Once Upon a Time in Hollywood (2019)

Tags

Comedy, Drama, History, Thriller

A fairy tale, as you’re aware,
Can happen almost anywhere,
In magic kingdoms, foreign strands,
Or city streets in local lands.

It may be grim and end in tears,
To make more prudent those with ears,
But too much dark and dire can be
Too kindred to reality.

Imagination is the rule
For fairy tales, carefree or cruel,
And I, for one, prefer the kind
That plants a smile in my mind.
_____________________

MPA rating: R

I’ve never had much interest in Quentin Tarantino’s films. When a director is known for violence and cursing, I tend to steer clear, and if it weren’t for Regal Theatres’ deal for all the Best Picture nominees, I probably wouldn’t have bothered with Once upon a Time in Hollywood. In the case of Pulp Fiction, the only other Tarantino film I’ve seen, I came to the conclusion that I liked how he presented the content but not the content itself, and his latest film fits that description, though to a lesser degree. Pulp Fiction at least felt daring and inventive; Once upon a Time in Hollywood buries its lack of substance under charisma and polish, which just isn’t enough.

Leonardo DiCaprio stars as Rick Dalton, a washed-up TV actor whose big Western role in the show Bounty Law is behind him, leaving him in fear of a lackluster future of guest spots and Spaghetti Westerns. Brad Pitt is Cliff Booth, his easygoing friend/driver/stunt double who may or may not have killed his wife. (He’s the most likable character, so I guess we’re not supposed to care about the answer?) In 1969, Dalton lives next door to successful director Roman Polanski (Rafal Zawierucha) and his wife Sharon Tate (a radiant Margot Robbie), while the Manson Family cult bides its time at nearby Spahn Ranch.

All of that information is simply the set-up, but the bulk of the film is made up of rambling vignettes that could have been episodes in a mini-series. Dalton puts his full effort into an important guest role, Booth makes an unnerving visit to Spahn Ranch, Tate enjoys her success as an actress, and much of it is good-natured and entertaining. I especially liked a few scenes between Dalton and a precocious young co-star who gives him the encouragement he needs, and the Oscar-winning production design certainly looks great, capturing the hippie presence and Hollywood glamour of L.A. in the 1960s. All the actors seem to comfortably fit their characters to a T, particularly Pitt, though I’m not sure what was so worthy of a Best Supporting Actor Oscar.

Yet for all its attention to capturing the period, the plot is annoyingly hollow. Tarantino rarely holds back on the profanity, but his trademark violence is thankfully restrained for most of the film. However, the “grand” finale, offering a what-if scenario of the Manson murders, is so over-the-top (flamethrower, anyone?) that I lost respect for much of what came before. By the end, nothing is resolved with Rick and Cliff’s relationship and the “What now?” feeling that preceded the climax, and the “happy” ending just felt weird, making me wonder what the point of all this was, except for an indulgent walk down memory lane.

As I said, I’m no Tarantino expert, but his historically based films seem to thrive on redirected violence. In the case of this film, the Manson Family were such horrible human beings that we’re supposed to get satisfaction at their own violence being perpetrated back at them, which is a morally repugnant idea. Glorifying others’ suffering, however deserved it may be, isn’t something to enjoy, and the film’s climax is a jarring set piece that ruined its entertainment value for me. I suspect that Tarantino is simply not for me, even if I can recognize the cinematic skill on display, though even his famed talent for dialogue seems uninspired for the most part. Once Upon a Time in Hollywood is the kind of film that has a few great scenes but is far from a great whole.

Best line: (Narrator) “When you come to the end of the line, with a buddy who is more than a brother and a little less than a wife, getting blind drunk together is really the only way to say farewell.”

 

Rank: Dishonorable Mention

 

© 2020 S.G. Liput
660 Followers and Counting

Yesterday (2019)

Tags

Comedy, Drama, Fantasy, Musical, Romance

Yesterday, I knew my worth,
Which wasn’t much, I must admit,
But now today, of all on Earth,
I see a hole in which I fit.

It seems that I alone can see,
Can know, can do what others can’t,
And filling such a role, for me,
Is quite a gift for God to grant.

I cannot help but feel at times
That I’m perhaps a hypocrite,
But won’t it be the worst of crimes
To take a gift and stifle it?
_____________________

MPAA rating: PG-13

I’m rarely the type of moviegoer who has to see a movie as soon as it comes out, unless it’s some hype-heavy series like Marvel or Star Wars, but I do wish I could have seen Yesterday in the theater, not because it’s that great and wonderful but because I could have seen it with my dad while he was still alive. Ever since the first trailer for Yesterday came out a year ago, I had high hopes for its brilliant premise of a musician waking up in a world where no one knows of the Beatles, especially since my dad was a huge Beatles fan. Yet as with most movies, we subconsciously decided to wait and see it on DVD, giving my dad’s cancer a chance to take him before he got the opportunity. “Yesterday came suddenly,” indeed.

It’s hard for me not to associate this movie with the missed opportunity with my dad, but what of the film itself and its own merits? Well, it’s quite a decent charmer, made better by its celebrated soundtrack. There’s a popular Japanese genre called isekai, in which someone from our world is somehow transported to another, usually some fantasy realm with magic. In the case of struggling singer/songwriter Jack Malik (Himesh Patel), he awakens from a bike accident in an alternate world where significant bits of pop culture are missing, most notably the music of the Beatles. Seeing a morally gray opportunity, he passes off their songs as his own, becoming an overnight sensation and sparking mixed feelings in his long-time manager/crush Ellie (the always lovely Lily James).

Yesterday is pretty much exactly the British isekai that was promised in the trailers, but it didn’t exceed my expectations much or dive as deeply into its premise as it could have. Patel and James have good chemistry, and there are plenty of occasions for unexpected humor, such as the feedback from Jack’s producers about the more eccentric names from the Beatles’ discography. Ed Sheeran also puts in a good-natured cameo as himself, and there’s an unexpected moment toward the end that was surprisingly touching. There’s just something missing, and not just that they never play “Get Back” or “Drive My Car,” despite a good excuse to use the latter. It’s one of those puzzling films that feels like it should be better based on its brilliant premise, yet I can’t say I know how to improve it myself.

One weakness is that the songs suffer somewhat from Patel’s solo covers. He’s a proper singer, but without the four-person harmonies and multiple instruments, it’s harder to see the strength of the songs alone rocketing Jack to the status of an overnight sensation. Nevertheless, I feel like my dad would have really enjoyed Yesterday. The strength of its core idea, likable actors and classic music are enough to make it an enjoyable, feel-good watch. There’s just a lingering sense that it could have been more.

Best line: “You want a good life? It’s not complicated. Tell the girl you love that you love her. And tell the truth to everyone whenever you can.”

 

Rank: List Runner-Up

 

© 2020 S.G. Liput
659 Followers and Counting

 

VC Pick: Running Scared (1986)

Tags

Action, Comedy, Thriller, VC Pick

There once were two cops on the street
Who riled the bad guys they’d meet.
As crime would unfold
In their city so cold,
They quite enjoyed bringing the heat.
______________________

MPAA rating: R (mainly for language and brief nudity, a light R overall)

It’s shameful, absolutely shameful, that it’s been nearly three months since a movie chosen by my dear VC got the limelight it deserves in the form of an obscure blog post by me. I have no excuse, but I do have this review. Running Scared probably isn’t high on anyone’s list of films from the ‘80s, but it’s a funny and underrated member of the buddy cop genre to which I’m glad my VC introduced me.

Billy Crystal and Gregory Hines are in fine form as a pair of Chicago cops named Danny and Ray, the kind of movie cops who are charming when they bend the rules in a way that ought to get them fired in the real world. But they get results, including bagging notorious drug lord Julio Gonzales (Jimmy Smits), only to be put on leave for their recklessness. Enjoying the time off down in Key West, the two decide they like the non-police life, and after learning that Gonzales was set free, they decide to bring him in before retiring for good.

Crystal and Hines were probably unlikely choices to play streetwise cops back in 1986, early in their film careers as it was, but they both excel, channeling the same kind of black-and-white buddy chemistry as Gene Wilder and Richard Pryor did. Their bickering and wisecracks are the biggest draw, complementing action scenes that likewise balance humor and danger. Joe Pantoliano is also great as Snake, one of those small-time weasels he plays so well. Running Scared doesn’t revolutionize anything about its genre, but it doesn’t need to when its leads are able to capture its sense of fun with their toothy grins alone.

Best line: (Captain Logan, referring to a suicide jumper) “You two weren’t, uh, interrogating a suspect up on the roof, were you?”   (Ray) “We got an alibi, Captain. Snake, tell him where we were or we’ll kill you, too.”

 

Rank: List Runner-Up

 

© 2019 S.G. Liput
659 Followers and Counting

 

Klaus (2019)

Tags

Animation, Christmas, Comedy, Family, Netflix

The world’s getting louder and meaner and prouder,
Content to be less than the best it can be.
Our good angels shrivel when others aren’t civil,
And we follow suit with acute savagery.

The worst in a person can come out and worsen,
And wrong leads to wrong for as long as we let it.
Yet kindness courageous is also contagious.
The bar is as low or high, though, as we set it.

What good can be started by all the kindhearted
Can spread just as quickly as wickedness can.
Right actions and choices speak more than raised voices,
For goodness expressed frees the best part of man.
____________________

MPAA rating: PG

It might be too late for Christmas, but Netflix’s Klaus isn’t just a great Christmas movie; it’s a great movie. I wasn’t expecting much from Netflix’s first original animated film, but good word-of-mouth convinced me to give it a look-see, and now I’m happy to contribute to its positive buzz. Being nominated for a Best Animated Feature Oscar doesn’t hurt either.

Does anyone else recall a 2000 animated film called The Life and Adventures of Santa Claus? I remember it nostalgically as a sweet origin story for Santa, and Klaus is similar in that regard. Whereas the other film featured extensive magical elements, Klaus is far more down-to-earth, gradually developing the myths and trappings surrounding Santa in a way that could feasibly happen, albeit still with some cartoonish absurdity and a dark undercurrent.

However, the titular Klaus is not the main character. Instead, it is the vain and spoiled Jesper (Jason Schwartzman), whose father, exasperated by his son’s laziness, makes him the postman for the remote and desolate island village of Smeerensburg, where a family feud has raged for generations. In a town where no one is eager to send letters to each other, Jesper concocts a plan to get the children to send letters for toys, a plan that might eventually get him transferred back to his well-to-do life. Essential to the plan is Klaus (J.K. Simmons), a mysterious woodsman with a wealth of toys, and, while Jesper’s goals begin as self-serving, he eventually starts to see the good that can come from an act of kindness.

The most noteworthy aspect of Klaus is its unique animation. In an age where most of the 2D hand-drawn animation around originates in Japan, director Sergio Pablos (creator of the Despicable Me franchise and character designer for several Disney Renaissance films) and other former Disney animators wanted to show how 2D animation might have evolved if it hadn’t been abandoned by the industry in the West. The result is gorgeously rendered and looks somewhere in between 2D and 3D, thanks to meticulous attention to shadow and shading.

If Klaus had come out twenty years ago, I know it would have become a classic annual watch in my home, and I’d like to think it will be for this generation as well, despite its exclusivity to Netflix. The last decade has seen 2D animation flourish on the small screen, and Klaus gives me hope that it’s not dead for feature-length films as well. Despite some predictable elements, it’s filled with humor, sweetness, and a stellar voice cast (also including Rashida Jones, Norm MacDonald, and Joan Cusack) and carries the perfect heartwarming Christmas spirit that reminds us how much better it is when kindness guides our choices.

Best line: (Klaus) “A true selfless act always sparks another.”

 

Rank: List-Worthy

 

© 2019 S.G. Liput
659 Followers and Counting

 

Anna and the Apocalypse (2018)

Tags

Christmas, Comedy, Drama, Horror, Musical

When the world is collapsing, the nation on edge,
The whole of society out on a ledge,
The sky close to falling, disease at a high,
And dead people don’t even know when to die,
It only makes sense that, when fear’s on the rise,
The level heads left of us prioritize.

Sure, some go for water, and some hunt for food,
And some say we just need the right attitude,
But while these survivalists weigh their concerns
And plan for the worst to diminish returns,
A few must step up to remind all the rest
Of one thing emergencies need when distressed.

MUSIC! That’s right. It’s so often neglected,
But soundtracks do wonders for those not infected.
When life’s at a low, just compose your own cure
And let a good melody help you endure.
Just sing your heart out, out of range of the ghouls,
For songs are survival’s most critical tools.
______________________

MPAA rating: R

What a weird, catchy, sad, gruesome, delightful movie! I’m sure it was an interesting pitch when someone first described the plot of Anna and the Apocalypse, a Christmas musical zombie film that manages to nail all three aspects of its split personality. I normally shy away from zombie movies, but the prospect of an original musical convinced me to give this unique mish-mash a try.

Due to my aversion to gore, I’m always very wary of the zombie genre, yet I know it can be done exceptionally well (Train to Busan and Gakkou Gurashi are two prime examples), so I wanted to give Anna and the Apocalypse a chance. Unsurprisingly, it had the inventive undead bloodshed so common to the genre and so off-putting to me, yet I must admit I loved just about everything else about this British experiment.

It starts out so innocent with its high school setting and teenage misfits and then veers into zombie action and some surprisingly touching moments by the end. And through it all is the magic of song and dance, at first fitting in a High School Musical sort of way and later used as an ironic contrast to the zombie apocalypse. And the music, courtesy of Scottish artists Roddy Hart and Tommy Reilly, is actually darn good! I wouldn’t have been surprised if it came from a Broadway musical or showed up on the radio, yet the fact that it’s all original gives me pure delight.

Putting aside the feeling that I’ve seen versions of all of these characters in other movies many times before, the entire cast of mostly unknowns give their all, instilling a fresh and likable energy to their roles. Ella Hunt is especially good as the wistful Anna, whose zombie-killing weapon of choice is a giant candy cane, and Paul Kaye is a downright ham as the school’s power-mad vice principal. Despite the initial poking fun at how juvenile high-schoolers might actually react to zombies, the whole cast later prove their acting chops as things get more dire. And while dire is to be expected from a movie with Apocalypse in the title, it also sadly saps some of the earlier fun away. Not everyone I wanted to live does, and the half-hopeful ending can’t disguise the inescapable bleakness that almost always accompanies a zombie outbreak. One of the songs even says, “There’s no such thing as a Hollywood ending.”

So Anna and the Apocalypse left me with a strange mix of admiration and indecision. The musical numbers are a blast, and, while I wish I could say I loved every minute of it, I enjoyed far more minutes of it than I ever thought I would in a zombie film. Every actor is on point, and the audacity of its holiday spirit deserves appreciation, especially when it’s this darn likable. Yet it also earns its R rating with the blood-splattering violence and didn’t leave me with the smile I wore through much of it. Thus, I’m pulling out a ranking I’ve only used once: the Semi-Dishonorable List Runner-Up, which sums up my mixed feelings. I hesitate to recommend it, but if the gore and mixed tone don’t bother you, absolutely seek out this ebullient gem. Minus the violence, it would easily be List-Worthy for me. It will no doubt end up as a cult classic addition to the Christmas horror catalog, among which it certainly has the best soundtrack.Best line: (Mr. Savage, after Lisa asks about her boyfriend’s sick grandmother) “Look around you, Miss Snow. What do you see?”
(Lisa, Anna’s friend) “Um…tables?”
(Mr. Savage) “I see civilization on the edge. And what does civilization do when it finds itself on the edge?”
(Lisa) “We help each other?”
(Mr. Savage) “We prioritize.”

 

Rank: Semi-Dishonorable List Runner-Up

 

© 2019 S.G. Liput
656 Followers and Counting

 

Toy Story 4 (2019)

Tags

Animation, Comedy, Disney, Family, Pixar

The life that you pour into somebody else’s
Is just as much fuel as a life for one’s self is,
A reason to get up each morning, assured
That you have a purpose by which you are spurred.

But what of the time when the mission is done,
The journey completed, the races well-run?
When nobody needs you and life seems bereft,
What purpose remains here? What journeys are left?

Such crises are normal for those left behind,
But purpose is everywhere. Those who seek find.
_________________

MPAA rating: G (the highest grossing G-rated movie ever, in fact)

I’m sure I wasn’t alone in my groan when Toy Story 4 was announced. Toy Story 3 ended the series with such a definitively satisfying conclusion, being handed off from college-bound Andy to little Bonnie, that I just wanted Pixar to leave it there. A cute little short would pop up occasionally, and I kept wishing they would leave the characters alone. No more sequels, or, Lord help us, a remake! Yet Pixar has pulled off the unlikely so many times before that there was no way they were going to screw up their best franchise. Toy Story 4 still feels unnecessary, but it’s a sweet epilogue to Woody and Buzz’s story.

The Toy Story films have always thrived off their diverse cast of toy characters, and Toy Story 4 still does, joined by a collection of hilarious and welcome additions, but this particular tale is clearly meant to offer full-circle closure for Woody (Tom Hanks). The cowboy doll was always Andy’s favorite, and it’s no surprise that he’s lost that status in Bonnie’s room, yet he finds new purpose in protecting her newest friend, a googly-eyed spork she crafts and names Forky (Tony Hale). Being made of trash, Forky only sees himself as something to be thrown away, yet Woody strives to get the cobbled-together toy to see his own value, running into more than their fair share of trouble when the two are separated from Bonnie during a road trip.

In addition to new characters ranging from a Canadian stuntman plagued by self-doubt (Keanu Reeves) to a pair of plush carnival toys named Ducky and Bunny (Jordan Peele and Keegan-Michael Key), Woody is reunited with Bo Peep (Annie Potts), whom we get to learn much more about than in the first two films. The main change, which is practically a retcon, is that she’s a natural, daring leader who’s grown beyond needing the love of a single child. (I also learned she and her sheep were part of a lamp. Did I just not notice that before?) Also new to the cast is the genteel doll Gabby Gabby (Christina Hendricks), whose deep-seated neediness casts her in the role of villain, though the movie presents her with far more empathy than the other films’ antagonists, to the point of offering her redemption without so much as an apology to earn it (something I only realized after reading another review).Bo offers Woody an alternative to his desperate attempts to stay relevant, and I felt like this conflict resulted in some mixed messages. There’s a clear parallel between the toys watching their kids outgrow them and the empty-nest anxiety of parents, so it’s a worthwhile lesson that life doesn’t have to end once “the mission” is complete, that one can find another purpose. Yet with Woody’s repeated pleas throughout the series that “Andy/Bonnie needs us,” it vaguely feels by the end that he’s contradicting the loyalty he’s instilled in everyone else. My VC was more bothered by the end than I was, but it is a complication worth pointing out.

Yet for all these philosophical holes poked in the plot, the world and players of Toy Story never fail to entertain and remain as lovable now as they were back in 1995. With the spotlight so much on Woody, much of the extended cast, like Rex, Hamm, and Slinky, don’t get much screen time, but that doesn’t diminish the entertainment factor. (P.S. Ducky and Bunny are hilarious.) In some ways, the plot mishmashes elements from the other three films, yet it still bears that Pixar polish and lump-in-throat sweetness that never gets old.

I hope that Pixar has now finally gotten the need for an epilogue out of their system and can let Toy Story rest in peace. Toy Story 4 is easily the least of the bunch and not quite as good an ending as the third film, but it still satisfies, as well as dwarfs most other animated fare these days. All good things come to an end, or should, Toy Story included.

Best line: (Trixie) “I have a question. No, wait. I have all the questions.” [As someone with a reputation for asking questions ad nauseum in any class, this line spoke to me.]

 

Rank: List-Worthy (joining its forebears)

 

© 2019 S.G. Liput
655 Followers and Countin

Jojo Rabbit (2019)

Tags

Comedy, Drama, War

Prejudice is a peculiar emotion,
The product of bitterness, pain, or devotion.
No one is born with it right from the start,
And no one desires it deep in their heart.

And yet it takes hold and is likely to grow
Through dubious facts people think that they know:
A rumor that no one can track to its source,
An outrage that should have long since run its course,
A fact or a fiction passed on by those who
Just don’t care enough to find out if it’s true.

It’s no surprise then, in this world of pretense,
That people believe things that strain common sense.
And once it digs deep, ‘tis not easy to loose,
For bias breeds bias in search of excuse.

Don’t think it’s impossible, though, to break free
Of such silly cycles that plague history.
It takes a rare person, both brave and sincere,
To listen to someone they don’t want to hear.
__________________________

MPAA rating: PG-13

I was skeptical when I first saw the trailer for Taika Waititi’s latest film Jojo Rabbit, what with its jokey Nazi satire. Waititi’s humor has been hit-and-miss for me with films like Thor: Ragnarok, so I wasn’t sure exactly what to expect. Luckily, I’m pleased to report that Jojo Rabbit is easily my new favorite of his movies, a triple threat of humor, heart, and pathos that didn’t disappoint at all.

Set in the latter days of World War II, Jojo Rabbit follows young Jojo (Roman Griffin Davis), a devoted young boy who is excited to go to a Nazi youth training camp, with the encouragement of his imaginary friend Adolf Hitler (Waititi himself). After an accident, Jojo is forced to stick close to home, where he discovers that his mother (Scarlett Johansson) has been hiding a teenage Jewish girl named Elsa (Thomasin McKenzie of Leave No Trace) in their house, prompting him to reconsider his preconceived prejudices.

It may sound like a cliché, but this movie is one of those rare full-package films: you’ll laugh, you’ll feel your heart break, you’ll hold your breath at tense moments. The amazing thing is that there are scenes where all three happen in quick succession. Waititi’s sense of humor can be an acquired taste, but here he brilliantly plays up the absurdity of Nazism, from the blind loyalty to the exaggerated picture of Jews promoted by Jojo’s training officers (including Sam Rockwell as a washed-up soldier and Rebel Wilson as a gung-ho instructor). He even manages to make the repeated use of “Heil Hitler” increasingly hilarious.

Yet, unlike the similar irreverence of The Producers, the comedy isn’t just for shock value laughs, instead being accompanied by some surprisingly profound statements challenging how Jojo sees the world, Jews, and himself. Young Davis does a wonderful job as Jojo, both as a naïve Nazi boy scout and a more world-weary doubter later on, and McKenzie brings a ferocious defiance to Elsa, bitter to the cruel world and far from the shrinking victim she could have been. Likewise, Johansson exudes warmth and good humor in her maternal role, and she finally gets to hit Sam Rockwell, where she never got the chance in Iron Man 2. And as for Waititi, he really hams it up as the imaginary Hitler, acting as Jojo’s friendly shoulder devil as the boy deals with Elsa and bristling at the wavering of Jojo’s loyalty.

It’s not often I say this, but Jojo Rabbit really felt to me like an instant classic, a perfect blend of irreverent tragicomedy that confidently overcomes its own weirdness to be both memorably entertaining and affecting. I loved the bright, meticulous set design, sometimes reminding me of a less pedantic Wes Anderson movie, and a spinning tracking shot over time echoed a similarly impressive scene from Waititi’s Hunt for the Wilderpeople. The film’s main fault for me was some unnecessary profanity, but otherwise, it’s definitely one of the best movies I’ve seen this year and further cements Taika Waititi as a filmmaker of unique vision, which just happens to include Hitler eating a unicorn.

 

Rank: List-Worthy

 

© 2019 S.G. Liput
653 Followers and Counting

 

VC Pick: Terms of Endearment (1983)

Tags

Comedy, Drama, VC Pick

You love her so dearly,
And not insincerely,
Your mother, your mom whom you know loves you, clearly,
And yet you resent
Her distinct discontent
That causes her love to be dealt so austerely.

Your choices, your bearing,
The clothes that you’re wearing
Are always subject to her stare and found erring.
All that you’d withstand,
Every vague reprimand,
For the knowledge or hope that behind it is caring.
____________________

MPAA rating: PG (should be PG-13)

I know I haven’t posted in a while, being busy with a college class, but I’m back now and thought it was about time to review something chosen by my dear VC (Viewing Companion, for the uninitiated). I saw Terms of Endearment years ago and never gave it much of a thought since. I recalled it being good and sad by the end, and, sure, it won Best Picture in 1983 alongside several other Oscars, but for some reason, it never really stuck with me. At my VC’s urging, I finally got around to it again, and found to my surprise that I remembered a lot more than I thought I did. Even so, it was helpful to remind myself of a lot of the context that inevitably slips through the memory cracks, which further convinced me that it’s a great movie that’s just not one of my favorites.

The film’s greatest strength is its actors, particularly the dueling mother/daughter portrayals of Shirley MacLaine and Debra Winger, as Aurora and Emma Greenway, respectively. MacLaine is the quintessential disapproving parent, distant by default, content to let love be implied, and rarely allowing her emotions to show themselves. Winger as her daughter is hungry for that love and emotion and constantly trying to balance her love for her mother with their mutual exasperation. It’s a dynamic that my VC had with her own mother, so I can completely understand why it hit close to home for her, particularly a line about how the fighting between them doesn’t always feel mutual but simply a facet of their relationship. And the part about Aurora always being the first to let go of a hug certainly imitated life. I, on the other hand, have a largely warm and loving relationship with my own mom, making the emotional constipation onscreen less relatable for me but no less frustrating.

Supporting the main two women are Jeff Daniels as Emma’s less-than-faithful professor husband, John Lithgow as her own secret lover, and Oscar-winning Jack Nicholson as Aurora’s self-absorbed astronaut boyfriend, who is honestly insufferable half the time but skates by with that Nicholson swagger. The drama can get heavy, what with strained parental bonds, failed romances, and familial loss, but the accomplished actors do an expert job balancing the dramatic material with its comedic flourishes. With both MacLaine and Nicholson winning Oscars, though, I rather wish Debra Winger had garnered the same acclaim, since this is easily one of her best roles.

It’s no surprise that Terms of Endearment was an Oscar magnet, including its engaging script, based on a 1975 novel by Larry McMurtry. It’s an unabashed tearjerker about the messiness of family life, and while it does touch the heart, it will undoubtedly touch some more than others. I suppose it depends how much you see yourself or your parent in this classic mother-daughter relationship.

Best line: (Aurora Greenway) “I just don’t want to fight anymore.”
(Emma) “What do you mean? When do we fight?”
(Aurora) “When do we fight? I always think of us as fighting!”
(Emma) “That’s because you’re never satisfied with me.”

 

Rank: List Runner-Up

 

© 2019 S.G. Liput
652 Followers and Counting

 

Spider-Man: Far From Home (2019)

Tags

Action, Comedy, Sci-fi, Superhero, Thriller

Don’t you just hate it
When you’re on vacation
Intent on enjoying some hard relaxation,
And then all at once,
With distinct irritation,
Your work calls, demanding your consideration?

You reach for the phone
With a slight hesitation,
But then you ignore it with smug indignation.
But if the world ends
Due to your recreation,
You just might regret your own preoccupation.
_____________________________________________

MPAA rating: PG-13

How do you follow up a monumental universe-changing achievement like Avengers: Endgame? With a light-hearted high-school romp, of course! Just as Ant-Man and the Wasp lightened the mood following Infinity War last year, Spider-Man: Far From Home brings the scale of mayhem and destruction down a bit while delivering yet another marvelously entertaining entry to the MCU.

Spider-Man: Homecoming was a fun new version of the webslinger, but actors other than Tom Holland hadn’t quite settled into their roles and there was a tad too much “gee whiz, this is awesome” mentality, albeit an understandable one since they’re high school kids. In Far From Home, all the pieces just fit more comfortably, and characters like Zendaya’s MJ and Angourie Rice’s Betty Brant are given more presence than the first film. And, of course, the other big difference is the absence of Robert Downey, Jr.’s, mentoring Iron Man (for reasons everyone should know by now), though his legacy still plays a role.

This time around, after most of Peter’s class was snapped out of existence by Thanos and then returned five years later in what is understatedly called the Blip, things have largely gone back to normal, and Peter and friends are eager to enjoy a school trip to Europe. Enter Nick Fury (Samuel L. Jackson) and the new interdimensional hero Mysterio (Jake Gyllenhaal) to interrupt Peter’s carefree vacation with the threat of elemental monsters wreaking havoc, which is almost as stressful as telling MJ he likes her.

Anyone familiar with the comics should know what to expect in regards to Mysterio, but there’s still plenty of action to enjoy, as well as some hilarious running gags and a few genuinely surprising twists. The subplots are all good fun, from the impromptu romance of Peter’s friend Ned (Jacob Batalon) to a rivalry between Peter and a handsome classmate (Remy Hii) for MJ’s affections. And of course, the visual effects are staggeringly well-executed, including a hallucinatory sequence that would feel right at home in a Doctor Strange movie.

It’s not above complaints, such as an unrealistic scene of the villain monologuing about his plan in detail or the uncertainty of why Peter is somehow expected to fill Iron Man’s shoes. Plus, Holland and Zendaya probably have the least chemistry as far as spider-couples go. Yet Far From Home serves as an enjoyable epilogue to the ambitious gravitas of Endgame, a teen comedy in superhero guise that ends Marvel’s Phase 3 on a high note, as well as a cliffhanger.

Looking forward in Marvel’s timeline, it stings to notice that it looks like there’s no forward motion in the current storyline until late 2020 with The Falcon and the Winter Soldier on Disney+. But maybe that’s best, what with the time jump of Endgame and the threat of people getting “superheroed out.” Not that I’m in danger of that. No, I’m still very much on the Marvel bandwagon and hoping, like so many, that Disney and Sony can come to some agreement on letting Spider-Man continue in the MCU. I don’t expect him to take Iron Man’s place, but he fits so well in this universe that it would be a shame for the powers that be to yank him out of it.

Best line: (Happy Hogan) “You handle the suit. I’ll handle the music.” [‘Back in Black’ by AC/DC plays]
(Peter) “Oh, I love Led Zeppelin!”

 

Rank: List-Worthy (joining Spider-Man: Homecoming)

 

© 2019 S.G. Liput
646 Followers and Counting

 

Detective Pikachu (2019)

Tags

Action, Comedy, Family, Fantasy, Mystery

If Pokemon really existed, as shown,
Which creature would you want to claim as your own?

A friendly Charmander with flame on its tail?
A giant Wailord? (Let’s be real: it’s a whale.)

A psychic Kadabra to bend all your spoons?
Or maybe some ghostly balloon-like Drifloons?

If you’ve a green thumb, then Sunflora earns smiles,
And Ursaring’s cute…when they’re still juveniles.

I’d love a Sandslash to dig holes with aplomb,
But perhaps you’d prefer the more handy Aipom?

A Seel or a Spheal would be (honestly) cool,
But know that for water types, you’ll need a pool.

If you need sleep, Jigglypuff’s known for its pipes,
And Eevee has options for multiple types.

Oh, come now, you must want at least one of these?
Arcanines? Kirlias? Sweet Caterpies?

What’s that? You say none of these names ring a bell?
You only know Pikachu then? Very well,
I shouldn’t be “shocked” since that mouse sure can sell.
_______________________

MPAA rating:  PG

Who would have thought that a live-action Pokémon movie would be the first film based on a video game to be deemed “Fresh” by Rotten Tomatoes, even if it is only at 67%? There was something about the trailers for this movie that strangely fascinated me. I don’t know if it was the faithfully rendered CGI pocket monsters or the casting of Ryan Reynolds as a talking Pikachu or just the inclusion of “Holding Out for a Hero,” since I love that song. But whatever it was, I had unusually high hopes for Detective Pikachu, and thankfully it did not disappoint this nostalgic fan.

While I was once an avid Pokémon player, I never played the Detective Pikachu spinoff game, so I didn’t have any preconceptions about the plot.  Justice Smith of Jurassic World: Fallen Kingdom and Paper Towns (remember the Pokémon scene?) plays Tim Goodman, a young man with no interest in Pokémon who is nonetheless drawn into a mystery involving the powerful Mewtwo, his missing father, and his dad’s mysteriously talkative Pikachu. Plotwise, it’s nothing groundbreaking, but the mystery had enough twists and turns to be engaging and even some decent heart by the end. All the actors, from Bill Nighy as a wealthy industrialist to Kathryn Newton as an intrepid reporter named Lucy, give their utmost to the sometimes hammy proceedings, but Reynolds is clearly the source of star power, making the most of the script’s funny double entendres (aside from an eye-rollingly dumb gag about climate change).

I find it funny that there was such backlash against the “creepy” look of the live-action-ish Pokémon, because the effects are top-notch. It’s not easy for creatures with otherworldly powers and body proportions to look ostensibly real, but the effects team did an excellent job at bringing the 2D characters into furry, feathery, scaly life, as well as integrating them with the actual live-action characters and action scenes. It didn’t take long to get used to the visual style, making it just one of the film’s strengths. (On a side note, I was delighted that Kygo and Rita Ora contributed the song “Carry On,” which deserves placement in my End Credits Song Hall of Fame. Boy, that list needs some updating.)

The story doesn’t dwell on the whole “gotta catch ‘em all” motif, instead setting the action in a metropolis of peaceful coexistence, not unlike Zootopia. While the creatures are commonplace and treated as both partners and near-sentient wildlife, I wish there were even more of them on display. I fell away from the franchise after Generation IV, and with the mix of newer and older Pokémon featured, I’ll admit there were several I didn’t recognize. Yet, there were also plenty of originals for us original fans, from Charizard to Psyduck to an evolving Eevee (even the original Pokémon theme song too), so I commend the filmmakers for their equitable fan service.

I doubt those with no history with the Pokémon franchise will enjoy this movie as much as I did, but there’s still enough fun and creature cuteness/coolness to appeal to everyone on some level. And if I’d seen this as a kid, I would absolutely love it to pieces! As it is, Detective Pikachu proved to be a thoroughly endearing piece of effects-heavy family fun, especially for those who were ever in its target demographic. Luckily, that includes me.

Best line: (Lucy, describing a potential lead) “Down by the docks. Rough part of town, not the sorta place you wanna visit alone at night.”   (Tim, trying to impress her) “Well, I’m actually pretty good at being alone at night.”

 

Rank: List Runner-Up (could go up with future watches)

 

© 2019 S.G. Liput
642 Followers and Counting