Monthly Archives: April 2022

Host (2020)

19 Tuesday Apr 2022

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(Today’s NaPoWriMo prompt was for a poem that begins with a command, so I started mine with some advice everyone ought to follow.)

Don’t be a jerk to a ghost!
They’re likely to take offense.
They’re less than forgiving
When haunting the living,
Then claim it was all self-defense.

Don’t be a fool with a phantom!
Jokes give them a reason to hate.
They’ll ransack the room
And foreshadow your doom
Without any chance for debate.

A spirit can sense an idiot
A hundred and ten yards away.
One cheeky remark
To make fun of the dark,
And the Other Side will make you pay.
______________________________

MPA rating: Not Rated (probably R for language and frights)

The COVID pandemic resulted in Zoom becoming a bigger part of our lives than anyone could have foreseen, and that naturally was extended to the entertainment industry. Parks and Recreation had a reunion episode over their version of Zoom. The cast of One Cut of the Dead hilariously “reunited” to film a docudrama remotely via their own cameras. And the creators of Host found a way to make Zoom a vehicle for horror. Despite its 100% on Rotten Tomatoes, it’s not particularly revolutionary in the plot department, just impressive for how skillfully its gimmick is utilized.

A band of friends log onto a Zoom call, and one of them has hired a medium to hold a remote séance. One girl talks about feeling the presence of an old classmate who killed himself, but when the medium is absent, she admits that she made up the story. Yet her disrespect has allowed an evil entity to begin terrorizing the group in their homes. With its pandemic setting, there’s a bit of the anxiety from Under the Shadow, where leaving the haunted house carries its own peril, though not as extreme as in that film. And while it carries the same suspension of disbelief inherent to found-footage films (like why they continually point their camera toward the danger), the filmmakers developed some clever uses for Zoom features, like the unnatural layering of virtual backgrounds or the facial recognition of filters that highlight the supernatural menace.

If you’re looking for a short spine-chiller (only 57 minutes) that amounts to “ghost attacks people,” Host is a good option. With its cast of interchangeable yuppies who don’t know when to turn the lights on and their cameras off, it’s still subject to the usual horror movie clichés and can’t compare to the storytelling of, say, Searching, another film in this new screenlife genre. It has at least confirmed my conviction to never attend a séance of any kind. Who knows who you might offend?

Best line: (Emma) “Haley, honestly, if I die, I’m going to haunt you myself.”

Rank:  Honorable Mention

© 2022 S.G. Liput
766 Followers and Counting

Drive My Car (2021)

19 Tuesday Apr 2022

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(Today’s NaPoWriMo prompt was to write five answers to the same question, leaving it up to the reader to decide what question they answer.)

That I could catch her eye again,
Somewhat wiser than before,
And notice what she wore more.

That I could hold my hasty tongue
From its urge to disagree,
To help her in persuading me.

That I could catch her by surprise
And earn a smile unforeseen
And bask in sharing dopamine.

That I could hold her close once more
To compensate for every shrug
And drown my flaws in that one hug.

That I could part with my control
And sanction her to take the wheel,
Of both my car and how I feel.
__________________________

MPA rating:  Unrated (mostly PG-13-level content but some sex scenes bring it close to R)

Parasite certainly opened doors for other Asian imports to win over the Academy, since it would have been hard to imagine Drive My Car entering the race for Best Picture even a few years ago. A nearly three-hour meditation on grief, language, and regret, it is undoubtedly a “critic movie,” but one that would normally be resigned to the Best International Film category, which it did win at the most recent Oscars ceremony. While I would have preferred Tick, Tick …Boom! to take its place (or that of Don’t Look Up), something must have swayed the nominee voters, and indeed Drive My Car boasts a unique and indefinable poignance that is felt cumulatively rather than from any single scene.

Based on a few short stories by unconventional Japanese author Haruki Murakami, the actual events of the film could have fit into half the time but are extended by heavy conversations and a naturally unhurried pace. Yūsuke Kafuku (Hidetoshi Nishijima) is a theater director and actor known for putting on multilingual productions in which the actors speak different languages, all of which are shown as subtitles on a screen above the stage. After he discovers that his screenwriter wife (Reika Kirishima) is cheating on him, he comes home one night to find her dead of a sudden stroke. A couple years later, he visits Hiroshima to put on a production of the play Uncle Vanya by Chekhov, which includes a young actor (Masaki Okada) who he believes was his wife’s lover. While Kafuku is quite attached to his red 1987 Saab, he is required by contract to accept a driver, a young woman named Misaki Watari, with whom he develops a gradual bond of shared grief.

If someone were to ask what Drive My Car is about, I wouldn’t know exactly where to start. The description above is literally what it is about, yet it hardly captures the complex emotions on display, the pregnant pauses, the subtle assessments, the heady metaphors that live only in the eloquent soliloquies. Kafuku’s wife introduces a running narrative about a girl obsessed with a boy she likes, and the direction of that tale alone is loaded with potential interpretations while remaining rather opaque as well. Kafuku’s conversations with the actor who also loved his wife defy expectations with how one would expect rivals to regard each other, and the gentle, heartbreaking catharsis that Kafuku and Watari share near the end is too measured and serene to feel at all melodramatic or forced.

All that being said, this is a film that prioritizes subtlety and is not meant to be watched if you’re at all feeling sleepy. The whole first third of the film with his wife could have been left out (the opening credits don’t start until 41 minutes in), yet it provides some needed context when Kafuku listens to a tape of his wife’s voice so that he can practice his lines while Watari drives him. The actual play rehearsals are rather fascinating, pulling in Chekhov’s somber yet hopeful themes while humanizing the actors, including a mute woman who uses Korean sign language and shares an extremely understated yet moving “climax” of sorts with Kafuku during the performance of Uncle Vanya. There are also a host of shrewd details that film enthusiasts can pick apart, like the way the film’s setting of Hiroshima ties into its theme of lasting trauma.

I’m not necessarily against “critic movies” when they have a worthwhile story or execution, and here the execution and dialogue certainly overshadow the story. I can still appreciate and admire a long, acclaimed foreign drama, like 2000’s Yi Yi, for example, and Drive My Car is a film that becomes more than the sum of its parts. Restrained yet intellectually passionate, it’s a melancholy plunge into the depths of the human experience, and while not conventionally entertaining, those with patience will walk away with plenty to think about.

Best line: (Lee Yoon-a, performing from Uncle Vanya in sign language) “We’ll live through the long, long days, and through the long nights. We’ll patiently endure the trials that fate sends our way. Even if we can’t rest, we’ll continue to work for others both now and when we have grown old. And when our last hour comes, we’ll go quietly. And in the great beyond, we’ll say to Him that we suffered, that we cried, that life was hard. And God will have pity on us. Then you and I, we’ll see that bright, wonderful, dreamlike life before our eyes. We shall rejoice, and with tender smiles on our faces, we’ll look back on our current sorrow. And then at last, we shall rest. I believe it. I strongly believe it from the bottom of my heart. When that time comes, we shall rest.”

Rank:  List Runner-Up

© 2022 S.G. Liput
766 Followers and Counting

Father Stu (2022)

17 Sunday Apr 2022

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(Today’s NaPoWriMo prompt was about dogs, but it’s Easter, so I went in a somewhat more religious direction instead.)

There lives a Light, a Whisper in the depths of every heart,
And every one is different in its susurrating art.
We’re welcome to ignore it,
Just as much as to explore it,
Or to drown it out or call it all imagined from the start.

We have no obligation to give credence to its needs,
But everyone in history who’s done praiseworthy deeds,
Who’s sacrificed or died
In a way deserving pride,
Has followed that small Whispering no matter where it leads.
_______________________________

MPA rating:  R (solely for language)

Faith-based films have gotten a bad rap in terms of general quality and appeal, and it’s not entirely undeserved since so many feel designed to convert rather than entertain. Christians like me may agree with the message, but preaching to the choir gets old after a while and is unlikely to sway nonbelievers. That generalization may make non-Christians roll their eyes at a film like Father Stu, Mark Wahlberg’s sincere biopic about boxer-turned-priest Stuart Long. That’s certainly what many critics seem to be doing with their reviews, but I would point out the wide disparity between the 45% Rotten Tomatoes score from critics and the 95% from audiences.

In the film, Stuart Long is, to put it bluntly, a low-class loser, the kind of lout who flaunts his charming smile when in a good mood but is quick to throw a punch when annoyed. His boxing career has hit its end, and despite the concerns of his mother (Jacki Weaver) and scorn of his deadbeat father (Mel Gibson), he decides to head out to Hollywood to be an actor. When his courtship of a devout Catholic girl (Teresa Ruiz) exposes him to religiosity, a near-death accident convinces him to unexpectedly seek the priesthood, no matter what doubts and physical limitations stand in his way.

Father Stu is certainly not the typical “faith-based film,” sporting an R rating for the abundant profanity from mainly Stu and his parents. Stu himself is no altar boy, expressing either contempt or flippancy toward the traditions of the Catholic church he wanders into and viewing it as merely a means to win over a pretty girl. His scoffing answers to some of the platitudes tossed his way act as the eye-roll cynical viewers might share, yet that blue-collar frankness becomes a strength when he decides to recognize that God might have a plan for him. One scene with a group of convicts during a prison visit highlights the contrast between Stu and one of his priggish fellow seminarians (Cody Fern), where the latter’s by-the-book moralizing may work well in a church setting but is unlikely to win over those not predisposed to listen. Stu doesn’t have fancy metaphors or perfect English, but he clearly relates to the down and out, which is half the battle in trying to reach an audience.

Father Stu is one of the few faith-based films that I think might actually have a chance at reaching nonbelievers with its message. It clearly hasn’t reached the critics, who seem to be complaining that it doesn’t “resonate” with its “inert” and “clumsy” attempt at inspiration, yet what doesn’t “resonate” with one reviewer very well might with others. I found plenty to admire, from Stu’s effort to control his short temper to his comparing himself with other reformed bad boys, like St. Augustine and St. Francis, to highlight how God can use anyone for His purposes. The gradual change he sparks in his father Bill is also moving, and Gibson manages to fit subtle regret beneath his constant bickering with Stu, especially by the end.

With both physical and spiritual transformations (and despite a mumbling drawl that can make him hard to understand at times), Wahlberg delivers the best performance I’ve seen from him, making me wish he could snag an Oscar nomination, though I know the Academy won’t allow that. It’s hard to say exactly how effective Father Stu is at inspiring since inspiration can obviously vary quite a bit among viewers, but it’s easily one of the best and best-written Christian films I’ve watched and one that even nonbelievers should appreciate to find the value in suffering. The heavy foul language makes me waver on whether it should be List-Worthy or a List Runner-Up, but I try to appraise films without regard to profanity, which in this case serves a purpose in highlighting Stu’s evolution from a crude roughneck to true believer. Whatever you may think of Wahlberg or Gibson or Christian films in general, there’s no denying the film’s sincerity at bringing Father Stu’s story to life.

Best lines: (Bill Long) “A man don’t lose when he gets knocked down, but when he won’t get up.”
and
(Father Stu) “We shouldn’t pray for an easy life, but the strength to endure a difficult one.”

Rank:  List-Worthy

© 2022 S.G. Liput
765 Followers and Counting

Happy Easter to all!

Belle (2021)

16 Saturday Apr 2022

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(Good Friday and work obligations sadly made me miss yesterday, but I’m back on the wagon. Today’s NaPoWriMo prompt was for a curtal sonnet, an 11-line sonnet variant from Gerard Manley Hopkins.)

In the realm of cyberspace I hide,
Comforted by anonymity.
My flesh-self is content behind its smokescreen.
Robed in pixels, I can roam with pride,
Finding other introverts to agree,
Minorities like ghosts in the machine.

Life from womb to here has left me wincing;
Life since logging on is fancy-free,
Far easier to spurn the cruel and mean.
I’m someone else, and boy, am I convincing,
As you’ve seen.
________________________

MPA rating:  PG

In anime circles, a new film from Mamoru Hosoda is an event. From Summer Wars to Wolf Children to the Oscar-nominated Mirai, he’s proven to be one of the most skilled anime directors around, and Belle promised to be yet another win. A modern riff on Beauty and the Beast fusing music and social media, the film garnered a fourteen-minute standing ovation at Cannes, making me wonder if it was just a case of no one wanting to be the first to stop clapping. Belle is another strong film in Hosoda’s oeuvre, but, like Encanto, it’s also proof that a film can be good while also being deeply flawed.

In the near-future of Belle, a digital world called U has become the most popular metaverse for people across the globe to interact with avatars somehow extrapolated from their own biometrics, resulting in an array of bizarre appearances ranging from babies to superheroes to literal hands with a face on it, which no one seems to object to. Suzu is a self-conscious high school student still haunted by her mother’s death, but when she logs into U as the beautiful Bell (which is what Suzu means), she finds that the anonymity allows her to sing again and, much to her surprise, become a celebrity. As she deals with the flurry of differing opinions that come with fame, she grows curious about the aggressive avatar known as the Beast, whose unknown identity is hunted by U’s authorities.

Hosoda is no stranger to virtual worlds, having previously worked with the concept in Digimon and Summer Wars, so it’s no surprise that the world of U is dazzling, an eye-popping blend of 3D and 2D animation, thanks in part to backgrounds from Cartoon Saloon. It’s easily Hosoda’s most visually resplendent and imaginative film that still carries his calling cards (he must have a thing for flying whales). The bad thing about U is that so much of it is left unexplained. While OZ in Summer Wars had several clear real-world applications, the avatars in U are never shown doing much more than floating around and commenting, though there are concerts and fighting tournaments, I suppose. Plus, it’s never clear how the real-world users are interacting with the virtual world; at some points, it’s as if their avatars are mirroring their real body’s movements, but is it like Ready Player One-style mechanics? There’s mention of sharing the senses of their avatars, so how can they see both U and the real world when logged in? Questions like that just require a suspension of disbelief that divorces the virtual and real worlds for the sake of the story.

The virtual world is ostensibly the main fantastical draw of the film, but I honestly enjoyed the parts in the real world more. The high school romance drama is nothing unusual for the genre, but the relatable supporting characters are an endearing bunch, particularly during a laughably awkward love confession. It was also a nice subversion to reveal the usually unsympathetic popular girl as a genuinely caring friend. However, the real world is also where the story falters toward the end. The revelation of the Beast’s identity is a powerful moment that speaks to the trauma of hidden abuse, yet it’s a reality for which the film doesn’t really have an answer. One culminating sacrifice hits an emotional high, but Suzu’s efforts afterward are unrealistic and absent of any long-term solution.

Belle has a lot of impressive elements in service to a somewhat half-baked plot, and the Beauty and the Beast parallels are rather incidental to the main story. Its vision of social media feeding frenzies and the online experience are timely and well-executed, while Suzu’s journey to understand the meaning of selflessness is suitably moving as well. And though the songs sometimes feel shoehorned in, I must give props to their quality, including the English recordings for the dub, and I think that the climactic “A Million Miles Away” would have been a worthy nominee for a Best Song Oscar if the Academy would look around more. Belle may not match the likes of Wolf Children, but it lives up to Summer Wars and exceeds Mirai, in my opinion. The visual splendor on display largely overshadows the plot issues, just as long as you don’t think about it too much.

Rank:  List Runner-Up

© 2022 S.G. Liput
765 Followers and Counting

Mank (2020)

14 Thursday Apr 2022

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(Today’s NaPoWriMo prompt was a poem about the opening scene of a movie about my life. With this film about a scriptwriter in mind, I decided to get a bit meta.)

We open with a panning shot
That swings from a suburban street
And slowly lifts and nears a house
With bushes bloomed in April heat.

A window’s lit, and through its pane
We see a young man deep in thought,
Studying his laptop screen,
Unsure if he should type or not.

He reads the fourteenth prompt again,
And shifts upon the seat below him.
Then, he cracks a knowing grin
And swiftly rattles off this poem.
___________________________

MPA rating:  R (solely for some language, a fairly light R)

The name Herman Mankiewicz may not mean much to non-cinephiles, but he’s still held in high esteem for his Oscar-winning screenplay for Citizen Kane, sharing credit with Orson Welles, much to the chagrin of Welles’ ego. David Fincher’s treatment of Mank, as his friends called him, is an undeniable labor of love, with a screenplay written by Fincher’s father Jack prior to his 2003 death and delayed over the next two decades. On top of that, the black-and-white cinematography and sound were painstakingly designed to mimic the style of old Hollywood, though the level of that detail is more appreciated by film historians than average viewers.

Oscar nominee Gary Oldman brings Mank to life as a washed-up genius too witty and fond of alcohol for his own good, Whether he’s dictating the Citizen Kane script while recuperating from a broken leg in his desert hideaway or schmoozing with Louis B. Mayer (Arliss Howard), William Randolph Hearst (Charles Dance), and Marion Davies (Oscar-nominated Amanda Seyfried) ten years earlier, Oldman is brilliant as ever at portraying afflicted brilliance, while the rest of the cast is strong but somewhat forgettable compared to him.

Despite Oldman’s ever award-worthy presence, the true star is the script, which bears an old-timey eloquence that is uncommon these days, the kind that trusts in the intelligence of the audience to appreciate its wit. With such a reliance on dialogue, the film can get dry at times, but it also elucidates interesting details of Mank’s story, such as his assistance of Jews escaping Nazi Germany and how he changed his mind about receiving credit for the Citizen Kane script. From what I understand, the history is embellished to give Mank a greater claim to Citizen Kane’s brilliance than Orson Welles, but, taken with a grain of salt, it’s still an impressively crafted vision of classic Hollywood through the bleary eyes of one of its great writers.

Best line: (Louis B. Mayer) “This is a business where the buyer gets nothing for his money but a memory. What he bought still belongs to the man who sold it. That’s the real magic of the movies. And don’t let anybody tell you different.”

Ranking:  Honorable Mention

© 2022 S.G. Liput
765 Followers and Counting

Everything Everywhere All at Once (2022)

13 Wednesday Apr 2022

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(Today’s NaPoWriMo prompt was for an optimistic pep-talk of a poem, and what better way to cheer up than to imagine all the possibilities of the future?)

Are you dwelling on your present and its causes in the past,
Believing that your current station cannot be surpassed
And thinking that what got you here’s so permanent and vast
That every future holds more of the same?

I tell you it’s a lie, for there are futures far and wide,
A you that is a lawyer with a master’s on the side,
An architect, an astronaut, or business never tried,
A plaque or medal waiting with your name.

Another you’s achieving in another universe,
And nothing but your mindset makes your version any worse.
A choice alone can breed a set of futures so diverse
That only you will see what you became.
_______________________

MPA rating:  R

With positive word of mouth still spreading this movie’s praises, I will affirm that Everything Everywhere All at Once is the genre-defying, expectation-blowing multiversal fever dream that no one knew they wanted. Born from the unorthodox imaginations of music video directors Daniel Kwan and Daniel Scheinert (known as Daniels, whose last film Swiss Army Man had a description weird enough to turn me off from seeing it at all), this new film is a head-trip, a drug trip, and a reality-spanning hero’s journey/familial drama all wrapped up in a Chinese-American cultural milieu and the distinctive anything-goes visual style of a pair of auteurs. Basically, it’s the ultimate indie film.

Michelle Yeoh plays Evelyn Wang, who owns a laundromat with her meek husband Waymond (Ke Huy Quan of Goonies and Temple of Doom fame) and is being audited by a no-nonsense IRS inspector named Deirdre (Jamie Lee Curtis). While attending a tax meeting, Evelyn is suddenly whisked into a multiverse-spanning struggle when an alternate version of Waymond informs her of a cosmic threat and the possibility of accessing the skills of other versions of Evelyn in different universes. She is understandably skeptical of such revelations but is soon forced to battle other multiverse-hoppers, not to mention the struggles of parenthood and the meaning of existence.

So much happens in Everything Everywhere All at Once that it’s hard to focus on what makes it so engaging, but I’ll say it’s probably the most wildly original film I’ve ever seen. With that originality, it must also be said that it embraces the surreal and outright bizarre with abandon, making it also a film whose sense of humor is not necessarily for all tastes. Quite a few scenes earned big laughs in the theater just from how unexpected and weird they were, like when a small dog on a leash is suddenly used in combat as a swinging weapon. This is a movie that alternates between relatable scenes of grappling with one’s disappointing life choices and Yeoh sparring with a pair of martial artists with trophies stuck up their butts (for a plot-sensible reason, strangely enough). It’s nuts, and yet, for the most part, it works.

Yeoh is at her best here, portraying Evelyn in a wide range of states from domestic despair to a glamorous lifestyle mirroring that of Yeoh herself. Evelyn is told that her potential “chosen one” status is because she is basically the worst version of herself, allowing all that unfulfilled potential to draw abilities from other universes instead. Between her regretful cynicism and burgeoning omnipotence, one sequence leads her on the path to nihilism and cruelty because “nothing matters” when you see how insignificant our lives are. A less satisfying film might have embraced that theme to its worst end, but that’s where Quan shines as the true heart of the film. In a triumphant return to acting, he provides a brilliant summation of kindness as the best alternative, which is basically what I consider my own worldview. He does much more than that, serving as the main deliverer of exposition and nailing a finely choreographed fight armed with only a fanny pack, but he grounds the film in a way that wouldn’t be possible without him.

I realize I’ve gone this far without even mentioning Stephanie Hsu as Evelyn’s estranged daughter or James Hong as her judgmental, wheelchair-bound father. I haven’t gotten to the reality-ending bagel or the zany reimagining of Pixar’s Ratatouille. The number of components to appreciate and discuss in this film can’t be crammed into this one review, but let’s just say there are plenty of them. I suppose the closest thing to which I can compare the wide breadth of this film is Cloud Atlas, but on crack. In both cases, neither film’s premise is really compatible with my own Christian worldview, never acknowledging any God but the “universe” and choosing to find meaning elsewhere, yet I can still admire the far-reaching search for that meaning, which touches on universal truth (like Waymond’s endorsement of kindness) and is inspiring in its own way.

Honestly, Everything Everywhere All at Once is a small miracle of a film, one that goes bat-crap crazy with its creativity yet never loses sight of the human story at its core, the one where everyone wants to be valued and loved. Even in its sillier alternative universes, it plays the emotions within them straight, so that they earn a chuckle for their absurdity while not detracting from the tear of the moment. I could have done without a few sexual elements of the weirdness that clinch the R rating, but there’s so much else to admire that I can overlook certain excesses.

In many ways, it feels like a game-changing milestone type of film, like Star Wars or The Matrix, one that others will no doubt try to imitate but never quite match. I bet Marvel thought the second Dr. Strange movie would monopolize the theme of an infinite multiverse, so who would have guessed that “Shang-Chi’s Aunt in the Multiverse of Madness” would come along to disrupt the conversation only a month before? From brilliant fight choreography to madcap editing and effects work, Everything Everywhere All at Once dares more than any film in recent memory and wins because of it.

Best line: (Waymond, to Evelyn) “You think because l’m kind that it means I’m naive, and maybe I am. It’s strategic and necessary. This is how I fight.”

Rank: List-Worthy

© 2022 S.G. Liput
765 Followers and Counting

Archive (2020)

13 Wednesday Apr 2022

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(For Day 12 of NaPoWriMo, the prompt reversed yesterday’s bigness with the suggestion of writing about something small, like the tiny but powerful microchip, for example.)

Within a microchip,
Entire minds abide
In quiet ownership
Of knowledge petrified.

Its tiny, patient essence
Is preordained to serve
Till fated obsolescence
At long last strikes a nerve.
_________________________

MPA rating:  TV-MA (language but otherwise could be PG-13)

Archive is one of those small but heady sci-fi movies that adventurous moviegoers happen across years later, wondering why they’ve never heard of it before. In this case, it was one of the many films whose release schedules were upturned by the COVID pandemic, causing it to be released to video-on-demand and almost immediate obscurity. Theo James stars as George Almore, a man working at a secluded robotics workshop in Japan where only he and two prototypes named J1 and J2 reside. J2 is more advanced and human-like than J1, and George is working on a new, even more human-like prototype called J3 modeled after his wife Jules, who died in a car accident but whose consciousness endures through a death-defying but temporary technology called the Archive.

While the post-death possibilities of the Archive seem like the focus based on the title, the film spends more time on the (in my opinion) more interesting theme of robot perceptions. If a piece of machinery had a human-like personality and sentience like J2 does (at the level of a teenager according to George in the film), how would they grapple with their own obsolescence and the inevitability of being replaced by a newer model? Jealousy, anger, despair? Would such emotions be “real” enough to matter? It’s a fascinating study of the potential “feelings” of robots that have reached that gray area between being objects and individuals.

Like The One I Love or Infinity Chamber, this falls in that underseen niche of twisty stories that might have ended up as a Twilight Zone episode in years past but was able to get the feature film treatment. Despite a slow pace and a scene that blatantly borrows from Ghost in the Shell, the film is buoyed by the excellent James as the tortured protagonist, a snowy and atmospheric setting, and the seamless effects that bring his android “wife” to life. While the final twist has symbolic implications that metaphor lovers can dig into, it also somewhat undercuts the purpose of everything that preceded, so I suppose its effectiveness will depend on the viewer. Still, it’s a shame Archive didn’t get more attention.

Best line: (J3) “I’ve been dreaming a lot. Last night I… Well, I don’t know if I’m dreaming or remembering. Dreams do that, don’t they?”

Rank:  List Runner-Up

© 2022 S.G. Liput
764 Followers and Counting

Greyhound (2020)

11 Monday Apr 2022

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(Today’s NaPoWriMo prompt was a seemingly basic theme, a poem about something large, so the massive ocean made perfect sense.)

The ocean was a barrier mere centuries ago,
Immovable, impassable, impossible to overthrow.
It mocked our human efforts with indifferent distances,
Its furthest reaches only myths that man could never hope to know.

But even once we “conquered” it and put its edge to page,
It hardly made a dent upon its unpremeditated rage.
We may know where to sail and hark to what the compass says,
But none can quite predict this beast of overwhelming size and age.

The ships that are our power and our glory navally
Can do their best against the test that dwarfs the land’s reality.
They ply the waves that murder without hate or prejudice,
A tiny line of ants that crawl across the quicksand of the sea.
________________________________

MPA rating:  PG-13

Like Finch, Greyhound was the other Apple TV+ film with Tom Hanks to convince me to subscribe to yet another streaming service. Based on C.S. Forester’s 1955 novel The Good Shepherd, the film is an intense journey across the Atlantic Ocean at the height of World War II, when German U-boats terrorized the ships trying to bring troops and supplies from the United States to beleaguered Europe. Hanks plays Captain Ernest Krause of the USS Keeling (a.k.a. Greyhound) and its supply convoy, and but for a brief flashback with his assumed wife (Elisabeth Shue), the whole action of the film takes place upon the storm-tossed seas with the constant threat of enemy torpedoes.

While the film earns high marks for realism with its authentic naval terminology, the weak script and characterization are rather thin. It’s a good thing then that Hanks is so committed to the role, forgoing the pirates of Captain Phillips in favor of Nazi wolf packs who taunt him over the radio as they pick off the ships he’s been tasked with protecting. Every loss is reflected in his weary but determined eyes, and the captain’s commitment is reflected in how he refuses to rest while the danger persists or celebrate death too much.

After all the waiting and worrying, it’s a cheer-worthy moment when the ships are able to land a blow on the submarines stalking them, and the film certainly highlights how the journey across the Atlantic was just as dangerous as what awaited soldiers on the other side. A taut and streamlined historical thriller, Greyhound owes much to Hanks, whose mixture of grit and religiosity in the role once more proves why we love him so.

Best line: (Cole, the executive officer, to Captain Krause) “What you did yesterday got us to today.”

Rank:  List Runner-Up

© 2022 S.G. Liput
764 Followers and Counting

Love and Monsters (2020)

10 Sunday Apr 2022

Posted by in Movies, NaPoWriMo, Poetry, Reviews, Writing

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(Day 10 of NaPoWriMo provided a straightforward prompt asking for a love poem. With this film in mind, I couldn’t help a little tongue in cheek regarding the boasts made by the lovestruck.)

Dear love, I know we’ve been apart too many days to count,
But I can still remember every contour of your face.
If it meant seeing you again, I’d climb the highest mount
Or cross the deepest river or such similar clichés.

But mounts and rivers had their day; new dangers have emerged,
And I would brave them all as well to be back by your side.
I’d vanquish vicious Spuzzards by the dozens if you urged,
And butcher every Chumbler that attempts humanicide.

Sand gobblers are nothing, whether colony or queen,
For I could take on hundreds with the thought of where you are.
One day I’ll make the trek and brave these threats that stand between;
Till then, within my bunker, I will love you from afar.
______________________________

MPA rating:  PG-13

A good film doesn’t always have to revolutionize its genre or blow away expectations; sometimes it’s enough to just be entertaining and live up to its name, which Love and Monsters certainly does. Set in a near future where an attempt to destroy an asteroid (perhaps some alternate plot for Don’t Look Up) resulted in all coldblooded creatures mutating into giant monsters, the film follows Joel Dawson (Dylan O’Brien) on his journey to reunite with his girlfriend Aimee (Jessica Henwick). After seven years living in separate survivor colonies, connecting only via radio conversations, Joel decides to brave the 85-mile, monster-ridden hike to his love, despite his clear lack of survival experience.

Love and Monsters fits snugly beside other post-apocalyptic survival films while keeping the horrific monster-vs-human action at bay with a largely fun tone and (thankfully) PG-13-level violence. While the monsters are obvious, thanks to Oscar-nominated visual effects, O’Brien provides the love in the title, his memories of Aimee fueling his drive to reunite. His relatable voiceover makes him a likable guide to this dangerous new world, joined at times by a dog named Boy and some other survivors like the pair of Michael Rooker and Ariana Greenblatt, who give him a crash course on how to get by in a world where nearly everything wants to eat you.

The film does somewhat step out of its expected mold by the end, subverting Joel’s expectations about love and found family. Despite its familiar elements, it’s nice to see an original adventure film that delivers exactly what it means to and that managed to win over critics and audiences despite the pandemic forcing it from theaters to a digital on-demand release. No matter how hard life might have gotten in the last few years, this film proves it could be much, much worse, and even that can be survived.

Best line:  (Joel, addressing other survivors) “If I can survive out here, anybody can. It’s like a good friend once told me:  Good instincts are earned by making mistakes. If you’re lucky enough to survive a few mistakes, you’re gonna do all right out here.”

Rank:  List Runner-Up

© 2022 S.G. Liput
764 Followers and Counting

Don’t Look Up (2021)

09 Saturday Apr 2022

Posted by in Movies, NaPoWriMo, Poetry, Reviews, Writing

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(Today’s NaPoWriMo prompt was for a nonet, a nine-line poem where the first line has nine syllables and then each subsequent line has one syllable less. That reminded me of a countdown, so this film immediately came to mind.)

There’s nothing to worry about here,
No reason to panic and fear.
Don’t stress out any longer.
Don’t be a fearmonger.
Your warnings are lies
That jump through hoops,
While I’ll be
Proven…
Oops…
________________________________

MPA rating:  R (for frequent profanity, plus nudity at the very end)

There was a flurry of unexpected opinions around Adam McKay’s latest socio-political satire Don’t Look Up, with many critics describing its climate-change doomsday metaphor as “smug,” “unfunny,” and “cynical.” They granted it a 55% Rotten rating on Rotten Tomatoes, which is very rare for a modern Best Picture nominee. So I had to check it out for myself to see just how insufferable the environmentalist finger-wagging would be, and it turned out to be everything I’d heard but also a bit more.

There’s certainly no denying the star power on display. Leonardo DiCaprio and Jennifer Lawrence play a pair of astronomers who discover both a new comet and the horrifying fact that it will collide with the earth within six months. As they try to publicize this oncoming extinction event, they are met with unexpected apathy from a slew of Oscar darlings, like Meryl Streep as the self-serving U.S. President Orlean, Jonah Hill as her arrogant son/Chief of Staff, Cate Blanchett and Tyler Perry as the hosts of a frivolous morning show, and Mark Rylance as a Jobs-like CEO of a tech giant. Where the scientists had hoped the world would unite against humanity’s common threat, they become increasingly exasperated that no one seems to take the danger seriously, eventually devolving into a slogan war between “Just Look Up” and “Don’t Look Up.”

The weirdest thing about Don’t Look Up to me is that its central conceit just doesn’t work that well as an analogy for climate change. The six-month deadline, the mathematical provability of space dynamics, the potentially straightforward solution to destroy the comet, the moment when the comet becomes clearly visible in the night sky – all of these serve to heighten the stubborn foolishness of the apocalypse deniers in a way that just doesn’t align with climate change warnings. Oddly, since it was conceived before the pandemic even began, the film’s theme of wide-scale denial rings truer in regards to COVID, partisan myopia, and the spin on both sides of the aisle, perhaps in ways that were not even intended by the left-leaning people behind it.

Despite its clear intentions, Don’t Look Up has so many targets to roast that some of its jabs can’t help but land, whether it be the feel-good distraction of daytime talk shows, the fickle immaturity of social media frenzies, the allure of short-term fame, or the single-minded confidence of elites who refuse to let others point out where they’re wrong. To be honest, it’s not particularly funny for a “comedy,” and while a few running gags earned a chuckle, it was somewhat uncomfortable sitting through two hours of blithe apathy and even sabotage, despite the impassioned rants given by both Lawrence and DiCaprio. It’s an experience that can be appreciated as the filmmakers’ intent but is more frustrating than enjoyable.

Yet in its final downbeat moments, which made me wonder if McKay had been inspired by the Nicolas Cage film Knowing, the frantic lampooning slows down with a surprisingly sincere prayer given by Timothée Chalamet’s hipster character Yule, and the few sympathetic characters all share in what really matters in the face of the apocalypse. It was a poignant coda that some may not appreciate, but I did. Don’t Look Up is a worthwhile parody of society despite its smug excesses and the fact that its ensemble alone probably earned it a Best Picture nomination that should have gone to Tick, Tick …Boom! But I won’t harp on that point; it’s not the end of the world.

Best line: (Yule, praying) “Dearest Father and Almighty Creator, we ask for Your grace tonight, despite our pride. Your forgiveness, despite our doubt. Most of all, Lord, we ask for Your love to soothe us through these dark times. May we face whatever is to come in Your divine will with courage and open hearts of acceptance. Amen.”

Rank:  Honorable Mention

© 2022 S.G. Liput
764 Followers and Counting