Tag Archives: Fantasy

Mary and the Witch’s Flower (2017)

21 Thursday Feb 2019

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In the deep glades of the forest
Where we humans rarely dare
Grows a flower raised on rumor
No one really thinks is there.

In this flower dwells a power,
Magic purely legend-born,
Waiting for some wanderer
To chance upon this plant forlorn.

When this power leaves its petals,
Gift for better or for worse,
Its new owner must decide
If it’s a blessing or a curse.
__________________

MPAA rating: PG

I know I was not the only person to be bitterly disappointed when Studio Ghibli announced its hiatus, which has since been reversed with Hayao Miyazaki again coming out of retirement for one more film. Even if that last film really is their last, though, there is hope yet that its imaginative spirit will live on in Studio Ponoc, a new animation studio founded by former members of Ghibli. Carrying on the legacy, Hiromasa Yonebayashi, previously director of Ghibli’s The Secret World of Arrietty and When Marnie Was There, brings much of the old Miyazaki-style magic to Studio Ponoc’s first feature, Mary and the Witch’s Flower.

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Based off a 1971 children’s book called The Little Broomstick by Mary Stewart, Mary and the Witch’s Flower follows a young British girl who discovers a mysterious flower in the woods, which grants her temporary magical powers and allows her to visit the prestigious Endor College for witches, where the magical faculty are up to no good. Beyond the very similar art style, the film draws enormous inspiration from the catalog of Studio Ghibli, as any fan of Kiki’s Delivery Service, Castle in the Sky, Spirited Away, or Howl’s Moving Castle will easily tell. It’s not just the plucky young heroine either; individual scenes are clearly echoed as well, from broomstick-riding with a black cat to climbing up the roots of a giant tree. Yet for everything it borrows, Mary and the Witch’s Flower also feels of a piece with those classics, like a respectful grandchild.

Speaking of which, there’s something refreshing about the difference between this kind of Ghibli fare and western animation. Whereas most western cartoons paint adults as either jerks or fools, the Japanese esteem for elders shines through in the respect Mary shows her grandmother. This reflects the overall gentleness of the story, again another Ghibli trait. Despite an adventurous plot involving high-flying brooms and animal experimentation, Mary lacks depth and sometimes comes off a tad too genteel, in a way with which not all adults will connect.

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Gorgeously animated, Mary and the Witch’s Flower is too derivative to compare with Ghibli at its best, but it’s a lovely film nonetheless, with enough affectionate detail and colorful whimsy to satisfy fans of the films it emulates. No doubt kids who grow up watching this movie will feel the same way about it years from now that many feel about Kiki or Arrietty. It’s certainly a sign of promise for Studio Ponoc’s future.

 

Rank: List Runner-Up

 

© 2019 S.G. Liput
607 Followers and Counting

 

2018 Blindspot Pick #12: Pan’s Labyrinth (2006)

02 Saturday Feb 2019

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The world can be cruel and compromising,
Goodness crumbling, evil rising.
Such a fact isn’t at all surprising;
Simply look around to see.

But harder to view is where the fantastic,
Magic subtle and not bombastic,
Turns the desolate and the drastic
Into beauty’s final fee.

And when the fee is finally paid,
The horrors that happen when humans degrade
Are quickly forgotten, and when they fade,
We welcome sweet reality.
______________________

MPAA rating: R (mainly for violence)

Sorry for the longer-than-expected hiatus lately. I’ve been in the midst of the busiest time of my class project, and just graduated from the program, so now I’m job hunting but also have a little more extra time to post again. I hate that my 2018 Blindspots have run so late into 2019, but I just have this one last review to finish off what I began a year ago! So before I announce the Blindspots for 2019, it’s time to cover Pan’s Labyrinth, Guillermo del Toro’s acclaimed Spanish fantasy.

I didn’t realize when I picked them, but my 2018 Blindspots have introduced me to some directors that I only knew by reputation. I’d never seen a Charlie Kaufman-written movie before Eternal Sunshine of the Spotless Mind, and I’d only seen one other Billy Wilder film before Some Like It Hot. Surprisingly, I’d also never seen a Guillermo del Toro-directed movie either, so Pan’s Labyrinth was like a fresh initiation into the Oscar-winning director’s style. And what a style! Pan’s Labyrinth is as skillfully directed a film as I’ve ever seen, and it’s mind-boggling to me that del Toro wasn’t nominated for a directing Oscar that year, though it did win deservingly for Cinematography, Production Design, and Makeup. The movements of the camera, often changing scenes as it passes behind an object, lends the film a lucid fairy tale quality, despite the contrast of its more true-to-life content.

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The storyline is also engaging, split between the realistic and the magical. Young Ofelia (Ivana Baquero) is taken by her pregnant mother (Ariadna Gil) to a military base in the woods in 1944 Francoist Spain. There, Ofelia’s merciless new stepfather, Captain Vidal (Sergi López) is hunting down armed rebels and eagerly waiting like Henry VIII for his wife to bear him a son. Meanwhile, Ofelia discovers a mysterious faun (Doug Jones) in a nearby labyrinth, who gives her three tasks in order to supposedly claim her rightful place as princess of the underworld.

At times, the juxtaposition of truth and myth don’t quite mix. When rebels are fighting and dying on the battlefield, it’s a bit hard to care about Ofelia’s forays into fantasy, which may or may not be real themselves. Yet these fantasy sections remain the most memorable, offering the film’s most lasting creature creations, and even these flights of imagination remain somewhat grounded in life-and-death stakes, harkening back to the grimness of the original fairy tales. You know it’s a fantasy when there are giant toads and transforming fairies; you know it’s a dark fantasy when a monster with eyes on its hands bites the heads off those fairies!

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Personally, I thought the film as a whole was much more graphic than it needed to be, whether it be some unflinchingly brutal battlefield violence or a firsthand look at how the Joker got his scars. Even so, Pan’s Labyrinth has craft to spare, particularly in its enchanting score and the ornate production design and makeup work of its fantasy elements, laudably brought to life with a bare minimum of CGI. The ending is especially moving, combining the climax of its real-life and fantasy stories into a bittersweet conclusion that artfully leaves its interpretation up to the viewer. It left me haunted in a way great cinema should, and even if not everything melded perfectly, Pan’s Labyrinth proved to be a very worthwhile Blindspot pick.

Best line:  (Captain Vidal) “You could have obeyed me!”   (Doctor) “But Captain, to obey – just like that – for obedience’s sake… without questioning… That’s something only people like you do.”

 

Rank: List Runner-Up

 

© 2018 S.G. Liput
601 Followers and Counting

 

Maquia: When the Promised Flower Blooms (2018)

28 Friday Dec 2018

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Mother of mine,
What a trial you bore
When I, in my infancy, cried more and more!

Mother of mine,
How obliviously
Did I take for granted your keeping of me!

Mother of mine,
What a fool you held near,
No thought for a thank you, no room to revere!

Mother of mine,
How ungrateful was I
When I was at last old enough to defy!

Mother of mine,
What regret I now feel
For waiting so long for my thanks to be real,
That love all too often I tried to conceal,
That raising me had to be such an ordeal.

Mother of mine,
How I wish you to know
The love that I should have returned long ago!
_____________________

MPAA rating: Not Rated (should be PG-13 for some violence and mature themes, though nothing too explicit)

From early in 2018, I thought that Mirai would surely be the anime film of the year, but no, it’s not. That title goes to Maquia: When the Promised Flower Blooms, a film I had no idea had already come out until I heard about it from Rachel of Reviewing All 56 Disney Animated Films and More! The description alone had me desperate to see it: a high fantasy tale of an immortal girl adopting a human baby. I tried to avoid spoilers at all cost, but everything I read about this cross between Lord of the Rings and The Age of Adaline, including its growing reputation as an all-out tearjerker, only heightened my excitement. With its 100% on Rotten Tomatoes, it looked like a film I was destined to love.

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Finally, I got to see it, and though my expectations were high, Maquia met them. This may be writer/director Mari Okada’s debut film, but her first movie is a humdinger in both its emotional impact and its fantasy world-building. The titular Maquia is an orphan of the lorph clan, a small race of people who live for centuries with no aging and record their lives and histories by weaving cloth called Hibiol. A neighboring kingdom invades, taking most of the lorph captive, but Maquia escapes in despair, only to stumble upon an orphaned baby boy she names Ariel. Although she is alone, knows nothing of motherhood, and was expressly warned never to love a mortal lest she endure true loneliness, Maquia raises the child as her own, and…sniff… you’ll just have to watch it for yourself.

Anime has some amazing mothers to its credit, from Hana in Wolf Children to the mom in the tenth episode of Violet Evergarden (another tearjerker of 2018), but there’s something special about Maquia. She shares no blood or background with Ariel, not even fully understanding the physical realities of motherhood, and yet in her efforts to be a good mother, she shines as few parents do in any medium. She struggles with the task, especially as Ariel grows older while she remains the same, becoming a constant reminder that he was adopted, but she takes to heart the lessons taught by others that moms will do anything for their children and that “moms don’t cry.”

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As much as I wish I could call it a faultless film, Maquia is not without some weaknesses. There’s an extended subplot concerning two of Maquia’s lorph friends, whose paths in life are far more oppressive than hers; enduring rape and imprisonment, they serve as a contrast to the love that Maquia finds, and while their struggles remained interesting and sympathetic, I wouldn’t say they were resolved in an entirely satisfying way. Plus, one jump in time left me unsure what was going on, dropping some uncomfortable implications and keeping its full context vague.

Despite these gripes, Maquia is a beautiful film on multiple levels, from its tender moments to its exceptional animation to its affecting soundtrack. Its rich fantasy world of warring nations and dying dragons offers several striking settings reminiscent of Middle-Earth, and its themes of love and parenthood go straight to the heart, demonstrating how children can have just as much of an impact on their parents as the other way around. Plus, there’s hardly any of the stylistic exaggeration typical of anime, making it a film that fantasy lovers who may not be into anime should be able to enjoy as well.

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I don’t cry easily these days. Only two anime have left me sobbing before, and Maquia makes it three. I’ve mentioned that some sad films like The Wind Rises seem to almost pull back from full-on tearjerker mode for whatever reason; Maquia does not. I wept bitterly, though for different reasons than something like Grave of the Fireflies. There’s a scene at the end that mercilessly kicks your heartstrings while kissing them tenderly, and it still haunts me. I said yesterday that Mirai made me want to hug my mom; Maquia did the same times eleven. That’s why, for me, this is the anime of the year. The film itself represents its theme of pain being an integral part of love, a bitterness made sweet by all that came before.

 

Rank: List-Worthy

 

© 2018 S.G. Liput
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Mirai (2018)

27 Thursday Dec 2018

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When a child asks, quizzically,
“Where did I come from?”
Who knows what the most fitting answer may be?
The truth of it, physically,
May create someone,
But ‘tis but a branch of the whole family tree.

For what you’re aware of,
Your path and your parents,
Are products of precursors we’ll never know,
Dependent on their love,
Their choice and forbearance,
The roots they put down that their children may grow.
_____________________

MPAA rating:  PG

Back when I reviewed Netflix’s Flavors of Youth, I mentioned there were two new anime films I was dying to see before the end of the year, and now that I have, I also wanted to squeeze in a review for each of them. Thus, I’ll do one today and one tomorrow, starting with the one I’ve been expecting longer.

I’ve enjoyed the works of anime director Mamoru Hosoda for years (The Girl Who Leapt through Time and Wolf Children are still in my top 365 Movie List), and Mirai was one of my most anticipated movies this year. With every new feature, Hosoda has carved out a niche for animation fans, putting his own stamp on imaginative half-Ghibli-like fantasies mixed with real-world drama. In Mirai, his latest acclaimed feature, he does the same with a highly minimalist plot and a younger-than-normal protagonist.

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At its core, Mirai’s story is deceptively simple, that of a four-year-old boy named Kun accepting the presence of his newborn sister Mirai (which also means “future”). Yet the lessons he learns about jealousy, relationships, and family have surprising depth and are often taught through extended visual metaphors. I was a little surprised that any explanation for the time travel aspect was basically an afterthought. Thanks to the dad, the family’s house is an architectural curiosity with three levels, one of which is roofless with an interior yard, and anytime Kun passes the family tree, it’s as if his imagination conjures up another realm.

Sometimes, it’s the family dog transformed into a grouchy human, or his teenage sister arriving from the future, or his great-grandfather showing him how to ride a bike, and certain moments of the fantastical affecting the real world make you wonder whether it’s all in Kun’s head or not. These elements are a tad random and he sometimes tends to relearn the same lesson over again (be more patient with your parents/sister, for instance), but there’s an ingenious visual nuance to how Kun learns about his family and factoring his new role as a big brother into his identity.

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I said earlier that Hosoda excels at mixing the magical with the mundane, but it doesn’t work quite as well here as it did with, say, Wolf Children. Some of the transitions between real life and fantasy were rather weird for my taste, and I would have liked a definitive answer of what was actually going on beyond “it’s a visual metaphor.” To be honest, I found myself more interested in the day-to-day activities and struggles of Kun and Mirai’s parents. Let’s face it: Whiny kids can be annoying, especially kids in anime, so I felt more of a connection with the harried father and the long-suffering mother than with the often bratty Kun.

There’s a lot to love about Mirai, not least of which is the beautiful hand-drawn animation. (One scene in a train station is breathtaking in the amount of detail and motion on display.) Plus, it’s funny and relatable on multiple levels. I especially admired how many of the individual stories were brought together near the end to show Kun how a complex web of lives and choices combined to give him the life he had. It was profound and visually striking and helped make up for some of the plot’s earlier weaknesses.

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It’s worth noting that Mirai surprisingly received a nomination for Best Animated Feature at the Golden Globes this year, making it the first anime to be nominated. It’s certainly worthy and a sign of improvement in what gets recognized, but it irks me that they didn’t give that honor to even more deserving contenders in the past, like Your Name, Wolf Children, or A Silent Voice. But I digress…. Mirai may not be Hosoda’s best work, but it’s another laudable credit to his name. And it made me appreciate my parents a little more, so that I just had to give my mom a hug. Any film that gives me another reason to do that deserves praise.

 

Rank: List Runner-Up

 

© 2018 S.G. Liput
600 Followers and Counting!

 

The Christmas Chronicles (2018)

20 Thursday Dec 2018

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It was late Christmas Eve, and no sleeper was up.
The cookies were plated, warm milk in each cup.
The snow held a silence, which barely was broken
When Santa Claus came, thinking none had awoken.

He leapt from the sleigh with his sack close at hand,
Entrusting the reindeer to wait on demand,
And nimbly invaded each chimney and home
In a fashion not often depicted in poem.

His task soon completed, rewarding the good,
Saint Nick headed off to the next neighborhood,
When high in the air with the reindeer full speed,
He felt a small tap, as of someone in need.

Well, Santa, unused to surprises, no doubt,
Spun round in his sleigh and began freaking out,
Which then made the reindeer do likewise ahead,
And what happened next should be watched and not read.
__________________________

MPAA rating: TV-PG

Imagine The Santa Clause, Adventures in Babysitting, and Gremlins all mashed together into a surprisingly enjoyable amalgamation of good-natured holiday spirit. If you can also imagine Kurt Russell as a slimmed-down Santa Claus, then you’ve got Netflix’s The Christmas Chronicles.

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Christmas movies have long speculated about how Santa does what he does, from The Santa Clause and The Polar Express to Elf and ‘Twas the Night, and The Christmas Chronicles is a welcome addition to such conjecture, with its magical portals and cute, fuzzy elves. As the poem above suggests, a bickering brother and sister (Judah Lewis and Darby Camp) sneak their way onto Santa’s sleigh, causing it to crash in Chicago, where they must help Santa Kurt retrieve his reindeer and sack in time to save Christmas.

Of all the movies I’ve name-dropped, the closest comparison is definitely Adventures in Babysitting, not only for the Chicago setting but for entire sections of the plot (captured by criminals, a marvelous musical number with almost the same bluesy guitar riff). However, it manages to add charm to its more familiar elements, thanks in large part to Kurt Russell, who will surely go down as one of the great Santa depictions on film. Part of that is how non-traditional he is, often grousing over the false clichés about him spread through advertising (he’s not that fat apparently), yet there’s a winking warmth to him that never lets cynicism win out.

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It may not be the most original of Christmas films, but The Christmas Chronicles may well become a new holiday classic for family audiences. Netflix certainly seems to have had faith in it, commissioning four elf character balloons at the Macy’s Thanksgiving Day Parade this year to promote it. While the suggestion that no gifts equals no Christmas goes against the better lesson of Dr. Seuss’s Grinch, The Christmas Chronicles is an entertaining jaunt of heart-warming humor from start to smile-worthy finish, which any fan of Adventures in Babysitting or The Santa Clause is likely to enjoy this Christmas (and many more to come).

Best line:  (Teddy) “Can’t you just wave your hand, and, like, Jedi mind-trick the cops?”   (Santa) “I’m Santa Claus, Teddy, not Yoda.”

 

Rank: List Runner-Up

 

© 2018 S.G. Liput
599 Followers and Counting

 

2018 Blindspot Pick #10: Into the Forest of Fireflies’ Light (2011)

20 Tuesday Nov 2018

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When the forest’s green carpet was dappled with light,
The trees standing stolid in blithe oversight,
I cried, a mere child, alone on my knees,
And lost with no help from the untroubled trees.

I don’t know how long I stayed, venting vain tears,
For he found me, as when a rainbow appears,
And though I perhaps should have harbored unease,
I beamed at the man, standing masked among trees.

I tried to embrace him, but he dodged the act
And said he would vanish from human contact,
For spirits like him are too fragile to squeeze,
And so we stood separate, surrounded by trees.

I doubted his words, yet I welcomed his care,
As he led us back homeward, a curious pair.
And though he said not to, tomorrow the breeze
Will lead me back to him, a ghost among trees.
______________________

MPAA rating: Not Rated (easily a G as far as content)

Blindspot picks are supposed to be films that one has been meaning to see for a long time and hasn’t gotten around to it. Into the Forest of Fireflies’ Light (or Hotarubi no Mori e) certainly fits that definition for me. It has long been included in other people’s lists of favorite anime, typically alongside Studio Ghibli films, and I couldn’t put it off anymore. I was even proud that I had been able to avoid spoiling the ending, and now that I’ve seen it… I don’t want to say I’m disappointed, just that I thought there would be more to it.

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I should have known not to expect too much, based on positive reviews noting its simplicity, and indeed that simplicity is one of its key strengths. The story follows the relationship of a girl named Hotaru who, while lost in a forest at six years old, meets a young man in a mask. Though he insists that no human should touch him, lest he disappear forever, she continues to visit him, and the two become close friends. Despite the invisible barrier of physical contact, they even begin to love each other, as the girl grows older, returning to the spirit forest year after year.

That’s as much as I knew going in, and while there’s a bittersweet payoff that admittedly does hit the emotions hard, that’s pretty much the whole story. There aren’t any subplots and not many extra characters, and frankly the tale didn’t need them. As seen in Makoto Shinkai’s works, such as The Garden of Words, anime films don’t necessarily have to be of feature length to realize their intended effect, and 44 minutes was just right for this one.

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I will say that it could have been very easy for the story to come off as creepy by nature. After all, a lost little girl meets a masked man in the woods, who hits her with a stick (when she tries to touch him). It might have been a hard sell just describing the plot like that, but instead it’s a sweet friendship/romance that might leave many a viewer brushing away tears. Perhaps its length kept it from hitting me hard enough for that, or perhaps I was just expecting too much, but Into the Forest of Fireflies’ Light still worked well as a mini-tearjerker with some lovely animation from the studio Brain’s Base, albeit nothing exceptional. With a few traces of Ghibli-esque whimsy, it’s a touching little fantasy for those looking for a tug on the ol’ heartstrings.

Best line: (Hotaru) “Time might separate us some day. But, even still, until then, let’s stay together.”

 

Rank: Honorable Mention

 

© 2018 S.G. Liput
594 Followers and Counting

 

A Monster Calls (2016)

29 Sunday Apr 2018

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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

 

Mojin: The Lost Legend (2015)

27 Friday Apr 2018

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(Today’s NaPoWriMo prompt was for a poem inspired by our choice of tarot cards, whether the image on it or the symbolism behind it. I went with the Moon, which has some personification and mentions imagination, light, and the unknown.)

 

Where we’ve wandered, none can trace,
For none now live who knew this place.
The darkness creeps from stone to stone
And makes us feel we’re not alone.
Then, from above, the moon appears,
Perhaps to soothe our growing fears.

She peers below through open cave
At we who thought ourselves so brave
And lends us light to glance about
In search of some departure route.
Yet what she shows us haunts our dreams,
And only she can hear our screams.
____________________

MPAA rating: Not Rated (PG-13 content, though the profanity in the subtitles can get strong)

At least one good thing came out of my watching the utter waste of time that was The Assassin: I saw a trailer for Mojin: The Lost Legend and was intrigued enough to seek out this rather fun Chinese adventure movie. Apparently based on a Chinese book series, this tale of three grave robbers may have its weaknesses, but it’s also evidence of the blockbuster action and visual merit that Chinese cinema has to offer.

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Hu Bayi (Chen Kun), his temperamental girlfriend Shirley (Shu Qi), and his reckless longtime friend Wang (Huang Bo) were all once Mojin, official treasure seekers and tomb raiders (Lara wasn’t available), but have since fallen into disgrace. Fed up with their washed-up lives in America, Wang is approached by a wealthy patron to locate an ancient Mongolian tomb. Compelled by a personal connection from his past, Wang accepts, dragging Hu Bayi and Shirley back into the dangerous business of booby traps, double-crossing villains, and supernatural(?) threats.

While the acting is all serviceable and sometimes quite good (the heroes are better than the villains), Mojin: The Lost Legend is most interesting as an example of how the Chinese do an Indiana Jones-style adventure. It takes a little while to get into tomb-raiding mode, but once it does, the pace stays brisk, and the set designs are impressive and elaborate, like the Moria of the Orient mixed with the Temple of Doom.  Anyone who enjoyed The Mummy or National Treasure should also find much to enjoy, from the playful banter to the horror elements of a particularly thrilling flashback to the way Chinese history and myth are used as clues and solutions along the way, not that I understood all of it.

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While it does mix a lot of aspects of adventure films I love, it is hard not to view those ingredients as copied or borrowed, even if there’s originality in how they are combined. Likewise, the special effects are one of the film’s strengths, yet there are moments that overuse slow motion and CGI to the point of being overblown and almost laughable, especially during the climax. Plus, the whole thing is a little too long for its own good. Yet it’s still a highly visual treasure hunt that even manages to work in some deeper emotions and themes of letting go of past tragedy. Flawed but fun, Mojin: The Lost Legend is an entertaining ride for those curious to see China’s take on their own National Treasure.

 

Rank: Honorable Mention

 

© 2018 S.G. Liput
565 Followers and Counting

 

Pirates of the Caribbean: Dead Men Tell No Tales (2017)

25 Wednesday Apr 2018

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(Today’s NaPoWriMo prompt was for a human warning label, so instead of one for myself, I wrote one for Captain Jack Sparrow.)

 

Caution:
Exposure to this individual
May well endanger your health.
Symptoms include a desire to say “Arrgh”
And insatiable cravings for wealth,
As well as impulses to slap and/or kill
And maybe a seafaring curse,
Which can cause vendettas and lusting for vengeance,
Resulting in death or much worse.

Alert your witch doctor if death should occur
Or unbridled hating of guts.
Always use “Captain” preceding his name.

Warning: May contain nuts.
___________________

MPAA rating: PG-13

Perhaps people didn’t expect much from what is now the fifth installment in the Pirates of the Caribbean franchise, since the series was already showing signs of fatigue with the fourth. On Stranger Tides remains my least favorite of the bunch because it lacks the three-way dynamic between Jack Sparrow, Will Turner, and Elizabeth Swann that made the original trilogy so enjoyable. Sure, Penelope Cruz adds some sexual tension with Jack, but it feels more like a spinoff than a genuine part of the series. Dead Men Tell No Tales, on the other hand, is thankfully a truer continuation; granted, it’s a paler, less original version of its predecessors but close enough still to feel of a piece with them.

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Orlando Bloom and Keira Knightley aren’t exactly back in action here, both instead offering cameos that must have been the easiest paychecks imaginable, but they’re still part of the story, with Will and Elizabeth’s son Henry (Brenton Thwaites) taking Will’s place as the earnest adventurer searching to free his father from the curse of the Flying Dutchman. In Elizabeth’s role, we get Kaya Scodelario as Carina Smyth, an educated woman (gasp!) whose smarts get her constantly accused of being a witch, which never seemed to be a problem for Elizabeth, but oh well. They’re at least better than Sam Claflin and his mermaid girlfriend(?).

And of course, Johnny Depp returns as Captain Jack Sparrow, whom most people seem to think is past his prime as a character. I could see why at first, since Depp does seem to sleepwalk through the first half, but, keeping in mind that Jack was largely hung over for that half, he grows back into the role and is back to his old self by the end. It’s Geoffrey Rush that offers especially strong support, with Barbossa actually getting a worthwhile character arc rather than being shoehorned in like with On Stranger Tides. As the latest antagonist with a grudge against Jack, Javier Bardem’s Captain Salazar may not have the best backstory (he hates pirates and was outsmarted by Jack; oh, and he’s cursed as a ghost…for some reason), but he still has great screen presence between Bardem’s intensity and some impressive floaty ghost effects. It’s never made clear why his curse was linked to Jack’s compass, though.

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I’ve seen quite a lot of negative reviews for Dead Men Tell No Tales, and indeed I haven’t been exactly glowing with this review either. It’s not nearly as good as the first three, and even the impressive effects aren’t quite as seamless as the past films, which is a little weird. Yet it still has all the ingredients that made the original films so much fun, in particular the visually awesome action and occasional cleverness, and even rights some of the more dubious creative choices of past movies, like bottling the Black Pearl in On Stranger Tides. Plus, Paul McCartney’s got a great unrecognizable cameo! And even with all the copycat characters and less-than-inspired plot points, it has a perfectly fitting end to the story begun fifteen years earlier. At least until the eyebrow-raising after-credits scene segues into a sixth movie. Yep, it’s gonna happen apparently, and I’ll be there once again to be entertained while hoping they don’t mess it up.

Best line: (Carina) “I’m not looking for trouble!”   (Captain Jack Sparrow) “What a horrible way to live.”

 

Rank: List-Worthy? (it’s really Runner-Up material, but it does continue the trilogy’s story and I usually group such series together)

 

© 2018 S.G. Liput
565 Followers and Counting

 

April and the Extraordinary World (2015)

22 Sunday Apr 2018

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

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(Today’s NaPoWriMo prompt was to write about how one of a list of impossible things could actually happen, so I thought of a certain highly imaginative film.)

 

“Pigs can’t fly,”
They said. “Of course,
And cats can’t join
The labor force.”

“Clocks can’t chime
Thirteen,” they vowed,
“Nor rewind time.
That’s not allowed.”

But some will hear
Such sober laws,
And ask with thought,
“Why not?” because

The present world
They recognize
Is changing more
Before their eyes.

If they dislike
Such rules, they dream
Worlds where clocks strike
Thirteen, where steam

Propels machines,
Where pigs can fly,
Where magic beans
Grow greens so high,

Where men can grow
Beyond their flaws.
Imagination
Knows no laws.
___________________

MPAA rating: PG

I love animation, and I love discovering hidden gems that remind me why I love animation. April and the Extraordinary World is a delightful case in point. At a time when the U.S. and Japan seem to rule the animation industry, it’s also an important reminder that Europe has no shortage of talent and is just as likely to churn out an instant classic for those willing to search for it.See the source imageA French-Belgian-Canadian co-production, April and the Extraordinary World is one of the most imaginative films I’ve seen in a while, broadly rewriting history to create a unique steampunk setting, one in which science and technology couldn’t develop beyond the Steam Age. Vegetation has been decimated by fuel needs, and the air is thick with industrial smoke, while the scientists that could improve things have vanished without a trace. After a fast-paced introduction in which everything is significant, we meet April Franklin (Marion Cotillard in the French version, Angela Galuppo in the English dub) and her brilliant family of fugitive scientists. Due to events best seen rather than described, April grows up alone with only her talking cat Darwin (a product of SCIENCE!), and her chemist’s quest for an immortality serum soon turns into a whirlwind adventure as the French government and a mysterious group with advanced technology vie for the scientific secrets of her family.

Animation allows its creators to fashion worlds limited only by their imagination, but most cartoons are content to imagine small. It’s usually Pixar or Ghibli that brings the medium to its full potential, but so does April and the Extraordinary World, which often feels like something one of those two powerhouses would have conceived. Where else are you going to see giant cable cars that run from Paris to Berlin or a helicopter plane escaping an underwater prison? The animation has the distinctive look of a European comic (apparently based on the work of French comic artist Jacques Tardi), and although it seems like it would take some getting used to, it actually flows quite nicely, with plenty of clever detail in the settings and backgrounds. It has strong characters to boot, from resourceful April herself to her quick-witted grandfather, though, as a cat lover, my favorite has to be the talking cat Darwin (Tony Hale in the dub, which also includes Paul Giamatti, J.K. Simmons, and Susan Sarandon).See the source imageWhile the imagination is impressive, I could still recognize prior influences for April, most notably 2004’s Steamboy, another steampunk adventure featuring a young protagonist caught in the middle of a scientific power struggle with a similarly explosive ending. Plus, it’s hard to avoid comparisons to Ghibli when there’s an actual house atop mechanized legs á la Howl’s Moving Castle or a polluted atmosphere contrasted with a clean underground biome á la Nausicaä. You might also pick up on traces of Atlas Shrugged and Tomorrowland, though the latter was released the same year as this film. Regardless, April and the Extraordinary World brings all these disparate elements together into a thrilling package that’s better than most of the films I just mentioned.

With a complex and fast-paced storyline and a number of off-screen deaths, it does feel more intelligent and mature than your typical American cartoon (not to mention the detail put into Darwin’s backside), but there’s nothing to make it un-kid-friendly either. By the surprisingly satisfying end, I was just happy to have stumbled upon such an underrated gem, one that no fan of animation should miss.

 

Rank: List-Worthy

 

© 2018 S.G. Liput
563 Followers and Counting