Are You There, God? It’s Me, Margaret</a></i></b> </div><div><div><i>Judy Blume's bestselling YA novel from 1970 has since been widely regarded as both a beloved and controversial piece of American literature. Brimming with nostalgia from the [decade], this coming-of-age dramedy follows the titular Margaret Simon who moves with her mother and father from New York City to New Jersey as she begins sixth grade. Despite her parents being presently-non-religious (her dad is Jewish, and her mother comes from a Christian family), Margaret starts talking to God about everything from boys to family, religion, and periods, and is left to decide which path she wants to chose. The film adaptation (written for the screen and directed by </i>Edge of Seventeen<i> helmer Kelly Fremon Craig) is a joyous experience, with Abby Ryder Forsten (a.k.a. Cassie Lang from the </i>Ant-Man<i> movies) giving a winning breakout performance as Margaret, with wonderful support from Rachel McAdams and Benny Safdie as her parents, and Kathy Bates as her paternal grandmother. </i></div><div><i><br /></i></div><div><i>The film is also a provocative one, particularly when it comes to hot-button (female) discussions about bra size and menstruation. (One scene finds Margaret and her "secret club" members browsing and pondering a Playboy magazine, complete with a signature group chant.) And while the story's secular view on different religions and customs will make it difficult for more discerning viewers and families to navigate (the film is appropriately rated PG-13), it does come with genuine pre-teenage and familial angst, heartache, and love. From a biblical standpoint, the narrative may suggest a sense of general revelation--that is, the idea of finding God in the most unexpected places, including the most complicated phases of any person's life. As for the aforementioned discussions on female puberty, that's up for parents with daughters to decide when the time is right.</i> [April 30, 2023] </div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdMoVJaRXWbCfDhiX0yRF_mDQS47EZjNaawEbgnKBdtuiQuNB-NiZ9aRYXCsFiqrMA6uPWQ_pjy4GIRGurDPI8txiynXNHRVype4hgbooTuMsyJFspmHxPE_V4Q9cB8qvpqL7uNzDPEgfL2vw8_YvYbtcl7Q-qr1hib-uniTZwnukofLCJ-trAcHrkev_w/s681/the-creator-3.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="383" data-original-width="681" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdMoVJaRXWbCfDhiX0yRF_mDQS47EZjNaawEbgnKBdtuiQuNB-NiZ9aRYXCsFiqrMA6uPWQ_pjy4GIRGurDPI8txiynXNHRVype4hgbooTuMsyJFspmHxPE_V4Q9cB8qvpqL7uNzDPEgfL2vw8_YvYbtcl7Q-qr1hib-uniTZwnukofLCJ-trAcHrkev_w/w400-h225/the-creator-3.webp" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(Courtesy 20th Century Studios) </span></td></tr></tbody></table><div><b><i><a href="https://www.youtube.com/watch?v=ex3C1-5Dhb8">The Creator</a></i></b> </div><div><div><i>The basic premise of the battle between mankind and technology is all too familiar, and can easily be overused or predictable. Similar thoughts went through my head before a screening of Gareth Edwards’ years-in-the-making, original sci-fi pet project, </i>The Creator<i>. (This is only his fourth directorial feature film, following 2010’s </i>Monsters<i>, 2014’s </i>Godzilla<i>, and 2016’s </i>Rogue One<i>.) What the writer-director did with that premise from the opening sequence literally had my jaw on the floor. This is one of the most compelling and challenging films released this year, with very timely themes related to artificial intelligence and humanity’s overt reliance—and, dare I say, idolizing—on it. Granted, the story and imagery may recall themes or visual elements from other genre pieces such as </i>A.I.<i> and </i>Blade Runner<i>. But this is a world that feels and sounds different, and where anything can happen. It challenges the roles of humanity and tech with a very secular worldview, to be sure. But it does present a lot of ideas worthy of discussion within its epic, gripping, and subversive narrative.</i></div><div><i><br /></i></div><div><i>The film balances visual and practical effects seamlessly, thanks to Industrial Light & Magic’s attention to detail. Ditto Edwards’ guerrilla-style filmmaking, real locations, costumes, hardware, the designs of the androids, and Hans Zimmer’s rousing score. Although </i>The Creator<i> does fall short in its editing department (a few moments feel rushed, leaving some potential plot holes), it does benefit from well-rounded and committed performances, including John David Washington (as a traumatized soldier), Allison Janney (as a grizzled colonel), Ken Watanabe (as an android leader), Gemma Chan (as Washington’s wife), and newcomer Madeleine Yuna Voyles (as the child that may turn the tide of the aforementioned ongoing war). Just be careful what kind of programming or themes you draw from this ambitious and thought-provoking epic.</i> [October 2, 2023] </div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1P4Pfo6NkZrQIiaqKUQeJu68GoeD5TyIJSEyE-QM4lBA0WComZkOej90cMdU9wPr5b8LZXDrZ2CGHqhxiHrPZcBw0JUS2Hnwt2acjHTbwRlgM3M3Rnj9MGCoIak-DxbI4NagbxxyZ5z3JpLMuPXy4oiDwtFomzvIdzPO-jFCWrBnHAMD177hM9d7pw1yp/s1500/SuzumeFeat.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="750" data-original-width="1500" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1P4Pfo6NkZrQIiaqKUQeJu68GoeD5TyIJSEyE-QM4lBA0WComZkOej90cMdU9wPr5b8LZXDrZ2CGHqhxiHrPZcBw0JUS2Hnwt2acjHTbwRlgM3M3Rnj9MGCoIak-DxbI4NagbxxyZ5z3JpLMuPXy4oiDwtFomzvIdzPO-jFCWrBnHAMD177hM9d7pw1yp/w400-h200/SuzumeFeat.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(Courtesy Toho) </span></td></tr></tbody></table><div><b><i><a href="https://www.youtube.com/watch?v=IfKNOUUtyCA">Suzume</a></i></b> </div><div><div><i>Another ambitious and incredible animé feature from writer-director Makoto Shinkai, </i>Suzume<i> [a 2022 release that premiered in North America in 2023] follows the titular high school teenager who discovers doors around Japan that bring forth destruction. Along the way, she meets a mysterious young man, named Souta, on his own quest to find the same doors, as well as a mischievous cat that curses the heroic Souta by turning him into a toy chair. This latter element is one of many subversive choices throughout this surprising and gripping coming-of-age story, which opens with a bang and never lets go. (At least one later scene carries a genuine sense of vertigo.) </i></div><div><i><br /></i></div><div><i>Apparently set during the COVID-19 pandemic, </i>Suzume<i> is also a cross country road trip adventure about friendship, geographical history, connection (Shinkai's films feature characters interacting on, or habitually using, social media), sacrifice, and reconciliation. The attention to detail and personality in the animation is superb, and the score by Radwimps and Kazuma Jinnouchi is an emotional roller-coaster--and fitting for such a genre-bending feature. A few references to old Studio Ghibli films are peppered throughout, including the same track from the opening credits of 1989's </i>Kiki's Delivery Service<i>. Plus, the imagery of a little girl in a mysterious field, as well as forgotten communities in ruins (a reflection of real-life natural disasters that have occurred in Japan) and glimpses of a spiritual dimension, are poetic, powerful, and profound.</i> [April 30, 2023] </div></div></div><div><br /></div><div style="text-align: center;">*** </div><div>Here’s my list of the ten standout films of 2023. (Again, I’ve included my initial reviews posted on my Instagram page @be.kerian, unless noted otherwise.) </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwpOKgajbxMfQwLO7r3lgcjrYQXZtyCYAAbtOZjsL8sQ_K1ndFER6qWtFiOBCPku9g9uk5YSaihcDJG7_jyUEf9qWs8rM0XSSjCITx-h3_X2fbxn5V4m5mPjzBgJFQgofSRBUCIpAi0B3T8cyCDJn25Rgq-MtMavDedopSnprMUbwbtLjaqLz-xmr8oAWY/s1200/creed-III.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="675" data-original-width="1200" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwpOKgajbxMfQwLO7r3lgcjrYQXZtyCYAAbtOZjsL8sQ_K1ndFER6qWtFiOBCPku9g9uk5YSaihcDJG7_jyUEf9qWs8rM0XSSjCITx-h3_X2fbxn5V4m5mPjzBgJFQgofSRBUCIpAi0B3T8cyCDJn25Rgq-MtMavDedopSnprMUbwbtLjaqLz-xmr8oAWY/w400-h225/creed-III.webp" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(Courtesy MGM)</span></td></tr></tbody></table><div>10. <b><i><a href="https://www.youtube.com/watch?v=AHmCH7iB_IM">Creed III</a></i></b> </div><div><div><br /></div><div style="text-align: center;">"I want you to take all your fear, all the guilt. Let go of whatever was, and walk into what is." </div><div><br /></div><div><i>Coming up on fifty years, the </i>Rocky<i> film franchise continues to endure. And now, after two successful spinoff entries, the baton has officially been passed from Sylvester Stallone's "Italian Stallion" to Michael B. Jordan's determined Adonis Creed. And, in another parallel between both series, Jordan steps into the director's chair for the first time. To get right to the point, the first-time filmmaker pulls it off with flying colors. Although </i>Creed III<i> is the first installment to not feature Rocky himself (Stallone does remain a producer, alongside 2015 helmer Ryan Coogler), Adonis' story continues as he balances fame, family life, and the re-emergence of an old childhood friend. </i></div><div><i><br /></i></div><div><i>I've noticed that many filmmakers and actors in recent years have been reverting back to the practical element of physical transformations, made most popular in the 1970s (a.k.a. Arnold Schwarzenegger's bodybuilding days) and the 1980s (when Stallone's Rambo, Arnold's Terminator, and Jean Claude Van Damme's roundhouse kicks reigned supreme in the action genre). Everyone from Henry Cavill--or anybody in Zack Snyder's DC universe, for that matter--to Jordan and now Jonathan Majors have significantly remolded themselves while never sacrificing character or story. [This review and film was released before Majors' publicized controversies later in the year.] </i></div><div><i><br /></i></div><div><i>Likewise, Adonis's relationships with his music-producing significant other, Bianca (Tessa Thompson), and deaf daughter Amara (an engrossing Mila Davis-Kent), are heartfelt and tender. Nearly half of their scenes together are in ASL, </i><a href="https://www.indiewire.com/2023/03/creed-3-michael-b-jordan-girl-dad-asl-1234814703/" style="font-style: italic;">an inspiring showcase for onscreen representation</a><i>. That goes just as well for the film's boxing scenes, filmed with IMAX cameras (</i><a href="https://www.instagram.com/p/CmWjhiqgyVN/" style="font-style: italic;">the first for a sports movie</a><i>) and featuring characters in primal, sometimes grueling, beast mode. Said moments are jarring, while select soundtrack titles are occasionally rough. </i>Creed III<i> does rush a bit during its third act, but it maintains a real character-driven battle between the past and the present. Other worthwhile themes include the challenges of parenting, dealing with handicaps or mental health, and being really open and honest with each other. This winning combination of sound and imagery, body and soul, is poetic and powerful.</i> [Excerpts from <a href="https://reelmeans.blogspot.com/2023/03/review-creed-iii-2023.html">my full review</a>, posted on my film blog on March 6, 2023] </div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSBEBVLOe21ngCg8_Hr1REahJ8dOp4xn8dZ5xZLeJmKqXVWdKASndnK-IECFkuGVEgiC4APWvbnBnxHezWMj7xqLNY74pEUvw1Es5O9cOVYLzki0Ei84VfnkkDUHFatqY_XzCt7y1m1CimS7WhQMjtdbAKd-o8S-yKmgVVfIpJEPgn6OB5uaOAeg3j8b34/s1200/the-boy-and-the-heron-official-english-trailer-65452d0a5079f.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="675" data-original-width="1200" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSBEBVLOe21ngCg8_Hr1REahJ8dOp4xn8dZ5xZLeJmKqXVWdKASndnK-IECFkuGVEgiC4APWvbnBnxHezWMj7xqLNY74pEUvw1Es5O9cOVYLzki0Ei84VfnkkDUHFatqY_XzCt7y1m1CimS7WhQMjtdbAKd-o8S-yKmgVVfIpJEPgn6OB5uaOAeg3j8b34/w400-h225/the-boy-and-the-heron-official-english-trailer-65452d0a5079f.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(Courtesy Studio Ghibli) </span></td></tr></tbody></table><div>9. <b><i><a href="https://www.youtube.com/watch?v=UIabnyxTVpc">The Boy and the Heron</a></i></b> </div><div><span style="font-family: times;"><br /></span></div><div style="text-align: center;"><span style="font-family: times;">"About time you came." </span></div><div><span style="font-family: times;"><br /></span></div><div><span style="font-family: times;"><i>When it premiered in Japanese movie theaters back in July (under the original title, </i>How Do You Live?<i>), [Studio] Ghibli did the unthinkable: they didn’t release any trailers or interviews or marketing in general [for </i>The Boy and the Heron<i>], other than one mysterious poster. </i></span><span style="font-family: times; font-style: italic;">Word-of-mouth has since ranged from mixed reactions to many immediately hailing Miyazaki’s latest as another masterpiece. Personally, </span><span style="font-family: times; font-style: italic;">I wanted to know as little about it going in. But, being the avid IMDb user that I am, I couldn’t resist certain spoiler-free articles or photos online. But only a little, I think.) Then, w</span><span style="font-family: times; font-style: italic;">hen the first trailer for the North American release premiered (along with the announcement that <a href="https://www.msn.com/en-us/movies/news/how-hayao-miyazakis-boy-and-the-heron-became-studio-ghiblis-first-imax-release/ar-AA1l6LSy">the film would be screened in IMAX, a first for Ghibli</a>), my jaw dropped. It was different than what I was expecting, but I was still excited. </span></div><div><span style="font-family: times;"><i><br /></i></span></div><div><span style="font-family: times;"><div style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-size-adjust: auto;"><span class="s2" style="font-family: times;"><i>[Main character] Mahito’s name means, “sincere one.” Ironic, considering . . . it’s hard to tell what is real and what isn’t [in this story]. But it is thoroughly engrossing and stays with you. Some of the animation is expressionistic, particularly the harrowing opening sequence (which reminds me of Isao Takahata’s </i>The Tale of the Princess Kaguya<i>), while the heron itself possesses freaky human teeth. As for the aforementioned realm, is it “a kingdom free from malice,” or just a dream/fantasy that isn’t what it seems (like Alice falling down the rabbit hole)? Is it a choice between eternity and the world? Being stuck in the past versus looking ahead to the future? Either way, this is a story about new beginnings, the challenges of letting go of escapism and creation, and dealing with reality. </i></span></div><div style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-size-adjust: auto;"><span style="font-family: times; font-style: italic;"><br /></span><span class="s2" style="font-family: times;"><i>A few story elements recall previous Miyazaki/Ghibli entries (</i>My Neighbor Totoro<i> and </i>Grave of the Fireflies<i>, for example) and even Makato Shinkai’s 2013 entry, </i>Children Who Chase Lost Voices<i>. But for the most part, this is different than anything Miyazaki has ever done before. </i></span><span style="font-family: times; font-style: italic;">This time, his trademark of flight is expressed through birds, while images of paper creatures, melting bodies, and glowing doorways will leave you speechless. </span><span style="font-family: times; font-style: italic;">With a great and moving score by longtime collaborator Joe Hisaishi,</span><span style="font-family: times; font-style: italic;"> </span><span style="font-family: times;">The Boy and the Heron</span><span style="font-family: times; font-style: italic;"> </span><span style="font-family: times; font-style: italic;">is a contemplative piece of cinema, if not one of Miyazaki's greatest. It’s certainly one of his most enigmatic, and an undeniable masterpiece.</span><span style="font-family: times; font-style: italic;"> </span><a href="https://screenrant.com/boy-heron-not-miyazaki-last-movie-ghibli/#:~:text=That%20being%20said%2C%20it%20appears%20that%20didn%E2%80%99t%20stick%2C,and%20is%20already%20coming%20up%20with%20new%20ideas." style="font-family: times; font-style: italic;">If not the reported swan song of his filmography (again)</a><span style="font-family: times;"><i>, it could itself be a new beginning, from one generation to the next.</i> [Excerpts from <a href="https://reelmeans.blogspot.com/2023/12/review-boy-and-heron-2023.html">my full review</a>, posted on my film blog on December 18, 2023] </span></div></span></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx6729sLpT28N4mVjCZbGd_sk8YerGxA5IfLhIhdlu3MM3fsPJzXIgEJViJ_NW65_3Tn0mbfRrK6CtzH8BTCaaJG_qNh5v6Yi1smpx4nuDjMjy2rBQZBE4_h-BmMfBoWyZedE536CneyRvYH1jgQYEaUky52USmoSGhs1xVPnn-KTICeELS2w8JGACjqKj/s1920/thumb_11F4AA0A-7648-43DB-87D8-F5B1E99988B3.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx6729sLpT28N4mVjCZbGd_sk8YerGxA5IfLhIhdlu3MM3fsPJzXIgEJViJ_NW65_3Tn0mbfRrK6CtzH8BTCaaJG_qNh5v6Yi1smpx4nuDjMjy2rBQZBE4_h-BmMfBoWyZedE536CneyRvYH1jgQYEaUky52USmoSGhs1xVPnn-KTICeELS2w8JGACjqKj/w400-h225/thumb_11F4AA0A-7648-43DB-87D8-F5B1E99988B3.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(Courtesy Angel Studios) </span></td></tr></tbody></table><div>8. <b><i><a href="https://www.youtube.com/watch?v=UwSBQWI-bek">Sound of Freedom</a></i></b> </div><div><div><br /></div><div style="text-align: center;">"This job tears you to pieces. This is my chance to put those pieces back together." </div><div><br /></div><div><i>Every now and then, a film comes along that's so powerful, its subject matter hits you upside the head and breaks your heart. At the same time, it's an important story that needs to be told. That's exactly what the . . . film, </i>Sound of Freedom<i>, is. Based on a true story, actor Jim Caviezel plays real-life Homeland Security officer Tim Ballard, who specializes in finding and capturing pedophiles across the U.S., and soon goes on a dangerous mission to find and rescue a kidnapped little girl and bring her home.</i></div><div><i><br /></i></div><div><i>The very subject of sex trafficking is hard enough as it is, especially when it involves children. And this film pulls no punches when it comes to shining a light on those dark and morally damaging corners. It's very hard to watch at times. (On a side note, some of the character motivations of Ballard are a little questionable when it comes to interrogating suspect traffickers.) But this is ultimately a redemptive story, and one that forces us to reexamine a controversial but very real issue that's still prevalent.</i> [July 3, 2023] </div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOBumFwxW61gMtzvs9PM_vYLBzNgbKlUPP7MRQFkbLg_zWSDkY9pm9MPlbCFYChwQeL8EOkKvDvqspPGi9Qaa9hmZH71OdgZh7yoeIqOTd6vIUy0L_8jff3_pc-R9al0QErk9oGxfosMpyFnXsG6woqbS5vl9jL1QwuMWa4DO9uKK8twhBcyTsciaa0DFV/s1600/American_Symphony_D004C001_190219RB-1600x670.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="670" data-original-width="1600" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOBumFwxW61gMtzvs9PM_vYLBzNgbKlUPP7MRQFkbLg_zWSDkY9pm9MPlbCFYChwQeL8EOkKvDvqspPGi9Qaa9hmZH71OdgZh7yoeIqOTd6vIUy0L_8jff3_pc-R9al0QErk9oGxfosMpyFnXsG6woqbS5vl9jL1QwuMWa4DO9uKK8twhBcyTsciaa0DFV/w400-h168/American_Symphony_D004C001_190219RB-1600x670.png" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(Courtesy Netflix)</span></td></tr></tbody></table><div>7. <b><i><a href="https://www.youtube.com/watch?v=wKSMsdq8ONs">American Symphony</a></i></b> </div><div><div><br /></div><div style="text-align: center;">"We have to confront the brutal reality. Yet, at the same time, have unwavering faith." </div><div><br /></div><div><i>An intimate and compelling music documentary about multi-hyphenate artist-musician Jon Batiste and his wife, journalist Suleika Jaouad. As Batiste was nominated for a record eleven Grammys in 2021 (for three albums, no less), Suleika was diagnosed with cancer and undertook a second bone marrow transplant since her first diagnosis ten years prior. (<a href="https://www.youtube.com/watch?v=m5HQamrXlSY">She has a great Ted Talk from 2019 online.</a>)</i></div><div><i><br /></i></div><div><i>An insight into Batiste’s creative process, and the purpose and importance of music, it’s amazing to see this New Orleans native’s transition from studying at Juilliard for seven years, to forming his lesser-known band Stay Human, leading the band on Stephen Colbert’s </i>Late Show<i>, and ultimately performing at Carnegie Hall for a one-night-only, one-of-a-kind symphony performance (a jaw-dropping sequence in 4 movements). Batiste’s Grammy performance of “Freedom” (from the award-winning album “We Are”) is phenomenal, as is his Album of the Year acceptance speech. This is a true artist: fearless, innovative, infectious, genuine, and hopeful. The same could be said of Suleika, a persistent and courageous fighter.</i></div><div><i><br /></i></div><div><i>But </i>American Symphony<i> is also a love story. It’s about two people in a beautiful marriage, facing numerous insurmountable pushbacks—and fame, success, and the criticisms that go with them—together, but not being consumed by them. It’s about how these two make the best of bad situations, how they go through recovery and preparation “indefinitely” (sometimes through other forms of expression like painting), and how they inspire each other to be voices for their respective communities and their generation. Despite some brief strong language, this documentary feature (perhaps more than any other 2023 release) shows what it means to be an artist and what it means to be a human being.</i> [December 19, 2023] </div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwV_jWR-b5zsGaqdMMaiUnkUpPf7fPKVmo1q42ECcrRs8-WqoUPI9PlBTqHBBjseBG8nklZFiAgzVIPsbG307KMWJGQuoCLs_cVLeHcUt0Qs-R2KE6aO0-K1lL39mKzsg_enb_bckC1nMbluerBKlDGRPvXiA5wYAWF-M-y29tJVRPRx9hl8AxALgnEHPo/s1000/Elemental.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="563" data-original-width="1000" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwV_jWR-b5zsGaqdMMaiUnkUpPf7fPKVmo1q42ECcrRs8-WqoUPI9PlBTqHBBjseBG8nklZFiAgzVIPsbG307KMWJGQuoCLs_cVLeHcUt0Qs-R2KE6aO0-K1lL39mKzsg_enb_bckC1nMbluerBKlDGRPvXiA5wYAWF-M-y29tJVRPRx9hl8AxALgnEHPo/w400-h225/Elemental.webp" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(Courtesy Disney/Pixar) </span></td></tr></tbody></table><div>6. <b><i><a href="https://www.youtube.com/watch?v=hXzcyx9V0xw">Elemental</a></i></b> </div><div><br /></div><div style="text-align: center;">"You gave me something people search for their whole lives."</div><div><br /></div><div><div><i>CGI has certainly come a long way since the 1980s, when characters, environments, and various other effects resembled little more than plasticine. The data has become so significant that even the tiniest details and nuances can be so believable. Which brings us to Pixar's latest fantasy. Going one step further from </i>Inside Out<i>'s anthropomorphic emotions, </i>Elemental<i> tells a compelling immigrant story in the guise of an animated adventure that personifies various elements, including fire, water, air, and land. </i></div><div><i><br /></i></div><div><i>There's a lot to like about Peter Sohn's second full-length feature as a director (following 2015's incredible and moving </i>The Good Dinosaur<i>). The eponymous Element City is a sight to behold, while the script offers many clever visual gags and puns. Leah Lewis is very engaging as the fiery Ember. Thomas Newman's score is evocative. And, aside from the moving story of an immigrant family growing up and struggling in a new place, what may start out silly soon blossoms into a genuine, heart-tugging romance between Ember and water city inspector Wade (voiced by Mamoudou Athie).</i></div><div><i><br /></i></div><div><i>Where the film gets watered down (or fades) is in its middling environmentalist subplot during the second act. Add to that [two or three] passive appearances by LGBTQ characters, and a central love story that puts this into certified romcom territory, and </i>Elemental<i> is not really a film for younger viewers, no matter how creative or clever it looks. [But again, there is a lot to like about it.]</i> [June 20, 2023] </div><div><br /></div></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPif5CU77yiqaytuyB-gmPBG30mz8F3PyloVKLTV0J_5m8QiOBK1-NSw3a6t2XU8HuCN4U1CxCF4TluK6Ftkxa-qFxB25ZlScn5Gb7UnqqZU2GwcT-4URFNUvweH64MPSzaf1TZD46S_-ZzWnW7L_U_3bPPY4ViyWrnCnxgcLVyhnrQJSTSjFMWOdrSXgp/s800/MI-Dead-Reckoning-1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="527" data-original-width="800" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPif5CU77yiqaytuyB-gmPBG30mz8F3PyloVKLTV0J_5m8QiOBK1-NSw3a6t2XU8HuCN4U1CxCF4TluK6Ftkxa-qFxB25ZlScn5Gb7UnqqZU2GwcT-4URFNUvweH64MPSzaf1TZD46S_-ZzWnW7L_U_3bPPY4ViyWrnCnxgcLVyhnrQJSTSjFMWOdrSXgp/w400-h264/MI-Dead-Reckoning-1.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(Courtesy Paramount) </span></td></tr></tbody></table><div>5. <b><i><a href="https://www.youtube.com/watch?v=2m1drlOZSDw">Mission:Impossible—Dead Reckoning Part One</a></i></b></div><div><div><br /></div><div style="text-align: center;">"What's your ultimate objective?" </div><div><br /></div><div><i>The </i>Mission: Impossible<i> film series certainly lives up to its name. And it seems to continually raise the stakes with each installment. At least, that's been the case ever since leading man Tom Cruise really lifted the long-running franchise off the ground with 2011's fourth chapter, </i>Ghost Protocol<i>. Returning director Christopher McQuarrie (2015's </i>Rogue Nation<i> and 2018's </i>Fallout<i>) ups his skills as a filmmaker with even more death-defying stunts (including Cruise's now-famous motorcycle jump and sky dive over the Norwegian mountains), but never forgets the emotional heart and stakes of the overall narrative.</i></div><div><i><br /></i></div><div><i>In this first part of a two-film finale (the next chapter will be released in [2025]), IMF agent-turned-rogue Ethan Hunt (Cruise) and returning players Luther (Ving Rhames), Benji (Simon Pegg), and Ilsa Faust (Rebecca Ferguson), go up against a mysterious AI, known as the Entity, as well as a cold-hearted enemy from Ethan's past. Hayley Atwell makes a terrific new addition to the series, as a mysterious and vulnerable pickpocket, while Henry Czenzy reprises his role as IMF director Kittridge (from the 1996 original).</i></div><div><i><br /></i></div><div><i>The film takes a while to really get going; some exposition and character development is a bit too much. But when it does get going, it kicks into high gear and goes full-throttle. Others key sequences include a high-speed car chase (in handcuffs), a fierce alleyway brawl (featuring a lethal Pom Klementieff), and a jaw-dropping train sequence. Along with McQuarrie's skilled direction, </i>Dead Reckoning Part One<i> benefits from slick editing, explosive sound design, and an operatic score. Our main characters grapple with the past coming back to haunt them, even as they represent "ghosts" themselves, along with themes of identity, death, suffering, starting over, and whether or not the days of "fighting for the greater good" are coming to an end. It's an emotional, gripping, and unpredictable popcorn muncher of a mission--should you choose to accept it.</i> [August 9, 2023] </div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeCgZT7TPKRSkkgbakPnwOuKrowzwbZ2gOTjx5nbO3kmF49CjmyABboxs8u34hPKii85HDr1mdtrjT62u-B3VR48ZhDJAKWOeAeH6lgeYWWa7CQQ8XIxv1Uok9p0iENUjEAOnyF95umiuor_m0AFOGkk01Ln2h0jTa9huaP3RxRCeDZEeZsZpmY2EV8MBR/s2560/brody-killers%20of%20the%20flower%20moon.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1707" data-original-width="2560" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeCgZT7TPKRSkkgbakPnwOuKrowzwbZ2gOTjx5nbO3kmF49CjmyABboxs8u34hPKii85HDr1mdtrjT62u-B3VR48ZhDJAKWOeAeH6lgeYWWa7CQQ8XIxv1Uok9p0iENUjEAOnyF95umiuor_m0AFOGkk01Ln2h0jTa9huaP3RxRCeDZEeZsZpmY2EV8MBR/w400-h266/brody-killers%20of%20the%20flower%20moon.webp" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(Courtesy Paramount/Apple) </span></td></tr></tbody></table><div>4. <b><i><a href="https://www.youtube.com/watch?v=7cx9nCHsemc">Killers of the Flower Moon</a></i></b> </div><div><div><br /></div><div style="text-align: center;">"Can you find the wolves in this picture?" </div><div><br /></div><div><i>Earlier this year, I had the opportunity of performing in an original play about Black Wall Street in 1921. Between performances, I listened to an audio version of author Victor Luckerson’s latest book, </i>Built From the Fire<i>, which talks about the Greenwood District and the rebuilding of the community over the next century. The book also references murders that occurred around the same time towards wealthy members of the Osage nation, who owned acres of land and oil, near Fairfax. These were the basis for David Grann’s 2017 book, </i>Killers of the Flower Moon<i>, which brings us to the new film adaptation from director/co-writer Martin Scorsese and co-writer Eric Roth.</i></div><div><i><br /></i></div><div><i>A masterwork of direction, detail, acting, and thorough involvement with the Osage community, </i>Killers<i> makes the bold choice of unfolding the history in sequence, and through specific characters. These include war veteran Ernest Burkhart (Leonardo DiCaprio, with a thick Southern droll and hesitancy), his wealthy uncle William Hale (Robert DeNiro, with layers of quiet deception), and Osage member Mollie Kyle (Lily Gladstone, in a performance that speaks volumes) whom [Ernest] eventually marries. But Ernest’s motives become complicated as he is torn between his uncle’s schemes to profit from Mollie’s family, and the love he thinks he feels for her.</i></div><div><i><br /></i></div><div><i>Even more, this three-and-a-half-hour western saga is not just a slow-burn tale about greed, betrayal, and inexplicable and unspeakable violence. It’s also a piece about the gaps and shifts between generations of families. Plus, it doesn’t condone the violence it portrays (which worried me, based on the trailers). Rather, Scorsese shows us said violence for what it is, while showing remarkable restraint and maturity in a film that honors the memories of those that died and acknowledges this dark chapter in American history.</i> [October 21, 2023] </div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV6tBJx8sKBs_3xtHP0z07u5LzmhEMTPkLsp31cLJ1bxt5t4vutEJUDmup25Agpim6b7VA-RsFJ_S8DzfrwISHF_4Gcs8VD9H4lYO90JYBtjZWfySPoYgQr_wa6Q_0D-0nSbiEZF3cv26y4bsC3EmRQbbwpfWkoM7TuHtmOFSt56drV26Jl5h9dcwA36iK/s750/image%20(1).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="422" data-original-width="750" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV6tBJx8sKBs_3xtHP0z07u5LzmhEMTPkLsp31cLJ1bxt5t4vutEJUDmup25Agpim6b7VA-RsFJ_S8DzfrwISHF_4Gcs8VD9H4lYO90JYBtjZWfySPoYgQr_wa6Q_0D-0nSbiEZF3cv26y4bsC3EmRQbbwpfWkoM7TuHtmOFSt56drV26Jl5h9dcwA36iK/w400-h225/image%20(1).jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(Courtesy Sony) </span></td></tr></tbody></table><div>3. <b><i><a href="https://www.youtube.com/watch?v=cqGjhVJWtEg">Spider-Man: Across the Spider-Verse</a></i></b> </div><div><br /></div><div style="text-align: center;">"Everyone keeps telling me how my story's supposed to go! Nah. I’m-a do my own thing." </div><div><br /></div><div><div><i>There are two kinds of superhero films (and films in general): those that follow a conventional and/or predictable narrative, and those that are subversive and take unexpected detours. Most films land under the former category. But Sony Animation's </i>Spider-Verse<i> franchise isn't most films. Watching </i>Spider-Man: Across the Spider-Verse<i>, I can't help but wonder how many screenplay drafts and concept art the filmmakers went through to get to the final cut.</i></div><div><i><br /></i></div><div><i>Released over four years after the genre- and medium-bending gamechanger from 2018, this second installment picks up with teenagers Miles Morales and Gwen Stacy, struggling back in their own dimensions and trying to make sense of their respective realities and responsibilities. But when a mysterious supervillain, known as the Spot, shows up in Miles' world and Miles soon discovers a portal to a multiverse where literally every version of Spider-Man lives . . . Let's just say we're in for a wild ride. (And this is only the first-half of a reported two-part story arc a la </i>Infinity War<i> and </i>Endgame<i>!)</i></div><div><i><br /></i></div><div><i>The folks at Sony Animation have really outdone themselves by creating new software and technology to further blend the mediums of hand-drawn and computer animation, given the film's mind-blowing and complicated narrative. (And there are, no doubt, clever appearances galore!) This is proof that animation is not only art, but also very cinematic and deep. Even better, </i>Across the Spider-Verse<i> never forgets its immersive and emotional heart at the center of it all. For younger kids, however, this isn't a recommended pic due to its heavy drama, knuckle-punching action, and surprising language choices; [parents should also be aware of some blink-and-you'll-miss-them trans-related images in the opening sequence]; ditto scenes of flashing lights, which will deeply affect photosensitive viewers. For everyone else, this [is easily] one of 2023's standout pics [with a massive cliffhanger that makes us only imagine how jaw-dropping and out-of-this-world the next installment will be.] </i>[June 4, 2023] (Read my full review <a href="https://reelmeans.blogspot.com/2023/07/extended-review-spider-man-across.html">here</a>.) </div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZipfrw6owgoBww7F60Uf-k0PDReEIhSr8CjXtAV9uYQYmfXYPyosUGBMPO9hQ89jtBRKCCysRpBaXKv-7CJg4JGopCf1s8gBWiYJqlvIaB7Der4Io6WAhyphenhyphenctLyztEfWrEXVFaUHLgfcNLLiukE6jDWns2Y9koFrYb9uNOo2JhD6tIwElGHQTnWcWiMejr/s1400/Past_Lives___Still_1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1050" data-original-width="1400" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZipfrw6owgoBww7F60Uf-k0PDReEIhSr8CjXtAV9uYQYmfXYPyosUGBMPO9hQ89jtBRKCCysRpBaXKv-7CJg4JGopCf1s8gBWiYJqlvIaB7Der4Io6WAhyphenhyphenctLyztEfWrEXVFaUHLgfcNLLiukE6jDWns2Y9koFrYb9uNOo2JhD6tIwElGHQTnWcWiMejr/w400-h300/Past_Lives___Still_1.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(Courtesy A24) </span></td></tr></tbody></table><div>2. <b><i><a href="https://www.youtube.com/watch?v=kA244xewjcI">Past Lives</a></i></b> </div><div><div><br /></div><div style="text-align: center;">"That's just something Koreans say to seduce someone."</div><div><br /></div><div><i>One film that's been getting a lot of acclaim this year (and is likely to get several accolades come the next Oscar season) is this introspective directorial debut from Celine Song. </i>Past Live<i>s follows two childhood Korean friends who reunite twenty years later (one married, the other single) and reminisce about what could've been and where they are now.</i></div><div><i><br /></i></div><div><i>Song's original screenplay is layered with themes of history, culture, relationship status, upbringing, and immigration, as the aforementioned friends, Nora and Hae Sung (Greta Lee and Teo Yoo give genuine performances), reconnect through social media and eventually in person. I was worried the story would revert to the cliche of couples cheating on each other for an old flame. To the film's credit, it doesn't go that route per se; characters (including Nora's husband, Arthur, played with depth by John Magaro) have real discussions about these things, as well as past memories, destiny, and what was or wasn't meant to be. Still, some viewers may be thrown off by that story element.</i></div><div><i><br /></i></div><div><i>Even so, this is one of the most thought-provoking films I've seen in a while. With immersive cinematography by Shabier Kirchner and a lovely score by Christopher Bear and Daniel Rossen, </i>Past Lives<i> is also a compelling and bittersweet alternative to our current era of multiverse features.</i> [July 4, 2023] </div></div><div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglD9FXxNst8wdErOjbv50FqcXAw9Q5tx9RbJ_tS_ts914GNMn7XKi6DiSBmKzXZBcNUdvfLX-d9_ENaI946q1vbMz46bYFKz_UmbjBZbt-DAvJ5k-kqB1ZXt517cWTvvEvOnqy19A2_fAMnqG6jOHsXuK-JfBgGgo_bTqKvkf6JzFDEidDkAMPAVW1pWpb/s1296/HO_14895_R-1-H-2023.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="730" data-original-width="1296" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglD9FXxNst8wdErOjbv50FqcXAw9Q5tx9RbJ_tS_ts914GNMn7XKi6DiSBmKzXZBcNUdvfLX-d9_ENaI946q1vbMz46bYFKz_UmbjBZbt-DAvJ5k-kqB1ZXt517cWTvvEvOnqy19A2_fAMnqG6jOHsXuK-JfBgGgo_bTqKvkf6JzFDEidDkAMPAVW1pWpb/w400-h225/HO_14895_R-1-H-2023.webp" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(Courtesy Focus Features) </span></td></tr></tbody></table><div>1. <b><i><a href="https://www.youtube.com/watch?v=AhKLpJmHhIg">The Holdovers</a></i></b> </div><div><div><br /></div><div style="text-align: center;">"I heard you got stuck with babysitting duty this year. How'd you manage that?"</div><div><br /></div><div><i>Within the first few minutes of Alexander Payne’s period comedy-drama </i>The Holdovers<i>, I felt like I was watching an unseen gem from the early-1970s, complete with custom-made logos and credits that recall films like </i>Love Story<i> and </i>Five Easy Pieces<i>. For his first feature film in six years, Payne works from David Hemingson’s sharp, original, and involving script about a cynical and unlikeable prep school teacher, forced to stay on campus during Christmas break to supervise students who have no home to go to for the holidays. It eventually comes down to one particularly troubling pupil and a widowed kitchen staff member, on a journey of “unlikely companionship” and holiday festivities.</i></div><div><i><br /></i></div><div><i>The three central performances by Paul Giamatti (as the cross-eyed Paul Hunham), Da’vine Joy Randolph (as the strong-willed Mary Lamb), and Dominic Sassa (as the rebellious Angus Tully), rank as some of the most fully-committed of the year. All of them represent lonely souls without family, one way or another. Each carry their own set of issues (including profanity, drinking, lying, conversations about sex, and other reckless behavior), but become something of a surrogate family. With its seasonal setting (including striking cinematography by Eigil Bryld, period set design and costuming, all shot on film in the state of Massachusetts) and soundtrack full of holiday hymns and songs, some may also consider </i>The Holdovers<i> as an alternative Christmas movie.</i></div><div><i><br /></i></div><div><i>As one of the year’s best acted, directed, and photographed films, it’s a story about sudden changes, heartache, ambitions and hardships, and about finding the humanity and sincerity in all the craziness and madness. It’s a look back at the past that speaks to the present—without talking down to its audience. (Speaking of audiences, this was the opening night feature for the 2023 Twin Cities Film Festival in Minneapolis, MN. The audience’s response reminded me of a screening of [Payne's 2011 film] </i>The Descendants<i> over a decade ago: a combination of laughs, tears, and genuine investment.) </i>[October 20, 2023] </div></div></div><div><br /></div></div>B.E. Kerianhttp://www.blogger.com/profile/10731709676312668865noreply@blogger.com0tag:blogger.com,1999:blog-2099716515627453238.post-29158796558613830202023-12-30T07:53:00.000-08:002023-12-30T07:53:01.784-08:0021ST CENTURY ANIMÉ: The Films of Makoto Shinkai<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjglyD9MdbaMOOm1XZznlY-TnKWqlLl27CLMe7e_qd2KAuVGOkNF_kzbTHtxYMekZ1yZDY3JySTjTAV8vtdUkkwQ_HsKTwFzuWhv-_NaFRT0Z1RhGpLCq_p0MueLQTlmh2R5x3s4FC0niDEXVC33kOcAX5i7bmtjSp6wTvlGsV9iMfGGQyyx2cpgjFYsEf9/s700/IMG_1380.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="438" data-original-width="700" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjglyD9MdbaMOOm1XZznlY-TnKWqlLl27CLMe7e_qd2KAuVGOkNF_kzbTHtxYMekZ1yZDY3JySTjTAV8vtdUkkwQ_HsKTwFzuWhv-_NaFRT0Z1RhGpLCq_p0MueLQTlmh2R5x3s4FC0niDEXVC33kOcAX5i7bmtjSp6wTvlGsV9iMfGGQyyx2cpgjFYsEf9/w400-h250/IMG_1380.jpeg" width="400" /></a><br /><div><div><br /></div><div>WRITER’S NOTE: The following reviews were originally posted on my Instagram page @be.kerian in late-2022 and throughout 2023. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8cmoMs4NMbXUIYjYaNXAdNNiadI9hyphenhyphenP5Z1xtvIk6AKM3z_FI0dA6aY2y-fLjD5pTdoNnrvgM5mcuCAzHzBancykK2A3punI5dPvzIqnYJELx12toQGTuCBcBaxsFyO45acOtma1Rft10_DhKciM4Yqqkk8H8ZpRR8oWNIPcz1rZ2gAiTmKrvpWpGayBKj/s347/A4886-6.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="260" data-original-width="347" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8cmoMs4NMbXUIYjYaNXAdNNiadI9hyphenhyphenP5Z1xtvIk6AKM3z_FI0dA6aY2y-fLjD5pTdoNnrvgM5mcuCAzHzBancykK2A3punI5dPvzIqnYJELx12toQGTuCBcBaxsFyO45acOtma1Rft10_DhKciM4Yqqkk8H8ZpRR8oWNIPcz1rZ2gAiTmKrvpWpGayBKj/w320-h240/A4886-6.webp" width="320" /></a></div><div><div><b><i>Other Worlds</i></b> (1999) </div><div>An effective and engaging black-and-white montage about a young man and woman who question whether their relationship will work or not. At just 90 seconds in length—and in spite its rough animation—animé director Makato Shinkai’s trademarks (from his editing style to character close ups) are on full display here. Plus, it makes great use of music from “Satie: Gymnopédie No. 1.” </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjovZEBaVARLYCdTQOyONBabOgvevxRoClCiBJu4GLAcLmk4aseryw8JJeMm21penEeYPfbI3KBUePA8yMMYmEVJSKLseDa-D8ax7ajKXxFvPhTlR3odt5d4NdTXKfucJShFI8wt583E463YZ6ExwkvX2lqXFshEupYEVDwWEaeBI6VsT7BBhVDjQYRp2u/s500/A2814-8.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="375" data-original-width="500" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjovZEBaVARLYCdTQOyONBabOgvevxRoClCiBJu4GLAcLmk4aseryw8JJeMm21penEeYPfbI3KBUePA8yMMYmEVJSKLseDa-D8ax7ajKXxFvPhTlR3odt5d4NdTXKfucJShFI8wt583E463YZ6ExwkvX2lqXFshEupYEVDwWEaeBI6VsT7BBhVDjQYRp2u/w320-h240/A2814-8.webp" width="320" /></a></div><div><div><b><i>She and Her Cat: Their Standing Points</i></b> (1999) </div><div>That same year, Shinkai made this five-minute short (animated entirely in monochrome) about a pet cat and its female owner. A melancholic tale of romance and the change of seasons, told from the titular feline’s point of view, this detailed and captivating short is an immersive precursor to the career of one of our most original and daring voices in animé this century. </div></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHp4qNI0Wt9-DC9zjkicJfhRc0-0unb1gHRM4EXuxIKTR62x_C0tqxNy6bZARPU7gR2NxvQnbUQ1U7XdxqTsot0Cy-QakwZrDeDgK6UadzQrBox6TVMC6h2jbWqcQ2A2V04yHHvTutuT-s4wxbIWmSVaNKhPZMjVH4xf6ty3BslMYQopI8p2y2TgeOmzdy/s1087/voices-of-a-distant-star.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="892" data-original-width="1087" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHp4qNI0Wt9-DC9zjkicJfhRc0-0unb1gHRM4EXuxIKTR62x_C0tqxNy6bZARPU7gR2NxvQnbUQ1U7XdxqTsot0Cy-QakwZrDeDgK6UadzQrBox6TVMC6h2jbWqcQ2A2V04yHHvTutuT-s4wxbIWmSVaNKhPZMjVH4xf6ty3BslMYQopI8p2y2TgeOmzdy/w320-h263/voices-of-a-distant-star.jpg" width="320" /></a></div><div><div><b><i>Voices of a Distant Star</i></b> (2002) </div><div>Shinkai’s 25-minute short from 2002 is a genre-bending drama that combines a contemporary coming-of-age story with futuristic sci-fi. Centered on a long-distance relationship, including a teenage girl who takes part in an outer space mission, some of the character animation and designs are a little off-putting. But the concept is intriguing, as are themes of memory, missed opportunities, and time. This short helped set a template for the metaphysical and ambitious trademarks that would shape the young director’s career to come. It had never been seen by Western audiences until it debuted on the Blu-ray editions of Shinkai’s film, <i>5 Centimeters Per Second</i>, in recent years. </div></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF37AAFRjX-RabSUEwCU0sUsZi0G3s7NOu_4qyAMomVPEicxF85qCfyr0JFuM9iuz6Al06_G8OLFrsSB6g54N1of5qbMkxQPCF_o12J86yvLfXu5jhkvSyyfWP173VZVnGahj0u5k0vIEaZqtQKvOt0lHkB4Uog9rVkh824KhHe-D1yR2GAEXkdA6r_WlS/s400/A3205-14.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="400" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF37AAFRjX-RabSUEwCU0sUsZi0G3s7NOu_4qyAMomVPEicxF85qCfyr0JFuM9iuz6Al06_G8OLFrsSB6g54N1of5qbMkxQPCF_o12J86yvLfXu5jhkvSyyfWP173VZVnGahj0u5k0vIEaZqtQKvOt0lHkB4Uog9rVkh824KhHe-D1yR2GAEXkdA6r_WlS/w320-h288/A3205-14.jpg" width="320" /></a></div><div><b><i>Egao</i></b> (2003) </div><div>This two-and-a-half music video for artist Hiromi Iwasaki’s song, <i>Egao</i>, centers on a girl and her pet hamster. (The artist must have been inspired by <i>She and Her Cat</i>.) Colorful, bright, and quietly emotional, this short also highlights themes of loneliness and companionship. </div></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsKDLi5bXsNwVPdp_7tel0CwxwvGIdfobII-rIECdHXtDv1ugKwtxpzoX53HawtWeGGshaiMvr-PqJPySAGPkgjt3s1FbJww_QhoAeyYbpfLm0L1T67d896lxcGG6lWZf6eixRuIMv3p6O8elXUmv-qYblMoP-YhGxwHjfLOhiHKh3sA0xvkjIEwXIuSxJ/s1200/place-promised-in-our-early-days.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsKDLi5bXsNwVPdp_7tel0CwxwvGIdfobII-rIECdHXtDv1ugKwtxpzoX53HawtWeGGshaiMvr-PqJPySAGPkgjt3s1FbJww_QhoAeyYbpfLm0L1T67d896lxcGG6lWZf6eixRuIMv3p6O8elXUmv-qYblMoP-YhGxwHjfLOhiHKh3sA0xvkjIEwXIuSxJ/w400-h225/place-promised-in-our-early-days.webp" width="400" /></a></div><div><b><i>The Place Promised In Our Early Days</i></b> (2004) </div><div><div>Set in an alternate post-war Japan, three teenage friends (Hiroki, Takuya, and Sayuri) plan to build an aircraft to someday visit a mysterious tower that connects directly to the sky. Years later, the tower ignites, and one of the friends (Sayuri) may be the only one to stop Earth from becoming an alternate dimension. </div><div><br /></div><div>The directorial feature film debut of Shinkai, <i>The Place Promised In Our Early Days</i> contemplates dreams of the past, how things could have been, and what could be in an ever-changing world. It takes some cues from Shinkai’s previous short, <i>Voices From a Distant Star</i> (space stations, long-distance relationships), and visually predates a subsequent Shinkai project (breathtaking sky views, the passage of time, romanticism). </div><div><br /></div><div>More importantly, this is a slow-burning drama about loneliness, as well as fear and hope. Featuring strong characters, a political undercurrent, violin and train track motifs, and a breathless climax, <i>Place Promised</i> is a daring sci-fi piece that blurs the line—at least for one character—between what is real and what is a dream, as well as persevering over time. </div></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoMnqQhlZvWBrvdEmgXOmWOKtC8phO_Kutec7WUg2MPu3AY4dLd3KrSG4lIeZrYMsf4DEFjEzmDmgmQBoCMGjO3KLcEk04bFtkX3dJmxbtLwM0PCp9t90hadzBWL-081yo7oN1VMGIrR-O5SuJWl8MwV1spwQppg0BtKkZ6ZiGo-_5N8aAens3FUBTHij_/s1920/5cms03.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoMnqQhlZvWBrvdEmgXOmWOKtC8phO_Kutec7WUg2MPu3AY4dLd3KrSG4lIeZrYMsf4DEFjEzmDmgmQBoCMGjO3KLcEk04bFtkX3dJmxbtLwM0PCp9t90hadzBWL-081yo7oN1VMGIrR-O5SuJWl8MwV1spwQppg0BtKkZ6ZiGo-_5N8aAens3FUBTHij_/w400-h225/5cms03.webp" width="400" /></a></div><div><div><b><i>5 Centimeters Per Second</i></b> (2007) </div><div>Told in three vignettes, this 63-minute feature follows two young adults as they grapple with love, memories, missed opportunities, and heartache. Using the speed of falling cherry blossoms as a visual metaphor (and where the film’s title comes from), the stories follow Takaki and Akari as they communicate through letters and text messages while navigating new cities, schools, relationships, work, and life. (Trains, rocket ships, snow, and even the passage of time itself, serve as other forms of visual poetry.) And yet, they struggle with sharing their true feelings for each other. </div><div><br /></div><div>Filled with captivating scenery, atmospheric sound and editing, a beautiful score, and melancholic emotion, <i>5 Centimeters Per Second: A Chain of Short Stories About Their Distance</i> is an amazing and moving work of art. Not to mention a high point in Makato Shinkai’s distinct career. It’s also a rare occasion where a series of shorts (or so it seems) collectively and brilliantly work in feature film format. And as a bittersweet coming-of-age drama, it’s a rare piece of animé that, according to its writer-director, doesn’t rely on elements of fantasy or science-fiction. </div></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcqbB2eyBPjAtAzQTejWyQpZMtf1sP-MO7sfWRgtOJRypdA0uXlohyphenhyphenhnHiMfCQgbad_ou5BAOEqAk9ypHGd3PE3F_WFKsGb7BjXGV2eOlVMI5b_kyhXSDe87h3MZg0_fDimhk00TH8jUBgVMQSHjY7XuEVIyX07SVZKSnqRbik5y_efMZtjQ90OAmppNru/s750/image.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="422" data-original-width="750" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcqbB2eyBPjAtAzQTejWyQpZMtf1sP-MO7sfWRgtOJRypdA0uXlohyphenhyphenhnHiMfCQgbad_ou5BAOEqAk9ypHGd3PE3F_WFKsGb7BjXGV2eOlVMI5b_kyhXSDe87h3MZg0_fDimhk00TH8jUBgVMQSHjY7XuEVIyX07SVZKSnqRbik5y_efMZtjQ90OAmppNru/w400-h225/image.jpg" width="400" /></a></div><div><div><i><b>Children Who Chase Lost Voices</b></i> (2011) </div><div>Shinkai sort of when against type with this story of a teenage girl who lives with her widowed and workaholic mother, but still coping with the recent loss of her father. The young Asuna spends most of her time alone, doing housework, and listening to her father’s crystal radio. One day, strange and inexplicable radio signals and messages lead her into a world where monsters roam and where the dead can be brought back to life—but at a terrible cost.</div><div><br /></div><div><i>Children Who Chase Lost Voices From Deep Below</i> starts out well enough, with compelling character arcs (including the mysterious Shen, stray cat Mimi, and substitute school teacher Mr. Morisaki, with his own hidden motives), breathtaking images of the stars and cosmos, familial relationships set against a mythological backdrop, and a heart-pounding score. It also displays strong themes of life, loss, death, grief, and resurrection. (The English dub is exceptional.) </div><div><br /></div><div>The thing is, the film does so through a Gnostic—and often pessimistic—worldview, and through some violent and grotesque imagery. Especially during its second half, it also borrows heavily from previous Studio Ghibli entries like <i>Castle in the Sky</i>, <i>Princess Mononoke</i>, and <i>Tales From Earthsea</i>, making the film seem more like a knockoff than an original story. It goes to show that some story beats are not worth chasing more than once. </div></div><div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7QqEiKXYPsowyxC9GAC8I7NrUXmPm6A77bgbVahEmU0tW64OsxAV5BIWrQDd2mBDzn3GO8XeJDF0HoVbEgm7INQqWb_EwYKD4SGJtRYf0XK9_2AJjPISeWhmYeI2lG3o5zHb1XO0nR1RE7AfHAn5V6fJPC1GpDGivbUr8_uoqjHGxPSWOFWlL0Lz7LcUX/s1200/1_D3ZI-bCI5rrQUmV3kphxqA.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7QqEiKXYPsowyxC9GAC8I7NrUXmPm6A77bgbVahEmU0tW64OsxAV5BIWrQDd2mBDzn3GO8XeJDF0HoVbEgm7INQqWb_EwYKD4SGJtRYf0XK9_2AJjPISeWhmYeI2lG3o5zHb1XO0nR1RE7AfHAn5V6fJPC1GpDGivbUr8_uoqjHGxPSWOFWlL0Lz7LcUX/w400-h225/1_D3ZI-bCI5rrQUmV3kphxqA.jpg" width="400" /></a></div><div><div><i><b>The Garden of Words</b></i> (2013) </div><div>A young high schooler strikes up a relationship with an older woman when he skips school one rainy day to do some sketching in the city garden. That’s the basic premise of Makoto Shinkai’s 45-minute drama, declared by some as one of the most beautifully animated films ever made. And it’s easy to see why. </div><div><br /></div><div>The animation of nature, weather, and sketching is meticulous and fitting for the story’s visual poetry involving rain, loneliness, and mystery. The character arcs of aspiring shoemaker Takao and the not-quite-mature Yukimo are compelling and layered, as they represent two strangers in their own worlds but share feelings of loneliness and uncertainty. And Daisuke Kashiwa’s score is melancholic and introspective. </div><div><br /></div><div>The thing is, none of those elements can make up for the fact that Takao is 15 and Yukimo is 27. While the story doesn’t feature anything graphic, some scenes (including a foot-measuring bit) are nevertheless problematic—a fact that, to be fair, is brought up by at least one brutally honest character. (The English dub, sadly, features a few harsh profanities, including one f-bomb.) Yes, the garden is lovely, but it’s better to walk in it with maturity over fleeting emotions. </div></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3j7iaT7M4dUAHsWqgmemLGxTlbX6BbBV_zdwUtsKhFWH60gfqLgIRiNM5KA0Ym7eYgFx7eratDjlN1r1VCKfKT2n9o-b0iyTMM0ajYagmjlJMQiYSu41Nge0wNgKd9qrQiC7iTo7tfG-paalwXOXJGL6Xo7G30h5SWkT41ISEdHVV1O9dEiN0yjyVlx2N/s1888/MV5BYjBlZDRlOGMtOTRhNi00MjMzLTg3MjctNjNhN2JlMjQzY2VhXkEyXkFqcGdeQXVyNTc0NjY1ODk@._V1_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1056" data-original-width="1888" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3j7iaT7M4dUAHsWqgmemLGxTlbX6BbBV_zdwUtsKhFWH60gfqLgIRiNM5KA0Ym7eYgFx7eratDjlN1r1VCKfKT2n9o-b0iyTMM0ajYagmjlJMQiYSu41Nge0wNgKd9qrQiC7iTo7tfG-paalwXOXJGL6Xo7G30h5SWkT41ISEdHVV1O9dEiN0yjyVlx2N/w400-h224/MV5BYjBlZDRlOGMtOTRhNi00MjMzLTg3MjctNjNhN2JlMjQzY2VhXkEyXkFqcGdeQXVyNTc0NjY1ODk@._V1_.jpg" width="400" /></a></div><div><div><b><i>Someone’s Gaze</i></b> (2013) </div><div>Released the same year as <i>The Garden of Words</i>, this seven-minute short was part of the “Proud Future Theater” collection when it screened during that year’s festival circuit. A bittersweet portrait of parent-child relationships, <i>Someone’s Gaze</i> is a profound and moving story (set in the future?) about loneliness and companionship, centered on a young woman, her father, and their pet cat. One of Shinkai’s best. </div></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOPCMoAEwvBL12qIFZnloBmALBy_1eRpp3FoRz8TtWQzNsWcU9iUaIxFX0LnHafuNTnzUXy86gsFHcV6Jwt9W8Y0VoNUNCwHdYgWk81YBi7w8uOCuJGPUtZbtMrEKhCtPz_8A4rLJ5a5Mf-lyzcnDuu5V4ZVV8r9okME9NAON4tEvehneJEpna7gM_OStu/s736/77001ebbd3f519fca015a0d7fd2c86d1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="414" data-original-width="736" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOPCMoAEwvBL12qIFZnloBmALBy_1eRpp3FoRz8TtWQzNsWcU9iUaIxFX0LnHafuNTnzUXy86gsFHcV6Jwt9W8Y0VoNUNCwHdYgWk81YBi7w8uOCuJGPUtZbtMrEKhCtPz_8A4rLJ5a5Mf-lyzcnDuu5V4ZVV8r9okME9NAON4tEvehneJEpna7gM_OStu/w400-h225/77001ebbd3f519fca015a0d7fd2c86d1.jpg" width="400" /></a></div><div><div><b><i>Cross Road</i></b> (2014) </div><div>A quick, 2-minute montage that could easily be adapted and expanded into a feature film, <i>Cross Road</i> follows a boy and girl whose lives intersect as they each prepare for their college entrance exams. The short predates 2016’s <i>Your Name.</i> as far as intercut storylines, but <i>Cross Road</i> is more about two people who want to get out of their hometowns and out into the world. Effectively set to Nagi Yanagi’s music track of the same name. </div></div></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz1gpE14is3qkRZw9ZOb4QTWQFlwNskeGJavxioV_A_Qb7PHLPkUvpavsI_EGaha5UJTt50Ul6ooOhgnGou6AGjuzvXf9rmXlVOs0DcfFlKUdPiaFoURl7Zo5bAVZD_hQwe87W67ybcwzk4w9K5w8lLb8VdVx60mYVf33K0xE_V20YaNlvD3eaR_SnqKTS/s1000/your-name-2.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="1000" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz1gpE14is3qkRZw9ZOb4QTWQFlwNskeGJavxioV_A_Qb7PHLPkUvpavsI_EGaha5UJTt50Ul6ooOhgnGou6AGjuzvXf9rmXlVOs0DcfFlKUdPiaFoURl7Zo5bAVZD_hQwe87W67ybcwzk4w9K5w8lLb8VdVx60mYVf33K0xE_V20YaNlvD3eaR_SnqKTS/w400-h225/your-name-2.webp" width="400" /></a></div><div><div><b><i>Your Name. </i></b>(2016) </div><div>Makoto Shinkai's breakout feature is an impressionistic and challenging coming-of-age feature. <i>Your Name.</i> follows a teenage boy in Tokyo and a teenage girl in Itomori (a.k.a. Hida) who miraculously switch bodies at random, with a strange comet apparently at the center of it. Part of <i>Your Name. </i>consists of a series of montages (the prologue feels like a music video), as main characters Mitsuha and Taki learn about each other, lay down ground rules to protect their lifestyles (easier said than done), and ultimately look for each other, despite being separated in more ways than one. </div><div><br /></div><div>State-of-the-art animé and an ambitious story of memory, time, fate, and human connection, have made this film a standout in recent years (including IMDb's "Top 250"). Shinkai reveals jaw-dropping plot twists halfway through, where the film is at its strongest. It also integrates real-life natural disasters from Japan's recent history (a trademark Shinkai would revisit for his next films). At the same time, <i>Your Name.</i> represents Eastern spirituality and philosophy, not to mention secular views regarding changing the past and the future. Even the writer-director reportedly considered the final film to be "incomplete [and] unbalanced."</div></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxGHXgjvBReQArG1LDL4yd5GYvrw5CbtiS1vz6nGIxhwesYDCjSMPjqqVQa2591SDE2g1AzRq9ND1eMtCK3ptMbDGFiicwqYGATDqNF5_8OCB6Dg4dLAp0_WrCXpdteMe1tbZ6cyOkiuBSmsD7rBFEshiMYe0eAUF9FpGA4kM_tKwzGLh8d-k3ohZ9a6Wh/s1920/merlin_166850511_c7658d27-a37d-46cc-9b14-8c7eb44ec7e6-superJumbo.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxGHXgjvBReQArG1LDL4yd5GYvrw5CbtiS1vz6nGIxhwesYDCjSMPjqqVQa2591SDE2g1AzRq9ND1eMtCK3ptMbDGFiicwqYGATDqNF5_8OCB6Dg4dLAp0_WrCXpdteMe1tbZ6cyOkiuBSmsD7rBFEshiMYe0eAUF9FpGA4kM_tKwzGLh8d-k3ohZ9a6Wh/w400-h225/merlin_166850511_c7658d27-a37d-46cc-9b14-8c7eb44ec7e6-superJumbo.jpg" width="400" /></a></div><div><div><b><i>Weathering With You</i></b> (2019) </div><div>In this coming-of-age story, a teenage boy named Hodaka runs away to Tokyo (where it apparently rains all the time), finds work at a small magazine editing company, and meets and falls for a teenage girl named Hira, who has the miraculous ability to control the weather and bring sunshine. Talk about a fish out of water, or a stranger in a strange land, so to speak. Shinkai continues his ambitious filmmaking with sharp montage editing, deep themes (some centered around adolescent romance), and state-of-the-art production design. </div><div><br /></div><div>Unlike his previous film, <i>Weathering of You</i> deals with more mature subject matter, including economic struggles, sexuality (i.e., some references to prostitution are present, as are other suggestive references and images), secrets, spirituality (New Age philosophy?), and scenes of drinking, smoking, and gunplay. J.D. Salinger's acclaimed and controversial novel, <i>The Catcher in the Rye</i>, even makes an appearance. So while the film is amazing to look at, its overall story shines a light on characters searching for meaning and purpose, but going about it in rebellious and/or illegal ways.</div></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUXdSiv6sB97BnNxiQrAJJCHUXdYA-rXvQeLMJAUhzp3irCRz5kZa3lu2y0U4YUGDq8Z_IblTai_405PShI-YYvkPw10H4MW5QtjwZlyvi2jwQXdMfp9pUzYO7ctz-3dSKRhnozIimeW-DgSoFXnznszEr2HlE1evN7xN_8DWGqfMC8CNMgcj4PhW5uyzm/s1296/202307156_1-H-2023.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="1296" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUXdSiv6sB97BnNxiQrAJJCHUXdYA-rXvQeLMJAUhzp3irCRz5kZa3lu2y0U4YUGDq8Z_IblTai_405PShI-YYvkPw10H4MW5QtjwZlyvi2jwQXdMfp9pUzYO7ctz-3dSKRhnozIimeW-DgSoFXnznszEr2HlE1evN7xN_8DWGqfMC8CNMgcj4PhW5uyzm/w400-h225/202307156_1-H-2023.webp" width="400" /></a></div><div><div><b><i>Suzume </i></b>(2022) </div><div>Another ambitious and incredible animé feature from Shinkai, <i>Suzume</i> follows the titular high school teenager who discovers doors around Japan that bring forth destruction. Along the way, she meets a mysterious young man, named Souta, on his own quest to find the same doors, as well as a mischievous cat that curses the heroic Souta by turning him into a toy chair. </div><div><br /></div><div>This latter element is one of many subversive choices throughout this surprising and gripping coming-of-age story, which opens with a bang and never lets go. (At least one later scene carries a genuine sense of vertigo.) Apparently set during the COVID-19 pandemic, <i>Suzume </i>is also a cross country road trip adventure about friendship, geographical history, connection (Shinkai's films feature characters interacting on, or habitually using, social media), sacrifice, and reconciliation. The attention-to-detail and personality in the animation is superb, and the score by Radwimps and Kazuma Jinnouchi is an emotional roller-coaster--fitting for such a genre-bending piece. </div><div><br /></div><div>A few references to older Studio Ghibli films are peppered throughout, including the same track from the opening credits of <i>Kiki's Delivery Service</i>. Plus, the imagery of a little girl in a mysterious field, as well as forgotten communities in ruins (a reflection of real-life natural disasters that have occurred in Japan) and glimpses of a spiritual dimension, are poetic, powerful, and profound. A standout film released in North America in 2023. </div></div></div>B.E. Kerianhttp://www.blogger.com/profile/10731709676312668865noreply@blogger.com0tag:blogger.com,1999:blog-2099716515627453238.post-12593259702964999442023-12-18T09:54:00.000-08:002023-12-18T09:54:50.118-08:00REVIEW: “The Boy and the Heron” (2023)<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3h_2L7ozvqjBUJctlia2o4FqHJIjy9LOl1tof33-eZYT2A-pEVBCkpi2xMQbghEM6xz1zAgl9a4l6KrNIGC7_yvlK4pYyOcmGAlrHNmcmn5f31STqnVvYFycwlxX7uNGL8t-meZLELK3HOBI4sDhnbpsC6xcR6wP976oMrYl85lqJjFaRV35jOaxiDFsl/s1361/IMG_1352.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1361" data-original-width="960" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3h_2L7ozvqjBUJctlia2o4FqHJIjy9LOl1tof33-eZYT2A-pEVBCkpi2xMQbghEM6xz1zAgl9a4l6KrNIGC7_yvlK4pYyOcmGAlrHNmcmn5f31STqnVvYFycwlxX7uNGL8t-meZLELK3HOBI4sDhnbpsC6xcR6wP976oMrYl85lqJjFaRV35jOaxiDFsl/w283-h400/IMG_1352.jpeg" width="283" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Teaser poster for Japan release in July 2023</span></td></tr></tbody></table><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 17px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-size-adjust: auto;"><br /><span style="font-family: times;"><span style="font-size: 17px;">Hayao Miyazaki </span></span><span style="font-family: times;"><span style="font-size: 17px;">has, on more than one occasion, declared he would retire from making anime feature films. In 2013, he publicly made it official. Or so he thought. You see, Miyazaki almost always manages to go back on that statement and deliver more brilliant projects through his company Studio Ghibli. <i>The Boy and the Heron</i> may be his most ambitious and personal film to date. Having been in development and production since 2017, it's the one film I've been anticipating all year, out of any other theatrical release. </span></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 17px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-size-adjust: auto;"><span style="font-family: times;"><span style="font-size: 17px;"><br /></span></span><span style="font-family: times;"><span style="font-size: 17px;">When it premiered in Japanese movie theaters back in July (under the original title, How Do You Live?), Ghibli did the unthinkable: they didn’t release any trailers or interviews or marketing in general, other than one mysterious poster. </span></span><span style="font-family: times;"><span style="font-size: 17px;">Word-of-mouth has since ranged from mixed reactions to many immediately hailing Miyazaki’s latest as another masterpiece. Personally, </span></span><span style="font-family: times; font-size: 17px;">I wanted to know as little about it going in. But, being the avid IMDb user that I am, I couldn’t resist certain spoiler-free articles or photos online. But only a little, I think.) Then, w</span><span style="font-family: times; font-size: 17px;">hen the first trailer for the North American release premiered (along with the announcement that <a href="https://www.msn.com/en-us/movies/news/how-hayao-miyazakis-boy-and-the-heron-became-studio-ghiblis-first-imax-release/ar-AA1l6LSy">the film would be screened in IMAX, a first for Ghibli</a>), my jaw dropped. It was different than what I was expecting, but I was still excited. </span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 17px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-size-adjust: auto;"><span style="font-family: times;"><br /></span><span style="font-family: times;">The film’s summary is as follows. <span>Traumatized by the death of his mother during the Second World War and now living with his father and pregnant stepmother in the countryside, a lonely boy named Mahito encounters a mysterious and mischievous gray heron that soon leads him on a journey to a fantastical world to find the boy’s deceased mother, who may still be alive. </span></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 17px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-size-adjust: auto;"><span style="font-family: times;"><br /></span><span class="s2" style="font-family: times;"><a href="https://www.youtube.com/watch?v=6gQTZMG-sZg">According to director Guillermo del Toro, while presenting the film at the 2023 Toronto International Film Festival</a>, <i>The Boy and the Heron</i> (a title that actually makes more poetic sense in retrospect) has a different tempo than Miyazaki’s previous work. Filled with quiet drama and empathy, you can’t really predict where this story (organically constructed and executed) is going to go. Nevertheless, <a href="https://www.bbc.com/culture/article/20231208-the-boy-and-the-heron-inside-the-dark-heart-of-studio-ghibils-latest-animated-masterpiece">this independently-produced feature (another first for Ghibli)</a> will test the patience of some viewers, especially during the first half-hour of its 124-minute runtime (hence, one reason for the PG-13 rating in the U.S.). </span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 17px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-size-adjust: auto;"><span style="font-family: times;"><br /></span><span class="s2" style="font-family: times;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEz7MuBKPZNnbNEPq45eBSYBncWaJBq6eC3mb4B_Eb2RCvbrJ7j-0bG5_ua31aVz-J-fPb3yPsmE85XJ2_nNtBqSDBOWcrDxxOcA3XufardPNREWRU3tpluGoSU76n_OiA-WwDCRYYL2WiHi16keZp7pEs5BY3y18S_EB85I00HEiiK39xzjUYCqdzoqIN/s2194/IMG_1353.jpeg" style="margin-left: auto; margin-right: auto;"><span style="font-family: times;"><img border="0" data-original-height="2194" data-original-width="1500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEz7MuBKPZNnbNEPq45eBSYBncWaJBq6eC3mb4B_Eb2RCvbrJ7j-0bG5_ua31aVz-J-fPb3yPsmE85XJ2_nNtBqSDBOWcrDxxOcA3XufardPNREWRU3tpluGoSU76n_OiA-WwDCRYYL2WiHi16keZp7pEs5BY3y18S_EB85I00HEiiK39xzjUYCqdzoqIN/w274-h400/IMG_1353.jpeg" width="274" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: times;">Poster for the North American release in December 2023</span></td></tr></tbody></table></span><span style="font-family: times;"><br /></span><span class="s2" style="font-family: times;">Mahito’s name means, “sincere one.” Ironic, considering the story’s themes of deception and truth. That being said, it’s hard to tell what is real and what isn’t. But it is thoroughly engrossing and stays with you. Some of the animation is expressionistic, particularly the harrowing opening sequence (which reminds me of Isao Takahata’s <i>Tale of the Princess Kaguya</i>), while the heron itself possesses freaky human teeth. As for the aforementioned realm, is it “a kingdom free from malice,” or just a dream/fantasy that isn’t what it seems (like Alice falling down the rabbit hole)? Is it a choice between eternity and the world? Being stuck in the past versus looking ahead to the future? Either way, this is a story about new beginnings, the challenges of letting go of escapism and creation, and dealing with reality. </span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 17px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-size-adjust: auto;"><span style="font-family: times;"><br /></span><span class="s2" style="font-family: times;">A few story elements recall previous Miyazaki/Ghibli entries (<i>My Neighbor Totoro</i> and <i>Grave of the Fireflies</i>, for example) and even Makato Shinkai’s 2013 entry, <i>Children Who Chase Lost Voices</i>. But for the most part, this is different than anything Miyazaki has ever done before. </span><span style="font-family: times;">This time, his trademark of flight is expressed through birds, while images of paper creatures, melting bodies, and glowing doorways will leave you speechless. </span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 17px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-size-adjust: auto;"><span style="font-family: times;"><br /></span><span class="s2" style="font-family: times;">With a great and moving score by longtime collaborator Joe Hisaishi, <i>The Boy and the Heron</i> is a contemplative piece of cinema, if not one of Miyazaki's greatest. It’s certainly one of his most enigmatic, and an undeniable masterpiece. <a href="https://screenrant.com/boy-heron-not-miyazaki-last-movie-ghibli/#:~:text=That%20being%20said%2C%20it%20appears%20that%20didn%E2%80%99t%20stick%2C,and%20is%20already%20coming%20up%20with%20new%20ideas.">If not the reported swan song of his filmography (again)</a>, it could itself be a new beginning, from one generation to the next. </span></div>B.E. Kerianhttp://www.blogger.com/profile/10731709676312668865noreply@blogger.com0tag:blogger.com,1999:blog-2099716515627453238.post-53754106040432378412023-07-06T12:04:00.000-07:002023-07-06T12:04:11.517-07:00EXTENDED REVIEW: "Spider-Man: Across the Spider-Verse" (2023) <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZRxMbuI8xoUWV4q_l5DKPPSfZtGHU9FnxnOBC4sOn9G6UjDIlPTiJONwDzdrC5Gz5Rc2FDzWpwqlA3CgWXSgV_hPJK24DfZ-_IGeih5t1os7GMmkWwkxIxfUUVYw2xRHC5i_K_HQU20rSX8SNb7RqHpQydNk6S1gfQE2BsJhJ29r9E738XNpYnbIQ0cRY/s2000/spiderverseextendedposter.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1000" data-original-width="2000" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZRxMbuI8xoUWV4q_l5DKPPSfZtGHU9FnxnOBC4sOn9G6UjDIlPTiJONwDzdrC5Gz5Rc2FDzWpwqlA3CgWXSgV_hPJK24DfZ-_IGeih5t1os7GMmkWwkxIxfUUVYw2xRHC5i_K_HQU20rSX8SNb7RqHpQydNk6S1gfQE2BsJhJ29r9E738XNpYnbIQ0cRY/w400-h200/spiderverseextendedposter.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Courtesy Sony 2023</span></td></tr></tbody></table><div><br /></div><div><i>WRITER'S NOTE: The following was originally posted on my Instagram page @be.kerian on June 4, 2023. </i><br /><div><br /></div><div>Once in a blue moon, an animated feature comes along that changes the course of the medium moving forward. Walt Disney did this several times, with his inaugural <i>Snow White</i> (1937), followed by <i>Fantasia</i> (1940) and <i>One Hundred and One Dalmatians</i> (1961), to name a few. UPA experimented with different techniques for their countless short films, including <i>Gerald McBoing Boing</i> (1950). And let's not forget the cutting-edge animation combined with live-action in <i>Who Framed Roger Rabbit</i> (1988), the stop-motion effects of <i>The Nightmare Before Christmas</i> (1993), and the computer animation of Pixar's <i>Toy Story</i> (1995). </div><div><br /></div><div>On the flip side, there are two kinds of superhero films (and films in general): those that follow a conventional and/or predictable narrative, and those that are subversive and take unexpected detours. Most films land under the former category. But Sony Animation's <i>Spider-Verse</i> franchise isn't most films. If 2018's <i>Spider-Man: Into the Spider-Verse</i> represented a living comic-book (blending 2D and 3D effects), then <a href="https://www.youtube.com/watch?v=cqGjhVJWtEg">the 2023 follow-up, <i>Across the Spider-Verse</i></a>, blows the roof off of the entire animation medium. Watching this explosion of color, creativity, imagination, artistry, and a powerful story, I can't help but wonder how many screenplay drafts and concept art the filmmakers went through to get to the final cut. </div><div><br /></div><div>More importantly, this darker chapter never sacrifices its beating heart under all the spectacle. And believe me, there's a lot of insane spectacle, not to mention several frenetic, mind-blowing action sequences that happen fast. (The film is not recommended for audiences with photo-sensitivities and epilepsy.) Standout new characters include a "Mumbattan" (Mumbai and Manhattan combined) resident Pavitr Prabhakar (voiced by Karan Soni), British punk rocker Hobie Brown (voiced by Daniel Kaluuya), and Peter B. Parker's infant daughter Mayday. The pregnant Jessica Drew (voiced by Issa Rae) is also cool. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVIGsHXf5F-IVc9JPW_ApqZHNKqG-61aq3DqBCMmKQwmhw1U0zK2LcNxdz7gxImBTkgeaeHR6JtFtL524YEDDaTQ1Kxu0BmIIDSKxUjYZzDdtM0GqINpuqkYazFszeCOPnGPb1GuSgC1nGhvEeJyE-wOJHOX8HjmEB8Z3lrDReHwNTRJDYuAfEBeNdkF2i/s1600/s-l1600.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1079" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVIGsHXf5F-IVc9JPW_ApqZHNKqG-61aq3DqBCMmKQwmhw1U0zK2LcNxdz7gxImBTkgeaeHR6JtFtL524YEDDaTQ1Kxu0BmIIDSKxUjYZzDdtM0GqINpuqkYazFszeCOPnGPb1GuSgC1nGhvEeJyE-wOJHOX8HjmEB8Z3lrDReHwNTRJDYuAfEBeNdkF2i/w270-h400/s-l1600.jpg" width="270" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Courtesy Sony 2023</span></td></tr></tbody></table><div><br /></div><div>But <i>Across the Spider-Verse</i> is really about the continuing stories of teenagers Miles Morales (voiced by Shameik Moore) and Gwen Stacy (voiced by Hailee Steinfeld), each struggling back in their own dimensions and trying to make sense of their respective realities, secret identities, and responsibilities. But when a mysterious supervillain, known as the Spot (voiced by Jason Schwartzman), shows up in Miles' world and Miles soon discovers a portal to a multiverse where literally every version of Spider-Man lives (including the pessimistic and futuristic Miguel O'Hara, voiced by Oscar Isaac) . . . Let's just say we're in for a wild ride. (And this is only the first-half of a reported two-part story arc a la <i>Infinity War</i> and <i>Endgame</i>, complete with a gut-punch of a cliffhanger. <a href="https://www.youtube.com/watch?v=k4AtwerA0iM"><i>Beyond the Spider-Verse</i> is scheduled for release next spring</a>.)</div><div><br /></div><div>The story also emphasizes how difficult being a parent can be (whether we're talking about Captain Stacy, or Jefferson Davis and Rio Morales), and just as well for being part of an immigrant family (Miles is Afro-Latino). Other themes include fate, destiny, disappointment, and the consequences of certain choices and/or mistakes. "I can do all these things," laments one character, "and I can't help the people I love the most." I also found a familiar theme that unintentionally calls back to <a href="https://reelmeans.blogspot.com/2021/07/writers-cut-will-89-batman-please-stand.html">1989's <i>Batman</i></a>: does the villain make the hero, or does the hero make the villain? </div></div><div><div><br /></div><div>The folks at Sony Animation have really outdone themselves by creating new software and technology to further blend the mediums of hand-drawn and computer animation, given the film's highly-ambitious and complicated narrative. And there are, no doubt, clever appearances galore, as well as powerful hero moments. This is proof that animation is not only art, but also very cinematic and deep. (Did I mention dope as well?) For younger kids, however, this isn't a recommended pic due to its heavy drama, knuckle-punching action, and surprising language choices. Parents should also be aware of a couple of blink-and-you'll-miss-them images related to LGBTQ topics (a poster over a bedroom door reads, "Protect Trans Kids," and a Pride pin is on an officer's jacket). This makes me wonder if there's some kind of agenda going on underneath all this. (Read more about these elements <a href="https://www.pluggedin.com/blog/responding-to-the-spider-gwen-trans-conversation/">here</a>.) For everyone else, this will most likely be one of 2023's standout pics by the end of the year.</div></div>B.E. Kerianhttp://www.blogger.com/profile/10731709676312668865noreply@blogger.com0tag:blogger.com,1999:blog-2099716515627453238.post-42614004906792820122023-07-06T12:00:00.001-07:002023-07-07T12:53:23.458-07:00REVIEW COLLECTION: The Nolan Files, Part II<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgehWNxBf1RdYn825Aihr1buh_eRwRPM4m9_bDNnuoXnYqZzQavJIRQTh8JULFJxhlvRWepyC0DqrzAYdDM9PH3bHyhkv59uF5fWGBv8A2N76d1Z0iLPTqwgAWjFsftINKECEejtTYPhwokBAVQyPuvjfCHakSxqzoaU78q8pKeAeqz6LEbb0aZt8xQdw/s585/1231cb456c5e68f1f89cf858d46521b8.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="390" data-original-width="585" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgehWNxBf1RdYn825Aihr1buh_eRwRPM4m9_bDNnuoXnYqZzQavJIRQTh8JULFJxhlvRWepyC0DqrzAYdDM9PH3bHyhkv59uF5fWGBv8A2N76d1Z0iLPTqwgAWjFsftINKECEejtTYPhwokBAVQyPuvjfCHakSxqzoaU78q8pKeAeqz6LEbb0aZt8xQdw/w400-h266/1231cb456c5e68f1f89cf858d46521b8.jpg" width="400" /></a></div><div><br /></div><div><i>WRITER'S NOTE: The following reviews were originally posted on my Instagram page @be.kerian in July of 2023. </i>The Dark Knight Rises<i> is not included, as that's in a category of its own. (Read more <a href="https://reelmeans.blogspot.com/2021/08/writers-cut-why-do-we-fall-or-in-depth.html?m=0">here</a>.) </i></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsaEQqDkGJhe5Q_y1oshoSXPnKlfDWU0VneRXXQh3keZP5dINbrIcCfFkmCa7odnuS-PinvkHF9RgV93C_md9KtiGnjmKbWHcMdIMCR7Q8PAW9SH3jUeOLsGAMQKH7KeeBvRdb1zke7WFvIFruHDzGZwKLvBCdW8T7ik2PxYSKFqePGr7nwNgZJrGMQByg/s619/WLmAXo@facebook.gif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="258" data-original-width="619" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsaEQqDkGJhe5Q_y1oshoSXPnKlfDWU0VneRXXQh3keZP5dINbrIcCfFkmCa7odnuS-PinvkHF9RgV93C_md9KtiGnjmKbWHcMdIMCR7Q8PAW9SH3jUeOLsGAMQKH7KeeBvRdb1zke7WFvIFruHDzGZwKLvBCdW8T7ik2PxYSKFqePGr7nwNgZJrGMQByg/w400-h166/WLmAXo@facebook.gif" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Courtesy WB 2010</span></td></tr></tbody></table><div><a href="https://www.youtube.com/watch?v=YoHD9XEInc0"><b><i>Inception</i></b> (2010)</a> </div><div><div>On the heels of the blockbuster success that was <i>The Dark Knight</i>, Christopher Nolan opened the decade with an original concept he had been developing for ten years: a heist thriller set inside people's dreams. Leonardo DiCaprio (in his first major box-office release since <i>Titanic</i>) leads an all-star cast, as expert thief Cobb, who accepts a job offer to clear his criminal record and reunite with his family. For this mission, instead of stealing an idea from his subject's conscience, he has to plant one inside the mind of a wealthy businessman's son. </div><div><br /></div><div>The film is a visual marvel, but almost always maintains a level of grounded if heightened reality. (Standout sequences include a gravity-defying hallway fight, and a freight train coming out of nowhere on a raining street.) The narrative is complex and unconventional, with layers upon layers of story and worldbuilding (including dreams-within-dreams, and dreams-withing-dreams-within-dreams), including some trippy origami effects. And Hans Zimmer's composition, "Time," just may be his most unforgettable score in a Nolan feature. </div><div><br /></div><div><i>Inception</i> shares a few things in common with Paul Thomas Anderson's ensemble epic, <i>Magnolia</i>, in that two ideas are being told: one about the aforementioned central mission; the other, a more personal and tragic story, regarding Cobb's past emotional baggage and unethical choices. This includes the cost of manipulation, being out of touch with reality, and wanting to come back to it. Plus, the bruising symbolism of trains (with depressing references to suicide) and dreams/ideas collapsing (a la the Tower of Babel) culminate in a cautionary tale that says not every "leap of faith" is beneficial or constructive. This is a deep, immersive, and bleak experience. Prepare to have your mind blown in more ways than one.</div><div><br /></div></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv5M7CbxCmRtijg02_MAVduUt1FSHuvybN1gSnMdM2eycHMui3eiFXgzsThjDjImHiAphisUGkPN4ouCTdQ7MSixFz53ogsrinTejjgfFnRcnlO3rx8S1hWJ1FD_3MvyWzoqSI3_0zmZpodf0HyRLCsYN8EAxAujUyGEZco8N8DBvXiIoe8rIb1d8hcdhC/s1209/interstellar-exploring-new-planet-mann-xpq4b9xwpwq3mp83.gif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="500" data-original-width="1209" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv5M7CbxCmRtijg02_MAVduUt1FSHuvybN1gSnMdM2eycHMui3eiFXgzsThjDjImHiAphisUGkPN4ouCTdQ7MSixFz53ogsrinTejjgfFnRcnlO3rx8S1hWJ1FD_3MvyWzoqSI3_0zmZpodf0HyRLCsYN8EAxAujUyGEZco8N8DBvXiIoe8rIb1d8hcdhC/w400-h165/interstellar-exploring-new-planet-mann-xpq4b9xwpwq3mp83.gif" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Courtesy Paramount 2014</span></td></tr></tbody></table><div><a href="https://www.youtube.com/watch?v=2LqzF5WauAw"><b><i>Interstellar</i></b> (2014)</a> </div><div><div>Transitioning from a superhero tentpole to an epic science-fiction adventure is no easy feet. But Christopher Nolan managed to do just that with this mesmerizing and haunting pick. At the height of a career resurgence, Matthew McConaughey plays Cooper, a widowed father, engineer, and former pilot, who lives with his family in a dust bowl community on earth. One day, he's called in by mysterious agents to headline a special mission into space to find possible new planets for the remaining residents of a dying earth. As the film's tagline reads, "Mankind was born on earth. It was never meant to die here." </div><div><br /></div><div>One of several films this decade to revive interest in the space race (along with <i>Gravity</i> and <i>The Martian</i>), <i>Interstellar</i> predicts a future that tries to rewrite (or, "correct") NASA's lunar landings of the 20th Century, while also being inspired by the real-life U.S. Dust Bowl of the 1930s. The narrative and tone recalls previous genre staples like <i>2001: A Space Odyssey</i> and <i>Close Encounters of the Third Kind</i>. </div><div><br /></div><div>This is an ambitious feature with incredible realism, immersive worldbuilding, and stunning imagery (cinematographer Hoyte Van Hoytema shot some incredible footage with state-of-the-art IMAX camera). The sight of the eponymous black hole is cutting-edge (consultant and physicist Kip Thorne reportedly provided the mathematics to the visual effects team, and in turn wrote an entire thesis on their results). Composer Hans Zimmer created one of his most distinct and unconventional film scores; instead of typical strings and horns, Zimmer used church organs. The result is both mysterious and wondrous). </div><div><br /></div><div>Maybe the overall film is a little pretentious, not to mention secular and scientific. But it's also an emotional and provocative journey that illustrates life on earth versus life "in the stars." At its center is a profound and heartbreaking story about a father and daughter across years. As Cooper tells us, "Once you're a parent, you're the ghost of your children's future." Wow. </div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv35YWC9NTRHTprg4gttdXlgzexVWagt7nnfx4miMHdqZgH-GqCJq2cnZUhzJIr5_3PJqVmTYt1REH5CQfQ_sa_dzlTzBSt5V3y2j53GAZezxh4vSvH3oGiMJ2raKZJ1Mc8OcWq_fPBbxxg3YS9D7ong-ZSrSA8oR7goNHlP3TSW9K9OLgTHcQIzI-PkK6/s280/DisloyalVainDrongo-max-1mb.gif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="158" data-original-width="280" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv35YWC9NTRHTprg4gttdXlgzexVWagt7nnfx4miMHdqZgH-GqCJq2cnZUhzJIr5_3PJqVmTYt1REH5CQfQ_sa_dzlTzBSt5V3y2j53GAZezxh4vSvH3oGiMJ2raKZJ1Mc8OcWq_fPBbxxg3YS9D7ong-ZSrSA8oR7goNHlP3TSW9K9OLgTHcQIzI-PkK6/w400-h226/DisloyalVainDrongo-max-1mb.gif" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Courtesy WB 2017</span></td></tr></tbody></table><div><a href="https://www.youtube.com/watch?v=_cmgiys2n1o"><b><i>Dunkirk</i></b> (2017)</a> </div><div><div>In the second-half of the decade, Nolan turned his attention to the war genre with this true story of the evacuation of 400,000 men on the beaches of Dunkirk during World War II. Not since Stanley Kubrick's <i>Full Metal Jacket</i>, Terrence Malick's <i>The Thin Red Line</i>, and Clint Eastwood's <i>Letters From Iwo Jima</i>, has the genre been given such a radical approach. </div><div><br /></div><div><i>Dunkirk</i> intercuts three stories at once, each in different time durations: spitfire pilots in the air (1 hour), civilians in rescue boats at sea (1 day), and the aforementioned soldiers on land (1 week). Each segment is shot in stunning IMAX, with thousands of extras and real period aircrafts. </div><div><br /></div><div>While performances in Nolan's films are generally superb, they more often go underappreciated. <i>Dunkirk</i> features some of his best, including Mark Rylance as a determined civilian charting one of the rescuing lifeboats, Tom Hardy as a spitfire pilot (with half of his face is covered for most of the film, yet emoting so much through his eyes), Cillian Murphy as a traumatized officer, and Fionn Whitehead (in an impressive debut) as a young soldier. Some of them are strong examples of ordinary people (not just those in the armed forces) giving their lives for others. </div><div><br /></div><div>Released the same year as Joe Wright's compelling biopic about Winston Churchill (<i>Darkest Hour</i>), <i>Dunkirk</i> is gripping, powerful, and poetic. It may just be Nolan's greatest cinematic achievement to date. It's arguably his most hopeful. </div><div><br /></div></div><div><div>TRIVIAL FACT: Years ago, I ranked Sam Mendes' WWI drama <i>1917</i> (also a great film) as one of the best of the decade. In retrospect, Nolan's bold and ambitious WWII feature stands strongest. (<a href="https://www.indiewire.com/features/general/damien-chazelle-dunkirk-review-christopher-nolan-1201904570/">Filmmaker Damien Chazelle regards it as one of the greatest films he's ever seen.</a>) </div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQG3KR4EzhW2zghnqn0QqeGEqWUX_-WV7xBb84v-ufhc-Kav5yYKrlM4NPRj8Y7ZXdUCasVktp0zHCsLpV3NrjrrqBLanuW83H_nsABvenSFOtzq_plziyroHjWEFU5ZQWRR6KG7R9UPhyqX8uQH_IVu1y0s_KbOSgrrj2IDefoBFlpwlw378vqZWUUACm/s498/tenet-vedette.gif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="225" data-original-width="498" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQG3KR4EzhW2zghnqn0QqeGEqWUX_-WV7xBb84v-ufhc-Kav5yYKrlM4NPRj8Y7ZXdUCasVktp0zHCsLpV3NrjrrqBLanuW83H_nsABvenSFOtzq_plziyroHjWEFU5ZQWRR6KG7R9UPhyqX8uQH_IVu1y0s_KbOSgrrj2IDefoBFlpwlw378vqZWUUACm/w400-h181/tenet-vedette.gif" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Courtesy WB 2020</span></td></tr></tbody></table><div><a href="https://www.youtube.com/watch?v=LdOM0x0XDMo"><b><i>Tenet</i></b> (2020)</a> </div><div><div>It's incredible that, within the span of two decades, Christopher Nolan has gone from directing low-budget psychological thrillers to large-scale blockbusters. <i>Tenet</i> marks his fifth feature to use IMAX technology, and is his most complex and complicated film to date. The plot, this time, centers around the concept of time inversion. (That is, time reversal, not travel. There's a difference.) </div><div><br /></div><div>The film wastes no time getting right into action, as the mysterious Protagonist (a commanding John David Washington) survives a near-death experience and soon accepts a race-against-the-clock mission--teaming up with Robert Pattinson and Elizabeth Debecki--to stop a potential nuclear Holocaust. In short, it's international espionage, but with metaphysics. </div><div><br /></div><div>While it's not for everybody (again, the plot is very hard to follow, and there are harsh elements of abusive power), there's no denying that <i>Tenet</i> is an edge-of-your-seat experience, with flooring and explosive IMAX photography, booming surround sound (including Ludwig Gorannson's nail-biting score), and mind-blowing practical effects that truly make you wonder, "How did they do <i>that</i>?!?" Highlights include a major stunt involving a 747 plane, a high-octane chase across a speeding highway, and an inverted fight sequence in a secure hallway. And just wait until the climax!</div><div><br /></div><div>Scheduled for release in 2020, this was one of several theatrical releases that was postponed due to the COVID-19 pandemic. Many had hoped this would be the film to bring audiences back into theaters, until it underperformed. Movie theaters wouldn't see another major hit until Sony/Marvel's <i>Spider-Man: No Way Home</i> (2021) and Paramount's long-awaited Tom Cruise-starring sequel <i>Top Gun: Maverick</i> (2022). (Reportedly, Cruise loved Nolan's film as well.) I can't think of any other film that has been made like this before, whether it's actually brilliant or just pretentious. </div><div><br /></div><div>TRIVIAL FACT: This marks only the third time (after 2000's <i>Memento</i> and 2006's <i>The Prestige</i>) in which a song plays over the end credits of a Nolan film. </div></div>B.E. Kerianhttp://www.blogger.com/profile/10731709676312668865noreply@blogger.com0tag:blogger.com,1999:blog-2099716515627453238.post-7307075748720920472023-06-29T09:36:00.001-07:002023-08-26T07:56:07.913-07:00REVIEW COLLECTION: The Indiana Jones Chronicles<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy5oit1kZ0hDp35unfP8d3ZFHEcP6SYb7-oW1kmaYYzWnndvRfowBX_-51_CecI0f9nXtMYnA0AO4GsYYLnOAUynCMcjftAKo3XEfNGW_0rJdRKkvV7Yo3DJ76BwBVMmGKJ01RGyAmJYSa8p2GroLTkiPcoefzATA8DAUjtPaXB-c7Z-YB1xZThWn3Qw/s625/Indiana-Jones.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="298" data-original-width="625" height="191" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy5oit1kZ0hDp35unfP8d3ZFHEcP6SYb7-oW1kmaYYzWnndvRfowBX_-51_CecI0f9nXtMYnA0AO4GsYYLnOAUynCMcjftAKo3XEfNGW_0rJdRKkvV7Yo3DJ76BwBVMmGKJ01RGyAmJYSa8p2GroLTkiPcoefzATA8DAUjtPaXB-c7Z-YB1xZThWn3Qw/w400-h191/Indiana-Jones.jpg" width="400" /></a></div><div><br /></div><div><i>WRITER'S NOTE: The following </i>Raiders<i> review was originally posted on <a href="https://reelmeans.blogspot.com/2020/05/the-classics-raiders-of-lost-ark-or.html?m=1">May 3, 2020</a>. The </i>Crystal Skull<i> excerpt was originally posted on <a href="https://reelmeans.blogspot.com/2020/11/history-of-modern-blockbuster-part-iv.html?m=0">November 10, 2020</a>. The others were written exclusively for this post. </i></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhriwzrjKN7s_Bq-V79_AXNGURs1ds3s4GfxJjZVWuvePkNiP8lveozZ57SctMqwpBCaR14WUDGiYoQbZrz1wwLylx0ZJUUhEp0e9dZydPn3tCaPiZyIbciv1LSyEwZj0zq7vHRq0pDd9fAvT8OSryYKHIdpIQ3-xO8nBYr--6Gux_Hm-5TiiYfSIGuURWW/s487/harrison-ford-raiders-of-the-lost-ark.gif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="209" data-original-width="487" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhriwzrjKN7s_Bq-V79_AXNGURs1ds3s4GfxJjZVWuvePkNiP8lveozZ57SctMqwpBCaR14WUDGiYoQbZrz1wwLylx0ZJUUhEp0e9dZydPn3tCaPiZyIbciv1LSyEwZj0zq7vHRq0pDd9fAvT8OSryYKHIdpIQ3-xO8nBYr--6Gux_Hm-5TiiYfSIGuURWW/w400-h171/harrison-ford-raiders-of-the-lost-ark.gif" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Courtesy Paramount 1981</span></td></tr></tbody></table><div><b><i><a href="https://youtu.be/Rh_BJXG1-44">Raiders of the Lost Ark</a></i></b> (1981) </div><div><div>When one looks back at the most popular films of the last quarter of the 20th century, the growing trend of box-office hits from that period onward is arguably thanks to two men: Steven Spielberg and George Lucas. </div><div><br /></div><div>Having both studied film in the 1960s before making it big with such revered blockbusters as <i>Jaws</i> and <i>Star Wars</i>, it was only a matter of time before they both collaborated on a film. They were reportedly on vacation simultaneously in the late-1970s, as Lucas's "space opera" exceeded even his wildest expectations, while Spielberg experienced his first financial disaster (1979's war comedy <i>1941</i>). The latter had always wanted to make a James Bond film, but Lucas had a better suggestion: a story about an archeologist who searches the globe for artifacts long lost for thousands of years. The character was named Indiana Jones (after Lucas's own dog, no joke), the artifact was the Ark of the Covenant (as described in the Book of Genesis), and, as <i>Star Wars</i> was an homage to sci-fi matinee serials of the 1940s, <i>Raiders of the Lost Ark</i> (released in 1981) would echo the adventure serials of that same period, but with more sophistication. </div><div><br /></div><div>Considered one of the best Hollywood scripts ever produced (courtesy Lawrence Kasdan, Lucas, and Philip Kaufman), <i>Raiders</i> has easily identifiable villains (common in serials), dangerous and unpredictable situations, some intense pre-PG-13-level violence, and one of the most unforgettable opening sequences of any film (Jones running from a giant boulder never ceases to excite). The same goes for the film's many iconic lines ("Why'd it have to be snakes?"), stunts (i.e., dangling under a speeding truck), and scary special effects (melting faces, anybody?)</div><div><br /></div><div>And the best part? Harrison Ford is at his charismatic best as the daring explorer, who never seems to catch a break but always carries such swag. And we love him for it. Meanwhile, Karen Allen's Marion Ravenwood is far from a damsel in distress--to be fair, she does mildly fit the bill, but only just--and can clearly stand up for herself. Now there's a strong and sassy heroine, if ever there was one. If anything, <i>Raiders</i> is proof that you can make a great film for popcorn thrills, especially if there's genuine quality and investment along for the ride. It remains one of the best in cinema history.</div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtRwW0iEtvQdK4i5kRB9LCw4RpTm6n4U08Z7MfE5IGxJGO4y1lbSKjG14fM443B_PNX0-hFyO3N6updeBYIUDhNJdHVaaC-UtYDBOXqF8xg1dBmQ52Mc58ryj8nHBpwI9qXALmCDfQ5Lf5Su57VJEuVl63Ee-MUtgZclm22bMhgUhUwt1BGvDQTafgZfR9/s498/indiana-jones-indy.gif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="210" data-original-width="498" height="169" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtRwW0iEtvQdK4i5kRB9LCw4RpTm6n4U08Z7MfE5IGxJGO4y1lbSKjG14fM443B_PNX0-hFyO3N6updeBYIUDhNJdHVaaC-UtYDBOXqF8xg1dBmQ52Mc58ryj8nHBpwI9qXALmCDfQ5Lf5Su57VJEuVl63Ee-MUtgZclm22bMhgUhUwt1BGvDQTafgZfR9/w400-h169/indiana-jones-indy.gif" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Courtesy Paramount 1984</span></td></tr></tbody></table><div><b><i><a href="https://youtu.be/NGsWgHNxK9c">Indiana Jones and the Temple of Doom</a></i></b> (1984) </div><div>There are very few times throughout cinema where certain movies have significantly changed the industry, for better or worse. In terms of marketing and age-appropriateness, that trend arguably started in 1984, when two movies (produced by Spielberg) were released during the summer and were each met with both box-office success and controversy. One of them was a second installment in the Indiana Jones series. </div><div><br /></div><div>Most people may not realize that <i>Indiana Jones and the Temple of Doom</i> is actually a prequel to <i>Raiders</i>, set one year before Dr. Jones' trek to Delih in that first film. In <i>Doom</i>, he gets caught up in an adventure in India with a wimpy nightclub singer (Kate Capshaw) and an orphaned street kid (Ke Huy Quan, in his screen debut) to find and retrieve a collection of sacred stones and kidnapped children from an evil voodoo cult. </div><div><br /></div><div>If anything, this second film (along with <i>Gremlins</i>) is responsible for the creation of the PG-13 rating, after several parents and critics argued about the dark subject matter and high levels of violence. Chief among these elements is the infamous scene where one character gets his heart ripped out of his chest. Add to that some ritualistic sacrifices, blood offerings, child enslavement, brief sexual banter, some gross-out moments involving an unlikely dinner and a tunnel of insects, and some outdated stereotypes and cultural insensitivities. Even Speilberg and Lucas admitted years later that they went too far--hence, why they made a third Indy film five years later. (More on that in a bit.) </div><div><br /></div><div><i>Temple of Doom</i> does have its moments, including a break-necking mine car chase sequence, and a jaw-dropping bridge faceoff. It remains a distinct franchise entry for sure. Indy and Short Round even reunited nearly thirty years later, <a href="https://youtu.be/ebjjjpNkY4E">when Ford presented the Best Picture Academy Award to the A24-produced multiverse genre-bender <i>Everything Everywhere All At Once</i></a>, in which <a href="https://youtu.be/EZ1SUKxSAi4">Quan gave a Best Supporting Actor-winning comeback performance</a> after being away from the screen for decades. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZzLB3uBZ1OAtzTfwH2MWz7ASMS6PYZ4dvAGKlfBdeUG2o6dIqd8xlZPjIRttUIeZ9ozSrBRkYUVDgmLbGHlceH3aDwYEVB0MCLwI5LiFanRm_kSsIW4NWTjCJ9KbC7A0PDAQMe8nKcaXl7U6tmdxhji0h6tHdFfyLnoYufvt6QEpuPdFuUq6t4DPy9I_a/s540/tumblr_pcanacXBPG1xndadho5_540.gif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="248" data-original-width="540" height="184" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZzLB3uBZ1OAtzTfwH2MWz7ASMS6PYZ4dvAGKlfBdeUG2o6dIqd8xlZPjIRttUIeZ9ozSrBRkYUVDgmLbGHlceH3aDwYEVB0MCLwI5LiFanRm_kSsIW4NWTjCJ9KbC7A0PDAQMe8nKcaXl7U6tmdxhji0h6tHdFfyLnoYufvt6QEpuPdFuUq6t4DPy9I_a/w400-h184/tumblr_pcanacXBPG1xndadho5_540.gif" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Courtesy Paramount 1989</span></td></tr></tbody></table><div><b><i><a href="https://youtu.be/sagmdpkWUqc">Indiana Jones and the Last Crusade</a></i></b> (1989) </div><div><a href="https://www.imdb.com/title/tt0097576/trivia/">According to IMDb</a>, there were two reasons that George Lucas and Steven Spielberg made a third Indiana Jones film: to fulfill an obligation they made for three movies, and to make up for the criticisms they received regarding <i>Temple of Doom</i>. In a back-to-basics approach, Lucas and Spielberg set the third film as a quest for the Holy Grail, but more specifically as a reunion between Indy and his estranged father, Professor Henry Jones Sr. (played by the original James Bond, Sean Connery). </div><div><br /></div><div><i>Indiana Jones and the Last Crusade</i> still ranks as the second best in the series (after <i>Raiders</i>). It's always a treat watching the chemistry between Ford and Connery, as well as John Rhys-Davies' return as Sala. It also helps that an immersive prologue of Indy's backstory when he was younger (played by the late River Phoenix), when he was a boy scout, when he first cracked a whip, and how he got the scar on his chin. (This segment may have inspired the television spinoff series, <i>The Young Indiana Jones Chronicles</i>, in the early-1990s.) </div><div><br /></div><div>What also makes this a worthy third entry, despite its dialogue-driven "X marks the spot" treasure hunt, is how faith and redemption play a significant role, both spiritually and emotionally. If <i>Raiders</i> had a love story between Indy and Marion Ravenwood, and <i>Temple of Doom</i> represented a dark escapist trek, then <i>The Last Crusade</i> took on a more familial and mature arc, with both Jones's reconnecting and re-understanding each other. </div><div><br /></div><div>But that doesn't mean the film is devoid of thrills. Plenty of exciting action and globetrotting still abounds, with one cringe-worthy sequence involving rats, and another featuring one of the scariest visual effects ever put to film. Overall, as we've seen up to this point, there are film trilogies that start out spectacularly, but then lose some of their luster (or most of it) when they get to a second chapter. And then, a third installment arrives and redeems the series. This is exactly how the Indiana Jones series came full circle--and off into the sunset--by the end of the decade. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOQT14tU1j39iEJdu8JPCCLsAjUo2em-BwOhwWJIYsvv7wVG_wHyxKdZW3W_t5jviXcusS2ztJ7urU38PpycKbBFVQlUbSBQe3AviYxNNjXUv6Yt2SbK_C2glAA72oRq2-j2YuqZIIttkFC8LDgU9Iz-SSzhkP83-W_AIcLukfpExT96EZEmL5urbMu5Fa/s245/31sC.gif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="135" data-original-width="245" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOQT14tU1j39iEJdu8JPCCLsAjUo2em-BwOhwWJIYsvv7wVG_wHyxKdZW3W_t5jviXcusS2ztJ7urU38PpycKbBFVQlUbSBQe3AviYxNNjXUv6Yt2SbK_C2glAA72oRq2-j2YuqZIIttkFC8LDgU9Iz-SSzhkP83-W_AIcLukfpExT96EZEmL5urbMu5Fa/w400-h220/31sC.gif" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Courtesy Paramount 2008</span></td></tr></tbody></table><div><b><i><a href="https://youtu.be/WAdJf4wTC5Y">Indiana Jones and the Kingdom of the Crystal Skull</a> </i></b>(2008) </div><div><div>In the early-2000s, George Lucas had completed his <i>Star Wars</i> prequel trilogy, with 2002's <i>Episode II: Attack of the Clones</i> and 2005's <i>Episode III: Revenge of the Sith</i>. Lucas retired from directing after that (quite a strong way to cap a directing career, if you ask me), but continued to produced and act as a consultant on various Lucasfilm and ILM productions, including a fourth Indiana Jones adventure. </div><div><br /></div><div>With <i>Indiana Jones and the Kingdom of the Crystal Skull,</i> Harrison Ford returned as the famed archaeologist on a mission (this time in the late-1950s, during Cold War paranoia) to return an ancient artifact to a lost city of gold, and encountering space aliens along the way (hmm). Karen Allen's return as Marion Ravenwood (fan service in retrospect), Cate Blanchett as a hammy Russian baddy, John Hurt as a schizophrenic professor, and Shia LaBeouf as a young street kid, were welcome additions. It was also a return to the blockbuster subgenre for Spielberg, who had been spending most of the decade experimenting with darker, more mature, feature films, specifically in science-fiction (2001's <i>A.I.: Artificial Intelligence</i>, 2002's <i>Minority Report</i>, 2005's <i>War of the Worlds</i>), as well as historical drama (the 2001 miniseries <i>Band of Brothers</i>, 2005's <i>Munich</i>).</div><div><br /></div><div>While it received generally good reviews, had some exciting action sequences (that motorcycle chase was impressive), and was one of the top-grossing films of the year, <i>Crystal Skull</i> is regarded by many fans as a weak entry, what with its overreliance on CGI and silly, unbelievable action. (Surviving a nuclear explosion in a refrigerator? Yeah, right.) And with it's mesh of sci-fi into adventure, it suffers the same way the <i>Star Wars</i> prequels did. This would mark the last time that Spielberg directed an Indiana Jones film. </div></div><div><br /></div><div>I will say this: two consistent things that have made this series entertaining (good installments and not-so-good) are Ford's committed performance (the actor has stated that this is his favorite screen character) and the iconic music of John Williams. The latter will reportedly be presenting his final film composition for the fifth and final installment, <i><a href="https://youtu.be/ZfVYgWYaHmE">Indiana Jones and the Dial of Destiny</a></i>. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGdkY03Dr_i5EN-wqjKXIvR4NpbYlLvpuX_hefLcdp9kQXOSM1H7WYhoTyucTRP0kk1GvCa8JVZxkWUy2O-txJuu2bUFB7PSJsuX95Z6VWe9Xai6fxbj1MxNlQBuoY0aW4fhcAPrOWvl9OO1c40YlYoKlMTvxD7iHlkS0oEAh2wj5IxDdsPJCDMEy_BZRw/s498/grab-my-hat-indiana-jones-the-dial-of-destiny.gif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="280" data-original-width="498" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGdkY03Dr_i5EN-wqjKXIvR4NpbYlLvpuX_hefLcdp9kQXOSM1H7WYhoTyucTRP0kk1GvCa8JVZxkWUy2O-txJuu2bUFB7PSJsuX95Z6VWe9Xai6fxbj1MxNlQBuoY0aW4fhcAPrOWvl9OO1c40YlYoKlMTvxD7iHlkS0oEAh2wj5IxDdsPJCDMEy_BZRw/w400-h225/grab-my-hat-indiana-jones-the-dial-of-destiny.gif" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Courtesy Disney 2023</span></td></tr></tbody></table><div><br /></div>B.E. Kerianhttp://www.blogger.com/profile/10731709676312668865noreply@blogger.com0tag:blogger.com,1999:blog-2099716515627453238.post-42975141887255712432023-06-29T09:28:00.000-07:002023-06-29T09:28:20.197-07:00REVIEW: "The Flash" (2023) <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF9d62JeYBHRfpbdKn4WXUm7ZfQ9iOaHJ5gD696o1FHJXQEFF7q3RTJJRZyh9alQsFWmarQg5Hkq5WaFtoXoeDZvmw6Joctdc-KH-ghRW0QU_7vkZjE4iVqbrBQR6U8q2mrE_H8jXpJ-8df_Lac7YTUcT8rNsYZFAfCGI5_UZCV7eNQa5NE4rJw6fpCemB/s1897/UWYHIE2VI5FNHCHOJPRTXD2GTA.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1897" data-original-width="1280" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF9d62JeYBHRfpbdKn4WXUm7ZfQ9iOaHJ5gD696o1FHJXQEFF7q3RTJJRZyh9alQsFWmarQg5Hkq5WaFtoXoeDZvmw6Joctdc-KH-ghRW0QU_7vkZjE4iVqbrBQR6U8q2mrE_H8jXpJ-8df_Lac7YTUcT8rNsYZFAfCGI5_UZCV7eNQa5NE4rJw6fpCemB/w270-h400/UWYHIE2VI5FNHCHOJPRTXD2GTA.jpg" width="270" /></a></div><div><br /></div><div>In <a href="https://reelmeans.blogspot.com/2021/04/review-snyder-cut-is-released-or-zack.html">my 2021 review of <i>Zack Snyder's Justice League</i></a>, I mentioned how time has a unique effect on cinema. The same can be said for anticipation. </div><div><br /></div><div>Lately, Warner Bros and DC have been struggling through a series of starts, misfires, restarts, etc. Recent titles <i>Black Adam</i> and <i>Shazam! Fury of the Gods</i> have fallen short, while other entries like <i>The Suicide Squad</i>, <i>Joker</i>, and <i>The Batman</i> broke the mold on how unconventional comic-book-based movies could be--but with graphic results (for lack of a better word). A feature film about <i>The Flash</i> has been a long time coming. And after several script rewrites, different directors, and a pandemic, the first solo outing for the Scarlett Speedster finally arrives courtesy <i>It</i> director Andy Muschietti. The result is one of the year's most anticipated and polarizing releases. </div><div><br /></div><div><a href="https://variety.com/2023/film/news/ezra-miller-arrests-allegations-timeline-flash-1235646961/">Public and legal issues surrounding star Ezra Miller since 2022</a> (including accusations of burglary, assault, sexual misconduct, and other disturbing behavior) have apparently turned many audience members off since the film's release this month, already resulting in one of 2023's biggest financial disappointments. This, despite <a href="https://wegotthiscovered.com/news/david-zaslav-promises-the-flash-is-the-best-superhero-movie-ive-ever-seen-at-cinemacon-presentation/">Warner Bros Discovery CEO David Zaslav stating that the film itself is "the best superhero movie [he's] ever seen."</a> To the actor's credit, Miller (who identifies as nonbinary, and has made only one public appearance during the film's premiere) has reportedly been making steps towards improve and ownership, and I can only hope those steps will progress from there. </div><div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6MeSV6ThcZPDrt_-6wWbu7OAkFsitYPZBH35huJNnoXVJ3lXNLb2UFDFcmn78XUu913Dd8VP-QG_kmrM59vMj_SX0ZptNG0CUbX-_q_I8OAiEXGiN260dLLGOgzQD0MsjZ-CZGx26hhh7HTNkovWhiVu4WIr9oEsrV9R2qjVmm4FP1FaXFKPK82N1jLOs/s540/tumblr_60a633eb402d2c4f03b36928d8854822_3a69ae8e_540.gif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="300" data-original-width="540" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6MeSV6ThcZPDrt_-6wWbu7OAkFsitYPZBH35huJNnoXVJ3lXNLb2UFDFcmn78XUu913Dd8VP-QG_kmrM59vMj_SX0ZptNG0CUbX-_q_I8OAiEXGiN260dLLGOgzQD0MsjZ-CZGx26hhh7HTNkovWhiVu4WIr9oEsrV9R2qjVmm4FP1FaXFKPK82N1jLOs/w400-h223/tumblr_60a633eb402d2c4f03b36928d8854822_3a69ae8e_540.gif" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Michael Keaton in <i>The Flash</i> (courtesy WB 2023)</span></td></tr></tbody></table><br /></div><div>It's otherwise a sad situation, because Miller is awesome as Barry Allen, in a narrative that has the crime lab employee travelling back in time to prevent his late mother's death and personal trauma, but, in turn, altering the entire multiverse. Plus, the action is full-throttle and jaw-dropping. Granted, some of the CGI is uncanny and poor, with various sequences that resemble video games (including one weird and disturbing bit involving hospital babies). A few other moments in this unpredictable storyline will also likely throw some viewers off a la <i>Doctor Strange and the Multiverse of Madness</i>. </div><div><br /></div><div>But the real star of <i>The Flash</i> is Michael Keaton, in a long-awaited return as an older Bruce Wayne from Tim Burton's Batman duology (1989's <i>Batman</i> and 1992's <i>Batman Returns</i>). The man still has it ("You wanna get nuts? Let's get nuts!") and is an absolute blast-from-the-past to watch every time he's on screen, including an awesome sequence in Russia when he gets back in the batsuit. And the sight of the Batcave--nostalgic yet slightly modified--and references to Danny Elfman's original score from Burton's films had me grinning with glee. Equally great is Sasha Calle's breakout role as Kara Zor-El a.k.a. Supergirl, who is both a powerful and fearless figure. Like Gal Gadot as Wonder Woman and Halle Bailey as Ariel (<i>The Little Mermaid</i>), you feel like you're watching a star-in-the-making. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYil5pUjWrE9I4be7dmVwOi9AQVqiDhzcbIiRGm7Oqx5fuek8FHg5390m6s5MMjeoXn_LXFCDspWpnkFmAnxNOeUTFy0mwnlnqnj94UgD1vfY5zrYkoZzu9SS2_kvry67WjMgI4FfJNwBNTpqOJ5_TI_5FtBEJL0FTqKdUjV-SRBqigYO0xQ9OE1aaJAhC/s498/the-flash-supergirl.gif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="390" data-original-width="498" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYil5pUjWrE9I4be7dmVwOi9AQVqiDhzcbIiRGm7Oqx5fuek8FHg5390m6s5MMjeoXn_LXFCDspWpnkFmAnxNOeUTFy0mwnlnqnj94UgD1vfY5zrYkoZzu9SS2_kvry67WjMgI4FfJNwBNTpqOJ5_TI_5FtBEJL0FTqKdUjV-SRBqigYO0xQ9OE1aaJAhC/w400-h314/the-flash-supergirl.gif" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Sasha Calle in <i>The Flash</i> (courtesy WB 2023)</span> </td></tr></tbody></table><div><br /></div><div>I won't say which ones, but there are several mind-blowing cameo appearances (and even time-travelling studio/company logos during the opening credits) that connect to the larger DC Universe, including unmade properties that never truly saw the light of day. </div><div><br /></div><div>But the film really works in its more grounded and human moments, whether Barry is interacting with his younger teenage self, or with different versions of Bruce Wayne (Ben Affleck appears as well), with Kara, or with reporter and potential love interest Iris West (Kiersey Clemons reprises her brief role from <i>The Snyder Cut</i>). Its themes range from the consequences of one's actions, to accepting tragedies and/or scars that make us, no matter how much we want to change them ("Not every problem has a solution"). So while <i>The Flash</i> isn't a great movie, it does emotionally balance elements of comedy, action, suspense, and drama in a very entertaining way. Overall, it reminds me of what the DC Universe can and should be. </div><div><br /></div><div>When it works, that is. </div>B.E. Kerianhttp://www.blogger.com/profile/10731709676312668865noreply@blogger.com0tag:blogger.com,1999:blog-2099716515627453238.post-32961251781385885752023-06-23T09:47:00.001-07:002023-06-23T09:47:48.670-07:00REVIEW COLLECTION: Pixar Filmography, Volume 5 -- 2020 Visions<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4NlN5KUtHa4xA2J2AYdxsCwYHE7Eaua1R1WcsgzQPqA8tbES486vLPavYpyJhZO4L53TnZ7f2_KOnbXzG9vivOlAFTjkyYN8yB3nBpiKOcWdxiuOCliAR7eKPOA4rj0UXlS-f8H0L4wgBsqw14CObs_zA57mjdfNYTdZ13CLOsDJ2tVAt2ZN3RzV4Eg/s480/hqdefault.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="480" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4NlN5KUtHa4xA2J2AYdxsCwYHE7Eaua1R1WcsgzQPqA8tbES486vLPavYpyJhZO4L53TnZ7f2_KOnbXzG9vivOlAFTjkyYN8yB3nBpiKOcWdxiuOCliAR7eKPOA4rj0UXlS-f8H0L4wgBsqw14CObs_zA57mjdfNYTdZ13CLOsDJ2tVAt2ZN3RzV4Eg/w400-h300/hqdefault.jpg" width="400" /></a></div><div><br /></div><div><div><i>WRITER'S NOTE: The following reviews were originally posted on my Instagram page @be.kerian in June of 2023 (with the exception of </i>Lightyear<i>, which was posted July 4, 2022).</i> </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir0lM5_mpW9Tia-tc3pWH_d6A37yfYSFrNK2mjYRV5awTbC_WMnZ-dzTKABXnvQgt-Epcp_A7tbBY3njefIhsnWf7lOq8NXNVPRrMl6-v7VSxyw5x6X8r1SIKyREg8NftXz0MMX_U4ptujDm6RZ-3gN1U09HD9tcF0W_Cj-WSWsO2ROb1BbZHv-19fsw/s540/anigif_sub-buzz-645-1582324287-1.gif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="230" data-original-width="540" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir0lM5_mpW9Tia-tc3pWH_d6A37yfYSFrNK2mjYRV5awTbC_WMnZ-dzTKABXnvQgt-Epcp_A7tbBY3njefIhsnWf7lOq8NXNVPRrMl6-v7VSxyw5x6X8r1SIKyREg8NftXz0MMX_U4ptujDm6RZ-3gN1U09HD9tcF0W_Cj-WSWsO2ROb1BbZHv-19fsw/w400-h170/anigif_sub-buzz-645-1582324287-1.gif" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Courtesy Disney 2020</span></td></tr></tbody></table><div><b><i>Onward</i></b> (2020) </div><div><div>Having successfully made a Pixar feature about monsters in college, <i>Monsters University</i> director Dan Scanlon presented an original fantasy-adventure-comedy that took mystical worlds and creatures and put them in a contemporary setting. But <i>Onward</i> really centers on two elf brothers who use a magical wizard staff to bring their late father back to life to spend one day with him. The siblings soon get literally half of what they expected before embarking on a cross-country quest.</div><div><br /></div><div>MCU pros Tom Holland and Chris Pratt are perfectly cast as siblings Ian and Barley, respectively, as they drive around in a VW (known as Guenivere), encounter a warrior-turned-hostess Manticore (voiced by Octavia Spencer) and some biker fairies, and spend what little time they have with the father that Ian never knew (an impressive feat of character animation that's a cross between the anthropomorphic pants from Dr. Seuss's <i>What Was I Scared Of</i>, and the road-trip comedy <i>Weekend at Bernies</i>). </div><div><br /></div><div>Despite a few crude elements, the film highlights familial themes and the life-affirming role of surrogate father figures ("I never had a father, but I always had you"). It's a poignant message in an overall fun and entertaining movie. </div><div><br /></div><div>TRIVIAL FACT: This was the last Pixar feature to get a theatrical release before the worldwide COVID-19 pandemic. The studio's next three films (despite initial theatrical engagements) were released exclusively on the Disney+ streaming service. </div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-0aDioICTQzOly1SlBBarNcdNcTwHAla-JSqLE-oJC8-FL-trD4wq20-G52iTXxa9YoYHbsYSrtj7cCs_xPTvna22Ryp5XzBjZPsLfc4vqtP37cT7YV-YYjONh15rGU6TNQXYBeLNUgfVv-BYdZ-xp5XPptP4VTEBiAKDzpq30M_iwnUBSr-hrBwoiA/s480/f4679e00a49fdb4ad152e6b32cded613.gif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="201" data-original-width="480" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-0aDioICTQzOly1SlBBarNcdNcTwHAla-JSqLE-oJC8-FL-trD4wq20-G52iTXxa9YoYHbsYSrtj7cCs_xPTvna22Ryp5XzBjZPsLfc4vqtP37cT7YV-YYjONh15rGU6TNQXYBeLNUgfVv-BYdZ-xp5XPptP4VTEBiAKDzpq30M_iwnUBSr-hrBwoiA/w400-h168/f4679e00a49fdb4ad152e6b32cded613.gif" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Courtesy Disney 2020</span></td></tr></tbody></table><div><b><i>Soul</i></b> (2020) </div><div><div>Pete Docter has made some of Pixar's most unforgettable films, from closet-hiding critters in <i>Monsters, Inc.,</i> to floating houses in <i>Up</i> and personified emotions in <i>Inside Out</i>. But none have been more ambitious or creative as his 2020 feature about a music teacher (and aspiring jazz musician) who ends up in a coma and in a metaphysical world known as "The Great Before". </div><div><br /></div><div>The studio really branched out with a story that shines a light on the African-American experience, as the eponymous Joe Gardner (voiced by Jamie Foxx) takes up mentoring a "lost soul" known as "22" (voiced by Tina Fey), resulting in a twist that leads both on a journey of self-discovery and rediscovery. </div><div><br /></div><div>This engrossing and brilliantly-written story is a visual feast, with many clever, surreal, and surprising sight gags and elements. It's imagery is thematically-driven, with a strong emphasis on lighting, photorealism, and unique hand‐drawn techniques, proving what animation, art, and cinema in general, are capable of. And the score by Trent Reznor and Atticus Ross (with jazz arrangements by Jon Batiste) is unlike anything heard on screen before.</div><div><br /></div><div>While the film's worldview can sometimes be mystical and/or tribal, <i>Soul</i> does highlight characters who learn to live life as opposed to skipping it; both Joe and 22 dwell a lot on moments of rejection and failure throughout their own existences, before recognizing various life moments and connections that stick with them the most (no different than Russell the boy scout shared with Carl Frederickson in <i>Up</i>). It's an amazing kaleidoscope of music, imagery, story, and life.</div><div><br /></div></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVj01xjETrW8HDm4p_jmGJF0rxXvdI7y586EW61YfdA3Yw1B1E6ysbGD4cXYdiKqlU0WObZXYuNpwEXC6e1OiWdzdm11udxg4EgXSpR4VI9_8pMUF5V1o7mdvh-2er6_7N8A7z3bHME5IVEvGK15ik6nDXIFQnVHRBQeokO6fXPvsgZXYSu5MG_m26n3Md/s500/tumblr_b938f37dd52533aa56f142f47b243f17_53bd8951_500.gif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="306" data-original-width="500" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVj01xjETrW8HDm4p_jmGJF0rxXvdI7y586EW61YfdA3Yw1B1E6ysbGD4cXYdiKqlU0WObZXYuNpwEXC6e1OiWdzdm11udxg4EgXSpR4VI9_8pMUF5V1o7mdvh-2er6_7N8A7z3bHME5IVEvGK15ik6nDXIFQnVHRBQeokO6fXPvsgZXYSu5MG_m26n3Md/w400-h245/tumblr_b938f37dd52533aa56f142f47b243f17_53bd8951_500.gif" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Courtesy Disney 2021</span></td></tr></tbody></table><div><b><i>Luca</i></b> (2021) </div><div><div>The second of Pixar's exclusive releases on Disney+, <i>Luca</i> tells a literal fish-out-of-water story about two sea monsters (one, shy and introverted; the other, daring and mischievous) who sneak away from their undersea homes and discover a seaside town on the Italian Riviera. (If Disney's <i>The Little Mermaid</i> and Hayao Miyazaki's <i>Ponyo</i> come to mind, as far as similar narrative beats, you're not wrong.) </div><div><br /></div><div>Director Enrico Casarosa (who also made the wonderful 2011 short, <i>La Luna</i>) uses the same character designs to tell a fun-looking-if-passive story about two young characters who discover the world. It's an enjoyable love letter to Casarosa's home country. The film's animation style is also, in part, a wonderful homage to Studio Ghibli films like <i>Kiki's Delivery Service</i> and <i>Porco Rosso</i>. (The seaside town is named "Portorosso." Get it?) </div><div><br /></div><div>As for the voice cast, Jacob Trembley (as the titular Luca) and Jack Dylan Grazer (as the free-going Alberto) make a terrific duo. I also enjoyed Emma Berman as the feisty Giulia, and Maya Rudolph and Jim Gaffigan as Luca's parents. And the eye-popping illustrations over the end credits are icing on the cake. But as far as the film's themes go, while it does highlight genuine child friendships and underdogs, it also sometimes paints adults as careless antagonists, with adolescent disobedience, some macabre fish humor, and conventional prejudices (and perceived agendas?) thrown in. More discerning parents and/or families may want to say, "Silencio Bruno," to this one. </div><div><br /></div></div><div>TRIVIAL FACT: Jacob Tremblay went on to voice another famous sea creature: Ariel's fish friend Flounder in 2023's live-action <i>Little Mermaid</i>.</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkEFHNtPzoO6Ibck7q_U9ILvu9k4utY_IzGRGoIWiDiB-mnR_tnFjW5hz2Hzt5fRjhCT7rpP4qmmIsRIILi4-le7YbTyPidH09c1zF6RddPyYwfGi0hfGh8DYEiaKyhlhFACWGVX3_miIeet0TjlgWWyKBW4tTPTYQHZPeyW_YhA-wLL_7OhWgWJXW_R_-/s540/tumblr_dd16d67e98612397300d813529cb0d73_04b7591b_540.gif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="450" data-original-width="540" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkEFHNtPzoO6Ibck7q_U9ILvu9k4utY_IzGRGoIWiDiB-mnR_tnFjW5hz2Hzt5fRjhCT7rpP4qmmIsRIILi4-le7YbTyPidH09c1zF6RddPyYwfGi0hfGh8DYEiaKyhlhFACWGVX3_miIeet0TjlgWWyKBW4tTPTYQHZPeyW_YhA-wLL_7OhWgWJXW_R_-/w400-h334/tumblr_dd16d67e98612397300d813529cb0d73_04b7591b_540.gif" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Courtesy Disney 2022</span></td></tr></tbody></table><div><b><i>Turning Red</i></b> (2022) </div><div><div>Pixar is no stranger to taking risks. But no film has, perhaps, had more edge or pushed the envelope of computer animated storytelling like <i>Turning Red</i>. Essentially a coming-of-age fantasy-comedy, the story centers on 13-year-old Mei, a Toronto native (and only child of Chinese immigrant parents) who begins going through adolescent changes, especially when she magically turns into a giant red panda whenever her emotions are high. </div><div><br /></div><div>First-time feature-length director Domee Shi (who previously made the Oscar-winning Pixar short <i>Bao</i>) and her team created a semiautobiography that draws upon Eastern family traditions (including spirituality and mysticism), the pressures of living up to expectations, and millennial obsessions over boy bands (the story is set in 2002). The titular Mei's fourth wall narration is clever (a first for Pixar?), and the character designs are distinctly cartoony and caricatured. A few thematic comparisons could also be drawn from Isao Takahata's animé masterpiece, <i>Only Yesterday</i>, and Judy Blume's beloved YA novel, <i>Are You There, God? It's Me, Margaret</i>. </div><div><br /></div><div>With that teenage demographic in mind, <i>Turning Red</i> is not really a film for children, not just because of its complicated family dynamics (including overbearing parents and teenage angst). More specifically, it embraces hot-button issues like menstruation (with a few references to tampons). Plus, while Mei's posse of friends may be genuinely supportive and endearing, they can also be as rebellious as her; one of the film's subplots involves the girls lying to their parents and friends to get concert tickets to see a popular boy band. </div><div><br /></div><div>To its credit, the story does show the harsh consequences of giving into emotional rage, popularity and materialism, as well as the importance of friendship, accountability, and family. But its not enough to shake off its occasionally-crass attitude and mystical worldview. As Mei declares to her stern mother, "I'm 13! Deal with it!" Adolescence can be a beast, that's true. But it's shouldn't be taken lightly. </div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0iwEisT64xtrPkeDxNa5iuV7w8YaeyErN8oWzRb8ZZrFdnc4ZkUIh4IAtmiUOJgb9GnGXNJmWhLO8dptvi-Arph4dwOXRdA1IsyELh0IL5zSaQr2BnKjZI0SeHiy5S0fjzgLjNUVwfMnyDXbjobTR5pl6Q4OOPYIgYxdnqmlr8dA5I0-dKO7xiZQWxA/s498/im-on-my-way-buzz-lightyear.gif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="280" data-original-width="498" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0iwEisT64xtrPkeDxNa5iuV7w8YaeyErN8oWzRb8ZZrFdnc4ZkUIh4IAtmiUOJgb9GnGXNJmWhLO8dptvi-Arph4dwOXRdA1IsyELh0IL5zSaQr2BnKjZI0SeHiy5S0fjzgLjNUVwfMnyDXbjobTR5pl6Q4OOPYIgYxdnqmlr8dA5I0-dKO7xiZQWxA/w400-h225/im-on-my-way-buzz-lightyear.gif" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Courtesy Disney 2022</span></td></tr></tbody></table><div><b><i>Lightyear</i></b> (2022) </div><div><div>Full disclosure: this is not another sequel to <i>Toy Story</i>, but rather a spinoff about the character that inspired the Buzz Lighyear action figure. Nevertheless, there was bound to be a mixed reception, which <i>Lightyear</i> has been getting for more reasons than one. </div><div><br /></div><div>First, the good news. The film looks and sounds great. Pixar has certainly come a long way in the last 30 years. And it shows in the visual designs of this story's central planet, its robots (I couldn't help but think of the various hardware and characters from <i>WALL*E</i>), and elements of dust, smoke, and light. While Tim Allen will always be the GOAT Buzz, former Captain America Chris Evans does an admirable job of making the role his own, despite the writer's recycling dialogue from the original TS series. </div><div><br /></div><div>The film's story follows the intergalactic space-ranger on a years-long mission to get his colony off a marooned planet and back home. There are worthwhile themes of teamwork, embracing and learning from one's mistakes, and staying true to one's goals and beliefs, no matter how long it takes. <i>Lightyear</i> also has some brilliant moments of comedy and a few terrific new characters, like the scene-stealing robotic feline SOX (voiced by Pixar veteran Peter Sohn) and the determined rookie ranger Izzy (voiced by Keke Palmer). </div><div><br /></div><div>One element that has stirred controversy, however, is a brief-but-very-present same-sex kiss. While a few of Pixar's previous films have had very subtle references to such characters (including <i>Finding Dory</i>, <i>Toy Story 4</i>, and <i>Onward</i>), <i>Lightyear</i> seems to put its own subplot front and center--and apparently as a direct response to Florida's recent banning of LGBTQ education in public grade schools. Sounds like a political agenda within a film marketed to kids and families. The goal should've been to tell an entertaining story and save such discussions for a different outlet, of which there are several. Those elements notwithstanding, <i>Lightyear</i> is a rollicking space adventure. But only time will tell if it holds up to infinity and beyond.</div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdnMsqKME5WV_tB_ICy3zoE6FPIx01MYke6gzWUmtrWok6uVGz5uYRkKdFDsline5fjycC4LcgQ2eNWAHIVGabHbPa5_57rPuCU7kWoytZlrZvrjI5cY25teEn_o964aExc3KXpWB2Hmc5wtIwYF9AciwxdKVaNSSGJm3Y4GQnts56pZzCoAvVmDlvO3u9/s540/28063a7c5322f9a5098e34865e72aa16954ae502.gif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="290" data-original-width="540" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdnMsqKME5WV_tB_ICy3zoE6FPIx01MYke6gzWUmtrWok6uVGz5uYRkKdFDsline5fjycC4LcgQ2eNWAHIVGabHbPa5_57rPuCU7kWoytZlrZvrjI5cY25teEn_o964aExc3KXpWB2Hmc5wtIwYF9AciwxdKVaNSSGJm3Y4GQnts56pZzCoAvVmDlvO3u9/w400-h215/28063a7c5322f9a5098e34865e72aa16954ae502.gif" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Courtesy Disney 2023</span></td></tr></tbody></table><div><b><i>Elemental</i></b> (2023) </div></div><div><div>CGI has certainly come a long way since the 1980s, when characters, environments, and various other effects resembled little more than plasticine. The data has become so significant that even the tiniest details and nuances can be so believable. Which brings us to Pixar's latest fantasy. Going one step further from <i>Inside Out</i>'s anthropomorphic emotions, <i>Elemental</i> tells a compelling immigrant story in the guise of an animated adventure that personifies various elements, including fire, water, air, and land. (Imagine <i>Captain Planet and the Planeteers</i> in a more quirky and imaginative setting.) </div><div><br /></div><div>There's a lot to like about Peter Sohn's second full-length feature as a director (following 2015's incredible and moving <i>The Good Dinosaur</i>). The eponymous Element City is a sight to behold, while the script offers many clever visual gags and puns. Leah Lewis is very engaging as the fiery Ember. Thomas Newman's score is evocative. And, aside from the evocative story of an immigrant family growing up and struggling in a new place, what may start out silly soon blossoms into a genuine, heart-tugging romance between Ember and the water city inspector Wade (voiced by Mamoudou Athie). </div><div><br /></div><div>Where the film gets watered down (or fades) is in its middling environmentalist subplot during the second act. Add to that some passive appearances by LGBTQ characters, and a central love story that puts this into certified romcom territory, and <i>Elemental</i> is not really a film for younger or more discerning viewers, no matter how creative or clever it looks. </div><div><br /></div><div>TRIVIAL FACT: In a first since 2018, the film is preceded by a short sequel to 2009's <i>Up</i> (titled, <i>Carl's Date</i>), in which the elderly and widowed Carl Frederickson (Ed Asner, in his final screen credit) wrestles with dating again, even while getting advice from talking canine Dug. </div></div>B.E. Kerianhttp://www.blogger.com/profile/10731709676312668865noreply@blogger.com0tag:blogger.com,1999:blog-2099716515627453238.post-71302212476896341292023-06-23T09:47:00.000-07:002023-06-23T09:47:38.589-07:002022: Standout Films of the Year, Second Edition<div class="separator" style="clear: both; text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu58FTzK8rCO5RPQ8LR-BGb8DD0eoMKrja6-QB_H0Wrxy1AyYnSFo2olphBU-E2kS21ZkUPSjYixQ6TQvRZcWt_mQfj2HEpOw7ovVJXigIvIlzw2cFhUJNx1gW_IlQrZkUyosFEuPr1z1tI3ESH5PrrkeeO8RKadlvD5U57zzXRrVmcNqIRIg4FM3U5hTG/s1400/best-films-of-2022-top-gun-maverick-everything-everywhere-all-at-once-the-banshees-of-inisherin.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="700" data-original-width="1400" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu58FTzK8rCO5RPQ8LR-BGb8DD0eoMKrja6-QB_H0Wrxy1AyYnSFo2olphBU-E2kS21ZkUPSjYixQ6TQvRZcWt_mQfj2HEpOw7ovVJXigIvIlzw2cFhUJNx1gW_IlQrZkUyosFEuPr1z1tI3ESH5PrrkeeO8RKadlvD5U57zzXRrVmcNqIRIg4FM3U5hTG/w400-h200/best-films-of-2022-top-gun-maverick-everything-everywhere-all-at-once-the-banshees-of-inisherin.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Courtesy Collider</span></td></tr></tbody></table><div class="separator" style="clear: both;"><br /></div></div><div><i>WRITER'S NOTE: The following was originally posted on <a href="https://reelmeans.blogspot.com/2023/01/2022-standout-films-of-year.html?m=0">January 6th, 2023</a>.</i> </div><div><br /></div><div>Films in 2022 went everywhere. Tom was in Cruise control more than ever, thanks to the record-breaking (and critically-acclaimed) success of the long-awaited aerial sequel, <i><a href="https://www.youtube.com/watch?v=giXco2jaZ_4">Top Gun: Maverick</a></i>. James Cameron's equally-anticipated <i><a href="https://www.youtube.com/watch?v=d9MyW72ELq0">Avatar: The Way of Water</a></i> had rich worldbuilding, not to mention cutting-edge motion-capture filmed underwater, with astonishing and jaw-dropping results. The directing duo known as the Daniels (a.k.a. Daniel Kwan and Daniel Scheinert) blew the roof off the multiverse and then some in <i><a href="https://www.youtube.com/watch?v=wxN1T1uxQ2g">Everything Everywhere All at Once</a></i>. </div><div><br /></div><div>Warner Bros and DC hired Matt Reeves to helm a new variation on Batman, starring Robert Pattinson, which turned out to be a bold and exhilarating move; the whole ensemble in <i><a href="https://www.youtube.com/watch?v=u34gHaRiBIU">The Batman</a></i> was phenomenal, as was the more detective-noir storyline. Marvel Studios and filmmaker Ryan Coogler made an exceptional standalone follow-up with <i><a href="https://www.youtube.com/watch?v=_Z3QKkl1WyM">Black Panther: Wakanda Forever</a></i>, which expanded the MCU in rich and challenging ways, while also paying an emotional tribute to the late Chadwick Boseman, whose absence is felt throughout. </div><div><br /></div><div>Edward Berger's adaptation of <i><a href="https://www.youtube.com/watch?v=hf8EYbVxtCY">All Quiet On the Western Front</a> </i>successfully reminded us of the sheer horrors and traumas of the First World War, told from the perspective of German soldiers. Actors Colin Farrell and Brenden Gleeson gave career-defining performances as two Irish friends-turned-enemies in Martin McDonagh's dark and strangely-endearing tragicomedy <i><a href="https://www.youtube.com/watch?v=uRu3zLOJN2c&t=17s">The Banshees of Inisherin</a></i>. Director Steven Spielberg made one of his most personal--and challenging--films with the semi-autobiographical <i><a href="https://www.youtube.com/watch?v=D1G2iLSzOe8">The Fabelmans</a></i>, which follows a young Jewish boy and how his life is influenced by the movies and his family. Director James Gray made his own semi-autobiography with the more raw <i><a href="https://www.youtube.com/watch?v=ZKLu3t-G9Do">Armageddon Time</a></i>, a coming-of-age period piece about familial generation gaps and social/political change. </div><div><br /></div><div>Charlotte Wells made an impressive directorial debut with her melancholic drama <i><a href="https://www.youtube.com/watch?v=G9jOaggGPKQ">Aftersun</a></i>, about a woman who recounts a summer trip she took with her father two decades prior. Maria Schrader's harrowing and empowering drama <i><a href="https://www.youtube.com/watch?v=i5pxUQecM3Y&t=55s">She Said</a></i> (based on the New York Times articles that ignited the #MeToo movement) showcased strong, dedicated women, while also giving voices back to many people who have been wronged for years. Chinonye Chukwu's <i><a href="https://www.youtube.com/watch?v=rkQi6GBwmSA">Till</a></i> was a powerful and important piece about the late Emmet Till, but also about his mother's courageous fight for justice and social change, anchored by a phenomenal breakout performance by Danielle Deadweiller. And finally, actor Brenden Fraser gave the biggest comeback performance of the year (literally and figuratively) as an overweight, gay English teacher in Darren Aronovsky's psychological drama, <i><a href="https://www.youtube.com/watch?v=D30r0CwtIKc">The Whale</a></i>. </div><div><br /></div><div>But if there's one thing that most of this year's best films had in common, it's that they leaped through many periods in time--past, present, future--with untold stories from the history of our nation and the world that were just starting to see the light of day, not to mention generating discussion or debate while taking steps towards a better, more acknowledging and socially-conscious, future. For this list, here are my top five picks (including a few unlikely protagonists) for the standout films of 2022. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3Tp3-L26IGb-dzS2B88JAwdmVxQBi6I2FqX5wBOJvBZwT0OcZHRbnIB5wn2uzXU67XkxmzmIx8L3pl4cZH9iyed_0J17mxb_tII8AdoCxgRZIegAeXRKehBo7uY8AGnTj-rD0tH_tAwUlO6lkQXp4YWW0YcKRieRAWK7dnDe8x6Ysg_0F_kGWCOozSrUd/s498/salome-staring-and-slightly-nodding-in-women-talking-film-claire-foy.gif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="331" data-original-width="498" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3Tp3-L26IGb-dzS2B88JAwdmVxQBi6I2FqX5wBOJvBZwT0OcZHRbnIB5wn2uzXU67XkxmzmIx8L3pl4cZH9iyed_0J17mxb_tII8AdoCxgRZIegAeXRKehBo7uY8AGnTj-rD0tH_tAwUlO6lkQXp4YWW0YcKRieRAWK7dnDe8x6Ysg_0F_kGWCOozSrUd/w400-h266/salome-staring-and-slightly-nodding-in-women-talking-film-claire-foy.gif" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Courtesy MGM/UA 2022</span></td></tr></tbody></table><div>5. <a href="https://www.youtube.com/watch?v=pD0mFhMqDCE"><b><i>Women Talking</i></b> (Orion/MGM/UA, dir. Sarah Polley)</a> </div><div><br /></div><div>"Your story will be different from ours." </div><div><br /></div><div>Based on the bestselling novel by Miriam Toews, this period drama (set in 2010) follows a group of Mennonite women--and victims of sexual assault--who rally together to decide if they stay in their community or leave. Director Sarah Polley's Oscar-winning screenplay (a well-deserved one, at that) asks many challenging questions about faith, forgiveness, and family, but handles them in a very constructive way. And those themes and words are brought to staggering life by a phenomenal cast (including Claire Foy, Rooney Mara, and Jessie Buckley). </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkpEQ5JuVSjeiBDDrLi6sAs2hr6gbz0TOnleK176eFdOY2svEkt5uQ_fJdWoeuHr-jxCKNZCADS7U4K0mxDWF5_1-CLgYztSFs8nJTVVhdJCoQyBHWYkXflHnZbX9bbSs2ChJr7Kin_ltSn9H2dgNY6B-WEnIf2PFfYG7YQPn4sxsWnpLcoF3lEUKZaQ/s540/tumblr_dad0cab93948e35d878f8523a029616b_64f5ec6e_540.gif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="400" data-original-width="540" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkpEQ5JuVSjeiBDDrLi6sAs2hr6gbz0TOnleK176eFdOY2svEkt5uQ_fJdWoeuHr-jxCKNZCADS7U4K0mxDWF5_1-CLgYztSFs8nJTVVhdJCoQyBHWYkXflHnZbX9bbSs2ChJr7Kin_ltSn9H2dgNY6B-WEnIf2PFfYG7YQPn4sxsWnpLcoF3lEUKZaQ/w400-h296/tumblr_dad0cab93948e35d878f8523a029616b_64f5ec6e_540.gif" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Courtesy Bleecker Street 2022</span></td></tr></tbody></table><div><div>4. <a href="https://www.youtube.com/watch?v=JArIzszDb6Y"><b><i>Breaking</i></b> (Bleecker Street, dir. Ahbi Damaris Corbin)</a> </div><div><br /></div><div>"Everything you say, everything you do, matters. You matter." </div><div><br /></div><div>One film that hasn't been talked about as much (and one that people should see) is Ahbi Damaris Corbin's <i>Breaking</i>. Based on the true story of Brian Brown-Easley, John Boyega gives one of the year's best performances as a war veteran who held a Wells Fargo bank hostage after his veterans check was denied. In an act of desperation, Brown-Easley got the attention of the media and the FBI (including a fellow officer, played by the magnetic Michael Kenneth Williams, in his final screen performance). What follows is a heartbreaking story that shines a light on homelessness and injustice, and goes deeper than anything we've come to expect from this subgenre of cinema. </div></div><div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDdDjYgYYlIIQXNJfSMJtE6wZoYcpleAxdodPx4NG8zBF3Sw5L_TNyUtHJLh7OgoG7wnDM9UamUQvnxCwAjf5Aq3yjPzsMKudddwPKnfB5Spq2ZWALEww6VP1pfILJHWRVcQici4c7DA77aMdkqpGVyKFSefyqw9HR_IelPv8STuJon6IR5Yufxkl8jw/s640/lie-down-pinocchio.gif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="360" data-original-width="640" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDdDjYgYYlIIQXNJfSMJtE6wZoYcpleAxdodPx4NG8zBF3Sw5L_TNyUtHJLh7OgoG7wnDM9UamUQvnxCwAjf5Aq3yjPzsMKudddwPKnfB5Spq2ZWALEww6VP1pfILJHWRVcQici4c7DA77aMdkqpGVyKFSefyqw9HR_IelPv8STuJon6IR5Yufxkl8jw/w400-h225/lie-down-pinocchio.gif" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Courtesy Netflix 2022</span></td></tr></tbody></table><div>3. <a href="https://www.youtube.com/watch?v=Od2NW1sfRdA"><b><i>Guillermo del Toro's Pinocchio</i></b> (Netflix, dir. Guillermo del Toro & Mark Gustafson)</a> </div><div><br /></div><div>"I want to tell you a story. It's a story you may think you know, but you don't." </div><div><br /></div><div>I missed out on quite a few animated films this year, including Pixar's <i>Turning Red</i>. I did, however, see (and very much enjoyed) DreamWorks' <i>The Bad Guys</i>, an entertaining and visually-fun gem that puts a clever twist on classic fairy tale villains in an <i>Ocean's 11</i>-esque setting. But the year's best animated feature--and one that rivals the best live-action features--used Carlo Collodi's original text for <i>Pinocchio</i> in a stop-motion masterpiece courtesy Guillermo del Toro. Co-directed by Mark Gustafson, this rendition (although not really for children, despite its PG-rating) emphasizes themes of love, loss, life, spirituality, immortality, war, and death. It's a real work of art, and a genuine labor of love. </div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIcgLoMtpTzIeY1qxiYFiL-wl1BV47qdFayXY3LTK6ZqSimv1zViAw6K51glw9FYLQml7CYaqwBT-QAsxnF9tlbyZsMCWR1slybVCh13MnKnj-C6XStAUr_Opni6MvOERVd2pc1h3fwbqzTWieLqNGPkl2FcJlabCGGgK3y4z-WGdijO8BSJuN7sreDA/s480/giphy%20(1).gif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="240" data-original-width="480" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIcgLoMtpTzIeY1qxiYFiL-wl1BV47qdFayXY3LTK6ZqSimv1zViAw6K51glw9FYLQml7CYaqwBT-QAsxnF9tlbyZsMCWR1slybVCh13MnKnj-C6XStAUr_Opni6MvOERVd2pc1h3fwbqzTWieLqNGPkl2FcJlabCGGgK3y4z-WGdijO8BSJuN7sreDA/w400-h200/giphy%20(1).gif" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Courtesy A24 2022</span></td></tr></tbody></table><div>2. <a href="https://www.youtube.com/watch?v=k98Afd7Nf3Y"><b><i>Marcel the Shell With Shoes On</i></b> (A24, dir. Dean Fleisher-Camp)</a> </div><div><br /></div><div>"It's like a movie, but nobody has any lines, and nobody even knows what it is while they're making it." </div><div><br /></div><div>Using stop-motion animation in a live-action setting, this charming mockumentary follows a tiny, one-eyed mollusk (in miniature footwear, no less) on a quest to find his family. Directed and co-written by Dean Fleisher-Camp and starring actress Jenny Slate as the voice of the titular shell (Slate also co-wrote the script), <i>Marcel</i> is a film about our need for community--especially in an era where we've been isolated for so long--and the difference between that and an "audience" (a theme that fits my number one pic, surprisingly). A rare film that works for both young and old, and another triumph for the stellar independent studio A24. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrDwl_gYJ_0kwoQPqGXDHjXKwSxd-KCNOZ8SN0UEHrNCr4fck4R2ogwpZ7AfSPRmSoSzK7V_CPVDeodsV5rSQf1hpkm_LfQAVwkkr-zIlUJLsCx_PzKbcgAOHqbl-1KJi6tyAGwwOtrgyuLRTcEBhqIJ6AdRFoQb2pEJAJKL1tDm2Vl83X8cCqj0Uo_w/s220/five-stars-emerald-haywood.gif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="124" data-original-width="220" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrDwl_gYJ_0kwoQPqGXDHjXKwSxd-KCNOZ8SN0UEHrNCr4fck4R2ogwpZ7AfSPRmSoSzK7V_CPVDeodsV5rSQf1hpkm_LfQAVwkkr-zIlUJLsCx_PzKbcgAOHqbl-1KJi6tyAGwwOtrgyuLRTcEBhqIJ6AdRFoQb2pEJAJKL1tDm2Vl83X8cCqj0Uo_w/w400-h225/five-stars-emerald-haywood.gif" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Courtesy Universal 2022</span></td></tr></tbody></table><div>1. <a href="https://www.youtube.com/watch?v=HUgmq_8PlRY"><b><i>Nope</i></b> (Universal, dir. Jordan Peele)</a> </div><div><br /></div><div>"This dream you're chasing--where you end up at the top of the mountain--it's the one you never wake up from." </div><div><br /></div><div>Jordan Peele's genre-bending commentary on our toxic obsession with spectacle is his most ambitious project to date. Combining horror with comedy, sci-fi, and even western, <i>Nope</i> features an engrossing ensemble cast of characters from different backgrounds (including two Black horse trainers, played by Daniel Kaluuya and Keke Palmer), as well as their own ambitions and secrets. This is a film that forces us to reexamine the way we look at social media and each other. In short (and ironically), it's a roller-coaster. </div>B.E. Kerianhttp://www.blogger.com/profile/10731709676312668865noreply@blogger.com0tag:blogger.com,1999:blog-2099716515627453238.post-45941889042591378962023-06-16T09:32:00.000-07:002023-06-16T09:32:01.958-07:00REVIEW COLLECTION: The Nolan Files, Part I<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwJX6LnBRFDyHag5hGRyNVVXc-nQRFvBfxuUjxJrmKHja48oslAms2JRCxLD3FdYpFyXDWYR2XdPXqJ_-vvXkfRxsgQGncvYKAN9la5pH1zIunlDxtu4QfVFyjLVnVLsiDTd4GnoVyzF0OiO3GwNPqtjtNRJt3iqBCBLHWy1v8h8HeXcm7i1-nqxYqqA/s1125/6e76076e9b218373ff054e57e6c307db.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1125" data-original-width="930" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwJX6LnBRFDyHag5hGRyNVVXc-nQRFvBfxuUjxJrmKHja48oslAms2JRCxLD3FdYpFyXDWYR2XdPXqJ_-vvXkfRxsgQGncvYKAN9la5pH1zIunlDxtu4QfVFyjLVnVLsiDTd4GnoVyzF0OiO3GwNPqtjtNRJt3iqBCBLHWy1v8h8HeXcm7i1-nqxYqqA/w331-h400/6e76076e9b218373ff054e57e6c307db.jpg" width="331" /></a></div><div><br /></div><div><div><i>WRITER'S NOTE: The following reviews were originally written and posted on my Instagram page @be.kerian in June of 2023. (The </i>Dark Knight<i> trilogy is not included, as that's in a category of its own. You can read more about that series <a href="https://reelmeans.blogspot.com/2021/08/writers-cut-why-do-we-fall-or-in-depth.html?m=1">here</a>.) </i></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGvWPZ4tRDajtB8KESIW82pRrmHD3w2rcnxERk7pTrQ5SmoaiaJYg23A_CEULjnkqztvd3GgxvaU5Xia41n-bnEKWcbVGnVLGRCMBNNQ-rgMPege-77gALo07J5DYO5wgKjUd6Pb15G3AbWQt5lDgiH4ORJYOu09mzFJ3AqHte6V7ZKc1rs_9B61-s4Q/s498/following-nolan.gif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="371" data-original-width="498" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGvWPZ4tRDajtB8KESIW82pRrmHD3w2rcnxERk7pTrQ5SmoaiaJYg23A_CEULjnkqztvd3GgxvaU5Xia41n-bnEKWcbVGnVLGRCMBNNQ-rgMPege-77gALo07J5DYO5wgKjUd6Pb15G3AbWQt5lDgiH4ORJYOu09mzFJ3AqHte6V7ZKc1rs_9B61-s4Q/w400-h297/following-nolan.gif" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Momentum Pictures</span></td></tr></tbody></table><div><a href="https://www.youtube.com/watch?v=62TTN6gD2So"><b><i>Following</i></b> (1998)</a> </div><div><div>Christopher Nolan is one of the most influential and dynamic filmmakers of the 21st Century. But many don't know that his feature film debut came right before the turn of the century. In 1998, he laid the groundwork for his trademark cerebral, nonlinear style, with this engrossing thriller. </div><div><br /></div><div>The detailed neo-noir <i>Following</i> centers on an English writer (played by Jeremy Theobald) who becomes obsessed with voyeurism, with his latest subject being an expert thief. With a haunting score, Hitchcock vibes, and a subversive twist from the get-go, Nolan's film (which he photographed on 16mm black-and-white film stock, as well as co-edited and co-produced) also deals with themes of materialism and the invasion of peoples' privacy, whether visually represented in a sea of faces in the street or in a small jewelry box. More importantly, the filmmaker's recurring theme of time here blurs the line between past and present--and the challenging question of who was really following who. </div><div><br /></div><div>TRIVIAL FACT #1: The Batman logo makes an appearance in one scene. (Seven years later, Nolan would revive that franchise with <i>Batman Begins</i>.) </div><div><br /></div><div>TRIVIAL FACT #2: One year prior to the release of "Following," Nolan made a 3-minute short film called <i>Doodlebug</i>. </div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkiWMsMWO57GwgNuXILPg_a_DR4TMtW3SbTl5R3epuk5rEgtvyv8IoiSkGTG_Hevppwx8BwmUY1NHBScblvCia2uk3rPlde3FneC7BSDy91SyYYlk2UkJedqN6AALwcGacG2oiQsuSbSoIJ2quUc7Tfz8ae8wni1fc88lDhFS-MK-emlRkQsGet-b4rw/s446/IckyAdorableBeardeddragon-size_restricted.gif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="250" data-original-width="446" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkiWMsMWO57GwgNuXILPg_a_DR4TMtW3SbTl5R3epuk5rEgtvyv8IoiSkGTG_Hevppwx8BwmUY1NHBScblvCia2uk3rPlde3FneC7BSDy91SyYYlk2UkJedqN6AALwcGacG2oiQsuSbSoIJ2quUc7Tfz8ae8wni1fc88lDhFS-MK-emlRkQsGet-b4rw/w400-h224/IckyAdorableBeardeddragon-size_restricted.gif" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Newmarket Films</span></td></tr></tbody></table><div><a href="https://www.youtube.com/watch?v=HDWylEQSwFo"><b><i>Memento</i></b> (2000)</a> </div><div><div>There are few films that have had as profound of an effect on postmodern cinema as Nolan's sophomore feature. Essentially a noir-thriller in reverse, <i>Memento</i> (based on a short story written by Nolan's brother, Jonathan) follows a man with short term memory on a quest to find his wife's killer. Much like Quentin Tarantino did with <i>Pulp Fiction</i>, Nolan uses a non-linear structure to illustrate main protagonist Leonard Shelby (played superbly by Guy Pearce)'s fading memory and trust issues. </div><div><br /></div><div>The details in this film are key, from the numerous tattoos on Leonard's body to the Polaroid snapshots he takes of certain people and places, and the black-and-white segments intercut throughout (a subplot that, ironically, moves forward instead of back). Guided by Pearce's engrossing voice over narration, <i>Memento</i> exceeds being just a mere whodunit murder mystery, and more of a nail-biting and tragic character study. That goes just as well for the thought-provoking question of what's more reliable: notes, facts, or memories? As Leonard contemplates, "I have to believe in a world outside my own mind. That my actions mean something." </div><div><br /></div><div>The film is ultimately a morality tale of one man struggling with his own identity (and possibly self-deception?) and believing what he wants to believe, regardless of the facts. As one character tells the bleach-blonde Leonard, "Maybe you should start investigating yourself." </div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigCH_AyX9JZfXj4f5GcsigvPazuXYO-1qrNC2XyYZ4D5r27FBJRsc2DyxkGzjSjkwUtfOO91zz7p-46B1HyzpF0HinRorfvXBCPGO5P9IHmMl0cJ4btbzz0wA_dZEMXbK2lPLvEncL_fP_k_VCLxasK4zS39vdrHOgeCwR2xvMSLoAYilCCy1c4beb2w/s250/tumblr_oj757h1jhH1vmyt6jo8_250.gif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="141" data-original-width="250" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigCH_AyX9JZfXj4f5GcsigvPazuXYO-1qrNC2XyYZ4D5r27FBJRsc2DyxkGzjSjkwUtfOO91zz7p-46B1HyzpF0HinRorfvXBCPGO5P9IHmMl0cJ4btbzz0wA_dZEMXbK2lPLvEncL_fP_k_VCLxasK4zS39vdrHOgeCwR2xvMSLoAYilCCy1c4beb2w/w400-h226/tumblr_oj757h1jhH1vmyt6jo8_250.gif" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Warner Bros. Pictures</span></td></tr></tbody></table><div><a href="https://www.youtube.com/watch?v=emIHzg4VH8A"><b><i>Insomnia</i></b> (2002)</a> </div><div><div>For his first major studio film, Nolan helmed this gripping slow-burn of a thriller. <i>Insomnia</i> is about a seasoned homicide detective (Al Pacino) who is assigned to a murder case in a sleepy Alaskan town where it's always daylight. Following an unexpected incident that haunts him for the rest of the film, the sleep-deprived Will Dormer soon gets caught in a twisted game of cat-and-mouse with a murder suspect (Robin Williams), while his fellow officer (Hilary Swank) questions Dormer's possible hidden agendas.</div><div><br /></div><div>All three actors are in top form, particularly Pacino's multilayered and guilt-stricken detective, and Williams in one of his darker roles (although, his character in that year's <i>One Hour Photo</i> was a lot creepier). This also marks the only time that Nolan directed a film where he wasn't credited as a writer (that goes to Hillary Seitz, who adapted the 1998 Swedish film of the same name). Nolan's trademark editing style (reportedly influenced by Terrence Malick) was arguably first seen here, while Wally Pfister's haunting and misty cinematography adds to the film's challenging attention-to-detail clues (or misdirections) involving "wild cards" and choices that characters grapple with. This is a complex, disturbing, and engrossing thriller about moral ambiguity and personal demons. </div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhqGlCiGOPA_73Q4BSKZU2Hik74vTGX5Lqbr20GX6wI_zpYq-12589CgiuVimB_g96vTBoSmsXc24D6N3gAnHlAJ-dB9m1e4FHhbh7TZhCGa9M5zmCbJVV-bjGzNQJ2Ilhw0TMw4OzU3Bup5vO0WOhOOzslj7xYRcPfPwvj-T_j2W82_-XjGCbyA2PrA/s500/1RoO.gif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="250" data-original-width="500" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhqGlCiGOPA_73Q4BSKZU2Hik74vTGX5Lqbr20GX6wI_zpYq-12589CgiuVimB_g96vTBoSmsXc24D6N3gAnHlAJ-dB9m1e4FHhbh7TZhCGa9M5zmCbJVV-bjGzNQJ2Ilhw0TMw4OzU3Bup5vO0WOhOOzslj7xYRcPfPwvj-T_j2W82_-XjGCbyA2PrA/w400-h200/1RoO.gif" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Buena Vista Pictures Distribution</span></td></tr></tbody></table><div><a href="https://www.youtube.com/watch?v=RLtaA9fFNXU"><b><i>The Prestige</i></b> (2006)</a> </div></div><div><div>"Are you watching closely?" Perhaps no line best sums up the filmography of Christopher Nolan than from his 2006 mystery-thriller about two magicians whose friendship turns to rivalry. Hugh Jackman and Christian Bale headline an impeccable cast (including Michael Caine, Scarlett Johansson, and musician David Bowie) as the eponymous stage performers who spend years trying to unravel and outdo each other's secrets. To reveal anymore plot details would be to ruin the illusion. </div><div><br /></div><div>Penned by Nolan and his brother Jonathan, this subversive and engrossing story of betrayal, deception, envy, and tragedy has brilliant period production design, while its narrative is filled with various misdirections and slights of hand, often blurring the lines between what is an illusion and what is (shockingly) real. </div></div>B.E. Kerianhttp://www.blogger.com/profile/10731709676312668865noreply@blogger.com0tag:blogger.com,1999:blog-2099716515627453238.post-59802845986860381802023-06-16T09:23:00.000-07:002023-06-16T09:23:24.476-07:00"Dear Journal": Doug's Disney Years<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvZ3HnfX0XCQs4D7picdROR3-jP5GsBTqKW4l7DqNCfzXVlVJO5-btvOC0LhCYd-skS9u9CdgAY6ktS5ubCr5YsENC4jahpLq4xR9WUeX7PWzW4thy2SHtZaS6NJF4aMkleFG2MGv8xG36ayl1_84nrVh95dGrKZedtnC-gLiBkibdjw-kkJHT_qXSBg/s800/Disney_Doug_Games_Wallpaper_1_800.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="800" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvZ3HnfX0XCQs4D7picdROR3-jP5GsBTqKW4l7DqNCfzXVlVJO5-btvOC0LhCYd-skS9u9CdgAY6ktS5ubCr5YsENC4jahpLq4xR9WUeX7PWzW4thy2SHtZaS6NJF4aMkleFG2MGv8xG36ayl1_84nrVh95dGrKZedtnC-gLiBkibdjw-kkJHT_qXSBg/w400-h300/Disney_Doug_Games_Wallpaper_1_800.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Courtesy Disney/ABC Network</span></td></tr></tbody></table><div><br /></div><div><div><i>Doug</i> is one of the defining T.V. shows of the early-1990s. But even though it was technically the first "Nicktoon" to air on the ever-popular channel (followed by <i>Rugrats</i> and <i>The Ren & Stimpy Show</i>, respectively), it's been absent from such recent merchandising. The reason and history behind this is a complicated one. </div><div><br /></div><div><i>Doug</i> premiered on Nickelodeon in 1991 and ran for four seasons before being canceled three years later. (A proposed fifth season, as originally contracted, <a href="https://www.latimes.com/archives/la-xpm-1999-mar-09-fi-15344-story.html">never came to be</a>.) By this time, the children's network was experiencing a high watermark in their animation department, much like Disney was going through with their own feature films in the medium. <i>Doug</i>, however, received low ratings and reported budget increases compared with the aforementioned programs (including the forthcoming <i>Rocko's Modern Life</i>). </div><div><br /></div><div>As series creator Jim Jinkins recounted in 2013 (<a href="https://www.mathewklickstein.com/slimed">read Mathew Klickstein's in-depth oral biography, <i>Slimed</i></a>), "Disney bought ABC, created 'One Saturday Morning,' and began to court my company, Jumbo Pictures [created by Jinkins and David Campbell in 1990]. So, should I stay with Nickelodeon, who is through with me . . . or get bought by Disney, where we get to create sixty-five new half-hours of <i>Doug</i>, a feature-length movie, <i>Doug Live!</i> for their theme park, toys, books, additional funding for development and production on many new series . . . ? To quote a famous movie line, <i>They made an offer we couldn't refuse.</i>" </div><div><br /></div><div>To get right to the point, what was once an engrossing independent property (on Nick) later became a corporate and generic sellout (at Disney/ABC) that ran for three more seasons (1996-1999). From the very first episode of this "Brand Spanking New" incarnation, we know that things will never be the same. For one, the titular Doug Funnie's voice has changed (original voice actor Billy West was the only cast member who didn't return, and was replaced by Thomas McHugh, as Doug, and Chris Phillips, as school bully Roger Klotz). Roger has become rich. Best friend Skeeter Valentine goes through an elastic growth spurt. Secret crush Patti Mayonnaise gets homeschooled. The once-big-boned Connie Benge has lost a lot of weight. Rock band The Beets break up. And the Honker Burger has become a French cuisine spot. If that's not enough, spoiled rich kid Beebe Bluff gets a nose job and gets the new middle school named after her (complete in the shape of her head from a bird's eye view), while frequently-referenced juvenile delinquent Skunky Beaumont gets a face. (<a href="https://en.wikipedia.org/wiki/List_of_Doug_characters">Wikipedia describes him as a Jeff Spicoli type.</a>) </div><div><br /></div><div>Unlike the original 11-minute episodes, these 22-minute arcs have too many things going on--too many notes, as Mozart's critics would argue--and they go fast. Too many subplots, too much narration, and not enough quiet moments or time to breathe. (I wonder if this was to compensate two 11-minute shorts for the price of one.) Either way, much of the color and creativity was drained or squeezed dry. The animation feels cheap, much of the writing is poor and/or lazy with several been-there-done-that scenarios, and many of the characters and locations are rather shallow. </div><div><br /></div><div>Yes, change is necessary, and we all need to grow up and move on sooner or later. But, in retrospect, how this version of <i>Doug</i> ended up didn't (and doesn't) feel right. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz7BUad0Su_dCjg9JUB3yHvdJAqeOSEV6Bg74WGefIXHerpQUU5ugzhxX6CyHx6-aZn2VRDiY3lcSmxKAEv4_Yr8oybdhrWLdSQholhTTvykGEkzKCxTn5180WuMjyEhm-F3cotCEKCMQOXjWpTPv53-hjgeZxyhezNfD2ro3cz_fy0RcVPRG25JrlsA/s2048/Doug-1st-Movie-1999.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1357" data-original-width="2048" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz7BUad0Su_dCjg9JUB3yHvdJAqeOSEV6Bg74WGefIXHerpQUU5ugzhxX6CyHx6-aZn2VRDiY3lcSmxKAEv4_Yr8oybdhrWLdSQholhTTvykGEkzKCxTn5180WuMjyEhm-F3cotCEKCMQOXjWpTPv53-hjgeZxyhezNfD2ro3cz_fy0RcVPRG25JrlsA/w400-h265/Doug-1st-Movie-1999.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Rare marketing for <i>Doug's 1st Movie</i> (courtesy Disney 1999)</span></td></tr></tbody></table><div><br /></div><div>The 1999 feature film was originally slated for a direct-to-video release, but eventually shipped to theaters on the heels of Paramount/Nickelodeon's success with <i>The Rugrats Movie</i> the previous fall. <i>Doug's 1st Movie</i> (an ironic title, considering the film was not a financial success and didn't warrant further sequels) followed Doug and Skeeter trying to find and catch the mysterious "Monster of Lucky Duck Lake" (a frequent arc in the Disney series), while Doug tries to ask Patti to the Valentine school dance against arrogant eighth-grader Guy Graham. Despite <a href="https://www.youtube.com/watch?v=6JybIeNcKp8">a clever title intro</a> and at least one moment of genuine, relatable adolescence, the film suffers from a generic storyline, overt sentimentality, ridiculous humor, and a pushy environmental cover-up. It does, however, highlight the importance of doing what is right, even if it isn't popular. </div><div><br /></div><div>Getting back to the Disney series, some of the themes are worthwhile. Patti goes through heartache and angst over the loss of her mother ("Patti's Dad Dilemma") and, for a time, an eating disorder ("Doug's Chubby Buddy"). Judy Funnie stands up for her family, despite their quirks ("Judy, Judy, Judy"). Superhero alter ego Quailman gets a colorful team of super-friends ("Quailman and the L.U.B."). And Doug reflects on everything up to the present, and after that, in the series' finale ("Doug's Marriage Madness"). </div><div><br /></div><div>The same goes for some of Dan Sawyer and Fred Newman's music themes, as well as some of the creative episode titles (courtesy Tony Eastman) and occasional film/pop-culture parodies (i.e., <i>Citizen Kane</i>, <i>The X-Files</i>, <i>Braveheart</i>, <i>Look Who's Talking</i>). With that in mind, two of the only episodes worth checking out in full are "Doug's Hoop Nightmare" (set during the summer before seventh grade, when the main characters still looked as they last did on Nick) and "The Dark Quail Saga" (Jinkin's favorite of the Disney episodes, written by series regular Joe Fallon). But at the end of the day, there were other coming-of-age shows at the time that did it much better (i.e., <i><a href="https://www.youtube.com/watch?v=zObiglKZKZc">Recess</a></i>, <i><a href="https://www.youtube.com/watch?v=2KmxQz3AbbI">Pepper Ann</a></i>, <i><a href="https://www.youtube.com/watch?v=OKL1ffelnNk">Hey Arnold!</a></i>).</div></div><div><br /></div><div>Said Patti's voice actress Constance Shulman (in Klickstein's book), "Hands down, I prefer the old <i>Doug</i>! The new <i>Doug</i> just wasn't the same. Hard to put into words. Perhaps not having Jim around as much and Tom McHugh--definitely awesome, but having to readjust to a new Doug--and I missed all the gang crammed in the studio, waiting for their turn for the big group scene. Someone just dimmed the magic a bit." </div><div><br /></div><div>Jinkins agrees (again, read Klickstein), "I will confess that I took my eyes off <i>Doug</i> too much during those Disney days once I got overwhelmed with all my responsibilities [as an executive]. The Nicktoons <i>Doug</i> stories were the most autobiographical, and I was the most hands-on with their creation." Here's hoping we get to see some of that classic Nickelodeon magic (including nostalgic merchandising with the rest of the Nicktoons gang), and maybe a better feature-film adaptation, someday. Until then, we have <a href="https://www.youtube.com/watch?v=Po8IqNtBedI">this terrific 2013 medley by Newman and Sawyer</a> and these Nickelodeon <a href="https://www.youtube.com/results?search_query=the+splat+orange+couch+doug">"Splat" reunions</a> between Jinkins, Newman, and West. Cool, man! </div>B.E. Kerianhttp://www.blogger.com/profile/10731709676312668865noreply@blogger.com0tag:blogger.com,1999:blog-2099716515627453238.post-64276944629128751692023-06-05T10:33:00.002-07:002023-06-05T21:52:52.885-07:00EXTENDED REVIEW: "The Little Mermaid" (2023)<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKj8GlH2vlSVm9oUppKzGP04Ee3Na_T8aSg5oD9rFM0d5hCKM4dT_EzfUC3Yh1xNB-Kcguwc35-PZhOZ6WfGnIxUo3Is3Bkup7knV5lr2FMHA4jl5gA00C3HcgW-whNad0Ww5cNB3yH6r9HYhllfTBqwo9Zp7mBgGRVvjVTLJqisaAn5mpFsqxTtGqig/s2048/little-mermaid-poster-1665683254319.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1383" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKj8GlH2vlSVm9oUppKzGP04Ee3Na_T8aSg5oD9rFM0d5hCKM4dT_EzfUC3Yh1xNB-Kcguwc35-PZhOZ6WfGnIxUo3Is3Bkup7knV5lr2FMHA4jl5gA00C3HcgW-whNad0Ww5cNB3yH6r9HYhllfTBqwo9Zp7mBgGRVvjVTLJqisaAn5mpFsqxTtGqig/w270-h400/little-mermaid-poster-1665683254319.jpg" width="270" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Disney (c) 2023</span></td></tr></tbody></table><div><i><br /></i></div><div><i>WRITER'S NOTE: The following review was originally posted on my Instagram page, @be.kerian, on May 27th, 2023. </i></div><div><div><br /></div><div>Let me be up front about this (and I think many people would agree): Disney doesn't need to remake <i>all</i> of their classic animated features into live-action movies. True, there have been exceptions (2015's <i>Cinderella</i> and 2016's <i>The Jungle Book</i>, among others), but there's a growing sense of oversaturation--or should I say overflowing waves?--and it seems to be showing no signs of slowing down. (A prequel to <i>The Lion King</i> and a <i>Snow White</i> remake are scheduled for next year.) </div><div><br /></div><div>That being said, this update of the 1989 animated musical, based on Hans Christian Andersen's classic fairy tale about a young mermaid who longs to be human and live on land, swims with flying colors. And while it doesn't exactly sink, it does tread waters that are both nostalgic and predictable. </div><div><br /></div><div>To me, the best live-action Disney pics work because they do something fresh and profound with their source material (hence, the aforementioned films). Others, meanwhile, fall short because they try to be currently relevant with certain agendas (looking at you, 2017's <i>Beauty and the Beast</i>). And while some moments in this new <i>Mermaid</i> are unmistakeably shot-for-shot replicas of its 2D predecessor, it mostly stands on its own two feet--and without pushing on its audience. </div><div><br /></div><div>The musical arrangements (along with original composer Alan Menken's enchanting score) are wonderful if a bit overdone, while new songs by Lin-Manuel Miranda (a fan of the original) give the story a profound and witty spin. (Highlights in this roster include a new song for Ariel, and an additional, bittersweet reprise of one famous ballad.) And let's not forget actress Halle Bailey's awe-inspiring rendition of "Part of Your World". </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkULT5wTThJ7OyBbzCtoppRLby1y8ylWEd87ibxU-CqiFTM-_4gdFI9Tl-P8w663qGdeQKYQuPEIidOQ4awg-ahR6mdUlwC40ENkMk4IUKyGnmIPOLGo1HbDvyHfXieClOYQC3sv1VTD9P9m8udKsMAh33laMcv7h_eXNOSTnH1IFd-gBqoswCStlURw/s1280/the-little-mermaid-2023-ariel-1682529648280.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="864" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkULT5wTThJ7OyBbzCtoppRLby1y8ylWEd87ibxU-CqiFTM-_4gdFI9Tl-P8w663qGdeQKYQuPEIidOQ4awg-ahR6mdUlwC40ENkMk4IUKyGnmIPOLGo1HbDvyHfXieClOYQC3sv1VTD9P9m8udKsMAh33laMcv7h_eXNOSTnH1IFd-gBqoswCStlURw/w270-h400/the-little-mermaid-2023-ariel-1682529648280.jpeg" width="270" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Disney (c) 2023</span></td></tr></tbody></table><div><br /></div><div>The casting is ideal, with Javier Bardem as a fitting King Triton, Melissa McCarthy as the campy and cunning sea witch Ursula, and Daveed Diggs (who originated the role of the Caribbean-accented Lafayette in Miranda's Broadway smash <i>Hamilton</i>) nearly stealing the show as sea crab Sebastian. Prince Eric (played by Jonah Hauer-King) is even given surprising layers and connections with the titular heroine. But its Bailey (of the Grammy-nominated music duo Chloe × Halle) that beautifully and soulful makes the role of Ariel her own, and carries the film. (Original voice actress Jodi Benson even makes a cameo.) </div><div><br /></div><div>Speaking of Ms. Bailey, I do believe the criticisms (and online trolls) towards her casting from Day One have been completely unfair and mean-spirited. But the film has generated other forms of controversy since its release last month. Black activist Marcus Ryder wrote a <a href="https://www.google.com/amp/s/nypost.com/2023/06/02/little-mermaid-slammed-by-activist-for-erasing-slavery/amp/">blog post</a> criticizing the film for overlooking the harsh realities of slavery in the Caribbean Islands in the 1800s, where this particular story is set. This same writer, however, did also say he enjoyed the film as a fantasy-adventure, and commended it for celebrating Black beauty, but implored readers by saying, "We owe it to our children to give them the most amazing fantastical stories possible to help their imaginations grow." Ryder continues, "We do not do this by ‘whitewashing’ out the difficult parts of our history. We do it by embracing our rich history and empowering them with the truth.” Ryder adds that, had the story been set in another country like Haiti (after slavery was overthrown), it would've improved the story "without sacrificing historical accuracy." A solid point, and something to think about. </div><div><br /></div><div>All controversy aside, <a href="https://theconversation.com/disneys-the-little-mermaid-review-ariel-finally-finds-her-feminist-voice-206695">others have praised the film for improving on the original in many ways, including making Ariel a more proactive and self-aware, even feminist, lead</a>. <a href="https://www.independent.co.uk/arts-entertainment/films/news/halle-bailey-little-mermaid-ariel-b2304761.html">To her credit, Halle Bailey adds a more layers and "nuances" to Ariel's character arc, giving her a thirst for adventure and not just a mere romance.</a> (<a href="https://screenrant.com/the-little-mermaid-new-ariel-song-why-explained/">Her new song in the film</a> is a great example of this.) Regardless of how you feel about the new movie, I think most of (if not all of) us who have seen it can agree that <a href="https://www.youtube.com/watch?v=BCKna5ZoyN4&feature=youtu.be">Bailey is absolutely amazing!</a> Her voice is incredible. Her personality is infectious. And she's already making a big impression on little girls and people of color who are seeing themselves onscreen. (<a href="https://youtu.be/zGwyj7xWTs8”">One adorable video on social media</a> sees her meeting a young fan at Disneyland.) That fills me with joy, and I couldn't be happier for this young lady and the many uncharted waters she has yet to explore. And the fact that Bailey has gone through this whole journey with such grace and humility speaks volumes to her integrity and character. Now, that's something to be admired. </div><div><br /></div><div>All in all, this new <i>Mermaid</i> is both fresh, familiar, and, in its own way, exceptional. It's also a lovely commemoration for the Mouse House's 100th anniversary. (Just look at that new company logo if you don't believe me.) Now if only they could use more discernment and calm the tides of their live-action remake assembly line. </div></div>B.E. Kerianhttp://www.blogger.com/profile/10731709676312668865noreply@blogger.com0tag:blogger.com,1999:blog-2099716515627453238.post-63114557812638704902023-05-12T09:32:00.000-07:002023-05-12T09:32:29.879-07:00The Magic of Disney Animation, Second Edition: Out of the Sea, Part of Our World, and The Birth of a Renaissance<div class="separator" style="clear: both; text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjImwEesFjVIm57cQh3-H3PfCmIO3F6275hzJ0e8tft4XJ3XAMH-RwuTSR3URBw6yGf3dWaqqJnU7vnIu-dYCHfrl2eVSQVj70fSWsZaZ-BnW70r5N5klK_SDLd8tsoEoH_Tg7tqYDwDbGfugyL6DncbGWQFyYkfygh3yj97wi40hcIYM8mzxLyXG8MQg/s914/20230509_164349.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="757" data-original-width="914" height="331" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjImwEesFjVIm57cQh3-H3PfCmIO3F6275hzJ0e8tft4XJ3XAMH-RwuTSR3URBw6yGf3dWaqqJnU7vnIu-dYCHfrl2eVSQVj70fSWsZaZ-BnW70r5N5klK_SDLd8tsoEoH_Tg7tqYDwDbGfugyL6DncbGWQFyYkfygh3yj97wi40hcIYM8mzxLyXG8MQg/w400-h331/20230509_164349.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">[Courtesy <a href="https://www.greatbigcanvas.com/view/the-little-mermaid-1989,1037584/?size=16x12&coupon=RSVIN&coupon=RSVIN&gclid=CjwKCAjw3ueiBhBmEiwA4BhspPm4ESOe4jX8cpdmB46swwv1g2U5plx6KvcoiQiU5YVTAy9BqR4TxxoCFtQQAvD_BwE">Great Big Canvas</a>]</span></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div></div><div><i>WRITER'S NOTE: The following was originally published on <a href="https://reelmeans.blogspot.com/2020/03/the-magic-of-disney-animation-part-v.html?m=0">March 24, 2020</a>. </i></div><div><br /></div><div>The progress that Disney's Feature Animation division had been making throughout the 1980s had been building up to something, one way or another. And in 1989, it came in the form of a mermaid longing to be human, and who raised her head out of the ocean and literally sung to a new generation.</div><div><br /></div><div>Based on Hans Christian Andersen's classic fairy tale of the same name, <i><a href="https://m.youtube.com/watch?v=iNamaSjhMbI">The Little Mermaid</a></i> became the liviest feature the studio had made in so long. <a href="https://www.google.com/amp/s/www.nbcnews.com/think/amp/ncna1084221">Reportedly, the Mouse House had put more resources into this film than any other up to that point</a>, including the most elaborate water effects created since <i>Fantasia</i> and <i>Pinocchio</i> in 1940. (Seriously, the time they put into animating the millions of bubbles alone is fascinating.) Not to mention some of the most electric and catchy songs ever written and composed in the studio's history, including the showstopping "Under the Sea" and the perfectly-serenading "Kiss the Girl".</div><div><br /></div><div><i>Mermaid</i> also represents one of Disney's most complex films, in terms of character dynamics and relationships, which add a contemporary spin while honoring its literary source material. The traits of the titular Ariel, for one thing, redefined the role of a Disney princess for a new generation. <a href="https://www.mtv.com/news/swf5j6/disney-princess-mark-henn">As animator Mark Henn described</a>, while the classic female characters (Snow White, Cinderella, and Aurora) were "reactive," Ariel and subsequent others (like Belle Jasmine) were more proactive, taking their own steps in their respective journeys/stories. Ariel wants more than the stuff of human life (she keeps hundreds of worldly items in a secret cove). She longs to really live as they do. And if one looks closely, they may find some surprising spiritual aspects in Ariel's dreams ("Up where they walk," anybody?). She also expresses universal body language when she's on land without her voice (a testament to the animation by Henn and Glen Keane).</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEpHvSDagZ6TiibX_cG-XTZxKqKP5cPdantSV2GrME_SCogmpT-PVOPkPtxBW2PR-wC7gPZyrL1e9MEQvcm-yAbcr8j0YgR7J2M4Kf9nPTA2Kq2Z_rhKMJrEvcxZH4KVWpROn9xChvgBUAp-HCqAk1zkBwGLErTab5IXwk_0CIAEoEWxjj5-UubVZ_4w/s1500/MV5BOWUyNDA0ZmItMzg2My00YjJhLTk1N2QtYTAxYTc0NzMzNDI0XkEyXkFqcGdeQXVyMTI5NzUyMTIz._V1_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1001" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEpHvSDagZ6TiibX_cG-XTZxKqKP5cPdantSV2GrME_SCogmpT-PVOPkPtxBW2PR-wC7gPZyrL1e9MEQvcm-yAbcr8j0YgR7J2M4Kf9nPTA2Kq2Z_rhKMJrEvcxZH4KVWpROn9xChvgBUAp-HCqAk1zkBwGLErTab5IXwk_0CIAEoEWxjj5-UubVZ_4w/w268-h400/MV5BOWUyNDA0ZmItMzg2My00YjJhLTk1N2QtYTAxYTc0NzMzNDI0XkEyXkFqcGdeQXVyMTI5NzUyMTIz._V1_.jpg" width="268" /></a></div><div><br /></div><div>For the sake of discerning families reading this: while Ariel is an amazing character (voiced and sung memorably by Jodi Benson), she can also be very rebellious, angsty, have "daddy issues" (something Jasmine from <i>Aladdin</i> would later have in common with her), and make questionable choices. Chief among said choices is instantly falling for a young man she barely knows. Plus, the subplot of her making a deal with an undersea witch where she trades her beautiful voice for human legs (the scheming Ursula is, no doubt, one of the scariest and most dynamic Disney villainesses, alongside the Queen, Maleficent, and Cruella DeVil) probably wouldn't fly today. On the other hand, the theme of the cost of selling yourself in exchange for something else has cautionary undertones. </div><div><br /></div><div>On that same note, the role of Prince Eric is more than just a one-note leading man (as most iterations in previous Disney fairy tales have been the case). His intentions in waiting for the "right, and not just marrying for the sake of it, are noble. Plus, he does demonstrate sacrifice, redemption, and genuine acts of love. As for the role of King Triton (while also questionable at times), there's the theme of letting children grow up and allowing them to live and lead their own lives (as the scene-stealing crab Sebastian says).</div><div><br /></div><div>Revisiting the film, I marvel at the colorful and beautiful animation, the story's emotional arc (especially the iconic "Part of Your World" motif, <a href="https://www.cinemablend.com/news/2476432/ariels-part-of-your-world-was-almost-cut-and-other-little-mermaid-facts">which was almost cut from the film</a> a la "Over the Rainbow" from <i>The Wizard of Oz</i>), the unforgettable music by Howard Ashman and Alan Menken (his first of many contemporary Disney scores), and thrills from its strong sound design and aforementioned underwater effects. The result is enchanting and entertaining. <i>The Little Mermaid</i> also turned out to be the last hand-drawn film made by the studio before they transitioned to a new digital ink-and-paint system that would redefine the look of the modern Disney feature from thereon.</div>B.E. Kerianhttp://www.blogger.com/profile/10731709676312668865noreply@blogger.com0tag:blogger.com,1999:blog-2099716515627453238.post-31457123768741728852023-05-05T11:07:00.000-07:002023-05-05T11:07:19.085-07:00FILM FREEQ ARCHIVES: "Fast and Furious" Franchise (Second Edition)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdD5rwzosaM02fHK8t9fYXM-dFx7wsdTKINiN8KnOn02k-xVL5K1YzHiFjbfYwIDJdYHjs00_F87ibhNWzWJw7iIMhrbUrmgLZ4ntOCPDtLquu9q4-QEew-isjZNhI4ejO7zV0pZzrgTkiDGqAlw06nOfLBsXmungUMt9Bm5BdK4xtM0kfVdHUqAwUFw/s1710/The-Fast-And-The-Furious-Franchise-Changes.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="855" data-original-width="1710" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdD5rwzosaM02fHK8t9fYXM-dFx7wsdTKINiN8KnOn02k-xVL5K1YzHiFjbfYwIDJdYHjs00_F87ibhNWzWJw7iIMhrbUrmgLZ4ntOCPDtLquu9q4-QEew-isjZNhI4ejO7zV0pZzrgTkiDGqAlw06nOfLBsXmungUMt9Bm5BdK4xtM0kfVdHUqAwUFw/w400-h200/The-Fast-And-The-Furious-Franchise-Changes.jpg" width="400" /></a></div><div><br /></div><div><i>WRITER'S NOTE: The following was originally posted on my Instagram page @be.kerian on May 25th, 2021.</i> </div><div><br /></div><div>It's interesting to look back at the origins of a film franchise. In the case of <i>The Fast and the Furious</i>, most people may forget that the original movie from 2001 (has it really been that long?) was a gritty street-racing crime drama. The film is dated by today's standards, although it no doubt made stars out of Vin Diesel (as Dominic Torreto), Paul Walker (as officer Brian O'Conner), Jordana Brewster (as Dom's sister, Mia), and Michelle Rodriguez (as tough-as-nails Letty), to name a few.</div><div><br /></div><div>Its trademark melodramatic dialogue, fast cars (that climactic highway sequence is a standout), and objectified sexuality would carry over into three mediocre sequels. 2003's <i>2 Fast 2 Furious</i> did feature scene-stealing roles from Eva Mendes (as a Miami officer) and music artists Tyrese Gibson (as the fast-talking Roman) and Ludacris (as the tech-savvy Tej). 2006's <i>Tokyo Drift</i> had impressive, practical drift racing. And 2009's <i>Fast & Furious</i> marked Gal Gadot's big screen debut (as racer Giselle). </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVoSB8Yd7OzjME5a6erih9IwdYi-OHxsPHSmroH2H7MejSq08J-e0Up8qHA2ov41jcda59kQZHNJG2KRIIvzxAJCleQES_RIsO9MJb6lErOd3voSWBOmWi__lA60MnDslHGl6DcIt50s1B55APZ2LRfX2yLFgEid81TmOJ4wpNfHlEZL-FeI4ORCIevA/s2430/2c10ac71f20b7c2ad5f7015b04ad86ee35-fast-furious.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1689" data-original-width="2430" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVoSB8Yd7OzjME5a6erih9IwdYi-OHxsPHSmroH2H7MejSq08J-e0Up8qHA2ov41jcda59kQZHNJG2KRIIvzxAJCleQES_RIsO9MJb6lErOd3voSWBOmWi__lA60MnDslHGl6DcIt50s1B55APZ2LRfX2yLFgEid81TmOJ4wpNfHlEZL-FeI4ORCIevA/w400-h278/2c10ac71f20b7c2ad5f7015b04ad86ee35-fast-furious.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(L-r) Vin Diesel and Paul Walker in <i>The Fast and the Furious</i> (2001, Universal Pictures)</span></td></tr></tbody></table><div><br /></div><div>It wasn't until 2011 when a fifth movie (titled, <i>Fast Five</i>) took the series in the direction we know today. Released just as Marvel was establishing their now-iconic cinematic universe, the <i>Fast</i> saga became its own thing with its aforementioned insane action, larger-than-life narrative threads featuring characters from different installments, and almost mythological undertones. <i>Five</i> had a good balance of all these elements, not to mention practical stunts and effects, as well as consistent themes of family and freedom. (To be sure, these movies aren't for everybody.) </div><div><br /></div><div>2013's <i>Fast & Furious 6</i> seemed like an excuse to bring the same team back together, and most importantly Rodriguez as Letty (who did have a signature brawl with MMA pro Gina Gerano). Since then, the series went full-throttle with over-the-top, physics-defying mayhem. 2015's <i>Furious 7</i> ended up being a poignant chapter, considering the unexpected death of Walker, who was given a fitting and respectful send-off in this genuine, roller-coaster blockbuster. This is arguably where the series should have concluded, whereas 2017's <i>The Fate of the Furious</i> and the 2019 spinoff <i>Hobbs & Shaw</i> seemed unnecessary, squeezing dry all the tension from the 6th and 7th movies for the sake of subversive humor. (Charlize Theron, on the other hand, did make a great villain in <i>Fate</i>.) </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyC_mWiFSRfa9aGcUbJG-LqaNHyFyqDLG8NEJaEvqUzBbCzWq-wOjGER7GtsenYp919BG7u-gt5x1Rg6XcO04cQP6G7wQLfFJktj-sCvO6fevXPv63bdchg8HV7k-vNvWaaOjw048CeHCqFNuEaokLRTHdFuK2vtUAibMk0voGh-kCqed4ZqulWP2D3w/s1200/fast.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1200" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyC_mWiFSRfa9aGcUbJG-LqaNHyFyqDLG8NEJaEvqUzBbCzWq-wOjGER7GtsenYp919BG7u-gt5x1Rg6XcO04cQP6G7wQLfFJktj-sCvO6fevXPv63bdchg8HV7k-vNvWaaOjw048CeHCqFNuEaokLRTHdFuK2vtUAibMk0voGh-kCqed4ZqulWP2D3w/w400-h300/fast.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(L-r) Paul Walker and Vin Deisel in <i>Fast Five</i> (2011, Universal Pictures)</span></td></tr></tbody></table><div><br /></div><div>With 2021's <i>F9</i>, I think enough time had passed where it became exciting to see the old gang again, along with John Cena (as the film's new baddie) and some more crazy action. And the resulting chapter is, like many its predecessors, definitely a cinematic experience, especially in IMAX. But it also may be a middling one. While its character emphases and arcs are noteworthy and surprising, its convoluted plotholes may leave many (especially those not caught up with this two-decades-and-counting franchise) feeling dazed and somewhat disappointed. With reportedly two more films to go (starting with this summer's <i>Fast X</i>), it's anyone's guess as to whether this series stays in the same lanes or truly takes some unexpected routes. </div>B.E. Kerianhttp://www.blogger.com/profile/10731709676312668865noreply@blogger.com0tag:blogger.com,1999:blog-2099716515627453238.post-20943211893405004952023-05-05T10:51:00.000-07:002023-05-05T10:51:04.409-07:00REVIEW COLLECTION: The MCU, Phase 4 (Updated and Expanded Edition)<div><i>WRITER'S NOTE: The following was originally published on <a href="https://reelmeans.blogspot.com/2022/05/review-collection-mcu-phase-four.html">May 9, 2022</a>, based on a collection of reviews posted on my Instagram accounts @be.kerian and @film_freeq (the latter is no longer active, as of this writing) in 2022--and later from early 2023. They’ve been organized chronologically, based on initial release dates, and have been slightly edited.</i> <i>ALSO: I do not own the rights to the included images. </i></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFEUUjNScqhn_F5jwZP4b7r1ma3p9-Uo7MkNUUHWjgg2CBlP5uYfUT00LUrmAZAM4QRJQH_YJzHcZtmDbq_F8ZgmOGm7zue3K2Z8uGioQFuba0OubLqiq2bMyEzhlwLovrYFfvewsjUs27_PdJ84CZmbh_h-o14Qpk6c9subURNwNBlmrZLxL9Ri2jhg/s1200/IMG_20220507_063801_974.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFEUUjNScqhn_F5jwZP4b7r1ma3p9-Uo7MkNUUHWjgg2CBlP5uYfUT00LUrmAZAM4QRJQH_YJzHcZtmDbq_F8ZgmOGm7zue3K2Z8uGioQFuba0OubLqiq2bMyEzhlwLovrYFfvewsjUs27_PdJ84CZmbh_h-o14Qpk6c9subURNwNBlmrZLxL9Ri2jhg/w400-h400/IMG_20220507_063801_974.jpg" width="400" /></a></div><div style="text-align: center;"><br /></div><div><div>Now that I've caught up on the numerous Marvel shows on Disney+ (as well as feature films in the fourth phase of their Cinematic Universe), I have to say that I'm generally impressed with what they've done--despite not being entirely "family-friendly". (Then again, like their films, they manage to stay within PG-13 boundaries, even while occasionally pushing the envelope in terms of intense violence and problematic language/crass content peppered throughout.) </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU8Bcvx0fRNGbnz4E-yl51xOaN1aOGxQX18UQecDm9tkwk02GPXYWygTuGfeF0_K6UEbjPowjlnVOb4N10H_8LMw19eI-LkI1Au8C88QaNTCyaJPQ0ZD-YfzH_NM3CXjg27fRX9kqBWfANtRtDvdGdt3W1BGAq0KVIZSyOyrhXJksevOBGdKcM4pATDw/s540/7935901-wv.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="350" data-original-width="540" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU8Bcvx0fRNGbnz4E-yl51xOaN1aOGxQX18UQecDm9tkwk02GPXYWygTuGfeF0_K6UEbjPowjlnVOb4N10H_8LMw19eI-LkI1Au8C88QaNTCyaJPQ0ZD-YfzH_NM3CXjg27fRX9kqBWfANtRtDvdGdt3W1BGAq0KVIZSyOyrhXJksevOBGdKcM4pATDw/w400-h259/7935901-wv.gif" width="400" /></a></div><div><i style="font-weight: bold;"><a href="https://www.youtube.com/watch?v=UBhlqe2OTt4">WandaVision</a></i> (2021) </div><div>A unique throwback to the evolution of television since the 1950s, merged with Marvel's blockbuster aesthetic. Former Avengers Wanda Maximoff a.k.a. the Scarlet Witch (Elizabeth Olsen) and Vision (Paul Bettany) are at the center of this genre-bending narrative, providing clever homages to everything from <i>I Love Lucy</i> to <i>Malcolm in the Middle</i> and <i>Modern Family</i>. Meanwhile, this inexplicable "world" is a place where things aren't as they seem, as government agents try to solve the mystery behind these strange occurances--and why/how Wanda and Vision are at the center of it. Olsen and Bettany are as committed as ever, while Kathryn Hahn is a surprising standout in this genre-bending miniseries. You may never hear The Monkees' "Daydream Believer" the same way again. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLPu5YOw0ZpjO5Msata_hKC2lq6hGPOyEtetpVxMOnwYd6bNDLmOOChPc6OeK0o-vn91hffjYb7Kl8aFA3Q8lQNUX8v06lASetT1UUdRpDRqhewrnASuA4du2gvNhpZCtaET-yTg6Hfph65Ce9a9-7cGZz02_xEAREyhzawQQfYhJVqVcUQ11bSQ4Kmg/s498/marvel-studios-the-falcon-and-the-winter-soldier.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="206" data-original-width="498" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLPu5YOw0ZpjO5Msata_hKC2lq6hGPOyEtetpVxMOnwYd6bNDLmOOChPc6OeK0o-vn91hffjYb7Kl8aFA3Q8lQNUX8v06lASetT1UUdRpDRqhewrnASuA4du2gvNhpZCtaET-yTg6Hfph65Ce9a9-7cGZz02_xEAREyhzawQQfYhJVqVcUQ11bSQ4Kmg/w400-h165/marvel-studios-the-falcon-and-the-winter-soldier.gif" width="400" /></a></div><div><div><b><i><a href="https://www.youtube.com/watch?v=jkBfGvb7NzM">The Falcon and the Winter Soldier</a></i></b> (2021) </div><div>Sam Wilson (Anthony Mackie) and Bucky Barnes (Sebastian Stan) team up to uncover a global conspiracy, even as they find difficulty adjusting to a world without Steve Rogers. This series is the most gritty and palpable of the aforementioned shows, echoing the political-thriller vibe established in 2014's <i>Captain America: The Winter Soldier</i>. Wyatt Russell is engrossing as a potential successor to the Cap mantel, despite complex layers and agendas throughout. Ditto Erin Kellyman as a super-soldier runaway and rebel organization leader. Next up: <i>Captain America: New World Order</i> in 2024! </div></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgM7kgbxjSY0kEyXqTaT3irSwJhfGl4NgYoFLNiGDFKFq59rKGe-dfZkTJflyjNyr4ULm6yls4PXiJffOMzSfbA7gWctWkvlPf7YxbNqsice_oTLVayDugy87xltRAeCLEnGlnRfVDBS3-rd0s6kZeYsUi_auo2xrIoiP0jsK-O84-HTWVhLkA7liZsQ/s540/586760346d255893d7873ecfbf54e0dd.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="232" data-original-width="540" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgM7kgbxjSY0kEyXqTaT3irSwJhfGl4NgYoFLNiGDFKFq59rKGe-dfZkTJflyjNyr4ULm6yls4PXiJffOMzSfbA7gWctWkvlPf7YxbNqsice_oTLVayDugy87xltRAeCLEnGlnRfVDBS3-rd0s6kZeYsUi_auo2xrIoiP0jsK-O84-HTWVhLkA7liZsQ/w400-h171/586760346d255893d7873ecfbf54e0dd.gif" width="400" /></a></div><div><b><i><a href="https://www.youtube.com/watch?v=nW948Va-l10">Loki</a></i></b> (2021) </div><div>The ever-popular Norse "god of mischief" (Tom Hiddleston) finds himself in a strange time variant loop following the events of 2019's <i>Avengers: Endgame</i>. Both this series and <i>WandaVision</i> are very creative and subversive in the directions they take with their cast of characters and how they effect the MCU from thereon. How they do it, I won't say. Except to say that Owen Wilson (as a time variant agent) is along for the ride. A second season is on the way in 2023, as part of the MCU's Phase Five. </div><div><br /></div><div><div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp4I09ZT1yxnZItKRBp6FjFu8tcRMWLUcm4-ujD9hLpki3UMAfQvxvgDJ0ABnQ1mPBYK__mx63HNitHZovcEClgFdtkvqlyhsUXjyWUmFLSx15PNcn-fOkPVA4ak6Shxwq09JRK2E_t0qek08Uw8OSgS-NGOBBJTaHCordwT3LraQPwq88cfaEzBf6wA/s498/black-widow-waiting.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="258" data-original-width="498" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp4I09ZT1yxnZItKRBp6FjFu8tcRMWLUcm4-ujD9hLpki3UMAfQvxvgDJ0ABnQ1mPBYK__mx63HNitHZovcEClgFdtkvqlyhsUXjyWUmFLSx15PNcn-fOkPVA4ak6Shxwq09JRK2E_t0qek08Uw8OSgS-NGOBBJTaHCordwT3LraQPwq88cfaEzBf6wA/w400-h208/black-widow-waiting.gif" width="400" /></a></div></b></div><div><b><i><a href="https://www.youtube.com/watch?v=RxAtuMu_ph4">Black Widow</a></i></b> (2021) </div></div><div>Agent/assassin Natasha Romanoff finally makes her long-awaited solo feature debut in the MCU--and kickstarting a postponed fourth phase on the big screen (after <i>WandaVision</i> did on the small screen). In a story set between the events of 2016's <i>Captain America: Civil War</i> and 2018's <i>Avengers: Infinity War</i>, the Black Widow is on the run while seeking to bring down the very secretive organization that made her who she is. </div><div><br /></div><div>A thoroughly gripping and intense experience (arguably the first of its kind since 2014's <i>Captain America: The Winter Soldier</i>). Some of its humor is a bit out of place, especially during scenes with Natasha's Russian family (David Harbour, Rachel Weitz, and a breakout Florence Pugh), but this was made for the big screen where it belongs. Scarlett Johansson (in her final MCU outing) has come a long way, and counting. (Originally scheduled for a May 2020 release, but postponed for a year, due to the COVID-19 pandemic.) </div></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtP9H6EF1HEY9dCVgXYRguey_ePUVjBFCfE1DE3xYwRKIiS46dUkXKih559x6w6Hj78rIXjjjH8qiTYqDP-GPh6bMKMx_ZhRsXHyHIySn02_9cUh3-JUwT4xvA0PsYR-f-mnEXrlWG7Igx3UWqMmm057cjgU68uTr5kD_J7AXOxGDzblRoKYrakE0fQA/s498/what-if-marvel.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="267" data-original-width="498" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtP9H6EF1HEY9dCVgXYRguey_ePUVjBFCfE1DE3xYwRKIiS46dUkXKih559x6w6Hj78rIXjjjH8qiTYqDP-GPh6bMKMx_ZhRsXHyHIySn02_9cUh3-JUwT4xvA0PsYR-f-mnEXrlWG7Igx3UWqMmm057cjgU68uTr5kD_J7AXOxGDzblRoKYrakE0fQA/w400-h215/what-if-marvel.gif" width="400" /></a></div><div><b><i><a href="https://www.youtube.com/watch?v=x9D0uUKJ5KI">What If . . .?</a></i></b> (2021) </div><div>An animated anthology series that takes events from previous MCU films and flips the script in alternate realities. High points include seeing Agent Peggy Carter (Hayley Atwell) as the next Captain America, and T'Challa/Black Panther (Chadwick Boseman, in his final screen credit) as a ravager in the <i>Guardians</i> universe. Jeffrey Wright perfectly narrates as the mysterious Watcher. A very daring and polarizing risk that may leave many fans and viewers scratching their heads.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXQlWSueLhABGD1pkgbfuh8q9hN9RYr4XeXfIHBVcRUj56WHXwIbauXWAlb463kGHmimvIXrXQmG0JDg9VhEXRBX_EhcWruvUkr2s2LQQaOAWwhPjI8M-tOK-oszwWhmXNv1FPPlKAuLAKeKUNTFTaewyloWn8jtm0jbrW6lmUwY_2Lfbc3b5wpFDLGA/s480/200.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="200" data-original-width="480" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXQlWSueLhABGD1pkgbfuh8q9hN9RYr4XeXfIHBVcRUj56WHXwIbauXWAlb463kGHmimvIXrXQmG0JDg9VhEXRBX_EhcWruvUkr2s2LQQaOAWwhPjI8M-tOK-oszwWhmXNv1FPPlKAuLAKeKUNTFTaewyloWn8jtm0jbrW6lmUwY_2Lfbc3b5wpFDLGA/w400-h166/200.gif" width="400" /></a></div><div><div><b><i><a href="https://www.youtube.com/watch?v=8YjFbMbfXaQ">Shang-Chi and the Legend of the Ten Rings</a></i></b> (2021) </div><div>I've got to be honest, I had low expectations for this martial-arts action-adventure--the second film installment in Phase Four of the MCU. But I was quite blown away by how good it was. </div><div><br /></div><div>Sure, <i>Shang-Chi</i> has dynamic and genuine action sequences (despite the fact that half of it is clearly CGI), a killer score, slick direction (courtesy indie filmmaker Destin Daniel Cretton, of <i>Short Term 12</i> and <i>Just Mercy</i>), and an awesome cast (mostly Asian and Asian-American actors, including the legendary Michelle Yeoh). But it has a strong, beating heart in its central story of the son of a centuries-old assassin and the complicated family dynamics, misguided use of power, and past mistakes he has to face and ultimately make right. The film does lose a bit of momentum in its second act, and some of the dialogue (unnecessarily crass at times) could've easily been avoided; it even gets surprisingly dark with its elements of mysticism and Eastern spirituality. </div><div><br /></div><div>Overall, this is an exciting (if occasionally benign) blockbuster that goes in unexpected directions, showcasing, in the process, how to take what we've learned from those before us and making it our own. Wow. This is one of the biggest surprises of 2021. </div></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie2G48R9UpOGr67n7FtQvIoXrcZgR-owkreqRKy9SsgNIFPE9veOS82NWd1kDcQwBdCEH2J00kRZjK870EtitligPOi7sZXzTwvs3PvoTTnk4KTPue5IlEV_48qYskIG7FcvQRJNxnEWfLH--SauP60RAOpj1rRVodpZn-xsTns8b2-Mun3idZHNi7sw/s540/tumblr_9eb6c3c56ca90534eae9c02d7bdd06e8_1575a3a4_540.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="255" data-original-width="540" height="189" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie2G48R9UpOGr67n7FtQvIoXrcZgR-owkreqRKy9SsgNIFPE9veOS82NWd1kDcQwBdCEH2J00kRZjK870EtitligPOi7sZXzTwvs3PvoTTnk4KTPue5IlEV_48qYskIG7FcvQRJNxnEWfLH--SauP60RAOpj1rRVodpZn-xsTns8b2-Mun3idZHNi7sw/w400-h189/tumblr_9eb6c3c56ca90534eae9c02d7bdd06e8_1575a3a4_540.gif" width="400" /></a></div><div><div><b><i><a href="https://www.youtube.com/watch?v=0WVDKZJkGlY">Eternals</a></i></b> (2021) </div><div>One thing that's for certain about Marvel Studios, fan or not: they never lack ambition. Even after two monumental <i>Avengers</i> finales and now four phases into their already-unprecedented franchise, <i>Eternals</i> represents one of their most daring and challenging films. Based on Jack Kirby's celebrated comic book series of extra-terrestrial beings who have been on Earth for thousands of years, there's a lot to like about this epic story, as much as there is to be confused by (especially if your not familiar with the history of the series or characters). </div><div><br /></div><div>First the good news: the film looks and sounds stunning (especially in IMAX, despite its distracting aspect ratio shifts). The cast is stellar--further proof of Hollywood's significant shift in onscreen and cultural representation, not to mention universal appeal. (Deaf actress Lauren Ridloff is a standout as Makkari.) And the fact that it was shot at real locations around the world (my hats off to director Chloe Zhao and crew) adds to its authenticity and rich world-building. </div><div><br /></div><div>That being said, that world-building and mythology can be hard to follow, considering the story jumps back and forth between various time periods in which our central characters have lived through. It can also get very meandering and too introspective. At more than two-and-a-half hours, <i>Eternals </i>(much like another Disney-produced feature this year, <i>Cruella</i>) feels longer than it needs to be, even more than <i>Zack Snyder's Justice League</i>--and that one was barely over four hours in length! Like I said, Marvel Studios never lacks ambition. Only time will tell how this world within their cinematic universe will thrive or shake from here. </div></div></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbz67WRUKAB9Xm7GGh7Zp9GrEa-vWXURpQMoXRNrHyewCl3Axb4BOGiJNDyJDqzF0Dr5A0WWNRslCHkq0h7kDStJB4tJSGqvSZEwLY6OIQ1w6h06aFPjuiyOoSKPCJlSSuRgpkT0JheVrdUbOE0V35Z99D2uq9RWDAZYnF8cwN3fnlNXuXW77amqKDsQ/s904/tumblr_c6ee72a67098d6ee3b14ef135e0353eb_9036fd1a_1280.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="452" data-original-width="904" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbz67WRUKAB9Xm7GGh7Zp9GrEa-vWXURpQMoXRNrHyewCl3Axb4BOGiJNDyJDqzF0Dr5A0WWNRslCHkq0h7kDStJB4tJSGqvSZEwLY6OIQ1w6h06aFPjuiyOoSKPCJlSSuRgpkT0JheVrdUbOE0V35Z99D2uq9RWDAZYnF8cwN3fnlNXuXW77amqKDsQ/w400-h200/tumblr_c6ee72a67098d6ee3b14ef135e0353eb_9036fd1a_1280.gif" width="400" /></a></div><div><b><i><a href="https://www.youtube.com/watch?v=5VYb3B1ETlk">Hawkeye</a></i></b> (2021) </div><div>Clint Barton just wants to spend Christmas with his family, but suddenly finds himself thrust into a mission with young archer (and fan) Kate Bishop. This series is thoroughly entertaining, and benefits from the presence of the always-engaging Jeremy Renner and the multi-talented Hailee Steinfeld, respectively. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-_vMlUa5bstfi5l8spZQDl7RASKlGEhsBH6ReA31tDnkyROpItUki-2TNIiQnEZJFLlHV12LG6ZPsQnKn7N4xAb2ZvbKEcXHtKHxoHmUnK_Z9HiQ7x80WOHBRwnRoXe2btnwdUuXRbDsP9TuJJ3a8m2lUYXsvboe2jcn-vmJX9C9HghVRMHpLO_CT9Q/s498/iron-spider-spiderman-no-way-home.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="239" data-original-width="498" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-_vMlUa5bstfi5l8spZQDl7RASKlGEhsBH6ReA31tDnkyROpItUki-2TNIiQnEZJFLlHV12LG6ZPsQnKn7N4xAb2ZvbKEcXHtKHxoHmUnK_Z9HiQ7x80WOHBRwnRoXe2btnwdUuXRbDsP9TuJJ3a8m2lUYXsvboe2jcn-vmJX9C9HghVRMHpLO_CT9Q/w400-h193/iron-spider-spiderman-no-way-home.gif" width="400" /></a></div><div><div><b><i><a href="https://www.youtube.com/watch?v=ZYzbalQ6Lg8">Spider-Man: No Way Home</a></i></b> (2021)</div><div>I mentioned in <a href="https://reelmeans.blogspot.com/2021/12/review-collection-spider-man.html">one of my previous Spider-Man reviews</a> the term "oversaturation," which makes sense in this day and age of multiple franchises and studio tentpoles. In my review for last month's <i>Ghostbusters: Afterlife</i>, I didn't bring up the term "fan-service," which makes more sense when analyzing that sequel in retrospect. </div><div><br /></div><div>Both of those terms could easily apply to the MCU's third solo Spider-Man movie starring Tom Holland. At least on the surface. If you've been paying attention to the trailers and marketing, you know by now there would be appearances by former foes like Alfred Molina's Doc Ock and Willem Dafoe's Green Goblin. But <i>No Way Home</i> is way more than that. In fact, it's better.</div><div><br /></div><div>Not only does it subvert all expectations out of proportion--and you're in for a whole load of surprises! This is a powerful story of second chances and making the right choices, no matter how difficult. And it's not only the best solo Spidey entry in the MCU (honestly, they've been doing an incredible job overall with these installments, and third time really is the charm here), but arguably the best moviegoing experience since <i>Endgame</i> in 2019. Trust me, this one is worth going to the theaters for. My only warning: prepare to be wowed!</div><div><br /></div><div>And one more thing I'd like to mention: much like Jared Leto got to revisit (and reimagine) his version of the Joker in <i>Zack Snyder's Justice League</i>, so here does Jamie Foxx get to revisit his rendition of Electro from 2014's <i>The Amazing Spider-Man 2</i>. I did mention second chances, didn't I? </div></div><div><br /></div><div><i>POSTSCRIPT: An extended edition of </i>No Way Home<i> was released in theaters over Labor Day weekend of 2022, featuring over 20 minutes of footage not shown during the film's initial release. Some of these scenes--including a new post-credits segment--involved Midtown High School reporter Betty Brant (yes, that one), as well as another certain crime-fighter's alter ego. The former scenes drag a bit, but the overall thrill of seeing Peter Parker going up against multiple villains from different universes is still in tact. </i></div></div><div><i><br /></i></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibXQEKCneyDSllD2vp3SnNHF1e6hH0U_k2hJGVv9ZYgxNVq_QR80_cFcUVJ7PhjS62-pZjAdTMqNsLdHz8rWGbIb-AbDaBfEOmSYX86T3ZjDyzSqDr8rn0ZriwQNWU6Jk2n6RafOIoDDIrCMRQ64QhKviBDCig5WcdshTstBb5NsltY6GL5CZgHjTBSQ/s540/tumblr_a9ca33b849264664dc97e65c4f2de514_94d3540e_540.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="540" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibXQEKCneyDSllD2vp3SnNHF1e6hH0U_k2hJGVv9ZYgxNVq_QR80_cFcUVJ7PhjS62-pZjAdTMqNsLdHz8rWGbIb-AbDaBfEOmSYX86T3ZjDyzSqDr8rn0ZriwQNWU6Jk2n6RafOIoDDIrCMRQ64QhKviBDCig5WcdshTstBb5NsltY6GL5CZgHjTBSQ/w400-h223/tumblr_a9ca33b849264664dc97e65c4f2de514_94d3540e_540.gif" width="400" /></a></div><div><b><i><a href="https://www.youtube.com/watch?v=x7Krla_UxRg">Moon Knight</a></i></b> (2022)</div><div>A lesser-known Marvel property that is thoroughly convoluted and murky as it is ambitious. Oscar Isaac gives convincing dual roles (as an English gift shop employee, and as an assasin) in a grand story set in ancient and contemporary Egypt. The mild-mannered Steven Grant (who suffers from a sleep disorder) soon discovers he has been given the powers of an ancient moon god, alternating between his own world--and personality--to that of several others. (This is the MCU's "Multiverse Saga," after all.) This is overall the least of the aforementioned series on Disney+, in the same league as 2021's <i>Eternals</i>. Although, it does get interesting after a mind-blowing twist halfway through, but only just.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxWe-P_OL8aji9XTDCOxV4oEv3gl0rI3MZAO_mOIuLPn1m5niZ2NVI9nIpC9xdy7MYJC2AnTegBVcdaswCNP1JJDx9WZkWE6XzQRjuF_mus9FD6aJxJ-cimKd-D31OYV-IzF65xPGrJi263ELLDi4YzVqUd9EuKbgr075ONfKUUE2mvM__hqcxho5vtA/s498/doctor-strange-doctor-strange-in-the-multiverse-of-madness.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="206" data-original-width="498" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxWe-P_OL8aji9XTDCOxV4oEv3gl0rI3MZAO_mOIuLPn1m5niZ2NVI9nIpC9xdy7MYJC2AnTegBVcdaswCNP1JJDx9WZkWE6XzQRjuF_mus9FD6aJxJ-cimKd-D31OYV-IzF65xPGrJi263ELLDi4YzVqUd9EuKbgr075ONfKUUE2mvM__hqcxho5vtA/w400-h165/doctor-strange-doctor-strange-in-the-multiverse-of-madness.gif" width="400" /></a></div><div><div><b><i><a href="https://www.youtube.com/watch?v=aWzlQ2N6qqg">Doctor Strange in the Multiverse of Madness</a></i></b> (2022)</div><div>On the heels of Spider-Man's previous experiences with the "multiverse" (see 2018's phenomenal <i>Spider-Verse</i> and 2021's awesome <i>No Way Home</i>) and the ambitious Daniels feature <i>Everything Everywhere All At Once</i>, Benedict Cumberbatch's Dr. Stephen Strange has an even more head-trip of a journey through the very concept in this sequel to 2016's psychedelic origin story. Let's just say the plot involves Strange protecting a universe-jumping teenage girl (a breakout Xochitl Gomez, as America Chavez), with Elizabeth Olson's Wanda Maximoff a.k.a. the Scarlett Witch thrown in. </div><div><br /></div><div>If you've seen <i>WandaVision</i> and <i>What If . . .?</i> on Disney+ (and the latter aforementioned Spidey flick), then <i>Multiverse of Madness</i> will make more sense. All you need to know, otherwise, is the experience is jaw-dropping (surprise appearances will blow your mind) and polarizing (arguably the studio's first since 2018's <i>Infinity War</i>). This is, after all, Marvel's first full-on horror feature disguised as a superhero adventure; Sam Raimi (who returns to the director's chair after nearly a decade) is a veteran of both genres, having previously made the <i>Evil Dead</i> and Tobey Maguire <i>Spider-Man</i> trilogies. </div><div><br /></div><div>The result is, shall we say, a strange blend of thought-provoking themes (i.e., what could've been, the dark sides of various characters); incredible cinematography, art direction, and action sequences (especially in IMAX); chilling sound design; and frightening (sometimes, demonic) imagery that more discerning families ought to think twice about. At least there are other, less problematic, viewing options in this cinematic universe. </div></div><div><br /></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk6qneafJaPIx_7mmyg2f4eoSJV7o3vpVwW8cdA9uDpq_GFMtAJRADVvCIHgRr0ZyhSw-b-TSIiA7GUj28Ec4YFKVftogl4TZg1s2wWqqiTibL24z9Er2ET-yjd5M8u5XudlbuHqLg1zSaQKGAJhbfiKS6FIX89v1rGQT0S1BQdEc2yY2GBVUFErJXkA/s640/ms-marvel-embiggen.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="268" data-original-width="640" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk6qneafJaPIx_7mmyg2f4eoSJV7o3vpVwW8cdA9uDpq_GFMtAJRADVvCIHgRr0ZyhSw-b-TSIiA7GUj28Ec4YFKVftogl4TZg1s2wWqqiTibL24z9Er2ET-yjd5M8u5XudlbuHqLg1zSaQKGAJhbfiKS6FIX89v1rGQT0S1BQdEc2yY2GBVUFErJXkA/w400-h168/ms-marvel-embiggen.gif" width="400" /></a></div><div><b><i><a href="https://www.youtube.com/watch?v=m9EX0f6V11Y">Ms. Marvel</a></i></b> (2022) </div><div>Continuing its push for more diverse stories and characters, Marvel presents Muslim-American teenager Khamala Khan, a die-hard Avengers fanatic (especially of Carol Danvers) who soon discovers a long-kept family secret that she may be carrying her own superpowers. Granted, this six-part series weilds some ridiculous CGI and some misplaced humor. But its sense of multiculturalism and emotional stakes improve as the series nears its climax, with rich mythology (recalling <i>Moon Knight</i>), references to Bollywood movies, some clever eye-popping animation interludes, and ultimately a lead-up to 2023's highly-anticipated <i>The Marvels</i>. Move over, Kate Bishop and Yelena Belova. You've got company. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwdyl7bXTLKrrEfz33nEgPQn4Z4Qkrn0yyX9x-LaXQoHYz7f4pRUZIp2KDu_Mz80ptPs1FNfkas4uwBZ0klC61jHblxOmlF-AZ_kGcH47g_bDaAPWcRh4vLcE8ZEtx_DqZY8Y6lpt-SRjzo6LZasqZzXDlnw2FX8Xe86M2CUcc5i3I48MxkXVSbZPPQQ/s498/thor-thor-love-and-thunder.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="350" data-original-width="498" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwdyl7bXTLKrrEfz33nEgPQn4Z4Qkrn0yyX9x-LaXQoHYz7f4pRUZIp2KDu_Mz80ptPs1FNfkas4uwBZ0klC61jHblxOmlF-AZ_kGcH47g_bDaAPWcRh4vLcE8ZEtx_DqZY8Y6lpt-SRjzo6LZasqZzXDlnw2FX8Xe86M2CUcc5i3I48MxkXVSbZPPQQ/w400-h281/thor-thor-love-and-thunder.gif" width="400" /></a></div><div><b><i><a href="https://www.youtube.com/watch?v=tgB1wUcmbbw">Thor: Love and Thunder</a></i></b> (2022) </div><div><div>Thor has now officially bested fellow Avengers Iron Man and Captain America with the most solo outings in the Marvel Cinematic Universe. It's interesting that it took as many films for Chris Hemsworth's God of Thunder to find his own unique footing, and counting.</div><div><br /></div><div><i>Thor: Love and Thunder</i> redefines the "go big or go home" aesthetic of blockbuster moviemaking. It's thrilling. It has exciting set pieces, visual feasts for the eyes (including the sights of Omnipotent City), and energetic action sequences. The aforementioned banter works best during moments of camaraderie between Hemsworth, Tessa Thompson's Valkyrie, and Natalie Portman's "worthy" return as Jane Foster a.k.a. Mighty Thor. (Don't ask me how.) It's also cool to see the <i>Guardians of the Galaxy</i> in on some of the action, and to hear several 80s rock anthems (especially Guns 'n Roses' "Sweet Child of Mine") put to good use. </div><div><br /></div><div>However, like Thor's current identity crisis and damaged Mjolnir hammer, <i>Love and Thunder</i> struggles to hold itself together. One minute, it's rapid-fire witty, and the next, it's quite dark (a standout Christian Bale is menacing and frightening as the villainous Gorr). The film ups the ante of its content issues from the last installment, not to mention the industry's growing inclusion of LGBTQ representation. (Okay, not every mainstream movie has to have these just for the sake of them, or to try and stay relevant.) Plus, the film's handling of various spiritual/religious elements will make it hard for more discerning or sensitive viewers to navigate through. Thor may have the most solo MCU movies at this point. But, as he himself may be the first to admit, he still has some growing to do. Something similar could be said for Marvel's current phase, which has no doubt been ambitious as it has been challenging. </div></div></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLopWnUtyejg7-BSkSww6AciLyxMLOAoOvEP89Qtawp-uzYQ3YUch5BSo0O7nT0biot_OUwonHKap_m8BuvVAQ5qg8NuwizE3O5Qip7ZLccAIByKPe4FjT8QpZMddg6kowO5MZqPbP7P0lkYt9mzLX5P_CMnkccm8sPd7BRHmihJVdFbBypOPUsVQE2Q/s540/tumblr_c931d9717964415eda79b475c8401c20_259eb2b2_540.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="540" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLopWnUtyejg7-BSkSww6AciLyxMLOAoOvEP89Qtawp-uzYQ3YUch5BSo0O7nT0biot_OUwonHKap_m8BuvVAQ5qg8NuwizE3O5Qip7ZLccAIByKPe4FjT8QpZMddg6kowO5MZqPbP7P0lkYt9mzLX5P_CMnkccm8sPd7BRHmihJVdFbBypOPUsVQE2Q/w400-h246/tumblr_c931d9717964415eda79b475c8401c20_259eb2b2_540.gif" width="400" /></a></div><div><b><i><a href="https://www.youtube.com/watch?v=D7eFpRf4tac">I Am Groot</a></i></b> (2022) </div><div><div>This series of 5 four-minute shorts centers on the baby humanoid tree from Marvel's <i>Guardians of the Galaxy</i> franchise. Vin Diesel reprises his iconic role as the titular creature takes his first steps out of a flowerpot, discovers a tiny colony of cute critters, has a dance-off against a shape-shidting stranger, has a sauna that makes him look like a chip pet, and makes a group portrait out of an A.L.F. comic book. Visually eye-popping and appealing. </div><div><br /></div><div>WRITER'S NOTE: The "Bath" segment has a few references to gender confusion, while Groot's childlike nature occasionally results in some explosive mayhem. </div></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgexcrIQuhxvHVbetNVzpo6w-heas_jv0CAmdu8RjzFO7CQ-mxDB7qYMhsmL8XmE2lCuttOnv8rbp6FfdHw1_2bYJyODsPKqzK7cFVAnGbuB6vbJMWxuPv_0y8f4kYSVG-POmJmBT2dU6UcMKfnB2MFTI3oxKnI2DStyGux5y3e4M3oGfGZ3JT7JAaFrw/s640/she-hulk-4th-wall-break_orig.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="260" data-original-width="640" height="163" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgexcrIQuhxvHVbetNVzpo6w-heas_jv0CAmdu8RjzFO7CQ-mxDB7qYMhsmL8XmE2lCuttOnv8rbp6FfdHw1_2bYJyODsPKqzK7cFVAnGbuB6vbJMWxuPv_0y8f4kYSVG-POmJmBT2dU6UcMKfnB2MFTI3oxKnI2DStyGux5y3e4M3oGfGZ3JT7JAaFrw/w400-h163/she-hulk-4th-wall-break_orig.gif" width="400" /></a></div><div><b><i><a href="https://www.youtube.com/watch?v=u7JsKhI2An0">She-Hulk: Attorney at Law</a></i></b> (2022) </div><div>The MCU turns on itself with this completely subversive legal comedy, based on the comic book series centered on Bruce Banner's attorney cousin, Jennifer Walters. Struggling to balance a work life and a new role as a "superhero," Jen's clever fourth wall narration (thanks to lead actress Tatiana Maslany) throughout this nine-part miniseries almost gives the equally-meta Deadpool a run for his money, as she takes on numerous cases and encounters old rivals, as well as a few new allies (I won't say who). In agreement with some critics, the CGI is, at times, uncanny. Plus, some of this show's more problematic elements do get a little too crass and suggestive at times (particularly references to casual sex). But the meta humor ultimately pays off by the finale, with eye-popping animated closing credits as icing on the cake. (Green icing, that is.) </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6DaKSYxgoe8JvMp-KyDuVRnY2KfDbNDYdvSgc1oTObGLPG6Au0bwejCUOTmf00g4U6YIHSb7A_o4NrTyxuBjtc3ceQMFdmmgC3jDZCknoai7QTHIfQS1RL0KLEEImDsZj2tx6lDe6FtYe7EEWXw1JL8dexI8SZuNqfE72nkg7ISTa0uLwv3Hgydr0Dg/s498/look-up-jack-russell.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="280" data-original-width="498" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6DaKSYxgoe8JvMp-KyDuVRnY2KfDbNDYdvSgc1oTObGLPG6Au0bwejCUOTmf00g4U6YIHSb7A_o4NrTyxuBjtc3ceQMFdmmgC3jDZCknoai7QTHIfQS1RL0KLEEImDsZj2tx6lDe6FtYe7EEWXw1JL8dexI8SZuNqfE72nkg7ISTa0uLwv3Hgydr0Dg/w400-h225/look-up-jack-russell.gif" width="400" /></a></div><div><b><i><a href="https://www.youtube.com/watch?v=bLEFqhS5WmI">Werewolf By Night</a></i></b> (2022) </div><div><div>Next to <i>Multiverse of Madness</i>, the MCU fully embraced the horror genre once again with this brilliant homage to Universal monster movies of the 1930s and 40s. The story centers on a group of international creature hunters (including Gael García Bernal and Laura Donnelly) as they compete for their wealthy leader's estate. Celebrated composer Michael Giacchino makes an impressive directorial debut here. But this morbid tale is also very occultish, violent, and bloody--even in black-and-white. To paraphrase author R.L. Stein: "Viewer beware! You're in for [more than] a scare." </div></div><div><br /></div><div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYn0via2-NMqXBCGFcnun_3bXPTlv7hyazbDEsEL6JkZIMVW3bCO-Eh0v4rTc32wsfn-j2E4j6bxnSaCYJg9_glqCdatTbhYhyCnuZoZcKZ91erMFfb6pV2PjpSyE0q96vppH4kUjDsJEWSIvl2BU_DmkUjtTO6GIwu3IOoBFWDjK1V4Umd_rfZ_lQjw/s640/shuri-black-panther.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="366" data-original-width="640" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYn0via2-NMqXBCGFcnun_3bXPTlv7hyazbDEsEL6JkZIMVW3bCO-Eh0v4rTc32wsfn-j2E4j6bxnSaCYJg9_glqCdatTbhYhyCnuZoZcKZ91erMFfb6pV2PjpSyE0q96vppH4kUjDsJEWSIvl2BU_DmkUjtTO6GIwu3IOoBFWDjK1V4Umd_rfZ_lQjw/w400-h229/shuri-black-panther.gif" width="400" /></a></div><div><b><i><a href="https://www.youtube.com/watch?v=RlOB3UALvrQ">Black Panther: Wakanda Forever</a></i></b> (2022) </div><div><div>Any discussion of the Marvel Cinematic Universe these days would be remiss without mentioning the impact that the late Chadwick Boseman a.k.a. T'Challa a.k.a. Black Panther has had not only on the franchise, but the entire world. And his absence is felt throughout this powerful follow-up to the surprise 2018 movie phenomenon. </div><div><br /></div><div>Director Ryan Coogler and company waste no time in honoring Boseman's memory, while also telling an epic and compelling story--rich in culture and mythology--about carrying on a legacy and mantel in the face of loss and grief. From Ruth Carter's stunning costume design, to Ludwig Gorannson's jaw-dropping score, adrenaline-filled set pieces, and fully-committed performances (including returning players Leticia Wright as Shuri, Danai Gurira as Okoye, Lupita N'Yongo as Nakia, and Angela Bassett as Queen Ramonda), <i>Black Panther: Wakanda Forever</i> is an exceptional follow-up that expands the MCU while still being an equally exceptional standalone film in its own right.</div></div></div><div><br /></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJBRF1uHpD42cT2C3Opx6kCyJimV4B--tY5bf93-HSJzf5E3lw4iJrDb8A6_rg_WK8IHA6qy4QqsEznO1Kh0Fk7YjIVH9RBfN3Lvbt2KYEmSrEJf9fF7Kuduldp-lo_E0ZhDxM1JatwoEVdc-bPeAy91JkvbsZ0GodsIefMZWHZUfX_n6d1QQgDf6FhA/s520/the-guardians-of-the-galaxy-holiday-special-8-acegif.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="293" data-original-width="520" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJBRF1uHpD42cT2C3Opx6kCyJimV4B--tY5bf93-HSJzf5E3lw4iJrDb8A6_rg_WK8IHA6qy4QqsEznO1Kh0Fk7YjIVH9RBfN3Lvbt2KYEmSrEJf9fF7Kuduldp-lo_E0ZhDxM1JatwoEVdc-bPeAy91JkvbsZ0GodsIefMZWHZUfX_n6d1QQgDf6FhA/w400-h225/the-guardians-of-the-galaxy-holiday-special-8-acegif.gif" width="400" /></a></div><div><b><i><a href="https://www.youtube.com/watch?v=OYhFFQl4fLs">The Guardians of the Galaxy Holiday Special</a> </i></b>(2022) </div><div><div>In quite possibly the first time since that infamous <i>Star Wars</i> holiday special back in the early-1970s, Marvel decided to give the <i>Guardians</i> franchise their own Christmas. The plot centers on Drax and Mantis deciding to cheer up Peter Quill by heading to earth and kidnapping, of all people, Kevin Bacon. Featuring James Gunn's trademark wit, macabre and twisted sensibilities, a rocking 80s soundtrack, and visual spectacle, this Disney+ special (like its cinematic predecessors) crosses into some edgier territories that aren't kid-friendly (i.e., one scene of excessive drinking; others involving property damage). Than again, it has more to do with the secular version of the season. A few other elements that stand out: some animated flashbacks (in the style of Ralph Bakshi), and the debut appearance of Cosmo the Space Dog (voiced by Maria Bakalova). <br /></div></div></div></div>B.E. Kerianhttp://www.blogger.com/profile/10731709676312668865noreply@blogger.com0tag:blogger.com,1999:blog-2099716515627453238.post-15728118616026686312023-04-21T09:58:00.001-07:002023-04-21T09:58:47.005-07:00Pixar Filmography, Volume 4: What To Remember About "Coco"<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfLTnpkjH9djJhy3QVO8os7YsxIF-8AVZioxBEAnnWvb3XGvEDo8-YL7B9xppwCyJHeYfx6aBrEpi1aHqrx3eIwUn-Y9CeKCH4f7b3E-JSgLXbKTlxCocuNOakONt7yxOSD3omuIQx-asgaxn72CpN-O_9Qcks68tNg2fBNW9bEJE1pCi0IJKRklpirg/s2835/MV5BYjQ5NjM0Y2YtNjZkNC00ZDhkLWJjMWItN2QyNzFkMDE3ZjAxXkEyXkFqcGdeQXVyODIxMzk5NjA@._V1_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2835" data-original-width="1984" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfLTnpkjH9djJhy3QVO8os7YsxIF-8AVZioxBEAnnWvb3XGvEDo8-YL7B9xppwCyJHeYfx6aBrEpi1aHqrx3eIwUn-Y9CeKCH4f7b3E-JSgLXbKTlxCocuNOakONt7yxOSD3omuIQx-asgaxn72CpN-O_9Qcks68tNg2fBNW9bEJE1pCi0IJKRklpirg/w280-h400/MV5BYjQ5NjM0Y2YtNjZkNC00ZDhkLWJjMWItN2QyNzFkMDE3ZjAxXkEyXkFqcGdeQXVyODIxMzk5NjA@._V1_.jpg" width="280" /></a></div><div><br /></div><div>When Pixar first set out to make <i>Toy Story</i> in the early-1990s, one of their goals was to not make a musical. Twenty-two years later, they ended up going that route--but in an unconventional way--with the fantasy-adventure <i>Coco</i>. </div><div><br /></div><div>This spiritual and emotional journey (courtesy directors Lee Unkrich and Adrian Molina) is set during the indigenous holiday known as "Dia de Los Muertos" (or, Day of the Dead), where a young boy named Miguel plays and loves music, despite his family's outright detesting of it. He eventually meets his ancestors when he inadvertently ends up in the Land of the Dead. He also meets a charismatic trickster named Hector, before journeying to meet his music hero, the famous Ernesto de la Cruz, who may or may not be his great-great-grandfather. </div><div><br /></div><div>Sure, this vibrant, dazzling, and colorful story features original songs (one by <i>Frozen</i> songwriters Kristen Anderson-Lopez and Robert Lopez) inspired by the country of Mexico. But its characters (including the ambitious Miguel) perform them at venues and other related events throughout the film, resulting in a very grounded approach. (This is something the 2018 remake of <i>A Star Is Born</i> also did very well). </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoftGVwUtwA-kfglHZxwJPhnoToK792Vf7Ix4bcVBrGc8txwvJueXvdL4EEYcDZIvxWy024yQLH4Gi8qvNDReFe79xamh1pfbC857931IAwNDxSR7ekNlcho-aai2WbK4_BRjmfyZsiIRVllHB4MmhEalI2QVkBx8Spw-44eE4KEbeUg_ZiJuI9gnIOQ/s992/disney-pixars-coco-ht-mem-171117_4x3_992.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="744" data-original-width="992" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoftGVwUtwA-kfglHZxwJPhnoToK792Vf7Ix4bcVBrGc8txwvJueXvdL4EEYcDZIvxWy024yQLH4Gi8qvNDReFe79xamh1pfbC857931IAwNDxSR7ekNlcho-aai2WbK4_BRjmfyZsiIRVllHB4MmhEalI2QVkBx8Spw-44eE4KEbeUg_ZiJuI9gnIOQ/w400-h300/disney-pixars-coco-ht-mem-171117_4x3_992.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Miguel and Mama Coco</span></td></tr></tbody></table><div><br /></div><div><i>Coco</i> also represents a stepping stone for onscreen cultural representation, and not just for Pixar or animation in general. Its artistry is breathtaking (such as when Miguel first crosses the leaf bridge) and its character designs (particularly the unique skeleton forms in the Land of the Dead) are idiosyncratic. More importantly, the film is very respectful of Mexican culture, from its customs to its indigenous communities. </div><div><br /></div><div>However, the film does step into murky waters with a paganistic and humanistic worldview and an idolized view on family, with no suggestion of a Higher Power--with the exception of one character making a cross signal. (One scene, in particular, suggests that, according to said worldview, once people in the afterlife are completely forgotten, they disappear forever. A depressing fact, indeed.) In addition, the humor, while witty, often plays on the macabre. With that in mind, <i>Coco</i> is not a film I recommend for younger children; parents will need to navigate some of its more mature and theological elements (including allusions to cancel culture). </div><div><br /></div><div>On the other hand, the film does a few things right. As <i>Cars 3</i> did, <i>Coco</i> illustrates the power of untold stories from people long-forgotten. Other themes include the pursuit of worldly success and the terrible cost involved, along with the hurt, anger, and even lack of forgiveness, that comes with it. The same goes for the danger of looking up to those who seem great but turn out to be the opposite (and vice versa). In the case of Miguel's family line, things go from the pursuit of happiness and self-worth to recognizing the importance of family and remembering (and forgiving) loved ones. Hence, the profound and endearing track "Remember Me" (especially when its true context is revealed, which you'll need a box of kleenex for). Now that's a life-affirming message worth remembering. </div>B.E. Kerianhttp://www.blogger.com/profile/10731709676312668865noreply@blogger.com0tag:blogger.com,1999:blog-2099716515627453238.post-48423628180515587832023-04-14T09:47:00.001-07:002023-04-14T09:47:41.155-07:00Pixar Filmography, Volume 4: "Cars 3" (Or, Old Roads, New Lessons) <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwCU9LFMRL_gOOb0eNoz41Ikq2imArwejZWwi4bGktxfORP7WaMwmtM5ukrD3sQm5EfncON4YyzSouxQJCqjs9eVBXLFVx0u8Jhc5brU7IPVncwW2Kj13NeWaH-hiETkskWbCbLHpbsWTTI3hW6SUpXvet_i13nrEQNXRrqwQscx2trcznE85oBHUoAA/s1482/MV5BMTc0NzU2OTYyN15BMl5BanBnXkFtZTgwMTkwOTg2MTI@._V1_FMjpg_UX1000_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1482" data-original-width="1000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwCU9LFMRL_gOOb0eNoz41Ikq2imArwejZWwi4bGktxfORP7WaMwmtM5ukrD3sQm5EfncON4YyzSouxQJCqjs9eVBXLFVx0u8Jhc5brU7IPVncwW2Kj13NeWaH-hiETkskWbCbLHpbsWTTI3hW6SUpXvet_i13nrEQNXRrqwQscx2trcznE85oBHUoAA/w270-h400/MV5BMTc0NzU2OTYyN15BMl5BanBnXkFtZTgwMTkwOTg2MTI@._V1_FMjpg_UX1000_.jpg" width="270" /></a></div><div><br /></div><div><u>"It Ain't Over 'Til It's Over"</u></div><div>Every family has a black sheep. Pixar Animation Studios' just happens to be a set of talking planes, trains, and automobiles. </div><div><br /></div><div>The cheery 2006 blockbuster, <i>Cars</i>, recalled the historic Route 66 of the mid-20th century. Its 2011 sequel, <i>Cars 2</i>, was another box-office hit--and also the studio's first critical dud--but shifted gears and became more of a spinoff, sending comic relief tow truck Mater on an international espionage mission. (In retrospect, having Mater is the main character in this particular plot may not have been the best idea.) </div><div><br /></div><div>Fast forward to 2017, when the third installment, <i>Cars 3</i>, took the series back to its roots. Or, should I say, routes? Pro-racecar Lightning McQueen's days may be coming to an end in an ever-changing industry and world, especially when an arrogant rookie starts stealing his thunder and McQueen begins training for one more big event. </div><div><br /></div><div>What makes this film an exceptional chapter is its callback to the glory days (and forgotten stories) of old-time racers, including those who never got a chance to show what they're made of, whether because of age, gender, or background. It's an inspiring theme that's especially bittersweet due to the subtle tributes to the late Paul Newman (the voice of Doc Hudson in the first film). It also goes to show that it's never to late to pursue your dreams, and remember what made the sport so great to begin with. </div><div><br /></div><div>At the same time, <i>Cars 3</i> represents a passing of the torch in McQueen's own "hero's journey," transitioning, like Doc, from rookie to champion to mentor, specifically towards auto trainer (and former aspiring racer) Cruz Ramirez. It's a heartwarming and empowering moral that elevates this franchise about anthropomorphic automobiles. It just may be the best installment to date, even if everyone else (including people in the Pixar fan family) doesn't agree. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNEdHqvHC7z-i8oGs_sWSo9Mfkz1VO4syQbekkq8rHR6MqkxCnf_bdGRKetn2SHfcGWFxx3LQ9onR_N3bTmfGupbbWPtgVtExpZLM6t4MVdGvM8gQOAYQC3fcs0P8DQ3SxlZCEwk4Yb74FKS-ICwVyXEuEM8ggELeq9cG8cDDxqIlp2XYXHtauqXX-vg/s640/h_cars3_mobile_19643_3bab859a.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="480" data-original-width="640" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNEdHqvHC7z-i8oGs_sWSo9Mfkz1VO4syQbekkq8rHR6MqkxCnf_bdGRKetn2SHfcGWFxx3LQ9onR_N3bTmfGupbbWPtgVtExpZLM6t4MVdGvM8gQOAYQC3fcs0P8DQ3SxlZCEwk4Yb74FKS-ICwVyXEuEM8ggELeq9cG8cDDxqIlp2XYXHtauqXX-vg/w400-h300/h_cars3_mobile_19643_3bab859a.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Lightning McQueen (voiced by Owen Wilson) and Cruz Ramirez (voiced by Cristela Alonzo) in <i>Cars 3</i></span></td></tr></tbody></table><div><br /></div><div style="text-align: center;">***</div><div><u>Rated "G" for "General Audiences," or "Gone from the Ratings System"?</u></div><div>In recent years, there haven't really been that many G-rated films released in theaters. (Read my post on Disney films in the mid-1990s to early-2000s.) Perhaps this is one of many signs that our culture (and today's children) have become much more mature and sophisticated. Maybe too fast. </div><div><br /></div><div>For example, look at Disney's recent string of films. <i>Tangled</i> (2010). <i>Wreck-It Ralph</i> (2012). <i>Frozen</i> (2013). <i>Big Hero 6 </i>(2014). <i>Zootopia</i> and <i>Moana</i> (both 2016). All are PG-rated, and for reasons varying from "thematic elements" to "action" to "rude humor," and so forth. </div><div style="text-align: center;"><span style="text-align: left;"> </span></div><div>Want more proof? Here's a recap of G-Rated theatrical releases in the United States since 2004, when The Incredibles (Pixar's first PG-rated pic) was released: </div><div><br /></div><div>2004: <i>Clifford's Really Big Movie</i> (Warner Bros.), <i>The Polar Express</i> (Warner Bros), <i>The Princess Diaries 2: Royal Engagement</i> (Disney)*</div><div><br /></div><div>2005: <i>Chicken Little</i> (Disney), <i>Herbie: Fully Loaded</i> (Disney)*, <i>Ice Princess</i> (Disney)*, <i>March of the Penguins</i> (Warner Bros.)**, <i>Wallace & Gromit: The Curse of the Were-Rabbit </i>(DreamWorks/Aardman)</div><div><br /></div><div>2006: <i>Cars</i> (Pixar), <i>Charlotte's Web</i> (Paramount/Nickelodeon)*, <i>Curious George</i> (Universal), <i>The Santa Clause 3: The Escape Clause</i> (Disney)*</div><div><br /></div><div>2007: <i>Meet the Robinsons</i> (Disney), <i>Mr. Magorium's Wonder Emporium</i> (Fox)*, <i>Ratatouille</i> (Pixar)</div><div><br /></div><div>2008: <i>Dr. Seuss' Horton Hears a Who</i> (Fox/Blue Sky), <i>High School Musical 3: Senior Year</i> (Disney)*, <i>Kit Kittredge: An American Girl </i>(Warner Bros./New Line/Picturehouse)*, <i>The Pirates Who Don't Do Anything: A Veggietales Movie</i> (Universal), <i>The Tale of Despereaux</i> (Universal), <i>WALL-E</i> (Pixar)</div><div><br /></div><div>2009: <i>Earth</i> (Disneynature)**, <i>Hannah Montana: The Movie </i>(Disney)*, <i>Ponyo</i> (Studio Ghibli), <i>The Princess and the Frog</i> (Disney)</div><div><br /></div><div>2010: <i>Oceans</i> (Disneynature)**, <i>Ramona & Beezus</i> (Fox)*, <i>Toy Story 3</i> (Pixar)</div><div><br /></div><div>2011: <i>African Cats</i> (Disneynature)**, <i>Alvin and the Chipmunks: Chipwrecked </i>(Fox)*, <i>Cars 2 </i>(Pixar), <i>Gnomeo & Juliet</i> (Disney/Touchstone), <i>Rio</i> (Fox/Blue Sky), <i>Winnie the Pooh</i> (Disney)</div><div><br /></div><div>2012: <i>Chimpanzee</i> (Disneynature)**, <i>The Oogieloves in the Big Balloon Adventure</i> (Freestyle Releasing)*, <i>The Secret World of Arrietty</i> (Studio Ghibli)</div><div><br /></div><div>2013: <i>Monsters University</i> (Pixar)</div><div><br /></div><div>2014: <i>Rio 2 </i>(Fox/Blue Sky)</div><div><br /></div><div>2015: <i>Monkey Kingdom</i> (Disneynature)**, <i>The Peanuts Movie</i> (Fox/Blue Sky)</div><div><br /></div><div>2016: <i>The Eagle Huntress</i> (Sony Pictures Classics)*</div><div><br /></div><div>2017: <i>Born in China</i> (Disneynature)**, <i>Cars 3</i> (Pixar)</div><div><br /></div><div>2019: <i>Toy Story 4</i> (Pixar) </div><div><br /></div><div>2021: <i>Paw Patrol: The Movie </i></div><div>(Paramount/Nickelodeon) </div><div><br /></div><div>*live-action</div><div>**nature documentary</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhv9780hUl7TxainHHBKBJDBM4wKAYyEDbLhOLbOtyfu_sPbjPE2NyHSYLCiYbJ21oRpo_xVBrHKMbFz5cvS2mGHtt0MB_AhtLBX-gnyePfHQw6A6Dt6M9L92av0-hHtUZkqmyankiGSKNCQoNlwLiU_lPvVUM5d3o-qHMOAwi4Q2bdQo68s5m-6dpLw/s853/Rated_G_MPAA_Rating_ID_(2013).png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="480" data-original-width="853" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhv9780hUl7TxainHHBKBJDBM4wKAYyEDbLhOLbOtyfu_sPbjPE2NyHSYLCiYbJ21oRpo_xVBrHKMbFz5cvS2mGHtt0MB_AhtLBX-gnyePfHQw6A6Dt6M9L92av0-hHtUZkqmyankiGSKNCQoNlwLiU_lPvVUM5d3o-qHMOAwi4Q2bdQo68s5m-6dpLw/w400-h225/Rated_G_MPAA_Rating_ID_(2013).png" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Courtesy the MPAA (later renamed the MPA)</span></td></tr></tbody></table><div><br /></div><div>WRITER'S NOTE: Just because there are less-and-less G-rated films these days doesn't mean they're not worth seeing or that there's no room for them in today's culture. Nor should that be an excuse to make the rating a scapegoat for strictly‐kids-only entertainment. Remember, some of our most enduring and unforgettable films since the early-20th Century have something for everyone, from Disney to MGM musicals and human dramas. </div>B.E. Kerianhttp://www.blogger.com/profile/10731709676312668865noreply@blogger.com0tag:blogger.com,1999:blog-2099716515627453238.post-87300316368884388742023-03-31T09:08:00.000-07:002023-03-31T09:08:08.598-07:00Pixar Filmography, Volume 4: "Incredibles 2" The Rescue (Or, Super Mom, Mr. Mom, and Screen Time)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTaaBoqGmwXp5rNn1Xdc3QBYba75WzltSDA7BiH81u8PkjaCk4na2FwBEZA2pBsTHHZzwRSQwlUrVT-NAzd3lK_PyykcVURC-lEr5UqNCuSiaJqd2eCGletuwLH3HhntZoj96DE9zRUBYr-pjtktXN9hZk0R1O3J9AiTzbG-X5Snt25AwoBEWUu6jBLA/s1482/MV5BMTEzNzY0OTg0NTdeQTJeQWpwZ15BbWU4MDU3OTg3MjUz._V1_FMjpg_UX1000_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1482" data-original-width="1000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTaaBoqGmwXp5rNn1Xdc3QBYba75WzltSDA7BiH81u8PkjaCk4na2FwBEZA2pBsTHHZzwRSQwlUrVT-NAzd3lK_PyykcVURC-lEr5UqNCuSiaJqd2eCGletuwLH3HhntZoj96DE9zRUBYr-pjtktXN9hZk0R1O3J9AiTzbG-X5Snt25AwoBEWUu6jBLA/w270-h400/MV5BMTEzNzY0OTg0NTdeQTJeQWpwZ15BbWU4MDU3OTg3MjUz._V1_FMjpg_UX1000_.jpg" width="270" /></a></div><div><br /></div><div>Superheroes have come a long way into the 21st Century. In the past decade alone, there's been an undeniable oversaturation of comic-book-related feature films that either crossed over (we're looking at you, Marvel) or merely played off the success of one or more groundbreaking hits (<i>Dark Knight</i>, anyone?). </div><div><br /></div><div>Back in the early-2000s, the subgenre--or rather, sub-medium--was in its relative infancy. Certainly as far as standalone entries or series were concerned. But while most other franchises were mere adaptations of previously-published source material, along came writer-director Brad Bird with an original concept: a computer-animated action-adventure-comedy about a family of superheroes in a world where heroics and superpowers are outlawed, and in which the family patriarch has a midlife crisis. </div><div><br /></div><div>Okay, so a few similarities could be drawn from <i>Watchmen</i> and <i>The Fantastic Four</i>. But the execution and distinct wit of Bird's screenplay and direction were enough to win audiences and critics over with <i>The Incredibles</i> when it was released in November of 2004. And then some. </div><div><br /></div><div>Bird had been brainstorming ideas for a sequel since then. The real question, though, was how to do something fresh in an era where Hollywood has exponentially been turning out numerous tentpole movies. <a href="https://www.yahoo.com/entertainment/brad-bird-worried-people-sick-death-superhero-movies-working-incredibles-2-175743817.html">Said the former Disney animator in 2018</a>, </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNdx0baXYj_Uh0DtP32kACAZggOePlL0EjhbwmlGaeoNHMf8cZHLV8tJ8Td_WNMT9FTqd-WzIP_KTVtzZdxZofVpwGXIrXpN_ucOl7YiGCDGM4XTA8mkqruL4pvWZjqYPxIn9aF5N_ISAKPpC9lYet5a7NJmWROqHI7exJhkwEhj2eA_XcIUCLHJ4H2Q/s1886/e39bxzvt4arr1ehz4uxl.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1060" data-original-width="1886" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNdx0baXYj_Uh0DtP32kACAZggOePlL0EjhbwmlGaeoNHMf8cZHLV8tJ8Td_WNMT9FTqd-WzIP_KTVtzZdxZofVpwGXIrXpN_ucOl7YiGCDGM4XTA8mkqruL4pvWZjqYPxIn9aF5N_ISAKPpC9lYet5a7NJmWROqHI7exJhkwEhj2eA_XcIUCLHJ4H2Q/w400-h225/e39bxzvt4arr1ehz4uxl.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(L-r) Frozone, Elastigirl, and Mr. Incredible in <i>Incredibles 2</i></span></td></tr></tbody></table><div><br /></div><div><div><i>[Back in 2004] The field was lush. It was well manicured. No one had played on it much. Spider-Man was over there, and then way on the other side was X-Men. There was room for us to move. It was really nice . . . And now it’s like a crowded subway with no air. . . . [For the second film] I was sitting there going, ‘In two years are people going to be sick to death of having superheroes every two seconds?' . . . And then I thought, ‘Well, wait a minute, the reason I made the first movie was not to do superpowers, but to comment on family. And that’s still very rich. So once I sort of reassured myself that that was really the core of the movie, I felt like there’s a lot of new stuff to explore there.</i></div><div><br /></div></div><div><div>Picking up exactly where its predecessor left off, 2018's <i><a href="https://m.youtube.com/watch?v=i5qOzqD9Rms">Incredibles 2</a></i> marks the fourth Pixar sequel in which a main and supporting character switch roles. For <i>Cars 2</i>, the star was Mater instead of Lightning McQueen. For <i>Monsters University</i>, it was Mike instead of Sully. For <i>Finding Dory</i>, it was the titular blue tang instead of Marlin the clown fish and his son Nemo. (You get the idea.) And now for Bird's follow-up, the spotlight turns to Helen Parr a.k.a. Elastigirl (voiced by Holly Hunter), who's called into action by a rich businessman and superhero enthusiast, who intends to change the general public's perception on superheroes. (Other costumed figures from around the world, like the over-excited and dimension-opening Void, have additional roles.) </div><div><br /></div><div>Meanwhile, her husband, Bob a.k.a. Mr. Incredible (voiced by Craig T. Nelson), plays Mr. Mom for their three kids at home, including force-field-weilding daughter Violet (currently experiencing teenage romance and angst) and fast-running son Dash (whose grade school has been integrating new math into their curriculum).</div><div><br /></div><div>But it's the adorable baby of the clan, Jack-Jack, who--spoiler alert--revealed his superpowers by the end of the last movie and steals the show this time around. As amusing and unpredictable of a character that he is, Jack-Jack is also a metaphor for how unpredictable and adaptable parenthood can be, and how important it is to get help from others when necessary. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggNRgI_7ZLncHpqtwE3HGtwH57cLrsry62WT0qYeOJUaFWZ7dNDpuI6pWxiMiI3FalmAMSgF2YrnEB7FpiuPeNbdrU5YztdVUyC0L21XkGOhI0C1DREgAPSq2mp0bsFGYciZrnZMXge4bL8yuwPJU10rVatK2AxlGuQOAmUCsMtfW1jfJ2PVeAqKI3Nw/s1330/incredibles-2-summer-film.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="998" data-original-width="1330" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggNRgI_7ZLncHpqtwE3HGtwH57cLrsry62WT0qYeOJUaFWZ7dNDpuI6pWxiMiI3FalmAMSgF2YrnEB7FpiuPeNbdrU5YztdVUyC0L21XkGOhI0C1DREgAPSq2mp0bsFGYciZrnZMXge4bL8yuwPJU10rVatK2AxlGuQOAmUCsMtfW1jfJ2PVeAqKI3Nw/w400-h300/incredibles-2-summer-film.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">(L-r) Elastigirl, Jack-Jack, Violet, Mr. Incredible, and Dash in <i>Incredibles 2</i></span></td></tr></tbody></table><div><br /></div><div>The story takes a gripping turn with its central antagonist: the hypnotic, manipulative, and enigmatic Screenslaver, who dupes countless unsuspecting victims that apparently rely on superheroes--and technology and media, for that matter--to do all their good work. (After the film was first released, several theaters posted <a href="https://www.indiewire.com/2018/06/incredibles-2-warning-flashing-lights-seizure-1201975901/amp/">disclaimers</a> about certain scenes that had flashing lights, especially for photosensitive audience members who have epilepsy.) </div><div><br /></div><div><div><i>Incredibles 2</i> feels a bit low-key when compared with its predecessor. On the other hand, it should be commended for promoting healthy lifestyle choices when it comes to eating and school work. (How often do mainstream movies do that?) And while it could've used a better (more risky) payoff in its otherwise exciting climax, the film stands on its own as an entertaining, action-packed, and exceptional entry, with Bird's trademark wit, attention-to-detail, and emphasis on family. </div><div><br /></div><div>As an added bonus, the old school supers (a.k.a. Mr. Incredible, Elastigirl, and Frozone) finally get their own catchy theme songs. Move over, Spider-Man and Batman. </div></div></div>B.E. Kerianhttp://www.blogger.com/profile/10731709676312668865noreply@blogger.com0