REVIEW COLLECTION: The Indiana Jones Chronicles

WRITER'S NOTE: The following Raiders review was originally posted on May 3, 2020. The Crystal Skull excerpt was originally posted on November 10, 2020. The others were written exclusively for this post. 

Courtesy Paramount 1981

Raiders of the Lost Ark (1981) 

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. 

Having both studied film in the 1960s before making it big with such revered blockbusters as Jaws and Star Wars, 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 1941). 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 Star Wars was an homage to sci-fi matinee serials of the 1940s, Raiders of the Lost Ark (released in 1981) would echo the adventure serials of that same period, but with more sophistication. 

Considered one of the best Hollywood scripts ever produced (courtesy Lawrence Kasdan, Lucas, and Philip Kaufman), Raiders 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?)

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, Raiders 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.

Courtesy Paramount 1984

Indiana Jones and the Temple of Doom (1984) 

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. 

Most people may not realize that Indiana Jones and the Temple of Doom is actually a prequel to Raiders, set one year before Dr. Jones' trek to Delih in that first film. In Doom, 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. 

If anything, this second film (along with Gremlins) 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.) 

Temple of Doom 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, when Ford presented the Best Picture Academy Award to the A24-produced multiverse genre-bender Everything Everywhere All At Once, in which Quan gave a Best Supporting Actor-winning comeback performance after being away from the screen for decades. 

Courtesy Paramount 1989

Indiana Jones and the Last Crusade (1989) 

According to IMDb, 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 Temple of Doom. 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). 

Indiana Jones and the Last Crusade still ranks as the second best in the series (after Raiders). 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, The Young Indiana Jones Chronicles, in the early-1990s.) 

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 Raiders had a love story between Indy and Marion Ravenwood, and Temple of Doom represented a dark escapist trek, then The Last Crusade took on a more familial and mature arc, with both Jones's reconnecting and re-understanding each other. 

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. 

Courtesy Paramount 2008

Indiana Jones and the Kingdom of the Crystal Skull (2008) 

In the early-2000s, George Lucas had completed his Star Wars prequel trilogy, with 2002's Episode II: Attack of the Clones and 2005's Episode III: Revenge of the Sith. 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. 

With Indiana Jones and the Kingdom of the Crystal Skull, 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 A.I.: Artificial Intelligence, 2002's Minority Report, 2005's War of the Worlds), as well as historical drama (the 2001 miniseries Band of Brothers, 2005's Munich).

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, Crystal Skull 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 Star Wars prequels did. This would mark the last time that Spielberg directed an Indiana Jones film. 

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, Indiana Jones and the Dial of Destiny. 

Courtesy Disney 2023

REVIEW: "The Flash" (2023)

In my 2021 review of Zack Snyder's Justice League, I mentioned how time has a unique effect on cinema. The same can be said for anticipation. 

Lately, Warner Bros and DC have been struggling through a series of starts, misfires, restarts, etc. Recent titles Black Adam and Shazam! Fury of the Gods have fallen short, while other entries like The Suicide Squad, Joker, and The Batman 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 The Flash 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 It director Andy Muschietti. The result is one of the year's most anticipated and polarizing releases. 

Public and legal issues surrounding star Ezra Miller since 2022 (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 Warner Bros Discovery CEO David Zaslav stating that the film itself is "the best superhero movie [he's] ever seen." 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. 

Michael Keaton in The Flash (courtesy WB 2023)

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 Doctor Strange and the Multiverse of Madness. 

But the real star of The Flash is Michael Keaton, in a long-awaited return as an older Bruce Wayne from Tim Burton's Batman duology (1989's Batman and 1992's Batman Returns). 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 (The Little Mermaid), you feel like you're watching a star-in-the-making. 

Sasha Calle in The Flash (courtesy WB 2023) 

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. 

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 The Snyder Cut). 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 The Flash 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. 

When it works, that is. 

REVIEW COLLECTION: Pixar Filmography, Volume 5 -- 2020 Visions

WRITER'S NOTE: The following reviews were originally posted on my Instagram page @be.kerian in June of 2023 (with the exception of Lightyear, which was posted July 4, 2022). 

Courtesy Disney 2020

Onward (2020) 

Having successfully made a Pixar feature about monsters in college, Monsters University director Dan Scanlon presented an original fantasy-adventure-comedy that took mystical worlds and creatures and put them in a contemporary setting. But Onward 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.

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 What Was I Scared Of, and the road-trip comedy Weekend at Bernies). 

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. 

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. 

Courtesy Disney 2020

Soul (2020) 

Pete Docter has made some of Pixar's most unforgettable films, from closet-hiding critters in Monsters, Inc., to floating houses in Up and personified emotions in Inside Out. 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". 

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. 

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.

While the film's worldview can sometimes be mystical and/or tribal, Soul 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 Up). It's an amazing kaleidoscope of music, imagery, story, and life.

Courtesy Disney 2021

Luca (2021) 

The second of Pixar's exclusive releases on Disney+, Luca 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 The Little Mermaid and Hayao Miyazaki's Ponyo come to mind, as far as similar narrative beats, you're not wrong.) 

Director Enrico Casarosa (who also made the wonderful 2011 short, La Luna) 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 Kiki's Delivery Service and Porco Rosso. (The seaside town is named "Portorosso." Get it?) 

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. 

TRIVIAL FACT: Jacob Tremblay went on to voice another famous sea creature: Ariel's fish friend Flounder in 2023's live-action Little Mermaid.

Courtesy Disney 2022

Turning Red (2022) 

Pixar is no stranger to taking risks. But no film has, perhaps, had more edge or pushed the envelope of computer animated storytelling like Turning Red. 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. 

First-time feature-length director Domee Shi (who previously made the Oscar-winning Pixar short Bao) 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, Only Yesterday, and Judy Blume's beloved YA novel, Are You There, God? It's Me, Margaret. 

With that teenage demographic in mind, Turning Red 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. 

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. 

Courtesy Disney 2022

Lightyear (2022) 

Full disclosure: this is not another sequel to Toy Story, but rather a spinoff about the character that inspired the Buzz Lighyear action figure. Nevertheless, there was bound to be a mixed reception, which Lightyear has been getting for more reasons than one. 

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 WALL*E), 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. 

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. Lightyear 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). 

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 Finding Dory, Toy Story 4, and Onward), Lightyear 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, Lightyear is a rollicking space adventure. But only time will tell if it holds up to infinity and beyond.

Courtesy Disney 2023

Elemental (2023) 

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 Inside Out's anthropomorphic emotions, Elemental tells a compelling immigrant story in the guise of an animated adventure that personifies various elements, including fire, water, air, and land. (Imagine Captain Planet and the Planeteers in a more quirky and imaginative setting.) 

There's a lot to like about Peter Sohn's second full-length feature as a director (following 2015's incredible and moving The Good Dinosaur). 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). 

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 Elemental is not really a film for younger or more discerning viewers, no matter how creative or clever it looks. 

TRIVIAL FACT: In a first since 2018, the film is preceded by a short sequel to 2009's Up (titled, Carl's Date), 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. 

2022: Standout Films of the Year, Second Edition

Courtesy Collider

WRITER'S NOTE: The following was originally posted on January 6th, 2023. 

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, Top Gun: Maverick. James Cameron's equally-anticipated Avatar: The Way of Water 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 Everything Everywhere All at Once. 

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 The Batman was phenomenal, as was the more detective-noir storyline. Marvel Studios and filmmaker Ryan Coogler made an exceptional standalone follow-up with Black Panther: Wakanda Forever, 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. 

Edward Berger's adaptation of All Quiet On the Western Front 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 The Banshees of Inisherin. Director Steven Spielberg made one of his most personal--and challenging--films with the semi-autobiographical The Fabelmans, 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 Armageddon Time, a coming-of-age period piece about familial generation gaps and social/political change. 

Charlotte Wells made an impressive directorial debut with her melancholic drama Aftersun, about a woman who recounts a summer trip she took with her father two decades prior. Maria Schrader's harrowing and empowering drama She Said (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 Till 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, The Whale. 

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. 

Courtesy MGM/UA 2022

5. Women Talking (Orion/MGM/UA, dir. Sarah Polley) 

"Your story will be different from ours." 

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). 

Courtesy Bleecker Street 2022

4. Breaking (Bleecker Street, dir. Ahbi Damaris Corbin) 

"Everything you say, everything you do, matters. You matter." 

One film that hasn't been talked about as much (and one that people should see) is Ahbi Damaris Corbin's Breaking. 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. 

Courtesy Netflix 2022

3. Guillermo del Toro's Pinocchio (Netflix, dir. Guillermo del Toro & Mark Gustafson) 

"I want to tell you a story. It's a story you may think you know, but you don't." 

I missed out on quite a few animated films this year, including Pixar's Turning Red. I did, however, see (and very much enjoyed) DreamWorks' The Bad Guys, an entertaining and visually-fun gem that puts a clever twist on classic fairy tale villains in an Ocean's 11-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 Pinocchio 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. 

Courtesy A24 2022

2. Marcel the Shell With Shoes On (A24, dir. Dean Fleisher-Camp) 

"It's like a movie, but nobody has any lines, and nobody even knows what it is while they're making it." 

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), Marcel 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. 

Courtesy Universal 2022

1. Nope (Universal, dir. Jordan Peele) 

"This dream you're chasing--where you end up at the top of the mountain--it's the one you never wake up from." 

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, Nope 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. 

REVIEW COLLECTION: The Nolan Files, Part I

WRITER'S NOTE: The following reviews were originally written and posted on my Instagram page @be.kerian in June of 2023. (The Dark Knight trilogy is not included, as that's in a category of its own. You can read more about that series here.) 

Momentum Pictures

Following (1998) 

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. 

The detailed neo-noir Following 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. 

TRIVIAL FACT #1: The Batman logo makes an appearance in one scene. (Seven years later, Nolan would revive that franchise with Batman Begins.) 

TRIVIAL FACT #2: One year prior to the release of "Following," Nolan made a 3-minute short film called Doodlebug. 

Newmarket Films

Memento (2000) 

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, Memento (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 Pulp Fiction, Nolan uses a non-linear structure to illustrate main protagonist Leonard Shelby (played superbly by Guy Pearce)'s fading memory and trust issues. 

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, Memento 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." 

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." 

Warner Bros. Pictures

Insomnia (2002) 

For his first major studio film, Nolan helmed this gripping slow-burn of a thriller. Insomnia 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.

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 One Hour Photo 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. 

Buena Vista Pictures Distribution

The Prestige (2006) 

"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. 

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. 

"Dear Journal": Doug's Disney Years

Courtesy Disney/ABC Network

Doug 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 Rugrats and The Ren & Stimpy Show, respectively), it's been absent from such recent merchandising. The reason and history behind this is a complicated one. 

Doug premiered on Nickelodeon in 1991 and ran for four seasons before being canceled three years later. (A proposed fifth season, as originally contracted, never came to be.) 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. Doug, however, received low ratings and reported budget increases compared with the aforementioned programs (including the forthcoming Rocko's Modern Life). 

As series creator Jim Jinkins recounted in 2013 (read Mathew Klickstein's in-depth oral biography, Slimed), "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 Doug, a feature-length movie, Doug Live! for their theme park, toys, books, additional funding for development and production on many new series . . . ? To quote a famous movie line, They made an offer we couldn't refuse." 

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. (Wikipedia describes him as a Jeff Spicoli type.) 

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. 

Yes, change is necessary, and we all need to grow up and move on sooner or later. But, in retrospect, how this version of Doug ended up didn't (and doesn't) feel right. 

Rare marketing for Doug's 1st Movie (courtesy Disney 1999)

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 The Rugrats Movie the previous fall. Doug's 1st Movie (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 clever title intro 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. 

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"). 

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., Citizen Kane, The X-Files, Braveheart, Look Who's Talking). 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., Recess, Pepper Ann, Hey Arnold!).

Said Patti's voice actress Constance Shulman (in Klickstein's book), "Hands down, I prefer the old Doug! The new Doug 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." 

Jinkins agrees (again, read Klickstein), "I will confess that I took my eyes off Doug too much during those Disney days once I got overwhelmed with all my responsibilities [as an executive]. The Nicktoons Doug 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 this terrific 2013 medley by Newman and Sawyer and these Nickelodeon "Splat" reunions between Jinkins, Newman, and West. Cool, man! 

EXTENDED REVIEW: "The Little Mermaid" (2023)

Disney (c) 2023

WRITER'S NOTE: The following review was originally posted on my Instagram page, @be.kerian, on May 27th, 2023. 

Let me be up front about this (and I think many people would agree): Disney doesn't need to remake all of their classic animated features into live-action movies. True, there have been exceptions (2015's Cinderella and 2016's The Jungle Book, 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 The Lion King and a Snow White remake are scheduled for next year.) 

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. 

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 Beauty and the Beast). And while some moments in this new Mermaid are unmistakeably shot-for-shot replicas of its 2D predecessor, it mostly stands on its own two feet--and without pushing on its audience. 

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". 

Disney (c) 2023

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 Hamilton) 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.) 

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 blog post 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. 

All controversy aside, 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. 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. (Her new song in the film 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 Bailey is absolutely amazing! 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. (One adorable video on social media 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. 

All in all, this new Mermaid 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.