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Rhyme and Reason

~ Poetry Meets Film Reviews

Rhyme and Reason

Tag Archives: Drama

A Quiet Place (2018)

29 Friday Jun 2018

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Tags

Drama, Horror, Thriller

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Stop, do you hear that? I do, but do they?
The runaway rhythm of hearts in dismay,
It pounds ever harder and makes the rib cage
A tight echo chamber, a tremulous gauge
Of the worry of war that no man wished to wage.

Hide each hollow creak and conceal every crunch
From our foolhardy feet or an indiscreet lunch.
Outlasting this long is no right to survive
When one simple slip-up that fate can contrive
Might cut your luck short when the sentries arrive.

Each whisper so slight from beneath our caught breath
Resounds with regret as it promises death.
Escaping means nothing, nor hiding from view,
When stubbing your toe puts a target on you.
Stop, do you hear that? I fear that they do.
_______________________

MPAA rating: PG-13

Faithful readers may know that I have very particular tastes when it comes to horror movies. Generally, the more blood there is, the less likely I’ll enjoy it, because I’d much rather be creeped out by atmosphere and implication than by ever more nauseating murders. That’s why A Quiet Place caught my interest, and indeed it is exactly the kind of scary movie for me, the kind that plays with your nerves rather than your stomach and even gets you to care about the characters in danger.

The film begins several months into an apocalyptic proliferation of monsters who detect their prey by sound and who have effectively ended civilization as we know it, leaving the unnamed Abbott family to scavenge supplies and survive in silence. Over a year later, they’ve built a fairly stable and silent life in their monster-prepared country home, complete with warning lights and trails of sand to soften their footsteps. The father Lee (director John Krasinski) does his best to prepare both his deaf daughter (Millicent Simmonds of Wonderstruck) with hearing aids and his son (Noah Jupe) with survival experience, while mother Evelyn (Emily Blunt, Krasinski’s real wife) tries to make their precarious existence as livable as possible. Yet in films of this type, half the tension is waiting for something to go wrong, and even if those with little patience may be a tad bored by the wordless beginning, they only need wait for the shoe to drop…noisily.

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As far as the plot itself, it’s honestly nothing I haven’t seen before. That’s because it is literally a combination of 2002’s Signs (mysterious creatures with a hidden weakness, two kids in danger, a cornfield) and 2015’s Hidden (a genuinely lovable and caring family living in fear of being discovered if they’re too loud). Luckily, I love both Signs and Hidden, and even if I could write a whole post on how similar A Quiet Place is to them, its combination is different enough to be worthwhile and adeptly made enough to make it far scarier than either earlier film.

Krasinski certainly has an eye for tension, and the sound design heightens the threat of even everyday items. Sometimes, you see the potential scream a mile away (one scene is particularly painful to watch), while others sneak up on you. Yes, there are plenty of effective jump scares, and keeping the creatures out of sight until late in the film adds to their mystery and threat. The fact that Evelyn is pregnant also contributes to the inevitability of sound, and with so much of the film lacking dialogue, the sounds that do attract the creatures are potently jarring for the audience as well.

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Every performance is outstanding in its fear, grief, and familial love, with Krasinski and Simmonds (who is actually deaf) being the stand-outs. Even relying on sign language, they’re entirely believable as a close family, the kind that says grace together before meals, albeit haunted by the trauma of their situation, and their resourcefulness proves quite clever when dangerous situations arise. I kept wondering why they wouldn’t close doors to keep the creatures out, but then I remembered that a closing door would only cause more noise. Some may wonder how they could have built some of their safety measures without making sound (they’re shown to have canned much of their food, and the electricity must run off a noise-making generator), but if you can ignore those niggling critiques, A Quiet Place is the latest proof that an intensely scary movie depends more on the craft behind it than the body count.

Best line (out of not many): (Evelyn, to Lee) “Who are we if we can’t protect them? We have to protect them.”

 

Rank: List-Worthy (tied with Hidden)

 

© 2018 S.G. Liput
582 Followers and Counting

 

2018 Blindspot Pick #5: Sunshine (2007)

18 Monday Jun 2018

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

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Tags

Drama, Horror, Sci-fi, Thriller

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Some say because mankind began,
Someday we’ll meet our end.
It’s borrowed time we spend.

Now centuries or more before
That fateful day arrives,
We fear for future lives.

We doubt if such is simply fate.
Should we rage if we could
If that good night be good?

Inevitable it may be,
Yet life is valued right
By how its owners fight.

Is saving life postponing death?
Then may death hesitate,
However short the wait.
___________________

MPAA rating: R (for language and some violence)

I’m a little embarrassed to have fallen behind on my Blindspot series this year, only now getting to May’s pick. Though, in my defense, I have been busy graduating and looking for a new job in web design, so I think that’s a reasonable excuse. Oh, and I discovered a funny little show called Parks and Recreation, which has kind of distracted me from my typical movie-watching schedule. Even so, I’m trying to catch up this month, and Sunshine made for a welcome return to my Blindspot picks.

I was familiar with Sunshine’s music long before I had any intention of watching it, even placing it at #49 on my list of Top 50 Movie Scores. Much of the electronica from composer John Murphy and the band Underworld is complementary for a sci-fi film but unmemorable, yet “Adagio in D Minor” is an immortal cinematic track as far as I’m concerned, serving to heighten the emotion of two visually striking scenes.

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There’s more than the score, though, to make Sunshine worth watching, not least of which is the diverse and recognizable cast, all astronauts aboard the Icarus II on a mission to save mankind by reigniting the sun with a giant bomb.  Cillian Murphy seems to be the lead as Robert Capa, a physicist in charge of the actual payload, while the rest of the crew include Michelle Yeoh, Benedict Wong, Rose Byrne, Cliff Curtis, Troy Garity, Hiroyuki Sanada (Lost alert!), and Chris Evans, who was between superhero roles at the time. Actually, it’s telling that five of those actors have made their way into superhero movies, and wait(!) Hiroyuki Sanada is supposedly cast in the next Avengers movie so it’s probably only a matter of time before Garity and Curtis make the leap too. The characters aren’t much more developed than the crew of the Nostromo in Alien (which wasn’t much when you think about it), but the actors do well in giving them distinct personalities and methods, though it was odd to learn that a lot of background information on each one was thought up yet intentionally left out.

I tend to enjoy the science fiction genre in general, and Sunshine had many of the ingredients I like, from intelligent problem solving in the face of disaster to a foreboding, often claustrophobic setting, plus a few creative subtleties, as when pictures of dead crewmen are momentarily glimpsed in the glare of flashlights. The script was also thought-provoking as it repeatedly put the characters in life-and-death positions in which the death option meant the death of mankind. As for the plot, it reminded me of a cross between the Firefly episode “Bushwhacked” (searching a derelict ship with a crazed danger on board) and  Alien: Covenant (picking up a distress signal that jeopardizes the mission, though Sunshine had a better reason for their following of said signal). I know some have criticized Sunshine for how the last third suddenly veers into slasher-style horror, but it didn’t seem incompatible with what came before and, if anything, strengthened the parallels to an Alien movie.

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Directed by Danny Boyle, Sunshine has a lot in its favor, which makes its fate as a box-office failure even sadder, but it’s also far from perfect. It’s hard for me to fault the grand spacefaring visuals, but there were multiple scenes where I just wasn’t sure what I was looking at, whether because of the unique design of the ship or because the scene was drowned in sunlight or shielded in darkness. This is the only Blindspot I’ve watched twice, the second time with my VC, who had the same trouble but still enjoyed it, and I did find it easier to understand on the second go once I knew what was happening. Coupled with that objection is how the “monster” of the film was kept semi-concealed, not through shadowy editing but through camera distortions that just became overused.

In addition, for a film about the potential end of humanity, there’s very little spiritual dimension to it, only reminders of man being “stardust” and some religious ramblings of a madman. I always find it weird when disaster or apocalyptic movies seem to intentionally avoid or demonize religion, since that’s where many a mind goes when death draws near, and the fact that Cillian Murphy reportedly “converted” to atheism due to this film reveals how coldly unspiritual its underpinnings are.

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Despite these qualms, Sunshine was still a sci-fi journey worth taking, buoyed by strong casting, effects, and music. You could almost say it’s a better Alien movie than most of the Alien sequels, and that’s without any aliens. While its fatalism can get heavy and its visuals require some thought to decipher, this is one more corner of science fiction I’m glad to check off the ol’ to-watch list.

Best line (showing writer Alex Garland knew his influences): (Mace) “We should split up.”   (Harvey) “I’m not sure that’s such a good idea….”   (Mace) “You’re probably right. We might get picked off one at a time by aliens.”

 

Rank: List Runner-Up

 

© 2018 S.G. Liput
582 Followers and Counting

 

Psychokinesis (2018)

13 Wednesday Jun 2018

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Action, Comedy, Drama, Foreign, Superhero

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

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

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

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

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

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

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

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

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

 

Rank: List Runner-Up

 

© 2018 S.G. Liput
579 Followers and Counting

 

All Saints (2017)

10 Sunday Jun 2018

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

≈ 1 Comment

Tags

Drama, Family

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The saints whose names are still revered
Were known for how they persevered.
Some kicked and screamed; some volunteered,
But was not God’s will done?

Yet does that mean their walls and woes
Came tumbling down like Jericho’s?
No, perseverance only shows
When clouds eclipse the sun.
____________________

MPAA rating: PG

I’m a devout Christian, but I must admit that most overtly Christian movies are not very good. Some are just low quality, but even the ones I enjoy and admire (Facing the Giants, Fireproof, Miracles from Heaven) are often too sincere for their own good, preaching to the choir and sometimes irritatingly so (God’s Not Dead). The secular critics are just as often harsh with these films, and that’s why it was such a surprise when a faith-based film called All Saints managed to net a 94% on Rotten Tomatoes last year. It took me till now to see it myself, and I now see why it earned such positive buzz. Biblical films aside, it may be the best faith-based film so far.

This based-on-a-true-story movie features John Corbett as Michael Spurlock, a salesman who becomes an Episcopalian pastor and is immediately assigned to close the dying All Saints Church in Smyrna, Tennessee. With only twelve members, the church leadership have decided to sell the property, but Michael has an inspiration when a collection of Southeast Asian refugees come begging for assistance. Led by God and against everyone’s advice, he decides to try saving the church for these displaced families by using them to turn the surrounding church land into a farm and pay off the church debt.

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What I think sets All Saints apart is that it doesn’t feel designed to appeal only to Christians by getting preachy; it’s the classic rule of “show, don’t tell.” A movie can moralize all day about how God works in mysterious ways and how good can come out of seemingly terrible situations, but it means much more when we see those lessons in action. All Saints lets the story itself illustrate that wisdom rather than rubbing viewers’ noses in it. It’s more concerned with the existing faith of the characters rather than earning converts; at one point, a volunteer describes himself as Buddhist and his two friends as “apparently nothing,” and Michael responds that “some of my best friends are nothing.” Instead of finger-wagging, there’s a challenge to Christians and nothings alike to work together, and it’s inspiring.

There are still moments where the acting and script have traces of that faith-movie weakness, but they’re largely overshadowed by strong performances from Corbett, Barry Corbin as an irascible veteran church member, and Nelson Lee as Ye Win, the representative of the Karen refugees who speaks the most English and works hard to improve their situation. The story itself is also not as predictable as it may seem; sometimes things fall into place with George Mueller-style providence, while at other times, Murphy’s law rules, which always makes people with and without faith wonder where God is and what His will might be.

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I hope it’s not odd if I point to Fall Out Boy lyrics (“Immortals”) as a good summation of the film’s major theme: “Sometimes the only payoff for having any faith is when it’s tested again and again every day.” Most of the characters are Christian and God is glorified, but there’s a real-life story of encouragement, sacrifice, and community here that I think is universal, one that earns its sincerity. Those who normally avoid “Christian movies” ought to give this one a try.

Best line: (Forrest, to Michael after a risky decision) “Did you let your stupid off the leash again?”

 

Rank: List Runner-Up

 

© 2018 S.G. Liput
578 Followers and Counting

 

Only the Brave (2017)

31 Thursday May 2018

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Biopic, Disaster, Drama, History, Thriller

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In its hearth, the fire crackles,
Warms us from its tabernacle,
And it sinisterly cackles,
Jailed in generosity.

“Soon,” it says between its spitting,
“It won’t be just logs I’m splitting.
Homes and dreams will be more fitting
Feeding my ferocity.

“While I bide here, curbed and cringing,
Brothers have I elsewhere singeing,
None to stop their brutal, binging,
Burning bellicosity.

“Few can stop me once I’ve started,
Once from prison I’ve departed.
Brace your brave and lionhearted
For my animosity.”
______________________

MPAA rating: PG-13

Yes, I’m reviewing another disaster movie, but whereas The Hindenburg was about a major historical incident, Only the Brave focuses on a much more down-to-earth disaster which can affect anyone: wildfires. Though I’ve been told only you can prevent them, it’s real-life heroes who do the actual work of keeping them at bay once they get out of control, and one such group of heroes were the Granite Mountain Hotshots, a firefighting team from Prescott, Arizona.

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Josh Brolin plays Superintendent Eric Marsh, who believes in his intuition and experience enough to rally his own team of certified Hotshots, firefighters who would be on call to answer both local and national fire emergencies. To that end, he recruits both old friends and new blood, including Brendan McDonough (Miles Teller), a loser by all definitions who finds in this new job a chance to renew his pathetic life. The training, teasing, and camaraderie that come with the Hotshot certification are quite comparable to what you see in military movies, and the successes and failures are likewise felt deeply. McDonough’s second chance at life is also inspiring alongside the ambitions of Marsh, who sees himself in the younger man’s struggles.

The effects recreating infamous fires are brilliantly done, while the excellent cast provide both likable characterization and insight into the methods and struggles of the firefighting business, including the toll it takes on their family, such as Jennifer Connelly as Marsh’s long-suffering wife. I suppose my only complaint (Spoiler!) is that I didn’t know what kind of movie Only the Brave would become by the end and was thus unprepared for a certain tragic turn of events. Those aware of the true story surely knew going in, but let’s just say this is as much a memorial movie as it is a disaster one, and it caught me off-guard, which isn’t even really a criticism since it does both very effectively. It’s a well-acted tribute to the kind of heroism that is all too often overlooked.

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Best line: (Duane) “You gotta ask yourself, ‘What can I live with, and what can I die without?’”

 

Rank: List Runner-Up

 

© 2018 S.G. Liput
574 Followers and Counting

 

VC Pick: The Hindenburg (1975)

27 Sunday May 2018

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ 3 Comments

Tags

Disaster, Drama, History, Mystery, Thriller, VC Pick

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Surely luxury entails
Safety in its fine details.
Once you’re paying through the nose
You need not doubt the practiced pros.

Once your travel’s well along,
Who’d dare think something might go wrong?
How could pride descend to panic?
Ask the Hindenburg and Titanic.
_________________

MPAA rating: PG

One of the many disaster movies of the 1970s, The Hindenburg will never go down as one of the best of its genre, but it’s by no means among the worst either, despite the pretty scathing reviews it has endured over the years. My VC happens to be quite fond of it, and while her appreciation dwarfs my own, I still consider it a solid film made memorable by its spectacular climax.

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One thing everyone should know going in is that this movie is historically inaccurate on many fronts, despite a largely faithful re-creation of the airship itself and a collection of characters based on real people. The main character is Colonel Franz Ritter (George C. Scott), a decorated German air officer who is tasked by Goebbels with preventing a threatened attack on the Nazis’ prize zeppelin, which flies with highly flammable hydrogen rather than helium. While many theories have been proposed on what caused the Hindenburg’s destruction, the movie goes the resistance conspiracy route, which has never been proven but works as a potential reason for what happened.

Scott does well as usual, and the fact that he plays a Nazi is mitigated by his distaste for the regime in light of some recent tragedies. The rest of the cast is full of recognizable names and faces, all of whom are suspects in Ritter’s investigation, including Anne Bancroft as a countess he knows, a young William Atherton as an airship crewman, and René Auberjonois and Burgess Meredith as a pair of gamblers. Having watched a lot of Everybody Loves Raymond recently, I also spotted two recurring stars in Katherine Helmond as a passenger and Charles Durning as the Hindenburg’s captain.

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The build-up during the zeppelin’s flight, as Ritter scrutinizes everyone’s motives and opportunity, is unavoidably slow, but the tension does grow as the voyage comes to its historical end. The suspense is a lot like Titanic in that you know generally what will happen and are just waiting for the shoe to drop, and it’s worth it when it does. The Oscar-winning effects are dated but still impressive, and the re-creation of the accident is chaotic and brilliant as the screen fades to black-and-white and seamlessly works in real footage of the Hindenburg’s crash, ending with the iconic radio recording of a terrified onlooker. It’s a case where the last ten minutes makes the rest worthwhile, but you could also just watch the last ten minutes, sacrificing context to save time. Either way, despite being in a film full of historical liberties, it’s an excellent disaster sequence, which alone ought to disprove this film’s harsher critics.

Best line: (Captain Lehmann, ironically as they set off) “I’m to go to Washington to get us helium.”   (Ritter) “I wish we had it this trip.”

 

Rank: Honorable Mention

 

© 2018 S.G. Liput
574 Followers and Counting

 

Alien 3 (1993)

23 Wednesday May 2018

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ 2 Comments

Tags

Drama, Horror, Sci-fi, Thriller

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If I were on a transport ship
And had my own space-faring trip
Disturbed by some malignant beast
That turned my friends into a feast,

And then I managed to survive
And make it back to Earth alive
And then agreed to travel back
To probe a possible attack
And once again encountered those
Same creatures and their embryos,
Again surviving (barely though),
Escaping with some friends in tow,

And suddenly awakening
To find they’re dead but still that thing,
That alien won’t leave me be
And still is on its killing spree…
I think I’d think the universe
Was out to get me with a curse,
Or since my troubles will not halt,
Perhaps it’s those darn writers’ fault.
__________________

MPAA rating: R

With few exceptions, it’s usually around the third film that a franchise starts going awry. Case in point: Alien 3. It could have been good. Based on the success of its two acclaimed predecessors, it should have been good, but even director David Fincher has disavowed this largely unpleasant installment in the ongoing xenomorph saga.

It’s not that Alien 3 is of poor quality. It’s actually a well-made film, or rather the best the filmmakers could build around a host of poor creative decisions, which require spoilers to fully criticize, so be warned. One such poor decision is obvious within the first few minutes before a single word is spoken. Thanks to an alien stowaway, both Michael Biehn’s Hicks and young Carrie Henn’s Newt are summarily killed off, despite surviving the events of Aliens with Sigourney Weaver’s Ripley. As a fan of Aliens, this immediately left a bad taste in my mouth, and it doesn’t get much better. (It’s funny that Biehn was paid almost the same amount for this film as Aliens, just for his image being briefly shown.) Ripley herself does survive her crash landing on a desolate prison planet, where fanatically religious prisoners and a skeleton crew of guards become the new prey of an alien creature.

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With Alien 3, or Alien3 as it is stylized, it’s as if the writers missed what made the first two films so good. Sure, they seem to understand the tension of a hidden alien picking off unsuspecting humans, but they also break what is typically a cardinal rule of horror movies: killing both a child and a dog (or ox depending on the version seen). Instead of the generally likable casts of the prior films, we get a host of interchangeable British-accented skinheads, with only Charles S. Dutton standing out as remotely worthwhile. Oh, there’s one sympathetic character in Charles Dance’s doctor, but the writers had to nix him as soon as his tragic backstory was revealed. When you then also consider that Sigourney Weaver specifically wanted Ripley to die, you get an idea of just how depressing this film is by the end and wonder why she bothered to then come back for Alien: Resurrection five years later.

In addition, Alien 3 just feels harsher than its predecessors, with more cursing and in-your-face violence than the other two, not unlike how Alien: Covenant compares with Prometheus. The setting is certainly promising, and the fact that the prison planet lacks weapons of any kind makes the survivors’ plight even more dire. Their plan for trapping the alien is actually quite clever and intense, but it also becomes one long, hard-to-follow scene of the alien chasing and killing characters I couldn’t tell apart. Plus, a few scenes of the full-body alien are very clearly CGI, which was no doubt a leap forward for the effects team but looks hokey by today’s standards.

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So, yeah, Alien 3 stinks. It’s not unwatchable and boasts some great sets and tense moments, particularly an iconic scene of Ripley and the alien coming face to face. But nearly every creative decision just feels wrong, which is a far cry from the first two classics. It’s the Alien franchise’s first dud and one I don’t think I’ll be revisiting any time soon.

Best line: (Golic) “In an insane world, a sane man must appear insane.”

 

Rank: Dishonorable Mention

 

© 2018 S.G. Liput
573 Followers and Counting

 

VC Pick: Tombstone (1993)

09 Wednesday May 2018

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ 4 Comments

Tags

Action, Drama, VC Pick, Western

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Since this town was sprung up from the ground
And the pioneers came
And the money came round
And it earned its fame
Being anything but tame,
Many drinks and fears were both poured and downed
At the unembellished name
Of Tombstone.

Curing wanderlust with its drinks and dust,
It soon started to draw
Folk you could not trust,
For there was no law
When the West was raw
Till a man moved in to defend what’s just
When he reached his last straw
In Tombstone.
___________________________

MPAA rating: R

Once again, I fear I’ve been neglecting my dear VC, who hasn’t gotten one of her movies reviewed in well over a month. This time, she picked Tombstone, an all-star western that I’m honestly surprised I hadn’t seen before. As a sweeping retelling of the events surrounding the gunfight at the OK Corral, it provides a fictionalized but surprisingly comprehensive look at the law enforcement career of Wyatt Earp and Doc Holliday.

I knew only the most general background information about the shootout at the OK Corral involving Wyatt Earp and the Clantons, but Tombstone offered quite a bit of context with its large ensemble cast. Not only do we see Wyatt Earp’s arrival in Tombstone and the increasing tension between his family and the violent gang called the Cowboys, but we get to find out the aftermath of the OK Corral incident, which could have ended the film as its climax.

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Earp himself, played by a tough-as-nails Kurt Russell, is a well-known badass trying to retire from his days as a peace officer, yet an early confrontation with an unrecognizable Billy Bob Thornton confirms he can still put the fear of God in bad guys. Once we’re introduced to his family and sick friend Doc Holliday (Val Kilmer), it’s only a matter of time before his attempted retirement yields to bloodshed and vengeance as the Cowboys threaten the peace.

Like Silverado, another favorite western of mine, Tombstone boasts a staggering number of famous faces, some of them before they became famous. Russell is a fantastic Wyatt Earp, while Kilmer brings an unflinching swagger to an all-around pip of a role, which is considered one of his very best with good reason. Since my VC is a huge fan of Sam Elliott, his appearance as Wyatt’s older brother explains in part why she likes this movie so much, but there’s also Bill Paxton as the other Earp brother, Powers Boothe as wicked “Curly Bill” Brocius, Michael Biehn as fearsome Johnny Ringo, Stephen Lang and Thomas Haden Church as two Clantons, Dana Delany as Wyatt’s love interest, and Billy Zane as a visiting actor. That’s not even mentioning the smaller roles for the likes of Charlton Heston, Dana Wheeler-Nicholson, John Corbett, Michael Rooker, Harry Carey, Jr., Gunsmoke’s Buck Taylor, Jason Priestley, and (Lost alert!) Terry O’Quinn as Tombstone’s mayor. It’s hard at first for me to keep up with the less familiar faces, but the biggest stars stand out with strong support from the ensemble around them.

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I suppose I ought to see Kevin Costner’s Wyatt Earp from the following year for comparison’s sake, but it would be hard-pressed to top this western epic. While liberties are taken, there were many events and details that I was surprised to learn were true upon researching afterward, such as the fate of Johnny Ringo, which is a point of historical mystery yet was worked plausibly into Tombstone’s plot. Russell and Kilmer are in top form here, and Boothe and Biehn make for genuinely despicable villains from their very first scene. I wouldn’t hesitate to put Tombstone high among the top ten westerns I’ve seen, and it would likely make my Top 365 List if only I was more partial to the western genre. (True Grit is still my favorite.) As it is, I enjoyed Tombstone for its strong performances, excellent script, and historical interest; it’s the kind of movie that makes me want to like westerns more.

Best line (simple but great characterization): (Turkey Creek Jack Johnson) “Doc, you oughta be in bed. What the hell you doin’ this for anyway?”
(Doc Holliday) “Wyatt Earp is my friend.”
(Johnson) “Hell, I got lots of friends.”
(Doc) “I don’t.”

 

Rank: List Runner-Up

 

© 2018 S.G. Liput
568 Followers and Counting

 

Avengers: Infinity War (2018)

06 Sunday May 2018

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ Leave a comment

Tags

Action, Drama, Sci-fi, Superhero, Thriller

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This world on a string is a curious thing
That somehow survives as it wildly swings
From one bad extreme to another bad dream
Of another madman with another sad scheme.

And it faces such ever diminishing odds
By placing its faith that once used to be God’s
On those who will fail, work to little avail,
And find their travails could not tip any scale.

We humans are like that, more stubborn than wise
And shocked when our heroes crash land from the skies.
When times are turned dire, those fighting the fire
May once have drawn ire in calmer days prior,
But now we require someone to inspire,
A failure but trier, a phoenix highflyer.
________________________

MPAA rating: PG-13

It says a lot that I still have not watched Justice League, yet I had to see Infinity War on its opening weekend. Marvel just knows how to do these huge mash-up franchise films better than anyone else, and their consistency has only helped their blockbuster reputation. Coming ten years after the original Iron Man, Infinity War is the culmination of all that came before, and we’ve been eagerly awaiting it ever since that first glimpse of Thanos in the after-credits scene of The Avengers. So then, did it live up to the hype? I’d have to say yes.

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Veiled in cinematic secrecy and a host of fan speculation, Infinity War is hard to write about with any level of detail lest spoilers abound. However, I’ll try to stick to the known facts. Fed up with all the appearances of Infinity Stones that don’t end up in his possession, feared overlord Thanos (Josh Brolin) has finally decided to gather the six reality-shaping rocks himself, with the help of four nasty and powerful disciples. You may not have kept up with the Stones’ locations after eighteen movies, but they’re well spread out across the galaxy, with Earth housing two to make it a prime target. Stepping up to the plate to defend the universe, we have the vast majority of the MCU’s heroes, from the Guardians of the Galaxy to Thor, Iron Man, Captain America, and over a dozen others.

One of my favorite MCU films thus far was Captain America: Civil War, which did an outstanding job at introducing the old guard to new favorites and making the resulting combination both exciting and moving. Infinity War has the same exact team, from directors Anthony and Joe Russo to screenwriters Christopher Markus and Stephen McFeely, so it should be no surprise that they do the same here. Yet it is a surprise and a pleasant one, considering how many disparate characters and storylines had to be brought together for this defining moment of the MCU, and they do it better than I could have imagined possible.

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The huge cast is wisely broken up into well-chosen groups, such as Iron Man, Doctor Strange, and Spider-Man, whose banter bounces off each other wonderfully, as do Thor and the Guardians. Thanos himself has a well-developed if crazily evil motivation (wiping out half of all life to help the remaining half) and proves he’s no slouch, despite merely sitting in a chair up to this point. He might be the best villain the MCU has produced, if you don’t count Loki. It’s amazing how well everyone else is balanced, though. Each character still has their established personality, and everyone has a moment to shine, which is not easy with such a large ensemble, as evidenced by the Star Trek: Next Gen movies for example. Even with all the dark, universe-shattering moments, there’s still a welcome amount of humor to keep the entertainment level high, as if the truly awesome action wasn’t enough. The clashes between Thanos’s side and the Avengers are stupendous, especially a final battle set in Wakanda, which had several moments that got parts of my theater cheering. (It’s curious, though, that the iconic scene in the top picture was apparently a publicity shot and not actually in the movie.)

Yet for all its strengths, it’s doubtful that you’ll walk out of Avengers: Infinity War smiling at having just seen an amazing superhero movie. Everyone in my theater walked out rather quietly. The stakes are as high as they’ve ever been, and Marvel has taken quite a risk with their episodic format, not unlike the cliffhanger of The Empire Strikes Back. At least we only have to wait one year for the follow-up instead of three. The cynical and those who’ve seen Marvel’s future film line-up will know not to take Infinity War’s ending too personally, which is why there aren’t riots and demands for it to be stricken from the canon, a la The Last Jedi. We know (or hope) that things will turn around in the sequel, but Infinity War still deserves credit for its haunting conclusion and managing to surprise even the most jaded of comic book-weary viewers.

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Some may call Infinity War overstuffed with its sprawling cast and 166-minute runtime, yet it never felt as bulky as, say, Age of Ultron, which I found hard to stay awake during recently. There’s so much coolness on display that it is hard to take in all in one go, especially with an ending that monopolizes your final thoughts, but I still loved it both because of and despite its high stakes. It is unfortunate that the successes of some past films feel hollow after this one, especially Guardians of the Galaxy and Thor: Ragnarok, but only the sequel can resolve the huge questions raised, most notably “What now?” One thing is for sure: everyone who watches Infinity War will definitely see its follow-up, so Marvel’s done its most basic job well. They’ve created both a financial juggernaut and a huge, thrilling, poignant superhero extravaganza that only leaves me wanting more. After all, there is much to avenge.

Best line: (Peter Parker, pointing to Drax and Mantis) “What exactly is it that they do?”   (Mantis) “We kick names and take ass.” [Tony’s reaction is priceless.]

 

Rank: List-Worthy

 

© 2018 S.G. Liput
567 Followers and Counting

 

A Monster Calls (2016)

29 Sunday Apr 2018

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

≈ Leave a comment

Tags

Drama, Fantasy, Mystery

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(I’m running a bit behind with this post, but yesterday’s NaPoWriMo prompt was for a prose poem in the vein of a postcard, so I wrote one that I think everyone would like to receive.)

 
Hello, my love,
It’s as wonderful here as we always hoped,
But I miss you terribly, as I know you miss me.
Don’t despair that you couldn’t join me just yet;
I’ve saved you a place next to me
And can’t wait to show you everything I’ve seen.

Hope all is well at home, with life whirling on without me.
I’m just fine here, thank you very much.
Wish you were here (but not too soon)!

Love from Heaven,
Mom
___________________

MPAA rating: PG-13 (only for heavy themes, content is closer to PG)

Based on a novel by Peter Ness (who also wrote the movie), A Monster Calls is a strange beast, a deeply emotional dark fantasy that contrasts a young boy’s fears about mortality with seemingly random lessons taught by a giant tree monster (Liam Neeson). Making a tree monster work as more than just a visual boogeyman is no small task, and chances are that you’ll be surprised at just how much poignancy this concept holds.

The boy of this story is Connor O’Malley (Lewis MacDougall), an oft-bullied twelve-year-old who is plagued by a nightmare and dealing with his mother’s (Felicity Jones) worsening cancer. One night, the yew tree on a nearby hill comes to life like Groot on steroids and promises to tell him three stories, after which Connor must tell “the truth” in a story of his own. At first, Connor refuses, then thinks perhaps these stories are meant to help him with his critical grandmother (Sigourney Weaver) or his distant father (Toby Kebbell), yet the fairy tales told to him elude easy explanation and challenge the way he faces his own grief.

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There’s something timeless about this story. Until Connor used a smartphone, I couldn’t tell in what year it was set. The tone, the music, the warm cinematography, the subtle direction by J.A. Bayona (The Impossible and the next Jurassic World sequel) all lend themselves to a sense of dark enchantment and poetry that can swing from quite creepy to quite profound in a matter of minutes, such as how major events repeatedly happen at 12:07. The stories told by the monster are depicted with a unique 3D watercolor-style animation, and while I might have liked them to be more straightforward in their lessons, they leave the viewer and Connor pondering their implications and applications.

The performances really help sell the film’s more fantastical elements, MacDougall especially proving himself to be a child actor worth watching. Anyone who has endured the death of a loved one should easily relate to Connor’s progression through the five stages of grief; at least I know I did. Jones and Weaver provide outstanding support as well. Following a shocking outburst, there’s one almost wordless scene between Connor and his grandmother in which the turmoil of emotions on their faces is intensely felt, making me wonder why this movie was largely ignored by the major awards.

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I had a feeling that A Monster Calls would appeal to me, but its emotional depth sneaked up on me in ways you wouldn’t expect from a film with a giant tree monster. Despite its difficulties at the box office, I can see it being rediscovered in the coming years and hailed as a darkly imaginative classic.

Best line: (Connor) “So you didn’t get ‘happily ever after’?”  (his dad) “No, but that’s life, you know. Most of us just get messily ever after. That’s all right.”

 

Rank: List-Worthy

 

© 2018 S.G. Liput
565 Followers and Counting

 

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