United 93 (2006)

Tags

Drama, History, Thriller

Another day, another morning, not unlike the ones before,
The sun was shining without warning of the tragedy in store.
Another day of normal business, little slated to befall,
The kind to sink into the past without a reason to recall.

Some went about their own routines and kissed their families goodbye,
No knowledge of the future scenes to note suspicion in the sky.
Some woke to smoke and disbelief at holes in buildings unforeseen,
And average folk observed in grief the horrors on their TV screen.

A few of those who woke that day believing they’d have many more,
Above the fields of Pennsylvania, heard the early sins of war.
They perished there as victims of a sudden sorrow we regret,
But challenged it as selfless heroes whom we never will forget.
________________

MPAA rating: R

After hearing so many positive reviews of United 93, I decided I ought to watch it myself, and though I had hoped to see it around the anniversary of 9/11, its power doesn’t rely on when it is seen. Many films based on history try to recreate events accurately, but even if they avoid anachronisms and errors, they rarely transcend their status as a re-creation. Even with historical films I love like Titanic and Chariots of Fire, the presence of recognizable stars, artistic license, and that Hollywood polish belie the fact that I am watching a movie. United 93 is one of the few films that suspended that understanding and temporarily convinced me that I could be watching real events.

Obviously this was the goal for director Paul Greengrass (Captain Phillips), who purposely employed hand-held cameras for their realism and chose unknown actors or, in the case of the ground crews, many of the actual flight controllers who were working on September 11, 2001. The events of 9/11 are widely known, and by focusing on one plane’s story, the film never lets us forget that the viewer is watching a tragedy in progress. Because United Airlines Flight 93 was the only plane where the passengers fought back, its story is clearly the most dramatic in nature, yet its narrative is as convincing as a documentary and never feels theatrical.

From the time of the plane’s takeoff, events play out in real time. Normal people go about their business, making phone calls, taking pills, ordering breakfast, chatting about their kids, and ignoring the four overly silent Arabs who board Flight 93 out of Newark. Because we all know what will happen, the tension builds naturally, as reports come in of American 11 and United 175, which targeted the World Trade Center before Flight 93 had even been hijacked. Realistic interchanges between the air traffic controllers in different cities and the military reflect the confusion of that day, along with all the fear and uncertainty. When the awaited hijacking actually does happen, the tension and anticipation reset as the hostages, like the terrorists before, wait for the right moment to make their move. Difficult decisions and teary phone calls and desperate prayers are made, and even though I knew the outcome, the film made me hope and believe that the passengers might be successful.

Perhaps the most affecting scene is the glimpse we get of the field near Shanksville, Pennsylvania, where the plane crashed. On one of our vacations, my mom and I visited the Flight 93 National Memorial there and walked along the wall of names and saw the boulder that marks the impact point. It was cold and nearly deserted at that time of day, but I got a sense of the importance and grief behind the memorial. Though the film doesn’t even attempt to name the passengers, I felt United 93 only deepened my admiration and sorrow for these fallen heroes who never planned to be heroes.

Best line: (flight attendant Sandra Bradshaw, making a heartbreaking phone call) “But, baby, I promise you, if I get out of this, I’m quitting tomorrow. I’ll quit tomorrow. I promise, I’ll quit tomorrow.”

Rank: List-Worthy

© 2015 S. G. Liput

340 Followers and Counting

My Top Twelve Quotes That No One Seems to Remember

Tags

Lists

In centuries past, people memorized poetry, but sadly that practice has fallen by the wayside. So how do we nowadays express our knowledge of entertainment and culture? Movie quotes, that’s how. Everyone has a favorite, and there is no shortage of lists and rankings for the great ones. For people like me who enjoy film quotes enough to read this post, there are many that have wormed their way into our everyday dialogue. I can’t remember how many times I’ve heard or said things like “Game over, man. Game over!” or “What we have here is failure to communicate” or “I’ll be back” or “As you wish” or “I love the smell of bacon in the morning.” Yeah.

Yet there are just as many great quotes that don’t get as much recognition. They often come from specific personal favorites or might just be underrated gems hidden among a film’s more famous lines. Either way, these are quotes that usually serve as inside jokes among the few who know them. Typically, when I employ them outside the family circle, people have no idea what I’m quoting, and I think it’s about time these lines get the attention they deserve. Many of these I remembered offhand, but others only came to mind after several days of waiting for someone to spit them out subconsciously.

To test just how unknown these lines are, I’ve set this list up as somewhat of a game. You can scroll down to read each quote and try to identify its source before going down a little further for the answer.

Something tells me these aren’t all obscure, but I never see them on other lists and I do get a kick out of using them. What are your favorites?

 

12. “And we’re walking, and we’re walking…”

 

 

 

Dave – I’ve always enjoyed this political romantic comedy, in which Kevin Kline must take the place of his doppelganger President and falls in love with the First Lady (Sigourney Weaver). For some reason, though, the scene that always sticks in my mind is Bonnie Hunt’s cameo, in which she leads a tourist group through the White House. The perfect line for leading someone or just, you know, walking.

 

11. “It is time. Oooooh!”

 

 

 

Heart and Souls – A childhood favorite of mine, Heart and Souls followed four dead souls completing their unfinished business through their human friend/vessel (Robert Downey, Jr.). What else would you expect a ghostly bus driver (David Paymer) to say when he drives through a wall to reclaim the wayward souls? His own personal sound effect adds to this line’s appeal. Perfect for announcing the time.

 

10. “You swear?”

“Every damn day.”

 

 

 

The Mummy – I love Brendan Fraser’s heroic Rick O’Connell in this action horror remake. This particular line is so quick that most viewers probably didn’t even notice it, but when Evie (Rachel Weisz) demands reassurance with the question above, he delivers the perfect answer. I’m not a fan of swearing, but I always laugh at that line. Perfect for whenever someone asks you to swear.

 

9. “This is a very interesting situation!”

 

 

 

It’s a Wonderful Life – Properly said in your best Jimmy Stewart impression, this quote is ideal for when your sweetheart is naked in a bush and you’re holding the only robe in sight. The look on his face is priceless too. Perfect for just about any remotely interesting situation.

 

8. “I like that boulder. That’s a nice boulder.”

 

 

 

Shrek – When Donkey has to come up with something nice to say about Shrek’s swamp, a boulder is the best thing he can praise. This line may be referencing something else, but I have no idea what it is. Just replace the word “boulder,” and this line is perfect for complimenting anything.

 

7. “It was real, and it was great, and it was really great.”

 

 

 

Elizabethtown – When Drew (Orlando Bloom) tries to reconnect with sort-of girlfriend Ellen (Jessica Biel), she lets him down easy with this should-be classic line. Other memorable quotes from this Cameron Crowe favorite of mine include “You failed, you failed, you failed” and “I’m going to miss your lips and everything attached to them.” This #7 pick, though, is perfect for breaking up or generally taking your leave of someone.

 

6. “You’re right. You’re right. I know you’re right.”

 

 

 

When Harry Met Sally… – This classic rom com has a preponderance of quotable material, from “I’ll have what she’s having” to Billy Crystal’s “pepper in my paprikash” spiel. Honestly, this one flew under my radar for a long time until my VC pointed it out and employed it regularly, just like Carrie Fisher every time Meg Ryan points out that her lover will never leave his wife. Perfect for admitting you’re wrong with no intention of changing.

 

5. “Aye, I could do that.” (with Scottish accent)

 

 

 

The Lord of the Rings: The Return of the King – As my favorite movie (series?) ever, Peter Jackson’s Lord of the Rings has had a subconscious effect on my speech patterns. Instead of “Not today,” I say “Not this day!” Instead of “cook potatoes,” I say “Boil ‘em, mash ‘em, stick ‘em in a stew.” Not to mention, “What say you” and “You will suffer me!” Yet I’ve noticed this final film quote from Gimli (John Rhys-Davies) creeping into my conversations a lot lately. Perfect for agreeing to die with a friend or agreeing to anything really.

 

4. “Three hours later…” (with fake French accent)

 

 

 

SpongeBob SquarePants – Okay, so this is from a TV show, but I never said this list was just movies. Used as a running gag on Nickelodeon’s overly long-running kids show (which stretched back to my childhood), this line is utilized by the French narrator whenever a period of time passes. It might be “Three hours later” or “One eternity later” or “So much later that the old narrator got tired of waiting and they had to hire a new one.” Perfect for waiting or practicing fake French accents.

 

 

3. “Helloooooo!” (as high and drunk-sounding as possible)

 

 

 

Miracle on 34^th Street – My mom and I especially love this scene of the original Christmas classic, in which Mr. Shellhammer (Philip Tonge) gets his wife drunk enough to let Santa Claus move in with them. She’s so snockered that she can’t hold the phone right and answers it hilariously. My mom also likes to use her follow-up line “I think that would be simply charming!” This is one inside joke that insiders will love swapping, but everyone else will think you’re nuts. Perfect for answering the phone and maybe scaring off telemarketers.

 

2. “How dare he!” (with fake Scottish accent)

 

 

 

Indiana Jones and the Last Crusade – This is one I use a lot, and not even those who know about it recognize it every time. Surely, you remember the scene where Jones enters the Nazis’ castle in disguise, only for the butler to insist, “If you are a Scottish lord, then I am Mickey Mouse!” Indy’s next line doesn’t get enough credit, though, as he utters “How dare he!” before punching the guy out. It’s a great scene and a perfect line for even the slightest offense.

 

1. TIE

“There are many moods of Ben.” and

“He has an empty space.” and

“Look, it’s mouse on a stick. I love mouse on a stick!”

 

 

 

Stuart Little – I haven’t seen this kids’ film in a while, but it’s easy to forget how quotable it is. The “many moods of Ben” gets the most use at my house, where it can apply to anyone who has varied tastes or is just moody. “There are many moods of Joe or Sarah or me, etc.” The second is great for overly emotional acknowledgements that something is wrong, and the third just makes me laugh every time. That “mouse on a stick” line is uttered by a random hungry cat when Stuart is hanging from a tree branch and is perfect whenever I see or eat anything on a stick (which isn’t as often as I would like).

 

Below are a bunch of other film quotes that my family uses or that we just enjoy more than most:

 

“Keep your pantyhose on!” – The Abyss (My mom uses this line a lot more than I do.)

“Lord, I’d just like to thank You for that waitress in South Bend. You know who she is – she kept calling Your name.” – A League of Their Own (Yeah, no comment.)

“We’re talking…big.” – Baby Boom (Best used with an accompanying expanding hand gesture and perfect for any big event.)

“Last night, Darth Vader came down from Planet Vulcan and told me that if I didn’t take Lorraine out, that he’d melt my brain.” – Back to the Future (I love it.)

“Never trust a man who puts his hands in your mouth.” – Doc Hollywood (I haven’t yet found the right situation to use this line effectively.)

“You want it. You got it. Toyota.” – Forget Paris (Perfect for saying over and over to annoy someone.)

“You’ve attacked an innocent dwarf.” – Foul Play (Perfect for…I have no idea, but it’s funny.)

“Sometimes there just aren’t enough rocks.” – Forrest Gump (Just one bit of wisdom among many more famous ones, and very true.)

“Everything else was lost in the explosion.” – Funny Farm (Perfect for scaring people into thinking there was an explosion.)

“Is it safe?” – Good Eats/Marathon Man (I know this is a famous line from Marathon Man, but I heard it first on Good Eats, a funny cooking show with lots of movie references.)

“Hold onto your butts.” – Jurassic Park (Perfect for preparing yourself for the worst.)

“It comes in pints?” – The Lord of the Rings: The Fellowship of the Ring (Perfect for commenting on the availability of pints.)

“Shall we?” – Monsters, Inc. (Sure, this line was in Sleepless in Seattle too, but I always say it like Mike does after they catch Waternoose in the act.)

“Well, that didn’t work.” – Phineas and Ferb, the pilot episode (Another TV cartoon, but I use this line more often than I care to admit. Perfect “oops” line instead of cussing and screaming when you mess up, or maybe just to sound calm after the screaming.)

Miguel: “Well, don’t blame me.” Tulio: “I BLAME you!” – The Road to El Dorado (A great exchange between Kenneth Branagh and Kevin Kline.)

“Have you tried staples?” – Scrooged (Perfect for attaching antlers to a mouse.)

“Arizona, maybe” and “Little bit jumpy” and “Terrific!” with an OK gesture – Starman (My favorite John Carpenter movie has lots of great quotes.)

“Red light stop, green light go, yellow light go very fast.” – Starman again (Told you; perfect for explaining why you run through yellow lights.)

“Wesa going home!” – Star Wars Episode I: The Phantom Menace (Say what you will about Jar Jar Binks, but he did give me this line, perfect for whenever you’re headed home.)

“I am a lone reed.” – You’ve Got Mail (A great confidence builder from a perfect rom com.)

 

 

Opinion Battles Round 11 Worst Sequel

Here’s Round 11 of Opinion Battles at Movie Reviews 101, where everyone picked the worst sequels imaginable. Superman IV is the worst in my book, but pick which one you think reigns as the biggest stinker.

Movie Reviews 101

Worst Sequel

We have always looked at the best, but now lets look at one subject people always talk about quality of sequels and just how bad some really are. I have picked this subject and I expect to see many different interpenetration of what makes a sequel bad.

Rob and myself are running a Stephen King blogathon through October so I think it would only b right for us to have our own Opinion Battle on Stephen King works, if you want to join in email moviereviews101@yahoo.co.uk by 4^th October 2015 with your picks.

Darren – Movie Reviews 101

Saw 6

I personally am picking a film that shattered what was created by the previous film, I am not saying this is the worst film ever I just feel this film doesn’t do the previous instalments the credit they deserve. I am a fan of the idea behind…

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Source Code (2011)

Tags

Action, Disaster, Drama, Sci-fi

 

Time moves forward, onward toward
A future none can change or guess,
A train that all must get aboard
And some debark with suddenness.

But what if one could board again
To pick up pieces not yet broke,
To change the now before it’s then,
To douse the fire before the smoke?
____________

Rating: PG-13

 

Have you ever noticed a movie that you immediately wanted to see because you could tell solely from the trailer or the premise that you would like it but for some reason or other you just never got around to seeing it even years after it came out? That never happens, right? Well, that’s what happened with me and Source Code, but finally I saw it and found it to be exactly the kind of film I was hoping for and expecting: fast-paced, compelling, and mind-challenging.

When Captain Colter Stevens (Jake Gyllenhaal) wakes up in the body of random commuter Sean Fentress on his way to Chicago, he is shocked at having no memory of how he got there and even more shocked when the train explodes and kills him. Next, he wakes up somewhere else and is told he is part of a secret government experiment for “time reassignment,” which can repeatedly give him the last eight minutes of Fentress’ life in order to figure out the identity of the bomber. Instructed by a sympathetic adviser (Vera Farmiga) and the demanding creator of this Source Code technology (Jeffrey Wright), Stevens returns to the train, where every passenger is a suspect and every repeat reveals something new.

If it seems like a mix of Quantum Leap and Groundhog Day, well, it is, and there’s not a thing wrong with that. I love the concepts of both, and fusing the two was what initially attracted me. Yet as easy as it might be to write the film off as unoriginal, Source Code takes some unexpected turns that not only question the morality of Stevens’s situation but bend its sci-fi idea to turn a no-win scenario into an oddly satisfying ending. (My VC was of a different mind and felt the ending was too unbelievable to be fulfilling.)

Throughout it all, Gyllenhaal provides a surprisingly emotional performance through his eight-minute missions, and the mystery was both enjoyable and urgent. (It was cool how the filmmakers incorporated Quantum Leap’s Scott Bakula for a brief but significant unseen role.) There are certainly unanswered questions, such as the overcomplicated details of how the Source Code actually works and what happens to the real Sean Fentress every time Stevens jumps into him. Nevertheless, like Groundhog Day, Source Code overcomes all its repetition and deserves multiple viewings; just remember, “everything is going to be okay.” Here’s a funny parody from MAD that made me want to see it even more:

 

Best line: (Stevens) “Christina, what would you do if you knew you had less than one minute to live?” (Christina, a fellow passenger) “I’d make those seconds count.”

 

Rank: List-Worthy

 

© 2015 S. G. Liput

340 Followers and Counting

 

My Top Twelve Anime Films

Tags

Animation, Anime, Foreign, Lists

After last week’s Opinion Battle, I noticed that many movie reviewers perhaps have not had much exposure to anime beyond the few Studio Ghibli films that have gained acclaim outside Japan. Thus, I thought my next list would cover my favorite anime (which is just another word for a Japanese cartoon. Cue debate.)

I myself have had a varied history with anime. I grew up with the usual kids’ stuff like Pokémon and Yu-Gi-Oh! and Dragon Ball Z, but it just blended into all the animated TV shows I watched and never stood out to me as something different. Then came Spirited Away, and when it won the Oscar for Best Animated Feature in 2002, my parents and I decided to watch it pay-per-view. Nothing had prepared us for just how bizarre and, well, foreign it was (seriously, green decapitated heads rolling around?), and though I don’t recall my exact reaction other than “it was weird,” my parents totally turned their backs on anime overall. They still haven’t fully recovered.

It wasn’t until years later that a review of Grave of the Fireflies prompted me to give anime another try, and its moving and realistic story contrasted so greatly with Spirited Away that it gave me a new respect for what this genre could accomplish. A marathon of Ghibli films followed, and now I have enough favorite anime to make up a list like this. I don’t know how many like me there are, but I’m one of those people who would sooner watch an animated movie than a live-action one, and anime fits into that category. While it’s not my favorite genre, it’s among my most watchable.

I will say that I’m rather particular about my anime, and the kind I watched as a kid with all the yelling and exaggerated faces and reactions no longer appeals to me. None of the films below nor any Ghibli film I’ve seen carry these clichés, and I think they are better for it. Thus, here are my top twelve anime, and I hope that someone adventurous out there will give them a try as I did. You might find a new favorite too.

#13/Runner-Up: Princess Mononoke (1997), Studio Ghibli, directed by Hayao Miyazaki

This is another film that I was not prepared for, in particular the violence. No other Ghibli film is like it and very few reviews mention how violent it is so I was shocked when heads and limbs started flying. However, when I eventually looked past this graphic element, I saw the story and artwork are amazing, and that the actual violence is a small part of the long running time. I cannot think of another animated film that I could easily call an epic, but Princess Mononoke fits that mold, as it follows Prince Ashitaka on a quest to cure a demon’s curse and restore peace to warring humans and forest gods. The pagan mythology is heavy, but the engrossing action and ambiguous characterization are exactly what made Miyazaki so famous. If only he’d left out the unnecessary violence…. (The English dub includes Claire Danes and Billy Bob Thornton.)

#12: Time of Eve (2010), Studio Rikka, directed by Yasuhiro Yoshiura

A more recent watch that displaced by previous #12, Time of Eve is a six-part web series that was combined into a thought-provoking movie about androids in the near-future. A high school student named Rikuo has always taken robots for granted as nothing more than appliances, but when he discovers a café where robots and humans are treated the same, this legal and moral gray area and its diverse patrons make him question his preconceptions about androids. Episodic and subtle, with much of the bigger picture left to the imagination, this sensitive drama will keep viewers pondering its themes long after the credits roll.

#11: Patema Inverted (2013), Purple Cow Studio, directed by Yasuhiro Yoshiura

While its premise may seem similar to the 2012 live-action film Upside Down, Patema Inverted is still a dazzling piece of work. After an experiment with the earth’s gravity goes awry and sends much of the world’s people falling into the sky, a colony of survivors live underground, despised as “inverts” by the “normal” people above…I mean, below…I mean…you know what I mean. The uncertainty of what’s up and what’s down is part of its appeal. Incredible shifting perspective shots give the viewer an idea of what different characters are seeing, and the core romance between two oppositely gravitated kids provides the heart of this sci-fi. Even if certain aspects are hard to understand, thinking about them exercises the mind (or at least it did mine). I haven’t seen Upside Down, but I’ve heard it didn’t fulfill its potential; Patema Inverted does.

#10: The Wind Rises (2013), Studio Ghibli, directed by Hayao Miyazaki

While Miyazaki’s work has been universally praised, it’s all much more appealing to the eyes and imagination than to the heart. He changed that with his final film, The Wind Rises. More down-to-earth than his fantasy films, it nonetheless flies high as it depicts the life and dreams of Jiro Horikoshi, the real-life designer of the Japanese Zero plane. The film carries some real emotional weight as Jiro falls in love and is forced to balance his engineering goals with the inevitable tragedy of loss. It’s one of the sweetest anime romances I’ve seen and an example of how creativity can lead to destruction. (The English dub includes Joseph Gordon-Levitt and Emily Blunt.)

#9: The Castle of Cagliostro (1979), Tokyo Movie Shinsha, directed by Hayao Miyazaki

Here we jump from Miyazaki’s last film to his first. The Castle of Cagliostro may seem dated compared with other more popular anime, but its entertainment value outweighs much of the competition. The James-Bond-style adventure follows the exploits of gentleman thief Lupin III as he infiltrates a European castle and crosses a dangerous count to rescue a princess and uncover a counterfeiting operation. Just one among many Lupin films, Cagliostro stands out thanks to Miyazaki, who made the main characters more likable and exhibited his early craftsmanship.

#8: Cowboy Bebop: The Movie (2001), Bandai Visual Company/Sunrise/Bones/Destination Films, directed by Shinichiro Watanabe

 

Cowboy Bebop is hailed as one of the greatest anime shows ever, and its follow-up movie delivered more of the same awesomeness. Set between episodes 22 and 23 of the show (right before plot threads started wrapping up), the film fits into the episodic nature of the show as just one more adventure for the futuristic bounty hunters aboard their ship, the Bebop. Thus, it’s fairly accessible to newcomers and doesn’t require prior knowledge of the characters. When a terrorist releases a biological weapon on heavily populated Mars, the astronomical bounty on his head attracts Spike, Jet, and Faye to follow his trail. With elements of film noir and crime thrillers, this film boasts stylish action and music, despite its intermittent frank violence. Just watch the opening scene to get an idea of the coolness that is Spike Spiegel.

#7: The Girl Who Leapt through Time (2006), Madhouse, directed by Mamoru Hosoda

A favorite among viewers branching out from Studio Ghibli, The Girl Who Leapt through Time is a sensitive coming-of-age tale mixed with the perks of time travel. When Makoto Konno has the worst day of her life, including being hit by a train (a reeeally bad day!), she awakes to find she has the ability to leap back and forth through time. Juvenile antics give way to unfortunate consequences, and even if plot holes abound, the film excels in both its romance and sci-fi aspects. The end of this film always leaves me with a happy feeling.

#6: Wolf Children (2012), Studio Chizu/Madhouse, directed by Mamoru Hosoda

A darling among many anime reviewers, Wolf Children is an undeniably sweet family drama, one that balances cuteness with the pains of growing up. Combining the joys and trials of parenthood with werewolves may not have been an obvious mix, but Hosoda did an excellent job here. Despite the werewolves, the story is in no way a horror; after a college student named Hana falls in love with a mysterious man, and even after she learns he is half wolf, they share a brief but touching romance reminiscent of the beginning of Up. Most of the film, though, is about how Hana raises their two children Ame and Yuki, trying to hide their wolf side while wishing only the best for them. The ending may be rather disappointing, but the majority of Wolf Children is beautiful.

#5: Children Who Chase Lost Voices (2011), CoMix Wave Films, directed by Makoto Shinkai

I don’t care for much of Shinkai’s past work (e.g. 5 Centimeters Per Second), but once he stopped focusing on abstract feelings and actually told a worthwhile story, he hit this one out of the park. Also known as Journey to Agartha, this movie combines all the best elements of Studio Ghibli’s films into an exciting and occasionally moving adventure. After young Asuna meets an enigmatic boy named Shun, she embarks on a quest to a fantasy world deep under the earth, led by her progressively obsessed teacher in search of lost love. The whole film is about saying goodbye in different ways, and it features subtle morals, thrilling action, and some of the most gorgeously detailed animation I’ve come across.

#4: Nausicaä of the Valley of the Wind (1984), Topcraft/Tokuma Shoten/Nibariki/Hakuhodo, directed by Hayao Miyazaki

This is the film that skyrocketed Miyazaki’s career and directly led to the formation of Studio Ghibli. Nausicaä is both a slightly preachy cautionary tale about pollution and an intriguing post-apocalyptic adventure. Nausicaä herself is a princess, whose peaceful valley is threatened by rival kingdoms vying for both power and a way to halt the spreading of a poisonous forest and its humongous insectoid inhabitants. A lot happens and a lot isn’t fully explained because the story is just part of Miyazaki’s much longer manga (Japanese comic), which he wrote specifically so he could convince producers to finance this film. It was a hit and remains an anime classic with one of my favorite movie scores. (The English dub includes Uma Thurman and Patrick Stewart.)

#3: Laputa: Castle in the Sky (1986), Studio Ghibli, directed by Hayao Miyazaki

Miyazaki’s very next film manages to edge out its more acclaimed forerunner. Laputa: Castle in the Sky (or just Castle in the Sky) was the first film after Studio Ghibli’s formation and my favorite of Miyazaki’s. Set in a high-flying steampunk landscape, it joins likable engineer’s assistant Pazu with young Sheeta, who floats down from the sky with a glowing crystal. Fleeing from air pirates and government agents intent on obtaining her crystal, they race to the ancient floating island of Laputa and the secret power it contains. The score is phenomenal, the characters endearing, and the setting and action stunning. Even my anime-despising mom said it was “pretty good”; Castle in the Sky is a perfect introduction for Studio Ghibli newbies. (The English dub includes Anna Paquin and Mark Hamill.)

#2: Grave of the Fireflies (1988), Studio Ghibli, directed by Isao Takahata

Though other 1988 films like My Neighbor Totoro and Akira seem to get more attention, Grave of the Fireflies is the standout anime of the year and the decade. It’s strange to rank it among my favorites since it’s a deeply depressing tragedy that tears me up inside every time. I used to cry at the drop of a hat when I was younger, but Fireflies is the only film that still makes me sob bitterly. It tells the story of siblings Seita and Setsuko, orphaned after a World War II bombing, who must survive on their own and ultimately fail. It’s not a spoiler since the first scene reveals this fact, but the recounting of how it happened is utterly heartbreaking. Grave of the Fireflies is an emotional powerhouse about the loss of innocence and the cost of war.

#1: Whisper of the Heart (1995), Studio Ghibli, directed by Yoshifumi Kondō

My #1 is probably no surprise for anyone who saw my choice for last week’s Opinion Battle, and I highly doubt that many others would rank it as I would. This is a strictly personal choice (my parents didn’t see its appeal); certainly everyone has a film that speaks to them, even if it’s to them alone, and this one spoke to me. It’s simple and a bit slow, without the fantasy of other Ghiblis, but its realism is part of its appeal. Schoolgirl Shizuku develops a gradual relationship with Seiji, and the two of them encourage each other to follow their dreams and talents. Shizuku wishes to be a writer, and the inspiration she receives has encouraged me as well. Between the creative use of “Country Roads, Take Me Home” (one of my favorite songs) and the gentle, youthful drama, Whisper of the Heart is one of my go-to films for inspiration. (The English dub includes Brittany Snow and Cary Elwes.)

Runners-Up:

Akira (1988), directed by Katsuhiro Otomo – Definitely not for kids and a bit weak on characters, but the influential animation is still amazing all these years later.

Brave Story (2007), directed by Koichi Chigira – Not a lot of explanations, but this likable video-game-style quest features elements of Spirited Away and Children Who Chase Lost Voices.

The Boy Who Saw the Wind (2000), directed by Kazuki Omori – Clearly drawing inspiration from Mizazaki’s films, this adventure fantasy also seems like an influence on Avatar: The Last Airbender.

The Cat Returns (2002), directed by Hiroyuki Morita (Ghibli) – Somewhat of a follow-up to Whisper of the Heart, like a story that Shizuku would write; I’d like it even more if the connection had been made plainer.

Colorful (2010), directed by Keiichi Hara – Like Ordinary People meets Quantum Leap.

From Up on Poppy Hill (2011), directed by Goro Miyazaki (Ghibli) – Young romance mingles with a defense of knowledge and the past in this period piece.

Howl’s Moving Castle (2004), directed by Hayao Miyazaki (Ghibli) – Imaginative fantasy about a cursed girl and a self-centered wizard with a great voice cast (Christian Bale, Billy Crystal) and the best Ghibli animation yet IMO

Interstella 5555: The 5tory of the 5ecret 5tar 5ystem (2003), directed by Kazuhisa Takenouchi – An extended Daft Punk music video that wears thin over time but will easily please Daft Punk fans

Kiki’s Delivery Service (1989), directed by Hayao Miyazaki (Ghibli) – Sweet and simple tale of a young witch coming of age

Millennium Actress (2001), directed by Satoshi Kon – A slightly confusing journey through Japanese cinema and the search for the unattainable; so-so animation but a beautifully evocative ending

Ponyo (2008), directed by Hayao Miyazaki (Ghibli) – Inspired by The Little Mermaid; a cute fantasy for the younger set

Porco Rosso (1992), directed by Hayao Miyazaki (Ghibli) – An old-school story of a hard-boiled pilot in the 1920s cursed with the head of a pig

Paprika (2006), directed by Satoshi Kon – Imaginatively surreal and moderately disturbing, this was a clear forerunner of Inception, and at least one elevator scene seems to have been directly borrowed from this mature sci-fi

The Secret World of Arrietty (2010), directed by Hiromasa Yonebayashi (Ghibli) – Simple but endearing tale based on The Borrowers

Spirited Away (2001), directed by Hayao Miyazaki (Ghibli) – Yes, I saw it again and liked it more, but it’s still very weird and not for anime newcomers

Steamboy (2004), directed by Katsuhiro Otomo – Weak on story but spectacular with the detailed steampunk visuals and much more family friendly than Akira

Summer Wars (2009), directed by Mamoru Hosoda – An entertaining balance between extended family drama, digital smackdowns, and social commentary on our Internet culture

Also, a special mention for My Neighbor Totoro, a family film that has many fans, though I’m not one of them. Its lack of plot just isn’t for me, but anyone exploring anime should still give it a try.

Now that I’ve gotten this list out, I can get off my recent anime kick, but I hope that someone out there finds a new favorite here.

Ordinary People (1980) / Colorful (2010)

Tags

Animation, Anime, Drama, Triple A

So many reasons to throw in the towel,
To give up the ghost or abandon all hope.
Most are ignored with a tear or a scowl,
But some pile up on the few who can’t cope.
Life can be cruel, like the people who fill it,
But there are more ways to improve it than death.
Life can be bright for the people who will it,
Who see all the reasons to take their next breath.
_______________

Ordinary People’s Rating: R (for language)
Colorful’s Rating: PG-13 (for thematic material)

I haven’t done a double review since my comparison of I Am Legend and World War Z, and I thought it was about time for another, especially because I’ve found two similar films of late. It may seem odd to compare an Oscar-winner from 1980 with a recent anime film that few outside of Japan have heard of, but both movies share a particularly moving brand of family drama, depicted through the experiences of a suicidal boy.

Ordinary People marked the directorial debut of Robert Redford and also confirmed that Mary Tyler Moore could handle much more dramatic roles than her comedic TV persona. A favorite of my VC’s and what I term a AAA movie (because it’s All About the Acting), the Best Picture winner of 1980 features Timothy Hutton as Conrad Jarrett, a troubled boy who seems perfectly ordinary on the outside, as does his encouraging father (Donald Sutherland) and distant mother (Moore). He’s part of the choir, he’s on the swim team, and his parents go to dinner parties. Yet behind this ordinary façade lie demons that led him to try to take his own life. Through the insight of a psychiatrist (Oscar nominee Judd Hirsch), feelings of guilt and love are exposed like a raw nerve, and his relationships are both strengthened and strained by his coming to terms with the past. The powerful scenes between Conrad and Dr. Berger won Hutton a Best Supporting Actor Oscar and foreshadowed similar psychiatric purging in films like Good Will Hunting. In addition, the tension between Conrad and his glacial mother is both pitiable and realistic, especially for those who have endured similar indifference from a parent. While trauma endures and relationships are not all wrapped up cleanly with a bow by the end, there is hope that happiness and recovery are attainable for those who can let go of the past. (It was also interesting seeing early roles for Adam Baldwin and [Lost alert] Fredric Lehne.)

Colorful, which was nominated as an Excellent Animation of the Year at the 2010 Japanese Academy Awards, begins with an unnamed sinful soul in the afterlife being given a second chance. He is to be placed in the body of a boy named Makoto who committed suicide and will be given a limited time to make amends for his own past sins while learning why Makoto killed himself. This Quantum Leap-inspired premise is consistently intriguing as the new Makoto struggles to adapt to his new environment while being somewhat guided by an invisible “angel” of sorts (similar to the hologram Al). He learns that his mother had an affair and that his middle school crush is no better morally, and bullying played a role as well. Whereas Ordinary People pits the mother against the son, here it is “Makoto” who will not forgive his mother, always believing the worst of her and of most people, until he begins to look past himself.

Unlike Ordinary People, though, Colorful has some very apparent flaws, mainly in the character interactions. While the rotoscoped backgrounds are quite realistic, many conversations are strangely stilted in ways that go beyond the average English dub, particularly in scenes with an awkward girl who won’t leave Makoto alone. Yet, while I was considering writing the film off for its weaknesses, its poignant strength sneaked up on me. The pacing is slow and sometimes dragged out, but tension often emerges in quiet ways, in contrast to the emotional fireworks of Ordinary People. Characters that initially seem odd or distant turn out to have much more depth, and the eventual familial catharsis was disarmingly powerful. Despite its faults, Colorful boasts the kind of emotions that would probably earn acting Oscars if adapted properly to live action.

While these two films may seem very different visually, both Ordinary People and Colorful feature ultimately life-affirming messages in the wake of attempted suicide. While the former explores survivor guilt and loveless parents, the latter depicts the difficulty of forgiveness and the cost of infidelity. Both are beautiful films in their own way as they highlight how ordinary families cope with tragedy and how a single friend can make an enormous difference in one’s life.

Best line (from Ordinary People): (Dr. Berger) “A little advice about feelings, kiddo: don’t expect it always to tickle.”

Rank for Ordinary People: List-Worthy
Rank for Colorful: List Runner-Up

© 2015 S. G. Liput

338 Followers and Counting

Opinion Battles Round 10 Best Anime

Check out Round 10 of Opinion Battles on Movie Reviews 101. This time, it’s anime. I went with Whisper of the Heart, a personal favorite, but everyone has some great picks (even MovieRob). Vote for your favorite!

Movie Reviews 101

Best Animé

When it comes to animé we have had some of the most beautiful animated movies of all time, usually coming Japan we have decided to pick the our favourites from the amazing cinema that just doesn’t get the praise or chance in mainstream cinema.

So far we have only ever done Best of films but for the next Opinion battles we are going to pick Worst Sequel, if you want to take part email moviereviews101@yahoo.co.uk by 20^th September 2015

Darren – Movie Reviews 101

The Castle of Cagliostro (1979)

I have to pick this one because even though I do feel certain films could be more complete films but this one could easily be the most fun I have had watching an animated movie. The action adventure side is so perfect for animation while the comedy is nailed down brilliantly. To further my case for this…

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The Creative Blogger Award…in Verse!

Tags

Award

 

To James Haseltine back at Back to the Viewer,
I must extend thanks in accord
With the fact that he’s offered to little ole me
My first ever blogging award!

When I first began this here film review site,
I thought that my summary rhymes
Would set it apart from the bloggers who write
On films they’ve seen hundreds of times.

I may not be Longfellow or Dr. Seuss,
But I thought it only made sense
For me to accept this award as excuse
To rhyme at my readers’ expense!

 
The Rules:

From what I have heard and what I understand,
The rules are suggestions and not a demand,
But I am to offer five facts about me
And nominate five other bloggers (you’ll see),
Who then can accept with no need to explain
Or else can continue the nominee chain,
Until every blog with creative creators
Can show off this prize to the infrequent haters.

 
Stuff about Me:

 
1.  Besides the facts that all can see
(Did you know I write poetry?),
I’ll mention that I’m now attending college, going slow.
One class a season takes a while,
But slowly goes the measured mile.
A job in Web Design is calling once there’s more I know.

2.  I used to run a hot dog cart
And worked at it with eager start.
At Hot Dog University, Chicago taught me lots.
A shame it didn’t last for long,
Two months since business wasn’t strong,
But still it gave me insight into mobile food hotspots.
I do still get a kick at parts
Of films that feature hot dog carts.
Most films in New York City have one somewhere in the plot,
Like once in The Avengers where a Sabrett comes to naught.

3.  My favorite film that always sings
Is Peter Jackson’s Lord of the Rings.
I’m fairly good at imitating Gollum’s raspy sneer.
In his first scene, he croaks a threat,
“They’re thieves! They’re thieves!”, and you can bet
That I’ll be sneering out his lines whenever I am near.

4.  I’m known for, on a frequent basis,
Fitting things in tiny places;
Dishwashers and puzzles never stand a chance with me.
Some may think this talent banal,
Or perhaps I’m simply anal.
I prefer to think I’m thorough, wouldn’t you agree?

5.  Of dogs, I’m not the biggest fan;
To me, a better friend of man
Is cats, who never need a walk or slobber, growl, or bark.
I’ve got a sweet feline instead,
The cutest little quadruped
Who can be slightly less cute when her eyes glow in the dark.

My nominees:

These are the bloggers that I nominate;
I’d not be surprised if the five that I state
Already possessed this award, or had eight!

1.  A movie connoisseur to rival any blogger you can find,
MovieRob’s most likely seen more films than you and I combined.
While anime and horror movies aren’t his chosen cup of tea,
It seems there is no limit to the movies (good and bad) he’ll see.
From blogathons to genre highs to yearly retrospective tens,
Rob is always staying active with his movie-blogging friends.

2.  Cinema Parrot Disco is the site where one can be impressed
At all the many musings of a Table 9 Mutant, self-professed.
Beyond reviews, Miss Mutant loves to love her 1980s roots
And dreams up lists of movie rugs and greatest cinematic fruits.

3.  Who doesn’t like red-headed Drew who operates Drew’s Movie Reviews?
From write-ups of films old and new to movie quotes that still amuse
To Fave Five lists all worth a view, Drew’s site was obvious to choose.

 
4.  If you have ever thought that the Academy just got it wrong,
Then head on to A Fistful of Films, where you may end up staying long.
There Andrew’s covering each year, both films you love or maybe missed; he’s
Listing, ranking, and presenting his own film awards, the Fistis.

 
5.  Movie Reviews 101 has genres as its backdrop, so
That maybe gives you some idea of just how many films he’ll know.
Reviews by Darren focus on each actor and component part,
Which helps to understand a film when good and bad are a la carte.
Opinion Battles bring together bloggers with their movie picks,
And countless other features help you satisfy your movie fix.

 
My thanks again to James for nominating me for this award.
(His own reviews are excellent so visit if you’re ever bored.)
I hope to keep appreciating film and poetry for years.
May all of you continue being you and stay creative! Cheers!

 

Argumentative August Supplement #2 – The Judge (2014)

It may be September, but here’s my last review for Argumentative August, the courtroom drama blogathon hosted by MovieRob and Ryan of Ten Stars or Less. This is the most recent movie on their list, 2014’s The Judge, an underrated film to be sure. Big thanks to Rob and Ryan for hosting this dramatically fun blogathon!

Ten Stars or Less

Argumentative August Supplement #2 – The Judge (2014) 

Rob and I would like to once again welcome you to another review for our Argumentative August Blogathon. This next film, one of the supplement reviews, The Judge is being reviewed by S. G. Liput. Let’s see what he thought of this movie…

The Judge (2014) 

Hank Palmer didn’t want to represent his dad, the Judge,

A man devoid of sympathy, a rock that wouldn’t budge.

With pain as fresh as years ago, they craved their separate ways,

But when a charge of murder strikes, reluctantly Hank stays.

As past mistakes converge with new and justice vies with right,

A family quick to come apart grows closer in their plight.

________________

Rating: R (solely for language)

Since I reviewed the oldest film on Argumentative August’s list, I thought I should do the most recent as well. The Judge brings together two phenomenal actors and…

View original post 596 more words

In the Heat of the Night (1967)

Tags

Classics, Drama, Mystery

In the heat of the night, there is murder;
In the heat of the night, there is crime.
There is prejudice pointing the critical finger
And a murderer biding his time.

One must see where his biases blind him;
One must see where his aptitudes end.
If another can help, shouldn’t one get behind him,
Even if he’s more ally than friend?

There are many who won’t understand it;
There are many who’ll say it’s not right,
But stretching convention may help to expand it,
And pay off in the heat of the night.
__________________

Rating: G (perhaps PG would be better)

Here’s another Oscar winner I can cross off my list of classics yet unseen. In a strong year with films like Guess Who’s Coming to Dinner and Cool Hand Luke, I was interested to see what made this mystery drama so much more worthy of Best Picture and Best Actor (for Rod Steiger). While the film itself is an excellent police drama, it’s clear that it was the right film released at the right time, and even if it ruffled some contemporaries’ feathers, it made history by doing so.

For starters, a police patrol car winds through the small Southern town of Sparta, passing some of the key players, only to stumble upon the dead body of the richest man in town. While Steiger’s Chief Bill Gillespie chews his bubblegum vehemently, a black man waiting for a train is arrested on a groundless suspicion and reveals himself to be Officer Virgil Tibbs from Philadelphia (Sidney Poitier). Now Tibbs and Gillespie must collaborate to solve the crime.

While the setup seems simple enough and many films since have forced black and white characters to work together, not many carry the tension of these two men who clearly hate their present situation. Gillespie wants only to get Tibbs out of town, but he knows this case is beyond him and that he needs the other’s expertise as a forensics specialist. Tibbs likewise cooperates only under orders, but eventually his sense of pride and responsibility drives him to uncover the truth. Gillespie would gladly condemn the first suspect, and Tibbs isn’t infallible either, but the two of them complement each other in ways they don’t fully recognize at the time.

The period and place turn out to be the most challenging aspects, since Tibbs’s race angers nearly everyone in town as he pokes around for the truth. He earns some respect for his deductions, but whenever someone acts hostile or refuses to cooperate, we’re never sure if they’re acting guilty or simply expressing their racism. The film’s greatest and most famous scene is the infamous slap, in which Tibbs gives as well as he gets and leaves everyone shocked. To be honest, I wasn’t aware of the scene and was equally surprised, considering the when and where the film is set. Considering this was the time of Martin Luther King, Jr., who was killed less than a year after its release, this scene really is a brilliant microcosm of the civil rights movement; Tibbs remains calm as he questions the suspect, but when he is struck, he returns in kind, as any equal man would. I doubt anyone could have pulled it off as effectively as Sidney Poitier, and I thought he deserved the Oscar more than Steiger. (Seriously, Poitier had this role, Guess Who’s Coming to Dinner, and To Sir, with Love [my favorite of the three] all in the same year, but didn’t get one Oscar nomination?)

As a mystery, In the Heat of the Night takes its time with the reveal, employing subtle foreshadowing, though the timeline of events on the fateful night could have been better explained. Ultimately, this is a film about respect, hard-won respect between two outsiders who shouldn’t have judged each other too quickly. For a film tackling difficult issues like race and abortion, In the Heat of the Night is both a hard-hitting product of its time and a dual character study that is still relevant today.

Best line: (Virgil) “They call me MISTER Tibbs!”

Rank: List-Worthy

© 2015 S. G. Liput

337 Followers and Counting