Tick, Tick… Boom! (2021)

15 Saturday Jan 2022

Posted by sgliput in Movies, Poetry, Reviews, Writing

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We hear all these tales of unlikely success,
Of thousands of no’s that resulted in yes,
Of people achieving their triumph with less
Than anyone else could have guessed was required.

They seem the exception to that wretched truth
That work is not always rewarded, nor youth,
And even those weary and long-in-the-tooth
Have little to show for their being so tired.

But who could have guessed what those blessed ones would do?
What low expectations observed their debut?
And who says that I can’t be one of those few?
And who says that you aren’t exceptional too?
__________________________

MPA rating: PG-13

I suppose the first order of business for 2022 should be reviewing the films that made it onto my end-of-year list for 2021. Considering my fondness for animation, musicals, and superhero films, it’s not surprising that these dominated much of the list, and the only musical of last year that didn’t disappoint at the box office (since it was released on Netflix) was my favorite of the bunch.

Tick, Tick… Boom! is the other Jonathan Larson work, a one-man musical monologue that never made it to Broadway like his hit Rent did five years later. Considering I doubt anyone was clamoring for a film version of this lesser-known “rock monologue” from thirty years ago, it’s clear that this was a passion project. First-time director Lin-Manuel Miranda has written that Tick, Tick… Boom! inspired him when he saw a reworked version performed after Larson’s untimely death, and he even played Larson himself in a 2014 production. It makes sense that Larson’s semi-autobiographical take on the stresses of chasing success in musical theater resonated with Miranda, whose Hamilton shared the role of someone writing “day and night like [they’re] running out of time.” In the case of Jonathan Larson (Andrew Garfield), he struggled to produce his futuristic rock opera Superbia and wrote Tick, Tick… Boom! as an outlet for his creative frustration, even as the 1990s and his thirtieth birthday loomed before him.

I knew nothing about the story going in and was amazed at how fitting it was that I watched it on my own birthday. The very first (and very catchy) song “30/90” laments how quickly the years are outpacing Jonathan’s dreams of making his mark on the world, a sentiment that I can certainly relate to, along with most other twenty- or thirtysomethings out there. Andrew Garfield delivers one of his best performances yet in the lead role, demonstrating he’s a double threat of acting and singing (for the first time apparently). Whether he’s ecstatic over small achievements, harried working for every cent and every note he can muster for the sake of his workshop, or heartbroken by tragic news, he runs the full spectrum of emotions and well deserved his recent Golden Globe win.

Also outstanding are Alexandra Shipp as his girlfriend Susan and Robin de Jesús as his friend Michael, both of whom suffer being left behind by Jonathan’s mania of chasing success even as they sincerely want him to find it. Plus, like Zac Efron in The Greatest Showman, it was nice to see Vanessa Hudgens returning to her movie musical roots as one of the key singers for the show/workshop. The film also incorporates elements that would clearly go on to influence Larson’s next musical Rent, such as several of Jonathan’s gay friends falling to the AIDS epidemic.

Tick, Tick… Boom! has an unusual structure; while most of it is the expected movie musical format (drama with interspersed musical numbers), it’s mixed with scenes of Larson/Garfield narrating on stage with piano and band as if performing the show live to an audience. As a sort of blend of stage play and film memoir, it excels at folding the songs into the narrative as embellishments of the first-person storytelling. There’s really only one moment where the song seriously fails to match the tone, when a sardonically poppy song about relationship problems clashes with an otherwise very serious scene. Regardless of such minor hiccups, the quality of Larson’s music and lyrics speaks for itself, from the gentle guitar of “Johnny Can’t Decide” to the stark piano of “Why” to the full rock ensemble of “30/90” and “Louder Than Words.” In particular, “Why” struck me as an emotionally exhausting performance akin to Anne Hathaway’s “I Dreamed a Dream” in Les Miserables, so Garfield had better get an Oscar nomination.

Every now and then, a movie about creativity and chasing art comes along and speaks to me on an especially personal level, films like Whisper of the Heart or La La Land that often are appreciated by some more than others. Tick, Tick… Boom! is just such a film. I have my own latent plans for a musical that I’ve been toying with for years, and while I have yet to put full effort toward it, watching Larson’s grueling journey and eventual vindication gives me hope that my own efforts won’t be in vain, even if it seems so.

The film is a tribute to both Jonathan Larson and the creative process of musical theater, elevated by Miranda’s personal direction and lots of cameos from Broadway legends that not everyone will recognize. Some cool trivia: Bradley Whitford plays Larson’s idol, the late great Stephen Sondheim, but when Sondheim leaves an encouraging voice mail toward the end of the film, Sondheim himself recorded the lines. All these layers make Tick, Tick… Boom! a clear labor of love and, for me at least, a film to love as well.

Best line: (Jonathan, after a rejection) “So what am I supposed to do now?” (Rosa, his agent) “You start writing the next one. And after you finish that one, you start on the next. And on and on, and that’s what it is to be a writer, honey. You just keep throwing them against the wall and hoping against hope that eventually something sticks. Listen. Little advice from someone who’s been in this business a long, long time. On the next one, maybe try writing about what you know.”

Rank: List-Worthy

THE LIST (2022 Update)

12 Wednesday Jan 2022

Posted by sgliput in Movies, Writing

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Lists

A little later than I usually like, but here is my start-of-2022 update to THE LIST, my top 365 movie list that first got me started blogging eight years ago and has been revised every year since. Of course, there are technically more than 365 since I group most film series together, as well as a few other pairs of similar films that equate to a tie. Now added are the 15 films listed in my Blogiversary post that I watched for the first time last year and are listed in bold below. Nothing was able to crack the Top 100 this time around, but you’ll find both high and low rankers, including Blindspots and Oscar winners. As always, these are my personal and subjective favorites that can easily change with time, and I welcome both agreement and disagreement.

Not that I expect anyone to notice, but there was some shuffling of the order for several films already on the list. The biggest rise went to the MCU’s Spider-Man series, thanks to the boost of No Way Home bringing it from #213 to #113, and other risers include Treasure Planet, Doc Hollywood, and To Sir, with Love (RIP Sidney Poitier). In contrast, Rogue One and Cars lost some ground, but the biggest loss was suffered by Dunkirk, falling from #293 right off the list entirely. (Still a great film, just not one I’ve had much inclination to see again.) It’s almost become a joke that I always leave Psycho at #365 every year, so I just decided to raise it up a few spots since it’s clearly not going anywhere.

Finally, it always tears me up inside, but let’s give a special salute to those formerly List-Worthy entries that had to be cut to make room for new blood: Cloak and Dagger, Indiana Jones and the Kingdom of the Crystal Skull, The Peanuts Movie, The Wind Rises, Captain Marvel, Minority Report, The Count of Monte Cristo (2002), Cowboy Bebop: The Movie, A Bug’s Life, and Dunkirk. They will be missed, but they still count as favorites in my book.

The last few months have been a whirlwind, but I’m finally through with interviews and intense studying. With hopefully more time to relax, I should be able to seek out some great old and new films in the coming year and get back to compiling more lists as well. Thanks again to all readers, likers, followers, commenters, and lovers of film and/or poetry! I truly hope and pray 2022 will be a better year overall than the last two, but either way, we’ll always have movies.

1. The Lord of the Rings Trilogy (2001, 2002, 2003)

2. Mr. Holland’s Opus (1995)

3. Forrest Gump (1994)

4. It’s a Wonderful Life (1946)

5. The Sound of Music (1965)

6. Star Wars Trilogy (1977, 1980, 1983)

7. Finding Nemo (2003) and Finding Dory (2016)

8. Titanic (1997)

9. Toy Story Series (1995, 1999, 2010, 2019)

10. Indiana Jones and the Last Crusade (1989)

11. The Princess Bride (1987)

12. Beauty and the Beast (1991)

13. Groundhog Day (1993)

14. The Shawshank Redemption (1994)

15. The Prince of Egypt (1998)

16. You’ve Got Mail (1998)

17. The Wizard of Oz (1939)

18. The Avengers (2012), Captain America: Civil War (2016), Infinity War (2018), and Endgame (2019)

19. Raiders of the Lost Ark (1981)

20. War Horse (2011)

21. The Incredibles (2004) and The Incredibles 2 (2018)

22. Cast Away (2000)

23. Heart and Souls (1993)

24. Pirates of the Caribbean (2003, 2006, 2007) and Dead Men Tell No Tales (2017)

25. Tarzan (1999)

26. Les Miserables (2012)

27. Ben-Hur (1959)

28. Elizabethtown (2005)

29. Star Trek (2009)

30. The Chronicles of Narnia (2005, 2008, 2010)

31. The Mummy (1999) and The Mummy Returns (2001)

32. Driving Miss Daisy (1989)

33. Oliver! (1968)

34. Whisper of the Heart (1995)

35. Spider-Man Trilogy (2002, 2004, 2007)

36. The Five People You Meet in Heaven (2004)

37. Doctor Zhivago (1965)

38. Babe (1995)

39. The Blues Brothers (1980)

40. Jurassic Park (1993)

41. 84 Charing Cross Road (1987)

42. National Treasure (2004) and National Treasure: Book of Secrets (2007)

43. Ratatouille (2007)

44. The Fugitive (1993)

45. True Grit (1969, 2010)

46. Evita (1996)

47. The Lion King (1994)

48. Inception (2010)

49. When Harry Met Sally… (1989)

50. The Family Man (2000)

51. Chariots of Fire (1981)

52. Star Wars: The Force Awakens (2015), The Last Jedi (2017) and The Rise of Skywalker (2019)

53. Lilies of the Field (1963)

54. Life of Pi (2012)

55. Mary Poppins (1964)

56. Star Trek: First Contact (1996)

57. Glory (1989)

58. Singin’ in the Rain (1952)

59. The Sixth Sense (1999)

60. Back to the Future Trilogy (1985, 1989, 1990)

61. Aliens (1986)

62. Life Is Beautiful (1997)

63. Sherlock Holmes (2009) and Sherlock Holmes: A Game of Shadows (2011)

64. The Phantom of the Opera (2004)

65. Awakenings (1990)

66. Willy Wonka and the Chocolate Factory (1971)

67. Paulie (1998)

68. Home Alone (1990) and Home Alone 2: Lost in New York (1992)

69. The Hunchback of Notre Dame (1996)

70. Big (1988)

71. Jumanji (1995)

72. Somewhere in Time (1980)

73. Star Trek II: The Wrath of Khan (1982)

74. A Christmas Story (1983)

75. Speed (1994)

76. Ferris Bueller’s Day Off (1986)

77. Little Women (1994, 2019)

78. 1776 (1972)

79. High School Musical Trilogy (2006, 2007, 2008)

80. Wit (2001)

81. Serenity (2005)

82. Miracle on 34^th Street (1947)

83. Gone with the Wind (1939)

84. Aladdin (1992)

85. The Greatest Showman (2017)

86. Saints and Soldiers (2003)

87. La La Land (2016)

88. Fantasia (1940)

89. Shadowlands (1993)

90. Hook (1991)

91. Young Frankenstein (1974)

92. The Truman Show (1998)

93. The Ten Commandments (1956)

94. Star Wars Prequel Trilogy (1999, 2002, 2005)

95. October Sky (1999)

96. Saving Mr. Banks (2013)

97. Holes (2003)

98. The Martian (2015)

99. The Pursuit of Happyness (2006)

100. About Time (2013)

101. Mr. Church (2016)

102. Taking Chance (2009)

103. Signs (2002)

104. The Blind Side (2009)

105. Star Trek: Generations (1994)

106. Star Trek VI: The Undiscovered Country (1991)

107. The Santa Clause (1994)

108. Starman (1984)

109. My Fair Lady (1964)

110. The Passion of the Christ (2004)

111. Train to Busan (2016)

112. 1917 (2019)

113. Spider-Man: Homecoming (2017), Far from Home (2019), and No Way Home (2021)

114. On Golden Pond (1981)

115. Brother Bear (2003)

116. WALL-E (2008)

117. The Green Mile (1999)

118. Air Force One (1997)

119. Captain America: The First Avenger (2011) and Captain America: The Winter Soldier (2013)

120. Shrek 2 (2004)

121. The Mitchells vs. the Machines (2021)

122. Star Trek into Darkness (2013) and Star Trek Beyond (2016)

123. Big Hero 6 (2014)

124. To Kill a Mockingbird (1962)

125. The Matrix (1999)

126. The Right Stuff (1983)

127. Terminator 2: Judgment Day (1991)

128. Rogue One: A Star Wars Story (2016)

129. Shuffle (2011)

130. The Mask of Zorro (1998) and The Legend of Zorro (2005)

131. The Color Purple (1985)

132. Jesus Christ Superstar (1973)

133. Ready Player One (2018)

134. Shrek (2001)

135. The King’s Speech (2010)

136. X-Men: Days of Future Past (2014)

137. Iron Man Trilogy (2008, 2010, 2013)

138. The Hunger Games series (2012, 2013, 2014, 2015)

139. Yentl (1983)

140. Men in Black Trilogy (1997, 2002, 2012)

141. Skyfall (2012)

142. The Music Man (1962)

143. Ghostbusters Trilogy (1984, 1989, 2021)

144. Regarding Henry (1991)

145. Alien (1979)

146. The Polar Express (2004)

147. Sleepless in Seattle (1993)

148. Julie and Julia (2009)

149. Airplane! (1980)

150. Castle in the Sky (1986)

151. Darkest Hour (2017)

152. Tick, Tick… Boom! (2021)

153. Secondhand Lions (2003)

154. A Christmas Carol (any version)

155. Grave of the Fireflies (1988)

156. Hacksaw Ridge (2016)

157. Star Trek IV: The Voyage Home (1986)

158. Mrs. Doubtfire (1993)

159. E.T. the Extra-Terrestrial (1982)

160. The Little Mermaid (1989)

161. Die Hard trilogy (1988, 1990, 1995)

162. Soul (2020)

163. Source Code (2011)

164. Spider-Man: Into the Spider-Verse (2018)

165. Planet of the Apes Trilogy (2011, 2014, 2017)

166. Inside Out (2015)

167. Extraordinary Measures (2010)

168. Overboard (1987)

169. Cinderella (1950) / Cinderella (2015)

170. A League of Their Own (1992)

171. The Homecoming: A Christmas Story (1971)

172. Tangled (2010)

173. Nausicaä of the Valley of the Wind (1984)

174. Zootopia (2016)

175. The Untouchables (1987)

176. Spirit: Stallion of the Cimarron (2002)

177. Treasure Planet (2002)

178. Ella Enchanted (2004)

179. Splash (1984)

180. Monsters, Inc. (2001) and Monsters University (2013)

181. Children Who Chase Lost Voices (2011)

182. How to Train Your Dragon (2010)

183. Guardians of the Galaxy (2014) and Vol. 2 (2017)

184. Maquia: When the Promised Flower Blooms (2018)

185. Mission: Impossible III (2006), Ghost Protocol (2011), Rogue Nation (2015), and Fallout (2018)

186. Selma (2014)

187. Doc Hollywood (1991)

188. Knives Out (2019)

189. The Autobiography of Miss Jane Pittman (1974)

190. Chitty Chitty Bang Bang (1968)

191. Enchanted (2007)

192. Up (2009)

193. What’s Up, Doc? (1972)

194. Ant-Man (2015) and Ant-Man and the Wasp (2018)

195. Wolf Children (2012)

196. Jojo Rabbit (2019)

197. Your Name (2016)

198. Coal Miner’s Daughter (1980)

199. Pocahontas (1995)

200. Bill and Ted’s Excellent Adventure (1989)

201. Rudy (1993)

202. Mulan (1998)

203. Hidden Figures (2016)

204. As Good As It Gets (1997)

205. King of Thorn (2010)

206. In the Heights (2021)

207. Les Miserables (1998)

208. Spaceballs (1987)

209. My Left Foot (1989)

210. The Way (2010)

211. Labyrinth of Lies (2014)

212. The Prestige (2006)

213. Extremely Loud and Incredibly Close (2011)

214. Blinded by the Light (2019)

215. The Curious Case of Benjamin Button (2008)

216. Wreck-It Ralph (2012) and Ralph Breaks the Internet (2018)

217. Saving Private Ryan (1998) / The Longest Day (1962)

218. To Sir, with Love (1967)

219. Frozen (2013) and Frozen II (2019)

220. The Dark Knight Trilogy (2005, 2008, 2012)

221. Harriet (2019)

222. The Father (2020)

223. United 93 (2006)

224. Joyeux Noël (2005)

225. Woman in Gold (2015)

226. Twister (1996)

227. Foul Play (1978)

228. Coco (2017)

229. Funny Girl (1968)

230. Rocky (1976), Rocky II (1979), Rocky III (1982), Rocky IV (1985), and Creed (2015)

231. Hello, Dolly! (1969)

232. Indiana Jones and the Temple of Doom (1984)

233. Weathering with You (2019)

234. Shang-Chi and the Legend of the Ten Rings (2021)

235. April and the Extraordinary World (2015) / Sky Captain and the World of Tomorrow (2004)

236. Déjà Vu (2006)

237. Out of Africa (1985)

238. Kramer vs. Kramer (1979)

239. The Hobbit Trilogy (2012, 2013, 2014)

240. Adventures in Babysitting (1987)

241. Hoosiers (1986)

242. Gravity (2013)

243. The Great Escape (1963)

244. The Naked Gun (1988)

245. Jumpin’ Jack Flash (1986)

246. Philadelphia (1993)

247. Raising Arizona (1987)

248. The Jerk (1979)

249. Butch Cassidy and the Sundance Kid (1969)

250. Ghost (1990)

251. Misery (1990)

252. School of Rock (2003)

253. 42 (2013)

254. Other Daniel Craig Bond films – Casino Royale (2006), Quantum of Solace (2008), Spectre (2015), and No Time to Die (2021)

255. Captain Phillips (2013)

256. Vantage Point (2008)

257. Peter Pan (1953)

258. The Terminal (2004)

259. Superman (1978) and Superman II (1980)

260. Eddie the Eagle (2016)

261. Soul Man (1986)

262. Crouching Tiger, Hidden Dragon (2000)

263. Jane Eyre (1970)

264. Phineas and Ferb the Movie: Across the 2^nd Dimension (2011)

265. The Poseidon Adventure (1972)

266. The Girl Who Leapt through Time (2006)

267. Mad Max: Fury Road (2015) and Waterworld (1995)

268. Ride Your Wave (2019)

269. Cloud Atlas (2012)

270. Anastasia (1997)

271. Violet Evergarden: The Movie (2020)

272. Something the Lord Made (2004)

273. X-Men (2000) and X2: X-Men United (2003)

274. Green Book (2018)

275. Surrogates (2009)

276. Lethal Weapon 2 (1989)

277. WarGames (1983)

278. Hidden (2015) / A Quiet Place (2018) and Part II (2021)

279. Cars (2006) and Cars 3 (2017)

280. My Girl (1991)

281. Chronesthesia (or Love and Time Travel) (2016)

282. The Ultimate Gift (2006)

283. The Way Back (2010)

284. Memphis Belle (1990)

285. Dances with Wolves (1990)

286. The Terminator (1984)

287. The Ghost and Mrs. Muir (1947)

288. The Castle of Cagliostro (1979)

289. Casablanca (1942)

290. Rain Man (1988) and Dominick and Eugene (1988)

291. One Cut of the Dead (2017)

292. Pinocchio (1940)

293. City Slickers (1991)

294. The Hundred-Foot Journey (2014)

295. Patema Inverted (2013)

296. Forget Paris (1995)

297. A Silent Voice (2016) / Hear Me (2009)

298. Doctor Strange (2016)

299. Akeelah and the Bee (2006)

300. Murphy’s Romance (1985)

301. Shenandoah (1965)

302. The Red Violin (1999)

303. Arrival (2016)

304. A View to a Kill (1985)

305. Wonder Woman (2017)

306. Con Air (1997)

307. Shazam! (2019)

308. Annie (1999)

309. The Elephant Man (1980)

310. The River Wild (1994)

311. A Beautiful Mind (2001)

312. Finding Forrester (2000)

313. Unbreakable (2000)

314. The Big Year (2011)

315. Starter for 10 (2006)

316. Sinbad: Legend of the Seven Seas (2003)

317. Dave (1993)

318. The Spiderwick Chronicles (2008)

319. Wayne’s World (1992)

320. Robin Hood: Prince of Thieves (1991)

321. The Disappearance of Haruhi Suzumiya (2010)

322. Steel Magnolias (1989)

323. Encanto (2021)

324. Mean Girls (2004)

325. Searching (2018)

326. The Nativity Story (2006)

327. Dancer in the Dark (2000)

328. Solo: A Star Wars Story (2018)

329. Please Stand By (2018)

330. Kubo and the Two Strings (2016)

331. Music and Lyrics (2007)

332. Sister Act (1992)

333. The Abyss (1989)

334. The Breakfast Club (1985)

335. Places in the Heart (1984)

336. Thor (2011), Thor: The Dark World (2013), and Thor: Ragnarok (2017)

337. Homeward Bound: The Incredible Journey (1993)

338. Klaus (2019)

339. In Time (2011)

340. Galaxy Quest (1999)

341. Swiss Family Robinson (1960)

342. Scrooged (1988)

343. A Monster Calls (2016)

344. Wuthering Heights (1970)

345. News of the World (2020)

346. Coma (1978)

347. Trading Places (1983)

348. Ordinary People (1980) and Rabbit Hole (2010)

349. Fiddler on the Roof (1971)

350. Remember the Titans (2000)

351. Seven Samurai (1954) / The Magnificent Seven (1960/2016)

352. Citizen Kane (1941)

353. Psycho (1960)

354. Judas and the Black Messiah (2021)

355. The Conjuring (2013) and The Conjuring 2 (2016)

356. Sneakers (1992)

357. The Great Mouse Detective (1986)

358. Joseph: King of Dreams (2000)

359. Baby Boom (1987)

360. Chicken Run (2000)

361. Hercules (1997)

362. Atlantis: The Lost Empire (2001)

363. The Emperor’s New Groove (2000)

364. The Last Days (or Los Ultimos Días) (2013)

365. The Majestic (2001)

My 8th Blogiversary and 2021 List Additions

03 Monday Jan 2022

Posted by sgliput in Movies, Reviews, Writing

≈ 4 Comments

Tags

Lists

Has it been another year already? Maybe it’s the ongoing pandemic, but it seems like 2021 has flown by in a flurry of studying, work, and the occasional movie. Unfortunately, my review output was the lowest it’s been in my 8 years of blogging (has it really been that long?!), but there was good reason. I know 2021 was a rough year for many, but it was a banner year for my family. Not only did I earn my Bachelor’s Degree, but I got the software job I’ve been working toward for over two years! Now that school is finally behind me, I hope to expand my movie-watching and posting and find more hidden gems.

This year still provided plenty of great films, so it’s time to celebrate my 8^th blogiversary with my annual list of favorites. Take note that this isn’t my top films of 2021, though most are from 2021, since I’m always behind on new releases and have surely missed some good ones from award season (patience, please). Instead, these are my Top Twelve films, old and new, that I saw over the last year. There’s a total of 15 List-Worthy films this time around, better than last year’s 12, so I’ll be posting my updated Top 365 Movies list soon enough.

With the mental anguish that comes with removing films from my Top 365 list every year, I feel like I’m getting more and more nitpicky over what qualifies as List-Worthy. Indeed, there were quite a few films this year that might have qualified in prior years but didn’t quite make the cut this time. So I will preface this list with a mention for the quality List Runners-Up that deserve attention, including Make Way for Tomorrow, A Hidden Life, Resistance, Blade Runner 2049, The Lost Battalion, Coming to America, Sunshine on Leith, Raya and the Last Dragon, Notting Hill, Barb and Star Go to Vista del Mar, Geronimo: An American Legend, Love and Monsters, Dune, The Matrix Resurrections, Hilda and the Mountain King, and Black Widow (which was supposed to be List-Worthy but has been demoted after more consideration). Plus, the filmed stage performance of Hamilton would probably top this whole list, but, as with documentaries, I can’t quite bring myself to count it as a “movie,” which I know is debatable. And just a quick shout-out to the movie-quality TV shows that also aren’t eligible but still awesome, such as Loki, Hawkeye, and Arcane.

I’m always curious to hear what other people’s favorites are, so feel free to share what you liked from the last year of movie-watching. Now, on to the Top Twelve!

12. One Cut of the Dead (2017)

Practically the definition of a hidden gem, this carried-over Blindspot from last year lured me in with its 100% Rotten Tomatoes score, intrigued me with its 37-minute-long tracking shot, and finally won me over with the constantly inventive comedy of the second half. It may look like a low-budget Japanese zombie flick, but there are layers of meta entertainment under the surface.

11. No Time to Die (2021)

I’ll admit I’m conflicted by this finale to Daniel Craig’s run as James Bond, but it is in line with the more dour tone of recent Bond flicks. Even if it doesn’t have much of a sense of fun, it adds unprecedented depth to Bond’s world-saving efforts and brings a fitting close to the interconnected storyline of the last five films.

10. A Quiet Place Part II (2021)

The long-delayed sequel to John Krasinski’s breakout horror hit delivered even more of what made the first so good and injected it with a more original storyline. We have to wait longer to see if it gets the conclusion it deserves, but the Quiet Place films are a perfect example of horror tension done right.

9. Violet Evergarden: The Movie (2020)

My heart! The feels! This emotional conclusion to the Violet Evergarden anime series lays on the melodrama pretty thick at times, but it’s all still utterly poignant. With drop-dead gorgeous animation and a tear-jerking plot that can stand on its own, it’s everything I could have wanted in an ending.

8. Ghostbusters: Afterlife (2021)

Resurrecting classic film franchises has become old hat by now, but Afterlife proved to be that rare cash grab with heart. Transplanting the ghost action to small-town Oklahoma and injecting just the right amount of fan service (some critics disagreed), this final(?) Ghostbusters flick took a page from Stranger Things and made ghost-hunting the kid wish fulfillment it always has been.

7. Shang-Chi and the Legend of the Ten Rings (2021)

While Black Widow and Eternals have gone down in my estimation the more I think of them, Shang-Chi has only gone up. The welcome Asian representation, outstanding martial arts action, and likable protagonists combined into proof that Marvel can still nail an origin story.

6. The Father (2020)

I honestly considered not including this film and keeping it a Runner-Up, simply because it’s a film that hurt to watch. Anthony Hopkins’ Oscar-winning performance as a man suffering from dementia is exceptional, as are the direction and casting that keep the audience guessing what is real, but it also brought back painful memories of my dad’s mental decline. Ultimately, though, I had to give the film its due as List-Worthy.

5. My Left Foot (1989)

The only Blindspot from this year to earn a place on this list, My Left Foot is an exemplar of biographical films. It utilizes a bravura, Oscar-winning performance from Daniel Day-Lewis to elucidate the life of a troubled but admirable man, Irish painter Christy Brown, who was almost fully paralyzed by cerebral palsy. Equally praiseworthy is Brenda Fricker’s Oscar-winning role as Christy’s long-suffering mother.

4. In the Heights (2021)

This film adaptation of Lin-Manuel Miranda’s Tony-winning musical may have flopped at the box office, like most musicals this year sadly, but it certainly impressed me as a newcomer to his pre-Hamilton hit. What In the Heights lacked in famous star power, it made up for in Hispanic pride, slick choreography, and Jon Chu’s exhilarating direction.

3. Tick, Tick…Boom! (2021)

Lin-Manuel Miranda returns once more, this time with his directorial debut of (surprise, surprise) another musical! Andrew Garfield is marvelous in Jonathan Larson’s autobiographical account of chasing his elusive Broadway dreams, tapping into the latent unease of all twenty- and thirtysomethings still waiting to make their mark on the world, me included.

2. The Mitchells vs. the Machines (2021)

The best animated film of the year surprisingly didn’t come from Disney or Pixar but Sony, utilizing a similar vibrant animation aesthetic as Into the Spider-Verse. Despite a plot that seems well-worn, the rapid-fire jokes and feel-good family themes meld into a robot apocalypse road trip worth watching again and again.

1. Spider-Man: No Way Home (2021)

It feels alternately obvious and prosaic to stick this Marvel juggernaut at #1, but I honestly can’t think of a better theater experience or a film that appealed to my inner movie geek more than this one. No Way Home not only wrapped up Tom Holland’s MCU trilogy (for now) with the highest stakes yet but provided closure to Spider-Man films of the past. It’s the best bit of fan service since Endgame, and luckily I’m a fan.

Along with the twelve above, these three films also managed to earn a place on THE LIST:

Encanto (2021)

Judas and the Black Messiah (2021)

News of the World (2020)

And that wraps up another year of movie-watching. As always, below are my unofficial awards for the List-Worthy films.

Best opening scene: In the Heights

Best final scene: Tick, Tick…Boom!

Coolest scene: The Mitchells vs. the Machines

Biggest emotional impact: Violet Evergarden: The Movie

Oldest film: My Left Foot (1989)

Most recent film: Spider-Man: No Way Home (2021)

Longest film: No Time to Die (163 minutes)

Shortest film: One Cut of the Dead (96 minutes)

Best soundtrack: In the Heights or Encanto (Miranda gets it either way.)

Best score: Violet Evergarden: The Movie

Best special effects: Spider-Man: No Way Home

Most mind-bending: The Father

Most family-friendly: Encanto

Most mature: Judas and the Black Messiah

Scariest: A Quiet Place Part II

Funniest: The Mitchells vs. the Machines

Best VC Pick: Cocoon (also the only one this year)

Best male performance: Daniel Day-Lewis in My Left Foot

Best female performance: Brenda Fricker in My Left Foot

Personal favorite poem written: Total Recall

Most represented year: 2021, with ten films

In the next day or two, I’ll post the latest version of THE LIST, my Top 365 movies list updated with the new additions above. And with an old year behind us and a new one ahead, I just want to take a moment to thank all readers, likers, commenters, and followers, particularly any who are still reading this post to the bottom. You are wonderful for even checking out my humble poetry and movie blog, and I wish the best for all of you in 2022.

Finally, here’s a little lookback at the strong cinematic year that was 2021.

2021 Blindspot Pick #12: The Apartment (1960)

31 Friday Dec 2021

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

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Classics, Comedy, Drama, Romance

If the world has left you no control
Of life or love, of plan or goal,
And made you think there’s no escape
From reality in its present shape,
Then I would say it’s worth reminding
You that inertia can be blinding,
Magnifying common stress
Into a mirage of helplessness.

You are still the one who chooses
All of your actions and excuses.
They can change and so can you
With simple thought and follow-through.
____________________________

MPA rating: Approved (nothing explicit but a definite PG-13 for subject matter)

Ah ha! I’ve done it. After school and life got me so behind, I have finally caught up and completed my 2021 Blindspot series before the end of the year! And I’m capping things off with the Best Picture winner of 1960, which fittingly happens to end on New Year’s Eve as well. I’d always heard about how The Apartment was such a classic and decided it was finally time to see why, and it gave me a rare shift of opinion.

When I reviewed Strictly Ballroom years ago, I was flabbergasted at how it started as a movie I couldn’t stand and yet ended up being sweet and romantic in the second half. I had a similar experience here. The apartment of the title belongs to insurance clerk Bud Baxter (Jack Lemmon), though he rarely gets to enjoy it. Based on promises of promotions from his superiors in the company, he agrees to let them use his apartment for their frequent affairs, leaving them a key while he goes out. Even his own manager Mr. Sheldrake (Fred MacMurray) expects his cooperation, and Baxter is pliant enough to just look the other way, at least until he learns of the involvement of his elevator-operator crush Ms. Kubelik (Shirley MacLaine).

Once I was knee-deep into the film, both my VC and I realized we didn’t like the premise one bit, even if we might sound like the fuddy-duddy critics of the ‘60s. There’s hardly anyone worth liking. Baxter’s boss is a proven womanizer, Ms. Kubelik is too weak and besotted to put an end to being used, and Baxter himself, despite Lemmon’s natural genteel charisma, is a spineless enabler to all this adultery, repeatedly taking the blame to cover up his managers’ infidelity. Perhaps Billy Wilder’s direction and witty script are supposed to make up for the moral vacancy of a plot that is probably (and sadly) all too accurate in its depiction of extramarital dalliances, but it wasn’t endearing to me.

And then… it turned a corner. One reckless move to put an end to the whole situation leads to a sudden surge of character growth and accompanying sympathy. Baxter and Ms. Kubelik get a chance to actually talk and bond outside of their passings in the elevator, and the story becomes not just an exposé of the characters’ moral failings but a chance for them to improve themselves. As Baxter’s doctor neighbor (Jack Kruschen) encourages him, “Be a mensch.” The ending left me smiling and satisfied in a way I never would have expected based on the first half of the film.

I still fail to see why it’s lauded as one of the greatest films of all time, but The Apartment proved its worth as a classic, eventually anyway. Lemmon and MacLaine make a perfect pair, and their Oscar-nominated performances run the gamut from screwball comedy to some surprisingly dark moments. The premise still doesn’t appeal to me, but I liked how it is used by the end to further Baxter’s self-confidence and give him something worth caring about more than his job. Like Strictly Ballroom, it’s proof that you should withhold judgment not just from a story’s cover but should probably wait all the way to the end, appraisal-wise.

Best line: (Baxter, referring to her compact) “The mirror… it’s broken.” (Ms. Kubelik) “Yes, I know. I like it that way. Makes me look the way I feel.”

Rank: Honorable Mention

A very Happy New Year to everyone, and here’s hoping for a much better 2022!

2021 Blindspot Pick #11: A Matter of Life and Death (1946)

29 Wednesday Dec 2021

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

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Classics, Drama, Fantasy, Romance

If I should die before I wed,
I pray the Lord won’t keep me dead,
But let me live a longer life
So I can find and woo a wife,
For this film shows there is a chance,
Depending on the circumstance.
_________________________

MPA rating: PG

If it wasn’t obvious, yes, I am in full-on catch-up mode to finish my 2021 Blindspots before the end of the year. I wasn’t sure what to expect from A Matter of Life and Death (released as Stairway to Heaven in the U.S.), the oldest film on my Blindspot list and one that I had heard was as beloved in Britain as It’s a Wonderful Life is here in America. That’s not a bad comparison since they were both released in 1946, in the wake of World War II, and deal with a fantasy scenario of heavenly players appraising a man’s life.

Before British airman Peter Carter (David Niven) jumps without a parachute from his damaged plane, he shares a brief but sincere conversation with an American radio operator named June (Kim Hunter). Somehow, he survives and wakes uninjured on the English shore the next day, quickly seeking out June to begin a relationship with this unexpected chance at life. However, the “Other World” realizes Carter should have died if not for the thick fog that kept his Conductor (Marius Goring, playing extremely French) from collecting him. While a doctor (Roger Livesey) investigates the survivor for brain damage, Carter must appeal to have his life extended, citing his newfound love of June and eventually appearing before a celestial courtroom to plead his case.

Considering I had never heard of it before last year, A Matter of Life and Death was actually a fascinating watch, one whose influence was present even when I didn’t recognize it. For example, the early conversation between Peter and June over the radio before his expected demise was definitely echoed at the end of Captain America: The First Avenger, and Bill and Ted’s Bogus Journey featured a suspiciously similar staircase lined with statues of famous people. However, the biggest inspiration borrower goes to last year’s Soul. Just like Inside Out was not without precedent (Herman’s Head, anyone?), Soul undoubtedly borrowed some of this film’s imagery, from the escalator slowly ascending to “another world” that is never explicitly called heaven to the large round portals that celestial workers look down through to view Earth below, not to mention the repeated name-dropping of famous historical figures. That’s not a slight, of course; I still love Soul, more than this film to be honest, but I enjoy being able to recognize cinematic influences. If anything, it helps me appreciate both the borrower and the original source even more.

That being said, A Matter of Life and Death struggles at times to make the pacing as engaging as its script and imaginative imagery. I know it’s not uncommon in these old movies, but I found it a little hard to swallow that Peter and June would be all lovey-dovey, calling each other “darling,” immediately after meeting in person for the first time, a stretch that comes up in the trial too. Plus, the middle section loses some steam as the plot switches between Goring’s French aristocrat explaining things to Carter and the minutiae of the doctor’s theory about Carter’s medical condition. Similar to yesterday’s Blindspot Anthem of the Heart, there’s intentional doubt as to whether Carter’s celestial deadline and trial are actually real or all in his head, the result of a deteriorating brain injury. The ambiguity is handled better here, allowing enough room for either theory to be true or both even.

When the film really gets intriguing is during the trial of the last third, when a host of thought-provoking themes parade throughout the legal arguments. The prosecutor is an American killed during the Revolutionary War, whose belief in American exceptionalism is matched only by his prejudice against the British, Carter included. While I feel like the film spent more time than needed on the prejudice angle, it was a fascinating debate, with discussions of Britain’s checkered colonial history, America’s melting pot population, and the role of racism in deciding on one’s character. On top of that, the film is rife with poetry, inventive camerawork, and a rare mixture of black-and-white and color, leaving the Other World in pearly whites and shadows while Earth enjoys Technicolor, sort of a reversal of The Wizard of Oz.

There’s quite a bit to appreciate about A Matter of Life and Death, and I feel that further viewings could make me admire it even more. Yet despite its dewy-eyed romance, it’s more cerebral than the sentimentality of It’s a Wonderful Life, which has also benefited from my watching it every year as both a Christmas favorite and my dad’s favorite film ever. One viewing didn’t make this an instant favorite for me personally (which could change in the future), but A Matter of Life and Death deserves its reputation and even greater exposure to American audiences.

Best line: (Abraham Farlan, the prosecutor) “You claim you love her.”
(Peter Carter) “I do love her!”
(Farlan) “Can you prove it?”
(Carter) “Well, give me time, sir. Fifty years will do.”
(Farlan) “But can you prove it?”
(Carter) “Well, can a starving man prove he’s hungry except by eating?”
(Farlan) “Would you die for her?”
(Carter) “I would, but, er, I’d rather live.”

Rank: List Runner-Up

2021 Blindspot Pick #10: The Anthem of the Heart (2015)

28 Tuesday Dec 2021

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Animation, Anime, Drama, Romance

If pens are mightier than swords,
Then speaking what they write is too.
And words no pen or page records
Can leave impressions deep and true
While those who spoke them have no clue.

Invisible, words plant their seeds,
Perhaps to not mature for years.
The flowers can be choked by weeds,
From tactless slurs to whispered fears
That did not settle on deaf ears.

We cannot know their full result
And may not live to see them grow,
But whether child or adult,
Our words outlive us here below.
Beware the seeds that you bestow.
___________________________

MPA rating: Not Rated (a safe PG for light innuendo)

I always like to include at least one anime in my Blindspots, and this is one that I had just never gotten around to watching. The Anthem of the Heart has a strong pedigree with scintillating animation from A-1 Pictures and a screenplay from the queen of emotions herself Mari Okada (who would go on to direct the heart-shattering Maquia). It’s a sweet and sad story that ends up being much more of a teenage romance than a fantasy, and there’s something endearing about its simplicity.

When Jun Naruse was a young girl, she caught sight of her father exiting a love hotel with another woman, and he outright blames her when her big mouth leads to her parents’ divorce. Overcome with guilt, she encounters an egg-like prince who offers to curse her and prevent her from ever hurting others with her words. Years later in high school, Naruse is known in her class and neighborhood for never speaking. When a teacher encourages her and three other classmates to collaborate on a community outreach event, they end up putting on a musical, and Naruse learns that the curse does not limit her when she tries singing her feelings, which include a growing crush on one of her new friends.

Like Sunshine on Leith, I feel like this is a film I ought to love more than I did, what with the lovely animation and the plotline of putting on a musical, which includes original lyrics added to familiar tunes like “Greensleeves” and “Over the Rainbow.” There’s a half-hearted effort at planting doubt as to whether Naruse’s condition is truly fantastical or simply a psychosomatic result of her childhood guilt, and the result is underwhelming albeit more realistic. Likewise, the love triangle/square between Naruse and some of her classmates indulges in dramatic clichés while also trying to buck them in a way that does satisfy but not in the expected way, accentuating the theme that the real world is messier than fairy tales.

Nevertheless, The Anthem of the Heart had its fair share of strong and sincere emotions, with the climax giving me chills the way good musical drama does. Naruse’s concern about words hurting others affects more than just her story, and I liked the way it influences the supporting characters and helps her come out of her shell. The film ends up feeling like a small-scale story worth telling, one that probably would not have gotten as much love and detail put into it outside of the world of anime. It may not be a new favorite of mine, but I certainly hope to see more like it.

Best line: (Naruse) “Don’t tell people to disappear like it’s nothing. Words can hurt people. You can’t ever… You can’t ever take them back! Even if you regret, you can never take them back.”

Rank: List Runner-Up

Spider-Man: No Way Home (2021)

27 Monday Dec 2021

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Action, Comedy, Drama, Sci-fi, Superhero, Thriller

Two worlds diverged in a multiverse,
And neither could know a single choice
Had split their fates to so disperse,
One to grieve, the other rejoice,
But which was better, which was worse?

The first was practical and straight,
Made sense for me and claimed its spoils.
My life it did not complicate
But ruined others’ mortal coils,
Which one could easily blame on fate.

The second took a rougher course,
With heartache sighing “them’s the breaks.”
Others prospered, while remorse
Reminded me of those mistakes
That all accept but none endorse.

If I could see the consequence
From some perspective few attain,
The world that thrived at my expense
Is the only choice I’d entertain,
If I could make all the difference.
_________________________________

MPA rating: PG-13

I think it’s safe to say that Spider-Man: No Way Home is the biggest movie since Avengers: Endgame, in both box office totals and audience enthusiasm. After months of speculation and leaks (which I did my best to avoid), the third entry in Tom Holland’s MCU trilogy promised the franchise’s first real exploration of the multiverse and its infinite possibilities, and it thankfully delivered on the Christmas hopes and dreams of countless fans, me included.

Picking up right where Far from Home left off, with Mysterio posthumously revealing Spider-Man’s true identity, Peter Parker’s life is turned upside down with haters, fans, and consequences ruining his and his friends’ chances at a normal future. When he seeks the help of Dr. Strange (Benedict Cumberbatch), their attempt to overwrite the collective memory of Spider-Man’s identity instead tears a hole in the multiverse, allowing in familiar characters from past Spider-Man films. It becomes apparent to Peter that the interloping baddies, including Doc Ock (Alfred Molina), Green Goblin (Willem Dafoe), and Electro (Jamie Foxx) among others, are equally in need of saving as the people they threaten, and he must make some hard decisions to help everyone he can.

With the walls of the multiverse being punched through, Spider-Man: No Way Home is also the biggest all-out geek-fest since Endgame while also being similarly engrossing but easier to absorb than the multiversal mashup of Into the Spider-Verse. I’ve read critical complaints over the rowdiness of audience members, but I thoroughly enjoyed my theater experience, with fanboys periodically whooping or cheering when awaited characters appeared or knowing references were dropped. Huge credit is due to the cast members returning from past movies, particularly Molina and Dafoe, who effortlessly channel their villainous personas as if it hasn’t been over fifteen years. And while I won’t outright spoil what is perhaps Hollywood’s best-kept open secret, I’ll just say that the film manages to grant closure to the two prior Spider-Man series in a satisfying way that only made me want even more.

One thing that No Way Home has in common with its Spider-predecessors is how its superhero must grapple with the weight of his own mistakes, and this film easily has the biggest stakes of Holland’s solo tenure in the MCU. Over the years, Spider-Man has had his fair share of tragedy, and I feel like the way he responds to it is a key part of what makes him such a universally appealing character. Here, Holland proves his selflessness in trying to assist villains who seemed beyond help in their prior appearances, his belief in second chances being tested to its limit. And through it all, Holland continues to be a wholly endearing Peter Parker with Zendaya’s MJ and Jacob Batalon’s Ned forming a tight group that I hope to see again in future movies. And anyone who wanted to see a Spider-Man/Dr. Strange fight will undoubtedly be satisfied.

If I had to come up with a negative or two, I suppose my expectations were so high that I perhaps wish there had been even more multiverse-enabled cameos, like a glimpse into the aftermath of the other universes. Plus, as much as the film is concerned with handing out happy endings, it was a shame that one character ended up with the short end of the stick, for now at least. Even so, Spider-Man: No Way Home is a comic book movie nerd’s fantasy-come-true. It clearly depends on knowledge of the previous five Spider-Man films for full appreciation (and the mid-credits scene feels a bit shoehorned in), but No Way Home ranks among the best installments of the Marvel Cinematic Universe, an enjoyable ride twenty years in the making.

Best line: (classic in every way) “With great power, there must also come great responsibility.”

Rank: List-Worthy (joining the previous Holland Spidey films)

2021 Blindspot Pick #9: Sunshine on Leith (2013)

24 Friday Dec 2021

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

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Drama, Musical, Romance

(Best sung to the tune of “I’m Gonna Be (500 Miles)” by the Proclaimers)

If you watch this,
You should know they’re gonna sing,
They’re gonna sing their lines as lyrics and a tune.
If you hate this,
You should know it’s gonna sting,
It’s gonna sting ‘cause even cynics aren’t immune.

But I like this,
I like musicals galore,
And by galore, I mean there’s plenty to embrace.
If you don’t like this,
Then it’s better to ignore,
But you ignore what puts a smile on my face.

And I would watch this musical
And I would watch 500 more
If it means they’ll make more musicals,
No matter how the haters roar.
_______________________________

MPA rating: PG (mainly some innuendo)

When I choose my Blindspots at the beginning of each year, I usually don’t give any thought to how exactly I’ll watch them. With so many streaming options nowadays, there must be some way, right? When I decided to watch Sunshine on Leith, I realized that might be difficult, considering the Scottish musical was not on any streaming subscription and apparently had never been released on DVD in the U.S., meaning anything I bought would not be playable on my U.S. player. I was on the verge of having to change my Blindspot choice entirely, but thankfully I checked YouTube, where it happened to have been uploaded by some overseas saint. So note to self, maybe I ought to verify that I can actually find the movies on my Blindspot list before I announce them.

Anyway, I had a strong feeling that Sunshine on Leith would be my kind of movie. A feel-good romantic musical set in Scotland? Yes please! The closest analogue to this film would have to be Mamma Mia!, the jukebox musical that incorporated ABBA’s diverse discography into a mostly coherent storyline. This time, the featured music is that of the Proclaimers, a Scottish duo known for songs that tend to tow the line between rock and barroom folk anthems. Admittedly, I was only familiar with two of their songs, “I’m on My Way” and most famously “I’m Gonna Be (500 Miles),” both of which debuted on the 1988 album Sunshine on Leith, from which the film gets its name.

So, unlike Scottish audiences, I had little internalized fondness for these songs since they were mostly new to me. Yet I still enjoyed the songs quite a bit, even if the performances often lack the wow factor of other musicals. It’s very much in the vein of Mamma Mia!, with characters sometimes breaking into goofy theatrics for an impromptu musical number, and the final rendition of “I’m Gonna Be” is undoubtedly the best, combining the romantic climax with the most fun choreography.

However, in combining songs that were not necessarily written to fit into a narrative, the plot is unfortunately thin. It chugs along in feel-good mode with hardly any conflict before suddenly dropping three different conflicts all at once and resolving one in the space of a single song that didn’t seem to actually address the problem. I’m genuinely impressed by the way musicals like this and Mamma Mia can combine unrelated songs into a cohesive plot; I’ve wished I or someone could do the same for some of my favorite artists, like TWRP, Autoheart, or Coldplay. It can’t be easy, but this is one case where the songs often don’t quite fit naturally, instead making the plot feel overly rushed at times, despite the good performances of actors like Peter Mullan, Jane Horrocks, and George McKay (years before 1917). And yet the songs are also the best parts, causing the non-musical sections to suffer by comparison.

I love musicals, and I liked this one, but I hate to admit that I didn’t like it as much as I wanted to. It has the feel-good romance aspect, paired with elements that try to make it less like a predictable Hallmark movie, and it introduced me to some great Scottish tunes. And while I was concerned that the accents may be hard to understand, I was able to follow along without missing too much. I’d gladly watch it again, so perhaps it will grow on me like Mamma Mia! has. If they’ll actually release the darn thing in the U.S.!

Rank: List Runner-Up

A very Merry Christmas and Happy Holidays to all!

Eternals (2021)

19 Sunday Dec 2021

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Action, Drama, Sci-fi, Superhero

Did you ever get the feeling
That your world was being watched,
Like immortal super-beings
Had been charged with overseeing
All the quandaries and travesties humanity had botched?

Not to worry, for we humans
Can be lovable at times.
Those alien surveyors
Should see man in all his layers,
And our aptitude for love and hope should balance out our crimes.
Right?
______________________________

MPA rating: PG-13

It was obvious long before it hit theaters that Eternals was going to be a gamble for the Marvel Cinematic Universe, just like Guardians of the Galaxy was back in 2014. A movie about a whole team of superheroes that only hardcore comic book fans had even heard of? And then they announced that it would be helmed by critical darling Chloe Zhao, the most Oscar-caliber director since Kenneth Branagh introduced Thor a decade ago (and fresh off her Best Director win for Nomadland earlier this year). With ten diverse but unfamiliar heroes to introduce, I knew Eternals would be a tricky balancing act, so I’m not surprised that it has become one of the most divisive Marvel films. I, for one, enjoyed Eternals quite a bit and disagree with most of the mixed reviews, yet I have my own misgivings that few critics seem to share.

Eternals has the unique standalone feel of early Marvel, with relatively little crossover with the MCU and no cameos of established characters, just picking up the idea of enormously powerful Celestials mentioned in passing back in Guardians of the Galaxy. The Eternals were alien immortals created by the Celestial Arishem to defend Earth against the mysterious animal-like Deviants, which the ten supers battle across centuries with their unique powers. The cast is as diverse as they come, from Sersi (the lovely Gemma Chan, recast from her supporting role as a Kree in Captain Marvel), who can transform whatever matter she touches and takes a liking to our planet, to Sprite (Lia McHugh), who can create illusions and has the body of a child. Plus, there are the leader Ajak (Salma Hayek), the Superman stand-in Ikaris (Richard Madden), the comic relief Kingo (Kumail Nanjiani), the bad boy Druig (Barry Keoghan), the tech wizard Phastos (Brian Tyree Henry), the haunted warrior Thena (Angelina Jolie), the muscle Gilgamesh (Don Lee of Train to Busan), and the speedster Makkari (deaf actress Lauren Ridloff), all of whom like to periodically pose in a line. Setting aside subplots like the mysterious illness afflicting Thena, the plot is largely a get-the-band-back-together journey after the Deviants return to threaten the world, eventually veering off into larger implications as their true mission is revealed.

So yeah, there’s a lot going on, with plenty of exposition and flashbacks to help viewers absorb it all. And honestly, I’m surprised at how skillfully the film handles all of it. The characters are many yet manage to carve out memorable moments for them all, aided by their unique powers and the mythical origins of many of their names, which are indicated to have actually inspired those age-old myths. Some like Makkari don’t fare as well in standing out, but McHugh as Sprite earns some real pathos as she struggles with her inability to age. Other characters are distinguished by the moral debates of how best to use their powers; they may have been instructed not to interfere with human affairs, but it’s understandably hard watching human history play out in all its horrors when they know they have the power to change it. It’s a lot to take in across a long runtime, but I disagree with the criticisms over the pacing and character development simply because of how comparatively well it holds up under its own weight, which could easily have made it a mess. It probably would have been better as a Disney+ series, though.

There’s plenty to admire, from Chloe Zhao’s trademark “golden hour” lighting and artful cinematography to the ever-impressive visual effects when the fists start flying. So what then is the problem? It took a while for me to decide what exactly bothered me about the film’s twist and climax, and it boils down to the fact that it shoots for cosmic answers to questions far above its pay grade. Eternals basically addresses the question “What is the meaning of life?” And I did not like its answer.

Spoilers in this paragraph: According to the movie, Arishem actually created the galaxy and thus life on earth, and the way he is revered by the Eternals clearly paints him as a God-like figure. While he sends the Eternals to fight against the Deviants, the reason for defending humanity is not because he values human life for its own sake. Instead, one could point to the famous battery scene in The Matrix, but instead of that being humanity’s futuristic fate, the MCU has now explained that it was always humanity’s purpose, with the earth’s destruction as the end state. Ignoring the fact that the conflict sounds suspiciously like one of the storylines from Steven Universe, this revelation cheapens life more than I think the film intends. As a Christian, I believe that God created man in His image with a love for every individual, a sharp contrast to Arishem’s temporary benevolence. For viewers who don’t believe in a Creator, perhaps Eternals’ twist is simply a typical sci-fi revelation, one that admittedly does make for an interesting ethical debate as the various Eternals question whether to oppose not just a typical supervillain but the creative process itself. For me, though, it imbues the MCU itself with an uncomfortable nihilism, suggesting that all of mankind’s efforts are worthless in the eyes of “god” and making me question by what standard any right or wrong, love or hatred in this universe can be judged, even at Arishem’s level. Questions like this don’t seem to bother mainstream critics, only being broached by Christian film websites, but I do feel like this subversive trend is an unfortunate departure from the MCU up to this point.

The sheer amount of plot and characters is both a blessing and a curse for Eternals. One could argue there’s too much going on for the film to juggle, but that also means the things it does well can overshadow its thematic or pacing flaws, regardless of what one considers a flaw. The characters are as well-developed as they can be with so many on hand, the often serious tone is still livened by some well-timed humor, and the visuals have an epic scale that rivals the biggest Marvel movies. Despite my qualms over the film’s worldview, I can’t help but admire Zhao’s managing of a film that is clearly intended to set up much of the Marvel universe to come. I just hope those future installments can make up for this one’s missteps.

Best line: (Thena) “We have loved these people since the day we arrived. When you love something, you protect it.”

Rank: List Runner-Up

2021 Blindspot Pick #8: Coming to America (1988)

13 Monday Dec 2021

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Comedy, Romance

The grass is always greener
If you have the right demeanor
To view negatives as novel
And see good in every hovel,
If you welcome every nuisance
And embrace the sad but true, since
You can meet the world sincerely
If you understand it clearly,
For “greener” is subjective
And dependent on perspective.
____________________

MPA rating: R (mainly for language)

With the end of the year fast approaching and my backlog continuing to grow, I’m thinking I’ll need to shorten my reviews to churn them out a bit faster. And my Blindspots are especially in need of catching up. I had hoped to see Coming to America before its long-awaited sequel came out earlier this year, but life had other plans, as life so often does. Silly life…. Anyway, this is one of those ‘80s comedy classics that I’m somewhat surprised that I never watched sooner, simply because of a vague recollection that my mom once said it wasn’t that funny. While I can agree it’s not quite Eddie Murphy’s finest hour, I still found it to be a winning star vehicle for him.

Murphy plays Prince Akeem Joffer, the heir of the fictional African nation of Zamunda, who is tired of having his every need supplied by overly attentive servants. After meeting his yes-woman of a bride-to-be (Vanessa Bell), Akeem decides to go on a trip with his friend Semmi (Arsenio Hall) to find a bride of his own in New York City, whether his traditional parents (James Earl Jones, Madge Sinclair) approve or not. Murphy gets comedic mileage out of the fish-out-of-water scenario, especially because he isn’t offended by NYC’s seedier aspects but embraces them wholeheartedly as a wonderful contrast to his life back home. Even so, several scenes go on too long, such as a tribal dance that would probably be labeled racist if Eddie Murphy wasn’t behind it. Plus, Murphy and Hall both relish in playing multiple colorful side characters, who aren’t particularly funny beyond the impressive makeup and the realization of who’s playing them.

Yet I found myself sold more on the romance than the comedy, as Akeem begins courting Lisa (Shari Headly), the daughter of his boss (John Amos) at a local fast-food restaurant. Their chemistry works especially well, and the humor of his trying to keep his true identity a secret gives way to a heart-meltingly sweet confession of love. I might have liked a little more context around a climactic “reveal,” but Coming to America was a satisfying and fun rom com and a who’s who of African American actors, from the early roles of Samuel L. Jackson and Cuba Gooding, Jr. to the reunion of Roots veterans Amos and Sinclair (not to mention an entirely unexpected cameo from another Murphy film that was worth the price of admission). I also love how Jones and Sinclair were later cast as another African royal couple in The Lion King. As with other Blindspots from that era, I feel like I might have a greater fondness for this film if I’d seen it years ago, but I’m still looking forward to revisiting the characters in the sequel now.

Best line: (Queen Aoleon, to Akeem) “When I first met your father, I was terrified.”
(King Jaffe) “I must admit, I was frightened too.”
(the Queen) “I was so nervous, I became nauseous. But over the years, I have grown to love your father very much.”
(the King) “So you see, my son, there is a very fine line between love and nausea.”

Rank: List Runner-Up

	associatesofshellyma… on My Top Twelve La La La So…
	Kit Nichols on Bonnie and Clyde (1967)
	lifelessons on Look Back (2024)
	Carol Jackson on The Thief of Bagdad (1940…
	Stephen on Love Story (1970)

Rhyme and Reason

~ Poetry Meets Film Reviews

Category Archives: Writing

Tick, Tick… Boom! (2021)

THE LIST (2022 Update)

My 8th Blogiversary and 2021 List Additions

2021 Blindspot Pick #12: The Apartment (1960)

2021 Blindspot Pick #11: A Matter of Life and Death (1946)

2021 Blindspot Pick #10: The Anthem of the Heart (2015)

Spider-Man: No Way Home (2021)

2021 Blindspot Pick #9: Sunshine on Leith (2013)

Eternals (2021)

2021 Blindspot Pick #8: Coming to America (1988)