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Rhyme and Reason

~ Poetry Meets Film Reviews

Rhyme and Reason

Monthly Archives: July 2014

Rain Man (1988)

31 Thursday Jul 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Drama, Triple A

While Charlie Babbitt’s under stress
To sell off cars to pay off debts,
His distant father dies and, yes,
His selfish son has few regrets.
 
He’s hurt and shocked and quite irate
When he gets little from the will.
He learns that most of Dad’s estate
Has gone to someone else, $3 mil.
 
This newly wealthy, unnamed other
Turns out to be Raymond Babbitt,
Charlie’s undiscovered brother,
Whom he never knew, dagnabbit!
 
This Raymond clearly is autistic,
A savant with great recall,
Emotion-lacking and simplistic,
Who depends on routines small.
 
Since Charlie plans to get his share,
He takes Ray from the institution.
Charlie doesn’t seem to care
About his bro, just restitution.
 
Due to Raymond’s fearful quirks,
They cannot fly back to L.A.
Instead, they drive, and Raymond irks
His brother Charlie all the way.
 
Ray’s repetition and strange habits
Drive his brother near-insane,
But as they go, the broken Babbitts
Share in memories and pain.
 
Though Charlie’s business nears its doom,
A visit to Las Vegas thrills
And grants them money and a room,
All thanks to Raymond’s counting skills.
 
When they at last get to L.A.,
It seems that Charlie’s changed his tune.
He wants his brother now to stay,
Regardless if it’s opportune.
 
He sees Ray as a brother dear,
Because of what he since has learned,
Yet, to the doctors, it seems clear
That Raymond ought to be returned.
 
Still, Charlie bids goodbye to “Rain Man,”
No more just a crazy loon.
As Raymond leaves his newfound “main man,”
Charlie says he’ll visit soon.
___________________
 

Rain Man is what I call a Triple A movie because it is All About the Acting. The entire movie revolves around Dustin Hoffman’s amazing portrayal of autistic savant Raymond Babbitt. It’s one of those roles of a lifetime that actors probably take just to prove how skilled they are. Every movement, every line, every step of his walk, every blank stare contributes to our believing that we’re watching a real person and not just someone putting on a show. That is acting, and Hoffman certainly deserved his second Best Actor Oscar win. Considering that he’s also played a woman, a 121-year-old man, and Captain Hook, it’s also a testament to his versatility.

Almost as impressive is Tom Cruise as Charlie Babbitt. His performance is not as nuanced as Hoffman’s, but he’s still quite convincing, both as a selfish jerk for most of the movie and a more compassionate brother by the end. Charlie is a main reason the film is as low as it is on my list; even if we sympathize with his wanting a share of his father’s estate, his egocentric behavior, frequent obscenities, and all-around unkindness toward his brother get old, even if the mental torment Charlie endures from Raymond’s quirks is often funny. Where Cruise really comes into his own is the Las Vegas scene, which not only has the best music of the film but also sees more touching moments between the brothers, such as Charlie finally appreciating Ray and teaching him to dance. Scenes like that make Charlie’s turnaround believable, even if the doctors remained incredulous.

Though the final scene was burdened by the 1988 writer’s strike, I found the ending mostly satisfying. Though I believe Charlie had changed and did have Raymond’s best interests at heart, he proved that he can be impulsive and probably didn’t realize what a responsibility life-long custody of his brother would have been. Raymond ended up in the right place for his needs, but at least the road trip helped Charlie to truly care for his brother, even if he got no special compensation (though Raymond did save his business).

The film also won the Academy Awards for Best Picture, Best Original Screenplay, and Best Director (Barry Levinson), and I’d say that Hans Zimmer’s iconic, oddly African-sounding score also deserved to win. Despite quite a bit of unfortunate language, Rain Man is a powerful movie, thanks to a winning script and the chemistry of two fine actors, just the kind of film that’s best seen cut.

Best line: (Raymond, his best repeated line) “97-X. Baaam! The future of rock ‘n’ roll.”

 
Artistry: 9
Characters/Actors: 10
Entertainment: 8
Visual Effects: N/A
Originality: 9
Watchability: 8
Other (great script, music, and chemistry): +5
Other (language): -3
 
TOTAL: 46 out of 60
 

Next: #161 – Chitty Chitty Bang Bang

© 2014 S. G. Liput

168 Followers and Counting

 

Enchanted (2007)

30 Wednesday Jul 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Action, Disney, Fantasy, Musical, Romance

 (Best sung to Giselle’s “Happy Working Song”)
 
Pretty girl Giselle is just swell and is animated all day long;
Woodland creatures help her sing a song.
She expects her prince to come and be her new love;
When he does, they sing of true love,
Since there’s nothing wrong.
 
Then an evil witch, Edward’s stepmother, has a diabolic plan,
To evict Giselle because she can.
So she sends the princess down a well descending
Where there is no happy ending
And no perfect man.
 
In the callous streets of New York, poor Giselle is both afraid and lost,
Till one Robert finds his path has crossed
With this somewhat crazy fairy tale freethinker,
Who’s a tailor, not a drinker,
And cleans at no cost.
 
When he hears the news, Edward hunts for his darling on a hero’s trip,
With her talking chipmunk sidekick Pip,
But they stick out like a sore thumb in the city,
Searching for his dearest pretty,
Like he’s lost his grip.
 
As he tries to help out Giselle, Robert’s reeled in by her fresh appeal,
And his girlfriend Nancy has to deal.
Yet Giselle assists him with romance and crooning,
But she ends up nearly swooning
When love grows more real.
 
Edward soon arrives, but Giselle is no longer visibly naïve,
And she’s hesitant to up and leave.
So Edward and she try dating to get closer,
But it’s Robert who’ll engross her
At a ball that eve.
 
But the evil queen shows herself since her henchman hasn’t done too well
In his efforts to dispatch Giselle.
So she employs tactics you may have seen elsewhere
And scares everybody else there
With a fearsome spell.
 
Once the queen is stopped and destroyed when a hero steps up to the plate,
Robert and Giselle conclude their date.
It is clear that they both share a love enchanted,
But Edward’s not emptyhanded,
For his loves won’t often wait.
 
Robert and his young daughter have Giselle,
Settled in this world into which she fell,
Merrily,
Happy ever after, verily,
Now that everyone has found their perfect mate.
___________________
 

Before The Princess and the Frog revisited the princess genre (with iffy results), Disney created Enchanted, a modern mish-mashing of classic fairy tales and contemporary cynicism. The animated beginning could easily have been a rejected idea from the Disney Renaissance, but the overtly saccharine telling is clearly meant to be a contrast for the rest of the film. Once Giselle actually gets to New York and its live-action acrimony, the real humor starts flowing from the disparity between her naiveté and our world’s unfriendliness.

While Edward is certainly not the perfect prince of Disney’s early films, Enchanted succeeds in its combination of opposites by being both realistic and idealistic. Based on Giselle’s first encounters with New Yorkers, she would be justified in considering it the least nice place on earth, but later on, as she explains to Robert the importance of affection, all of Central Park turns into a completely willing musical cast. This serves to accentuate how innocence and idealism can bring out the best in people, even when the world can seem so hostile at times. At the same time, Giselle’s introduction to the joys of the real world convince her these are preferable to the unsubstantial romance she had known before with Edward. That point, of course, doesn’t apply to everyone since Nancy, apparently fed up with the pitfalls of “real” relationships, obviously preferred the love-at-first-sight kind of courtship.

This is the film that hoisted Amy Adams to stardom, at least for me, and continues to be the role in which I always envision her, one of innocence. Her voice, face, and acting all lend themselves to her upright damsel persona. Roles that have allowed for this image, such as in Doubt or Night at the Museum 2, play to her strengths, while films where she attempts to act the “bad girl,” such as the recent American Hustle, just don’t seem to fit her. Patrick Dempsey took a break from Grey’s Anatomy to play single father Robert, who may be a pessimist but has obvious appeal for Nancy and Giselle. James Marsden portrays Prince Edward as an entertaining buffoon, but I do wish he had more to contribute to the plot. Susan Sarandon and Timothy Spall look like they’re enjoying their hammy villainous roles as Queen Narissa and bumbling servant Nathaniel. Lastly, I had no idea who Broadway star Idina Menzel (Nancy) was at the time, but after hearing her in Frozen, it’s a shame she didn’t get a chance to sing in this film: her one song with Marsden was cut.

The choreography and songs, written by winning duo Alan Menken and Stephen Schwartz, are outstanding, a welcome return to the good old days of both Disney excellence and classic musicals. The show-stopping “That’s How You Know” is particularly awesome, but the fact that all three of its Oscar-nominated songs lost (not unlike the previous year’s Dreamgirls) is a crying shame.

The film isn’t all good, of course. Certain scenes toward the end vacillate between an homage and a ripoff of Disney classics, and some scenes involving Pip the chipmunk, such as his defecation and Nathaniel’s cruelty toward him, were unnecessary. Still, Enchanted brings Disney’s animation to life in a fresh and funny way that my family watches whenever it’s on TV. It’s enchanting.

Best line: (a child-stressed mother, played by Judy Kuhn from Pocahontas, when she sees “Prince Charming” Edward) “You’re too late.”

 
Artistry: 6
Characters/Actors: 8
Entertainment: 8
Visual Effects: 9
Originality: 6
Watchability: 9
 
TOTAL: 46 out of 60
 

Next: #162 – Rain Man

© 2014 S. G. Liput

166 Followers and Counting

 

Up (2009)

30 Wednesday Jul 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Action, Animation, Comedy, Drama, Fantasy, Pixar

When Carl Fredricksen was young,
Self-conscious with a timid tongue,
He heard his hero’s praises sung,
The fearless Charles Muntz.
A skeleton Muntz found with zeal
Sparked doubts on whether it was real.
Muntz vowed to catch one and appeal,
The greatest of his hunts.
 
For Carl, this did not deter
His zeal as an adventurer,
Nor Ellie’s. Carl promised her
That they would fly some day
To Paradise Falls and do stuff.
They wed, and plans seemed like enough.
But plans were changed as times grew rough,
And life got in the way.
 
They still both lived in happiness
At their beloved home address,
Till Ellie’s death served to depress
Her aging husband’s heart.
Though builders offered quite a fee,
He guarded their house jealously.
Evicted by a court decree,
He planned a whole new start.
 
He chooses not to gripe and grouse
But blows balloons to lift his house
And fill his promise to his spouse
To take this thrilling trip.
To Paradise Falls he intends
To fly, but as his house ascends,
A wilderness explorer lends
His help to this airship.
 
To South America, they float
But fall out in this land remote,
Where Carl is dismayed to note
They have a ways to walk.
Connected to the house o’erhead,
They journey through the jungle, led
By Carl, who is stopped instead
By birds, and dogs that talk.
 
He meets the ancient Charles Muntz,
Still on that greatest of his hunts,
Who first seems nice but then confronts
The duo with suspicion.
A giant bird that Russell found
Is what Muntz wants to still impound.
His blimp and many a talking hound
Have not achieved his mission.
 
When Carl and Russell flee the nut,
With help from bird and friendly mutt,
The pair are shocked and scared somewhat
But aid the injured bird.
Muntz still sneaks up and apprehends
The bird, with whom the boy’s made friends,
And Carl will not make amends,
But Russell’s undeterred.
 
Though Carl makes it to the falls,
With Ellie’s help he then recalls
That their life meant more than four walls,
And he assists the scout.
He follows Russell in the air
To get the bird from Muntz’s lair.
The good and bad guys face off there
Till gravity wins out.
 
Though Carl bids his house goodbye,
They take the bird back home nearby.
He uses Muntz’s blimp to fly
Young Russell to his home.
Since Russell’s dad won’t show his face
To grant him patches and embrace,
Old Carl comes to take his place
And share an ice cream cone.
______________________
 

From the very beginning, Up has all the promise of a masterpiece. The first eleven minutes, detailing Carl and Ellie’s life together, have been rightfully hailed as a high point in animation history. The rest of the film is similarly brilliant, just in a very different way from most of Pixar’s canon, contrasting the beautiful opening with utter cartoonish wackiness.

Like WALL-E, Up is rather controversial for me. I consider it another Pixar classic, worthy of its Oscar nomination for Best Picture, while my VC was left cold. She certainly enjoyed everything pertaining to Ellie but felt the random inclusion of a giant “snipe” (my dad once fell for that same snipe joke) and talking dogs was just too silly to swallow. She also has poked holes in the plot, such as the fact that Muntz was still alive, since he must have been in his nineties; maybe he found the fountain of youth down in South America, or the Holy Grail. While the film was unique for featuring an elderly protagonist, even I have to admit that Carl’s and Muntz’s athleticism toward the end did strain credulity. While these issues sadly spoiled the film for her, I can overlook them with the help of Coleridge’s famous concept, the suspension of disbelief. Some people got it; some don’t.

I have more of an issue with Russell’s thin attachment to the giant bird he names “Kevin.” The relationship doesn’t seem to be any deeper than that of an owner and pet, yet Russell is willing to risk his life for the pet he found days before. What’s more, he blames Carl for “giving her away” when he did no such thing. Considering the situation, Muntz would have captured the bird regardless of Carl’s actions, so Russell’s guilt trip seemed unjustified and unfair.

All right, now that I got that out of my system, I’ll mention the gorgeous animation, the excellent voice acting (led by Ed Asner as Carl, Christopher Plummer as Muntz, and Bob Peterson as the squirrel-distracted dog Dug), the high-flying action sure to give someone acrophobia, and Michael Giacchino’s buoyant score. The main idea of a mobile dwelling that ends up damaged and abandoned may have been borrowed from Howl’s Moving Castle, of which director Pete Docter directed the English translation as well, but the plot is otherwise wholly original and frequently inspired.

Up isn’t quite on par with Pixar’s greatest work, but it’s an animated gem that earns both laughs and tears and has a timely message about life’s real adventures that tugs my heartstrings every time.

Best line: (Russell, after describing a simple pleasure he had with his dad) “That might sound boring, but I think the boring stuff is the stuff I remember the most.”

 
Artistry: 9
Characters/Actors: 7
Entertainment: 7
Visual Effects: 10
Originality: 9
Watchability: 7
Other (aforementioned issues): -3
 
TOTAL: 46 out of 60
 

Next: #163 – Enchanted

© 2014 S. G. Liput

166 Followers and Counting

 

What’s Up, Doc? (1972)

28 Monday Jul 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Comedy, Romance

Four plaid bags appear the same;
One holds jewels of a wealthy dame;
One holds stolen documents
That really are the government’s.
One holds Judy Maxwell’s clothes;
The last holds rocks (stay on your toes).
 
Howard Bannister, Ph.D.,
Needs a grant since art ain’t free.
His music theory based on rocks
Is how he thinks outside the box.
He’s dense, as everyone discerns,
Like his fiancée Eunice Burns.
 
Judy, eager for romance, is
Sending Howard bold advances.
Hounding him, she calls him Steve
And rips his coat and will not leave.
Smooth-talking, smart, and hazard-prone,
She will not leave the guy alone.
 
As she impersonates Miss Burns,
Ignoring Howard’s dazed concerns,
The grant she’s quick to guarantee
By schmoozing Mr. Larrabee.
Howard picks this over trueness,
Thus abandoning poor Eunice.
 
While all this is going on,
Those jewels are stolen by a con.
A secret agent on pretense
Attempts to steal the documents,
But everybody’s lodged as well
On one floor in the same hotel.
 
As bags are hidden, moved, and switched,
Traded, stolen, sneaked, and ditched,
And as Howard tries to hide
Judy when she sneaks inside,
Utter anarchy ensues.
There’s no telling whose is whose.
 
When the morning comes at last,
Howard’s being still harassed,
But he doesn’t mind as much;
Judy simply has the touch.
They go, because he won the grant,
To Larrabee’s, but Eunice can’t.
 
She’s abducted by jewel thieves,
Who got the rocks of Howard’s/Steve’s.
Since Howard has the documents
And jewels as well (if that makes sense),
They all converge at Larrabee’s,
Demanding all four bags to seize.
 
Both Howard and Judy flee the scene
With all the bags, and they careen
Through San Francisco’s every place,
As everybody else gives chase.
With lots of damage done that day,
They all then plunge into the bay.
 
Before the judge, confusion reigns,
Which nearly lands them all in chains.
Yet everything works out, it seems,
Though some are still involved in schemes.
The grant is won thanks to a hoax,
And Judy’s won, with guile and jokes,
Her loving Howard. That’s all, folks!
_________________
 

What’s Up, Doc? Is a comedy classic with a plot I doubt even the filmmakers could fully follow. An homage to other classics like Bringing Up Baby, it throws in countless characters, each with their own agenda, who end up colliding in hilarious ways thanks to the four identical overnight bags. There’s Ryan O’Neal as the absentminded Howard Bannister, Madeline Khan (in her debut) as his controlling and “unbalanced” fiancée Eunice, Barbra Streisand as the pushy but endearing disaster area known as Judy Maxwell, and Kenneth Mars as the other grant finalist Hugh Simon, whose accent is impossible to trace. Not to mention, there’s Mr. Larrabee and the musicologists (was that Randy Quaid?!), the jewel thieves, the dueling document thieves, the old lady with the jewel bag, the hotel manager, the judge, the waiter, the bailiff, and that guy who freely gives his car to “the government.”

The comic situations are priceless, from the convoluted mixing of the bags from hotel room to hotel room to one thief’s strange version of “charm” to the big slapstick fight where everyone converges. The best scenes, though, are the hotel destruction sequence, which hilariously spirals out of control, and the awesome car chase through San Francisco’s streets, easily the funniest chase scene put on film.

The script is likewise ingenious and moves along at such a fast clip that further viewings are practically a necessity. The jokes come fast and furious and include everything from a world-weary, pill-popping judge to the meaning of “propriety” to supposed women soldiers dressing for battle.

My VC absolutely loves this film, despite her usual aversion to silliness. It would be somewhere in her top 50, but I have some reservations. While the film is entirely suitable for all audiences (if they can keep up), I found Barbra Streisand’s character to be both the film’s greatest asset and its worst liability. Her antics are side-splitting, to be sure, but that doesn’t change the fact that she lies throughout the film, puts Howard through hell, and somehow ends up getting her way by the end. Not only does she act as indifferent to Howard’s engagement as the trolls in Frozen, but she sends Eunice on a cruel wild goose chase that leaves her in the hands of criminals. She also sneaks into a hotel without paying, helps to steal a car and some costumes, and makes a nuisance of herself, all without any lasting consequences. As funny as she is, her ethics are definitely in doubt, and I would have put up more resistance had I been Howard.

Nevertheless, What’s Up, Doc? is a fun and lighthearted screwball of a comedy that never fails to leave my family smiling. It’s proof that excellent comedy doesn’t need to depend on constant sexual jokes and language, as so many modern films do. If only there were more films like this….

Best line: (Fritz, the hotel manager, trying to take a bag by lying about an escaped snake) “Calm yourself, Miss Burns. May I suggest you shut yourself in the bathroom for a few moments while I search your room?”
(Eunice) “What if it’s in there?”
(Fritz) “Impossible, madam. Snakes, as you know, live in mortal fear of… tile.”
 
VC’s best line: (Judy) “I know I’m different, but from now on I’m going to try and be the same.”
(Howard) “The same as what?”
(Judy) “The same as people who aren’t different.”

 

Artistry: 5
Characters/Actors: 8
Entertainment: 10
Visual Effects: 7
Originality: 9
Watchability: 9
Other (Judy’s pushiness): -2
 
TOTAL: 46 out of 60

 

Next: #164 – Up

© 2014 S. G. Liput

165 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

 

Extremely Loud and Incredibly Close (2011)

27 Sunday Jul 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Drama, Meet 'em and Move on

The young Oskar Schell, a peculiar, smart lad,
Enjoyed all the puzzles made up by his dad,
Unique expeditions, inventive and witty,
That forced him to question and search New York City.
 
He loved his dad dearly but came home one day
To find Dad’s phone messages trying to say
That something had happened, unknown to his son,
September 11 in 2001.
 
He hid those six messages Mom couldn’t hear,
And kept them in secret for nearly a year.
He can’t understand why his father is dead,
And drifts from his mom after cruel things he said.
 
He finds in a closet a blue vase that breaks,
Revealing a key which sets up the stakes.
He thinks the name “Black” is a dubious clue
To something his dad wanted him to pursue.
 
He sets up a system, obsessive and thorough,
To find every person named Black in each borough.
The first, Abby Black, doesn’t know of the key,
And every Black after can’t help Oskar’s plea.
 
At one point, he meets his old grandmother’s Renter,
Who can’t seem to speak but lets Oskar be venter.
He offers through notes to assist Oskar’s quest
And joins him on trips as a reticent guest.
 
The quiet old man’s both a blessing and bother,
And Oskar believes he must be his grandfather.
They meet many Blacks, but no progress is made,
And both have their doubts about this whole crusade.
 
When Oskar tries playing the answering machine,
The Renter can’t take it and stops their routine.
He’s simply enabling Oskar’s obsession
And chooses to leave, sparking Oskar’s aggression.
 
A circled phone number leads Oskar right back
To where it all started, to sad Abby Black.
Late one night, she takes Oskar over to see
Her unseen ex-husband, who knows of the key.
 
This William Black says that the vase he gave Schell
Was a gift from his father, who’s dead now as well.
He too made a search for the key that he had,
Which holds no great secrets from Oskar’s own dad.
 
The boy then admits that, the day Dad did die,
He could have picked up but was too scared to try.
He flees for a tantrum from all of these shocks,
Unwilling to see what the Black key unlocks.
 
His mother calms him by assuring her son
She followed his efforts since when he’d begun.
She too met the Blacks while preparing his way
And knew where he’d be on his every search day.
 
He starts to find closure and not feel as bad
When he solves the last puzzle left by his dad.
His grandfather comes back, and woefulness clears
As Oskar at last learns to conquer his fears.
____________________
 

I wasn’t sure at first if I could consider Extremely Loud and Incredibly Close a “meet ‘em and move on” movie, but this latest viewing confirmed it to me. It features a journey, a driving relationship, a revisiting of many of those encountered toward the end, and perhaps the most literal portrayal of the words “meet ‘em and move on,” since Oskar allows only six minutes for every Black on his list and then tries to move on. Based on the novel by Jonathan Safran Foer, the film’s powerful story lends itself to this often emotional sub-genre.

The film’s reception truly bewildered me since several critics insisted it was terrible and decried its Oscar nomination for Best Picture. It remains one of the only Best Picture nominees with a “rotten” score on Rotten Tomatoes (46%). What they saw as syrupy and sentimental, I saw as heartfelt and heart-breaking. Its plot is also presented in a unique way through insightful voiceovers and frequent flashbacks. I tend to think it somehow became the “in” thing to criticize the film, just as American Hustle earned overrated accolades it didn’t necessarily deserve.

Most still agreed, though, on the impressive performance of young Thomas Horn, who earned the role after being noticed when he won Kids “Jeopardy!” Though he is sometimes rather irritating, Horn gives Oskar both his precociousness and vulnerability, and it’s hard not to feel sorry for him as he tries to make sense of something that doesn’t. True to its tagline, the film isn’t about 9/11 but every day after, and Oskar and his mother embody all the pain and confusion left in the wake of the “worst day.”

Sandra Bullock evokes the grief of Oskar’s mother even better than in Gravity, and though much of the film leads you to believe she is a neglectful parent to let her son wander New York in search of strangers every Saturday, her love and involvement are made clear by the end. While this makes her more admirable, I still think she should have gone with him.

Max von Sydow gives an Oscar-nominated performance as the Renter without speaking a single word. His notes are a unique form of communication but are often difficult to read. Tom Hanks is skillfully likable as usual as Oskar’s dead father, who tows the line between potential puzzle-making genius and concerned parent trying to keep his son active and unafraid. Viola Davis (The Help, Won’t Back Down) and Jeffrey Wright (Casino Royale, The Hunger Games: Catching Fire) also prove their acting chops as the estranged Blacks who hold the answers that disappoint Oskar, though their roles aren’t completely fleshed out, and there are still questions left unanswered about the key.

Unlike the book, the film explains some of Oskar’s odd behavior as the result of potential Asperger’s syndrome, a point which, combined with the trauma of 9/11, also clarifies why he becomes so focused on his key quest. Though all the other Blacks he meets don’t hold the answers for which he is searching and are seen too quickly to have much development as characters, they offer snapshots of life that make them seem like real and diverse people. In addition, many (certainly not all) offer thoughtful little touches—hugs, drawings, prayers—that aren’t what Oskar wants but in some ways may be what he needs.

In the end, Extremely Loud and Incredibly Close is a very serious movie about a serious subject, death and grief and learning to move on. It’s a film that is at once sad and hopeful and one deserving of much more appreciation than it received.

Best line (there are a lot of good ones, but this one helps to sum up some of what I love about “meet ‘em and move on” films): (Oskar Schell, monologuing) “I started with a simple problem… a key with no lock… and I designed a system I thought fit the problem. I broke everything down in the smallest parts… and tried to think of each person as a number… in a gigantic equation.  [next monologue] But it wasn’t working… because people aren’t like numbers. They’re more like letters… and those letters want to become stories… and Dad said that stories need to be shared.”

 
Artistry: 9
Characters/Actors: 9
Entertainment: 7
Visual Effects: 9
Originality: 8
Watchability: 6
Other (language): -2
 
TOTAL: 46 out of 60
 

Next: #166 – The Dark Knight trilogy

© 2014 S. G. Liput

164 Followers and Counting

 

Cars (2006)

25 Friday Jul 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Animation, Comedy, Drama, Pixar, Sports

(Can be sung to “Life Is a Highway”)
 
A world of anthropomorphic cars
Is home to a cadre of racing stars.
Lightning McQueen is a young hotshot,
Who loves himself more than he ought.
 
For the Piston Cup, there’s a three-way tie,
And a rematch sends McQueen’s hopes awry.
A new west coast race will next week begin
For the world to see, of the three, who’ll win.
 
On his trip out west, McQueen somehow strays
Off the interstate to less traveled ways.
He ends up locked up in a town offbeat
For the damage done to the downtown street.
 
He is sentenced by the eccentric folk
To repair the road that he clearly broke,
And he cannot leave this abandoned place,
Though his whole career depends on that race.
 
Though he thinks it’s hell, he begins to grow
A few friendships here in this town so slow,
From Sally, a Porsche, who left speed behind,
To a sweet tow truck, who is unrefined.
 
There’s a car in town with a secret past;
Doc Hudson once was a racer fast.
When he crashed, he broke from the shallow sport
And has since been here in this dead resort.
 
In a race, he proves to the proud McQueen
That the young upstart is still plenty green.
On a trip nearby, Sally tells him too
Of Route 66 and the highway new.
 
Though the Interstate was a helpful deed,
All the tourists left for the sake of speed.
The forgotten town Radiator Springs
Just became one more of those bygone things.
 
When McQueen is done with the rebuilt road,
He feels more at home in this quaint abode,
But the paparazzi find him at last,
And he’s back to living his life so fast.
 
For the Piston Cup, the three racers race,
But his heart and mind’s in another place.
When his friends show up as his new pit crew,
They encourage him to know what to do.
 
An opponent races a bit too rough,
And McQueen then sees winning’s not enough.
With a sacrifice he’d have passed before,
He impresses all and earns so much more.
 
Though he did not win the desired crown,
More exposure helps to revive the town.
As a humbler, kinder, and wiser car,
It is clear McQueen’s happier by far.
_____________________
 

I hate to say it, but Cars is a rip-off. It plagiarizes the plot of Doc Hollywood so obviously that it’s a wonder lawsuits weren’t begun. (There actually was a lawsuit against the Cars franchise, but it had nothing to do with Doc Hollywood and was dismissed.) The story of a cool guy in the fast lane, who is stranded in a backwards town full of kooky characters, including a city girl who prefers the slower life, and who ends up choosing rural happiness over urban success, is undeniably familiar. Yet Cars has enough original ideas, such as its core concept of living vehicles, to still be worthy of the Pixar name, and with its great animation and lack of anything objectionable, I actually like it a little better than Doc Hollywood.

However retreaded the plot may be, it’s still an excellent one. After all, who doesn’t like to see an arrogant jerk shown the error of his ways? Owen Wilson is perfectly cast as the cool-and-he-knows-it Lightning McQueen, and Larry the Cable Guy is Mater. More than any other character, Mater has become the Cars franchise, for better or worse, and because his later appearances have been less than stellar, it’s easy to forget how entertaining his country bumpkin persona was in the original film. Paul Newman brings some very real experience to both the cast and the film overall, and Bonnie Hunt as Sally again proves that she has a voice meant for voice acting. All of the other citizens of Radiator Springs have just the right amount of characterization, from George Carlin as the hippie VW bus Fillmore to Tony Shalhoub as the Ferrari-loving Fiat Luigi. The rest of the voice cast includes Michael Keaton, Paul Dooley, Cheech Marin, and NASCAR champ Richard Petty. Plus, you’ve got to love the cameo from Click and Clack, the Tappet Brothers.

In addition to the ever-outstanding animation, the film also has that trademark Pixar heart. As intended from the start by director John Lasseter, Cars is like a love letter to the nostalgia of Route 66 and to all of the small towns that indeed were overlooked by the public’s desire for speed and convenience. Considering that it made me care for anthropomorphic automobiles, I’d say the film got its point across beautifully. While I continue to think that Lightning could have easily won the race and then gone back to help the King (he was only inches away after all), the lesson about winning isn’t everything is taught here better than any other film I’ve seen.

Cars may not be Pixar’s most popular film, and it spawned their only bad film to date, but it’s got enjoyable characters, a great soundtrack, plenty of car and animation in-jokes, and all the humor and heart of a classic.

Best line: (Sally, describing Route 66) “Well, the road didn’t cut through the land like that Interstate. It moved with the land, it rose, it fell, it curved. Cars didn’t drive on it to make great time. They drove on it to have a great time.”

 
Artistry: 7
Characters/Actors: 9
Entertainment: 8
Visual Effects: 10
Originality: 4
Watchability: 8
 
TOTAL: 46 out of 60
 

Next: #167 – Extremely Loud and Incredibly Close

© 2014 S. G. Liput

164 Followers and Counting

 

Wreck-It Ralph (2012)

24 Thursday Jul 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Action, Animation, Comedy, Disney, Fantasy

In Litwak’s Arcade, the games delight,
A quarter for a race or fight,
But kids and Litwak do not know
Where all game characters then go
When everyone is gone at night.
 
The characters treat every game
As just a job that earns them fame,
But Wreck-It Ralph wants to defy
His role as damaging bad guy
And thirty years of mud and shame.
 
Good guys, like Fix-It Felix, seem
To boast the highest self-esteem.
Ralph needs a hero’s medal now
To win some happiness somehow,
Despite how others scorn his dream.
 
He leaves his game to earn respect;
When gamers come, there’s nothing wrecked.
Their jobs and home are now in danger,
But Ralph’s off to someplace stranger,
Bent on medals to collect.
 
In Hero’s Duty, thus Ralph tries
To stay alive and win his prize,
But killer Cy-Bugs plague his route,
And one of them, alas, gets out.
It sneaks away and grows in size.
 
Their crash site is in Sugar Rush,
A racing game that’s sweet and plush.
Ralph’s medal’s taken when he meets
The brat Vanellope von Schweetz,
A hated glitch who’s kept hush-hush.
 
She purchases her right to race,
But Ralph arrives to trash the place.
When he sees how she’s shunned apart,
He helps her build her own go-cart,
But King Kandy stays on her case.
 
King Kandy sows doubt in Ralph’s mind
On whether he should be inclined
To help her win or if he should
Prevent the girl for her own good.
He breaks her heart by being kind.
 
Ralph goes back home, unsatisfied,
But learns the sneaky King had lied.
Ralph helps Vanellope come back
And race at last, but bugs attack!
King Kandy shows his evil side.
 
Vanellope can’t leave the game
Since she’s a glitch; the King’s to blame.
So Ralph attempts a sacrifice
To save the insects at a price
And wipes them out with cola flame.
 
He’s saved and is content to see
Success come to Vanellope.
Embracing duties he once hated,
Ralph’s at last appreciated,
The good “bad guy” he’s meant to be.
___________________
 

Wreck-It Ralph is an oddity among Disney movies, not a fairy tale or a traditional love story, but rather an original hero quest that creates an astonishingly detailed environment to rival the world-building prowess of Pixar. My VC considers it fluff, and at first glance a film about video game characters may seem to be just that, but Wreck-It Ralph greatly exceeded my expectations with its imaginative plot and abundant eye candy (pun intended).

In many ways, Wreck-It Ralph is an example of potential pitfalls done right. It brilliantly combines real video game characters from Pac-Man, Q*Bert, Street Fighter, Sonic the Hedgehog, Tapper, Altered Beast, and many more, similar to how Who Framed Roger Rabbit? mingled classic cartoon characters from various studios into something totally unique. Unlike the more adult-leaning Roger Rabbit, which I appreciate more than I like, Wreck-It Ralph allows these characters their cameos for the hard-core gamers to scrutinize, while making them mere accessories to the main plot of original characters, all while maintaining a (mostly) family-friendly tone.

In addition, the unsatisfying, out-of-nowhere reveal of Prince Hans in Frozen was handled so much better in this earlier film. King Kandy is already treacherous from the start; we just don’t know the extent of his villainy. The big reveal was clearly set up but still came as a surprise to me because the filmmakers deftly toyed with the possibility that the King, rather than Vanellope, was just misunderstood. The writers knew what they were doing. There are even some insightful remarks, such as Vanellope’s despised glitch being analogous to a birth defect and Ralph questioning why video games have become so violent of late.

All this doesn’t even mention the stunning animation, the astounding amount of world-building, and how the filmmakers utilized their own rules to ingenious effect. From the limitations and advantages of glitches to the behaviors of the Cy-Bugs, the imagination just keeps flowing. There’s also a plethora of sweet-themed puns in the world of Sugar Rush, a candy kingdom reminiscent of that in Adventure Time.

Plus, there’s some excellent voice work from John C. Reilly as the conflicted Ralph, Sarah Silverman as the bratty but lovable Vanellope, Jack McBrayer as the goody two-shoes Fix-It Felix, Jane Lynch as the intense Sgt. Calhoun of Hero’s Duty, and Alan Tudyk as the duplicitous King Kandy. Again, my VC doesn’t like how Ralph’s “villainy” is seen as good, but his villainhood is depicted as just a job and clearly not true evil. Thus, his position as both protagonist and “bad guy” is must less subversive than, say, The Nightmare before Christmas or Wicked. If anything, his realization that filling his necessary role is better than selfishly seeking his own glory makes the film even more unique.

Wreck-It Ralph may not have quite the same character development as other Disney films, but it’s an inventive thrill ride with a jam-packed plot that begs for repeated viewing. It also boasts not one, not two, but three songs worthy of my End Credits Song Hall of Fame, the “Sugar Rush” and “Wreck-It, Wreck-It Ralph” theme songs and Owl City’s utterly catchy “When Can I See You Again?” Many of the video game references probably flew over my head, but whether you’re a gaming fan or not, this film is just plain fun.

Best line: (Sgt. Calhoun, after seeing Felix’s fixing hammer at work) “Your face is still red; you might want to hit it with your hammer again.”

 
Artistry: 6
Characters/Actors: 7
Entertainment: 9
Visual Effects: 9
Originality: 9
Watchability: 9
Other (I like other films better): -3
 
TOTAL: 46 out of 60
 

Next: #168 – Cars

© 2014 S. G. Liput

160 Followers and Counting

 

#170 – Foul Play (1978)

23 Wednesday Jul 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ 3 Comments

Tags

Action, Comedy, Thriller

Since Gloria Mundy, a fair divorcée
And mousy librarian, won’t often stray
And take any risks, all her friends feel it’s known
She’ll not embrace chances but end up alone.
 
While driving one day, she picks up a hitchhiker
In need of a ride, and this Scott seems to like her.
He gives her his smokes (plus a film classified)
And says he will date her that night for the ride.
 
That night at the theater where they would meet,
He warns of a dwarf and then dies in his seat,
But Gloria’s shocked when he just disappears
And tells landlord Hennessy of all her fears.
 
One night at her workplace, an albino fella
Attacks her but gets a taste of her umbrella.
With help from a pervert with love on the brain,
She gets away, wondering if she’s insane.
 
A man with a scar then attacks and upsets,
Demanding the package of Scott’s cigarettes.
The albino kills him; when cops have arrived,
The scene is all clean, and her tale seems contrived.
 
Though cop Tony Carlson likes the fruitcake,
They leave, and she’s caught. When again she’s awake,
She flees from her captors, and, jumpy as heck,
Proves to a dwarf she’s a pain in the neck.
 
At last, Tony finds evidence of her tale
And acts as her guard, and their romance sets sail.
When Gloria goes out, again she is caught,
And Tony uncovers a sinister plot.
 
The villains involved have a blackhearted hope:
They’re planning to murder the visiting Pope.
Both Tony and Hennessy rescue the lass,
But this evil purpose may still come to pass.
 
Both Tony and Gloria race across town
To reach the opera ere the curtain comes down.
Despite challenges, they arrive just in time
To stop the albino, preventing the crime.
Then up on the stage, with the pontiff safe now,
The lovers embrace, and they all take a bow.
_______________________
 

Inspired by Alfred Hitchcock thrillers, Foul Play is a near-perfect blend of action, suspense, and comedy. There’s a wine cellar scene (Notorious), a shower curtain scene (Psycho), and an abortive strangulation scene (Dial M for Murder), plus other familiar tropes, like an unsuspecting bystander drawn into a murderous conspiracy (take your pick). Most of the film actually works as a straight-faced mystery, but much humor is derived from two-sided conversations in which both people have an entirely different understanding of what’s going on. The clever script also tows the line between serious dialogue and funny one-liners.

Goldie Hawn as Gloria is hilariously scattered in her confusion of how she ended up in this mess, and Chevy Chase as Tony actually proves he had potential as a romantic lead back in the day. Burgess Meredith gets more physical than most of his other roles as a former anthropologist/black belt/ landlord. But the funniest role goes to Dudley Moore as nervous weirdo Stanley Tibbets, whose extended cameo often steals the show. This was his first introduction to American audiences and gained him the popularity that led to 10 and Arthur.

There are several memorable encounters, such as the albino’s library ambush and the cruel yet humorous dwarf attack. By the end, the comedy ratchets up to some long, over-the-top sequences, like an elderly martial arts match and a thrilling, opera-laced race through the streets of LA (it’s technically not a car chase). The part with the Japanese couple in the back seat of the taxi ranks among the best comedic scenes ever.

It’s not quite perfect. The score is sometimes overly dramatic, probably to imitate a Hitchcock film, and the seemingly important film coveted by the bad guys is just ignored by the end, again most likely an intentional irony. Some unnecessary scenes could also have been cut, such as a totally pointless Scrabble game using obscenities. The labyrinthine plot contains a hole or two as well, such as why the albino didn’t kill Gloria when he repeatedly had the chance; plus, the final showdown with the albino is a tad underwhelming.

Nevertheless, Foul Play is a good film with splashes of greatness along the way. I love genre mashes as long as they’re not overly obscene, and Foul Play succeeds as both an homage and a great mystery in its own right.

Best line: (Japanese couple, near the end) “Kojak, bang, bang!” (you just have to see it)

 
Artistry: 6
Characters/Actors: 8
Entertainment: 9
Visual Effects: 7
Originality: 7
Watchability: 9
Other (language): -1
 
TOTAL: 45 out of 60
 

Next: #169 – Wreck-It Ralph

© 2014 S. G. Liput

160 Followers and Counting

 

Pocahontas (1995)

22 Tuesday Jul 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ 2 Comments

Tags

Animation, Disney, Drama, History, Musical, Romance

(Can be sung to “Colors of the Wind”)
 
A voyage starts in 1600s England
To journey to the New World for its gold,
But John Smith only searches for adventure
And knows that there’s one waiting to unfold.
 
This New World boasts the lovely Pocahontas,
The daughter of the reigning Indian chief.
He offers sober Kokoum for marriage,
But the maiden seeks a spirit for relief.
 
The path for her is hidden and uncertain,
But then the ship appears against the sky.
As greedy Ratcliffe starts his people digging,
Smith departs to scout the countryside nearby.
 
The Indian and Englishman make contact,
And neither’s like the other thought they’d be.
He tells her of his homeland, and the maiden
Shows the sailor things he’d never tried to see.
 
A skirmish sows distrust in both the factions,
And both believe the worst of their new foe.
They will not hear John Smith or Pocahontas,
But both unite, and love begins to grow.
 
When Kokoum decides to tail the couple,
His jealous rage just gets the warrior shot.
The tribe imprisons Smith to his friends’ horror
And plans to execute the man they’ve caught.
 
Since Ratcliffe thinks the foe is hoarding treasure,
And they think whites are savages as well,
Both sides prepare for battle at the sunrise,
Till Pocahontas chooses to rebel.
 
She saves the life of Smith at the last second
And turns her father’s warring mind to peace.
These “savages” are better than they’d reckoned,
And both sides (save for Ratcliffe) choose to cease.
 
Though Smith is saved, he still is sadly wounded,
So he departs for home to convalesce.
He bids goodbye to lovely Pocahontas,
Who will be with him forever nonetheless.
____________________
 

Don’t worry; I won’t exhaust the Disney Renaissance this low on the list, but like Mulan, Pocahontas is just not quite as absolutely stellar as the rest of those ‘90s classics. It still is a marvelous film, beautifully animated and drawing inspiration not from fairy tales or legends but from real American history. It bothers me a little that Disney rewrote history in adding much to the story of Pocahontas and John Smith while leaving out other elements, such as the Indian maiden’s conversion to Christianity. Still, it’s laudable that the filmmakers endeavored to bring history to family audiences in such an entertaining package, even if only some main events are retained from the true account (the saving of Smith’s life, his changed injury and return to England).

Mel Gibson makes John Smith quite the dreamboat, and David Ogden Stiers proves he can play a greedy Englishman with the same panache as he can a clock. As far as cute animal sidekicks go, Meeko the raccoon and Flit the hummingbird are two of the funniest and lend the otherwise serious tale some lighthearted comic relief.

One thing I’ve noticed after repeated viewings is that Pocahontas more than any other recent Disney film depends on its music for its success. All of the other Disney classics have memorable standout sequences independent of their music (the wildebeest stampede, the Cave of Wonders, Shan-Yu’s mountain charge, etc.), while Pocahontas doesn’t. Take away Alan Menken’s soundtrack, and you’ve got the familiar “noble savage” and “follow your heart” clichés and a romance that’s a tad rushed and a much less entertaining story.

Luckily, though, we do have Menken’s songs, and they are perfect. From the history-laced “The Virginia Company” to the exhilarating “Just around the Riverbend,” his music continues to amaze. Stephen Schwartz’s lyrics are also fantastic and eminently satisfying to me as a poet. “Colors of the Wind” is especially classic and earned an Academy Award for Best Song. Ratcliffe’s songs are also great, particularly the Broadway-quality “Mine, Mine, Mine.” Despite accusations of racist lyrics, I also love “Savages” and can step away enough to see that the hatred is that of the characters and not the filmmakers. I actually think the way that both sides accuse the other of being “savages” is the most nuanced element of the whole film.

Pocahontas may have turned a platonic historical account into a Romeo-and-Juliet story of warring factions, but its soundtrack makes it yet another Disney classic. I wonder if they’ll ever tackle another historical drama again.

Best line: (Powhatan, at the end) “My daughter speaks with the wisdom beyond her years. We’ve all come here with anger in our hearts, but she comes with courage and understanding. From this day forward, if there is to be more killing, it will not start with me.”

 
Artistry: 6
Characters/Actors: 6
Entertainment: 8
Visual Effects: 9
Originality: 5
Watchability: 9
Other (music): +2
 
TOTAL: 45 out of 60
 

Next: #170 – Foul Play

© 2014 S. G. Liput

159 Followers and Counting

 

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