My 3rd Blogiversary and 2016 List Additions

Happy third blogiversary to me! It’s hard to believe I’ve been blogging for three years now, and this is my 698^th post. At the beginning of 2014, I started writing reviews and poems to count down my top 365 films, a list I had compiled just for fun, and since the initial list ended, I’ve enjoyed all manner of new movies, tested my writing ability, and enjoyed the debates and camaraderie of fellow bloggers.

While 2016 has undoubtedly been a rough year, at least there have been movies to give us some escape from the messy politics and sad celebrity deaths. Now that 2016 has finally come to an end, I’m excited to add my new favorites of the last year to my movie list. These aren’t all 2016 films but new movies for me seen in the last year. I’m not one to try to catch every new release in the theater, so there are plenty of new films that won’t be here simply because I haven’t yet seen promising candidates like Moana, Passengers, or most of the current Oscar bait. A special shout-out to other films that came really close to being List-Worthy and might have made it onto a less crowded list, including Armageddon, Dead Poets Society, the live-action Jungle Book, Say Anything, Persepolis, Waitress, Wrinkles, The Babadook, and 10 Cloverfield Lane.

Yet I’ve seen some really great films in the last year, both new and old, and as hard as it was to kick off previous members of my list, I feel these new additions deserve their places. Like last year, there’s also some surprising diversity here, including past Oscar nominees, action spectacles, war thrillers, one horror, the four most recent James Bond movies, a direct-to-DVD Batman movie, two German dramas haunted by Nazi crimes, two Pixar sequels, and four anime. It’s been a hallmark year for me and anime, in particular, since I’ve found some amazing lesser-known features and discovered some great series, like Steins;Gate (seriously, any fan of time travel ought to see that show).

With a grand total of 51 new additions to choose from, here are my Top 12 New Films Seen in 2016, with the top five managing to crack my Top 100. The other list additions follow afterward in alphabetical order, along with some unofficial awards to certain standouts. A big thank you to all who have liked, followed, and commented in the last three years, and I hope to continue blogging for the foreseeable future, albeit at a more relaxed pace of two or three posts a week. Feel free to suggest other films that might make next year’s addition list!

12. Captain Phillips (2013)

Just like with United 93 (which made my top twelve list last year), director Paul Greengrass put a highly realistic urgency into this brilliantly acted docudrama about the hijacking of the Maersk Alabama cargo ship by Somali pirates in 2009. Tom Hanks gives one of his best recent performances as the ship’s captain taken hostage and should have received a Best Actor nomination to go with the film’s two Oscar nominations for Best Picture and Best Supporting Actor.

11. Finding Dory (2016)

Since Finding Nemo is possibly my most beloved of Pixar’s canon, no way was I going to miss the sequel focusing on Ellen DeGeneres’ lovably forgetful Dory. While it can’t compare with the original, Finding Dory has even more wondrous animation, enjoyable new characters like Hank the octopus, and a suitably emotional story that recasts Dory’s humorous handicap as a more tragic burden.

10. Woman in Gold (2015)

Helen Mirren is brilliant as spirited grandmother Maria Altman on a legal quest to reclaim a famous painting stolen from her family by the Nazis. Aided by an understated Ryan Reynolds as her hesitant attorney, she takes on the nation of Austria as it tries to protect a national treasure that holds a much more personal meaning for Maria. A great film that was sadly snubbed last year.

9. King of Thorn (2010)

While Your Name is the more acclaimed anime I saw this past year, I was even more amazed by this sci-fi-survival-horror-thriller that I’d never heard of before. I stand by my earlier description: it’s a combination of Inception, Aliens, and Lost, with mind-bending thrills and a thoroughly unpredictable story, complete with a virus epidemic, grieving twins, video-game monsters, and Sleeping Beauty analogies. Exciting, violent, and a little confusing, it’s my favorite anime of the year.

8. Labyrinth of Lies (2014)

How could the nation of Germany forget Auschwitz within a generation? This fact-based German drama of a prosecutor’s search for the uncomfortable truth brings home how easily history can be lost if everyone agrees to forget. Helmed by a DiCaprio-esque performance by Alexander Fehling, it’s a hard-hitting and effective call to remembrance.

7. Zootopia (2016)

One of the high points of Disney’s CGI Renaissance of late, Zootopia is an inventively animated fable full of anthropomorphized animals. Both a fun buddy-cop mystery and a timely look at stereotypes and those who maintain them, it’s the likely choice for Best Animated Feature this year.

6. Skyfall (2012)

This was the year I finally checked out Daniel Craig’s version of James Bond, and I’ve got to say I was pretty impressed, not so much with Craig himself as the quality of his adventures. Gone is the camp and absurd gadgetry, but the slick intrigue of this latest Bond is at its best in Sam Mendes’ Skyfall. Full of action scenes that are almost an art form, this thrilling look at the unexplored relationship of Bond and M has much more depth than the majority of the franchise’s outings.

5. Star Trek Beyond (2016)

It’s not better than the original reboot, but as a self-proclaimed Trekker, I enjoyed a lot of the most recent addition to the franchise, which will sadly be the last with Anton Yelchin as the new Chekhov. The action is frenetic and abundant here, and even if I have some issues with the villain, this effect-heavy episode was a solid hit for me, especially since it seemed to draw some inspiration from my favorite Trek series, Voyager.

4. The Martian (2015)

This holdover from last year is something of a modern marvel. It’s full of technical jargon and plenty of ways that it could have transformed into a dull affair, yet it’s inexplicably watchable. I’ve gotten to see it multiple times over the last year, since HBO airs it regularly, and its humor and intelligence never get old. Matt Damon’s wisecracking Mark Watney helps a lot, but everything just works perfectly, from the supposedly annoying soundtrack of ‘70s hits to the universally marvelous supporting cast and the awesome visuals. No offense to last year’s winners, but my VC and I agree that this was the best film of 2015.

3. Rogue One: A Star Wars Story (2016)

I’m gratified to see that Star Wars is still going strong now that Disney is behind it, even without Jedi and familiar main characters. This ensemble prequel set between Episodes III and IV was a risky venture, but one worth the effort. It’s different from what we’ve come to expect from Star Wars but close enough to still be of a piece with the trilogies, and even with the minor qualms it perhaps deserves, Rogue One fills in the gaps in riveting fashion, especially with its thrill-a-minute climax. The Force Awakens is still my least favorite Star Wars movie, but Rogue One reminded me how ripe the galaxy far, far away is for new stories to be told.

2. Wit (2001)

No explosions or funny characters here. Wit is a profoundly personal film for me because of its poignant use of poetry, particularly John Donne’s “Death, Be Not Proud.” Emma Thompson delivers a career-best performance as an English literature professor diagnosed with Stage IV ovarian cancer, who addresses the camera with insightful monologues on death, pain, and empathy. The best scenes are shared with Eileen Atkins as her former professor, who adds beauty to this depressing tragedy. I’ll never read or recite “Death, Be Not Proud” the same way again.

1. Captain America: Civil War (2016)

Who says it was a bad year for blockbusters? Even if every other superhero movie failed expectations, Civil War exceeded them. While it’s technically the third Captain America movie, it also feels like a culmination for the Avengers thus far, especially Cap’s relationship with Bucky and Tony Stark’s family past. Dealing with complicated issues about which every character has a worthwhile opinion (well, except Hawkeye), this well-structured conflict deftly introduces new characters like Black Panther and the latest Spider-Man while allowing for some truly glorious hero-on-hero battles. This is a geek’s paradise of a movie.

And here are the rest of the list additions. A few are only here because I believe in combining franchises, as with X-Men: Apocalypse and The Scorch Trials, and I’ll be pairing some with similar films already on the list.

The Age of Adaline (2015)

Akeelah and the Bee (2006)

Batman: Under the Red Hood (2010)

The Breakfast Club (1985)

Bridge of Spies (2015)

Casino Royale (2006)

Cloud Atlas (2012)

Counterpoint (1967)

Doctor Strange (2016)

Dominick and Eugene (1988)

Eddie the Eagle (2016)

Everest (2015)

Finding Forrester (2000)

The Ghost and Mrs. Muir (1947)

Hidden (2015)

Kubo and the Two Strings (2016)

Kung Fu Panda 3 (2016)

Lethal Weapon 2 (1989)

Mad Max: Fury Road (2015)

Maze Runner: The Scorch Trials (2015)

Minority Report (2002)

Monsters University (2013)

Music and Lyrics (2007)

Of Mice and Men (1992)

Paper Towns (2015)

The Peanuts Movie (2015)

Puella Magi Madoka Magica: The Movie – Beginnings and Eternal (2012)

Quantum of Solace (2008)

Room (2015)

School of Rock (2003)

Sing Street (2016)

The Social Network (2010)

Sophie Scholl – The Final Days (2005)

Spectre (2015)

Time of Eve (2010)

Tomorrowland (2015)

The Walk (2015)

Waterworld (1995)

X-Men: Apocalypse (2016)

Your Name (2016)

 

And here are those unofficial awards I promised for the new additions:

Best opening scene: Skyfall

Best final scene: Tie between The Breakfast Club and The Ghost and Mrs. Muir

Coolest scene: Captain America: Civil War

Biggest emotional impact: Wit

Oldest film: The Ghost and Mrs. Muir

Most recent film: Rogue One: A Star Wars Story

Longest film: Cloud Atlas (172 minutes)

Shortest film: Batman: Under the Red Hood (75 minutes)

Best soundtrack: Sing Street

Best score: Cloud Atlas

Best special effects: Doctor Strange

Most mind-bending: King of Thorn

Most family-friendly: The Peanuts Movie

Most mature: Cloud Atlas

Scariest: Hidden (only because The Babadook didn’t quite make the cut)

Funniest: School of Rock

Most controversial: Cloud Atlas

Best VC Pick: The Ghost and Mrs. Muir

Best male performance: Tom Hanks in Captain Phillips

Best female performance: Emma Thompson in Wit

Most represented year: 2015, with fourteen films

And a fond farewell to these 39 films being dropped from the list. They are still among my favorites, and it was grueling trying to make room for the new additions. I’ll need to be even more frugal in handing out the title of List-Worthy this year because a movie will have to be pretty darn good to knock off any more of my favorites.

(500) Days of Summer (2009)

All Quiet on the Western Front (1930)

American Graffiti (1973)

The Artist (2011)

Avengers: Age of Ultron (2015)

Brave (2012)

The China Syndrome (1979)

“Crocodile” Dundee (1986)

Cross Creek (1983)

The Day after Tomorrow (2004)

Dr. Seuss’ Horton Hears a Who! (2008)

Ernest and Celestine (2012)

Flightplan (2005)

Gifted Hands: The Ben Carson Story (2009)

Hugo (2011)

Independence Day (1996)

Immediate Family (1989)

La Bamba (1987)

Lunopolis (2010)

The Miracle Worker (1962)

My Name Is Bill W. (1989)

Nine to Five (1980)

No Way Out (1987)

The Perfect Storm (2000)

Princess Mononoke (1997)

Prometheus (2012)

The Road to El Dorado (2000)

Rocky II (1979)

Separate But Equal (1991)

Sgt. Pepper’s Lonely Hearts Club Band (1978)

Soapdish (1991)

Star Trek III: The Search for Spock (1984)

Stuart Little (1999) and Stuart Little 2 (2002)

Summer Wars (2009)

Teachers (1984)

The Towering Inferno (1974)

U.S. Marshals (1998)

Watership Down (1978)

Won’t Back Down (2012)

Oh, and a Happy New Year to everyone! 2017 has to be better than this past year, right?

Rogue One: A Star Wars Story (2016)

Tags

Action, Drama, Sci-fi

 

While Luke was still on Tatooine,
Before his escapades were seen,
The rebels fought
With secret plot
For every desperate, daring shot.
Some fled, some died, and some were caught,
For freedom’s never cheaply bought.

Before the rebels found success,
They found a chance that none would guess,
A chance that few
Would dare pursue
But those who hopes were overdue.
The groundwork of the tried and true
Was laid by names we never knew.
__________________

MPAA rating: PG-13

I’ve been a little disconcerted at Rogue One’s mixed reception, with half the people loving it and the other half accepting it halfheartedly. I know how the latter group feels since that’s how I reacted to The Force Awakens last year, but not this year, not with Rogue One. I enjoyed it a lot, probably more than The Force Awakens, mainly because The Force Awakens will always have the shadow of Han Solo’s death hanging over it. No matter how many times I see it, it will always be “the one where they killed Han Solo.” I remember gloomily walking out of the theater in shock last year, but I left Rogue One as one should leave a Star Wars movie, exhilarated and satisfied, even if the film is meant for a more bittersweet kind of appreciation. I wanted to love it, and there was nothing that kept me from loving it.

What many find iffy about Rogue One is that it doesn’t quite feel like a Star Wars movie. There’s no in-your-face opening crawl and no Jedi; the overall tone is darker and grittier than the other films, and the rebellion is depicted in a more ruthless and morally ambiguous light. All this is true, yet the settings and sci-fi trappings feel enough like Star Wars that it seems more like an unexplored region of the franchise than an entirely separate affair. And of course, since Rogue One is set between the fall of the Jedi and the beginning of A New Hope, there are clear connections to both trilogies, most notably in the return of Darth Vader and another character whose very presence brings the magic of CGI to new heights.

Yet unlike The Force Awakens and its unoriginal blow-up-yet-another-Death-Star climax, Rogue One has no lack of originality. It does take its time getting started, establishing the various rebels and their motivations, particularly Jyn Erso (Felicity Jones), the daughter of the scientist (Mads Mikkelsen) forced to build the Death Star, and Cassian Andor (Diego Luna), a rebel fighter committed to following orders no matter what. The ragtag band that collects around them is especially highlighted with some humor by the blind kicker-of-butt Chirrut Îmwe (Donnie Yen) and the tall droid K-2SO (Alan Tudyk), who combines the snarkiness of R2 and the grumbling of C-3PO.

None of these characters are particularly deep or destined to be fan favorites, but as they band together to find Jyn’s father and the plans for the Death Star, most of them have some moment of truth or coolness that makes them memorable, like the machine-gun blaster of Chirrut’s friend Baze Malbus (Jiang Wen). I can’t say I had that much more connection with the new characters of Force Awakens after one viewing, but at least they have the benefit of further sequels. Rogue One is clearly a stand-alone film with characters that could be viewed as disposable, but by the time sacrifices were made, I cared enough about the characters that they were clearly more than cardboard cutouts. It’s a good balance, one that kept me invested without being overcome by grief like last year.

Even in the most mocked of the prequels, George Lucas always proved his skill at action sequences, and director Gareth Edwards does the same here. The film breaks out of that slow start with some highly entertaining thrills, ranging from ground combat to close escapes, and the big battle at the end had several “whoa” moments to bring out my inner Star Wars geek. Michael Giacchino’s score also complemented every scene, deftly incorporating the original John Williams music where apt. I also liked how the film provided an explanation for the Death Star’s glaring design flaw, which Luke so famously took advantage of. You know, one shot and the whole thing blows up—who thought that up? Well, someone did, and there’s actually a good reason.

Riding high after leaving the theater yesterday, I was brought down a bit by the sad news of Carrie Fisher’s death. Considering how Rogue One ends, it seemed strangely fitting that I picked that day to visit the movies. Now, of course, the film and its final scene will have  a touch of bittersweet to it, even more than it already had, but at least I got to see it the first time without the sad connection. Rest in peace, Leia.

Rogue One may not be a perfect Star Wars film. Perhaps the characters are a bit thin; perhaps the effect used in the final scene is a little imperfect; perhaps the tone is a bit different from the familiar stories we grew up with. Forest Whitaker as extremist rebel Saw Gerrera isn’t as important as he seems at first, and he’s probably the reason some of the early scenes felt off. Likewise, I might have liked a little more screen time for known characters like Vader. Yet Rogue One isn’t about the movers and shakers of that galaxy far, far away; it’s about the rough-and-ready rebels on the front lines, the previously unknown players who made the heroics of Luke and Leia possible, and in that it’s a more than worthy addition to the Star Wars universe.

Best line: (Jyn and Cassian) “Rebellions are built on hope.”

 

Rank: Top-100-Worthy

 

© 2016 S.G. Liput
437 Followers and Counting

 

The Young Messiah (2016)

Tags

Biblical, Drama

 

[Today’s the final day of my Pre-Christmas Marathon, and for my final review, I chose a religious film as a reminder of my faith at Christmas. A very Merry Christmas to all!]

 

When Jesus was born in a stable in Bethlehem,
What did He know in His heart?
Was he a child, a blank slate like all of them,
Or was He wise from the start?

How would it be for His mother and Joseph
To know that their Son was the Lord?
Would His divinity capture much notice,
Or would it be veiled and ignored?

What questions and theories must Mary have pondered
While holding her Lord in His youth!
For centuries since, the same matters we’ve wondered,
And still only God knows the truth.
_________________

MPAA rating: PG-13

It’s no secret that faith-based films usually play to a niche market of believers, yet even as a Christian myself, I still must admit that few of them transcend the usual preaching-to-the-choir lessons that are reassuring but rarely challenging. Bible-based stories are particularly predictable since I and most viewers know these stories like the back of our hands and have probably seen multiple versions of the same tales. I don’t mean to dis Biblical films because I think more quality adaptations should be made, as they were back in Hollywood’s Golden Age, but The Young Messiah stands separate of most of its cousins because it focuses on Jesus’ childhood, a time that is barely mentioned in the Bible.

Based on Anne Rice’s novel Christ the Lord: Out of Egypt, the film follows Jesus (curly-haired Adam Greaves-Neal) as a seven-year-old as His family leaves Egypt to return to Nazareth and visit Jerusalem. A key question that apologists have surely debated for centuries is that, if Jesus was God, when did He know? Did He shift from a naïve child to a Messiah knowledgeable of God’s will when He reached a certain age? The Young Messiah posits such questions earnestly as Jesus himself wonders what is so special about Him, and Mary (Sara Lazzaro) and Joseph (Vincent Walsh) debate whether they should reveal the miraculous story of His birth or wait. As Joseph tells his adopted son, “your questions are the questions of a child, but the answers are the answers for a man.” Such discussion could have been boring (and perhaps to uninvolved viewers, it is), but it’s treated as an important question for a warm and close-knit family. Said family is also kept personable by the jovial presence of Jesus’ uncle Cleopas (Christian McKay) and the relationships of Jesus and his cousins, one of whom admits he is jealous of Jesus’ specialness.

None of this is in the Bible, a fact that has derailed many a speculative story in the past. It didn’t actually happen this way, but it could have. My VC refused to watch The Young Messiah because of its non-Biblical basis, but unlike revisionist accounts that question the roots of faith, The Young Messiah approaches its material with a key belief as part of its foundation: Jesus is God. In all its discussions of what that meant for a young Jesus, it never questions that tenet of Christianity and ultimately affirms it. I don’t consider it wrong that the filmmakers have turned a debate over Jesus’ early days into a feature film because the respect they feel toward the subject is obvious and its connections to actual Bible events anything but sacrilege. Certain aspects are even kept greatly conservative, such as making Jesus’ “brother” James his cousin, a detail held more closely by Catholics than Protestants.

A good example of the film’s taking a credible idea and running with it is depicting Herod’s son Antipas as a paranoid weirdo who has inherited his father’s fear of being overthrown by the promised Messiah. Since that fear made his father murder the infants of Bethlehem, Antipas continues the thirst for blood by hiring a Roman centurion (Sean Bean) to hunt Him down. Since we know the Biblical account, we know what will not happen, but the film’s narrative remains interesting and sometimes tense because, unlike most Biblical films, we don’t know exactly how its embellishments will play out. Likewise, another threat is kept present as Jesus is shadowed by a demon (Rory Keenan) who whispers into others’ ears of who Jesus might be; it makes sense that Satan knew about the young Jesus, but any involvement he might have had before their confrontation in the desert must be left to the realms of speculation.

It helps too that The Young Messiah is of a respectable quality, fitting in nicely with other Biblical films of artistic merit, such as The Nativity Story and The Passion of the Christ. The cinematography is consistently handsome, especially as Jesus’ family journeys across the Judean countryside. There is a bit of an overreliance on slow-motion when certain scenes are meant to have spiritual significance, and perhaps letting the profound moments speak for themselves could have made them stronger.

Yet The Young Messiah does what few faith-based films do in depicting a story that’s never been told while keeping its basis in the Gospels. Even in Jesus’ final monologue, the simple fictional lines hold an insightful truth: beyond coming to die, Jesus became man to live, both as a child and as an adult, so He could relate to His creations in all things but sin. The Young Messiah may appeal mainly to Christian audiences, but it has more food for thought than most Christian films try to deliver.

Best line: (Joseph) “I know you have many questions, but you need to let them sleep in your heart for now. Why? Because your questions are the questions of a child, but the answers are the answers for a man. That is one bridge I cannot build. I don’t know how. But God can, and we must trust Him.”

 

Rank: List Runner-Up

 

© 2016 S.G. Liput
437 Followers and Counting

 

Cloud Atlas (2012)

Tags

Action, Drama, Sci-fi, Thriller

The centuries are full of tales,
Not all of which are told for sales.
Some barely dent; some tip the scales,
And those who lived them rarely knew
If theirs for others would ring true.

The choices made for centuries
By king and kid and star and sleaze,
By massive and minute degrees
Affect, destroy, create, and bless
More fates than anyone could guess.
____________________

MPAA rating: R

Remember that feeling of being blown away that I mentioned back when I reviewed Inception and King of Thorn? Well, it’s back with a vengeance. After the credits of Cloud Atlas began rolling, I was left speechless and strangely satisfied. As Tom Hanks said in one of the DVD featurettes, upon reading the script, “I didn’t have any questions.” When the interviewer then asked, “So you understood it?” he replied with an unabashed “No.” Cloud Atlas is such a huge, epic, multi-layered piece of work that it’s no surprise that the most common descriptor from both admirers and detractors has been “ambitious.” It’s one of those rare films that found its way onto the best-of and worst-of lists of different critics, and I can easily understand both opinions. I feel I should recommend it to everyone, yet I can guarantee not everyone will like it. But I did.

I’m having trouble even coming up with a succinct way to describe Cloud Atlas, if there is one. Based on David Mitchell’s novel and adapted by Tom Tykwer and the Wachowskis of Matrix fame, it’s six separate stories in one, all linked by the continuity of souls and the bonds of literature, love, faith, music, kindness, and loss. The first tale is a 19^th-century seafaring voyage of a dying lawyer (Jim Sturgess) and a runaway slave (David Gyasi). The lawyer’s journal is later read by a gay composer (Ben Whishaw), whose dealings with a famous maestro (Jim Broadbent) are like The Imitation Game with sheet music. The former’s letters are later read by Luisa Rey (Halle Berry), a journalist whose investigations play out like Silkwood meets Coma and inspire a mystery novel read later by Timothy Cavendish (Broadbent) as he plots against his Cuckoo’s Nest-style incarceration. Then, there’s the distant future, where a submissive clone named Sonmi-451 (Doona Bae) is saved by a resistance fighter (Sturgess) in Neo-Seoul, plus an even further post-apocalyptic future where Zachry (Tom Hanks) and a technologically advanced stranger (Berry) journey to potentially save what is left of mankind. How’s that for succinct?

With so much sheer plot to cover, it’s no surprise that the film stretches for close to three hours and could easily have been lengthened into a mini-series event. One of the most divisive aspects of Cloud Atlas is how it was edited, not with each story being told individually (as is the case in the novel, I’ve heard), but with every other scene jumping randomly to another time period to continue one of the other plotlines. One minute, we’re watching Tom Hanks as an apocalyptic goat herder, the next he’s playing a murderous author in 2012. I don’t know how the editing team kept track of everything, and it so easily could have turned into a confusing mess, but as odd as it seems, this unorthodox strategy works. It’s not every film that begins by explaining that, if the audience “can extend [their] patience for just a moment, you will find that there is a method to this tale of madness.” Each story is straightforward enough that I was able to follow it, especially with the settings and costumes differentiating them from each other. The method works too to drive home certain similarities between the timelines, in one instance someone walking along a precarious perch, in another a villain being knocked out from behind just before killing someone.

Each story seems to have its own genre too, whether it be the corporate espionage of the 1970s plot or the British comedy of the Cavendish tale. Probably the most entertaining are the futuristic Neo-Seoul segments, which also have the coolest visuals. Watching how these stories are connected in ways big and small, with questions raised early and answered late, is a journey which requires patience but which I found rewarding as some of the stories end tragically but some with great satisfaction. I also recognized quite a few little influences from other films, ranging from Silkwood, Soylent Green, and Mad Max to Logan’s Run, Wrinkles, and The Fellowship of the Ring.

As I alluded to earlier, the extensive cast make cameos of varying importance in the six stories, often playing such wildly deviating roles that I can imagine the actors viewing this film as a special treat and challenge for their abilities. Luckily, the entire cast rises to the occasion to make every character distinct, sometimes even playing roles of different gender and ethnicity. It’s practically a game trying to spot every recognizable face. Hanks, Berry, Broadbent, and Sturgess are the most significant presences throughout the film, but also making important impacts on the story are Susan Sarandon, Hugh Grant, Keith David, James D’Arcy, and Hugo Weaving. Weaving may be inescapably recognizable in every role, but he’s certainly diverse as a villain, playing a Nurse Ratched wannabe, a Korean board member, and a specter of the devil called Old Georgie. The care taken to hiding the actors in plain sight is incredible, and not to invalidate that Tom Hanks quote from earlier, but my main question afterward was where they incorporated everyone, even in unrecognizable cameos.

I suppose I should answer why Cloud Atlas appealed to me, when it clearly turns off so many others. I remember seeing the monumental 5+-minute trailer back in 2012, honestly the best trailer I think I’ve ever seen (see the bottom), and I’ve had a burning curiosity about it ever since, which has been delayed by reports of its confusing and objectionable narrative. And yet, I had to see it. I guess I’m simply an enormous appreciator of continuity, the idea that a storyteller knows where he’s going from the start and mixes the myriad ingredients and characters of his tale in subtle but memorable ways. That’s why I love Lost; all the little flashbacks converge at times, with characters bumping into each other long before they meet in earnest, hinting at a larger story and hand at work. I’m a sucker for this concept of cosmic connections which Cloud Atlas manages to capture across centuries; when the tapestry threads of the story come together and the music swells, I…I just can’t help but get goosebumps.

Yet I must admit that it’s not done in a particularly Christian way. Aside from the frequent language and occasional sex and violence, the plot hinges on the idea of reincarnation and the continuity of souls, things in which I do not believe. In fact, I usually roll my eyes at this kind of New Age metaphysical mumbo-jumbo, yet I can accept it as a movie concept for the sake of appreciating the bigger picture it paints, if only in a three-hour movie. Similarly, the long runtime and jarring changes of place and tone can be a bear to sit through, but it’s worth it once you get over the hump in the middle. Oh, and by the way, watch with subtitles; the furthest future segment has a crazily stylized pigeon-English that is admirable in a cultural sense but hard to understand without reading along.

Love it or hate it, Cloud Atlas is a film hard to forget, a piece of crazy cinematic art that is as bizarre and challenging as it is beautiful and daring. If its methods were a bit more mainstream, I could see it as a Best Picture nominee, but it’s a crime that it didn’t receive one Oscar nomination, not even for the effects or the universally lauded score. (It should have effortlessly won Makeup and Hairstyling, at least.) The cinematography and talented cast clearly mark it as a noble effort, and I suppose it’s up to each individual viewer to decide whether it’s a masterpiece or a train wreck. It’s a monument of a film, one full of ideas and themes I do not endorse or believe in and others that are simply universal. This is not a film to watch casually, but it is undoubtedly worth watching.

Best line: (Haskell Moore, played by Weaving) “There is a natural order to this world, and those who try to upend it do not fare well. This movement will never survive; if you join them, you and your entire family will be shunned. At best, you will exist a pariah to be spat at and beaten; at worst, to be lynched or crucified. And for what? For what? No matter what you do, it will never amount to anything more than a single drop in a limitless ocean.”   (Adam Ewing, played by Sturgess) “What is an ocean but a multitude of drops?”

Rank: List-Worthy

© 2016 S.G. Liput
437 Followers and Counting

Here’s that trailer that so captivated me. It’s a perfect little encapsulation of how the film made me feel too.

It’s a Wonderful Tag!

 

As a Christmastime gift to movie bloggers everywhere, Richard of The Humpo Show began this end-of-year tag, full of questions to answer and then pass along to other bloggers. Since I was so kindly tagged by Drew of Drew’s Movie Reviews, it’s my turn to offer up my yuletide two-cents, which will take the place of my daily review today.

______________________

 

All I Want For Christmas is You | Which DVD/Blu-Ray would you like to receive this year?

Probably Captain America: Civil War, but anything on my top movie list is prime gift fodder.

Jingle Bell Rock | Favorite soundtrack or song from a Christmas film?

Since my favorite Christmas song is “Carol of the Bells,” I have to go with Home Alone. I love how John Williams incorporated it into the score as Kevin sets all his burglar traps.

Let it Snow | 3 of your favorite Christmas films…

I’ll have to go with It’s a Wonderful Life, Home Alone, and A Christmas Story, though The Family Man comes close too.

Donald Trump | A film that divides opinion…

I would have gone with the Star Wars prequels, but I’m picking a film I just saw that left critics, audiences, and even my own sentiments polarized: Cloud Atlas. It’s strange, complicated, sometimes jarringly edited, and stuffed to the brim, but it’s also huge, moving, gorgeously scored, and thematically beautiful.

Brexit | Favorite British Film…

I’m not sure if the 2012 version of Les Miserables counts since it was “British-American” according to Wikipedia, so for pure British, I’ll pick 1968’s Oliver! Both musicals, hmm….

Fidel Castro | A film that divides opinion… A film considered culturally significant

Sure, I could go with an artistic classic, like Citizen Kane or Gone with the Wind, but I’m opting for Jurassic Park, since it was not only a great blockbuster but the stepping stone between puppetry and CGI effects. Didn’t Swiss Army Man prove Jurassic Park’s significance this past year?

Starbucks | Favorite Film Franchise…

Easy, Lord of the Rings, without a doubt.

McDonald’s Happy Meal | Favorite Childhood Film…

One of the first films I remember seeing in the theater was Disney’s Tarzan, and I also recall watching it on VHS with my cousin, especially replaying the “Trashing the Camp” part over and over and over. Ah, memories….

‘Cheeky Nandos’ | Favorite Comedy

Groundhog Day. Talk about watching something over and over and over.

One film you want all of your followers to watch…

The Lord of the Rings trilogy, but if 9 hours of epic fantasy is too much for some people, then Mr. Holland’s Opus. Makes me choke up every time.

_________________________

 

Here’s a template list of the questions:

All I Want For Christmas is You | Which DVD/Blu-Ray would you like to receive this year?

Jingle Bell Rock | Favorite soundtrack or song from a Christmas film?

Let it Snow | 3 of your favorite Christmas films…

Donald Trump | A film that divides opinion…

Brexit | Favorite British Film…

Fidel Castro | A film that divides opinion… A film considered culturally significant

Starbucks | Favorite Film Franchise…

McDonald’s Happy Meal | Favorite Childhood Film…

‘Cheeky Nandos’ | Favorite Comedy

One film you want all of your followers to watch…

_________________________

 

Thanks again to Richard for starting the tag and to Drew for tagging me. Now who should I tag?

Cinema Parrot Disco

MIB – MIB’s Instant Headache

Rachel – Reviewing All 56 Disney Animated Films and More

Kim – Tranquil Dreams

Dell – Dell on Movies

A Fistful of Films

Cindy Bruchman

Luke – Oracle of Film

Moody Moppet

Jason – Jason’s Movie Blog

 

I look forward to reading the answers of anyone I’ve tagged, or anyone who just feels like answering the same questions. A Merry Christmas and Happy Holidays to everyone in blog-land!

 

My Name Is Bill W. (1989)

Tags

Biopic, Drama, History

 

Although I sit in the cabinet,
I shall not stay for long.
My contents undeniably tempts
My owner with its song.
Its call is far too strong.

Though some can sip with a managed lip,
A few can’t get enough.
No need to think when an amber drink
Can smooth life when it’s rough.
One swig, and “That’s the stuff!”

I’ve been his friend for years on end;
He’s rarely missed a day.
This latest trick, I hope, won’t stick,
Or I may fade away.
I’m lonely since A.A.
____________________

MPAA rating: TV movie (should be PG)

Back in 1986, James Woods and James Garner starred in a Hallmark Hall of Fame movie called Promise, a tale of an older brother (Garner) who must come to terms with caring for his schizophrenic sibling (Woods). While the acting is phenomenal and it remains one of the most celebrated TV movies ever with Emmys, Golden Globes, and a Peabody to its name, it fell short of greatness for me thanks to a downer of an ending. Three years later, Woods and Garner teamed up again in this other Hallmark Hall of Fame member titled My Name Is Bill W., and what was apparently intended as a reunion turned out to be even better than their original collaboration.

My Name Is Bill W. is the story of the founders of Alcoholics Anonymous, particularly Bill Wilson (Woods), who begins as a happy husband with great business aspirations in the stock market. Over the years after World War I, he schmoozes investors and stock opportunities to work his way up the ladder of success, all with drink in hand. The habit of a few drinks to loosen lips and pocketbooks quickly becomes a lifestyle for him, much to the dismay of his faithful wife (JoBeth Williams), and he soon starts to spiral into alcoholism. It’s difficult to watch a man willingly destroy his life, but at least we have the promise of a revelation, one which unites Wilson and fellow drunk Bob Smith (Garner) into a dynamic duo dedicated to supporting alcoholics everywhere in need of hope.

 

Both main actors are in top form, with JoBeth Williams being an extra surprising standout as Wilson’s long-suffering wife, and other strong roles go to Gary Sinise and George Coe. With the inebriated mistakes and desperation he pulls off so convincingly, it’s no wonder that Woods won an Emmy, just as he did for Promise three years earlier, though it’s sad that Garner didn’t win for either.

Above all, the film warns against the dangers of overdrinking, not by demonizing alcohol itself but reminding us that some people simply lack the self-control of others, whether it be “a disease” as one doctor states in the film or a psychological addiction. It’s clear from Bill Wilson’s life that oftentimes a desperate man can only pick himself up after hitting his lowest point, but his story serves as a caution for anyone who refuses to listen to the love and advice of their friends and family. What might have been a tragedy thankfully turned out to be an inspiration because, for Bill Wilson, a man whose life was ruled by alcohol both in its excess and its absence, success didn’t simply involve dragging himself out of the gutter, but helping others to do the same.

Best line: (Bill) “It’s like any journey, Fred. It begins with the first step.”

 

Rank: List-Worthy

 

© 2016 S.G. Liput
437 Followers and Counting

 

VC Pick: Dune (1984)

Tags

Drama, Sci-fi

 

Far, far away, both in distance and year,
On a planet of sand known as Dune,
Spice was the word they all wanted to hear,
Its wealth their desire, its dearth their worst fear,
But the devious monarchs would learn all too soon
That they would not easily conquer this sphere.

Though long ago, a great prophecy stood
Of a savior to liberate Dune.
Though rivals and emperors did what they could
To see that he never would reach adulthood,
His destiny rose like the taciturn moon
To rescue this coveted planet for good.
____________________

MPAA rating: PG-13

Since I mentioned Dune in my post yesterday, guess what movie my VC wanted me to review next? While some of her picks end up being pleasant surprises for me, I’ve seen Dune enough times (thanks to her) that I knew this latest viewing wasn’t about to change my opinion. She loves it; I don’t, and neither of us are alone. David Lynch’s long, tiresome adaptation of Frank Herbert’s celebrated sci-fi novel was savaged by critics at the time, but over the years, it’s gained more appreciation, even a cult following. I can understand why it warrants a cult following, but the simple truth remains, it’s not a very good movie.

Perhaps the hardest challenge facing Lynch as director and screenwriter was somehow compressing Herbert’s enormous otherworldly tale into a feature-length film. The story has so many characters, foreign names and gadgets, and plot-specific terminology that it’s no wonder casual viewers were thoroughly lost. Luckily, my VC has read the book, which I’m sure helps her, and I’ve seen the film enough times that I can follow what’s going on well enough. However, it’s hard to ignore the fact that the first 20 or 30 minutes is spent with different characters taking turns to spout exposition. Before the story even begins in earnest, we have to learn about the four key planets and their rulers, and the drug-like Spice that enables space travel and is only found on Arrakis/Dune, and the subterfuge of the emperor (José Ferrer) in pitting the houses of Atreides and Harkonnen against each other, and the telepathic Bene Gesserit sisterhood that has breeding rules broken by Duke Leto Atreides’ concubine (Francesca Annis) in order to give her love a son named Paul (Kyle MacLachlan), who may have a dangerous messianic destiny. You got all that? Well, I guarantee that it’s easier reading it than listening to it all in one go, which is probably why Herbert’s book was so much more popular than Lynch’s film.

The 137-minute film is so packed with plot that there’s literally no time for character building. Every character is formed solely by how they’re explained to us and what they do to further the plot. When Paul meets a lovely Fremen girl (Sean Young) after he’s been banished to the desert, you know they’ll end up together, not because of their chemistry or anything, but because Paul had visions of her and it makes sense for the plot. There are smaller quibbles too, whether it be the constant internal monologuing, the bizarre intentions of a traitor in the Atreides house, or the casting of an important character from the books only to kill him off in a trice, not to mention the strange and disgusting Harkonnen villains and the sudden ending.

Wow, sometimes I convince myself to like a film more by writing about all its strengths, but I think the opposite has happened here. I don’t hate Dune by any means, nor am I sorry to have seen it since it is not without some redeeming factors. True, most of the actors are in “serious sci-fi mode,” but it was enjoyable to see so many familiar faces before their more recognizable roles, which were often still in the realm of science fiction. There are Patrick Stewart (Star Trek: The Next Generation), Dean Stockwell (Quantum Leap), Brad Dourif (Voyager and Lord of the Rings), Jürgen Prochnow (Air Force One), Max von Sydow (Dreamscape, Flash Gordon), and even Sting (yes, the singer), among many others. Plus, I must commend Lynch and his set design team for bringing these extraterrestrial deserts and palaces to life. Even if some of the effects are still dated, the giant worms are admittedly impressive too, especially when backed by the symphonic rock score supplied by the band Toto.

As much as I wish I could count Dune among my favorites, its negatives are just too conspicuous to overlook. Even I will concede, though, that it was a valiant effort for all those involved, one which my VC and other fans clearly appreciate more than most.

Best line: (Duke Leto Atreides) “I’ll miss the sea, but a person needs new experiences. They jar something deep inside, allowing him to grow. Without change, something sleeps inside us and seldom awakens. The sleeper must awaken.”

 

Rank: Dishonorable Mention

 

© 2016 S.G. Liput
437 Followers and Counting

 

The Hobbit: The Battle of the Five Armies (2014)

Tags

Action, Drama, Fantasy, War

 

It seems so very long ago
The journey started with “hello,”
And then despite my disapproving,
Ever onward we were moving
Through the high and through the low,
Through lands I never dreamed I’d go.

And now at last, it’s with a sigh,
I whisper out a strained goodbye.
Despite the pain I had in store,
I’m glad I stepped out my front door.
From comfort’s hearth to dragon’s den,
I’ll treasure there and back again.
___________________

MPAA rating: PG-13

I reviewed the first two Hobbit films long ago as part of my original year-long movie countdown in 2014, when the third installment wasn’t even released yet, and despite my grouping the trilogy together on my list, it’s odd that I haven’t gotten around to reviewing The Battle of the Five Armies until now. Perhaps it’s because this third chapter of Peter Jackson’s prequel trilogy to The Lord of the Rings is most clearly the weakest of the bunch, the main problem being the preponderance of apocryphal embellishments found nowhere in Tolkien’s children’s novel.

It certainly can’t be accused of false advertising: it’s called The Battle of the Five Armies, and that’s exactly what you get—a huge, Middle-earth epic battle between dwarves, elves, the men of Laketown, orcs, and eventually eagles. If all I want out of a movie is sword slashing galore and spectacular set pieces, The Battle of the Five Armies delivers, especially reminding us just how awesome Legolas is. But in stretching out what is only a few pages in The Hobbit book, it falls short of the higher aspirations of The Lord of the Rings, each part of which deserved its near three-hour runtime. What with the painfully forced comic relief of Alfrid (Ryan Gage) and the unsatisfying love triangle of she-elf Tauriel (Evangeline Lilly of Lost) and he-dwarf Kili (Aidan Turner), it’s obvious that Jackson’s trying to string out this bloated third of a story in a less than successful manner. It’s not bad; it’s just forced at times. And don’t get me started on those were-worms! What is this, Dune?

Yet Middle-earth is never without its joys. Jackson does manage to improve certain scenes from the book, most notably the death of the dragon Smaug, and the themes of greed and loyalty started in An Unexpected Journey are fulfilled in Thorin’s obsession with protecting his newly won hoard. As it was from the start, the casting is (mostly) impeccable, whether it be Martin Freeman as the younger Bilbo Baggins, Luke Evans as heroic Bard the Bowman, or returning familiar faces like Ian McKellen and Hugo Weaving. And by the end, it does feel like a worthwhile journey has been taken, especially with the end credits that recall those of The Return of the King, backed by Billy Boyd’s magnificent “The Last Goodbye.” (See my End Credits Song Hall of Fame.) The Hobbit trilogy is undoubtedly less than The Lord of the Rings, but it is unfortunate that the last one received only a single Oscar nomination for Sound Editing. Surely it could have competed in Makeup, Visual Effects, and Best Song, but the series’ general inferiority made that unlikely. Even so, Jackson’s achievement should not be overlooked; he completed two consecutive epic trilogies, a feat that is clearly harder than it seems if James Cameron’s troubles with the Avatar sequels are any indication.

I still can’t help but feel that an opportunity was missed in making The Hobbit a trilogy rather than a two-parter. Early on, I thought it was perhaps to humanize the thirteen dwarfs so that each character wasn’t just one of the thirteen, and while Jackson was more successful with some than others, most of the dwarves still seemed interchangeable, even for me, a hardcore Middle-earth fan. It’s a shame that Jackson couldn’t leave us Middle-earth lovers with more than a CGI free-for-all and a wistful farewell, but any visit to the land of hobbits, dragons, wizards, and rings is still one worth taking.

Best line: (Thorin) “If more people valued home above gold… this world would be a merrier place…”

 

Rank: List-Worthy (mainly due to the previous two and my own fondness for the franchise)

 

© 2016 S.G. Liput
437 Followers and Counting

 

Lethal Weapon 2 (1989)

Tags

Action, Comedy, Thriller

 

Into a drug plot are drawn
A father, a nut, and a con.
These unlikely three
Prove a sequel can be
Even funnier than the first one.
_________________

MPAA rating: R

Earlier this year, I enjoyed a little marathon of the Lethal Weapon movies, at least the first three and part of the fourth. (I probably didn’t miss much with 4.) Unfortunately, too much time has passed for me to feel like I can write about most of them, but that time has proven something to me that I suspected at the time too: the second film is the best. How do I know that? Because it’s the one I still remembered months later, and a more recent viewing confirmed how funny and enjoyable an actioner it is.

The first film was a solid buddy-cop tale that established the odd couple chemistry of Martin Riggs (Mel Gibson) and Roger Murtaugh (Danny Glover), but it was rather depressing with Riggs’ suicidal tendencies and a less-than-memorable climax. (Mud-wrestling, wasn’t it?) Without the need to introduce the leads and their relationship, Lethal Weapon 2 picks up right from the start with Riggs and Murtaugh in a thrilling car chase that exemplifies the humor of their quirky partnership, summed up by Riggs as “We’re back, we’re bad, you’re black, I’m mad.” This time, the two cops are pitted against ruthless, racist South African drug dealers, which worked well for the time since the film was released during the height of apartheid when South Africa was viewed in villainous terms anyway.

While Riggs and Murtaugh could have carried the film on their own, the writers (Shane Black and Warren Murphy) add in a third unlikely partner in Joe Pesci’s neurotic book-cooker Leo Getz, whom the duo are ordered to protect as a witness. The odd couple are even more entertaining as an odd trio, and Leo brings another great slant of humor to the proceedings with his constant, semi-annoying catchphrase of “Okay, okay, okay, okay!” Luckily, Riggs and Murtaugh are no less entertaining too, with Riggs still his devil-may-care self and Murtaugh playing the weary straight man to these two eccentrics. It’s telling too that the next two sequels kept Pesci around for no other reason than to uphold the buddy triangle from this movie.

The villains are still menacing and merciless, particularly in relation to Riggs’ past, but the film never forgets to have fun with its buddy cop conventions. It’s full of memorable scenes, from earnest ones like Riggs’ discussion of his late wife to action ones like the nail gun ambush to hilarious ones like Murtaugh’s unfortunate encounter with a toilet and his priceless visit to the South African consulate.

As much as I prefer it without the violence and profanity, Lethal Weapon 2 is undeniably entertaining, and I stand by the idea that a film’s virtues can be measured by how well it’s remembered months or years later. That’s why only Lethal Weapon 2 makes my list and why it’s the member of the franchise to which I’ll most readily return.

Best line: (Dr. Stephanie Woods, after Riggs hurts himself to win a bet) “Why do you do this to yourself, Riggs?”   (Riggs) “Well, who else am I supposed to do it to? None of them’ll let me. Besides, I need the money.”

 

Rank: List-Worthy

 

© 2016 S.G. Liput
437 Followers and Counting

 

 

Puella Magi Madoka Magica Trilogy (2012, 2013)

Tags

Animation, Anime, Drama, Fantasy, Mystery

Do you value your life,
All you have, all you know?
And for what would you trade it,
I wonder?
Could you ever decide
To what lengths you would go?
Would you grieve when you’d paid it,
I wonder?

I would never regret,
Says the fool, feeling smart,
To confirm his conviction
Till later.
But regrets always come
When we think with our heart.
‘Tis our own contradiction
And traitor.
___________________

MPAA rating: All not rated (should be PG-13)

Don’t judge a book by its cover, or in this case, a show by its genre. I would think most people even mildly familiar with anime have heard of magical girl shows like Sailor Moon or Cardcaptors, where a group of girls typically gain powers from some adorable talking creature and become cutesy superheroines. Not to dis those shows, but it’s the kind of formula that works well for kids yet becomes insufferable to outsiders and even older former fans, like me. Yet about six years ago, Puella Magi Madoka Magica (that’s Latin, by the way, not Japanese) revolutionized the genre under the mature eye of writer Gen Urobuchi. In American terms, that’s like Christopher Nolan directing a Barbie movie and making it awesome.

Since I’ve been reviewing only films up to this point, I’ll point out that Puella Magi Madoka Magica (I’ll just call it Madoka Magica to save time) isn’t just a TV show; it had a film follow-up subtitled Rebellion, and before that was released, the 12-episode series was edited and retooled as two theatrical films, the first called Beginnings, the second Eternal. Thus, that makes Madoka Magica eligible for my top movie list and well worth reviewing, since it happens to be my third favorite anime series, after Cowboy Bebop and Steins;Gate.

The odd thing about Madoka Magica is that it was marketed like any number of similar shows, light and innocent, and since it was original and not based on a manga, viewers had no idea what to expect. The opening credits are overly bright and cheery and the first couple episodes are nothing out of the ordinary, with the typical banter and buoyancy of color-coordinated middle-school girls, but don’t let that fool you. This series goes to some very dark and very emotional places, and it confirms the unwritten rule of watching at least three episodes of a given series before you write it off.

After school one day, Madoka (the one with pink hair) and Sayaka (blue hair) are rescued from a dangerous witch by upperclassman Mami Tomoe (yellow hair), who became a magical girl by making a deal with the talking animal-thing Kyubey: magical powers and the duty of battling witches in exchange for a single wish. At first, they’re awed by the potential of such a pact, but neither can bring themselves to trade away their old lives. Meanwhile, a black-haired new student and magical girl named Homura seems to have a mysterious mission to keep Madoka from accepting Kyubey’s deal at all costs. The story may threaten to lose your interest at first, but then comes a moment in the third episode that changes the entire tone of the show, a scene so sudden and shocking that it has burned itself into my memory, even though I knew about it beforehand. From there, the story spirals into tragedy, heartache, and themes far deeper than one would expect going in.

The characters are still young and naïve, and they buckle under the weight of the hard, regrettable choices placed upon them. They expect frilly costumes and to help people, and while there’s some of that, before long they must deal with disillusionment, death, lies, time travel, and the laws of thermodynamics. (Told you this wasn’t a typical magical girl show.) The catalyst for all this is Kyubey, who seems like a cute sidekick at first but holds much darker intentions with his Faustian contract. Even with his passive demeanor, high-pitched voice, and blank stare that gets creepier with time, he’s such a manipulative, logical little bugger that, by the end, I hated the very sight of him. He’s also essentially unkillable, but it was satisfying whenever anyone tried. Homura’s story in particular overshadows everyone else’s, and while she’s a mystery for most of the series, her backstory is remarkably compelling.

Like the story, the art style is also distinctive and layered with atmosphere. The animation of the real world is evocative on its own, often setting the mood with stylized angles and amber-tinged sunsets, and the character’s eyes have a unique sketched quality to them. Things get bizarre, though, whenever a witch appears in its labyrinth, not as a pointy-hatted antagonist but as a collage of stop-motion cutouts that go deep into surreal territory. The combination of the traditional animation with this dreamlike setting is often nightmarish and complements the story’s descent into misfortune, while certain scenes in silhouette are both beautiful and disturbing, incorporating artistic details evoking similar themes to Faust and The Little Mermaid. The action scenes are also very well-done, often with spectacular explosions. Boy, this series has everything.

I feel like I’ve been reviewing Madoka Magica the show rather than the movies, but the first two films basically are the series, with the first eight episodes making up Beginnings and the final four forming Eternal.  They actually translate quite well, skipping over some of the awkward moments at the beginning and keeping only what’s necessary to the story, while retaining important character moments, like Madoka’s insightful conversation with her mother. Eternal has one extra battle scene and some revised animation but unfortunately includes some cutesy montages that feel out of place since the story’s tone had already changed drastically from the beginning. However, it does follow the same plot to the same heart-tugging finale. The series is full of tragic events that make me want to tear up just seeing the characters, but despite some overwrought execution of the cosmic twist at the end, the conclusion is sublimely bittersweet.

And then… they had to ruin it with a third movie. Rebellion may be more cinematic than the first two, but it’s nowhere near as successful. It tries to replicate the bait-and-switch of the series, with a lighthearted beginning that gets darker as it goes, but it does so by presenting an alternate version of events with an explanation far too long in coming. I suppose it’s a little satisfying to see the characters in the carefree life they thought they’d have as magical girls, but it indulges for too long. Sure, the plot eventually makes sense, but it’s not good when even those familiar with the story are utterly confused for over a half hour.

It’s not all bad. Once the plot deepens, it gets more absorbing, and the eventual reveal of the mystery reconfirms Kyubey as the most hateful cat-bunny-thing imaginable. There’s also an epic gun battle between two popular characters that is jaw-droppingly awesome and may be the action high point of the series. If only the rest of the story could live up to it. One side character has little reason for existing; the surreal visuals are the rule rather than the exception now, as if the filmmakers took turns animating their most unsettling drug trips; and the final twist took Homura’s obsession with Madoka in a wholly unsatisfying direction. And then it ends, with a brand new conflict introduced and no resolution. No! There’s talk of a fourth film in development, and while that may improve things if they can end it right, it doesn’t make the disappointment of Rebellion any better right now. Sequel-makers constantly ignore this demand, but don’t continue a series unless you can end it just as well as it already had!

The final movie aside, Puella Magi Madoka Magica is a brilliant and memorable series, well-written, poignant, and impressively visualized. The music is haunting, the animation arresting, and the character motivations powerfully nuanced yet pitiful and open to interpretation. It’s the kind of psychological story that leaves me with a persistent melancholy long after it’s over. I’m including a fan-made music video down at the bottom (set to one of my favorite Florence and the Machine songs) that might give you an idea of its peculiar power. For anyone still reading this who may be hesitant to check out a magical girl series, I can only say one thing: Don’t judge a book by its cover. You’ll be glad you didn’t.

Best line: (Kyubey, the loathsome, logical little scumball) “Why is it that when humans regret a decision they made based on their own misunderstanding, they feel resentment toward the other party?”

Tied with his punch-worthy “If you ever feel like dying for the universe, call me. I’ll be waiting.”

Rank for Beginnings and Eternal: List-Worthy
Rank for Rebellion: Dishonorable Mention

© 2016 S.G. Liput
437 Followers and Counting