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Rhyme and Reason

~ Poetry Meets Film Reviews

Rhyme and Reason

Tag Archives: Action

Avengers: Infinity War (2018)

06 Sunday May 2018

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Tags

Action, Drama, Sci-fi, Superhero, Thriller

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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

 

True Lies (1994)

30 Monday Apr 2018

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

≈ 5 Comments

Tags

Action, Comedy, Thriller

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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

 

Mojin: The Lost Legend (2015)

27 Friday Apr 2018

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

≈ 3 Comments

Tags

Action, Comedy, Drama, Fantasy, Foreign, Horror, Mystery, Thriller

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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

 

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

25 Wednesday Apr 2018

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

≈ 1 Comment

Tags

Action, Fantasy, Romance, Thriller

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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

 

April and the Extraordinary World (2015)

22 Sunday Apr 2018

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

≈ 5 Comments

Tags

Action, Animation, Family, Fantasy, Foreign, Mystery, Sci-fi

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(Today’s NaPoWriMo prompt was to write about how one of a list of impossible things could actually happen, so I thought of a certain highly imaginative film.)

 

“Pigs can’t fly,”
They said. “Of course,
And cats can’t join
The labor force.”

“Clocks can’t chime
Thirteen,” they vowed,
“Nor rewind time.
That’s not allowed.”

But some will hear
Such sober laws,
And ask with thought,
“Why not?” because

The present world
They recognize
Is changing more
Before their eyes.

If they dislike
Such rules, they dream
Worlds where clocks strike
Thirteen, where steam

Propels machines,
Where pigs can fly,
Where magic beans
Grow greens so high,

Where men can grow
Beyond their flaws.
Imagination
Knows no laws.
___________________

MPAA rating: PG

I love animation, and I love discovering hidden gems that remind me why I love animation. April and the Extraordinary World is a delightful case in point. At a time when the U.S. and Japan seem to rule the animation industry, it’s also an important reminder that Europe has no shortage of talent and is just as likely to churn out an instant classic for those willing to search for it.See the source imageA French-Belgian-Canadian co-production, April and the Extraordinary World is one of the most imaginative films I’ve seen in a while, broadly rewriting history to create a unique steampunk setting, one in which science and technology couldn’t develop beyond the Steam Age. Vegetation has been decimated by fuel needs, and the air is thick with industrial smoke, while the scientists that could improve things have vanished without a trace. After a fast-paced introduction in which everything is significant, we meet April Franklin (Marion Cotillard in the French version, Angela Galuppo in the English dub) and her brilliant family of fugitive scientists. Due to events best seen rather than described, April grows up alone with only her talking cat Darwin (a product of SCIENCE!), and her chemist’s quest for an immortality serum soon turns into a whirlwind adventure as the French government and a mysterious group with advanced technology vie for the scientific secrets of her family.

Animation allows its creators to fashion worlds limited only by their imagination, but most cartoons are content to imagine small. It’s usually Pixar or Ghibli that brings the medium to its full potential, but so does April and the Extraordinary World, which often feels like something one of those two powerhouses would have conceived. Where else are you going to see giant cable cars that run from Paris to Berlin or a helicopter plane escaping an underwater prison? The animation has the distinctive look of a European comic (apparently based on the work of French comic artist Jacques Tardi), and although it seems like it would take some getting used to, it actually flows quite nicely, with plenty of clever detail in the settings and backgrounds. It has strong characters to boot, from resourceful April herself to her quick-witted grandfather, though, as a cat lover, my favorite has to be the talking cat Darwin (Tony Hale in the dub, which also includes Paul Giamatti, J.K. Simmons, and Susan Sarandon).See the source imageWhile the imagination is impressive, I could still recognize prior influences for April, most notably 2004’s Steamboy, another steampunk adventure featuring a young protagonist caught in the middle of a scientific power struggle with a similarly explosive ending. Plus, it’s hard to avoid comparisons to Ghibli when there’s an actual house atop mechanized legs á la Howl’s Moving Castle or a polluted atmosphere contrasted with a clean underground biome á la Nausicaä. You might also pick up on traces of Atlas Shrugged and Tomorrowland, though the latter was released the same year as this film. Regardless, April and the Extraordinary World brings all these disparate elements together into a thrilling package that’s better than most of the films I just mentioned.

With a complex and fast-paced storyline and a number of off-screen deaths, it does feel more intelligent and mature than your typical American cartoon (not to mention the detail put into Darwin’s backside), but there’s nothing to make it un-kid-friendly either. By the surprisingly satisfying end, I was just happy to have stumbled upon such an underrated gem, one that no fan of animation should miss.

 

Rank: List-Worthy

 

© 2018 S.G. Liput
563 Followers and Counting

 

 

Ready Player One (2018)

21 Saturday Apr 2018

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

≈ 2 Comments

Tags

Action, Drama, Mystery, Romance, Sci-fi, Thriller

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(Today’s NaPoWriMo prompt was for a poem inspired by the myth of Narcissus, who loved his reflection so much that he turned into a flower. Ah, those crazy Greeks…. This is an example of what I love about NaPoWriMo, because an ordinary poem of mine for this movie would have been quite different.)

 

I am the mirror that captured Narcissus,
A pool that reduced him to frailty and pride.
I am the mirror that heard the queen’s hisses
When told that Snow White was the more glorified.

I am the mirror no longer a mirror,
Tranformed over time to expand my appeal.
The more I’m admired by people, the dearer
I am to their lives, making all else unreal.

A whole generation and those in their wake
I’ve snared in a world they create to comply,
A mirror to show the world them for their sake,
Allured and immured by the power of “i”.

I’m praised for convenience, for freedom, for fun,
A magnet for eyes lest their view be too wide.
It’s up to the viewer what evil I’ve done;
I’m merely the mirror for frailty and pride.
___________________

MPAA rating: PG-13

There have been four movies I’ve seen so far in 2018 that I’ve genuinely loved, which, since it’s only April, is one a month (not bad). And it thrills me to no end that one of them is the film I declared my #1 movie that I hoped would be good. Steven Spielberg’s adaptation of Ready Player One didn’t blow my expectations away, like Train to Busan or The Greatest Showman, but I went in wanting to love it and found plenty of reasons to do just that.

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As someone who enjoyed Ernest Cline’s novel immensely, I can confirm that the film diverges quite a bit from its source material. Yet, unlike other decent but disappointing adaptations (Eragon, Inkheart), Ready Player One the film still adheres to the spirit of its source, and the fact that Cline himself cowrote the screenplay assuages my concerns about the many plot aberrations. Even so, the core story is intact: a massive multiplayer scavenger hunt through the virtual world known as the OASIS, a world and hunt created by dead eccentric James Halliday (Mark Rylance, who plays his social anxiety a bit too wooden). The entire world is in search of Halliday’s hidden Easter egg, which grants ownership of the OASIS to the winner, but no progress is made until Halliday fan Wade Watts (Tye Sheridan) earns the first of three keys, making him a target for the evil, power-hungry IOI corporation (led by an accent-less Ben Mendelsohn).

All that is straight out of the book, but in the leap from page to screen, changes are inevitable. If you’ve read the book, your enjoyment of the movie just might depend on how much such changes bother you. My VC, for example, enjoyed the film but harbored reservations about the rampant alterations of its second half. (She said, if she hadn’t read it first, she’d outright love the movie.) Yet, I think many of the changes work in the film’s favor. True, the book is better, but there are many parts of it that wouldn’t transfer well to the screen, such as the months that go by between breakthroughs or the important plot advances that consist of beating literal arcade games. Turning one of these challenges into a demolition derby race, for example, makes it far more exciting cinematically, while changing Halliday’s much-studied journals into a gallery of virtual records makes Wade’s research more visual. Also, the replacement of certain pop culture references with others is likely the result of copyright compromises and the filmmakers’ desire to play with particular “toys.”

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And boy, do they lay on the pop culture references, 90% of which swirl by far too quickly to fully appreciate. Yet the recognition that comes in those moments is an unparalleled thrill for nerds like me. Where else are you going to see the time-traveling DeLorean race the bike from Akira or Overwatch’s Tracer charging into battle with the Iron Giant? The cameos also vary depending on the viewer’s personal tastes; a friend of mine recognized a Lancer weapon from Gears of War, I geeked out at the site of the roulette wheel space station from Cowboy Bebop, while my VC chuckled at an incantation from Excalibur, all references that one of us “got” and the others didn’t. Thanks to the CGI mastery on display, there were several (likely entirely animated) sequences where I just sat there with a goofy grin on my face in a little place called geek heaven.

Except for the idea of not liking any changes in general, I can understand many of the complaints I’ve heard about what is essentially an alternate version of the Ready Player One story readers knew. Some of the rules of the OASIS are glossed over, potentially leaving questions for unfamiliar viewers. The characters aren’t nearly as developed as their counterparts on paper, lacking defined character arcs, and there’s little attention paid to the problems of this dystopian world outside its virtual refuge. The romance might be too rushed and convenient, the avatar of Wade’s friend Aech looks nothing like I imagined from the book, the very long runtime is felt by the end, and they should have included WarGames, dang it! It’s true; Ready Player One is not a perfect film, but I’ve rarely been better entertained in true Spielberg blockbuster fashion.

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It’s really quite simple: I am Ready Player One’s target audience. I’m the nerd who revels in shared geekery, while appreciating half-realized lessons about the value of a life outside of technological obsession. I think that, drawing its inspiration from a great book, this Ready Player One is a great movie, boasting a visual awesomeness that puts most movie spectacles to shame.

Best line:  (Halliday, echoing Groucho Marx) “I created the OASIS because I never felt at home in the real world. I just didn’t know how to connect with people there. I was afraid for all my life, right up until the day I knew my life was ending. And that was when I realized that as terrifying and painful as reality can be, it’s also… the only place that you can get a decent meal. Because, reality… is real.”

 

Rank: List-Worthy

 

© 2018 S.G. Liput
563 Followers and Counting

 

Jumanji: Welcome to the Jungle (2017)

16 Monday Apr 2018

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

≈ 2 Comments

Tags

Action, Comedy, Fantasy, Thriller

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(Today’s NaPoWriMo prompt was for a poem concerning play or a game, so a movie about a game seemed like a no-brainer, especially since I worked in a bit of rhyme from the film itself. It’s from the perspective of the game.)

Ha, ha! Here they come!
Someone’s found me at last!
I’m as bored as they look
And in need of a blast.
They pause at this chance
To play like in years past.

But though they may believe me lame,
An old, archaic parlor game,
They always play me all the same.

Ha, ha! Here they go!
Fun is not a hard sell.
Well, my fun at least,
Though they’ll have some as well.
It’s time now to play
And perhaps to raise hell.

So when you’re bored, keep me in mind,
“A game for those who seek to find
A way to leave their world behind.”
_______________________

MPAA rating: PG-13

When I first heard that there would be a sequel to Jumanji, a beloved childhood classic for me, I declared it sacrilege. When I saw the trailer for Welcome to the Jungle, I was suspicious but open to this new version of the cinematic game. And now that I’ve seen it, I’m actually surprised at how well it turned out. This is a rare example of a sequel/reboot done right, in that it doesn’t try to live up to its 22-year-old predecessor, instead charting a creative and modern course with the barest homage to the original.

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After doing who-knows-what to those French kids at the end of the first movie, the Jumanji game somehow ends up back in New Hampshire, but when faced with the competition of console video games, it transforms itself into a video game. It is later found by a quartet of high schoolers in detention, who are sucked into an actual jungle environment and transformed into highly contrasting avatar bodies: nerdy kid Spencer (Alex Wolff) into a hunky archaeologist (Dwayne Johnson), football player Fridge (Ser’Darius Blain) as a diminutive lackey (Kevin Hart), shy misfit Martha (Morgan Turner) into a butt-kicking heroine (Karen Gillan), and self-absorbed brat Bethany (Madison Iseman) into a fat man (Jack Black).

It sounds complicated when you describe it in detail, but the premise is fairly straightforward as the no-longer-teenagers navigate the dangerous levels of the game in an effort to escape. Turning Jumanji itself into a video game was actually a brilliant idea, keeping it different from the original and updating the concept to our more virtual world. Plus, it allows for a great many jokes as it incorporates the conventions of video games into the very fabric of the plot, such as multiple lives and various abilities and weaknesses.

The main draw for humor, though, is the cast of charismatic stars playing against type…well, except Kevin Hart. He’s his usual rowdy self, but it’s great fun watching the Rock realize his own strength or Jack Black impersonate a teenage girl. Karen Gillan’s attempts to gain more confidence and learn the ways of flirting are particularly funny, and aside from some admittedly amusing penis jokes from Black, the PG-13 rating keeps things both tame and entertaining, even working in a bit of genuine emotion by the end.

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As much as I enjoyed the video game reworking of Jumanji, it couldn’t hope to match my fondness for the original, even if it’s infinitely better than I had expected a year ago. I’m glad too that they didn’t try to replace Robin Williams or anything like that, instead offering a subtle reference to confirm this as a respectable sequel. It now makes me wonder if this Jumanji will have the same sense of nostalgia around it twenty-two years from now.

Best line: (Spencer/Bravestone) “It’s a lot easier to be brave when you’ve got lives to spare. It’s a lot harder when you only have one life.”   (Fridge/Moose) “We always only have one life, man. That’s how it is.”

 

Rank: List Runner-Up

 

© 2018 S.G. Liput
559 Followers and Counting

 

Thor: The Dark World (2013)

15 Sunday Apr 2018

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

≈ 1 Comment

Tags

Action, Drama, Fantasy, Sci-fi, Superhero

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(Today’s NaPoWriMo prompt was to write of a villain made relatably human, so I focused on how Loki feels as his father’s second favorite.)

 

Here am I, Loki, a god of Asgard,
Who ought to be king just for trying so hard.

The unchosen heir, second fiddle since birth,
Locked up just for seeking to conquer the earth!

I’m here behind energy fields, and where’s Thor?
Out hogging the glory like so oft before.

Who cares about me, the black sheep of the court,
The outcast brought in to be cast out for sport?

I’m Odin’s chagrin and his family’s regret,
But he and his favorite have seen nothing yet.

One day, they’ll come crawling to me in this jail,
Not knowing how deeply I’ll savor betrayal.
______________________

MPAA rating: PG-13

My family and I have been rewatching all the Marvel movies recently in preparation for Infinity War and to remind us of everything that came before. In doing so, I realized that Thor: The Dark World is the only one I haven’t reviewed, and I couldn’t let that slide. Such an oversight sort of proves that The Dark World is one of the weaker Marvel entries, and, although Thor is one of my least favorite Avengers, it’s still actually quite a solid film in the series.

Picking up after Thor (Chris Hemsworth) returned the Tesseract and an imprisoned Loki (Tom Hiddleston) to Asgard in The Avengers, The Dark World introduces the universe-hating Dark Elves and their secret weapon called the Aether, later revealed to be one of the Infinity Stones. (Can you tell I’m a Marvel nerd yet?) Awakened from exile after Thor’s girlfriend Jane (Natalie Portman) discovers and absorbs the Aether, the Dark Elves seek vengeance on Asgard and, you know, try to destroy the universe.

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The Dark World’s biggest problem is its villain, Malekith (Christopher Eccleston), who remains the most forgettable of all of Marvel’s many disposable villains. Not even a Lost alert for Adewale Akinnuoye-Agbaje as a Kursed henchman could make the bad guys anything but dull threats. There’s literally nothing to them except getting the Aether to destroy everything, and the exposition-heavy prologue about the Dark Elves’ history weighs things down in unmemorable mythology.

I suppose mythology could be considered both a strength and a weakness for the first two Thor movies, steeped in Norse lore and Shakespearean pageantry as they are. With the Middle-Earth-style costumes and old English dialogue, they’re rather unique and somewhat sophisticated next to the lighter Marvel movies, yet they can easily become an overly serious bore for those who aren’t interested in those things. That’s likely why Thor: Ragnarok went full-on sci-fi comedy as a contrast, which was both good and bad.

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Yet The Dark World’s strengths shouldn’t be forgotten either. Hemsworth and Portman are so admirable and sincere in their roles that they manage to sell their average romance, while Thor boasts outstanding chemistry with his double-crossing adopted brother Loki. Their rivalry is the biggest character highlight of the Thor series, which is probably why Loki has stayed around in all three movies.

The special effects are also as eye-popping and destructive as the rest of Marvel’s repertoire, especially the Dark Elves’ invasion of Asgard, while the scope and adventure of visiting different worlds make it a far grander ride than the first Thor. (Did anyone else notice that the giant rock guy Thor shatters near the beginning looks a lot like Korg from Ragnarok? They may be from the same race.) Plus, I think the orchestral score by Brian Tyler might be one of the best of any Marvel movie, except The Avengers, and a decent balance of gravity and humor keeps things entertaining without going off-the-wall like Ragnarok.

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I enjoyed The Dark World more than I remembered, proving that even the lesser Marvel movies have plenty to offer. In fact, despite being more of a Runner-Up, I think I’ll go ahead and make it List-Worthy. Ragnarok found its way onto my Top 365 List last year when the other two Thors didn’t because I thought it was so much better, but I’m going to follow my own rules and put all three together. Even if The Dark World suffers from a bland villain, it’s still a good superhero movie, and I don’t think we comic nerds should be too hard on it.

Best line: (Thor, summing up his relationship with Loki) “I wish I could trust you.”

 

Rank: List-Worthy (joining Thor: Ragnarok)

 

© 2018 S.G. Liput
556 Followers and Counting

 

Girls und Panzer der Film (2015)

09 Monday Apr 2018

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

≈ 3 Comments

Tags

Action, Animation, Anime, Comedy, War

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(Today’s NaPoWriMo prompt was to combine something big and something small, like maybe tanks and girls for example. Inspired by this silly anime, I wrote a fake account of how tank warfare might become a girls’ sport.)

 

Years past, the tanks rolled into town
And terrorized the folk.
With dread renown,
Each new crackdown
Would paint the sky in smoke.

They came in force to crash and kill
And crush with cannon fire.
Such lethal will
They did fulfill;
The people’s need was dire.

One fateful day, a young girl eyed
An empty tank left bare.
She seized with pride
This chance supplied
By carelessness and prayer.

Against all odds and common sense,
She drove the tank somehow.
Her zeal intense,
In her town’s defense,
She raised every eyebrow.

She shocked the foe, confused their ranks,
And drove them from the land;
And it’s all thanks
To her that tanks
And girls go hand in hand.
_____________________

MPAA rating: Not Rated (PG is fine)

Anime has given us a lot of weird and wonderful concepts over the years, the kind you should just enjoy for their silliness and not think about too deeply, but making tank warfare a girl’s sport takes the cake for me. Even though I’ve never been particularly fond of tanks or the cute girl genre, Girls und Panzer was an admittedly fun ride, made even more fun by its big-screen follow-up.

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The 2012 TV series featured a ragtag group of girls from Ōarai High School rallying under the leadership of skilled but reluctant transfer student Miho in order to win a series of tank war games and stave off the closing of their school and town, which happen to be on top of a giant aircraft carrier (yes, really). The characters are simple and likable, with most development reserved for Miho and her four closest friends. The rest of the vast cast gets the most basic development possible as members of other clubs that nonetheless contribute to the tank warfare, which seems to use real ammunition and has no regard for property damage, since the government underwrites everything as an official sport. The set-up is enjoyable enough, but the real draw here is the tank battles, explosive clashes between war machines that are depicted with surprising historical accuracy for the most part. At only twelve episodes long, the series is short but doesn’t lack thrills, as the underdog Ōarai team faces off against more accomplished high school teams that each conform to the trappings and tactics of a different nation (Americans, Russians, Italians, Germans, etc.).

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If any of this sounds entertaining, go watch it because it’s nice and short, and I’m about to spoil the ending. It’s probably no surprise, but Ōarai wins. Yet the movie doesn’t let that victory stand for long; one exhibition match later, the government is eager to shut the school down again, putting Ōarai in the exact same position of betting their school’s fate on a giant tank battle, this time against a University team. With this battle, however, they’re so hopelessly outmatched that their former rivals beaten during the series come to their aid and take part in one big tank free-for-all.

Like the series, there is some confusion at times over who’s in which tank, and what’s happening is not always as clear as it should be. Yet the battles are still quite well planned, putting different styles of tank to good use and employing some very clever strategy along the way. (One planning session between the allied teams is like an argument between the tactical methods of all the major countries of World War II.) While the show had some semblance of realism in the tank’s capabilities, albeit small, the movie goes full-out bonkers with tanks flying through the air, sliding down rollercoaster tracks, and zooming around like high-capacity bumper cars. Some of the casualties would carry more weight if anyone was actually in danger, but that apparently never happens in this sport, and it’s perfectly fine to stick your head out the top hatch while being shelled (really).

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This isn’t the first anime film I’d recommend to anyone, but it’s now high on my list of guilty pleasures just for how gleefully crazy and bombastic it gets. By the time the battle moves into a theme park to use the rides as unconventional weapons, I was just enjoying the outlandishness of it all, and finding unexpected satisfaction with every enemy tank disabled. Sure, it’s silly and predictable, but that’s sometimes the very definition of fun. There’s a whole future series of films planned, but it’s hard to imagine how they’ll top this one.

 

Rank: List Runner-Up

 

© 2018 S.G. Liput
552 Followers and Counting

Here’s a good representation of what to expect, if you’re curious:
 

Black Panther (2018)

09 Friday Mar 2018

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ Leave a comment

Tags

Action, Drama, Sci-fi, Superhero, Thriller

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Our forefathers and ancestors we honor decades hence,
Their contributions critical, their heritage immense,
Yet generations prior had no guarantee of sense.

They faced headaches and made mistakes with little recompense
And bore their blunders as we do, and often more intense,
And sometimes leaving faults to fester at their kids’ expense.

Although we honor them and should, their good points as defense,
They’re no more perfect than we are who live in present tense.
To learn from them is wiser still than harboring offense.
____________________

MPAA rating: PG-13

When I heard Black Panther was scheduled just two months before Avengers: Infinity War, I had to recognize the wisdom of it. After all, Black Panther would probably be one of the smaller stand-alone entries in the MCU, right? And placing it so close before a hype machine like Infinity War seemed like a good way to ensure its success. Little did I know what a juggernaut Black Panther would become, breaking records and earning rave reviews left and right, which only compounds the wisdom of Marvel’s schedule. But I suppose I shouldn’t be surprised; it is after all the first stand-alone feature for a black superhero, and a lot of effort clearly went into it to make it worth the wait.

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Another clever point is how three separate characters were all previously introduced, Andy Serkis’s vibranium smuggler Ulysses Klaue in Avengers: Age of Ultron, Martin Freeman’s CIA agent Everett Ross in Captain America: Civil War, and of course Chadwick Boseman’s Prince T’Challa/Black Panther, also from Civil War. Having grown beyond his revenge arc in that movie, T’Challa returns home to deal with the fallout from his father’s death, namely fighting any challengers to his claim on the throne of Wakanda, a fictional country that hides an advanced African utopia behind the guise of a third world country. Yet an unexpected ghost from his family’s past returns in the form of Michael B. Jordan’s Erik Stevens, who gets the evocative villain name “Killmonger” and doesn’t get as much screen time as he deserves.

Many have noted the film’s biggest strength is its characters, and not just Boseman’s regal hero or Jordan’s complex villain. Compared with other Marvel outings, there’s a strong supporting cast here, especially the three women in T’Challa’s life: his not-quite-ex Nakia (Lupita N’yongo), the general of Wakanda’s all-female special forces unit Okoye (Danai Gurira), and his little sister Shuri (Letitia Wright). There’s a reason Wright seems to be everyone’s favorite; as T’Challa’s over-eager sister, she’s both a hilarious tease and a Q-style genius, providing him with gadgets and specializing in the many uses of vibranium technology, advances that would make Tony Stark jealous. There’s also Angela Bassett as T’Challa’s queen mother, and Daniel Kaluuya of Get Out is clearly having a good year, between his Best Actor nomination and a chance to ride a war rhino. And then there’s the two token white people in Freeman and Serkis, both refugees from Middle Earth who must have enjoyed working together again.

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I’ve been rewatching Marvel’s movies leading up to Infinity War and noticed how much more serious earlier films like Iron Man were, compared with the flippant comedy of 2017’s offerings. Black Panther is a return to that more straight-faced comic book style (albeit still with some laughs) and actually has pretty deep conflicting themes at its heart. I agree with one review I heard comparing T’Challa and Killmonger to Martin Luther King, Jr., and Malcolm X, both intending to help their people yet disagreeing fundamentally on how to do it. Killmonger is all about force and revenge, while T’Challa prefers the isolationism that has preserved Wakanda from the history of colonialism. T’Challa’s clearly the good guy, but it’s interesting how his position still changes in the light of past mistakes. To complement the thematic complexity, writer/director Ryan Coogler also displays his skill behind the camera, including a couple of those extended action tracking shots that elevated Creed as well.

I’ve read plenty of reviews saying things like “Is it as good as everyone says? Heck, yes and better!” I wanted to be the same way, but, as has been common with some of Marvel’s recent installments, I must be a bit more restrained in my praise. I liked it and have liked it more upon reflection, but it’s not among my favorite MCU movies. I suppose the main reason is all the African mysticism; while some of it is significant to the story and adds to the culture building, I’ve never particularly liked that kind of strange tradition and ritual, whether it’s African, Far Eastern, or something alien from Star Trek. Sorry if that sounds not multicultural enough, but it just doesn’t connect with me. Parts of it also seem to undercut how advanced Wakanda otherwise is, like deciding its leadership with a fight to the death.

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I can’t help but wonder, based on its historic place in comic book movie history, whether I’m racially obligated to love Black Panther, and no, I don’t think anyone should be. It is a good movie, exploring a hitherto unexplored corner of the MCU, but I personally don’t see it as top-three-Marvel-movie material. I enjoyed it overall, particularly the characters and the action, and the entire big battle at the end was absolutely awesome. I do think I’ll appreciate it more upon a rewatch, especially getting to see it again with subtitles. (I’m terrible with deciphering accents, and almost everyone had one, so I’m sure there’s stuff I missed.)

Like I said before, I shouldn’t be surprised at Black Panther’s success. I remember an episode of the cartoon Static Shock (itself a great superhero show with a black protagonist), where the main character was awestruck at meeting a professional hero from Africa, even though he himself had superpowers. There’s a lot to be said for being able to look up to a hero who looks like you. Turning out in droves, the black community deserves to see themselves in this noble and heroic character. Marvel, Coogler, Boseman, and everyone involved have much to be proud of, and even if certain elements will appeal more to others than to me, I’m glad Black Panther has found such success on the big screen.

See the source image

Best line: (T’Challa, with a very timely message) “Now, more than ever, the illusions of division threaten our very existence. We all know the truth: more connects us than separates us. But in times of crisis, the wise build bridges, while the foolish build barriers. We must find a way to look after one another, as if we were one single tribe.”

 

Rank: List Runner-Up

 

© 2018 S.G. Liput
537 Followers and Counting

 

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