Tag Archives: Action

#26: The Avengers (2012)

08 Thursday Jan 2015

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When Loki arrives with a sinister plan,
Nick Fury calls in more than just Iron Man.
The heroes we know
Are called in for this foe,
Who brainwashes many good guys since he can.
 
With Captain America, Black Widow, Thor,
Iron Man, Hulk (there are soon to be more),
Nick Fury believes
In this ace up his sleeves,
And Loki’s caught, more easily than before.
 
A huge helicarrier carries the team,
Who don’t hold each other in too high esteem.
When Loki is freed
And appears to succeed,
A “push” sends the supers to scuttle his scheme.
 
In New York, as alien armies invade,
The so-called Avengers put up a blockade.
The big battle rages,
Till one nuke engages
And narrowly ends the Chitauri crusade.
 
The earth and the Cosmic Cube now well-protected,
And all the Avengers both thanked and respected,
They go their own ways
Until Marvel’s next phase;
Again they’ll assemble when danger’s detected.
___________________
 

The Avengers was an unprecedented endeavor; never before have characters from different films been brought together, and certainly never so successfully. Joss Whedon’s direction and treatment of the characters are nothing short of brilliant, allowing every hero to be themselves while interacting with each other and working together as only seen in comic books.

One of the great joys of comics is the crossovers (Hulk vs. Wolverine!, Spider-Man teams up with Captain America!; though, don’t plan to see those on film anytime soon), and Marvel’s establishing their cinematic universe had thus far been restricted to details and cameos. To put all these characters in the same film and to do it so well approaches a level of awesomeness the comic-loving world had not yet known. There’s Robert Downey, Jr.’s charismatic Iron Man, the “genius, billionaire, playboy, philanthropist” who started it all. There’s Chris Hemsworth’s hunky Thor, whose Shakespearean trappings offer a noble, often amusing counterpoint to the modern environment and dialogue. There’s Chris Evans’s thawed Captain America, whose patriotism and war experience transform into full-fledged team leadership. There’s Mark Ruffalo as Bruce Banner/the Hulk, stepping gracefully into the shoes vacated by Edward Norton and becoming the newest go-to giant green rage monster. There’s Scarlett Johansson’s lithe superspy Black Widow, with a past still yet to be explored, and Jeremy Renner’s super-archer Hawkeye; though we still know very little about either of them, not having films of their own thus far, they round out the team to include unpowered humans who still pack a punch. In addition to other characters from past Marvel films, there’s also Samuel L. Jackson as duplicitous but well-meaning S.H.I.E.L.D. director Nick Fury, Clark Gregg as unfortunate Agent Coulson, Cobie Smulders as newcomer Agent Maria Hill, and of course Tom Hiddleston as the ever-watchable villain Loki, who expertly balances cunning and megalomania, despite a rather ridiculous horned costume.

There are so many amazing scenes and even a few newly iconic ones, like that long continuous shot spanning the entirety of the New York City battlefield or that silent post-credits scene that introduced everyone to shawarma. The film opens with a bang even before the title appears, and the helicarrier ups the ante with high-tech grandeur while indulging in inter-character squabbles and showdowns. The final full-scale conflict becomes a new high among superhero battles, again letting every character have their moment to step up, kick butt, or earn a laugh. Even the details were well-planned, like some fleeting mentions of a cellist Coulson was seeing, which was expanded on in Whedon’s TV show “Agents of S.H.I.E.L.D.”

The Avengers is the culmination of Marvel’s cinematic Phase One, and it paid off beautifully, creating one of the most tremendous, smart, and entertaining action blockbusters in recent memory. Plus, it’s one of the cleanest Marvel films, catering to every taste and age group. Joss Whedon, well-known for his witty banter, was the right man for the job. This film is a “marvel,” and I can’t wait for the second one this summer.

Best line: (Bruce Banner) “I don’t think we should be focusing on Loki. That guy’s brain is a bag full of cats. You can smell crazy on him.”
(Thor) “Have a care how you speak! Loki is beyond reason, but he is of Asgard, and he is my brother!”
(Black Widow) “He killed eighty people in two days.”
(Thor) “He’s adopted.”
 
 
Rank: 59 out of 60
 

© 2015 S. G. Liput

278 Followers and Counting

#27: Ben-Hur (1959)

07 Wednesday Jan 2015

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Beneath the mighty Roman yoke,
The Jewish people still invoke
The promise of a Christ to come
Who’ll save them from the Romans’ thumb,
And many eagerly provoke.
 
Returning to Jerusalem,
Messala comes to manage them
And reconnects with his old friend,
With Judah Ben-Hur to extend
A jilted offer to condemn.
 
Their friendship strained by Hur’s dissent,
It’s worsened by an accident.
While Judah’s made a galley slave,
His mother and his sister brave
Long years in prison and torment.
 
A naval battle frees Ben-Hur
By making him a rescuer,
And he becomes a Roman son,
Remembering the evil done
And vengeance promised to occur.
 
A skilled and lauded charioteer,
He goes back home to reappear
To cold Messala and demand
His family’s freedom close at hand,
But they are lepers, sparking fear.
 
Believing they are dead, no trace,
Ben-Hur competes within a race,
A chariot battle at high speeds.
Against Messala, he succeeds;
The fallen grieves him to his face.
 
He finds his mother and his sister,
Forced to live apart and fester,
And through mourning, he then tries
To seek out Jesus ere one dies,
At the urge of lovely Esther.
 
But the prophet is on trial,
Soon to die in savage style.
A kindness for which Hur once yearned
Is unexpectedly returned,
And healing springs from death worthwhile.
__________________
 

Hollywood still makes epics, even the Biblical kind it so enjoys messing up, yet all of the special effects and big names can’t compare with some of the best of yesteryear, especially 1959’s Ben-Hur, the first of only three films to win eleven Academy Awards. Indeed, this film that garnered one of the greatest Oscar sweeps of all time deserved every one; the sets, the scope, the emotions, the acting, the moral message are all conjured so impressively from the pages of Lew Wallace’s bestseller that no film has bested its number of Oscars, only equaled.

Coming only three years after Charlton Heston’s other Biblical epic The Ten Commandments, Ben-Hur weaves a story of lost friendship, vengeance, and redemption alongside brief but potent glimpses from the life of Jesus, whose face is shrewdly hidden, allowing the viewer to imagine his appearance as they will. Heston won Best Actor for his title role, which may not be as imposing as his turn as Moses but carries far more emotion. Unlike Cecil B. DeMille’s Exodus story, vain histrionics are kept to a minimum in favor of excellent dramatic acting from Jack Hawkins as Quintus Arrius, Stephen Boyd as Messala, Haya Harareet as Esther, and Oscar winner Hugh Griffith as Sheikh Ilderim. While the film is most notable for its action scenes, the character moments are often powerful; the scenes of mercy between Judah and Jesus are quietly profound high points.

Even so, the film boasts some of the most thrilling scenes of Hollywood’s golden age, full of magnificent sets, a cast of thousands, and some brief but unusually violent images for 1959. The galley battle is a vivid turning point for the film, creating both a provident moment of grace and a memorably rare depiction of ancient naval warfare. Of course, the film’s most intense sequence is the famous chariot race, about nine minutes of action filmmaking at its finest. The upcoming Ben-Hur remake will no doubt rely on CGI for this part, but the original is all the more monumental for its reality and lack of computer enhancement.

I don’t watch Ben-Hur but once a year typically, mainly because of its exhaustive length (over 3½ hours), but it will always be a milestone of epic cinema.

Best line: (Quintus Arrius) “In His eagerness to save you, your God has also saved the Roman fleet.”

 
Rank: 58 out of 60
 

© 2015 S. G. Liput

278 Followers and Counting

#28: Star Trek (2009)

06 Tuesday Jan 2015

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In deepest space, a mining ship of Romulans comes through
A black hole leading to the past and starts to search for Spock.
The captain Nero opens fire upon a Starfleet crew,
And George Kirk fights unto the end to save his fleeing flock.
 
Years later, his son James has grown, a cocky, flirty punk,
And Captain Pike suggests to him that he could shoot for more.
Enlisting as a new cadet and never one to flunk,
He makes a name and breaks directives, making young Spock sore.
 
The Vulcan home world soon is under Nero’s swift attack,
And Starfleet empties to prevent this futuristic threat.
The Enterprise alone survives, but Pike can’t make it back,
And Vulcan is annihilated, making Spock upset.
 
An unexpected visit to a hostile sphere of ice
Acquaints young Kirk with Spock but older, from another time.
Explaining Nero’s animus and giving Kirk advice,
Spock sends him back with Mr. Scott to stop the next war crime.
 
As Nero’s ship is targeting the earth, Kirk takes command
And rallies his assembled crew to rescue it and Pike.
Another black hole’s opened that the foe cannot withstand,
And Kirk and friends are honored with a series you might like.
____________________
 

When Star Trek: Nemesis came out in 2002 and disappointed me and my VC for the most part, it seemed that Star Trek was over. Gene Roddenberry was dead; Captain Kirk was dead; Data was dead; and so was the franchise. So when a reboot was announced, I certainly had reservations, even though J. J. Abrams was at the helm (this was before I fell in love with Lost). What a surprise then that 2009’s Star Trek, with an almost completely revamped cast, remains my favorite Trek film thus far! Abrams actually pulled it off, a reboot so original and somehow familiar that it transcends most or all of its predecessors.

Who could possibly play Captain James Tiberius Kirk, other than William Shatner? Who could possibly play Mr. Spock or Dr. McCoy or Scotty without the entire performance feeling like a parody impression? Casting is everything here, and there isn’t one misstep. Chris Pine is the new Kirk; Zoe Saldana is the new Uhura; Karl Urban is the new real McCoy; and so on with Simon Pegg, Anton Yelchin, John Cho, and the amazingly Spockish Zachary Quinto. Even the supporting roles are well-cast, with Bruce Greenwood as a mentoring Captain Pike, Ben Cross as Vulcan father Sarek, and Winona Ryder as Spock’s sympathetic human mother. They all act akin to their previous incarnations, while embracing their own interpretation of the characters, all neatly explained by the conveniences of time paradox.

In addition to the up-and-coming young actors, the film as a whole carries a constant excitement, as if the filmmakers are like the audience in eagerly wanting to reach the next exhilarating set piece, chase, or battle. It all moves briskly, yet it excels at that elusive trait of the best Trek films, giving every character something important to contribute. Some critics pointed out the lack of consequences, such as failing to offer any tribute to the deaths of Kirk’s fellow Starfleet cadets massacred by Nero (a complaint the sequel remedied with just such a scene), yet it’s to the film’s credit that it can be enjoyed nonetheless. Not to mention, there’s some fantastic creature effects (it’s the only Trek film to win an Oscar, for Best Makeup), startling new technology, an underdeveloped but menacing villain played by a bald Eric Bana, a savvy script from frequent Abrams collaborators Roberto Orci and Alex Kurtzman, a brilliant Michael Giacchino score, clever referencing and explanations of past films and details, and a good deal of humor. If Abrams can do for Star Wars what he’s done for Star Trek, there is at least some hope left in this world.

Best line: (Scotty) “I told him that I could not only beam a grapefruit from one planet to the adjacent planet in the same system—which is easy, by the way—I could do it with a life form. So, I tested it out on Admiral Archer’s prized beagle.”
(Kirk) “Wait, I know that dog. What happened to it?”
(Scotty) “I’ll tell you when it reappears. Ahem. I don’t know, I do feel guilty about that.”
  
 
Rank: 58 out of 60
 

© 2015 S. G. Liput

277 Followers and Counting

#29: The Chronicles of Narnia (2005, 2008, 2010)

05 Monday Jan 2015

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In World War II, the Pevensies
Are sent away with great unease.
Professor Kirke accepts them in,
To all four children’s sad chagrin.
 
When Lucy sights a wardrobe there,
She finds a magic portal rare.
A snowy wood and friendly faun
Await; to Narnia she’s gone.
 
Soon Edmund follows through, and then
The White Witch bids him come again.
When Susan enters too with Peter,
Narnia grows warm and sweeter.
 
Aslan has returned to mend;
The Witch’s reign is at an end.
Yet Edmund shocks them with betrayal,
And only death can death curtail.
 
The lion takes the traitor’s place
And dies in torment and disgrace.
Yet as the Witch’s triumph nears,
In greater strength Aslan appears.
 
The battle won, the White Witch slain,
The Pevensies are crowned and reign.
Their time within the wardrobe passed,
Their visit ends, but not their last.
_________________
 
In Narnia, for centuries,
The Telmarines have reigned with ease;
As King Miraz welcomes a son,
Prince Caspian is forced to run.
 
He calls to Narnia once more
The four great kings and queens of yore.
The Pevensies are shocked to find
How swifter time has been unkind.
 
As Caspian becomes allied
With native Narnians who hide,
The Pevensies arrive to aid
The rightful Prince with his crusade.
 
They fail with their preemptive raid,
Replacing Aslan with the blade.
Yet as the Telmarines attack,
The Narnians can’t hold them back.
 
Miraz and Peter hold a duel,
To thus decide who ought to rule.
When battle breaks out nonetheless,
Aslan assists in their distress.
 
With Caspian upon the throne,
Some Telmarines seek lands unknown.
The Pevensies must leave as well,
With more adventures now to tell.
___________________
 
When both Edmund and Lucy must
Go off to stay, to their disgust,
With haughty cousin Eustace Scrubb,
They grow to hate each slight and snub.
 
A sailing picture in their room
Begins to gush with ocean spume,
And they find Caspian, increased;
His Dawn Treader is sailing east.
 
They seek the special magic swords
Of seven former banished lords
To halt a threatening green mist
That no one knows how to resist.
 
As island dangers come and go,
The crew face risk and would-be foe,
From slavers to a golden thirst,
Temptations and a treasure cursed.
 
They reach the island of a star;
The final sword is none too far.
The mist lurks in an island dark,
Where nightmares terrorize their bark.
 
When Aslan peels the curse away,
The swords unite to end the fray.
Near Aslan’s land, upon the shores,
The children close the last of doors.
________________
 

I was introduced to C. S. Lewis’s Chronicles of Narnia rather late, not long before the first film came out ten years ago, but I immediately gobbled up the series and became a lifelong admirer of his literary achievement. Some fans of his work were left unsatisfied with the film adaptations, but I have always enjoyed them; even when they depart from the books, they retain the enchantment of Narnia and sometimes even improve on the source material, if only dramatically.

The Lion, The Witch, and the Wardrobe is certainly the closest to the book, and much of its success hinged on the outstanding casting of the four Pevensie children. William Moseley as Peter, Anna Popplewell as Susan, Skandar Keynes as Edmund, and Georgie Henley as Lucy are all marvelous, especially Henley, the youngest and cutest of the child actors. Their wide-eyed awe at the world upon which they stumble captures the same wonder of discovery in the book, which the audience can more easily share with a visual wintry landscape. The music enhances the effect of astonishment and epic excitement, and though the special effects are a little inconsistent, they are much more diverse and imaginative than most fantasy films, especially during the battle scenes, and the film won the Best Makeup Oscar. Of course, the best character is the great lion Aslan, voiced magnificently by Liam Neeson, and though critics can nitpick over details in dialogue, his Christological qualities are powerfully portrayed in Aslan’s sacrifice for Edmund and ultimate defeat of evil. My VC and I are often touched deeply by the Stone Table scene. With live-action and vocal performances from other skilled actors like Jim Broadbent, Tilda Swinton, Ray Winstone, and a young James McAvoy as Mr. Tumnus, the entire film is magical and certainly worthy of Lewis’s novel. Finally, while all three films have songs worthy of my End Credits Song Hall of Fame, the first film has one of the best ever, Alanis Morissette’s beautiful “Wunderkind.”

Prince Caspian was a return to form for all involved but with a darker tone that left some viewers uncomfortable, as well as more supplementary content that angered the occasional devoted fan. I, for one, enjoy Prince Caspian more than the first film and even more than the book, which was comparatively less exciting. It possesses a better script and does feel more mature, for the characters themselves acknowledge how Narnia has become wilder and more dangerous from centuries of oppression. Again, one of its greatest strengths lies in its cast, including all the Pevensies and relative newcomer Ben Barnes in the title role. Plus, there’s a pre-Game of Thrones Peter Dinklage as Trumpkin, Warwick Davis as Nikabrik, Ken Stott (Balin from The Hobbit films) as Trufflehunter the badger, Eddie Izzard as a surprisingly well-realized Reepicheep, and a number of excellent Italian actors as the Telmarines, not least of which being Sergio Castellitto as King Miraz, who offers a different kind of menace than the White Witch. The film transforms the book’s brief mention of a failed attack into a fantastic castle invasion that may seem like filler but heightens the action and the tensions of all involved. Likewise, the proposal about resurrecting the White Witch is actually depicted, allowing Edmund a further chance to redeem himself. The book’s description of Peter and Miraz’s duel could have failed in the film adaptation but is brought to life with some marvelous camera work. By the time of the big battle, made more epic by the arrival of living trees, all the characters have come into their own, and the subsequent farewell is genuinely poignant. As someone who has not read the books, my VC was not bothered by the films’ additions and became deeply attached to the characters, being especially affected by the Pevensies’ bittersweet departure from Narnia.

The Voyage of the Dawn Treader almost didn’t happen, since Disney pulled out their involvement and 20th Century Fox and new director Michael Apted took over production. I’m glad it was made, but honestly it doesn’t quite compare with the previous two. At least Edmund, Lucy, Caspian, and Neeson’s Aslan return, but otherwise there’s a disconnect from its prequels. Simon Pegg is good but just different as the new voice of Reepicheep, and the special effects have a disparate and not always better appearance. Dawn Treader has always been my favorite of the books due to its episodic odyssey of a plot, but I see why changes were necessary for it to work as a film. Most of the islands are well-visualized, especially the island of the ridiculous Dufflepuds, but some of the happenings feel rushed. Even so, the need for a villain is well-placed in the Dark Island and the sea serpent from the book, and the finale is fittingly action-packed. I will say that Will Poulter is an excellent Eustace, properly insufferable at first and believably repentant by the end. The film does have moments of brilliance, particularly the final goodbye for Lucy and Edmund, which is even more sorrowful than in Prince Caspian, and thankfully includes one of the most obvious Christian hints from the book, Aslan’s other name.

The final scenes of Dawn Treader are quiet and emotional and might very well be the last we see of this incarnation of Narnia. The Silver Chair is supposedly on its way, but if they don’t hurry, Will Poulter will be too old and one of the few connections to the previous films will be lost by recasting Eustace. If it ever does happen, it will surely be even more different than Dawn Treader was. It amazes and angers me that the Harry Potter and Twilight series can get a movie made for each book, plus one, but the ultra-popular Narnia books are somehow being put on indefinite hold. I don’t know if this is because of its Christian roots and the difficulty of pleasing both secular and religious audiences, but it’s shameful. I can understand why coldly received fantasy adaptations like Inkheart, Eragon, and The Seeker never earned a sequel, but all three Narnia films were highly successful financially. Narnia deserves better.

Best line from The Lion, the Witch, and the Wardrobe: (Susan) “It’s our sister, sir. Lucy.”
(Professor Kirke) “The weeping girl?”
(Susan) “Yes, sir. She’s upset.”
(Professor Kirke) “Hence the weeping.”
 
Best line from Prince Caspian: (Peter, while traveling) “That’s the trouble with girls. You can’t carry a map in your heads.”
(Lucy) “That’s because our heads have something in them.”
 
Best line from The Voyage of the Dawn Treader: (Lucy) “Will you come and visit us in our world?”
(Aslan) “I shall be watching you always.”
(Lucy) “How?”
(Aslan) “In your world, I have another name. You must learn to know me by it. That was the very reason why you were brought to Narnia, that by knowing me here for a little, you may know me better there.”
 
 
Rank: 58 out of 60
 

© 2015 S. G. Liput

276 Followers and Counting

#31: The Mummy (1999) and The Mummy Returns (2001)

26 Friday Dec 2014

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Many centuries ago, upon the hot Egyptian sands,
Imhotep betrayed his pharaoh, who was murdered at his hands.
He and love Anck-su-Namun suffered death for what they did,
And the priest was mummified and cursed and vigilantly hid.
 
1926 or so is when a brave librarian,
Evelyn, with Jonathan, her brother, come to carry in
A map of sorts to Rick O’Connell, who discovered it and knows
Where the fabled treasure city Hamunaptra once arose.
 
Leading them, the dashing rogue encounters Beni, once a friend,
Who is leading treasure seekers to the city and their end.
Medjai warriors attempt to stop the bold adventurers,
Who discover Imhotep and resurrect this worst of curs.
 
As the mummy desiccates the bodies of a chosen few,
He then kidnaps Evelyn, his former lover to renew.
Rick and Jonathan, as well as Medjai leader Ardeth Bay,
Follow back to Hamunaptra, where a book can save the day.
 
Evelyn is very nearly sacrificed by Imhotep,
Till Rick fights while Jonathan is reading symbols step by step.
When the mummy is defeated and the just desserts are served,
Evelyn and Rick O’Connell leave in triumph well-deserved.
________________
 
Evelyn and Rick O’Connell, married now and with a son,
Take along the spunky Alex to dark crypts for family fun.
They unearth a golden bracelet, and when Alex tries it on,
He sees visions meant to guide him ere a coming lethal dawn.
 
He must head for an oasis, where the Scorpion King now lies,
Who will waken for destruction if not handed his demise.
Imhotep is resurrected by a cult with dark intentions,
Which includes his reincarnate lover and her interventions.
 
When the cult starts kidnapping, it’s clear that Imhotep intends
To defeat the Scorpion King and take his army for his ends.
Alex is abducted soon and guides them all to the oasis,
The O’Connells following upon a blimp to distant places.
 
Pygmies cause them further trouble as the deadly dawn arrives,
And as Imhotep approaches, not quite everyone survives.
When the Scorpion King awakens, he is mighty (like a Rock),
And his wicked jackal army causes Ardeth Bay a shock.
 
Rick and Imhotep face off against the evil hybrid king,
And at last when he is vanquished, everything starts crumbling.
Danger proves the truer romance, and as the O’Connells flee,
Wealth and global preservation lend them happy victory.
___________________
 

Critical reception for The Mummy and its sequel may not have been universally positive, but I consider both films quintessential actioners, with dashing characters and awesome set pieces recalling the excitement of Indiana Jones. I’m not much for horror comedies, mainly because the horror often manifests as gore, but the genre can be quite entertaining when the focus is on the comedy (Ghostbusters) or on the action, as in The Mummy.

My VC and I have always loved Brendan Fraser; he has the perfect adventure hero charisma for these movies, including that making-things-up-as-he-goes element that made Harrison Ford so likable. Pair him with Rachel Weisz as Evelyn, looking as beautiful as any actress ever has, and a modern classic romance is born. John Hannah is excellent comic relief as Evie’s con man brother Jonathan, and even if he’s CGI much of the time, Arnold Vosloo is effectively frightening as the reanimated mummy Imhotep. Ardeth Bay (which was the name taken by Imhotep in the original 1932 The Mummy) is played by Oded Fehr, whom my VC has always found dark, handsome, and hunky, even with the face tattoos.

As for the second film, despite changing directors, all the same actors returned, supplemented by Freddie Boath as Alex, who is not the most annoying of child actors and serves as a plucky addition to the O’Connell family. Oh, yeah, the Rock (a.k.a. Dwayne Johnson) had his big film debut as the Scorpion King, but considering he never speaks anything in English and is basically just a CGI tough guy most of the time, there’s not much I can say for his “performance.” Also, (Lost alert) Adewale Akinnuoye-Agbaje, who played Mr. Eko on my favorite show, plays a much less sympathetic killer as the villain Lock-Nah.

I was not impressed by Boris Karloff’s original The Mummy, hailed as a classic horror film yet exceptionally boring, at least to me. Retooling the basic plot points into a shoot-‘em-up pulp adventure was an inspired idea, complete with booby traps, ancient curses, killer beetles, and some then-advanced CGI. The first film is more foreboding in its build-up to the mummy’s resurrection, while the second veers into occasionally cartoonish territory, like racing sunrises and Alex’s childish high jinks. Even so, I think I like the second a little better, thanks to some outstanding action scenes, especially an awesome chase scene with a double-decker bus and the pyramid finale. I also liked how, aside from a few gruesome scenes, objectionable content was kept to a minimum, making both films the kind of Saturday night fare a family can enjoy, provided the kids’ eyes are covered every now and then. There’s some talk of reincarnation, and I don’t know how or why a mummy can recreate the plagues of Egypt, which came from God, but none of the spiritual mumbo jumbo is to be taken seriously anyway.

Neither film is Oscar material, but both are so spectacularly entertaining that Imhotep’s stereotypical romance and some unrealistic moments are easily forgiven. Such is not always the case: The third film The Mummy: Tomb of the Dragon Emperor, thanks mainly to the loss of chemistry from the recasting of Rachel Weisz, just didn’t have the same magic, nor did director Stephen Sommers’ other monster movie rehash Van Helsing. With these films, it’s the full package that makes them something special: the thrilling score by Jerry Goldsmith (The Mummy) and Alan Silvestri (The Mummy Returns), funny and dynamic performances from most of the cast, and the perfect blend of humor, horror, and action.

Best line from The Mummy: (Evelyn) “You were actually at Hamunaptra?”
(Rick) “Yeah, I was there.”
(Evelyn) “You swear?”
(Rick) “Every damn day.”
 
Best line from The Mummy Returns: (Ardeth Bay, concerning Alex’s putting on the Bracelet of Anubis) “By putting this on, you have started a chain reaction that could bring about the next apocalypse.”
[Alex gasps]
(Rick, to Ardeth) “You, lighten up.” (to Alex) “You, big trouble.” (to Jonathan) “You, get in the car.”
 
 
Rank: 58 out of 60
 

© 2014 S. G. Liput

275 Followers and Counting

#35: Spider-Man Trilogy (2002, 2004, 2007)

22 Monday Dec 2014

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(Spoilers ahead)
 
Poor Peter Parker, a nerdy outsider,
Is bitten by one super-modified spider,
Which grants him the power of webbing defense,
As well as a precognitive “spider sense.”
His crush Mary Jane Watson lives just next door,
And yet he has not tried to make friendship more.
 
Although Peter’s uncle attempts to explain,
His nephew tries using his powers for gain.
His bitterness costs him his dear Uncle Ben,
So Peter does hero work time and again.
Meanwhile, his friend Harry Osborn’s own dad
Attempts an experiment, which then goes bad.
 
As Peter fights criminal thugs and prevails,
The newspaper calls him a menace for sales,
But when the Green Goblin arrives on his glider,
He proves a formidable foe for the spider.
It’s Norman Osborn, with whom Pete has connections
And who likes to argue with his own reflections.
 
When Osborn learns Spider-Man’s identity,
He goes for the heart with his villainous glee.
Brave Peter saves MJ and others in danger
And learns that the Green Goblin isn’t a stranger.
When Osborn is killed, Spider-Man gets the blame,
And Harry wants vengeance on Spider-Man’s name.
________________
 
Although New York’s safe under Spider-Man’s guard,
Pete’s personal life is continually hard.
His best friend still wishes his hero self dead,
And Mary Jane soon has a spaceman to wed.
Although money’s tight, Peter’s thrilled he can meet
Doc Otto Octavius, a genius to Pete.
 
Another experiment Oscorp is backing
Goes horribly wrong when stability’s lacking,
And Otto is fused with mechanical arms,
Which turn him to crime and don’t care whom he harms.
He plans to remake the experiment new,
Bigger and better, more dangerous too.
 
Meanwhile, ol’ Peter, affected by stress,
Is losing his powers, though not from bad press.
Deciding that all of his cares can be solved,
He lives as a man, with no spider involved.
His job and his schoolwork improve every day,
But he doubles back when Doc Ock takes MJ.
 
He fights his old mentor on tower and train
And ends up abducted with no Mary Jane.
Pete’s taken to Harry, who made Doc a deal
And is taken aback by the shocking reveal.
Pete learns from his friend of the doctor’s new crime
And swings to the harbor to stop him in time.
 
Octavius puts up a fight once again,
But Peter convinces him, like Uncle Ben,
To give up his dreams and to stop all the strife,
And Doctor Octavius pays with his life.
His secret revealed to both MJ and Harry,
Pete now has his love and a new villain scary.
_________________
 
All seems to be going well for Peter Parker,
But now his persona’s about to get darker.
He has Mary Jane and romantic contentment,
But Harry attacks him in growing resentment.
The newest Green Goblin, he battles his friend
But suffers amnesia they did not intend.
 
Meanwhile, Flint Marko, a crook close at hand,
Falls into a hole and is turned into sand.
Meanwhile again, Peter’s peer Eddie Brock
Upstages him till he is shown as a crock.
Meanwhile once more, a black symbiote slime
Attaches to Spider-Man’s suit in no time.
 
The black stuff from space changes him for the worst;
Since Flint killed his uncle, he bears a blood thirst.
His attitude’s changed, Mary Jane notices,
And Peter despises what everyone says.
When Harry remembers, Pete causes more pain
And even is jerkish to poor Mary Jane.
 
At last, he decides that enough is enough
And goes to a church to peel off the black stuff.
Once Venom’s created when Eddie’s infected,
He teams up with Flint that revenge be perfected.
They take Mary Jane (she is captured a lot)
And call Spider-Man that their fight may be fought.
 
Appealing to Harry to help him save her,
Pete gains back his friend and a super partner.
The battle is rough, full of Venom and sand,
But Peter and Harry prevail and withstand.
It comes at a price, but once evil’s subdued,
Pete’s reconciled romance is slowly renewed.
________________
 

Before Iron Man and Captain America began setting box-office records, Sam Raimi’s Spider-Man films set new highs for the superhero genre. Typically, the first two are lauded and the third decried, but I find all three enormously entertaining and pitch-perfect in spirit and tone for their source material.

The first Spider-Man is among the best and most faithful comic book adaptations around, nailing who Peter Parker is and how he becomes everyone’s favorite webslinger. The casting is exceptional; while not everyone’s a Toby Maguire fan, he captures Peter’s innate lovable geekiness to a tee and effortlessly shows a much wider range of emotion than Andrew Garfield in The Amazing Spider-Man reboot. While the first movie skips Gwen Stacy in favor of Pete’s inevitable love Mary Jane Watson, Kirsten Dunst is a beautiful girl-next-door love interest who shares that iconic upside-down kiss with Spidey. Their romance is sweet and heart-felt, pure and innocent, though not immune to the typical bumps along the road of love. On top of them, there’s Cliff Robertson as wise Uncle Ben, Rosemary Harris as equally wise Aunt May, and J. K. Simmons as antagonistic J. Jonah Jameson, all superbly owning their roles, especially Simmons who couldn’t be replaced for the reboot. While the Green Goblin’s mask is rather hokey, Willem Dafoe is an effectively creepy villain with his intentionally devilish voice. So many scenes are simply untouchable that the reboot was forced to avoid some of the best and most essential aspects of the story, such as the whole “With great power…” conversation, and changed much of what it could for the worse. Not to say The Amazing Spider-Man is a bad film, but it simply cannot compare with the original, particularly Toby Maguire as my ideal Peter Parker.

As good as the first is, though, the second surpassed it to become one of the best superhero films ever. With all returning actors, including James Franco as Harry Osborn, the relationships are deepened, secrets revealed, and cliffhangers formed; in short, it does everything a successful sequel ought to do. It also introduced Alfred Molina as another favorite villain Doctor Octopus, turning the consistently villainous comic book character into a tragic role both dangerous and sympathetic. The train battle is one of the most exciting and awesome superhero fights I’ve seen, and Peter’s temporary departure from being Spider-Man further develops his struggle with his hero identity. One thing I’ve noticed about these films is that there are different perspectives from the people he defends. Superman is universally lauded by everyone, while the X-Men are mostly feared and hated for their mutations. Even with the Avengers, most opinions are debated among high-profile leaders, except for a few brief scenes. Spider-Man is applauded by most of the everyday New Yorkers, but certain non-fans (police and mainly Jameson) inexplicably see him as a menace and have the power to sway others’ views against him. It’s a balanced approach that makes hero work into a tricky public image nightmare, though even Jameson misses Spidey when he disappears.

The third film has its detractors, who often dislike it for its over-packed plot and those scenes with the “dark” Peter dancing stupidly. Yet, in many ways, it delivers a purely enjoyable comic book mish-mash of villains and subplots. The action scenes are amazing, from Peter’s mid-air battle with Harry to his face-off with Sandman among subway trains to the big climax which is as close to an epic villain team-up as we may get outside of the comics. As stuffed as the plot is with concurrent storylines and coincidences, nothing is overly random and the various subplots do tie together smoothly; Flint Marko’s reappearance and the vindictive wiles of Harry Osborn spark Peter’s desire for revenge, which is aggravated by the symbiote-soon-to-be-known-as-Venom. I can even defend the silly dance scenes since the symbiote increases Peter’s aggression and confidence but doesn’t necessarily diminish his inherent geekiness; such is the result. I do wish that the Venom symbiote had had a better introduction than a convenient meteorite landing near Peter and MJ, and that the film had ended on a happier note, considering it would be the last of the original series. It would have been nice for Raimi and company to collaborate on one more film, though it was not to be. They seemed to be setting up the Lizard storyline that was ultimately used in the reboot; notice that Peter’s college professor Curt Connors only had one arm, and in one scene in the third film, there were lizards he was studying in the background. Oh, well.

While the animated TV shows (especially The Spectacular Spider-Man) often do the characters justice and the reboot has at least expanded on Gwen Stacy, all three Raimi films are such excellent comic book adaptations that no other Spider-Man movie could add anything to their chosen storylines but additional special effects and more villains (I’m sure they’ll get to the rest of the rogues gallery, like Vulture, Kraven, Black Cat, Scorpion, and maybe Hydro-man or Carnage one of these days). Tobey Maguire will always be Peter Parker for me, and these films will remain comic book classics.

Best line from Spider-Man: (Peter, at the end) “Whatever life holds in store for me, I will never forget these words: “With great power comes great responsibility.” This is my gift, my curse. Who am I? I’m Spider-Man.”

Best line from Spider-Man 2: (a witness, after pizza-delivery boy Peter changes into Spider-Man) “He just stole that guy’s pizza!”

Best line from Spider-Man 3: (Peter, at the end) “Whatever comes our way, whatever battle we have raging inside us, we always have a choice. My friend Harry taught me that. He chose to be the best of himself. It’s the choices that make us who we are, and we can always choose to do what’s right.”

 
Rank: 58 out of 60
 

© 2014 S. G. Liput

270 Followers and Counting

#41: The Blues Brothers (1980)

15 Monday Dec 2014

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Fresh out of jail but in need of reform,
“Joliet” Jake, for whom odd is the norm,
Pairs up with his brother, one Elwood by name.
The orphanage where they grew up to such shame
Is led by a nun, who can’t pay a tax claim.
 
A visit to church has them both see the light:
They’ll rebuild the band to gain funds in the right.
From hotel bar has-beens who croon empty chairs
To one harried husband whose woman declares
He ought not to leave her, all members are theirs.
 
Their first gig does not go exactly as planned,
But soon they book just the right hall for their band.
The trouble is, as they’ve been driving around,
They’ve gained enemies who harass, hate, and hound,
Like Nazis and cowboys and cops, who surround.
 
They earn enough money so Elwood and Jake
Take off with a chaotic mess in their wake.
They flee through Chicago with foes on their tail,
And, due to their mission from God, they prevail.
Although luck runs out, the two still rock the jail.
_______________________
 

Based on the Saturday Night Live skit with a screenplay by Dan Aykroyd and director John Landis, The Blues Brothers is a one-of-a-kind comedy that never gets old. John Belushi and Dan Aykroyd are at the top of their games as the titular siblings, boasting an iconic suited presence and an unflappable demeanor, like the Men in Black without Agent J’s reactions. The two are absolutely hilarious as they endure being chased, shot at, and blown up with cool nonchalance, as if it’s all just another day in the life of a blues musician on the run.

Despite its simple storyline, the film contains many marvelous elements that work together to create a unique musical comedy. There’s the music, with plenty of blues, yes, but also tastes of gospel, soul, scat, rock, and even country/western (I still don’t understand the difference). There’s the comedy, with Belushi and Aykroyd shifting from laconic assurance to con-man determination and seeming to enjoy the ride just as much as we the audience. The film starts at a slow, measured pace, such as showing the inner mechanisms of a rising bridge rather than just the bridge, but builds in action and absurdity as villains, jokes, and vehicles begin to pile up with abandon. There are the car chases, long stretches of zealous mayhem that impart the same strange destructive satisfaction of a demolition derby. There are the cameos, with big musical names like James Brown, Aretha Franklin, John Lee Hooker, Ray Charles, and Cab Calloway, who don’t simply appear but contribute energetic performances and mostly serve a purpose in the plot as well. Other scene-stealing stars include Carrie Fisher as a scorned hit woman with an affinity for weaponry, John Candy as a police chief, and Henry Gibson as an Illinois Nazi with an over-the-top final scene, as well as other appearances by Twiggy, Chaka Khan, Frank Oz, and even Steven Spielberg. By the way, that kid that tries to steal the guitar in Ray Charles’ shop went on to play Argyle, the limousine driver in Die Hard.

All these elements that could potentially work on their own are only enhanced by their fun overlapping. My favorite parts would have to be Aretha Franklin’s “Think” and the excessive, car-ravaging climax, which is the definition of overkill. The film’s classic plotline has gone on to inspire many imitators, including The Muppets in 2011 and the best episode of Phineas and Ferb entitled “Dude, We’re Getting the Band Back Together.” It’s a shame that John Belushi met his end only two years after this, his most iconic role. Minus the frequent language, it remains his best film, a cult classic, and one of the funniest comedies of the ‘80s.

Best line: (Elwood Blues) “We’re on a mission from God.”

VC’s best line: (Jake, with fake accent, causing trouble in a fancy restaurant) “How much for the little girl? How much for the women?”  (father at next table) “What?”  (Jake) “Your women. I want to buy your women. The little girl, your daughters… sell them to me. Sell me your children!”

 
Rank: 58 out of 60
 

© 2014 S. G. Liput

268 Followers and Counting

#42: Jurassic Park (1993)

14 Sunday Dec 2014

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The wealthy John Hammond has spared no expense
To bring to life dinosaurs grand and immense
And keep them behind an electrified fence.
 
A paleontologist named Alan Grant
Is brought to the isle where dinos enchant,
Where life is contained and humility’s scant.
 
With Hammond’s grandchildren, a mathematician,
A lawyer impressed by old Hammond’s ambition,
And Grant’s colleague Ellie, he gains free admission.
 
The ultimate theme park to wow everyone,
Jurassic Park’s ready for its trial run,
Until an unfortunate hurricane’s begun.
 
When one fat employee gets greedy and flees
And shuts down the fences and power with ease,
The T. Rex emerges from out of the trees.
 
As Hammond and company try as they might
To reconnect power, resolving their plight,
The T. Rex wreaks havoc and death in the night.
 
The children and Alan survive as they can.
When raptors break loose, not according to plan,
The pile of dinosaur poop hits the fan.
 
The running and screaming begin all the more,
As raptors learn how they can open a door
And cause greater terror than eons before.
 
The park and the isle to nature are lost;
Survivors escape from it, though at a cost,
For life finds a way when the wrong lines are crossed.
__________________
 

Jurassic Park is without a doubt one of the most thrilling sci-fi action films ever, an original spectacle predating the devolution of the genre into numbing banality. Steven Spielberg’s adaptation of Michael Crichton’s novel was my first introduction to how terrifying a real dinosaur could be, as opposed to the more cartoonish depictions on television.

I can usually handle action films just fine, even when horror elements are involved like in Aliens, but Jurassic Park is one of only two films that I’ve caught myself actually on the verge of hyperventilating from the breathless danger and close calls (the climax of Oliver! was the other time; weird, right?). My mom had a similar reaction; she actually saw it in the theater while she was pregnant and got such an adrenaline rush that she was concerned for the baby me afterward. Assisted by one of John Williams’ most outstanding scores, Spielberg and company created some iconic edge-of-your-seat sequences that never fail to thrill, from the T. Rex’s initial attack with the vibrating water glass to its pursuit of the jeep to the raptors’ cat-and-mouse chase with the kids (a.k.a. someone’s in the kitchen with dinos).

Even if the characters exist solely to be attacked, threatened, or eaten, the actors succeed in creating memorable victims, from Jeff Goldblum as odd, wisecracking mathematician Ian Malcolm; Wayne Knight as slovenly mole Dennis Nedry; Samuel L. Jackson as ill-fated Mr. Arnold; Sam Neill and Laura Dern as two likable dinosaur experts; and Ariana Richards and Joseph Mazzello as the requisite children in danger, one an up-and-coming scream queen, the other an amateur paleo-aficionado. As starry-eyed entrepreneur John Hammond, Richard Attenborough illustrates the blind hunger for success in those who “spare no expense” to make their dreams realities, proving he was as skilled at acting as directing. As is typical, Goldblum gets the best lines and stood out enough to warrant his own return to the world of dinosaurs in the good but lesser sequel.

Unlike the sequels, which succumbed to the cliché of people in danger acting stupid, there’s an air of intelligence to the original thriller, aided by the plausible method by which the great lizards are said to have been resurrected. Though there’s a winsome subplot about Dr. Grant’s bonding with the kids, the film is overall a science fiction frightfest, one of the greatest ever made, a nonstop thrill ride that nonetheless captures the wonder of a lost world and concludes on a placid, breath-catching note. Ignoring fictional aliens and shapeshifters and whatnot, the real terrors belong to the past, and I can only hope that scientists never play God and reanimate the worst of carnivores. I’m cautiously optimistic about the upcoming Jurassic World; let’s hope it’s a return to the excellence of the original.

Best line: (John Hammond) “All major theme parks have delays. When they opened Disneyland in 1956, nothing worked!”  (Ian Malcolm) “Yeah, but, John, if The Pirates of the Caribbean breaks down, the pirates don’t eat the tourists.”

VC’s best line: (Ian Malcolm) “God creates dinosaurs. God destroys dinosaurs. God creates man. Man destroys God. Man creates dinosaurs.”  (Dr. Ellie Sattler) “Dinosaurs eat man. Woman inherits the earth.”

 
Rank: 58 out of 60
 

© 2014 S. G. Liput

268 Followers and Counting

#44: National Treasure (2004)

11 Thursday Dec 2014

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The young Ben Gates was spellbound by
The Templar treasure legendary,
Which the Founders had to bury
Somewhere secret clues imply.
He teams with whiny Riley Poole
As well as Ian, a mercenary;
Though his father is contrary,
Ben keeps searching somewhere cool.
 
When Ben unearths the latest clue,
It hints a certain Declaration
Hides a map. This implication
Shows Ian’s lawless point of view.
Since Ian’s leaning toward the worst
And plans to “borrow” our foundation,
Ben decides its best salvation
Is for him to steal it first.
 
Though he and Riley do succeed
In borrowing the document,
They gain a girl without consent,
And Dr. Chase helps them proceed.
The parchment leads to other clues,
And though Ben’s dad knows where they went,
Still Ian guesses their intent.
The FBI as well pursues.
 
When Ben and Ian team again,
They find a crypt and secret stairs,
Which seem to sorely need repairs,
But Ian then abandons Ben.
Ben and his friends continue through,
Despite initial dead-end scares,
And soon the treasure room is theirs,
The end of every hidden clue.
_________________
 

National Treasure is probably the film I have seen, in whole or in part, more than any other movie. Every time it comes on television, it’s the perfect standby to turn to. It’s clean, amusing, exciting, and complex enough to deserve repeated viewings, an all-around satisfying helping of Indiana Jones-lite.

As the walking encyclopedia Benjamin Franklin Gates, Nicholas Cage spouts history, conspiracy, and American values, the kind of treasure-hunting idealist worth rooting for. His dutiful theft of the Declaration of Independence allows the audience to enjoy the gadgetry and cleverness of a heist film, while retaining the confidence that he’s still the good guy. This draws parallels with Jerry Bruckheimer’s other franchise Pirates of the Caribbean, as well as the “treason” of the Founding Fathers, as Ben feels called to attempt what is technically illegal to accomplish what is right. Justin Bartha is lovably nerdy as Riley, and Diane Kruger is intelligent and lovely as Dr. Abigail Chase. Sean Bean plays the cunning villain Ian and is actually a clever mental match for Ben, unlike Ed Harris in the sequel who let Ben do all the work. Other pleasing roles are filled by Jon Voight as Ben’s nay-saying father and Harvey Keitel as a Sam Gerard wannabe from the FBI. Also, (yet another Lost alert!) one of Keitel’s team is played by Mark Pellegrino, a.k.a. the mysterious island-dwelling Jacob.

The Mason conspiracy at the core of the treasure’s origins is hardly believable, but the film manages to still be a stimulating history lesson in its details, ranging from the cryptic clue from the Charlotte to the author of the Silence Dogood letters. These lesser-known facts lend credence to the film as a whole, though the chase for the treasure is such an entertaining thrill ride that any inaccurate or unrealistic elements can and should be ignored for fun’s sake. With plenty of twists and turns, both action-packed and perceptive, National Treasure is still a film I can see over and over.

Best line: (butcher lady in a market) “If you’re not a steak, you don’t belong here.”
(Abigail, hiding from Ian’s goon) “I’m just trying to hide from my ex-husband.”
(butcher lady) “Who, Baldie?”
(Abigail) “Yes.”
(butcher lady) “Honey, stay as long as you like.”
 
Rank: 58 out of 60
 

© 2014 S. G. Liput

268 Followers and Counting

#46: The Fugitive (1993)

09 Tuesday Dec 2014

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When Dr. Richard Kimble found
His dear wife murdered on the ground,
He fought a fleeing one-armed man,
Who wrestled him before he ran,
But fingerprints in court don’t lie,
And Kimble’s sentenced soon to die.
 
A train wreck on his way to jail
Lets him escape to no avail.
The U.S. Marshal Sam Gerard
Dispatches every cop and guard
To search for Kimble on the lam,
Who leaps to freedom from a dam.
 
From then on, Kimble’s on the run
To try to prove to everyone
That he is innocent in fact
And find the killer that attacked.
Gerard is right behind the doc,
And both find secrets to unlock.
 
When Kimble finds the one-armed man
And learns the whole backstabbing plan,
He fights a fickle former friend,
Who tried to orchestrate his end.
Gerard, who claims he doesn’t care,
Brings Kimble in, the truth to share.
___________________
 

Probably the best film based on a TV series, The Fugitive is everything one could want in a chase film: cheer-worthy leads, awesome stunts and set pieces, and a fast-paced plot that keeps the audience and characters guessing.

Harrison Ford and Tommy Lee Jones are exceptional as fugitive Richard Kimble and his pursuer Sam Gerard. It may not be Ford’s most personable role, but his single-minded determination and unjust condemnation make him a worthy hero. Though he dares and survives some dangerous escapes, he never comes off as a superman; even when he’s ahead of the law, it’s just barely, and his risk of capture is always present, especially due to his more-than-worthy adversary. Tommy Lee Jones won Best Supporting Actor for his memorable role as the hardball U.S. marshal who matches wits with Kimble. Jones’s straight-faced delivery of unflinching demands and ornery impositions makes Gerard a dynamic presence, though at times I expected him to bring people’s attention to a certain neuralyzer. I thought Ford deserved a nomination too, but Jones’s performance was powerful enough to spawn the copycat sequel U. S. Marshals (see much lower on my list). Supporting players are well-cast, including Joe Pantaliano as Gerard’s right-hand man, Sela Ward as Kimble’s dead wife, Jeroen Krabbé as a seeming friend of Richard’s, Andreas Katsulas as the one-armed man, and (a long-in-coming Lost alert!) L. Scott Caldwell as Poole, the black lady on Gerard’s team (and Rose from my favorite show). Julianne Moore and Jane Lynch also found early roles as doctors Kimble encounters.

The awesome one-take train crash sequence alone is worth the price of admission, but the rest of the film is a tense pursuit that manages to be more engaging and interesting than any of the Bourne films. A hit with viewers and critics alike, The Fugitive only deepened Ford’s action persona and afforded Jones a well-deserved Oscar.

Best line: (Kimble, holding Gerard at gunpoint) “I didn’t kill my wife!”  (Gerard) “I don’t care!”

 
Rank: 57 out of 60
 

© 2014 S. G. Liput

265 Followers and Counting