Rocky (1976)

Tags

Drama, Sports

Rocky Balboa’s a bum,

Who thinks himself brutish and dumb.

Some nights he spends fighting,

Which proves unexciting

And leaves him all sore in his slum.

 

He tries to cajole and impress

His friend Paulie’s sis, with success,

But no one, you see,

Takes him seriously

Or thinks he will ever progress.

 

But then the world champ has a need

For someone to box him with speed.

Some fame he will loan

To a total unknown,

Who’ll have a chance battling Creed.

 

But Rocky is shocked at the chance

When he is hand-picked in advance,

And Mick at the gym

Then requests to train him

And no longer eyes him askance.

 

Rock trains, jogging down every street,

And spends his days pounding on meat.

He swallows eggs raw,

And the dogged southpaw

Soon is ready to fight the elite.

 

Though no one expects Rock to win,

Apollo Creed loses his grin,

When he stands, toe to toe,

In a fight, not a show,

And frets at the bell’s every din.

 

The punchy pair pummels and pounds,

And when the concluding bell sounds,

Though Apollo has won,

Philly’s new favorite son

Is proud he went all fifteen rounds.

___________________

 

With all the entertaining but formulaic sequels that threatened to caricaturize the familiar setup, it’s easy to forget the singularity of the original underdog tale Rocky. After a few minor film roles, Sylvester Stallone essentially made his own success by conceiving the story of Rocky Balboa and insisting he play the role himself. Stallone has an unusual face that may seem blank and expressionless to some and to others expresses subtle emotion that the viewer imagines Rocky is feeling. Either way, Rocky is the closest Stallone ever got to an Oscar-worthy performance.

Compared to Stallone’s more dynamic direction of the next three sequels, director John G. Avildsen takes a much slower pace with several long scenes lacking music, which is sometimes boring and sometimes perfectly utilized, such as in the famous raw egg scene. Rewatching the film again, after seeing the sequels so often, I was reminded of just how low Rocky was before fortune smiled on him and how he essentially owed everything to Apollo, who chose him specifically based on his rhyming moniker, the Italian Stallion. Indeed, Rocky probably would have remained a bum had it not been for a random gift of Providence.

Compared with later entries in the series, the fight scenes aren’t the best, and sometimes the soundless punches are clearly not landing, but the film is about more than the sport. It’s a story of a dream come true, at once realistic, romantic, and improbable, and at the end of the original training montage with that memorable “Gonna Fly Now” anthem, Rocky stands at the top of those stairs, imagining all the possibilities that success could bring, such as the crowd of cheering kids that would join him by the same point in the second film. Though they ignored Rocky’s and Apollo’s declaration that there would be no rematch, the sequels fill a purpose in showing how far Rocky succeeds (except for the depressing fifth one, also directed by Avildsen), but the original Best Picture winner packs just the right emotional punch.

Best line: (Mickey, during the final fight) “Your nose is broken.”

(Rocky) “How does it look?”

(Mickey) “Ah, it’s an improvement.”

 

Artistry: 9

Characters/Actors: 9

Entertainment: 7

Visual Effects: N/A

Originality: 9

Watchability: 8

Other (iconic theme song; the beginning of a winning series): +7

 

TOTAL: 49 out of 60

 

Next: #133 – Sleepless in Seattle

© 2014 S. G. Liput

194 Followers and Counting

 

Home Alone 2: Lost in New York (1992)

Tags

Christmas, Comedy, Family

Though Kevin McCallister once lost his family

When they left him home all alone,

He still cannot get along with all his siblings

And wishes to be on his own.

 

They leave on vacation with Kevin in tow,

But somehow he boards the wrong plane.

He ends up alone again, now in New York,

While both parents freak out in vain.

 

Since Kevin has credit cards, cash, and some sense,

He heads to the Plaza Hotel,

Intent on vacationing all by himself

With toys and room service as well.

 

But Harry and Marv, his escaped nemeses,

Are in town to rob a toy store

And plan to exact overdue sweet revenge,

Till Kevin evades them once more.

 

His stay at the Plaza Hotel is cut short

When Kevin is fingered for fraud

And flees to the dangerous big city streets,

Where one lady’s friendly, though odd.

 

Since Kevin knows Harry and Marv will be stealing

The toy money meant for the sick,

He transforms his uncle’s abandoned apartment

Into a funhouse (and quick).

 

By baiting the crooks to his booby-trapped lair,

He punishes them once again.

From bricks to tool boxes to minor explosions,

He grants them more lessons in pain.

 

When they almost have him, he’s saved from behind,

And prison awaits the two still.

Since Kevin is tired of being alone,

His mom helps that wish to fulfill,

And everyone has an enjoyable Christmas…

Until Kevin’s dad gets the bill.

_________________

 

Here we have the sequel to everyone’s favorite holiday torture fest, and, unlike the three other less-than-official sequels (which obviously had lower aims), Home Alone 2 was actually trying to match its predecessor. It doesn’t quite manage that feat, but it is still an entertaining return of all the original characters, including Macaulay Culkin, Catherine O’Hara, John Heard, and the dimwitted duo of Joe Pesci and Daniel Stern. In many ways, the film follows the same beats as the first—a big family debacle turns Kevin against them, a hectic vacation rush leaves him behind, and Kevin lives it up by himself before tormenting two crooks in his own personal house of persecution. The characters themselves often realize the similarity of their circumstances, and, as Ian Malcolm said in The Lost World: Jurassic Park, they don’t make the same mistakes, but all new ones.

On the one hand, the recycled scene with the gangster movie is even funnier than the first film’s, and the events leading up to Kevin’s separation are much more plausible than the series of coincidences that left him alone in the first film, though no less irresponsible on the part of the parents. (It’s a good thing Kevin didn’t want to run away because if it’s this easy for him to evade his parents by accident, they would probably never find him if he didn’t want to be found.) The film ups the ante in several regards, including the potential danger of Kevin’s situation, the extravagance of his version of “the good life,” and the agony inflicted on Marv and Harry, who should have died many times over from his booby traps.

Yet, despite a moderately heartwarming subplot involving a pigeon lady in Central Park, Home Alone 2 lacks the heart and the Christian iconography of the first one. The bird lady’s fine and Tim Curry is hilarious as an ingratiating hotel concierge, but I missed the misunderstood Old Man Marley and John Candy the polka king. Also, the first film indicated that Kevin thought his family disappeared because his wish came true, but here he is fully aware of what happened and where his family probably is but makes no attempt to contact them, choosing instead to take advantage of his father’s credit card. Plus, the tortures he prepares for Marv and Harry elicit more severe winces, even if the two despicable thieves deserve it.

All this is to say that I prefer the first Home Alone, but the second is still a Christmas favorite that I can watch over and over. My VC would have this one much lower on her list, but Home Alone 2 is still good, painful fun.

Best line: (Mrs. McCallister, when she learns Kevin left the hotel) “What kind of idiots do you have working here?”  (the hotel’s desk clerk, proudly) “The finest in New York.”

 

Artistry: 6

Characters/Actors: 8

Entertainment: 9

Visual Effects: 8

Originality: 5

Watchability: 10

Other (slapstick ingenuity): +3

 

TOTAL: 49 out of 60

 

Next: #134 – Rocky

© 2014 S. G. Liput

193 Followers and Counting

 

Julie and Julia (2009)

Tags

Comedy, Drama

Julia Child loved to eat, at home in her beloved France.

Julie Powell enjoyed her cooking, which she gave a second glance.

Stuck within a headache job in which she was a willing cog,

The modern-day home cook decided she would write a cooking blog.

Since the kitchen was her outlet, her preferred assuring nook,

She could build each recipe from Julia’s eminent cookbook.

 

Day by day, she baked and brewed and braised and blanched and fricasseed,

Poached and stewed and boiled over, but she would not dare concede.

Though her husband felt ignored as cooking kept her mind obsessed,

He supported her sincerely in her culinary quest.

Julia was her cherished idol, patron saint of food and pluck,

But the actual Julia once did not know how to bone a duck.

 

She was just a normal housewife, married to a diplomat,

Who resolved to learn to cook instead of idle and get fat.

With two friends, she worked for years upon her culinary tome,

And, although she had to move, she felt that Paris was her home.

Finally, an editor at Knopf approved her manuscript,

Filling Julia with elation when the first edition shipped.

 

Decades later, Julie Powell completed her demanding mission,

Having garnered her fulfillment and life-changing recognition.

She became an actual writer, on whom tasteful fortune smiled,

And she credited success to her exemplar Julia Child.

__________________

 

In many ways, Julie and Julia was the reason I began this blog. I already had my personal favorite movie list compiled, but I never thought to do anything with it. Then one day, just going about our business, my VC posited the idea of a blog, just as unexpectedly as the concept dawned on Julie Powell. There are plenty of scenes in which I can identify with Julie, in her obsessive schedule trying to keep up with self-imposed deadlines, in the way it threatens to alienate those closest to her, in the satisfied glee she exhibits when she receives an encouraging comment.

After a few duds, Nora Ephron returned to form in this, her last film before her death. Here, she creates not just one, but two perfectly cast couples. Meryl Streep and Stanley Tucci are outstanding as Julia Child and her husband Paul, as are Amy Adams and Chris Messina as Julie and Eric Powell. I don’t know if I’m allowed to say this as a guy, but both make utterly “cute” couples. Though Streep received most of the praise for her pitch-perfect impersonation of cooking legend Julia Child (better even than Dan Aykroyd’s), all four actors fill the movie with such down-to-earth vitality, highlighted by Ephron’s script, that Julie and Julia ranks among Ephron’s best. The men in particular are among the sweetest onscreen husbands imaginable. The transitions between the two storylines are adeptly handled, and both are permeated with endearing incidents, realistic conflict in which neither side is completely in the wrong, and culinary adventures that manifest a true passion for cuisine.

While the film doesn’t end as strongly as I would have liked, indicating that Julia Child herself did not approve of Julie’s blog and then ignoring that seemingly significant point, Julie and Julia is a lighthearted visit with four captivating, relatable people that will make you want to head for the kitchen…or at least the nearest restaurant.

Best line: (Paul Child) “What is it you REALLY like to do?”

(Julia) “Eat!”

[They laugh.]

(Paul) “And you’re so good at it. Look at you!”

 

Artistry: 9

Characters/Actors: 10

Entertainment: 10

Visual Effects: N/A

Originality: 8

Watchability: 10

Other (deft script and endearing, episodic plot): +3

Other (brief language): -1

 

TOTAL: 49 out of 60

 

Next: #135 – Home Alone 2: Lost in New York

© 2014 S. G. Liput

190 Followers and Counting

 

Airplane! (1980)

Tags

Comedy, Disaster

Upon a late departing flight,

There is a quiet lovers’ fight.

Ted Striker follows, nonetheless,

His dear Elaine, a stewardess.

 

Within this plane are people odd:

Ted’s long tales make them more than nod.

They punish panicked passengers.

The captain spouts non sequiturs.

 

When dinner’s done, some flyers wish

That they had never ordered fish.

The pilots soon are turned to mush,

And they need Ted, who needs a push.

 

He used to fly back in the war

And later joined the ol’ Peace Corps,

But he’s been haunted (Zipp knows why)

And is too overwhelmed to fly.

 

A deadpan doctor spurs him on

To land the plane before the dawn

To save the deathly ill aboard,

For time’s one thing they can’t afford.

 

Assisted by a fellow vet,

Ted lands the plane through floods of sweat.

He’s reunited with Elaine,

And Autopilot steals the plane!

_________________

 

I’ll just say that Airplane! is probably the funniest movie ever made. I’m not saying it’s the greatest comedy because the best comedies have insight, heart, or brain cells, but based solely on the quantity and volume of laughs, Airplane! is the one. Though the plot is borrowed from the 1957 drama Zero Hour!, the film is full of original but now oh-so-familiar jokes. From the clever names of the pilots (Clarence Oveur, Roger, Victor) that are bounced around during takeoff to the feel-good musical interlude that leaves everyone smiling at each other and the camera, the film is just one guffaw after another.

Some of the humor is perhaps wasted on the youth of today because of the inclusion of actors playing against type. Those who don’t remember Leave It to Beaver may not laugh quite as hard at the jive-talking segment if they don’t know who Barbara Billingsley is. Leslie Nielsen, in particular, totally transformed his established serious persona, leading to future deadpan comedic roles, such as another Zucker-Abrahams-Zucker (ZAZ) film The Naked Gun (which my VC prefers). After seeing those two films, neither my VC nor I will ever look at him without wanting to laugh.

Not all of the jokes are funny: there’s a distasteful abortion joke that introduces the film and one scene of panic includes unnecessary explicit nudity, which sadly prevents Airplane! from being family friendly. These few unfortunate crudities are luckily overshadowed by an abundance of clean and laugh-out-loud absurdities, from commercial parodies to repeated oblivious wordplay to a number of hilarious cameos that are better seen than read about. Airplane! is at its best when the jokes, both visual and verbal, flow so quickly that you can’t stop laughing at the first, let alone all the others flung out in succession; the bar scene is the best example. (Go watch it now; you know you want to!)

Since some of the actors found their best-known roles here, the film has even led to modern cameos for a certain basketball star and Robert Hays, the latter of whom appeared in the recent Sharknado 2 as a pilot. Airplane! is one of those rare comedies that can be watched and rewatched simply for the sake of noticing jokes that slipped through the cracks as you were cachinnating at the more obvious ones. Full of instantly recognizable quotes and that unique brand of Zucker ridiculousness, Airplane! is a very bright blip on the comedy radar.

Best line (I couldn’t choose): (Dr. Rumack) “Can you fly this plane, and land it?”

(Ted Striker) “Surely you can’t be serious.”

(Dr. Rumack) “I am serious… and don’t call me Shirley.”

 

(Lady next to Ted on the plane) “Nervous?”

(Ted) “Yes.”

(Lady) “First time?”

(Ted) “No, I’ve been nervous lots of times.”

 

(McCroskey) “Looks like I picked the wrong week to quit smoking/drinking/amphetamines/sniffing glue.”

 

Artistry: 6

Characters/Actors: 7

Entertainment: 10

Visual Effects: 6

Originality: 10

Watchability: 10

Other (nudity, language): -1

 

TOTAL: 48 out of 60

 

Next: #136 – Julie and Julia

© 2014 S. G. Liput

190 Followers and Counting

 

Extraordinary Measures (2010)

Tags

Drama

Young Megan and Patrick have Pompe disease,

Which leaves them in wheelchairs with medical fees.

Their father John Crowley can’t stand to just wait,

To work and play, knowing their ultimate fate.

 

He seeks a researcher named Robert Stonehill,

Whose theories need someone to foot a large bill.

He claims he can save those enduring Pompe,

And Crowley decides he’ll raise cash in some way.

 

He founds a foundation with Aileen, his wife;

They fundraise to save every sick child’s life.

When Stonehill comes visiting, they’re a bit short,

But he’ll take his chances with John’s full support.

 

Though Stonehill possesses a gruff attitude

And comes off as selfish, controlling, and rude,

John reaches a deal with investors, providing

A lab in Nebraska, upon which all’s riding.

 

When funders get nervous about Priozyme,

John sells to a large biotech just in time.

He desperately tries to streamline the process

And butts heads with Stonehill to ensure success.

 

Yet when things don’t turn out as Crowley had planned,

For his darling kids’ sake, Stonehill lends a hand.

The drug works, once treatment is soon underway,

And saves them, and so many more, from Pompe.

_________________

 

Extraordinary Measures was hardly a success when it was released in 2010, recouping less than half of its budget. Whereas many of the recent films on my list have been critically and commercially successful, this one failed, a true shame since it is a high-quality movie with meaty roles for two underrated actors. Brendan Fraser gives his best performance in years as dauntless parent John Crowley and actually gets to act rather than feign silliness (don’t get me started on Furry Vengeance). Harrison Ford also bucks his action hero persona in favor of a scientist, and though Dr. Stonehill is less than personable for much of the film, Ford succeeds at portraying both his obsessive scientific confidence and his latent soft spot for Crowley’s suffering kids. A scene in which both of them must swallow their pride and choose their words carefully illustrates both actors’ ability, as we can recognize what must be going through their heads and how they might like to respond.

Though some critics characterized the film as a typical TV-caliber tearjerker, it offers more than that, namely an insightful glimpse at the pharmaceutical industry. While such scrutinizing of business practices could have been tedious and dull, the film frames each meeting or funding petition as another step on Crowley’s quest for a cure and never gets bogged down in too much corporate jargon. Likewise, Stonehill gives a straightforward explanation of Pompe disease, a lesser-known form of enzyme deficiency, giving the viewer just enough information to understand without growing bored.

Overall, the film is about a father’s love for his children. As the film starts, with Crowley showing up late for his daughter’s birthday party, there’s the possibility that Crowley is one of those clichéd fathers who puts his job before his kids, but it’s soon clear that he’s practically an ideal parent, the kind that makes his kids laugh but stays up late worrying about them. The Crowleys were already doing all in their power, so it seemed, to care for their sick kids, but John took it upon himself to do more, leading to a life-saving drug for countless children, including his own. This kind of “making a miracle” instead of waiting for one is the true message of Extraordinary Measures, a film that remains intelligent while pushing all the right emotional buttons.

Best line: (Crowley, after being fired for all the right reasons) “Well, thank you very much for firing me.”

(Dr. Webber, played by Jared Harris) “My pleasure, I never liked you.”

(Crowley, still amiable) “Likewise.”

 

 

Artistry: 8

Characters/Actors: 9

Entertainment: 8

Visual Effects: N/A

Originality: 8

Watchability: 9

Other (two favorite actors making the potentially boring interesting): +7

Other (language): -1

 

TOTAL: 48 out of 60

 

Next: #137 – Airplane!

© 2014 S. G. Liput

189 Followers and Counting

 

Secondhand Lions (2003)

Tags

Comedy, Drama

Walter is used to his mom’s many lies

And isn’t too thrilled with her latest surprise,

A stay with his uncles, two old, surly guys.

 

The two McCann brothers are said to be rich

But live all alone in their ramshackle niche

And like shooting salesmen before they can pitch.

 

Both Hub and Garth let Walter share their address,

Because they enjoy other relatives less,

And such money-grubbers just serve to depress.

 

When Walter sees Hub out sleep-walking at night,

Garth tells him their past, full of romance and fight,

Such colorful tales that amuse and excite.

 

Garth tells him of Jasmine, of whom Hub won’t speak,

And how Hub enthralled her, so fair and unique,

And how he defended against a mean sheik.

 

Hub has no delusions about getting old

And seeks out new methods to prove himself bold,

Things all of those salesmen are glad to see sold.

 

When they buy a lioness too tame to kill,

It’s Walter that cares for her out of goodwill

And lets her live out in a cornfield they till.

 

He learns from old Hub of his fabled love’s fate

And gets him to not be so risky but wait

And give him a lecture at some future date.

 

When Walter’s mom shows up with her latest flame,

The uncles’ stashed cash as their ultimate aim,

The lioness makes the beau sorry he came.

 

Since Walter’s mom can’t stop the lies she’s used to,

He stays with his uncles, who raise him and who,

As he confirms later, are reckless but true.

______________________

 

Secondhand Lions is not quite a “meet ‘em and move on” movie, but it’s as close as you can get, complete with quirky scenarios, flashbacks, and a heartwarming ending. In many ways, it is a counterpart to the Tim Burton film Big Fish from the same year, which was also about eccentric stories that strained credulity. Unlike that film, in which a son was sick of his narcissistic father’s oft-repeated yarns (which is certainly relatable for many people), here Walter has never heard his uncles’ anecdotes and has to coax them to reveal their colorful pasts, making them more humble and likable than Albert Finney’s character in Big Fish.

The two uncles are brilliantly portrayed by Robert Duvall (Hub) and Michael Caine (Garth), and the latter covers his distinctive British accent amazingly well. The duo play off each other expertly, and their gradual embracing of Walter as their ward is a pleasure to watch. Walter himself, played by the formerly great Haley Joel Osment, is entirely sympathetic, though it’s puzzling why he has any fondness for his cheating, lying, egocentric mother (Kyra Sedgwick).

The film makes the rather wishy-washy statement, “Sometimes the things that may or may not be true are the things a man needs to believe in the most,” but, after years of his mother’s infidelity, Walter needs something to believe in and trust. His mother lies constantly yet somehow assumes he’ll believe her, though she’s given him plenty of reasons to not trust a word she says. In contrast, his uncles don’t expect him to accept their tales of the glory days but have never given him cause to doubt them. By the end, when he is forced to decide which narrative to believe, both of which are certainly plausible, he chooses right, a determination that shapes the rest of his life.

The secluded desert location causes the main plot to feel small and withdrawn, making the swash-buckling flashbacks carry a completely different tone that captures the audience’s imaginations along with Walter’s. Secondhand Lions was somewhat of a sleeper film that didn’t get the attention it deserved upon its release, but it holds a wealth of humor, drama, and heart that few films offer nowadays. (The reversed meaning of a sign as Walter leaves his uncles’ property is a good example of the understated poignancy the film conjures.) While Big Fish had too many fanciful elements that bordered on lies themselves, Secondhand Lions is grounded mostly in reality, a reality in which two cantankerous old men turn out to be surprising role models.

Best line: (Hub, when a young punk doesn’t show him due respect) “I’m Hub McCann. I’ve fought in two World Wars and countless smaller ones on three continents. I led thousands of men into battle with everything from horses and swords to artillery and tanks. I’ve seen the headwaters of the Nile, and tribes of natives no white man had ever seen before. I’ve won and lost a dozen fortunes, killed many men, and loved only one woman with a passion a flea like you could never begin to understand. That’s who I am. NOW, GO HOME, BOY!”

 

Artistry: 7

Characters/Actors: 9

Entertainment: 9

Visual Effects: 7

Originality: 8

Watchability: 8

 

TOTAL: 48 out of 60

 

Next: #138 – Extraordinary Measures

© 2014 S. G. Liput

189 Followers and Counting

 

#140: A Christmas Carol

Tags

Christmas, Drama, Family, Fantasy

The old miser Scrooge was the worst of cheapskates,

The most feared and hated of men,

And even on Christmas, the gladdest of dates,

His “humbug” supplanted “Amen.”

 

He hectored Bob Cratchit, his tireless clerk,

Resented his kind nephew Fred,

And never would donate or take off from work,

But praised the workhouses instead.

 

One dark Christmas Eve, in his home all alone,

His dead partner Marley appeared,

With ponderous chains and lugubrious moan

For the conduct to which he’d adhered.

 

He warned Ebenezer he too had a chain

He’d forged from a lifetime of greed.

Three spirits that night would begin a campaign             

To change his behavior with speed.

 

The first spirit showed Christmases of the past,

Of childhood and his career,

Of how Scrooge’s greed branded him an outcast,

Devoid of all romance and cheer.

 

The second ghost offered a present-day view,

Completely uncharted by him,

Of Cratchit’s large family, humble but true,

And sweet crippled boy Tiny Tim.

 

He saw that his nephew was wholly sincere

In granting a meal invitation,

And that, if some kindness did not interfere,

Poor Tim would soon face expiration.

 

The final ghost showed him a future in doubt,

In which Tiny Tim was with God,

In which a rich man no one dared care about

Had died and been raided by fraud.

 

This man so forlorn, with no friend but his pelf,

Was buried with nothing but scorn,

And when Scrooge perceived that this man was himself…

He woke up upon Christmas morn.

 

So moved by the spirits was miserly Scrooge

That he had been changed overnight

And let out a joyous compassion deluge

That gave his charwoman a fright.

 

He bought Bob a goose and surprised with a raise

And called upon Fred and his wife

And cared for dear Tim in benevolent ways

And kept Christmas all of his life.

___________________

 

Though I’ve already written a post for Bill Murray’s Scrooged, that was a modern-day comedy; this post is for the original straight-faced version of Charles Dickens’ morality tale. Although there have been countless retellings of the Christmas novella, starting with a silent version by Thomas Edison back in 1908, they’re all pretty much the same, and my poem does not apply to any one in particular. Still, I am partial to two: specifically the classic 1951 Scrooge, featuring Alastair Sim in the title role, and (believe it or not) the 2009 Disney animated version with Jim Carrey. Both have their strengths and weaknesses, and, as far as I’m concerned, both are classics.

Alastair Sim’s portrayal of Ebenezer Scrooge is often cited as the best. He spits his bitter words out quickly and has a face well-suited for scowling. When that face is turned to grinning and laughing instead, the change seems entirely genuine and unforced. All the supporting actors are excellent, especially Mervyn Johns as Cratchit and the angel-faced Glyn Dearman as Tiny Tim, who honestly is much too big to be sitting on anyone’s shoulder.

What I enjoy most about this version is its additions to the familiar story. It includes all the recognizable quotes that we expect from these films, but it builds upon Scrooge’s character, particularly in his change as a younger man. Whereas most versions have him going straight from dancing at Fezziwig’s to breaking up with his sweetheart Belle (here called Alice for some reason), this film presents the death of his sister and his betrayal of Fezziwig, events that were not in the book but certainly could have been and add context to his change of heart. I also liked the moment between Scrooge and charwoman Mrs. Dilber; whereas the Disney version features Scrooge scaring her for laughs, Sim does the same but then gives her a heartfelt gift that will surely change the unfeeling future he witnessed. Where the film stumbles a bit is in its few overacted moments and the highly dated effects, though the transitions with the Ghost of Christmas Yet to Come are well-done.

As for my other favorite, the motion-capture Disney version is easily the most visually interesting telling. It utilizes the CGI animation with arresting dexterity, swooping throughout 19^th-century London and viewing Scrooge’s world from a number of previously unseen angles. Jim Carrey portrays Scrooge and all three ghosts through both his voice and movements. Other actors such as Gary Oldman, Cary Elwes, Robin Wright Penn, Colin Firth, and (Lost alert!) Fionnula Flanagan also fill various roles, often more than one, but the detailed animation tends to overshadow their performances. The visuals, such as the Ghost of Christmas Present’s method of travel, are frequently spectacular, though the animators get too carried away with Christmas Yet to Come, shrinking Scrooge, launching him along rooftops, and making his voice unnecessarily squeaky. These additions for the sake of excitement or humor are impressive to watch but add nothing to the story. Even so, the film is surprisingly faithful to the source material and admirably doesn’t try to modernize the dialogue to make it more salable. Both films also feature a number of Christian hymns.

While most critics might claim the Alastair Sim film to be the definitive version of A Christmas Carol, it’s difficult for me to make that judgment. Each may have flaws, but no version of this beloved story is inherently bad. While I’m partial to these two, I also enjoyed Patrick Stewart’s portrayal of Scrooge and Disney’s previous edition of the tale featuring Scrooge McDuck and many of their most popular characters. Whichever version you prefer, there’s no question that A Christmas Carol is a holiday classic, preaching a message of goodwill to our fellow men that continues to be relevant today.

Best line: (Tiny Tim) “God bless us, every one!” (I know, it’s obvious)

 

Artistry: 10

Characters/Actors: 10

Entertainment: 9

Visual Effects: varies

Originality: 8

Watchability: 9

Other (classicness): +2

 

TOTAL: 48 out of 60

 

Next: #139 – Secondhand Lions

© 2014 S. G. Liput

189 Followers and Counting

 

Grave of the Fireflies (1988)

Tags

Animation, Anime, Drama, War

I hate to remember that horrible day

When war became more than a far-distant fray,

When lives were upset and embittered and lost,

When I witnessed firsthand the heartbreaking cost.

 

Our home and town levelled, our mother gone too,

My sister and I were unsure what to do.

I took little Setsuko where we could stay,

To live with our aunt, who got meaner each day.

 

At last, we decided to live on our own,

And now I regret that we set out alone.

At first, we were happy, together apart;

We made our own meals and supposed ourselves smart.

 

But as the war lingered, the food became scant,

But I was too proud to return to our aunt.

My mother had said before we were assailed

To care for my sister; I tried, but I failed.

 

Oh, dear Setsuko, I remember one night;

I saw your face brighten with hope and delight

When fireflies lit up our shelter forlorn;

I watched as you dug them a grave the next morn.

 

I watched as you itched and grew tired and pale;

I gathered mere dregs but to little avail.

I traded and worked; then I pleaded and stole,

But unyielding hunger would still take its toll.

 

Your light, so unsteady, did flicker and fade,

But I’ve kept you close since that pyre I made,

And now as my own spirit’s starting to swoon,

I ask, why must fireflies perish so soon?

____________________

 

Readers of this blog may have gathered that I was prone to crying in my youth. Plenty of cartoons did the trick, and it took much less than Bambi’s mother to get my waterworks flowing. Yet as I’ve grown up, I’ve noticed that I don’t cry anymore, at anything really. Nothing seemed to melt my heart anymore, at least until I saw Grave of the Fireflies. Upon first viewing, I bawled like a baby; upon my second viewing with my VC, I did the same while she sat there unaffected and merely depressed. This latest viewing had the same effect on me.

Ironically released as a double feature with Hayao Miyazaki’s ultra-lightweight family fantasy My Neighbor Totoro (which I don’t care for), Grave of the Fireflies is probably the most depressing movie ever made because it is about two children starving to death, and that’s it. My VC saw little redeeming value in it since it’s enough to make some people suicidal, but I was deeply touched by the tragic story and the beauty with which it is told. Based off of a novel by Akiyuki Nosaka, who lost his own young sister to malnutrition during World War II, the film is presented with no doubt about the fates of Seita and Setsuko, but it uses a spiritual flashback as a framing device to look back at what brought them to their deaths. Metaphors abound in relation to the ubiquitous fireflies (kamikazes, mass graves, etc.), and several brief but happy scenes of shared pleasures between the two siblings act as fireflies themselves, lighting up the otherwise oppressively bleak tale with endearing character moments.

At times, Seita seems like the perfect big brother, protecting his sister from the evil around them and attempting to keep a happy face, even while Setsuko isn’t buying it. Yet he is realistically powerless in the face of ever more distressing circumstances, and glimpses of his own fragility and need for comfort are truly heartbreaking. Setsuko is also a realistic child, sometimes cranky and annoying, other times carefree and innocent. Her slow march to the grave has got to be the saddest movie death ever, and a final montage (set to that catalyst of tears, classical music) is pitiful and beautiful in the way it milks the sadness for all it is worth. The cremation scene is the part that always gets me, though, because as Seita looks at his sister one last time, all the viewer need do is replace her with the face of the person they love most in the world, and tears will flow.

I appreciate how the film doesn’t demonize the Americans for essentially being the cause of this suffering, along with Japan itself, but rather acts as an indictment on war itself and the hard-heartedness of people toward others’ suffering. Though it is visceral in its portrayal of suffering, I was also relieved that director Isao Takahata did not make it overly violent or disturbing (such as the earlier similar film Barefoot Gen, in which faces are melted from the atomic bomb; I don’t want to see that).

Though it tears me up inside, Grave of the Fireflies holds a special place in my heart, both because it is the only film that can still make me cry and because it reintroduced me to anime. Though I had been turned off by the bizarreness of Spirited Away, the intense realism of Fireflies was such a contrast that it opened me up to viewing other Japanese films that ended up on this list. Grave of the Fireflies may be slow and upsetting, but it is one of the most powerful films I have ever seen.

Best line: (Setsuko) “Why do fireflies have to die so soon?”

 

Artistry: 10

Characters/Actors: 9

Entertainment: 2

Visual Effects: 8

Originality: 8

Watchability: 2

Other (crying effect): +9

 

TOTAL: 48 out of 60

 

Next: #140 – A Christmas Carol

© 2014 S. G. Liput

186 Followers and Counting

 

Star Trek IV: The Voyage Home (1986)

Tags

Action, Comedy, Drama, Sci-fi

While on their way to Earth to face the music for their crimes,

Our favorite crew learns Earth’s in danger, as it is sometimes.

A giant probe is clouding Earth, depleting all its power,

With some peculiar signal making things worse by the hour.

 

When Spock (who was revived, you know) investigates the sound,

He learns it’s that of humpback whales, but there are none around.

Therefore, they must go back in time to find the needed whales.

They use the sun to slingshot round; I’ll spare you the details.

 

The latter 1900s is when they arrive and land,

To find whales which will be extinct because of mankind’s hand.

The Klingon ship they’re borrowing unfortunately broke,

But at least to hide their presence, it can disappear by cloak.

 

They split up there in San Francisco, and soon Spock and Kirk

Locate two whales and a girl involved with conservation work.

This Dr. Taylor asks them of their interest in cetaceans

And gets a crazy story and Kirk’s infamous flirtations.

 

The whales are soon released into the wild, unannounced,

And, with their ship replenished, they then leave some whalers trounced.

They save the whales and bring them back, with Dr. Taylor in tow,

And crash into the ocean, where the two whales swim below.

 

They calm the enigmatic probe, which leaves no worse for wear,

And seas and skies all stabilize, like it had not been there.

Since Kirk and crew have saved the Earth (again), Starfleet is wise,

And Kirk’s again the captain of a brand new Enterprise.

_____________________

 

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

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

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

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

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

 

Artistry: 7

Characters/Actors: 9

Entertainment: 8

Visual Effects: 7

Originality: 9

Watchability: 8

 

TOTAL: 48 out of 60

 

Next: #141 – Grave of the Fireflies

© 2014 S. G. Liput

186 Followers and Counting

 

Mrs. Doubtfire (1993) / Robin Williams Tribute

Tags

Comedy, Drama

Daniel Hillard loves his son

And both his daughters, every one,

Perhaps a bit too much.

When wife Miranda seeks divorce,

He must be near his kids, of course,

Through trickery and such.

 

His make-up artist brother molds

A new persona Dan upholds,

A nanny Mrs. Doubtfire.

As Daniel acts his chosen role,

He fools his family on the whole,

Though Dan is still an outlier.

 

Enforcing rules he used to flout,

At first he makes his children pout,

But he/she proves proactive.

He’s sad to see Miranda dating

Some Bond type named Stu he’s hating

Since he’s so attractive.

 

Meanwhile, Daniel gets a job

And makes himself no more a slob,

A point he gets across.

By accident, he earns a chance

At his own show, but, in advance,

He must impress the boss.

 

Miranda’s birthday’s that same night,

At that same restaurant! Awkward, quite.

So he goes forth and back

Between the tables, switching roles,

But things spin out of his controls,

And he starts losing track.

 

Thanks to a snafu of his own,

His Mrs. Doubtfire cover’s blown,

Which shocks his former wife.

But as in court, he pleads his case,

She sees the passion in his face;

To spare him separation’s knife,

She lets the kids stay in his life.

____________________

 

There must be something inherently funny about cross-dressing, since AFI’s top two comedies were Tootsie and Some Like It Hot. Though neither one featured sexual reasons behind the masquerade, Mrs. Doubtfire has the best, a father’s love for his children. This film is an excellent example of the inimitable skill of the late Robin Williams. It features some of his manic delivery, his quick-thinking dialogue, his talent for impressions, and his capacity for unforeseen sincerity. Just as Dustin Hoffman wowed audiences by convincingly portraying a woman in Tootsie, Williams does an outstanding job in the title role, and, thanks to Oscar-winning make-up, there’s no doubt about why his family didn’t recognize him.

The film is rife with outstanding one-liners, a self-aware soundtrack, and many now-classic comedic moments, such as Daniel trying to hide his alter ego from a court liaison in his apartment (as well as his rapid-fire impressions trying to make her laugh), his initial fooling of Miranda over the phone, and his/her rocking out with a broom. The sequence at the end, in which Daniel must alternate between engagements, is now an all-too-familiar routine in animated shows (an episode of Hey, Arnold! comes to mind), but it’s the hilarious highlight of the film. Sally Field and Pierce Brosnan also shine as Miranda and Stuart, and Field’s reaction to Daniel’s subterfuge recalls her memorable personality switches in Sybil.

Overall, Mrs. Doubtfire not only has humor in spades, but it showcases the heart with which Robin Williams could fill his performances. His behavior throughout the film is indeed cause for concern, but his heartfelt speech before the judge at the end makes it completely understandable, at least to the audience and to Miranda. It was just a coincidence that this film came on my list so soon after his death, but it’s one of his most enduring comedies and, like all his films, will now include a touch of sadness at the loss of a legend.

Best lines (I couldn’t choose): (Daniel, dressed as Mrs. Doubtfire, after catching on fire) “My first day as a woman and I’m getting hot flashes.”

 

(Daniel, as Mrs. Doubtfire) “Oh, I thought I saw Clint Eastwood; that would make my day! He is such a stud muffin!”

 

(Mrs. Doubtfire, when told God made her as she is) “Well, He broke the mold when He made me.”

 

(Mrs. Doubtfire, speaking of her fake husband) “He was quite fond of the drink. It was the drink that killed him.”

(Miranda) “How awful. He was an alcoholic?”

(Mrs. Doubtfire) “No, he was hit by a Guinness truck. So it was quite literally the drink that killed him.”

 

Artistry: 9

Characters/Actors: 10

Entertainment: 10

Visual Effects: N/A (not counting make-up)

Originality: 9

Watchability: 10

 

TOTAL: 48 out of 60

 

Next: #142 – Star Trek 4: The Voyage Home

© 2014 S. G. Liput

186 Followers and Counting

 

P.S. It doesn’t compare to the testimonies of those who knew him personally, but below is a short tribute to Robin Williams and his career. May he rest in peace.

 

He charmed as an alien hatched from an egg,

A naïve observer, a fun powder keg.

Endearing and funny and mentally quick,

He made every film he was in. Take your pick.

 

A radio DJ, a nutty professor,

A nanny pretending so no one will guess “her,”

A seller of cars, and a feverish genie,

A rain forest bat, and a shrewd Arctic meanie,

An android, and Theodore Roosevelt too,

A player who learns what a board game can do,

A doctor who helps patients frozen in time,

A therapist aiding a lad in his prime,

A heavenly soul mate, a tap-dancing creature,

A Fagin musician, a wise English teacher,

A weird photo maker, a manic gay man,

A Holy Grail seeker, a grown Peter Pan.

I doubt any other like him shall exist.

Farewell, Robin Williams, for you shall be missed.