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2022 Blindspot Pick #10: The Frighteners (1996)

04 Saturday Feb 2023

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If ghosts are really dead and well
And haunting us instead of hell
Or heaven, then it’s fair to ponder
What they’re up to when they wander.

Could it be their lifeless heads
Are in our bathrooms, in our beds,
Next to us when we’re alone
To judge us and what’s on our phone?

Could it be they find their fun
In terrifying everyone?
Just float a chair or whisper “boo,”
And while you scream, they laugh at you.

Or maybe they just do their schtick
Because the dead resent the quick
And all the things they can’t enjoy
And so endeavor to annoy?

Or maybe phantoms leave a trail
Of fear to flout the coffin nail,
To prove to us as well as them
That they exist by their mayhem.

It must be hard to be a ghoul.
To be invisible is cruel.
So next time you are all alone,
Turn to the ghost you might have known
And dare to share a friendly word,
Perhaps their first since being interred.
And if they don’t scare you away,
Just know you might have made their day.
_______________________

MPA rating:  R (for violence, mostly PG-13-level except for one scene)

Yep, I’m still here catching up on my 2022 Blindspots, but I have officially seen them all! So now it’s just getting the reviews out. Though I had intended it for last Halloween, next up is a little horror film with some unlikely bedfellows in director Peter Jackson before he hit the big time with Lord of the Rings and Michael J. Fox in his last starring role, shortly before announcing his Parkinson’s diagnosis. Between Jackson’s penchant for horror comedy (much toned down here) and Fox’s natural charisma, the two proved to be a good mix, finding both humor and pathos in a tale of a con artist who can see dead people and must battle a murderous phantom only he can see.

Fox plays Frank Bannister, a self-proclaimed banisher of ghosts, who gets help in faking the hauntings in a small American town (actually Jackson’s native New Zealand) from his spectral collaborators (Chi McBride, Jim Fyfe, and John Astin). He alone can see ghosts ever since a near-death experience, and after a run-in with a boorish jock (Peter Dobson) and his kinder wife (Trini Alvarado), Frank endeavors to stop a series of sudden random deaths that seem to be caused by the Grim Reaper.

After he’d earned a name through several strictly Kiwi projects of varying taste, The Frighteners was Jackson’s first Hollywood movie, and its mishmash of genres adds to it feeling like a turning-point film, the work of someone still perfecting their talent for mainstream audiences. Despite the twisty plot and colorful performances, it seemed to me that the real intended star was the special effects provided by Weta Digital (now Weta FX) to bring the ghosts to life, particularly the villain whose shape is often seen moving underneath solid surfaces like walls. By today’s standards, those all-CGI moments now have an inescapably dated and unreal look to them, but I can imagine they were a wonder in the mid-1990s.

While Fox’s natural likeability overshadows that of his character, he nails the dramatic moments and the interactions with characters that are not actually there, since all the ghost scenes were shot twice, with and without the ghosts present. As for the antagonists, while the shadowy reaper is a formidable threat, Jeffrey Combs is a scene-stealer as Miles Dammers, the intense FBI agent trying to tie Frank to the killings. Combs was clearly channeling a neurotic Jim Carrey and is a primary source of the film’s humor, which can be hit-and-miss.

Most of the film’s mixed reviews seem to consider it “tonally uneven,” which is true, never going for full-on belly laughs or deep-seated horror. The ending especially forgoes any of the light-hearted campiness in order to make events feel as hopeless as possible for the heroes while also overdoing explanatory flashbacks. Other issues include the rather shallow romance and the fact that the harrowing opening scene doesn’t make much sense in retrospect.

I don’t mean to sound overly negative; I very much enjoyed The Frighteners and actually watched it twice. It’s not high art nor an outright dud, so it’s hard to figure out in which bucket of appreciation to place it. But it’s an entertaining amalgam of influences that deserves its cult following, and I’m grateful that it served as a stepping stone for Jackson and Weta toward The Lord of the Rings trilogy. Besides, you can’t go wrong ending a movie with “(Don’t Fear) the Reaper.”

Best line: (Frank) “You are SUCH an a**hole.”
(Dammers, unhinged) “Yes, I am. I’m an a**hole… with an Uzi.”

Rank:  List Runner-Up

© 2023 S.G. Liput
784 Followers and Counting

2022 Blindspot Pick #8: Shutter Island (2010)

30 Friday Dec 2022

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The mind has many corners in its many-wrinkled maze,
To hide from heavy burdens that it cannot hope to raise.
The layers of its labyrinth stretch to depths we cannot guess,
And how deeply we flee depends upon our yesterdays.

While most of us can cope with just the top tiers meant for stress,
The world at its most wicked makes us seek a dark recess.
And if we lose our way, the dark that darkness drove us to
May keep us from escaping our escaping in excess.
________________________

MPA rating: R (for violence, language, and brief nudity)

A Merry belated Christmas to all! I may have given up on reviewing all my 2022 Blindspots before the end of the year, but I think I can at least watch them all before year’s end. The reviews will catch up in good time. To be honest, I haven’t seen many Martin Scorsese movies, so I figured I should address that by starting with the one that seemed to have the most intrigue to it. Based on Dennis Lehane’s novel, Shutter Island is a psychological thriller that thrives on its foreboding atmosphere and strong performances, even if it ends up feeling like a mid-tier M. Night Shyamalan plot.

Leonardo DiCaprio delivers an intense performance as U.S. Marshal Teddy Daniels, who arrives with his new partner Chuck (Mark Ruffalo) to the titular island’s Ashecliffe Hospital for the criminally insane to investigate a recently escaped prisoner/patient. Despite requesting their help, the hospital’s head psychiatrist Dr. Cawley (Ben Kingsley) is hesitant to divulge certain information to the marshals, even as a hurricane moves in to wreak havoc on the island. As Daniels becomes more and more haunted by his own past traumas, he begins to question reality and what kind of conspiracy he has come to confront.

It’s a bit surprising that, despite its acclaimed director and star, Shutter Island failed to generate any awards nominations, aside from a National Board of Review nod. Whether you connect with the story or not, there’s no denying the skill with which it was made: the dingy lighting, the ominous cinematography, the subtle performances. Inception was easily DiCaprio’s better puzzle-box film that year, but it’s still interesting that this film couldn’t snag a single nomination.

I was rather shocked while admiring an especially poignant portion of the musical score as I realized that I had heard it before in another film: “On the Nature of Daylight” by Max Richter added the same emotional gut punch to the ending of Arrival (far more effectively, in my opinion) and other films and TV shows besides. I didn’t realize till afterward that this track was not original to either film or that the entire soundtrack of Shutter Island comprised pre-released classical music.

Perhaps it didn’t help that I had some idea of what the film’s key twist would be. I credit the screenplay for still keeping me guessing and wondering if I was right or not, but yes, I was right. Not to say the film’s reveal wasn’t still effective and heartbreaking, but it didn’t have the same punch as something completely unforeseen. Overall, Shutter Island reminded me a bit of Nightmare Alley in its masterfully composed story and dark setting that I appreciated without being truly drawn into, probably because of its ending clearly designed to foster thoughtfulness in the audience rather than satisfaction. But it’s still an excellent genre piece ripe for theorizing that will no doubt reward further rewatches, which could perhaps raise my opinion of it even more.

Best lines: (Rachel Solando) “People tell the world you’re crazy, and all your protests to the contrary just confirm what they’re saying.”
(Teddy) “I’m not following you, I’m sorry.”
(Rachel) “Once you’re declared insane, then anything you do is called part of that insanity. Reasonable protests are denial, valid fears paranoia…”
(Teddy) “Survival instincts are defense mechanisms.”
(Rachel) “You’re smarter than you look, Marshal. That’s probably not a good thing.”

Rank: List Runner-Up

© 2022 S.G. Liput
783 Followers and Counting

Nope (2022)

09 Sunday Oct 2022

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Would a sane human being
Be intrigued by ever seeing
Odd phenomena beyond the knowledge of us mortal men,
Like a chair moved by air
Or a voice that bids beware
Or strange forces eating horses as first courses now and then?

Blood that drips down walls
Or peculiar moving dolls –
Who would choose to chase the clues of deadly mysteries and such?
We ought to run away,
But we’re curious and stay.
Curiosity, insanity – the difference isn’t much.
______________________

MPA rating: R (mainly for language)

If there was any doubt about Jordan Peele’s skill as a horror director (or director in general), Nope should dispel it. Get Out was an electrifying debut with its potent social commentary, and Us boasted highly impactful scares, even if its underlying mythology made zero sense. Yet I think I prefer Nope over either of them, an entertaining genre mish-mash that recalls Close Encounters of the Third Kind, if the UFOs were not secretly friendly. From the enigmatic trailers, it seemed that Peele wanted to make aliens scary again, and he did, while also subverting a few expectations to great effect.

Reteaming with Peele after Get Out, Daniel Kaluuya plays O.J. Haywood, a horse trainer for film projects, who struggles to maintain his family’s historic business after the bizarre death of his father (Keith David). His sister Em (Keke Palmer) is more interested in schmoozing talent seekers than saving the ranch, but they are both disturbed by the behavior and disappearance of their horses, eventually realizing something in the sky is preying on them. Soon the siblings are collaborating to get certified photographic proof of the dangerous UFO, which is easier said than done, even with the help of jaded electronics employee Angel (Brandon Perea) and grizzled filmmaker Antlers Holst (Michael Wincott).

Nope continues Peele’s winning blend of understated comedy and legit horror, injecting doses of humor among the growing anxiety, most notably the title response when situations are too risky to engage. Unlike so many horror films, the characters largely respond realistically to the strange events they face, though it’s notable that some of them lose that sense of self-preservation in pursuit of fame, strengthening the film’s theme of destructive celebrity. Considering how straight-faced and quiet he is throughout, Kaluuya once more proves his acting talent and is never wooden, while Palmer’s surplus of personality makes her a great familial foil for him. Both Steven Yeun as Jupe Park, the owner of a nearby Western theme park, and Perea as an everyman techie are also standouts, while Wincott’s character adds gravitas but also ends up a little underdeveloped.

Through most of the film, I couldn’t help but feel like the subplot with Yeun seemed out of place, a story of him as a child actor witnessing a violent episode involving a crazed chimp. Indeed, it doesn’t have much to do with the main UFO narrative. In retrospect, it does complement the motifs of spectacle and animal danger, and, going beyond survivor guilt, the idea of survivor confidence explains Park’s unwise actions later on. It’s ultimately another sign that Peele puts a good deal of thought into his film’s themes, down to the final scene, and that he’s interested in more than cheap scares. Of course, there are some expert moments of tension and shock as well (I especially liked how the flying saucer is kept out of view at first, darting between clouds and deadening electronics with the distant menace of the fin in Jaws), but it felt unique that the climax happens in broad daylight.

While Us showed that Peele is not above story missteps, Nope is an ambitious step forward that I look forward to watching again. It’s a creature feature that knows how to balance its looming terror with human foibles and a crowd-pleasing climax, complete with an Akira reference. Us was scarier and Get Out had more to say, but Nope is easily the most entertaining entry in Peele’s filmography so far.

Best line: (Holst) “This dream you’re chasing, where you end up at the top of the mountain, all eyes on you… it’s the dream you never wake up from.”

Rank: List Runner-Up

© 2022 S.G. Liput
781 Followers and Counting

Doctor Strange in the Multiverse of Madness (2022)

09 Tuesday Aug 2022

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Most humans have the comfort of not knowing of too much,
Of doors we should not open and loose threads we ought not touch,
Of dogs we dare not waken and of lines we should not cross,
Lest brutal, futile knowledge should become our albatross.

The warning of “forbidden” has eroded over years,
Decided as the product of unreasonable fears.
For nothing is anathema, forbidden, or taboo,
And so we delve too deeply into things we can’t undo.

When doors not meant to open are instead extended wide,
And fears begin to slither in where had been only pride,
And darkness once attractive starts exacting its dread cost,
You’ll recognize what isn’t wise when certain lines are crossed.
__________________________________

MPA rating: PG-13 (honestly, some of the violence leans toward R)

I never used to wait this long before reviewing Marvel blockbusters, but my mind hasn’t been in movie review mode lately. Still, it’s about time I got to it. Anyway, I’m an MCU fanboy, so anything they release I am likely to enjoy to varying levels. Even some that gave me initial mixed reactions like Thor: The Dark World or Eternals, I’ve grown to appreciate more with time and reflection. It’s rare then that time and reflection ends up lowering my opinion of a Marvel film, but such is the case with Doctor Strange in the Multiverse of Madness. I still liked it overall, but there are elements I can’t help but view with disappointment.

This second Doctor Strange film marks a milestone for the MCU; it’s the first time that a Marvel film has continued a storyline from one of the Disney+ TV series, specifically WandaVision, released about a year before. I’ve decided to skip reviewing TV shows (for now) and won’t go into detail on WandaVision, but it essentially dealt with the messy grieving process of Wanda Maximoff (Elizabeth Olsen) after losing her beloved Vision (Paul Bettany) in Infinity War. It was the first time Wanda was referred to by her comics name of Scarlet Witch and introduced the potential children she might have had with Vision, as well as a cursed book called the Darkhold, all of which play a role in this film.

As for Stephen Strange himself (Benedict Cumberbatch), he has settled into the self-sacrificing superhero life of losing his own love Christine (Rachel McAdams) yet trying to convince himself he’s happy anyway. When a multiverse-hopping girl named America Chavez (a bit one-note but likable Xochitl Gomez) arrives in New York, chased by otherworldly creatures, Strange and Wong (Benedict Wong) take on the duty of protecting her across universes.

Between Loki and Spider-Man: No Way Home, the multiverse has already been cracked open for most viewers, but Doctor Strange in the MoM goes beyond variations of one character. Many would argue that it still doesn’t do enough with the concept to warrant a name like Multiverse of Madness, but my VC actually liked that the number of universes involved were limited, finding it easier to follow. The use of the multiverse is where my complaints begin (and the spoilers). One of the biggest set pieces of the film involves a multiversal team getting slaughtered mercilessly, which felt like a jarring contrast to the way that even villains were treated in No Way Home, a spectacle mistaking cruel for cool. It gave me concern that the multiverse could be used to just provide an endless supply of fan service cannon fodder because if one character dies, hey, there’s plenty of others out there for next time, right?

Beyond that, the film’s treatment of Wanda is also a mixed bag. While Olsen delivers an outstanding performance stepping into the rare role of a hero-turned-villain and showing just how powerful she is, it ends up undermining the emotional progress she seemed to experience in WandaVision (and totally ignoring the fact that Vision in some form is out there somewhere). Her motivations are sympathetic, but it was shocking just how far she goes, her behavior easily blamed on the corrupting power of the Darkhold but hard to forgive nonetheless. And then there’s Strange’s diving into the dark art of necromancy in the climax, which is both a gleeful reminder of director Sam Raimi’s horror specialty and also a problematic strategy that calls into question whether Strange can just walk away from any supposedly forbidden behavior without consequence. We’ll see if the sequels shed any light on that.

And speaking of sequels, it also felt like there should have been a different Doctor Strange 2 between the original and this one. Despite the brief presence of Chiwetel Ejiofor’s Mordo in a different universe, his setup as a villain in the first film’s after-credits scene was essentially dropped, waved away in a single line indicating he and Strange had already clashed before. Am I the only one who would have liked to see that?

So yes, I have mixed feelings about Doctor Strange in the Multiverse of Madness, right down to its abrupt ending, yet I can’t outright dislike it either. It still has all the ingredients for an entertaining Marvel adventure, mixed with the sometimes creepy, somewhat goofy, and more violent style of Sam Raimi, complete with a prime Bruce Campbell cameo. I liked the more human element of Strange’s character arc, and Olsen’s scenery-chewing wrath is both memorable and cleverly resolved by the end. It can’t be easy writing these Marvel films in a way that continues prior plotlines, delivers its own story, and sets up future possibilities, but they’ve been doing it splendidly for a decade now. While it has its good points, Doctor Strange in the Multiverse of Madness is the first stumble for me.

Best line: (Wanda, with a good point) “You break the rules and become a hero. I do it, and I become the enemy. That doesn’t seem fair.”

Rank: List Runner-Up

© 2022 S.G. Liput
777 Followers and Counting

Top Gun: Maverick (2022)

10 Sunday Jul 2022

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Expectations are the weight
That drags us to a win or loss.
And either way, we learn to hate
The expectation albatross.

For whether it is you alone
Or one you’re trying to impress,
The chance of failure’s one millstone
That only comes off with success.

A flaw offends, a stumble spreads,
And those who saw it coming quit,
Shaking their collective heads.
They knew you couldn’t handle it.

But then, you might have full support
Yet build up such a stress within,
That nothing but the highest court
Could name you worthy of a win.

Still yet, we live for moments grand
When fear is met by answered prayer,
When what occurs is what was planned,
Even if that may feel rare.

These expectations doom or drive
Our efforts to achieve our best.
Just know as long as you’re alive
That nothing is a futile quest.
________________________

MPA rating: PG-13

I don’t know if anyone remembers, but I rewatched the original Top Gun back in 2020 so I could review it before the sequel came out later that year. Of course, a certain pandemic got in the way of that, repeatedly pushing the release of Top Gun: Maverick to a point where it would have the best chance of thriving in theaters rather than settling for a limited or streaming release. And thrived it has, racking up over a billion dollars and outperforming what I think most people expected from yet another resurrected 1980s franchise. I appreciate the first Top Gun on a purely superficial level but would never consider it a favorite movie, so I was genuinely surprised that Maverick actually managed to deliver on the hype that had grown around it.

Set over thirty years after the original, Top Gun: Maverick sees the return of Pete “Maverick” Mitchell (Tom Cruise), whose penchant for risks and disobeying orders has kept him from rising above the rank of captain. With his career near its end, he is called by his old rival and friend Iceman (Val Kilmer, whose inclusion was a nice treat considering his health struggles) to return to Top Gun (a.k.a. the United States Navy Strike Fighter Tactics Instructor program) and train the most skilled graduates for a daring mission to destroy a uranium enrichment plant. Among them is “Rooster” Bradshaw (Miles Teller), the son of Maverick’s deceased partner Goose, and the two must work through their shared history to make the mission a success.

I can absolutely see a version of this movie with the same description I gave above that feels like a zombie retread of the first film, resurrected for the sake of cashing in on audience nostalgia. While that’s likely how the film’s development started, a laudable amount of effort and care went into making this a worthy successor that honestly surpasses the first film in every way. Knowing that the real actors and planes were involved in the aerial action adds much to the experience as a sharp contrast to the overabundance of CGI, and the high-flying direction feels brisk and immediate while not losing track of which plane is which. Plus, the soundtrack is a knockout, featuring not just the return of Kenny Loggins’ “Danger Zone” but also welcome additions from The Who, OneRepublic, and Lady Gaga.

It’s rather amazing that Maverick has all of the same ingredients as the first film – hot shot pilots, including a cocky rival (Glen Powell); surly superiors (Jon Hamm, Ed Harris); a simmering romance centered in a bar (now with Jennifer Connolly in place of Kelly McGillis); a shirtless volleyball game; and a climactic face-off with an unnamed enemy – and yet it deepens them and makes them mean more than in the original Top Gun. The writing and story are clearly improved and give the performances of Cruise and Teller especially much more dramatic weight as the loss of Goose continues to weigh on them both. And the whole climax set among snowy mountains is a tense thrill ride, not a sudden “crisis” that pops up like in the first film, but an extended mission that the whole film builds up to, with high stakes and an ever-present chance that someone might not make it home.

The distinction may only make sense to me, but I consider Top Gun an entertaining movie, while Top Gun: Maverick is an entertaining film. Both may be summer blockbusters, but the sequel lives in another category of quality, and I really would like to see it perhaps snag a Best Picture nod at the Oscars. Even with my half-hearted appreciation of the first film, the second was moving, patriotic, and immensely satisfying in its own right while also building on the nostalgia. It sets a new standard for these long-delayed ‘80s sequels, one that will be hard for any other to top.

Best line: (Admiral “Cyclone” Simpson) “Your reputation precedes you.”   (Maverick) “Thank you, Sir.”  (Adm. Simpson) “It wasn’t a compliment.”

Rank: List-Worthy

© 2022 S.G. Liput
775 Followers and Counting

The Amazing Spider-Man 2 (2014)

29 Friday Apr 2022

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(Today’s NaPoWriMo prompt was for a poem balancing the gifts you were born with and some kind of curse. I started out with that goal, but I’m not sure the result quite matches the prompt today. Still, in going more general, I think I tapped into why I’m an optimist.)

It’s tempting to wish for a different life,
To notice how easy another’s would be.
If I were not stuck
With such miserable luck…
As if the potential were some guarantee.

Yet when I feel like that, beguiled by grief,
Envisioning tragedy somehow undone,
I catch such a muse,
So intent to abuse,
And show it each smile from trials I’ve won.

The good that I’ve seen and at least tried to do
Could likewise be gone, both the sorrow and gifts.
Life’s not simplified
Looking on the bright side,
But I’ll take what’s true over trading in ifs.
______________________________

MPA rating: PG-13

I can’t seem to find much agreement on whether The Amazing Spider-Man 2 is better or worse than its predecessor. I’ve read reviews that acclaim Andrew Garfield’s charisma when wearing his Spidey suit, and it certainly does have more personality than the somewhat bland first film. Yet I’ve also seen certain scenes mercilessly mocked, like the unresolved ending with Paul Giamatti as a hammy Russian Rhino. Personally, I think the second film does improve on the first, at least in answering some of the lingering questions, and it certainly took guts to put to film one of the most famous and gut-wrenching twists from the comics.

Garfield may still be the third best Peter Parker (sorry!), but he’s still quite a good one, especially alongside Emma Stone’s Gwen Stacy. Haunted by the dying words of Gwen’s father (Denis Leary), he still fears for her safety, and with good reason as numerous supervillains threaten the city. Like many other nerds-turned-villains, Max Dillon (Jamie Foxx) starts out idolizing Spider-Man before an accident and a misunderstanding turn him into the vengeful Electro, while Peter’s old pal Harry Osborn (Dane DeHaan as a pale stand-in for James Franco) is spurred by a terminal illness into Green Goblin-hood.

There’s much to enjoy in Garfield’s second outing, from several outstanding action set pieces to the continued winsome chemistry between Peter and Gwen. While the backstory about Peter’s father isn’t the most interesting aspect, it does supply a logical answer to an unspoken question. I like to say that the freak accidents in these movies, like a radioactive spider bite or falling into a tank of electric eels, either kill you or give you superpowers, and there’s a pretty good reason why it was the latter for Peter specifically. The plot is rather long and busy with all the villains and laying the groundwork for future sequels that never materialized (Felicity Jones never gets to do much as Felicia Hardy), but I can appreciate how much this film tries since the first seemed content to be underwhelming.

It’s notable how both Garfield’s series and Tobey Maguire’s run as Spider-Man both ended on rather dour notes. Neither Spider-Man 3 nor Amazing Spider-Man 2 end very happily, so it’s all the better that No Way Home managed to provide some much-needed closure for some of its predecessors’ loose or less-than-satisfying ends. I’m still hoping for more, though, and with the renewed appreciation that No Way Home inspired for Spider-Men past, perhaps we’ll see even more of Garfield’s Peter Parker.

Best line: (Gwen Stacy’s valedictorian speech) “It’s easy to feel hopeful on a beautiful day like today, but there will be dark days ahead of us too. There will be days where you feel all alone, and that’s when hope is needed most. No matter how buried it gets, or how lost you feel, you must promise me that you will hold on to hope. Keep it alive. We have to be greater than what we suffer. My wish for you is to become hope; people need that. And even if we fail, what better way is there to live? As we look around here today, at all of the people who helped make us who we are, I know it feels like we’re saying goodbye, but we will carry a piece of each other into everything that we do next, to remind us of who we are, and of who we’re meant to be.”

Rank: List Runner-Up

© 2022 S.G. Liput
772 Followers and Counting

Those Who Wish Me Dead (2020)

24 Sunday Apr 2022

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(I was delighted to be one of today’s featured poets on the NaPoWriMo website for yesterday’s poem, and I again thank everyone out there for reading and taking part in this writing challenge. Today’s prompt was to channel old detective novels with hard-boiled similes, which lend themselves perfectly to colorful descriptions.)

The fire burned like it knew its own death
And when it would have to be tamed,
And so it ran rampant upon the wind’s breath
Not caring for what it be blamed.

Like a convict escaped from the eve of death row,
It guzzled and ravaged and razed,
As if it but cared that all people would know
It had lived, and though briefly, had blazed.

Like the contents that ruptured from Pandora’s box,
It can’t be returned to its source.
It only can steal, like a wretched red fox
Who feeds without any remorse.
____________________________

MPA rating: R (for language and violence)

One more 2020 film whose release was sabotaged by a certain pandemic, Those Who Wish Me Dead is a competent thriller that deserved better than its understandably poor box office showing. Based on a novel by Michael Koryta, who also helped pen the screenplay, the film is a natural fit for writer-director Taylor Sheridan, whose works like Hell or High Water embody the modernized western. This story of a young boy being hunted by assassins through the mountainous forests of Montana could have been set in the Old West, yet the modern setting makes it that much more believable and engrossing.

Angelina Jolie plays smokejumper Hannah Faber, who is haunted by lives lost in a recent wildfire. When she stumbles upon a young teen (Finn Little) fleeing a pair of ruthless hitmen (Aidan Gillen, Nicholas Hoult), she decides to protect him at all costs. There aren’t any major twists to the story, but it’s a taut tale well told. Jolie is quite good, but the standouts are Gillen and Hoult as the two murderous brothers who are both clever and callous enough for mortal danger to never be far behind the protagonists, especially when they start a wildfire to distract authorities and hem in their prey. Medina Senghore also gets a moment to shine as a pregnant wife who proves her mettle against the villains.

I have not read the original novel, but my VC has and noted that the book was better (of course) and that the film had several differences and focused more on Jolie’s character than the novel did, which Koryta must have approved as co-screenwriter. The movie did remedy an odd decision toward the end that allowed the movie to have a more satisfying ending, albeit with several unresolved story threads. My VC has become a big fan of Michael Koryta’s after reading this first book of his to be adapted to the screen, so hopefully others will follow.

Best line: (Jack, one of the hitmen) “I hate this f***ing place.”  (Allison) “It hates you back.”

Rank: List Runner-Up

© 2022 S.G. Liput
770 Followers and Counting

Host (2020)

19 Tuesday Apr 2022

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(Today’s NaPoWriMo prompt was for a poem that begins with a command, so I started mine with some advice everyone ought to follow.)

Don’t be a jerk to a ghost!
They’re likely to take offense.
They’re less than forgiving
When haunting the living,
Then claim it was all self-defense.

Don’t be a fool with a phantom!
Jokes give them a reason to hate.
They’ll ransack the room
And foreshadow your doom
Without any chance for debate.

A spirit can sense an idiot
A hundred and ten yards away.
One cheeky remark
To make fun of the dark,
And the Other Side will make you pay.
______________________________

MPA rating: Not Rated (probably R for language and frights)

The COVID pandemic resulted in Zoom becoming a bigger part of our lives than anyone could have foreseen, and that naturally was extended to the entertainment industry. Parks and Recreation had a reunion episode over their version of Zoom. The cast of One Cut of the Dead hilariously “reunited” to film a docudrama remotely via their own cameras. And the creators of Host found a way to make Zoom a vehicle for horror. Despite its 100% on Rotten Tomatoes, it’s not particularly revolutionary in the plot department, just impressive for how skillfully its gimmick is utilized.

A band of friends log onto a Zoom call, and one of them has hired a medium to hold a remote séance. One girl talks about feeling the presence of an old classmate who killed himself, but when the medium is absent, she admits that she made up the story. Yet her disrespect has allowed an evil entity to begin terrorizing the group in their homes. With its pandemic setting, there’s a bit of the anxiety from Under the Shadow, where leaving the haunted house carries its own peril, though not as extreme as in that film. And while it carries the same suspension of disbelief inherent to found-footage films (like why they continually point their camera toward the danger), the filmmakers developed some clever uses for Zoom features, like the unnatural layering of virtual backgrounds or the facial recognition of filters that highlight the supernatural menace.

If you’re looking for a short spine-chiller (only 57 minutes) that amounts to “ghost attacks people,” Host is a good option. With its cast of interchangeable yuppies who don’t know when to turn the lights on and their cameras off, it’s still subject to the usual horror movie clichés and can’t compare to the storytelling of, say, Searching, another film in this new screenlife genre. It has at least confirmed my conviction to never attend a séance of any kind. Who knows who you might offend?

Best line: (Emma) “Haley, honestly, if I die, I’m going to haunt you myself.”

Rank:  Honorable Mention

© 2022 S.G. Liput
766 Followers and Counting

Everything Everywhere All at Once (2022)

13 Wednesday Apr 2022

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

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(Today’s NaPoWriMo prompt was for an optimistic pep-talk of a poem, and what better way to cheer up than to imagine all the possibilities of the future?)

Are you dwelling on your present and its causes in the past,
Believing that your current station cannot be surpassed
And thinking that what got you here’s so permanent and vast
That every future holds more of the same?

I tell you it’s a lie, for there are futures far and wide,
A you that is a lawyer with a master’s on the side,
An architect, an astronaut, or business never tried,
A plaque or medal waiting with your name.

Another you’s achieving in another universe,
And nothing but your mindset makes your version any worse.
A choice alone can breed a set of futures so diverse
That only you will see what you became.
_______________________

MPA rating:  R

With positive word of mouth still spreading this movie’s praises, I will affirm that Everything Everywhere All at Once is the genre-defying, expectation-blowing multiversal fever dream that no one knew they wanted. Born from the unorthodox imaginations of music video directors Daniel Kwan and Daniel Scheinert (known as Daniels, whose last film Swiss Army Man had a description weird enough to turn me off from seeing it at all), this new film is a head-trip, a drug trip, and a reality-spanning hero’s journey/familial drama all wrapped up in a Chinese-American cultural milieu and the distinctive anything-goes visual style of a pair of auteurs. Basically, it’s the ultimate indie film.

Michelle Yeoh plays Evelyn Wang, who owns a laundromat with her meek husband Waymond (Ke Huy Quan of Goonies and Temple of Doom fame) and is being audited by a no-nonsense IRS inspector named Deirdre (Jamie Lee Curtis). While attending a tax meeting, Evelyn is suddenly whisked into a multiverse-spanning struggle when an alternate version of Waymond informs her of a cosmic threat and the possibility of accessing the skills of other versions of Evelyn in different universes. She is understandably skeptical of such revelations but is soon forced to battle other multiverse-hoppers, not to mention the struggles of parenthood and the meaning of existence.

So much happens in Everything Everywhere All at Once that it’s hard to focus on what makes it so engaging, but I’ll say it’s probably the most wildly original film I’ve ever seen. With that originality, it must also be said that it embraces the surreal and outright bizarre with abandon, making it also a film whose sense of humor is not necessarily for all tastes. Quite a few scenes earned big laughs in the theater just from how unexpected and weird they were, like when a small dog on a leash is suddenly used in combat as a swinging weapon. This is a movie that alternates between relatable scenes of grappling with one’s disappointing life choices and Yeoh sparring with a pair of martial artists with trophies stuck up their butts (for a plot-sensible reason, strangely enough). It’s nuts, and yet, for the most part, it works.

Yeoh is at her best here, portraying Evelyn in a wide range of states from domestic despair to a glamorous lifestyle mirroring that of Yeoh herself. Evelyn is told that her potential “chosen one” status is because she is basically the worst version of herself, allowing all that unfulfilled potential to draw abilities from other universes instead. Between her regretful cynicism and burgeoning omnipotence, one sequence leads her on the path to nihilism and cruelty because “nothing matters” when you see how insignificant our lives are. A less satisfying film might have embraced that theme to its worst end, but that’s where Quan shines as the true heart of the film. In a triumphant return to acting, he provides a brilliant summation of kindness as the best alternative, which is basically what I consider my own worldview. He does much more than that, serving as the main deliverer of exposition and nailing a finely choreographed fight armed with only a fanny pack, but he grounds the film in a way that wouldn’t be possible without him.

I realize I’ve gone this far without even mentioning Stephanie Hsu as Evelyn’s estranged daughter or James Hong as her judgmental, wheelchair-bound father. I haven’t gotten to the reality-ending bagel or the zany reimagining of Pixar’s Ratatouille. The number of components to appreciate and discuss in this film can’t be crammed into this one review, but let’s just say there are plenty of them. I suppose the closest thing to which I can compare the wide breadth of this film is Cloud Atlas, but on crack. In both cases, neither film’s premise is really compatible with my own Christian worldview, never acknowledging any God but the “universe” and choosing to find meaning elsewhere, yet I can still admire the far-reaching search for that meaning, which touches on universal truth (like Waymond’s endorsement of kindness) and is inspiring in its own way.

Honestly, Everything Everywhere All at Once is a small miracle of a film, one that goes bat-crap crazy with its creativity yet never loses sight of the human story at its core, the one where everyone wants to be valued and loved. Even in its sillier alternative universes, it plays the emotions within them straight, so that they earn a chuckle for their absurdity while not detracting from the tear of the moment. I could have done without a few sexual elements of the weirdness that clinch the R rating, but there’s so much else to admire that I can overlook certain excesses.

In many ways, it feels like a game-changing milestone type of film, like Star Wars or The Matrix, one that others will no doubt try to imitate but never quite match. I bet Marvel thought the second Dr. Strange movie would monopolize the theme of an infinite multiverse, so who would have guessed that “Shang-Chi’s Aunt in the Multiverse of Madness” would come along to disrupt the conversation only a month before? From brilliant fight choreography to madcap editing and effects work, Everything Everywhere All at Once dares more than any film in recent memory and wins because of it.

Best line: (Waymond, to Evelyn) “You think because l’m kind that it means I’m naive, and maybe I am. It’s strategic and necessary. This is how I fight.”

Rank: List-Worthy

© 2022 S.G. Liput
765 Followers and Counting

Greyhound (2020)

11 Monday Apr 2022

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(Today’s NaPoWriMo prompt was a seemingly basic theme, a poem about something large, so the massive ocean made perfect sense.)

The ocean was a barrier mere centuries ago,
Immovable, impassable, impossible to overthrow.
It mocked our human efforts with indifferent distances,
Its furthest reaches only myths that man could never hope to know.

But even once we “conquered” it and put its edge to page,
It hardly made a dent upon its unpremeditated rage.
We may know where to sail and hark to what the compass says,
But none can quite predict this beast of overwhelming size and age.

The ships that are our power and our glory navally
Can do their best against the test that dwarfs the land’s reality.
They ply the waves that murder without hate or prejudice,
A tiny line of ants that crawl across the quicksand of the sea.
________________________________

MPA rating:  PG-13

Like Finch, Greyhound was the other Apple TV+ film with Tom Hanks to convince me to subscribe to yet another streaming service. Based on C.S. Forester’s 1955 novel The Good Shepherd, the film is an intense journey across the Atlantic Ocean at the height of World War II, when German U-boats terrorized the ships trying to bring troops and supplies from the United States to beleaguered Europe. Hanks plays Captain Ernest Krause of the USS Keeling (a.k.a. Greyhound) and its supply convoy, and but for a brief flashback with his assumed wife (Elisabeth Shue), the whole action of the film takes place upon the storm-tossed seas with the constant threat of enemy torpedoes.

While the film earns high marks for realism with its authentic naval terminology, the weak script and characterization are rather thin. It’s a good thing then that Hanks is so committed to the role, forgoing the pirates of Captain Phillips in favor of Nazi wolf packs who taunt him over the radio as they pick off the ships he’s been tasked with protecting. Every loss is reflected in his weary but determined eyes, and the captain’s commitment is reflected in how he refuses to rest while the danger persists or celebrate death too much.

After all the waiting and worrying, it’s a cheer-worthy moment when the ships are able to land a blow on the submarines stalking them, and the film certainly highlights how the journey across the Atlantic was just as dangerous as what awaited soldiers on the other side. A taut and streamlined historical thriller, Greyhound owes much to Hanks, whose mixture of grit and religiosity in the role once more proves why we love him so.

Best line: (Cole, the executive officer, to Captain Krause) “What you did yesterday got us to today.”

Rank:  List Runner-Up

© 2022 S.G. Liput
764 Followers and Counting