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Rhyme and Reason

~ Poetry Meets Film Reviews

Rhyme and Reason

Category Archives: Movies

Blindspot Pick #7: Eternal Sunshine of the Spotless Mind (2004)

18 Tuesday Sep 2018

Posted by sgliput in Blindspot, Movies, Poetry, Reviews, Writing

≈ 2 Comments

Tags

Drama, Romance, Sci-fi

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Memories are funny things,
Immortal in some form at least,
For though they twist,
They still exist
And lie in wait to be released.

I cannot say if what’s recalled
Is how it was or how I felt.
For how I feel
Can shape what’s real
Within the memories I’m dealt.
_________________

MPAA rating: R (mainly for language, as well as sexual content)

Despite my falling behind on it, this Blindspot series has been a good opportunity for some firsts. Last time, I reviewed my first Marilyn Monroe film with Some Like It Hot, and now it’s my first exposure to Charlie Kaufman’s existential surrealism. Eternal Sunshine of the Spotless Mind is sort of like Donnie Darko was for last year’s Blindspots, a film so audacious in its subtlety that I couldn’t help but enjoy its unusual narrative, whether I fully comprehended it or not.

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On its surface, Eternal Sunshine is a tale of love gone wrong. Introverted Joel Barish (Jim Carrey) has his life jump-started by the effervescent and capricious Clementine (Kate Winslet), not once but twice. We see them meet on a train from Montauk, only to learn that they’ve already been in a relationship, which ended when Clementine had her memories of Joel erased by the enigmatic Lacuna corporation. In retaliation, Joel commissions the same procedure for himself, and as the irresponsible technicians (Elijah Wood, Mark Ruffalo) slack off while doing their sci-fi work over the course of a single night, Joel revisits his memories and finds more worth saving than he remembered.

In many ways, Eternal Sunshine is structured as a puzzle that gradually allows itself to be solved, and I love those kinds of movies. Hints are dropped early, with many left till the end to be fully explained, and since Joel’s memories are peeled back from the most recent to the oldest, a lot of the plot is told literally in reverse, which is still easier to follow than anything in Memento. It’s watching these unraveled story threads come together that makes the film even more compelling, beyond the often relatable romance elements. (I’ll admit I saw some of myself in Joel’s self-conscious outlook.)

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Since so much of the story takes place inside Joel’s head, it takes numerous surreal turns along the way as it visualizes abstract concepts. Trying to prevent the erasure, Joel tries revisiting previously redacted memories, where faces and lighting are distorted, and later mixes his mental version of Clementine with unrelated childhood memories. It can get weird, or “warped” as Clementine puts it, but even its odder elements remain understandable in the abstract realm of Joel’s mind. Couple that with juggling two Clementines (one in Joel’s head as a representation of his memories of her, the other the real one struggling with her own deleted memories) and a couple ethics-challenging subplots surrounding the Lacuna staff, and Eternal Sunshine clearly boasts an intellectual complexity unique to most Hollywood fare. No wonder Kaufman won Best Original Screenplay at the Oscars that year, and I wish I’d known of the name’s poetic origin when I compiled my Top Twelve Poems in Movies list.

The actors also rise to the challenge, with Jim Carrey standing out even more than Kate Winslet’s manic girlfriend. Even in past dramatic roles like The Truman Show, there were traces of his trademark goofiness, but here he deftly subdues himself to fit the often somber tone of the script. There’s an elegiac urgency to scenes where memories are being erased, people snuffed out of existence and buildings torn apart on a metaphorical, metaphysical level. The effects used are simple but impressive in setting the scene for a series of inescapable dreams.

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So often people say they wish they could forget something, but the sci-fi premise of Eternal Sunshine of the Spotless Mind challenges them to rethink what might be lost along the way if such a wish were granted. In some ways, the core relationship of Eternal Sunshine isn’t much different from (500) Days of Summer, which also shows the gradual souring of a once-so-sweet romance, albeit in a somewhat more linear fashion. (It’s funny when a film like (500) Days of Summer can be considered “linear” by comparison.) Eternal Sunshine asks whether the memory of such a soul-crushing break-up is worth retaining, especially if we as human beings might end up repeating the same mistakes consciously or not. As Captain Kirk said in one of the few good parts of Star Trek V, “You know that pain and guilt can’t be taken away with a wave of a magic wand. They’re the things we carry with us, the things that make us who we are. If we lose them, we lose ourselves. I don’t want my pain taken away! I need my pain!” Perhaps not everyone would agree that they need it, but that doesn’t mean they can’t be better for it.

 

Best line:  (Mary, played by Kirsten Dunst) “’Blessed are the forgetful, for they get the better even of their blunders.’  Nietzsche. Beyond Good and Evil. Found it in my Bartlett’s.”

 

Rank: List Runner-Up (a darn close one)

 

© 2018 S.G. Liput
589 Followers and Counting

 

Mission: Impossible III (2006)

09 Sunday Sep 2018

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Action, Drama, Thriller

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The thrill of a life that is lived on the edge
Lasts only as long as one’s love for the ledge.
Eventually, danger
Is no more a stranger,
And those once so thrilled
Can be left unfulfilled.

And yet who can blame them for normalcy’s dream,
For craving some quiet when life’s been a scream?
While risk has its place
In its white-knuckle pace,
Who wouldn’t wish for
Just a little bit more?
______________________

MPAA rating: PG-13

Now that I’ve gotten around to watching the third Mission: Impossible film, I finally see the unlikely trend that this series seems to have pulled off. Unlike most franchises, its sequels are getting better. Perhaps it was too early to tell that when J.J. Abrams’ third entry hit theaters in 2006, but Mission: Impossible III is easily the best MI so far.

Having shed his long-hair phase and Thandie Newton as his girlfriend-of-the-week, the Ethan Hunt in this threequel is far from the confident flirt in M:i-2; he’s now happily engaged to Julia (Michelle Monaghan) and content to train new agents rather than risk his life in the field, all while keeping Julia and her friends in the dark as to his top-secret career. However, he is soon drawn back to the field to rescue his captured protégé (Keri Russell) and stop a highly dangerous arms dealer (Philip Seymour Hoffman).

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Leave it to J.J. Abrams to once again reignite a series’ potential, and I bet it was this franchise stint that made him desirable to direct the Star Trek reboot three years later, aided by his frequent co-writers Alex Kurtzman and Roberto Orci. From the very first intense scene, he sets the stakes high before flashing back to show how events led there, which isn’t the only Abrams trademark you may notice. (Who else revives characters by pounding on their chest?) Eschewing the over-emphasized slow-motion of its predecessor, this feels like the Mission: Impossible movie I’ve been waiting for. The first two had their defining moments, but M:i:III  has all the twists and turns you’d expect from a spy thriller while building to a surprisingly satisfying conclusion.

Ethan’s desire for a normal relationship and life makes him far more personable than his past appearances, and you can feel his desperation when that life is threatened. Likewise, the villain makes more of an impression, with Hoffman relishing and making the most of his coldly murderous role as black marketeer Owen Davian. One detail I especially liked was the revelation of how those famous face masks are made, including the spy trickery of copying someone’s voice, which is revealed to not be as fast and easy as the second film made it seem.

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As I said, this is a Mission: Impossible film done right. Despite the overly-complex plot and the occasional line of hackneyed dialogue, the twists and fast-paced action kept me entertained from start to finish. My VC even pronounced it as (probably) her favorite Tom Cruise movie. If the other films in the series are supposed to be better than this one, I can’t wait for more. Ghost Protocol, here I come!

Best line: (IMF leader Brassel) “Mr. Musgrave, please don’t interrupt me when I’m asking rhetorical questions.” (Although Ethan’s “I’m gonna die unless you kill me” comes close too.)

 

Rank: List-Worthy

 

© 2018 S.G. Liput
589 Followers and Counting

 

Flavors of Youth (2018)

20 Monday Aug 2018

Posted by sgliput in Movies, Poetry, Reviews, TV, Writing

≈ 1 Comment

Tags

Animation, Anime, Drama, Romance

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I’ve had the chance to learn and grow
From where I was ten years ago,
And though time’s neither fast nor slow,
It’s galloped past me even so.

I know,
I know,
I’m not that old.
Not old enough to be consoled
For past regrets and words untold
When still on destiny’s threshold.

Yet worry knows no age or race.
It’s but a trace time can’t erase,
Not even at its breakneck pace.
And such are truths we all must face
As past and future we embrace.
_____________________

Rating: TV-PG (nothing objectionable, just themes best appreciated by adults)

For those who loved Makoto Shinkai’s Your Name, it’s naturally a grueling wait for his next anticipated feature, but in the meantime, CoMix Wave Films, the production studio for Shinkai’s movies, has filled the gap nicely by teaming with the Chinese animation house Haoliners. In place of Shinkai, Flavors of Youth has three different directors, each delivering a dramatic entry for this Netflix anthology film. Surprisingly, the result is a satisfying substitute that boasts both visual beauty and honest emotion in equal measure (as well as a solid English dub).

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While the names and settings are clearly Chinese rather than Japanese, Flavors of Youth has all the aesthetic quality of a well-crafted anime film, and while Japanese animation can so often be associated with explosive battles and yelling, this belongs to the more introspective and relatable side of anime. The first of the three short stories revolves around a young man’s memories of the San Xian noodles he ate while growing up, which may seem overly simple, but the true-to-life details and poetic narration by narrator extraordinaire Crispin Freeman (of Haruhi Suzumiya fame) added to its impact. The second film was a bit less engaging for me, focusing on two sisters in the fashion world, but the story ended nicely and didn’t detract from the film overall. The third, though, entitled “Shanghai Love Story,” is especially affecting with its likable characters and sad irony, and any fan of Shinkai is bound to admire it.

While the themes are far from niche, I felt that the individual stories were aimed precisely at people like me, twenty-somethings uncertain about the future and nostalgic for good ol’ days which weren’t all that long ago yet seem to be fading before our eyes. The first story best encapsulated these sentiments and the way that memories and regrets always outlive their source. Cherished businesses close, loved ones die, and modern replacements never quite reach the glory of our recollections and hopes.

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Yet unlike some other films I could name (I’m looking at you, 5 Centimeters Per Second), Flavors of Youth doesn’t settle with being depressing and finds hope in the promise that comes with building off those precious memories. This anthology may fall that little bit short of greatness, but those who enjoyed Shinkai’s work, such as The Garden of Words, should not miss it; just don’t expect another Your Name, and certainly nothing supernatural. I feel like I’ve grown fonder of this film since first seeing it, thanks especially to an after-credits scene that barely tied the stories together, and it’s a gratifying sign that Shinkai’s influence is clearly spreading. There are several anime films I’m dying to see this year, especially Maquia and Mirai of the Future, so I’m grateful that Netflix supplied this wistful little film while I wait.

 

Rank: List Runner-Up

 

© 2018 S.G. Liput
589 Followers and Counting

 

Mission: Impossible II (2000)

14 Tuesday Aug 2018

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Tags

Action, Thriller

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The job of the IMF agent
Before he or she needs a coffin
Is mounting impossible missions
For heroes no danger can soften,
Yet lately the best of the bravest
Have been going rogue far too often.

I can’t speak to why these trained agents
Are letting their loyalty lapse,
More focused on garnering riches
Than keeping the world from collapse,
But IMF might try improving
Their benefits package perhaps.
_________________

MPAA rating: PG-13

Now for the second Mission: Impossible film, the one that seems to be widely considered the most inferior of the bunch. I can see why. Mission: Impossible II isn’t necessarily awful, but it’s highly inconsistent, only sometimes feeling like an actual M: I installment as opposed to a rip-off of ‘90s James Bond.

In this entry, Ethan Hunt (Tom Cruise in his thankfully brief long-haired phase) must vie against a rogue IMF agent (Dougray Scott) who aims to steal a deadly bio-engineered virus called Chimera.  I could tell early that this entry would have problems. We first see Ethan free-climbing a high rock formation in the Utah desert, and while it shows off Cruise’s impressive strength for stunts, it also inadvertently echoes that other worst-movie-in-its-series, Star Trek V, which also features Kirk free-climbing in Yosemite. After that, Ethan recruits a thief named Nyah (Thandie Newton) for his team and engages in some awkward scenes of innuendo and seduction that strengthen the James Bond comparison I made earlier and just don’t feel like Mission: Impossible.

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It’s not these faults that drag down M:I 2 the most; that can be summed up in two words: slow motion. I don’t know if this is a trademark of director John Woo or what, but the slow-mo scenes are distractingly frequent, from the long sultry looks exchanged when Ethan first sees Nyah to the mid-action interludes that are thrown in as if to say to the audience, “Look at this! Isn’t it cool?” Sometimes it is admittedly very cool, but there are plenty of other movies that have used slow-mo more judiciously. Except for The Matrix, it’s best when such scenes don’t draw attention to themselves.

I don’t mean to sound like I hated it. Around the midpoint, it does hit its stride with another spy heist that is even more like the one in National Treasure than the first M:I film. And the slow motion aside, the action scenes are still thrilling, while the face mask tactics are even more entertainingly clever, though I’m starting to wonder how those convincing face masks can be applied so quickly.

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There’s extra epicness to the music this time around, and the cast is strong as well, especially the returning uber-competence of Cruise and Ving Rhames and a surprising uncredited role for Anthony Hopkins; plus, I must mention a Lost alert for William Mapother (whose island role was named Ethan, oddly enough) as one of the villain’s henchmen. Despite the world-threatening perils, though, the plot feels strangely shallow, thanks mainly to the short-term chemistry of Thandie Newton, who I don’t believe is in the rest of the sequels. M:I 2 is a good effort, but it ultimately takes the series in a less interesting direction that I sincerely hope the other films will rectify.

Best line: (Mission Commander Swanbeck) “Mr. Hunt, this isn’t mission difficult, it’s mission impossible. ‘Difficult’ should be a walk in the park for you.”

 

Rank: Honorable Mention

 

© 2018 S.G. Liput
588 Followers and Counting

 

Mission: Impossible (1996)

08 Wednesday Aug 2018

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Tags

Action, Thriller

 

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Missions preventing or triggering wars
Are shrouded in subterfuge no one explores,
And those who enact them
Are quick to redact them
With names only spoken behind their closed doors.

Missions accomplished with such secrecy
Are kept as discreet as we need them to be.
And though you and I
Never know how or why,
Such missions are part of what keeps us all free.
__________________

MPAA rating: PG-13

It seems that any franchise I didn’t watch growing up simply has to work up enough buzz for me to finally catch up on it. I’d heard that the first three Mission: Impossible movies had mixed reviews, but with three critically acclaimed entries in more recent years, I think it’s finally time for me to see if Tom Cruise’s spy thrillers are all they’re cracked up to be. I was pleasantly surprised last year when I watched the latest Planet of the Apes trilogy, so I’m hoping for good things. My mission, if I choose to accept it, is to watch all six of the M:I films in the coming weeks and review each one before seeing the next, so that I don’t get confused on which explosion or double cross happened in which sequel. But you have to start with the beginning, and that means the 1996 original.

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Having never seen the 1960s-70s TV series on which it is based, I didn’t have any major expectations, aside from the famous theme music and the self-destructing tape that details a mission, if they choose to accept it. (On a side note, I always thought the tape would cause some big explosion, not just go poof with a little smoke. Isn’t it fun to learn how wrong you are sometimes?) The man listening to that tape is Jim Phelps, played by Jon Voight, but despite the presence of Voight and other stars like Emilio Estevez and Kristin Scott Thomas, we all know Tom Cruise as Ethan Hunt is the star, which becomes even clearer after the mission backfires and shaves down the team considerably. Now suspected as a mole behind the sabotage, Hunt goes on the run to figure out who the real criminal mastermind is.

I suppose I’ll just come out and say it: I liked it. The British have James Bond, and Ethan Hunt is sort of his American counterpart, just with less womanizing and more disguises and hacking. As a product of the ‘90s, the technology in this first Mission: Impossible is unavoidably dated, with spies fighting over floppy disks and a hidden video early on that seemed almost like the quality of a parody. But it also has a twisty plot and the same kind of heist-style infiltration by which my beloved National Treasure was clearly inspired. Though most of the film lacks the daring stunts that the series has become known for, the climax boasts some especially thrilling (albeit CGI) action with a bullet train and a helicopter.

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I do see why my parents never got me into the series early on because this first one apparently trampled all over the original they remembered, particularly the character of Jim Phelps. Those with nostalgia for the original series will likely take offense, but I as a newcomer found a lot to enjoy. I’m still not convinced whether this qualifies as List-Worthy in my book, but I’m excited to continue the series and do think that it has the potential to join my favorites. Now for the supposedly bad one, Mission: Impossible II….

Best line: (tech guy Jack Harmon, describing a gum-like explosive) “Hasta lasagna, don’t get any on ya.”

 

Rank: List Runner-Up (for now)

 

© 2018 S.G. Liput
588 Followers and Counting

 

Genre Grandeur – Maze Runner: The Death Cure (2018) – Rhyme and Reason

03 Friday Aug 2018

Posted by sgliput in Movies

≈ 2 Comments

Here’s my review of Maze Runner: The Death Cure for MovieRob’s July Genre Grandeur for film adaptations of popular novels. Despite its imperfections, the third and final installment of the dystopian Maze Runner series proved to be a bittersweet climax to a solid YA franchise.

movierob's avatarMovieRob

For this month’s next review for Genre Grandeur – Bestselling/Popular Novel Adaptations, here’s a review of Maze Runner: The Death Cure (2018) by SG of Rhyme and Reason

Thanks again to Satu of FairyTale Pictures for choosing this month’s genre.

Next month’s Genre has been chosen by Richard of Kirkham A Movie A Day and it is Swashbuckler Films

Please get me your submissions by the 25th of Aug by sending them to engarderichard@movierob.net

Try to think out of the box! Great choice Richard!

Let’s see what SG thought of this movie:

______________________________________

Maze Runner: The Death Cure (2018)

 


Dangers arise,

And we run for our lives.

Struggles surprise,

And we run to survive.

Lows follow highs,

And our life’s a treadmill.

Fears terrorize,

And we run faster still.

But…

We’ll find in the long run,

As far as we’ve raced,

Each danger remains one

That needs…

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Cartoon Comparison: 3 Godfathers (1948) / Tokyo Godfathers (2003): Christmas In July Blogathon 2018

27 Friday Jul 2018

Posted by sgliput in Movies

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I recently contributed this poem/review to the annual Christmas in July Blogathon over at Drew’s Movie Reviews. It’s one of my Cartoon Comparisons, juxtaposing the western 3 Godfathers with the anime film Tokyo Godfathers, which are both set at Christmastime and share the same basic plot about three social outcasts finding a baby. Drew always hosts a fun holiday party, so be sure to check out the other Christmas in July entries as well.

Drew's avatarDrew's Movie Reviews

Hello, friends!

Today’s first entry marks the beginning of the second half of this here blogathon! Starting the day is a regular in my blogathons. If you are looking for a unique blog, look no further than SG and Rhyme and Reason. SG combines his love of poetry and movies to create interesting and one-of-a-kind posts. I highly recommend giving his site a visit. For this year’s Christmas in July Blogathon, SG is comparing two films: 3 Godfathers, a John Wayne western, and Tokyo Godfathers, an early 2000s anime. Let’s get to it!


Life can embitter you
As you permit her to;
Always and never you’re in her control.
And as her aggressions
Leave deeper impressions,
We’re quick to forget that we each have a soul.

So often confronted
By cynics and hunted
By worries we parry were never our fault,
We grow disenchanted,
Breaths taken for…

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My Top Twelve Characters with Robotic Arms

23 Monday Jul 2018

Posted by sgliput in Movies, Writing

≈ 3 Comments

Tags

Lists

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This is one of those lists for which the concept just came to me out of nowhere and niggled in my brain until I finally had enough for a list. Why? Because robotic arms are just cool, that’s why. While sometimes perceived as an encroachment of technology replacing the human person, they’re usually used as impressive enhancements indicating the technological progress of their owner’s futuristic setting. They’re also a convenient replacement that serves as an ever-present reminder of the trauma of a lost limb. For those who have lost a limb, I look forward to the day when fully functional limbs comparable to the real thing are actually a reality, though that might be a mixed blessing, as you can see in this very dark animated short film.

As for this list, I had to go outside my typical realm of movies in order to get a full twelve. I had considered forgoing the robotic part and sticking instead with any prosthetic arm (think Dr. Strangelove, The Fugitive, and The Best Years of Our Lives), but that’s a list for another time. Eschewing realism, we’re sticking with fully functional robotic limbs, with my selection aided by the likes of television and anime. I’m also not counting characters who are more robot than human, so don’t expect to see the Terminator, Robocop, or DC’s Cyborg on here, despite the fact they technically fit the theme. Thus, here are my Top Twelve characters with robotic arms:

 

  1. Jet Black – Cowboy Bebop

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As the captain of the Bebop, Jet Black is the most level-headed and fatherly member of his crew of interplanetary bounty hunters. A cop before being betrayed by his partner and losing his arm, he keeps his cybernetic replacement limb as a reminder of his former life and mistakes.

 

  1. Ulysses Klaue – Black Panther

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Andy Serkis’s Klaue lost his arm to Ultron’s rage in Avengers: Age of Ultron, but in Black Panther he got a fancy vibranium one complete with a laser cannon. Too bad he didn’t stick around long enough to use it more.

 

  1. Yang – RWBY

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This is sort of a spoiler for anyone who hasn’t watched Rooster Teeth’s ongoing animated web series, but Yang (the Y in the title RWBY) meets the wrong end of a sword and is dis-armed rather traumatically at one point. After a tough time healing, though, she’s come back strong with a cutting-edge replacement.

 

  1. Finn – Adventure Time

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This might also count as a spoiler, but Finn, the human main character of Cartoon Network’s hit Adventure Time, also misplaces his arm, several times actually. After one replacement made of cursed grass turned into a clone of him (this is a weird series), he finally went with a mechanical upgrade, just like his counterpart from another dimension.

 

  1. Claw – Inspector Gadget

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Whether it’s Rupert Everett in the first live-action film or his animated counterpart, Dr. Claw is Inspector Gadget’s most dangerous nemesis and gets this high on the list based on pure nostalgia. Yes, I realize the claw might be considered a hand prosthetic rather than an arm, but I’m allowed to fudge now and then.

 

  1. Violet Evergarden – Violet Evergarden

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The title character of Netflix’s recent anime series Violet Evergarden is a traumatized former child soldier who, after the war’s end, finds a new life as a professional letter writer. Having lost both of her arms, her two mechanical limbs are both strong and remarkably adept at activities like typing on a typewriter. It’s really a good and poignant series, with the tenth episode being one of the most emotional episodes of TV I’ve seen.

 

  1. Furiosa – Mad Max: Fury Road

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In most cases of replacement limbs, suspension of disbelief is required since their operation should involve complicated nerve links and such, so I have no idea how Furiosa’s mechanical forearm that straps into place is supposed to function. But it does, and it makes her that much cooler.

 

  1. Long John Silver – Treasure Planet

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I never said someone on the list couldn’t also have a robotic leg. I hold that Treasure Planet is much better than the gimmicky update some critics called it, and turning Treasure Island’s one-legged pirate into a cyborg was an inspired addition, as well as a neat way to work in CGI to the 2-D animation.

 

  1. Edward Elric – Fullmetal Alchemist franchise

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Here’s another character with a robotic arm and leg, both made out of a material called automail. The adventure of the Elric brothers in this hugely popular anime franchise all stems from an alchemy experiment gone wrong that claims two of Edward’s limbs and his brother’s whole body. Good thing he has access to automail prosthetics, which help facilitate all the fantasy action for which the series is known.

 

  1. Bucky / The Winter Soldier – Captain America/MCU

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I’ll be honest. I sort of developed this list around Bucky. Captain America’s friend-turned-brainwashed-enemy-turned-friend-again was the first character I thought of, with the best robotic arm of recent years. Time will tell if Rocket ever gets his hands on it.

 

  1. Doctor Octopus – Spider-Man 2

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Remember I said I could fudge? Sure, you could say Doc Ock’s robotic appendages are tentacles rather than arms, but the fact that they’re fused to his spinal column makes them limbs in my eyes, and he sure knows how to use them.

 

  1. Luke Skywalker/ Darth Vader – Star Wars

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Most nerds out there probably saw this one coming. I couldn’t choose between father and son, so both Skywalkers share the #1 spot. If you have to lose a limb, light sabers are probably the safest way for it to happen, and at least the Star Wars universe has handy life-like replacements on demand. One day, perhaps we’ll get to that point too. (I can dream, can’t I?)

 

 

And here are some prosthetic runners-up worth mentioning:

 

Tetsuo from Akira – Tetsuo builds himself a robotic arm with his psychic powers, though it doesn’t go well afterward.

Combustion Man from Avatar: The Last Airbender – A bounty hunter after Aang has both a third eye and a mechanical forearm.

Cable (Josh Brolin) from Deadpool 2 – Cable didn’t make the list because I have not seen Deadpool 2, but he’s still worth a mention.

Detective Spooner (Will Smith) from I, Robot – Despite hating robots, Spooner has a bit of robot himself.

Tee Hee (Julius Harris) from Live and Let Die – I barely remember this James Bond movie, but apparently there’s a henchman with a pincer hand?

Kushana from Nausicaa of the Valley of the Wind – The antagonist from this Miyazaki classic has removable hands thanks to some giant killer bugs.

Jonah (Beau Knapp) from The Signal – Alien experiments give abductees strange prosthetics in this sci-fi.

 

Thanks for reading my random nerdy list! Let me know what you think and feel free to tell me of any other robotic arm owners I may have forgotten.

 

Star Trek V: The Final Frontier (1989)

16 Monday Jul 2018

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ 2 Comments

Tags

Action, Drama, Sci-fi

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The final frontier’s waiting.
It waits for those who dare.
For each frontier
That man draws near,
A new one grows elsewhere.

We often think that warnings
Were made to be ignored,
Yet some frontiers
Deserve their fears
And should be unexplored.

But human beings being
What human beings are,
We will not see
Our fallacy
Until we’ve dared too far.
_____________________

MPAA rating: PG

Before recently, I could say that I’d seen all the Star Trek films, from the original series cast to Next Gen to the J.J. Abrams reboots…all of them except Star Trek V: The Final Frontier. Why? Well, I suppose I just assumed it wasn’t worth seeing. My parents always said it was one of the bad ones and never had any desire to see it more than once, so I never did while growing up. But then I thought, “Why should I take their word for it? I ought to find out for myself how to view a Star Trek film!” So I watched The Final Frontier, and you know what? They were RIGHT!

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There’s a commonly held notion that all the even-numbered Trek films are good and the odd-numbered ones are bad. I personally don’t think that holds true for later films, since I didn’t much like Insurrection or Nemesis but love all three reboots, yet it’s films like The Final Frontier that give that kind of theory credence. It’s not unwatchable; it’s not utterly boring like Star Trek: The Motion Picture was, but like that first movie, its story is both ill-advised and far more fitting a small-screen episode rather than a feature-length film. It’s the only Trek film written and directed by William Shatner, and no offense to him, but that’s likely for the best.

After an introduction to the film’s unusually empathetic Vulcan antagonist Sybok (Laurence Luckinbill), we catch up with Kirk, Spock, and Bones on shore leave in Yosemite National Park, which very quickly reveals the problems that will plague this film. The banter is far more forced than in other films, relying more heavily on the proven chemistry of the actors rather than actual wit or humor. A scene with Kirk falling off a cliff and Spock rescuing him features some atrociously obvious green screen and hints that the effects won’t be nearly as polished as in prior films. (ILM was busy with Indiana Jones and the Last Crusade and Ghostbusters II, so a less prestigious effects house was commissioned instead, and it shows.) Plus, a scene with the three amigos sitting around a campfire just felt rather pathetic, Kirk and McCoy trying to teach “Row, Row, Row Your Boat” to Spock. I think my mom once said it was a reminder of how old these actors/characters had gotten, keeping each other company for lack of any families of their own.

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The middle of the film does bounce back a bit, as the malfunction-ridden Enterprise is sent to Sybok’s desert planet to rescue some consuls he has taken captive, only for him to seize Kirk and his ship. It allows for some decent action and even a glimpse into a private trauma in McCoy’s past, thanks to Sybok’s patented form of therapeutic brainwashing. Yet there’s always a sense of this being a second-rate production, from bewildering creative choices (a three-boobed cat woman? Uhura doing a fan dance to distract some guards?) to unavoidable plot holes. Here’s a prime example: Starfleet sends Kirk on this mission, despite his ship’s handicaps, solely due to his experience because hopefully he won’t have to resort to violence to rescue the hostages. However, he opts for an infiltration plan that immediately turns to violence because his transporter wasn’t working. If Starfleet had sent another fully functional ship, they could have just beamed up the hostages, and Kirk’s unparalleled leadership wouldn’t have even been necessary!

By the end, the film nearly falls apart as the Sybok-led Enterprise navigates to a planet at the center of the galaxy where Eden and God supposedly await them. The “dangerous” barrier surrounding it is nothing but a bunch of swirly colors, and when they beam down to the planet, they wander yet another desert landscape while the music swells like we’re supposed to be awestruck by its grandeur. The god they encounter is visualized as a big glowing face that shoots lasers out of its eyes, and…now that I’m describing it, I realize how stupid that sounds. Yeah, it is, and even with the attempt at deep religious questions that might have made a worthwhile episode, the end product just isn’t a very worthwhile film.

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Although I’d easily consider it the second-worst film in the series, Star Trek V has moments where you can see why the filmmakers and actors kept running with it rather than throwing their hands up and starting over. Luckinbill has a great screen presence as the villain, if only he had a better film to antagonize, and it’s hard to hate Shatner, Nimoy, and Kelley in these iconic roles. The film was reportedly plagued by multiple budget problems during filming and post-production, and while some movies can hide such issues, here the end result suffers. The plot is unfocused (a potential romance is teased between Uhura and Scotty but goes nowhere); the humor is largely unfunny; certain elements are introduced, never to be seen again in the franchise, as far as I remember (Spock’s rocket boots, an observation deck with a literal ship’s wheel); and I found it unfortunately easy to mock while watching it, MST3K-style. The plot of Star Trek IV can also sound stupid when you describe it, but it’s all in the execution. There, it worked; with The Final Frontier, it didn’t.

Best line: (McCoy, to Spock) “I liked you better before you died.”

 

Rank: Dishonorable Mention

 

© 2018 S.G. Liput
586 Followers and Counting

 

VC Pick: Flashdance (1983)

12 Thursday Jul 2018

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ 2 Comments

Tags

Drama, Musical, Romance, VC Pick

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While “work all day and dance all night”
May be a habit hard to break,
It pays the bills to underwrite
The hopes believed by us alone,
The quarter-baked ambition-prone,
Who dare to dream for dreaming’s sake,
For people’s dreams are all their own.
___________________

MPAA rating: R (for language, sensuality, and nudity in a strip club scene)

Flashdance is actually a perfect example of a VC Pick, a movie that my VC enjoys far more than I and one that I only ended up seeing after quite a bit of persistence on her part. This slice of ‘80s danciness isn’t all that different from Travolta’s Staying Alive from the same year: underdog dreamer uses their athletic dance talent to hit it big and achieve their professional dream. Instead of a man overcoming a lustful partner, though, Jennifer Beals’ Alex is a welder by day and bar dancer by night who has to overcome her own self-confidence and dare to become a ballet dancer.

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I can see why my VC enjoys Flashdance, at the very least for its dance scenes and soundtrack, which made the rounds on MTV back in its early days and were used effectively to promote the movie. While the film makes an odd but ardent distinction between dancing sensually and scantily clad in a bar to pop music versus actual stripping, it certainly boasts some outstanding dance sequences, most of which don’t really add anything to the plot but at least look good. To complement them, the Grammy-winning soundtrack includes some quintessential ‘80s tunes that still get decent airplay on the radio, from “Maniac” during a particularly strenuous workout to “Gloria” to the Oscar-winning theme song, Irene Cara’s “Flashdance…What a Feeling.”

A few have become iconic pieces of pop culture (the water falling over the chair, the final audition), but some of the less famous dances are just as memorable, from the gyrating “Manhunt” dance by Cynthia Rhodes (also from Staying Alive) to a trippy sequence with Alex and a unique strobing effect. The strobe dance is my VC’s favorite, though my appreciation for it was tempered by my concern for any epileptic viewers. I don’t think they put disclaimers on films of the ‘80s like they did recently with The Incredibles 2, so I can’t help but wonder how many unsuspecting viewers were negatively affected by that scene.

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Aside from the music and dancing, Flashdance is fairly thin, following Alex’s relationship with her boss (Michael Nouri) and her attempts to build up the courage for ballet school. Some scenes depend on how the viewer approaches them: When Alex’s boss follows her home after saving her from a lecherous jerk (Lee Ving), you could easily see it as sweet of him to protect her or borderline creepy since he had been trying to court her and now knows where she lives. (Luckily the movie opts for the former view.) Without the music, Flashdance would be hardly worth watching, but it still manages to leave you with that satisfied dreams-do-come-true kind of glow as the credits roll. My VC loves it, and Jennifer Beals is lovely, but, next time, I’d be just fine watching its music video high points instead of the whole thing.

Best line: (Alex) “I told you, I don’t think it’s a good idea to go out with the boss.”   (Nick, jokingly) “OK. Have it your way. You’re fired. I’ll pick you up tomorrow at eight.”

 

Rank: Honorable Mention

 

© 2018 S.G. Liput
585 Followers and Counting

 

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