Tag Archives: Fantasy

Spirited (2022)

17 Sunday Dec 2023

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The question has haunted mankind like a ghost:
Can somebody honestly change?
It seems that by thirty or forty at most,
They’re set in their ways
The way furniture stays,
The kind you don’t sell but at best rearrange.

And yet we hear tales of how others transform,
The hackneyed morality plays.
But those are anomalies, far from the norm,
For wishers and dopes
Who need fuel for their hopes
That common unkindness is only a phase.

But Grinches and Scrooges are likely short-term:
No heart changes shape when it melts.
You can’t shake foundations; they’re simply too firm.
It’s nice to believe,
But let’s not be naïve.
If I don’t plan to change, why should anyone else?
__________________________

MPA rating:  PG-13

I have long wished that there were more original movie musicals. Rather than waiting for stage musicals to become popular enough to warrant film adaptations, I think there are stories that are better served by getting the movie treatment up front, and Pasek and Paul are leading the way. The Greatest Showman was a mainstream hit, but it seemed like last year’s Spirited didn’t get nearly as much buzz; plus, being an Apple TV+ exclusive means it sadly won’t get the usual annual holiday reruns either.  So it seemed only right that I do my own small part to promote this modern retelling of A Christmas Carol, mixed in with meta Scrooged-style comedy milking the chemistry of stars Will Ferrell and Ryan Reynolds.

The twist to this version of the oft-oft-oft-adapted Dickens story is that it is from the ghosts’ perspective, turning the ghost quartet who once haunted Scrooge into a multi-generational corporation where the dead create personalized illusions to improve one terrible person each Christmas. The current Ghost of Christmas Present (Ferrell) is torn about just how much good they’re doing with these individual redemptions but finds a challenge in the form of cynical media manipulator Clint Briggs (Reynolds). While the supposedly “unredeemable” Clint insists he’s too savvy to undergo the usual moral awakening, both he and his ghostly guide must grapple with just how much someone can change.

Where Spirited shines most is what every musical strives for: fantastic musical numbers. Between the upbeat earworms of Pasek and Paul and the stunningly energetic choreography by Chloe Arnold, the big dance numbers go hard. There are good smaller songs too, but when they aim for a Broadway-level showstopper, every single one succeeds, making it truly mind-boggling to me that the soundtrack got no awards attention at all. I was glad when RRR’s “Naatu Naatu” won the Oscar for Best Original Song, but it’s a little galling when this film’s “Good Afternoon” or “Do a Little Good” are better than any of the other nominees. My personal favorite is “Ripple,” which was cut from the film itself (likely for time) but was clearly too good to not include and was thankfully added to the end credits.

As for the rest of the film, it’s a likable redemption story that doesn’t play out quite as predictably as the usual Christmas Carol adaptation. Ferrell’s Ghost of Christmas Present is the film’s heart as he showcases how the hardest person to forgive is oneself, while Reynolds’ Clint fits comfortably into his lovable jerk mold, wielding his self-proclaimed knowledge of human nature to stoke conflict and cancel culture without ever noticing the aftermath. I’ve never been a fan of either actor’s brand of comedy, but, while there are still moments here that don’t always land for me, I’d consider this some of their best work. This is especially because of how well they stretch their musical chops, despite not having much experience with song and dance, the same being true for Octavia Spencer as Clint’s self-loathing employee. The entire cast does a great job, from Broadway heavyweight Patrick Page as Jacob Marley to Sunita Mani and the voice of Tracy Morgan as the other two Christmas ghosts.

Spirited would be a good film with just its plot, but the music puts it into instant classic territory in my book and a film I plan to make part of my annual Christmas movie schedule. It can seem a bit overlong and overwhelming at times, but I enjoyed my second watch this year more than I did last year, when I added it to my top 365 list and then never reviewed it. If a movie can poke holes in cynicism, promote the idea that anyone can change for the better, and make me dance and sing along, that’s my kind of movie.

Best line: (Ferrell’s Ghost of Christmas Present, to a party guest dressed like Buddy the Elf) “You look stupid.”

Rank:  List-Worthy (tied with Scrooged)

© 2023 S.G. Liput
785 Followers and Counting

Indiana Jones and the Dial of Destiny (2023)

04 Monday Sep 2023

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Franchises and ruins share at least one thing in common,
And no, it’s not that both attest to how the best declined.
Whether we discuss the MCU or Tutankhamen,
It’s that they both give hope to those in search of more to find.

For ardent archaeologists, they know there’s always more,
Beneath the dirt, untapped, covert, and waiting to be found.
Likewise, the nerds of fandom herds will pray as they explore,
That patience be rewarded if they simply stick around.

While one digs in the future and the other in the past,
They live for tiny victories, discoveries to tout.
They can’t all be an ancient tomb or Endgame unsurpassed;
Sometimes it’s just a broken bust they can’t do much about.
________________________

MPA rating: PG-13

I realize my output has slowed of late, but, despite struggling with my writing schedule, I have not forgotten this blog. Besides, it’s not like I’m taking fifteen-year breaks between entries like a certain Harrison Ford series. Anyway, as my past reviews and rankings might indicate, I am pretty forgiving when it comes to franchise films that others lambaste. I still like Indiana Jones and the Kingdom of the Crystal Skull more than anyone I know, and I can find plenty to enjoy from the supposed worst of Star Wars and the MCU. So I welcomed one final installment in the Indiana Jones franchise; Crystal Skull did have its issues, so perhaps one last adventure could end Indy’s cinematic journey on a high note. But though Indiana Jones and the Dial of Destiny has some bright spots, it was more of a letdown than even I was expecting.

Set mostly in 1969, this truly final adventure for Indiana Jones involves the crotchety archaeologist being pulled into another race for a potentially magical Macguffin, pursued by a former Nazi scientist (the ever reliably villainous Mads Mikkelsen) and his CIA accomplices, as well as Indy’s goddaughter Helena Shaw (Phoebe Waller-Bridge) with unscrupulous motives of her own. The titular Dial of Destiny is the Antikythera mechanism, an actual ancient Greek artifact with gears that could predict astronomical events, though here it’s a simpler device with two halves that are believed to map time instead.

Say what you will about Crystal Skull but it did at least give Indy a happy ending with a son and marriage, and I do take issue with sequels like this that justify their existence by doing away with all that to make the main character miserable at the start. Nevertheless, director James Mangold proves to be a surprisingly effective stand-in for Spielberg, bringing a great sense of fun and adventure to the film’s opening sequence. It’s an extended chase back in 1944 with a perfectly de-aged Indy back in his Nazi-thwarting prime alongside his timid friend Basil (Toby Jones), Helena’s father. If the whole film had been as good as the opening, it would be a hit recalling the franchise at its best. It’s just not the same once we jump to older Indy at his glum retirement party.

I will give credit to the fast pacing that never lets too much time go by without a chase or a tense stand-off. One extended pursuit is a hoot as Indy, Helena, her young sidekick Teddy (Ethann Isidore), the bad guys, and vengeful mobsters all chase each other through the narrow streets of Tangier. I also appreciated some welcome cameos, including John Rhys-Davies returning as Sallah and Antonio Banderas as another old friend who helps with a Mediterranean dive. With all the action, it does take some suspension of disbelief to accept the now-octogenarian Ford’s ability to keep up. He doesn’t engage in the old-fashioned fisticuffs as much, but he still jumps from vehicles, climbs cliffs, endures injury, and falls out of planes with the best of them (or at least his body double does).

Despite the caveats above, I was still enjoying Dial of Destiny for the most part and was prepared to defend it against naysayers up until the ending. Obviously, I won’t spoil it, but it takes a supernatural turn that was hard to accept, with an unsatisfying villain defeat due to their own dumb decisions and a climax of historical passion that I just didn’t buy. It’s not the worst thing ever, but it felt like the first draft of a finale rather than the finished product, a neat idea that should have gone back to the drawing board. I was sort of hoping the time travel element might wrap back around to the opening sequence a la Back to the Future Part II, but I suppose that would be too supernatural. I was also underwhelmed by Helena’s character; Waller-Bridge has a winking charisma that’s easily likable, but her ideals are in direct opposition with Indy’s (complete with a smug barb about capitalism). Though they bond a bit, it’s not clear how much moral growth, if any, she’s had by the end.

I so wanted to like Indiana Jones and the Dial of Destiny, but this is a case where I can agree with the disgruntled crowd. I would still watch it again for its good moments proving the effort that went into making this a worthy sequel and the simple fact that I love Ford in the lead role. It didn’t deserve to be the massive financial bomb it was, but sadly it’s a prime example of ending a franchise with a whimper rather than a bang.

Best line: (Indiana Jones) “I don’t believe in magic, but a few times in my life, I’ve seen things. Things I can’t explain. And I’ve come to believe it’s not so much about what you believe; it’s how hard you believe it.”

Rank: List Runner-Up

© 2023 S.G. Liput
783 Followers and Counting

Disenchanted (2022)

30 Sunday Apr 2023

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(For Day 30, the last day of NaPoWriMo, the prompt was to write a palinode, a poem that retracts a view from a previous poem or from earlier in the same poem. I sort of did that yesterday, but it seemed like a good way to reflect on both sequels and the temporary end of NaPoWriMo, until next year.)

When the villain is bested,
The henchmen arrested,
Then all of the heroes make merry.
When credits have rolled,
The story is told,
And endings are not temporary.

A glad ever after
Is sunshine and laughter;
What follows is better unsaid.
To many’s chagrin, you
Cannot just continue
When even the last page is read.

Just savor the story
That closed in its glory,
And you can imagine the rest.
Another adaptor
Might mar the next chapter.
It’s honestly probably best.

Although I’ll allow
That a “where are they now?”
Would probably earn some applause.
Finales are fleeting
And bear some repeating,
And endings are only a pause.
_____________________

MPA rating: PG

While Avatar: The Way of Water got ribbed for the extended delay between movies, it took Disney two years longer to finally deliver a second Enchanted, dropped half-heartedly on Disney+ late last year. It’s a prime example of a sequel many wanted and wanted to like yet ultimately can’t compete with its predecessor. In retrospect, we didn’t really need to know the details of how “happily ever after” fails to satisfy.

The first Enchanted was a breath of fresh air, a reverse isekai before that was even a term, with doe-eyed Giselle banished from her animated fantasy world to the streets of New York and injecting some much-needed sincerity into the lives of widower Robert (Patrick Dempsey) and his daughter Morgan (Rachel Covey). Years later, the family is seeking something more and moves out to the suburb of Monroeville, much to the chagrin of teenage Morgan (now played by Gabriella Baldacchino). After they struggle to integrate with the community, led by the imperious realtor Malvina Monroe (Maya Rudolph), Giselle uses a wish-granting wand to give them a more “fairy-tale” life, transforming the town into a literal magical land with all the delight and danger that entails.

Like the first film, the best thing about Disenchanted is Amy Adams, whose perky Giselle is progressively changed into an evil stepmother by her wish, since she is literally Morgan’s stepmother. She relishes playing with the caricature and trying to outdo Rudolph’s equally evil Malvina, even sharing a delightful song about their nasty rivalry called “Badder.” It’s a fun idea as the rest of the “real world” characters are brainwashed into fairy tale roles, complete with lavish costumes, but it can also run a bit thin, with Dempsey especially having very little to contribute. And the drama of the climax definitely feels forced, with the magic wand not being used effectively and the stroke of midnight somehow being delayed by jamming a clock tower’s gears.

Even if the plot falls short, it was admittedly nice seeing all the principal actors returning to these beloved characters, including James Marsden’s Edward and Idina Menzel’s Nancy. It was a crime that Menzel didn’t get a chance to sing in the original, and she does finally use her famous pipes with the anthemic “Love Power.” I was glad that Alan Menken and Stephen Schwartz again teamed up for the sequel’s songs, though the lyrics can be lackluster and nothing comes close to the first film’s “That’s How You Know” dance number. Disenchanted does manage to capture at least part of the satirical charm and magic of the original, so it’s not a complete misfire, but it does show how special the first film was in balancing its real and fantastical elements. Even after so much time has passed, it’s still a tough act to follow.

Best line: (Morgan, in response to Edward and Nancy singing) “Does anyone in Andalasia ever just say stuff?”   (Giselle) “Not if we can help it!”

Rank: List Runner-Up

© 2023 S.G. Liput
785 Followers and Counting

Suzume (2022)

29 Saturday Apr 2023

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(For Day 28 of NaPoWriMo, the prompt was for an index-like poem, so I chose the word “door” as my index word for a pair of haikus, since doors are so prominent in this film.)

Opens and closes;
Keep in or keep out; slam it;
Lock it; lose the key.

Don’t dare to open;
Outside the gates; slipping through;
Miss the other side.
____________________

MPA rating: PG

In the same way cinephiles look forward to the next Christoper Nolan or Quentin Tarantino movie, anime fans eagerly await the advent of the next Makoto Shinkai film. I was excited to finally see his latest called Suzume in the theater, months after its Japanese premiere, and it had everything Shinkai does well: pouring rain, desperate running, eye-popping cataclysms, poignant reunions, all rendered in some of the most gorgeous animation this side of KyoAni. Yet it’s hard to forget that everything he creates will inevitably be compared to Your Name, the record-breaking blockbuster that put Shinkai on the international map. It’s a tough comparison, but Suzume still excels at the same kind of emotion-backed fantasy.

Suzume (Nanoka Hara), the title character, is a rural high school girl who directs an attractive visitor named Sota (Hokuto Matsumura) to some nearby ruins for which he is searching. When she follows out of curiosity, she discovers that a long-dormant evil has started breaking into our world to cause disasters, using doorways in abandoned areas as gateways that must be closed. When Sota is inexplicably cursed and transformed into… ahem, a chair, Suzume runs away from home to help him complete his mission, further complicated by a mischievous talking cat. (I loved a brief reference to Whisper of the Heart when the cat is spotted on a train.)

I’ll admit the chair part is a little hard to take seriously at first, especially since it forever labels this movie as “the one where a girl falls in love with a chair.” But if you roll with it, the object does take on greater meaning as a precious heirloom for Suzume, and there’s fun to be had with the absurdity of it. As the plot becomes a buddy road trip across Japan (a “meet-‘em-and-move-on” as I call them), it’s a little hard to believe how many people seem fine with supporting a runaway girl and letting her continue on her way. Yet it’s also an opportunity to take a peek into various lives she passes, which I always enjoy.

It’s interesting that two anime in the same year (this film and Drifting Home) both put a focus on the large number of abandoned areas throughout Japan, including a ferris wheel specifically, places that were once full of life and now have only echoes of what was. True to Shinkai form, the emotions grow with time, and even if Suzume and Sota ultimately just met, the bond and distress born from their relationship are highly affecting at the film’s emotional high points.

Even if I recognize the film’s faults, like the rather thin story fueled by contrivance, Shinkai just has a captivating style that is easy to get sucked into, aided by striking visuals and iconic music by the band Radwimps, his frequent collaborator. If Suzume had come out before Your Name and Weathering with You, I think I would love it more without the comparison, but I can’t quite say it’s better than them while sharing the same DNA. It did surpass Weathering with You to become the fourth highest-grossing Japanese film ever (right behind Your Name), so Shinkai still has enormous box office draw. It would be nice if he can step a little further out from under his own shadow, but I’m still very much a fan.

Rank: List Runner-Up (might go up with time)

© 2023 S.G. Liput
785 Followers and Counting

Drifting Home (2022)

23 Sunday Apr 2023

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(For Day 23 of NaPoWriMo, the prompt was for a poem in numbered sections about a place I no longer visit as much. The best example I could think of was my old elementary school, so I imagined the various places abandoned and nostalgic.)

I
I remember they filed in one at a time,
Students alert to the school bell’s chime.
My classroom became their knowledge base,
And I kept them all safe in my walls’ embrace.
I was their path
To history, math,
The parts of the cell, and the subjective case.
Those who I held left smarter by far,
But now I do wonder where all of them are.

II
I remember they joined me at tables so long
That both ends could easily sing their own song.
They pulled out their lunches so lovingly packed
Or else I provided whatever they lacked.
I was their meal,
Their chance to be real,
To trade and upgrade and get caught in the act.
The hungry were happy and brought up to par,
But now I do wonder where all of them are.

III
I remember they ran with unparalleled glee
To climb on my monkey bars, wild and free.
My stretches of rubber mulch, bordered by sand,
Gave them their chances to fall and crash-land.
I was their play,
The peak of their day,
A time to recess from the teacher’s command.
I was the source of both smile and scar,
But now I do wonder where all of them are.
_____________________________________

MPA rating: PG

While Makoto Shinkai and Mamoru Hosoda are the biggest names in anime films, there are plenty of other studios in the mix, such as Studio Colorido, which has an ongoing partnership with Netflix. With films like A Whisker Away and Drifting Home, they bring some welcome Ghibli-esque fantasy to the streaming service. In Drifting Home, a group of children go exploring in the abandoned apartment building where Kosuke and his childhood friend Natsume used to live with Kosuke’s grandfather. After the two have an argument, the building somehow ends up floating in the middle of the ocean, forcing the kids to survive off what they can scavenge.

While the premise could have become mere escapism for the children, the story actually puts them in real danger, with limited resources and a crumbling structure as their only refuge from the sea. The characters themselves are not anything special and sometimes grating, though the conflict between Kosuke and Natsume carries weight as they both reacted differently to the death of Kosuke’s grandfather, a loss which haunts their relationship and perhaps the apartment itself.

Beyond the survival aspects and interpersonal drama, a prominent theme involves the inherent grief of buildings and structures that were once full of life and activity but have become abandoned over time. It’s an interesting concept of a place having its own form of sorrow and passing away. Drifting Home may not stand out as much as other anime films, but it’s a lovely smaller effort highlighting how we connect to the places we grow up.

Rank: List Runner-Up

© 2023 S.G. Liput
784 Followers and Counting

Shazam! Fury of the Gods (2023)

21 Friday Apr 2023

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(For Day 20 of NaPoWriMo, the prompt was to imagine how archaeologists might appraise us in the far future, so I considered how superhero films might be mistaken for historical records.)

Here at the Museum of Archaic History,
The Superhero Wing is our most popular display.
Not very much survived the EMPs of World War III,
But rigorous historians have come to save the day!

It seems that back in yesteryear, some humans wielded talents
Of fight or flight or laser eyes, with symbols on their chest.
They often rescued many lives and kept the world in balance,
As all these documentaries on ancient disks attest.

We think that they were unionized protectors of the peace,
Belonging to the rival leagues of Marvel or DC.
They dealt with larger dangers too destructive for police,
Like evil gods and aliens we now no longer see.

We’ve found that certain famous ones, like Bat- and Spider-Men
Could somehow change appearance over years of derring-do.
Some believe these new facades came time and time again,
Whenever they’d regenerate like noted Doctor Who.

Some records, though, can’t be retrieved from archives decades-plus.
We don’t know what became of many stories lost to time.
We may not know what happened to Shazam or Morbius,
But still we will preserve their tales, the Conquerors of Crime.
___________________________

MPA rating: PG-13

While I tend to favor Marvel movies much more than DC, I quite enjoyed the first Shazam! With teenage Billy Batson granted the powers and adult body of a hero, it was a gleeful example of wish fulfillment while tackling some poignant themes of family and belonging. So I was excited for the sequel, but apparently I was in the minority. Shazam! Fury of the Gods has been a regrettable flop in the face of James Gunn’s takeover of DC, with many citing the planned reboot of the DC universe as a reason to not care about films like this that are probably a mere dead end. It’s unfortunate because even if this sequel does fall short of its predecessor, it’s still an entertaining adventure.

Following the victory of Billy (Asher Angel) and his foster family of empowered kids in the first film, they have settled into an uneasy groove of half-successful heroics around Philadelphia. When two daughters of Atlas (Helen Mirren, Lucy Liu) steal the broken staff of the Wizard (Djimon Hounsou) who gifted Billy his powers, they invade Earth with plans to reclaim the power of the Greek gods and probably destroy our realm in the process.

Zachary Levi is too naturally likable to dislike in this role. Even if he acts more childlike than his character’s actual teen self and makes some annoyingly foolish mistakes, his charisma helps smooth out the disconnect. It’s nice to see older actresses like Mirren and Liu still get a chance to kick butt in movies like this, and Rachel Zegler as the love interest for Billy’s foster brother Freddy is a welcome addition to any cast. Along with its sense of humor, the action and effects are as good as ever with mythological beasts and super-powered beatdowns keeping my inner child happy.

Ultimately, there’s little I can say against the critics who point out the rote villain motivations or the blatant product placement or the literal deus ex machina ending. Those points are true, and the efforts at emotion aren’t as deeply felt as the first film, but I still think Shazam deserved a better reception.

Best line: (The Wizard) “Billy, anyone can be worthy, if given a chance. Now go fight for your family! Go fight for the world!”

Rank: List Runner-Up

© 2023 S.G. Liput
784 Followers and Counting

Matilda the Musical (2022)

19 Wednesday Apr 2023

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(Yes, I missed another day, but I’m back on the horse. For Day 18 of NaPoWriMo, the prompt was for an abecedarian poem that follows the alphabet. Considering this musical has its own alphabet-themed song, it seemed like a good match.)

Apparently, you shouldn’t
Be a
Cruel and callous
Devotee of over-
Eager punishment
For one
Good cause:
Humanity.
If everyone was
Just and
Kind and
Listened as they spoke their
Mind, then maybe
No one would
Opine the worst in
People, which they find. The
Qualms and quirks of
Roald Dahl exaggerate
Such sin and gall
To juxtapose the truly nice
Up against the common
Vice.
Would you prefer a genial and
Xenial largesse? Or
Yield to yet another yoke of
Zealous nastiness?
___________________________

MPA rating: PG

I feel blessed that, in the last few years, my awakening to a greater appreciation for musical theater has coincided with a surge in movie musicals. While 2021 had a glut of them, the more sparse 2022 ended with a long-awaited adaptation of Matilda the Musical, based on Roald Dahl’s classic book about a telekinetic girl pushing back on her abusive home and school life.

Alisha Weir plays the title character with a sweet, bookish earnestness to contrast her loud and self-absorbed parents (Stephen Graham, Andrea Riseborough). After years of self-learning, she is sent off to the infamous Crunchem Hall, where she catches the eye of both warmhearted Miss Honey (Lashana Lynch) and the tyrannical headmistress Agatha Trunchbull (Emma Thompson, acting through a masculine fat suit).

I vaguely remember the 1996 movie adaptation with Mara Wilson and Danny DeVito, but it’s been long enough that I was able to enjoy this version without worrying about comparisons to the other. Of course, this one is enlivened by musical numbers, which are a sure improvement in my book. The music and lyrics by Tim Minchin are a good match for Dahl’s cartoonish reality, presented here by swinging wildly between gaudy, energetic highs and oppressively bleak lows. Matilda’s playful solo “Naughty” is a perfect summation of her character looking for small ways to rebel against the unkindness around her, while the detached number “When I Grow Up” manages to be both buoyant for young viewers and wistfully nostalgic for their elders. While the clever alphabetics of “School Song” are an early highlight for the school-size ensemble of child singers, the real standout is near the end with the showstopping “Revolting Children,” which deservingly went viral with its exuberant choreography and earworm tune.

Yet for all its good points, Matilda falls short of being one of my new favorite musicals, for reasons I can’t quite pin down. Thompson as the villainous Trunchbull is over-the-top in her abusive villainy, with so-so songs and an underwhelming exit, though much of that is baked into the character from Dahl’s book. While I enjoyed the musical numbers, even the smaller ones like Miss Honey’s emotional “My House” which showcases Lynch’s acting talent, only “Revolting Children” stood out after the credits rolled. But I suppose the main drawback is that Dahl’s style of storytelling lends itself to an abundance of obnoxiousness for the hero or heroine to overcome, and the obnoxiousness of Matilda’s parents and Miss Trunchbull is more grating than entertaining.

Maybe time will improve my opinion, and maybe I would feel different seeing this as a kid since the story is clearly aimed at children, such as the imaginative tale Matilda spins about circus performers (which does at least tie in nicely to the plot, unlike, say, the storytelling in The Breadwinner). Even if it’s not quite up there with the best, Matilda the Musical is full of magical charm and clearly a quality production with lots of passion and talent behind it. Now I think I’ll go watch “Revolting Children” for the twentieth time.

Rank: List Runner-Up

© 2023 S.G. Liput
784 Followers and Counting

Nightbooks (2021)

12 Wednesday Apr 2023

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(For Day 12 of NaPoWriMo, the prompt was to write a poem that addresses itself, so I drew a comparison between my own writing deadlines and the more life-threatening deadlines of this film’s protagonist, perhaps like a spell that might help him.)

Lines of mine, lines of mine,
Tell me why you take your time.
You know the deadline’s coming fast,
And they’re expecting something good.

Stubborn words, on my nerves,
Tell me what this poem deserves.
Can’t you feel the restless readers
Breathing down my livelihood?

I beseech the powers of speech;
Bring the verse within my reach.
Page and ink, don’t you think
I’d write less tritely if I could?

Rhymes of fire, climb, inspire,
Share the lyrics I require.
Don’t you care the curse will come
If we don’t feed them like we should?
______________________

MPA rating:  PG (due to some rather intense scares for a kids movie)

While I acknowledge the likes of Coraline, Gremlins, and Goosebumps, it does feel like kid-friendly horror movies are few and far between, so I appreciate when a new one comes along. Based on a J. A. White book, Nightbooks makes writer’s block more of a nightmare than it already is. After fleeing his home one night, young horror enthusiast Alex Mosher (Winslow Fegley) is lured inside a magical apartment building controlled by the heartless witch Natacha (Krysten Ritter), who insists he read her a new scary story every night. Trapped within this enchanted prison, Alex and his fellow hostage Yasmin (Lidya Jewett) must find a way to outsmart their captor and escape.

Nightbooks has a great Scheherazade-style setup, with a would-be horror writer being forced to come up with new stories or face dire consequences. Krysten Ritter as the witch is a perfect adversary for this kind of movie. She’s capricious and hammy with her persona but can quickly become sadistic and threatening if displeased, and her magical unpredictability adds a lot to the sense of dread even when she’s not on screen. Fegley and Jewett are further proof that child actors are no longer the stuff of automatic mockery, and Fegley’s Alex will especially appeal to kids who struggle to embrace their niche interests.

With its fairy tale qualities hearkening back to witch stories like Hansel and Gretel, Nightbooks has a good chance at becoming a Halloween staple for those who seek it out on Netflix. The individual creepy tales Alex reads to Natacha are the stuff of cheesy campfire frights, but the scares can actually get rather intense at times, like during a side quest with skull-faced, blade-wielding insects that attack Natacha’s garden. And it doesn’t hurt that the film and Alex have a fondness for The Lost Boys, even ending with a fantastic cover of “Cry Little Sister” by CHVRCHES. For aspiring young writers especially, Nightbooks is an ideal spooky watch.

Best line: (Yasmin) “Weird? Who called you that? Well, they’re right. You are weird. I mean, look at you. The thing that makes you weird makes them ordinary, and nobody likes to be ordinary because ordinary sucks. So ordinary people are going to try and take that away from you by calling you names like… try-hard or…”  (Alex) “Or creepshow.”

Rank: List Runner-Up

© 2023 S.G. Liput
784 Followers and Counting

The Sea Beast (2022)

10 Monday Apr 2023

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

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(For Day 10 of NaPoWriMo, the prompt was for a sea shanty, a form I’ve had fun with before. This film seemed like an ideal match, considering it features its own tavern shanty praising its legendary sea captain.)

When out on the waters, be wary, my lad.
Don’t rest on the other adventures you’ve had.
You’re only a squatter; you’re just a nomad,
Compared with the creatures who call the sea home.

Enjoy the wide ocean, her salty sweet kiss,
And balk at the notion there’s land that you miss,
But don’t let devotion declaw the abyss.
It’s waiting to claim all ye sailors who roam.

So empty your flagons, and I’ll empty mine.
Go board your sea wagons, your ships of the line.
You know there be dragons somewhere in the brine,
But that’s where the fun is, out there on the foam.
________________________

MPA rating: PG

I am all for more animation studios throwing their hats in the ring alongside Disney, Pixar, DreamWorks, and Illumination, and luckily Netflix is willing to support such independent efforts. If the absence of more Pirates of the Caribbean has left you wanting for swashbuckling action, The Sea Beast aims to scratch that itch. Set in a world in which high-seas hunters pursue giant ocean monsters, the film follows brave hero Jacob Holland (Karl Urban) as he tries to help his vengeful Captain Crow (Jared Harris) to track down and kill the fabled Red Bluster, while also dealing with a precocious stowaway named Maisie (Zaris-Angel Hator).

The first half of The Sea Beast is a thrilling joy. The battles against aquatic behemoths are stunningly animated, recalling the similar fight against the Kraken in Dead Man’s Chest, and their size and menace could effectively trigger some latent thalassophobia. The characterizations of Jacob and his adopted father figure Crow are well-written and engaging, while Maisie is a spunky addition to the crew and a perfect stand-in for kid viewers. It seemed to be a refreshingly fun adventure, and though I wouldn’t say it goes off the rails, the second half weighed the film down with a message far too similar to How to Train Your Dragon, revising the initial conflict to tell us most of the monsters are merely misunderstood. Though the film has some perceptive lessons about even heroes being in the wrong, as well as the danger of history being written with an agenda, I can’t help but wish that the plot had remained a straightforward man-vs-nature adventure.

The Sea Beast may have been overshadowed by the likes of Puss in Boots and Pinocchio, but it deserved its Oscar nomination for Best Animated Feature. Despite the familiarity of many plot elements, it excels in seafaring derring-do and the charisma of its lead characters, so I look forward to what other adventures might await in a sequel.

Best line: (Jacob, of his fallen hunter predecessors) “Aye, they were heroes. But you can be a hero and still be wrong.”

Rank: List Runner-Up

© 2023 S.G. Liput
784 Followers and Counting

Dungeons & Dragons: Honor Among Thieves (2023)

04 Tuesday Apr 2023

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

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(For Day 3 of NaPoWriMo, the prompt was to write opposite lines for a short poem, but I did the opposite and went off-prompt today. A little late, but I’m keeping up.)

In 1981, a nerd was playing with his friends
A tabletop role-playing game the nerd alone defends.
He said to them, while glowing after conquering a foe,
“It’s such a shame the other kids don’t care or want to know
How cool this game and world can be, the quests and fun campaigns.
It’s luck and skill and fantasy colliding in our brains.
They could make it a movie, and stories – they have plenty.”
“Yeah, that’ll be the day,” scoffed Matt, ere rolling a Nat 20.
But as the years went by, the province once reserved for nerds
Expanded to the everyman, I’d say a good two-thirds.
And as the world in comic books and wizards was immersed,
The nerds all wore a smile, knowing they had loved it first.
____________________________________

MPA rating:  PG-13

I will just say up front that I have very little prior knowledge of the Dungeons & Dragons brand. Most of what I know comes from Stranger Things, Big Bang Theory, and random snippets of Critical Role, but while I’ve never played the game, I do love fantasy, as my passion for Lord of the Rings will attest. Based on the trailer, I had high hopes for Dungeons & Dragons: Honor Among Thieves, which is why I am thrilled that it both met and exceeded those expectations. This D&D movie is an absolute blast, an action-packed crowdpleaser that knows its world and how to use it effectively.

One thing I do know about D&D is that characters fall into certain archetypes and skills, which is the case for the winning ensemble in the movie. We have bard Edgin Darvis (Chris Pine), who comes up with plans and backup plans; barbarian Holga Kilgore (Michelle Rodriguez), Edgin’s right-hand muscle; two-bit sorcerer Simon Aumar (Justice Smith); shape-shifting druid Doric (Sophia Lillis); paladin Xenk Yendar (Regé-Jean Page), and rogue Forge Fitzwilliam (Hugh Grant). The core members of the party are Edgin and Holga, who are betrayed during a heist gone wrong and are unable to return to Edgin’s teenage daughter Kira (Chloe Coleman). By the time they get out of prison, they find they must rescue her from a treasure-filled castle and an evil necromancer, leading them to recruit all the help they can get.

The common comparison for the film’s band of misfits becoming a found family is Guardians of the Galaxy, and it’s a valid one, considering its diverse cast, quippy humor, and penchant for heists and escapes. Yet I dare say D&D is even more fun, perhaps because its brand of comedy appealed to me more, like a hilarious sequence of asking questions with a series of reanimated corpses. The actors deserve a lot of credit as well. Pine is a reliably likable leader, and I liked his camaraderie with Rodriguez without any romantic tension needing to be interjected. Grant is amusingly unctuous as a conniving politician, while Page serves as a great foil for the others, stepping in for one side quest and playing the whole mythic hero role completely straight-faced.

Beyond that, I was giddy with the number of fantasy elements used in inventive ways, from a portal-gun staff to a gravity reversal spell to a menagerie of fantastical creatures, all brought to life with outstanding effects. One stand-out scene had Lillis’s shapeshifter repeatedly changing into various animals as she flees a castle in one long and thrilling tracking shot, while another involves an actual dragon in a dungeon with a set piece of jaw-dropping scale. A stadium sequence with the main party dodging creatures within a maze brought to mind the coliseum battle from Attack of the Clones, one of my favorite Star Wars scenes that is also marvelous here. It also boasts some amazing scenery reminiscent of Middle-earth, though this is apparently set in a campaign setting called the Forgotten Realms.

Of course, it’s not above criticism, the easiest being that the plot may seem overstuffed with characters and incidents, as if the filmmakers had trouble parting with their favorite scenes. But honestly, I wouldn’t cut anything either. One tangent seeking out an enchanted helmet ultimately adds little to the plot, but it serves an important role for Simon’s growth as a character and a magician. It’s actually shocking how smoothly the various settings and action scenes flow and all the characters are balanced, each getting a moment to shine, whether a joke or a cool scuffle or an emotional beat. And while the film is loaded with lore and exposition, the fantasy names it tosses around only give the indication that this world is larger than this one film shows and hardly bog down the fun and momentum of the story. A roll of the dice that certainly paid off, Dungeons & Dragons: Honor Among Thieves feels like the return of wildly entertaining fantasy epics, a la Pirates of the Caribbean, a light-hearted affair with good-hearted rogues and a world begging for a franchise. If subsequent chapters are anything like this one, I’m all in.

Best line: (Forge Fitzwilliam) “I don’t want to see you die. Which is why I’m gonna leave the room.”

Rank: Top 100-Worthy

© 2023 S.G. Liput
784 Followers and Counting