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Rhyme and Reason

~ Poetry Meets Film Reviews

Rhyme and Reason

Tag Archives: Action

The Incredibles 2 (2018)

08 Sunday Jul 2018

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ 4 Comments

Tags

Action, Animation, Comedy, Family, Pixar, Sci-fi, Superhero

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Incredible is a subjective term,
As critics and colleges can confirm.
One man’s amazing and top-of-the-class
Is another’s mundane because people, alas,
See things either clearly or through rosy glass.

Incredible is a desirable word,
So rarely deserved yet so commonly heard.
At times, there’s consensus for some shining star,
But mostly we just must agree on the bar
And how we compare them decides what they are.
___________________

MPAA rating: PG

Of all the studios churning out long-awaited sequels, Pixar has arguably the best track record. Whether it’s Monsters University, Finding Dory, or Toy Story 3 (I mean 4), the decade-waiting sequelization of their canon is well underway and, with the exception of Cars 2, has turned out surprisingly well. (They’re all weaker than the originals, but they’re by no means bad, except Cars 2.) Yet strangely, Pixar has made fans wait longest for the follow-up to the one film in their oeuvre that was actively crying out for a sequel, namely The Incredibles. Perhaps due to the influx of superhero franchises since 2003, director Brad Bird finally delivered, and I’d say the fourteen-year wait was worth it.

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Picking up immediately where the first film left off, The Incredibles 2 reminds us that, even after saving the world from Syndrome, the Parr family still have to deal with the fact that superheroing is illegal. After their battle with the Underminer goes south, Mr. and Mrs. Incredible (Craig T. Nelson and Holly Hunter) and Frozone (Samuel L. Jackson) are approached by millionaire entrepreneurs Winston (Bob Odenkirk) and Evelyn Deavor (Catherine Keener), a brother and sister team who are actively trying to bring supers back into the spotlight. Due to her less destructive abilities, Elastigirl is the new face of their law-bending campaign, and while Bob deals with the headaches of parenting at home, Helen faces off with a mind-controlling villain called the Screenslaver.

There are certain elements borrowed from the previous film, such as the family disagreements on how to handle hiding their powers, and if you suspect their new benefactors aren’t entirely on the up-and-up, you’d be somewhat right. Yet The Incredibles 2 does an excellent job at differentiating itself from the first and from other superhero films in general. Chief among the differences is the inclusion of other supers joining the crusade for superhero legality, and their presence allows for added creativity in the battles and actual super-vs.-super fights rather than the repeated super-vs.-robot fight of the first. Anyone who wanted more Elastigirl and Frozone shouldn’t be disappointed, and while Bob seemed sidelined by suppressed egotism and Mr. Mom franticness, it wasn’t as bad as the trailers implied. Ultimately, even with some mature themes being broached, this is still a film for and about families, with Bob’s first-hand struggles with superpowered child-rearing offering a nice counterpoint to the more action-packed beats with his wife.

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One thing that seemed like a retroactive change is that the Parrs apparently didn’t see baby Jack-Jack use his powers at the end of the first film, allowing for all of them to be surprised again by his multifaceted abilities. Jack-Jack even steals the show at times, whether he’s paired with an ornery raccoon or fashionista Edna Mode (Brad Bird). Likewise, Violet (Sarah Vowell) and Dash (Huck Milner, seamlessly replacing Spencer Fox) get their fair share of screen time, especially after the villain is revealed. Speaking of which, the Screenslaver may not have as compelling a backstory as Syndrome, but the philosophy spouted by the shadowy figure has a point in denouncing people’s reliance on computer/TV screens and lack of responsibility. It’s the kind of motivation that works well for a supervillain, bearing a kernel of truth but taken to a malevolent extreme, which actually offers a legitimate threat against the supers.

I’ll be honest: I intentionally had very low expectations for The Incredibles 2. Others I know have said they had enormous hopes for it, but when you’re dealing with a film as awesome as the first Incredibles, it’s going to be hard to match. Perhaps that’s why I enjoyed it so much compared with one of my disappointed coworkers, who likely had too many preconceived notions of what the perfect sequel should be, not unlike Star Wars fans of late. Yes, The Incredibles 2 doesn’t quite reach the heights of its predecessor: It lacks the meaningful character arcs of the first film, its villain mystery is semi-predictable, and it raises more thematic questions about right, wrong, and responsibility than it even tries to answer. Yet it was so enjoyable to spend time with these characters again that I didn’t mind, and it still stands head-and-shoulders above the majority of animated films nowadays.

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I think I’d go so far as to call it the best Pixar sequel since Toy Story 2, at least in recapturing the spirit of the original. The action scenes are as cool and polished as anything in the MCU, and Michael Giacchino’s bombastic score is still the perfect complement to its comic book world. It’s not above some complaints, but if you compare The Incredibles 2 to Cars 2 rather than the first Incredibles, I think you’ll agree it’s an “incredible” sequel. Pixar does it again!

Best line: (Edna) “Done properly, parenting is a heroic act. [Glares at Bob’s exhaustion] “Done properly.”

 

Rank: List-Worthy (joining the first film)

 

© 2018 S.G. Liput
585 Followers and Counting

 

Solo: A Star Wars Story (2018)

21 Thursday Jun 2018

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Action, Sci-fi, Thriller

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There once was a rogue on the run
Who liked to shoot first with his gun.
He’d often cheat death
Without catching his breath
And make every danger seem fun.

The hand of a princess he won.
Have you heard of the famed Kessel Run?
You may know he’s tough,
But you don’t know enough
Till you see how his tale had begun.
___________________

MPAA rating: PG-13

Of all the opinions swirling around Solo: A Star Wars Story, there’s one thing everyone seems to agree on: It’s not a bad movie. That’s more generous than a lot of films get, but that seems to be the basis around which many are building their views. They may embrace it as a prequel done right or poke every imaginable hole in its plot and execution, but one thing’s for sure: It’s not a bad movie. I’ll go a bit farther than that, though. Solo: A Star Wars Story is a good movie.

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Solo had the unenviable task of recasting one of the most iconic roles in cinematic history, and no matter who they picked for Han Solo, there’s only one Harrison Ford. That being said, Alden Ehrenreich holds his own as a younger and scrappier Han, not quite looking the part, not quite nailing Ford’s mannerisms as well as I’d like, but he still works as a believable version of the beloved rogue. Likewise, Donald Glover slips smoothly into Billy Dee Williams’ debonair shoes, and Joonas Suotamo as Chewbacca is, well, the same Chewbacca we’ve always known, one of the perks of playing an alien in a full-body suit. The recasting isn’t quite a slam dunk like J.J. Abrams’ rebooted Star Trek cast, which was arguably a harder sell, but it comes close enough

Joining these familiar faces/characters are a host of other rogues, from Paul Bettany’s scarred crime lord, to Woody Harrelson’s smuggler and grudging mentor, to a group of Cloud Riders led by a masked pirate dressed suspiciously like Hiccup’s mother in How to Train Your Dragon 2. The title of best addition, though, goes to the always beautiful Emilia Clarke as Han’s childhood friend and love interest Qi’ra, whose three-year separation from him among villains leaves you constantly questioning what exactly her role and intentions are. Many of the characters don’t stick around long enough to leave much of an impression, often just to put more focus on Han, but they do their parts admirably. Oh, and I suppose some mention is deserved by Phoebe Waller-Bridge’s irascible droid L3-37, whose strident calls for droid equality shed a different light on the sentience and rights of robots in the Star Wars universe (and an odd, though unconfirmed implication of Lando’s romantic tastes). It’s funny how “sarcastic” describes most of the named droids of Star Wars, and she’s no exception, though I preferred K-2SO in Rogue One.

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I’ll admit that Solo didn’t have the same hype for me that past Star Wars films had, perhaps because it’s been only six months since The Last Jedi, perhaps because the marketing made it seem like the least Star Wars-y movie yet, perhaps because of the publicized difficulties behind the scenes that replaced directors Phil Lord and Christopher Miller with the ever-reliable Ron Howard. Yet anyone going in with low expectations is bound to have a good time, whether you want a series of well-fashioned heist scenarios and action set pieces or a geeky exploration of Han’s origins, complete with the Millennium Falcon, the Kessel Run, those golden dice I never knew about till Last Jedi, and how he first met Chewie and Lando. I do wonder what Lord and Miller’s version would have looked like, but my VC and I agreed that, even with its changes in casting and a poorly lit visual tone, this still felt like Star Wars, which is the least we fans can hope for as Disney continues to churn out sequels, prequels, and in-betweenquels.

I’m still not entirely sure whether I consider Solo and Rogue One to be 100% canon, even if they may be “officially.” With no George Lucas, Jedi, or Skywalkers involved, they’re more like big-budget fan fiction, and I’m okay with that. To my mind, there has still not been a bad Star Wars movie, and I like how new directors and storytellers have added their own distinctive style to the most recent installments while preserving what made this world so compelling from the start. These Star Wars Stories have managed to surprise me both in quality and narrative. (Solo has a late revelation that I’m surprised isn’t getting more buzz, though maybe that’s because I haven’t seen Star Wars: Rebels. I don’t think this film will be the one-off that Rogue One was, though its box office performance leaves some doubt on a sequel.) Whether it’s real Star Wars or just someone else’s version of it, it’s still darn entertaining and decidedly not bad.

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Best line: (Lando, to Han) “I hate you.”   (Han) “I know.”

 

Rank: List-Worthy (joining Rogue One)

 

© 2018 S.G. Liput
582 Followers and Counting

 

Psychokinesis (2018)

13 Wednesday Jun 2018

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Tags

Action, Comedy, Drama, Foreign, Superhero

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A hero isn’t born, you know,
With all he needs to earn that rank.
All roles are blank
Until they grow.

He may have strength to break a chain
Or speed to outrun any train
Or powers to abolish pain
With snap of finger or of brain,
The likes of which man can’t contain.
But all of that would be in vain
If he viewed others with disdain.

It’s finding one worth fighting for
That makes a hero from a blank.
___________________

Rating: TV-MA (with several beatings, the content is much more PG-13, but there are a few F words in the English subtitles)

It took me longer than everyone else to jump onto the bandwagon praising Yeon Sang-ho’s South Korean zombie hit Train to Busan. One advantage to waiting was that I didn’t have to wait too long for his next live-action feature, this time tackling the superhero genre. Though not on the level of his earlier film, Psychokinesis is an enjoyable counterpoint to the big-budget Marvel movies to which we’ve become so accustomed, a decidedly smaller-scale adventure that still delivers the goods.

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The film starts out a little confusingly, segueing from an advertisement about successful young restaurateur Shin Roo-mi (Shim Eun-kyung) to a night attack on her restaurant by a group of workmen, who try to evict her and accidentally kill her mother. Soon after, we meet her absentee father Seok-heon (Ryu Seung-ryong), an oafish security guard who happens to drink from a fountain right as it’s contaminated with energy from a meteorite and discovers he has telekinetic powers. Just reading back those two sentences makes this film sound really bizarre, and maybe it is at the start, but I’m glad I gave it a chance because it somehow does work by the end. After hearing of his ex-wife’s death, Seok-heon decides to use his power to reignite his relationship with the daughter who hates him and protect her from the villainous corporate developers trying to remove her and the other tenants who refuse to leave their shops.

Like Train to Busan, Psychokinesis is just as concerned with its human characters as its genre conventions. At first, Seok-heon is hardly the type to stick up for others and tries to dissuade Roo-mi from joining the rebellious shopkeepers. Much as the inconsiderate father in Train to Busan had his conscience pricked, Seok-heon ends up second-guessing his own selfishness and aiding them with his psychic abilities. Both Ryu and Shim are quite good as an estranged father and daughter (they voiced similar estranged roles in Yeon’s previous film Seoul Station as well), and those playing the villains are gleefully evil, especially Jung Yu-mi (the pregnant woman in Train to Busan) as a beautiful, power-crazed mastermind.

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As for the superhero side of things, the effects are actually very well done, and their impact is gradually built up as Seok-heon progresses from floating lighters and ties to throwing bad guys around to almost flying. It clearly takes immense concentration for him, and his mental straining often verges on comedic. With some over-the-top reactions and simplistic motives, the film knows when to chuckle at itself and when to be serious, bolstered further by some genuinely cool superhero moments.

Psychokinesis may not be quite on the technical level of Marvel’s offerings, but with its Korean setting and surprisingly small body count, it’s a refreshingly low-profile member of an increasingly crowded genre. It’s also a sign that Yeon Sang-ho is a director worth keeping an eye on for empathetic family dynamics and quality genre fare.

 

Rank: List Runner-Up

 

© 2018 S.G. Liput
579 Followers and Counting

 

Sky Captain and the World of Tomorrow (2004)

20 Sunday May 2018

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Action, Mystery, Romance, Sci-fi, Thriller

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The world of tomorrow was yesterday’s dream.
Today’s that tomorrow, or so it would seem.
Today’s not exactly what yesterday guessed,
But thinking dystopian, maybe that’s best.

Today has its own dreams of what’s on its way
But also thinks fondly about yesterday.
Today is a mess; maybe if we combine
Tomorrow and yesterday, all will be fine.
_________________

MPAA rating: PG

Some films are just unlike any other. The weird thing about Sky Captain and the World of Tomorrow is that it’s both utterly unique and yet reminiscent of many other movies before it and since. It’s an unusual blend of the futuristic and the retro, which offers the same kind of entertaining, if not particularly deep, gusto as a pulp magazine from 80+ years ago.

Of course, unlike those magazines or comics, Sky Captain puts its visuals in motion with a distinctly retro, sort of noir visual style, which most reminded me of those Superman cartoons from the 1930s. Shadows are at stark angles, the colors are muted almost to sepia and black-and-white, montages have semi-transparent scenes playing over each other, and many shots have a balanced composition resembling an old war poster. Added to all of this are special effects that, created in 2004, manage to be both well-visualized and just that slightly bit cheesy, minus the extra polish that they would have if made today. Yet the fact that nearly all of the actors’ surroundings are CGI is quite impressive and not immediately obvious. So many films these days end up looking like something else, even if it’s unintentional or trying to be somewhat different (think Pacific Rim vs. Transformers), yet it would take a lot of effort to make anything resembling Sky Captain’s visual flair.

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Sky Captain and the World of Tomorrow is a hodgepodge of genres and story elements from sources ranging from Indiana Jones to those same Superman cartoons I mentioned. Jude Law plays the titular Captain Joe Sullivan, whose tricked-out plane is called in to stop giant robots attacking New York City, while Gwyneth Paltrow is Polly Perkins, a Lois Lane-ish intrepid reporter seeking her next big story. Together, they investigate a worldwide conspiracy that is making famous scientists disappear as part of some unknown master plan by a man called Totenkopf (Laurence Olivier, or rather his likeness since he died in 1989).

Like I said, I was reminded of many films while watching this one, making me wonder why I hadn’t bothered to see it sooner. It’s hard not to think of Salah in Raiders of the Lost Ark when Joe and Polly rendezvous with an old friend to visit Shangri-La, and Sky Captain himself is like an airborne Indy, as his womanizing ways and bickering chemistry with Polly indicate. Yet I was even more stunned by the fact that I was reminded of films that came out after this one and must have drawn some inspiration from it. Angelina Jolie shows up as an old flame of Joe’s, but tell me she’s not a touchstone for Nick Fury when she wears an eyepatch and captains a helicarrier from a bridge that even resembles the one from The Avengers.

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More shocking still for me was how similar Sky Captain was to April and the Extraordinary World, a new favorite animated film I praised for its originality just last month. The story just holds too many parallels: a World War II-era setting with unusually advanced technology, famed scientists being mysteriously abducted, a jungle-set climax with a rocket that has more or less the exact same purpose in both films. I can’t say my opinion of April has diminished, but I must admit that it’s not quite as original as I thought. I suppose Sky Captain has absorbed my appreciation in that regard, even if I still like April more.

With my rambling on about uniqueness and originality, I don’t know if this review has made it clear or not, but I highly enjoyed Sky Captain and the World of Tomorrow. If you can buy into its stylistic distinctiveness, there’s plenty of high-flying, largely family-friendly adventure to be had from its genre blending. As the first film to be (almost) completely shot on blue screen, Sky Captain was clearly a labor of love for director Kerry Conran and remains his only feature film. It is indeed something of a novelty item, as many reviews have called it, but it’s still quite an entertaining one.

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Best line: (I’d rather not say since it gives away a major plot point.)

Rank: List-Worthy (tied with April and the Extraordinary World)

 

© 2018 S.G. Liput
573 Followers and Counting

 

Ranking the Marvel Cinematic Universe…in Verse!

17 Thursday May 2018

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ 3 Comments

Tags

Action, Lists, Superhero

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Nineteen films in Marvel’s canon, fruit of planners’ careful plannin’,
And though some are sick of fandoms,
I am still a fan extreme.
So to honor them and thank them, now seems like the time to rank them,
Using Edgar Allan Poe’s “The Raven”
For my rhyming scheme.

Just so everybody knows, regardless of where each one goes,
I like them all, both highs and lows.
(And poems are just more fun than prose.)

#19:  The Incredible Hulk (2008)

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At number nineteen in the listing is one barely still existing
In the continuity
Of Marvel’s growing universe.
Edward Norton as Bruce Banner had the acting chops and manner,
But the climax was all smashing,
Which got tedious or worse.

It’s better than the green banana that had featured Eric Bana
But still feels unripe so, man, a-
Nother recast was in store.
William Hurt has since been spotted, but the hints with which it’s dotted
Might as well have not been plotted
And should come back nevermore.

#18:  Iron Man 2 (2010)

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Iron Man put Marvel soaring, but its sequel left some snoring,
Dragged down by two villains boring,
Both in need of better scripts.
Poisoned by his source of power, Tony’s mood was often sour,
But he managed still to win
When Russian Mickey Rourke made whips.

Still though, ScarJo as Black Widow made her entrance, and she did so
Well that most will only think
Of her debut and not the rest.
Rhodey gets a suit for blasting, none the worse for his recasting,
And Don Cheadle has proved lasting
Past the Terrance Howard test.

#17:  Thor (2011)

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Then came Thor with smashing hammer, lifted up by Branagh’s glamor,
Boasting bold Old English grammar
And Chris Hemsworth’s muscled bod.
Visually, Asgard was stunning, and we love Loki so cunning,
But the plot was just too simple:
Humbling the thunder god.

New Mexico no doubt did smile as the place of Thor’s exile,
Where he learned to face the trial
Of his selfless worthiness.
I like Thor’s supporting players, and the myths have many layers,
But only in its outward airs
Was this Thor able to impress.
Still important? Yeah, I guess.

#16:  Iron Man 3 (2013)

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Avengers rocked the whole box office, praised by all except some sophists,
So Phase 2 kicked off for Marvel
With another Iron Man.
Traumatized and shaken Tony, grown from being glib and phony,
Offers honest testimony
Where his lowest point began.

Kingsley’s villain is scene-stealing till we get to his revealing
That he’s merely double-dealing,
Just a hack to fool the press.
Well, it worked, and it’s disjointing, baffling, and disappointing,
As is Tony’s final act,
Progress but dumb nonetheless.
Yet the rest meets with success.

#15:  Black Panther (2018)

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Don’t discount my rare opinion, thinking I’m some racist minion.
No one race deserves dominion
Over superhero flicks.
As the first black solo story, yes, Black Panther meets with glory,
Breaking in new territory,
Adding to the Marvel mix.

Yet Wakandan mysticism paired with governmental schism
Drew from me some criticism
While from others gaining praise.
Sister Shuri and the action still earned positive reaction,
And, though others have more traction,
This film had a trail to blaze.

#14:  Thor: The Dark World (2013)

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Keeping Phase 2 sequels going, Thor 2 showed the stakes keep growing
As the first time that the whole dang
Universe was jeopardized.
Fantasy continued merging with sci-fi, like worlds converging
As dark elves pursued the purging
Of the light they so despised.

True, it won’t impress Criterion, but the tone is still Shakespearean,
And both Thor and Loki shine
As they develop their rapport.
Next to Thanos or the Joker, Malekith is mediocre
As a villain. “Who?” you say,
Which just confirms my comment more.

#13:  Thor: Ragnarok (2017)

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Recently, the god of thunder suddenly has fallen under
Comedy, and fans have wondered
Where the gravity has gone.
Yet most others have ceased caring, caught up in the funny pairing
Of both Thor and Hulk, not sparing
Any joke to fall upon.

When his sister shows she’s greater, Thor becomes a gladiator
Under Goldblum the dictator,
Yet his humor pulls him through.
Losing hammer, home, and hair, plus friends you may not know were there,
May seem to be a bleak affair,
Yet laughter keeps the sad from view.

#12:  Spider-Man: Homecoming (2017)

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After Garfield and Maguire, did the universe require
Yet another Spider-Man
To swing his webs and quips galore?
Maybe so, because Homecoming kept young Peter Parker humming,
And we knew that he was coming
Since he was in Civil War.
(Want a fourth? Please, nevermore.)

Born from Disney’s deal with Sony, this young Spider now has Tony,
Gifting high-tech Spidersuits
To mentor over-eager Pete.
With its youthful high school setting and no Uncle Ben regretting,
It’s a new and fun resetting,
Not the best but no mean feat.

#11:  Doctor Strange (2016)

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From the tech so futuristic, Marvel moved on to the mystic
With a dose of surrealistic
Imagery to help us cope.
Cumberbatch proved quite appealing as a doctor seeking healing,
Whose whole world is set to reeling,
Much like a kaleidoscope.

Yes, it’s effortless equating Strange’s rehabilitating
With one Tony Stark and rating
Iron Man as first and best.
Visually, though, eyes were popping, just as many jaws were dropping.
Marvel showed no signs of flopping,
Always leaving us impressed.

#10:  Avengers: Age of Ultron (2015)

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I don’t mean to be a hater, since I do enjoy James Spader,
But in looking back years later,
Age of Ultron is a mess.
Triumph was not guaranteed in this great challenge for Joss Whedon,
Yet he made the mess proceed in
Good directions, more or less.

Lots of characters to juggle, hints at future tales to smuggle,
All of it proved quite the struggle,
Even for his cleverness.
Ultron left a weak impression, but the heroes in procession
Still were awesome, since (Confession!)
I’m a geek, but I digress.

#9:  Guardians of the Galaxy (2014)

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Of their many near disasters turned to gold by Marvel’s masters,
This one shocked the best forecasters
Who thought surely this would flop.
Talking trees and troublemakers and raccoons were no dealbreakers;
No, these misfit moneymakers
Proved too humorous to stop.

With its crowded plot subverted by pop culture jokes inserted,
Seventies pop songs diverted,
Making Guardians a fave.
Though not every wisecrack landed, Marvel’s world was well expanded,
And this superteam commanded
Special props for being brave.

#8:  Ant-Man (2015)

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Yet another risky venture, Marvel’s miniature adventure
Brought an original Avenger
From the comic to the screen.
Though its brethren may stand taller, I appreciate the smaller
Scale and silliness of Ant-Man,
Still with sights we’d never seen.

Paul Rudd’s both sincere and silly next to Lost’s Evangeline Lilly,
As he rides on ants (yes, really),
For a heist by shrinkage done.
While its physics call for bending, Ant-Man’s lark is worth commending.
It’s a romp or runt depending
On the viewer’s sense of fun.

#7:  Guardians of the Galaxy Vol. 2 (2017)

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Sequels can be tricky notions, preying on the fans’ devotions.
Some say this went through the motions,
But I favor Volume 2.
There’s more leeway to admire characters established prior,
And its fun flies slightly higher
Than its predecessor flew.

Mantis is a great addition, while Kurt Russell’s opposition
As Quill’s father made his mission
Quite the father/son dispute.
Drax’s laughing is contagious, and the action’s still outrageous,
But its poignancy engages.
Plus, I just love Baby Groot.

#6:  Captain America: The Winter Soldier (2014)

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As you might guess from his placing, Cap’s one hero I’m embracing,
And his second film’s great pacing
Helped it merit much acclaim.
As a proven HYDRA hater, Cap was branded as a traitor,
And one elevator later,
He set out to clear his name.

Verifying comic theories, this one’s vast conspiracies
Rippled through both film and series,
Changing Marvel’s status quo.
Steve and S.H.I.E.L.D. were still quite lucky, more than poor, reprogrammed Bucky,
And to helm it, Marvel welcomed
Anthony and Joe Russo.

#5:  Iron Man (2008)

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Iron Man initiated all that Marvel’s since created,
With a movie that predated
Disney’s lucrative control.
Downey, Jr.’s star selection was, in casting terms, perfection,
Serving as a nice reflection
Of the actor in the role.

Gwyneth Paltrow and Jeff Bridges kept the central cast prestigious.
(Rhodey, though, would be recast,
With ol’ Don Cheadle in the wings.)
Tony’s origins so winning got the MCU to spinning.
Solo story, grand beginning—
Iron Man was many things.

#4:  Captain America: The First Avenger (2011)

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Though Iron Man was the go-getter, origins don’t get much better
Than the fourth but First Avenger
In the Marvel pantheon.
World War II was recreated, screaming classic but not dated,
And Steve Rogers’ motivated
Hero showed both brains and brawn.

Of all baddies you could fill in, Nazis are an ideal villain,
And for girlfriends, Agent Carter
Still remains one of the best.
Though not quirky or exotic, Steve’s so sweet and patriotic,
Standing up to those despotic,
That he stands above the rest.

#3:  Avengers: Infinity War (2018)

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One whole decade in the making, bigger if not quite groundbreaking,
There is no doubt or mistaking
Marvel’s tour de force so far.
No more just a brief inclusion, Thanos dreams of one conclusion,
Boasting views downright Malthusian,
If he only had the Stones.

So much epic superteaming, such high stakes no higher seeming,
Fruit of all of Marvel’s scheming,
Nerdwise, this film made our day.
Though it gave us all we wanted, viewers might not leave undaunted.
I walked out less thrilled than haunted,
Part 2 still one year away.

#2:  Captain America: Civil War (2016)

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“Avengers” isn’t in the title, since Steve Rogers is most vital,
But all members are not idle
In this epic civil war.
Ant-Man helps with Cap’s resisting, Spider-Man swings in assisting,
And Black Panther joins the listing,
All with ends worth fighting for.

Nuanced in its controversies, vengeful spats, and moral mercies,
Civil War left this fan thirsty
For whatever would come next.
Once more, status quo was shattered, favorite heroes sad and scattered.
Next to others, this one mattered.
Give those Russos my respects.

#1:  The Avengers (2012)

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Phase 1’s awesome culmination, The Avengers earned ovation.
(I saw it post-graduation,
Very fondly I recall.)
Team-ups were a new sensation, this one passing expectations,
Building on its strong foundations,
One big balanced free-for-all.

Geniuses and egos clashing, aliens and buildings crashing,
Every hero still proved smashing.
(Who wants shawarma? Anyone?)
Whedon’s dialogue was clever, which surprises no one ever,
And their first combined endeavor
Still is Marvel’s most well-done.

Thanks to anyone persisting, finishing my Marvel listing.
Let me know what you may think.
No need to write in verse, though. *Wink*

VC Pick: Tombstone (1993)

09 Wednesday May 2018

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ 4 Comments

Tags

Action, Drama, VC Pick, Western

See the source image

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.

See the source image

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.

See the source image

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)

06 Sunday May 2018

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ Leave a comment

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.

See the source image

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.

See the source image

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.

See the source image

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.

See the source image

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.

See the source image

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.

See the source image

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.

See the source image

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.

See the source image

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

 

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