Tag Archives: Action

#75: Speed (1994)

09 Sunday Nov 2014

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An elevator stranded by a greedy bomber’s bomb
Attracts the LA SWAT team that must keep the riders calm.
Jack Traven and his partner Harry follow Traven’s gut
And rescue all the passengers before they meet the nut.
 
They think the wacko killed himself, but he has other plans.
He still wants ransom money in his trigger-pushing hands.
He poses Jack a challenge in a bomb-conveying bus,
Which cannot dare to slow down once it reaches 50+.
 
Jack rushes to the bus, which went too fast and now is armed,
And anxious Annie has to drive lest everyone be harmed.
Through traffic jams, unfinished roads, and skittish passengers,
They reach the airport and outsmart this worst of saboteurs.
 
They set a trap for Howard Payne, the ex-cop with a grudge,
But he holds Annie wired, daring Jack to give a nudge.
The subway takes the villain out, but Jack is forced to choose
To stay with Annie through a crash (until she takes a cruise).
__________________
 

Speed could have been a low point for action movies, a one-trick pony predicated on a single unlikely gimmick: a bus can’t drop below 50 mph or it explodes. Instead, it became one of the staples of the genre, one that milked its hair-raising scenario for all it was worth and joined the likes of Die Hard and the Terminator films as one of the great actioners. Though some of the set pieces lean on the outlandish side, there’s also a gripping reality to the circumstances, and it never lapses into the deadened routine of some films, as if no one is in any true danger. From the opening nightmare of an elevator collapse to the many close calls aboard Bus 2525, Speed is still a white-knuckle thrill ride that never gets old.

One of the film’s best points is the strong casting of the main three: Keanu Reeves as fearless bomb squad hero Jack, Sandra Bullock as vulnerable Wildcat Annie, and Dennis Hopper as disgruntled nutcase Howard Payne. The characters of Jack and Annie could have been flat and banal (like the leads in Speed 2), but Reeves and Bullock inject the right amount of perceptive humor and improvisational heroism to carry the film alone. Add in Hopper, an excellent “crazy” actor, as a seemingly omniscient antagonist, and the entire bombastic package is thrilling from beginning to end. Most of the passengers aren’t big names (the elderly Oriental man, now 100 years old, was actually an animator for some of Walt Disney’s early films), but I can’t resist saying, “Look, there’s Cameron” at Alan Ruck’s presence.

Between the stunts and the riveting Mark Mancina score, Speed is still just as entertaining as it was twenty years ago, minus the frequent profanity and the villain’s gruesome end. (As a minor point, the final line ends the film on a flat note for me, since I don’t think sex alone is any more reliable a foundation for a relationship than an intense situation. No wonder it didn’t last long.) The film spawned a much-maligned sequel aboard a ship that wasn’t that bad but couldn’t match the intensity of the original, especially minus Reeves. Most action films lately try to go over-the-top with the violent energy, but few even come close to the joy ride of Speed.

Best line: (Jack, to Annie) “Miss, can you handle this bus?” (Annie) “Oh, sure. It’s just like driving a really big Pinto.”

 
Rank: 55 out of 60
 

© 2014 S. G. Liput

243 Followers and Counting

#82: Aladdin (1992)

02 Sunday Nov 2014

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(Best sung to “Arabian Nights”)
 
In a kingdom long past, in the great Agrabah,
The vizier has a villainous plan.
In the rarest of caves,
There’s a lamp that he craves,
But Jafar first requires a young man.
 
This Aladdin is poor, but he meets the princess;
Jasmine’s drawn to his freedom and charm.
He is tricked by Jafar
To dare where wonders are,
And one slip nearly brings him to harm.
 
Though trapped in the cave,
The agreeable tramp
Obtains wishes three
From a joking Genie
When he brushes his lamp.
 
Becoming a prince,
Al deceives everyone.
He wins Jasmine’s heart
And reveals Jafar’s art
Of deception he’s spun.
 
When Jafar gets the lamp
And indulges his greed,
He is tricked into jail,
Al and Jasmine prevail,
And the Genie is freed.
_______________
 

Created during the upswing of Disney’s animation Renaissance, Aladdin continued the high quality of The Little Mermaid and Beauty and the Beast. For a while, I considered it rather overrated, but recent viewings have proven that it is indeed a diamond in Disney’s collection. Much of the film’s success goes to the late, great Robin Williams as the frenetic Genie. For my generation, Aladdin was the first introduction to Williams’s delirious brand of humor, so fast-paced and jammed with impressions, puns, and comedic asides that re-watches are a must. The animation complements his frenzied personality, allowing the character to transform and dart around with abandon. His “all-powerful” status also allows for countless anachronisms, including Middle Eastern cliché revisions (“Wake up and smell the hummus”) and references to The Little Mermaid and Pinocchio. (Interestingly, some locations that Aladdin and Jasmine visit during “A Whole New World” foreshadowed upcoming Disney releases, like Hercules and Mulan.)

Of course, the soundtrack was also very well-received, earning Aladdin two Oscars for Best Score and Best Song for ”A Whole New World,” one of Disney’s best romantic duets. The Genie’s frenzied appeal highlights “A Friend Like Me” and “Prince Ali,” and “Arabian Nights” lived on as the theme song of the Aladdin TV series. While not my favorite of the Disney soundtracks, it is nevertheless fun and engaging.

Though none of the characters are as colorful as Genie, most are well-drawn and complex. As a male protagonist, Aladdin himself changes up Disney’s usual princess model, and Jasmine is a worthy addition to the roster of strong princesses. Sounding not unlike Vincent Price, Jonathan Freeman’s Jafar is also a formidable villain, able to make the word “boo boo” into something sinister. Aladdin also boasts one of the greatest number of individual sidekicks that I’ve counted: besides Genie, there’s Abu and the magic carpet for Aladdin, Raja the tiger for Jasmine, and Iago (a priceless Gilbert Gottfried) for Jafar.

Between the music, character dynamics, and brisk comedy, Aladdin deserves its reputation as one of Disney’s great successes; even this year, it spawned a Broadway musical. Oh, that Disney could return to these glory days!

Best line: (Genie, when first awakened) “Oy! Ten thousand years will give you such a crick in the neck!”

 
Rank: 54 out of 60
 

© 2014 S. G. Liput

237 Followers and Counting

 

#83: Saints and Soldiers (2003)

01 Saturday Nov 2014

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At Malmedy, the prisoners
Were massacred among the firs.
Survivors fled, though only four,
Content to hide and nothing more
Behind the German lines adverse,
 
Until a Brit convinces all
To risk their lives through snowy pall,
More lives to save from waning war
In snowy squall.
 
Camaraderie begins to grow
Among the outfit, lying low.
Through losses testing faith and nerve,
They carry on, like all who serve,
And gain perspective on the foe
From those who fall.
_______________
 

Who knew that a war movie made by Mormons would become one of my favorites of the whole genre? I watched Saints and Soldiers with low, if any, expectations and was completely enthralled by its powerful story. Set around real-life events, like the Malmedy massacre and the Battle of the Bulge, the film incorporates several true anecdotes into its tale of five soldiers behind enemy lines.

Though none of the actors are well-known stars, the entire film centers on its character development and excels at it: faithful but traumatized Deacon, coolheaded Gunderson, cigarette-craving Kendrick, suspicious doctor Gould, and swaggering Brit Winley. Every exchange provides either insights into their characters or humorous incidents that endear them to the audience and to each other. The writers throw in deftly written dialogue cues about each character’s “secret” and backstory that work even better than flashbacks would. By the time some of them give “their last full measure of devotion,” we feel as if we know most of them and are shaken by the loss as much as their fellow soldiers. Many movies have attempted such emotional direction, but Saints and Soldiers succeeds, at least for me.

For a low-budget production, the film boasts surprisingly genuine performances; stunning winter cinematography; a stirring, patriotic score; and a number of period details, from military costumes to antique vehicles, which add to its overall authenticity. One well-handled aspect is its Christian message; yes, it features somewhat of an evangelistic subplot, but it is never preachy and could have indeed happened out on the battlefield. Deacon is written as a Mormon from Snowflake, Arizona (“Doesn’t drink. Doesn’t smoke. He doesn’t even like coffee.”), but the only explicit elements of his faith are his reading of a small book (probably a Bible) and a brief, interrupted prayer. His faith acts as a complement to the story rather than the main focus and in the end is affirmed in a satisfying and realistic way.

Of course, there are also the usual explosions and battle scenes necessary in a war movie, and though many die and it is certainly intense, the violence is brief and restrained. Modern war films too often delve into the overly gritty, gory details that make war hell, claiming truthfully that it is “realistic,” but Saints and Soldiers achieves the same impact and emotion without profanity and without depicting heads blown off and blood spurting.

A lesser-known classic, Saints and Soldiers is a powerful, character-driven fight for survival that doesn’t demonize the enemy nor idealize the heroes and ought to be a model for other war films.

 
Rank: 54 out of 60
 

© 2014 S. G. Liput

237 Followers and Counting

 

#84: Aliens (1986)

31 Friday Oct 2014

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When Ripley and her dormant cat are woken from their sleep,
She learns that decades have elapsed while she was counting sheep.
The Company through Burke assures her everything is fine;
The hostile sphere she visited shows no unfriendly sign.
Though she insists an alien originated there,
Burke tells her that a colony was founded with no scare.
 
But when contact is lost with it, Burke wants to check it out,
Convincing Ripley to advise, despite initial doubt.
She meets some swaggering marines, all eager for offense,
And android Bishop, whom she hates from past experience.
The colony is empty, though there clearly was a fight,
And only Newt, a shaken girl, survived the violent fright.
 
Their search for captured colonists in dark and sticky halls
Soon threatens their survival as the creatures climb the walls.
Their numbers are diminished, and when they attempt to leave,
Their landing ship is totaled; it’s game over, they believe.
Retreating to the building where they hole up to prepare,
They learn that Burke had other plans he did not want to share.
 
He tries to salvage his whole plan and traps Ripley and Newt
With two facehuggers in a room with nothing they can shoot.
The two are rescued just in time for everything they feared,
Which thins the herd to only three when Newt is commandeered.
The complex is about to blow, but Ripley follows Newt,
Retrieving her and ticking off the alien queen to boot.
 
Though Bishop swoops in just in time to clear them of the blast,
The queen appears on board the ship to menace to the last.
Within a power loader, Ripley fights the ugly face
Until she blows the giant nightmare into outer space.
The few survivors settle down for travel stasis then,
And Ripley’s free of aliens…until she wakes again.
_________________
 

How convenient that a sci-fi horror should fall on Halloween! Just as James Cameron turned his unnerving The Terminator into a slam-bang actioner, he traded the ominous chills of Ridley Scott’s Alien for all-out combat (and added an s) for its sequel.  In doing so, he created one of the best of all three genres: action, horror, and science fiction. Aliens has reckless gun fights, punk Marines, and giant explosions, coupled with claustrophobic interiors, spidery stalkers, and a terrifying addition to the lineup of giant movie monsters. All of it combines to keep hearts racing in every scene (and perhaps a little the following night as well).

In films like this, most of the characters are mere afterthoughts meant to be exterminated, but Cameron succeeds in creating memorable individuals amid all the hysteria. Bill Paxton’s panicky Hudson, Paul Reiser’s weasely Burke, Jenette Goldstein’s brawny Vasquez, and Michael Biehn’s level-headed Hicks feel like real characters amid all the action, even though they lack the mundane setup of the first film’s victims. Lance Henriksen’s Bishop tows the line between creepy and reliable, thankfully offering the opposite of the original’s Ash. Above all, Sigourney Weaver continues her compelling role of Ripley and gets an opportunity to display motherly tenacity as she bonds with the traumatized Newt. Her fierce performance even gained her an unforeseen Oscar nomination.

For still being a fairly new director at the time, James Cameron brilliantly recaptures the mood of the original while intensifying it in some ways. How do you enhance a creature feature? Answer: by turning one monstrosity into hundreds. What’s more affecting for an audience than a cat in danger? Answer: a child in danger. Although it’s much more fast-paced than the original, there’s still plenty of nightmare fodder, particularly some now iconic scenes, like the aliens crawling through the ceiling or one rising up behind Newt.

Aliens also stands in my memory as the first film in which I heard the F-word. That could have been cause for me to dislike it, but ignoring the profanity, the chest-bursting, and the character being torn in half, the movie’s thrilling entertainment value makes up for these negative aspects and leaves the first film in the dust. My VC also loves the film, even though she had to check under her bed after first viewing it. This was the Alien franchise’s high point (don’t bother with the other sequels) and a high point in multiple genres.

Best line: (Hudson) “That’s it, man. Game over, man! Game over!”

 
Rank: 54 out of 60
 

© 2014 S. G. Liput

236 Followers and Counting

 

#86: Hook (1991)

29 Wednesday Oct 2014

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When Peter Pan grows up at last,
Forgetting all about the past,
Of Neverland, Lost Boys, and fairies,
He just settles down and marries
Wendy’s daughter Moira and
Becomes a father, dull and bland.
 
A businessman now, Peter spares
No time for Jack and Maggie’s cares,
Until they’re nabbed by Captain Hook.
The Pan has no clue where to look,
But Tinker Bell with pixie dust
Arrives, despite his lack of trust.
 
She spirits him to Neverland,
Where Hook has his kids close at hand,
But Peter’s weak and scared of heights
And not prepared for fights or flights.
So Tink compels old Hook to grant
Three days to sharpen this transplant.
 
The Lost Boys, led by Rufio,
Are quick to ambush those that grow;
They doubt this codfish is the Pan,
Yet Peter’s face persuades the clan.
His training yields no vindication
Till he finds imagination.
 
In the meantime, Hook ensnares
Young Jack by putting on such airs
To make the boy loyal to Hook,
The famous pirate chief and crook.
Though Peter’s shaken by this fact,
He finds his happy thought intact.
 
His love and hope of fatherhood
Bring back old Peter Pan for good.
He plays, he fights, he crows once more
And takes the battle to Hook’s door.
Pan rescues Maggie from her cell
And proves himself to Jack as well.
 
He duels with Hook and bests the fop
Before Hook’s swallowed by a prop.
Then Peter names his new right hand
And, with his kids, leaves Neverland.
Distractions will no longer be
A thorn for Peter’s family.
________________
 

Steven Spielberg’s contribution to the Peter Pan mythos wasn’t especially well-received in 1991, but it has become a family favorite since. The late Robin Williams is perfectly cast as the grown-up Peter, combining his proven dramatic ability with the comedic juvenility of his man-child persona. Likewise, Dustin Hoffman owns the title role, utterly unrecognizable under the elaborate wig and pirate costume, and embodies both Hook’s villainy and his preening arrogance. Other excellent performances come from Bob Hoskins as the bearded Smee and Julia Roberts as Tinker Bell, whose “pixie” cut (J) and perkiness hid well her engagement turmoil at the time of the film’s production.

What many criticized was the film’s supposedly halfhearted re-creation of Neverland, but while it’s not the most memorable of wonderlands, Spielberg’s Neverland has a charm of its own. The sets are obviously sets, yet they somehow fit the story, as if recalling Peter Pan’s stage origins. The pirate village is a particularly impressive mise en scène, with all the theatricality of an elaborate play, which I sometimes prefer to the overly wrought CGI dream worlds that have become routine nowadays. The games the Lost Boys play feel like genuine activities such unsupervised youngsters would invent in a magical world, and they’re given more unique personalities than the Disney version, which essentially differentiated most of them simply by their costumes. There is silliness on both sides, as well as some pirate-y violence, but even when the film’s tone shifts, it retains a giddy adventurousness that is continually entertaining.

One aspect that raises Hook above other Peter Pan films is the message of fatherhood. The idea of Peter Pan growing up might seem unimaginable, but his desire for a family, to be a daddy, is an admirable reason for the end of a legend. While his focus on work at the expense of his family is practically tragic at the beginning, his fully-realized love for his kids creates a satisfying return to priorities by the end. In the interim is a fanciful tale of Peter rediscovering the joy of both being a child and becoming a father.

Best line (just the way Williams says it): (Peter) “I do not believe in fairies.”
(Tinker Bell) “Every time someone says ‘I do not believe in fairies,’ somewhere there’s a fairy that falls down dead.”
(Peter) “I do not believe in fairies!”
[Tink feigns an overly dramatic death scene]
(Peter) “Oh my God, I think I’ve killed it.”
 
Rank: 53 out of 60
 

© 2014 S. G. Liput

235 Followers and Counting

 

#89: Star Wars Prequel Trilogy (1999, 2002, 2005)

26 Sunday Oct 2014

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(Spoiler Alert)
 
The Trade Federation’s blockading Naboo,
So Jedi are sent to negotiate peace.
A battle with droids and evasion ensue
As Qui-Gon and Obi-Wan fight for release.
 
Below on Naboo, Qui-Gon rescues a twit,
A Gungan outcast who is called Jar Jar Binks.
In gratitude, Jar Jar assists them, to wit
He leads them to where he is branded a jinx.
 
The Gungans live deep underwater, they learn,
But don’t wish to help anyone in the least.
One dark shortcut later, the Jedi knights turn
To Queen Amidala, whose fears have increased.
 
The Jedi and queen flee the threatened Naboo,
But their ship is damaged by enemy snares.
With help from a droid known as R2-D2,
They land on the sphere Tatooine for repairs.
 
While searching for parts, Qui-Gon locates a slave
Named Anakin Skywalker, only a boy.
This Anakin may be “the One” meant to save,
To bring the Force balance and peace to enjoy.
 
A bet and a pod race free Ani at last,
But he’s forced to leave his own mother behind.
They fight off Darth Maul, like a Sith from the past,
And head back to Coruscant with their new find.
 
The queen’s handmaid Padmé is rather friendly
With Ani, who’s introduced by Qui-Gon Jin.
The whole Jedi Council is loath to agree
With Qui-Gon’s assertions about Anakin.
 
Soon, everyone’s on their way back to Naboo
And seeks out the Gungans to help intervene.
At last, they agree to do battle anew,
When Padmé reveals she is really the queen.
 
As Jar Jar leads Gungans against battle droids,
The Jedi and Padmé sneak into the base.
Through luck, little Anakin somehow avoids
The fight on the ground for a battle in space.
 
Young Obi-Wan steps up to deal a death blow
To Darth Maul, who duels and dispatches Qui-Gon.
The droids are defeated, and peace seems to grow,
As Anakin’s trained under wise Obi-Wan.
_______________
 
When Padmé, now senator rather than queen,
Still serving Naboo with unflinching resolve,
Returns back to Coruscant, death unforeseen
Fuels fears that the peace may yet further devolve.
 
In light of the recent attempts on her life,
The Chancellor Palpatine bids her lie low.
The Jedi assign her two guards against strife,
With whom she’s familiar from ten years ago.
 
Young Ani has grown, and he clearly is smitten
With Padmé, though Obi-Wan bids him resist.
Soon after, they save her before she is bitten
And race to catch up with this antagonist.
 
Their target is nixed, so they go separate ways.
While Anakin takes Padmé back to Naboo,
His master does research and doubtfully pays
A visit to cloners deleted from view.
 
There, Obi-Wan learns that an order’s been met
For countless clone troops the Republic can claim.
He’s introduced to the clone-ee Jango Fett,
A cold bounty hunter, who flees to hide blame.
 
On Geonosis, Obi-Wan is detained
By evil Count Dooku, who chose the dark side.
Meanwhile, Skywalker is thoroughly pained
By dreams of his mother he cannot abide.
 
Returning to Tatooine, Padmé in tow,
He learns Tusken raiders abducted his mom.
He finds her in time for her final death throe
And yields to revenge as a coldhearted balm.
 
Both Padmé and he learn of Obi-Wan’s plight
And on Geonosis are captured as well.
Confessing their love, they are driven to fight
Three monsters in front of a large clientele.
 
The Jedi come calling with armies of clones,
And Jango and droids are no match for them all.
As Dooku retreats with some escorting drones,
Our heroes pursue for a lightsaber brawl.
 
Though Dooku defeats Obi-Wan and his ward,
When Yoda arrives, Count is nearly outmatched
And flees with some top-secret blueprints on board
To where his dark master has plans to be hatched.
 
Though Anakin lost his arm due to Dooku,
Because of the clones, this one battle was won.
As Padmé and Anakin wed on Naboo,
An unforeseen clone war has swiftly begun.
__________________
 
When General Grievous, who’s mostly a droid,
Abducts Palpatine in a militant raid,
Two Jedi and hundreds of clones are employed
To rescue the chancellor from this crusade.
 
With some difficulty, they breach the lead ship,
And Anakin finishes Dooku in rage.
They crash-land, and Grievous then gives them the slip
To find some more trouble in which to engage.
 
When Anakin learns that his wife is expecting,
He’s eager to end all the secrets they hide,
But more dreams of death make him doubt his protecting
Will save Padmé’s life since they will not subside.
 
As Chancellor Palpatine builds up his ego
And asks that Skywalker speak on his behalf,
The Jedi are doubtful about his amigo
And don’t wish the dark side to have the last laugh.
 
While Obi-Wan executes Grievous in flame,
His Padawan learns Palpatine is a Sith,
But Palpatine’s pledge to save Padmé by name
Convinces Skywalker to serve him forthwith.
 
His turn to the dark side at last is complete:
He massacres younglings as he is directed.
The order goes out to the clones in deceit
To kill all the Jedi that they have protected.
 
Though Yoda and Obi-Wan cheat death, the rest
Are caught by surprise and are exterminated.
When they learn of Anakin, both are distressed,
And Padmé refuses to trust what is stated.
 
When Anakin heads to a volcanic sphere
To wipe out the Separatist leaders at last,
His wife follows him, and his worry and fear
Are changed into anger when she is aghast.
 
He clashes with Obi-Wan furiously
As Palpatine barely bests Yoda as well.
Disturbed at the “Chosen One’s” deviancy,
Kenobi disarms and leaves him where he fell.
 
The Chancellor/Emperor’s now in control.
As Padmé gives birth to her predestined twins,
Darth Vader is painfully somewhat made whole
And ready for when the next chapter begins.
 
Though Padmé is lost and two Jedi alone,
The twins are divided and safely will stay.
Both Leia and Luke will have tales of their own
One day in that galaxy far, far away.
__________________
 

Many will probably disagree with my placement of George Lucas’s three-part return to the Star Wars universe. I have heard all the scorn for this trilogy: Jake Lloyd is the worst child actor of all time. What’s with all this Midi-chlorian crap? Hayden Christensen is so whiny and insipid as Anakin. The romantic dialogue is as corny as a popping machine and less entertaining. The politics drag, and the acting is mediocre. Nothing is as good as it should have been. These films are an embarrassment to the originals. Jar Jar Binks must die!

With all these criticisms, how then did the Star Wars prequels earn a place in my top 100? Quite simply, it’s because they’re far better than most people give them credit for. Do they compare with the first three as a whole? No. Are they flawed? Yes. But amid the minor annoyances that have garnered so much loathing, there are genuine moments of brilliance, with the visuals especially, that do make them worthy of the Star Wars name.

Episode I: The Phantom Menace is the weakest of the three because of its two most hated elements: Jar Jar Binks and the young Anakin Skywalker. Neither one ever bothered me much. There are much worse child actors than Jake Lloyd out there, and Jar Jar’s comic relief is not totally without charm, though it’s overplayed compared with the Ewoks of Return of the Jedi (again, I don’t mind the teddy bears). I agree that Lucas should not have tried to explain the Force with inscrutable talk of Midi-chlorians, but to me, these minor frustrations are overshadowed by the exciting, effects-laden sequences and the otherwise solid casting. Liam Neeson and Samuel L. Jackson (the first time I’d seen either of them) lend respectable sobriety, which is needed next to Jar Jar, and Ewan McGregor plays an up-and-coming Obi-Wan Kenobi who grew to become my favorite character in the next two films. Though his demise was a bit shocking at the time, Darth Maul also proves to be a formidable adversary. The pod race is far from pointless, as some detractors claim; it’s meant to buy Ani’s freedom and to be tense, impressive, and above all fun, and in my opinion, it succeeds, as do the battle scenes at the end. And let’s not forget John Williams’s magnificent score, which truly qualifies the film for its genre of space opera; no score could come closer to matching his musical achievement with the original Star Wars.

The first film was certainly closest to deserving its opprobrium, but Episode II: Attack of the Clones is as close to perfect entertainment as the prequels get. Perhaps I’m biased by the fact that it was the first Star Wars film I viewed in the theater, but it’s easily my favorite of the prequels. From the speeder chase on Coruscant to Obi-Wan’s rain-drenched duel with Jango Fett, Attack of the Clones offers the most exciting plot, as well as several explanations to burning questions, such as “What do all those stormtroopers look like?” While I think the first film’s obvious age difference between Anakin and Padmé was written away with the casting of Christensen, their relationship is sufficiently progressive to make it believable, even if the dialogue is indeed shallow. Plus, Anakin’s return to Tatooine is certainly a plausible prelude to his descent to the dark side. Episode II also possesses what is probably my favorite sequence of the entire saga: the Coliseum battle and its combination of giant monsters, droids, clones, bounty hunters, Jedi, a few pithy lines, and hopelessly romantic epicness, not to mention a subsequent peek at Yoda’s latent lightsaber prowess. I, for one, did not leave that theater disappointed.

I enjoyed watching Genndy Tartakovsky’s animated Star Wars: Clone Wars, which was released between the second and third films and set the stage for Episode III; thus, I was excited for Star Wars’ supposedly final installment. Revenge of the Sith is not an obvious favorite, not because it is bad (it actually received the best reception of the three), but because it is a tragedy, one that is surprisingly well-told. It essentially explains how Darth Vader came to be and how his children were separated. Anakin’s fear for Padmé’s life, foreshadowed by his premonitions about his mother in Episode II, is an effective catalyst for his moral plunge, though his embracing of murder is no less shocking or frustrating. The special effects of Episode III far surpass any other Star Wars film, and from droid commander General Grievous to Yoda’s showdown with the Emperor, from breathtaking beginning to tragic end, it is truly a feast for the eyes. (I love how the Yoda fight turned the long-established setting of the Senate chamber into an extravagant set piece.) The lava duel finale at last achieves the visual and emotional awe that words like saga and space opera imply; plus, the Emperor’s political intrigue provides timely, if occasionally ponderous, insights into the clandestine machinations of dictators. As splendid as Revenge can be, it’s depressing as heck and “ended” Lucas’s films on a disheartening note sorely in need of A New Hope.

Haters and critics can ridicule and underrate these films all they want, but George Lucas’s complete vision of the Star Wars saga is an absolute spectacle that earned him an AFI Lifetime Achievement Award after Revenge of the Sith was released. Yes, the dialogue is its weakest point, but the actors do their best with the sometimes clunky lines, such as Darth Vader’s lame climactic “Noooo.” Quiddities aside, the entire story of Anakin Skywalker deserved a full telling, and the Star Wars prequels supplied a fantastically realized narrative and some of the finest action sequences of the modern CGI era. I’ll be interested to see what J. J. Abrams has in store for the continuation of the franchise. Considering what he’s already done with Star Trek, I have high hopes for Episode VII.

Best line from The Phantom Menace: (Jar Jar Binks) “How wude!”
More serious best line for The Phantom Menace: (Yoda, to Anakin) “Fear is the path to the dark side. Fear leads to anger. Anger leads to hate. Hate leads to suffering. I sense much fear in you.”
 
Best line from Attack of the Clones: (Anakin, as their coliseum execution begins) “What about Padmé?”  (Obi-Wan, as Padmé climbs onto a pillar) “She seems to be on top of things.”
More serious best line from Attack of the Clones: (Queen of Naboo) “We have to keep our faith in the Republic. The day we stop believing democracy can work is the day we lose it.”  (Padmé) “Let’s pray that day never comes.”
 
Best line from Revenge of the Sith: (Anakin, crash-landing Grievous’s ship) “We lost something.”   (Obi-Wan) “Not to worry. We’re still flying half a ship.”
More serious best line from Revenge of the Sith: (Padmé, as the Emperor takes over with full senatorial support) “So this is how liberty dies… with thunderous applause.”

 

Rank: 53 out of 60

 

© 2014 S. G. Liput

232 Followers and Counting

 

#90: Star Trek into Darkness (2013)

23 Thursday Oct 2014

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When Kirk and the rest of the Enterprise crew,
Decide to save Spock in a crisis that grew,
They break regulations no captain should break,
Which leaves Kirk demoted for one Vulcan’s sake.
 
Meanwhile, John Harrison, some renegade,
Employs terrorism that’s sadly well-played.
To the Klingon home world, he flees after his strike,
Which murdered Kirk’s advocate, Admiral Pike.
 
Intent on revenge, Kirk demands a pursuit,
And Marcus bestows some torpedoes to shoot.
A clash with the Klingons endangers their mission,
But Harrison helps, yielding no opposition.
 
His ship somehow stranded, Kirk speaks with his catch,
Who dares him to open his torpedo batch.
They find human popsicles, centuries old,
Through whom Harrison was discreetly controlled.
 
Explaining that Khan is his real name (who knew?)
And that all the sleepers are his ancient crew,
He tells them that Admiral Marcus had plans
To start a war with weapons safe in his hands.
 
The Admiral shows up to wipe evidence,
But sabotage spares them some time for offense.
When Khan and Kirk seize the ship, Khan takes control
Till Spock turns the tables on Khan’s vengeful goal.
 
Both ships are quite damaged, but one sacrifice
Gives Enterprise power but at a steep price.
Khan’s vessel, however, crash-lands on the earth,
And Spock threatens him till he learns of Khan’s worth.
 
Despite heavy losses, Kirk’s crew and ship make it;
A five-year assignment appears, and they take it.
With Marcus’s daughter as part of his crew,
Kirk boldly goes searching for ventures all new.
_________________
 

Since readers know that Lost is my favorite TV show, it should be no surprise that show creator J. J. Abrams would contribute films to my top 100. After his game-changing reboot of the Star Trek franchise in 2009, fans were eager for the next installment, and Star Trek into Darkness did not disappoint. Some accused its reworking of Wrath of Khan to be plagiarism rather than homage, but the film clearly possesses enough originality to offset the cries of its detractors.

While Sulu and Chekhov are underused, the rest of the Enterprise crew continue to be memorable revisions of The Original Series cast. Particularly, the relationship between Chris Pine’s rebellious Kirk and Zachary Quinto’s conformist-yet-cheeky Spock is a highlight of character-building, and Simon Pegg’s Scotty is given a chance to engage on a deeper level than the usual engineer role. Peter Weller’s villainous turn as Admiral Marcus is all right but pales in comparison with Benedict Cumberbatch’s potent, authoritative presence as Harrison/Khan. Being a fan of Cumberbatch in Sherlock and Amazing Grace, I believe his casting as Khan was genius (even if it was criticized as “whitewashing” Khan’s original ethnicity) and, along with The Hobbit, will forever cement him as a go-to villain.

If I had to criticize the film, I suppose it would be for its obvious attempts at a plot twist. We’re not supposed to see twists coming, but they’re not particularly well-hidden. For instance, Alice Eve’s portrayal of Carol Marcus is originally under the name Carol Wallace. Why? Fans of Star Trek could see that coming simply from Admiral Marcus’s inclusion, and for non-fans, the name Carol Marcus doesn’t hold any significant meaning. Khan’s fake identity makes a bit more sense in the plot but wasn’t all that necessary. While many have pointed out plot holes in the film, the only major discrepancies I noticed were the diminution of distances, with transporters and warp engines traversing great spans much faster than they should at this point in Star Trek history. Also, while a certain scene echoing Wrath of Khan is quite effective, its consequences are wrapped up far too quickly.

While the film’s action sequences don’t quite hit the zenith of the first film’s drill showdown or ice planet chase, the special effects are well-employed to create some awesome visuals, such as during the tense space jump. The Enterprise’s descent into the atmosphere is a particular wonder, with gravity shifting to turn the ship into a giant Tilt-A-Whirl. So many films sacrifice their intelligence in favor of spectacle; J. J. Abrams and Marvel seem to be the main ones able to balance the two to create entertaining films, worthy of multiple viewings. With clever references to The Original Series and the introduction of Klingons to this altered timeline, Star Trek into Darkness stands on its own and sets the stage for what I hope will be an even more impressive threequel.

Best line: (Dr. McCoy, after helping to save Kirk) “We synthesized a serum from his… super blood. Tell me, are you feeling homicidal, power-mad, despotic?”   (Kirk) “No more than usual.”
 
VC’s best line: (Kirk, speaking of Spock, to Uhura in turbolift) “Wait, are you guys… are you guys fighting?”
(Uhura) “I’d rather not talk about it, sir.”
(Kirk) “Oh my God, what is that even like?”
[Turbolift opens to reveal Spock, and Uhura walks by him coldly]
(Kirk, to Spock) “Ears burning?”

 

Rank: 54 out of 60
 

 © 2014 S. G. Liput

231 Followers and Counting

 

#96: Star Trek: Generations (1994)

17 Friday Oct 2014

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When Captain Kirk was witness to the christened Enterprise
Long after he had left the venerated captain’s chair,
An incident in space occurred, in which he clearly dies,
Yet he helped save El-Aurians from an interspatial snare.
 
Some decades later on the current Enterprise, Picard
Gets word of family losses that disturb him to the core.
They answer a distress call from a solar station scarred,
Where fervent Dr. Soran has experiments in store.
 
He swiftly kidnaps Geordi after shooting out a star
And makes his getaway when Klingon enemies arrive.
Picard is told by Guinan that the doctor will go far
To get back to the Nexus, where one’s joys can come alive.
 
Deducing his next move and his own murderous intent,
The Enterprise arrives where he will kill another sun.
Once Geordi is retrieved through trade, Picard asks to be sent
To Soran on the planet, who has very nearly won.
 
Deception gains the Klingons an advantage, which they seize
And harm the Enterprise before they’re blown away at last.
The crippled saucer crash-lands, just as Soran guarantees
The advent of the Nexus and resulting deadly blast.
 
Picard is swallowed up and finds the family of his dreams
But knows he must return in time, which luckily he can.
Yet someone else could help, because such threats require teams.
That someone is James Kirk, whom he persuades is just the man.
 
Returning to the planet ere the doctor’s plan succeeded,
They battle him together and prevent another win.
Kirk fell but made a difference, the one last time he was needed,
And though the ship was lost, Picard awaits its next of kin.
_________________
 

Yes, another Star Trek movie. Star Trek: Generations is not the most popular of Star Trek films, but I believe it broke the supposed “Star Trek curse,” an odd-numbered Trek film that actually lived up to the show’s standards. In combining the old and new Enterprise crews, specifically pairing Captain Kirk with Captain Picard, the film caters to Trekkers’ inner fanboy while continuing/wrapping up minor open threads from The Next Generation series, such as Data’s emotion chip and the Duras sisters. It even marks the first time a film relied on a website dedicated to its promotion.

Most of the Next Gen crew are rather under-utilized, though not to the extent of Insurrection; most of the good lines go to Data, while most of the drama goes to Picard. Patrick Stewart’s range of emotions and his characteristic attempts at suppressing them showcase his skill as an actor. The loss of his loved ones (seen in the poignant post-Borg episode “Family”) is not witnessed like the death of Kirk’s son in Search for Spock, but it somehow carries the same emotional weight, making Picard’s reluctance to leave the joys of the Nexus quite justifiable. As for Kirk, William Shatner steps into his role as if he never left (The Undiscovered Country was only three years earlier), and as daring as it was to kill off such an iconic character, the filmmakers did it right, allowing him proper heroics and a final genuine goodbye. Shatner does have a tendency to overact, but his death scene was flawless, even if they had to reshoot it to get it right. Malcolm McDowall also provides his usual splendid villainy as Dr. Tolian Soran, who has an unconventional motive—his own bliss in the Nexus, an underexplained but unique plot device that allowed the merging of time periods without the traditional time travel explanation.

Some critics have focused on the film’s flaws, such as the fact that if Kirk and Picard had failed to stop Soran, they could have just started over after entering the Nexus again, thus robbing the finale of true tension. Those critics were obviously thinking too much when they should have just been enjoying the action, but while they have a point, reentry into the Nexus might have been harder to resist or Soran might have killed them before it arrived. Either way, the climax works, even if it forever changed the Star Trek universe, marking the end of a beloved character and the destruction of yet another Enterprise (which was much more impressive visually than in Search for Spock). We’ll see if Shatner ever manages to finagle a cameo in one of Abrams’ films.

While the sailing ship scenes err on the silly side and there are other quibbles I could make, the opening with Scottie and Chekhov effortlessly captures the atmosphere and maturized humor of the original movies, while the rest features a cinematic translation of the Next Gen series that would continue for three more films. I’ll be honest: I like the Next Gen crew a bit more than the original, but seeing both in the same film is a joy to this Trek enthusiast.

Best line: (Data, after tasting a drink with his emotion chip installed) “I hate this! It is revolting!”
(Guinan) “More?”
(Data) “Please!”
 
Rank: 53 out of 60
 

© 2014 S. G. Liput

229 Followers and Counting

 

#97: Star Trek VI: The Undiscovered Country (1991)

16 Thursday Oct 2014

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Excelsior is hit with force,
A Klingon moon, Praxis, the source.
The race now lacks a prime resource
And can’t keep up with war.
So Kirk and friends are sent to space
To meet the Klingons face to face
And escort them to Earth with grace,
A task that they abhor.
 
Especially Kirk hates the foe;
They killed his son three films ago.
A dinner’s rather stiff and slow,
But nothing bad occurs.
But then the Klingons are attacked,
The ambassador is killed, in fact,
So Kirk surrenders with some tact
To not make matters worse.
 
Arresting both McCoy and Kirk,
Their justice system goes to work,
Condemning them where dangers lurk,
In Rura Penthe’s mines.
They don’t make friends, except for one,
A shapeshifter who helps them run,
But double-crosses ere they’re done,
According to designs.
 
Just in time, Spock saves the pair
But knows a traitor is somewhere.
They root out the deceiver there
And learn of the deceit.
The Federation’s President
Will soon be shot with fell intent;
As Kirk was set up, their descent
To war will be complete.
 
They first must conquer in some way
A hidden Klingon bird of prey.
After that, they save the day
And stop the homicide.
With that, Kirk’s anger finds release,
And regular aggressions cease.
Now that they’ve consummated peace,
They can retire with pride.
__________________
 

Star Trek V was a big disappointment, and I’m sure everyone is glad that it didn’t mark the end of the original series cast. When Star Trek VI: The Undiscovered Country was released two years later, it breathed new life into movie prospects, even as The Next Generation kept the franchise alive on television. With a plot informed by contemporary tensions with Russia (the Berlin Wall was torn down the previous year), the sixth film focuses more on the Klingons, giving them more depth than the typically villainous stereotypes Kirk had encountered in Star Trek III, when his son was murdered. The filmmakers made an excellent decision in focusing on Kirk’s prejudice over his loss; such pain is not something easily forgotten. Star Trek: The Original Series was at its best with potent sci-fi social commentary; Star Trek VI returns to such themes, with Kirk’s coming to terms with his bias being a thoughtful challenge to all those bearing blind bigotry.

The political intrigue is surprisingly intricate, though at times specific characters’ motivations are less than clear. Christopher Plummer as main villain General Chang is an obvious follow-up to Khan, even quoting Shakespeare as he attacks the Enterprise with smug superiority. Other conspirators are less obviously villainous (I won’t include too many spoilers), but it’s interesting to note that one is played by Brock Peters, who portrayed Tom Robinson, a victim of prejudice, in To Kill a Mockingbird.

Other actors include David Warner as the assassinated ambassador Gorkon, Robocop’s Kurtwood Smith as the Federation President, and Kim Cattrall as Vulcan newbie Valeris, who doesn’t quite fit as well as Kirstie Alley’s Saavik from Star Trek II (or Robin Curtis in III), perhaps intentionally. As for the main cast, they don’t all get the moments of glory that The Voyage Home afforded, but each slips into their familiar roles like a glove, particularly Shatner and Nimoy as Kirk and Spock disagree over the Klingon issue. George Takei’s Sulu (now Captain) gets the most memorable scene when the film begins with a literal bang. (The explosion of Praxis was revisited in “Flashback,” a memorable episode of Star Trek: Voyager which guest-starred Takei.)

It’s more serious than The Voyage Home and features a violent zero-g attack complete with floating blood unlike anything in the previous films, but there are enough bits of self-referential comedy and character introspection to still embody the Star Trek we love. It’s unfortunate for any beloved franchise to meet its conclusion, but Star Trek VI ended the original series on a high note, with new peace with the Klingons (Michael Dorn even guest-starred as Worf’s ancestor) and a fitting sendoff for the esteemed crew of the Enterprise.

P.S. Notice that Uhura doesn’t know Klingon and is forced to hastily look up translations in books(?), conflicting with Zoe Saldana’s Uhura in J.J. Abrams’ Star Trek reboot, who already could speak some Klingon, even apart from the whole tampering-with-the-timeline thing.

Best line: (Gorkon’s daughter Azetbur, after Kirk saves the day) “What’s happened? What’s the meaning of all of this?”
(Kirk) “It’s about the future, Madame Chancellor. Some people think the future means the end of history. Well, we haven’t run out of history quite yet. Your father called the future ‘the undiscovered country.’ People can be very frightened of change.”
(Azetbur) “You’ve restored my father’s faith.”
(Kirk) “And you’ve restored my son’s.”
 
VC’s best line: (Federation President) “Let us redefine progress to mean that just because we can do a thing, it does not necessarily mean we must do that thing.”
 
Rank: 53 out of 60
 

© 2014 S. G. Liput

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Brother Bear (2003)

10 Friday Oct 2014

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(Best sung to Phil Collins’s “On My Way”)
 
When Kenai’s totem is named as love,
The thing that will make him a man.
He thinks that the spirits who shine above
Are messing up his life’s future plan.
 
One small mistake gets his brother killed,
And he’s quick to blame a hostile bear.
His thirsting for vengeance is soon fulfilled,
And the spirits lift him in the air.
 
He is given a chance to discover anew
The life that he took through its eyes.
As a bear now, Kenai must
Team with a cub,
Who is vocal for his size.
 
As they are headed for the spirits’ mount,
His other brother hunts the pair.
As they journey, he and Koda make the miles count,
And they bond on the trip that they share.
 
Kenai’s soon shocked to learn the bear he slew
Was Koda’s missing mother, long gone.
Though the heartache they’re both feeling splits them up,
They need each other;
They’re now brothers worth relying on.
 
Upon the mountain, his human bro
Attacks to have revenge as well.
As Kenai is nearing a mortal blow,
The spirits abolish their spell.
 
They reunite as the changes fade,
Assisted by their brother above.
Kenai stays as a bear yet a man is made,
Through the totem that he’s now proud of,
A brother’s love.
______________
 

Whereas my opinions of WALL-E agreed with the critical consensus, Brother Bear performed poorly among critics and audiences, but I consider it one of Disney’s most underrated successes. From the mountainous vistas in a painterly art style to “all that cuddly bear stuff” which is both heckled and embraced, Brother Bear is a beautiful film that stands as Disney’s last great use of traditional animation.

Phil Collins may have declined in popularity since then, but his music for Brother Bear added so much to an already great film. As with Tarzan, his songs play over various montages, such as the opening scenes of brotherhood with Tina Turner singing the lovely and catchy “Great Spirits.” “On My Way” during the cross-country journey and “Welcome” during the salmon run are also unsung masterpieces, so to speak.

The pagan spirituality is taken more seriously than, say, the comedic ghostly ancestors of Mulan, but unlike the New Age crystals of Atlantis: The Lost Empire, the spirits of Brother Bear have some cultural basis in real Native American tradition. I found their incorporation in the story to be a respectful nod to a unique people, as Disney had previously done with Lilo and Stitch.

The animation is among Disney’s best, and I love the character designs, particularly Kenai’s bear form, which matches Joaquin Phoenix’s voice better than his human form. Young Jeremy Suarez as Koda has the same garrulous, road-tripping insistence as Shrek’s Donkey while embodying all that is cute about a teddy bear. As for comic relief, Disney couldn’t have done better for this Arctic film than Rick Moranis and Dave Thomas as a moose version of their McKenzie Brothers comedy act (gotta love their game of “I Spy”).

In addition to the animation, comedy, and music, Brother Bear packs a powerful emotional punch that left me crying in the theater the first time I saw it. The entire message of the film is to see life from a different perspective, through another’s eyes, literally. Kenai misses this point throughout most of the film, only caring about his own loss, but when he realizes the far-reaching consequences of his actions, the sorrow is palpable, punctuated by Collins’s song “No Way Out.” While this tune is utterly depressing, sitting through the end credits is rewarded with an uplifting rewording of the song, which deserves a place in my End Credits Song Hall of Fame, along with the single “Look Through My Eyes.”

In addition to the much worse Home on the Range the next year, it’s a shame that Brother Bear’s poor reception spelled the end of Disney’s traditionally animated excellence. It’s exciting, moving, amusing, and able to bring my VC to tears every time. It’s an underprized gem about the value of love and brotherhood which deserved much better, eh.

Best line: (Koda, drowsily, when Kenai is waking him up) “Two more months, Mom….”

 
Artistry: 8
Characters/Actors: 8
Entertainment: 9
Visual Effects: 10
Originality: 7
Watchability: 10
 
TOTAL: 52 out of 60
 

Next: #102 – On Golden Pond

© 2014 S. G. Liput

221 Followers and Counting