VC Pick: Tombstone (1993)

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Since this town was sprung up from the ground
And the pioneers came
And the money came round
And it earned its fame
Being anything but tame,
Many drinks and fears were both poured and downed
At the unembellished name
Of Tombstone.

Curing wanderlust with its drinks and dust,
It soon started to draw
Folk you could not trust,
For there was no law
When the West was raw
Till a man moved in to defend what’s just
When he reached his last straw
In Tombstone.
___________________________

MPAA rating: R

Once again, I fear I’ve been neglecting my dear VC, who hasn’t gotten one of her movies reviewed in well over a month. This time, she picked Tombstone, an all-star western that I’m honestly surprised I hadn’t seen before. As a sweeping retelling of the events surrounding the gunfight at the OK Corral, it provides a fictionalized but surprisingly comprehensive look at the law enforcement career of Wyatt Earp and Doc Holliday.

I knew only the most general background information about the shootout at the OK Corral involving Wyatt Earp and the Clantons, but Tombstone offered quite a bit of context with its large ensemble cast. Not only do we see Wyatt Earp’s arrival in Tombstone and the increasing tension between his family and the violent gang called the Cowboys, but we get to find out the aftermath of the OK Corral incident, which could have ended the film as its climax.

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Earp himself, played by a tough-as-nails Kurt Russell, is a well-known badass trying to retire from his days as a peace officer, yet an early confrontation with an unrecognizable Billy Bob Thornton confirms he can still put the fear of God in bad guys. Once we’re introduced to his family and sick friend Doc Holliday (Val Kilmer), it’s only a matter of time before his attempted retirement yields to bloodshed and vengeance as the Cowboys threaten the peace.

Like Silverado, another favorite western of mine, Tombstone boasts a staggering number of famous faces, some of them before they became famous. Russell is a fantastic Wyatt Earp, while Kilmer brings an unflinching swagger to an all-around pip of a role, which is considered one of his very best with good reason. Since my VC is a huge fan of Sam Elliott, his appearance as Wyatt’s older brother explains in part why she likes this movie so much, but there’s also Bill Paxton as the other Earp brother, Powers Boothe as wicked “Curly Bill” Brocius, Michael Biehn as fearsome Johnny Ringo, Stephen Lang and Thomas Haden Church as two Clantons, Dana Delany as Wyatt’s love interest, and Billy Zane as a visiting actor. That’s not even mentioning the smaller roles for the likes of Charlton Heston, Dana Wheeler-Nicholson, John Corbett, Michael Rooker, Harry Carey, Jr., Gunsmoke’s Buck Taylor, Jason Priestley, and (Lost alert!) Terry O’Quinn as Tombstone’s mayor. It’s hard at first for me to keep up with the less familiar faces, but the biggest stars stand out with strong support from the ensemble around them.

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I suppose I ought to see Kevin Costner’s Wyatt Earp from the following year for comparison’s sake, but it would be hard-pressed to top this western epic. While liberties are taken, there were many events and details that I was surprised to learn were true upon researching afterward, such as the fate of Johnny Ringo, which is a point of historical mystery yet was worked plausibly into Tombstone’s plot. Russell and Kilmer are in top form here, and Boothe and Biehn make for genuinely despicable villains from their very first scene. I wouldn’t hesitate to put Tombstone high among the top ten westerns I’ve seen, and it would likely make my Top 365 List if only I was more partial to the western genre. (True Grit is still my favorite.) As it is, I enjoyed Tombstone for its strong performances, excellent script, and historical interest; it’s the kind of movie that makes me want to like westerns more.

Best line (simple but great characterization): (Turkey Creek Jack Johnson) “Doc, you oughta be in bed. What the hell you doin’ this for anyway?”
(Doc Holliday) “Wyatt Earp is my friend.”
(Johnson) “Hell, I got lots of friends.”
(Doc) “I don’t.”

 

Rank: List Runner-Up

 

© 2018 S.G. Liput
568 Followers and Counting

 

Avengers: Infinity War (2018)

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This world on a string is a curious thing
That somehow survives as it wildly swings
From one bad extreme to another bad dream
Of another madman with another sad scheme.

And it faces such ever diminishing odds
By placing its faith that once used to be God’s
On those who will fail, work to little avail,
And find their travails could not tip any scale.

We humans are like that, more stubborn than wise
And shocked when our heroes crash land from the skies.
When times are turned dire, those fighting the fire
May once have drawn ire in calmer days prior,
But now we require someone to inspire,
A failure but trier, a phoenix highflyer.
________________________

MPAA rating: PG-13

It says a lot that I still have not watched Justice League, yet I had to see Infinity War on its opening weekend. Marvel just knows how to do these huge mash-up franchise films better than anyone else, and their consistency has only helped their blockbuster reputation. Coming ten years after the original Iron Man, Infinity War is the culmination of all that came before, and we’ve been eagerly awaiting it ever since that first glimpse of Thanos in the after-credits scene of The Avengers. So then, did it live up to the hype? I’d have to say yes.

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Veiled in cinematic secrecy and a host of fan speculation, Infinity War is hard to write about with any level of detail lest spoilers abound. However, I’ll try to stick to the known facts. Fed up with all the appearances of Infinity Stones that don’t end up in his possession, feared overlord Thanos (Josh Brolin) has finally decided to gather the six reality-shaping rocks himself, with the help of four nasty and powerful disciples. You may not have kept up with the Stones’ locations after eighteen movies, but they’re well spread out across the galaxy, with Earth housing two to make it a prime target. Stepping up to the plate to defend the universe, we have the vast majority of the MCU’s heroes, from the Guardians of the Galaxy to Thor, Iron Man, Captain America, and over a dozen others.

One of my favorite MCU films thus far was Captain America: Civil War, which did an outstanding job at introducing the old guard to new favorites and making the resulting combination both exciting and moving. Infinity War has the same exact team, from directors Anthony and Joe Russo to screenwriters Christopher Markus and Stephen McFeely, so it should be no surprise that they do the same here. Yet it is a surprise and a pleasant one, considering how many disparate characters and storylines had to be brought together for this defining moment of the MCU, and they do it better than I could have imagined possible.

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The huge cast is wisely broken up into well-chosen groups, such as Iron Man, Doctor Strange, and Spider-Man, whose banter bounces off each other wonderfully, as do Thor and the Guardians. Thanos himself has a well-developed if crazily evil motivation (wiping out half of all life to help the remaining half) and proves he’s no slouch, despite merely sitting in a chair up to this point. He might be the best villain the MCU has produced, if you don’t count Loki. It’s amazing how well everyone else is balanced, though. Each character still has their established personality, and everyone has a moment to shine, which is not easy with such a large ensemble, as evidenced by the Star Trek: Next Gen movies for example. Even with all the dark, universe-shattering moments, there’s still a welcome amount of humor to keep the entertainment level high, as if the truly awesome action wasn’t enough. The clashes between Thanos’s side and the Avengers are stupendous, especially a final battle set in Wakanda, which had several moments that got parts of my theater cheering. (It’s curious, though, that the iconic scene in the top picture was apparently a publicity shot and not actually in the movie.)

Yet for all its strengths, it’s doubtful that you’ll walk out of Avengers: Infinity War smiling at having just seen an amazing superhero movie. Everyone in my theater walked out rather quietly. The stakes are as high as they’ve ever been, and Marvel has taken quite a risk with their episodic format, not unlike the cliffhanger of The Empire Strikes Back. At least we only have to wait one year for the follow-up instead of three. The cynical and those who’ve seen Marvel’s future film line-up will know not to take Infinity War’s ending too personally, which is why there aren’t riots and demands for it to be stricken from the canon, a la The Last Jedi. We know (or hope) that things will turn around in the sequel, but Infinity War still deserves credit for its haunting conclusion and managing to surprise even the most jaded of comic book-weary viewers.

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Some may call Infinity War overstuffed with its sprawling cast and 166-minute runtime, yet it never felt as bulky as, say, Age of Ultron, which I found hard to stay awake during recently. There’s so much coolness on display that it is hard to take in all in one go, especially with an ending that monopolizes your final thoughts, but I still loved it both because of and despite its high stakes. It is unfortunate that the successes of some past films feel hollow after this one, especially Guardians of the Galaxy and Thor: Ragnarok, but only the sequel can resolve the huge questions raised, most notably “What now?” One thing is for sure: everyone who watches Infinity War will definitely see its follow-up, so Marvel’s done its most basic job well. They’ve created both a financial juggernaut and a huge, thrilling, poignant superhero extravaganza that only leaves me wanting more. After all, there is much to avenge.

Best line: (Peter Parker, pointing to Drax and Mantis) “What exactly is it that they do?”   (Mantis) “We kick names and take ass.” [Tony’s reaction is priceless.]

 

Rank: List-Worthy

 

© 2018 S.G. Liput
567 Followers and Counting

 

NaPoWriMo 2018 Recap

Once again, National Poetry Writing Month has come to an end, and looking back, it’s hard to believe that I was able to keep up for the most part. The last two days’ poems were a bit delayed, but thirty poems in thirty days still makes me tired just thinking about it, though it helped that I had some of my reviews already done in reserve to speed up the process. The fact that I finished up my semester projects at the same time just adds to the exhaustion.

Yet I also read some great work by other poets, found inspiration, and got to see and review some really phenomenal movies this month, most of which were fairly recent due to my catching up on films of late, so I thought I’d post another recap of my NaPoWriMo exploits. A huge thank you to everyone who liked, followed, and commented along the way, and to everyone else who participated in NaPoWriMo this year, I’d like to say “Well done!”

 

April 1 – The Greatest Showman (2017) – Top-100-Worthy (my favorite movie reviewed this month)

April 2 – Marjorie Prime (2017) – List Runner-Up

April 3 – Trollhunter (2010) – List Runner-Up

April 4 – Wonderstruck (2017) – Honorable Mention

April 5 – Munyurangabo (2007) – Honorable Mention

April 6 – Fits and Starts (2017) – List Runner-Up

April 7 – The Breadwinner (2017) – List Runner-Up

April 8 – Chronesthesia (Love and Time Travel) (2016) – List-Worthy

April 9 – Girls und Panzer der Film (2015) – List Runner-Up

April 10 – The Man Who Invented Christmas (2017) – List Runner-Up

April 11 – When We First Met (2018) – Honorable Mention (my personal favorite poem this month)

April 12 – Bad Lucky Goat (2017) – Honorable Mention

April 13 – The Best Years of Our Lives (1946) – List Runner-Up

April 14 – 50 First Dates (2004) – List Runner-Up (my most popular post this month)

April 15 – Thor: The Dark World (2013) – List-Worthy

April 16 – Jumanji: Welcome to the Jungle (2017) – List Runner-Up

April 17 – The Last Days (2013) – List-Worthy

April 18 – The Darkest Hour (2011) – Honorable Mention

April 19 – Still Mine (2013) – List Runner-Up

April 20 – Darkest Hour (2017) – List-Worthy

April 21 – Ready Player One (2018) – List-Worthy

April 22 – April and the Extraordinary World (2015) – List-Worthy

April 23 – Pitch Perfect 3 (2017) – Honorable Mention

April 24 – In This Corner of the World (2016) – List Runner-Up (for now)

April 25 – Pirates of the Caribbean: Dead Men Tell No Tales (2017) – List-Worthy (due to joining its predecessors)

April 26 – The Light Between Oceans (2016) – Honorable Mention

April 27 – Mojin: The Lost Legend (2015) – Honorable Mention

April 28 – A Monster Calls (2016) – List-Worthy

April 29 – True Lies (1994) – List Runner-Up

April 30 – Clue (1985) – List Runner-Up (my Blindspot pick for the month)

 

Now to rest a little and write my poems and reviews at a more relaxed pace. As always, I’m still looking forward to next year’s NaPoWriMo, so have a wonderful year until then!

2018 Blindspot Pick #4: Clue (1985)

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(This is my last poem/review for NaPoWriMo, still playing catch-up. Yesterday’s final NaPoWriMo prompt was for a poem dealing with a strange or obscure fact, so I just included a lesser-known one about the famous board game.)

 

Someone is dead, but all others must stay,
For once his heart stops
And we wait for the cops,
It’s time to determine who made him that way.

Someone is dead, and someone here did it.
They picked a good room
To exact the man’s doom
With one of these weapons, since nobody hid it.

Someone is dead, and Miss Scarlet’s suspicious.
Old Mustard looks nervous,
The maid’s out of service,
And both Plum and Peacock appear most pernicious.

Someone is dead; White shows little contrition
And might have begun it,
Or Green could have done it,
Or maybe Miss Peach (in an ‘80s edition).

Someone is dead; someone offed him, but who?
It’s time to be candid
And catch them red-handed,
For every detail is considered a clue!
________________________

MPAA rating: PG

For me, Clue is sort of like The Goonies, an ‘80s film that seems to have developed a cult following out of nostalgia yet I never got to see it as a kid, which is when I probably would have loved it even more. As it is, I truly enjoyed this campy comedy and see why it is considered one of the only good adaptations of a board game.

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It’s been so long since I played Clue that I don’t really remember the gameplay, only the variety of characters, locations, and weapons, all of which are included in its film version. The beginning is a bit too slow, but it introduces us one by one to the collection of fake-named strangers who arrive at a mansion on a dark and stormy night: Colonel Mustard (Martin Mull), Miss Scarlet (Lesley Ann Warren), Mrs. White (Madeline Kahn), Mr. Green (Michael McKean), Mrs. Peacock (Eileen Brennan), and Professor Plum (Christopher Lloyd). (Kellye Nakahara from M*A*S*H also has a cameo as the Cook.) All of them are greeted by the house’s butler Wadsworth (Tim Curry) and are soon confronted by Mr. Boddy (Lee Ving), the man who has been blackmailing all of them and who soon ends up dead under mysterious circumstances, leading those gathered to try to figure out who killed him, where, why, and with what weapon.

How much you enjoy Clue likely depends on your capacity for campiness. My VC, who had also not seen Clue before, wished that events had played out with a more serious tone, but considering the number of plot twists and holes, I don’t think the story could work without its tongue-in-cheek levity. The script by John Landis and director Jonathan Lynn is full of chuckle-worthy wordplay and potent quotables, but it’s also so convoluted that, by the end, the characters themselves are pointing out how ridiculous things have gotten (“There’s one thing I don’t understand.”  “One thing?”) Some of the jokes don’t work (Madeline Kahn gets weirdly tongue-tied in one scene), but I was still thoroughly amused, from the Scooby Doo-like exploration of the mansion as the group splits up to the light black comedy as the body count rises.

Clue is also notable for having three alternate endings, which were apparently handed out at random to different theaters. I can see how that gimmick might have affected some opinions at the time since not every ending works as well. The first one is somewhat plausible, the second less so, but I preferred the third ending, which is the one the movie says “really happened.” Still, it’s a cool eccentricity that heightens its board game connection and makes you pay greater attention on the next viewing.

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I do wish I had seen Clue when I was younger; if I’d watched it years ago and many times since, I could see it being a favorite. It’s silly but knowingly so, and all of the actors are “game” for the fun (especially Tim Curry), even if some of them can barely keep up with the convoluted dialogue they’re spouting. The mystery itself even kept me guessing. I can see why it has a cult following, and given some time, that might include me as well.

Best line: (Wadsworth) “Professor Plum, you were once a professor of psychiatry specializing in helping paranoid and homicidal lunatics suffering from delusions of grandeur.”   (Professor Plum) “Yes, but now I work for the United Nations.”   (Wadsworth) “So your work has not changed.”

 

Rank: List Runner-Up

 

© 2018 S.G. Liput
567 Followers and Counting

 

True Lies (1994)

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(Once again, I’m catching up for yesterday thanks to schoolwork. Yesterday’s NaPoWriMo prompt was for a response to a Sylvia Plath poem, but since I don’t understand or like Plath’s work much, I went with a nice simple limerick.)

 

There once was a debonair spy
Who told all his loved ones a lie.
His espionage
Was beneath camouflage,
But don’t ask him why or you die.
____________________

MPAA rating: R (for language, sex, and violence; you know, the usual)

What if the Terminator played an American James Bond and had a family? I always thought that might have been how James Cameron pitched True Lies, until I found out it was actually a remake of a French film called La Totale! with basically the same plot. I might see that one someday just for comparison’s sake, but remake or not, True Lies is a funny actioner that fits nicely in Schwarzenegger’s and Cameron’s filmographies.

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Schwarzenegger plays Harry Tasker, a deadly and debonair secret agent, with “secret” carrying over into his personal life, since he keeps his counter-terrorism gig hidden from his wife Helen (Jamie Lee Curtis) and daughter Dana (Eliza Dushku, who recently revealed a sad account of sexual harassment during filming). Harry’s family thinks he’s just a mild-mannered bore, but he tends to spend his nights sneaking into high-security Russian parties and beating the crap out of bad guys in hotel bathrooms. Then one day he discovers evidence that his wife may be cheating with a wussy con man (Bill Paxton), and Harry’s jealousy threatens more than just his secrets.

True Lies is at its best as a popcorn action movie, especially a few bravura chase sequences, like Harry chasing a motorcycle baddie up a building while on horseback. The entire climax stretching from the Florida Keys to a skyscraper crane also ranks among the most thrilling finales out there, complete with a great cheesy one-liner that Donald Trump may have borrowed. Schwarzenegger and Curtis are in fine form, the one uber-capable, the other mousy and frantic when things spiral out of control; and they both benefit from strong support, whether comedic (Paxton and Tom Arnold) or villainous (Tia Carrere, Art Malik).

Unfortunately, it’s not all fun and explosions. The lies Harry tells go beyond just keeping his career secret, and his actions while he suspects his wife of cheating are morally suspect, never minding the fact that he had been dancing the tango with another woman earlier in the film with not a second thought. When he recruits his wife into a fake mission to give her a thrill, it becomes a somewhat funny but mostly distasteful charade that he should have thought better of beforehand.

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That unsavory deception is the main thing that keeps True Lies from rising to the level of other action classics like Die Hard. It has everything you could want in the action department, but the familial reconciliation is only half-successful, considering the loss of trust. If you can put that aspect out of your mind, though, True Lies is a reminder of how entertaining ‘90s actioners could be.

Best line: (Gib, Harry’s partner) “Women. Can’t live with ‘em. Can’t kill ‘em!”

 

Rank: List Runner-Up

 

© 2018 S.G. Liput
567 Followers and Counting

 

A Monster Calls (2016)

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(I’m running a bit behind with this post, but yesterday’s NaPoWriMo prompt was for a prose poem in the vein of a postcard, so I wrote one that I think everyone would like to receive.)

 
Hello, my love,
It’s as wonderful here as we always hoped,
But I miss you terribly, as I know you miss me.
Don’t despair that you couldn’t join me just yet;
I’ve saved you a place next to me
And can’t wait to show you everything I’ve seen.

Hope all is well at home, with life whirling on without me.
I’m just fine here, thank you very much.
Wish you were here (but not too soon)!

Love from Heaven,
Mom
___________________

MPAA rating: PG-13 (only for heavy themes, content is closer to PG)

Based on a novel by Peter Ness (who also wrote the movie), A Monster Calls is a strange beast, a deeply emotional dark fantasy that contrasts a young boy’s fears about mortality with seemingly random lessons taught by a giant tree monster (Liam Neeson). Making a tree monster work as more than just a visual boogeyman is no small task, and chances are that you’ll be surprised at just how much poignancy this concept holds.

The boy of this story is Connor O’Malley (Lewis MacDougall), an oft-bullied twelve-year-old who is plagued by a nightmare and dealing with his mother’s (Felicity Jones) worsening cancer. One night, the yew tree on a nearby hill comes to life like Groot on steroids and promises to tell him three stories, after which Connor must tell “the truth” in a story of his own. At first, Connor refuses, then thinks perhaps these stories are meant to help him with his critical grandmother (Sigourney Weaver) or his distant father (Toby Kebbell), yet the fairy tales told to him elude easy explanation and challenge the way he faces his own grief.

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There’s something timeless about this story. Until Connor used a smartphone, I couldn’t tell in what year it was set. The tone, the music, the warm cinematography, the subtle direction by J.A. Bayona (The Impossible and the next Jurassic World sequel) all lend themselves to a sense of dark enchantment and poetry that can swing from quite creepy to quite profound in a matter of minutes, such as how major events repeatedly happen at 12:07. The stories told by the monster are depicted with a unique 3D watercolor-style animation, and while I might have liked them to be more straightforward in their lessons, they leave the viewer and Connor pondering their implications and applications.

The performances really help sell the film’s more fantastical elements, MacDougall especially proving himself to be a child actor worth watching. Anyone who has endured the death of a loved one should easily relate to Connor’s progression through the five stages of grief; at least I know I did. Jones and Weaver provide outstanding support as well. Following a shocking outburst, there’s one almost wordless scene between Connor and his grandmother in which the turmoil of emotions on their faces is intensely felt, making me wonder why this movie was largely ignored by the major awards.

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I had a feeling that A Monster Calls would appeal to me, but its emotional depth sneaked up on me in ways you wouldn’t expect from a film with a giant tree monster. Despite its difficulties at the box office, I can see it being rediscovered in the coming years and hailed as a darkly imaginative classic.

Best line: (Connor) “So you didn’t get ‘happily ever after’?”  (his dad) “No, but that’s life, you know. Most of us just get messily ever after. That’s all right.”

 

Rank: List-Worthy

 

© 2018 S.G. Liput
565 Followers and Counting

 

Mojin: The Lost Legend (2015)

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(Today’s NaPoWriMo prompt was for a poem inspired by our choice of tarot cards, whether the image on it or the symbolism behind it. I went with the Moon, which has some personification and mentions imagination, light, and the unknown.)

 

Where we’ve wandered, none can trace,
For none now live who knew this place.
The darkness creeps from stone to stone
And makes us feel we’re not alone.
Then, from above, the moon appears,
Perhaps to soothe our growing fears.

She peers below through open cave
At we who thought ourselves so brave
And lends us light to glance about
In search of some departure route.
Yet what she shows us haunts our dreams,
And only she can hear our screams.
____________________

MPAA rating: Not Rated (PG-13 content, though the profanity in the subtitles can get strong)

At least one good thing came out of my watching the utter waste of time that was The Assassin: I saw a trailer for Mojin: The Lost Legend and was intrigued enough to seek out this rather fun Chinese adventure movie. Apparently based on a Chinese book series, this tale of three grave robbers may have its weaknesses, but it’s also evidence of the blockbuster action and visual merit that Chinese cinema has to offer.

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Hu Bayi (Chen Kun), his temperamental girlfriend Shirley (Shu Qi), and his reckless longtime friend Wang (Huang Bo) were all once Mojin, official treasure seekers and tomb raiders (Lara wasn’t available), but have since fallen into disgrace. Fed up with their washed-up lives in America, Wang is approached by a wealthy patron to locate an ancient Mongolian tomb. Compelled by a personal connection from his past, Wang accepts, dragging Hu Bayi and Shirley back into the dangerous business of booby traps, double-crossing villains, and supernatural(?) threats.

While the acting is all serviceable and sometimes quite good (the heroes are better than the villains), Mojin: The Lost Legend is most interesting as an example of how the Chinese do an Indiana Jones-style adventure. It takes a little while to get into tomb-raiding mode, but once it does, the pace stays brisk, and the set designs are impressive and elaborate, like the Moria of the Orient mixed with the Temple of Doom.  Anyone who enjoyed The Mummy or National Treasure should also find much to enjoy, from the playful banter to the horror elements of a particularly thrilling flashback to the way Chinese history and myth are used as clues and solutions along the way, not that I understood all of it.

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While it does mix a lot of aspects of adventure films I love, it is hard not to view those ingredients as copied or borrowed, even if there’s originality in how they are combined. Likewise, the special effects are one of the film’s strengths, yet there are moments that overuse slow motion and CGI to the point of being overblown and almost laughable, especially during the climax. Plus, the whole thing is a little too long for its own good. Yet it’s still a highly visual treasure hunt that even manages to work in some deeper emotions and themes of letting go of past tragedy. Flawed but fun, Mojin: The Lost Legend is an entertaining ride for those curious to see China’s take on their own National Treasure.

 

Rank: Honorable Mention

 

© 2018 S.G. Liput
565 Followers and Counting

 

The Light Between Oceans (2016)

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(Today’s NaPoWriMo prompt was for a poem that engages all five senses, so I took some inspiration from the setting of this movie, which is largely set on a remote lighthouse isle.)

 

The sun that was forged in the east at dawn
Is now melted down at the end of the day.
The sparks of its smelting paint our horizon
And leave the world glowing from lighthouse to bay
And leave its spectators with nothing to say.

The seagulls are mourning the loss of their light,
Suffusing the sky with cacophony’s croaks,
But no matter how they lament to the night,
They cannot drown out the sea’s unceasing strokes,
So constant to calm the coastline that it soaks.

The smell of the salt in the darkening dusk
Invades through the nose to try brining the tongue,
But I barely notice the maritime musk,
For all that I feel is your hand to mine clung
As we watch the sunset with passion still young.
________________________

MPAA rating: PG-13

I knew The Light Between Oceans would be well-acted based on its two leads alone. Michael Fassbender and Alicia Vikander have proved themselves as still-rising stars, the latter already with an Oscar and the former likely to get one eventually. Based on a novel by M.L. Stedman, it’s a story full of high and subtle emotion that ultimately veers too far into the bitter side of bittersweet.

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Fassbender plays Tom Sherbourne, a shaken World War I veteran who accepts self-imposed isolation as a lighthouse keeper on a small island called Janus Rock off the Australian coast. His brief encounters on land ultimately result in a romance with well-to-do Isabel (Vikander), who marries him and moves out to Janus Rock in hopes of raising a family together. After several failed attempts at having children, though, an unlikely but convenient opportunity arrives when a boat washes up with a dead man and a baby inside. Isabel is all too eager to adopt the girl she names Lucy, regardless of whose baby she might be, challenging Tom’s morality in the process.

The first half of The Light Between Oceans is beautiful, not simply in its lustrous cinematography, but in the sweetness of Tom and Isabel’s romance. Despite his brokenness from the Great War, Isabel is drawn to Tom and offers him a happiness he didn’t think he deserved, and when he welcomes her into his heart and home, he turns out to be a faithful and generous husband. The heart breaks for them when Isabel suffers miscarriages, and it really is a moral quandary when they are faced with a chance at a family at the cost of their honesty, particularly when Tom learns of Lucy’s real mother (Rachel Weisz).

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Up to that point, everything was superb, but soon Tom’s ethical struggle becomes frustrating as he vacillates between right and wrong long after the decision should have been settled. The way he tries to make things right while keeping his wife’s secret only paves the way for its reveal, and I felt that, if he couldn’t do right at the beginning, he should have kept his mouth shut after a certain point, at least for the sake of the child. Eventually, things just keep going downhill, getting more and more depressing, until the plot buoys up for a poignant ending that’s not as bad as it could have been but not as satisfying as I wished either.

As I said, it’s beautifully shot and consistently touching thanks to its praiseworthy actors with great chemistry, but the story frustrated me. I can see how my opinion about Tom isn’t a purely moral one, and the fact that the film poses such a complex ethical question is a point in its favor, as is the theme of all sins eventually coming to light. Yet it hardly made for a satisfying movie-watching experience, and it just left me wishing for better circumstances for the characters.

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Best line: (Frank Roennfeldt, Lucy’s real father) “You only have to forgive once. To resent, you have to do it all day, every day, all the time. You have to keep remembering the bad things. It’s too much work.”

 

Rank: Honorable Mention

 

© 2018 S.G. Liput
565 Followers and Counting

 

Pirates of the Caribbean: Dead Men Tell No Tales (2017)

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(Today’s NaPoWriMo prompt was for a human warning label, so instead of one for myself, I wrote one for Captain Jack Sparrow.)

 

Caution:
Exposure to this individual
May well endanger your health.
Symptoms include a desire to say “Arrgh”
And insatiable cravings for wealth,
As well as impulses to slap and/or kill
And maybe a seafaring curse,
Which can cause vendettas and lusting for vengeance,
Resulting in death or much worse.

Alert your witch doctor if death should occur
Or unbridled hating of guts.
Always use “Captain” preceding his name.

Warning: May contain nuts.
___________________

MPAA rating: PG-13

Perhaps people didn’t expect much from what is now the fifth installment in the Pirates of the Caribbean franchise, since the series was already showing signs of fatigue with the fourth. On Stranger Tides remains my least favorite of the bunch because it lacks the three-way dynamic between Jack Sparrow, Will Turner, and Elizabeth Swann that made the original trilogy so enjoyable. Sure, Penelope Cruz adds some sexual tension with Jack, but it feels more like a spinoff than a genuine part of the series. Dead Men Tell No Tales, on the other hand, is thankfully a truer continuation; granted, it’s a paler, less original version of its predecessors but close enough still to feel of a piece with them.

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Orlando Bloom and Keira Knightley aren’t exactly back in action here, both instead offering cameos that must have been the easiest paychecks imaginable, but they’re still part of the story, with Will and Elizabeth’s son Henry (Brenton Thwaites) taking Will’s place as the earnest adventurer searching to free his father from the curse of the Flying Dutchman. In Elizabeth’s role, we get Kaya Scodelario as Carina Smyth, an educated woman (gasp!) whose smarts get her constantly accused of being a witch, which never seemed to be a problem for Elizabeth, but oh well. They’re at least better than Sam Claflin and his mermaid girlfriend(?).

And of course, Johnny Depp returns as Captain Jack Sparrow, whom most people seem to think is past his prime as a character. I could see why at first, since Depp does seem to sleepwalk through the first half, but, keeping in mind that Jack was largely hung over for that half, he grows back into the role and is back to his old self by the end. It’s Geoffrey Rush that offers especially strong support, with Barbossa actually getting a worthwhile character arc rather than being shoehorned in like with On Stranger Tides. As the latest antagonist with a grudge against Jack, Javier Bardem’s Captain Salazar may not have the best backstory (he hates pirates and was outsmarted by Jack; oh, and he’s cursed as a ghost…for some reason), but he still has great screen presence between Bardem’s intensity and some impressive floaty ghost effects. It’s never made clear why his curse was linked to Jack’s compass, though.

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I’ve seen quite a lot of negative reviews for Dead Men Tell No Tales, and indeed I haven’t been exactly glowing with this review either. It’s not nearly as good as the first three, and even the impressive effects aren’t quite as seamless as the past films, which is a little weird. Yet it still has all the ingredients that made the original films so much fun, in particular the visually awesome action and occasional cleverness, and even rights some of the more dubious creative choices of past movies, like bottling the Black Pearl in On Stranger Tides. Plus, Paul McCartney’s got a great unrecognizable cameo! And even with all the copycat characters and less-than-inspired plot points, it has a perfectly fitting end to the story begun fifteen years earlier. At least until the eyebrow-raising after-credits scene segues into a sixth movie. Yep, it’s gonna happen apparently, and I’ll be there once again to be entertained while hoping they don’t mess it up.

Best line: (Carina) “I’m not looking for trouble!”   (Captain Jack Sparrow) “What a horrible way to live.”

 

Rank: List-Worthy? (it’s really Runner-Up material, but it does continue the trilogy’s story and I usually group such series together)

 

© 2018 S.G. Liput
565 Followers and Counting

 

In This Corner of the World (2016)

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(Today’s NaPoWriMo prompt was for a hopeful elegy, so I wrote mine about the mourning of a way of life.)

 

What’s almost as sad as a person’s death
Is the death of the way that they lived.

They once woke up, knowing what their day
Would likely hold,
And they’d watch unfold
A normal we’d say
Was strange and old,
But they took pride
And personified
A life that bloomed till the world went cold.

Disasters sudden or a cancer slow
Or new breakthroughs
Would cause them to lose
What was status quo.
They could not refuse,
For who can tell
A dead bloom, “Get well,”
When its winter’s come and it’s paid its dues?

But people live on, like roots that remain
For new blooms to rise
Once the former dies
And forgets the pain
Of its sad demise.
Our ways of life fade
Daily and are remade.
Remember that grief is short-lived for the wise.
___________________

MPAA rating: PG-13

And the number of award-worthy animated films of 2016 just keeps on growing. When I heard that a crowdfunded project called In This Corner of the World had beaten out Your Name and A Silent Voice for Japan’s Best Animated Feature award, I rolled my eyes that anything could top those two emotional hits. I still would have preferred one of them to win, but I can now at least see why In This Corner of the World would deserve to win. (It’s also further proof that the American Academy can’t seem to recognize an award-worthy animation if it hails from another country.)

Set before, during, and after the Hiroshima bombing of August 6, 1945, this Japanese period drama has a slice-of-life charm and simplicity that endures the ever-looming shadow of death. In many ways, it is reminiscent of Grave of the Fireflies (a painful favorite of mine), yet while that film is essentially grief and desperation from start to finish, In This Corner of the World uses its long runtime to show the daily life of its characters and how the approaching war changed that way of life for the sake of survival.

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It begins with the childhood of Suzu Urano, an often absent-minded artist who grows up in an idyllic seaside town close to Hiroshima. After receiving an offer of marriage from a man she doesn’t know, she hesitantly leaves her own family to marry into the Hojo family in Kure, a Navy dockyard about an hour away by train. There is a wealth of humorous vignettes as Suzu adjusts to her new surrounding and family members, including a short-tempered sister-in-law and her daughter, and many aspects of their daily life are steeped in Japanese culture, from the fashioning of kimonos and later pants to the preparation of traditional field-to-table meals, which require resourcefulness once wartime rationing is implemented. From amusing asides and sweet romantic moments, the tone gets more and more serious and even dire as the war gets closer, the bombing raids become more frequent, and we the audience wait for the inevitable bomb to drop, wondering how it will affect Suzu and her loved ones.

The abrupt editing of all those vignettes does contribute to a sometimes unfocused storyline that puts certain details in doubt, and a few forays into Suzu’s imagination left me confused as to whether surrounding scenes were supposed to be real or not. Yet such negatives don’t detract too much from the humane power of the whole. Perceptive details and lovely snapshots abound, notably a post-war scene where the town’s lamps are uncovered (no longer in fear of air raids) and one by one shine into the night. The animation is not your typical anime style, with more of a gentle, hand-drawn impressionism that can be reminiscent of either a comic strip or a museum piece, depending on the tone of the scene. It’s surprisingly effective in its consistency depicting both Suzu’s carefree early life and the grief-stricken toll of war, and the filmmakers put great and laudable care into re-creating the pre-bomb city of Hiroshima accurately.

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Once again, I’m torn on how to rank what is clearly a great film, trying to judge my personal opinion of it. It’s absolutely worthy of Japan’s top animation prize, and I can see why they would opt for the more historically significant choice, even over the box-office juggernaut that was Your Name. Despite its winsome animation and gradually developed poignancy, it didn’t bring me close to tears like Your Name or A Silent Voice or Grave of the Fireflies, which matters to me as a way of measuring the emotional impact. Even so, I feel like I’m growing fonder of this film the more I think about it. Perhaps its ultimate ranking is a wait-and-see. It requires some patience, but I highly recommend In This Corner of the World for its touching civilian-level view of World War II.

Best line: (Suzu, comparing her current life to a dream) “I don’t want to wake up because I’m happy to be who I am today.”   (Shusaku, her husband) “I see. The past and the paths we did not choose, they’re like a dream.”

 

Rank: List Runner-Up (for now)

 

© 2018 S.G. Liput
564 Followers and Counting