RETROSPECT: The Biblical Epic Feature

The Easter season is upon us this weekend, complete with mass services, Easter egg hunts for families, and (for many of us) a classic or current film to celebrate the occasion.

When it comes to films that reflect or fit this season, one way or another, many of us often think of biblical epics. The first examples you might be thinking of are Cecil B. DeMille's 1956 classic The Ten Commandments (which he had made before in the 1920s), and William Wyler's 1959 Oscar-winner Ben-Hur (which celebrates 60 years this year). And I'm sure a lot of you are already picturing legendary actor Charlton Heston, commanding and enduring, as Moses and Judah Ben-Hur in each respective film. (He's practically synonymous with biblical epics of yesteryear. Plus, both films also happen to be the sixth and fourteenth highest-grossing in history, adjusted for inflation.) Or how about some more recent examples like DreamWorks Animation's 1998 feature The Prince of Egypt, or Mel Gibson's controversial but powerfully-moving 2004 film The Passion of the Christ?

Charlton Heston in The Ten Commandments

Charlton Heston in Ben-Hur

The American Film Institute defines the "epic" feature as "a genre of large-scale film set in a cinematic interpretation of the past. Their scope defies and demands—either in the mode in which they are presented or their range across time." In addition, "With sweeping interpretations of turbulent times, epics depict characters that, whether nobly heroic or shamefully depraved, are living life on the grandest of scales."

The Bible remains the most widely-read and number-one selling book of all-time. And it's no surprise that it has influenced countless media and texts as well.

While researching various films that fall under this category in more ways than one, I've discovered that there may primarily be three sub-categories of biblical features--that is, films that revolve around characters or events as found in (or inspired by/based off of) the Bible. There are the historical epics, as previously mentioned from DeMille and Wyler, as well as the 1979 Jesus film starring Brian Deacon.

A second kind involves more controversial picks, specifically those that take a radical (or, rather, secular) turn, or significant dramatic license, from the original source material. One of the most famous examples is Martin Scorsese's The Last Temptation of Christ (based on author Nikos Kazantzakis's equally controversial novel), which secularizes the life of Christ (played by Willem Dafoe) and his duel nature. Critics have, er, praised the 1988 feature as a more human view of Jesus Christ, while others have called it out for being "blasphemous". Ditto 2006's The DaVinci Code (adapted from Dan Brown's 2003 novel), which suggests that Jesus married instead of died on the Cross. Or how about the 1979 satire Life of Brian, from British comedy troupe Monty Python? To be fair, this latter film centered on a character (played by late troupe member Graham Chapman) who is mistaken for the Messiah, supposedly satirizing religious zealousy in the process. Scorsese's feature, meanwhile, did have an opening disclaimer stating, "This film is not based on the Gospels, but upon the fictional exploration of the eternal spiritual conflict." Other examples in recent years include Darren Aronovsky's 2014 film Noah starring Russell Crowe, and Garth Davis's just-released Mary Magdalene starring Rooney Mara and Joaquin Phoenix.

Jim Caviezel (center) in The Passion of the Christ

And, of course, we have to mention Gibson's film, which was criticized primarily for supposed anti-Semetism (which, arguably, really isn't an issue), and for its graphic violence (such as the flogging and crucifixion sequences) in depicting the last twelve hours of the life of Jesus (played by Jim Caviezel). True, the film is divisive, but it is also perhaps the most powerful and intimate interpretation of those final hours and more reverent and realistic to the Holy Scriptures than any film made prior (despite also nodding to other Catholic resources, of which church Gibson himself is a follower of). It also happens to be the most commercially-successful of any religious or Biblical film in history (unadjusted for inflation).

Gibson is no stranger to epic filmmaking, having also directed 1995's Braveheart (about William Wallace's quest to lead Scotland to liberation from English tyranny), 2006's Apocalypto (about the graphic decline of the Mayan civilization), and 2016's Hacksaw Ridge (about Desmond Doss' conscientious role in what was the bloodiest battle in World War II). But The Passion also qualifies in a third subcategory of biblical film, consisting of smaller, intimate stories. Other examples include 2016's Risen (about a Roman guard who investigates the disappearance of Christ's body from the tomb after his crucifixion) and 2016's The Young Messiah (based on Anne Rice's novel of the same name, centered on Jesus as a boy).

As with any film adaptation of a text (regardless of that adaptation's success or lack thereof, for whatever reason), the ones that hold up the most are those that are the most reverent and faithful to their source material, whether on Easter, Christmas, or any other (accordingly) significant holiday of the year.

$UCCESSFU! FILMS: Marvel Cinematic Universe Re-Cap Before the "Endgame"

With Captain Marvel currently in theaters and the highly-anticipated Avengers: Endgame premiering in less than a month, I've been thinking a lot lately about which films in the Marvel Cinematic Universe (MCU) to recap on to prepare for the latter film's release.

On one hand, it would be very time-consuming to try and watch all 21 films released so far in this unprecedented and record-setting franchise's eleven-year history. In addition, there are many character arcs, complexities, relationships and objectives to keep track of, as well as various adversaries (Loki, Red Skull, Killmonger, Thanos), organizations (e.g., S.H.I.E.L.D., HYDRA), elements (i.e., the Infinity Stones), and Phases (three, for now).

Still, for those that are up to such a challenge, here's a suggested order to watch all twenty-one films (with selected titles in bold for those who otherwise want only a recommended few), based in part on how they're respective stories and/or post-credits scenes set up or lead into subsequent features, as well as an obvious recap on each, with one or two fun facts thrown in. 

"Before we get started, does anyone want to get out?" 

~Steve Rogers, Captain America: The Winter Soldier

PHASE ONE

Iron Man (2008)

Going back more than ten years ago, Marvel had previously been involved with other big-name studios on other products (like Spider-Man at Sony, and X-Men at Fox). But Iron Man was the one that laid an impressive foundation for them becoming a successful independent studio. Headed by CEO Kevin Feige and director Jon Favreau, the unlikely casting of Robert Downey Jr. in the role of Tony Stark (who goes from egotistical and spoiled billionaire playboy to redemptive character) proved plausible (despite a few unnecessary sexual-related elements) and subsequently synonymous with Downey's career, which has grown more respectable since then. And the fact that Samuel L. Jackson shows up (for the first time) as S.H.I.E.L.D. director Nick Fury set a traditional excuse for audiences to stay after the credits for a special post-credits scene. Best scene in the whole movie for me: the cave escape, which shows us just how clever and smart Tony Stark is.

Robert Downey Jr. in Iron Man

The Incredible Hulk (2008)

Not the first title that audiences and critics think of when it comes to the MCU. However, when compared with Ang Lee's middling film version from 2003, this action-packed adaptation (with Edward Norton as Bruce Banner) is grittier and more engaging with its on-the-run central plot. Still, this CGI-rendition of the big green guy (while more realistic) seems a bit off-putting, and the overall tone does feel more like a SyFy movie or something. It is nice to see original Hulk Lou Ferrigno in a fun cameo, though. William Hurt would reprise his role as General Ross later in Civil War (considering Tony Stark shows up to tell him he's putting a "team" together).

Iron Man 2 (2010)

This follow-up to the surprise success that was Iron Man didn't quite live up to its expectations or offer anything really surprising in comparison. Still, it is an entertaining offering and has its merits. For one, it was the first time audiences got to see Don Cheadle as Rhodes, and see him don the War Machine outfit. In home movie-style footage, John Slattery showed up as Howard Stark (a role he briefly reprised later in Ant-Man and Civil War). And Scarlett Johannson made her scene-stealing debut here as S.H.I.E.L.D. spy Natasha Romanoff a.k.a. Black Widow, not to mention an impressive hallway fight against some villainous henchmen. The idea of a shared universe (with a glimpse of Thor's hammer) slowly started to come into fruition here.

Thor (2011)

Sam Raimi and co-creator Stan Lee had envisioned an adaptation of "The Mighty Thor" in the early 90s, but it was director Kenneth Branagh (known for adapting Shakespeare plays for the big screen) who helped bring the "god of thunder" to cinematic life in a loud, thundering, and quite engaging feature. Proving they could handle Norse mythology and not just heroes in iron suits or big green bodies, Marvel also developed a roster of A-list talent here, including Anthony Hopkins and Natalie Portman. And just as Downey has become synonymous with Tony Stark, so also have Chris Hemsworth (although his gold-dyed eyebrows are strangely distracting) and Tom Hiddleston become synonymous with the arrogant-turned-heroic Thor and his mischievous brother Loki, respectfully. Agent Coulson (who, besides Nick Fury, has been the glue to assembling the Avengers) steals the show, and Jeremy Renner makes his debut as archer Clint Barton a.k.a. Hawkeye. 

Captain America: The First Avenger (2011)

Chris Evans had played another Marvel superhero previously (Johnny Storm in two less-than-stellar Fantastic Four movies), but it was his career-changing role as scrawny-turned-supersoldier Steve Rogers that proved, shall we say, fantastic. While some have argued that this film and Thor were made just as setups for The Avengers the following year, Cap's first outing was a brilliant homage to 1940s World War II films and good old-fashioned adventure. Fitting that Marvel hired Joe Johnson to direct, as he himself is no stranger to "old-fashioned adventures." (His prior credits include 1991's The Rocketeer and 1998's October Sky, as well as one of the visual effects artists behind 1981's Raiders of the Lost Ark.) Hayley Atwell and Dominic Cooper debuted here as Agent Peggy Carter and a young Howard Stark, respectfully, and would reprise said roles on the spinoff TV series Agent Carter. The Tesseract (the "Space Stone" which was briefly seen in Thor) sets the stage for the biggest event yet to come.

Avengers Assemble

The Avengers (2012)

One of the best and most satisfying cinema-going events in history, writer-director Joss Whedon assembles every major Marvel character previously introduced since Iron Man in the ultimate superhero team-up at the time. As film critic Peter Travers described it, "six superheroes for the price of one ticket." Sure, the action and spectacle are exciting, but the most amazing aspect (as is the case with the best entries in this cinematic universe) is that the central story and character-driven dynamics don't get lost in said spectacle. Every character (Tony Stark, Thor, Steve Rogers, Bruce Banner, Nick Fury, Loki, even newcomer agent Maria Hill) gets their moment to shine, lest we forget the mid-credit teaser image of Thanos. All main characters sitting around quietly eating shawarma ranks as arguably the best post-credits scene in any MCU movie. 

PHASE TWO

Thor: The Dark World (2013)

A less-than-stellar but still entertaining follow-up that proceeds the "Battle for New York" from The Avengers, this second chapter on the world of Asgard finds scientist Jane Foster (Portman) and Thor (who's hair is less-distracting this time around) encountering a dark entity known as the Reality Stone (or, the Aether) against an army of dark elves. This was the first time the "Infinity Stones" were explicitly referenced, and would be explained more, bit by bit, in Guardians of the Galaxy and Age of Ultron. It's Hiddleston who steals the show again as Loki.

Guardians of the Galaxy (2014)

Those who thought Iron Man and The Avengers were big cinematic risks found a new benchmark with this largely-unknown motley crew of misfits in space, two of which include a talking raccoon and a humanoid tree whose speech solely consists of three words. Besides introducing the "Power Stone," Josh Brolin as Thanos, and establishing the complicated relationship between his adopted daughters, Gamora and Nebula (which would be explored more in 2017's Vol. 2), this marked many bold career moves for funny guy Chris Pratt (as Peter Quill/Star-Lord), sci-fi heroine Zoe Saldana (as Gamora), WWE star Dave Bautista (as Drax), Bradley Cooper (as the voice of Rocket Raccoon), and Vin Deisel (as the voice of Groot), respectfully. The film's best moment involves all of them bantering and arguing about coming up with a plan. What director James Gunn (whose previous directing credits include the comic-book satire Super) did with the material resulted in a wild, roller-coaster ride of adventure, action, comedy, bizarre creatures, and unexpected pathos in a story of, perhaps, the most unexpected group of "heroes" (very imperfect characters, to be exact) who have been scarred by tragedy and choose not to stand by and let others be affected by such. A genius use of 70s music (reflecting of Peter Quill's life on earth) and the Sony Walkman, with Blue Sweed's "Hooked On a Feeling" now synonymous with this franchise. "We are Groot!" 

Iron Man 3 (2013)

Supposedly, this film's success was partially played off of The Avengers a year before, with Downey reprising Tony Stark in a more distinct and intriguing (though darker and often polarizing) adventure, courtesy Lethal Weapon screenwriter Shane Black (who previously directed Downey in 2005's Kiss Kiss Bang Bang). This third outing showcases Stark's PTSD from previous alien invasions and impending threats, including the mysterious and villainous Mandarin (Ben Kingsley) and "Extremis" subplot. The film's style does evoke 1960s action flicks at times, particularly in the end credits. Plus, seeing Tony in a therapy session with a special guest is a stroke of genius. 

The Guardians of the Galaxy

Captain America: The Winter Soldier (2014)

Steve Rogers' difficulty adjusting to the modern world, as well as trust issues with who he's working and/or fighting for, take center stage in this engrossing, more-grounded, and gritty genre-bending entry that's more political thriller than superhero adventure--and my personal favorite MCU film. Chris Evans has his finest hour here as Cap, who becomes a fugitive (as he does later in Civil War, but for different reasons) and discovers (with help from Black Widow and Falcon/Sam Wilson) a decades-long conspiracy and cover-up that's been hidden within S.H.I.E.L.D., the haunting side of surveillance (that is, an attempt to "neutralize a lot of threats before they happen," the New York alien invasion from Avengers), and the discovery of the mysterious "Winter Soldier." Thanks, in part, to directors Joe & Anthony Russo and screenwriters Christopher Markus & Stephen McFeely (who would all go on to work on Civil War, Infinity War, and Endgame), what results forever changes the course of the MCU. Perhaps an elderly Peggy Carter says it best here: "The world has changed. We can't go back. All we can do is our best. And sometimes the best that we can do is to start over."

Avengers: Age of Ultron (2015)

Tony Stark's ever-growing anxiety and fear of impending threats from other worlds leads him to create a peace-keeping program, known as Ultron, which obviously backfires as a self-aware and highly-advanced villainous robot--and takes an added toll on Tony. Joss Whedon's second screenwriting and directorial effort with the Avengers doesn't reach the exciting heights as its predecessor did, as it seems overwhelmed with setting up future installments and storylines. But this blockbuster hit does have its merits, including the introductions of Quicksilver, Scarlett Witch, and Vision (Paul Bettany goes from voicing Tony's computer system JARVIS to physically playing a character, who holds the "Mind Stone" in his forehead), and some impressive set pieces, like the gang attempting to lift Thor's hammer, Black Widow and Banner's relationship, Hawkeye's "safe house," Stark and Rogers' growing conflicts, and (the best action sequence of all here) the Hulkbuster fight. 

Ant-Man (2015)

Marvel's take on a heist comedy proved, for some, a sigh of relief from the bombast that occurred in Age of Ultron, resulting in a smaller story with smaller action (and perhaps more heart) in comparison. Scott Lang's origin story in becoming the Ant-Man from original suit-donner and scientist Hank Pym is dynamic and well-acted (with an unexpected Paul Rudd joining Michael Douglas, Evangeline Lilly, and a scene-stealing Michael Pena), but it doesn't, at times, give its characters a whole lot to do except banter. Still, it is an entertaining and touching offering, and features a standout fight between Lang and the Falcon. ("Wassup, Tic Tac?") 

PHASE THREE

Captain America: Civil War (2016)

More of an Avengers 2.5 film than a third Captain America film, Civil War is, in a way, everything that Age of Ultron wasn't. For one, it's so much more than a mere mash-up and pitting of several Marvel characters against each other (the most that have ever been in one of these movies by far), due to a newly-established document (known as the Sokovia Accords) to put our heroes in check after recent events from Avengers, Winter Soldier, and Age of Ultron. Tony Stark and Steve Rogers' conflicting ideals and worldviews are at the center of everything, with Stark fearing the worst to come and/or happen, while Rogers questions where his true allegiance lies: with his team, or with his old friend-turned-enemy Bucky Barnes. Meanwhile a vengeful and mysterious adversary (Daniel Bruhl) has his own personal agenda to destroy our heroes' loyalties to each other. (Zemo is a fully-dimensional villain, whose plans, for once, have nothing to do with mere world-destroying.) Like Iron Man, Avengers, Guardians, and Winter Soldier, the action and spectacle never really get in the way of the story and character arcs. There's real meaning behind the now-iconic airport battle sequence, and the MCU introductions of Black Panther and Spider-Man hit home. Another cinematic gamechanger that showcases themes that have never been seen in a comic book movie before, including a shocking and tragic revelation that, again, changes the course of the MCU radically.

Chadwick Boseman in Avengers: Infinity War

"Everyone's got a gimmick now."

~Sam Wilson, Captain America: Civil War

WRITER'S NOTE: Around the time of Civil War's release (and considering DC's attempt to create their own shared cinematic universe off of Marvel's), some people started to tire of this shared universe concept. A few filmmakers, however, would help break that mold, if only for a moment, including Tim Miller (2016's Deadpool), James Mangold (2017's Logan), Patty Jenkins (2017's Wonder Woman), and Ryan Coogler (2018's Black Panther)

Black Panther (2018)

Let me just say, first of all, I believe this film belongs in a category of its own, when compared with the MCU. It doesn't even feel like a superhero movie, really, even though it was the first of its kind to receive a Best Picture Oscar nomination (and rightfully so). Yes, it is based on a superhero character and features many fantastical elements. But the story of T'Challa and his ruling of the fictitious African nation of Wakanda (as directed by Ryan Coogler, who heads a cast and crew with true creative freedom) is epic in its scope, in its storytelling, and in its representation of cultures, generations, and genders. (Nakia, Okoye, and Shuri are forces to be reckoned with!) All the filmmaking elements really work here. And even though Black Panther does feature a few characters introduced in previous Marvel films (i.e., Klaue from Age of Ultron, Everett Ross from Civil War), you don't really need to see any of those movies to understand why these characters are here. Even if you're not planning to see Endgame or have interest in any of the other movies on this list, I highly recommend this as the one to see out of all of them.

Spider-Man: Homecoming (2017)

Peter Parker (who was brilliantly introduced in Civil War, courtesy Tom Holland) gets his own MCU solo film that brings him into the world that the Avengers inhabit. Homecoming is a smart and fresh (though at times crass) take, ditching the previously common origin tropes (i.e., spider-bite, dead uncle Ben) in favor of a colorful, coming-of-age story that includes Tony Stark as an unlikely mentor and surrogate father figure for Peter. The filmmakers also made a smart choice by casting Michael Keaton as the main adversary Adrian Toomes (a.k.a. Vulture), who's character, like Zemo, is driven by personal matters and not mere world-destroying. The only downside, otherwise, is that Homecoming works more as a franchise film and not as a solo adventure.

Guardians of the Galaxy, Vol. 2 (2017)

Despite being set after the events of the first film (which was technically a "Phase Two" movie), this second "volume" of Guardians is technically a "Phase Three" film, and takes our characters (like Age of Ultron) to worlds they've never been before (including a living planet named Ego), and develops each character in unexpected ways (i.e., Gamora and Nebula's complicated relationship, Peter Quill's search for his father and his "home," Drax's vulnerability and friendship with new character Mantis, and especially Yondu's character arc). And, like Age of Ultron, this sequel feels overwhelmed with spectacle, as well as a certain level of crassness (as was the case with Homecoming, Ragnarok, and even Infinity War), not to mention several post-credits scenes and 70s music hits. In the end, though, the story is character-centered and does get its heart in the right place.

Doctor Strange (2016)

Known in the comics as "the Sorcerer Supreme," Stephen Strange's origin story opens up the MCU to other dimensions via the mystic arts, as well as the "Eye of Agamotto" (or, the "Time Stone"). His big-screen debut (from horror film director Scott Derrickson) isn't as strong as other entries due to some lack of character development. Its themes on the use or misuse of power are quite thought-provoking, and Benedict Cumberbatch certainly displays charisma as the title character. Huge credit goes to the team behind the film's psychedelic visual effects, which practically steal the show.

Robert Downey Jr. in Avengers: Infinity War

Thor: Ragnarok (2017)

Wondering why Thor and Hulk were absent in Civil War? They fought in a gladiator match on the planet of Sakaar, while Thor tried to save his home of Asgard from the villainous "goddess of death" Hela (Cate Blanchett). Many viewers were turned off by director Taika Waititi's emphasis on offbeat and broad humor in Thor's third solo outing, while others found it a good change of pace to what they (and even star Chris Hemsworth) considered a bore in the MCU. Fan-favorite characters include the Grandmaster (90s film icon Jeff Goldblum), rock monster Korg (voiced by Waititi), and Valkyrie (Tessa Thompson), while the film's style is very retro-80s. What a stroke-of-genius use of Led Zeppelin's "Immigrant Song"! 

Avengers: Infinity War (2018)

The ultimate culmination of characters, styles and genres in the entire Marvel Cinematic Universe for the last ten years comes to fruition here as all our main heroes take on the mad titan Thanos (played with menace, complexity and unpredictability by Josh Brolin), whose sole goal is to collect all six Infinity Stones and wipe out half the universe. Many satisfying cinematic moments, great character entrances, and even many hilarious and surprising scenes are in store here, including the way the characters mingle with each other. (Did we ever think we'd see Tony Stark interacting with Star-Lord, or Thor with Rocket Raccoon, or Bruce Banner with Shuri?) Perhaps the most interesting commonality among these intercut stories and arcs is that many of these characters believe they are doing what's best or don't/can't bring themselves to do what is right or best for the sake of others--with the possible except of a small few. But be warned: this is the biggest, most threatening, and ultimately most polarizing battle for the Avengers yet. (Honestly, what a gut-punch of an ending!) Good thing this was only the first half of a two-part story. 

Ant-Man and the Wasp (2018)

Several audience members needed therapy after Infinity War, and they got it with this worthy follow-up to 2015's Ant-Man. Scott Lang (under house arrest, due to his involvement in Civil War) is called in by Hank Pym and Hope Van Pym to jump-start a machine that will take them to the Quantum Realm (briefly explored in the last movie) to rescue Pym's wife, Janet (the original Wasp). A rare sequel that really improves on the original in every way, Wasp gives its cast a lot more to work with and play around with. Evangeline Lilly, for one, knocks it out of the park as Wasp, as does Hannah John-Kamen (as Ghost) and Rudd (who co-wrote the script). One of the most fun Marvel movies, and a great example that even the smallest stories can still have a big impact, no matter how unlikely.

Captain Marvel (2019)

Set in the mid-90s (years before the events of 2008's Iron Man), the origin story of Air Force pilot Carol Danvers and how she became "the most powerful character in the Marvel Universe" finally comes to big-screen life. Indie filmmakers Anna Boden & Ryan Fleck brilliantly made another MCU film that stands on its own, and showcases a character who questions who she is, where she's from, and the difference between control and freedom when it comes to fighting and persevering, and not just to the use of power. The de-aging visual effects (previously used for such actors as Michael Douglas, Robert Downey Jr, and Michelle Pfeiffer) for Samuel L. Jackson and Clark Gregg (as a younger Nick Fury and Agent Coulson, respectfully) work seamlessly and effectively. This entertaining and electrifying movie also pays great homage to Stan Lee (who sadly passed away three months before its release) in two ways: in a cameo that references his appearance in Kevin Smith's 1995 film Mallrats, and in the opening credits. "Thank you Stan." 

"We're in the endgame now." 

~Stephen Strange, Avengers: Infinity War

As for Avengers: Endgame, Marvel Studios is keeping the plot as under wraps as possible. (They've been doing a great job in the marketing, particularly with the first two theatrical trailers, which is how trailers should be done.) What we do know is that the main characters in this story (including Captain Marvel, Ant-Man, and Hawkeye) will attempt to undo the concluding events of Infinity War, with the Quantum Realm possibly being involved. One thing is for certain: it will be an exciting and emotional conclusion to what Marvel CEO Kevin Feige has now declared "The Infinity Saga".

And there's still more to come! As Stan Lee would say, "Excelsior!" 

REVIEWING CLASSICS: Nothing Like "The Wizard of Oz" Down the Yellow Brick Road or In Motion Picture History

It's one thing to talk about, out of the hundreds of millions of films that have been made in the history of motion pictures, which film is the greatest. In truth, it's very hard and subjective to determine, because everybody (and I mean everybody) has an opinion.

Orson Wells' landmark cautionary tale Citizen Kane (1941), for example, has held the top spot for almost two decades on many general historical and critical lists, including the American Film Institute (check here and here), while Frank Darabont's adaptation of Stephen King's prison drama, The Shawshank Redemption (1994), ranks first on the Internet Movie Database (IMDb)'s list of the highest-rated films of all time. And of course, the box-office always informs us of the most "successful" movies in history, with Jaws (1975), Star Wars (1977), E.T. (1982), Jurassic Park (1993), Titanic (1997), and Avatar (2009) each respectively claiming the top spot one time or another. (To be sure, this latter group represents how many people went to see these films at their respective releases. It doesn't say what people thought about them.)

On the other hand, ask yourself this question: What defines a film as timeless and enduring? More specifically, how do you define a film that will be remembered years later?

Well, story and characters are two things to consider, as is the case with any of the classic fairy tales adapted by Disney (e.g., Snow White, Cinderella, Beauty and the Beast), historical epics (e.g., Gone With the Wind, The Godfather), inspirational sports dramas (e.g., Rocky), and unlikely stories of friendship (e.g., E.T.). Yet, even some of these films have elements that can feel dated or stuck in the specific time they were made in, whether in a medieval period, during the Civil War, or in the 1970s or 1980s, respectfully. After all, certain tropes, such as on-screen smoking and damsels in distress, don't keep forever.

Ironically, time is, in fact, the one thing that will tell you if a film is . . . well, timeless. It's interesting that many features now regarded as "classics" were not initially well-received, critically and/or commercially. And yet, through various analyses, multiple re-releases in theaters, repeated viewings on television, and word-of-mouth over the years, such films as the aforementioned Kane and Shawshank, as well as It's A Wonderful Life (released in 1946) and The Wizard of Oz (1939), are now considered great achievements.

Which brings me to my next point.

I believe that director Victor Fleming's adaptation of author L. Frank Baum's children's book The Wonderful Wizard of Oz will be the one film remembered most. In fact, it's the one film I know of (other than E.T. and Star Wars, maybe) that, I believe, almost everybody is, at least, familiar with or has heard of, if not seen, in just about any regard.

For one thing, there are the iconic characters, such as the Kansas-based heroine, Dorothy Gale (an irreplaceable Judy Garland), and her lovable dog Toto, who get caught in a tornado one day and end up in a magical land known as Oz. From there, she encounters a host of colorful characters, such as the Munchkins, Glinda the Good Witch (Billie Burke), the Scarecrow (Ray Bolger), the Tin Man (Jack Haley), the Cowardly Lion (Bert Lahr), the citizens of Emerald City (with character actor Frank Morgan in multiple roles, including "the man behind the curtain"), and of course, the Wicked Witch of the West (Margaret Hamilton) and her flying monkeys, on a journey to get back home.

So many of the film's lines have become synonymous with the pop culture zeitgeist: "Toto, I have a feeling we're not in Kansas anymore." "I'll get you, my pretty! And you're little dog, too!" "Lions and tigers and bears, oh my!" "I'm melting!" "There's no place like home." The same goes for the many memorable scenes, such as Dorothy inside the tornado cycle (predating 1996's Twister), entering Oz for the first time (a magical transition from sepia to technicolor), Miss Almira Gulch riding her bike down the road (which, for me as a child, implied something threatening and, in a way, imposing), the Tin Man dancing (a brilliant showcase for Haley), and the signature (almost-cut) ballad "Somewhere Over the Rainbow" (probably Garland's most famous song).

To reiterate, an enduring story shouldn't feel stuck in its own time period, but include universal elements and character arcs that are relevant in any time, as well as any culture, age, race, ethnicity, class, or gender. In those respects, the film has something for everyone, any time, any where. Even though The Wizard of Oz is a product of the 1930s, it doesn't feel stuck there. The production design, sets, and costumes and makeup for each character, haven't aged at all.

The screenplay (written by Noel Langley and Florence Ryerson) is a classic three-act structure of the hero(ine)'s journey ("Follow the Yellow Brick Road") and that of her companions. Feeling that her family is very busy, neglecting, and doesn't understand her, Dorothy wants to escape to a place where there are supposedly no troubles or worries. What follows is a journey that is breathtaking, at times scary (the Wicked Witch continues to terrify children and adults after all these years), and ultimately a quest for identity and home.

In fact, many of the characters Dorothy meets mirror those in Kansas as well, and each have clearly defined personalities, and a desire for qualities they believe they don't have. The Wicked Witch clearly wants the ruby slippers, which represent power and control of the land. The Scarecrow (only afraid of fire) wants wisdom and intellect. The Tin Man (who rusts from rain or sadness) wants love and empathy. And the Cowardly Lion (need I say more) wants courage, or rather willingness and bravery. Each of these qualities represent lessons the hero(ine) learns on her journey, including overcoming failure, self-doubt, hollowness and imperfections, and embracing friendships of all kinds. (One of my favorite lines, in this respect, is from the Lion: "Wouldn't you feel degraded to be seen in the company of a cowardly lion?" Wonderful.)

I've said it before, and I'll say it again: the best stories are those that not only allow us to escape from reality for a few moments, but leave us with themes and messages to help us deal with reality. Is it any wonder children and adults continue to be enthralled by fairy tales, superheroes, or even Dr. Seuss characters? The Wizard of Oz is the pinnacle example of fantasy and adventure in motion pictures.

"You're the best friends anybody ever had. And yet, it's funny,
I feel as if I've known you for a long time."
Fitting for such a perennial and untouchable film.

REVIEWING CLASSICS: "To Kill A Mockingbird" (1962)

Harper Lee's Pulitzer Prize-winning 1961 novel To Kill A Mockingbird is undoubtedly one of the quintessential and classic works of American literature ever written. And its 1962 film adaptation equally stands as a classic piece of American film. The story's setting (in Maycomb, Alabama, during the Depression of the 1930s) evokes particular memories of growing up in a time and place in American history, illustrating contrasted themes of innocence and experience, kindness and cruelty, hatred against love, humor and pathos.

Told from the perspective of young Scout Finch, the story goes through different seasons, beginning in summer, as Scout and her older brother Jem befriend Dill Harris, attempt to spy on the mysterious Radley residence down the street (including the unseen "Boo" Radley), and deal with school and hometown news. Things take a controversial turn when their lawyer father, Atticus Finch, is assigned a case in defending a black man accused of raping a white teenage girl.

Though it would be impossible to condense every detail of the book into a two-hour feature (there are liberties taken in eliminating or reducing certain characters like Aunt Alexandra, Calpurnia, and Reverend Sykes), what the film does maintain is the novel's sense of seeing the world through the eyes of a child, and its transition into experience. This is evident from the opening title sequence, which shows Scout (Mary Badham) drawing, coloring, and humming, (that's John Williams playing the piano in Elmer Bernstein's score, by the way), and up to the famous courtroom scene, cemented by Atticus's appeal to the jury, and not just to black and white races, in fact. Gregory Peck (as Atticus) is thoroughly honest and genuine, and represents in Atticus Finch the ideal man who makes the case for humanity and for what is right in this world, and exemplifies how to maintain one's dignity and humility in times of crisis and division.

I've read this novel three times now, one of which was for a Film & Literature course I took in college. Now, thanks in part to SparkNotes, I began to really understand, this time around, Scout and Jem's childhood lifestyles, what Tom Robinson's trial represents and how it effects the town of Maycomb, what Atticus teaches and exemplifies to his children and to Maycomb (i.e., "You never really know someone until you learn to see things from their point of view"), and how social injustice affects Jem and Scout differently; although the book dives deeper into this latter notion, ditto the symbolism of mockingbirds. And the moral that parents cannot shield their children from everything in the world, but can most certainly prepare them for it, rings especially true here.

Mary Badham (as Scout) and Gregory Peck (as Atticus Finch) in To Kill A Mockingbird

Oscars 2019: A Few Upsets and an Absent Host Couldn't Keep the Gold Statues Down

(Left to right) Rami Malek, Olivia Colman, Regina King, and Mahershala Ali

I'm going to just throw this out there--and a lot of other people obviously feel the same way: I was upset about Sunday night's Best Picture winner at the 91st Annual Academy Awards. Don't get me wrong, Green Book is a really good film, with solid performances from nominated actors Viggo Mortensen and Mahershala Ali (who did take home the best supporting actor honor) and somewhat different perspectives on race and class.

For my money's worth, however, I felt that fellow Best Picture nominees Roma and Black Panther (Alfonso Cuaron's deeply personal story of an indigenous maid in 1970s Mexico City, and Ryan Coogler's superb adaptation of the famed Marvel hero, respectfully) were two films that really broke new ground in terms of diversity and cultural representation on screen, not to mention filmmaking and storytelling in general. (Roma, for the record, was not only a high contender to win best picture and not just the Foreign Language Film award, the latter of which it did win. It has also become, without a doubt, one of the greatest films ever made.)

Not to say that the true story of the friendship between Italian-American bouncer Tony Vallelonga and African-American concert pianist Dr. Don Shirley didn't have that as well. It's just that Green Book seems like conventional Oscar bait that only took a few risks with its technical and thematic elements and, in some ways, "played it safe," compared to what many would consider stronger competition. (In retrospect, the same thing has been said about previous Best Picture-winning films like 1982's Gandhi, 1989's Driving Miss Daisy, 2005's Crash, and 2015's Spotlight.) It also seemed that, although the Academy managed to get through the telecast just 17 minutes over its three hour schedule, the ceremony did seem a bit rushed.

All controversy aside, if the Oscars focused on anything specific this season, it's several things. One, they managed to exceed expectations in carrying on without a host. (The last time was in 1989, when actor Rob Lowe sung a poorly-received duet with, of all characters, Snow White.) Two, all of the categories were presented and given on television and not during commercials (as verified by presenters Tyler Perry, Michael Keaton, and openers Tina Fey, Amy Poehler and Maya Rudolph. Three, as IMDb make note, the Academy continued its stance in being more diverse by coupling different groups of presenters, like Pharrell Williams & Michelle Yeow, Angela Bassett & Javier Bardem, and (my favorite) Melissa McCarthy and Brian Tyler Henry, both of whom appeared onstage in over-the-top outfits parodying Best Picture nominee The Favourite, complete with rabbit puppets. "The nominees tonight have proven we are all part of the same ocean," said Alfonso Cuaron while accepting the Foreign Language Film award for Roma.

Samuel L. Jackson (right) congratulates Spike Lee on the latter's first Oscar win

"Party on!" Mike Myers and Dana Carvey present Bohemian Rhapsody

Other highlights included watching presenter Jason Mamoa's thrilled reaction to Best Documentary Feature winner Free Solo (ditto Samuel L. Jackson's stoked reaction to director Spike Lee's first-ever Oscar win, for co-writing BlacKkKlansman), actor-comedian Keegan-Michael Key literally dropping in on the ceremony in Mary Poppins fashion, actor Paul Rudd's visual effects gag, Supporting Actress winner Regina King's humble and gracious acceptance speech, and actress Laura Dern announcing the upcoming opening of the new Academy Museum of Motion Pictures in Los Angeles.

Meanwhile, the film Bohemian Rhapsody surprisingly won four of its five nominated awards, including Best Actor for Rami Malek (a "first-generation American" son of Egyptian immigrants), who acknowledged the legacy of Queen frontman Freddie Mercury (himself the son of immigrants). "I may not have been the obvious choice [for the role]," stated Malek, "but I guess it worked out." There was even a live opening performance from Queen (with current frontman Adam Lambert) that rocked the house, literally with "We Will Rock You" and "We Are the Champions". Did I mention that Mike Myers and Dana Carvey of Wayne's World fame reunited to present the Queen biopic, and to recall the former film's iconic scene of them head-banging to the legendary song?

Getting back to Roma, the film did gain two more wins for Cuaron's cinematography and direction of the film. "As artists, our job is to look where others don't," said Cuaron, while accepting the Best Director award (his second, after 2013's Gravity), further exemplifying the film's significance.

More importantly, I thought to myself that the greatest thing for any of these nominees (win or not) was the fact that they were recognized and acknowledged for the work they did in 2018, not to mention the themes many of them echoed in terms of believing in the impossible, never giving up, and being inspired to be better people. The opening montage of films from 2018 was a wonderful celebration of another year in film, and not just for those nominated. (We should remind ourselves that, while still considered Hollywood's biggest night of the year, the Oscars are not the only film awards show there is, for better or worse.)

Filmmaker Alfonso Cuaron (left) is embraced by Roma stars
Yalitza Aparicio (middle) and Marina de Tavira (middle-right)

Following a show-stealing performance of the song "Shallow" with Bradley Cooper from A Star Is Born (seriously, that P.O.V. from the stage was priceless), singer-turned-actress Lady Gaga stated in her acceptance speech for her Best Song win, "It is not about winning, it's about not giving up. If you have a dream, fight for it. . . . It's about how many times you stand up and are brave and you keep going." Olivia Colman (one of the biggest surprise winners of the night, for her leading role in The Favourite), said, "to any little girl who's practicing her speech on the telly, you never know." Animated Short film winner Domee Shi (for the Pixar animated short Boa) said, "To all the nerdy little girls behind their sketch books, don't be afraid to tell your stories to the world." Spider-Man: Into the Spider-Verse, not surprisingly, won Best Animated Feature, thanks, in part, for being an immersive film visually and culturally. Said co-producer Christopher Miller, "800 filmmakers [spent four years pushing] boundaries and took risks to make people feel powerful and seen." Honoring people of all backgrounds, co-director Peter Ramsey added, "The world needs you. We're counting on you."

Speaking of heroes, while Black Panther didn't win the top prize, it did still garner awards for its costume design, production design, and score (a new record for a comic book movie), the fact that it was recognized as a Best Picture contender is alone a new benchmark for films based on comic books and superheroes. Who would've thought they'd come this far? And they're still on a roll.

RETROSPECT: "Cowabunga!" or, The Enduring Popularity (and Guilty Pleasure) of "Teenage Mutant Ninja Turtles"

If you grew up like I did in the late Eighties and early Nineties, you probably watched a lot of Saturday morning cartoons. On one hand, you had your Disney shows like Ducktales and Goof Troop. You also had your Looney Tunes cartoons, starring Bugs Bunny and the Road Runner. And, of course, you had your superhero shows, ranging from epic (Batman: The Animated Series and X-Men, anyone?) to silly-but-fun (Darkwing Duck was a winner). Many (if not all) of these shows, in fact, featured anthropomorphic animal characters, which always suits kids just fine.

And then there was Teenage Mutant Ninja Turtles, a series about four anthropomorphic ninja-fighting, pizza-loving amphibians. What most people forget, perhaps, is that this series didn't start out as a cartoon, but as a comic-book. I've always been a fan of these "heroes in a half shell" since my childhood, and my older brother and I even dressed as two of them for Halloween when we were little kids.

So, in light of their first inception thirty-five years ago this year (and twenty years next year since the first live-action movie from 1990 released), I've been thinking about how it is that these characters (created by artists Kevin Eastman and Peter Laird in 1984) continue to endure in popular culture via cartoons (the 80s T.V. series, with its catchy theme song), toys, t-shirts, movies (live-action in the early 90s and currently in the 2010s, with a reboot in development), and even a ride at Nickelodeon Universe at Minnesota's Mall of America.

For those of you who don't know the backstory: four pet turtles are infected by a green ooze and mutated into life-sized characters. Not only that, their master is a life-sized rat named Splinter (a former pet himself, whose owner was a skilled fighter as well), and their adversaries include the metal-wearing warrior known as Shredder, mutant henchmen Bebop (a warthog) and Rocksteady (a rhino), and a giant alien brain, aptly named Krane. Their allies include hockey jock Casey Jones and news reporter April O'Neal, while their influences range from various forms of popular culture, including surfer slang. Hence, the famous catchphrase, "Cowabunga, dude!"

Okay, with that kind of a concept, it would be easy for many critics and consumers to scoff and laugh. It's also easy to separate various types of films, TV shows, music formats, and pop cult phenomenons into one of two categories: those that are made for the industry, and those that are made for the general public. Turtles, for the most part, falls into this latter category. But remember, Stan Lee's Marvel superheroes, outside their respective fanbases, were never considered anything being brilliant until years later.

On the other hand, when considering the influences that Eastman and Laird used, the backstory and appeal of the Turtles (as ridiculous and absurd as it sounds) is quite fascinating. (Watch the above video.) Here, you have two guys who were passionate about and influenced by comics, martial arts, the films of Bruce Lee, the work of comic-book artist Jack Kirby, and the like. Along with that creative freedom, consider that each of the turtles are named after famous Renaissance artists: Leonardo (Leo), Donatello (Donnie), Raphael (Raph), and Michaelangelo (Mikey). They're each color-coordinated (blue, purple, red, and orange, respectfully), and each have clearly distinct personalities and traits: Leo is the fearless leader, who carries katanas; Donnie is the brain, who carries a bo (staff); Raph is the rebel with attitude, who carries a pair of sai; and Mickey is the cool one, who carries nunchucks. Even the series title (Teenage Mutant Ninja Turtles) and, again, cartoon theme song has a nice ring to it.

Prior to the Turtles' live-action film debut, movies based on comic-books were still in their relative infancy at the time. With the exception of DC's initial successes with Superman (1978) and Batman (1989), almost nobody in Hollywood believed a film about "ninja turtles" would be successful. However, a then-small studio called New Line Cinema (known for distributing B-level horror films like 1984's A Nightmare on Elm Street) agreed to distribute the film, while Golden Harvest (a company responsible for introducing American audiences to Bruce Lee movies and other arthouse-related films) produced, and Steve Barron (a filmmaker behind the pilot episode of Jim Henson's T.V. series The Storyteller, as well as music videos for A-ha's "Take on Me" and Michael Jackson's "Billie Jean") directed.

Perhaps the greatest contributors to the film's success (and to helping make it the highest-grossing independent film at the time), however, were the crew members and special effects artists of Jim Henson's Creature Shop, who supplied state-of-the-art animatronic puppets and effects for the turtles and for Splinter, in particular. The result, for the most part, holds up remarkably well today. Plus, as a fanboy, the film has impressive fight choreography and one of the most exciting (and best) trailers ever made, no question.

The titular heroes of the 1990 live-action blockbuster

While not really a film for young children, due to its dark and violent nature, the film took its primary inspiration from the original source material (i.e., dark atmosphere, fierce action), while balancing some elements of comedy from the cartoon series along with some surprising drama. On that note, the film (like the mythology and universal appeal of the characters) contrasts a misguided sense of family (i.e., misunderstood teenage boys pulled into the influence and lure of Shredder) with a genuine sense of family (i.e., Splinter's teachings and skill passed onto his adopted "children," as well as unexpected allies in April and Casey).

In the end, this is a franchise made for the masses, not for the industry. Personally speaking, the fact that turtles are some of my favorite animals, and that these characters love pizza (as do I) is pretty amazing. Moreover, the Turtles, in a way, represent that thrill that my generation had at being children, and that thrill that still exists in us as adults--that you're never too old for cartoons, comic books, popcorn movies, or anthropomorphic animal characters. As our friend Mikey, once again, would say, "Cowabunga, dudes!"

RETROSPECT: "The Lego Movie" Is Cinematic Glee With Poignancy, Brick By Brick

The teaser trailer had me sold right away. Released a few months prior to its theatrical premiere on February 7, 2014, what surprised me the most about this first look at The Lego Movie (based on the popular Dutch brand of instantly-recognizable and colored plastic bricks) was the resemblance of stop-motion animation for the Lego figurines on display. I learned later, though, that the animation was CGI, but resembled actual toys being moved at such a rate as those who make animated short films for YouTube.

Directors Phil Lord and Christopher Miller have created a knack since the turn of the century for combining high art and low art. In other words, they specialize in putting silly and ridiculous (yet rapid-fire) humor in a very cinematic universe. And with unexpected poignancy, might I add. Known for their short-lived animated series "Clone High," Lord and Miller made their feature-film debut with the entertaining Cloudy With a Chance of Meatballs, followed by a feature-length version of the Eighties T.V. series 21 Jump Street, starring Jonah Hill and Channing Tatum. (A meta sequel, 22 Jump Street, followed in 2014.)

One thing that makes The Lego Movie so fun is that its plot feels like it stems from a child's imagination, with a hodgepodge of different ideas (and worlds, like "Cloud Cuckoo Land," "Bricksburg," and my favorite, "Middle Zealand") and a consistent tone, which will easily appeal to kids of any age. The main story follows a regular construction worker named Emmet (Chris Pratt), who lives by routine and positivity. One day, he comes upon a strange red item (known as the "piece of resistance") and is soon believed to be the "special" hero who will save the universe from being (literally) glued together by the evil Lord Business (Will Ferrell). And he gets help from a quirky crew of "Master Builders," including a hooded fighter, an ancient wizard, Benny the Space Guy (from the 1980s), UniKitty, the hodgepodge pirate Metalbeard, and even Batman (yeah, you heard me right).

What makes the story universal and appealing to adults, as silly and ridiculous as the story gets, is an unexpected twist that seems out of place at first, but turns out to be poignant and where part of the film's heart comes from. Other themes include seeing and believing in the value of others, including ourselves, no matter how unlikely they seem; accepting our shortcomings; the difference between law and "business" (or, routine and "perfection") and creative freedom (friendship, teamwork). Another lesson to be taken is this: following the crowd just makes you a face in the crowd. But when you embrace what makes you "special," it's then you stand out. With that in mind, believing in what you're capable of doing, and working together as a team to do it.

Courtesy Animal Logic (of "Robot Chicken" fame), this is some of the most incredible animation I've ever seen, not to mention some of the funniest humor I've ever seen. (Uproariously funny, in fact.) The animators even cleverly use blocks and pieces for certain elements like fire, water, and explosions, with gleeful abandon. I'm also still floored by the attention-to-detail of other elements like grime, reflections on plastic pieces, and even silly sound effects.

Pratt (of T.V.'s "Parks & Recreation") was a breakout star the year of this film's release, as he headlined Marvel's box-office hit Guardians of the Galaxy later that year as well. Elizabeth Banks (Effie Trinket in The Hunger Games series) gives attitude and sass to the role of Wyldstyle. Will Arnet (of Arrested Development fame) is a hoot as Batman, while no one could of played Lord Business better than Ferrell, as he has the right loud-mouthed timing and comedy. Charlie Day's Benny the Space Guy and Nick Offerman's Metalbeard are hilarious as well. But the most unbelievable and impeccable casting belongs to Morgan Freeman (as wizard Vitruvius) and Liam Neeson (possibly parodying his Taken persona, as Good Cop/Bad Cop). Who would have thought?!?

Fun fact: two years before Batman v Superman: Dawn of Justice saw the live-action debut of the trinity of Batman, Superman, and Wonder Woman, all three characters technically first appeared together theatrically in this film. Even Hill and Tatum make appearances as the voices of Green Lantern and Superman, respectfully. This film really has something for everyone. It doesn't merely qualify as a goofy kids movie. It's a combination of various genres as comedy, action, adventure, science-fiction, superhero, and drama, all universal.

Best of all, unlike previous films that took childhood nostalgia and replaced it with adult cynicism and grittiness (Transformers, anybody?), The Lego Movie respects its decades-long brand by showing us what these toys are made for, how adults use them, and how children should play with them. (The spinoff movies that followed, 2017's Lego Batman and Lego Ninjago, lacked this sense of wonder in playing with toys, despite being some clever movies otherwise.)

It's also smart that the filmmakers didn't have any characters mention the word "Lego" at all in the whole film. Otherwise, it would've been one big product placement. And that (along with the aforementioned themes) makes the animation and cinematic experience all worthwhile--or, as the signature song says, awesome.

On that note, I leave you with these two fun videos (click here and here).