The Sword in the Stone (1963)

Tags

Animation, Disney, Family, Fantasy

When England’s left without a king,

It seems that swords will likely ring

For a successor to be named,

And yet a method is proclaimed.

 

A sword is set within a stone,

And he who frees it gets the throne.

The sword becomes the nation’s judge.

Though many try, it will not budge.

 

The wizard Merlin says a sooth,

That he will welcome soon a youth,

But Archimedes, Merlin’s owl,

Scoffs and mocks him with a scowl.

 

But sure enough, that very day,

An arrow search for grumpy Kay

Has scrawny Arthur crashing through

Their cottage roof, as Merlin knew.

 

He stays for tea, and it is stated

That Arthur must be educated.

When Arthur says that he must leave,

He sees a thing he can’t believe.

 

The wizard shrinks his many things

To fit in one bag, which he brings.

Then, carrying his magic goods,

He leads young Arthur through the woods.

 

They go to Arthur’s home, a castle

Where the “Wart” is but a vassal

For his foster father Ector,

Who’s more employer than protector.

 

The wizard tries to teach the boy

And thinks his student would enjoy

A different view. He grants a wish

And turns the lad into a fish.

 

He shows the small fry how to swim,

And, when attacked, he cheers for him,

As Arthur’s hounded by a pike,

Which tries to eat the little tyke.

 

Once Archimedes saves the day,

The boy must work and walks away,

But Merlin’s magic does his chores

And washes plates and sweeps the floors.

 

When Merlin turns them into squirrels,

Young Arthur learns the world of girls,

And things he’d never reckoned of

Like gravity and the woes of love.

 

Still later, Wart becomes a sparrow,

Flying higher than an arrow,

But when a hawk tries snatching him,

He finds the home of Madam Mim.

 

This wicked witch plays cat-and-mouse

With Arthur all around her house.

But Merlin saves him (he’s in school),

And fights with Mim a Wizards’ Duel.

 

They change themselves to varied beasts

And try to make their foe deceased.

Though Mim breaks rules, she’s left infirm

When Merlin beats her as a germ.

 

When Arthur’s glad to be Kay’s squire,

Merlin’s mad he won’t aspire

To bigger, more refined pursuits.

Thus, to Bermuda Merlin shoots.

 

In London, Kay fights for the crown

But needs a sword that’s not around.

So Arthur finds the stone-held sword

And pulls it out; the town is floored.

 

He pulled the sword from out the stone

And must be destined for the throne.

He’s frightened to be chief of state,

But Merlin tells him he’ll be great.

________________________

 

The Sword in the Stone, based off of the book by T. H. White, is a lesser-known Disney classic that nonetheless is a whimsical fantasy that kids and adults alike can enjoy. My dad once called it a perfect drive-in movie, the kind to keep the kids safe in the car and glued to the screen while the parents got popcorn. The plot is episodic and so seems rather weak, considering that the actual Sword in the Stone is only at the very beginning and end. Still, these comical vignettes featuring a young Arthur transformed into various creatures are quite entertaining and nicely merge Arthur’s wide-eyed wonder with Merlin’s anachronistic, curmudgeonly wisdom. The duel with Madam Mim is also both funny and exciting, and Arthur’s pulling out the sword is a truly classic scene.

It also has some references to other films, such as Merlin cleaning up with animated brooms like in Fantasia. His ever-spacious travel bag is also reminiscent of Mary Poppins, which actually came out the next year. While the songs are less than memorable, they are some of the early work of the Sherman Brothers, who went on to write much better songs for Mary Poppins, Chitty Chitty Bang Bang, and The Jungle Book. One song in the film did stick out because of its similarity to Andy Serkis’s ad-libbed tune in the Forbidden Pool scene of The Lord of the Rings: The Two Towers. Perhaps he was subconsciously inspired by this much earlier Disney ditty.

The Sword in the Stone may not be able to claim the iconic depiction of these characters, but I much prefer its portrayal of Arthur and Merlin than some other films’, like the awful Shrek the Third. While it certainly isn’t the best Arthurian film adaptation, it is nonetheless a classic of childhood that teaches the age-old lesson of brains over brawn.

Best line: (Merlin, speaking of Archimedes the owl) “When he stays out all night, he’s always grumpy the next morning.”  (Arthur) “Then he must stay out every night.”

 

Artistry: 4

Characters/Actors: 6

Entertainment: 6

Visual Effects: 4

Originality: 5

Watchability: 5

 

TOTAL: 30 out of 60

 

Tomorrow: #310: The Karate Kid

© 2014 S. G. Liput

Where the Wild Things Are (2009)

Tags

Drama, Fantasy

Max is feral; Max is free,

As wild as he wants to be.

He much prefers his fantasy

To real-world life and pain.

He’s jealous of his sister’s friends,

Who crush the igloo he defends.

He wrecks her room but then he mends

The mess he made in vain.

 

His mother has a handsome guest,

But Max’s rage won’t be suppressed.

He screams and runs and is a pest

And bites his mom as well.

Alarmed, he flees and yells a while.

He sees a boat, sails to an isle,

Finds some natives to beguile,

And thinks of lies to tell.

 

These Wild Things are in conflict,

But Max insists he can evict

All loneliness and has them tricked.

They make the boy their king.

His first directive to impart

Is that the wild rumpus start,

And everybody plays their part

In one big wild fling.

 

His first friend Carol’s feeling blue

For some girl named KW,

Who’s left her old friends for some new,

And Carol now is jealous.

But Max insists they build a fort,

And so they do; they then cavort

In one big dirt clod-throwing sport,

And some are overzealous.

 

KW gets Carol hurt,

A joke that stings much more than dirt.

The fighting tends to just subvert

What ought to bring them closer.

They all are sullen once they’ve played,

And their respect for Max degrades.

The worried Carol feels betrayed

When Max is called a poser.

 

Then Carol rips off someone’s arm

And tries to do the young king harm.

Max flees the monster in alarm.

KW protects him.

Max sees himself in Carol’s rage,

And chooses then to disengage

From his unstable island stage

Where everyone suspects him.

 

They mourn their loss while he’s in sight,

Including Carol, who’s contrite,

And Max sails on into the night

Upon the ocean’s foam.

When he returns, Mom can relax

And with a hug forgives his acts.

She gives him dinner warm, and Max

Is glad to be back home.

____________________

 

Where the Wild Things Are is a rather odd movie. It’s based off the classic children’s picture book by Maurice Sendak (which my mom read to me growing up), but the tone of the entire film has a distinctly adult sensibility. Except for a few scenes, I can’t really see a kid enjoying it, since even my VC couldn’t hang with it and disliked the dysfunctional family and out-of-control kid (whose behavior probably stems from too little parenting). The film is often boring and wordy and is honestly pretty depressing, what with all the talk about the sun dying and the messed-up relationships that aren’t really resolved.

From this film and what I’ve heard of his others, I would say that director Spike Jonze tends to take seemingly outlandish plotlines and turn them into artistic films that can be taken seriously. He certainly has done just that in Where the Wild Things Are, which may not be meant for young kids but at least avoids the adult content of his other films, like Being John Malkovich and the recent Her.

The appeal of this movie is in its depth and insight into Max’s psyche, which is broken down and given life in the form of the Wild Things he meets. Ira represents his desire to be appreciated; pessimistic Judith is his angry insistence to be taken on his own terms, accepting only love and understanding as an answer; Alexander is his fear of him being ignored and his pain not understood; and Carol is his jealous selfishness and his ferocious temper. Seeing the Wild Things’ relationships break down and particularly Carol’s going “out of control” (as Max did in the beginning) is like Max looking in a mirror and resolving to change. His goodbyes and departure from the Wild Things were actually surprisingly touching.

Unfortunately, Max’s “change” only goes so far. In the final moments with his mom, I kept expecting him to say “I’m sorry,” but those magic words are left unsaid, with only knowing and sympathetic looks to take their place. However, the CGI-enhanced puppets from the Jim Henson Creature Shop are some of the most life-like puppets I’ve ever seen, making the film notable for its visual effects as well. All in all, it’s a well-made but divisive film that is worthy of a much more detailed analysis than I’ve given and one that will only appeal to those who “get” its underlying message.

Best line: (Douglas, when his arm is pulled off during Carol’s vicious tantrum) “That was my favorite arm!”

 

Artistry: 7

Characters/Actors: 6

Entertainment: 3

Visual Effects: 8

Originality: 5

Watchability: 3

Other (slow parts): -2

 

TOTAL: 30 out of 60

 

Tomorrow: #311: The Sword in the Stone

© 2014 S. G. Liput

War of the Worlds (2005)

Tags

Action, Sci-fi, Thriller

A narrator reveals that hostile aliens are hard at work;

So let us watch their conquest through the eyes of Ray, a selfish jerk.

He’s immature and slovenly; his ex-wife knows this (hence the ex),

And when she leaves their kids with him, their presence only serves to vex.

Both Robbie and his sister Rachel aren’t too happy being there,

And Ray ignores them overall until a storm creates a scare.

 

The lightning strikes the same location twenty-six alarming times.

When Ray investigates the place, from underground a tripod climbs.

The giant alien machine starts zapping people left and right,

And Ray recovers both his kids and drives until it’s out of sight.

His ex-wife’s empty house is where they hide and try remaining calm.

The three are woken in the night by loud explosions, like a bomb.

 

The next day, Ray emerges to a sprawling field of plane debris,

And learns the foe is everywhere, at home and out across the sea.

The three set out for Boston, where they hope to find Ray’s former wife,

And dead or desperate folks abound and make them each fear for their life.

Their car is fiercely taken (since most vehicles no longer start).

They then attempt to take a ferry, which turns out to not be smart.

 

A tripod rises from the river, capsizing the ferryboat,

And tentacles reach down to snatch the men who dare to stay afloat.

Escaping from this massacre, they all continue on their quest,

But Robbie wants to join the fight to stop the uninvited guest.

He gives his father little choice, and Ray is sad to see him go,

But he and Rachel flee and join a man with shelter down below.

 

This Harlan Ogilvy soon proves that he has clearly gone insane,

And rants about survival and the chance to fight their own campaign.

They’re rattled by some narrow shaves with aliens and periscopes,

But Harlan’s thirst for vengeance and his folly threaten all their hopes.

He freaks out when he sees the foes collecting blood from human slaves,

And Ray feels he must silence him before his ranting digs their graves.

 

But Ray and Rachel still are found; a tripod lifts her in the air.

Her father follows with grenades and frees the captives from their snare.

Again with Rachel, Ray continues into Boston’s wrecked downtown,

And sees the aliens are dying, helping us to take them down.

He reconnects with his ex-wife and Robbie, whom he’s glad to see.

The narrator reveals that germs brought down the hostile enemy.

__________________________

 

Steven Spielberg’s War of the Worlds, the most advertised and successful of the three film adaptations released in 2005, is gripping, thrilling, frightening, insightful, and compelling. From the opening/closing narration by Morgan Freeman to the uniquely grainy cinematography to the inclusion of the very real threat of an EMP to wipe out all electronic devices, it’s a modern retelling of H. G. Wells’ classic story that is also the best adaptation I’ve seen so far. Tom Cruise is at his best as Ray Ferrier, and Dakota Fanning is entirely believable as his increasingly traumatized daughter Rachel. In the words of the judge from The Shawshank Redemption, Tim Robbins plays Ogilvy as “icy and remorseless,” but also with a wide-eyed edge when threatened. (It’s a shame he and Morgan Freeman never got a scene together.) The special effects and the design of the alien tripods are also well-done and often unnerving.

The drawbacks are the bad language (though it’s a bit more understandable under such extreme conditions) and, basically, the character’s story. The main goal of the film is to show this harrowing what-if situation through the eyes of a single American family, an objective that is mostly well-realized. The main problem is that the family the writers chose is unnecessarily dysfunctional, and Ray, as mentioned in the poem, is a juvenile jerk. While he has a positive character arc, particularly when he realizes what a poor father he is, unable to even sing his daughter a decent lullaby, I think the filmmakers could have chosen a more relatable guy who was less of a lowlife. He saves his daughter, but there’s little indication what his relationship with his kids is going to be like from now on. Plus, the subplot with Robbie wanting to abandon his sister to participate in a fight he can do little to help and somehow surviving it all is weak and makes Robbie even less likable than he already was. Also, the changes in the alien plot, adding in the burial of the tripods eons ago to be ready for the invasion here and now, is a little unbelievable, considering they must have learned on their first visit about the microorganisms that would later kill them. Still, War of the Worlds is an engaging, if rather morbid, feast for the eyes, and, in my opinion and my VC’s, creams the original 1953 version for special effects and entertainment value. (My VC would have it even higher on her list.)

Best line: (Robbie) “What is it? Is it terrorists?”

(Ray, speaking of the tripods) “These came from someplace else.”

(Robbie) “What do you mean, like, Europe?”

(Ray) “No, Robbie, not like Europe!”

 

Artistry: 6

Characters/Actors: 7

Entertainment: 7

Visual Effects: 8

Originality: 5

Watchability: 5

Other (language and weak elements): -8

 

TOTAL: 30 out of 60

 

Tomorrow: #312: Where the Wild Things Are

© 2014 S. G. Liput

The Secret of Kells (2009)

Tags

Animation, Family, Fantasy

Apprenticed to illuminators,

Ancient Christian illustrators,

Brendan is a boy within a monastery’s walls.

His uncle Cellach is the abbot,

Who obsesses in his habit,

Building up the wall around before their culture falls.

 

For Vikings threaten day by day,

Not caring what they crush or slay.

A refugee who’s fled from them is Aidan of Iona.

Young Brendan’s heard of Aidan’s skill,

Drawing wonders from his quill.

Brendan is excited by this new and fresh persona.

 

When Aidan shows the boy the Book,

On which the sinners dare not look,

Brendan wants to aid completion of this awesome text.

He sneaks into the outer woods,

To get for Aidan needed goods,

Berries used for making ink, though Uncle will be vexed.

 

With Aidan’s feline Pangur Ban,

Brendan quickly comes upon

Wolves, that stop their hunting when a white-haired girl appears.

This Aisling treats him with suspicion;

Nonetheless, she aids his mission,

Showing him the forest’s wonders and its deadly fears.

 

While Aidan’s glad to have the ink,

He’s lost the Eye, a precious link

To sages past, a crystal that improves an artist’s sight.

When Brendan’s locked inside the tower,

Aisling frees him with her power.

Brendan finds Crom Cruach’s cave and takes its Eye that night.

 

The pagan god consumes his tail

And Brendan draws for him a jail.

The Eye of Crom helps Brendan to begin the Book’s next part.

Though Cellach isn’t pleased at all,

Many just ignore the wall

To watch as Brendan practices illuminating art.

 

But soon the Viking hordes attack,

And Cellach’s wall can’t hold them back.

The abbot’s wounded as the Northmen raze the town of Kells.

Escaping from the cruel combat,

Brendan, Aidan, and the cat

Take the Book from Viking hands, which Aisling’s pack repels.

 

The three depart the ravaged land,

And Brendan wields his steady hand,

Illuminating every page as many years take flight.

When Brother Aidan’s laid to rest,

And Cellach’s tired and depressed,

Brendan comes to show the Book that turns the dark to light.

_____________________

 

The Secret of Kells is an Oscar-nominated, independent, mainly Irish animated film that is highly unique in its animation, drawing from ancient Celtic art and scriptural illuminations. To be honest, the animation takes some getting used to. I didn’t care for it at first, but, within 20 minutes or so, I grew accustomed to it and could better appreciate its detailed beauty. My VC tends to dislike most non-Disney/Dreamworks animations, like this one, viewing them as inferior and often too symbolic, but I don’t think it’s inferior at all, just different. In certain brief scenes that are given a moment of stillness, the hand-drawn animation looks like an ancient work of art.

As far as the story, there’s the oft-used cliché of the overly stern authority figure squelching the young protagonist’s imagination and eventually realizing his mistake (seriously, too many animated movies include this in their plots). Yet the story as a whole is quite fascinating with its fusion of beings from Celtic paganism and the religious monks who kept knowledge alive through the Dark Ages. While some of the references don’t make sense to a casual viewer, the filmmakers’ use of historical tidbits is actually quite clever (Crom Cruach was an ancient god worshiped with human sacrifice and ousted by St. Patrick; an Aisling is a type of poem involving a Faerie encounter; Pangur Ban was a white cat to which an unknown 9^th century monk dedicated a poem in the margin of his manuscript).

As with Rise of the Guardians, however, The Secret of Kells seems to be avoiding any mention of God or the actual contents of the Book of Kells, the Gospels. There are some welcome scenes of generic prayer and talk of how strong the monks’ faith is, but these religious aspects have little substance. The latter half is also surprisingly dark, killing off nearly every minor character (offscreen), and the last scenes are touching, but not quite as grand and epically bittersweet as it tries to be. Overall, it’s certainly a film worth watching, one that uniquely presents the monks whose work helped to preserve light in darkness.

Best line: (Brendan) “You can’t find out everything from books, you know.”  (Brother Aidan) “I think I read that once.”

 

Artistry: 7

Characters/Actors: 4

Entertainment: 5

Visual Effects: 7

Originality: 5

Watchability: 4

Other (animation takes getting used to): -2

 

TOTAL: 30 out of 60

 

Tomorrow: #313: War of the Worlds (2005)

© 2014 S. G. Liput

 

American Graffiti (1973)

Tags

Comedy, Drama

The year of this tale is 1962,

And many remember it fondly; do you?

The young Curtis Henderson and his pal Steve

Are planning tomorrow to finally leave

Modesto for college as two cool hot shots,

But Curt, unlike Steve, has some real second thoughts.

 

Steve’s dating Curt’s sister, but Laurie’s withdrawn 

When Steve wants to date other girls while he’s gone.

Steve loans his Impala to Terry the “Toad,”

A nerd who will care for his ride on the road.

There’s also John Milner, a local skirt-chaser,

Whose yellow deuce coupe makes him quite a good racer.

 

First, Terry the “Toad” begins cruising the street

And picks up a girl who seems shallow but neat.

He lies to this Debbie and says it’s his car,

And his fictions of grandeur are working so far.

At Debbie’s insistence, he gets some hard booze

From a liquor store thief who has nothing to lose.

 

Both Terry and Debbie go parking, but soon

The Impala gets swiped by the light of the moon.

They regain their wheels when they get back in town,

But Steve takes it right back to track Laurie down.

The “Toad” tells the truth about all that he’d done,

But Debbie decides that they both still had fun.

****

Meanwhile, Steve’s having some issues with Laurie,

Who’s mad over Steve’s plans of college-bound glory.

She wants him to stay so that he can stay hers.

At the sock hop, she snubs him, and feuding occurs.

He woos her somewhat, but it’s soon clear to him

That their love, if he leaves, will look more and more grim.

 

When Laurie gets mad, she kicks Steve from her car

And hitches a ride with a new racing star.

She sits with Bob Falfa, who races ol’ John.

When his car overturns, she is angry and wan.

But Steve, who has gotten his car back from “Toad,”

Consoles her and says he will not hit the road.

****

Meanwhile, John Milner is going through heck

When he picks up a 12-year-old pain-in-the-neck.

Young Carol wants action that she rarely gets.

Not letting John leave her, she keeps making threats

That she’ll scream or cry rape if he won’t let her stay,

So he does, and some fondness grows from his dismay.

 

They trash someone’s car for a water balloon,

And cruise around town by the street lights and moon.

John drives her home, though she at first had objected,

By offering more “action” than she’d expected.

He then races Falfa, who crashes with style

But survives, and John knows he’s still king for a while.

****

Meanwhile, Curt doubts if he should leave so fast,

But he sees a cute blonde in a T-bird drive past.

For the rest of the night, he obsesses about

That girl, and his longing replaces his doubt.

He also becomes a hostage for a time

By the Pharaohs, a gang that he helps with a crime.

 

Curt earns their respect, as uncouth as they are,

And rips the rear axle right off a cop car.

When freed, he then visits the great Wolfman Jack,

The famous DJ, who is glad to give back.

The Wolfman says hi for him over the air

To that blonde who he thinks is listening somewhere.

 

Curt gets a brief call from this girl he has dreamed,

But she stays as elusive as she ever seemed.

In the end, he decides to fly off and leave town,

And below is the T-bird when Curt glances down.

Curt leaves, and Steve stays, and “Toad” scores, and John wins,

And they’ll each have that night as their new life begins.

_______________________

 

American Graffiti is a classic, plain and simple, and it is a perfect snapshot of what it meant to be a teenager in 1962, at least seen through the eyes of the pre-Star Wars George Lucas. Starring many marvelous before-they-were-famous actors, the casting is perfect, with Ron Howard as Opie – I mean Steve –, Richard Dreyfuss as Mr. Holland – I mean Curt –, Cindy Williams as Shirley – I mean Laurie –, and Harrison Ford as Indiana Jones – I mean Bob Falfa. Charles Martin Smith, Candy Clark, and Mackenzie Phillips also shine in roles perfectly suited for them. Much of the film’s realism is owed to George Lucas, who left in several apparent goofs in order for the proceedings to seem more believable. His editing is also wonderful, switching seamlessly between the four stories that I had to separate in order to translate into a coherent poem.

The main issue once again is the language, which seems a bit more frequent than I would expect for 1962, even if the moral carryover from the ‘50s was dying out. Watching several scenes, such as John Milner and Carol attacking the car of the water balloon culprit, I also can’t help but think how juvenile many events in the film are. Still, it is that youthful immaturity that is so fondly remembered by those who recall those days of cruising and parking. These two matters are the only real drawbacks of a film that has one of the best soundtracks ever, made up of pre-Beatles rock ‘n’ roll, and is deservedly on many other top film lists as well.

Best line: (Debbie, at the end of the night) “I really had a good time. I mean, you picked me up, and we got some hard stuff, saw a holdup, and then we went to the canal, you got your car stolen, and then I got to watch you get sick. And then, you got in this really bitchin’ fight. I really had a good time.”  (Terry the “Toad”) “Yeah, well, I guess I have a pretty good time just about every night.”

 

Artistry: 8

Characters/Actors: 9

Entertainment: 6

Visual Effects: 3

Originality: 7

Watchability: 5

Other (language and immaturity): -8

 

TOTAL: 30 out of 60

 

Tomorrow: #314: The Secret of Kells

© 2014 S. G. Liput

 

Chicken Run (2000)

Tags

Animation, Comedy, Family

Within the Tweedys’ chicken farm,

The chickens aren’t content to scrape.

They know they’ll only come to harm,

And so they always plan escape.

 

When all their tactics go awry,

Their leader Ginger gets the blame.

She never hesitates to try,

But all her schemes end up the same.

 

The failure’s hard on everyone,

Until a rooster falls with style

Into the Tweedys’ chicken run

And brings to Ginger’s face a smile.

 

This Yankee rooster Rocky Rhodes,

Although his wing is rather bruised,

Becomes their proof that other modes

Of getting out can still be used.

 

Though Rocky’s cocky (and it shows),

The chicks are awed that he can fly.

He says he’ll teach them all he knows,

If Ginger hides him, so they try.

 

The circus rooster guides them through

Some odd and silly exercise.

Days later, none seem closer to

Their plan of taking to the skies.

 

Although the hens had always been

Producing eggs the Tweedys sold,

Their owners’ profits have grown thin,

And selling eggs has gotten old.

 

So Mrs. Tweedy sees an ad

And buys a giant loud machine.

Since loud machines are always bad,

The chicks don’t know what it may mean.

 

The Tweedys’ plan is chicken pies,

And they choose Ginger on a whim!

But Rocky saves her, or he tries,

And Ginger ends up saving him.

 

They sabotage the pie machine

And buy themselves some time to fly.

They practice harder, still unseen,

Since no one wants to be a pie.

 

But Rocky knows the truth of it

And leaves the chicken run that night.

When he departs, he does admit

A cannon helped him with his “flight.”

 

At first, the chickens feud and cry,

But Ginger has one last idea.

They build a plane to help them fly,

Their much-awaited panacea.

 

Once the Tweedys have repaired

Their tool, they try to stop their hens.

But Rocky comes back undeclared

And helps to save his threatened friends.

 

So Mrs. Tweedy’s caught inside

A giant gravy mushroom cloud,

While all the chickens now reside

In open spaces, free and proud.

_____________________

 

Unlike many of the poorly received animated films on my list recently, Chicken Run was quite a success and is currently the highest grossing stop-motion feature. Fusing parodies of old POW movies like The Great Escape with an untold number of chicken-related puns, the film creates a surprisingly fresh and funny take on material that could have devolved into unentertaining silliness. Chicken Run stars Mel Gibson (before his descent from popularity) along with a host of less familiar British actors who, along with the skilled puppeteers, create unique and lovable characters out of clay figurines. I also love the score by the great Harry Gregson-Williams and John Powell, which is more instantly recognizable than memorable.

While the animation is seamless, it’s a tad distracting in its unrealism. Unlike real chickens, more “meat” is put into the animated chickens’ thighs rather than their breasts (for obvious reasons, considering it’s a family film), and my VC doesn’t care for Aardman Animations’ habit of giving the characters large mouths that stick out on either side. Despite this, with a hilarious script and some instantly classic scenes, such as the trip through the pie machine, Chicken Run is my favorite stop-motion film, outdoing other works like Wallace and Gromit and The Pirates: Band of Misfits, which are good and entertaining but can’t rival the imaginative genius of this film.

Best line: [the plane is being dragged down by Mrs. Tweedy] (Ginger) “Great Scott, what was that?” (the Scottish hen Mac, after a string of Star Trek references) “A cling-on, Cap’n, and the engines can’t take it.”

 

VC’s best lines (she can’t make up her mind): (Ginger) “Listen. We’ll either die free chickens or we die trying.”  (Babs) “Are those the only choices?”

and

(Bunty, the negative hen) “Oh, face the facts, ducks. The chances of us getting out of here are a million to one.”  (Ginger) “Then there’s still a chance.” 

 

Artistry: 4

Characters/Actors: 6

Entertainment: 7

Visual Effects: 7

Originality: 5

Watchability: 6

Other (aforementioned look of the animation): -5

 

TOTAL: 30 out of 60

 

Tomorrow: #315: American Graffiti

© 2014 S. G. Liput

 

Charlie and the Chocolate Factory (2005)

Tags

Fantasy

The famous Willy Wonka is

A master in the chocolate biz.

This misanthrope of candy stars

Has hidden things in chocolate bars.

Five golden tickets are dispersed,

And thousands flock to be the first

To find them, for they mean, you see,

A tour of Wonka’s factory.

 

Poor Charlie Bucket is a waif

Who nonetheless feels warm and safe

Because he loves his family dear.

He’s sweet, kind-hearted, and sincere.

He sighs as kids around the earth

Discover tickets and their worth.

But then he spots some cash alone

And finds a ticket of his own.

 

The claimants bring their tickets in

To see what they have chanced to win.

They’re met by one disturbing song

And Wonka, who’s been shut up long.

He leads them through his wonderland

With lots of candy close at hand,

But quickly they all see he’s weird,

And one by one the crowd is cleared.

 

Augustus Gloop, a chocolate pig,

Is first to go because he’s big.

He falls into a chocolate stream

And makes a nightmare of a dream.

Within a pipe, he will not budge,

But soon he’s off to turn to fudge.

The rest then take a river ride

Past rooms where odd techniques reside.

 

Miss Violet Beauregard is next,

Succumbing to the strange effects

Of gum. She chews it, so unwary,

And swells into a Violetberry.

Veruca Salt (her parents’ fault)

Demands a squirrel, but an assault

Of nutty rodents throws the brat

Into a smelly garbage vat.

 

At last, the violent Mike Teavee

Becomes the world’s first transportee.

Because of Mike’s hostile high jinks,

He teleports but also shrinks.

With that, young Charlie’s left, and so,

With Wonka and with Grandpa Joe,

He’s overjoyed, and, moments later,

They soar in Wonka’s elevator.

 

Then Charlie learns the big surprise,

That Wonka’s factory is his prize.

But Charlie balks when he does find

He’ll have to leave his folks behind.

When Wonka doesn’t know what’s next,

With Charlie’s help, he reconnects

With Dad, a dentist off the grid

Who traumatized him as a kid.

 

So Wonka, in the end, relents

And learns what family represents.

He lets the Buckets move inside

The factory he built with pride,

And Charlie helps the chocolatier

With new ideas to pioneer,

And everyone lives happily

In Willy Wonka’s factory.

_____________________

 

I’m a big fan of the original Willy Wonka and the Chocolate Factory, but I must admit that this remake improves on it in many ways. There is so much that rivals or exceeds its predecessor, from the casting of the bratty kids and showing their ultimate fates to the Oompa-Loompa-that-is-many to the extravagant special effects that bring the chocolate factory to life. The songs, drawn from the book and sung by the versatile Danny Elfman, are at least just as good as Willy Wonka’s ditties and, as performed by Deep Roy, are much more varied and entertaining. (These songs also inspired the meter for the above poem.) While I prefer the first film’s Grandpa Joe, I actually like Freddie Highmore as Charlie better than Peter Ostrum. The minute changes in his character make him more noble and sweet, such as insisting they sell the golden ticket to help with the family’s finances. Indeed, he is the main draw as far as characters are concerned, making the change in the title from Willy Wonka to Charlie and the Chocolate Factory fitting, especially because Willy Wonka is the film’s main hang-up.

I cannot get over how Johnny Depp (and, by extension, Tim Burton) ruins so many parts of this film. His portrayal of Willy Wonka as not just eccentric, but as an effeminate, traumatized weirdo makes me appreciate Gene Wilder’s performance even more. Every scene Depp is in, from his initial disturbing song introduction to his bizarre flashbacks, is undercut by his strange mannerisms and wimpy laugh. His eccentricity works in some roles, such as Captain Jack Sparrow, but here it’s just plain annoying and creepy. While I can appreciate the film despite Depp’s strangeness, my VC finds him and the overly bratty kids a little too hard to ignore and dislikes the film as a whole. Still, the great musical numbers, special effects, and endearing depiction of Charlie Bucket make Charlie and the Chocolate Factory the only Tim Burton film to make it on my list.

Best line: (Grandma Georgina, when the glass elevator lands in the middle of the Buckets’ residence) “I think there’s someone at the door.”

 

Artistry: 6

Characters/Actors: 6

Entertainment: 6

Visual Effects: 8

Originality: 7

Watchability: 5

Other (Johnny Depp’s weirdness): -8

 

TOTAL: 30 out of 60

 

Tomorrow: #316: Chicken Run

© 2014 S. G. Liput

 

Planet of the Apes (1968)

Tags

Sci-fi

Four astronauts learn what deep space is

And journey to faraway places.

One doubts his own worth

In a message to earth

Before joining the others in stasis.

 

When Taylor and Landon awake

With Dodge once they crash in a lake,

One’s died in her sleep

And then sinks to the deep,

And the ship they are quick to forsake.

 

A wasteland is all that awaits

For the three, who are in dire straits.

They journey and climb

For a very long time,

In search of their uncharted fates.

 

Their trek has brought them to this planet,

Two thousand years since they began it.

The cynical Taylor

Declares mankind’s failure.

It can’t get much worse now, or can it?

 

They locate a jungle and men,

Who are savage and voiceless, but then,

They’re ambushed and hunted

And chased and confronted

By apes in an overgrown glen.

 

First Landon is knocked out and caught,

And Dodge is unluckily shot.

They catch Taylor too,

But he cannot speak due

To a neck injury that he got.

 

He’s caged, but a keen chimpanzee

Named Zira is startled to see

That he’s trying to talk,

But the leaders all balk

When she thinks about setting him free.

 

She talks to Cornelius, her beau,

Who has theories that few others know

Of man’s contribution

To ape evolution

That leaders refuse him to show.

 

When Taylor gets out and tries fleeing

To guard, shall we say, his wellbeing,

Every ape simply gawks,

When he’s caught, but he talks!

This generates much disagreeing.

 

Cornelius and Zira are thrilled.

Dr. Zaius, a chief, wants him killed.

Considered a freak

All because he can speak,

Poor Taylor remains yet strong-willed.

 

He’s tried to determine his fate,

But it’s quite a one-sided debate.

They all want him slain

Or to cut up his brain,

Like Landon, who’s now a blank slate.

 

Cornelius and Zira as well

Are threatened and so they rebel.

Helping Taylor escape

From this land that’s gone ape,

They all flee to where no one can dwell.

 

But Zaius and soldiers give chase

To an ancient prohibited place.

Cornelius tries telling

His theories compelling,

But Zaius wants all proof erased.

 

While Taylor’s allies don’t defect,

He leaves with his girlfriend unchecked.

He learns on a dime

This was Earth the whole time:

There’s the Statue of Liberty, wrecked!

_________________________

 

Planet of the Apes is a classic of the sci-fi genre and features one of Charlton Heston’s many iconic roles. I haven’t given much attention to the recent remakes because, while they can hype the story up with more impressive special effects, they probably can’t capture the classic moments and themes like the original. The ending is now one of those unsurprising surprises, but still carries much of the weight it did when the film was first released in 1968. Though certainly not up to today’s standards, the simian make-up is still impressive for the time, and the film is strengthened by some unique camera angles, a fitting score, and some thought-provoking concepts. Rod Serling’s involvement as a writer is actually quite obvious, since it plays like an extended episode of The Twilight Zone, complete with the shocker climax.

All that being said, it is weak in other areas. Many sequences run on too long, from the three survivors journeying through the desert to the drawn-out chase scene when Taylor tries to escape. I also don’t really care for the screenplay obviously comparing the dogmatic orangutans to fundamentalist Christians during the reimagined “Monkey Trial.” Also, for all its uniqueness, I find the core notion similar to a portion of Gulliver’s Travels, in which Gulliver arrives on an island of intelligent horses who look down upon savage humans called Yahoos. Even so, Planet of the Apes offers an interesting juxtaposition of man and animal that still manages to be engaging and provocative decades after its initial release.

Best line (and a famous one): (Taylor) “Take your stinking paws off me, you damned dirty ape!”

 

Artistry: 7

Characters/Actors: 6

Entertainment: 5

Visual Effects: 4

Originality: 7

Watchability: 5

Other (long, somewhat boring parts): -4

 

TOTAL: 30 out of 60

 

Tomorrow: #317: Charlie and the Chocolate Factory

© 2014 S. G. Liput

Sneakers (1992)

Tags

Comedy, Thriller

Cosmo and Marty are two hacker friends,

Who mess with some funds in 1969.

While Marty is out getting pizza, the feds

Arrest his pal Cosmo, but Marty is fine.

 

After two decades pass, Marty now has a team,

Who help him break into unbreakable banks.

He then offers tips to help make them secure,

Creating a job from what used to be pranks.

 

People Marty’s recruited include Donald Crease,

An ex-CIA with a serious streak;

And “Mother”, a rampant conspiracy theorist,

Who happens to be a technology geek;

 

“Whistler,” a blind man with sensitive ears;

And Carl, who’s young but as sharp as a tack.

They all have had scrapes with the law in the past,

But Marty has helped get their lives back on track.

 

Two men commission the “Sneakers” to find

A cryptic black box for the vague NSA.

They know Marty’s past, which he’s tried to escape,

And offer to wipe his slate clean and to pay.

 

Marty and friends reconnoiter the room

Of Janek, a mathematician, and they

Discover the box he has worked to develop

And break in to spirit the gadget away.

 

Partying after their lucrative sneak,

They talk of the things they will buy with the cash,

But Whistler discovers the box decodes codes

And can break into any network in a flash.

 

Still trusting their clients, they drop off the box

But flee when they find out that Janek’s been slain.

Though Marty accuses the Russians of this,

Their consul is killed before he can explain.

 

Marty is kidnapped and thrown in a trunk

And meets his pal Cosmo he thought died in jail.

His friend then reveals his new mafia ties

And proves he’s gone nuts in his former travail.

 

Using the box to destabilize banks

And countries, he plans to let anarchy reign.

Once Cosmo frames Marty for both of those murders,

He frees him, that Marty may soon know his pain.

 

Needing the box as a bargaining chip,

The “sneakers” plan carefully for their next theft.

With clever techniques and some devious means,

They breach Cosmo’s lair with what time they have left.

 

After some close calls, the jig’s about up

With Marty at gunpoint and Cosmo uptight.

While Cosmo won’t kill him, he does get the box

But finds it’s a decoy once Marty takes flight.

 

Marty and company then arbitrate

With Abbott, a man with the real NSA.

With promises made, they hand over the box

But keep its processor for some rainy day.

__________________________

 

As I said in my review for Entrapment earlier, I’m not a big fan of caper films simply because of the criminal nature of most of their plotlines. However, Sneakers manages to sidestep that issue for the most part by allowing the likable characters to put their formerly nefarious skills to a legal use: breaking into banks and such in order to help their security. Thus, until the last scene, which unfortunately shows that the “sneakers” are not completely on the straight-and-narrow, they use their expertise for (supposedly) reputable organizations or later to escape crimes they were either tricked into committing or for which they were framed. The legality of it all is still rather hazy, but at least they weren’t doing it to steal money or the like.

Sneakers has one of the best underrated ensembles, and the clever and laugh-out-loud script provides good lines and moments for every character. Dan Aykroyd as the conspiracy-spouting “Mother” and Sidney Poitier as Crease, the straight man, play off each other quite well, and David Strathairn is memorable as the blind but ever perceptive “Whistler,” as is Ben Kingsley as Cosmo, even if the villain’s ultimate fate is left up in the air. River Phoenix and Mary McDonnell round out the well-developed cast. As far as my VC is concerned, Robert Redford is reason alone to see it, and she also likes the sophisticated saxophone soundtrack played by Branford Marsalis. I also love James Earl Jones’s cameo at the end.

On top of all this, the methods used by Marty’s team are fascinating, from Whistler’s knack for hearing exactly what’s going on in distant rooms to Mother’s slow-moving tactic for outsmarting motion sensors. The 22-year-old film even manages to be up-to-date by involving the NSA, which has been in the news of late; particularly timely is the fake NSA agent’s insistence that Marty “trust” them. Despite some language and innuendo, Sneakers is an excellent mix of suspense and humor and a worthy member of the caper genre and my list.

Best line: (“Whistler”, while the team makes its demands to the NSA at the end) “I want peace on earth and goodwill toward men.”  (Abbott) “We are the United States Government! We don’t do that sort of thing.”

 

Artistry: 5

Characters/Actors: 7

Entertainment: 7

Visual Effects: 4

Originality: 6

Watchability: 7

Other (language and innuendo): -6

 

TOTAL: 30 out of 60

 

Tomorrow: #318: The Planet of the Apes (1968)

© 2014 S. G. Liput

 

#320: The Killing Fields (1984)

Tags

Drama

When Vietnam was falling to

The ever-spreading Communists,

Cambodia was next in line,

Braved only by some journalists.

 

One such is Sydney Schanberg, who’s

A writer for The New York Times,

And risks his life to detail both

American and local crimes.

 

His translator and colleague is

Cambodian Dith Pran, who aids

Syd’s efforts to expose the truth,

But then the enemy invades.

 

The U.S. embassy bugs out

Before the Khmer Rouge arrive.

Pran sends his family away

But stays and hopes he will survive.

 

When Sydney and some others are

Arrested fast and violently,

It seems they might be executed

Until Pran helps set them free.

 

The French take in the group, but Pran

Must stay, a fate that’s undefined.

Despite a forged passport for him,

It fails, and Pran is left behind.

 

While Sydney rakes in accolades

For stories of his work abroad,

His friend is forced into a camp

Where freedom’s dead and so is God.

 

The leaders teach the children there

To hate and murder many men,

And those who miss their former lives

Are caught and never seen again.

 

An act of mercy sets Pran free

To flee through dangerous unknowns.

His daunting journey ushers him

Through fields of bodies, pits of bones.

 

Enduring hell for four long years,

Pran sights Thailand and knows he’ll live.

He reunites with Sydney too

And says there’s “nothing to forgive.”

_______________________

 

The Killing Fields is an undeniably powerful story of Communist brutality and the human will to survive. For having never acted before, Dr. Haing S. Ngor does an incredible job as the persistent Dith Pran, and his Oscar-winning role is the main draw for a movie that puts a spotlight on a sad time in history.

I could compare The Killing Fields to that more recent Oscar winner about ethnic suffering Slumdog Millionaire. Both are extremely well-made films, but the bulk of their running time is, quite honestly, difficult to watch, though the endings of both are supremely satisfying and almost make up for all the heartache that preceded. However, while Slumdog Millionaire presented the squalid conditions in India just for the sake of showing them, The Killing Fields manages to be exciting and more thought-provoking in the process. The scenes showing the characters at gunpoint are so unnerving that my heart couldn’t help but beat faster. Also, while there are certainly some gruesome scenes, including some shocking executions, the violence for the most part is comparatively restrained.

Such restraint does not carry over to the language department, and several characters, especially John Malkovich, let F-words and profanity just roll off their tongues. Also, while Pran and, to a lesser extent, Sydney are very sympathetic (if unwise for remaining in Cambodia), my VC pointed out that the majority of the secondary characters have little backstory or character development. As with many powerful films, including some higher up on this list, The Killing Fields may not be very entertaining, but it is a film that needs to be seen, if only as a reminder so that such atrocities are never repeated.

Best line: (Pran’s voiceover while in the camp) “The wind whispers of fear and hate. The war has killed love. And those that confess to the Angka are punished, and no one dare ask where they go. Here, only the silent survive.”

 

Artistry: 7

Characters/Actors: 9

Entertainment: 4

Visual Effects: 6

Originality: 7

Watchability: 4

Other (violence and language): -7

 

TOTAL: 30 out of 60

 

Tomorrow: #319: Sneakers

© 2014 S. G. Liput