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Rhyme and Reason

~ Poetry Meets Film Reviews

Rhyme and Reason

Tag Archives: Sci-fi

Source Code (2011)

20 Sunday Sep 2015

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ 4 Comments

Tags

Action, Disaster, Drama, Sci-fi

 

Time moves forward, onward toward
A future none can change or guess,
A train that all must get aboard
And some debark with suddenness.

But what if one could board again
To pick up pieces not yet broke,
To change the now before it’s then,
To douse the fire before the smoke?
____________

Rating: PG-13

 

Have you ever noticed a movie that you immediately wanted to see because you could tell solely from the trailer or the premise that you would like it but for some reason or other you just never got around to seeing it even years after it came out? That never happens, right? Well, that’s what happened with me and Source Code, but finally I saw it and found it to be exactly the kind of film I was hoping for and expecting: fast-paced, compelling, and mind-challenging.

When Captain Colter Stevens (Jake Gyllenhaal) wakes up in the body of random commuter Sean Fentress on his way to Chicago, he is shocked at having no memory of how he got there and even more shocked when the train explodes and kills him. Next, he wakes up somewhere else and is told he is part of a secret government experiment for “time reassignment,” which can repeatedly give him the last eight minutes of Fentress’ life in order to figure out the identity of the bomber. Instructed by a sympathetic adviser (Vera Farmiga) and the demanding creator of this Source Code technology (Jeffrey Wright), Stevens returns to the train, where every passenger is a suspect and every repeat reveals something new.

If it seems like a mix of Quantum Leap and Groundhog Day, well, it is, and there’s not a thing wrong with that. I love the concepts of both, and fusing the two was what initially attracted me. Yet as easy as it might be to write the film off as unoriginal, Source Code takes some unexpected turns that not only question the morality of Stevens’s situation but bend its sci-fi idea to turn a no-win scenario into an oddly satisfying ending. (My VC was of a different mind and felt the ending was too unbelievable to be fulfilling.)

Throughout it all, Gyllenhaal provides a surprisingly emotional performance through his eight-minute missions, and the mystery was both enjoyable and urgent. (It was cool how the filmmakers incorporated Quantum Leap’s Scott Bakula for a brief but significant unseen role.) There are certainly unanswered questions, such as the overcomplicated details of how the Source Code actually works and what happens to the real Sean Fentress every time Stevens jumps into him. Nevertheless, like Groundhog Day, Source Code overcomes all its repetition and deserves multiple viewings; just remember, “everything is going to be okay.” Here’s a funny parody from MAD that made me want to see it even more:

 

Best line: (Stevens) “Christina, what would you do if you knew you had less than one minute to live?” (Christina, a fellow passenger) “I’d make those seconds count.”

 

Rank: List-Worthy

 

© 2015 S. G. Liput

340 Followers and Counting

 

My Top 12 Time Travel Movies

30 Sunday Aug 2015

Posted by sgliput in Movies, Reviews, Writing

≈ 8 Comments

Tags

Lists, Sci-fi

The intricacies of time may never be cracked by actual science, but in the fictional world, possibilities run rampant. Ever since I was a kid reading Frank Peretti’s book The Legend of Annie Murphy (a western mystery with a cool time-bending climax), I’ve loved a good time travel story. Sometimes, it’s simply a device to propel a non-sci-fi plot; other times, it’s the catalyst for some fish-out-of-water humor or a geeky escalation that hurts the head if you think too hard about it. While there are plenty of examples out there, including some that are still on my to-watch list (like The Butterfly Effect and 12 Monkeys), these are my top twelve time travel films thus far. Let me know if you have other favorites, and I may go back in time to update it.

  1. Time after Time (1979)

Starting off much like H. G. Wells’s The Time Machine, Time after Time sends Wells himself (Malcolm McDowall) from Victorian England to the present day, I mean 1979, as he searches for a time-hopping Jack the Ripper (David Warner). Not only does this film have fun with its setting and astute social commentary, it united McDowall and Mary Steenburgen, who married the next year.

  1. The Time Traveler’s Wife (2009)

While reviews for the big-screen adaptation of Audrey Niffenegger’s novel were so-so, this is one romance that enthralled me with its time-skipping premise. Eric Bana’s Henry DeTamble is unlikely to forge any lasting relationship, considering his mysterious genetic disorder that randomly displaces him in time, but Rachel McAdams’ Clare falls in love with him. They build a marriage as he jumps in and out of her life, and the result is touching and bittersweet. That fading handprint gets me every time.

  1. Meet the Robinsons (2007)

While not one of Disney’s biggest successes, Meet the Robinsons balances colorful silliness with deeper themes of belonging. When whiz-kid Lewis is whisked into the future by Wilbur Robinson, he meets Wilbur’s wacky family and faces past and future mistakes that threaten to destroy him. Based on William Joyce’s non-time-travel-related A Day with Wilbur Robinson, the film features plenty of laughs (and tears from my VC) and an admirable message that would make Walt Disney proud: “Keep Moving Forward.”

  1. The Girl Who Leapt through Time (2006)

Mirroring the quiet tone of another favorite anime film of mine, Whisper of the Heart, The Girl Who Leapt through Time has plenty of plot holes that often plague time travel movies, but its sensitive teen drama overshadows any faults. When Makoto mysteriously develops time-jumping abilities after falling into the path of a train, she uses them for fun and realizes too late the negative impact her temporal meddling has on others.

  1. Source Code (2010)

Though Jeffrey Wright specifically explains that his source code is “time reassignment” rather than time travel, the differentiation between the two is minor enough to still earn this a spot on the list. Starting off much like Groundhog Day, Jake Gyllenhaal is tasked with finding a bomber by reliving his last strike on a passenger train. Twists and moral concerns abound, and the finale takes a brilliant detour to an unexpectedly satisfying end.

  1. X-Men: Days of Future Past (2014)

I didn’t think it was possible for the X-Men franchise to recover from the despicable blow that was The Last Stand, but director Bryan Singer delivered in spades. When Wolverine’s consciousness is sent back to the 1970s to stop events that lead to the mass extermination of mutants, he must deal with the seeds of disaster and unwilling allies with plans of their own. Not only does this latest installment build on the rebooted team with James McAvoy and Michael Fassbender, but it ties up the earlier trilogy to grant the older characters the happy ending they deserved.

  1. TIE: The Terminator (1984) and Terminator 2: Judgment Day (1991)

These two classics from James Cameron only employ time travel to bring the killer cyborg/rescuer from the future, but their mission has always been to change the past. Schwarzenegger’s Terminator in the first aims to murder John Connor’s mother before the resistance leader is born, while Arnie becomes a hero in T2 protecting young John from an even more advanced killing machine. Judgment Day is the best and coolest for me, with groundbreaking special effects that still hold up well, but both deserve placement here.

  1. Bill and Ted’s Excellent Adventure (1989)

Now from a violent android actioner to a ridiculous dimwit duo! Dumb humor rarely strikes me as smartly as it does in this ‘80s cult classic. Bill (Alex Winter) and Ted (Keanu Reeves) may seem like the biggest slackers of San Dimas, but they’re destined for greatness, as long as George Carlin helps them with a history presentation. With a century-vaulting phone booth (which is obviously not the TARDIS), the two valley dudes collect historical figures left and right, only to lose them hysterically. Excellent!

  1. TIE:   Star Trek IV: The Voyage Home (1986) and Star Trek: First Contact (1996)

Both the original series of Star Trek and The Next Generation had some great time travel stories (such as The City on the Edge of Forever or Time’s Arrow), but they outdid themselves when they applied this classic sci-fi device to a full-length feature. The Voyage Home isn’t quite on par with Wrath of Khan or The Undiscovered Country, but it’s fun to watch Kirk and the gang in the 1980s as they search for humpback whales to save the planet. Hello, Computer! And First Contact went a far darker route, pitting Captain Picard against the Borg’s preemptive temporal attack and his own demons. It’s easily the best Next Gen film. I suppose the 2009 Star Trek reboot also features time travel, but these two always come to mind first.

  1. Somewhere in Time (1980)

One of my original cryfests, Somewhere in Time is a tragedy of star-crossed lovers separated by decades (and a penny). Christopher Reeve hypnotizes himself into traveling to 1912 in order to connect with an intriguing actress (the beautiful Jane Seymour). Coping with her uncooperative manager (Christopher Plummer) and the caprice of time, the two unite for a true tearjerker.

  1. Groundhog Day (1993)

Bill Murray found his greatest role in prickly weatherman Phil Connors, doomed to relive the same maddening Groundhog Day over and over. His responses to this unforeseen phenomenon are priceless as he enjoys, exploits, grows weary, and finally learns from all the repetition. His exchanges with the townspeople and lovely Rita (Andie McDowall) grow comfortably familiar over time, and as often as he relives February 2nd, I never get tired of watching Groundhog Day all over again.

  1. Back to the Future Trilogy (1985, 1989, 1990)

For many, Back to the Future was their first introduction to the idiosyncrasies of time travel, of ripple effects that could change the future, alternate time lines, and overlapping temporal corollaries. The trilogy also delivered all this timey-wimey mumbo jumbo with cool DeLoreans, flux capacitors, classic quotability, and the endearing odd couple team of Marty McFly (Michael J. Fox) and Doc Brown (Christopher Lloyd). The first Back to the Future may be Robert Zemeckis’s most beloved film, but I’ve always been partial to Part II, which tied in brilliantly with the first, even if its version of 2015 wasn’t quite accurate. Time travel may be “heavy” at times, but Back to the Future kept it just light enough to be endlessly fun.

_______________

In addition to the alphabetical honorable mentions below, I should also name-drop some great time-hopping TV series, like Quantum Leap, Lost, and several episodes of Star Trek: Voyager (Future’s End and The Year of Hell, for example). I still need to check out more Doctor Who eventually, but I’m sure I have plenty of time.

13 Going on 30 (2004) – A cute rip-off of Big that was better than I expected.

A Christmas Carol (1951, 2009) – This would be much higher on a Christmas movie list. There are lots of good versions out there, but I usually go with the Alastair Sim classic or the Jim Carrey animation.

Escape from the Planet of the Apes (1971) – What would happen if talking apes landed in 1970s America? Good question for a good film, sort of like the Star Trek IV of this franchise.

Field of Dreams (1989) – I’m not enamored of this film like many out there, but it’s still enjoyable with a small time-travel fantasy thrown in.

Flight of the Navigator (1986) – This light sci-fi film enthralled me when I was younger with its intriguing alien abduction plot.

Interstellar (2014) – I saw the twist coming, but Nolan’s latest movie gave him a chance to play with an interdimensional tesseract.

Men in Black 3 (2012) – Time travel breathed some new life into the franchise’s last entry, especially set against the 1969 moon launch.

Predestination (2014) – A mind-bending puzzle as only Robert Heinlein could conceive.

The Shining (1980) – This one may not seem like time travel, but the final scene does make one wonder.

The Time Machine (1960) – A favorite of my dad’s, George Pal’s adaptation of H. G. Wells’s novel still holds up all these years later.

Predestination (2014)

07 Friday Aug 2015

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ 1 Comment

Tags

Drama, Sci-fi, Thriller

Destiny knocks
On paradox
And grants the wise
A big surprise.
______________

Rating: R (for frequent obscenities and two scenes of nudity, which are easily anticipated)

Predestination is an Australian film that is hard to describe without spoilers, but I’ll do my best. It revolves completely around the secrets and connections of its characters, creating one of the most paradoxical stories imaginable, courtesy of Robert Heinlein’s short story “’—All You Zombies—.’”

Stating the early facts, there’s a mysterious time-traveling agent intent on stopping a mysterious bomber, which then segues into a conversation between said agent as a Bartender (Ethan Hawke) and a confession writer who writes under the pen name “The Unmarried Mother” (Sarah Snook). (I thought Loretta Modern might have been a good pseudonym too.) From this intriguing start, there are flashbacks and quantum leaps and some fascinatingly subtle time-jumping effects, which all lead to a conclusion that I sadly already knew going in. I’m sorry; I just usually like to know what I’m getting into instead of going into a film cold, but in this case, I wish I hadn’t known, if only to see how much I would have guessed as the story progressed.

Sarah Snook earned the most acclaim for her versatility in playing a highly malleable role, and both she and Ethan Hawke carry the film almost by themselves. As I said, the twists are everything. Whereas most films use them to progress the story, here they are the story, which makes for a compelling puzzle but not so much a satisfying conclusion. Even I who knew what would generally happen still had trouble wrapping my head around everything, and it’s a film that would certainly reward a second viewing. Compared with many blockbusters, Predestination is high science fiction, with an ambitious story that goes a bit too high for my middlebrow tastes.

Best line: (the Bartender) “Preparation is the key to successful, inconspicuous time travel. Luck is the residue of design.”

Rank: List Runner-Up

© 2015 S. G. Liput

329 Followers and Counting

Big Hero 6 (2014)

19 Friday Jun 2015

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ 3 Comments

Tags

Action, Animation, Comedy, Drama, Family, Sci-fi, Superhero

Though Hiro Hamada has bots on the brain
And uses his genius for fun and for gain,
His brother impresses
That cooler successes
Result from hard work to assist those in pain.

The huggable Baymax, Tadashi’s creation,
Is there for young Hiro through grief and temptation.
When evil arises,
His crew improvises,
Inventing a tech-fitted team transformation.

Revenge and respect struggle in good and bad,
And heroes are born from the hopes of a lad.
To overcome grief
And a merciless thief,
New bonds must be forged to replace what he had.
_______________

Rating: PG

After so-so CGI attempts like Bolt and The Wild and vastly improved near-classics like Tangled and Wreck-It Ralph, it’s now safe to say that Disney animation has found its stride. As an animated superhero film, Big Hero 6 doesn’t just copy The Incredibles but succeeds as a unique and entertaining fusion, of Disney storytelling and Marvel action, of Californian and Japanese culture, of soft-bellied caretakers and hard-edged vigilantes.

Too often lately, animated films give so little away in the trailers that it’s hard to get excited about a film we know little about. Thus, while I was tempted to see Big Hero 6 in the theater, I opted to wait for the DVD, a decision I now regret. It has everything you could want in an animated superhero tale. The animation is crisp and detailed, and the characterization of Hiro and his friends is smooth and effortless, elements that serve to heighten the tension and appeal of the action sequences. It’s rare nowadays, but I found it refreshing that every character (aside from the villain) was smart and likable, with the stand-out being the film’s mascot Baymax, that marshmallow man whose endearing innocence and literalness manage to keep the superhero team grounded. Again, I was pleased at how fond I became of this lovable sidekick, sort of like how I was surprised that Olaf was one of the best aspects of Frozen. The character designs and voice acting are perfect, especially for Hiro, Go Go, and hilarious Aunt Cass, and once the fully powered team assembles, the action occasionally approaches an Avengers level of awesomeness, offering new angles and even the unwritten rules of car chases. In addition, the film passed my personal test for animated films, in that I immediately wanted to see it again.

With mind-controlled microbots, experimental wormholes, and unexplained kite turbine things floating above the city (seriously, what were those things? Wind power?), this is obviously not the real world, if the culture-clash of San Fransokyo wasn’t a clear enough hint. Yet the film’s moral speaks to very real emotions of grief, anger, bitterness, and letting go. Hiro’s relationship with his brother Tadashi defines his goals for the future, and despite the holes in his heart, it is encouraging and touching how Baymax manages to fill them. While the film overall is refreshingly original, the core bond between Hiro and Baymax has recognizable resonances with The Iron Giant, and anyone who enjoyed one will most likely love the other. (At one point, I almost expected to hear “You go; I stay,” but that would have been too obvious a connection.) Big Hero 6 also completes an unexpected trilogy of films in which James Cromwell plays the father of some great advancement in robotics, the other two being I, Robot and Surrogates.

While the film’s science is clearly comic-bookishly advanced, certain up-and-coming real-world technologies were included as goals to strive for, such as the idea of a soft care robot or the 3D printer that Hiro uses to create everything from robot parts to costumes. It’s been said that the “geeks” and “nerds” are the ones who change the world, and this film is part of a growing trend to put animated nerds in the heroic spotlight (like Hiccup’s reading in How to Train Your Dragon or Flint’s inventing in Cloudy with a Chance of Meatballs). Big Hero 6 is a home-run for Disney animation, which has now firmly planted itself above DreamWorks and just short of Pixar. From the funny and sweet short film Feast before it to the unexpected after-credits scene that cements this as a Marvel movie, Big Hero 6 is a super hit from start to finish and deserved its Oscar win.

Best line: (Aunt Cass, having prepared hot wings) “All right, get ready to have your face melted! We are gonna feel these things tomorrow, you know what I’m saying?”

VC’s best line: (Baymax, referring to the cat) “Hairy baby, hairy baaaby!”

 

Rank: List-Worthy

© 2015 S. G. Liput

319 Followers and Counting

Interstellar (2014)

17 Sunday May 2015

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ 1 Comment

Tags

Drama, Sci-fi

 
 
The earth is getting dusty,
And our crops are less than trusty,
And our history is rusty,
And all life is soon to end.
 
Farmer Coop is in frustration
Till suspicious gravitation
Sends him to a NASA station
To encounter an old friend.
 
Dr. Brand suggests spacefaring
On a certain wormhole bearing
Will reward the pilots’ daring
With a new potential Earth.
 
Leaving son and loving daughter,
Coop departs to be the spotter
On new worlds of ice and water,
Where time carries greater worth.
 
Though he carries on with yearning,
Many dangers are concerning.
Complex choices stem from learning
He may not end up returning.
______________
 

I was impressed by the Dark Knight trilogy, thoroughly impressed by The Prestige, and blown away by Inception, so I had high hopes for director Christopher Nolan’s latest creative extravaganza Interstellar. While it was praised for its scientific accuracy, creative innovation, and Oscar-winning visuals, it obviously draws from several other precedents of science fiction cinema, such as Contact (a mysterious “them” sends messages to Earth, which prompt a wormhole-related mission with Matthew McConaughey involved), Sunshine (a mission to save Earth runs into an ill-fated earlier mission), and of course 2001: A Space Odyssey, from which Interstellar derives those long, slightly boring scenes of space and space docking and a not-quite-as-confusing journey into transcendence. Plus, those walking wall AIs resemble (perhaps intentionally) the monolith from 2001.

As the film sets up a believably down-to-earth apocalypse and a touching father-daughter dynamic between former astronaut-turned-farmer Cooper (Matthew McConaughey) and his brainy daughter Murph (Mackenzie Foy), it lays a compelling groundwork. Then when it leaves the devastated planet behind to travel through a wormhole near Saturn, it rises in its sci-fi virtuosity, even if certain scenes are a bit drawn out. It really hits its stride when the crew (McConaughey, Anne Hathaway, Wes Bentley, and David Gyasi) explore stunning new worlds with heartbreaking costs. All this adds up to a plausible visionary experience that was more or less what I was expecting, and then….

[Spoiler alert for the next paragraph] I’d like to add one more cinematic comparison: Disney’s 1979 let-down The Black Hole, another film with a compelling storyline, a likable robot, innovative special effects, and a climactic journey into a black hole. As in that film, all of the plausibility is lost once the black hole is entered, and the unlikeliness of subsequent events is written away with the weak argument that no one knows what would happen in a black hole, so artistic license is free to do any old thing. In the case of Interstellar, I can swallow what Coop finds and even his shaky assumptions about who brought him there, but the film’s most glaring hole is how grown-up Murph (Jessica Chastain) inexplicably figures out the meager messages given her to save mankind. The truth apparently just dawns on her, and the day is saved thanks to Coop ex machina. While the emotional climax that follows is fittingly poignant, it is cut too short (Coop doesn’t even try to meet his grandchildren) and also calls into question the necessity of finding a replacement world in the first place.

Okay, spoilers done. I was really expecting to love this movie, and in some ways, I do. It has the Nolan touch that combines well-drawn characters with difficult dramatic situations, inspiring themes of love and pioneering, and a moving, if repetitive, Hans Zimmer score. It even gets the science right in the space sequences, which are true to life in not relaying any sound, even explosions. I do wish that the monolith robots TARS and CASE had had more screen time since they offered the only comic relief and were the most unique special effect.

Yet for all its visual wonder and strong characters, the implausibility of the climax saps some of the emotion that it attempts to convey. It simply bends the mind a bit too far. I can still admire the film, but my VC was entirely turned off by the fantastical lurch toward a not-quite-satisfying-enough conclusion, though she’s not a Nolan fan anyway. While the care and craftsmanship behind the production are obvious, Interstellar is not Nolan’s best. It deserves a place of honor among his middle efforts, but Inception is still tops for me.

Oh, and here’s an Honest Trailer from Youtube that had my VC howling with agreement (and laughter): https://www.youtube.com/watch?v=lZMzf-SDWP8

 
Best line: (Coop, calibrating the settings on TARS) “Humour — 75%.”
(TARS) “75%. Self-destruct sequence in T minus 10, 9, 8…”
(Coop) “Let’s make it 65%.”
(TARS) “Knock, knock.”
(Coop) “Want me to make it 55?”
 
 
Rank: List Runner-Up
 

© 2015 S. G. Liput

307 Followers and Counting

Avengers: Age of Ultron (2015)

05 Tuesday May 2015

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ 6 Comments

Tags

Action, Drama, Sci-fi, Superhero

 
 
With S.H.I.E.L.D. out of service,
At least on the surface,
Six awesome Avengers defend the world still.
Since HYDRA arose,
They’ve empowered new foes,
Quicksilver and Scarlet Witch, twins with ill will.
 
Once Tony Stark’s had
An epiphany bad,
He then starts preparing for “peace in our time,”
But Ultron’s created
And quickly upgraded,
Equating true peace with a murderous crime.
 
Against these new threats
And alarming skill sets,
Our heroes must deal with their goals and their fear,
And when all agree
To save Earth mightily,
The smackdown is epic and worth a good cheer.
____________________
 

As my first review for a film still in theaters, Avengers: Age of Ultron is luckily just the kind of film to see on the big screen, with all the eye-popping action and comic book culmination that drive superhero fans like me nuts. The first Avengers stands as one of the most breathtaking feats of any superhero franchise, bringing together characters from past films and achieving a surprising balance between action, heart, and geek heaven character interaction. It’s a high point in the superhero genre that won’t be easily topped, and though Age of Ultron doesn’t quite match it, it comes close enough to still be worthy of the Avengers name.

Like X-Men: Days of Future Past, the cast is potentially unwieldy. There’s the heroes we already know and love: Iron Man (Robert Downey, Jr.), Captain America (Chris Evans), Thor (Chris Hemsworth), Hulk (Mark Ruffalo), Black Widow (Scarlett Johansson), and Hawkeye (Jeremy Renner), plus other familiar faces like Nick Fury (Samuel L. Jackson), Maria Hill (Cobie Smulders), War Machine (Don Cheadle), and at least three others. Add to that Ultron, Quicksilver, Scarlet Witch, and at least three others, and you’ve got a likely mess in the wrong hands. Luckily, we have Joss Whedon’s hands to mold it into a mostly satisfying blockbuster, with all the wit, humor, pathos, and awesomeness you might expect from his name.

With the glut of old and new characters, their treatment and screen time necessarily vary. Iron Man and Captain America get little more than some funny exchanges about foul language and disagreements about how to make safe the world, while there’s some unexpected development for Hawkeye, Widow, and Hulk, making the most and least super of the group sympathetically human. Though the presence of recognizable faces from past films will fill hardcore fans with glee, a few are so fleeting that the filmmakers could have left them out, if only to avoid confusing the less initiated. The same goes for would-be antagonists like Baron von Strucker (Thomas Kretschmann) and Ulysses Klaue (Andy Serkis), who barely stick around long enough to make an impression. (I find it interesting that those two previously appeared together as shipmates in Peter Jackson’s King Kong, though with opposite fates.) As for Quicksilver (Aaron Taylor-Johnson) and Scarlet Witch (Elizabeth Olsen), the two newest an/pro-tagonists don’t stand out as much they should have, in some cases being treated as afterthoughts amid all else happening. Quicksilver isn’t quite as fast or memorable as Evan Peters’ version of the character in Days of Future Past, but he and his Eastern European sister manage at least a couple scenes that highlight their eventual importance to the still growing team.

As you would expect from so many characters, there’s a lot going on. If your mind wanders at the wrong moment, you might be wondering why everyone is suddenly headed to a fictional African nation to visit Gollum or why Thor is skinny-dipping in a mystical Norse pool. (I’m still not sure I understand that last one). A couple added plot elements are even introduced with little to no explanation, trusting the audience to simply keep up. Just as the first film has Thor and Iron Man going toe to toe, this one sees Iron Man and Hulk duking it out. Despite all the urban devastation throughout the film, the end places special importance on the safety of civilians, and some sacrifices toward the end do touch the heart, if not very deeply.

Ultron himself is more charismatic than just some bloodthirsty robot, and James Spader’s voice gives him a compelling personality with darkly humorous and strangely religious overtones. Yet his motivations and origins are consistently murky, similar to Peter Dinklage in Days of Future Past, a villain who deep down admires his prey but intends to extinguish them for nebulous reasons. His evil plot is astonishingly inventive (though one of his creations leads to a promising new character and his inevitable downfall), and the battle to thwart it is eye-popping, including one of those goose-bump-raising extended shots with all the heroes kicking enemy butt like only the Avengers can.

I didn’t intend to make three references to Days of Future Past here, but I suppose both of these films exemplify the trend in superhero films, to bring past triumphs together into an overstuffed but breathtaking array of comic book goodness. These films and Guardians of the Galaxy seem to draw their energy from a “the more characters, the better” mentality, so long as an even-handed writer and director keep everything balanced and entertaining. Time will tell if DC can pull the same thing off with their Justice League intentions or if Marvel is destined to remain the big name in superhero hits. Age of Ultron was almost everything I had hoped, yet another sign that Marvel has yet to stumble.

Best line:  (Tony Stark) “We’re the Avengers; we can bust weapons dealers the whole doo-da-day, but how do we cope with something like that?”
(Steve Rogers) “Together.”
(Stark) “We’ll lose.”
(Rogers) “We do that together too.”
 
 
Rank: Top 100-Worthy (to join the first one)
 

© 2015 S. G. Liput

305 Followers and Counting

The Hunger Games: Mockingjay — Part 1 (2014)

30 Thursday Apr 2015

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

≈ 3 Comments

Tags

Action, Drama, Sci-fi

 
 
In District 13, Katniss Everdeen waits,
Unsettled by District 12 citizens’ fates.
Deep under the ground with her saved family,
She worries for Peeta interminably.
Both Plutarch and resolute President Coin
Are eager for her to recover and join.
 
Insisting that Peeta be rescued someday,
Poor Katniss agrees to be their Mockingjay,
The hero for all districts, sure to inspire
The masses and light an unquenchable fire.
Since staged propaganda does not work as well,
She heads to the war zones to get mad as hell.
 
Her anger at Snow for the cruel devastation
Extends to the people who rise from privation.
Yet who should appear on the Capitol screens
But Peeta, denouncing the riotous scenes?
The boy’s brain seems washed, but he still tries to warn
The rebels of sudden barrages that morn.
 
When Capitol power is violently cut,
The rebels move in ere the window is shut.
The three captive tributes that Snow has been holding
Are surely a part of his scheme still unfolding.
Though Katniss is eager for Peeta’s return,
She’s shocked at the lesson Snow wants her to learn.
_________________
 

(Since this is the last day of NaPoWriMo, my reviews will probably be less frequent from now on, but I thought I’d go out on a more well-known film.)

This latest installment of the Hunger Games franchise wasn’t as well-received as its predecessors, and it does stand apart from those films in some crucial ways. For one thing, there are no actual Hunger Games, the televised blood sport that managed to thrill both the citizens of Panem and countless readers and viewers. Instead, the film chooses to focus on District 13 and its commissioning of everyone’s favorite grieving archer to lead the revolt against the Capitol and President Snow. They basically have her do what she’s done in the past: grieve for the fallen, land awesome arrow shots, and make rebellious statements against tyranny, just more forcefully than in the past and this time caught on camera. In this case, there’s quite a bit of Katniss grieving: for the decimated District 12, for Snow’s current victims, for her captive boyfriend Peeta (their love was real; who knew?), and the comparatively brief scenes of action and tension don’t exactly balance out her emotional turmoil. Every time Peeta came on screen and people either booed him or asked what Snow had done to him, I kept wondering why no one considered that he had been brainwashed. That seemed like the most obvious explanation. And of course, the film’s greatest weakness is the stigma of being Part 1, a film in which the first half of a relatively short book is dragged out and concluded on a far from satisfying note.

All that being said, Mockingjay — Part 1 is still an important piece of the franchise, however financially exploitative it may be. The events following Catching Fire are given greater emotional weight, and Jennifer Lawrence continues to project a compelling mix of strength, vulnerability, and concern for both friends and family. While it’s a bit jarring for her to go from fighting for survival to filming propaganda pieces, Katniss’s transition from tribute to freedom fighter feels well-earned and depicts the motivating power that revolutionary media can have on a volatile populace. The film’s best scene is the dam attack in which a haunting folk song (with lyrics drawn from Suzanne Collins’ book) is employed as an anthem of rebellion. “The Hanging Tree” is one of those unique aspects of this franchise that transcends the story itself (like the three-finger salute or that familiar whistle), and it stayed with this viewer much more than Lorde’s Globe-nominated “Yellow Flicker Beat.”

Thus, while it would have been better to film Mockingjay as one film, this one still has merit. We get to meet Julianne Moore as District 13’s President Coin and see more of the late Philip Seymour Hoffman as Plutarch Heavensbee. The few moments of tension certainly are thrilling, and that twist at the end surely took everyone who hadn’t read the books by surprise (even if that’s just me and five other people). While much of the film does feel unnecessarily prolonged, such as Katniss’s repetitive calls to Snow at the climax, I for one was still glad to spend more time with this story and these characters. Plus, the film fulfilled its main purpose; I’ll be there with countless others to see Part 2 this November.

By the way, here’s a musical version for those of you who could use a laugh. This is just one of three hilarious parody videos, all of which are well worth seeing. Enjoy!

https://www.youtube.com/watch?v=am1tzttZ8Pc

Best line: (Effie Trinket, who apparently wasn’t much in the third book) “They’ll either want to kill you, kiss you, or be you.”

 
Rank: List-Worthy (joining the other two as one series)
 

© 2015 S. G. Liput

302 Followers and Counting

Genre Grandeur – Harrison Bergeron (1995) – Rhyme and Reason

27 Monday Apr 2015

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

≈ 2 Comments

Tags

Drama, Sci-fi

Here’s my review of Harrison Bergeron for MovieRob’s latest Genre Grandeur of dystopian films. Thanks, Rob!

movierob's avatarMovieRob

dystopia__

For this month’s next review for Genre Grandeur – Dystopian Movies, here’s a review of Harrison Bergeron (1995) by S.G. Liput of Rhyme and Reason

Thanks again to James of Back to the Viewer for choosing this month’s genre.

Next month’s Genre has been chosen by S.G. Liput of Rhyme and Reason.  We will be reviewing our favorite fantasy/sci-fi animated movies (non-Disney or Pixar) . Please get me your submissions by 25th May by sending them to animated@movierob.net  Try to think out of the box! Great choice S.G.!

Let’s see what S.G. thought of this movie:

__________________________

Harrison Bergeron

hb

Harrison Bergeron lives in the future,

Where everyone’s forced to be equal and fair.

Those cursed with talent must quench it and wear

A handicap band that will help to impair.

Harrison Bergeron’s blamed as a genius

And wishes that he could be average as well,

Until he discovers that…

View original post 731 more words

The Truman Show (1998)

20 Monday Apr 2015

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

≈ 2 Comments

Tags

Comedy, Drama, Sci-fi

 
 
Did you ever feel that you were being watched,
That someone saw each time you won or botched?
No one’s watching; don’t despair
(At least as far as I’m aware),
Yet Truman Burbank’s on TV,
Living life for all to see,
Quite contented in his dome,
Which he doesn’t know is home.
 
He has fans around the world who watch him daily
As he greets Seahaven every morning gaily.
No reality show’s greater,
Thanks to Christoff, its creator.
Due to Christoff’s shrewd promotion,
Truman’s frightened of the ocean,
So he never leaves his isle,
Though he’s tempted for a while.
 
Truman’s been content with blinders since his youth,
But he starts to have an inkling of the truth.
From a star that might be fake
To a radio mistake
To endorsements from his wife,
Things revolve around his life,
Such that he begins to wonder
What conspiracy he’s under.
 
He attempts to leave his quaint, idyllic course
But is urged to linger, even if by force.
When at last he gets away,
Sailing off across the bay,
Christoff tries to be his guide
From the unknown world outside.
Truman doesn’t want ideal;
He would rather have what’s real.
________________
 

(I had fully intended for The Truman Show to be part of my original list, and I even wrote the review last year. Yet, in looking over my archives, I found that I apparently never posted it. I don’t know how I could have missed it, but it’s time to correct that oversight. Better late than never, right?)

Who would have thought from films like Ace Ventura: Pet Detective, The Mask, and Dumb and Dumber that Jim Carrey could muster such a subtle, earnest performance? The Truman Show is without a doubt his finest film. I want to call it one of the most original stories of the last twenty years, but a little research revealed that it did have some forerunners, particularly a similar 1989 Twilight Zone episode entitled “Special Service.” While that episode had some perceptive themes, such as how some people are famous just because they’re on television (Snooki, Housewives, etc.), the movie improved on those themes, creating a film that both entertains and challenges our sense of paranoia and privacy. It’s also funny and pleasantly intelligent, shrewdly depicting certain rules of Truman’s world before they’re even fully explained.

Jim Carrey gets a chance to intermittently employ his trademark goofy grin and mannerisms, but he proves he can handle weightier material as he slowly discovers all is not right in his world. One of his best scenes occurs when his suspicions are first aroused, and accompanied by a mood-setting score, he wordlessly changes up his routine just to witness what will happen. Oscar nominee Ed Harris as show creator Christoff isn’t wholly unlikable as the overlord of Truman’s life, and his few scenes make it clear that he does care for Truman in a twisted way and believes that this charade is somehow in his subject’s best interest. Of the other actors, Noah Emmerich offers the most convincing deception, effortlessly earning Truman’s trust while giving little indication that he’s just an actor.

As a Christian, I might have taken issue with The Truman Show’s symbolic renunciation of its God stand-in, except that Christoff is just a stand-in. He’s a pretender, believing himself benevolent while using Truman for ratings and engaging often ridiculously obvious methods to keep him from discovering the truth. It’s a thought-provoking notion that all of our situations are pre-ordained and many groups have latched onto such concepts, but I believe God allows the multitude of human beings on this planet to choose their actions. Though He knows what will happen, He doesn’t interfere in the ways Christoff does but lets us choose, sometimes to our detriment. In addition, there’s no sacrifice on Christoff’s part, no desire for a real relationship, as God desires. While the filmmakers most likely intended Truman’s rejection of Christoff to mirror a rejection of Christ, Christoff’s actions are ultimately not God-like enough to warrant the comparison, unless you count watching from the sky. The film does challenge one’s view of God but not in an insulting or dogmatic way. I choose to perceive it as a critique, not of God, but of authoritarian frauds, posers, and maybe even governmental control freaks.

The Truman Show continues to be insightful and socially relevant in our fake reality-obsessed world and stands as Jim Carrey’s most Oscar-worthy performance. It continues to have an influence on modern films like Bolt and The Hunger Games and reinstated fears of surveillance to a post-1984 world. If only Jim Carrey would seek out more roles like this….

Best line: (Truman, as a kid in school) “I’d like to be an explorer, like the great Magellan.”  (his teacher, trying to convince him to not want to leave) “Oh, you’re too late. There’s really nothing left to explore.”

 
Rank: List-Worthy (should have been #100)
 

© 2015 S. G. Liput

296 Followers and Counting

Bottom-Dweller: X-Men: The Last Stand (2006)

17 Friday Apr 2015

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

≈ 1 Comment

Tags

Action, Bottom-Dweller, Drama, Sci-fi, Superhero

 
 
X-Men United? Well, not all that much.
There’s six or so heroes, and Rogue who can’t touch.
The rest of the mutants unfortunately
Line up with Magneto or stay absentee.
 
A cure for mutations has been synthesized,
And soon its great risk is sensationalized.
Meanwhile, Jean Grey has returned from the grave
To murder the friends that she perished to save.
 
As evil Magneto initiates war,
The X-Men fight back, as they’ve all done before.
For those wishing for Bryan Singer on hand,
This thankfully isn’t the X-Men’s last stand.
___________________
 

When it comes to movies, I’m fairly easy-going. Even in films that others tear apart, I tend to see the positives and end up liking them to some extent (Spider-Man 3, Indiana Jones and the Kingdom of the Crystal Skull). Yet there are a select few movies that I honestly despise, six special films that carry my cinematic slur of “bottom-dweller.” Not all of these are bombs; some were even critically lauded. Yet they all have something in common. They disappointed me deeply, and no film exemplifies this fault like X-Men: The Last Stand, a film that seemed at the time like a franchise killer.

Having seen it again, I believe it had the potential to be a worthy follow-up to the truly great sequel X2. The plotline involving a mutant cure poses a divisive “what-if” development that offers both hope and fear, and the characters’ reactions to it are believable for the most part. Except for some scenes with Angel’s wings, the special effects are top-notch, particularly Magneto’s hijacking of the Golden Gate Bridge. (I remember once seeing this movie the same day as Monsters vs. Aliens and noticing that both featured the same bridge’s destruction.) Had The Last Stand focused solely on the “cure” plot thread, it may not have gone so wrong, but its greatest mistake is the maddeningly disappointing adaptation of the famous “Dark Phoenix Saga” from the comics. (Spoilers ahead.)

Perhaps the Honest Trailer (a satirical YouTube video series) for the X-Men trilogy summed it up in stating that, after Brett Ratner’s taking over for original X-Men director Bryan Singer, we get to watch him “kill off your favorite characters, leave out your favorite characters, and depower your favorite characters.” The worst aspect of the film is its treatment, or rather mistreatment, of these characters. X2 ended with Jean Grey’s heroic sacrifice to save her teammates from certain death, and it offered a bittersweet conclusion that left room for more. Putting aside all the action of The Last Stand, this film essentially resurrects her, only for her to disintegrate her lover Cyclops, her mentor Professor X, and a whole lot of other people until she is finally taken down by Wolverine. Not only does this diverge from the comic source material, but it makes for an entirely unsatisfying superhero film, one in which major character deaths are given no nobility and the few hints at future film prospects are woefully deficient, considering the damage already done to the franchise.

Other complaints could range from the overstuffed, underdeveloped host of new characters (including [Lost alert] Ken Leung as a punk with retractable quills) to the underwhelming face-off between Iceman and Pyro to the continuity-clashing prologue in which Charles can walk and he and Magneto are still on good terms (First Class pretty much ignored this film). Plus, even if Magneto is the villain, he always seemed to have a misguided yet understandable reason for his villainy, but his abandonment of Mystique after she saved him makes him unnecessarily shallow and selfish. Despite the welcome additions of Kelsey Grammer and Ellen Page as Beast and Shadowcat, respectively, every single character was given short shrift and deserved so much better.

After this film, most subsequent X-Men films had to hearken back to the origins of its most popular characters since this film left little to work with, yet this movie certainly wasn’t a worthy conclusion to the original characters’ story. Ultimately, it took the return of Bryan Singer with X-Men: Days of Future Past to clean up the mess left by The Last Stand and give us the happy ending this bottom-dweller never could.

Best line: (Storm’s eulogy, one of the few genuinely poignant moments) “We live in an age of darkness: a world full of fear, hate, and intolerance. But in every age, there are those who fight against it. Charles Xavier was born into a world divided, a world he tried to heal… a mission he never saw accomplished. It seems it’s the destiny of great men to see their goals unfulfilled. Charles was more than a leader, more than a teacher. He was a friend. When we were afraid, he gave us strength. When we were alone, he gave us a family. He may be gone, but his teachings live on through us, his students. Wherever we may go, we must carry on his vision, and that is a vision of a world united.”

 
Rank: Bottom-Dweller
 

© 2015 S. G. Liput

295 Followers and Counting

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