Tag Archives: Family

#160: Monsters, Inc. (2001)

03 Sunday Aug 2014

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Did anybody think that there were monsters in their closet?
Did anybody hear each noise and think a beast must cause it?
The monsters, yes, are in there to collect kids’ every scream,
But it is just a job for them; they’re nicer than they seem.
In fact, they’re scared of children, who are toxic, so it’s said;
The screams are used for power, which throughout the town is spread.
 
The famous James P. Sullivan’s the best of all the scarers,
The kind of kindly ball of fur who gives the kids their terrors.
His partner Mike Wazowski, who has romance on the brain,
Desires to break a record ere one Randall can attain.
Day in, day out, this Monsters, Inc. is known for perseverance
In generating power with no child’s interference.
 
But then while Randall’s sneaking, Sully finds by accident
A terrifying child with mysterious intent.
He takes it to a restaurant, where she causes quite a scene,
And all the city panics, and the SWAT teams intervene.
But as he gets to know her, Sully starts to think the tot
May not be quite as deadly as their world has always thought.
 
When he and Mike try smuggling her to the factory,
They learn of Randall’s plot to kidnap kids and screams for free,
When Sully tries to stop him, they both end up in Nepal,
But both get back to save her with no need to even stall.
A journey through the door vault poses dangers and a thrill,
But they get rid of Randall and his envious ill will.
 
When Sully must return his little “Boo” back to her room,
He hugs her and vacates it for the last time, they assume.
Though Monsters, Inc.’s kaput, their little escapade revealed,
Compared to children’s screams, their laughter bears a greater yield.
So Sully helps to lead the way in sparking laugh’s debut,
And as the business flourishes, he reunites with Boo.
____________________
 

Fresh off the success of Toy Story 2, Pixar once again proved their animated prowess with Monsters, Inc., an utterly original take on monsters in closets. My VC has said that all the wacky diversity in the monster world seems almost drug-induced, and with Pixar’s penchant for nonstop sight gags and visual inventiveness, it deserves multiple re-watches.

Aside from the unique, detailed CGI animation, much of the film’s success comes from the buddy pairing of deep-and-friendly-voiced John Goodman as Sully and frenetic comedian extraordinaire Billy Crystal as Mike. Their funny banter and frequent disagreement make their friendship seem real and better realized than Sully’s relationship with Boo, which is certainly more touching. It would have been nice to have some character development for Boo, who has no backstory to speak of or a meaningful personality beyond generic cuteness, unlike Russell in Up. Steve Buscemi’s nasally voice is surprisingly villainous as Randall Boggs, and James Coburn and Jennifer Tilly round out the voice cast nicely. Of course, John Ratzenberger had to have his requisite cameo, and it’s certainly one of his funniest and most unexpected. Also, can you believe that Bob Peterson, who played icky, monotone Roz, was also the voice of Dug in Up?

While the animation was not yet at the level reached by Ratatouille or WALL-E, it’s still colorful and seamless. The door vault scene is especially exciting and impressive, a classic among animated action sequences. Thanks to the humor, my VC enjoys this Pete Docter-directed film more than his later work in Up. Whereas Up’s plot was almost schizophrenic with all the disparate elements crammed in, Monsters, Inc. possesses one core concept and milks the hilarity and ingenuity from it as only Pixar can.

Pixar’s films tend to have some kind of social commentary, some more obvious than others, and Monsters, Inc.’s is quite subtle, only being presented in a few scenes. The driver for Randall’s plot to extract screams forcefully is the fact that kids are harder to scare, indirectly explained by their watching scary or violent television. Similarly, the scene at the end with Mike’s comedy routine indicates that what makes kids laugh has changed over time as well. Whereas verbal humor, such as in Leave It to Beaver and The Andy Griffith Show, used to keep kids (as well as adults) entertained, such shows don’t fly nowadays, having been replaced by frantic, sometimes gross comedy, such as Mike’s belch. This analysis is certainly not the film’s focus, existing mainly in some throwaway gags, but it’s something I’ve noticed after several viewings.

Overall, Monsters, Inc. may not be as emotionally engaging as their other work, but it’s another Pixar favorite that cemented their reputation as leaders in the animation industry, even if it lost the Best Animated Feature Academy Award to DreamWorks’ Shrek. (It did win Best Original Song for “If I Didn’t Have You.”) Hint: Now that I’ve covered their lesser masterpieces (A Bug’s Life, Cars, etc.), you may not see Pixar’s other films on my list for a while, but there are definitely more on the way.

Best line: (Abominable Snowman, offering yellow snow) “Snow cone?  [Mike icks in disgust]  “No, no, no, don’t worry. It’s lemon.”

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

Next: #159 – Splash

© 2014 S. G. Liput

171 Followers and Counting

 

Chitty Chitty Bang Bang (1968)

01 Friday Aug 2014

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(I added a verse or two, but this one is best sung to the title song)
 
Back when cars were rather rare,
A couple little kids admire one.
Though it’s needing some repair,
The both of them are keen to see it run.
 
Their dad by the name of Potts
Assembles new inventions, odd but cool.
It’s clear that he loves them lots,
But doesn’t quite ensure they go to school.
 
That’s why pretty Truly comes,
For Truly Scrumptious is her name.
Potts does not approve her prying,
Though she’s right all the same.
There’s a candy he’s been trying
That might just earn him fame.
 
He tries then to sell his sweets,
Which one toots before he eats,
And Truly assists him with the treats.
They call dogs regrettably,
But not too forgettably,
And Potts is distressed by defeats.
 
But he tries to buy the car,
Because his kids have said it will be scrap,
So he grows into a star
By dancing after shaving bald a chap.
 
When he’s got it looking new,
And Truly joins them for a picnic drive,
Potts tells them a tale or two
With characters that seem to come alive.
 
In this story that he tells,
Their magic car is wanted by
Some fat villain known as Bomburst,
Who sees it float and fly.
He steals Grandpa, who is coerced
To build the car or die.
 
The four follow, as they ought,
But soon both the kids are caught,
For children are outlawed, they forgot.
Potts rescues the kids with skill,
Assisted by Benny Hill;
To Bomburst, a lesson is taught!
 
Back in the real world, where things are not as bright,
Both Mr. Potts and Truly show they care.
But it is not till his doggie treats take flight
That they discern they make a lovely pair.
 
Since both the children delightedly approve,
They take another wondrous drive,
On their Chitty Chitty Bang Bang,
The finest car alive,
On their Chitty Chitty Bang Bang,
The finest car alive!
_________________
 

With a script written by director Ken Hughes and the great children’s author Roald Dahl, Chitty Chitty Bang Bang is no Oscar-winning drama or beautiful piece of cinematic art; it’s a fun, kid-friendly romp and an entertaining bit of nostalgia from my and my parents’ childhoods. It’s not quite on the level of Mary Poppins, but it’s in the same vein of musical rollick through the imagination. Based off the book by Ian Fleming (yes, that Ian Fleming), the film’s focus on two children, songs written by the Sherman brothers, and the presence of Dick Van Dyke may make it seem like a Mary Poppins wannabe, but it’s an imaginative classic in its own right.

Like Poppins’ Bert, the role of Caractacus Potts puts Dick Van Dyke in his element, sprightly dancing, vivid imagination, and lovable chemistry with the two kids. The film’s plot is rather thin, to be honest, but the characters and songs fill it with charm. Baron Bomburst is made hilariously childish by Gert Fröbe (a.k.a. Goldfinger; the James Bond tie-ins continue; Albert Broccoli produced as well), and Robert Helpmann is genuinely frightful as the wicked Child Catcher. Did I mention Benny Hill is in it too?

Though some critics were rather harsh toward them, the Sherman brothers’ musical numbers are especially memorable. The title song is one of those classic 1960s tunes that easily get stuck in one’s head, but then again, so are most of them. “Posh!” puts Lionel Jeffries’ distinctive voice to good use, and “The Roses of Success” is a catchy little motivational speech. While “Hushabye Mountain” is a sweet lullaby (used in a much darker scene in Spielberg’s War of the Worlds), my favorite is “Me Ol’ Bamboo,” which easily matches Van Dyke’s energy in Poppins’ “Step in Time.” “Toot Sweets” probably has the best choreography though. The Bombursts’ “Chu-Chi Face” is the only song that serves little to no purpose and definitely could have been cut.

Much of the film’s appeal is for children and those who fondly remember seeing it as children. It’s certainly not perfect. The “magic” of bluescreen is obvious in the driving scenes, and the other special effects are lacking as well, though Mr. Potts’s inventions are fascinating to look at. Portions of the story within the plot are overly silly too, such as the bumbling spies sent to capture the car, who might as well be called the Two Stooges.

Chitty Chitty Bang Bang may not be award-worthy or deep in any meaningful sense, but it’s the kind of innocent, nostalgia-generating tale that isn’t made anymore. Kids’ movies nowadays have to include talking animals or constant explosions or toilet humor or pop culture references to hold their attention; this film succeeds with its own earnestness and inventive sense of fun. Which do you think is better?

Best line: (old inventor #1, describing to Grandpa the realities of working for Baron Bomburst) “They have terrible tortures: the thumb-screw, the rack….”
(old inventor #2) “They stretch you and streeeetch you.”
(unusually tall inventor #3, walking up) “When I first got here, I was a midget.”

 

Artistry: 5
Characters/Actors: 8
Entertainment: 9
Visual Effects: 3
Originality: 9
Watchability: 9
Other (memorable music): +3
 
TOTAL: 46 out of 60
 

Next: #160 – Monsters, Inc.

© 2014 S. G. Liput

171 Followers and Counting

 

Castle in the Sky (1986)

16 Wednesday Jul 2014

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Air pirates board an airship and threaten many lives.
A girl climbs out the window and hopes that she survives.
As pirates try to grab her, she slips and falls to earth,
But she’s saved by her crystal, which has a hidden worth.
 
It floats her down to safety, where Pazu’s arms await,
An engineer’s apprentice, who wonders of her fate.
He takes her to his cottage, and when Sheeta awakes,
He tells her how she floated, the crystal as her brakes.
 
He tells her of his father, who saw a floating isle
Called Laputa, a legend he’ll find in daring style.
But Dola and her pirates arrive to claim the lass,
And they both flee as pirates continue to harass.
 
The military shows up, but Sheeta’s scared of them.
Our heroes float to safety, suspended by her gem.
Once they speak with a miner, who warns them of the same,
The girl reveals that “Laputa” is part of her full name.
 
The government abducts them, imprisoning the pair,
And Colonel Muska spells out to Sheeta why she’s there.
He shows an ancient robot, advanced technology
That Laputa holds somewhere, which she will help them free.
 
When Pazu is sent back home, he teams with Dola’s gang
To rescue Sheeta, but she is having quite a bang.
She reawakes the robot, which goes on a rampage,
And Pazu saves her just in time as giant guns engage.
 
To find the floating island, they join the pirate crew,
For Dola and her pirates are nicer than they knew.
Since Muska took her crystal, he’s on his way as well,
And both airships are threatened by storms that crash and swell.
 
Pazu and Sheeta land on a peaceful grassy plot,
Just one of many turrets that Laputa has got.
They tail a lonely robot, discovering in awe
The lofty, ancient ruins that once were Laputa.
 
But then the military arrives to plunder loot,
Though Muska’s digging deeper for things of great repute.
The agent kidnaps Sheeta, descending to the core,
And taps the castle’s power which he was looking for.
 
He names himself a royal, like Sheeta, and a king,
And massacres the army as robot hordes take wing.
As Pazu hunts for Sheeta, she with her crystal flees.
Again they find each other, but Muska’s hard to please.
 
When they are at a standoff, the kids know what to say,
A spell of great destruction, which serves to save the day.
The pirates and the children escape and reunite,
But both Pazu and Sheeta fly off within their kite.
___________________
 

When Cartoon Network decided to play several Studio Ghibli films back in 2006, I steered clear of it due to my family’s poor reaction to Spirited Away, but I recall seeing a commercial that included a scene of giant robots climbing through hallways. I had no idea from which film it was, but the scene stuck in my head. When I eventually gave anime another chance and saw Castle in the Sky, I was delighted that I not only recognized that scene but also loved the movie. Castle in the Sky is the highest movie on my list directed by famed animator Hayao Miyazaki (though not necessarily the highest Studio Ghibli film), and it is a rousing adventure that showcases Miyazaki’s brilliant imagination.

Since Studio Ghibli had not been founded by the time of Nausicaä of the Valley of the Wind, Castle in the Sky was the studio’s first official film, one that I think is much better than the more well-known Spirited Away. The hand-drawn animation is often beautiful, and certain scenes, like the impressive destruction at the end, are even spectacular. Set in a Welsh-inspired world of flying machines and steampunk inventions, the film (inspired by the floating island of Laputa in Jonathan Swift’s Gulliver’s Travels) is reminiscent of an Indiana Jones story with its crystalline MacGuffin and a race between pirates and the government to find an ancient civilization of power. Though Muska is a more straightforward villain than others in his filmography, it also bears Miyazaki’s recognizable fingerprints, such as his favoring of nature over technology and his love of flight. It even includes a cameo for the squirrel-fox from Nausicaä.

In the Disney dub, James Van Der Beek and Anna Paquin are likable as Pazu and Sheeta, respectively, though Paquin’s accent fluctuates a bit. Cloris Leachman sounds like she’s having fun as the no-nonsense pirate matron Dola, and Mark Hamill lapses into his famous Joker voice as the villainous Muska. My favorite thing about the film, though, is its score. Joe Hisaishi exceeded even Nausicaä’s score with his glorious orchestral compositions. Thus, the final Japanese song “Carrying You,” which borrows the film’s best theme, is in my End Credits Song Hall of Fame. Castle in the Sky is a classic of Japanese animation that has wide appeal to Western audiences. Even my anime-despising VC had to admit that it was “pretty good.”

Best line: (Louis, a pirate) “Mom, you amaze me. How do ya know these things?”   (Dola, while eating) “Oh, well, ya can’t be a sensitive woman like me without learnin’ a few things. Sheeta and I are exactly alike: all warm and mushy and sensitive!” [burps]

 
Artistry: 7
Characters/Actors: 7
Entertainment: 9
Visual Effects: 8
Originality: 9
Watchability: 8
Other (I like other films more): -3
 
TOTAL: 45 out of 60
 

Next: #176 – Butch Cassidy and the Sundance Kid

© 2014 S. G. Liput

157 Followers and Counting

 

Have a Little Faith (2011)

10 Thursday Jul 2014

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A eulogy seems like a difficult chore
For newspaper writer Mitch Albom, who’s sore
Toward any religion; this eulogy’s for
His childhood rabbi named Al.
The rabbi is friendly and kind all along
And often breaks out into jubilant song,
His sermons make his congregation feel strong,
And Mitch grows to be a close pal.
 
Although he had feared Albert Lewis when young,
Mitch quickly is charmed by his clever old tongue
And the warmhearted ways that his greetings are sung
And shares many visits for years.
Meanwhile, in Detroit, Albom happens to meet
A black pastor helping those out on the street.
Though his shabby church has no light and no heat,
His whole congregation still cheers.
 
But this Henry Covington has had a past;
He once was a drug dealer, living life fast.
All his offenses leave Albom aghast,
Yet here Henry is, a changed man.
When he was most desperate, oppressed by mistakes,
God helped him survive, Henry setting the stakes.
He then made a promise that he never breaks,
To serve God as long as he can.
 
A hole in the roof causes Henry much stress,
And Mitch wants to help but is nervous, I guess,
That Henry might be tempted still and regress,
But Henry proves he is reformed.
Mitch then puts the word out for charity aid,
And soon Henry’s church is quite nearly remade.
The roof hole is fixed, and the bills are all paid;
The building’s now well-lit and warmed.
 
Eight years after Albert, the teacher most wise,
Asked distant Mitch Albom to please eulogize,
The ninety-year-old singing rabbi then dies,
Having strengthened the uncertain Mitch.
And Henry as well, having won much affection,
Whose life was recycled by God’s wise direction,
Went home to the Lord till the next resurrection,
A soul God employed to enrich.
______________________
 

Following up the Hallmark-like The Ultimate Gift, here’s a real Hallmark Hall of Fame movie based on Mitch Albom’s book, which featured real-life conversations with his old rabbi and a Protestant pastor. As inspiring as it is faith-building, the film proves how powerful television movies can be. As the film goes back and forth between the homespun Jewish wisdom of Rabbi Lewis and the touching salvation story of Pastor Henry Covington, the audience gets to know them as characters just as Mitch Albom did, gradually.

Martin Landau is especially convincing and likable as the elderly rabbi, and Laurence Fishburne is also excellent as Henry, portraying him in both his free-wheeling, drug-ridden days and his devoted, repentant later life. Even though the film got no nominations, I thought both of them deserved an Emmy for their performances. Bradley Whitford is all right as Mitch, although his dense misunderstanding of religion borders on frustrating at times. I know he’s a non-practicing Jew, but even most non-believers can agree on someone’s ability to change their own life.

I think Have a Little Faith is an overlooked gem that deserves its Hallmark Hall of Fame status. It’s realistic yet restrained, instructional yet not preachy, dramatic and sweet yet not overly so. It’s a portrait of two men worth admiring, the kind of quality television most channels have ceased making.

Best line: (Mitch, to Rabbi Lewis) “Do you believe in God?”   (Rabbi) “Yes. Occupational hazard.”

 
Artistry: 8
Characters/Actors: 10
Entertainment: 9
Visual Effects: N/A
Originality: 8
Watchability: 8
 
TOTAL: 43 out of 60

 

Next: #182 – Funny Girl

© 2014 S. G. Liput

153 Followers and Counting

 

The Ultimate Gift (2006)

09 Wednesday Jul 2014

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When rich Red Stevens meets his end,
His family does not regret.
They only care what he’ll extend
To them within the will he set.
 
He gives them limited control
And nowhere near what they desire.
The rest is missing as a whole,
Perhaps for one who will aspire.
 
To Jason Stevens, Red’s grandson,
Whose father died he knows not how,
Red gives a challenge that, if won,
Will grant the most he can endow.
 
Since Jason is a spoiled punk
Who hopes for something still to gain,
He flies to Texas in a funk,
As Red’s will stipulated plain.
 
Unlike the simple gift he thought
He would receive when set down,
He’s told to work and toil a lot
Upon a ranch some hours from town.
 
Eventually, he gets the gist
And digs fence posts for many miles,
But when he’s finished and dismissed,
There is no gift for all his trials.
 
He got, it seems, the Gift of Work,
And soon the Gift of Problems comes.
He sees that every “friend’s” a jerk
When he’s made poor and joins the bums.
 
He has to find just one true friend,
A gift that is in short supply.
Then he finds someone to defend,
Although he’s now a homeless guy.
 
Alexia and daughter too
Named Emily are grateful so
The young girl says their friendship’s true,
Although they met not long ago.
 
He ditches them, but soon he learns
That Emily is bound to die.
Her cancer sparks his own concerns,
And Jason pays their rent, though high.
 
Alexia, touched by this act,
Agrees to share his Thanksgiving,
Thanks to her daughter, who, in fact,
Wants them to pair up while she’s living.
 
The Stevens family dinner goes
Downhill because of pride and greed.
When Jason sees their moral lows,
He sees himself and can’t proceed.
 
The next gift in Red’s repertoire
Is that of Learning things through pain.
To do that, Jason must withdraw
And go someplace to find a plane.
 
In Ecuador, his father crashed,
And Jason always had blamed Red.
With this real story now rehashed,
He misses more those Stevens dead.
 
When Jason’s captured by cartels,
He thinks his life’s about to end,
But he escapes them and dispels
The worries of his new-found friend.
 
Alexia and Emily
Are glad he’s back, albeit late,
But even now that he is free,
Both death and heartache still await.
 
When all his challenges are through,
He’s given millions from Red’s will,
But there is something he can do
For those like Emily, still ill.
 
When he presents expensive plans
For family homes for those in need,
He feels at last he understands
How he can help and intercede.
 
But Emily soon goes to heaven,
Leaving Lexi in good care.
For now the ultimate gift is given:
Jason’s ready to be heir.
________________________
 

Watching the greedy excesses of the rich and infamous has become a favorite pastime for many television viewers lately. With all the Kardashians and “Housewives” and such out there, I’m sure plenty of people would love to see them taught a lesson. While Bobcat Goldthwait wanted to gun them down in his atrocious black “comedy” God Bless America, I, for one, much prefer the reformation portrayed in the Hallmark-esque The Ultimate Gift.

James Garner is the heart of the film as the deceased Red Stevens, who teaches his grandson the deeper life lessons that his privileged upbringing could not. His recorded messages throughout the movie may be reminiscent of Brewster’s Millions, but they help tie the film and its lessons together. Drew Fuller as Jason is a bit too blank-faced to be really compelling for most of the film (Nick Stahl or Chris Pine could have done just as well), but Abigail Breslin gives a touchingly precocious performance as young Emily. The lovely Ali Hillis is also quite good as Alexia, but for me the film’s main appeal, like its lessons, belong to the older generation: Garner, Bill Cobbs as his aged lawyer friend Mr. Hamilton, Lee Meriwether as Miss Hastings, and Brian Dennehy as hard-working rancher Gus.

Many critics were, well, critical of how the film pushed its good-for-you values on both characters and the audience, but when those lessons are this universal, I don’t mind. It’s satisfying to see a spoiled playboy like Jason stripped of everything he thought was valuable, only for him to get it back and more with a very different viewpoint and appreciation. Both he and Emily act almost as guardian angels for Alexia, and their interactions are both believable and sweet.

I will say that the whole part in Ecuador, while heightening the drama, is so different in tone and setting from the rest of the film as to seem out of place. Another thing I do wonder is how the apples fell so far from the tree. I know that the second generation rarely equals the tycoons who earned them all their money, but Red Stevens seems so down to earth, wise, and prudent that I can’t help but wonder how his kids turned out so greedy and ungrateful. There’s another movie higher on my list with a similar problem, but here there is at least the hope that Jason, as the next Red Stevens, will run his empire much better than any of Red’s children would. The Ultimate Gift isn’t just the fortune Jason inherits but the experience to use it wisely.

Best line: (Jason, to Emily about a statue of Jesus; a good example of the film’s unobtrusive religiosity) “I don’t know much about God or Jesus, but I can promise you those arms are meant for you.”

 
Artistry: 8
Characters/Actors: 9
Entertainment: 8
Visual Effects: N/A
Originality: 7
Watchability: 7
Other (lessons everyone should learn): +4
 
TOTAL: 43 out of 60
 

Next: #183 – Mitch Albom’s Have a Little Faith

© 2014 S. G. Liput

152 Followers and Counting

 

Frozen (2013)

06 Sunday Jul 2014

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The kingdom of Arendelle has two princesses,
Elsa and Anna. The former distresses
Her parents with powers she cannot control,
Which conjure up ice from the depths of her soul.
When Elsa hurts Anna, they visit a troll.
 
The lead troll heals Anna but fools with her mind
To leave memories of ice powers behind.
The monarchs shut Elsa up, locking each door
And don’t give her access to sis anymore,
While Anna’s confused why things aren’t as before.
 
The two girls grow up, and the king and queen die,
Leaving Elsa alone to conceal her cold lie.
The day when Queen Elsa is due to be crowned,
A whole flood of royals and guests is inbound.
Unlike Elsa, Anna is thrilled they’re around.
 
When she meets Prince Hans, it is love at first sight.
No, literally, they seek marriage that night,
But Elsa is skeptical and won’t permit
A marriage so rushed; Anna’s flustered a bit.
In front of a crowd, she makes Elsa lose it.
 
Her powers revealed, Elsa heads for the hills,
Building castles and singing a song that gives chills.
The people are fearful for snow’s falling fast…
In summer and who knows how long it will last?
So Anna rides off through the wintry blast.
 
She meets smelly Kristoff, a man who sells ice.
He becomes Anna’s guide, though she has to ask twice.
Encountering wolves and a living snowman
Named Olaf, who craves summer days and a tan,
They head up the mount with not much of a plan.
 
When Anna begs Elsa to stop the storm now,
Her sister freaks out, for she doesn’t know how.
By accident, Anna is struck in the heart,
So Elsa, still fearful, makes Anna depart.
In Anna, Kristoff sees a chilly change start.
 
They go to the trolls, who raised Kristoff with pride.
They say Anna’s heart will soon freeze from inside.
She needs some true love, which means Hans (so they think);
She just needs a kiss to come back from the brink,
But Hans then comes out as a liar and fink.
 
Although he brought Elsa back home in a chain,
He wants them both dead so that he can now reign.
Leaving Anna to die, Hans tries killing her sister,
But Anna steps in, knowing Kristoff’s her mister,
And freezes rock solid since nobody kissed her.
 
Her own sacrificial love brings Anna back
And helps Elsa see love is what she may lack.
This aids her control so that people don’t fear,
And Anna loves Kristoff, who’s rough but sincere.
The doors are now open, and skies are all clear.
____________________
 

Last year’s Frozen was an unforeseen megahit that eventually surpassed Toy Story 3 as the highest grossing animated film, and it just recently dropped out of the global box office top 10. A welcome return to the musical princess genre for which Disney is famous, Frozen perhaps fed the hunger that family audiences had for new but familiar quality. It’s certainly a great fairy tale with gorgeous animation, catchy music, and (mostly) likable characters.

All that being said, I can’t help but point out some issues that detract from it and make its gargantuan success a tad puzzling. The actual storyline is innovative in its inclusion of two princesses, but Anna is a much better realized character than Elsa. I can sympathize with Elsa’s fear of herself, but that’s about it. All the characterization is given to Anna, while Elsa seems pretty directionless. What was she doing in that castle she constructed, just wringing her hands in worry? And the ultimate resolution is too rushed: just “love” and boom, she has perfect control over the powers she spent a lifetime repressing.

I also take issue with the character of Hans. The filmmakers tried so hard to make him seem like a nice guy that his sudden reversal was too out-of-nowhere. I mean, if he wanted to kill Elsa anyway, why didn’t he just let the Duke’s guards shoot her instead of valiantly rescuing her for no reason? I like the story, but I was expecting some different directions. Perhaps Hans could have been left as a good guy and paired with Elsa. I would have preferred that kind of reversal. I liked Anna’s sacrifice at the end, but it did remind me somewhat of the finale of Pokémon: The First Movie. I also thought that Anna may have hidden warming powers to offset Elsa’s, but no. Oh, well, maybe in the sequel.

After the previous two paragraphs, it might sound as if I dislike the film overall, but that’s not true. It’s a flawed tale but one I still very much enjoy viewing. Anna and Kristoff make a good pair, and though I was prepared to be annoyed by Olaf the snowman, I actually liked him more than I’d expected. The CGI animation is absolutely gorgeous, setting a new high for non-Pixar films.

Plus, the music is first-rate, even if it’s not from Alan Menken. The first song about ice is rather forgettable, but “Love Is an Open Door” and “For the First Time in Forever” are both excellent starting numbers. When I first heard the Oscar-winning song “Let It Go” on YouTube, I knew I had to see this movie. It’s Disney’s best song in years, and I’m sure most have seen at least one of the hundreds of parody videos out there for it. My VC also very much liked the “Fixer Upper” song by the trolls, even if they seem like an afterthought as characters.

Frozen may not be up there with Disney’s Renaissance classics of the ‘90s, but it’s not the worst (The Princess and the Frog didn’t make my list). It’s memorable, quality family entertainment. Let’s hope Disney will take the hint and not let the princess genre die.

Best line: (Olaf, singing) “Winter’s a good time to stay in and cuddle / But put me in summer and I’ll be a… [pauses in front of a puddle] …happy snowman!”

 
Artistry: 7
Characters/Actors: 7
Entertainment: 9
Visual Effects: 10
Originality: 6
Watchability: 8
Other (aforementioned issues): -4
 
TOTAL: 43 out of 60
 

Next: #186 – The Way

© 2014 S. G. Liput

148 Followers and Counting

 

#190: Hello, Dolly (1969)

03 Thursday Jul 2014

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Back in 1890 Yonkers,
Dolly Levi always conquers
Any obstacle she sees.
Love and money have compelled her
To seek Horace Vandergelder,
Who’ll be hers, she guarantees.
 
Though he is a cross curmudgeon,
He just needs a little nudge on
Choosing her above the rest.
As a mover and a shaker
And New York’s most loved matchmaker,
She’s not easily suppressed.
 
After Horace tears to pieces
A beloved of his niece’s,
He intends to look for joy.
With the cash at his disposal,
He is planning a proposal
To New York’s Irene Malloy.
 
Since his feed store must stay open,
He puts his reluctant hope in
His two unfulfilled young clerks.
Once he’s gone, Cornelius Hackl
And pal Barnaby then tackle
Life at large and all its perks.
 
Dolly tells the two assistants
Of the heaven-sent existence
Of two women meant for them.
So they journey with elation
To Irene Malloy’s location,
Thinking they’ll each find a gem.
 
While Irene and gal pal Minnie
Like the pair, naïve and skinny,
Both employees quickly hide
When their boss arrives to proffer
Miss Malloy a marriage offer,
Till he learns of men inside.
 
Dolly then begins preparing
For a date night they’ll be sharing,
Though the poor clerks are afraid.
She ties off her latest scheming
As the city streets are teeming
For the 14th Street Parade.
 
By the time that night is falling,
All the characters are calling
On the restaurant that she chose.
Both the clerks cannot afford to
Spend a lot, though they’re implored to,
And their bluffing frankly shows.
 
Dolly’s welcomed with much fanfare;
Horace is her chosen man there,
Though she causes him much stress.
Dolly has arranged a chance for
His niece and her beau to dance for
Contest money to impress.
 
Mr. Hackl starts confessing
With Irene and Minnie’s blessing,
For they knew it all along.
They then try to be the winner
Of the dance to pay for dinner,
But then everything goes wrong.
 
Horace sees his niece cavorting
With the man he’d banned from courting,
And he quickly goes berserk.
What a messy picture this is!
Both his workers he dismisses
When he sees they’re not at work.
 
During this confused occasion,
There’s some stealthy pay evasion,
As two couples sneak away.
Hackl and Irene now know that
They’re in love, and both then show that
In a song to end the day.
 
Dolly then leaves Vandergelder,
Who regrets he ever smelled her,
But that changes very soon.
Back in Yonkers, he’s unmarried,
With no workers to be harried,
Just a lonely rich tycoon.
 
Dolly and the rest come calling,
And he sees no point in stalling,
So he asks her in his life.
She suggests that he be smarter
And take Hackl as a partner,
And she’s glad to be his wife.
_________________
 

Coming just a year after her rise to stardom in 1968’s Funny Girl, Hello, Dolly gave Barbra Streisand yet another enduring musical role that seems perfect for her. Many criticized the fact that she was only 27 years old at the time, perhaps too young for the role of a pushy widow seeking a husband. Yet she makes the role her own and fills it with such fast-talking chutzpah that I can’t see anyone else playing Dolly Levi. Carol Channing may have been the immortal Dolly on Broadway, but in my opinion (and my VC’s) Streisand blows her away, in both the strength and the mellifluence of her voice.

Walter Matthau sings for the first and only time in his career (that I’m aware of) as the bossy and crotchety storeowner Horace Vandergelder. Michael Crawford also does a fine job as Cornelius Hackl and is so lovably nerdy that it’s hard to believe he’s the original Tony-winning Phantom of the Opera. All the other roles are filled ideally, and Louis Armstrong’s cameo during the title song is classic as all get-out.

The music itself is wonderful stuff. From Mr. Vandergelder’s humorously selfish “It Takes a Woman” to the charming, street-walking “Elegance,” the songs clearly have just the right balance of humor, clever lyrics, and hummable tunes. “Hello, Dolly” is another great number, and the entire part in the Harmonia Gardens Restaurant is filled with energetic physical comedy and Michael Kidd’s impressive choreography. And of course, there are the two songs made even more timeless by their inclusion in the Pixar film WALL-E, those being “Put on Your Sunday Clothes” and “It Only Takes a Moment.” A few of the unnecessary songs like “Love Is Only Love” slow the film down a bit, but showstoppers like “Before the Parade Passes By” truly make the film (Streisand’s long end note is awe-inspiring). My personal favorite, though, is the opening song “Just Leave Everything to Me,” which was written specifically for the film and Barbra Streisand.

Hello, Dolly isn’t my favorite musical, even though I love most of the songs. Perhaps I don’t care for Dolly’s overly pushy manner. I mean, Mr. Vandergelder was an overbearing, self-centered boor, but by the end, I almost sympathized with his exasperation. His turnaround and marriage proposal are rather sudden, yet it shows Dolly knew just the right buttons to push to get the desired outcome. Despite Dolly’s busybody personality, Streisand sells it for the most part, and she and Crawford are perfectly cast. My VC loves the film even more than I, and though other musicals and Barbra Streisand films are higher on my list, this one stands out as a Broadway-style gem.

Best line: (Vandergelder, to his niece’s beloved Ambrose) “You are a seven-foot-tall nincompoop!”   (Ambrose) “That’s an insult!”   (Vandergelder) “All the facts about you are insults!”

VC’s best line: (Vandergelder, while being shaved) “Eighty percent of the people in the world are fools, and the rest of us are in danger of contamination.”

 
Artistry: 8
Characters/Actors: 9
Entertainment: 9
Visual Effects: N/A
Originality: 8
Watchability: 8
 
TOTAL: 42 out of 60
 

Next: #189 – Rocky III

© 2014 S. G. Liput

146 Followers and Counting

 

Swiss Family Robinson (1960)

27 Friday Jun 2014

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The Robinson family is wrecked
On some rocks, and the ship’s crew defect.
Their ill-fated cruise
Leaves them much they can use,
Though they’re not sure what to do next.
 
The father and sons Ernst and Fritz
Get all to the shore in one blitz.
On the ship the next day,
They scare pirates away
With only a flag and their wits.
 
Since New Guinea’s off their radar,
The five just made do where they are.
A house like no other
Intimidates Mother,
And she wants a good safety bar.
 
But once the men finish, the tree
Proves a comforting place to sightsee.
The men’s great inventions
Calm her apprehensions,
And they settle down cheerfully.
 
Young Francis collects his own zoo
With ostrich and elephant too,
To join all the pets
That they rescued from threats
On the ship left behind by the crew.
 
To see if they’re all on an isle,
The older sons sail for a while.
They rescue a lad
But can’t save his granddad
From pirates both fearsome and vile.
 
They learn it’s a girl they retrieved,
Dressed up so she won’t be perceived.
Through forest and swamp,
With Roberta they romp,
Till they reach the treehouse, relieved.
 
The pirates will no doubt return,
So they build defenses in turn.
Both Ernst and Fritz vie
For Roberta’s fair eye,
But both of them have much to learn.
 
They all take a break for a race,
But soon pirates swarm the whole place.
They thwart their offenses
With homemade defenses
From high on a mountainous base.
 
With fruit bombs and many a pit
And one with a tiger in it
And logs and big rocks,
The small family blocks
The pirates, who won’t seem to quit.
 
They try climbing up from the back,
Which makes their defense nearly crack.
When a ship then arrives,
It saves all of their lives
By halting the pirate attack.
 
Roberta’s granddad gives advice,
But most of the family think twice.
Roberta and Fritz
Stay together; Ernst splits,
But the rest stay in their paradise.
__________________
 

Swiss Family Robinson was the best non-musical live-action Disney film made during his lifetime (and for some time after). It works well as both a loose adaptation of Johann Wyss’s classic novel and as a stand-alone adventure tale. There are a number of changes from the books, such as the inclusion of a pirate attack, a bigger role for the girl (named Emily in the novel), and the omission of a fourth son named Jack. Even so, the film expands on the amazing ingenuity of the Swiss family, furnishing their treehouse with all kinds of clever inventions. It also includes pirates, a menagerie of exotic animals, and countless other adventure elements to enthrall kids and their parents alike.

For me, the film’s biggest liability is young Kevin Corcoran as Francis, who is annoying in just about every scene he’s in. He’s a brat, who’s so enamored of animals that he ignores his parents’ warnings and common-sense safety, such as when he stupidly gives away their position to bloodthirsty pirates for the sake of two dogs! The other boys are fine, and Tommy Kirk as Ernst reminds me of Wil Wheaton’s Wesley Crusher (in a good way). John Mills projects authority and warmth as the Father, while Dorothy McGuire lends maternal warmth and worry to Mother Robinson.

The final battle with the pirates is one of the great early action sequences, but other moments shine too, such as the silent prayer Mother insists on when they first reach the island. (You wouldn’t see that in a remake nowadays.) Swiss Family Robinson is a marvelous family film that may not be on par with adaptations like Dr. Zhivago or Gone with the Wind, but it’s no less of a classic.

Best line: (Father, upon reaching the beach) “First thing we’ve got to do is to, uh, unload the raft. Then, uh… put up some sort of shelter for the night.”   (Mother) “No. That’s not the first thing.” [She kneels in grateful prayer, and the others follow suit.]

 
Artistry: 5
Characters/Actors: 7
Entertainment: 8
Visual effects: 8
Originality: 7
Watchability: 7
 
TOTAL: 42 out of 60
 

Next: #195 – Gravity

© 2014 S. G. Liput

142 Followers and Counting

 

#200: My Girl (1991)

23 Monday Jun 2014

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Vada Sultenfuss resides
In a funeral home; besides,
She’s just eleven, but her knack
Is being a hypochondriac.
Her one real friend is Thomas J.,
Who is allergic, by the way.
On her teacher, she has a crush,
Which she hides, despite a blush.
Although it’s summer, Vada speeds
To a class that Mr. Bixler leads,
A writing class for poetry,
Which she composes childishly.
 
Her undertaker dad did list
His need for a cosmetologist.
One Shelley answers, though misled,
And needs the job, despite the dead.
She’s worried for young Vada, who’s
Obsessed with death and morbid views.
Though Vada likes her, she grows mean
When Shelley and her dad are seen
Beginning a relationship,
Which Vada would much rather skip.
Yet Shelley’s kind and helps her through,
When fears of growing up debut.
 
Once Vada shares a kiss, her first,
With Thomas J., then comes the worst.
He goes to seek her lost mood ring,
But hornets swarm him as they sting.
Poor Vada’s shocked to learn he’s dead,
And at his funeral tears are shed.
She’s further stunned when it is said
That Mr. Bixler will soon wed.
She runs off, but when she returns,
Her father calms her deep concerns,
And life goes on with newer friends
And less distress for how life ends.
__________________
 

My Girl is one of those classic coming-of-age tales that also has an unexpected tearjerker ending. Though it lacks the obvious voiceover of Stand by Me, the whole film feels like a childhood flashback etched on someone’s memory. Anna Chlumsky is perfectly cast as young Vada Sultenfuss and does so well that it’s a shame she hasn’t done much else, though she’s had a recent comeback on shows like HBO’s Veep. Coming a year after Home Alone made him a star, the film also reminds us of how cute Macaulay Culkin was back in the day as the ever-allergic friend Thomas J. Dan Aykroyd and Jamie Lee Curtis are also spot-on in very different roles from when they starred together in Trading Places eight years earlier.

As with Murphy’s Romance, much of the film’s charm lies in its small moments: Vada’s first kiss with Thomas J., her incessant visits to the doctor to confirm that she’s dying (or not), Harry and Shelley’s bingo night (hmm, that is like Murphy’s Romance). There are also some hilarious scenes that exemplify the word dysfunctional. Picture this: Vada’s father carries on a conversation at the dinner table while her grandmother starts singing a Gershwin song while Vada is on the floor, pretending that her prostate is killing her. I can’t help but laugh.

With its innocent portrayal of childhood in 1972, My Girl is mostly clean as well (aside from some sexual dialogue during the poetry class), unlike other foul-mouthed coming-of-age stories like American Graffiti and Stand by Me. It’s a charming film that is sad, sweet, and funny all at once, with a ‘70s soundtrack and a touching poem at the end. What’s not to like?

Best line: (Vada) “Why do you think people want to get married?” (Thomas J.) “When you get old, you just have to.”

 
Artistry: 8
Characters/Actors: 8
Entertainment: 9
Visual Effects: N/A
Originality: 8
Watchability: 9
 
TOTAL: 42 out of 60
 

Next: #199 – Philadelphia

© 2014 S. G. Liput

136 Followers and Counting

 

Peter Pan (1953)

19 Thursday Jun 2014

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(This one is best sung to the tune of “You Can Fly”)
 
Wendy and Michael and John
Like to listen, play, and fawn
Over tales of Peter Pan,
Who won’t grow into a man
But always stay a boy
With his youth as the source of his joy.
 
Their father can’t stand the thought
Of these silly games they’ve got.
Since she is no more a pup,
He insists his girl grow up.
But when parents go out,
Peter and Tinker Bell sneak about.
 
Once Peter’s shadow is caught,
Wendy starts to talk a lot.
When she mentions loving mothers,
Pan wants her for him and others
Back in Neverland
And she won’t have to grow up, as planned.
 
Tinker Bell’s envy is plain,
But her protests are in vain.
With some faith, and trust as well,
And some dust from Tinker Bell,
The kids are soaring high.
They can fly! They can fly! They can fly!
 
Soon they arrive there and—Look!
It’s the pirate Captain Hook,
Who feared throughout the isle,
But he fears a crocodile.
Hook despises Pan,
For the lad once cut off Hook’s left hand.
 
After a couple close calls
From falls and Hook’s cannonballs,
Wendy goes to see mermaids;
John and Michael lead parades,
But soon the boys are caught
By the Indians; happy they’re not.
 
Wendy and Peter behold
Hook’s next evil plan unfold:
He has nabbed the chief’s own daughter,
Placing her in rising water,
But Pan does outsmart
Hook and Smee, and the croc plays its part.
 
After the Lost Boys and Pan
Revel with the Indian clan,
Wendy quickly feels ignored,
But her value is restored
When she decides to sing
Of the joys that a mother can bring.
 
Hook uses Tinker Bell’s spite
Against Wendy to, one night,
Learn of Peter’s whereabouts
And to kidnap all his scouts,
While leaving a surprise
To ensure that his enemy dies.
 
Tinker Bell saves Peter Pan,
Who flies off to stop Hook’s plan.
First, he frees his captured friends,
And the company defends
Against the pirate crew;
Pan and Hook have a duel overdue.
 
Once Pan has bested the crook
And replaced ol’ Captain Hook,
Back to London they’ve a trip
On a flying pirate ship,
And Wendy’s parents see
Being young’s not a bad thing to be.
________________
 

Walt Disney had hoped Peter Pan would be his second animated film after Snow White, but, though he had to wait about fifteen years due to legal issues and World War II, his animation and storytelling had merely improved over that time to make Peter Pan yet another children’s classic (and incidentally Michael Jackson’s favorite film). There are plenty of small details that make it timeless, from Hans Conreid’s distinctive voice as both Hook and Mr. Darling to memorable scenes like the children landing on the face of Big Ben.

Like Pinocchio, I don’t always think of Peter Pan as a musical, but its melodies are certainly distinctive. While “The Second Star to the Right” and “You Can Fly” are the most memorable, little elements of the score are instantly recognizable, including the crocodile’s tick-tocking theme to the low tune heard when the Indians are introduced. It’s true that the portrayal of the Indians in the film is outdated, stereotypical, and potentially offensive, but, for good or bad, the deep-voiced “How!” remains an enduring line from the film.

There are a number of changes from J. M. Barrie’s original stage play, such as deleting the clap-if-you-believe-in-fairies audience participation in favor of a bomb left by Hook and foiled by Tinker Bell. Still, it’s one of the best of Disney’s original lineup. Peter Pan is a nostalgic visit to Neverland that never gets old.

Best line: (Peter Pan; classic as they come) “Second star to the right and straight on till morning.”

 
Artistry: 5
Characters/Actors: 8
Entertainment: 8
Visual Effects: 8
Originality: 6
Watchability: 6
 
TOTAL: 41 out of 60
 

Next: #203 – The Iron Lady

© 2014 S. G. Liput

135 Followers and Counting