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Rhyme and Reason

~ Poetry Meets Film Reviews

Rhyme and Reason

Tag Archives: Sci-fi

Sky Captain and the World of Tomorrow (2004)

20 Sunday May 2018

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Tags

Action, Mystery, Romance, Sci-fi, Thriller

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The world of tomorrow was yesterday’s dream.
Today’s that tomorrow, or so it would seem.
Today’s not exactly what yesterday guessed,
But thinking dystopian, maybe that’s best.

Today has its own dreams of what’s on its way
But also thinks fondly about yesterday.
Today is a mess; maybe if we combine
Tomorrow and yesterday, all will be fine.
_________________

MPAA rating: PG

Some films are just unlike any other. The weird thing about Sky Captain and the World of Tomorrow is that it’s both utterly unique and yet reminiscent of many other movies before it and since. It’s an unusual blend of the futuristic and the retro, which offers the same kind of entertaining, if not particularly deep, gusto as a pulp magazine from 80+ years ago.

Of course, unlike those magazines or comics, Sky Captain puts its visuals in motion with a distinctly retro, sort of noir visual style, which most reminded me of those Superman cartoons from the 1930s. Shadows are at stark angles, the colors are muted almost to sepia and black-and-white, montages have semi-transparent scenes playing over each other, and many shots have a balanced composition resembling an old war poster. Added to all of this are special effects that, created in 2004, manage to be both well-visualized and just that slightly bit cheesy, minus the extra polish that they would have if made today. Yet the fact that nearly all of the actors’ surroundings are CGI is quite impressive and not immediately obvious. So many films these days end up looking like something else, even if it’s unintentional or trying to be somewhat different (think Pacific Rim vs. Transformers), yet it would take a lot of effort to make anything resembling Sky Captain’s visual flair.

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Sky Captain and the World of Tomorrow is a hodgepodge of genres and story elements from sources ranging from Indiana Jones to those same Superman cartoons I mentioned. Jude Law plays the titular Captain Joe Sullivan, whose tricked-out plane is called in to stop giant robots attacking New York City, while Gwyneth Paltrow is Polly Perkins, a Lois Lane-ish intrepid reporter seeking her next big story. Together, they investigate a worldwide conspiracy that is making famous scientists disappear as part of some unknown master plan by a man called Totenkopf (Laurence Olivier, or rather his likeness since he died in 1989).

Like I said, I was reminded of many films while watching this one, making me wonder why I hadn’t bothered to see it sooner. It’s hard not to think of Salah in Raiders of the Lost Ark when Joe and Polly rendezvous with an old friend to visit Shangri-La, and Sky Captain himself is like an airborne Indy, as his womanizing ways and bickering chemistry with Polly indicate. Yet I was even more stunned by the fact that I was reminded of films that came out after this one and must have drawn some inspiration from it. Angelina Jolie shows up as an old flame of Joe’s, but tell me she’s not a touchstone for Nick Fury when she wears an eyepatch and captains a helicarrier from a bridge that even resembles the one from The Avengers.

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More shocking still for me was how similar Sky Captain was to April and the Extraordinary World, a new favorite animated film I praised for its originality just last month. The story just holds too many parallels: a World War II-era setting with unusually advanced technology, famed scientists being mysteriously abducted, a jungle-set climax with a rocket that has more or less the exact same purpose in both films. I can’t say my opinion of April has diminished, but I must admit that it’s not quite as original as I thought. I suppose Sky Captain has absorbed my appreciation in that regard, even if I still like April more.

With my rambling on about uniqueness and originality, I don’t know if this review has made it clear or not, but I highly enjoyed Sky Captain and the World of Tomorrow. If you can buy into its stylistic distinctiveness, there’s plenty of high-flying, largely family-friendly adventure to be had from its genre blending. As the first film to be (almost) completely shot on blue screen, Sky Captain was clearly a labor of love for director Kerry Conran and remains his only feature film. It is indeed something of a novelty item, as many reviews have called it, but it’s still quite an entertaining one.

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Best line: (I’d rather not say since it gives away a major plot point.)

Rank: List-Worthy (tied with April and the Extraordinary World)

 

© 2018 S.G. Liput
573 Followers and Counting

 

Avengers: Infinity War (2018)

06 Sunday May 2018

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Tags

Action, Drama, Sci-fi, Superhero, Thriller

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

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

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

MPAA rating: PG-13

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

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

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

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

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

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

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

 

Rank: List-Worthy

 

© 2018 S.G. Liput
567 Followers and Counting

 

April and the Extraordinary World (2015)

22 Sunday Apr 2018

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

≈ 5 Comments

Tags

Action, Animation, Family, Fantasy, Foreign, Mystery, Sci-fi

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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

 

 

Ready Player One (2018)

21 Saturday Apr 2018

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

≈ 2 Comments

Tags

Action, Drama, Mystery, Romance, Sci-fi, Thriller

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(Today’s NaPoWriMo prompt was for a poem inspired by the myth of Narcissus, who loved his reflection so much that he turned into a flower. Ah, those crazy Greeks…. This is an example of what I love about NaPoWriMo, because an ordinary poem of mine for this movie would have been quite different.)

 

I am the mirror that captured Narcissus,
A pool that reduced him to frailty and pride.
I am the mirror that heard the queen’s hisses
When told that Snow White was the more glorified.

I am the mirror no longer a mirror,
Tranformed over time to expand my appeal.
The more I’m admired by people, the dearer
I am to their lives, making all else unreal.

A whole generation and those in their wake
I’ve snared in a world they create to comply,
A mirror to show the world them for their sake,
Allured and immured by the power of “i”.

I’m praised for convenience, for freedom, for fun,
A magnet for eyes lest their view be too wide.
It’s up to the viewer what evil I’ve done;
I’m merely the mirror for frailty and pride.
___________________

MPAA rating: PG-13

There have been four movies I’ve seen so far in 2018 that I’ve genuinely loved, which, since it’s only April, is one a month (not bad). And it thrills me to no end that one of them is the film I declared my #1 movie that I hoped would be good. Steven Spielberg’s adaptation of Ready Player One didn’t blow my expectations away, like Train to Busan or The Greatest Showman, but I went in wanting to love it and found plenty of reasons to do just that.

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As someone who enjoyed Ernest Cline’s novel immensely, I can confirm that the film diverges quite a bit from its source material. Yet, unlike other decent but disappointing adaptations (Eragon, Inkheart), Ready Player One the film still adheres to the spirit of its source, and the fact that Cline himself cowrote the screenplay assuages my concerns about the many plot aberrations. Even so, the core story is intact: a massive multiplayer scavenger hunt through the virtual world known as the OASIS, a world and hunt created by dead eccentric James Halliday (Mark Rylance, who plays his social anxiety a bit too wooden). The entire world is in search of Halliday’s hidden Easter egg, which grants ownership of the OASIS to the winner, but no progress is made until Halliday fan Wade Watts (Tye Sheridan) earns the first of three keys, making him a target for the evil, power-hungry IOI corporation (led by an accent-less Ben Mendelsohn).

All that is straight out of the book, but in the leap from page to screen, changes are inevitable. If you’ve read the book, your enjoyment of the movie just might depend on how much such changes bother you. My VC, for example, enjoyed the film but harbored reservations about the rampant alterations of its second half. (She said, if she hadn’t read it first, she’d outright love the movie.) Yet, I think many of the changes work in the film’s favor. True, the book is better, but there are many parts of it that wouldn’t transfer well to the screen, such as the months that go by between breakthroughs or the important plot advances that consist of beating literal arcade games. Turning one of these challenges into a demolition derby race, for example, makes it far more exciting cinematically, while changing Halliday’s much-studied journals into a gallery of virtual records makes Wade’s research more visual. Also, the replacement of certain pop culture references with others is likely the result of copyright compromises and the filmmakers’ desire to play with particular “toys.”

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And boy, do they lay on the pop culture references, 90% of which swirl by far too quickly to fully appreciate. Yet the recognition that comes in those moments is an unparalleled thrill for nerds like me. Where else are you going to see the time-traveling DeLorean race the bike from Akira or Overwatch’s Tracer charging into battle with the Iron Giant? The cameos also vary depending on the viewer’s personal tastes; a friend of mine recognized a Lancer weapon from Gears of War, I geeked out at the site of the roulette wheel space station from Cowboy Bebop, while my VC chuckled at an incantation from Excalibur, all references that one of us “got” and the others didn’t. Thanks to the CGI mastery on display, there were several (likely entirely animated) sequences where I just sat there with a goofy grin on my face in a little place called geek heaven.

Except for the idea of not liking any changes in general, I can understand many of the complaints I’ve heard about what is essentially an alternate version of the Ready Player One story readers knew. Some of the rules of the OASIS are glossed over, potentially leaving questions for unfamiliar viewers. The characters aren’t nearly as developed as their counterparts on paper, lacking defined character arcs, and there’s little attention paid to the problems of this dystopian world outside its virtual refuge. The romance might be too rushed and convenient, the avatar of Wade’s friend Aech looks nothing like I imagined from the book, the very long runtime is felt by the end, and they should have included WarGames, dang it! It’s true; Ready Player One is not a perfect film, but I’ve rarely been better entertained in true Spielberg blockbuster fashion.

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It’s really quite simple: I am Ready Player One’s target audience. I’m the nerd who revels in shared geekery, while appreciating half-realized lessons about the value of a life outside of technological obsession. I think that, drawing its inspiration from a great book, this Ready Player One is a great movie, boasting a visual awesomeness that puts most movie spectacles to shame.

Best line:  (Halliday, echoing Groucho Marx) “I created the OASIS because I never felt at home in the real world. I just didn’t know how to connect with people there. I was afraid for all my life, right up until the day I knew my life was ending. And that was when I realized that as terrifying and painful as reality can be, it’s also… the only place that you can get a decent meal. Because, reality… is real.”

 

Rank: List-Worthy

 

© 2018 S.G. Liput
563 Followers and Counting

 

The Darkest Hour (2011)

18 Wednesday Apr 2018

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

≈ 4 Comments

Tags

Horror, Sci-fi, Thriller

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(Today’s NaPoWriMo prompt was to write a poem in reverse based on another, but, going out of town today, I’m afraid I don’t have enough time to do that idea justice, so here’s an off-prompt one.)

 

We hope we’re alone in the universe,
We hope that, in case we are wrong,
The aliens out there are friendly
And might want to just get along.

But if it turns out we’re mistaken
And they have designs on the earth,
The way we respond may determine
How much we believe it is worth.
___________________

MPAA rating: PG-13

Were you expecting last year’s Oscar-winning biopic about Winston Churchill? Psych! That would be Darkest Hour, while this post is for The Darkest Hour. Big difference. The Darkest Hour is instead an alien invasion flick from 2011, the kind of reasonably decent sci-fi you might find in the bargain bin of the supermarket, which is where I found it.

At its core, The Darkest Hour isn’t much different from War of the Worlds, but the trappings and circumstances are different enough that it doesn’t feel like a total copy. Instead of the usual American setting, we see the worldwide invasion from Moscow, where two American software developers (Emile Hirsch, Max Minghella) are stranded when aliens float down from the sky, wipe out all electronics, and start disintegrating every human in sight. Accompanied by another pair of American tourists (Olivia Thirlby, Rachael Taylor) and a Swedish jerk (Joel Kinnaman), they make their way through the city in search of a way out and a way to fight back.

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There’s really no depth whatsoever to the characters; they’re all simply thrown together during this apocalypse, trying to find the balance between survival and panic. Except for Kinnaman, though, the actors are all likable enough, even if the aliens are the real reason to watch. Owing to its limited budget, the aliens are invisible most of the time, which usually adds to the tension and allows for some clever hints to their presence, since they activate nearby light bulbs and electronics. Their effects for dispatching humans are also striking (though reminiscent of Jean Grey’s Phoenix powers in X-Men: The Last Stand), and the way they shred their victims is both shocking and bloodless for that PG-13 rating.

I don’t know: The Darkest Hour isn’t an especially good or unique film, yet I find it oddly watchable, like the kind of movie you can just leave on in the background and let your attention wander back and forth from it. It also managed to surprise me with who makes it and who doesn’t, since I guess I assumed all four of the main characters would make it. Maybe I just wasn’t thinking the first time, since it actually is a little obvious in retrospect. Either way, The Darkest Hour isn’t a complete waste of time and has some strong moments for those who love the alien invasion genre.

Best line: (Sean, in a bar) “No civilization is without religion or alcohol.”   (Ben) “That’s why I drink religiously.”

 

Rank: Honorable Mention

 

© 2018 S.G. Liput
559 Followers and Counting

 

The Last Days (2013)

17 Tuesday Apr 2018

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

≈ 4 Comments

Tags

Disaster, Drama, Foreign, Sci-fi, Thriller

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(Today’s NaPoWriMo prompt was for a memorable family anecdote. Instead of some specific story, I incorporated a few into a societal critique.)

There’s so much that we used to do
When we would go outside.

The sun would bake us at the beach
And leave us peeling for a week,
And kites would soar far out of reach
Until we practiced our technique.
We’d grumble as we walked the dog
And stumbled through the morning fog.
There’s so much we would take in stride
When we would go outside.

The mountain trails would call our name
And leave us awed and insect-bitten.
At the park, we’d choose our game,
Get stuck in trees we thought we’d fit in,
Find we’re lost beyond belief,
Then find our way with sighed relief.
There’s so much that we dared and tried
When we would go outside.

Interiors are now default,
The “Great Outdoors” a memory,
And from our comfort-ridden vault,
A screen eclipses earth and sea.
Although we know without a doubt,
We’re on the inside looking out.
There’s so much that we are denied
When we won’t go outside.
_____________________

MPAA rating: Unrated (should be R due to profanity in the subtitles, maybe PG-13 without that, though there’s still some brief violence and nudity)

When you see deserted city streets littered with abandoned cars and roaming animals, what explanation comes to mind first? These days, it’s probably a zombie apocalypse or maybe an alien invasion, right? The Last Days suggests a much simpler kind of apocalypse, though, one where people don’t dare go outside, but not because of some creature lurking out there; they simply die if they leave shelter.

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A Spanish thriller perhaps influenced by the surrealist film The Exterminating Angel, The Last Days (or Los Últimos Días) triggers its apocalypse gradually, with people suddenly contracting severe agoraphobia or fear of open spaces. Walking outside provokes a deadly seizure, so people end up stranded in whatever building they happen to be in at the time. Some viewers may have trouble taking such an epidemic seriously, but it’s revealed gradually through flashbacks and treated with dead seriousness and great realism. In the case of Marc (Quim Gutiérrez), he was at work when it hit and has spent the last three months trapped inside his Barcelona office building, taking turns with his coworkers to dig a tunnel to the subway. When they finally reach this chance to travel to other parts of the city, he sets out in search of his girlfriend Julia (Marta Etura), grudgingly aided by corporate firing specialist Enrique (José Coronado).

The Last Days works well on several levels: as a slow but compelling journey through end-of-the-world encounters, as a grim but endearing buddy movie, and as an outlet for subtle social themes. Of course, the apocalyptic settings are the biggest focus, but it felt unique to have the danger come not from some monster but from other people, some of whom band together to support each other while others compete violently for limited resources. The relationship between Marc and Enrique is an unlikely pairing based on where they started before the disaster, but I liked the way they both relate to each other’s goals and fears, helping each other along the way. The social message I mentioned may come off as obvious in some ways, with people’s fear of leaving their homes taken to an extreme, but there are other understated themes broached, such as the concern of bringing children into a world of doubt and uncertainty.

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I entertained ranking The Last Days as a List Runner-Up, but the ending really put it over the top. For a film with so much depressing atmosphere and tragedy, it ends on a surprisingly uplifting note that in some ways felt like the kind of ending Passengers should have had if it had tried harder. I was also impressed by the quality acting and production values and particularly by one long tracking shot through a scene of chaos. (Have I mentioned I love those kinds of scenes?) Don’t expect a lot of action, but if you can buy into its uniquely subdued form of disaster, The Last Days has much good to offer.

 

Rank: List-Worthy

 

© 2018 S.G. Liput
559 Followers and Counting

 

Thor: The Dark World (2013)

15 Sunday Apr 2018

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

≈ 1 Comment

Tags

Action, Drama, Fantasy, Sci-fi, Superhero

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(Today’s NaPoWriMo prompt was to write of a villain made relatably human, so I focused on how Loki feels as his father’s second favorite.)

 

Here am I, Loki, a god of Asgard,
Who ought to be king just for trying so hard.

The unchosen heir, second fiddle since birth,
Locked up just for seeking to conquer the earth!

I’m here behind energy fields, and where’s Thor?
Out hogging the glory like so oft before.

Who cares about me, the black sheep of the court,
The outcast brought in to be cast out for sport?

I’m Odin’s chagrin and his family’s regret,
But he and his favorite have seen nothing yet.

One day, they’ll come crawling to me in this jail,
Not knowing how deeply I’ll savor betrayal.
______________________

MPAA rating: PG-13

My family and I have been rewatching all the Marvel movies recently in preparation for Infinity War and to remind us of everything that came before. In doing so, I realized that Thor: The Dark World is the only one I haven’t reviewed, and I couldn’t let that slide. Such an oversight sort of proves that The Dark World is one of the weaker Marvel entries, and, although Thor is one of my least favorite Avengers, it’s still actually quite a solid film in the series.

Picking up after Thor (Chris Hemsworth) returned the Tesseract and an imprisoned Loki (Tom Hiddleston) to Asgard in The Avengers, The Dark World introduces the universe-hating Dark Elves and their secret weapon called the Aether, later revealed to be one of the Infinity Stones. (Can you tell I’m a Marvel nerd yet?) Awakened from exile after Thor’s girlfriend Jane (Natalie Portman) discovers and absorbs the Aether, the Dark Elves seek vengeance on Asgard and, you know, try to destroy the universe.

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The Dark World’s biggest problem is its villain, Malekith (Christopher Eccleston), who remains the most forgettable of all of Marvel’s many disposable villains. Not even a Lost alert for Adewale Akinnuoye-Agbaje as a Kursed henchman could make the bad guys anything but dull threats. There’s literally nothing to them except getting the Aether to destroy everything, and the exposition-heavy prologue about the Dark Elves’ history weighs things down in unmemorable mythology.

I suppose mythology could be considered both a strength and a weakness for the first two Thor movies, steeped in Norse lore and Shakespearean pageantry as they are. With the Middle-Earth-style costumes and old English dialogue, they’re rather unique and somewhat sophisticated next to the lighter Marvel movies, yet they can easily become an overly serious bore for those who aren’t interested in those things. That’s likely why Thor: Ragnarok went full-on sci-fi comedy as a contrast, which was both good and bad.

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Yet The Dark World’s strengths shouldn’t be forgotten either. Hemsworth and Portman are so admirable and sincere in their roles that they manage to sell their average romance, while Thor boasts outstanding chemistry with his double-crossing adopted brother Loki. Their rivalry is the biggest character highlight of the Thor series, which is probably why Loki has stayed around in all three movies.

The special effects are also as eye-popping and destructive as the rest of Marvel’s repertoire, especially the Dark Elves’ invasion of Asgard, while the scope and adventure of visiting different worlds make it a far grander ride than the first Thor. (Did anyone else notice that the giant rock guy Thor shatters near the beginning looks a lot like Korg from Ragnarok? They may be from the same race.) Plus, I think the orchestral score by Brian Tyler might be one of the best of any Marvel movie, except The Avengers, and a decent balance of gravity and humor keeps things entertaining without going off-the-wall like Ragnarok.

See the source image

I enjoyed The Dark World more than I remembered, proving that even the lesser Marvel movies have plenty to offer. In fact, despite being more of a Runner-Up, I think I’ll go ahead and make it List-Worthy. Ragnarok found its way onto my Top 365 List last year when the other two Thors didn’t because I thought it was so much better, but I’m going to follow my own rules and put all three together. Even if The Dark World suffers from a bland villain, it’s still a good superhero movie, and I don’t think we comic nerds should be too hard on it.

Best line: (Thor, summing up his relationship with Loki) “I wish I could trust you.”

 

Rank: List-Worthy (joining Thor: Ragnarok)

 

© 2018 S.G. Liput
556 Followers and Counting

 

Chronesthesia (Love and Time Travel) (2016)

08 Sunday Apr 2018

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

≈ Leave a comment

Tags

Drama, Mystery, Romance, Sci-fi

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(Today’s NaPoWriMo prompt was for a poem involving mystery and magic, so I went with an idea about the magical mundane, which kind of applies to the movie too.)

 

“My life is just a gear at work, a daily push and pull;
I’m far too busy living life to find it magical.
I’m like a mule with blinders on, who only knows the road,
While fields stretch out on every side and might relieve my load.
I’d like to turn my head, but I don’t have the will or time
To care for what’s outside myself when there’s a hill to climb.”

What does it take to rouse such men from marching to their tombs,
To wake them to the magic that around their bubble looms?
A glimpse into the future or a strange phenomenon,
Or simply noticing the world and those by whom it’s drawn?
When life seems more a burden than the gift it should be, try
Roads you don’t know or say hello and see where wonders lie.
_____________________

MPAA rating: Not Rated (probably R, just for language)

Independent movies are funny things: you never know when one is going to be a pretentious bore or a down-to-earth charmer, but the charmers are always a pleasant surprise. Such is Chronesthesia, a New Zealand import that was given the name Love and Time Travel when released to other countries. It’s a film that I think should put debuting writer/director/star Hayden J. Weal on the map, proving alongside Peter Jackson and Taika Waititi that New Zealand is home to some first-rate filmmakers.

As the beginning states, chronesthesia is “a mental ability enabling awareness of one’s own future. In short, mental time travel.” Weal plays Daniel Duncombe (who at times reminded me of both Chris Pratt and Martin Freeman, strangely enough), a gloomy barista who seems none too eager to break out of his stagnant existence. He’s the sort who would rather jog alone than say a word to a stranger, keeping his earbuds in to avoid conversations. Then one day, he discovers the words “Turn Right” written on his bedroom window, followed by similarly enigmatic messages like “Alleyway” and “He misses her.” Before long, these mysterious notes lead him to meet new people and discover the unexpected connections between them.

See the source imageThat description may sound vague and generic, but it really is a story that is best experienced firsthand. Whether it’s an old man in search of someone or a young girl with a crush, everyone Dan meets helps him grow in some way, and watching him shed his taciturn cocoon was a joy to watch unfold. The biggest relationship he forms is a romance with a psychology student named Sophia (Michelle Ny), one that feels as natural as all screen romances should try to be, and she becomes a patient advocate of sympathy for those with mental illness, such as a friend of hers with schizophrenia.

Chronesthesia may hint at it strongly, but there’s very little in the way of actual science fiction here, with the time travel aspect mostly relegated to unconscious “trips” of jerkily edited flashbacks (or flashforwards). If you’re hoping for some serious sci-fi or even an explanation for Dan’s ability, you’ll be disappointed, but in this case, the time flashes are secondary to the relatable human story at work, one full of supportive empathy and improbable serendipity. The only actor I recognized was Julian Dennison, the young boy from Hunt for the Wilderpeople, but every actor does a marvelous job, particularly Weal with his gradual blossoming of humanity.See the source imageIn many ways, this is the kind of movie I just tend to like, mingling sci-fi or fantasy elements with an overarching lesson about the interconnectedness of mankind, much in the vein of fellow indie gems Shuffle and Ink. While this too is a low-budget film, it doesn’t look it, boasting lovely cinematography and a beautiful classical score as well. The script is also fraught with worthwhile themes of interpersonal connection, such as the value of listening to those in society everyone else might dismiss. Of course, there are things I could have done without, such as the unnecessary profanity, but this is a satisfying film that has only improved with time and thought, an underrated gem that deserves to be more widely known.

Best line: (Sophia) “You have no idea how much your actions affect the people around you. People have a lot more influence than they realize.”

 
Rank: List-Worthy

 
© 2018 S.G. Liput
551 Followers and Counting

 

Marjorie Prime (2017)

02 Monday Apr 2018

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

≈ 1 Comment

Tags

Drama, Sci-fi, Triple A

See the source image

(Today’s NaPoWriMo prompt was for a poem that plays with voice and the first-person “I.” Based on this film’s premise, below is a soliloquy of a ghost addressing his former living self.)

 

I don’t know
If I’m still you,
The same as you once were.
What you went through,
What I’ve been through
Has left my mind unsure.

I can tell
From those you knew
That I was well thought of,
And if I’m you,
The former you,
I too return their love.

You might ask
Why would I stay
When you, alas, could not.
To your dismay,
I came one day
To take your vacant slot.

I suppose
I’m still part of
This world and wish relief
For those you loved.
For those I love
Should not be left in grief.
_____________________

MPAA rating: PG-13

It may seem that I complain a lot about how slow artsy films can be, so eager to be avant-garde and critically studied that they forget to entertain. Yet Marjorie Prime is proof that I can still appreciate a slow and quiet movie with the right combination of acting and script. This is a prime example (get it?) of a Triple A movie (where it’s All About the Acting) and of low-key speculative fiction; there are no jaw-dropping effects or mind-bending visuals, just three or four people talking in a room and providing a very plausible vision of the future.

See the source image

At home at her seaside beach house, Marjorie (Lois Smith, who I know best as Helen Hunt’s aunt in Twister) is an elderly widow around the year 2050, who comes out to her living room to have a conversation with her husband Walter (Jon Hamm). However, he’s not her husband but a Prime of him, a holographic re-creation of Walter in his forties, designed to keep her company and help cope with her worsening Alzheimer’s. Both Marjorie and her son-in-law Jon (Tim Robbins) tell Walter Prime about the Walter they knew, and their memories help form his personality. “I’ll remember that now,” he says with every new piece of information. As you might expect, the idea of Primes doesn’t please everyone, specifically Marjorie’s anxious daughter Tess (Geena Davis), yet the realism grows with time, especially with the way Walter Prime assimilates and repeats the stories he’s been told. When he tells Marjorie of things she has since forgotten, who’s to say it’s not as genuine as the original memory?

Based on a Pulitzer-nominated play by Jordan Harrison, Marjorie Prime is full of moving subtlety in the areas of technology and memory, with a script worthy of an Oscar nomination, in my opinion. Those with little patience will likely be bored to tears, but if your mind is engaged, there’s plenty of existential meat to chew here, from the hidden family tragedy of Marjorie’s past to the way technology is depicted as neither good nor bad but simply an inevitability. In a world where people are already inviting primitive A.I.’s into their homes, it’s oddly conceivable to envision such artificial companions cushioned in the guise of a loved one. Whether that excites or disturbs you may vary, but the film is sensitive and honest in that regard and quite credible too in the way Primes are shown to develop with more information, serving as both a comfort and a painful reminder. I also liked smaller examples of their use, such as enabling future generations to “meet” their ancestors, or at least an indistinguishably close approximation of them.

See the source image

The film does morph a bit from its starting point, tragically so in fact, yet there are three phenomenal performances at its heart. Lois Smith, Tim Robbins, and Geena Davis prove what outstanding actors they are, and I’m glad Smith in particular was able to step out from her usual side roles to portray the title character, reprising her role from the stage version. Memory and unspoken emotion hang over every conversation with a Prime, making them lump-in-throat encounters that stayed with me long after the credits had rolled. Perhaps the setting can get monotonous and the artsiness of a few interim scenes drags a bit, but the familial anguish and philosophical questions posed were both restrained and deeply compelling. This is the quiet side of science fiction, but for me, it’s one more reason to love the genre.

Best line: (Marjorie) “Well, the future will be here soon enough. You might as well be friendly with it.”

 

Rank: List Runner-Up

 

© 2018 S.G. Liput
548 Followers and Counting

 

Black Panther (2018)

09 Friday Mar 2018

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ Leave a comment

Tags

Action, Drama, Sci-fi, Superhero, Thriller

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Our forefathers and ancestors we honor decades hence,
Their contributions critical, their heritage immense,
Yet generations prior had no guarantee of sense.

They faced headaches and made mistakes with little recompense
And bore their blunders as we do, and often more intense,
And sometimes leaving faults to fester at their kids’ expense.

Although we honor them and should, their good points as defense,
They’re no more perfect than we are who live in present tense.
To learn from them is wiser still than harboring offense.
____________________

MPAA rating: PG-13

When I heard Black Panther was scheduled just two months before Avengers: Infinity War, I had to recognize the wisdom of it. After all, Black Panther would probably be one of the smaller stand-alone entries in the MCU, right? And placing it so close before a hype machine like Infinity War seemed like a good way to ensure its success. Little did I know what a juggernaut Black Panther would become, breaking records and earning rave reviews left and right, which only compounds the wisdom of Marvel’s schedule. But I suppose I shouldn’t be surprised; it is after all the first stand-alone feature for a black superhero, and a lot of effort clearly went into it to make it worth the wait.

See the source image

Another clever point is how three separate characters were all previously introduced, Andy Serkis’s vibranium smuggler Ulysses Klaue in Avengers: Age of Ultron, Martin Freeman’s CIA agent Everett Ross in Captain America: Civil War, and of course Chadwick Boseman’s Prince T’Challa/Black Panther, also from Civil War. Having grown beyond his revenge arc in that movie, T’Challa returns home to deal with the fallout from his father’s death, namely fighting any challengers to his claim on the throne of Wakanda, a fictional country that hides an advanced African utopia behind the guise of a third world country. Yet an unexpected ghost from his family’s past returns in the form of Michael B. Jordan’s Erik Stevens, who gets the evocative villain name “Killmonger” and doesn’t get as much screen time as he deserves.

Many have noted the film’s biggest strength is its characters, and not just Boseman’s regal hero or Jordan’s complex villain. Compared with other Marvel outings, there’s a strong supporting cast here, especially the three women in T’Challa’s life: his not-quite-ex Nakia (Lupita N’yongo), the general of Wakanda’s all-female special forces unit Okoye (Danai Gurira), and his little sister Shuri (Letitia Wright). There’s a reason Wright seems to be everyone’s favorite; as T’Challa’s over-eager sister, she’s both a hilarious tease and a Q-style genius, providing him with gadgets and specializing in the many uses of vibranium technology, advances that would make Tony Stark jealous. There’s also Angela Bassett as T’Challa’s queen mother, and Daniel Kaluuya of Get Out is clearly having a good year, between his Best Actor nomination and a chance to ride a war rhino. And then there’s the two token white people in Freeman and Serkis, both refugees from Middle Earth who must have enjoyed working together again.

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I’ve been rewatching Marvel’s movies leading up to Infinity War and noticed how much more serious earlier films like Iron Man were, compared with the flippant comedy of 2017’s offerings. Black Panther is a return to that more straight-faced comic book style (albeit still with some laughs) and actually has pretty deep conflicting themes at its heart. I agree with one review I heard comparing T’Challa and Killmonger to Martin Luther King, Jr., and Malcolm X, both intending to help their people yet disagreeing fundamentally on how to do it. Killmonger is all about force and revenge, while T’Challa prefers the isolationism that has preserved Wakanda from the history of colonialism. T’Challa’s clearly the good guy, but it’s interesting how his position still changes in the light of past mistakes. To complement the thematic complexity, writer/director Ryan Coogler also displays his skill behind the camera, including a couple of those extended action tracking shots that elevated Creed as well.

I’ve read plenty of reviews saying things like “Is it as good as everyone says? Heck, yes and better!” I wanted to be the same way, but, as has been common with some of Marvel’s recent installments, I must be a bit more restrained in my praise. I liked it and have liked it more upon reflection, but it’s not among my favorite MCU movies. I suppose the main reason is all the African mysticism; while some of it is significant to the story and adds to the culture building, I’ve never particularly liked that kind of strange tradition and ritual, whether it’s African, Far Eastern, or something alien from Star Trek. Sorry if that sounds not multicultural enough, but it just doesn’t connect with me. Parts of it also seem to undercut how advanced Wakanda otherwise is, like deciding its leadership with a fight to the death.

See the source image

I can’t help but wonder, based on its historic place in comic book movie history, whether I’m racially obligated to love Black Panther, and no, I don’t think anyone should be. It is a good movie, exploring a hitherto unexplored corner of the MCU, but I personally don’t see it as top-three-Marvel-movie material. I enjoyed it overall, particularly the characters and the action, and the entire big battle at the end was absolutely awesome. I do think I’ll appreciate it more upon a rewatch, especially getting to see it again with subtitles. (I’m terrible with deciphering accents, and almost everyone had one, so I’m sure there’s stuff I missed.)

Like I said before, I shouldn’t be surprised at Black Panther’s success. I remember an episode of the cartoon Static Shock (itself a great superhero show with a black protagonist), where the main character was awestruck at meeting a professional hero from Africa, even though he himself had superpowers. There’s a lot to be said for being able to look up to a hero who looks like you. Turning out in droves, the black community deserves to see themselves in this noble and heroic character. Marvel, Coogler, Boseman, and everyone involved have much to be proud of, and even if certain elements will appeal more to others than to me, I’m glad Black Panther has found such success on the big screen.

See the source image

Best line: (T’Challa, with a very timely message) “Now, more than ever, the illusions of division threaten our very existence. We all know the truth: more connects us than separates us. But in times of crisis, the wise build bridges, while the foolish build barriers. We must find a way to look after one another, as if we were one single tribe.”

 

Rank: List Runner-Up

 

© 2018 S.G. Liput
537 Followers and Counting

 

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