Category Archives: Movies

Extremely Loud and Incredibly Close (2011)

27 Sunday Jul 2014

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The young Oskar Schell, a peculiar, smart lad,
Enjoyed all the puzzles made up by his dad,
Unique expeditions, inventive and witty,
That forced him to question and search New York City.
 
He loved his dad dearly but came home one day
To find Dad’s phone messages trying to say
That something had happened, unknown to his son,
September 11 in 2001.
 
He hid those six messages Mom couldn’t hear,
And kept them in secret for nearly a year.
He can’t understand why his father is dead,
And drifts from his mom after cruel things he said.
 
He finds in a closet a blue vase that breaks,
Revealing a key which sets up the stakes.
He thinks the name “Black” is a dubious clue
To something his dad wanted him to pursue.
 
He sets up a system, obsessive and thorough,
To find every person named Black in each borough.
The first, Abby Black, doesn’t know of the key,
And every Black after can’t help Oskar’s plea.
 
At one point, he meets his old grandmother’s Renter,
Who can’t seem to speak but lets Oskar be venter.
He offers through notes to assist Oskar’s quest
And joins him on trips as a reticent guest.
 
The quiet old man’s both a blessing and bother,
And Oskar believes he must be his grandfather.
They meet many Blacks, but no progress is made,
And both have their doubts about this whole crusade.
 
When Oskar tries playing the answering machine,
The Renter can’t take it and stops their routine.
He’s simply enabling Oskar’s obsession
And chooses to leave, sparking Oskar’s aggression.
 
A circled phone number leads Oskar right back
To where it all started, to sad Abby Black.
Late one night, she takes Oskar over to see
Her unseen ex-husband, who knows of the key.
 
This William Black says that the vase he gave Schell
Was a gift from his father, who’s dead now as well.
He too made a search for the key that he had,
Which holds no great secrets from Oskar’s own dad.
 
The boy then admits that, the day Dad did die,
He could have picked up but was too scared to try.
He flees for a tantrum from all of these shocks,
Unwilling to see what the Black key unlocks.
 
His mother calms him by assuring her son
She followed his efforts since when he’d begun.
She too met the Blacks while preparing his way
And knew where he’d be on his every search day.
 
He starts to find closure and not feel as bad
When he solves the last puzzle left by his dad.
His grandfather comes back, and woefulness clears
As Oskar at last learns to conquer his fears.
____________________
 

I wasn’t sure at first if I could consider Extremely Loud and Incredibly Close a “meet ‘em and move on” movie, but this latest viewing confirmed it to me. It features a journey, a driving relationship, a revisiting of many of those encountered toward the end, and perhaps the most literal portrayal of the words “meet ‘em and move on,” since Oskar allows only six minutes for every Black on his list and then tries to move on. Based on the novel by Jonathan Safran Foer, the film’s powerful story lends itself to this often emotional sub-genre.

The film’s reception truly bewildered me since several critics insisted it was terrible and decried its Oscar nomination for Best Picture. It remains one of the only Best Picture nominees with a “rotten” score on Rotten Tomatoes (46%). What they saw as syrupy and sentimental, I saw as heartfelt and heart-breaking. Its plot is also presented in a unique way through insightful voiceovers and frequent flashbacks. I tend to think it somehow became the “in” thing to criticize the film, just as American Hustle earned overrated accolades it didn’t necessarily deserve.

Most still agreed, though, on the impressive performance of young Thomas Horn, who earned the role after being noticed when he won Kids “Jeopardy!” Though he is sometimes rather irritating, Horn gives Oskar both his precociousness and vulnerability, and it’s hard not to feel sorry for him as he tries to make sense of something that doesn’t. True to its tagline, the film isn’t about 9/11 but every day after, and Oskar and his mother embody all the pain and confusion left in the wake of the “worst day.”

Sandra Bullock evokes the grief of Oskar’s mother even better than in Gravity, and though much of the film leads you to believe she is a neglectful parent to let her son wander New York in search of strangers every Saturday, her love and involvement are made clear by the end. While this makes her more admirable, I still think she should have gone with him.

Max von Sydow gives an Oscar-nominated performance as the Renter without speaking a single word. His notes are a unique form of communication but are often difficult to read. Tom Hanks is skillfully likable as usual as Oskar’s dead father, who tows the line between potential puzzle-making genius and concerned parent trying to keep his son active and unafraid. Viola Davis (The Help, Won’t Back Down) and Jeffrey Wright (Casino Royale, The Hunger Games: Catching Fire) also prove their acting chops as the estranged Blacks who hold the answers that disappoint Oskar, though their roles aren’t completely fleshed out, and there are still questions left unanswered about the key.

Unlike the book, the film explains some of Oskar’s odd behavior as the result of potential Asperger’s syndrome, a point which, combined with the trauma of 9/11, also clarifies why he becomes so focused on his key quest. Though all the other Blacks he meets don’t hold the answers for which he is searching and are seen too quickly to have much development as characters, they offer snapshots of life that make them seem like real and diverse people. In addition, many (certainly not all) offer thoughtful little touches—hugs, drawings, prayers—that aren’t what Oskar wants but in some ways may be what he needs.

In the end, Extremely Loud and Incredibly Close is a very serious movie about a serious subject, death and grief and learning to move on. It’s a film that is at once sad and hopeful and one deserving of much more appreciation than it received.

Best line (there are a lot of good ones, but this one helps to sum up some of what I love about “meet ‘em and move on” films): (Oskar Schell, monologuing) “I started with a simple problem… a key with no lock… and I designed a system I thought fit the problem. I broke everything down in the smallest parts… and tried to think of each person as a number… in a gigantic equation.  [next monologue] But it wasn’t working… because people aren’t like numbers. They’re more like letters… and those letters want to become stories… and Dad said that stories need to be shared.”

 
Artistry: 9
Characters/Actors: 9
Entertainment: 7
Visual Effects: 9
Originality: 8
Watchability: 6
Other (language): -2
 
TOTAL: 46 out of 60
 

Next: #166 – The Dark Knight trilogy

© 2014 S. G. Liput

164 Followers and Counting

 

Cars (2006)

25 Friday Jul 2014

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(Can be sung to “Life Is a Highway”)
 
A world of anthropomorphic cars
Is home to a cadre of racing stars.
Lightning McQueen is a young hotshot,
Who loves himself more than he ought.
 
For the Piston Cup, there’s a three-way tie,
And a rematch sends McQueen’s hopes awry.
A new west coast race will next week begin
For the world to see, of the three, who’ll win.
 
On his trip out west, McQueen somehow strays
Off the interstate to less traveled ways.
He ends up locked up in a town offbeat
For the damage done to the downtown street.
 
He is sentenced by the eccentric folk
To repair the road that he clearly broke,
And he cannot leave this abandoned place,
Though his whole career depends on that race.
 
Though he thinks it’s hell, he begins to grow
A few friendships here in this town so slow,
From Sally, a Porsche, who left speed behind,
To a sweet tow truck, who is unrefined.
 
There’s a car in town with a secret past;
Doc Hudson once was a racer fast.
When he crashed, he broke from the shallow sport
And has since been here in this dead resort.
 
In a race, he proves to the proud McQueen
That the young upstart is still plenty green.
On a trip nearby, Sally tells him too
Of Route 66 and the highway new.
 
Though the Interstate was a helpful deed,
All the tourists left for the sake of speed.
The forgotten town Radiator Springs
Just became one more of those bygone things.
 
When McQueen is done with the rebuilt road,
He feels more at home in this quaint abode,
But the paparazzi find him at last,
And he’s back to living his life so fast.
 
For the Piston Cup, the three racers race,
But his heart and mind’s in another place.
When his friends show up as his new pit crew,
They encourage him to know what to do.
 
An opponent races a bit too rough,
And McQueen then sees winning’s not enough.
With a sacrifice he’d have passed before,
He impresses all and earns so much more.
 
Though he did not win the desired crown,
More exposure helps to revive the town.
As a humbler, kinder, and wiser car,
It is clear McQueen’s happier by far.
_____________________
 

I hate to say it, but Cars is a rip-off. It plagiarizes the plot of Doc Hollywood so obviously that it’s a wonder lawsuits weren’t begun. (There actually was a lawsuit against the Cars franchise, but it had nothing to do with Doc Hollywood and was dismissed.) The story of a cool guy in the fast lane, who is stranded in a backwards town full of kooky characters, including a city girl who prefers the slower life, and who ends up choosing rural happiness over urban success, is undeniably familiar. Yet Cars has enough original ideas, such as its core concept of living vehicles, to still be worthy of the Pixar name, and with its great animation and lack of anything objectionable, I actually like it a little better than Doc Hollywood.

However retreaded the plot may be, it’s still an excellent one. After all, who doesn’t like to see an arrogant jerk shown the error of his ways? Owen Wilson is perfectly cast as the cool-and-he-knows-it Lightning McQueen, and Larry the Cable Guy is Mater. More than any other character, Mater has become the Cars franchise, for better or worse, and because his later appearances have been less than stellar, it’s easy to forget how entertaining his country bumpkin persona was in the original film. Paul Newman brings some very real experience to both the cast and the film overall, and Bonnie Hunt as Sally again proves that she has a voice meant for voice acting. All of the other citizens of Radiator Springs have just the right amount of characterization, from George Carlin as the hippie VW bus Fillmore to Tony Shalhoub as the Ferrari-loving Fiat Luigi. The rest of the voice cast includes Michael Keaton, Paul Dooley, Cheech Marin, and NASCAR champ Richard Petty. Plus, you’ve got to love the cameo from Click and Clack, the Tappet Brothers.

In addition to the ever-outstanding animation, the film also has that trademark Pixar heart. As intended from the start by director John Lasseter, Cars is like a love letter to the nostalgia of Route 66 and to all of the small towns that indeed were overlooked by the public’s desire for speed and convenience. Considering that it made me care for anthropomorphic automobiles, I’d say the film got its point across beautifully. While I continue to think that Lightning could have easily won the race and then gone back to help the King (he was only inches away after all), the lesson about winning isn’t everything is taught here better than any other film I’ve seen.

Cars may not be Pixar’s most popular film, and it spawned their only bad film to date, but it’s got enjoyable characters, a great soundtrack, plenty of car and animation in-jokes, and all the humor and heart of a classic.

Best line: (Sally, describing Route 66) “Well, the road didn’t cut through the land like that Interstate. It moved with the land, it rose, it fell, it curved. Cars didn’t drive on it to make great time. They drove on it to have a great time.”

 
Artistry: 7
Characters/Actors: 9
Entertainment: 8
Visual Effects: 10
Originality: 4
Watchability: 8
 
TOTAL: 46 out of 60
 

Next: #167 – Extremely Loud and Incredibly Close

© 2014 S. G. Liput

164 Followers and Counting

 

Wreck-It Ralph (2012)

24 Thursday Jul 2014

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In Litwak’s Arcade, the games delight,
A quarter for a race or fight,
But kids and Litwak do not know
Where all game characters then go
When everyone is gone at night.
 
The characters treat every game
As just a job that earns them fame,
But Wreck-It Ralph wants to defy
His role as damaging bad guy
And thirty years of mud and shame.
 
Good guys, like Fix-It Felix, seem
To boast the highest self-esteem.
Ralph needs a hero’s medal now
To win some happiness somehow,
Despite how others scorn his dream.
 
He leaves his game to earn respect;
When gamers come, there’s nothing wrecked.
Their jobs and home are now in danger,
But Ralph’s off to someplace stranger,
Bent on medals to collect.
 
In Hero’s Duty, thus Ralph tries
To stay alive and win his prize,
But killer Cy-Bugs plague his route,
And one of them, alas, gets out.
It sneaks away and grows in size.
 
Their crash site is in Sugar Rush,
A racing game that’s sweet and plush.
Ralph’s medal’s taken when he meets
The brat Vanellope von Schweetz,
A hated glitch who’s kept hush-hush.
 
She purchases her right to race,
But Ralph arrives to trash the place.
When he sees how she’s shunned apart,
He helps her build her own go-cart,
But King Kandy stays on her case.
 
King Kandy sows doubt in Ralph’s mind
On whether he should be inclined
To help her win or if he should
Prevent the girl for her own good.
He breaks her heart by being kind.
 
Ralph goes back home, unsatisfied,
But learns the sneaky King had lied.
Ralph helps Vanellope come back
And race at last, but bugs attack!
King Kandy shows his evil side.
 
Vanellope can’t leave the game
Since she’s a glitch; the King’s to blame.
So Ralph attempts a sacrifice
To save the insects at a price
And wipes them out with cola flame.
 
He’s saved and is content to see
Success come to Vanellope.
Embracing duties he once hated,
Ralph’s at last appreciated,
The good “bad guy” he’s meant to be.
___________________
 

Wreck-It Ralph is an oddity among Disney movies, not a fairy tale or a traditional love story, but rather an original hero quest that creates an astonishingly detailed environment to rival the world-building prowess of Pixar. My VC considers it fluff, and at first glance a film about video game characters may seem to be just that, but Wreck-It Ralph greatly exceeded my expectations with its imaginative plot and abundant eye candy (pun intended).

In many ways, Wreck-It Ralph is an example of potential pitfalls done right. It brilliantly combines real video game characters from Pac-Man, Q*Bert, Street Fighter, Sonic the Hedgehog, Tapper, Altered Beast, and many more, similar to how Who Framed Roger Rabbit? mingled classic cartoon characters from various studios into something totally unique. Unlike the more adult-leaning Roger Rabbit, which I appreciate more than I like, Wreck-It Ralph allows these characters their cameos for the hard-core gamers to scrutinize, while making them mere accessories to the main plot of original characters, all while maintaining a (mostly) family-friendly tone.

In addition, the unsatisfying, out-of-nowhere reveal of Prince Hans in Frozen was handled so much better in this earlier film. King Kandy is already treacherous from the start; we just don’t know the extent of his villainy. The big reveal was clearly set up but still came as a surprise to me because the filmmakers deftly toyed with the possibility that the King, rather than Vanellope, was just misunderstood. The writers knew what they were doing. There are even some insightful remarks, such as Vanellope’s despised glitch being analogous to a birth defect and Ralph questioning why video games have become so violent of late.

All this doesn’t even mention the stunning animation, the astounding amount of world-building, and how the filmmakers utilized their own rules to ingenious effect. From the limitations and advantages of glitches to the behaviors of the Cy-Bugs, the imagination just keeps flowing. There’s also a plethora of sweet-themed puns in the world of Sugar Rush, a candy kingdom reminiscent of that in Adventure Time.

Plus, there’s some excellent voice work from John C. Reilly as the conflicted Ralph, Sarah Silverman as the bratty but lovable Vanellope, Jack McBrayer as the goody two-shoes Fix-It Felix, Jane Lynch as the intense Sgt. Calhoun of Hero’s Duty, and Alan Tudyk as the duplicitous King Kandy. Again, my VC doesn’t like how Ralph’s “villainy” is seen as good, but his villainhood is depicted as just a job and clearly not true evil. Thus, his position as both protagonist and “bad guy” is must less subversive than, say, The Nightmare before Christmas or Wicked. If anything, his realization that filling his necessary role is better than selfishly seeking his own glory makes the film even more unique.

Wreck-It Ralph may not have quite the same character development as other Disney films, but it’s an inventive thrill ride with a jam-packed plot that begs for repeated viewing. It also boasts not one, not two, but three songs worthy of my End Credits Song Hall of Fame, the “Sugar Rush” and “Wreck-It, Wreck-It Ralph” theme songs and Owl City’s utterly catchy “When Can I See You Again?” Many of the video game references probably flew over my head, but whether you’re a gaming fan or not, this film is just plain fun.

Best line: (Sgt. Calhoun, after seeing Felix’s fixing hammer at work) “Your face is still red; you might want to hit it with your hammer again.”

 
Artistry: 6
Characters/Actors: 7
Entertainment: 9
Visual Effects: 9
Originality: 9
Watchability: 9
Other (I like other films better): -3
 
TOTAL: 46 out of 60
 

Next: #168 – Cars

© 2014 S. G. Liput

160 Followers and Counting

 

#170 – Foul Play (1978)

23 Wednesday Jul 2014

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Since Gloria Mundy, a fair divorcée
And mousy librarian, won’t often stray
And take any risks, all her friends feel it’s known
She’ll not embrace chances but end up alone.
 
While driving one day, she picks up a hitchhiker
In need of a ride, and this Scott seems to like her.
He gives her his smokes (plus a film classified)
And says he will date her that night for the ride.
 
That night at the theater where they would meet,
He warns of a dwarf and then dies in his seat,
But Gloria’s shocked when he just disappears
And tells landlord Hennessy of all her fears.
 
One night at her workplace, an albino fella
Attacks her but gets a taste of her umbrella.
With help from a pervert with love on the brain,
She gets away, wondering if she’s insane.
 
A man with a scar then attacks and upsets,
Demanding the package of Scott’s cigarettes.
The albino kills him; when cops have arrived,
The scene is all clean, and her tale seems contrived.
 
Though cop Tony Carlson likes the fruitcake,
They leave, and she’s caught. When again she’s awake,
She flees from her captors, and, jumpy as heck,
Proves to a dwarf she’s a pain in the neck.
 
At last, Tony finds evidence of her tale
And acts as her guard, and their romance sets sail.
When Gloria goes out, again she is caught,
And Tony uncovers a sinister plot.
 
The villains involved have a blackhearted hope:
They’re planning to murder the visiting Pope.
Both Tony and Hennessy rescue the lass,
But this evil purpose may still come to pass.
 
Both Tony and Gloria race across town
To reach the opera ere the curtain comes down.
Despite challenges, they arrive just in time
To stop the albino, preventing the crime.
Then up on the stage, with the pontiff safe now,
The lovers embrace, and they all take a bow.
_______________________
 

Inspired by Alfred Hitchcock thrillers, Foul Play is a near-perfect blend of action, suspense, and comedy. There’s a wine cellar scene (Notorious), a shower curtain scene (Psycho), and an abortive strangulation scene (Dial M for Murder), plus other familiar tropes, like an unsuspecting bystander drawn into a murderous conspiracy (take your pick). Most of the film actually works as a straight-faced mystery, but much humor is derived from two-sided conversations in which both people have an entirely different understanding of what’s going on. The clever script also tows the line between serious dialogue and funny one-liners.

Goldie Hawn as Gloria is hilariously scattered in her confusion of how she ended up in this mess, and Chevy Chase as Tony actually proves he had potential as a romantic lead back in the day. Burgess Meredith gets more physical than most of his other roles as a former anthropologist/black belt/ landlord. But the funniest role goes to Dudley Moore as nervous weirdo Stanley Tibbets, whose extended cameo often steals the show. This was his first introduction to American audiences and gained him the popularity that led to 10 and Arthur.

There are several memorable encounters, such as the albino’s library ambush and the cruel yet humorous dwarf attack. By the end, the comedy ratchets up to some long, over-the-top sequences, like an elderly martial arts match and a thrilling, opera-laced race through the streets of LA (it’s technically not a car chase). The part with the Japanese couple in the back seat of the taxi ranks among the best comedic scenes ever.

It’s not quite perfect. The score is sometimes overly dramatic, probably to imitate a Hitchcock film, and the seemingly important film coveted by the bad guys is just ignored by the end, again most likely an intentional irony. Some unnecessary scenes could also have been cut, such as a totally pointless Scrabble game using obscenities. The labyrinthine plot contains a hole or two as well, such as why the albino didn’t kill Gloria when he repeatedly had the chance; plus, the final showdown with the albino is a tad underwhelming.

Nevertheless, Foul Play is a good film with splashes of greatness along the way. I love genre mashes as long as they’re not overly obscene, and Foul Play succeeds as both an homage and a great mystery in its own right.

Best line: (Japanese couple, near the end) “Kojak, bang, bang!” (you just have to see it)

 
Artistry: 6
Characters/Actors: 8
Entertainment: 9
Visual Effects: 7
Originality: 7
Watchability: 9
Other (language): -1
 
TOTAL: 45 out of 60
 

Next: #169 – Wreck-It Ralph

© 2014 S. G. Liput

160 Followers and Counting

 

Pocahontas (1995)

22 Tuesday Jul 2014

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(Can be sung to “Colors of the Wind”)
 
A voyage starts in 1600s England
To journey to the New World for its gold,
But John Smith only searches for adventure
And knows that there’s one waiting to unfold.
 
This New World boasts the lovely Pocahontas,
The daughter of the reigning Indian chief.
He offers sober Kokoum for marriage,
But the maiden seeks a spirit for relief.
 
The path for her is hidden and uncertain,
But then the ship appears against the sky.
As greedy Ratcliffe starts his people digging,
Smith departs to scout the countryside nearby.
 
The Indian and Englishman make contact,
And neither’s like the other thought they’d be.
He tells her of his homeland, and the maiden
Shows the sailor things he’d never tried to see.
 
A skirmish sows distrust in both the factions,
And both believe the worst of their new foe.
They will not hear John Smith or Pocahontas,
But both unite, and love begins to grow.
 
When Kokoum decides to tail the couple,
His jealous rage just gets the warrior shot.
The tribe imprisons Smith to his friends’ horror
And plans to execute the man they’ve caught.
 
Since Ratcliffe thinks the foe is hoarding treasure,
And they think whites are savages as well,
Both sides prepare for battle at the sunrise,
Till Pocahontas chooses to rebel.
 
She saves the life of Smith at the last second
And turns her father’s warring mind to peace.
These “savages” are better than they’d reckoned,
And both sides (save for Ratcliffe) choose to cease.
 
Though Smith is saved, he still is sadly wounded,
So he departs for home to convalesce.
He bids goodbye to lovely Pocahontas,
Who will be with him forever nonetheless.
____________________
 

Don’t worry; I won’t exhaust the Disney Renaissance this low on the list, but like Mulan, Pocahontas is just not quite as absolutely stellar as the rest of those ‘90s classics. It still is a marvelous film, beautifully animated and drawing inspiration not from fairy tales or legends but from real American history. It bothers me a little that Disney rewrote history in adding much to the story of Pocahontas and John Smith while leaving out other elements, such as the Indian maiden’s conversion to Christianity. Still, it’s laudable that the filmmakers endeavored to bring history to family audiences in such an entertaining package, even if only some main events are retained from the true account (the saving of Smith’s life, his changed injury and return to England).

Mel Gibson makes John Smith quite the dreamboat, and David Ogden Stiers proves he can play a greedy Englishman with the same panache as he can a clock. As far as cute animal sidekicks go, Meeko the raccoon and Flit the hummingbird are two of the funniest and lend the otherwise serious tale some lighthearted comic relief.

One thing I’ve noticed after repeated viewings is that Pocahontas more than any other recent Disney film depends on its music for its success. All of the other Disney classics have memorable standout sequences independent of their music (the wildebeest stampede, the Cave of Wonders, Shan-Yu’s mountain charge, etc.), while Pocahontas doesn’t. Take away Alan Menken’s soundtrack, and you’ve got the familiar “noble savage” and “follow your heart” clichés and a romance that’s a tad rushed and a much less entertaining story.

Luckily, though, we do have Menken’s songs, and they are perfect. From the history-laced “The Virginia Company” to the exhilarating “Just around the Riverbend,” his music continues to amaze. Stephen Schwartz’s lyrics are also fantastic and eminently satisfying to me as a poet. “Colors of the Wind” is especially classic and earned an Academy Award for Best Song. Ratcliffe’s songs are also great, particularly the Broadway-quality “Mine, Mine, Mine.” Despite accusations of racist lyrics, I also love “Savages” and can step away enough to see that the hatred is that of the characters and not the filmmakers. I actually think the way that both sides accuse the other of being “savages” is the most nuanced element of the whole film.

Pocahontas may have turned a platonic historical account into a Romeo-and-Juliet story of warring factions, but its soundtrack makes it yet another Disney classic. I wonder if they’ll ever tackle another historical drama again.

Best line: (Powhatan, at the end) “My daughter speaks with the wisdom beyond her years. We’ve all come here with anger in our hearts, but she comes with courage and understanding. From this day forward, if there is to be more killing, it will not start with me.”

 
Artistry: 6
Characters/Actors: 6
Entertainment: 8
Visual Effects: 9
Originality: 5
Watchability: 9
Other (music): +2
 
TOTAL: 45 out of 60
 

Next: #170 – Foul Play

© 2014 S. G. Liput

159 Followers and Counting

 

Bill and Ted’s Excellent Adventure (1989)

21 Monday Jul 2014

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Bill and Ted are valley guys
Who dream of fame but aren’t too wise.
They think their Wyld Stallyns band
Will be “triumphant” once it’s planned.
Their grades are low without a doubt,
And history may flunk them out.
Then someone “excellent” comes through
The night before reports are due.
 
A man named Rufus gives the youths
A rarity among phone booths:
A booth that travels through the years
To wow their teachers and their peers.
They visit France, from which they’re lent
Napoleon by accident.
This gives them an idea for free,
To gather names from history.
 
Billy the Kid first joins their booth,
Then Socrates they lure with truth.
Medieval England has princesses
But gets them in the worst of messes.
Though nearly meeting both their ends,
They’re saved by their historic friends.
They then go on to gather more
To make their presentation soar.
 
From Genghis Khan to Joan of Arc
To Sigmund Freud, they disembark
Just long enough to grab a name,
Like Beethoven, that’s garnered fame.
Once Lincoln joins their crowded stall,
They take them to San Dimas’ mall,
Where most take full advantage of
Strange modern things they come to love.
 
Once Bill and Ted find Bonaparte
At Waterloo, a water park,
They find their other VIPs
Have been arrested by police.
They spring their characters from jail
With Ted’s cop dad hot on their trail.
The duo blow their school away
And gain ovation and an A.
 
Once everyone’s back in their time,
Old Rufus comes with news sublime.
Their Wyld Stallyns band will birth
A calm “excellent” future earth.
He brings the princesses they met
To make their band a sweet quartet.
Although they cannot play right now,
“They do get better,” well, somehow.
___________________
 

I’ll be honest; Bill and Ted’s Excellent Adventure has two of the stupidest main characters around, but it’s a testament to the fact that stupidity (when done right) can be hilarious. From mispronouncing historical names to thinking a torture device is a metal band, Bill and Ted romp through history with abandon, only meeting actual danger a couple times. Their plan to gather historical figures for a living history presentation is both ridiculous and brilliant, and it’s certainly entertaining to watch.

Alex Winter and Keanu Reeves (Neo?!) spout adjectives left and right, from “triumphant” to “bogus” and beyond. They’re utterly goofy and silly in that classic ‘80s kind of way, yet they tow the line and don’t fall into complete puerility. George Carlin acts as the futuristic straight man Rufus, not getting many jokes but playing an integral part in moving the plot and balancing all the wackiness. Other roles are mostly cameos, such as the Go-Go’s Jane Wiedlin as the energetic Joan of Arc and Springsteen sax player Clarence Clemons as a dignified leader of the future.

While the characters are imbeciles, it’s obvious that the filmmakers have plenty of intelligence and creativity. Spanning centuries and nations, they combine Napoleon, Billy the Kid, Socrates, Genghis Khan, and friends with a modern setting and let the hilarious chaos flow for all to enjoy. The scenes in the mall prove that historical figures can handle the stresses of time travel surprisingly well and that Genghis Khan should stay away from sporting equipment.

Speaking of time travel, the century-bridging phone booth the boys receive may be an obvious rip-off of Doctor Who’s TARDIS, but unlike the famous police box, the phone booth is not bigger on the inside than on the outside, allowing for further laughs. By the end, the filmmakers even exhibit some Back to the Future-style mind-bending by stretching time travel plausibility to provide Bill and Ted with deus ex machina rescues.

Overall, Bill and Ted’s Excellent Adventure is a thoroughly fun voyage through time that exceeds the sum of its parts, despite some crudities. Time travel is one of my favorite science fiction sub-genres, and when it’s this enjoyably ridiculous, I can only say, “Excellent!”

Best line:  (Bill, reading upon arriving in ancient Greece) “So-crates – ‘The only true wisdom consists in knowing that you know nothing.’”   (Ted) “That’s us, dude.”

 
Artistry: 3
Characters/Actors: 7
Entertainment: 10
Visual Effects: 6
Originality: 10
Watchability: 9
 
TOTAL: 45 out of 60
 

Next: #171 – Pocahontas

© 2014 S. G. Liput

159 Followers and Counting

 

Rudy (1993)

20 Sunday Jul 2014

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When Rudy was young, he had one simple dream,
To play on the great Notre Dame football team,
But small as he was, people doubted his scheme
And thought the lad unrealistic.
He works at a steel mill to save for tuition,
Encouraged by one friend to scorn opposition.
When tragedy strikes, he appeals for admission,
Perhaps a bit too optimistic.
 
With help from a priest, he attends Holy Cross,
A close junior college, and gathers no moss.
He maintains the football field with his kind boss
And makes his ambitions well-known.
Befriending a tutor, his course grades get better,
And through three long years, he remains a go-getter
Until he receives that improbable letter
And transfers as Notre Dame’s own.
 
He tries out for football and shows little skill
But makes up for it with his heart and his will.
Each time he is tackled, he rises up still,
And merits the coach’s respect.
He gets on the prep team but can’t play a bit.
He can’t even dress for the sidelines and sit.
When Coach is replaced, Rudy’s tempted to quit,
But sage advice helps him reflect.
 
He doesn’t give up, and the players proclaim
That Rudy should dress for the season’s last game.
So with family there cheering for Notre Dame,
He runs on the field with the team.
As they play Georgia Tech, Rudy’s friends gain a lead,
But Rudy sits out till their chants intercede.
At last, Rudy plays and is lauded indeed
For chasing his difficult dream.
______________________
 

Rudy is the ultimate underdog story. With its determined and likable hero, real-life drama, stirring Jerry Goldsmith score, and excellent acting, it reaches heights of inspiration most films only dream about. Just as Rudy was born to wear that Notre Dame jacket, Sean Astin was born to play Daniel “Rudy” Ruettiger. His understated but tenacious performance gives Rudy the necessary appeal to make the audience share both his grief over setbacks and his excitement for successes. It’s a role that, I think, deserved an Oscar nomination.

So many other inspirational sports films are about whipping a team into shape to win a big game or a championship at the last moment. Here, though, it’s all about one character, the titular Rudy. He’s not an underachieving athlete who needs to grasp his own potential or a troubled all-star who must overcome a debilitating trauma; rather, it’s about a simple dreamer, someone who knows his limitations but isn’t afraid to chase his goals despite them. He admirably jumps up after being tackled repeatedly, devotes constant time and effort, and exhibits such an earnest hunger for his Notre Dame aspirations that the final realization of his dream is eminently satisfying and brought my VC to tears.

Ned Beatty plays Rudy’s Fighting Irish-loving father, whose pride at the end is palpable, and Jon Favreau has an amiable debut as Rudy’s tutor friend, who unfortunately spews the majority of the film’s profanity. Charles S. Dutton also brings some benevolent experience as the stadium groundskeeper Fortune, who gives an extra punch of tear fodder in the finale.

The film was AFI’s 54th most inspiring movie on their 2006 Cheers list, but I believe it should have been much higher. How can you not smile when someone’s efforts are rewarded so stirringly? Yet it’s also realistic; Rudy doesn’t turn into a professional quarterback and is only played because Notre Dame had nothing to lose, but it’s the dream to which his whole life was leading. Some might say that Rudy’s behavior borders on obsessive or that his brief moment of glory wasn’t worth it, but for anyone who has had a dream, Rudy serves as the culmination of hopes and hard work, a cheer-worthy crowd-pleaser that reminds us that dreams can come true.

Best line: (Father Cavanaugh, when Rudy asks him for further help) “Son, in thirty-five years of religious study, I have only come up with two hard, incontrovertible facts: there is a God, and I’m not Him.”

 
Artistry: 9
Characters/Actors: 10
Entertainment: 10
Visual Effects: N/A
Originality: 8
Watchability: 9
Other (language): -1
 
TOTAL: 45 out of 60
 

Next: #172 – Bill and Ted’s Excellent Adventure

© 2014 S. G. Liput

159 Followers and Counting

 

Mulan (1998)

19 Saturday Jul 2014

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(Best sung to the tune of “A Girl Worth Fighting For”)
 
When the Huns invade and China is in peril
From the dark Shan-Yu who’s merciless and feral,
The threat’s appraised; an army’s raised
And every man must serve,
But a lone girl reports and proves her nerve.
 
Though Fa Mulan is quite the awkward beauty,
She won’t let her father lose his life for duty.
She impersonates the manly traits
And gallops off to war,
Hoping to save the man she’s fighting for.
 
Her ancestors send out a guarding spirit,
But who she gets is frankly nowhere near it:
The small Mushu, a dragon who
Just wants his honored shelf
And has arrived to help her prove herself.
 
The Captain Shang is tough on all the rookies
And teaches things unknown in fortune cookies.
He trains them hard as China’s guard,
And when he’s satisfied,
Mushu ensures they’ll fight to turn the tide.
 
While marching through a mountain pass while singing,
The army sees the death the Huns are bringing.
They are ambushed and nearly pushed
Right off the mountainside,
But by Mulan the victory’s supplied.
 
An avalanche destroys the Huns while riding,
But Shang soon learns the truth that Mulan’s hiding.
The laws apply, and she must die,
But Shang won’t kill Mulan.
They leave her there, her family honor gone.
 
She sees Shan-Yu and others are still living
And warns her friends, but Shang is not forgiving.
The Huns attack and plan payback
Upon the Emperor.
When Mulan calls him, Shang then follows her.
 
With female charm, they fight into the palace
And save the Emperor from Shan-Yu’s malice.
Up on the roof, the fiend goes POOF
When Mushu’s rockets shoot,
And fireworks eliminate the brute.
 
With China saved and Shan-Yu now a goner,
The Emperor grants Fa Mulan much honor.
Back home they ride with newfound pride,
And Dad and Shang agree
This lovely girl is just as she should be.
______________________
 

Ignoring the earlier-reviewed Hercules, here begins the Disney Renaissance on my list in earnest. Mulan was yet another feather in the cap of Disney’s animation department, with memorable characters, enjoyable music, and impressive animation. Inspired by the ancient Chinese poem Hua Mulan, who fought in the army in her father’s stead, the animation style emulates aspects of Chinese art, much like Hercules reflected Greek art. The filmmakers also pioneered some CGI elements to produce huge crowd scenes, such as the amazing mountain charge of the Huns.

Of the voice cast, Ming Na Wen as Mulan and Eddie Murphy as Mushu are the standouts, and James Hong and Harvey Fierstein also lend their distinctive voices to the film. (I still think of Donkey from Shrek when I hear Murphy’s voice, even though Mulan came first.) The songs are not as plentiful as in other Disney films, but they’re still outstanding. “Reflection” is beautiful (and helped start Christina Aguilera’s career), and “I’ll Make a Man Out of You” is just perfect, ranking among the best of Disney’s musical numbers.

Though the film wasn’t as successful in China, Mulan is a marvelous Disney classic that exceeds the silliness of Kung Fu Panda. With a strong female role model and humor and fun to spare, Mulan may not be my favorite of the Disney Renaissance, but it easily surpasses most of today’s animated films.

Best line: (Mushu, after roasting the Huns’ falcon) “Now, that’s what I call Mongolian barbeque.”

 
Artistry: 6
Characters/Actors: 7
Entertainment: 8
Visual Effects: 9
Originality: 7
Watchability: 8
 
TOTAL: 45 out of 60
 

Next: #173 – Rudy

© 2014 S. G. Liput

158 Followers and Counting

 

How to Train Your Dragon (2010)

18 Friday Jul 2014

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Hiccup is a Viking lad
Upon the isle of Berk.
He cannot seem to please his dad
With his inventive work.
 
His father Stoick only cares
For hunting dragon pests,
But Hiccup is the worst of heirs,
As everyone attests.
 
He shoots a dragon from the sky,
A Night Fury, the worst,
But when he tries to watch it die,
His feelings are reversed.
 
He lets it live; it follows suit,
And cautious friendship grows.
He names the beast Toothless to boot,
And learns what no one knows.
 
Since half the dragon’s tail was torn,
It cannot fly away,
But Hiccup crafts prosthetics worn
Around its tail each day.
 
As he is trained with fellow teens
To fight each flying creature,
Astride his pet Hiccup careens,
With practice as his teacher.
 
With inside knowledge of the brutes,
He handles them with skill
And wows his dad and the recruits
And earns the right to kill.
 
A girl named Astrid follows him
And threatens to reveal,
But Toothless scares her on a whim
Yet proves he has appeal.
 
They find the hidden dragon nest,
Ruled by a giant beast,
And Hiccup sees they act the pest
Or else become its feast.
 
So Hiccup tries to prove his point
In front of his whole town,
But Hiccup’s efforts disappoint,
And Toothless is brought down.
 
His father stubbornly insists
To find the dragon nest,
And Toothless grudgingly assists
With Stoick’s killing quest.
 
Since Hiccup knows they cannot fight
That dragon monster thing,
He and his Viking friends take flight
On dragons they’re keeping.
 
The monstrous dragon is released,
And Stoick saves Toothless.
They all engage the mammoth beast,
And Hiccup’s acts impress.
 
He taunts the beast, astride his friend,
And brings it down with flair,
But very nearly meets his end
If not for Toothless there.
 
Though injured, Hiccup quickly mends,
And witnesses with glee
Dragons and Vikings can be friends
And live in harmony.
__________________
 

After the Madagascar movies, I began to not expect much from DreamWorks. Their focus on parody made them pale in comparison to the originality of Pixar, but How to Train Your Dragon was a welcome surprise. Boasting a 98% on Rotten Tomatoes, it’s awesome in both concept and execution. Based off of Cressida Cowell’s book series, the film combines rowdy Scottish-accented Vikings with various species of the legendary flying reptiles to create something exciting, touching, and just plain cool.

Jay Baruchel brings a geeky likability to Hiccup, and Gerard Butler deepens his voice and accent to give heft to Stoick the Vast. Other roles are filled decently by America Ferrera, Jonah Hill, Craig Ferguson, etc. The character I especially admire is Toothless, the Night Fury. I love how his behavior is often cat-like, and his scenes of flight are so exhilarating and beautiful that I wish I had one of my own.

As far as the story, there are some clichés, such as the overbearing, disappointed parent who doesn’t understand the more open-minded child (sounds like The Little Mermaid). The various teen stereotypes aren’t all that memorable, but their interactions in the entertaining training scenes are. There’s even the familiar he’s-dead-no-wait-never-mind cliché, though unlike other movies, Hiccup doesn’t escape completely unscathed, giving the loss more weight. Even with its action-oriented story, the film also extols inventiveness and the value of reading and, yes, open-mindedness.

John Powell’s fantastic Celtic-influenced score heightens the excitement and the fun; it’s probably my favorite score of all of DreamWorks’ animated films. My VC doesn’t much care for the film, considering the dragons to appear too cartoonish, but I think How to Train Your Dragon is DreamWorks Animation’s best film in years. I hope to see the sequel soon.

Best line: (Gobber, to Hiccup about his father) “Now, you’re thinkin’ about this all wrong. It’s not so much what you look like, it’s what’s inside that he can’t stand.”

 
Artistry: 6
Characters/Actors: 7
Entertainment: 9
Visual Effects: 9
Originality: 6
Watchability: 8
 
TOTAL: 45 out of 60
 

Next: #174 – Mulan

© 2014 S. G. Liput

158 Followers and Counting

 

Butch Cassidy and the Sundance Kid (1969)

17 Thursday Jul 2014

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The Sundance Kid can shoot;
Butch Cassidy’s a hoot.
Between the two, they head a crew
Who rob banks for the loot.
 
When they hold up a train,
First once and then again,
They’re followed by a gang, who try
To hound them ‘cross the plain.
 
They run both night and day
And barely get away.
They both decide to simply hide
And leave the USA.
 
Bolivia’s their chance.
With Etta for romance,
The three depart for their new start
As dubious transplants.
 
With heists they have success,
With worries nonetheless.
Despite their plans, blood’s on their hands,
And Etta leaves the stress.
 
While eating lunch in town,
These outlaws of renown
Both shoot their piece against police,
But both men are shot down.
_________________
 

A classic outlaw western, Butch Cassidy and the Sundance Kid succeeds wholly because of its two stars. Butch and Sundance are thieving cowards who rob banks and meet a bloody end, but, unlike the very similar Bonnie and Clyde, the film makes them so likable that one can almost overlook their faults. Paul Newman brings great humor to Butch, the brains of the operation, and, as my VC says, “Robert Redford never looked so good” with that mustache. It’s easy to see why both of them are appealing to Etta, played by Katharine Ross from Shenandoah and The Graduate.

The Oscar-winning screenplay boasts stellar dialogue, perfected by the spot-on chemistry of Newman and Redford. Some say the film has jarring mood swings, but I appreciate how the filmmakers presented both the carefree moments of romance (the famous bicycle scene) and moments in which their lawless deeds come back to haunt them. The scenery is also stunning, as Butch and Sundance flee across it from the team of lawmen.

The mostly clean film also won Oscars for Best Song (“Raindrops Keep Falling on My Head”), Best Score, Best Cinematography, and the aforementioned Best Original Screenplay. It certainly deserved them, and my VC would have it even higher on her list. Still, I’m not a fan of antihero movies, even when the characters are so likable. That doesn’t change the fact that they’re criminals, who deserved the hounding and the violent end they met. Even so, the final scene of the two rushing outside to their deaths, guns ablaze, taps into the romantic, adventurous spirit that makes “cops and robbers” so much fun. I’d just hate to be the robbers.

Best line: (Butch) “Well, that ought to do it.” [whole train car blows up] (Sundance) “Think ya used enough dynamite there, Butch?”

 
Artistry: 7
Characters/Actors: 9
Entertainment: 8
Visual Effects: 8
Originality: 6
Watchability: 7
 
TOTAL: 45 out of 60
 

Next: #175 – How to Train Your Dragon

© 2014 S. G. Liput

158 Followers and Counting