My Top 12 Time Travel Movies

Tags

Lists, Sci-fi

The intricacies of time may never be cracked by actual science, but in the fictional world, possibilities run rampant. Ever since I was a kid reading Frank Peretti’s book The Legend of Annie Murphy (a western mystery with a cool time-bending climax), I’ve loved a good time travel story. Sometimes, it’s simply a device to propel a non-sci-fi plot; other times, it’s the catalyst for some fish-out-of-water humor or a geeky escalation that hurts the head if you think too hard about it. While there are plenty of examples out there, including some that are still on my to-watch list (like The Butterfly Effect and 12 Monkeys), these are my top twelve time travel films thus far. Let me know if you have other favorites, and I may go back in time to update it.

12. Time after Time (1979)

Starting off much like H. G. Wells’s The Time Machine, Time after Time sends Wells himself (Malcolm McDowall) from Victorian England to the present day, I mean 1979, as he searches for a time-hopping Jack the Ripper (David Warner). Not only does this film have fun with its setting and astute social commentary, it united McDowall and Mary Steenburgen, who married the next year.

11. The Time Traveler’s Wife (2009)

While reviews for the big-screen adaptation of Audrey Niffenegger’s novel were so-so, this is one romance that enthralled me with its time-skipping premise. Eric Bana’s Henry DeTamble is unlikely to forge any lasting relationship, considering his mysterious genetic disorder that randomly displaces him in time, but Rachel McAdams’ Clare falls in love with him. They build a marriage as he jumps in and out of her life, and the result is touching and bittersweet. That fading handprint gets me every time.

10. Meet the Robinsons (2007)

While not one of Disney’s biggest successes, Meet the Robinsons balances colorful silliness with deeper themes of belonging. When whiz-kid Lewis is whisked into the future by Wilbur Robinson, he meets Wilbur’s wacky family and faces past and future mistakes that threaten to destroy him. Based on William Joyce’s non-time-travel-related A Day with Wilbur Robinson, the film features plenty of laughs (and tears from my VC) and an admirable message that would make Walt Disney proud: “Keep Moving Forward.”

9. The Girl Who Leapt through Time (2006)

Mirroring the quiet tone of another favorite anime film of mine, Whisper of the Heart, The Girl Who Leapt through Time has plenty of plot holes that often plague time travel movies, but its sensitive teen drama overshadows any faults. When Makoto mysteriously develops time-jumping abilities after falling into the path of a train, she uses them for fun and realizes too late the negative impact her temporal meddling has on others.

8. Source Code (2010)

Though Jeffrey Wright specifically explains that his source code is “time reassignment” rather than time travel, the differentiation between the two is minor enough to still earn this a spot on the list. Starting off much like Groundhog Day, Jake Gyllenhaal is tasked with finding a bomber by reliving his last strike on a passenger train. Twists and moral concerns abound, and the finale takes a brilliant detour to an unexpectedly satisfying end.

7. X-Men: Days of Future Past (2014)

I didn’t think it was possible for the X-Men franchise to recover from the despicable blow that was The Last Stand, but director Bryan Singer delivered in spades. When Wolverine’s consciousness is sent back to the 1970s to stop events that lead to the mass extermination of mutants, he must deal with the seeds of disaster and unwilling allies with plans of their own. Not only does this latest installment build on the rebooted team with James McAvoy and Michael Fassbender, but it ties up the earlier trilogy to grant the older characters the happy ending they deserved.

6. TIE: The Terminator (1984) and Terminator 2: Judgment Day (1991)

These two classics from James Cameron only employ time travel to bring the killer cyborg/rescuer from the future, but their mission has always been to change the past. Schwarzenegger’s Terminator in the first aims to murder John Connor’s mother before the resistance leader is born, while Arnie becomes a hero in T2 protecting young John from an even more advanced killing machine. Judgment Day is the best and coolest for me, with groundbreaking special effects that still hold up well, but both deserve placement here.

5. Bill and Ted’s Excellent Adventure (1989)

Now from a violent android actioner to a ridiculous dimwit duo! Dumb humor rarely strikes me as smartly as it does in this ‘80s cult classic. Bill (Alex Winter) and Ted (Keanu Reeves) may seem like the biggest slackers of San Dimas, but they’re destined for greatness, as long as George Carlin helps them with a history presentation. With a century-vaulting phone booth (which is obviously not the TARDIS), the two valley dudes collect historical figures left and right, only to lose them hysterically. Excellent!

4. TIE:   Star Trek IV: The Voyage Home (1986) and Star Trek: First Contact (1996)

Both the original series of Star Trek and The Next Generation had some great time travel stories (such as The City on the Edge of Forever or Time’s Arrow), but they outdid themselves when they applied this classic sci-fi device to a full-length feature. The Voyage Home isn’t quite on par with Wrath of Khan or The Undiscovered Country, but it’s fun to watch Kirk and the gang in the 1980s as they search for humpback whales to save the planet. Hello, Computer! And First Contact went a far darker route, pitting Captain Picard against the Borg’s preemptive temporal attack and his own demons. It’s easily the best Next Gen film. I suppose the 2009 Star Trek reboot also features time travel, but these two always come to mind first.

3. Somewhere in Time (1980)

One of my original cryfests, Somewhere in Time is a tragedy of star-crossed lovers separated by decades (and a penny). Christopher Reeve hypnotizes himself into traveling to 1912 in order to connect with an intriguing actress (the beautiful Jane Seymour). Coping with her uncooperative manager (Christopher Plummer) and the caprice of time, the two unite for a true tearjerker.

2. Groundhog Day (1993)

Bill Murray found his greatest role in prickly weatherman Phil Connors, doomed to relive the same maddening Groundhog Day over and over. His responses to this unforeseen phenomenon are priceless as he enjoys, exploits, grows weary, and finally learns from all the repetition. His exchanges with the townspeople and lovely Rita (Andie McDowall) grow comfortably familiar over time, and as often as he relives February 2^nd, I never get tired of watching Groundhog Day all over again.

1. Back to the Future Trilogy (1985, 1989, 1990)

For many, Back to the Future was their first introduction to the idiosyncrasies of time travel, of ripple effects that could change the future, alternate time lines, and overlapping temporal corollaries. The trilogy also delivered all this timey-wimey mumbo jumbo with cool DeLoreans, flux capacitors, classic quotability, and the endearing odd couple team of Marty McFly (Michael J. Fox) and Doc Brown (Christopher Lloyd). The first Back to the Future may be Robert Zemeckis’s most beloved film, but I’ve always been partial to Part II, which tied in brilliantly with the first, even if its version of 2015 wasn’t quite accurate. Time travel may be “heavy” at times, but Back to the Future kept it just light enough to be endlessly fun.

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In addition to the alphabetical honorable mentions below, I should also name-drop some great time-hopping TV series, like Quantum Leap, Lost, and several episodes of Star Trek: Voyager (Future’s End and The Year of Hell, for example). I still need to check out more Doctor Who eventually, but I’m sure I have plenty of time.

13 Going on 30 (2004) – A cute rip-off of Big that was better than I expected.

A Christmas Carol (1951, 2009) – This would be much higher on a Christmas movie list. There are lots of good versions out there, but I usually go with the Alastair Sim classic or the Jim Carrey animation.

Escape from the Planet of the Apes (1971) – What would happen if talking apes landed in 1970s America? Good question for a good film, sort of like the Star Trek IV of this franchise.

Field of Dreams (1989) – I’m not enamored of this film like many out there, but it’s still enjoyable with a small time-travel fantasy thrown in.

Flight of the Navigator (1986) – This light sci-fi film enthralled me when I was younger with its intriguing alien abduction plot.

Interstellar (2014) – I saw the twist coming, but Nolan’s latest movie gave him a chance to play with an interdimensional tesseract.

Men in Black 3 (2012) – Time travel breathed some new life into the franchise’s last entry, especially set against the 1969 moon launch.

Predestination (2014) – A mind-bending puzzle as only Robert Heinlein could conceive.

The Shining (1980) – This one may not seem like time travel, but the final scene does make one wonder.

The Time Machine (1960) – A favorite of my dad’s, George Pal’s adaptation of H. G. Wells’s novel still holds up all these years later.

A Shine of Rainbows (2009)

Tags

Drama, Family

Where’er a rainbow touches earth or dives into the sea,
There our share of pain we bear in love most happily.
For as the bow that spans the sky but briefly holds earth’s hand,
So our connections slip away and often end unplanned.
Yet we don’t mourn the rainbow when its brilliant colors fade;
We find those colors elsewhere and remember them arrayed.
When grief and love remind us how the rainbow calmed our fears,
We wait through heaven’s tears for when another one appears.
__________________

Rating: PG

Based on Lillian Beckwith’s novel, A Shine of Rainbows may seem on the same level as a predictable Hallmark film, but it’s endearing enough to give you that warm satisfaction that only a good Hallmark film can.

Early on, young Tomas (John Bell) is adopted by the kindhearted Maire (Connie Nielsen), who ushers him out of the drab, unfriendly orphanage to her Irish island home. While the technique isn’t used again, this beginning mirrors other films like Pleasantville or The Wizard of Oz in emphasizing the contrast of Tomas’s near-black-and-white dejection thus far with the bright and happy colors of his new parent. The rest of the film is full of lush greens and reds and blues that carry an intentional magical quality, making the setting of this Celtic paradise the film’s greatest strength.

I was surprised to learn that John Bell, the little boy who plays Tomas, went on to play Bain, the son of Bard the Bowman in the latter two Hobbit films. Here, he is a shy and sensitive lad, coaxed to happiness by Maire and scared to silence by her husband Alec (Aidan Quinn). Tomas’s intimidation every time he sees Alec grows tiresome after a while, but Maire makes up for Alec’s coldness with warm lessons and stories. After Tomas’s initial introduction to this new family life, there’s the familiar storyline of an indifferent father figure needing to open his heart, and while I could see where the plot was going, it still carried enough heartbreak and warm fuzzies to be engaging.

To be honest, what this film most reminded me of was 2014’s animated Song of the Sea, another Irish family film with Gaelic myths of a stone giant, a distant father, and a climax involving helpful seals. Song of the Sea is much more fanciful, but the Irish accents and some of the themes kept bringing it to mind. Winsome subplots fill out the story, such as Tomas’s friendships with local kids and his care for a cute, obviously animatronic seal. While I enjoyed Song of the Sea more, A Shine of Rainbows is an appealing family drama that should please any lover of Irish scenery.

Rank: List Runner-Up

© 2015 S. G. Liput

337 Followers and Counting

Opinion Battles Round 9 Best Adapted Novel/Book

For Round 9 of Opinion Battles, we all picked the best adapted novels. My choice was the classic Shawshank Redemption, a choice so good that two others picked it too. Lots of great picks, though, so vote for your favorite!

Movie Reviews 101

Best Adapted Novel/Book

When it comes to adaptation from classic books or novels we get a huge number coming out each year, some a great others are terrible. We are going to look at the ones we think are the best, which ones do you enjoy?

If you want to take in the next round of Opinion Battles we will be doing best Animé email moviereviews101@yahoo.co.uk The deadline will be September 6^th 2015.

Darren – Movie Reviews 101

Of Mice and Men (1992)

When it comes to books too movies we have had many classic films come from source material, Shawhank Redemption, The Shining, Harry Potter series the list goes on but I don’t read too many books in fact I think I have only read about 6 books since school and I watch to pick my favourite of the film that read. The list includes World War Z…

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Argumentative August #24 – The Passion of Joan of Arc (1928) – Rhyme and Reason

Here’s my fourth review for Argumentative August, which happens to be my first review for a silent film, Dreiser’s classic The Passion of Joan of Arc.

MovieRob

Ryan and I would like to once again welcome you to another review for our Argumentative August Blogathon.

This next film, The Passion of Joan of Arc (1928) is being reviewed by SG of Rhyme and Reason

Let’s see what SG thought of this movie….

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Undeterred by voices heard

By quiet, cautious captive Joan,

Rival judges bearing grudges

Fret and threaten from their throne.

Each complaint against the saint

Is useless as they menace harder.

Self-control and strength of soul

Prevail to mark her as a martyr.

______________

Rating: Not Rated (could be PG-13, mainly for the end)

As the oldest film for this Argumentative August blogathon, The Passion of Joan of Arc takes some effort to watch. I haven’t seen many silent films, but the film’s lack of sound or Chaplinesque antics made it somewhat of a chore to sit through. Considering that silent films often rely on…

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My Top 12 Musical Numbers

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Lists, Musical

After counting down a list of 365 movies and a catalog of 50 film scores, I’ve decided to find a nice round number for my future lists – 12! Top tens are everywhere so I’ll go two steps better and make every list a dozen. Lots of good things come in twelves: eggs, doughnuts, apostles, months, Gilbreths (look it up).

For my first Top Twelve, I’ll keep to the musical theme of my last list and recount my top musical numbers from musical films. This is not to say that these are necessarily the best songs, though some are. Rather, I consider a musical number to be the full package of a song: the vocals, the choreography, the cinematography, the physicality of the actors, the overall spectacle of the performance. All of these factors add up to pure entertainment, scenes I could watch anytime. (No animated songs this time; that’s another list and shall be told another time.) It does help that I love musicals in general, and of course this list is the product of personal preference, keeping everything to one song per musical. Let me know what you think, whether you agree or not so much. Let the listing commence!

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12. “America” – West Side Story (1961)

As popular as it is, West Side Story has never really grabbed me as one of the great musicals. It’s not that I dislike it; I just find it overrated. Nevertheless, I love the song “America,” sung by Oscar winner Rita Moreno and her Puerto Rican compadres. “America” turns a domestic argument over the pros and cons of a new home into an ingenious, toe-tapping debate. Full of witty rhyming come-backs and Latin flair, this is the highlight of the whole film.

 

11. “That’s How You Know” – Enchanted (2007)

As the centerpiece of Disney’s enchanting crossover into live action, “That’s How You Know” puts Amy Adams in the spotlight, while spanning the whole of Central Park. Despite this being the supposed real world, plenty of performers and pedestrians join her like in an animated musical, proving Giselle’s infectious appeal and musical joie de vivre. Patrick Dempsey’s stern confusion is the perfect counterpoint to all the sincerity around him.

 

10. “I Want It All” – High School Musical 3: Senior Year (2008)

I may be in the minority, but I really love the High School Musical films, perhaps because they came out when I was in the perfect tween age demographic. The musical numbers are their key strength, thanks to director/choreographer Kenny Ortega, and I had plenty to choose from. This over-the-top theme, in which Sharpay and Ryan dream big, blows them all away and includes visual cues from other Broadway musicals. While I like the second film best overall, this is proof that HSM reached its big-screen potential with the third film.

 

9. “Me Old Bamboo” – Chitty Chitty Bang Bang (1968)

Dick Van Dyke probably wasn’t going to find any film to compare with Mary Poppins, but I think he came close with Chitty Chitty Bang Bang, at least in the music department. The film overall isn’t nearly as good, but the musical numbers (written by the Sherman Brothers) have the same energy Van Dyke brought to Poppins (and without the fake accent). When his Professor Potts stumbles into a carnival show, he tries at first just to keep up, but eventually leads the whole troupe in some lively choreography while singing the catchiest song about sticks you ever heard.

 

8. “Simon Zealotes” – Jesus Christ Superstar (1973)

Simon the Zealot has always been depicted as one of the lesser apostles, but Andrew Lloyd Webber and Tim Rice’s Jesus Christ Superstar put him in the spotlight for one exuberant song. The zeal of Larry Marshall’s Simon is unmistakable as he goes nuts with a collection of worshipping dancers. Even if he thinks Christ has come to fight Rome, his ballyhoo becomes a genuine song of praise sure to get stuck in your head, while it brings out the head-banging side of my VC.

 

7. TIE

“Make ‘em Laugh” – Singin’ in the Rain (1952)

“Singin’ in the Rain” – Singin’ in the Rain (1952)

A tie here may make this list a baker’s dozen, but in a film full of memorable song-and-dance scenes, these two both rise to the top. “Make ‘em Laugh” is enough to lighten the heaviest moods, and Donald O’Connor’s manic energy is exhaustively entertaining. I’ve heard he had to go to the hospital after filming the scene, and I believe it. On the other hand, Gene Kelly is the star, and the title number is just too iconic to ignore. Classic to the last puddle.

 

 

6. “Step in Time” – Mary Poppins (1964)

Dick Van Dyke once more takes the stage in the most vigorous number from Mary Poppins. Bert and his crew of chimney sweeps take to the roofs of London to prove their superior choreography. There’s no real reason for all the rooftop hullabaloo, but it’s impressive to watch, and no matter what P.L. Travers said in Saving Mr. Banks, it cemented Van Dyke as “one of the greats.”

 

5. “Put on Your Sunday Clothes” – Hello, Dolly! (1969)

Sorry, I couldn’t find a video with the full number, but it’s my favorite part of Barbra Streisand’s inimitable Hello, Dolly! The vibrant dance steps and chipper ensemble wind through the streets of Yonkers as all the main players head to New York to fulfill their dreams. Even robots in 2805 will be humming this tune, according to WALL-E, and I’m glad that Pixar reintroduced this classic number to a new generation. Don’t take my word for it; go enjoy the movie for yourself.

 

4. “Barn Dance” – Seven Brides for Seven Brothers (1954)

While I don’t remember much of the film itself, it’s hard to forget this centerpiece of Seven Brides for Seven Brothers. No lyrics necessary, just a country dance with some of the best gymnastics in any musical, as the Pontipee brothers in their colorful shirts fight for their chosen women in an epic dance-off.

 

3. “Who Will Buy?” – Oliver! (1968)

When young Oliver Twist (an adorable Mark Lester) wakes up in a fancy home after knowing only hardships in his life, everything takes on a magical zest. The enticing cries of the street vendors overlap brilliantly, and everyone cavorts with the joy of a new day, from frilly schoolchildren to maids and handymen. It’s hard to top “Consider Yourself” earlier on, but “Who Will Buy?” carries the real wow of the film.

 

2. “One Day More” – Les Miserables (2012)

Silence, all you Les Mis haters! “One Day More” acts as the culmination of all the exceptional music that came before. Every character’s theme is fused into a rousing ensemble piece to prelude the next day’s battle. Any vocal weaknesses are covered by the power and quality of the group performance (including Russell Crowe), and even the irritating Thenardiers’ tune adds to the overall impact of this magnificent song.

 

1. “Do-Re-Mi” – The Sound of Music (1965)

Nothing could beat the greatest song from the greatest musical ever (just follow the link below). Julie Andrews as governess Maria teaches the von Trapp children how to sing and awakens their dormant musical talent. The streets of Salzburg are an ideal setting for their romp, and the backdrop of the Alps is glorious. Topped like a cherry with that unparalleled high note at the end, this classic scene is easily the king of all musical numbers.

 http://videofarm.daum.net/controller/video/viewer/Video.html?vid=F6TBMSDeZ0k$&play_loc=undefined&alert=true

 

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Runners-Up (in alphabetical order by movie):

 

“Dear Mr. Adams” – 1776 (This funny number expertly melds humor and history. “Homicide! Homicide!”)

“Think” – The Blues Brothers (Aretha Franklin is amazing when her man threatens to walk out on her to join the band.)

“Don’t Go Breaking My Heart” – Ella Enchanted (Silly but fun ending for a silly but fun movie.)

“The Lady’s Got Potential” – Evita (The film’s montage brings to life all the political turmoil of a rocking song.)

“If I Were a Rich Man” – Fiddler on the Roof (Tevye’s conversation with God becomes an amusing what-if daydream in his barn.)

“Never” – Footloose (Yes, it’s a musical, and Kevin Bacon and his stunt double are awesome dancing in the famous warehouse scene.)

“Don’t Rain on My Parade” – Funny Girl (Barbra Streisand at her early best.)

“You’re the One That I Want” – Grease (A catchy duet when Sandy and Danny come together at last.)

“Stick to the Status Quo” – High School Musical (The best song of the first film; still better than anything in Grease, IMO.)

“Work This Out” – High School Musical 2 (A Stomp-influenced kitchen scene with fun choreography.)

“Superstar” – Jesus Christ Superstar (More mocking unfortunately than “Simon Zealotes,” but still a groovy hit.)

“Supercalifragilisticexpialidocious” – Mary Poppins (The longest word deserves a fun animated/live-action ditty.)

“76 Trombones” – The Music Man (An exemplary finale for Professor Harold Hill.)

“Consider Yourself” – Oliver! (An early showstopper spanning the streets of London.)

“Masquerade” – The Phantom of the Opera (A perfect example of the winning opulence of Joel Schumacher’s film version.)

“Get Back” – Sgt. Pepper’s Lonely Hearts Club Band (Billy Preston’s surreal version of this song is even better than Paul McCartney’s, IMHO.)

“The Lonely Goatherd” – The Sound of Music (One of the most entertaining puppet scenes ever.)

“Follow the Yellow Brick Road” – The Wizard of Oz (Dorothy’s introduction to Oz is magical and iconic.)

 

VC Pick: My Bodyguard (1980)

Tags

Comedy, Drama, Family, VC Pick

Schools have plenty, I suppose,
Of classmates easy to befriend,
The kind that never give you cause to fret,
But schools are also home to those
Who like to bully and pretend
That they’re the toughest kids they ever met.

If you are having troubled days
With greedy bullies on the prowl,
Get yourself a bodyguard to sturdily defend,
But difficulties still can faze
The biggest bodyguards that scowl,
And even they could use a caring friend.
___________________

Rating: PG

My VC has a habit of recommending films from the 70s and 80s I’ve never heard of, and this is only the most recent. My Bodyguard is a respectable high school film, sometimes cute and sometimes hard to watch.

After starting at a new school and antagonizing the local bully Moody (Matt Dillon), young Clifford (Chris Makepeace) sees a way out of this abuse by enlisting the local scary kid Ricky Linderman (Adam Baldwin) as his bodyguard. While Linderman is the subject of murderous gossip and does the least he possibly can for Cliff, Cliff recognizes him as a boy deeply in need of a friend and reaches out when no one will. Throughout the film, I kept thinking how much this reminded me of a feature length episode of Hey, Arnold!, the Nickelodeon show about a good city-dwelling kid who helps people. The movie shares certain similarities with the show such as the boy’s eccentric grandmother (Ruth Gordon in the film), his family’s business (a hotel in the film vs. a boarding house in the show), and a plot about bullies and misunderstood potential friends that easily could have been shortened to episode length. This comparison isn’t a complaint since I’ve always liked Hey, Arnold!, and it’s interesting to think how films like this might have influenced it.

Having had a little experience with them in the past, I personally can’t stand bullies, the kind who lord their toughness over the weak and ambush the helpless. My Bodyguard doesn’t show bullying at its worst, but there are still several scenes that made me angry at cruel intimidators whom no one will stop. Of course, this is meant to make their just desserts sweet for everyone else, and though the comeuppance was slow in coming, it was realistic enough to be satisfying and encourage viewers to fight their own battles.

My Bodyguard isn’t quite a high school classic, but it incorporates some realistic darker elements to make the friendship between Clifford and Linderman difficult but rewarding. It also serves as one of those before-they-were-famous films, with recognizable young faces like Dillon and Joan Cusack, as well as the debut for Jennifer Beals (in a very small role) and Adam Baldwin (known as Jayne Cobb to us Firefly fans). Baldwin is perhaps the best here, turning in a quietly damaged performance that anticipated good things to come.

Best line: (Moody) “You broke my nose!”   (Linderman) “It looks better that way!”

Ranking: List Runner-Up

© 2015 S. G. Liput

337 Followers and Counting

The Neverending Story (1984)

Tags

Drama, Family, Fantasy

You think this story’s like the rest,
Like all the books you’ve read before?
It holds a secret none have guessed,
Real quests and dangers to explore.

Can any book draw you inside,
Where wonders wait on every page?
Can characters that there reside
Become dear friends at any age?

Perhaps, yes, any good book can,
But this is no mere written tale.
Just read wherever it began
And lift the word-begotten veil.
______________

Rating: PG

Anyone who’s looked closely at my Gravatar might have noticed that I’m holding Michael Ende’s The Neverending Story, one of my favorite books. I’ve loved this German-to-English fantasy since the first time I read it. I love how each of the twenty-six chapters begins with a different letter of the alphabet, how Uyulala the Oracle speaks only in rhyme, how the lines of fantasy and reality are blurred to draw Bastian and the reader into the land of Fantastica, how it questions the little things of adventure epics like why bathroom breaks are never mentioned, how extraordinary creatures and characters come and go, friends and foes. And of course, I adore how every minor character is given his own untold tale and dismissed with one of my favorite lines of this or any book: “But that is another story and shall be told another time.” No doubt, you’ll be seeing that line elsewhere on this blog.

So then, if I love the book so much, why has it taken me so long to write about the film adaptation from 1984? It’s hard to say; I grew up watching the movie version long before I had read the book, but once I’d been introduced to the novel, the film simply paled by comparison and dropped off my favorites list. It’s not that I dislike it; it captures some of the magic of the book and generally follows the book’s plot, though only the first half of it. Bastian (Barrett Oliver) is a dreamer, a lover of books who is compelled to steal a very special book and follow the adventures of Atreyu the warrior (Noah Hathaway) and Falkor the luckdragon and the Childlike Empress, even as he himself is drawn into the story to battle the Nothing. As a child’s film, it’s a bit darker than the usual fare, akin to Labyrinth or The Dark Crystal. Like those films, it utilizes detailed puppetry to bring many of the book’s characters to life, such as Falkor and Gmork the fearsome wolf and Morla the Aged One. I also like to think the gnomes Engywook and Urgl might have influenced the characters of Miracle Max and his wife in 1987’s The Princess Bride.

Yet while the similarities to the source material are recognizable, there are so many details that are changed. Some are understandable due to the limits of special effects at the time, such as leaving out Ygramul the spider or not making Cairon (Moses Gunn) a centaur, but others just beg the question “Why?” Why did the filmmakers change the name of the magical land from Fantastica to Fantasia (and why did Disney allow it)? Why did they call Atreyu’s necklace the AURYN when the book specifically leaves out the the? Why did they not let the Southern Oracle speak in rhyme? Why did they throw in nudity with the Sphinx gate, knowing this is supposed to be a kid’s tale? Why did they so poorly dub Deep Roy’s voice in the early scene and call him Teeny Weeny as opposed to a “tiny”? They even left out part of that favorite line of mine! All these differences do add up, making for a very inconsistent adaptation, one which displeased the author and prompted him to file an unsuccessful lawsuit.

The visual effects, like the adaptation, are hit-and-miss; while I’m sure they were astounding for the time, some hold up better than others. The Rock Biter (rock chewer in the book), Morla, and the destruction at the end are incredibly well-realized, considering the lack of computer assistance, but many of the puppets and blue-screen shots are very obvious by today’s standards. Likewise, the acting is satisfactory, even though some of it carries a hefty amount of 1980s/child actor cheesiness.

All in all, The Neverending Story is a film I’d recommend to any child who loves books and anyone who loves fantasy. It’s a childhood darling that halfway holds up with its message of imagination and hope, and I do still admire the score for the American version by Klaus Doldinger and Giorgio Moroder. Even so, to anyone who likes this film, I recommend you read the book and see the full scope of The Neverending Story (and ignore the film sequels). The novel is a classic that may someday get a more faithful adaptation, though I ought to check out the HBO miniseries, “but that is another story and shall be told [hopefully] another time.”

Best line: (since my line wasn’t included in its entirety, this is a decent runner-up) (Falkor) “Never give up, and good luck will find you.”

Rank: List Runner-Up

© 2015 S. G. Liput

336 Followers and Counting

Argumentative August #36 – Separate But Equal (1991) – Rhyme and Reason

Here’s my third review for Argumentative August, the should-be-a-classic miniseries Separate But Equal.

MovieRob

Ryan and I would like to once again welcome you to another review for our Argumentative August Blogathon.

This next film, Separate But Equal (1991) is being reviewed by SG of Rhyme and Reason

Let’s see what SG thought of this movie….

____________________________________

“Separate but equal,”

They cited the law.

Separate but equal

And so it should stay.

Some called it fair

With no thought for its flaw,

Clear inequality

On full display.

“Separate but equal”

Could only be felled

By unequalled lawyers

Intent on the right.

Separate but equal,

To justice they held,

And “separate but equal”

Could not win the fight.

_________________

Rating: PG

Winner of the Emmy for Outstanding Miniseries, Separate but Equal is one of those historically significant miniseries that have nearly been forgotten by modern audiences. It follows the timeline of the historic court case Brown vs. Board of Education of Topeka from its unassuming…

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My Top 50 Movie Scores — Full List

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Lists

Now that I’ve counted down my top 50 film scores over ten weeks, here’s the full list for easy reference, counting down from #50 to #1. Each one has a link to the video used in the earlier posts. As prolific as film composers are, there will no doubt be additions to this list somewhere in the future; plus, the more films I see, the more exposure I’ll have to great movie music. If anyone has a recommendation, feel free to comment!

Being the list maniac I am, this is only the first (or technically, second) of many. As much as I love music and movies, a good countdown is inevitable, but that is another list and shall be told another time.

  Batman – Danny Elfman/ The Dark Knight Trilogy – Hans Zimmer/James Newton Howard
  Sunshine – John Murphy
  Hoosiers – Jerry Goldsmith                                                         Part 1
  Gladiator – Hans Zimmer/Lisa Gerrard
  Star Trek: The Motion Picture – Jerry Goldsmith/ Star Trek – Michael Giacchino

  Glory – James Horner
  Requiem for a Dream – Clint Mansell
  Elizabeth: The Golden Age — Craig Armstrong/A.R. Rahman         Part 2
  Homeward Bound: The Incredible Journey – Bruce Broughton
  Ruby Sparks – Nick Urata

  Backdraft – Hans Zimmer
  Schindler’s List – John Williams
  The Terminator – Brad Fiedel                                                      Part 3
  Rudy – Jerry Goldsmith
  The Last of the Mohicans – Trevor Jones/Randy Edelman

  Superman – John Williams
  Wuthering Heights – Michel Legrand                                            Part 4
  The Crimson Wing: Mystery of the Flamingos – The Cinematic Orchestra
  The Hobbit Trilogy – Howard Shore
  Inception – Hans Zimmer

  Driving Miss Daisy – Hans Zimmer
  The Incredibles – Michael Giacchino
  The Mummy Returns – Jerry Goldsmith                                         Part 5
  The Avengers – Alan Silvestri
  Treasure Planet – James Newton Howard

  National Treasure 1 & 2 – Trevor Rabin
  Elizabethtown – Nancy Wilson
  Chariots of Fire – Vangelis                                                            Part 6
  Dinosaur – James Newton Howard
  Jane Eyre (1970) – John Williams

  E.T. the Extra-Terrestrial – John Williams
  Sinbad: Legend of the Seven Seas – Harry Gregson-Williams
  Cast Away – Alan Silvestri                                                            Part 7
  Home Alone – John Williams
  Back to the Future –Alan Silvestri

  Out of Africa – John Barry
  Sherlock Holmes – Hans Zimmer
  Robin Hood: Prince of Thieves – Michael Kamen                             Part 8
  The Piano – Michael Nyman
  Nausicaä of the Valley of the Wind – Joe Hisaishi

  Titanic – James Horner
   Forrest Gump – Alan Silvestri
   Jurassic Park – John Williams                                                         Part 9
   How to Train Your Dragon – John Powell/Harry Gregson-Williams
   The Chronicles of Narnia – Harry Gregson-Williams

   Laputa: Castle in the Sky – Joe Hisaishi
   Indiana Jones films – John Williams
   Pirates of the Caribbean Trilogy – Klaus Badelt/Hans Zimmer            Part 10
   Star Wars Saga – John Williams
   The Lord of the Rings Trilogy – Howard Shore

Honorable Mentions (in alphabetical order):

A Beautiful Mind (James Horner)
The Assassination of Jesse James by the Coward Robert Ford (Nick Cave/Warren Ellis)
Avatar (James Horner)
Braveheart (James Horner)
Chicken Run (John Powell/Harry Gregson-Williams)
The Cider House Rules (Rachel Portman)
Dances with Wolves (John Barry)
Doctor Zhivago (Maurice Jarre)
Gone with the Wind (Max Steiner)
The Great Escape (Elmer Bernstein)
Hook (John Williams)
The Horse Whisperer (Thomas Newman)
The Hours (Philip Glass)
The Hunger Games (James Newton Howard)
Like Crazy (Dustin O’Halloran)
The Neverending Story (Klaus Doldinger/Giorgio Moroder)
The Shawshank Redemption (Thomas Newman)
The Thin Red Line (Hans Zimmer)
Thor: The Dark World (Brian Tyler)
The Truman Show (Philip Glass)
The Village (James Newton Howard) (The more I listen to this one, the more I think it probably should have been #50.)
Up (Michael Giacchino)

The Hours (2002)

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Drama

As the hours tick away,
Can you find
A peace of mind?
Ere the debt that all men pay,
Will you stress
For happiness?

Will you leave this earth too soon,
Slack to strive
And stay alive?
From life’s grief, none are immune,
And some begin
To give in.

I, for one, refuse, however,
To relent
To discontent.
Ties weren’t made for me to sever;
Life will grow,
Despite the woe.
_______________

Rating: PG-13

The Hours profoundly embodies that famous quote from Henry David Thoreau, asserting that “Most men lead lives of quiet desperation and go to the grave with the song still in them.” In the case of this film, that quiet desperation is the realm of women, whether it be an unstable author in 1923, a depressed housewife in 1951, or an overwhelmed hostess in 2001. There is little relief from this oppressive despair, yet the film has artistry to spare, with a superb score from Philip Glass, vivid cinematography from Seamus McGarvey, and poignant performances from three Oscar-winning actresses and Ed Harris.

On a purely superficial level, The Hours has a haunting allure as it eloquently jumps between timelines and slowly reveals their connections, but as I delve deeper into its messages, I find them more and more dubious, even appalling. Let’s start with the three storylines. In Plot 1, Virginia Woolf (Oscar winner Nicole Kidman in a false, uglifying nose) begins her novel Mrs. Dalloway, preparing for visitors and mourning her unsatisfying country existence. In Plot 2, Laura Brown (Julianne Moore) stumbles through the simplest activities and mourns her unsatisfying suburban existence. In Plot 3, bisexual Clarissa Vaughan (Meryl Streep) plans a party for her dying writer friend Richard (Ed Harris) and buckles under the weight of her unsatisfying urban existence. Obviously this is not a “happy” film, but even tearjerkers can offer some hope or peace or gratification in the midst of trials. Based on its three paragons of sorrow, The Hours seems to imply that life and society are inherently unsatisfying and can only be improved by abandonment of society, of responsibility, of life itself.

Setting aside moral qualms about the characters, I find Meryl Streep’s Plot 3 to be the only one that doesn’t deeply vex me, since it at least captures the sorrow and emptiness that this abandonment causes. Plots 1 and 2 are a different story. Both feature their heroines in clear social anguish, yet I find it hard to sympathize with either one since both of them share a galling selfishness. Mrs. Woolf goes out of her way to annoy the servants and complains about protective measures her husband did out of love, though her history of mental illness at least explains her behavior. Mrs. Brown of Plot 2 is the most perplexing of the three, since she acts as if daily life is an unbearable torture when there’s nothing particularly torturous going on. She doesn’t have a mental illness; she doesn’t have a friend dying. I kept asking, “What is your problem?” and as she decided on different forms of “escape,” I wanted her to just look at her little son and recognize that he alone, a gift of God and the envy of her neighbors, ought to be reason enough for her to bear whatever emotional constipation she was enduring.

I see why The Hours was so acclaimed. Between the acting, the haunting music, and the overall artistry, it’s a film to be studied rather than enjoyed. In particular, I liked the writer details, such as how Virginia Woolf decides to write her book based on the first sentence she develops or how she explains why a character must die. There is good, but as the film nears its end, there is an intellectual, venomous bad as well. The abandonment I mentioned earlier takes center-stage, and instead of being rebuked, it is sympathized and even admired. This mirrors the novel Mrs. Dalloway as well, and Woolf’s ideas in it have clearly affected the scholastic view of her own life and suicide. In watching a behind-the-scenes feature on the DVD, I was shocked at how critics and academics used words like “bold” and “courageous” in describing how she took her own life. I’m sorry, but I find nothing courageous or admirable about the tragedy of suicide nor the actions of several sufferers in The Hours. When one character attempts to explain those actions and comments that she had “no choice,” my feelings toward the movie were clinched. Woolf in the film mentions how we should “love [life] for what it is” but then “put it away”; I disagree. One doesn’t put life away; I could counter with one of the film’s own quotes: “You cannot find peace by avoiding life.”

Best line: (Woolf’s sister Vanessa, to her own daughter) “Your aunt is a very lucky woman, Angelica. She has two lives: the life she is living, and the book she is writing.”

Rank: Dishonorable Mention

© 2015 S. G. Liput

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