Category Archives: Reviews

Alien: Covenant (2017)

05 Wednesday Jul 2017

Posted by in Movies, Poetry, Reviews, Writing

≈ Leave a comment

Tags

, , ,

Image result for alien covenant

When choosing to visit a faraway planet,
Some strange world never examined by man,
Those who can claim to be smarter than granite
May favor caution as part of the plan.

Instead of just landing and waltzing around,
Content to breathe air you know nothing about,
Perhaps wearing helmets would seem rather sound
Or keep parties small, if you have any doubt.

If common sense fails and you go out exposed,
With most of your redshirt crew ready to fall,
You’ll wish you’d seen all that this movie proposed,
Though you may have feared then to leave Earth at all.
___________________

MPAA rating: R

Earlier this year, I made up a Top Twelve list of 2017 movies I hoped would be good, and this is the first of the twelve I’ve gotten to see. I hesitated to give it a watch after hearing of the increased violence and mixed reviews, but my curiosity and loyalty to the Alien franchise won out. So, is it good? Well, sort of and no. It’s a thoroughly mixed bag of a follow-up to 2012’s Prometheus and the first chance Ridley Scott has gotten to directly sequelize one of his own films (since Prometheus was a prequel).

Image result for alien covenant

Unlike many, I quite liked Prometheus, especially upon a rewatch. It’s a different animal than the first Alien, more concerned with thought-provoking philosophical questions than extraterrestrial jump scares, though there are still enough of those for me. Alien: Covenant does indeed return to the dominant horror of Scott’s original film, but it feels more indebted to its predecessors, even if it does spice up some of the familiar beats. For one thing, it’s as if the story of Prometheus has started over, just instead of scientists seeking out humanity’s origins, we have a ship full of colonists headed for a distant new world, again all in stasis and again monitored by a Michael Fassbender android, this time the American-accented Walter. When a Passengers-style space wave damages the ship and kills the captain (James Franco, barely), the remaining crew who awaken pick up a signal from a closer planet and investigate its source as a new potential colony site. As you might imagine, the planet’s infection of alien DNA is out to get them from the start, and there’s a good deal of death and dismemberment, as well as the return of David, the other synthetic Fassbender from Prometheus.

If you liked Alien and Aliens, you’ll enjoy all the scary survival stuff that reminds you of those two, but Scott is still bent on explaining his alien mythos, with David as the creative force behind the biological set-up for the aliens we all know. In doing so, Scott’s bound to divide opinions on what David does and why. In fact, he’s far more interested with David than with the human characters, who are all couples for this colony mission and at least earn token sympathy when their spouses inevitably bite the dust. Katherine Waterston is the prominent Ripley of the group and does a reasonably good job at remaining sane while others make poor decisions out of panic. The acting is secondary, though; where the film excels most is in the dark visual wonder of the planet and the frightening intensity of the action. The double climax at the end may be suspiciously similar to that of Aliens, but it’s ratcheted up to even more thrilling levels. Those two scenes alone were worth seeing on the big screen.

Image result for alien covenant katherine waterston

Yet, two awesome scenes don’t quite make up for the fact that the rest adds up to an unsatisfying mess. (Moderate spoilers in this paragraph!) I had really hoped for more, considering the open questions at the end of Prometheus, where Noomi Rapace’s Elizabeth Shaw took off with David to search for the Engineers. Shaw is sadly only a memory here, with David’s actions toward her only slightly clearer than his intentions, and unless a future film provides another perspective, it’s a frustrating letdown for a character who deserved more. Likewise, casting David as a sort of Frankenstein figure obsessed with creation at all costs is more than a bit perplexing. Fassbender plays him well with a coldly self-righteous zeal, but I wish I knew why David is so enamored with these grotesque alien spawn. He clearly admires human art and music, so why does he see creative humans as unworthy next to these mindless killing machines? And then there’s the end, the twist I easily saw coming which follows a trend in horror movies I dislike where the villain gains the upper hand. It’s chilling but not a way to end a movie, especially when these Alien films aren’t reliable in picking up the plot threads and characters of what came before. It’s like the beginning of Alien 3 tacked on to the end of Aliens; if Aliens had ended like that, it wouldn’t nearly have the same respect it does.

On top of all the disappointing plot developments, Alien: Covenant has far more profanity and gore than its predecessors, which might please fans of those things but are inevitably a turnoff for me. The first two Alien movies may have had their notorious shock scenes, but the rest of the film usually thrived on the terror of what you didn’t see (Dallas in the tunnels, Burke opening that door), which is the kind of tension I prefer over the gruesome sort. I’m also not sure what to make of the film’s religious overtones. Billy Crudup as Oram, the insecure first officer who takes command after the captain’s death, is “a man of faith” and is intent on proving himself reliable and clear-minded, even if it also makes him cruel and unpopular. The trouble is that this early character point goes nowhere. I liked the simple but sincere and unbroken faith of Shaw in Prometheus, but considering what happens to her and Oram, I’m not sure why the subject of faith is even broached.

Image result for alien covenant david

Thus, despite my high hopes, Alien: Covenant was a disappointment, even with its high-quality production, a few truly awesome scenes, and some perceptive literary references. Yet I had a similar initial reaction to Prometheus too, so maybe a rewatch will help, though I doubt it. Scott has stated that he’s willing to keep making Alien movies as long as fans want them, a prospect that doesn’t hold much hope for me anymore since, as much as I want more of this franchise’s strengths, its weaknesses are becoming more and more plain.

Best line: (Walter, with a naïve sentiment the film doesn’t support) “I think if we are kind, it will be a kind world.”

 

Rank: Honorable Mention

 

© 2017 S.G. Liput
491 Followers and Counting

 

2017 Blindspot Pick #6: Saving Private Ryan (1998)

02 Sunday Jul 2017

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

≈ 2 Comments

Tags

, , ,

Image result for saving private ryan

They ran up the hills and across hostile plains.
They learned from their drills and embarked on campaigns.
They slogged through the mud and up bullet-chewed shores.
They spilled others’ blood while they dropped by the scores.

These teachers and writers and miners supplied
Their service as fighters for duty or pride.
They risked life and limb, often lost one or both,
And faced dangers grim that weren’t part of the oath.

They left homes and holes to attack assumed foes.
They charged foolish goals they were told to oppose.
They braved likely death where the angels don’t tread
And gave their last breath with both courage and dread.

Some died on the field, and some died in the tent,
And some made survival their cause to repent.
And most dwell, years past their first sojourn to war,
In graveyards amassed for the ones they fought for.

They stormed into hell, not for heaven’s demand,
But blistered and fell for their nation to stand.
And though you and I fathom not their nightmares,
How deep our thanks lie for the gift that is theirs.
_____________________

MPAA rating: R

Of all my Blindspot Picks this year (I know this one for June is a couple days late), Saving Private Ryan was the one I was most nervous about watching. There’s a reason I hadn’t yet watched this widely acclaimed classic from Steven Spielberg, namely its reputation as one of the more graphic war movies, which as a rule, I usually try to avoid. Yet after enduring the harsh battle scenes of Hacksaw Ridge and still loving it, as well as the current patriotic timing between the D-Day anniversary (June 6) and July 4, now seemed like the right time to finally give Saving Private Ryan a chance. I’m glad I did.

Image result for saving private ryan

Most of what I’d heard of Saving Private Ryan centered on the first thirty minutes, the brutal re-creation of the Normandy invasion. Indeed it’s an impressively intense experience to sit through, even if it’s still only a fraction of what the soldiers involved actually had to endure, among them my own paternal grandfather. It also feels fiercely comprehensive in its depiction of the battlefield, following Tom Hanks’s Captain John Miller from the assault boats up the bullet-riddled beaches under constant enemy fire. The men’s reactions to the nightmarish setting range from terrified and dazed to angry and vengeful, particularly as the repeated attempts to save the wounded prove horrifically futile. There are no cuts away to generals talking or planning or anything to take the viewer out of the moment, and it’s epic and immersive. As for the notorious violence, it’s comparable to the battle scenes of Hacksaw Ridge, though perhaps a bit less constant in its bloodshed than the worst Hacksaw Ridge scenes.

Yet, even beyond the intense opening, the rest of the film has plenty of strengths as well, the strongest of which has to be Tom Hanks. Hanks has always been good in everything I’ve seen of his, and he gives an outstanding performance here, easily worthy of an Oscar, for which he was only nominated. As Captain Miller, he’s a competent leader willing to fulfill his duty, even when his superiors send him on a foolhardy mission into enemy territory to retrieve the titular Private Ryan (Matt Damon), whose loss of his three brothers in battle has earned him a sympathy ticket home. Yet Miller isn’t as tough as nails as he tries to act, sometimes amused at hearing his men guess at his mysterious past, sometimes letting his desperation and grief amidst all the violence show through. Hanks is the touchstone for the whole film, which is important when the rest of the men under him aren’t as distinguishable, at least at first. The film’s long runtime of 2 hours and 49 minutes helps the other men under him stand out a bit, such as Barry Pepper’s praying sniper or Edward Burns’ hothead who rebels at risking lives for the sake of one man. (Until the end credits, I really thought Burns was Ben Affleck for some reason.) Even if I couldn’t keep up with most of their names, all the actors do an excellent job, including Damon, Burns, Tom Sizemore, Giovanni Ribisi, and Vin Diesel. Speaking of characters, I was especially delighted to see a very young Nathan Fillion (Castle, Firefly) as a different Private Ryan and (major Lost alert!) Jeremy Davies as timid interpreter Upham, which is such a strong role for him that I’m surprised this film didn’t make him a more sought-after star.

Image result for saving private ryan

Along the cross-country search for Private James Francis Ryan are individual encounters that convey so much of the horror, callousness, and sacrifice. At one point, Miller’s men rummage through dog tags of the deceased, joking and bantering as if they’re playing cards, only to be reminded that they’re essentially sorting through men’s stolen lives. Later, Upham defends a German prisoner whom the others want to kill, only for his naively righteous motivations to be starkly challenged by the ruthlessness of war. (The way this subplot plays out is like the opposite of a similar aspect of the 2003 film Saints and Soldiers.)  And through it all is the question of whether Private Ryan is worth all the trouble of saving. Does offering Ryan’s mother a little comfort in her grief warrant putting other men’s mothers through the same? How can one man live up to the sacrifices made to rescue him?

Saving Private Ryan is undoubtedly one of Steven Spielberg’s greatest achievements, yet oddly enough, while the film runs through a range of emotions, one of the strongest for me was anger. Why? Because how on God’s blue marble did Shakespeare in Love beat this for Best Picture?!?!?! I mean, really, there is no contest as to which film is grander, better told, and all-around more significant. In my opinion, that has to be the worst Best Picture decision the Academy has ever made, worse even than the La La Land debacle from this past year. I’m sorry, but Saving Private Ryan is clearly the true Best Picture of 1998. At least, Spielberg won Best Director, alongside Oscars for Cinematography, Sound Mixing, Film Editing, and Sound Effects Editing.

Despite all this praise for Saving Private Ryan, I’m left divided on how exactly to rank it on my Top 365 List at the end of the year. As with Hacksaw Ridge, I loved the story, acting, script, patriotic message, and production values, but the violence is a big drawback for me, mainly in diminishing its watchability. While the violence is important for effectively re-creating the savagery of battle, I still feel that sprays of blood and severed limbs are unnecessarily gruesome tools in a filmmaker’s arsenal. At one point, someone is literally blown apart by a bomb they don’t throw away for some reason; I couldn’t tell who it was or why they didn’t chuck the explosive, making the scene unnecessary except for shock value. I just feel that this would have been a slightly more accessible film if it had been edited to avoid some of the gore; I know my aversion to violence puts me in the movie-watching minority, but there must be others who avoid films like this for the same reasons I did (like my VC, who still refuses to see it). Ultimately, though, its strengths far outweigh that personal negative, so I’ll have to figure out later where exactly on my list such a film deserves to be.

Image result for saving private ryan normandy

I have no hesitation in confirming that Saving Private Ryan really is among the best war films ever made. The cinematography and explosive battles augment its epic storytelling while never ignoring the human cost and casualties, and it captures the complicated mess of war, such as casting a disapproving eye at the vengeful cruelty done by Americans while reminding us that self-righteousness is rarely rewarded in battle. The strongest performances by Hanks and Davies should have earned them both Oscars. I can’t say I’d watch Saving Private Ryan often, due to its length and intensity, but few films are better suited for July 4 viewing.

Best line: (Captain Miller, to Private Reiben, who wants to kill a prisoner) “You want to leave? You want to go off and fight the war? All right. All right. I won’t stop you. I’ll even put in the paperwork. I just know that every man I kill, the farther away from home I feel.”

 

Rank: List-Worthy

 

© 2017 S.G. Liput
491 Followers and Counting

 

Educating Rita (1983)

28 Wednesday Jun 2017

Posted by in Movies, Poetry, Reviews, Writing

≈ 1 Comment

Tags

,

Image result for educating rita film

“The brain was not born
To be wasted and worn,”
Said the student with scorn,
“In service of humbler bodily parts.
Instead, it should yearn
For the prospect to learn,
For there can be no higher cause than the arts.”

The worker meanwhile
Said, “Art has its style,
But brains are worthwhile
When used in more practical, down-to-earth ways.
The comfort of chums
Can raise even the slums
To far greater value than poets can phrase.”

Between the two sides,
Each content in their prides,
A woman decides
If worth is found in what one does or one knows.
Whatever her choice,
‘Tis a cause to rejoice,
For not all possess such dilemmas to pose.
___________________

MPAA rating: PG (definitely PG-13 these days, for language)

I’m currently working through college and have had a quality education throughout my life; in fact, it’s been such a constant presence that I know I’ve taken the textbooks and tests for granted, in sharp contrast to so many who haven’t had the opportunity of an education. Does the quality of one’s life depend on the quality of one’s schooling or how many 18th-century poets one can quote? Such is the kind of question asked in Educating Rita, an outstanding based-on-a-play character piece for Michael Caine and Julie Walters, both of whom were worthily nominated for Oscars.

Image result for educating rita film

Walters plays Susan, or Rita as she prefers, a plain-spoken, rather coarse hairdresser whose main dream is to expand her limited working-class knowledge through an Open University program and regular appointments with her alcoholic literature professor Frank Bryant (Caine). Disillusioned as he is with the pretensions of his academic habitat, Bryant is charmed by Rita’s enthusiasm and candidness. While Rita’s husband (Malcolm Douglas) sees little value in his wife’s scholarly pursuits and even actively opposes them when they interfere with his plans, Rita is determined to widen her narrow experience, even if her husband and Bryant himself don’t approve of how it may change her.

I loved how Educating Rita depicted different views of academia, specifically between Rita, who sees learning as a holy grail to lift her from her pedestrian life, and Bryant, who’s been so overexposed to the snobbish airs of the college system that his only escape is the bottle. Frank certainly understands the value of education and poetry, but he has no passion for it anymore, in contrast to his fresh-faced ingénue who gets excited over Macbeth and can answer essay questions with disarming simplicity.

At the same time, it’s an essential point that Rita sees firsthand the intellectual emptiness which isn’t limited to just Bryant, the result of placing artistic culture on such a pedestal that everyday life no longer seems to compare. It’s a stark reminder that artists and art lovers alike can revel in the heights of creativity and success and still find little reason for living (such as Sylvia Plath, Robin Williams, and many others). Interestingly, religion and faith never come up as a significant topic or supplement to scholarship, which I consider a sad reflection on the limitations of humanism.

Image result for educating rita film

While I very much enjoyed the often humorous interactions between Caine and Walters and the debate about the prominence of erudition in one’s life (and, of course, any film with poetry as a major element has my interest), I found the ending a bit wanting, content to affirm Rita’s choices with a satisfying but not quite happy conclusion. I’ve come to appreciate it more with thought, though, since its slight ambiguity upholds the real reason why Rita sought out her studies: not necessarily to change who she was but to educate her enough to allow her a greater choice in life, whether as a hairdresser or a scholar. In the midst of stressful research papers and half-confident tests, it’s easy to forget that the true meaning of education is that very ability to choose, to lift one’s experience high enough to see all the available options and pursue what we will. Happiness isn’t limited to the highbrow elite or the practical proletarian, but it’s perhaps clearer to find for one like Rita who can appreciate both.

Best line: (Denny, Rita’s husband) “In my family, a man has only to look at a woman, and she’s pregnant.”   (Rita) “That’s because you’re all so cockeyed.”

 

Rank: List Runner-Up (very close to List-Worthy)

 

© 2017 S.G. Liput
491 Followers and Counting

 

Storks (2016)

25 Sunday Jun 2017

Posted by in Movies, Poetry, Reviews, Writing

≈ 2 Comments

Tags

, , ,

 

Image result for storks film

I wrote to the storks with a simple request,
A baby, just one, and I wanted the best.
I wanted him perfect, no colic or crying
Or being a pest by not always complying.
And potty-trained too, with no changing a diaper,
And energy neither too boring or hyper.
And give him a lovable heart of pure gold,
To love me, respect me, and care when I’m old.
So when there’s a well-behaved angel on earth
In stock, send at once. (So much simpler than birth!)

And what did those long-necking lummoxes send
But a baby like so many others to tend?!
Since he first arrived, he’s incessantly cried
And stunk before I even brought him inside.
And all the bird left me was this little note:
“We’ve tried to match most of the wishes you wrote.
But you should just know that the son you desired
Has years of hard work of assembly required.”
____________________

MPAA rating: PG

Storks didn’t look all that impressive when it came out last year, just another maverick animated film struggling to reach even DreamWorks quality. When I actually gave it a chance, though, it turned out to be a pleasant surprise, more humorous and heartwarming than I would have guessed, and a solid if hyperactive cartoon that the Warner Animation Group (who also produced The Lego Movie) can be proud of.

There’s no denying that the premise of Storks is a bit gonzo, making an entire, half-baked plot out of the myth of storks delivering babies, which I can only assume was invented so parents could appease their kids’ curiosity without broaching the birds-and-bees speech. In this world, storks have switched from baby delivery to package delivery (after all, someone says, “there are other ways of making babies”), after an incident left them unable to deliver young Tulip to her family. Tulip (Katie Crown) grows up as a ward of the storks’ Amazon-like company called Cornerstore.com, and, after she impetuously activates the abandoned baby factory and creates a little girl, she and the corporate ladder-climbing Junior (Andy Samberg) try to deliver the baby to her family without alerting their authoritarian boss Hunter (Kelsey Grammer).

Image result for storks film

The storyline is loose and frenetic, with enough rapid-fire jokes that the plot often seems like just an excuse to string together random gags. The upside is that many of these gags are actually funny, particularly a baby-loving pack of wolves who somehow manage to morph themselves into vehicles to give chase. While the action draws inspiration from the likes of Monsters, Inc. and Shark Tale, the constant jokes keep it fresh, and things move along at a pleasant clip. Most of the voice actors do good work as well, especially Katie Crown, whose exuberance makes Tulip a lovably upbeat character. The animation is also quite good, easier on the eyes than the hyper-detail of The Lego Movie and occasionally stunning with the bigger set pieces.

That being said, there’s bound to be a joke or two along the way that falls flat, and some do. The worst, though, is the character of an attention-seeking pigeon (Stephen Kramer Glickman) who tries desperately to be integral to the plot, such that the writers obviously thought he was hilarious. Yet his awkwardness is so aggressively unfunny that it drags the film down every time he appears onscreen. If ever there was a side character that needed to be rewritten or cut altogether, it’s the pigeon.

Image result for storks film

Overall, though, Storks was a fun watch with some surprising heart. Despite the innate weirdness of the whole storks-making-babies thing, there are some touching moments and themes, like the value of spending time as a family and achieving a sense of belonging, with some familiar overtones of Meet the Robinsons thrown in. In addition, I liked that there was a subtle, though probably unintentional, pro-life sentiment in how Hunter and Junior refer to the infant as “it” to avoid a connection while Tulip insists on calling it a baby. Storks may be too hyper and scattershot to win any awards or popularity contests, but it’s an amusing jaunt of absurdity.

Best line: (Hunter) “Look at that sunrise. How can you not look at it?”   (Junior, trying to humor his boss) “If I go blind, it’s worth it!”

 

Rank: List Runner-Up

 

© 2017 S.G. Liput
491 Followers and Counting

 

Sense and Sensibility (1995)

19 Monday Jun 2017

Posted by in Movies, Poetry, Reviews, Writing

≈ 4 Comments

Tags

,

Image result for sense and sensibility 1996

Sense is essential for keeping one grounded,
But too much can leave one a bit too well-rounded.
Sensibility’s fancies are quick to believe,
But too much can leave one a bit too naïve.
A good balanced blending of both can perchance
Improve one’s approach to both life and romance.
___________________

MPAA rating: PG

This is another review that could be considered a VC pick, since my VC has been expecting a review of Sense and Sensibility for a while, but this is also a personal resolve for me to finally review this movie before I forget about it. Yes, I’ve seen Sense and Sensibility twice before and could have reviewed it sooner if the details of its plot weren’t so quick to vacate my brain. It’s a shame really that I find it so forgettable because it truly is an excellent adaptation of Jane Austen’s first novel, thanks to the elegant but accessible Oscar-winning screenplay by Emma Thompson, who also stars as Elinor Dashwood.

Image result for sense and sensibility 1996

Elinor and her sister Marianne (fresh-faced Kate Winslet), along with their mother and younger sister, are brought low from wealth to relative poverty when their father’s inheritance all goes to their unsympathetic half-brother. While they make a home in the cottage of some annoyingly garrulous distant relatives, the Dashwood sisters face the hopes and crushing disappointments of 18th-century romance while employing their contrasting approaches to love, namely Elinor’s sense (realism) or Marianne’s sensibility (romanticism).

The entire production has the authenticity of a classic, from the sophisticated costumes to the rolling English countrysides to Ang Lee’s spare but graceful direction (his first English-language feature). Likewise, all the players fill their roles gracefully, especially Thompson and Winslet, who were both nominated for acting Oscars. Alan Rickman also outdoes himself as the thoroughly sympathetic Colonel Brandon, shedding his Hans Gruber-ness with the ease of a seasoned actor. Even Hugh Laurie makes a nice if brief impression as a grumpy husband whose irritability is a humorous contrast to the exuberance of his wife (Imelda Staunton). The only one who seems out of his element is Hugh Grant as Elinor’s semi-beloved Edward Ferrars. While the character is meant to be a bit wooden and “sedate,” Grant captures that stiffness so well that he seems a little too awkward at times.

Image result for sense and sensibility hugh grant

Despite this and even with a potentially ungainly number of characters to keep up with, Sense and Sensibility’s characters are what I most remembered, whereas what actually happens to them, while alternately sad, sweet, or surprisingly funny at the time, just doesn’t make much of an impression once the credits are done. I’m not sure why either, since I easily recognize it as a well-acted incarnation of Jane Austen sensibilities. True, Austen’s stories have never been among my favorites in style or substance, but a good movie is a good movie. Even if it doesn’t live long in the memory for me personally, Sense and Sensibility is still an admirable rendition of this Austen classic.

Best line: (Colonel Brandon, of Marianne) “She is wholly unspoilt.”
(Elinor) “Rather too unspoilt, in my view. The sooner she becomes acquainted with the ways of the world, the better.”
(Colonel Brandon) “I knew a lady very like your sister, the same impulsive sweetness of temper, who was forced into, as you put it, a better acquaintance with the world. The result was only ruination and despair. Do not desire it, Miss Dashwood.”

 

Rank: List Runner-Up

 

© 2017 S.G. Liput
491 Followers and Counting

VC Pick: The Big Chill (1983)

16 Friday Jun 2017

Posted by in Movies, Poetry, Reviews, Writing

≈ Leave a comment

Tags

, ,

Image result for the big chill film

Death follows life follows death once again,
In a cycle we all must confront now and then.

The drama of death, though it separates souls,
Can bond those remaining, for closeness consoles.

And close are the mourning, their lives put on pause
To sing the dead’s praise and forget all his flaws.

To gather in grief, though a hard gift to give,
Reminds us that death can impel us to live.
____________________

MPAA rating: R

This review has been a long time coming, yet another of my VC’s favorites that I’ve been in no rush to revisit simply because my enthusiasm for it doesn’t come close to hers. According to her, The Big Chill ranks among her top 50 movies, and while it never approaches that kind of preference for me, I understand why she and many others consider it one of the best ensemble films ever made.

The Big Chill has two undeniable strengths that any movie would be proud to get right: a brilliant cast and a fantastic soundtrack. The story of seven former high school friends reuniting over the suicide of one of their own seems like a heavy setup, but there’s an abundance of humor and charm to accompany the mortality worries and mid-life crises. Everyone’s bound to have a favorite character, most likely the always appealing Kevin Kline or mustached Tom Berenger or even Jeff Goldblum as the kind of neurotic bloviator he plays so well. Glenn Close, JoBeth Williams, and William Hurt all have their endearing moments as well, some more low-key than others, as does Mary Kay Place, whose character sees the occasion as a chance to beat her biological clock and get pregnant by one of her old buddies. A younger Meg Tilly joins them too as the girlfriend of their dead friend Alex, played by Kevin Costner, even though any scenes with Costner recognizable were cut.

Image result for the big chill filmWhile I had trouble keeping up with everyone’s names (like the fact that there was a character named Meg but not played by Meg Tilly), the chemistry shared by everyone on screen was distinctly felt. Staying in the same house over the weekend and sharing each other’s grief only served to reawaken the natural connections they shared back in the good old days, and it’s no small feat that the actors themselves seemed to exemplify the same kind of relationships. Whether they’re goofing around in front of a video camera or engaging in surprisingly bitter arguments, they’re friends to the end, with an easy-going rapport that never feels contrived, buoyed by writer-director Lawrence Kasdan’s perceptive script and adlibbed moments from the talented cast. I especially liked a time lapse scene of the various characters waking up at different times and drifting into the kitchen throughout the early morning quiet, punctuated by a great punchline.

And then there’s the soundtrack, again ranking among the best out there. Serving as reminiscences of their glory days and sometimes oddly fitting complements to particular scenes, the likes of Marvin Gaye, Smokey Robinson, Three Dog Night, and The Temptations periodically liven the mood. The early funeral procession is especially memorable, accompanied by the Rolling Stones’ “You Can’t Always Get What You Want,” as is the classic kitchen scene with everyone dancing to “Ain’t Too Proud to Beg.”Image result for the big chill film dinner sceneWith all that in its favor, I can honestly say that I enjoyed most of The Big Chill, but the film’s resolutions started to lose me. By the end, the characters start pairing off in ways that try to skirt the issue of marital fidelity, and the solution to Mary Kay Place’s sperm hunt is both affectionately sweet and downright uncomfortable. It’s the kind of cinematic choice that easily engenders differing opinions on whether it’s right or wrong, but I can’t condone it personally. This conclusion and the intermittent profanity may cause The Big Chill to lose some of my esteem, but its talented ensemble of stars that were still rising at the time still make it worthwhile. Ensembles of this caliber are rare these days, and despite a few moral qualms with the plot, I see why my VC is so fond of this character-focused blend of nostalgic fun and drama.

Best line: (Michael, at Alex’s wake) “Amazing tradition. They throw a great party for you on the one day they know you can’t come.”

Rank: List Runner-Up

© 2017 S.G. Liput
490 Followers and Counting

 

 

 

Wonder Woman (2017)

08 Thursday Jun 2017

Posted by in Movies, Poetry, Reviews, Writing

≈ 15 Comments

Tags

, , , , ,

Image result for wonder woman 2017

I wonder what wonders the world has beheld:
More than seven, no doubt,
More than those learned about,
But must they be spectacles unparalleled,
Gloried feats unsurpassed,
Or more simply contrast?

A light among shadows, a gem among stones,
An unshakable stand
Against failure’s demand,
A rare certainty in a world of unknowns,
An encouraging word
That despair hasn’t heard,

A dream among cynics, a float in rough water,
Shooting stars overhead
When all hope was thought dead,
A lamb among wolves with no worry of slaughter—
The world’s wonders don’t last,
But the weak and steadfast
Can find hope in contrast.
_______________________

MPAA rating: PG-13

I honestly never thought I’d see a DC movie on its opening weekend, but a half-planned trip to the theater left Wonder Woman as the most convenient show time available, and the positive reviews I’d heard convinced my VC and me to give it a try. I had come to the conclusion that the DC Extended Universe (DCEU) is a lost cause, with Man of Steel, Batman v. Superman, and Suicide Squad being either unwieldy, joyless, or overblown. Yet here at last is Wonder Woman, helmed by Patty Jenkins, the first female director of a major superhero film, and DC finally gets a movie that can hold its own against Marvel.

I’ll admit I don’t know much about Wonder Woman from the comics and only ever saw her as a member of the animated Justice League on TV, as well as her animated origin film from 2009. The latest live-action movie begins much like its cartoon counterpart, with the Princess Diana (Gal Gadot) of the Amazons residing on the hidden island of Themyscira, training to be a great warrior, until the crash-landing of American pilot Steve Trevor (Chris Pine) awakens her sense of duty and interest in the outside world. Unlike the animated version set in the modern day, 2017’s Wonder Woman has the key difference of taking place during World War I, making its retro setting more than a little reminiscent of Captain America: The First Avenger. (Her origin apparently took place during World War II in the comics, so I guess the change was intended to avoid being too similar to Cap’s first outing.) There are plenty of parallels, from an evil German antagonist (Danny Huston) with a diabolical scientist (Elena Anaya) under him to a climactic sacrifice involving a death-carrying plane, but there’s enough originality here that the similarities never detract from the story.

Image result for wonder woman 2017

The best thing Wonder Woman has in its favor is Gal Gadot. Neither an overly familiar face nor a struggling newbie, she’s an effortlessly perfect fit for the role, her slight Israeli accent giving her an exotic touch while she nails the assertive and noble appeal of the character. She’s also attractive no matter what she does, whether in secretarial incognito or in the heat of battle. And speaking of battle, her first moment of truth fighting against the German army is spectacular, taking ownership of “No Man’s Land” with feats that Lynda Carter could only dream of. Alongside her, Chris Pine is his usual likable self, and while he can’t compare with Diana’s abilities, I liked that he was still an active and valiant match for her rather than a weakling to make her look better. Plus, in contrast to Batman and Superman of late, there’s actually some humor, perhaps not at Marvel’s levels, but it’s refreshing that DC seems to have learned something from the competition. (Suicide Squad may have had more jokes, but it’s a barely connected oddity as far as I’m concerned.)

As much as I enjoyed what is clearly DC’s best film to date, it’s not above a few nitpicks, such as stereotypical villains and one scene with some cynically feminist jabs as Steve and Diana awkwardly discuss sex and marriage. Most of the climactic battle has the same excessive bombast as the end of Batman v. Superman, which I guess is only a negative if you disliked it then. The strongest criticism for me is the muddy mythology that comes to a head toward the end. Wonder Woman has always drawn freely from Greek mythology, which works for the loose backstory at the beginning, and Diana understands Zeus to be man’s creator and Ares to be the corrupting god of war, roles that here distinctly echo the Christian God and devil. She’s convinced with apparent naiveté that Ares is controlling mankind to wage this Great War, and while her understanding is challenged and widened, it’s left in doubt by the end just how right she was and what that implies for history and religion in general.

Image result for wonder woman 2017

If you don’t think about that too hard, though, Wonder Woman absolutely fulfills its potential as the first superheroine blockbuster, and my VC quite enjoyed it as well, even without having seen the previous DC entries. (Coincidentally, the very day I saw it, I came home to find the old 1970s TV show with Lynda Carter on, and compared with that cheese, the film is a masterpiece.) Aside from Gadot herself, I most appreciated the fact that this is a genuinely heroic tale of a warrior discerning why she defends mankind. Not many superhero movies tackle that topic so directly, and especially considering how DC has loused up even the most iconic of heroes, Superman, Wonder Woman’s experiences of both the evil and the noble that man is capable of provide her with a persuasive reason for her defense of the world, beyond the idealistic zeal that she and Captain America had from the start. Her gallantry and girl-power status as a role model are a far cry from the broody skepticism of Batman v. Superman or the psychopathic half-villainy of Suicide Squad, and this “light among shadows” seems to indicate that there might actually be hope for the DCEU yet, though I undoubtedly still prefer Marvel. Wonder Woman may not quite be an unqualified success, but it’s a welcome success nonetheless.

Best line: (Hippolyta, as Diana leaves the island, echoing many parents, I’m sure) “You are my greatest love. Today, you are my greatest sorrow.”

 

Rank: List-Worthy

 

© 2017 S.G. Liput
488 Followers and Counting

 

Eddie the Eagle (2016)

05 Monday Jun 2017

Posted by in Movies, Poetry, Reviews, Writing

≈ 2 Comments

Tags

, , ,

Image result for eddie the eagle film

From way up here, my view is clear,
And all the world extends below.
They wait to see if this wannabe
Deserves this chance and vertigo.

Yet no one thought this soaring spot
Could be achieved by such as me.
They patronized and minimized
My every try and cut me free.

But not this time, this chance sublime,
Unmarred by how they’ve criticized;
I’m flying higher than critics desire
And won’t the scolders be surprised!

I don’t compare in skill or flair
With medalists, but I aspire.
That goal sincere has brought me here.
Now just to land, and I’ll retire.
___________________

MPAA rating: PG-13 (could almost be PG)

One of the most pleasant surprises from last year was how the story of an apparent goofball from the 1988 Winter Olympics exceeded its by-the-numbers genre to become one of the most uplifting films of the year. Inspirational sports dramas are a dime-a-dozen, but I wouldn’t hesitate to call Eddie the Eagle the best underdog story since the 1993 classic Rudy.

That comparison extends to the plucky protagonist whose dogged refusal to give up overshadows his relative lack of athletic ability. Eddie Edwards (Taron Egerton) has dreamed since childhood of going to the Olympics, despite the repeated failures of his clumsy practice runs. All the familiar ingredients are here: a father (Keith Allen) who thinks Eddie’s dreams are a waste of time, an authority figure (Tim McInnerny) who disparages Eddie and does all he can to block the irrepressible upstart,  an embittered coach (Hugh Jackman) who grudgingly agrees to mentor the young dreamer. It’s all so potentially cliché, and yet it’s all done so well, thanks in large part to the unironic exuberance of Egerton as Eddie himself.

Image result for eddie the eagle film

Eddie’s journey is a constant struggle that never seems to faze him, or at least doesn’t keep him down for long. In many ways, he glides along on unrealistic goals and loopholes, choosing to compete as an Olympic ski jumper when he discovers that Great Britain hasn’t had one since the 1920s. If it gets him to the Olympics, it doesn’t matter if he’s completely inexperienced. Yet it’s his unabashed spirit that earns some much-needed sympathy along his way and convinces disgraced former competitor Bronson Peary to coach and support him. Ordinarily, the coach would be the one encouraging his protégé, but Eddie needs no outside encouragement and instead lightens the drunken cynicism of his trainer.

It’s an important development toward the end that Eddie recognizes that his jubilation in the face of apparent failure can be seen as the antics of a fool and addresses those concerns head-on. Ultimately, as the film and a quote from the founder of the Olympics state, it doesn’t matter that Eddie’s best efforts still come up short, just as it didn’t matter that Rudy’s moment of truth was only a single touchdown: the very act of participating and doing one’s best is admirable, and it’s no wonder that Eddie’s tenacious joy and determination captured the hearts of spectators.

Image result for eddie the eagle film

It helps too that the film is designed to be as crowd-pleasing as possible, with a good deal of humor and a deliciously ‘80s soundtrack with well-placed song staples from the time, like Van Halen’s “Jump.” Egerton and Jackman imbue their familiar character types with likable personalities, Egerton lovably nerdy and Jackman ruggedly cool, and are easy to root for. By the film’s breath-holding climax (which surely looks ridiculous to those not in the moment), I was cheering alongside the characters with the biggest smile a movie has given me in some time. Plus, except for some brief sexual dialogue, the film is refreshingly family-friendly and free of profanity.

It’s true that the core story of Eddie the Eagle is far from original and ends on Eddie’s most positive moment with no mention of the fact that his next three attempts to reach the Olympics failed due to eligibility changes. Thus, its inspirational bias may seem contrived to some, but when a film is this uplifting and joyous, who cares? Eddie the Eagle takes its genre and flies high with it.

Best line: (quoting Pierre de Coubertin, the founder of the Olympics) “The most important thing is not the victory but the struggle.”

 

Rank: List-Worthy

 

© 2017 S.G. Liput
487 Followers and Counting

 

2017 Blindspot Pick #5: Blade Runner (1982)

28 Sunday May 2017

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

≈ 4 Comments

Tags

, , ,

Image result for blade runner film

Darkly do the raindrops fall
Upon society’s withdrawal,
No innocence on which to land,
A wet and distant reprimand
On social rust and moral dusk and nobody who cares to feel.

Remember purer days of light?
They pale to darkness’ appetite,
For dark is omnipresent here
And only dreams escape the drear,
Mere memories that spark unease when we mistrust if they are real.
__________________

MPAA rating: R

There’s always bound to be movies out there that others hail as classics and you just don’t see the appeal. That’s Blade Runner for me. I picked it as one of my Blindspots this year because it’s been hailed as one of the greatest science fiction films of all time and its sequel Blade Runner 2049 is due out this October, returning Harrison Ford to one of his many iconic roles. Yet I found the story of Rick Deckard’s hunt for human-like replicants immensely lacking in both pacing and human interest, even as I recognized why it has become so well-respected.

Image result for blade runner film
Based off a Philip K. Dick novel and directed by Ridley Scott following his hit with Alien, Blade Runner is often cited as a touchstone and forerunner for the cyberpunk and neo-noir genres, thanks to its grimy rain-soaked visuals of a future Los Angeles. With flying police cars traversing the neon-lit cityscape, I could clearly see this film’s influence on the likes of Minority Report, Ghost in the Shell, and The Matrix. Ghost in the Shell is perhaps the clearest borrower, also boasting a cerebral plot about man-made androids questioning their humanity, so there’s no denying Blade Runner’s impact on the style of much modern sci-fi. The non-digital effects hold up remarkably well, and the cinematography really heightens the bleak otherness of this particular dystopia.

If only this adeptly stylized world were worth spending time in. For all its technical finesse and shadowy cinematography, the strangeness of this future was a turn-off for me, with some of the surreal posturing of its characters reminding me of Dune from two years later. Whereas Dune was dragged down by a surplus of exposition, though, Blade Runner could have benefited from more, with far too many drawn-out scenes left in tedious silence. (I saw Ridley Scott’s Final Cut, but I understand the original theatrical version has a noir-style narration. Honestly, my curiosity about that difference is probably the only thing that would get me to watch Blade Runner again.) It’s a highly visual film, but the visuals weren’t enough to overcome a lackluster story.

Image result for blade runner film

The actors are all decent for the most part, with Harrison Ford playing a good tenacious policeman but never making much of an impression. Likewise, Sean Young as the femme-fatale love interest fills her role in the noir plot, but there’s not much to her thinly written character or to anyone else’s for that matter. Rutger Hauer is perhaps the most memorable as the main villain, Roy Batty, a murderous replicant who seeks to lengthen the programmed four-year lifespan for himself and his fellow rogues (Brion James, Joanna Cassidy, Daryl Hannah). Yet we never get to know the replicants any more than the human characters, and their plight is only half-felt with any sympathy by the end. Batty’s final scenes are also bizarrely anticlimactic after he chases Deckard like Hannibal Lecter on crack.

I recognize a lot of potential depth to the story, with themes of what makes us human, the unreliability of memories, the moral questioning of doing one’s job, and the despair and anger toward the arrogance of a creator (which Scott also incorporated into Prometheus). Yet none of these themes are compelling or explored with any depth, and the intentional ambiguity of several scenes only heightened their underdeveloped potential. Blade Runner is a film such that I can see how critics could watch it repeatedly and wring profound merit from its narrative, but its reputation as a masterful classic is more merit than this slow story deserves, in my opinion.

Image result for blade runner film roy batty

Owing its R rating to only two scenes (one with nudity, one uncomfortably violent), Blade Runner was quite the disappointment, especially because I typically love science fiction. (I’m not alone too; my equally sci-fi-loving VC was bored and uninterested by the halfway point.) I just don’t understand how a style-over-substance film like this is labeled a masterpiece, when far more entertaining tales, like In Time or Surrogates, are written off as sci-fi hack jobs. The letdown has also spoiled much of my interest in the upcoming sequel, though I’m still curious to see Denis Villeneuve’s take on this world, after the intellectual emotion of last year’s Arrival. Blade Runner is a grittily surreal blending of future and noir, with admirable effects and cinematography and an unmistakable impact on science fiction to come, but it’s also proof that just because something shapes a genre doesn’t necessarily make it a masterpiece.

Best line: (Tyrell, Roy’s designer) “The light that burns twice as bright burns half as long, and you have burned so very, very brightly, Roy.”

 

Rank: Dishonorable Mention

 

© 2017 S.G. Liput
487 Followers and Counting

 

VC Pick: Moonraker (1979)

26 Friday May 2017

Posted by in Movies, Poetry, Reviews, Writing

≈ 2 Comments

Tags

, , , ,

Image result for moonraker

(Best sung to “Moon River” because, as Bond says at the end, “Why not?”)

Moonraker,
Where did you go wrong?
You started off so strong, and yet….
Your sense of humor
Became a tumor
When Jaws in his folly
And Dolly first met.

Filmmakers
Learned from your mistake:
Don’t go, for humor’s sake, too far.
It’s just not the same James Bond style,
Veering juvenile.
Still you make me smile,
Moonraker,
Low bar.
___________________

MPAA rating: PG

I certainly hope it’s mere coincidence that Sir Roger Moore died not long after I watched Moonraker, especially considering that I saw Rogue One the day Carrie Fisher passed. This had better not be a trend for me. Moonraker is easily Moore’s weakest outing as Bond (though also his highest-grossing), but my VC enjoys it and I thought it appropriate after seeing his name in the headlines for the last time recently.

Like most other entries in the franchise, Moonraker follows all the familiar story beats of Bond surviving enemies, confronting a clearly shady industrialist with an accent, seducing beautiful fellow agents, and narrowly saving the world. This installment, though, was clearly meant to capitalize on the growing public interest in space and science fiction, since Moonraker was released just two years after Star Wars and incorporated space shuttles into the plot, predating actual shuttle flights by a couple of years.

Image result for moonraker

Moonraker benefits from the natural charm of Moore, who remains my and my VC’s favorite incarnation of Bond himself, and the explosive escapes and elitist villain played by Michael Lonsdale are perfect fits for this kind of movie. There’s even a nice bit of continuity in the return of the seemingly unkillable henchman-for-hire Jaws (Richard Kiel), who previously appeared in The Spy Who Loved Me. For most of its runtime, Moonraker is an all-around solid Bond flick and then…oh, where to begin?

I never minded the campier elements of Moore’s Bond and always thought he found the right balance of humor to match the debonair action, like when he and Jaws merely smile at each other every time they face off. Yet Moonraker takes it too far, extending beyond good fun into unabashed parody. Whose idea was it to give Jaws a random pig-tailed girlfriend named Dolly and back their love-at-first-sight gaze with the theme from Romeo and Juliet? Likewise, I was willing to stomach the villain’s Noah’s Ark-style space station, but I was left speechless when the U.S. sends a shuttle to investigate and a host of space-suited astronauts quickly engage in a laser battle. Really??? Sure it looks impressive for the time and even earned an Oscar nomination for Visual Effects, and I realize Star Wars was popular, but this is just ridiculous!

Image result for moonraker jaws

I’m not alone in rolling my eyes at the absurdity of Moonraker’s second half, and mixed reviews at the time thankfully led future writers to reel in their overactive imaginations to more reasonable levels of silliness. Even so, Moonraker remains as entertaining as its Bond brethren in most other respects with some impressive stunts and an excellent score by John Barry, and its outlandishness somewhat works as a so-bad-it’s-good advantage. As long as you aren’t looking for Bond to be grounded in reality, it’s a campily fun episode, and Moore, as always, looks like he enjoyed himself as Bond. Even in his weaker efforts, he’ll always be the best Bond for me. RIP, Roger Moore.

Best line: (Drax, with typical Bond villain panache) “Mr. Bond, you defy all my attempts to plan an amusing death for you.”

 

Rank: Honorable Mention

 

© 2017 S.G. Liput
485 Followers and Counting