Monthly Archives: March 2014

The Impossible (2012)

20 Thursday Mar 2014

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The Bennetts spend their Christmas in a Thailand beach resort
And enjoy their seaside holiday until it is cut short.
A massive wave of water strikes, and they are in its path.
The five are separated in the vicious aftermath.
 
Maria and her eldest son named Lucas are together,
And endure the vast tsunami many others could not weather.
The two survive the terrible and unrelenting flood,
And, once they get out, both are smeared with mud and dirt and blood.
 
They climb a tree with effort, but Maria’s badly hurt.
Thai villagers arrive and drag her through debris and dirt.
They take her to a hospital where death and pain are rife,
And overburdened doctors try to save Maria’s life.
 
When Lucas helps some folks, he reunites a dad and son.
Returning to his mother, though, he finds that she is gone.
Maria was mislabeled when her surgery arrived,
And Lucas is relieved when he is shown that she survived.
 
Meanwhile, Henry Bennett sifts through wreckage and debris,
As he searches for his wife and Lucas, parted by the sea.
His other children, Simon and young Thomas, are all right,
But Henry sends them off so he can search for one more night.
 
He starts to inspect hospitals and staggering mass graves,
Assisted by another who lost family to the waves.
He checks Maria’s hospital and thinks she isn’t there,
When Lucas finds his brothers and embraces the lost pair.
 
The family’s reunited, yet Maria’s fading fast.
In surgery, she dreams about the fierce tsunami’s blast.
Just as she reached the surface, she survives the surgery,
And the five fly home together o’er the vast and violent sea.
___________________________
 

The Impossible is a powerful film and, as emphasized at the very beginning, a true story. In my review for The Day after Tomorrow, I said the outlandish catastrophes depicted in that movie were entertaining because they were fictional. That was a popcorn movie; The Impossible is not. Film about actual disasters are always more affecting because they happened to real people and changed countless lives, offering examples of both pain and heroism that are much more deeply felt than, say, CGI tornadoes ripping through impersonal skyscrapers.

The Impossible is often painful to watch, particularly the scenes featuring Maria’s cringe-worthy leg wound. Yet, amid all the agony and death, there are moments of light: a presumably orphaned child being seen with a loving parent, a hopeless father hugging the lost son that a stranger found for him, and of course the tear-jerking reunion of Henry and his children. Other details, such as a nonchalant note left by a survivor’s missing family before the wave hit, illustrate how swiftly life can change for the worse.

The acting is superb across the board. Though Naomi Watts received the only Oscar nomination for her pain-filled role as Maria, Ewan McGregor as Henry and Tom Holland as Lucas also give Oscar-worthy performances that connect the audience to this family that’s been torn apart. My VC felt that the technique of muting the sound to evoke the passage of time was overused, but overall the direction is also excellent.

While the scenes of suffering are devastating to watch, I appreciate that the filmmakers didn’t make it as violent as they could have. There are still some brief scenes of female nudity and some wincing injuries that could have been left out. The main issue I have, however, is the fact that God is not mentioned at all. I understand if the family was not religious, but events like these tend to bring people to a realization of divine power and aid. Considering the astounding coincidences that took place to bring the family back together, some religious references would have been appropriate. Even so, when the 2004 Indian Ocean tsunami hit, many in the U.S. could easily ignore it at the time since it was on the other side of the world; The Impossible brings this terrible tragedy home in a very powerful way.

Best line: (Henry, to his sons) “But you know the most scary bit for me?”
(Thomas) “When the water hit?”
(Henry) “No. After that, when I came up, I was on my own. That was the scariest part. And when I saw the two of you clinging to the tree, I didn’t feel so scared anymore. I knew I wasn’t on my own. You see?”

 

Artistry: 8
Characters/Actors: 10
Entertainment: 3
Visual Effects: 8
Originality: 7
Watchability: 2
Other (nudity, violence, and lack of religious awareness): -6
 
TOTAL: 32 out of 60
 

Next: #291: The Secret World of Arrietty

© 2014 S. G. Liput

 

Sinbad: Legend of the Seven Seas (2003)

19 Wednesday Mar 2014

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Sinbad the sailor’s a scoundrel at heart,
Or so goddess Eris may think.
This villainous goddess has chaos to start
And sends a beast into the drink.
 
As Sinbad is robbing an old but dear friend
Named Proteus, parted for years,
He finds he must help his old chum to defend
‘Gainst a tentacled fiend that appears.
 
They dispose of the monster, but Sinbad is swept
From the ship, so that Eris can pitch
An offer to him he can’t help but accept:
Steal a book and she’ll make the rogue rich.
 
In Syracuse, Proteus unloads the book
That brings peace to the cities around.
But sly Eris frames the notorious crook,
And leaves the whole kingdom unsound.
 
They all accuse Sinbad, but Proteus asks
That he stay while Sinbad finds the book.
The thief at first balks at this hardest of tasks,
But he leaves since he’s now off the hook.
 
Marina, Prince Proteus’s fiancée,
Stows away to ensure Sinbad goes.
A bribe proves enough to allow her to stay,
But they don’t like each other (it shows).
 
But, when Eris sends several Sirens to sing,
Who bewitch both the thief and his crew,
Marina takes over to narrowly bring
The ship and its company through.
 
They next hook a line to an island-sized fish,
Which gives them a turbulent ride.
Marina then almost becomes the main dish
For a giant bird Eris supplied.
 
Once Sinbad saves her, they all sail for a star,
And he unveils his love for the girl.
As they near Tartarus after coming so far,
They sail off the edge of the world.
 
Marina and Sinbad swing to Eris’ realm,
A lost kingdom of ruin and death.
Meanwhile, his faithful first mate takes the helm,
And everyone’s holding their breath.
 
In Tartarus, Eris taunts Sinbad to lie
And say he’ll return when he won’t.
He swears, book or no, that he’ll go back to die.
They try to retrieve it but don’t.
 
At the moment when Proteus thinks he’ll be slain,
Sinbad comes back to him just in time.
He is empty-handed; the trip was in vain,
But he’s there to be killed for his “crime.”
 
Yet Eris had sworn that, if he said what’s true,
He’d then have the book that she took.
His promise was genuine; he followed through,
So she grudgingly gives him the book.
 
His name somewhat cleared, Sinbad plans to depart,
And Marina is silently sad.
Yet Proteus tells her to follow her heart
So she voyages off with Sinbad.
__________________
 

Sinbad: Legend of the Seven Seas is both a homage to the ancient Arab tales (and the old movie featuring the character) and a thrill ride that is sure to buckle anyone’s swash. With some of the best action set pieces involving traditional animation, Sinbad seems like a precursor and inspiration for the Pirates of the Caribbean sequels. While Curse of the Black Pearl came out the same year as this DreamWorks film and shares the hero/thief dichotomy of the main character, the other three seem to borrow key scenes from Sinbad. The attacks of the Kraken in Dead Man’s Chest are similar to Cetus’ assault at the beginning, the edge of the world scene in At World’s End seems directly borrowed from this film (complete with the characters who continue on finding themselves suddenly in a desert with the remains of a ship), and the vampiric mermaids of On Stranger Tides are akin to the Sirens. The other action scenes may not have direct comparisons but are still just as thrilling, such as their escape from the giant roc.

Another similarity is the fact that, while Sinbad and Jack Sparrow are both murderous thieves when you get right down to it, the films aren’t actually about them doing the despicable acts that have earned them infamy in the movie’s world. This allows the film to redeem these characters in a way that makes them heroic, even if they probably continue their old lifestyles after the film’s events.

The adventuresome Harry Gregson-Williams score is perfect, though it’s got nothing on Hans Zimmer’s classic theme for Pirates. The animation, again a mixture of hand-drawn animation for the characters and CGI for the giant creatures, is quite good as well and extremely fluid, such as Eris’ ethereal comings and goings. The voice acting is also top-notch, and it remains the only Brad Pitt film my VC can bring herself to watch, mainly because Catherine Zeta-Jones and Michelle Pfeifer do so well in their respective roles. As the last of DreamWorks’s traditionally animated films, Sinbad offers some great action and a predictable but nicely developed romance, and I think it deserved a sequel. I like many of DreamWorks Animation’s CGI films, but it’s a shame that wonderful hand-drawn films like this have nearly gone extinct in the U.S.

Best line: (Marina, while hiding from the roc after Sinbad pulls out a single knife) “Great, he can pick his teeth when he’s done with us.” (Sinbad) “Yeah, you see, in the hands of an expert, a good knife has 1,001 good uses.” (Sinbad then proves his lack of expertise.)

 
Artistry: 4
Characters/Actors: 6
Entertainment: 8
Visual Effects: 8
Originality: 6
Watchability: 6
Other (I just like other films better): -6
 
TOTAL: 32 out of 60
 

Next: #292: The Impossible

© 2014 S. G. Liput

 

Apollo 13 (1995)

18 Tuesday Mar 2014

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When astronaut Jim Lovell sees us landing on the moon,
He dreams of going there himself and gets his chance quite soon.
His lunar mission is moved up to lucky one, thirteen,
And he and Mattingly and Haise all practice their routine.
But days before the launch, they learn that Mattingly’s exposed
To measles, so he must be barred or else nobody goes.
 
He is replaced by ladies’ man Jack Swigert, and the three
All work together fine, although he’s no Ken Mattingly.
While Lovell’s wife is worried sick about this risky mission,
She sees him off, supporting his celestial ambition.
Lovell, Swigert, and Fred Haise at last launch into space,
And, over days, fly to the moon at just the proper pace.
 
All seems to go just as it should until they hear a bang,
And Lovell notices a leak that threatens their whole gang.
Their oxygen is leaking fast, and it becomes quite clear:
They cannot land upon the moon, although it is so near.
They get into Aquarius, the module used for landing,
And use it as a lifeboat, which will keep their vessel standing.
 
Returning to the Earth right through the shadow of the moon,
Jim dreams about how close he’s come, how it’s inopportune,
But now they have to get back home, and NASA’s engineers
Are pushed to solve the problems, and each person perseveres.
From saving the ship’s power to reducing CO2,
The scientists and Mattingly (who’s healthy still) pull through.
 
Though Haise gets sick and tension’s high, the crew continues on,
Eventually preparing to return from whence they’d gone.
The heat shield’s strength is still in doubt, but Lovell and the rest
Fly in the planet’s atmosphere, and everyone is stressed.
Four minutes later, Lovell’s voice alleviates concern,
And everybody celebrates the astronauts’ return.
__________________________
 

Apollo 13 is one of the most authentic and meticulously researched films about manned space flight ever made. The film is of particular interest to my family because my grandfather was himself involved with NASA’s Apollo missions (as well as Mercury and Gemini) and worked straight through several days and nights to assist in bringing those three astronauts home. My mom also participated in the Space Shuttle program and recognized various real names used in the film like engineer Guenter Wendt. The resourcefulness of these unsung heroes is laudably extolled as they come up with solutions that kept the astronauts alive.

Ron Howard’s almost documentary-like direction of the structured proceedings makes the viewer feel like he’s watching actual events, though this effect is tempered by the star presence of Tom Hanks as Lovell, Kevin Bacon as Swigert, and Bill Paxton as Haise. All fill their roles quite well, as does Ed Harris as Flight Director Gene Kranz, inexplicably the only one to earn a Best Actor Oscar nomination. (It was nice to hear his voice in the same kind of role in the recent Gravity.)

While the main characters are well-developed as a rule, particularly Oscar nominee Kathleen Quinlan as the long-suffering Marilyn Lovell, the best parts are the moments of space travel, whether the simple floating of the astronauts (achieved through putting the actors in a plummeting aircraft) to the grandeur of Apollo 13’s spectacular launch. The weightlessness is particularly well-done, and the way it was created is hidden surprisingly well. The film also has some effective moments of poignancy (Lovell dreaming of his lost moon landing) and tension (the Odyssey’s reentry, which manages to be nail-biting even though most probably know the outcome).

The main issue is, of course, the unnecessary profanity, but I also felt that the last half-hour of the astronauts being stranded could have been shortened. I realize that time dragged for the three spacefarers as they waited for NASA’s directions, but, by the time they came back to Earth, I was definitely ready for the film to be over. Nevertheless, Apollo 13 brings to life a nerve-racking time in American history, and Lovell’s ending monologue questioning when we will return to the moon remains as timely now as it was then.

Best line: (Blanche, Jim Lovell’s mother, as she is introduced to Neil Armstrong and Buzz Aldrin) “Are you boys in the space program too?”

VC’s best line: (Jim Lovell, using German accent) “Ah, Guenter Wendt! I wonder where Guenter Wendt?”

 
Artistry: 7
Characters/Actors: 7
Entertainment: 6
Visual Effects: 8
Originality: 5
Watchability: 5
Other (language and length): -6
 
TOTAL: 32 out of 60
 

Next: #293: Sinbad: Legend of the Seven Seas

© 2014 S. G. Liput

 

The Iron Giant (1999)

17 Monday Mar 2014

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When Sputnik orbits Earth, October 1957,
There’s a giant metal visitor that plummets from the heavens.
When it scares a screwy fisherman, the man warns Rockwell, Maine,
An alien’s invaded, but they think he’s gone insane.
 
But Hogarth Hughes, a spunky lad whose mother’s working late,
Goes out that night and finds the giant in a sorry state.
Young Hogarth saves him from the wires of a power station,
And soon he finds he’s earned the giant’s love and admiration.
 
Once Hogarth brings him home so he won’t wander through the wood,
He teaches him of Superman and how he should be good.
Meanwhile, one Kent Mansley, who is with the government,
Suspects that something big’s around, which he must now prevent.
 
He tracks the robot to the house of Hogarth and his mom
And even rents a room there. Hogarth’s disgruntled but calm.
The giant must eat metal from the junkyard’s Dean McCoppin,
Who’s quite dismayed when Hogarth and his giant robot drop in.
 
While Mansley lets his paranoia fuel his panicked search,
He finds a photo Hogarth took that leaves them in a lurch.
Kent gets the Army there at once, but Hogarth is too smart.
Both he and Dean disguise the giant as some junkyard art.
 
When Mansley’s shamed, Hogarth then plays and aims his small toy gun;
This makes the giant shoot a beam that’s more deadly than fun.
The giant flees and soon is being shot by Army tanks.
He tries to save his human boy but crashes in snow banks.
 
When he’s afraid that Hogarth’s dead, the giant goes berserk.
It goes into attacking mode; man’s weapons will not work.
But Hogarth lives and tells his friend he has the right to choose
To not destroy; the giant heeds the tiny Hogarth Hughes.
 
But Mansley still is paranoid and orders down a nuke,
And yet the bomb will kill them all; he earns a harsh rebuke.
The giant flies into the bomb as all the people tremble.
Though Hogarth’s sad to see him go, he may yet reassemble.
____________________________
 

The Iron Giant is a science fiction animated film that also works well as a period piece, presenting the paranoia and fear of the Cold War era in a way kids can understand. Honestly, most of those details flew over my head when I first saw it because I was too busy watching the awesome giant robot that every young boy would love to have. The giant is surprisingly likable as a character, and his climactic sacrifice and survival are actually quite affecting.

The film’s storyline shares many aspects with Spielberg’s E.T.: The Extra-Terrestrial: boy finds alien creature, befriends and hides said creature from parent, government comes looking for it, and creature dies but doesn’t. Yet, while E.T. was basically helpless and at the mercy of overly curious scientists, the iron giant is a fifty-foot-tall menace that the Army assumes is there to level towns and such. This policy of shoot-first-ask-questions-later is irritating but understandable, considering the era involved, with the Russians having just beaten the U.S. to space with Sputnik.

While the animation is not nearly Disney quality, it is serviceable to the story and doesn’t detract much from it since the plot and characters are more important. The CGI giant is mixed nicely with the hand-drawn people and backgrounds, but my VC found the animation distracting. There’s also some very funny parts, such as Hogarth’s reaction to coffee; this helps to make the film more kid-friendly since it does tackle some more adult concepts. After all, a child is interrogated and drugged by a government agent, and the threat of a nuclear holocaust is made very real in the finale. (Wouldn’t there be some effects from an atomic bomb exploding in the atmosphere, though?) Plus, some repeated minor language and crudity earned The Iron Giant a PG rating, which my mom was wary of when it first came out.

It doesn’t have the magic of E.T., and I don’t appreciate the oft-repeated falsity that “guns kill” (people do), but it’s an enjoyable romp, intentionally reminiscent of 1950s alien films, with endearing characters and a great lesson of choosing one’s own purpose.

Best line: (Mansley, as Hogarth is grunting in the bathroom trying to hide the giant’s separated hand) “You know, this sort of thing is why it’s important to always chew your food.”

 
Artistry: 5
Characters/Actors: 7
Entertainment: 6
Visual Effects: 6
Originality: 5
Watchability: 6
Other (mild language and anti-gun message): -4
 
TOTAL: 31 out of 60
 

Next: #294: Apollo 13

© 2014 S. G. Liput

 

The Day after Tomorrow (2004)

16 Sunday Mar 2014

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Antarctic ice begins to crack;
A climate expert takes some flak
For saying global warming may
Cause worldwide tragedy one day.
 
But this Jack Hall is proven right;
Disasters happen overnight.
The temperature begins to drop
Around the world and doesn’t stop.
 
In New York City, Sam, Jack’s son,
Observes strange weather has begun.
It’s raining there for days on end,
And even worse events portend.
 
Japan is struck by giant hail;
Tornados in L.A. assail.
New York is flooded by a wave
That makes the streets a massive grave.
 
While Sam takes shelter with his pals,
More weather strikes diverse locales.
Jack sees three hurricane-like ice storms
Will rage till Earth’s climate transforms.
 
A freeze descends on New York, so
Survivors flee across the snow,
But Sam and company decide
The library is where they’ll hide.
 
Jack leaves with friends to find his son,
Despite his warning everyone.
Meanwhile, Sam’s almost on a date
As he grows close to one classmate.
 
When Laura needs some medicine,
Sam knows a ship that’s floated in.
He faces wolves (we need a villain)
To bring her back some penicillin.
 
They’re threatened by an instant freeze
And get in as they lose degrees.
They burn the books to keep them warm,
While Jack takes shelter from the storm.
 
At last, Sam’s rescued by his dad,
Who is relieved to find the lad.
Now that the storms no longer rage,
We must survive this new ice age.
_____________________
 

I think that any viewer, whether they believe in global warming or not, can agree that The Day after Tomorrow is shameless environmental propaganda that offers a sensationalist scientific explanation that even global warming proponents have decried as faulty science. Climatologists have stated, even in the film itself, that the cataclysmic events that occur would happen over hundreds of years, not days, if they happened at all. Still, as a special effects extravaganza, it’s just as impressive as director Roland Emmerich’s other film Independence Day. It borrows many aspects of this earlier film, including an initial destruction of aircraft (this time with ice rather than fire) and the death of a First Family member (this time the President himself rather than the First Lady).

Unlike Independence Day, though, The Day after Tomorrow has a much more serious and realistic tone, despite its unrealistic premise. There’s plenty of humor too but none of the campy stylings of the earlier alien invasion film. The film’s main draw is its sequences of impressive destruction: tornados ripping through downtown Los Angeles, a huge wall of water flowing around New York’s skyscrapers, etc. Some of these scenes have attained semi-iconic status, like the obliteration of the White House in Independence Day. If one ignores the half-baked climate change explanation and just takes the upheaval at face value, it’s actually a very entertaining film.

While Sam’s revelation of his attraction to Laura seems rather out of place and overly personal amid the worldwide disasters, I actually think the scenes featuring Jake Gyllenhaal, Emmy Rossum, and the others in the library are the most engaging parts. It’s always fun to see various absurd calamities happen to fictional people, but it’s even more interesting to follow the characters as they survive the aftermath. This survival aspect is something Independence Day didn’t have and something that has been highlighted in other such films, like The Impossible and Gravity.

The beginning and the very end are the main stumbling blocks, where the global warming message is proclaimed too loud and clear for my taste. After all, they seem to blame the Vice President, when his reaction to the one scientist’s claims is rather understandable; even if he had listened and cut down fuel emissions and whatnot, the disaster came fast and furious and couldn’t really have been averted by him. There are also some moments of utter stupidity, like when someone takes their gloves off in freezing weather to support a friend’s weight on broken glass! Yet, ignoring the environmental evangelism, The Day after Tomorrow is a feast for the eyes, at times more thrilling than Independence Day, and with an appreciated lack of objectionable content.

Best line: (Brian, as two other survivors argue over burning Nietzsche’s works) “Uh… ‘scuse me? You guys? Yeah… there’s a whole section on tax law down here that we can burn.”

 
Artistry: 5
Characters/Actors: 5
Entertainment: 7
Visual Effects: 6
Originality: 5
Watchability: 7
Other (brief language and silly concept): -4
 
TOTAL: 31 out of 60
 

Next: #295: The Iron Giant

© 2014 S. G. Liput

 

Dr. Seuss’ Horton Hears a Who! (2008)

15 Saturday Mar 2014

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An elephant picks up a sound
From a speck that is floating around.
It must have a person,
Whose bearing may worsen
If some safer place isn’t found.
 
He grabs up a clover posthaste,
And that’s where the small speck is placed.
A kangaroo, though,
Says that he must let go
Since this nonsense is just in bad taste.
 
But Horton insists that the speck,
Though it’s too microscopic to check,
Has life to protect.
It turns out he’s correct;
There’s a town that might soon be a wreck.
 
The mayor of Who-ville discerns
Something’s wrong, and, from Horton, he learns
They’re smaller than spit,
So he freaks out a bit
But is nervous to share his concerns.
 
Horton vows to protect all the Whos
And guards them in ways that amuse.
As he goes on his trek,
His interest in the speck
That old kangaroo won’t excuse.
 
She sends out a vulture named Vlad,
(Not the bunny, but he who is bad),
Who steals Horton’s clover
And then drops it over
A clover field, flying off glad.
 
The elephant searches for hours
Through hundreds and millions of flowers.
He finds it at last,
And the Whos are aghast
That their world is much smaller than ours.
 
They finally trust that the mayor
Is not just a foolish naysayer,
But, as Horton leaves,
He’s attacked by more thieves.
This time the whole jungle is there.
 
Indignant, stiff-necked, and enraged,
The kangaroo orders him caged.
The Whos create noise
Out of music and toys
And the odd things in which they’re engaged.
 
Young Jojo, the mayor’s own son,
Makes the most racket of anyone.
With a “Yopp” loud and true,
All their sounds do break through,
And they’re saved by the kangaroo’s son.
 
The animals now realize
There are things far beyond their own eyes.
They sing at this news
And then help all the Whos,
Who are people, regardless of size.
__________________
 

It may sound odd, but as a poet, Dr. Seuss is my hero. His books helped to shape a generation, as countless parents read The Cat in the Hat or Bartholomew Cubbins to their children as bedtime stories, including my own. His poetry and art are iconic, and no other film captures his whimsical style better than Horton Hears a Who! Also, while I haven’t seen a few, like Robots or Epic, I think this film is Blue Sky Studios’ best work as well.

The animation is way beyond the original Ice Age, and, while not quite Pixar quality, it brings to life the world of Dr. Seuss, particularly in the town of Who-ville with its curved arches and buildings and fantastical unicycle devices. Despite some overly odd scenes, such as Horton’s anime parody or that little furry creature continually yawning, the humor is actually funny, which is more than I can say for some other recent comedies. The part with the Mayor at the dentist’s office had my VC and me in stitches. Plus, it ends with an REO Speedwagon song, so what’s not to like?

While Jim Carrey’s track record has been rather mixed over the years, his quirky impressions and tones are excellent through the mouth of Horton the elephant. Steve Carell is perfect as the Mayor, with his constant nervous groans, sighs, screams, yells, chuckles, and hollers. Plus, the kangaroo is made appropriately sour by Carol Burnett’s deep and threatening voice. When she demands something, one half expects to hear “Yes, Miss Hannigan.”

When you think about it, aside from an unnecessary joke thrown at homeschooling, the film actually has many good lessons: faith in something beyond ourselves, tolerance for others’ views, and, of course, “a person’s a person, no matter how small.”

Best line: (the Mayor’s wife, to her daughter) “No, you need to go to bed. Daddy’s having a breakdown.”

 
Artistry: 2
Characters/Actors: 6
Entertainment: 7
Visual Effects: 8
Originality: 5
Watchability: 7
Other (a few unnecessary weird parts): -4
 
TOTAL: 31 out of 60
 

Next: #296: The Day after Tomorrow

© 2014 S. G. Liput

I Am Legend (2007) / World War Z (2013)

13 Thursday Mar 2014

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Robert Neville is the last
Survivor of a medicine
That wiped out most three years ago;
The rest are mutants with pale skin.
 
He drives through New York’s empty streets,
His only friend a dog named Sam.
Although he tries to find a cure,
So far his efforts are a sham.
 
One day, while scavenging for food,
He has a close call with the freaks,
Who cannot live in broad sunlight
And only let out yells and shrieks.
 
He captures one of them as well
To test a new experiment.
He thinks his serum doesn’t work
And starts to doubt his efforts spent.
 
A mutant traps him, and, in fleeing,
Robert sees Sam get a bite.
He takes her home to try his cure,
But he must strangle her that night.
 
At first, he’s numb and wants revenge,
Which fails as well, but he is saved
By healthy Anna and a boy,
The company that he has craved.
 
He doesn’t share her faith-filled hope,
But he defends her when night falls
And mutants come to storm his house.
The three then hide behind glass walls.
 
When Robert sees his serum works,
He sacrifices his own life
To stop the creatures and let Anna
Carry it to end the strife.
Or:
When Robert sees his serum works,
He gives his test case back, unsure.
When all the mutants let him live,
The three of them leave with his cure.
_________________________
 
Gerry Lane’s a family man
Amidst a breakout of disease
That turns infected ones into
A zombie horde that will not ease.
 
His family narrowly escapes
A Newark rooftop just in time.
They’re safe aboard a U.N. ship,
But Gerry’s course turns on a dime.
 
If they stay safe, he has to go
And help a doctor find a cure.
They go to South Korea, where
The doc is killed, and they detour.
 
In Israel, a wall’s been built;
They had the foresight to prepare.
But sound attracts the zombie crowd
And makes them climb without a stair.
 
Jerusalem is lost, it seems,
But Gerry saves a soldier girl.
They manage passage on a plane
And fly above the hostile world.
 
But there’s a zombie on the plane,
And things get quite out of control.
Yet Gerry throws a live grenade
And blows the undead out the hole.
 
The plane goes down somewhere in Wales,
But Gerry and the girl survive.
They find a W.H.O.,
Which verifies that they’re alive.
 
Then Gerry wants to test a theory
Which may help with quarantine.
The zombies may ignore the sick;
Disease may keep us all unseen.
 
They have the samples of disease,
But that wing’s filled with the infected.
He sneaks by zombie-crowded rooms
And almost gets through undetected.
 
Trapped within a small glass room,
He gives himself a bad disease.
He opens up the door again
And walks through zombie hordes with ease.
 
Once cured of what he gave himself,
He spreads the news he chanced to find.
This helps the soldiers to fight back
And saves what’s left of all mankind.
_____________________
 

I’m not big on the genre of zombie movies. I’ve never seen Night of the Living Dead or The Evil Dead or The Walking Dead or any movie or show with “dead” in the title (as far as I know). Thus, most of what I know is based on things I’ve read or heard, but one common factor that has mainly kept me from such films is its penchant for violence and gore. The concept of the living dead is interesting to me, but it’s not worth slogging through buckets of blood or body parts. Therefore, I’ve included these films as two of the most restrained members of the zombie genre.

I put I Am Legend and World War Z together because, after seeing the latter, I was struck by several similarities between the two. Both are based on well-received science fiction horror novels. Both involve several startling jump scenes and a worldwide pandemic of a mysterious disease that turns many or all of its victims into mindless monsters that throw themselves wildly against windshields. Both include a sympathetic family man trying to find a cure, and both end with the protagonist locked in a glass room.

I Am Legend is a melancholy picture of an empty New York, starring Will Smith as Robert Neville. Unlike Gerry Lane in World War Z, Neville loses everything in his search for a cure, and Will Smith makes the pathos of his situation very believable and touching. The film includes both one of the most intense and one of the saddest scenes ever, namely Neville’s first encounter with the infected (which feels like an edge-of-your-seat first-person-shooter video game) and his killing of his beloved dog, on his birthday no less. This sad scene ranks up there with Old Yeller as far as traumatic canine deaths.

A main problem with I Am Legend is the end. There was no need for Neville to kill himself, since he could have fit in the little niche in which Anna and Ethan hid. I much prefer the abovementioned alternate ending, which is much less depressing, though it diverges from the book on which the film is based.

World War Z features actual zombies, rather than the more vampiric mutants. While some people have stated that fast-moving undead are a cliché now, the sight of the rushing zombie hordes is admittedly unnerving.

Though my VC refused to see it because of her dislike for Brad Pitt, I thought he did a decent job as Gerry Lane, though not as good as Will Smith’s performance. Yet, while I Am Legend has many scenes that dwell on what he has lost, World War Z is a much more straightforward action movie (with most direct acts of violence thankfully offscreen), the pace of which hardly slows down enough to let the implications of this global disaster sink in. Yet Gerry’s family survive, unlike Neville’s, and so does he, which makes the end a little happier, if equally ambiguous. On the other hand, Neville actually found a cure for the disease, whereas Gerry’s solution is just to prevent its spread, leaving everyone already a zombie to just be exterminated. Plus, unlike I Am Legend and a similar epidemic film Contagion, we never learn where the zombie outbreak came from. (I blame the Sumatran rat monkey.)

Both have some language and violence, and the very concept of a disease wiping out most of the world’s population is inherently sobering, but both manage to excite, thrill, and believably create these frightening what-if situations.

Best line from I Am Legend: (Neville, speaking of Bob Marley) “When they asked him why – he said, “The people, who were trying to make this world worse… are not taking a day off. How can I? Light up the darkness.”

Best line from World War Z: (Jurgen Warmbrunn in Israel) “Most people don’t believe something can happen until it already has. That’s not stupidity or weakness, that’s just human nature.”

 
Artistry: 6
Characters/Actors: 6
Entertainment: 7
Visual Effects: 7
Originality: 5
Watchability: 6
Other (language, violence, and subject matter): -6
 
TOTAL: 31 out of 60
 

Next: #297: Horton Hears a Who!

© 2014 S. G. Liput

 

The Time Traveler’s Wife (2009)

12 Wednesday Mar 2014

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A boy named Henry disappears
And learns he travels through the years.
He comes and goes at random times,
Buck naked, prompting several crimes.
But, through his travels here and there,
He meets a lovely girl named Clare.
 
She loves his future self she knew
From many a childhood rendezvous;
In turn, he meets her as a kid.
As romance blooms, he’s glad he did.
His odd condition causes dread,
But love prevails, and soon they’re wed.
 
His sudden exits take their toll,
Although they’re out of his control.
But Henry makes it up to Clare
By making her a millionaire.
The lottery allows the two
To buy a home that Henry knew.
 
When they attempt to have a child,
They lose a few, and both are riled.
The babe time-travels too, it seems,
Too soon, a loss which breaks their dreams.
Thus, Henry tries to save Clare pain
And has a vasectomy, but in vain.
 
His wife won’t take kids off the shelf
And so conceives with his past self.
This time, Clare gladly bears a daughter,
Alba, who’s just like her father.
Though all seems well, there looms the thought
That one day Henry will be shot.
 
They saw his future self once, hurt,
A fact he knows he can’t avert.
He treasures every moment till
Clare’s dad hunts deer and shoots to kill.
His wife and daughter know he’s near;
His past self lives and might appear.
_____________________
 

The Time Traveler’s Wife is honestly a very weird romance, but it also is one of the most bittersweet movies I’ve ever seen. Many elements are downright strange in an oddly clever way, such as Clare getting pregnant by Henry’s past self or marrying his future self, but other scenes had me and my VC on the verge of tears. The scene where Henry meets his dead mother on the train is particularly a tearjerker, but that shot toward the end of his handprint fading on the window touches me deeply as well. The continuous shot of the couple’s five years with Alba is also a nice artistic flourish.

According to my VC, Eric Bana is certifiably “cute” as Henry DeTamble and much more faithful and likable than in his earlier role as Henry VIII in The Other Boleyn Girl. Rachel McAdams is equally attractive, and the two make a great pair. (McAdams was also in the recent About Time, playing a time traveler’s wife, so she must enjoy such roles.)

Most of the undesirable elements are in the first half hour, mainly the profanity and Henry’s unfortunate need to steal clothes after every time jump. Even if these thefts are justifiable, the mere concept of a protagonist stealing clothes is problematic; I didn’t like it in Man of Steel, and I don’t like it here. Not to mention, he and Clare sadly fall into bed right after meeting; it would have been better if they had at least gotten to know each other more. (I know Clare knew Henry, but he didn’t know her at all.) Despite these grievances, The Time Traveler’s Wife is quite a unique love story that is both beautiful and heartbreaking.

Best line: (Henry’s past self) “Where’s Henry?”
(Clare) “Uh, I left him sleeping. I needed some time away from him.”
(past Henry) “How’s that working out for you?”

 

Artistry: 8
Characters/Actors: 6
Entertainment: 6
Visual Effects: 7
Originality: 7
Watchability: 5
Other (language and aforementioned elements): -8
 
TOTAL: 31 out of 60
 

Next: #298: I Am Legend/World War Z

© 2014 S. G. Liput

 

#300: The Godfather (1972)

11 Tuesday Mar 2014

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Vito Corleone is a New York City don
Who is loved by his large family but feared by everyone.
When Vito’s godson wants a film role, it is his, of course,
Once the film director wakes up to the head of some poor horse.
 
Some lowlife named Salozzo tries to promise compensation
In the hopes the don will guard his new narcotics operation.
The don says “No” to drugs and brushes off his sons’ advice;
He prefers that mainly gambling remain the family vice.
 
Salozzo won’t accept a “No” and uses power and pelf
To knock off Vito’s chief hit man and shoot the don himself.
Surviving, Vito’s threatened by his many vengeful foes
But protected by son Michael who repels the lethal pros.
 
When Michael wants to kill the drug lord, finishing this feud,
Salozzo and his bodyguard are shot while eating food.
Then Michael, who until then had eschewed his father’s ways,
Goes off to hide in Sicily and that is where he stays.
 
When his son Sonny is gunned down, the don then sues for peace
Among the warring families and calls for strife to cease.
Mike meets a girl and marries her but soon she’s murdered too.
He goes back home and marries Kay, from whom he once withdrew.
 
Soon Michael is the family head and tries to move them west;
He tells his wife they’ll soon be legal so she won’t protest.
The aging don keels over while he plays with Michael’s son,
And Michael knows betrayal is near so something must be done.
 
While Michael sees his nephew christened and gives vows in vain,
He has the rival family heads and every traitor slain.
He kills his sister’s husband and denies the fact to Kay;
He’s now the new Don Corleone and Godfather this day.
____________________________
 

This is it, the moment when it becomes absolutely clear that this is my list and no one else’s. It may seem unbelievable that this film that populates so many top 5 film lists is only #300 on mine, but I will try to qualify that choice. I will state right up front that The Godfather is a great film but not necessarily a great movie. That is to say, it is nearly flawless in its artistic presentation of fine actors and a skilled director creating a story full of nuance and intrigue, but, as an enjoyable entertainment experience that I, as a viewer, want to repeatedly watch, it falls short.

The superb acting, the impeccable costumes and period details, the instantly recognizable score, and its many iconic scenes are downright perfect, and, by the end, one feels saturated by this mafia world of Italian dons and murder as a necessary evil. While the opening conversations with Best Actor winner Marlon Brando as Vito Corleone and the horse head scene have attracted the most attention and parody, the part that stuck out to me was the tense hospital scene in which Michael tries to hide his father as echoing footsteps approach. Also, the bloodbath near the end that takes place as Michael “renounces Satan” is extremely effective in both its shock value and its confirmation that Michael has indeed gone to the dark side.

I suppose that is the problem: as impressive and compelling as the film is, I can’t get past the subject matter. I’ve already stated my dislike for most caper films, and gangster movies like this are not much different. They glorify crime and violence, and, while the final scenes affirm that Michael is evil now, he essentially gets away with all those murders. (The same thing happened in Part II, which I basically hold on the same level as the first; I’ll write a poem for it someday.) Considering that the Corleone family is the centerpiece of the film, it’s just a shame that I can’t really root for them; I suppose it’s sad when some of them are gunned down, but ultimately they bring it on themselves. As I said, the film does a wonderful job immersing the audience in another way of life, but, unlike Witness or The Horse Whisperer, it is a lifestyle I neither envy nor admire.

The violence and language are frequent, and, though the horse head scene has comparatively more blood, Michael’s shooting of Salozzo and McCluskey really shocked me with its stark realism, even if there was a lot of buildup to it. All this is not to detract from The Godfather’s truly iconic status; I definitely see why it’s so high on other people’s lists. It’s just not my preferred kind of movie.

Best line (predictable, I know): “I’m gonna make him an offer he can’t refuse.”

 
Artistry: 10
Characters/Actors: 10
Entertainment: 5
Visual Effects (overly realistic shootings): 5
Originality: 7
Watchability: 2
Other (language, violence, subject matter): -8
 
TOTAL: 31 out of 60
 

Next: #299: The Time Traveler’s Wife

© 2014 S. G. Liput

Independence Day (1996)

10 Monday Mar 2014

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A giant object nears the earth and freaks us humans out.
We’ve all suspected aliens, but now there is no doubt.
When several ships break off from it and hover over cities,
The world debates what they should do in jittery committees.
A pilot in the desert by the name of Russell Casse,
Who insists he was abducted, fears they’ve come to kill our race.
 
Then David Levinson, a tech who’s skilled in playing chess,
Discovers there’s a countdown that is unknown to the press.
He has his Jewish father drive him that night to D.C.
In hopes his ex-wife Constance might enable him to see
The President Tom Whitmore. When he warns the President,
They leave the city just before a terrible event.
 
In every major city with a spaceship overhead,
The aliens shoot beams that cause destruction as they spread.
The government reciprocates but cannot harm E.T.
Because a shield surrounds the ships, which shoot them as they flee.
A Captain Steven Hiller, whose own lover did survive,
Prevails against one alien and captures it alive.
 
The President and David and the rest on Air Force One
Then fly off to Nevada, where some research has been done.
Apparently at Roswell, these same aliens were caught,
And their captured ship’s been studied ever since it first was brought.
When Steven brings the creature, they do surgery until
It massacres the doctors and confirms they’ve come to kill.
 
Though all seems lost since many, like the First Lady, have died,
Smart David comes up with a plan he hopes will turn the tide.
Both he and Steven fly the spacecraft to the mothership
To spread a harmful virus that will make their defense slip.
Meanwhile, everybody, counting Whitmore too and Casse,
Prepares to fight the vessel that is headed for their place.
 
When David sends the virus, all the vessels’ force fields drop,
So Casse goes kamikaze, bringing E.T. to a stop.
When Steve and David blow the mothership back to the stars,
They crash to earth and hug their wives while smoking big cigars.
America then tells the world how best to blow away
The enemy from whom we claim our independence day.
___________________________
 

Independence Day is the epitome of a big special-effects-laden summer popcorn movie, back before the Transformers films gave that genre a numbing bad name. At first, it seems like a campy alien movie spoof with a host of comedic touches, such as the opening song being R.E.M.’s “It’s the End of the World As We Know It (And I Feel Fine).” Plus, our first attempt to communicate with them involves bright lights because…well, they must have seen Close Encounters. Then, when the aliens actually attack, the level of absolute devastation takes the audience aback with the sheer scope of it all; after that, the two tones go back and forth, such as when they introduce Brent Spiner’s geeky Dr. Okun at Area 51 only to brutally kill him off in a scene reminiscent of the Alien movies.

Considering the immensity of the destruction here, which is actually quite sobering, it’s surprising that the writers infused so much campy humor into the proceedings, helped by Jeff Goldblum as smartest-person-in-the-room David Levinson, Judd Hirsch as his stereotypically Jewish father, and Will Smith as the brash pilot Steven Hiller. They each have some moments of drama as they think about the apocalypse that’s upon them, but most of the time they’re there for laughs or to deliver amusing action movie slogans.

Director Roland Emmerich has a penchant for destruction, and he puts special effects to good use in that department, though they’re not perfect. If you want to see government buildings blown apart spectacularly, this is your movie. Despite many disaster movie clichés, some elements have found their way into other films. For instance, Spielberg’s aliens in War of the Worlds look suspiciously like the ones in this film. The end is quite satisfying overall, even if the President’s speech about July 4 becoming the world’s Independence Day wasn’t well-received overseas. Still, it’s an American movie, so what the heck?

Overall, it has some foul language and some less-than-moral elements, and there are too many underdeveloped characters for viewers to really get emotionally involved with the story, but, as entertaining blockbuster fare, Independence Day is pretty impressive.

Best line: (news reporter in Los Angeles) “Once again, the L.A.P.D. is asking Los Angelenos not to fire their guns at the visitor spacecraft. You may inadvertently trigger an interstellar war.”

VC’s best line: (Constance, referring to a career) “Haven’t you ever wanted to be part of something special?”  (David, referring to their marriage) “I was part of something special.”

 
Artistry: 3
Characters/Actors: 6
Entertainment: 8
Visual Effects: 7
Originality: 4
Watchability: 6
Other (language): -3
 
TOTAL: 31 out of 60
 

Next: #300: The Godfather (that’s right)

© 2014 S. G. Liput