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Rhyme and Reason

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Rhyme and Reason

Tag Archives: Sci-fi

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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Tags

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

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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

 

Castle in the Sky (1986)

16 Wednesday Jul 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ 3 Comments

Tags

Action, Animation, Anime, Family, Sci-fi

Air pirates board an airship and threaten many lives.
A girl climbs out the window and hopes that she survives.
As pirates try to grab her, she slips and falls to earth,
But she’s saved by her crystal, which has a hidden worth.
 
It floats her down to safety, where Pazu’s arms await,
An engineer’s apprentice, who wonders of her fate.
He takes her to his cottage, and when Sheeta awakes,
He tells her how she floated, the crystal as her brakes.
 
He tells her of his father, who saw a floating isle
Called Laputa, a legend he’ll find in daring style.
But Dola and her pirates arrive to claim the lass,
And they both flee as pirates continue to harass.
 
The military shows up, but Sheeta’s scared of them.
Our heroes float to safety, suspended by her gem.
Once they speak with a miner, who warns them of the same,
The girl reveals that “Laputa” is part of her full name.
 
The government abducts them, imprisoning the pair,
And Colonel Muska spells out to Sheeta why she’s there.
He shows an ancient robot, advanced technology
That Laputa holds somewhere, which she will help them free.
 
When Pazu is sent back home, he teams with Dola’s gang
To rescue Sheeta, but she is having quite a bang.
She reawakes the robot, which goes on a rampage,
And Pazu saves her just in time as giant guns engage.
 
To find the floating island, they join the pirate crew,
For Dola and her pirates are nicer than they knew.
Since Muska took her crystal, he’s on his way as well,
And both airships are threatened by storms that crash and swell.
 
Pazu and Sheeta land on a peaceful grassy plot,
Just one of many turrets that Laputa has got.
They tail a lonely robot, discovering in awe
The lofty, ancient ruins that once were Laputa.
 
But then the military arrives to plunder loot,
Though Muska’s digging deeper for things of great repute.
The agent kidnaps Sheeta, descending to the core,
And taps the castle’s power which he was looking for.
 
He names himself a royal, like Sheeta, and a king,
And massacres the army as robot hordes take wing.
As Pazu hunts for Sheeta, she with her crystal flees.
Again they find each other, but Muska’s hard to please.
 
When they are at a standoff, the kids know what to say,
A spell of great destruction, which serves to save the day.
The pirates and the children escape and reunite,
But both Pazu and Sheeta fly off within their kite.
___________________
 

When Cartoon Network decided to play several Studio Ghibli films back in 2006, I steered clear of it due to my family’s poor reaction to Spirited Away, but I recall seeing a commercial that included a scene of giant robots climbing through hallways. I had no idea from which film it was, but the scene stuck in my head. When I eventually gave anime another chance and saw Castle in the Sky, I was delighted that I not only recognized that scene but also loved the movie. Castle in the Sky is the highest movie on my list directed by famed animator Hayao Miyazaki (though not necessarily the highest Studio Ghibli film), and it is a rousing adventure that showcases Miyazaki’s brilliant imagination.

Since Studio Ghibli had not been founded by the time of Nausicaä of the Valley of the Wind, Castle in the Sky was the studio’s first official film, one that I think is much better than the more well-known Spirited Away. The hand-drawn animation is often beautiful, and certain scenes, like the impressive destruction at the end, are even spectacular. Set in a Welsh-inspired world of flying machines and steampunk inventions, the film (inspired by the floating island of Laputa in Jonathan Swift’s Gulliver’s Travels) is reminiscent of an Indiana Jones story with its crystalline MacGuffin and a race between pirates and the government to find an ancient civilization of power. Though Muska is a more straightforward villain than others in his filmography, it also bears Miyazaki’s recognizable fingerprints, such as his favoring of nature over technology and his love of flight. It even includes a cameo for the squirrel-fox from Nausicaä.

In the Disney dub, James Van Der Beek and Anna Paquin are likable as Pazu and Sheeta, respectively, though Paquin’s accent fluctuates a bit. Cloris Leachman sounds like she’s having fun as the no-nonsense pirate matron Dola, and Mark Hamill lapses into his famous Joker voice as the villainous Muska. My favorite thing about the film, though, is its score. Joe Hisaishi exceeded even Nausicaä’s score with his glorious orchestral compositions. Thus, the final Japanese song “Carrying You,” which borrows the film’s best theme, is in my End Credits Song Hall of Fame. Castle in the Sky is a classic of Japanese animation that has wide appeal to Western audiences. Even my anime-despising VC had to admit that it was “pretty good.”

Best line: (Louis, a pirate) “Mom, you amaze me. How do ya know these things?”   (Dola, while eating) “Oh, well, ya can’t be a sensitive woman like me without learnin’ a few things. Sheeta and I are exactly alike: all warm and mushy and sensitive!” [burps]

 
Artistry: 7
Characters/Actors: 7
Entertainment: 9
Visual Effects: 8
Originality: 9
Watchability: 8
Other (I like other films more): -3
 
TOTAL: 45 out of 60
 

Next: #176 – Butch Cassidy and the Sundance Kid

© 2014 S. G. Liput

157 Followers and Counting

 

Spaceballs (1987)

08 Tuesday Jul 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ 1 Comment

Tags

Comedy, Sci-fi

When Planet Spaceball needs some air,
Its leader Skroob intends to dare
To steal it from the Druids’ planet.
It can’t get more absurd, now can it?
Wait, it can, a Druish bride
Named Princess Vespa can’t abide
Her sleepy groom; she’s unafraid
To leave with Dot Matrix, her maid.
 
Her father calls the rogue Lone Starr,
To save her (and her nice space-car)
From Dark Helmet and Spaceball One,
A ship that they cannot outrun.
Lone Starr, along with friendly mutt,
Is in debt to Pizza the Hutt,
So for a price, Lone Starr agrees
And rescues her, which sparks unease.
 
When Dark Helmet goes way too fast,
He goes to plaid and whizzes past.
But Lone Starr’s gas runs out too soon,
And they crash on a desert moon.
Though bride and rogue despised each other,
They start to flirt till Dot plays mother.
They meet old Yogurt, who purports
To know the power of the Schwartz.
 
He shares with Lone Starr much advice,
Such as his plans for merchandise.
With help from Spaceballs’ VHS,
Dark Helmet searches with success.
He kidnaps Vespa, using her
To force her daddy to defer
And give his world’s defensive code
To save the nose job he’d bestowed.
 
Then Spaceball One (to serve the plot)
Transforms into a maid. Why not?
The Druids lack time to prepare
As those Spaceballs suck up their air,
But Lone Starr rescues Vespa’s head
And makes the sucker blow instead.
He journeys through the Mega Maid
And finds the self-destruct (clichéd).
 
He fights Dark Helmet comically,
But wins and then is quick to flee.
The maid explodes (well, most of it),
And Vespa’s back to wed a twit.
But after dinner and a show,
Lone Starr is told he’s royal so
He interrupts to wed the bride,
And they fly off in his sweet ride.
_________________
 

One of the best parody films ever, Spaceballs was Mel Brooks’ response to Star Wars, Alien, Star Trek, Planet of the Apes, The Wizard of Oz, the 1986 animated Transformers: The Movie, and any other science fiction film you can think of. Almost every line of dialogue is a joke, and almost every one is funny. Add that to some hilarious cameos, such as Mel Brooks himself as Skroob and the noise-production guru Michael Winslow (who reportedly saved Brooks money on sound effects), and you’ve got a cult classic in the making.

The acting isn’t the best, nor are the visual effects, but I bet that was intentional to heighten the humor. Bill Pullman came to prominence through his starring role as Lone Starr (he wasn’t even promoted on the film poster), and other roles are hilariously filled by John Candy, Daphne Zuniga, Joan Rivers, Dick Van Patten, and the ever-funny Rick Moranis as Dark Helmet. The funniest scene in the whole movie for me is the Alien spoof near the end, which is made more amusing by the presence of John Hurt, who had previously been involved with Brooks in History of the World, Part I and The Elephant Man.

The main reason Spaceballs isn’t higher on the list is its frequent language and crudities. From phallic jokes to insults used as names, these gags are funny in some ways, but they detract from the film’s appeal. Kids probably wouldn’t even get most of the clever references to other films, but Brooks ensured that it wasn’t appropriate for them in the first place.

Still, barring the double entendres, Spaceballs is a must-see for science fiction fans, especially those of Star Wars. There are too many sight gags, puns, and fun antics to spoil them all, and I don’t want to try. I dare you not to laugh.

Best line: (Dark Helmet) “Before you die, there is something you should know about us, Lone Starr.”
(Lone Starr) “What?”
(Dark Helmet) “I am your father’s brother’s nephew’s cousin’s former roommate.”
(Lone Starr) “What’s that make us?”
(Dark Helmet) “Absolutely nothing! Which is what you are about to become.”

 

Artistry: 5
Characters/Actors: 7
Entertainment: 10
Visual Effects: 7
Originality: 8
Watchability: 10
Other (language and crude jokes): -4
 
TOTAL: 43 out of 60
 

Next: #184 – The Ultimate Gift

© 2014 S. G. Liput

150 Followers and Counting!

 

Gravity (2013)

28 Saturday Jun 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Tags

Action, Disaster, Drama, Sci-fi, Thriller

Three astronauts are conversing in space
As they work on the space telescope,
Till one gets a piece of debris through his face,
And the others are left without hope.
 
A medical engineer named Ryan Stone
Is sent whirling out in the void,
But Matthew Kowalski, with comforting tone,
Gets her to their shuttle (destroyed).
 
That onslaught of wreckage, an old satellite
That the Russians were unwise to blow,
Will orbit around and have them in its sight
In the next ninety minutes or so.
 
Matt calms her and tells her they’ll carefully soar
To the space station off in the distance.
Stone tells of her daughter, who died at just four,
And Matt tries to spur her persistence.
 
They make it, but Matt makes a bold sacrifice
And goes drifting away into space
To let Stone get aboard, though he gives her advice,
While she finds a way into the base.
 
As she floats through the halls, a fire breaks out,
And she narrowly gets to a pod,
A Soyuz spacecraft, which she’s happy about,
Till its chute won’t allow her abroad.
 
She tries to get loose but is hit by debris,
And she barely escapes that as well.
It shatters the station and sets the ship free,
But she’s out of fuel, she can tell.
 
She attempts giving up, but is spurred to survive
By Kowalski, or rather his ghost,
So she figures a way to (just barely) arrive
At a plummeting Chinese outpost.
 
She gets in the Shenzhou space capsule to land,
Determined to live or die trying,
She says that the ride down will truly be grand
And can’t avoid laughing and crying.
 
She tells Matt to visit in heaven her daughter,
And burns through the earth’s atmosphere.
She finally lands (just by chance?) in some water,
Thus ending her spaceflight career.
 
Her module and suit nearly cause her to drown,
But she swims to the pond’s muddy banks,
And, feeling Earth’s gravity weighing her down,
She walks off, relieved, giving thanks.
____________________
 

Gravity was the most eye-catching film of 2013 and with good reason. It is pure spectacle, full of long, continuous scenes designed to make the audience say, “How did they do that?” From the quietly tense devastation caused by the zooming debris to the seemingly simple weightlessness of the characters and everything else, Gravity is a wonder to behold.

At the heart of the Oscar-winning visual effects are the two leads, Sandra Bullock and George Clooney. Both are excellent, but I actually preferred Clooney’s performance. Bullock is certainly the star, but other actresses could have done just as well (Halle Berry, Cate Blanchett, or Julia Roberts, for example). Clooney’s smooth, reassuring voice gave his character much more personality, and I thought he was just as worthy of an Oscar nomination as Bullock.

Though it’s less than a year old, Gravity has already begun to earn a reputation as overrated, full of impressive special effects and little else. I agree to some extent, but it does offer more than just visuals. Ryan’s backstory is quite touching and emotional, as is her wish for someone to pray for her since she was never taught how.

In addition, films like Avatar and the Transformers movies were visual feasts for the eyes but were so long as to be overindulgent. Gravity is comparably short at just 91 minutes, and Oscar-winning director Alfonso Cuarón achieved much more artistry in that time than any of those films combined. The scene of Ryan floating as if in the womb and that of her rising from the water in the evolution-inspired finale (with a welcome “Thank you” sent heavenward) are two beautiful sequences that wouldn’t be found in other effects extravaganzas. The immersive, Oscar-winning score does much to build tension and emotion, especially paired with well-timed cuts to spatial silence.

My VC felt there was too much of Bullock just breathing hard, as well as annoying alarms going off, but I prefer these to the vast stretches of nothing in the similarly artistic but nowhere-near-as-entertaining 2001: A Space Odyssey. While there are similarities to other space disaster films like Marooned, WALL-E (hello, fire extinguisher!) and Apollo 13 (especially since Ed Harris played “Houston” here as well), Gravity is a film like no other, presenting seamless visuals sure to blow you away.

Best line: (Ryan Stone, in a massive understatement) “I hate space.”

 
Artistry: 10
Characters/Actors: 8
Entertainment: 7
Visual effects: 10
Originality: 5
Watchability: 6
Other (language and brief violence): -4
 
TOTAL: 42 out of 60
 

Next: #194 – Hoosiers

© 2014 S. G. Liput

144 Followers and Counting

 

Nausicaä of the Valley of the Wind (1984)

21 Saturday Jun 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Action, Animation, Anime, Drama, Sci-fi

Nausicaä, the princess of the Valley of the Wind,
Explores the toxic jungle that is spreading o’er the earth.
The girl admires Ohmu, colossal insects, armor-skinned,
Who can be quite aggressive but do have a hidden worth.
 
She saves her friend Lord Yupa from an anger-blinded Ohmu,
And flies upon her glider to announce his soon return.
In their protected valley, her small people built a home,
Content to let fierce kingdoms fight; it’s none of their concern.
 
But soon a crippled airship from Tolmekia appears
And crashes in the valley, killing everyone on board.
The threat of jungle infestation sparks the people’s fears,
And plus, the living cargo is too dire to be ignored.
 
Kushana of Tolmekia soon comes to claim their prize,
A deadly giant warrior, which bathed the earth in flame.
They kill the valley’s king but still they claim to be good guys,
For burning down the forest is their ill-considered aim.
 
The warrior’s developing as Nausicaä is bound
With others by Kushana on a journey through the air.
Their airships are shot down by one small plane that’s also downed.
The princess and Kushana land within a jungle snare.
 
Escaping from an Ohmu nest thanks to Nausicaä’s calm action,
Kushana and the other fly while Nausicaä must stand
To save the shooter pilot who is from another faction
Called Pejite, but the two of them are captured by quicksand.
 
They find themselves below the jungle, where the air is clean,
And realize that the jungle plants absorb the earth’s pollution.
Mankind corrupted all the earth, and now most people mean
To burn the jungle, ruining the planet’s last solution.
 
They fly their way to Pejite, which is ravaged by insects.
Survivors plan to lure the Ohmu to Nausicaä’s homeland
To take out the Tolmekians and all of their subjects
And catch the giant warrior to have at their command.
 
Their ship is ambushed yet again, which lets the princess flee.
She goes ahead to see the Ohmu stampeding toward the valley.
The Pejites have an injured baby o’er an acid sea,
And she succeeds in freeing it before the big finale.
 
Kushana wakes the giant which annihilates some Ohmu,
Before it melts away, too undeveloped to survive.
The baby Ohmu and Nausicaä then stand before her home
In front of the invading insects, rushing to arrive.
 
They run her over but then stop to see this brave young lass;
They heal her wounds and so fulfill an ancient prophecy.
Kushana and her men return back home at this impasse,
And now the earth and all mankind may live in harmony.
______________________
 

Nausicaä of the Valley of the Wind was Hayao Miyazaki’s breakout film as a director. It’s an environmentally heavy sci-fi action film that highlights Miyazaki’s pacifist ideology and his wildly imaginative storytelling. While Disney was working on the likes of The Black Cauldron, Japan was producing animated gems like this.

Technically made before the start of his Studio Ghibli, Nausicaä was a tale that didn’t have much support at first because most anime depends on pre-existing properties in the world of manga (Japanese comic books). Since he couldn’t get funding without an already popular manga, he made one and published Nausicaä in serial form from 1982 to 1994. This earned him the necessary backing, but since only 16 chapters (out of 59) had been completed by the time of the film, the plot encompasses only the part that he had finished. While it was a huge blockbuster upon its release because of the manga, the movie ends a bit abruptly, and it feels like there is more of the story to tell, even though the film is ambitious enough as it is.

The hand-drawn animation is detailed and impressive throughout the two-hour film, especially in the climax, and it has that Miyazaki touch that raises it above most other anime. The voice acting in Disney’s English dub is uniformly good, featuring Alison Lohman, Shia LaBeouf, Uma Thurman, Chris Sarandon, Edward James Olmos, Mark Hamill, and the inimitable Patrick Stewart as Lord Yupa. Joe Hisaishi’s outstanding score also grabbed my attention when I first saw it and, not counting the synthesizer segments, is one of my favorite film scores. As for the plot, it’s incredibly detailed, and my above poem only scratched the surface of the layered events, characters, and motivations. With its complex mythology, messianic prophecy, and giant misunderstood insectoid creatures, the closest thing I could compare it to is Frank Herbert’s Dune series.

The environmentalist theme is rather clunky, blaming mankind for polluting the earth’s topsoil and water and building the giant warriors to destroy everything while providing no details about the circumstances. Thankfully, though, the film doesn’t browbeat humanity too much, and when the focus is on the science fiction and the characters, it’s some of Miyazaki’s best work. My VC, who doesn’t care for anime, at least saw and appreciated it for what it was, but, for me, Nausicaä of the Valley of the Wind remains an influential sci-fi classic.

Best line: (Asbel, after eating some “healthy” nuts) “Why does everything that’s good for you have to taste so bad?”

 
Artistry: 7
Characters/Actors: 7
Entertainment: 8
Visual Effects: 7
Originality: 9
Watchability: 7
Other (heavy environmentalism): -3
 
TOTAL: 42 out of 60
 

Next: #201 – Murphy’s Romance

© 2014 S. G. Liput

135 Followers and Counting

 

Superman (1978)

18 Wednesday Jun 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Tags

Action, Disaster, Drama, Sci-fi, Superhero

The distant planet Krypton, after stopping an attack
By Ursa, Non, and Zod, confines all three (but they’ll be back).
But scientist Jor-El still feels that Krypton’s on the brink
Of imminent destruction, which nobody else will think.
 
As Krypton starts to crumble, he sends out his infant son,
And once the world explodes, the young Kal-El’s the only one.
He flies throughout the stars before crash landing on our sphere
And is adopted by the Kents, who know he’s not from here.
 
“Clark” grows and calls the earth his home, the Kents his mom and dad,
But tries to hide the speed and strength that he has always had.
When Jonathan, his wise old father, passes from this earth,
Clark finds the hidden secret of his otherworldly birth.
 
He leaves with one green crystal for the Arctic, strangely led,
And throws it to create a giant fortress there instead.
Recordings of Jor-El reveal the secrets he will master,
The reason for his powers which he’ll use to stop disaster.
 
Years later, at the Daily Planet Clark Kent is employed,
Now acting timid; any danger he’s quick to avoid.
Though he’s a hero, strong reporter Lois Lane can’t tell
And thinks him geeky when he faints and says the old word “swell.”
 
A helicopter accident puts Lois Lane in danger
Until she then is rescued by a blue-and-red-clad stranger.
He flies around Metropolis, performing decent deeds,
Preventing crimes and helping citizens with all their needs.
 
Intent on learning more of him, Lane gets an interview
With enigmatic Superman, and one free night flight too.
Her articles and news reports attract the veiled attention
Of evil mastermind Lex Luthor, who drips condescension.
 
He formulates a wicked scheme to redirect two bombs
And sink the California coast without the slightest qualms.
He steals a foreign meteor that glows with greenish light,
Attracting Superman to cripple him with Kryptonite.
 
Though Superman is rescued and stops one bomb, he’s too late;
The other causes earthquakes, sealing California’s fate.
Our hero still saves buses, towns, and fault lines too, although
He cannot save poor Lois Lane from landslides even so.
 
Heartsick with grief, he breaks a rule, reversing our Earth’s time,
To bring back Lois and prevent the worst of Luthor’s crime.
He drops off Luthor at a jail, and flies ‘twixt Earth and space,
The ever-faithful guardian of all the human race.
_____________________
 

The first modern superhero movie, Superman was a really big deal when it was released in 1978, pulling out big name stars like Marlon Brando and Gene Hackman and charging big bucks for product placement. (I hope it was worth it, Cheerios.) Watching it thirty-six years later, the special effects are still effective, quite deserving of the Special Achievement Award they received, and John Williams’ magnificent score remains as iconic as it was then. Anyone who can compose for Jane Eyre and Superman and make them both synonymous with the film is a master composer.

As I said in my Superman II post, Christopher Reeve is Superman, and I have yet to see anyone who can wear the red cape as well as he could. Gene Hackman introduces Lex Luthor with the perfect blend of villainy and charisma. (Villains are always more menacing when you see their hands first, right?) Margot Kidder also does well as Lois Lane, and I like the little quirks the filmmakers added to her character, like her constantly misspelling of words. Embracing the role of Daily Planet chief Perry White, Jackie Cooper acts as an entertaining forerunner to J. Jonah Jameson of the Spider-Man films.

The film does have some faults other than the San Andreas one. Some scenes go on much too long, such as the rather boring opening credits, the construction of his Fortress of Solitude, and his flight with Lois Lane. Since they still had Williams’ memorable score, it’s not as bad as Star Trek: The Motion Picture in that regard, but these scenes make the film longer than it needed to be. Also, Lex Luthor makes some astounding leaps of reasoning to deduce that a particular meteorite in Africa came from Superman’s home planet, and “it stands to reason” that it must be deadly for the man of steel. It’s a good hypothesis, but there’s nothing to back it up. Likewise, the final scene where Superman reverses Earth’s rotation to reverse time is perhaps the least scientific portrayal of time travel ever put on film. Again, I don’t see how he knew his actions would have the desired effect when they could just as easily have caused more earthquakes or something worse.

It’s not a perfect superhero film, but as one of the first comic book blockbusters, it’s an incredibly influential one for the genre, aiming for gravitas while also retaining some campy charm. The recent Man of Steel had plenty of the gravitas and much more eye-popping effects, but it lacked the charm. Superman Returns was unsuccessful at both for me.Though Marvel has taken over superhero films for the most part, DC had a strong start with Superman, and it still makes audiences “believe a man can fly.”

Best line: (Superman, during his interview with Lois) “I’m here to fight for truth, and justice, and the American way.” [I didn’t like how Superman Returns ruined that line.]   (Lois) “You’re gonna end up fighting every elected official in this country!”

 
Artistry: 6
Characters/Actors: 7
Entertainment: 7
Visual Effects: 5
Originality: 9
Watchability: 7
 
TOTAL: 41 out of 60
 

Next: #204 – Peter Pan (to complete my trilogy of films with people flying around)

© 2014 S. G. Liput

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