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Rhyme and Reason

~ Poetry Meets Film Reviews

Rhyme and Reason

Tag Archives: Sci-fi

Iron Man Trilogy (2008, 2010, 2013)

02 Thursday Oct 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Tags

Action, Sci-fi, Superhero

(Spoilers ahead)
 
The playboy genius billionaire
Tony Stark does not much care
About concerns he made his cash
From weapons that guerrillas stash,
Until this vain and selfish man
Is kidnapped in Afghanistan.
 
When locked up by some terrorists,
A fellow prisoner assists.
Life-saving Yinsen does his best
To stop the shrapnel in Stark’s chest.
When he is stable, Stark is forced
To build a missile he endorsed.
 
Instead of building what they’ll shoot,
Both he and Yinsen build a suit,
An Iron Man that Stark will drive
To get out of this cave alive.
Though Yinsen sadly meets his end,
Stark finds freedom, thanks to his friend.
 
When good pal Rhodey rescues him,
Stark then announces on a whim
That he’ll leave weapon tech behind,
And most believe he’s lost his mind,
Like partner Obadiah Stane,
Who makes his reservations plain.
 
Intrigued by his initial suit,
The terrorists find it to loot,
And Tony builds a better one
To stop the violence he’s begun.
An arc reactor in his chest
Protects his heart and fuels his quest.
 
His exploits mess with certain plots
And scare assistant Pepper Potts,
Who cares too much to just stand by
And watch her dear employer die.
He urges her to help him hack,
And they learn Stane ordained the attack.
 
Stane’s had another suit created,
Bigger, stronger, more ill-fated.
Powered by Stark’s tech he stole,
Stane has great power at his control,
Which proves too much, when it’s revealed,
For agents from a group called S.H.I.E.L.D.
 
Though weakened, Tony swoops right in
And battles Stane but cannot win.
Through streets and skies and rooftops too,
They duke it out in public view.
With Pepper’s help, they finish Stane,
But to the press, Stark must explain.
Though S.H.I.E.L.D. would have him stick to plan,
He tells the world he’s Iron Man.
__________________
 
Now that his cover has been blown
And his identity is known,
Ol’ Tony Stark’s enjoying it
And showing off his suit a bit.
The Stark Expo his dad began
Now showcases his Iron Man.
 
His rival Justin Hammer tries
To copy Tony’s “iron” prize,
And senators are less than thrilled
That Stark won’t share what they can’t build.
In any case, he’s flying high,
And yet he fears he soon will die.
 
Palladium inside his chest
Is killing him and leaves him stressed.
He names his girlfriend Pepper as
The CEO of all he has,
But while he’s at a grand prix racing,
There’s a brand new foe worth facing.
 
Ivan Vanko, wielding whips,
Removes the smirk from Tony’s lips.
Though Tony beats him, he can tell
That Vanko forged his tech quite well.
It seems that both their fathers had
Been partners ere Vanko’s went bad.
 
From jail, the Russian brute is sprung
By Justin Hammer, who has hung
His hopes on Vanko to provide
Something that Stark has not supplied.
Meanwhile, Tony’s recklessness
Distresses Rhodey to excess.
 
Rhodes takes a suit for Air Force use,
While S.H.I.E.L.D. stops Tony’s booze abuse.
Director Fury urges Stark
To visit matters in the dark,
His distant father’s expo plans,
Which may hold clues his life demands.
 
He halts his health’s unseen descent
By forging a new element
To spare his heart and fuel his suit.
Meanwhile, Hammer’s new recruit
Builds robot soldiers for his goal,
And they are under his control.
 
The Stark Expo is quickly made
A battleground by this upgrade,
And Rhodey in his borrowed suit
Is forced to battle Stark and shoot.
Because of his involvement, Hammer
Gets a ticket to the slammer.
 
Agent Romanoff from S.H.I.E.L.D.
Frees Rhodey on the battlefield,
And he and Stark take out the bots
And barely rescue Pepper Potts.
Once Vanko’s vanquished, Stark is told
By Fury he’s too brash and bold.
Stark is confused but not upset:
He won’t be an Avenger…yet.
________________
 
Since Stark helped stop a space invasion,
He’s been panicked on occasion.
Memories of nearly dying
Scare him, though he’s still denying.
In his basement, he grows roots,
Constructing countless high-tech suits.
 
The world is threatened once again
By someone called the Mandarin,
A terrorist with frightful voice
Who gives world powers little choice.
One Aldrich Killian tries selling
His A.I.M. technology compelling.
 
When Happy Hogan, Tony’s guard,
Is injured by a bomb and scarred,
Stark calls the Mandarin to fight,
And missiles answer him outright.
Both Maya Hansen, an old flame,
And Pepper flee the strike by A.I.M.,
 
But Tony’s suit instinctively
Flies him to rural Tennessee.
While there, he meets a lonely kid
Named Harley, who assists off grid.
They check a bomb-like suicide
With clues to how some others died.
 
When suitless Stark locates the foe,
He finds the Mandarin’s a show,
An actor, Trevor Slattery,
Who faked his crimes on live TV.
It’s Killian who is to blame
And his Extremis, backed by A.I.M.
 
With Rhodey’s armor, Killian’s bent
On kidnapping the President.
With him deceased, he’ll own and guide
The leadership of every side.
He’s kidnapped Pepper too, but soon
Stark’s suit returns when opportune.
 
A fleet of suits at Stark’s command
Attacks and makes a final stand.
The President saved, Stark gets aid
Defeating Killian’s tirade.
When all is done, Extremis ended,
All the villains apprehended,
Stark negates what he began,
But still, deep down, he’s Iron Man.
______________
 

Iron Man was the beginning of the Marvel Cinematic Universe that has grown exponentially ever since, including one or two films a year and an ongoing television series.  The seminal superhero flick introduced lasting facets of this universe, such as Robert Downey, Jr.’s Tony Stark, Clark Gregg’s Agent Coulson, and the Strategic Homeland Intervention, Enforcement, and Logistics Division, better known as S.H.I.E.L.D.  Even non-comic geeks probably knew the basics of the Batman, Superman, and Spider-Man mythos, but Iron Man was certainly less widely known, even if he too had a 1990s animated TV series (and was voiced by Airplane!’s Robert Hays).  The 2008 feature film established Tony Stark as a household name, thanks predominantly to Downey’s utterly entertaining charisma and the awesome CGI armor.  Gwyneth Paltrow also found her most recognized role as his girlfriend Pepper Potts, and who would have guessed that that unassuming Coulson urging for a debriefing would go on to have his own weeknight show?  Of the villains in the three films, Jeff Bridges as Obadiah Stane is the best, offering both an intimidating presence (which Vanko had and Killian lacked) and a worthy showdown (which Vanko lacked and Killian had).  Plus, Samuel L. Jackson’s incipient post-credits scene as Nick Fury opened up countless opportunities, referenced an Avengers film still four years away, and made the hearts of fanboys everywhere beat a little bit faster.

Iron Man 2 continued the all-around coolness factor that had made its predecessor such a success, starting off with some epic AC/DC.  Downey had his usual banter down pat, and Don Cheadle stepped gracefully into the role of Rhodey, previously played by Terrence Howard, though I wish they had kept Howard all the same.  (After all, he never got to wear the War Machine armor he was eyeing.)  Iron Man 2 introduced another menacing villain in Mickey Rourke’s Ivan Vanko/Whiplash, as well as Scarlett Johansson as S.H.I.E.L.D. agent Natasha Romanoff/Black Widow.  Sadly, neither of them were utilized fully; after Vanko’s initial assault on Stark, he’s off in the shadows letting robots fight for him, and when he finally arrives on the battlefield, he’s taken out within two minutes.  Likewise, Johansson is present mainly for eye candy and an overlong hallway melee meant to simply exhibit her strength and tenacity; otherwise, her role is minimal, though definitely bigger than Hawkeye’s cameo in Thor.  I did enjoy the lighter villainy of Sam Rockwell as Justin Hammer, and the portrayal of Stark’s morbid spiral into drunkenness, his paternal issues, and his struggle to synthesize his needed element deepened his character and provided a very obvious Captain America reference.

Iron Man 3 was the start of Phase 2, Marvel’s post-Avengers period, and proved that they still had the right balance of humor, heart, and action.  In a comic-book world where near-death experiences seem like an everyday annoyance, it was intriguing to see Tony’s recurrent distress from his time with the Avengers.  From the trailers, I was sure that Ben Kingsley would steal the show as the threatening Mandarin, and he did…for the first half.  The revelation of his true oblivious identity was a big let-down, for me and many comic fans, though a recent partial retcon in the Marvel One-Shot “All Hail the King” presents the possibility of future efforts doing the character justice.  On the other hand, the treatment of the Extremis story arc was exciting, complex, and influential to the Marvel universe, since Extremis continued to pop up in the first season of Marvel’s Agents of S.H.I.E.L.D.  (By the way, minor Lost alert: Rebecca Mader, who played Charlotte Lewis on my favorite show, portrayed a nameless Extremis soldier who took down Rhodey’s armor.)  While I enjoyed Tony’s bonding with the boy in Tennessee, the threequel tried to cover a lot of territory, and some elements like Maya Hansen and Trevor Slattery were wiped away too quickly to make room for a slam-bang climax that was admittedly spectacular.  Pepper’s role in the final battle did seem rather contrived, as if Paltrow had simply requested more action for her character, and Tony’s destruction of his suits may have been “sweet,” but it was also irresponsible, considering they weren’t sure all the baddies had been defeated.  The denouement ties up the storylines with a contemplative bow, but its ambiguity left further entries in the series in doubt.  Maybe Tony now lives in the Avengers Tower/Stark Tower.

Overall, the Iron Man films are a huge feather in the cap of Marvel Studios, and Robert Downey, Jr. makes the role his own so effectively that any distant reboot couldn’t hope to find a worthy replacement.  Of the three, I probably prefer the original, a near-perfect origin story that displays a good reason for Tony to change (the dying words of Shaun Toub as Yinsen) and touches on themes of self-improvement and the War on Terror.  All three are among the finest and most fun superhero films thus far.

Best line from Iron Man: (Nick Fury, speaking to Stark and moviegoers everywhere) “’I am Iron Man’. You think you’re the only superhero in the world? Mr. Stark, you’ve become part of a bigger universe. You just don’t know it yet.”

Best line from Iron Man 2: (Tony, reading Romanoff’s description of him) “’Mr. Stark displays textbook… narcissism.’  [long pause]  Agreed.”

Best line from Iron Man 3: (Pepper, toward the end) “What have I got to complain about now?”  (Tony) “Well, it’s me. You’ll find something.”

 
Artistry: 8
Characters/Actors: 9
Entertainment: 9
Visual Effects: 10
Originality: 8
Watchability: 9
Other (violence): -2
 
TOTAL: 51 out of 60
 

Next: #108 – Shrek 2

© 2014 S. G. Liput

213 Followers and Counting

 

The Matrix (1999)

29 Monday Sep 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Tags

Action, Sci-fi, Thriller

Desk worker by day and hacker by night,
Neo is met by a girl who can fight.
This Trinity tells him that Morpheus wishes
To show him a secret that stays surreptitious.
 
When Neo won’t take an escape route too high,
Mysterious agents detain with no why.
He’s interrogated by Smith, a shrewd thug,
Who bugs him with some kind of literal bug.
 
At night, Neo meets up with Morpheus’ crew
Who take out the bug and deliver him to
The dreamer himself, who then offers some pills,
Without quite explaining the subsequent ills.
 
The red pill then causes our hero to wake
And has him soon thinking he made a mistake.
He finds himself nude in a world where machines
Are fueling themselves by the vilest of means.
 
The AI’s took over, and nobody sees,
For people are now used as live batteries.
The world Neo knew is the Matrix, a fake,
To keep people blind to the truth, lest they wake.
 
Recruited at once by the hovercraft crew
He met in the Matrix, who showed him what’s true,
He’s tutored by Morpheus, who first explains,
And cool skills are downloaded into their brains.
 
They enter the Matrix, once training is done,
To find out if Neo is really the One.
The Oracle tells him what he needs to hear,
But they can’t return, for a traitor is near.
 
As Smith captures Morpheus after a fight,
The turncoat exterminates friends in their sight.
He’s stopped, leaving only a browbeaten trio
And Morpheus still in the Matrix, but Neo
 
Insists he be rescued, regardless of threats.
They go in and shoot the heck out of the sets.
The rescue is thrilling and proves, more or less,
That Neo’s the One who can grant them success.
 
When both of his comrades are safe through the phone,
Both Neo and Smith have a duel on their own.
As robots fill Morpheus’ crewmen with dread,
A fight and a chase leaves our champion dead.
 
A kiss and a prophecy Trinity knew
Revive him with powers that Smith can’t subdue.
The robots are halted, and Neo’s inclined
To stopping the Matrix and freeing mankind.
______________
 

Written and directed by the Wachowski Brothers, The Matrix is one of the few sci-fi films that one can call ground-breaking. Star Wars was the original, and many others have tried, such as Inception and Avatar, with varying success, but The Matrix took audiences by surprise with its brilliantly staged action, religious symbolism, and thought-provoking dystopia. Plus, it’s downright cool, and it knows it’s cool. From Trinity’s opening fight scene to the expertly choreographed kung-fu face-offs to the helicopter rescue, the film has all the action moviegoers could want, but it also featured a number of fascinating themes, such as the validity of “reality.” Combine these elements with slick camera work, impressive CGI, protracted but artful use of slow-motion and bullet-time effects, and a trench-coated cyberpunk mystique, and you’ve got a hit.

Keanu Reeves shed his Bill and Ted persona for a straight-faced, chosen-one role of Neo, and Laurence Fishburne proved surprisingly agile as the mysterious Morpheus. Carrie-Anne Moss found her breakthrough role playing the formidable Trinity, and Joe Pantoliano and especially an intense Hugo Weaving make for excellent villains. Weaving’s deliberate pronunciation of “Mr. Anderson” is distinctly intimidating.

The film’s main drawback, aside from language, is its high body count. Those who die in the Matrix die for good, and a number of innocent people are caught in the crossfire, particularly during the bullet-riddled lobby scene. While these scenes remain admittedly awesome, the deaths of neutral parties by “good” characters diminish the overall fun factor.

The Matrix isn’t completely original: it owes much to anime, such as Akira, and to martial arts films.  A few first-person shots with Neo running through an apartment at the end were even reminiscent of the foot chase in the Coen brothers’ Raising Arizona. Still, The Matrix is a sci-fi masterpiece that stands much higher than its two sequels.  (I may review those someday.  Essentially, they continued the breathtaking action of the first film but emphasized pointless exposition and ended on a thoroughly unsatisfying note.)  Taken on its own, The Matrix is a provocative thriller that the Wachowskis have yet to match. (We’ll see about their upcoming sci-fi effects extravaganza Jupiter Ascending.)

Best line: (Morpheus, to Neo) “This is your last chance. After this, there is no turning back. You take the blue pill – the story ends, you wake up in your bed and believe whatever you want to believe. You take the red pill – you stay in Wonderland and I show you how deep the rabbit-hole goes.”

 
Artistry: 10
Characters/Actors: 8
Entertainment: 9
Visual Effects: 10
Originality: 9
Watchability: 9
Other (violence, language): -4
 
TOTAL: 51 out of 60
 

Next: #110 – To Kill a Mockingbird

© 2014 S. G. Liput

213 Followers and Counting

 

The Hunger Games (2012) and Catching Fire (2013)

23 Tuesday Sep 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Tags

Action, Drama, Sci-fi, Thriller

(Major spoilers ahead)
 
The land of Panem has twelve districts or so,
Who all rose up seventy-four years ago.
The Capitol beat them and since has drawn names
Of two teens from each district to fight Hunger Games,
A televised, glamorized duel to the death,
Which only ends once a lone victor draws breath.
 
In poor District 12, Katniss Everdeen wants
To help sister Primrose and mom, so she hunts.
She goes with young Prim and her handsome friend Gale
To the annual Reaping, where all their hopes fail.
The vain Effie Trinket draws Prim, who had fears,
But Katniss steps forward, and she volunteers.
 
Once Peeta Mellark, the town baker’s son,
Is picked as the male and goodbyes are all done,
They leave on a train that is meant for the rich
And meet the lone victor from 12 named Haymitch.
He may be a drunk, but he gives them advice:
To earn sponsors, they have to act friendly and nice.
 
Like Effie, the Capitol’s full of vain posers,
Multi-hued, glossily shallow brownnosers.
Their stylist Cinna can’t help but admire
Brave Katniss. His clothing designs can catch fire;
This earns welcome praise as both tributes hold hands,
Making 12 the new favorite for those in the stands.
 
As Peeta and Katniss are lavished with pleasures,
They’re rather uncomfortable with all these treasures.
In training, they both earn some slight recognition
From twenty-two others, who’ll be competition.
While Peeta can paint camouflage and is strong,
It’s Katniss the archer who shines all along.
 
In televised interviews, Peeta admits
That he’s loved Katniss secretly, giving her fits,
But this makes them popular, letting folks delve
Into tales of the two star-crossed lovers from 12.
Though scared when the day of the contest arrives,
Both Katniss and Peeta will fight for their lives.
 
A forest environment is their terrain,
And both avoid being the first of the slain.
While Katniss runs off to try hiding from view,
Her counterpart Peeta joins with 1 and 2,
Who’ve teamed up to hunt down the weak that remain
Before they start fighting each other again.
 
The gamemaker Seneca Crane uses flame
To drive Katniss back to the heart of the game.
When cornered by tributes, she takes out a foe
By dropping a wasp nest on those down below.
Assisted by District 11’s young Rue,
She blows up the enemies’ food supply too.
 
When Rue meets her death and her friend is grieved by it,
The men in 11 start causing a riot.
To give people hope, Crane adjusts what has been
So that Katniss and Peeta can both perhaps win.
She finds him and helps save his life and, what’s more,
Confesses her love, just as he had before.
 
Attacked by Crane’s beasts, they seek refuge until
They’re assaulted by one last opponent to kill.
When they are alone and they think that they’ve won,
They’re told that the earlier change is undone.
With poisonous berries, they bluff suicide,
But needing a victor, Crane’s fit to be tied.
 
Crane lets them both win, a choice sure to cause strife,
And for this decision, he pays with his life.
Both Katniss and Peeta, relieved from the threat,
Return to 12, maybe to try and forget.
But threats exist outside the Hunger Games, though,
And they have displeased mighty President Snow.
_______________________
 
Though Katniss and Peeta have safely returned
To bleak District 12 with the prize that they’ve earned,
Though they now have comfort they never have known,
Poor Katniss feels guilt with no way to atone.
 
They now have to go on a victory tour
To give people hope, which is misery’s cure,
But President Snow knows that Peeta and she
Were faking their love for the districts to see.
 
He says that they’d better convince with their act
And make folks believe, to keep Panem intact.
He shows her a picture to say, if they fail,
He’ll punish their loved ones, including friend Gale.
 
Yet, by the people, they are not endorsed;
They’re not in the mood for a love that seems forced.
They want to rebel, just as Katniss had done
When she used the berries to spoil Snow’s fun.
 
They mingle and mix at a Capitol ball,
And how people live cannot help but appall.
There Katniss runs into Plutarch Heavensbee,
The newest gamemaker who took the job free.
 
When Katniss suggests she and Peeta be wed
To keep people happy, though strife is widespread,
This Plutarch tells Snow that they ought to crack down
To make people hate her in her wedding gown.
 
Snow’s soldiers attack on a much larger scale,
And Katniss steps in when they start whipping Gale.
This open defiance leads Snow to desire
The victors destroyed to extinguish the fire.
 
The seventy-fifth Hunger Games will excel
At granting his wish; it’s a rare Quarter Quell,
And Snow soon announces that tributes will come
From the group of contestants who’ve already won.
 
Since Katniss is 12’s only female to win,
It’s Peeta or Haymitch who’ll also be in.
When Haymitch is picked, Peeta does volunteer
To fight beside Katniss just like the last year.
 
They meet prior victors, like Finnick Odair,
Who’s friendly but cocky and acts debonair,
And Beetee and Wiress, who let science fight,
And 7’s Johanna, who’s forward all right.
 
They train as before, but the tributes are sore
For having to fight for survival once more.
They try to subvert the support for the games
But are not successful at thwarting Snow’s aims.
 
For using his fashions to rouse and incite,
Her stylist Cinna is dragged from her sight.
The Games then begin, as the tributes all rise
And figure out who are their chosen allies.
 
They fight on a lake and then everyone hides
In the jungle that stretches away on all sides.
Both Katniss and Peeta join Finnick of 4
And run into force fields and dangers galore.
 
First near-deadly shocks and then poisonous mist
And then killer monkeys, and all they resist.
They flee to the center and find, through a yell,
Johanna and Wiress and Beetee as well.
 
They realize this place is set up like a clock,
With dangers in sections and force fields that block.
Soon Wiress is killed, and the whole clock is spun
To mess up their plan and confuse everyone.
 
Still, Beetee decides they must go to a tree,
Where huge lightning bolts strike regularly.
From there they can shock all the foes that remain,
And what follows that is not made very plain.
 
The group is ambushed as they try Beetee’s route;
Johanna cuts Katniss’s tracker right out.
She’s cut off from Peeta and goes to the tree
To find Beetee hurt to an unknown degree.
 
Confused at what’s happening, Katniss is given
A chance to shoot Finnick; instead, she is driven
To shoot up an arrow connected to wire,
Which shocks the arena and causes a fire.
 
The whole dome shuts down, leaving Snow quite aghast,
And Heavensbee’s gone, having gotten out fast.
Though Katniss is injured, she still is okay
And sees a ship swoop in and lift her away.
 
She wakens to learn Heavensbee’s on her side,
And half of the tributes were slyly allied.
The plan all along was to get Katniss free,
And take her to District 13 covertly.
 
But Katniss is mad at Haymitch and distraught,
For Peeta, as well as Johanna, were caught.
She further learns Gale and her family are fine,
But District 12’s gone, and now Snow’s crossed the line.
____________________
 

I was initially dubious about The Hunger Games, viewing a tale of juvenile gladiatorial games as a new low in a culture craving “bread and circuses.” I had not read Suzanne Collins’s books and had only heard rumors about their violence and unfortunately young fan base. Once I finally saw the film, I was impressed, not only at how relatively restrained the bloodshed was but also at how the themes of violence were subtly denounced and subverted by stronger themes of compassion and sacrifice. For instance, Katniss only kills in self-defense (and even that haunted her afterward), and her grief at Rue’s death includes a beautiful tribute both to the fallen friend and to extinguished innocence itself. It still bothers me that a seven-year-old at my church was singing its praises, but The Hunger Games is certainly a worthwhile story for young adults and up.

Then the second film made it even better. Not only did it avoid the kids-killing-kids concerns (I know, adults killing adults isn’t much better), but it provided a much stronger freedom-fighting angle while retaining the positive themes and laudable characters. Not to mention the action of the Games themselves, at once clever and frightening, with a touch of paranoia, moral quandaries, and relieving humor. In both films, it takes an inordinate amount of time just to reach the titular tournament, but this setup is necessary for the characters and the drama to build to the climax, which doesn’t disappoint.

I probably admire the second film more, thanks to its more detailed arena and its game-changing twist ending, but my VC enjoys the first more because it develops its characters further. Catching Fire does suffer from a host of new secondary characters that we aren’t given quite enough time to trust, much less grow fond of, such as Finnick and Johanna. Yet I was distressed by Cinna’s fate, even though he only had some brief scenes in the first film; I expect the other characters will grow similarly in the next two installments of the series.

The love triangle is uninspired, but there’s little negative to say about Jennifer Lawrence, Josh Hutcherson, and Liam Hemsworth as Katniss, Peeta, and Gale, respectively. At this point, I believe these will be their most enduring roles. Supporting players are also at the top of their games, including Woody Harrelson as drunk but faithful Haymitch, Elizabeth Banks as vain but surprisingly caring Effie Trinket, Donald Sutherland as the menacing President Snow, and the late Philip Seymour Hoffman as turncoat Plutarch Heavensbee.

Post-Harry Potter, The Hunger Games remains the shining example of a young-adult-book-sensation-turned-movie-series. Twilight tried and failed; Percy Jackson tried and didn’t exactly succeed; and further attempts to match its success have continued this year with Divergent, The Giver, and The Maze Runner. It’s not every film that features some pop culture-worthy lines and an instantly recognizable whistle. The quality of acting, script, and overall production sets The Hunger Games apart and manages to overcome its less pleasant aspects. I’m not one to jump on many band wagons, and, not having read the books, I’m unsure how the next two films will work without the integral Games, but I’m definitely looking forward to Mockingjay – Part 1 (even though Part 1 = the Quest for More Money). Who isn’t?

Best line from The Hunger Games: (President Snow, speaking for any authoritarian dictatorship) “Hope. It is the only thing stronger than fear. A little hope is effective. A lot of hope is dangerous. Spark is fine, as long as it’s contained.”

Best line from The Hunger Games: Catching Fire: (Katniss) “Nobody decent ever wins the games.”   (Haymitch) “Nobody ever wins the games. Period. There are survivors. There’s no winners.”

 
Artistry: 8
Characters/Actors: 9
Entertainment: 8
Visual Effects: 10
Originality: 8
Watchability: 8 (surprisingly)
Other (violence): -1
 
TOTAL: 50 out of 60
 

Next: #114 – The Right Stuff

© 2014 S. G. Liput

209 Followers and Counting

 

Terminator 2: Judgment Day (1991)

21 Sunday Sep 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Action, Drama, Sci-fi, Thriller

John Connor is ten and a bit of a punk
And thinks his mom’s tales of the future are bunk,
But two Terminators time-travel there still,
The one to protect him, the other to kill.
 
One looks like the cyborg from ten years ago,
Who sought Sarah Connor, but now he’s no foe.
The other’s mimetic and liquid-metallic
And has his sights set on the fledgling smart aleck.
 
The good Terminator saves John from the other,
And John then insists that they rescue his mother,
Who’s gone off the deep end with her apprehension
And had to be locked up in mental detention.
 
They barely escape and intend to head south,
But Sarah learns more from their cyborg’s own mouth.
She plots to dispatch Miles Dyson, the man
Developing Skynet according to plan.
 
She cannot go through with her cruel homicide,
But when Miles hears of destruction worldwide,
He helps them to enter his lab that same night
To wipe out the research that leads to their plight.
 
They blow up the lab, which is Dyson’s undoing,
And flee with the bad T-1000 pursuing.
Within a steel mill, he is shattered to bits
But reintegrates since he can’t call it quits.
 
A chase and assault and grenade to the chest
At last leaves it melted and un-coalesced.
John’s faithful protector knows this won’t suffice;
To stave off the future, he pays the last price
And stops Judgment Day with a brave sacrifice. (or so it seems….)
________________
 

The first Terminator was an effective combination of sci-fi, horror, and action, but its acclaimed 1991 sequel pitches the horror in favor of all-out, jaw-dropping action (sort of like Cameron’s Aliens, though that still had plenty of nightmare fodder). I’m sure it was tricky turning such an iconic villain into a force for good, but James Cameron did just that, earning Arnold Schwarzenegger’s T-800 a spot on both AFI top Heroes list and their Villains list.

The film starts out with mounds of human skulls, so the audience will know they’re in for a good time. This bleak future provides a goal for the characters, namely to prevent it, and the setup with the two time travelers keeps it unclear who belongs to the dark side. Robert Patrick as the T-1000 acts human enough at first, leaving doubts as to whether he’s another cyborg or a freedom fighter like the first film’s Kyle Reece (though the trailers gave that away from the start).

The robots are perfectly cast, but the humans are less than ideal. Edward Furlong has the required leadership potential for John Connor, but he’s a foul-mouthed delinquent who doesn’t deserve termination but certainly prosecution. Likewise, Sarah Connor is no longer an attractive waitress but a haunted, violent nutcase whose tales of the future have gotten her committed. Their cause is admirable, but they’re hardly admirable as people.

The film itself has plenty of brief but deep themes (women create life while men tend to destroy; the potential and need to value human life), though it doesn’t even try to address the paradoxes they create in attempting to change the future. It’s also interesting how Sarah Connor’s extreme concern for life becomes a disregard for life when she sets her sights on Dyson, practically turning her into a Terminator before she remembers her humanity. T2 contributed some famous lines to pop culture, like the kick-butt “Hasta la vista, baby” while also offering a unique reversal of lines from the first film, such as “Come with me if you want to live,” which I actually attributed to this film before I was reminded that Reece said it first. Let’s face it: Arnold does say it better than Michael Biehn.

And I haven’t even mentioned the Oscar-winning, cutting-edge effects. The water column in The Abyss was impressive enough, but the malleable T-1000 is a true achievement in special effects and a huge leap forward compared with films even a couple years before. Honestly, the visual effects are still Oscar-worthy by today’s standards, even 23 years old. As with the first film, the chase scenes are a main focus but are ramped up to epic heights with helicopters and trucks carrying liquid nitrogen. The first half contains most of the objectionable content, including some shockingly violent scenes, but the second half is nearly perfect, with ultimate action, awesome explosions, and a lower body count.

Terminator 2 could easily have ended the franchise, and, as yet another reboot is being prepared for a 2015 release, it’s hard to imagine any Terminator film topping it. I’d much rather see it cut, but it’s one heck of a sci-fi joy ride.

Best line (avoiding the obvious): (Sarah, in a voiceover) “Watching John with the machine, it was suddenly so clear. The terminator would never stop. It would never leave him, and it would never hurt him, never shout at him, or get drunk and hit him, or say it was too busy to spend time with him. It would always be there. And it would die to protect him. Of all the would-be fathers who came and went over the years, this thing, this machine, was the only one who measured up. In an insane world, it was the sanest choice.”

 
Artistry: 8
Characters/Actors: 9
Entertainment: 10
Visual Effects: 10
Originality: 10
Watchability: 9
Other (language, violence): -6
 
TOTAL: 50 out of 60
 

Next: #115 – The Hunger Games and Catching Fire

© 2014 S. G. Liput

209 Followers and Counting

 

E.T. the Extra-Terrestrial (1982)

18 Thursday Sep 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ 3 Comments

Tags

Drama, Family, Sci-fi

When ten-year-old Elliot hears things behind
His house but his friends don’t believe,
He has an encounter (it’s of the third kind),
Which makes him stay up the next eve.
 
He welcomes an alien into his home,
Since it doesn’t seem dangerous,
And stays home from school to attend to the gnome,
Who’s hungry and quite curious.
 
Once Elliot’s siblings uneasily meet
The squat little creature from space,
They keep him a secret, and yet ‘cross the street
The government watches the place.
 
A croaker dissection debacle in class
Reveals Elliot and E.T.
Both share a connection, but E.T., alas,
Is rapidly growing sickly.
 
The extra-terrestrial makes a transmitter
They set up on Halloween night,
But when they next find the unfortunate critter,
He’s nearing his death, a pale white.
 
The government moves in to monitor him
But cannot save Elliot’s friend.
It’s not till his spaceship is close that his vim
And vigor return in the end.
 
A chase upon bicycles races and flies
From those scientists’ interfering,
And E.T. and Elliot say their goodbyes
Before his ship soars from the clearing.
________________
 

Often considered one of the finest science fiction movies ever made, I tend to think E.T. the Extra-Terrestrial is a little overrated. Nevertheless, it’s one of those timeless friendship stories that captured people’s hearts much more than another alien film The Thing, which was released the same month.

The majority of films in general feel like simply a paycheck for the filmmakers, but E.T. is one of those in which director Spielberg’s palpable affection for the material is obvious. Inspired by his own childhood imaginary friend, E.T. himself is a wonder of practical effects. Nowadays he would have been a CGI creation (and was for a few scenes of the 2002 re-release), but the use of puppetry gives him a more realistic presence, aided by the amalgamation of sounds and voices Ben Burtt used for his vocalizing.

There have been plenty of critical deconstructions of the film, with analysts comparing it to Peter Pan, The Wizard of Oz, and even the story of Jesus. I believe there’s a point where one can dig too deep, though some of these ideas are interesting, such as both E.T. and Elliot being “alienated” in different ways, E.T. by his abandonment and Elliot by the absence of his father. The film doesn’t actually say some familiar wildlife clichés, such as “He’s as scared of you as you are of him” and “He must be free to live,” but it obliquely applies them in an alien pet context. Along with these potentially deep themes, the film throws in a good deal of humor, such as some sly Star Wars references and Elliot’s drunken reaction when E.T. drinks a beer. Henry Thomas as Elliot and a young Drew Barrymore as Gertie got most of the praise, but I very much liked Robert MacNaughton as older brother Michael, who delivers some of the funniest lines.

It’s not quite perfect: Peter Coyote’s involvement is never fully explained, nor is why he went out to the forest at the beginning or why he began surveillance of Elliot’s house. Also, the space suit invasion scene has got to be one of the cheesiest sequences in an otherwise sterling film. Even so, with an iconic, high-flying John Williams score and a number of classic scenes (the moon scene even became Spielberg’s logo for Amblin Entertainment), E.T. is a time-honored heart-tugger that successfully pulled off the he’s-dead-no-wait-never-mind cliché and reminded audiences that not all visitors from space are unfriendly.

Best line: (Elliot) “He’s a man from outer space, and we’re taking him to his spaceship.”
(Greg, one of Michael’s friends) “Well, can’t he just beam up?”
(Elliot) “This is reality, Greg.”

 

Artistry: 9
Characters/Actors: 9
Entertainment: 8
Visual Effects: 7
Originality: 9
Watchability: 8
 
TOTAL: 50 out of 60
 

Next: #117 – The Mask of Zorro

© 2014 S. G. Liput

209 Followers and Counting

 

Men in Black Trilogy (1997, 2002, 2012)

10 Wednesday Sep 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Action, Comedy, Drama, Sci-fi

(Spoilers ahead)
 
The Men in Black are men with knacks
For stopping alien attacks.
Unknown to all, unseen, unheeded,
Wiping memories when needed,
They guard the earth from cosmic slime,
Quite often in the nick of time.
 
When Agent K hears tell one day
How one cop kept up with his prey,
He gives this James a valued chance
To prove his monster-fighting stance.
Though James is different from the rest,
He outshines all the best of the best.
 
A bug from space then steals a face
To blend in with the human race.
He seeks a galaxy to spoil
And kills an otherworldly royal.
 
The new recruit, who wants to shoot,
Investigates this “Edgar suit.”
A visit to the morgue presents
A corpse’s worrying contents.
 
Then, tit for tat, they all learn that
The galaxy is on a cat.
The bug takes it with hostage too
And plans to bid the earth adieu.
 
But J and K force him to stay
And make him angry, by the way.
K has to dig down deep inside
To leave the insect liquefied.
 
They’ve saved the earth, for what it’s worth,
But no one knows to offer mirth.
J now can face this world so vast,
And K can now retire at last.
_______________
 
The Men in Black are back in black
To stop another space attack.
A worm in supermodel guise
Desires a Light that’s cloaked in lies.
 
When Agent J is told that K
Alone knows details few can say,
He jogs K’s memory with haste,
Which earlier had been erased.
 
Serleena, who a young K knew,
Ensnares the MIB HQ,
And J and K must follow clues
To find the Light that she pursues.
 
It is opined a girl they find
Is not in fact of humankind.
The two must fight Serleena’s might
To rescue Laura, who’s the Light.
 
She must depart but waits to start,
And her migration breaks J’s heart.
They blow Serleena from the air
And get back to Earth’s watchful care.
__________________
 
The Men in Black again are back
To keep the timeline on its track.
When Boris gets some help to break
From lunar jail (don’t trust the cake),
He tries to kill K in the past,
Which changes history quite fast.
 
Since somehow J remembers K
And Boglodites are on their way,
J time-leaps with a strange device
Which proves surprisingly precise.
The ‘60s K considers him,
Although J’s evidence is slim.
 
They’re soon aware of when and where
Their foe will strike before he’s there.
They meet one Griffin, who can see
Each future possibility.
 
From him they get the prized ArcNet
To save Earth from invasion’s threat,
But now it must get into space
To activate and save our race.
 
The moon launch grants the perfect chance;
To Cape Canaveral they advance.
Both past and future Boris try
To stop the duo once they’re high.
 
The black-clad men from now and then
Succeed in saving Earth again;
The Borises and Boglodites
Fortuitously lose their fights.
 
A tragedy J gets to see
Confirms K’s latent sympathy.
Returning home, J’s glad to find
The friend with whom he saved mankind.
_________________
 

What can I say about the Men in Black films? They’re funny, weird, frequently gross, action-packed, mind-blowing, occasionally touching, and overall the best sci-fi/comedy/buddy movie mash-up I’ve seen. Tommy Lee Jones and Will Smith make a perfect straight-man/funny-man team, and their differing reactions to all the bizarreness they encounter are priceless.

The first film was a huge success, both critically and commercially. Contributing a lighter tone to the Marvel/Malibu-published comic book on which it was based, the film lets its two leads bounce off each other effortlessly, fueled by a golden script. Their odd-couple chemistry is matched only by the amazing special effects and Oscar-winning make-up from Rick Baker. The first Men in Black is the most difficult to critique because it’s the closest to being downright perfect. The performances are infectiously fun, the villain (Vincent D’Onofrio) is brilliantly wicked and disgusting, the comic one-liners and hilarious situations are now classics (that rocket car scene with Elvis especially), and the whole film is simply inspired, from the way Siobhan Hogan pronounces “Eggar suit” to the straightforward method K uses to retrieve his swallowed gun. It’s also intermittently shocking in its gooey violence, particularly with Tony Shalhoub’s head-shooting scenes. (By the way, minor Lost alert: Fredric Lehne, the INS agent whom Mikey the alien charges at the beginning, played U.S. Marshall Edward Mars on my favorite show.)

The second film, released on the heels of the animated television show’s cancellation, is sorely lacking in several regards. The villainess is an alien-turned-lingerie model, whose gross scenes are more squirm-inducing than intimidating, and K’s supposed happy ending is dissolved by the lazy explanation that his wife left him. Likewise, there is more of a focus on the worm guys and Frank the pug, potentially irritating characters that are better taken in small doses, as the first film did. Beyond that, many of K’s clues to himself seem rather arbitrary, and by the end, when the fate of the world depends on Laura launching away, both J and K can do nothing but stare regretfully at her. All that’s not to say that the second one is without redeeming value. I loved the scenes with Jeff the giant subway worm and Agent M’s cameo, and Rosario Dawson is naively beautiful as Laura, though it’s unclear what her ultimate fate is when she returns to the home planet she’s never visited. Overall, Men in Black II felt like a direct-to-video-quality effort that didn’t need to be made.

Still, without MIIB, we would never have gotten MIB3, which breathed some new life into the franchise, though whether it paved the way for another sequel or served as an agreeable conclusion is still undecided. I’ve made no secret about my love for time travel, and throwing this device into the plot was genius. Though I once thought that no one could fill the shoes of Smith or Jones, Josh Brolin is incredible as a younger version of K and smoothly inhabits the stoic persona Jones wore so well. It’s not quite as funny as the first film, but Jemaine Clement’s Boris the Animal is a worthily nasty MIB villain, and the finale that works in the 1969 moon launch is outstanding, as is the emotional twist absent from the other two films. As with any time travel story, there are details to quibble over, but that’s for another post maybe. (Though I do wonder why they needed to use Apollo 11 to get the ArcNet into space. With all the aliens already on Earth, did the MIB really not have access to a spaceship of some kind? Also, the question of what made K “this way” is never fully answered, but it seems obvious from the second film. He became grumpy and emotionless most likely because Serleena killed the alien monarch he loved, but maybe that’s too obvious.)

Men in Black didn’t need to be a trilogy, but despite the weaknesses of the second, I’m glad it was, if only for the timey-wimey third film. The original movie remains a high point in modern science fiction, and a lesser staple of pop culture.

Best line from MIB: (Beatrice, Edgar’s wife, when two FBI agents come calling) “You here to make fun of me too?”
(deadpan K) “No, ma’am. We at the FBI do not have a sense of humor we’re aware of. May we come in?”
 
Best line from MIIB: (Laura, after a fight) “Half the time you were on your back!”
(J) “That’s how I fight.”
 
Best line from MIB3: (Griffin, played by Michael Stuhlbarg) “A miracle is something that seems impossible but happens anyway.”

 

Artistry: 7
Characters/Actors: 9
Entertainment: 10
Visual Effects: 10
Originality: 9
Watchability: 10
Other (language, violence, sexual dialogue): -5
 
TOTAL: 50 out of 60
 

Next: #124 – Ghost

© 2014 S. G. Liput

203 Followers and Counting!

 

#130: Alien (1979)

04 Thursday Sep 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Action, Horror, Sci-fi, Thriller

The crew of the Nostromo are awakened from their stasis
To check an odd transmission on a purely routine basis.
When Kane discovers eggs inside an otherworldly ship,
One hatches and attaches to his face with quite a grip.
The creature later disconnects but leaves a hostile guest:
A small, elusive alien that bursts from poor Kane’s chest!
 
The crew, including Parker, Lambert, Brett, and milky Ash,
The science officer with whom one Ripley has a clash,
Attempt with Captain Dallas to detect it and pursue,
But, as the beast matures and grows, some casualties ensue.
Then Ripley learns that Ash is hiding secrets cruel and grim
And, with a little help, succeeds in neutralizing him.
 
Deciding to destroy the ship and flee aboard a shuttle,
The final three are dropped to one by Double-mouth’s rebuttal.
The ship’s computer’s counting down and Ripley cannot stay;
She clears the ship before Nostromo blows itself away.
Though stowaways are sticky, a blown air lock’s all it takes
To rid herself of aliens forever…till she wakes.
________________
 

There aren’t many scary movies on my list, but I couldn’t leave out this classic blend of sci-fi and horror. Ridley Scott’s Alien may have had myriad source materials (The Thing from Another World, Forbidden Planet, etc.), but it’s also terrifyingly original, with an interrupted dinner scene that ranks among the most shocking and memorable ever filmed. With a crew of relatable everymen, Oscar-winning visual effects, and some impressively realized sets for the Nostromo’s interior, Alien also marked the breakthrough success of director Ridley Scott.

When the film was first released, no one expected an alien to pop out of someone’s chest, and no one knew who would survive the frightful encounter, least of all newcomer Sigourney Weaver, who gained much of her fame from this first starring role as Ellen Ripley. The entire film is thick with tension, which slowly builds from the empty corridors at the beginning to the misty alien world on which the crew lands. Once the alien is released upon the unsuspecting humans, almost every scene is suffused with dread that some hideous thing could be around the next corner or camouflaged somewhere in the dark. The ambushes of Brett and Dallas are enough to give anyone nightmare; my VC has seen the film more often than I have, and she was still shaking during those scenes.

Adding to the obvious horror aspects of a hidden monster, many critics also pointed out a sexual subtext that I’d never thought of, namely that the life cycle of the alien tapped into the fear of rape, or more specifically non-consensual reproduction. It was not lost on analysts that it was a man that “gave birth” and that a woman was the hero. This served to frighten men and women alike out of their wits on multiple levels and gave women a remarkably strong example bucking the usually helpless horror archetype.

Though the film is full of language, which, along with the infamous, bloody chest-bursting scene, gained it an R rating, the rest of the movie is actually pretty restrained. Aside from Kane’s, all the other deaths are either off-screen or quickly cut to keep the audience wondering what it was they saw. It’s certainly not for kids, but it’s at least nothing like the outrageous gore fests I steer clear of. I don’t mind being scared, just being grossed-out for the sake of cheap frights.

Though the Alien franchise was run into the ground with Alien: Resurrection and the Alien vs. Predator films, the original remains an icon of both science fiction and horror, a film that countless others have tried to emulate.

Best line: (Ripley) “When we throw the switches, how long before the ship blows?”
(Parker) “Ten minutes.”
(Ripley) “No b***s***?”
(Parker) “We ain’t outta here in ten minutes, we won’t need no rocket to fly through space.”

 

Artistry: 9
Characters/Actors: 9
Entertainment: 9
Visual Effects: 8
Originality: 9
Watchability: 7
Other (language, violence): -2
 
TOTAL: 49 out of 60
 

Next: #129 – Regarding Henry

© 2014 S. G. Liput

195 Followers and Counting

 

Star Trek IV: The Voyage Home (1986)

21 Thursday Aug 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Action, Comedy, Drama, Sci-fi

While on their way to Earth to face the music for their crimes,
Our favorite crew learns Earth’s in danger, as it is sometimes.
A giant probe is clouding Earth, depleting all its power,
With some peculiar signal making things worse by the hour.
 
When Spock (who was revived, you know) investigates the sound,
He learns it’s that of humpback whales, but there are none around.
Therefore, they must go back in time to find the needed whales.
They use the sun to slingshot round; I’ll spare you the details.
 
The latter 1900s is when they arrive and land,
To find whales which will be extinct because of mankind’s hand.
The Klingon ship they’re borrowing unfortunately broke,
But at least to hide their presence, it can disappear by cloak.
 
They split up there in San Francisco, and soon Spock and Kirk
Locate two whales and a girl involved with conservation work.
This Dr. Taylor asks them of their interest in cetaceans
And gets a crazy story and Kirk’s infamous flirtations.
 
The whales are soon released into the wild, unannounced,
And, with their ship replenished, they then leave some whalers trounced.
They save the whales and bring them back, with Dr. Taylor in tow,
And crash into the ocean, where the two whales swim below.
 
They calm the enigmatic probe, which leaves no worse for wear,
And seas and skies all stabilize, like it had not been there.
Since Kirk and crew have saved the Earth (again), Starfleet is wise,
And Kirk’s again the captain of a brand new Enterprise.
_____________________
 

Seeming to confirm the shortsighted theory that even-numbered Star Trek films are the good ones, Star Trek IV: The Voyage Home was significantly lighter in tone than its predecessor and far more enjoyable: no cruel villain, no life-shattering deaths or losses. The plot, involving going back in time to retrieve extinct whales in order to communicate with a power-draining cylinder from space, is as outlandish as they come, yet it somehow works. This is thanks largely to the proven charm of the familiar actors, and, since ensembles are often hard to balance in these films, it’s satisfying to see each character given a chance to shine (except Uhura). Whether it’s McCoy’s grumbling about 20th century medicine, Chekhov’s latent dreams of promotion, or Scotty’s introduction to a Mac computer, the humor is deftly woven into the plot so that, even though Earth’s fate hangs in the balance, no one’s afraid to have a little fun along the way. The resurrected Spock (still played by director Leonard Nimoy) is a particularly welcome return, and his fish-out-of-water frankness makes for some of the film’s comedic highlights.

Like most Star Trek episodes, there’s timely message included, namely the importance of conservation. “Save the Whales” may be an oft-used declaration, but it takes on new meaning when you consider that, if we don’t, a singing probe may one day destroy Earth.

There are some minor issues, aside from the fact that the more contemporary setting calls for more obscenities, or “colorful metaphors.” For instance, from the outside, that Klingon bird-of-prey doesn’t look like it could hold two grown humpback whales. Also, it’s unclear why Uhura, Kirk, and Scotty are in uniform while the others seem to be wearing civilian clothing. Plus, there’s a throwaway joke in which Dr. McCoy gives a sick woman a pill that regrows her kidney. Shoot, I didn’t know they were that advanced! (There’s an episode of Voyager in which someone’s lungs are stolen; why couldn’t they just regrow them with that magic pill?)

Despite these questions, The Voyage Home remains a favorite among Trekkers for good reason. It’s hard not to geek out when Kirk dramatically says, “Spock, start your computations for time warp.” The film has humor, excitement, a few high concepts, and time travel; what more does a Star Trek film need?

Best line: (Kirk, explaining Spock’s strangeness to Dr. Taylor) “Oh, him? He’s harmless. Back in the sixties, he was part of the free speech movement at Berkeley. I think he did a little too much LDS.”

 
Artistry: 7
Characters/Actors: 9
Entertainment: 8
Visual Effects: 7
Originality: 9
Watchability: 8
 
TOTAL: 48 out of 60
 

Next: #141 – Grave of the Fireflies

© 2014 S. G. Liput

186 Followers and Counting

 

200th Post! The Dark Knight Trilogy

27 Sunday Jul 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ 1 Comment

Tags

Action, Drama, Sci-fi, Superhero, Thriller

(This one is long and detailed; major spoiler alert)
 
When Bruce Wayne was a child, he fell down a chilly well,
And bats flew all around him, sparking panic and nightmares.
His father came to rescue him, explaining why he fell,
To learn to rise again as one of Gotham’s billionaires.
 
An opera they attended scared him, prompting them outside,
Where Chill, a desperate thug, shot both his parents but was caught.
Years later, one Falcone, a crime boss whom Chill defied
Had Chill killed, beating Bruce, who wanted justice done (he thought).
 
Bruce spoke with smug Falcone, who said Wayne did not “get” crime,
So Bruce departed secretly and lived like felons do.
But now Ducard gives Bruce a better outlet for his time,
To train with Ra’s al Ghul and battle fears he must subdue.
 
Bruce conquers guilt and fear of bats thanks to Ducard’s routine,
Excelling as a ninja on the Eastern mountainside,
But when he learns this League of Shadows wishes Gotham clean,
To purify by killing, he resists his former guide.
 
He fights the master Ra’s al Ghul, who’s killed within a fire,
But Bruce saves Ducard’s life and leaves him with a man to stay.
Then Wayne returns to Gotham, for his training helped inspire
A plan to battle evil in a much less lethal way.
 
He finds beneath his parents’ mansion bat-infested caves,
Which he at once remodels as his base of operations,
And Lucius Fox provides, in case some sinner misbehaves,
A hard, protective suit, as well as more high-tech donations.
 
At last, the Batman’s ready to contend with Gotham’s scum
And captures smuggled drugs, as well as old mob boss Falcone.
But there’s one Dr. Jonathan Crane who frequently has come
To court to plead insanity for every gangster crony.
 
He does this through a gas that makes the men hallucinate
And brings to life horrific fears that turn them all insane.
When Batman gets a breath of it, it almost is too late,
But Lucius and the faithful butler Alfred rescue Wayne.
 
With Fox’s antidote, Bruce tries to figure Crane’s designs,
But his old girlfriend Rachel beats him to it, though unwise.
She sees fear poison’s being dumped in Gotham’s water lines,
And Rachel gets some gas herself and nears her own demise.
 
But Batman gets her out of there with Sergeant Gordon’s aid
And drives a bit destructively to save her life in time.
He gives her extra antidote so that more can be made,
But Alfred’s getting troubled at how Bruce is fighting crime.
 
At Bruce’s birthday party, he comes quickly face to face
With old Ducard, who wants revenge, for he is Ra’s al Ghul.
Al Ghul burns down the house and has a city to erase,
Which he intends to do with his most recent stolen tool.
 
A microwave emitter taken from Wayne Enterprises
Ra’s uses to evaporate the city’s water store,
Releasing all the gas so when the populace arises,
Their terror will destroy each other in an inner war.
 
As chaos reigns and convicts run amok out on the street,
The Batman chases Ra’s upon an elevated train.
While Gordon takes the Batmobile and blasts the train’s supports,*
Bruce battles with his mentor, whom he saved before in vain.
 
Yet Batman flies away this time and leaves al Ghul to crash,
Averting more destruction had the train continued on.
The city’s saved (to some extent), but still there’s human trash,
For many criminals, like Crane, escaped and now are gone.
 
As Bruce rebuilds his mansion, fortifying the foundation,
Where no one knows his secret, save his butler and girlfriend,
A Joker has arisen, product of an escalation
That threatens Gotham City, but the Batman will defend.
______________________
 
The Joker’s on the rampage, stealing money from the mob,
A homicidal maniac who’s letting chaos reign,
But DA Harvey Dent is Gotham’s white knight for the job.
He’s fighting crime in ways that are respected by Bruce Wayne.
 
For Batman’s done his service, but he’d rather allow Dent
To prosecute the legal way with no need for a mask.
Dent’s also drawn in Rachel, causing Bruce to still lament,
But he and Gordon let Dent join them in their secret task.
 
A Chinese businessman named Lau is working with mob bosses,
Protecting all their money by escaping to Hong Kong,
But Batman has no jurisdiction and recoups his losses
By spiriting Lau back to Gotham, where he’ll play along.
 
The mob is desperate for some help and turns then to the Joker
To rid the town of Batman lest more obstacles occur.
The Joker then fills his new role as Gotham’s power broker,
By killing both a judge and the police commissioner.
 
He tries to take out Dent as well and Rachel by extension,
But Batman saves them both but lets the Joker get away.
When Gotham’s mayor’s targeted, the center of attention,
Lieutenant Gordon saves him but is killed to Dent’s dismay.
 
The Joker says that more will die if Batman doesn’t act,
Revealing who he really is, and Bruce is tempted to,
But Dent comes out and claims that he’s the hooded man in fact
And gets himself arrested, even though it isn’t true.
 
When Dent is off to prison, Joker follows for the kill,
But Batman saves the DA (though the Batmobile is toast).
He stops the Joker cold, and Gordon comes back for a thrill
To catch the laughing nutcase as a very living ghost.
 
They’re glad that he’s in custody, but he seems self-composed.
It seems that Dent and Rachel Dawes have somehow disappeared.
The Batman pounds the Joker for their place to be disclosed,
But Joker poses him a choice, the worst that he has feared.
 
For he can rescue only one before they blow sky high
And tries to go for Rachel, but he ends up saving Dent.
Police are too late saving her, and she’s the one to die,
And half of Harvey’s face is burned, which he comes to resent.
 
The Joker also got away with Lau in his possession.
When one of Wayne’s employees claims he knows who Batman is,
The Joker threatens hospitals to stimulate aggression
And get the town to kill this man and this secret of his.
 
When Bruce and Gordon save his life, a hospital is blown,
But not before the Joker frees a crazed and vengeful Dent.
The DA targets crooked cops and gangsters to atone
And lets a coin toss choose their fates to punish and torment.
 
The Joker next takes aim at ferries and the people’s will.
With criminals on one and all civilians on the other,
He gives them each a detonator for the other’s kill
And plans to kill them both if they do not blow up their brother.
 
The Batman fights his henchmen, who are not quite what they seem,
Confronting Joker high above the scene of anxious stress.
The people on the ferry don’t give in to Joker’s scheme,
And Batman hangs him up to dry but will not kill the pest.
 
He next goes after Harvey, who has Gordon’s wife and son
And plans to take revenge on those who didn’t kill his love.
They try to reason with him, but his mind is too far gone,
And Batman tackles Two-Face, who then falls from high above.
 
With Dent, the city’s shining hope, now made a villain, dead,
The Batman says he’ll bear his crimes to let the city cope.
As Gordon praises Harvey, lying as the Batman said,
Bruce Wayne retires cape and cowl, preserving Gotham’s hope.
______________________
 
Eight years have passed since Harvey Dent met his untimely end,
And in his name, the city’s cleaned itself from filth and crime.
Yet evil still is brewing, though the city’s on the mend,
And masked guerilla Bane waits underground to bide his time.
 
The Batman’s still retired, since he took the rap for Dent,
And Bruce Wayne is less agile, not the man he was before.
He meets a fair cat burglar, robbing him at an event,
But this Selina Kyle seems to covet something more.
 
She sells Wayne’s fingerprints in hopes of getting a device
To wipe her from all databases, granting a clean slate.
The deal turns sour when the buyer will not pay her price,
And when police come, Gordon’s caught by Bane, who lies in wait.
 
Though Gordon flees and is discovered by policeman Blake,
Bane finds a note revealing Gordon’s Dent-exalting lie.
The fiend attacks the stock market to wipe out Bruce’s stake,
And Batman un-retires to arrest a lone bad guy.
 
Bruce lets Miranda Tate, a lovely woman on his board,
Take over his whole company before a rival does.
This rival’s worked with Bane, who doesn’t act nice when deplored
And plans to be more lethal than the Joker ever was.
 
Though Alfred won’t approve of Bruce’s comeback with the cape,
Wayne listens to Miss Kyle to unearth Bane and attack.
Still hoping for that clean slate, she traps him with no escape,
And Bane confronts the Batman and breaks both his will and back.
 
Bane takes him to a foreign prison, deep within a pit,
To let him watch as Gotham is destroyed (or will be soon).
Then Bane takes over Gotham with a bomb to threaten it,
Employing Batman’s weapons to enforce a foul commune.
 
He corners all policemen underground and traps them there,
While forcing quarantine of Gotham City or else BOOM.
Meanwhile, in his prison, Bruce receives some painful care
And learns that Ra’s al Ghul’s offspring escaped this pit of doom.
 
He heals and trains for several months to climb out of the jail,
And somehow gets to Gotham, where the bomb will detonate.
He teams with Blake and Gordon, who have been on that bomb’s trail,
And frees the trapped police to battle Bane, who’s captured Tate.
 
Police and convicts clash as Bruce again confronts his foe
And bests Bane and demands to know who holds the hidden trigger.
Then Tate reveals that she in fact is Talia al Ghul so
She is the mastermind who climbed out of that prison’s rigor.
 
She leaves to detonate the bomb, which Gordon barely blocked.
Selina Kyle helps Batman and brings an end to Bane.
To their dismay, the bomb’s own timer has mere minutes clocked,
And ere she passes, Talia’s sure their efforts will be vain.
 
Since Batman knows what he must do, he uses his new plane
To haul the bomb across the bay, where it explodes apart.
The city’s saved, and Gordon sees the Batman was Bruce Wayne,
Who finally is honored as a hero from the start.
 
Though Lucius Fox believed the autopilot had been broken,
He learns that Bruce had fixed it ere his solemn sacrifice.
When Alfred is abroad, he sees a wish he once had spoken,
That Bruce would be there happy (with Selina), void of vice,
And Blake (or also Robin) gains the Batcave, free of price.
_______________________
 

When Christopher Nolan began to reboot the Batman film franchise, no one knew how audacious the end result would be, a trilogy of dark, deeply layered superhero stories that transcended the camp and silliness of the original incarnations. Unlike many of the underrated films on my list, The Dark Knight trilogy had no trouble garnering effusive praise and is considered to consist of three of the best superhero films ever made. Rather than going for the humor and colorful characters (and entertainment value) of Iron Man or Spider-Man, Nolan and company created a weighty, brooding three-part storyline that takes itself wholly seriously, with the requisite glimpses of light and hope and victorious good to make it all worthwhile.

Batman Begins is quite the successful origin story, cementing all the main characters, Bruce’s reason for fighting crime, his relationship with villain Ra’s al Ghul, and the inception (insert Nolan joke) of the Batcave, Batmobile, and Bat-everything else. Unlike the obvious cramming of villains seen in Spider-Man 3, it pulls off the adroit introduction of Falcone, the Scarecrow, and Ra’s al Ghul as simply extra layers in Nolan’s trademark complex brand of filmmaking.

I can envision someone else playing Batman (I don’t know about Ben Affleck, though), but Christian Bale is the best of all of the actors so far. Gary Oldman isn’t particularly developed as Gordon other than being one of the few trustworthy cops, but he plays important roles in all three films, and Morgan Freeman as Lucius Fox brought some much-needed humor and scientific experience to the proceedings. Liam Neeson goes against type as the villain Ra’s al Ghul and pulls it off better than I would have expected. Katie Holmes is the least successful of the actors, but she fills the role of Rachel well enough.

After hearing about the death of Heath Ledger and the extreme evil of his character the Joker, everyone seemed to be eager to see The Dark Knight, except me. Despite the exceptional reviews, it took me awhile to finally see the film, and, to be honest, it was good but not top 10 quality, as so many have said. Heath Ledger’s Oscar-winning performance rivals the depravity of Anthony Hopkins in Silence of the Lambs, but I’m not in the habit of watching such evil for fun. I found the moral dilemmas he poses to the people of Gotham to be thought-provoking, as were the ethical ramifications of Bruce’s utilization of NSA-style spy equipment to protect the city. While Ledger made the role his own, just as Jack Nicholson did in the original 1989 Batman, I’ll always consider the best Joker to be Mark Hamill in Batman: The Animated Series, whose voice had the right balance of humor and villainous insanity. Aaron Eckhart was a much better Two-Face, though, than Tommy Lee Jones, and while his death was a tad anti-climactic, the statement about heroes living long enough to become villains was thoughtfully played out in his character. While it has its good points, The Dark Knight is the least emotionally involving (despite Rachel’s death) and my least favorite of the three films, due to its oppressively dark tone and the head-scratching ending, with Batman’s acceptance of Dent’s crimes for the sake of “hope” making little sense to me. (I will expound on that in a later post.)

Strangely, unlike the critical majority, The Dark Knight Rises is my favorite. Rather than the chaos of the Joker’s anarchic “plot,” we’re back to Batman preventing the more straightforward destruction of Gotham City, while retaining the intricacy and twists and turns of Nolan’s past films. Tom Hardy is chillingly menacing in a very different way than the Joker, again creating a much better version of the character Bane than the one in Batman and Robin. Unlike the constant shadowy cityscapes of The Dark Knight, this one also has a better balance of environments, including a daytime football stadium and a foreign prison (The Dark Knight never even visited the Batcave). Anne Hathaway is an outstanding Catwoman, and her moral ambiguity is better handled than similarly conflicted characters.

Though I’ve failed to mention him thus far, the best actor of the whole cast is Nolan favorite Michael Caine as butler Alfred Pennyworth, whose scenes hold more emotional weight than everyone else’s put together. His few scenes in The Dark Knight Rises are testaments to that. Also, (Lost alert) Nestor Carbonell, who played Richard Alpert on my favorite show, plays Gotham’s mayor, and Brett Cullen (Lost’s Goodwin) has a bit role in the third film as a kidnapped congressman.

Ignoring the dark tone of the films, the visual effects are truly impressive. From the train finale in Batman Begins to the overturned truck scene in The Dark Knight, the filmmakers created some great action sequences and explosions, while mostly avoiding the bombast of the Marvel films.

My VC had set ideas about what to expect from a Batman movie and did not care for Bruce’s aimless wandering and his ninja training that took up the beginning of Batman Begins. The first two films weren’t her cup of tea, but she at least liked the third film as well. Though she couldn’t get into Nolan’s impressive work, I admire many of his artistic touches as well, such as the pit-like prison in the third film being analogous to the well Bruce fell into as a child. Overall, The Dark Knight trilogy does not include my favorite superhero films, just as Batman isn’t my favorite superhero, but it’s a praiseworthy achievement that will be hard to top, even if further Batman films arise.

Best line: (Alfred, after young Bruce falls in the well) “Took quite a fall, didn’t we, Master Bruce?”  (Thomas Wayne) “And why do we fall, Bruce? So we can learn to pick ourselves up.”

 
Artistry: 10
Characters/Actors: 9
Entertainment: 8
Visual Effects: 10
Originality: 8
Watchability: 6
Other (dark tone, violence, language): -5
 
TOTAL: 46 out of 60
 

Next: #165 – What’s Up, Doc?

© 2014 S. G. Liput

165 Followers and Counting

 

Bill and Ted’s Excellent Adventure (1989)

21 Monday Jul 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ Leave a comment

Tags

Comedy, Sci-fi

Bill and Ted are valley guys
Who dream of fame but aren’t too wise.
They think their Wyld Stallyns band
Will be “triumphant” once it’s planned.
Their grades are low without a doubt,
And history may flunk them out.
Then someone “excellent” comes through
The night before reports are due.
 
A man named Rufus gives the youths
A rarity among phone booths:
A booth that travels through the years
To wow their teachers and their peers.
They visit France, from which they’re lent
Napoleon by accident.
This gives them an idea for free,
To gather names from history.
 
Billy the Kid first joins their booth,
Then Socrates they lure with truth.
Medieval England has princesses
But gets them in the worst of messes.
Though nearly meeting both their ends,
They’re saved by their historic friends.
They then go on to gather more
To make their presentation soar.
 
From Genghis Khan to Joan of Arc
To Sigmund Freud, they disembark
Just long enough to grab a name,
Like Beethoven, that’s garnered fame.
Once Lincoln joins their crowded stall,
They take them to San Dimas’ mall,
Where most take full advantage of
Strange modern things they come to love.
 
Once Bill and Ted find Bonaparte
At Waterloo, a water park,
They find their other VIPs
Have been arrested by police.
They spring their characters from jail
With Ted’s cop dad hot on their trail.
The duo blow their school away
And gain ovation and an A.
 
Once everyone’s back in their time,
Old Rufus comes with news sublime.
Their Wyld Stallyns band will birth
A calm “excellent” future earth.
He brings the princesses they met
To make their band a sweet quartet.
Although they cannot play right now,
“They do get better,” well, somehow.
___________________
 

I’ll be honest; Bill and Ted’s Excellent Adventure has two of the stupidest main characters around, but it’s a testament to the fact that stupidity (when done right) can be hilarious. From mispronouncing historical names to thinking a torture device is a metal band, Bill and Ted romp through history with abandon, only meeting actual danger a couple times. Their plan to gather historical figures for a living history presentation is both ridiculous and brilliant, and it’s certainly entertaining to watch.

Alex Winter and Keanu Reeves (Neo?!) spout adjectives left and right, from “triumphant” to “bogus” and beyond. They’re utterly goofy and silly in that classic ‘80s kind of way, yet they tow the line and don’t fall into complete puerility. George Carlin acts as the futuristic straight man Rufus, not getting many jokes but playing an integral part in moving the plot and balancing all the wackiness. Other roles are mostly cameos, such as the Go-Go’s Jane Wiedlin as the energetic Joan of Arc and Springsteen sax player Clarence Clemons as a dignified leader of the future.

While the characters are imbeciles, it’s obvious that the filmmakers have plenty of intelligence and creativity. Spanning centuries and nations, they combine Napoleon, Billy the Kid, Socrates, Genghis Khan, and friends with a modern setting and let the hilarious chaos flow for all to enjoy. The scenes in the mall prove that historical figures can handle the stresses of time travel surprisingly well and that Genghis Khan should stay away from sporting equipment.

Speaking of time travel, the century-bridging phone booth the boys receive may be an obvious rip-off of Doctor Who’s TARDIS, but unlike the famous police box, the phone booth is not bigger on the inside than on the outside, allowing for further laughs. By the end, the filmmakers even exhibit some Back to the Future-style mind-bending by stretching time travel plausibility to provide Bill and Ted with deus ex machina rescues.

Overall, Bill and Ted’s Excellent Adventure is a thoroughly fun voyage through time that exceeds the sum of its parts, despite some crudities. Time travel is one of my favorite science fiction sub-genres, and when it’s this enjoyably ridiculous, I can only say, “Excellent!”

Best line:  (Bill, reading upon arriving in ancient Greece) “So-crates – ‘The only true wisdom consists in knowing that you know nothing.’”   (Ted) “That’s us, dude.”

 
Artistry: 3
Characters/Actors: 7
Entertainment: 10
Visual Effects: 6
Originality: 10
Watchability: 9
 
TOTAL: 45 out of 60
 

Next: #171 – Pocahontas

© 2014 S. G. Liput

159 Followers and Counting

 

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