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Rhyme and Reason

~ Poetry Meets Film Reviews

Rhyme and Reason

Tag Archives: Action

Star Trek IV: The Voyage Home (1986)

21 Thursday Aug 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Action, Comedy, Drama, Sci-fi

While on their way to Earth to face the music for their crimes,
Our favorite crew learns Earth’s in danger, as it is sometimes.
A giant probe is clouding Earth, depleting all its power,
With some peculiar signal making things worse by the hour.
 
When Spock (who was revived, you know) investigates the sound,
He learns it’s that of humpback whales, but there are none around.
Therefore, they must go back in time to find the needed whales.
They use the sun to slingshot round; I’ll spare you the details.
 
The latter 1900s is when they arrive and land,
To find whales which will be extinct because of mankind’s hand.
The Klingon ship they’re borrowing unfortunately broke,
But at least to hide their presence, it can disappear by cloak.
 
They split up there in San Francisco, and soon Spock and Kirk
Locate two whales and a girl involved with conservation work.
This Dr. Taylor asks them of their interest in cetaceans
And gets a crazy story and Kirk’s infamous flirtations.
 
The whales are soon released into the wild, unannounced,
And, with their ship replenished, they then leave some whalers trounced.
They save the whales and bring them back, with Dr. Taylor in tow,
And crash into the ocean, where the two whales swim below.
 
They calm the enigmatic probe, which leaves no worse for wear,
And seas and skies all stabilize, like it had not been there.
Since Kirk and crew have saved the Earth (again), Starfleet is wise,
And Kirk’s again the captain of a brand new Enterprise.
_____________________
 

Seeming to confirm the shortsighted theory that even-numbered Star Trek films are the good ones, Star Trek IV: The Voyage Home was significantly lighter in tone than its predecessor and far more enjoyable: no cruel villain, no life-shattering deaths or losses. The plot, involving going back in time to retrieve extinct whales in order to communicate with a power-draining cylinder from space, is as outlandish as they come, yet it somehow works. This is thanks largely to the proven charm of the familiar actors, and, since ensembles are often hard to balance in these films, it’s satisfying to see each character given a chance to shine (except Uhura). Whether it’s McCoy’s grumbling about 20th century medicine, Chekhov’s latent dreams of promotion, or Scotty’s introduction to a Mac computer, the humor is deftly woven into the plot so that, even though Earth’s fate hangs in the balance, no one’s afraid to have a little fun along the way. The resurrected Spock (still played by director Leonard Nimoy) is a particularly welcome return, and his fish-out-of-water frankness makes for some of the film’s comedic highlights.

Like most Star Trek episodes, there’s timely message included, namely the importance of conservation. “Save the Whales” may be an oft-used declaration, but it takes on new meaning when you consider that, if we don’t, a singing probe may one day destroy Earth.

There are some minor issues, aside from the fact that the more contemporary setting calls for more obscenities, or “colorful metaphors.” For instance, from the outside, that Klingon bird-of-prey doesn’t look like it could hold two grown humpback whales. Also, it’s unclear why Uhura, Kirk, and Scotty are in uniform while the others seem to be wearing civilian clothing. Plus, there’s a throwaway joke in which Dr. McCoy gives a sick woman a pill that regrows her kidney. Shoot, I didn’t know they were that advanced! (There’s an episode of Voyager in which someone’s lungs are stolen; why couldn’t they just regrow them with that magic pill?)

Despite these questions, The Voyage Home remains a favorite among Trekkers for good reason. It’s hard not to geek out when Kirk dramatically says, “Spock, start your computations for time warp.” The film has humor, excitement, a few high concepts, and time travel; what more does a Star Trek film need?

Best line: (Kirk, explaining Spock’s strangeness to Dr. Taylor) “Oh, him? He’s harmless. Back in the sixties, he was part of the free speech movement at Berkeley. I think he did a little too much LDS.”

 
Artistry: 7
Characters/Actors: 9
Entertainment: 8
Visual Effects: 7
Originality: 9
Watchability: 8
 
TOTAL: 48 out of 60
 

Next: #141 – Grave of the Fireflies

© 2014 S. G. Liput

186 Followers and Counting

 

Die Hard (1988)

15 Friday Aug 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ 1 Comment

Tags

Action, Christmas, Thriller

When John McClane visits his wife in L.A.,
A skyscraper party for Christmas Eve serves
To strain the pair more at the end of the day,
As terrorists break in and get on their nerves.
 
The leader, Hans Gruber, takes hostages fast,
And Holly’s boss, Mr. Takagi, is shot,
But John, a policeman, escapes at the last
Into the air shafts and avoids being caught.
 
From then on, it’s cat and mouse with machine guns
As John picks the baddies off one at a time.
The “terrorists” turn out to be after funds,
Locked up in a safe that protects every dime.
 
John gets the attention of one cop named Al,
And soon the police have the building surrounded.
Reflecting on life with his radio pal,
John has to save Holly, although he’s still hounded.
 
John saves all the hostages from a roof blast,
Though choppers and John’s own bare feet pay a price.
Though the thieves breach the safe, the right timing has passed,
And John and Hans are not about to play nice.
 
When both John and Holly are in Gruber’s sights,
The tables are turned by some clever gun play.
Hans quickly develops a brief fear of heights,
And John is relieved, having now saved the day.
Both Holly and John can relax from such fights,
At least till the next sequel. Yippee ki-yay!
_______
 

Often cited as one of the best action movies ever, Die Hard sparked a multitude of sequels and imitators and provided Bruce Willis (John McClane) and Alan Rickman (Hans Gruber) with the most memorable roles of their careers. Considering Die Hard’s immense success and Willis’s well-known action hero appeal, it now seems odd that the studio had doubts about his casting, but until this film, he was only known for his comedic role in the show Moonlighting. Just as Big opened up dramatic possibilities for Tom Hanks, Die Hard crafted Willis’ butt-kicking action star persona. Likewise, this was Rickman’s first film, and his calculating ruthlessness and distinctive voice instantly made him an ideal villain. Sure, he’s played more sympathetic roles (Galaxy Quest, Something the Lord Made, Sense and Sensibility), but he’ll always be Hans Gruber.

Of course, action movies that are nothing but mindless explosions fail (if not commercially, then critically). Amid all the gunplay, we get a welcome peek at John’s marital failings, as well as Al’s past regrets, which provide incentive to root for them beyond the fact that we’re just supposed to.

The film may be 26 years old, but its impressive stunts and explosions have allowed it to age quite well. The unusual Christmas setting and some unique musical choices also stand out; the safe-opening scene somehow became one of the film’s most memorable, thanks to Beethoven’s “Ode to Joy.”

The blockbuster fun is sadly hampered by an overabundance of profanity and F-words (including the film’s most iconic line), not to mention the rampant violence, much of it bloody. Nevertheless, Die Hard is an action-packed favorite (best seen cut) that can be enjoyed at Christmastime and any other.

P.S. Though this doesn’t share the high profile of the recent sad losses of Robin Williams, Lauren Bacall, and James Garner, I feel I should include a R.I.P. for James Shigeta, who played Mr. Takagi. He died quietly on July 28th, just a few weeks ago, having lived a nice long life, unlike his character in this film.

Best line (ignoring the obvious): (Holly, seeing a terrorist’s frustration and knowing John must be alive) “Only John can drive somebody that crazy.”

VC’s best line: (John recalling his wife’s invitation) “’Come out to the coast, we’ll get together, have a few laughs…’”

 
Artistry: 7
Characters/Actors: 9
Entertainment: 10
Visual Effects: 9
Originality: 9
Watchability: 10
Other (language, violence): -6
 
TOTAL: 48 out of 60
 

Next: #146 – Out of Africa

© 2014 S. G. Liput

184 Followers and Counting

 

Tangled (2010)

07 Thursday Aug 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Action, Animation, Comedy, Disney, Family, Fantasy, Musical

(This one is best sung to the tune of the tavern song “I’ve Got a Dream”)
 
A pregnant queen is dying; so as the kingdom’s sighing,
They seek a magic, sun-begotten flower.
They locate it, and it heals,
But one Mother Gothel steals
The newborn babe for her renewing power.
 
She raises fair Rapunzel as her child,
Keeping her locked up for her own good.
For eighteen years and counting,
Claustrophobia’s been mounting;
She dreams of going out, if she just could.
 
But then a crook
Invades her nook
With a highly valued crown that he just took.
With a frying pan he’s tackled,
And Rapunzel keeps him shackled
With tens of feet of hair, like in the book.
 
She just wants to see lights floating, which Mother’s not promoting,
But this Flynn Rider is her guide and ticket.
He agrees to take her out,
And she frolics all about.
Though guilt is there, she manages to kick it.
 
Flynn takes her to a thug-infested tavern,
Only for her charm to earn esteem.
They escape from those pursuing,
And there may be love a-brewing,
As she gets ever closer to her dream.
 
But Mom appears
To give her fears,
But Rapunzel doesn’t like the things she hears.
She is sure that Flynn does love her
As the lanterns float above her
Till Mother (with some bandits) interferes.
 
As she goes back home, her heart is broken,
But then she discerns her Mother’s lie.
Flynn is set to die, until his cohorts save the guy.
He returns to defend, just in time to meet his end;
Gothel will not let her scheming go awry.
 
But as Flynn is lying dying,
He is still not done defying;
He cuts Rapunzel’s hair and all its magic.
Mother Gothel turns to dust;
Happy endings are a must,
So magic tears don’t let things get too tragic.
 
Flynn (or Eugene)
Recovers clean,
And they reunite her with the king and queen.
As the kingdom’s happy, very,
Both Rapunzel and Flynn marry,
And “happy ever after” ends the scene.
__________________
 

With its past-participle title akin to Enchanted and Frozen, Tangled may not have returned to the good ol’ hand-drawn animation of the Disney Renaissance, like the so-so Princess and the Frog did, but it revitalized the princess genre Disney does so well, leading to the even more popular Frozen (and hopefully many more to come). It’s got all the right ingredients: a spunky young heroine, a dashing hero, a selfish villain, funny animal sidekicks, and catchy Alan Menken music. Is it as good as the Renaissance films? Perhaps not quite, but I still love it.

While past Disney films left most of the humor to the animal sidekicks, the humor in Tangled is much more prevalent, with running gags and knowing looks giving it a more modern sensibility than the somewhat more serious stories of Beauty and the Beast, Pocahontas, and The Hunchback of Notre Dame. Most of the humor is indeed funny (I love the frying pans), but it’s as if the filmmakers were trying too hard at times, such as with Flynn’s “smolder.” Still, Mandy Moore and Zachary Levi are undeniably likable as the two leads, though they reportedly weren’t satisfied with their voices.

Despite all the hilarity, there’s also a decent mix of heart. With her inward turmoil over disobeying her “mother,” Rapunzel is one of Disney’s most relatable princesses, and her romance with Flynn/Eugene recalls Cloudy with a Chance of Meatballs in its promotion of being yourself over attractive fakery. (There’s also a “bunny attack” joke that seems lifted directly from Ella Enchanted.) The brief scenes with Rapunzel’s parents instantly engender sympathy for their loss, and the final reunion is just plain heartwarming.

Upon first hearing the songs, I considered them rather unmemorable, but as I’ve re-watched the film, I’ve grown to love them just like those of Disney’s golden years. They can’t compare with Menken’s best, but I’ve hummed “When Will My Life Begin?” a time or two. As perhaps you can tell, my favorite is the show-stopping “I’ve Got a Dream,” which is hilarious, excellently rhymed, and (along with “Mother Knows Best”) the main song I can envision on the Broadway stage. The final song, Grace Potter’s “Something That I Want,” is catchy enough to earn a place in my End Credits Song Hall of Fame as well.

I followed Tangled’s progress during its production and had high expectations for its painterly animation, and the animators delivered. Almost everything—the solitary tower, the water in the dam scene, the equine details of Maximus, and especially Rapunzel’s seventy feet of luscious hair—is an astounding achievement in its combination of CGI and traditional animation. The floating marshmallow lantern visuals to “I See the Light” are particularly dazzling.

Exceptional animated films usually leave me immediately wanting to see them again, and Tangled was no exception. Though there are some departures from reality, such as how Rapunzel’s long hair never gets dirty and seems to weigh nothing, it possesses few of the Frozen-esque plot holes that people like me love to point out. With its exquisite animation, great characterization, quality music, and continual comedy, Tangled is a winning return to Disney excellence.

Best line: (Flynn, while sword fighting a horse with a frying pan) “You should know that this is the strangest thing I’ve ever done!”

 
Artistry: 7
Characters/Actors: 7
Entertainment: 8
Visual Effects: 10
Originality: 6
Watchability: 9
 
TOTAL: 47 out of 60
 

Next: #154 – The Homecoming: A Christmas Story

© 2014 S. G. Liput

177 Followers and Counting

 

Spirit: Stallion of the Cimarron (2002)

05 Tuesday Aug 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Action, Animation, Drama, Dreamworks, Family, Western

(Can be sung to Bryan Adams’s “Where I Belong”)
 
A horse was born so long ago,
Out in the West where free things grow,
An unfettered mustang, an ace in his prime,
Free to run, as they have for all time.
 
Leading his happy herd, defending each foal,
This Spirit’s unrestrained, till he falls under man’s control.
His homeland’s behind him; his future’s unknown,
Yet he keeps on fighting to live on his own.
 
He shows up his captors and earns their distaste,
But, helped by an Indian, he breaks out in haste.
Persistent young Little Creek tries riding in vain,
But he introduces his fair mare named Rain.
 
Though Spirit is shocked that the human and she
Display some connection that lets her run free,
He sees for himself that the Two-Legs possessed
More room for kindness than he had first guessed.
 
Though Spirit could run home, he opts to go back
And rescues the boy from a sudden attack.
Though poor Rain is injured, he still finds his hope
As he helps drag a train up a slope.
 
He halts all their efforts, escaping from flame,
Relieved loyal Little Creek thankfully came.
They flee from pursuers and leap for their lives;
Spirit’s glad when a healed Rain arrives.
 
Goodbyes are not easy when trust has been earned,
But they know it’s time that the mustang returned.
With Rain by his side, Spirit’s now free to roam
And at last he again embraces his home.
____________________
 

Spirit: Stallion of the Cimarron was one of my favorite movies growing up. As I’ve said, movies that have made me cry hold a special place in my heart, and Spirit is one such Childhood Tearjerker. DreamWorks knew from the start that most adults and kids alike love horses, and seeing such a wild and free creature dragged from his home was enough to get my waterworks going. It still touches me, though I don’t weep like I used to.

The animation is absolutely stunning. While some of the CGI from the opening is obvious, still lovely but paling in comparison to that of Dinosaur, the rest of the Western landscapes and the hand-drawn horses are gorgeous (especially the gorges). I’m no artist, but most agree that horses are among the most difficult creatures to draw: after all, Maurice Sendak illustrated Where the Wild Things Are with assorted beasts only because he realized he couldn’t draw horses. Not only are the horses arrestingly beautiful and convincing, but their facial features evoke the full spectrum of emotions without ever lapsing into anthropomorphic talking animal territory. Spirit himself has some inward monologues, provided by Matt Damon, who could have varied his voice more, but the rest of the animal interaction is done skillfully with emotion-filled neighs, whinnies, wickers, nickers, brays, and countless other equine ejaculations. So well is the wordless interplay handled that much of Damon’s voiceover, which ranges from stirring to funny, seemed unnecessary, though my VC felt it served to break up all the whinnying.

Then again, that is why Bryan Adams’s excellent anthems were included. Along with a rousing orchestral score that once again proves Hans Zimmer’s musical facility, Adams’s songs provide the melodious heart of the film. Though some critics decried the soundtrack as “whiny” or “insipid,” I felt they added so much to the film. It may not be on the level of what Phil Collins provided for Tarzan, but every song strikes the right chord of emotion, from free-wheeling liberty to depression to rekindled hope. “Don’t Let Go,” which features Sarah McLachlan with a haunting harmony, certainly deserves a place in my End Credits Song Hall of Fame.

Over the years, I have still seen some flaws: the intruding humans are uniformly bad because of their enslavement of horses, and I don’t usually like to feel guilty for wanting to ride a horse. Since all the Indians’ horses appear happy, the film seems to imply that only they built any relationship with their ponies. All the soldiers’ horses seem to hate their masters and frequently sabotage them, not allowing for the fact that I’m sure plenty of cowboys shared a connection with their steeds. After all, even broken horses can be happy.

Spirit: Stallion of the Cimarron is nonetheless a lovely, G-rated adventure with fantastic music and some genuinely exciting action sequences. It was DreamWorks Animation’s second-to-last hand-drawn film (before Sinbad) and causes me to miss the days before CGI became the only animation style successfully used in film.

Best line: (part of Spirit’s opening monologue) “I was born here, in this place that would come to be called the Old West. But, to my kind, the land was ageless. It had no beginning and no end, no boundary between earth and sky. Like the wind and the buffalo, we belonged here; we would always belong here. They say the mustang is the spirit of the West. Whether that west was won or lost in the end, you’ll have to decide for yourself….”

 
Artistry: 7
Characters/Actors: 7
Entertainment: 7
Visual Effects: 10
Originality: 7
Watchability: 8
Other (crying effect): +1
 
TOTAL: 47 out of 60
 

Next: #156 – As Good As It Gets

© 2014 S. G. Liput

172 Followers and Counting

 

Enchanted (2007)

30 Wednesday Jul 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Tags

Action, Disney, Fantasy, Musical, Romance

 (Best sung to Giselle’s “Happy Working Song”)
 
Pretty girl Giselle is just swell and is animated all day long;
Woodland creatures help her sing a song.
She expects her prince to come and be her new love;
When he does, they sing of true love,
Since there’s nothing wrong.
 
Then an evil witch, Edward’s stepmother, has a diabolic plan,
To evict Giselle because she can.
So she sends the princess down a well descending
Where there is no happy ending
And no perfect man.
 
In the callous streets of New York, poor Giselle is both afraid and lost,
Till one Robert finds his path has crossed
With this somewhat crazy fairy tale freethinker,
Who’s a tailor, not a drinker,
And cleans at no cost.
 
When he hears the news, Edward hunts for his darling on a hero’s trip,
With her talking chipmunk sidekick Pip,
But they stick out like a sore thumb in the city,
Searching for his dearest pretty,
Like he’s lost his grip.
 
As he tries to help out Giselle, Robert’s reeled in by her fresh appeal,
And his girlfriend Nancy has to deal.
Yet Giselle assists him with romance and crooning,
But she ends up nearly swooning
When love grows more real.
 
Edward soon arrives, but Giselle is no longer visibly naïve,
And she’s hesitant to up and leave.
So Edward and she try dating to get closer,
But it’s Robert who’ll engross her
At a ball that eve.
 
But the evil queen shows herself since her henchman hasn’t done too well
In his efforts to dispatch Giselle.
So she employs tactics you may have seen elsewhere
And scares everybody else there
With a fearsome spell.
 
Once the queen is stopped and destroyed when a hero steps up to the plate,
Robert and Giselle conclude their date.
It is clear that they both share a love enchanted,
But Edward’s not emptyhanded,
For his loves won’t often wait.
 
Robert and his young daughter have Giselle,
Settled in this world into which she fell,
Merrily,
Happy ever after, verily,
Now that everyone has found their perfect mate.
___________________
 

Before The Princess and the Frog revisited the princess genre (with iffy results), Disney created Enchanted, a modern mish-mashing of classic fairy tales and contemporary cynicism. The animated beginning could easily have been a rejected idea from the Disney Renaissance, but the overtly saccharine telling is clearly meant to be a contrast for the rest of the film. Once Giselle actually gets to New York and its live-action acrimony, the real humor starts flowing from the disparity between her naiveté and our world’s unfriendliness.

While Edward is certainly not the perfect prince of Disney’s early films, Enchanted succeeds in its combination of opposites by being both realistic and idealistic. Based on Giselle’s first encounters with New Yorkers, she would be justified in considering it the least nice place on earth, but later on, as she explains to Robert the importance of affection, all of Central Park turns into a completely willing musical cast. This serves to accentuate how innocence and idealism can bring out the best in people, even when the world can seem so hostile at times. At the same time, Giselle’s introduction to the joys of the real world convince her these are preferable to the unsubstantial romance she had known before with Edward. That point, of course, doesn’t apply to everyone since Nancy, apparently fed up with the pitfalls of “real” relationships, obviously preferred the love-at-first-sight kind of courtship.

This is the film that hoisted Amy Adams to stardom, at least for me, and continues to be the role in which I always envision her, one of innocence. Her voice, face, and acting all lend themselves to her upright damsel persona. Roles that have allowed for this image, such as in Doubt or Night at the Museum 2, play to her strengths, while films where she attempts to act the “bad girl,” such as the recent American Hustle, just don’t seem to fit her. Patrick Dempsey took a break from Grey’s Anatomy to play single father Robert, who may be a pessimist but has obvious appeal for Nancy and Giselle. James Marsden portrays Prince Edward as an entertaining buffoon, but I do wish he had more to contribute to the plot. Susan Sarandon and Timothy Spall look like they’re enjoying their hammy villainous roles as Queen Narissa and bumbling servant Nathaniel. Lastly, I had no idea who Broadway star Idina Menzel (Nancy) was at the time, but after hearing her in Frozen, it’s a shame she didn’t get a chance to sing in this film: her one song with Marsden was cut.

The choreography and songs, written by winning duo Alan Menken and Stephen Schwartz, are outstanding, a welcome return to the good old days of both Disney excellence and classic musicals. The show-stopping “That’s How You Know” is particularly awesome, but the fact that all three of its Oscar-nominated songs lost (not unlike the previous year’s Dreamgirls) is a crying shame.

The film isn’t all good, of course. Certain scenes toward the end vacillate between an homage and a ripoff of Disney classics, and some scenes involving Pip the chipmunk, such as his defecation and Nathaniel’s cruelty toward him, were unnecessary. Still, Enchanted brings Disney’s animation to life in a fresh and funny way that my family watches whenever it’s on TV. It’s enchanting.

Best line: (a child-stressed mother, played by Judy Kuhn from Pocahontas, when she sees “Prince Charming” Edward) “You’re too late.”

 
Artistry: 6
Characters/Actors: 8
Entertainment: 8
Visual Effects: 9
Originality: 6
Watchability: 9
 
TOTAL: 46 out of 60
 

Next: #162 – Rain Man

© 2014 S. G. Liput

166 Followers and Counting

 

Up (2009)

30 Wednesday Jul 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Tags

Action, Animation, Comedy, Drama, Fantasy, Pixar

When Carl Fredricksen was young,
Self-conscious with a timid tongue,
He heard his hero’s praises sung,
The fearless Charles Muntz.
A skeleton Muntz found with zeal
Sparked doubts on whether it was real.
Muntz vowed to catch one and appeal,
The greatest of his hunts.
 
For Carl, this did not deter
His zeal as an adventurer,
Nor Ellie’s. Carl promised her
That they would fly some day
To Paradise Falls and do stuff.
They wed, and plans seemed like enough.
But plans were changed as times grew rough,
And life got in the way.
 
They still both lived in happiness
At their beloved home address,
Till Ellie’s death served to depress
Her aging husband’s heart.
Though builders offered quite a fee,
He guarded their house jealously.
Evicted by a court decree,
He planned a whole new start.
 
He chooses not to gripe and grouse
But blows balloons to lift his house
And fill his promise to his spouse
To take this thrilling trip.
To Paradise Falls he intends
To fly, but as his house ascends,
A wilderness explorer lends
His help to this airship.
 
To South America, they float
But fall out in this land remote,
Where Carl is dismayed to note
They have a ways to walk.
Connected to the house o’erhead,
They journey through the jungle, led
By Carl, who is stopped instead
By birds, and dogs that talk.
 
He meets the ancient Charles Muntz,
Still on that greatest of his hunts,
Who first seems nice but then confronts
The duo with suspicion.
A giant bird that Russell found
Is what Muntz wants to still impound.
His blimp and many a talking hound
Have not achieved his mission.
 
When Carl and Russell flee the nut,
With help from bird and friendly mutt,
The pair are shocked and scared somewhat
But aid the injured bird.
Muntz still sneaks up and apprehends
The bird, with whom the boy’s made friends,
And Carl will not make amends,
But Russell’s undeterred.
 
Though Carl makes it to the falls,
With Ellie’s help he then recalls
That their life meant more than four walls,
And he assists the scout.
He follows Russell in the air
To get the bird from Muntz’s lair.
The good and bad guys face off there
Till gravity wins out.
 
Though Carl bids his house goodbye,
They take the bird back home nearby.
He uses Muntz’s blimp to fly
Young Russell to his home.
Since Russell’s dad won’t show his face
To grant him patches and embrace,
Old Carl comes to take his place
And share an ice cream cone.
______________________
 

From the very beginning, Up has all the promise of a masterpiece. The first eleven minutes, detailing Carl and Ellie’s life together, have been rightfully hailed as a high point in animation history. The rest of the film is similarly brilliant, just in a very different way from most of Pixar’s canon, contrasting the beautiful opening with utter cartoonish wackiness.

Like WALL-E, Up is rather controversial for me. I consider it another Pixar classic, worthy of its Oscar nomination for Best Picture, while my VC was left cold. She certainly enjoyed everything pertaining to Ellie but felt the random inclusion of a giant “snipe” (my dad once fell for that same snipe joke) and talking dogs was just too silly to swallow. She also has poked holes in the plot, such as the fact that Muntz was still alive, since he must have been in his nineties; maybe he found the fountain of youth down in South America, or the Holy Grail. While the film was unique for featuring an elderly protagonist, even I have to admit that Carl’s and Muntz’s athleticism toward the end did strain credulity. While these issues sadly spoiled the film for her, I can overlook them with the help of Coleridge’s famous concept, the suspension of disbelief. Some people got it; some don’t.

I have more of an issue with Russell’s thin attachment to the giant bird he names “Kevin.” The relationship doesn’t seem to be any deeper than that of an owner and pet, yet Russell is willing to risk his life for the pet he found days before. What’s more, he blames Carl for “giving her away” when he did no such thing. Considering the situation, Muntz would have captured the bird regardless of Carl’s actions, so Russell’s guilt trip seemed unjustified and unfair.

All right, now that I got that out of my system, I’ll mention the gorgeous animation, the excellent voice acting (led by Ed Asner as Carl, Christopher Plummer as Muntz, and Bob Peterson as the squirrel-distracted dog Dug), the high-flying action sure to give someone acrophobia, and Michael Giacchino’s buoyant score. The main idea of a mobile dwelling that ends up damaged and abandoned may have been borrowed from Howl’s Moving Castle, of which director Pete Docter directed the English translation as well, but the plot is otherwise wholly original and frequently inspired.

Up isn’t quite on par with Pixar’s greatest work, but it’s an animated gem that earns both laughs and tears and has a timely message about life’s real adventures that tugs my heartstrings every time.

Best line: (Russell, after describing a simple pleasure he had with his dad) “That might sound boring, but I think the boring stuff is the stuff I remember the most.”

 
Artistry: 9
Characters/Actors: 7
Entertainment: 7
Visual Effects: 10
Originality: 9
Watchability: 7
Other (aforementioned issues): -3
 
TOTAL: 46 out of 60
 

Next: #163 – Enchanted

© 2014 S. G. Liput

166 Followers and Counting

 

200th Post! The Dark Knight Trilogy

27 Sunday Jul 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ 1 Comment

Tags

Action, Drama, Sci-fi, Superhero, Thriller

(This one is long and detailed; major spoiler alert)
 
When Bruce Wayne was a child, he fell down a chilly well,
And bats flew all around him, sparking panic and nightmares.
His father came to rescue him, explaining why he fell,
To learn to rise again as one of Gotham’s billionaires.
 
An opera they attended scared him, prompting them outside,
Where Chill, a desperate thug, shot both his parents but was caught.
Years later, one Falcone, a crime boss whom Chill defied
Had Chill killed, beating Bruce, who wanted justice done (he thought).
 
Bruce spoke with smug Falcone, who said Wayne did not “get” crime,
So Bruce departed secretly and lived like felons do.
But now Ducard gives Bruce a better outlet for his time,
To train with Ra’s al Ghul and battle fears he must subdue.
 
Bruce conquers guilt and fear of bats thanks to Ducard’s routine,
Excelling as a ninja on the Eastern mountainside,
But when he learns this League of Shadows wishes Gotham clean,
To purify by killing, he resists his former guide.
 
He fights the master Ra’s al Ghul, who’s killed within a fire,
But Bruce saves Ducard’s life and leaves him with a man to stay.
Then Wayne returns to Gotham, for his training helped inspire
A plan to battle evil in a much less lethal way.
 
He finds beneath his parents’ mansion bat-infested caves,
Which he at once remodels as his base of operations,
And Lucius Fox provides, in case some sinner misbehaves,
A hard, protective suit, as well as more high-tech donations.
 
At last, the Batman’s ready to contend with Gotham’s scum
And captures smuggled drugs, as well as old mob boss Falcone.
But there’s one Dr. Jonathan Crane who frequently has come
To court to plead insanity for every gangster crony.
 
He does this through a gas that makes the men hallucinate
And brings to life horrific fears that turn them all insane.
When Batman gets a breath of it, it almost is too late,
But Lucius and the faithful butler Alfred rescue Wayne.
 
With Fox’s antidote, Bruce tries to figure Crane’s designs,
But his old girlfriend Rachel beats him to it, though unwise.
She sees fear poison’s being dumped in Gotham’s water lines,
And Rachel gets some gas herself and nears her own demise.
 
But Batman gets her out of there with Sergeant Gordon’s aid
And drives a bit destructively to save her life in time.
He gives her extra antidote so that more can be made,
But Alfred’s getting troubled at how Bruce is fighting crime.
 
At Bruce’s birthday party, he comes quickly face to face
With old Ducard, who wants revenge, for he is Ra’s al Ghul.
Al Ghul burns down the house and has a city to erase,
Which he intends to do with his most recent stolen tool.
 
A microwave emitter taken from Wayne Enterprises
Ra’s uses to evaporate the city’s water store,
Releasing all the gas so when the populace arises,
Their terror will destroy each other in an inner war.
 
As chaos reigns and convicts run amok out on the street,
The Batman chases Ra’s upon an elevated train.
While Gordon takes the Batmobile and blasts the train’s supports,*
Bruce battles with his mentor, whom he saved before in vain.
 
Yet Batman flies away this time and leaves al Ghul to crash,
Averting more destruction had the train continued on.
The city’s saved (to some extent), but still there’s human trash,
For many criminals, like Crane, escaped and now are gone.
 
As Bruce rebuilds his mansion, fortifying the foundation,
Where no one knows his secret, save his butler and girlfriend,
A Joker has arisen, product of an escalation
That threatens Gotham City, but the Batman will defend.
______________________
 
The Joker’s on the rampage, stealing money from the mob,
A homicidal maniac who’s letting chaos reign,
But DA Harvey Dent is Gotham’s white knight for the job.
He’s fighting crime in ways that are respected by Bruce Wayne.
 
For Batman’s done his service, but he’d rather allow Dent
To prosecute the legal way with no need for a mask.
Dent’s also drawn in Rachel, causing Bruce to still lament,
But he and Gordon let Dent join them in their secret task.
 
A Chinese businessman named Lau is working with mob bosses,
Protecting all their money by escaping to Hong Kong,
But Batman has no jurisdiction and recoups his losses
By spiriting Lau back to Gotham, where he’ll play along.
 
The mob is desperate for some help and turns then to the Joker
To rid the town of Batman lest more obstacles occur.
The Joker then fills his new role as Gotham’s power broker,
By killing both a judge and the police commissioner.
 
He tries to take out Dent as well and Rachel by extension,
But Batman saves them both but lets the Joker get away.
When Gotham’s mayor’s targeted, the center of attention,
Lieutenant Gordon saves him but is killed to Dent’s dismay.
 
The Joker says that more will die if Batman doesn’t act,
Revealing who he really is, and Bruce is tempted to,
But Dent comes out and claims that he’s the hooded man in fact
And gets himself arrested, even though it isn’t true.
 
When Dent is off to prison, Joker follows for the kill,
But Batman saves the DA (though the Batmobile is toast).
He stops the Joker cold, and Gordon comes back for a thrill
To catch the laughing nutcase as a very living ghost.
 
They’re glad that he’s in custody, but he seems self-composed.
It seems that Dent and Rachel Dawes have somehow disappeared.
The Batman pounds the Joker for their place to be disclosed,
But Joker poses him a choice, the worst that he has feared.
 
For he can rescue only one before they blow sky high
And tries to go for Rachel, but he ends up saving Dent.
Police are too late saving her, and she’s the one to die,
And half of Harvey’s face is burned, which he comes to resent.
 
The Joker also got away with Lau in his possession.
When one of Wayne’s employees claims he knows who Batman is,
The Joker threatens hospitals to stimulate aggression
And get the town to kill this man and this secret of his.
 
When Bruce and Gordon save his life, a hospital is blown,
But not before the Joker frees a crazed and vengeful Dent.
The DA targets crooked cops and gangsters to atone
And lets a coin toss choose their fates to punish and torment.
 
The Joker next takes aim at ferries and the people’s will.
With criminals on one and all civilians on the other,
He gives them each a detonator for the other’s kill
And plans to kill them both if they do not blow up their brother.
 
The Batman fights his henchmen, who are not quite what they seem,
Confronting Joker high above the scene of anxious stress.
The people on the ferry don’t give in to Joker’s scheme,
And Batman hangs him up to dry but will not kill the pest.
 
He next goes after Harvey, who has Gordon’s wife and son
And plans to take revenge on those who didn’t kill his love.
They try to reason with him, but his mind is too far gone,
And Batman tackles Two-Face, who then falls from high above.
 
With Dent, the city’s shining hope, now made a villain, dead,
The Batman says he’ll bear his crimes to let the city cope.
As Gordon praises Harvey, lying as the Batman said,
Bruce Wayne retires cape and cowl, preserving Gotham’s hope.
______________________
 
Eight years have passed since Harvey Dent met his untimely end,
And in his name, the city’s cleaned itself from filth and crime.
Yet evil still is brewing, though the city’s on the mend,
And masked guerilla Bane waits underground to bide his time.
 
The Batman’s still retired, since he took the rap for Dent,
And Bruce Wayne is less agile, not the man he was before.
He meets a fair cat burglar, robbing him at an event,
But this Selina Kyle seems to covet something more.
 
She sells Wayne’s fingerprints in hopes of getting a device
To wipe her from all databases, granting a clean slate.
The deal turns sour when the buyer will not pay her price,
And when police come, Gordon’s caught by Bane, who lies in wait.
 
Though Gordon flees and is discovered by policeman Blake,
Bane finds a note revealing Gordon’s Dent-exalting lie.
The fiend attacks the stock market to wipe out Bruce’s stake,
And Batman un-retires to arrest a lone bad guy.
 
Bruce lets Miranda Tate, a lovely woman on his board,
Take over his whole company before a rival does.
This rival’s worked with Bane, who doesn’t act nice when deplored
And plans to be more lethal than the Joker ever was.
 
Though Alfred won’t approve of Bruce’s comeback with the cape,
Wayne listens to Miss Kyle to unearth Bane and attack.
Still hoping for that clean slate, she traps him with no escape,
And Bane confronts the Batman and breaks both his will and back.
 
Bane takes him to a foreign prison, deep within a pit,
To let him watch as Gotham is destroyed (or will be soon).
Then Bane takes over Gotham with a bomb to threaten it,
Employing Batman’s weapons to enforce a foul commune.
 
He corners all policemen underground and traps them there,
While forcing quarantine of Gotham City or else BOOM.
Meanwhile, in his prison, Bruce receives some painful care
And learns that Ra’s al Ghul’s offspring escaped this pit of doom.
 
He heals and trains for several months to climb out of the jail,
And somehow gets to Gotham, where the bomb will detonate.
He teams with Blake and Gordon, who have been on that bomb’s trail,
And frees the trapped police to battle Bane, who’s captured Tate.
 
Police and convicts clash as Bruce again confronts his foe
And bests Bane and demands to know who holds the hidden trigger.
Then Tate reveals that she in fact is Talia al Ghul so
She is the mastermind who climbed out of that prison’s rigor.
 
She leaves to detonate the bomb, which Gordon barely blocked.
Selina Kyle helps Batman and brings an end to Bane.
To their dismay, the bomb’s own timer has mere minutes clocked,
And ere she passes, Talia’s sure their efforts will be vain.
 
Since Batman knows what he must do, he uses his new plane
To haul the bomb across the bay, where it explodes apart.
The city’s saved, and Gordon sees the Batman was Bruce Wayne,
Who finally is honored as a hero from the start.
 
Though Lucius Fox believed the autopilot had been broken,
He learns that Bruce had fixed it ere his solemn sacrifice.
When Alfred is abroad, he sees a wish he once had spoken,
That Bruce would be there happy (with Selina), void of vice,
And Blake (or also Robin) gains the Batcave, free of price.
_______________________
 

When Christopher Nolan began to reboot the Batman film franchise, no one knew how audacious the end result would be, a trilogy of dark, deeply layered superhero stories that transcended the camp and silliness of the original incarnations. Unlike many of the underrated films on my list, The Dark Knight trilogy had no trouble garnering effusive praise and is considered to consist of three of the best superhero films ever made. Rather than going for the humor and colorful characters (and entertainment value) of Iron Man or Spider-Man, Nolan and company created a weighty, brooding three-part storyline that takes itself wholly seriously, with the requisite glimpses of light and hope and victorious good to make it all worthwhile.

Batman Begins is quite the successful origin story, cementing all the main characters, Bruce’s reason for fighting crime, his relationship with villain Ra’s al Ghul, and the inception (insert Nolan joke) of the Batcave, Batmobile, and Bat-everything else. Unlike the obvious cramming of villains seen in Spider-Man 3, it pulls off the adroit introduction of Falcone, the Scarecrow, and Ra’s al Ghul as simply extra layers in Nolan’s trademark complex brand of filmmaking.

I can envision someone else playing Batman (I don’t know about Ben Affleck, though), but Christian Bale is the best of all of the actors so far. Gary Oldman isn’t particularly developed as Gordon other than being one of the few trustworthy cops, but he plays important roles in all three films, and Morgan Freeman as Lucius Fox brought some much-needed humor and scientific experience to the proceedings. Liam Neeson goes against type as the villain Ra’s al Ghul and pulls it off better than I would have expected. Katie Holmes is the least successful of the actors, but she fills the role of Rachel well enough.

After hearing about the death of Heath Ledger and the extreme evil of his character the Joker, everyone seemed to be eager to see The Dark Knight, except me. Despite the exceptional reviews, it took me awhile to finally see the film, and, to be honest, it was good but not top 10 quality, as so many have said. Heath Ledger’s Oscar-winning performance rivals the depravity of Anthony Hopkins in Silence of the Lambs, but I’m not in the habit of watching such evil for fun. I found the moral dilemmas he poses to the people of Gotham to be thought-provoking, as were the ethical ramifications of Bruce’s utilization of NSA-style spy equipment to protect the city. While Ledger made the role his own, just as Jack Nicholson did in the original 1989 Batman, I’ll always consider the best Joker to be Mark Hamill in Batman: The Animated Series, whose voice had the right balance of humor and villainous insanity. Aaron Eckhart was a much better Two-Face, though, than Tommy Lee Jones, and while his death was a tad anti-climactic, the statement about heroes living long enough to become villains was thoughtfully played out in his character. While it has its good points, The Dark Knight is the least emotionally involving (despite Rachel’s death) and my least favorite of the three films, due to its oppressively dark tone and the head-scratching ending, with Batman’s acceptance of Dent’s crimes for the sake of “hope” making little sense to me. (I will expound on that in a later post.)

Strangely, unlike the critical majority, The Dark Knight Rises is my favorite. Rather than the chaos of the Joker’s anarchic “plot,” we’re back to Batman preventing the more straightforward destruction of Gotham City, while retaining the intricacy and twists and turns of Nolan’s past films. Tom Hardy is chillingly menacing in a very different way than the Joker, again creating a much better version of the character Bane than the one in Batman and Robin. Unlike the constant shadowy cityscapes of The Dark Knight, this one also has a better balance of environments, including a daytime football stadium and a foreign prison (The Dark Knight never even visited the Batcave). Anne Hathaway is an outstanding Catwoman, and her moral ambiguity is better handled than similarly conflicted characters.

Though I’ve failed to mention him thus far, the best actor of the whole cast is Nolan favorite Michael Caine as butler Alfred Pennyworth, whose scenes hold more emotional weight than everyone else’s put together. His few scenes in The Dark Knight Rises are testaments to that. Also, (Lost alert) Nestor Carbonell, who played Richard Alpert on my favorite show, plays Gotham’s mayor, and Brett Cullen (Lost’s Goodwin) has a bit role in the third film as a kidnapped congressman.

Ignoring the dark tone of the films, the visual effects are truly impressive. From the train finale in Batman Begins to the overturned truck scene in The Dark Knight, the filmmakers created some great action sequences and explosions, while mostly avoiding the bombast of the Marvel films.

My VC had set ideas about what to expect from a Batman movie and did not care for Bruce’s aimless wandering and his ninja training that took up the beginning of Batman Begins. The first two films weren’t her cup of tea, but she at least liked the third film as well. Though she couldn’t get into Nolan’s impressive work, I admire many of his artistic touches as well, such as the pit-like prison in the third film being analogous to the well Bruce fell into as a child. Overall, The Dark Knight trilogy does not include my favorite superhero films, just as Batman isn’t my favorite superhero, but it’s a praiseworthy achievement that will be hard to top, even if further Batman films arise.

Best line: (Alfred, after young Bruce falls in the well) “Took quite a fall, didn’t we, Master Bruce?”  (Thomas Wayne) “And why do we fall, Bruce? So we can learn to pick ourselves up.”

 
Artistry: 10
Characters/Actors: 9
Entertainment: 8
Visual Effects: 10
Originality: 8
Watchability: 6
Other (dark tone, violence, language): -5
 
TOTAL: 46 out of 60
 

Next: #165 – What’s Up, Doc?

© 2014 S. G. Liput

165 Followers and Counting

 

Wreck-It Ralph (2012)

24 Thursday Jul 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ Leave a comment

Tags

Action, Animation, Comedy, Disney, Fantasy

In Litwak’s Arcade, the games delight,
A quarter for a race or fight,
But kids and Litwak do not know
Where all game characters then go
When everyone is gone at night.
 
The characters treat every game
As just a job that earns them fame,
But Wreck-It Ralph wants to defy
His role as damaging bad guy
And thirty years of mud and shame.
 
Good guys, like Fix-It Felix, seem
To boast the highest self-esteem.
Ralph needs a hero’s medal now
To win some happiness somehow,
Despite how others scorn his dream.
 
He leaves his game to earn respect;
When gamers come, there’s nothing wrecked.
Their jobs and home are now in danger,
But Ralph’s off to someplace stranger,
Bent on medals to collect.
 
In Hero’s Duty, thus Ralph tries
To stay alive and win his prize,
But killer Cy-Bugs plague his route,
And one of them, alas, gets out.
It sneaks away and grows in size.
 
Their crash site is in Sugar Rush,
A racing game that’s sweet and plush.
Ralph’s medal’s taken when he meets
The brat Vanellope von Schweetz,
A hated glitch who’s kept hush-hush.
 
She purchases her right to race,
But Ralph arrives to trash the place.
When he sees how she’s shunned apart,
He helps her build her own go-cart,
But King Kandy stays on her case.
 
King Kandy sows doubt in Ralph’s mind
On whether he should be inclined
To help her win or if he should
Prevent the girl for her own good.
He breaks her heart by being kind.
 
Ralph goes back home, unsatisfied,
But learns the sneaky King had lied.
Ralph helps Vanellope come back
And race at last, but bugs attack!
King Kandy shows his evil side.
 
Vanellope can’t leave the game
Since she’s a glitch; the King’s to blame.
So Ralph attempts a sacrifice
To save the insects at a price
And wipes them out with cola flame.
 
He’s saved and is content to see
Success come to Vanellope.
Embracing duties he once hated,
Ralph’s at last appreciated,
The good “bad guy” he’s meant to be.
___________________
 

Wreck-It Ralph is an oddity among Disney movies, not a fairy tale or a traditional love story, but rather an original hero quest that creates an astonishingly detailed environment to rival the world-building prowess of Pixar. My VC considers it fluff, and at first glance a film about video game characters may seem to be just that, but Wreck-It Ralph greatly exceeded my expectations with its imaginative plot and abundant eye candy (pun intended).

In many ways, Wreck-It Ralph is an example of potential pitfalls done right. It brilliantly combines real video game characters from Pac-Man, Q*Bert, Street Fighter, Sonic the Hedgehog, Tapper, Altered Beast, and many more, similar to how Who Framed Roger Rabbit? mingled classic cartoon characters from various studios into something totally unique. Unlike the more adult-leaning Roger Rabbit, which I appreciate more than I like, Wreck-It Ralph allows these characters their cameos for the hard-core gamers to scrutinize, while making them mere accessories to the main plot of original characters, all while maintaining a (mostly) family-friendly tone.

In addition, the unsatisfying, out-of-nowhere reveal of Prince Hans in Frozen was handled so much better in this earlier film. King Kandy is already treacherous from the start; we just don’t know the extent of his villainy. The big reveal was clearly set up but still came as a surprise to me because the filmmakers deftly toyed with the possibility that the King, rather than Vanellope, was just misunderstood. The writers knew what they were doing. There are even some insightful remarks, such as Vanellope’s despised glitch being analogous to a birth defect and Ralph questioning why video games have become so violent of late.

All this doesn’t even mention the stunning animation, the astounding amount of world-building, and how the filmmakers utilized their own rules to ingenious effect. From the limitations and advantages of glitches to the behaviors of the Cy-Bugs, the imagination just keeps flowing. There’s also a plethora of sweet-themed puns in the world of Sugar Rush, a candy kingdom reminiscent of that in Adventure Time.

Plus, there’s some excellent voice work from John C. Reilly as the conflicted Ralph, Sarah Silverman as the bratty but lovable Vanellope, Jack McBrayer as the goody two-shoes Fix-It Felix, Jane Lynch as the intense Sgt. Calhoun of Hero’s Duty, and Alan Tudyk as the duplicitous King Kandy. Again, my VC doesn’t like how Ralph’s “villainy” is seen as good, but his villainhood is depicted as just a job and clearly not true evil. Thus, his position as both protagonist and “bad guy” is must less subversive than, say, The Nightmare before Christmas or Wicked. If anything, his realization that filling his necessary role is better than selfishly seeking his own glory makes the film even more unique.

Wreck-It Ralph may not have quite the same character development as other Disney films, but it’s an inventive thrill ride with a jam-packed plot that begs for repeated viewing. It also boasts not one, not two, but three songs worthy of my End Credits Song Hall of Fame, the “Sugar Rush” and “Wreck-It, Wreck-It Ralph” theme songs and Owl City’s utterly catchy “When Can I See You Again?” Many of the video game references probably flew over my head, but whether you’re a gaming fan or not, this film is just plain fun.

Best line: (Sgt. Calhoun, after seeing Felix’s fixing hammer at work) “Your face is still red; you might want to hit it with your hammer again.”

 
Artistry: 6
Characters/Actors: 7
Entertainment: 9
Visual Effects: 9
Originality: 9
Watchability: 9
Other (I like other films better): -3
 
TOTAL: 46 out of 60
 

Next: #168 – Cars

© 2014 S. G. Liput

160 Followers and Counting

 

#170 – Foul Play (1978)

23 Wednesday Jul 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ 3 Comments

Tags

Action, Comedy, Thriller

Since Gloria Mundy, a fair divorcée
And mousy librarian, won’t often stray
And take any risks, all her friends feel it’s known
She’ll not embrace chances but end up alone.
 
While driving one day, she picks up a hitchhiker
In need of a ride, and this Scott seems to like her.
He gives her his smokes (plus a film classified)
And says he will date her that night for the ride.
 
That night at the theater where they would meet,
He warns of a dwarf and then dies in his seat,
But Gloria’s shocked when he just disappears
And tells landlord Hennessy of all her fears.
 
One night at her workplace, an albino fella
Attacks her but gets a taste of her umbrella.
With help from a pervert with love on the brain,
She gets away, wondering if she’s insane.
 
A man with a scar then attacks and upsets,
Demanding the package of Scott’s cigarettes.
The albino kills him; when cops have arrived,
The scene is all clean, and her tale seems contrived.
 
Though cop Tony Carlson likes the fruitcake,
They leave, and she’s caught. When again she’s awake,
She flees from her captors, and, jumpy as heck,
Proves to a dwarf she’s a pain in the neck.
 
At last, Tony finds evidence of her tale
And acts as her guard, and their romance sets sail.
When Gloria goes out, again she is caught,
And Tony uncovers a sinister plot.
 
The villains involved have a blackhearted hope:
They’re planning to murder the visiting Pope.
Both Tony and Hennessy rescue the lass,
But this evil purpose may still come to pass.
 
Both Tony and Gloria race across town
To reach the opera ere the curtain comes down.
Despite challenges, they arrive just in time
To stop the albino, preventing the crime.
Then up on the stage, with the pontiff safe now,
The lovers embrace, and they all take a bow.
_______________________
 

Inspired by Alfred Hitchcock thrillers, Foul Play is a near-perfect blend of action, suspense, and comedy. There’s a wine cellar scene (Notorious), a shower curtain scene (Psycho), and an abortive strangulation scene (Dial M for Murder), plus other familiar tropes, like an unsuspecting bystander drawn into a murderous conspiracy (take your pick). Most of the film actually works as a straight-faced mystery, but much humor is derived from two-sided conversations in which both people have an entirely different understanding of what’s going on. The clever script also tows the line between serious dialogue and funny one-liners.

Goldie Hawn as Gloria is hilariously scattered in her confusion of how she ended up in this mess, and Chevy Chase as Tony actually proves he had potential as a romantic lead back in the day. Burgess Meredith gets more physical than most of his other roles as a former anthropologist/black belt/ landlord. But the funniest role goes to Dudley Moore as nervous weirdo Stanley Tibbets, whose extended cameo often steals the show. This was his first introduction to American audiences and gained him the popularity that led to 10 and Arthur.

There are several memorable encounters, such as the albino’s library ambush and the cruel yet humorous dwarf attack. By the end, the comedy ratchets up to some long, over-the-top sequences, like an elderly martial arts match and a thrilling, opera-laced race through the streets of LA (it’s technically not a car chase). The part with the Japanese couple in the back seat of the taxi ranks among the best comedic scenes ever.

It’s not quite perfect. The score is sometimes overly dramatic, probably to imitate a Hitchcock film, and the seemingly important film coveted by the bad guys is just ignored by the end, again most likely an intentional irony. Some unnecessary scenes could also have been cut, such as a totally pointless Scrabble game using obscenities. The labyrinthine plot contains a hole or two as well, such as why the albino didn’t kill Gloria when he repeatedly had the chance; plus, the final showdown with the albino is a tad underwhelming.

Nevertheless, Foul Play is a good film with splashes of greatness along the way. I love genre mashes as long as they’re not overly obscene, and Foul Play succeeds as both an homage and a great mystery in its own right.

Best line: (Japanese couple, near the end) “Kojak, bang, bang!” (you just have to see it)

 
Artistry: 6
Characters/Actors: 8
Entertainment: 9
Visual Effects: 7
Originality: 7
Watchability: 9
Other (language): -1
 
TOTAL: 45 out of 60
 

Next: #169 – Wreck-It Ralph

© 2014 S. G. Liput

160 Followers and Counting

 

Mulan (1998)

19 Saturday Jul 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Tags

Action, Animation, Comedy, Disney, Drama, Fantasy, Musical

(Best sung to the tune of “A Girl Worth Fighting For”)
 
When the Huns invade and China is in peril
From the dark Shan-Yu who’s merciless and feral,
The threat’s appraised; an army’s raised
And every man must serve,
But a lone girl reports and proves her nerve.
 
Though Fa Mulan is quite the awkward beauty,
She won’t let her father lose his life for duty.
She impersonates the manly traits
And gallops off to war,
Hoping to save the man she’s fighting for.
 
Her ancestors send out a guarding spirit,
But who she gets is frankly nowhere near it:
The small Mushu, a dragon who
Just wants his honored shelf
And has arrived to help her prove herself.
 
The Captain Shang is tough on all the rookies
And teaches things unknown in fortune cookies.
He trains them hard as China’s guard,
And when he’s satisfied,
Mushu ensures they’ll fight to turn the tide.
 
While marching through a mountain pass while singing,
The army sees the death the Huns are bringing.
They are ambushed and nearly pushed
Right off the mountainside,
But by Mulan the victory’s supplied.
 
An avalanche destroys the Huns while riding,
But Shang soon learns the truth that Mulan’s hiding.
The laws apply, and she must die,
But Shang won’t kill Mulan.
They leave her there, her family honor gone.
 
She sees Shan-Yu and others are still living
And warns her friends, but Shang is not forgiving.
The Huns attack and plan payback
Upon the Emperor.
When Mulan calls him, Shang then follows her.
 
With female charm, they fight into the palace
And save the Emperor from Shan-Yu’s malice.
Up on the roof, the fiend goes POOF
When Mushu’s rockets shoot,
And fireworks eliminate the brute.
 
With China saved and Shan-Yu now a goner,
The Emperor grants Fa Mulan much honor.
Back home they ride with newfound pride,
And Dad and Shang agree
This lovely girl is just as she should be.
______________________
 

Ignoring the earlier-reviewed Hercules, here begins the Disney Renaissance on my list in earnest. Mulan was yet another feather in the cap of Disney’s animation department, with memorable characters, enjoyable music, and impressive animation. Inspired by the ancient Chinese poem Hua Mulan, who fought in the army in her father’s stead, the animation style emulates aspects of Chinese art, much like Hercules reflected Greek art. The filmmakers also pioneered some CGI elements to produce huge crowd scenes, such as the amazing mountain charge of the Huns.

Of the voice cast, Ming Na Wen as Mulan and Eddie Murphy as Mushu are the standouts, and James Hong and Harvey Fierstein also lend their distinctive voices to the film. (I still think of Donkey from Shrek when I hear Murphy’s voice, even though Mulan came first.) The songs are not as plentiful as in other Disney films, but they’re still outstanding. “Reflection” is beautiful (and helped start Christina Aguilera’s career), and “I’ll Make a Man Out of You” is just perfect, ranking among the best of Disney’s musical numbers.

Though the film wasn’t as successful in China, Mulan is a marvelous Disney classic that exceeds the silliness of Kung Fu Panda. With a strong female role model and humor and fun to spare, Mulan may not be my favorite of the Disney Renaissance, but it easily surpasses most of today’s animated films.

Best line: (Mushu, after roasting the Huns’ falcon) “Now, that’s what I call Mongolian barbeque.”

 
Artistry: 6
Characters/Actors: 7
Entertainment: 8
Visual Effects: 9
Originality: 7
Watchability: 8
 
TOTAL: 45 out of 60
 

Next: #173 – Rudy

© 2014 S. G. Liput

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Recent Posts

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  • The Black Phone (2021)
  • Godzilla Minus Zero (2026)

Recent Comments

The Sheep Detectives… on Wildwood (2026)
The Sheep Detectives… on #40: Babe (1995)…
The Black Phone (202… on Halloween Kingathon – Mi…
Godzilla Minus Zero… on Godzilla Minus One (2023)
If You Were the Last… on The Martian (2015)

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